+ Her Barefoot Heart

Category: Blog (Page 35 of 101)

News of The 70273 Project with a side of Jeanne’s Barefoot Heart

of rice, ducks, water buffaloes, and musical instruments

In English that’s cute and endearing (though still quite difficult to understand even after 23 years in the US) Alexander Chen (known as the Master of Hyper-Realism because of his incredible attention to detail in his paintings) told of growing up in China and how at the age of 16, the Chinese government decided he would be a professional farmer. Chen was sent to a rice paddy where he planted 1, 2, 3, 4 rice plants this way, then turned and planted 1, 2, 3, 4 plants in a different way so as to allow the wind to blow through. Every day he and his co-farmers took 2500 ducks to the farm to eat bugs, and every night they took 2500 ducks back. From watching and counting the ducks, Chen learned to tell male and female ducks apart just by their heads. There were water buffalo, too – 25 of them that had to be herded back and forth daily. The young buffaloes were bad to wander off, but they always came back to their mothers. The older buffaloes were bad to wander off and keep going as long as the food held out. The more he talked, the more it became clear where he got his incredible attention to detail.

When he settled in San Francisco, he spent $700 and bought himself a Pinto. He took the car out for a spin, and quickly learned that it was good for about 100 miles. Knowing the limits of the Pinto, he began to take car trips within those parameters, and though a teacher taught him to sing “This land is your land, this land is my land,” he, like so many 16 year olds, credits his first car with teaching him about freedom.

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KrasnyanskyMusicScene

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When I left to take a walking break, I spied a painting by Anatole Krasnyansky that immediately made me think of Nancy and her drawings. Am I crazy? Maybe, but what I felt was thrilled.

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Jeanne Hewell-Chambers wishes Nancy’s drawings were as revered (and sold for as much money) as Krasnyansky’s paintings.

* The Krasnyansky painting is titled Music Scene.

cross-pollination

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After supper, Alfred Gockel walked up to a blank canvas and in less than 45 minutes, he’d filled it with bold color and rich symbols. For example, if you ever see one of his paintings that has a circle with a dot in it somewhere on the canvas, that’s your cue that he created that particular painting in front of an audience. Fish represent freedom to him because, according to Gockel, they are the only animal who can go around the world. He places mountains in many of his paintings as a tribute to Dali.

He asked if I wanted to take a picture with him. Said he loved my jacket then invited me to jump into his painting.

“That’s it,” I joked with him when we talked later. “I’m giving up stitching and taking up painting. It takes me an entire year to finish a piece, and it took you less than an hour.”

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“Did you see me painting with two hands?” he asked. “It’s like playing the drums. I taught myself to paint with two hands because I needed to be faster, and I needed to be faster because my first wife had expensive tastes.”

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Painting is my husband’s thing, something he and our children share an interest in and bond over.

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This – this right here – is what revs my engine. I love that the husband and children share a hobby, I love listening to them talk about art and artists, and I love that they let me tag along and stitch in the background.

I hatched four good ideas as I watched and listened to Gockel. It seems cross-pollination is a good thing.

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We’re spending an art weekend at The Grove Park Inn in Asheville. They have fantastic hot chocolate here.

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And the sunsets aren’t bad either.

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After taking Lisa Call’s Design Elements class, I am reworking the quilt that went to Ireland last year, making it horizontal instead of vertical, and letting the teardrop fall off the edge. Now that I have a look at the photo, though, the teardrop looks a little too large. I’ll check on that tomorrow and hope that it’s a camera thing. Oh, and this quilt has a new name, too: Apocrypha 1.

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Jeanne Hewell-Chambers apologizes for the fuzzy, poorly-lit photos and explains that it’s dark here at The Grove Park Inn. I mean, REALLY dark.

Remember Rhonda Patzia?

Some of you may remember the words penned by my friend Rhonda about her life with multiple sclerosis and life in hospice that I shared on my blog a few years ago. I met Rhonda in graduate school where she routinely shed her crutches and the clutches of multiple sclerosis when she picked up her camera. It was a sight to behold watching her climb picnic tables to get better shots.

For her thesis, this former professional photographer named Rhonda asked women to allow her to take nude portraits of them. Though I cheered her on and even recruited for her, I admit to feeling a wee little bit left out that she didn’t ask me . . . but then, on the last night of her last residency, she flopped down in one of those hideous metal folding chairs and asked, “So, are you going to pose for me?”

“I thought you’d never ask,” I told her.

We met the next morning in the meditation house, one of the two locations she chose for my portrait, and she casually mentioned that she was also going to take some shots of me sitting on some moss in the woods because she had more than 36 exposures to spend and I was her last model. As I stripped completely naked in front of those beautiful walls with their layers and layers of peeling paint, I chattered with nervous excitement. When i neatly folded the last article of clothing, Rhonda looked at me and said, “I was only going to photograph you from the waist up.”

The portraits became a part of her thesis and went on to become a traveling exhibit that moved the country around with and without her accompanying workshop. Rumor has it that they are being compiled into a book. I’ll keep you posted.

Rhonda also asked me to read the Vagina Monologue she wrote as part of her thesis, and I tell you what: I don’t know when I’ve had so much fun or been so honored. That woman is just full of surprises.

Rhonda’s courage, her determination to live even while dying, her deep dedication to writing the unblinking, undiluted truth about her life with multiple sclerosis and her life in hospice has been a constant source of inspiration. I love her.

I’ve just received notice that Rhonda is in the final days of her earthly life, and I thought maybe you’d like to take a few minutes to send her on her way by reading her story then leaving her a note in her journal over at Caring Bridge. Her family is reading all notes left in her journal to her as she transitions. Whether your read her writings or not, thank you for giving her a fine send-off with your thoughts and wishes, and thank you Caryn Mirriam-Goldberg for letting us know.

crossing the finish line (it only took a year)

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(view out the north window)

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(view from the south window)

A disclaimer before we begin: We live in what was once a fishing shack build on a waterfall on top of a mountain. While the scenery is hugely gorgeous, the house is small with ceilings that are unbelievably low – unbelievably, I tell you – which makes taking photos incredibly difficult. But today, I pushed everything to one side of my studio, folded down the top of each panel and let the bottom pool up on the floor, and hung each panel from the curtain rod in my studio. Despite the less than perfect situation, it was incredible being able to stand and see them hanging. It really is so different seeing the work this way as opposed to spreading it out on the floor and standing in a chair to look at it. The main thing I want you to know is that this lovely space does not offer ideal picture-taking opportunities. I trust you will take that into account and use your imagination as you look at the photos.

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In Our Own Language
3 panels, each measuring 60″ x 90″
hand stitched

In June 2012* my developmentally disabled my sister-in-law Nancy surprised and delighted me when she started drawing. I started right then stitching each drawing, eventually pulling the individual stitched renderings into a 3-panel piece I call In Our Own Language 1. It quickly became a series.

In Our Own Language 1 consists of 154 drawings. I finished those 3 panels (each measuring 59″ x 90″) just in time for them to be part of a museum exhibit in January 2012. The very weekend we delivered IOOL 1 to the museum, I began stitching In Our Own Language 2. It’s 457 drawings, and I just finished stitching this week.

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In Our Own Language 2.1

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In Our Own Language 2.2

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The stitched drawings are arranged in the shape of a church window because with every fiber of my being, I believe creativity is sacred.

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Each panel is a sandwich of, starting at the bottom, a sheer window curtain, a collage of crocheted doilies,

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Nancy’s drawings that I stitched (457 total in this set spread out among the 3 panels), and topped off with another sheer window curtain. The top curtain is from my Aunt Rene’s house. She loved Nancy, Aunt Rene did, and Nancy loved her right back. There are stains in those top sheers, and I didn’t even try to get them out.

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You know how it goes: I had this vision, then set about gathering materials needed to create it, figuring out the meaning of the vision as I stitched. For me, In Our Own Language 2 speaks to individual perspectives and interpretations and how some people tut-tut at anything that’s not considered “fine art”. “Doilies? How commonplace and frivolous,” they might say. And “You call what Nancy did ‘drawings’? Harumph.” I can just hear them – I have heard them – and that’s probably why I made these 3 church windows far too large to ignore and dismiss.

* When I merged blogs, I lost all the comments in this and other posts which is a shame because there were some good conversations that – poof – disappeared, and after a good cry and a lot of time, I just had to sigh and move on. But hey, you’ll at least get to see the post and photos.

I’m including this post as part of Nina-Marie’s Off the Wall Friday, and soon enough (hopefully before this time next year), I’ll be telling you all about In Our Own Language 3.

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Now listen: If you’ve ever said you were going to get around to writing your personal and family stories, stay tuned cause I’ve got just the ticket, and I’ll be telling you about it tomorrow or the next day (though it might turn out to be Monday. You know how that goes.)

featuring phone pranks that don’t involve prince albert in a can

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at the backdoor in grandmother’s kitchen, L to R: Grandmother Ballard, me (Jeanne Hewell-Chambers) holding my daughter Alison Chambers, Kipp Chambers (my son) being held by my mother/his grandmother Ada B Hewell

she was known for many things, but humor was not one of them. to my knowledge, nobody ever used the word “funny” and my grandmother’s name in the same sentence. she did not abide nicknames, was not a prankster, and never told a joke, but there was something about new year’s day that turned my grandmother downright hilarious . . .

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with breakfast out of the way, she settled her short, wiry frame onto the yellow pine telephone chair that was positioned under the wall-mounted telephone, pulled out the baby blue notebook from the cubby, unzipped it, and turned the pages in her handwritten telephone directory until she found the list she was looking for. she cleared her throat then dialed the black rotary phone, the clear plate making its familiar soft clicking sound as it registered the numbers in the order she dialed.

“hello?” answered the (often sleepy) (grandmother was an early riser) (and it was new year’s day, after all. think about that.) voice at the other end of the line.

grandmother sat up straighter. this was serious business, this call.

“is this 2-0-1-4?” she asked, not a hint of a smile in her voice.

“no.”

“oh yes it is,” she said, barely hanging up the phone before erupting in laughter.

(and to think, she’s the one who delivered an emphatic and flat-out NO when i told her i wanted to be an actress. huh.)

[ ::: ]

where cousins wore necklaces, jeanne hewell-chambers wore a brownie camera. her grandmother spent summers preserving food to feed the family, and in her own way, jeanne carries on the tradition by preserving stories to feed and nourish the souls of generations now and later. if you’re ready to do the most important job of preserving stories from your life and your family, stay tuned ’cause jeanne is cooking up a little something special that just might help . . . and she hopes it will be ready by 2/14.

featuring a selfie, a memory (or 5), and a wish

being a stone turner of long standing,
i enjoy studying the back sides of art cloths
as much as i enjoy gazing at the front, more public, side . . .

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i flip The Rinse Cycle 2 (a new series) over, and i see
lush
green
growing.
i see every shade of blue
the sky has every worn.

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i see knots.
some of friendships – unions – marriages – new beginnings
celebrations that bring us together in festival and gladness.
i see knots of hanging on – depression – despair.
i see knots as fists, landing blows in the shape of words
and i see the knots i feel in my stomach
in the wake of the blows,
even after so much time has passed.

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i see trails taken
and trails not taken.

i see curves in the roads
detours
unexpected
mandatory re-routings.
who could have known?
there were no maps.
there couldn’t be.

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i see an undisturbed spot of aching
left empty
by those who predeceased me.
gone ahead, some would say,
passed on
left us
died.
they died and are dead.
i do not gloss over death
with prettier words
because it does not change anything
or lessen the longing.

i see those who might have died
but didn’t
and i rejoice.
oh my goodness gracious how i do rejoice.

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i see giant steps
and teensy tentative baby steps.
i see skips
and hops
and gallops
and waltzes.

i see crooked lines
paths that go every which-a-way,
often against the grain.

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i spy
rolling hills
garden spots
vast and small
planted
tended
harvested.

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i see hope
and life on the verge.
nay, i see life in leaps and bounds
as i stand in the present
remembering the past
and wondering with keen anticipation
and a quickening, actually
about the future.

happy new year to us all.
may we rock it
stitch it
traipse it
paint it
dance it
sing it
color it
hug it
live it
and mark it
as only we can.

of likenesses and lightnesses

Candle

when my children were tots, we’d bundle them up and drive around looking at the christmas lights, refining our aesthetic senses, you know, each of us awarding our own best display award that grew more competitive every year under our increasingly trained and discerning eyes. just when i’d definitively declare that i preferred the white lights over the colored lights, we’d come upon a house that was obviously festooned by someone with a knack for design and a love for color. we all panted at the sight of trees (not christmas trees but plain ole’ yard trees) decked out in strands of white lights – initially because even with the gentlest breeze, they look like they’re twinkling and because they were ordinary yard trees pulled into the holiday celebration and what’s not to love about that), but it didn’t take all that long for us to pity the trees given a single, solitary strand of lights, poorly and thoughtlessly placed, preferring the trees lavished in white lights – so many it looked like they were an organic part of the tree, like they were well-lit lichen. (we developed a new degree of respect for the more miserly, haphazardly lit trees though, when we began to imagine them being dressed by a well-meaning but blind mother.)

when the children got too old for such things, andy and i weren’t nearly ready to bring this tradition to a close, so we bundled up my 90-something great aunts, put them in the backseat, and drove them around to look at christmas lights. one year, as we passed through the center of this town in south north central georgia (i’ll wait while you figure that out) (that’ll take too long, so a hint: it’s my clever way of saying “landlocked”) on the way to deliver them home, aunt lucy looked out the window at fayetteville’s main street awashed in well-lit snowflakes and said, “Irene, don’t the people who live on the water have the purtiest view?”

we had one or two trees in our own yard that we festooned with white lights annually, andy and i, and with the repeated effort, we learned how to apply them so that they didn’t look like what it were: trees dressed by a well-meaning but blind mother. as we struggled with ladders and branches and never enough lights, i remembered the year daddy outlined the roof of our house in blue lights. (using a single color instead of every hue in the crayon box simply wasn’t done in those days.) (mother was always cutting edge when it came to design.) daddy put those lights up and didn’t take them back down for something like 949 days.

an aside: that particular story remembered at that particular moment in that particular context is when i learned about what my friend jane cunningham calls reframing – a most helpful tool when dealing with family memories, if you catch my drift.

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my christmas decorations this year include the red candle that kicked off this post (a free gift with purchase at a local antique store.) (using my highly trained and discerning eye, i chose the one that hadn’t been burned yet.) (the buckeyes were free, too.) (at lest i think they were.) and these two adorables created by my friend tom smith. i LOVE them, don’t you? there’s such a playful spirit about them. they’re just downright fun. the small santa with the black eye and the blue beard (reference to folktales or temperature, tom?) and the larger santa hobbled together from an assortment of tender scraps and bits. (just imagine this larger santa at the office christmas party. he’s probably the guy hanging out by the copy machine the entire time.) it’s the definition of art for me: taking something out of its intended use and giving it fresh life in a new context. now that i think about it, being friends with tom is like having christmas every day. he’s a treasured friend who challenges me with his thoughtful, well-placed questions that are always asked (or at least received) as gentle nudges and window openings (often windows that have long since been painted shut); delights me with our conversations (which often come together like his artwork – a gregarious pulling together of all sorts of odd things that initially seem unrelated); and encourages me with his keen insightfulness (that always makes me feel like he finds me intelligent and capable and maybe like he sees more in me than i present). (if you find yourself wondering if his mother was also a formidable teacher, you’d be right.)

you know, now that i think about it, what i’m really doing is decorating my studio with self portraits of and by tom. no lights required.

special delivery, just for you . . . and you . . . and you

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earlier tonight i was listening to some special christmas music, and because you don’t exactly need x-ray vision to know what’s going on in my life, i posted on facebook: “Listening to recordings of my daughter Alison Chambers singing Christmas carols and marveling at the beautiful voice that never fails to wrench tears from my heart.”

i’ve never done this before, so bear with me as i try to treat you to what i was listening to. if all goes according to plan, you just click (because i’m learning new marketable skills here, you’ll need to click on the song, be transported to another screen, then click on the song again. i have no idea why.) (and the strike-thru’s? i have no idea. just ignore them.), listen, enjoy. (tears optional.)

Alison sings Ave Maria

Alison sings Away in a Manager

Alison sings Gesu Bambino

Alison sings O Holy Night

Alison sings Un Flambeau

and my all time favorite, the one that brings me to the brink every time, the one we all joined in to sing together as the recessional at daddy’s funeral . . .

Silent Night

questions and answers of the most important kind: a timed test

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they (her children) say she went through a spell when she cried a lot. day in, day out, she cried, my grandmother ballard did. one of her children posits that she cried over the possibility that granddaddy had a girlfriend on the side, to which another reminds us that granddaddy was the town’s sheriff and it was his responsibility to make frequent trips to the . . . i don’t remember what they called it, this bawdy, rowdy house out on hwy 54. another child imagines the tears were brought on by the never-to-be-fulfilled life dreams. (grandmother had what we now call a full-ride scholarship to The Piano Conservatory, but after the first year, her daddy snatched her out of school saying girls didn’t need an education – especially one in music – they only needed a husband.) the third living child doesn’t remember her crying and has no earthly idea why she would.

this morning as i interrupt application of my daily facial moisturizer to allow my retired husband access to the bathroom for the fourth time since i started this activity (usually) of short duration, i imagine grandmother crying because she had no alone time and no personal space. no quiet time to just sit and ponder. i wonder if that’s why she made so many quilts – did the constant whirr of the old singer treadle machine provide walls of sound that served to keep everybody out and her in?

it’s what we do, you know: answer the unanswerable questions through our own filters of knowledge acquired through books and life experiences. sometimes it’s as though we gain permission to be ourselves, other times it gives us insights that explain us to ourselves. now would be a mighty good time to ask those questions as you gather round the tree to celebrate the holiday with your family. and hey, don’t forget to take a tape recorder. you can thank me later.

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While others wore necklaces, Jeanne Hewell-Chambers had a Brownie camera hanging around her neck. Always a personal historian, she’s considering dusting off her old workshops on such things and converting them to online classes. Stay tuned.

they helped make me who i am in ways i may never know

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we’ll never know if granddaddy died on 12/19 or 12/20. he simply went to bed on the 19th and never woke up. the death certificate says 12/19, though, on account of that’s the date his son – my uncle gene – was killed years before. the town’s doctor (the small town wasn’t big enough to have a coroner – shoot, we were glad to have a doctor there) thought it fitting that father and son died on the same date.

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i still ache for them – all of them, even though uncle gene died before i was even an idea. i’m named after him, you know. there are still people around who actually knew him, and when i say “tell me about him,” the first thing they all say is “he was funny.” i have two lamps he made from turned wood, i have his wallet (complete with the photo of his girlfriend), and i have photos of him on a tractor – probably not the tractor he was using to pull up stumps when it flipped over on him, killing him. but maybe. i don’t know. granddaddy reportedly found him, shoved the tractor aside, then my wiry little granddaddy picked up my rotund 18 year-old uncle and carried him all the way back to the house. the next day, in a fit of grief, granddaddy drove a silver stake into the ground to mark the spot.

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when i ask people what they remember about my granddaddy, they all – every one of them – say there wasn’t a dishonest bone in his body. that he was a good man. some even tell me about a time when he (the town’s banker) loaned them grocery money cause they left their checkbook at home. i have the clock that sat on his mantle; the tag he kept on his key chain asking finders, should he lose his keys, to return them to brooks bank; and i write sitting in the chair he sat in at the bank. it still has the original green leather.

nobody seems to know my grandmother very well. they tell me she was quiet. i remember her arriving home from a vacation, getting out of the car and walking straight across the street to see me – even before she went in her own house. later memories are of her being still, quiet, and lethargic, which i now know was a condition resulting from a series of strokes, but back then i didn’t know what was wrong until the day i was converting the pump house into a studio and got stung by wasps several times on each hand. by the time i got to the front door of our house, my hands had swelled up so much i couldn’t bend my fingers, and hurt – oh my goodness how they did hurt. then just like that, my little girl brain knew why grandmother sat quietly in the chair with a washcloth over her hands that were always idling in her lap. i spent three days like that, but the swelling went down, the pain subsided, and i was back out turning over bushel baskets upside down to become stools. grandmother never saw the results of my labor.

granddaddy and grandmother . . . well, if i ever walked as one who was once cherished, it’s because of them. they adored me, their first grandchild, and the feeling was mutual. they clothed me in ruffles and lace (i could seat 6 on the petticoats they bought me to wear under the dresses they bought me); shoes in every color; frilly fold-down socks; dozens of pairs of gloves. i even remember one dress – brown plaid. white collar with piping to match the dress fabric. sash. one of daddy’s favorite stories is of little me driving nails into the floor at granddaddy’s feet as he (granddaddy) sat in his rocker watching the news on tv. “JEANNE,” daddy said loudly, startling me out of my reverie. “junior,” granddaddy told him firmly, (daddy was named after granddaddy, and he hated being called junior, probably because he spent a goodly part of his life working to distinguish himself from his dad) “jeanne is in my room now. she can hammer wherever she wants to.” i rest my case.

i have lots of stories starring grandmother and granddaddy stored in my memory bank, but there are still stories i long to hear, questions i’d love to ask – questions and stories i didn’t know to ask back then.

i’m told that the internal voice that scolds me, saying i should not be living in the past or grieving because these people died long ago and besides, they weren’t my spouse or my parents or my children, they were only my grandparents. i’m told this is actually a caring voice, a voice that just wants to keep me safe. i’m told i should love this voice, thank it for protecting me, for caring so much about me . . . but i’m feeling more like thanking it through clenched teeth (by way of suggesting, you understand) to shut up and leave me to my grief and remembrances. i don’t care how long it’s been, i still miss them something fierce. and i don’t care about any alleged hierarchy of appropriate grief, they were my grandparents and we adored each other. and i don’t care that i never met my uncle, i can and do still love him and mourn him sight unseen.

maybe it makes sense on paper that i should be over this grief all these decades later . . . but on my heart, this grief will not be denied.

[ ::: ]

Jeanne Hewell-Chambers has spent most of her life collecting photos, stories, and information about the day in May 1933 when bandits knocked on her grandparents door and held the family (grandparents, midwife, newborn gene, and 5 year-old crawford) hostage overnight until the bank opened the following morning. next year she intends to pull it all together, and she’s very excited about that because she knows that event somehow impacted her life, shaping her into the women she is today even though her daddy was only five years old at the time and not even thinking about girls and raising a family.

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