UPPERCASE 38 preview by Janine Vangool

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J A N I N E VA N G O O L

UPPERCASE IS AN INDEPENDENT MAGAZINE.

Dear Reader, In this issue, we explore the dichotomy of order and chaos. One cannot exist without the other, if only to provide comparison and contrast. Scattered randomness promotes happenstance. Ordered neatness provides welcome respite in a chaotic world. There’s certainly beauty to be found in each: creativity is often sparked by a bit of wayward thinking, while discipline and organized processes bring ideas to life. One of the easiest ways to corral chaos and stay organized is to put things in their proper place. And so we celebrate containers— from the simple cardboard box to old-fashioned, elaborate biscuit tins. With vessels as gorgeous as these, we’ll want to put our treasured items within. Graphic, efficient and practical packaging also has its place; peruse the dozens of submissions of our readers’ favourite packaging designs. Rounding out this issue are projects employing gold and other metals. A little gilding and gold leaf can elevate something simple into the exquisite! The cover is by featured illustrator Suzy Ultman.

J A N I N E VA N G O O L

publisher, editor, designer

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Contents

JULY / AUGUST / SEPTEMBER 2018

L I S A T R AV I S L I S A T R AV I S . C O M

W EL C O M E

ST Y L E

TREND

3 6 7 8 10 11

FRESH

EDITOR’S LET TER CONTRIBUTORS SU BSCRIPTIONS SNIPPETS NOTED

Anna Tverdokhlebova, Carrie Hirsch, Raquel Casilda, Ginnie Hsu, Megan Eckman B EG INNINGS

by Melanie Falick illustration by Andrea D’Aquino

S TUDIO

Angela Liguori’s Studio Carta by Abby Glassenberg HOB BY

PORTFOLIO

SDCO Partners by Lydie Raschka VINTAGE

A History of Biscuit Tins by Alice Tarbuck COLLEC TION

Vintage Tins DISCOVER

Packaging Appeal by Jane Audas GA LLERY

Packaging Portraits by UPPERCASE readers

FINE PRINT LIB R A RY

Golden Books BUSINES S

Making Connections through Smart Packaging by Arianne Foulks AB ECEDARY

Abecedary of Containers and Vessels by Correy Baldwin SM A LL PRINT

Flexographic Printing by Sharon Eucce ORIG IN S TORY

The Cardboard Box by Correy Baldwin

PA RTICIPATE

Order/Chaos Submissions by UPPERCASE readers

Jeweller & Adventurer Laura Eyles by Kath Dolan M ATERIA L S

Gold, Metals, Rust & Patina Reader Submissions TOOL S

Illuminated: The History of Gold in Art, featuring Bailey Amon Rivera, Jennifer Park, Hannah Smith and Georgia Angelopoulos by Joy Deneen

ARE YOU NEW TO UPPERCASE MAGAZINE?

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Xavier Ovídio, Deidre Chestney and Gabriela Szulman ENCYCLOPEDIA

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A R T & D ESI G N

UPPERCASE 201B –908, 17th Avenue SW Calgary, Alberta Canada T2T 0A3 J A N I N E VA N G O O L publisher, editor, designer janine@uppercasemagazine com GLEN DRESSER customer service shop@uppercasemagazine com CORREY BALDWIN copyeditor C O R E C O N T R I B U TO R S Jane Audas Correy Baldwin Andrea D’Aquino Melanie Falick Arianne Foulks Carolyn Fraser Joy Deneen Glen Dresser Brendan Harrison Andrea Jenkins Linzee Kull McCray Andrea Marván Kerrie More Emily Orpin Lydie Raschka Christopher Rouleau Laura Tarrish

CONTRIBUTOR

SH A RO N EU CCE Sharon Eucce loves art, design and all things print, paper and packaging. Replicating logos in pen and ink from album covers at an early age was an indication that she’d find a niche working and playing in print. Today, Sharon runs her business helping brands produce the print and paperboard packaging they imagine, including folding cartons, rigid boxes, shippers and gift packaging. ||| packagingchic.com

WOULD YOU LIKE TO BE A CONTRIBUTOR?

A D D I T I O N A L C O N T R I B U TO R S Sharon Eucce, Alice Tarbuck and Abby Glassenberg Thank you to everyone who submitted their artwork and stories to this issue’s open calls Printed in Canada by The Prolific Group.

Interior pages are printed on 100% post-consumer recycled Rolland Enviro 100. Give this magazine a long life! The content is evergreen, so we hope you’ll revisit it over and over again. Please pass it on to a friend or colleague who might enjoy our content, or cut up the pages and create some art.

A L I C E TA R B U C K

K AT H D O L A N

Alice Tarbuck is a writer and academic living in Edinburgh with a love of vintage design

Kath Dolan celebrates the ingenuity, generosity and humour of creative business people in her online interview series Why Thank You, I Made it Myself.

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If you’re an artist, designer or crafter interested in being profiled, please submit your portfolio by following the instructions: ||| uppercase magazine.com/ participate

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UPPERC ASE contri butor Caroly n Fraser sent me this beauti ful gift from the Fratelli Bonvini stationery and typogr aphy shop in Milan. It’s a vintag e typewr iter tin, with its origin al seal and a “fresh” ribbon inside.

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ANNA T V E R D O K H L E B OVA K A S S E L- B E R L I N , G E R M A N Y

I’m originally from St Petersburg, but I moved to Germany some time ago I have a small shop called Breadcrumbs where I sell jewellery and postcards that I make I’m a big fan of children’s book illustration and also worked as an illustrator for a while—I think this experience can be seen in my work The most original pieces I have made are brooches—all the details of these brooches can be worn together or separately ||| breadcrumbscrafts.etsy.com

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U P P E R C A S E

Whether you are a fresh graduate or mature artist, it is often a dream to be published for the first time!

CARRIE HIRSCH LOS ANGELES, CALIFORNIA, UNITED STATES

I’m a native of Angelino, a graduate of graphic design from CalArts and currently having an affair with street art In January 2018, I began putting stickers of angels all over the city and posting my street art on Instagram This angel story begins in 2016, when life became difficult in a myriad of ways: death, heartbreak and uncertainty During this period of need, I began writing to angels for their help and they began to write me back Simultaneously (through a discovery via UPPERCASE), I was taking Carla Sonheim’s year-long course “Y is for Yellow ” Everything wove together in an almost magical, alchemical way This new relationship with the angels filled me with inspiration and purpose I would write questions to them and they would write back We became pen pals and they told me to paint angels and share their messages with as many people as possible Not trained in drawing or painting, this is where Carla’s class was perfectly placed I began painting angels every day for a year They poured through me and I was totally inspired with messages such as “Ask your angels for help” and “Imperfections are charming and create character” or “Look with your eyes, see with your heart ” Putting the angels on the street is my public art and a chance for many people from all walks of life to see them I would love the opportunity to create stationery products (my dream client is Hallmark) The goal is for this work to help others connect to their angels, or spirit guides, and feel support and connection ||| @moon.lilie

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GINNIE HSU STARKVILLE, MISSISSIPPI, USA

I am an illustrator, designer, educator and maker living in Starkville, Mississippi My work is often inspired by my everyday life, nature, human living and well-being I love mixing new and traditional media to create magic When I am not in my studio, you can find me in the woods foraging or on my yoga mat I hope my work brings positivity, improves wellness and makes society better, even just a little tiny bit ||| helloginniehsu.com

RAQUEL CASILDA LONDON, UNITED KINGDOM

I am a London-based artist inspired by nature and the feminine spirit My hometown is Madrid I have been reading UPPERCASE magazine and its newsletters for a while and I love them It is full of inspiration, creativity and is beautifully designed My background is in fine arts and I am trying to get into editorial illustration As a fine artist, I have participated in exhibitions in different cities internationally, but my illustration work hasnâ&#x20AC;&#x2122;t been published yet This year my plan is to share my work among art directors for creative and mindfulness magazines that I love to read and feel in line with, such as this one, and hopefully collaborate with like-minded people and publications All the elements in my work are drawn by hand, but they are sometimes finished digitally I love using pencils, inks and watercolour to create detailed and delicate images that tell subtle stories and have the female form and essence as a protagonist The image that I have submitted is titled â&#x20AC;&#x153;Book Loverâ&#x20AC;? and was created as a promotional poster It aims to promote reading on paper in these times governed by screens As a book and paper lover, I believe there is nothing like reading on fresh grass, letting yourself go into the pages, travelling to fantastic places in your imagination and even becoming Alice in Wonderland for a few hours, immersed in wonder and magic I love the smell and touch of different kinds of paper and the seductive promise of a beautifully printed cover ||| raquelcasilda.com 14

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U P P E R C A S E

MEGAN ECKMAN VANCOUVER, WASHINGTON, USA

“Flatteringly Flat” was my comeback to the art world three years after burning out I had been selling prints of my work and then began making artwork just to sell, eventually getting frustrated when it didn’t So I took a break and stepped away, allowing myself to play and do lots of silly projects I played with gold leaf, attempted to learn watercolours and drew lots of pictures of my cat This series came out of that play It’s a spin on traditional portraits, allowing the viewer to imagine the sitter’s face It’s my hope to have the series displayed in an art gallery in Seattle or San Francisco ||| meganeckman.com GET PUBLISHED

If you’ve never been published in print before, please share your work and UPPERCASE will endeavour to publish the best submissions in future issues ||| uppercasemagazine.com/ participate

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B E G I N N I N G S

Melanie Falick

AAUUTTHHO ORR AANNDD CCRREEAATTIIVVEE AADDVVEENNTTUURREERR

ecently I have been thinking about master woodworker, academic and writer David Pye’s ideas about the workmanship of risk versus the workmanship of certainty as presented in his classic book The Nature and Art of Workmanship. In the simplest of terms, he distinguishes between creative processes based on how easily they can be spoiled at any given moment rather than by the number or types of tools they require. For example, it is risky to try to draw a perfectly straight line freehand, much less so to draw one with the aid of a ruler, and barely risky at all to generate one on a computer and then print it. Although he wrote extensively on this subject as a way to reframe the more common and, to him, tiresome and futile discussion about the perceived value of hand-making versus machine-making, I have used his juxtaposition of risk versus certainty as a jumping-off point to better understand my own psyche. (I will leave the debate about handmade versus machine-made for another day.) I know that when it comes to making things, I am always uncomfortable with processes that involve cutting. No matter the material (paper, fabric, wood, leather) or the tool (scissors, rotary cutter, X-Acto blade, saw, drill), I will always hesitate when I know that one wrong cut will mar, if not ruin, the result. Of course, the apprehension I feel before I even pick up a blade only exacerbates the problem and can make experiences that are meant to be pure fun stressful.

Risk Reward ILLUSTRATION BY

ANDREA D’AQUINO

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U P P E R C A S E

My unease with blades began at an early age, probably because my vision wasn’t good even with corrective lenses. (To this day, I have no depth perception according to my opthamologist, though I think some other part of my brain must be compensating because my eye-hand coordination—except when it comes to cutting—is fine.) In addition, I am left-handed and for years in school I had to make do with right-handed scissors. Last summer I took a Basic Woodworking class at the Center for Furniture Craftsmanship in Rockport, Maine. All day, every day for two weeks I created interlocking

F A B R I C

joinery—that is, dovetails and mortise and tenons—by hand using sharp chisels. Ostensibly I was there as part of my research for my book Making a Life, but I was also there because I wanted to face my anxiety about cutting in particular and trying something far outside of my comfort zone in general; I wanted to learn to stay present in the discomfort of it and see what would happen. I would be lying if I said I didn’t struggle every day with both how hard it was for me to learn the skills and the raw emotion that my struggle uncovered, but overall it was a positive experience, a memory I am happy to revisit. Whereas my classmates built benches, I stuck with practice joinery on lengths of poplar, and on the last day I converted my best dovetail into a pencil holder that now sits on my desk: two 10-by-4-inch lengths of wood hinged together at a right angle, with holes drilled partway down from the top. I laughingly compare it to a project a 10 year old might bring home from summer camp, but I am proud of it. A few months after woodworking school, I found myself in another challenging cutting situation in a mule-making class at the Brooklyn Shoe Space in New York City. After listening to the introductory lecture and confidently choosing an assortment of leathers for the upper mid-sole wrap and lining of my new shoes, I was asked by the teacher what I’m sure she thought was a simple question: Do you want to use a utility knife or scissors to cut out your pattern pieces? I paused, seriously considered asking her to do the cutting for me, then reached for the scissors. Throughout the day I worked slowly and methodically. There were several more tasks that involved cutting, and, although I hesitated each time, I stayed calm and focused as I proceeded. The time flew, and after 10 hours of careful work, I had succeeded at making a quite handsome and wearable pair of mules. I realize now that the most valuable lesson I learned at woodworking school was not how to make dovetails but how to be more patient and even kind to myself when I feel what I am making—as well as my sense of self as a competent, creative person—is at risk. While I don’t feel compelled to push myself outside of my comfort zone every day, I do wonder how many decisions I make unconsciously as a way to avoid risk, and what else I can achieve by stepping into the realm of risk more often. I once read this quote attributed to the actress Geena Davis: “If you risk nothing, then you risk everything.” That is definitely something for me to cut out and save. ||| melaniefalick.com

Melanie Falick’s book Making a Life will be published by Artisan in the fall of 2019

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Art & Design SDCO PARTNERS COURTNEY ROWSON AND AMY PASTRE

STORY BY

LYDIE R ASCHK A

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U P P E R C A S E

P O R T F O L I O

FEW YEARS AGO JESSICA MORELLI was looking for a designer to help her rebrand the small natural skin care line she was selling online, as a way to help her business grow. She lived in Brooklyn, but a click on an Instagram tag transported her to SDCO Partners in Charleston, South Carolina. Browsing the website, she felt an immediate affinity for the work. “Everything they did was in line with what I loved,” she says. Jessica had worked with graphic designers before but never a design firm. Her first task, she was told, was to fill out a document about her vision for her product, Palermo Body, named after the Italian town where her grandmother was born.

ROSÉ DE

PRINTEMPS

PALERMO BODY

Thus, each design project starts with a conversation, says Courtney Rowson, cofounder along with Amy Pastre of SDCO Partners, formerly Stitch Design. “What is the feeling we need to evoke?” Courtney says. “The feeling that we’re trying to project, the emotional connection, the textures and touchpoints? That’s where our studio shines.” SDCO Partners offers a large menu of services including naming, brand identity, website design and development, content creation, packaging, print and illustration. Its packaging ranges from a simple black sheath created to hold chopsticks at Magasin Kitchen, a Vietnamese restaurant in New Orleans, to a fancy box dotted with tiny gold crowns for Rosé de Printemps, a rosé wine produced in France. Through a service called wayfinding, SDCO Partners helps people find their way in an unfamiliar space, by introducing architectural or design elements that aid orientation, as it did at Half Mile North, a mixed-use industrial development in downtown Charleston. Amy and Courtney also have a sister company, Sideshow Press. There they create stationery goods and gifts, often very simple items elevated by the packaging itself, such as wooden safety matches in a slim, blue metal case or firecracker picks in a clear, silkscreened tube.

SIDESHOW PRESS MATCHES

Beyond naming, branding, digital media and print, SDCO helps shape the atmosphere of an environment. Step inside Callie’s Hot Little Biscuit, a grab-and-go eatery sandwiched between two buildings in Charleston, for example, and see a step-by-step illustrated biscuit recipe on the wall, reminiscent of a time when every kitchen had a rolling pin and Sunday biscuits brought the whole family together.

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SUBSCRIBERS

Meet Some

Subscribers X AVIER OVÍDIO LISBON, PORTUGAL

I’m a Portuguese artist living and working in Lisbon My work is concerned with material and formal explorations through different mediums, which culminates in an interdisciplinary approach In my artistic process, I start from analyzing and deconstructing specific thematics, embracing a responsive practice I like the fact that materials and objects can produce their own discourse and are open to multiple interpretations My studio plays an essential role as the stage where the ideas and the outcome are playing like actors in the theatre, where I am the “set designer” for the show Although sometimes it can seem to be extremely messy, it is an organized chaos where I can easily find a needle in a haystack ||| @xavierovidio

DEIDRE CHESTNEY MOUNT MACEDON, VICTORIA, AUSTRALIA

I inherited a shed on our property in Mount Macedon, Australia Having worked as a graphic designer in various studios in New Zealand, England and Australia, it has been great to finally have a place of my own! The studio overlooks our garden, which backs onto native forest, and we have many local visitors such as cockatoos, rosellas, echidnas and kangaroos (such as our regular visitor Patch, an eastern grey kangaroo, and her daughter Munchie) As well as working on freelance design projects I have also developed a love of working with clay, and love developing ideas that combine my graphics background with a ceramic surface It has been such a joy to create a space where I can be myself and play! ||| @deidrechestney

GET PUBLISHED

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GABRIEL A SZULMAN CAMBERWELL, LONDON, UNITED KINGDOM

I grew up in Buenos Aires, Argentina, but South London has been my home for many years now I live and work in Camberwell, where Iâ&#x20AC;&#x2122;m very lucky to be based in a complex of live-work units that is home to a diverse range of artists and makers My own studio is a large double-height space that allows me to work and teach on the spacious ground floor and keep my office separate on a mezzanine And of course I enjoy a blissfully short commute, as the flat is just up a (steep) flight of stairs I am a printmaker and mixed-media artist My work has always featured layered images coupled with a fair amount of bright colour and surface decoration I use collage and decoupage to create greeting cards, pictures and decorative objects, and upcycle anything from shoes to furniture I also teach creative upcycling techniques regularly at my studio and elsewhere The images I use in my work are inspired by memory, nostalgia and a love of everything vintage My work is often humorous and whimsicalâ&#x20AC;&#x201D;unless my romantic side takes over and then we enter into a fairy-tale territory of old-fashioned script, pages of books, and music scores populated by chivalrous gentlemen, glamorous ladies, butterflies and rabbits I love delving into old photograph albums, vintage documents, magazines, books, cards, technical manuals and illustrated dictionaries, among other things Second-hand bookshops, junk shops, market stalls, attics and long-forgotten boxes are my treasure trove ||| gabrielaszulman.com

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COMING

SOON

A M ADA PRESS ANGIE LEWIN B A LT I M O R E P R I N T S T U D I O S BL ACKBIRD LET TERPRESS BLESSED UNREST BRAD VETTER B R O O K LY N H A B E R D A S H E R Y CABIN PRESS C H A S I N G PA P E R CL AWH A M ME R PRE S S C R E AT I V E LY S U S TA I N E D EGG PRESS EIGHTFIVEPRESS FEAST LETTERPRESS FIONA WILSON GOTOM AGO GTO PRINTERS INALUXE INKELLO INKWELL BOUTIQUE JEANNE MCGEE K ATH A R IN E WAT S O N KID ICARUS L AUR A SPRING MOGLEA N O T E LY NOURISHING NOTES OPEN PRESS PROJECT PA P I R M A S S PAT R I C K E D G E L E Y PR E S S IN G M AT TE R S PRINTED PEANUT PRINTS AND PRESS P U B L I C S U P P LY RED CAP CARDS

PRINT / MAKER I N K Y, C R E AT I V E S U CC E S S

This volume features profiles of designers, artists and craftspeople who use printmaking and print technology to make things for themselves and others. This book includes in-depth interviews with printers, stationers, publishers, and homeware and clothing designers through studio pictures, portfolios and sound advice from print/makers from around the world.

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R E G I O N A L A S S E M B LY OF TEXT RISOTTO RUTH HICKSON SHORTHAND SKYE MCNEILL SNAP AND TUMBLE S TA R S H A PE D PR E S S S U G A R PA P E R THE INKERY YAO C H E N G D E S I G N YETUNDE RODRIGUEZ DESIGN AND OTHERS!

ENCYCLOPEDIA

A CROWDFUNDED ENCYCLOPEDIA PROJECT PRE-ORDER THE NEXT FOUR VOLUMES Two years ago, in April 2016, I embarked on what I hoped would be an ongoing project: the UPPERCASE Encyclopedia of Inspiration. Due to the generous support of enthusiastic readers from around the world, the first three volumes—Feed Sacks, Stitch*illo and Botanica—were crowdfunded successfully through pre-orders. Because of you, these fine books were written, designed and published and have been well-received by readers around the world. Thank you! I’d love to be able to knock on your door and sell you the next volumes in my Encyclopedia in person, but for now you can pledge your support for this project by pre-ordering the next four volumes. |||

$175 For 4 books mailed in North America $190 For 4 books mailed overseas |||

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EPHEMERA

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VINTAGE LIFE

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QUILTED

EARLY BIRD PRE-ORDER PRICES INCLUDE SHIPPING The pre-order price includes shipping and the cover price of each book is discounted Cover prices of the finished books will be $45–$55 CAD Individual copies will be available for purchase closer to their release dates I’m aiming for two books this year and two books next year Pre-ordering the set of 4 volumes is the least expensive way of getting each book

The goal is to raise $40,000 per book, enough to cover the print production costs.

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U P P E R C A S E

PEEPS

Creativity & Curves Quilting Workshops Head into new territory with your quilt compositions! Join Patricia Belyea for curved piecing workshops in historic La Conner, WA.

Mercure Pens & Jewels Find your new favourite pen or jewellery item, created to be as beautiful and unique as you. Free shipping with PEEP18! mercurepens.ca |||

Carla Sonheim Presents Online Art Classes! 10+ Amazing Teachers including UPPERCASE-featured Lynn Whipple, Cat Bennett, Kara Kramer! Plus — FREE Kids Art Camp July 23-27! carlasonheim.com |||

Printable Stationery

Cute and Happy Designs by Linda Tieu For papercrafters, scrapbookers, cardmakers And really anyone who likes to print pretty papers tortagialla.etsy.com

Everybody’s stories in UPPERCASE 36 were just the push I needed to start not a single 100DaysProject but two! Thank you for the inspiration. Love. @susannaselici ||| Whimsical map illustrations, home + paper goodies. Come visit our new studio in Los Gatos, CA, if you live in the SF Bay Area!

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Be the author of your life. Stop playing a role in someone else’s! Snag the ultimate weekly planner and save $5 with code PEEPSROCK crystalink.ca/myweek

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A graphic design and letterpress printing studio that combines modern and century-old technology to create high-quality, tactile products that make a lasting impression. typothecaryletterpress.com

Hi there, follow me on my journey of surface pattern design, hand drawings and abstract art. We all have diverse talents.

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Colourful & Quirky is what Joan Ines Studio is all about! Paintings, prints and more. Please visit my Etsy shop and my website at joaninesstudio.com.

Let’s share them together! @dale_ramirez

joaninesstudio.com

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BREADTAGS/BREADTIES— SEEKING STORIES, ANECDOTES, ARTWORKS, PHOTOS etc. of breadtags/ breadties for a creative project! The Breadtag Project on Facebook rarepearstudio@yahoo.com, and Instagram @rarepesrstudio. THANK YOU! rarepearstudio.blogspot.com.au

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I love to create HAPPY, COLOURFUL artwork. Put a SMILE on your face: follow me on Instagram, see all my new creations. @carensdesigns carenbenzer.faso.com |||

M O D E R N, G E O M ET R I C E M B R O I D E RY S A M P L E R S

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PEEPS ARE FREE!

The Alberta Craft Council says hi to all craft lovers out there and invites you to visit their galleries in Edmonton and Calgary!

Inspired by architecture, geometry and everyday objects.

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UPPERCASE TIN

LISA CONGDON’S A COLLECTION A DAY Ever since she was a young girl, artist and illustrator Lisa Congdon has been obsessed with collecting In 2010, Lisa embarked on a yearlong project: a daily documentation through photos and the occasional drawing of arrangements from her curious collections “Most of the collections are real and exist in my home or studio; those I will photograph Some are imagined; those I will draw or (occasionally) paint ” The 448-page book is housed in a special collector’s tin, the packaging encourages the reader to store their own prized collections within ||| shop.uppercasemagazine. com

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ANDREA JENKINS |||

Tiny Stories

L I K E T O J O K E T H AT I G R E W U P secretly hoarding family photographs and writing stories about them in my head. And it’s true, mostly. As a child, I spent hours poring through old family photo albums, revisiting the stories I had been told about certain photos and inventing my own for others. It is a personal practice that followed me through the years, that resurfaced again and again, and that, in its own roundabout way, led me to more purposeful writing. And then, eventually, to my life’s work: photography. When I think back, unspool the years a bit, I can trace the beginning of this practice to a moment. Or rather, a gift. When I was seven, we gave my mother a sterling silver locket with teeny tiny photographs of us nestled inside. What I remember most—more than her delight in receiving it, or the look on my father’s face as he helped her with the clasp—was the way she interacted with the locket when she wore it. The way she held it close to her chest, opened and closed it (I can still hear that metallic little clink), the way our miniature faces appeared and then disappeared, over and over again. That a story could secretly live inside something so small, a contain-

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er so delicate and unassuming, thrilled me. And thus, my young mind was introduced not only to the magic of lockets but to the very idea of photographs as stories, as things with assigned meaning, items that held emotional weight. There is a small black pouch that houses the lockets I have collected over the years: a golden octagonal locket my grandfather gave my grandmother before he left to fight in the Second World War, a heart-shaped locket my husband gave me when we first started dating, as well as the slender oval one he surprised me with after I had my daughter Ava. Also inside this pouch is every locket my mother ever owned, including the sweet silver one we gave her when I was seven. Each locket in the collection holds photographs, and thus, stories. When my daughter was little, I would bring out the lockets every once in a while for her to see, to open, to discover the tiny photographs on her own. Sometimes I told her the accompanying stories, sometimes I kept quiet. Always the sound of them opening and closing, again and again, the unmistakable clipped metallic clinks. And the gears of her young mind turning things over, story upon story, wonder upon wonder.

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