The Gardan Journal issue 06

THEGARDAN 06

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THE

CRAIGARDAN JOURNAL

RIPENING

Dear Reader, This summer we reopened our creative residency program after three years of transition, welcoming more than 65 artists, writers, scholars, and chefs to Craigardan’s new, in-process campus. We gather indoors and out, stay in rented housing and canvas tents, share meals and bump elbows in the kitchen, set up studios in cabin and barn spaces, meet for crit sessions around folding tables, and welcome the public to talks given in multi-use spaces. We are building community before the new buildings themselves are standing.

Thanks to all of our artists-in-residence, past-present-future, who come together in trust and vulnerability to share a bit of themselves, to support each other, and to make good work. Without the commitment of these creative spirits we would not be shaping a new campus around them — for them — because of them. We believe in the power and potential of place and space, and we know that the fruit we are growing together will soon ripen, so that we can feed our collective creativity for decades to come.

This issue is dedicated to all who came together with us this summer. We’re pleased to share a small sampling of their work on these pages.

— All of Us at Craigardan August 2022

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MISSION

THE GARDAN

CONTENT SUBMISSION

Craigardan is a 501(c)3 nonpro t organization with a mission to encourage the human imagination to interpret the world with philosophical, ecological, and artistic perspective.

The Gardan is intended to foster conversations about creativity and its processes among and across all d i s c i p l i n e s . We w e l c o m e contributions from artists and thinkers, activists and farmers, environmentalists and chefs at any and all stages of creative development.

We invite your contributions of words, images, video, eld notes, sound, and any other way you wish to connect to us, and to each other.

Each issue is inspired by and draws from the weekly happenings during a residency session, delivering a small piece of our program — along with inspiration and ongoing support — to encourage you to self residency wherever you are.

The Gardan is guided by our staff and fully supported by Craigardan’s funding and the efforts of our board and volunteers. We are actively pursuing grants and donations that would enable us to offer compensation for contributors.

All contributors receive a complimentary print copy of The Gardan by mail.

To f u l l l o u r m i s s i o n , Craigardan supports artists, chefs, craftspeople, farmers, scholars, and writers through residencies, social justice initiatives, and other community programs.

PROGRAMS AND PLACE Located in the heart of the Adirondacks, Craigardan’s artist-in-residence program strives to cultivate a rich and collaborative place-based experience for all people working in all disciplines.

Our strong interdisciplinary foundation encourages creative thinking and collective problem solving by welcoming diversity in all of its forms.

We hope that The Gardan will unite you with your extended family of creative thinkers and bring a breath of Adirondack air to your inbox.

Issues are curated by our editors. Complete guidelines for content submission are online at www.craigardan.org/ journalsubmission

Each issue can be found online at www.craigardan.org

BOARD AND STAFF Lanse Stover, President

Allison Eddy

Emma Ainsworth

David Speert, Vice-President

Loren Michael Mortimer

Nancy Both

Lorene Garrett, Treasurer

Ron Banaszeck

Vanessa Crowley

Kate Moses, Secretary

Story Bellows

Michele Drozd

Mary Barringer

CONTACT

EDITORS

CRAIGARDAN www.craigardan.org info@craigardan.org 518.242.6535 9216 NYS Route 9N, Elizabethtown, NY 12932

With special thanks to editors Mary Barringer and Kate Moses.

All artwork is used with permission of the artist, who retains copyright of their work

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CONTRIBUTORS

DAESHA DEVÓN HARRIS Saratoga Springs, NY

DEVON REID Canada

LILY GRACE FAST Chicago, IL

ELINOR SWANSON Wake eld, RI

CALLIE JACKS Portland, ME

DENNIS DELAY Richmond, VT

THERESA SENATO EDWARDS Pawling, NY

LORI SCHREINER Brattleboro, VT

SARAH MCCARTT-JACKSON Louisville, KY

ZHIQIAN WANG China

JEFF MERTZ Kingston, NY

ZENA VERDA PESTA Cambridge, NY

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IN RESIDENCE WORDSANDIMAGES Poems by Sarah McCartt-Jackson and photographs of Craigardan by Jeff Mertz

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MONDAYNIGHTDINNER Dinner event by Zena Verda Pesta

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TUESDAYCLASS Recipes by Lily Grace Fast

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WEDNESDAYCRIT Dennis Delay, Zhiqian Wang, and Elinor Swanson

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THURSDAYCHECKIN Meet the JBL! Fellows

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FRIDAYLECTURESERIES Piecing by Callie Jacks

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WORDSANDIMAGES Poems by Sarah McCartt-Jackson and photographs of Craigardan by Jeff Mertz

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SATURDAYFARMSHARE Poem by Theresa Senato Edwards in response to Lori Schreiner’s painting

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COVER FRONT AND BACK: Jeff Mertz, images of the Craigardan farm

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Spring Meditation Each spring I return to yarrow and trillium, bluet and tulip that which I can name one by one as if naming made them yawn from winter.

Gradually I return to myself henbit by red dead nettle as spring unleashes its greenness and drops its unformed birds on the sidewalk.

Sarah McCartt-Jackson

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MONDAYNIGHTDINNER

ZENA VERDA PESTA Photos by Tyler Rhinehart

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Tableware, linens, and meal made by Zena Verda Pesta, 2022 ceramic artist-in-residence Zena is a maker of pottery, quilts, and supper; grower of food, nurturer of partnerships, roller dancer, and participant and steward in all types of learning environments. She is one generation removed from working the land in Appalachia Kentucky. She comes from mountain people. Zena currently resides in Washington County, NY. She is pursuing her ancestral love of the dirt through pottery, connecting kids with nature, natural dyeing, gardening, and community building.

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TUESDAYCLASS TUESDAYCLASS

COOKING THE FARM

By Lily Grace Fast

During Lily’s culinary arts residency she focused on working with seasonal, local ingredients from the Craigardan Farm Store.

Here are two of her favorite recipes. Enjoy!

2 eggs (Craigardan Farm) 1/2 cup yogurt (North Country Creamery) 1/4 cup milk (Eco Farm) Nuts Vanilla Maple chèvre (Asgaard Farm)

IMMA CARROT LOAF Preheat the oven to 375 degrees. Mix the wet ingredients with the sugar in a bowl

2 cups shredded carrots (Juniper Hill Farm) 1 1/2 - 1 3/4 cup our 3/4 cup sugar 1 1/2 tsp baking soda Spices

Mix the dry ingredients together in a bowl.

Fold the dry ingredients into the wet ingredients until evenly blended.

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Pour the batter into a well oiled or buttered loaf or cake pan, or use parchment paper to line the pan. Bake at 375 degrees for approximately 45 minutes or until the cake is set in the middle.

Boeuf Bourguignon Package of good bacon (Asgaard Farm) Beef Stew Meat (KZ Farm)

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Carrots (Juniper Hill Farm)

MEAT PIES

1 large red onion (Craigardan Farm) 2 tbsp tomato paste

Pastry Dough 2 sticks of unsalted butter, semi-frozen 2 cups all purpose (or pastry) our Pinch of salt

2-3 minced garlic cloves (Craigardan Farm) freshly ground black pepper 2 tbsp our 1 bottle of red wine

Stick a metal bowl in the freezer to chill it. Get a measuring cup or pitcher and ll it with ice and water.

1 quart fennel broth or veggie stock Fresh herbs, tied together (Craigardan Farm) 4 bay leaves

Cut the sticks of semi-frozen butter into 1/2 inch pieces. Combine our, salt, and the pieces of butter in the chilled bowl; pressing the butter in your ngertips until they break into pea-sized pieces.

— Roll half of the pastry dough out large enough to cover a 9” pie dish. Gently transfer the dough to the dish and clean up the edges.

Slowly pour the ice water into the our/butter mixture, little by little, continuing to press the mixture together. Stop as soon as “dough” is formed; you should still see chunks of butter but the dough holds its shape.

Fill the dish with leftover Boeuf Bourguignon or other meat lling and some cowpeas and rice. Top with sliced fresh mushrooms, chopped shallots, and thin slices of butter.

Roll out the second half of the pastry dough large enough to cover the pie. Gently transfer the dough to the top of the dish and pinch the upper and lower crusts together to seal.

Slice three small openings in the center of the dough with a sharp knife.

Wrap the dough in plastic wrap and refrigerate for an hour or more.

Meat pie portion I used leftover Boeuf Bourguignon and cowpeas and rice. Any leftover stewed meat works well for lling as long as it’s cold from being refrigerated. I have also lled this pastry dough with a beef chili (with cinnamon and tomatoes) and a Peruvian rice dish that uses purple Peruvian olives, raisins, and almonds. I guess if you wrap stewed meat in our and butter it’s bound to turn out pretty good.

Bake the pie in an oven preheated to 350 degrees for 45-50 minutes or until the crust is brown.

— Lily Fast is an interdisciplinary artist who uses writing, drawing, and cooking as methods to explore affect and multivalent modes of being.

Born in Washington DC, Lily currently resides in Chicago, IL.

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WEDNESDAY CRIT

SURROUNDINGS Dennis Delay, Zhiqian Wang, and Elinor Swanson

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Previous page Dennis Delay 2022 Place-Based Artist-in-Residence Snow Geese Graphite on paper, 12”x16” Dennis Delay's current body of work explores the places and people of his Irish immigrant ancestors who ed famine and religious persecution and settled in the Adirondacks in the mid 1800s. For a short period, some of them lived on and farmed the land of present day Craigardan.

Elinor Swanson

summer I have been working and living at Craigardan as a resident intern. My time here has been divided between working in the pottery studio and on the farm.

2022 Resident Internship My name is Elinor Swanson and I am an artist from Rhode Island. My work is very narrative-driven, and I enjoy creating pieces inspired by fairy tales and folk stories.

Being at Craigardan has come with its challenges. I’ve had to adapt to living in a tent, waking up at a time that is unnaturally early for me, and being more social than I am used to.

I graduated from the University of Vermont in Spring 2021 with a degree in Studio Arts. I focused mainly on printmaking during my time at school, but I took a few ceramics courses as well. I am always looking to explore new craft forms. Since graduating I have been searching for ways to continue expanding my craft knowledge, and gain a better understanding of how I can pursue a career in the arts.

However with the challenges there have been many rewards. I’ve explored the beauty of the Adirondacks through hiking and swimming, learned useful farming techniques, made pottery, and met lots of incredible people.

I know that the life lessons and skills I’ve acquired during my time in-residence will be with me throughout the rest of my life.

The artwork that I’ve made over the length of my internship has been very inspired by the farm and the

This search for information is what brought me to Craigardan. This

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Another one of my early pieces made during my time here was an embroidery featuring a deceased dragon y that I found on the side of the road. I called it a “Dead Th re a d ”. Th e d r a g o n y w a s e a t e n (presumably by one of the many resident chipmunks) shortly after I stitched this piece.

However, the main medium I came to Craigardan to work with was ceramics. I am very interested in exploring surface design on pots, speci cally through a technique known as sgraf to. Sgraf to involves covering an un red pot with a colored slip, underglaze, or other substance that is generally different in color from the clay body. Once coated, the pot is carved to create different designs through the contrast of the colored coating and the clay body.

I enjoy carving iconography that I see often on the farm such as plants, bugs, and birds, as shown on the cups. The bowl features my favorite farm animal.

I am excited to continue working in ceramics, and to see how the knowledge I’ve gained this summer informs my next steps in life and art.

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surrounding landscape. In addition to the pots I’ve thrown, I’ve been able to dabble in a couple of other mediums. One of the rst pieces I made was a watercolor landscape of the farm.

Zhiqian Wang 2022 Place-Based Artist-in-Residence Moonlight of the Twins View video on her website at earthandjerry.com Zhiqian Wang is a conceptual artist. She de nes her own notion of conceptual art as “a network of relationships”. In the tradition of conceptual art, there is a general thinking that the concepts inherited by the use of language were prior to the physical object. However, she believes the meaning embedded in the close relationship between artists and their work is more important than what is being expressed directly. It has to be understood in a network of relationships bounded by language. Together, they accomplished a value that has not yet been realized: It is a value beyond the framework of language, a value inherent in our cognition but was excluded from our system of knowledge, a value that is highly abstract, a value that has in nite possibilities.

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Daesha Devón Harris Break me my bounds, and let me y Just Beyond the River: A FolkTale Chromira print and feather in hardwood box with etched glass Winter 2015, 31” x 21”

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THURSDAYCHECKIN

MEET THE FELLOWS This past winter Craigardan partnered with the nonpro t organization John Brown Lives! to develop our rst collaborative residency and fellowship with the goal to inspire art, scholarship, and action for human rights. The new John Brown Lives! Fellowship at Craigardan supports humanists engaged in the performing and visual arts, creative writing, scholarship, and activism, whose work is guided by a compassionate sense of history and its contemporary reverberations. JBL! Fellows possess a commitment to expressions of freedom, equality, and social justice, ideals for which the abolitionist John Brown dedicated and sacri ced his life.

including the Joyce, the Apollo, Joe's Pub, Aaron Davis Hall, and New York Live Arts in New York City.

As well as being E125s Artistic Director Tiffany is also the CoFounder of Inception to Exhibition, a non-pro t that provides a holistic arts experience by supplying low cost, high-quality space to artists from a variety of disciplines and the Director of the Lake Placid School of Dance in Lake Placid, NY. She was the rst Dance Curator at the interdisciplinary arts organization The Tank where she now sits on their Board of Trustees. Bringing the best of modern dance directly to the public, she curates the Bryant Park Dance Summer Series, providing free art access to thousands while exposing upcoming and established artists to a wider audience. Her professional af liations include being the Vice President of the Stonewall Community Development Corporation, an Advisory Board member of Dance/NYC, COHI member of IABD, and a proud member of Women of Color of the Arts.

We’re pleased to introduce you to this year’s inaugural fellows: Tiffany Rea-Fisher, Daesha Devón Harris, Devon Reid, and Erica Blunt.

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Tiffany Rea-Fisher is a choreographer who subscribes to the servant leadership model and uses disruption through inclusion as a way to in uence her company's culture. In 2018 Tiffany was awarded a citation from the City of New York for her cultural contributions.

She has extensive experience in choreographing and curating concert dance.

As a choreographer, Tiffany has had the pleasure of creating numerous pieces for the company as well as being commissioned by Dance Theater of Harlem, Dallas Black Dance Theater, NYC Department of Transportation, Utah Repertory Theater, The National Gallery of Art in D.C., and having her work performed for the Duke and Duchess of Luxembourg.

Her works have been seen on many stages

Daesha Devón Harris is a Saratoga Springs, New York artist and photographer who has 21

Daesha Devón Harris And the land that forges fetters, Binds the weak and poor in chains, Must in blood or tears of sorrow Wash away her guilty stains.

Just Beyond the River: A FolkTale Chromira print and spyglass in hardwood box with etched glass Summer 2016, 31” x 21”

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spent time in Buffalo, NY and San Francisco, CA.. Both her multi-cultural family and the unexpected death of her young father have greatly shaped her life. She holds a B.F.A. in Studio Art from the College of Saint Rose and an M.F.A. in Visual Art from the University at Buffalo. She is a member of various organizations and plays an active role in her community as a youth mentor, social activist, and cultural history preservationist. The gentri cation of her hometown and its effect on the local Black community has played a major role in both her advocacy and artwork.

Most recently Harris has been an En Foco Fellowship winner, MDOCS Storyteller’s Institute Fellow, and an artist-in-residence at the Center for Photography at Woodstock, Sitka Center for Art and Ecology, Studios of Key West, Ya d d o A r t i s t Colony, and Virginia Center for the Creative Arts; an Aaron S i s k i n d Foundation Individual Photographer’s Fellowship awardee; a N Y S C A / N Y FA Artist Fellow in Photography; a Pollock Krasner Foundation Grantee; and named one of the Royal Photographic Society’s Hundred Heroines. She is also an avid sherwoman and hobbyist gardener.

interconnected; each work of art, each process is thus an archaeological exploration of the intangible world and how it manifests in material form.” Her work explores the

relationship between the tangible and intangible of connectedness.

Born in Montréal, Québec (1969) Devon lived and worked in Amsterdam, The Netherlands for over 15 years, mentored by artist Hanneke Somer and employed by the Royal Academy of Art in The Hague to develop a program for personal leadership in interactive media and design. She returned to Candiac, Québec in 2011 where she led the development of the city’s rst cultural policy as well as curating projects such as ‘Hist-Art’ (2017) and ‘La Vague’ (2020) bringing artists and fellow citizens together to explore the cities histories and connectedness. Devon’s artwork has been exhibited in the Netherlands, France, Belgium, and Canada. Her work is held in private collections both in Europe and Canada.

Erica Blunt is a composer, DJ, and sound designer who cherishes creating a body of work that is both entertaining and edifying.

Starting her musical career as a DJ (Twelve45), Erica brings the sensibility of all musical stylings available to her making for astonishing audio palettes. Her mix series ‘12

by Twelve’ is used to highlight different genres, artists, and pivotal moments in music history while telling a story. A featured DJ at

Devon Reid is a multimedia artist, curator and cultural mediator whose work focuses on the notion that all of life stems from an interconnected wholeness. “We are all but fragments from this whole and each fragment carries the knowledge of what it is to be fully

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Essence's Street Style Block Party, she has been found performing at NYC staples like

LinkedIn. Erica is the Sound Coordinator and Resident Composer for EMERGE125 (formerly Elisa Monte Dance). Since 2017, her collaboration with Artistic Director Tiffany ReaFisher has produced several evening-length works, including After Dark, Emerged Nation, and Rights of Renaissance. In 2018, Erica performed with the company for their 3-story takeover of the National Gallery of Art which included a performance by Chris Brubeck – a night that set the record for highest event attendance. Returning with them in 2019, she performed alongside a classical ensemble commemorating the 50th anniversary of the Apollo 11 moon landing, designing a soundscape that was out of this world while feeling right at home. In February 2021, her composition for Emerged Nation was used as E125 kicked off the NYC Mayor’s Open Culture Program that will open up city streets for outdoor cultural performances and events throughout the ve boroughs.

Currently, she is composing a fulllength ballet for Dance Theatre of Harlem based in the life of American pianist and activist Hazel Scott, which is set to premiere on October 22, 2022.

Ace Hotel, The Highline Ballroom, Baby’s All Right, and the Brooklyn Museum, as well as bringing her unique style to soundtracks for employees of Google, Spotify, Twitter, and

Devon Reid In nite Realities One 18”x18”

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Devon Reid In nite Realities Two 18”x18”

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FRIDAYLECTURESERIES

PIECING

By Callie Jacks Thomas and I were roommates for a little bit in December after I nished school. Thomas is my cousin, and he is six. He has shiny red hair that looks golden under light and a spritely excitement that is constant and contagious.

Every night, I sat at the end of his bed and read a chapter from Little House in the Big Woods by Laura Ingalls Wilder. Thomas was a good listener because when he listened, it was almost impossible to tell if he was listening at all. He sat quietly, his hands holding a stuffed animal, or folded gently in his lap. His eyes were focused on nothing in particular. Every so often, just when I began to doubt his interest, he surprised me with a sudden laugh or a detailed question. He asked about preserving things for winter. He asked me how to make a ball out of a pig’s bladder. I explained cheese curds and trundle beds and how something as ordinary as an orange could be a special treat. I slowly explained, while showing the illustration on the facing page, what it meant to smoke meat inside a hollowed-out tree; how the re is particular and needs to be fed slowly with moss and green hickory chips. Thomas pointed at the illustration of Pa and Laura and the tree with its little roof, which was so familiar to me that I could almost smell the thick blue smoke.

blue room was fancy, which meant off-limits.

The blue room had two twin beds and two closets and a tall dresser and a wicker chair with a round cushion for perching. In the blue ro o m , t h e w a l l s w e re b l u e a n d t h e lampshades were blue and the accents on the surfaces of the carefully-chosen tchotchkes were blue. The light that ltered in through the windows was also blue, partly because it was winter and the sun followed a low arc across the sky, and partly because the new blinds, which felt like paper coffee lters, acted as semi-translucent barriers. The only things in the blue room that were not blue were the quilts on the beds, which were pale pink and made of slippy silk. Sometimes it felt like the air was blue, too, but I think this was a remnant of my childhood, when the room was off-limits and the overhead light remained permanently off and the difference between light and air was unclear.

It was Christmas vacation, and there were eight of us, ten in total, and four dogs, staying with my grandmother Big Peggy at her house in the at countryside outside of Cincinnati.

The mornings were drawn-out and leisurely. I liked it when we sat in the sunroom drinking coffee and the crossword went around between Big Peggy and my uncle Jeremy and me, while Dick—Granddaddy as Thomas and Lucy called him—sat in his chair and considered a heavily annotated pocket Bible and a relatively empty pocket datebook. The role of babysitter rotated, and sometimes it

“That’s so funny,” he said.

Thomas and I stayed in the blue room, which I found funny because, when I was little, I always stayed in the purple room. After all, the

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It depends. I explained this piecing to Thomas in terms of knitting. A stitch is a square.

My mom taught me to knit, although I don’t remember how because she didn’t teach me the sheep poem. Did I watch her until I understood, or did she hold my hands in her hands while I held the needles? I often learned things from my mom just by looking at her, like how to carry a lot of bags at one time, or how to stretch my ankles before running, or how to apply sunscreen all over my body, or how to rub the curve of my thumbnail over the edge of my top lip when thinking about something weighty. She puts everything in stacks when she cleans because she can’t help herself, organizing accumulated mail by recipient and arranging books in ascending order of size, and she promptly discards anything that doesn’t seem of much use.

When the kids got bored I brought out my yarn and taught them how to knit, repeating a

My mom did the stacking thing to Big Peggy’s kitchen table because it was covered with paper and the surface wasn’t visible, and we all stood around at lunch holding our plates in one hand and our sandwiches in the other.

There were Christmas cards and wedding invitations and photographs of my younger cousins and ribbon and bills and checkbooks and clear nail polish and batteries and egg cartons and dog toys and junk mail and cocktail napkins and some DVDs and a picture of an orangutan and also a bunch of printed-out emails. I looked at my mother, her precision and speed and little to no sentimentality, organizing her mother’s house, and I thought about a story she told me when I was little. She told me she used to live in a hollowed-out oak tree with lots of oors all stacked on top of each other. The bottom oor was the kitchen, the top oor was her bedroom, and all the oors in between were dedicated to something special, like a room for drawing with rough and smooth papers,

little rhyme about sheep as I moved stitches from left to right. Lucy was frustrated quickly because she was three, and her hands didn’t do what they were told yet, but Thomas took to the knitting and had four inches done before lunch.

In one of the chapters of our book, Laura talks about learning to sew and putting squares of calico together to make blocks for a quilt.

Three squares make up a row, and three rows make up a block, and blocks are made until there are enough to cover a bed, maybe fty.

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was my dad who lay on the oor and taught Thomas and Lucy how to play chess. He used complex phrases like “calculated risk” and “relative value” without hesitation and explained them with ease.

paints, pastels, and pencils in every color;;a room for toys with plush carpeting and an extensive set of wooden blocks; a room for sewing with a machine, needles, and thread for embroidery. There was a room for knitting and spinning, with tubs of dyed wool and skeins and skeins of wound yarn. The story ended with my mother falling asleep in her bed among cloudy pillows, while her friend the owl kept watch in the canopy.

soak it in a bucket with soap and water and leave it out to dry in the sun.

I envied my mom’s hollowedout tree because in it, she could make anything she wanted. I wanted to live in a hollowed-out tree. At the end of the story, I always asked the same question.

“Did you really live in a tree?”

For Christmas, my mom made Thomas and Lucy caps with ear aps out of pieces of wool suits.

“What do you think?” she said.

“Just a little something small,” she said as she presented the caps wrapped in pretty paper and tied with a bit of ribbon. My aunt Mary marveled at the hand stitching, saying something about how long it must’ve taken, and my mom brushed it off.

—Callie Jacks is an artist and designer who moves between p h o t o g ra p h y, c e ra m i c s , writing, watercolor, and textile m a n i p u l at i o n t o ex p l o re notions of home, intimacy, and memory. Their work is informed by craft techniques and acts as a personal archive that centers presence and routine as the key elements of creation.

“They were quick. Easy,” she said and I laughed because I knew how long each one took and I knew she wanted to take longer and make the kids whole quilts for their beds, but in the end, she decided that would be seen as too excessive.

My mom made me a quilt before I went away to school and I keep it with me as I move around from place to place. One side is pieced from large squares of indigo-dyed cotton and smaller bits of patterned fabric in a palette of maroon and ochre. The other side is a reddish-purple and has little tufts of felted blue yarn popping up all over the place. It was on my dorm room bed through high school and the beginning of college, and when I moved into a house with some friends it was the blanket for picnics and guests who stayed on the couch. Now, it is on my bed in my tent in the woods along a county route in the North Country of New York. It smells kind of damp, but, when I go to my next home, I’ll

Jacks received a BA in Studio Arts from Bard College in 2021 and splits their time between the Hudson Valley and Portland, ME. Images: details of “Piecing” installation by Callie Jacks at Craigardan, summer 2022

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you are the smell of dusk camp re, gathering up the rest of day’s light into your feathers, your throat, lls up with smoke-laced riverfog. You are the comfort of a hinge groaning its rust open, and its shut slap. you’re the rst plucked note in a nighttime guitar’s hollow belly, and the unceasing rhythm in a porchstep’s give beneath a boot. you are the quick electric heart of heat lightning before the ash as through the darklling valley you it with your frantic call, high with lonesome hope. Blessed are you the quickening fog licked with storm and the promise that day will return and the day will return in morning.

Sarah McCartt-Jackson

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Whippoorwill

SATURDAYFARMSHARE

DENIED ASYLUM

By Theresa Senato Edwards and Lori Schreiner

Denied Asylum in response to Lori Schreiner’s painting Sisters Seek Asylum Your banished shadows link & sing concrete, tragic music in each forced young step.

Sisters’ arms hold fear in mottled heat as banished shadows link & sing concrete.

The tower like a priest, heartening yet a focal point for grief. Your hope beneath concrete, no safe home for banished shadows’ tragic music linked with forced young steps.

Poetic form is a triolet.

Painting in response to John Moore/Getty Images’ Photo.

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Lori Schreiner Sisters Seek Asylum

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