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THEGARDAN
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Dear Reader,
JOURNAL THE
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 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.
RIPENING
CRAIGARDAN
— All of Us atAugustCraigardan2022
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.
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The Gardan is intended to foster conversations about creativity and its processes among and across all disciplines. We welcome contributions from artists and thinkers, activists and farmers, environmentalists and chefs at any and all stages of creative Eachdevelopment.issueis 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 Weare.
EDITORS
With special thanks to editors Mary Barringer and Kate Moses.
CONTENT SUBMISSION
Located in the heart of the Adirondacks, insolvingthinkingfoundationOurworkingexperiencecollaborativestrivesartist-in-residenceCraigardan’sprogramtocultivatearichandplace-basedforallpeopleinalldisciplines.stronginterdisciplinaryencouragescreativeandcollectiveproblembywelcomingdiversityallofitsforms.
Each issue can be found online at www.craigardan.org
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We invite your contributions of words, images, video, fi eld notes, sound, and any other way you wish to connect to us, and to each other.
Issues are curated by our editors. Complete guidelines for content submission are online at journalsubmissionwww.craigardan.org/
Emma Ainsworth
THE GARDAN
hope that The Gardan will unite you with your extended family of creative thinkers and bring a breath of Adirondack air to your inbox.
Nancy MicheleVanessaBothCrowleyDrozd
PROGRAMS AND PLACE
Lanse Stover, President David Speert, Vice-President Lorene Garrett, Treasurer Kate Moses, Secretary Mary Barringer
CONTACT
Craigardan is a 501(c)3 nonprofit organization with a mission to encourage the human imagination to interpret the world with philosophical, ecological, and artistic Toperspective.fulfill our mission, Craigardan supports artists, chefs, craftspeople, farmers, scholars, and writers through residencies, social justice initiatives, and other community programs.
BOARD AND STAFF
Ron StoryBanaszeckBellows
Elizabethtown, NY 12932
MISSION
Loren Michael Mortimer
All artwork is used with permission of the artist, who retains copyright of their work
9216518.242.6535info@craigardan.orgwww.craigardan.orgCRAIGARDANNYSRoute9N,
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.
Allison Eddy
DAESHA DEVÓN HARRIS Saratoga Springs, NY
CONTRIBUTORS
LORIBrattleboro,SCHREINERVT
THERESA SENATO EDWARDS Pawling, NY
4 DEVON CALLIECanadaREIDJACKSPortland,ME
ZENA VERDA Cambridge,PESTANY
DENNIS Richmond,DELAYVT
ZHIQIANChinaWANG
ELINORWakeSWANSONfield,RI
LILY GRACE FAST Chicago, IL
SARAH MCCARTT-JACKSONLouisville,KY
JEFF Kingston,MERTZNY
5 06 IN RESIDENCE WORDSANDIMAGES 6 Poems by Sarah McCartt-Jackson and photographs of Craigardan by Jeff Mertz MONDAYNIGHTDINNER 8 Dinner event by Zena Verda Pesta TUESDAYCLASS 12 Recipes by Lily Grace Fast WEDNESDAYCRIT 14 Dennis Delay, Zhiqian Wang, and Elinor Swanson THURSDAYCHECKIN 20 Meet the JBL! Fellows FRIDAYLECTURESERIES 26 Piecing by Callie Jacks WORDSANDIMAGES 32 Poems by Sarah McCartt-Jackson and photographs of Craigardan by Jeff Mertz SATURDAYFARMSHARE 34 Poem by Theresa Senato Edwards in response to Lori Schreiner’s painting COVER FRONT AND BACK: Jeff Mertz, images of the Craigardan farm
Sarah McCartt-Jackson
Each spring
Spring Meditation
Gradually I return to myself henbit by red dead nettle as spring unleashes its onunformedandgreennessdropsitsbirdsthesidewalk.
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.
ZENA VERDA PESTA MONDAYNIGHTDINNER
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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Spices
chèvre (Asgaard Farm)
Mix the dry ingredients together in a bowl. Fold the dry ingredients into the wet ingredients until evenly blended.
TUESDAYCLASS
Preheat the oven to 375 degrees. Mix the wet ingredients with the sugar in a bowl
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!
COOKING THE FARM
1 1/2 tsp baking soda
1/4 cup milk (Eco Farm)
MapleVanillaNuts
3/4 cup sugar
IMMA CARROT LOAF
2 eggs (Craigardan Farm)
1 1/2 - 1 3/4 cup flour
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1/2 cup yogurt (North Country Creamery)
2 cups shredded carrots (Juniper Hill Farm)
2-3 minced garlic cloves (Craigardan Farm)
Beef Stew Meat (KZ Farm)
MEAT PIES
2 tbsp tomato paste
freshly ground black pepper
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.
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.
Slowly pour the ice water into the flour/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.
Pastry Dough
1 bottle of red wine
Cut the sticks of semi-frozen butter into 1/2 inch pieces. Combine flour, salt, and the pieces of butter in the chilled bowl; pressing the butter in your fingertips until they break into pea-sized pieces.
Stick a metal bowl in the freezer to chill it. Get a measuring cup or pitcher and fill it with ice and water.
4 bay leaves
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. Fill the dish with leftover Boeuf Bourguignon or other meat filling and some cowpeas and rice. Top with sliced fresh mushrooms, chopped shallots, and thin slices of butter.
Wrap the dough in plastic wrap and refrigerate for an hour or more.
I used leftover Boeuf Bourguignon and cowpeas and rice. Any leftover stewed meat works well for filling as long as it’s cold from being refrigerated. I have also filled 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 flour and butter it’s bound to turn out pretty good.
Package of good bacon (Asgaard Farm)
2 tbsp flour
2 sticks of unsalted butter, semi-frozen 2 cups all purpose (or pastry) flour Pinch of salt
Carrots (Juniper Hill Farm)
1 large red onion (Craigardan Farm)
1 quart fennel broth or veggie stock
Fresh herbs, tied together (Craigardan Farm)
Boeuf Bourguignon
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.
Meat pie portion
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WEDNESDAY CRIT SURROUNDINGS
Dennis Delay, Zhiqian Wang, and Elinor Swanson
Elinor Swanson
This search for information is what brought me to Craigardan. This
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 Beingfarm.at
Previous page Dennis Delay
2022 Place-Based Artist-in-Residence Snow Geese Graphite on paper, 12”x16”
that I’ve made over the length of my internship has been very inspired by the farm and the
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.
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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.
Dennis Delay's current body of work explores the places and people of his Irish immigrant ancestors who fled 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.
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. 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 Thelife.artwork
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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.
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 fi rst pieces I made was a watercolor landscape of the farm.
the main medium I came to Craigardan to work with was ceramics. I am very interested in exploring surface design on pots, specifically through a technique known as sgraf fi to. Sgraf fi to involves covering an unfired 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 Ibody.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.
However,piece.
Another one of my early pieces made during my time here was an embroidery featuring a deceased dragonfly that I found on the side of the road. I called it a “Dead Thread”. The dragon fl y was eaten (presumably by one of the many resident chipmunks) shortly after I stitched this
Moonlight of the Twins
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View video on her website at earthandjerry.com
Zhiqian Wang is a conceptual artist. She defines 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 infinite possibilities.
2022 Place-Based Artist-in-Residence
Zhiqian Wang
Break me my bounds, and let me fly 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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Daesha Devón Harris
This past winter Craigardan partnered with the nonprofit organization John Brown Lives! to develop our first 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 sacrificed 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 fi 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 first 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 affiliations 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.
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We’re pleased to introduce you to this year’s inaugural fellows: Tiffany Rea-Fisher, Daesha Devón Harris, Devon Reid, and Erica Blunt.
Tiffany Rea-Fisher is a choreographer who subscribes to the servant leadership model and uses disruption through inclusion as a way to influence 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
MEET THE FELLOWS
THURSDAYCHECKIN
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.
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Just Beyond the River: A FolkTale Chromira print and spyglass in hardwood box with etched glass Summer 2016, 31” x 21”
Daesha Devón Harris
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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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 gentrification 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, Yaddo PollockPhotography;ArtistNYSCA/NYFAawardee;FellowshipPhotographer’sIndividualFoundationSiskindArts;forVirginiaColony,ArtistandCentertheCreativeanAaronaFellowinaKrasner
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 first 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
Foundation Grantee; and named one of the Royal Photographic Society’s Hundred Heroines. She is also an avid fisherwoman and hobbyist gardener.
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
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 2022.onisHazelpianisttheHarlemDancelengthcomposingCurrently,theeventsperformancesculturalandthroughoutfiveboroughs.sheisafull-balletforTheatreofbasedinlifeofAmericanandactivistScott,whichsettopremiereOctober22,
Essence's Street Style Block Party, she has been found performing at NYC staples like
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Devon Reid Infinite Realities One 18”x18”
25 Devon Reid Infinite Realities Two 18”x18”
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 flat 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
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FRIDAYLECTURESERIES PIECING
Thomas and I were roommates for a little bit in December after I finished 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 fire 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. “That’s so funny,” he said.
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 room, the walls were blue and the lampshades were blue and the accents on the surfaces of the carefully-chosen tchotchkes were blue. The light that filtered 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 filters, 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.
By Callie Jacks
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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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 floors all stacked on top of each other. The bottom floor was the kitchen, the top floor was her bedroom, and all the floors in between were dedicated to something special, like a room for drawing with rough and smooth papers,
was my dad who lay on the floor 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.
When the kids got bored I brought out my yarn and taught them how to knit, repeating a
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.
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.
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 fifty.
“Did you really live in a tree?” “What do you think?” she —-said.
“Justsuits.
“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.
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For Christmas, my mom made Thomas and Lucy caps with ear flaps out of pieces of wool
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
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.
Callie Jacks is an artist and designer who moves between photography, ceramics, writing, watercolor, and textile manipulation to explore 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 Jackscreation.received
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.
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
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.
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Sarah McCartt-Jackson
Whippoorwill you are the smell of dusk 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 flash as through the darkfilling valley you flit 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.
you’reopen,groaningofthefog.withyourintothegatheringcampfire,uprestofday’slightyourfeathers,throat,fillsupsmoke-lacedriver-Youarecomfortahingeitsrustanditsshutslap.thefirstplucked
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.
Denied Asylum in response to Lori Schreiner’s painting Sisters Seek Asylum
By Theresa Senato Edwards and Lori Schreiner
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Your banished shadows link & sing concrete, tragic music in each forced young step.
DENIED ASYLUM
SATURDAYFARMSHARE
Lori Schreiner Sisters Seek Asylum
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