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Mondays With Muddy (on a Tuesday)

08 Tuesday Nov 2016

Posted by emilypageart in MOndays with Muddy, Uncategorized, writing

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Beatrice Allen Page, journal, Landscape with Figures, Mondays with Muddy, unpublished manuscript, writing

Admittedly, I’m a bit late with Mondays with Muddy this week. My laptop to a vacation to a service center, and when I got it back, the “d” key wasn’t working, so it had to make a return trip. So I’ve been getting by with S’s computer and my work computer, but it’s been making my time online kind of sparse. I finally got it back today and am working on playing catch up.

But I figure we could all use a charming distraction from this election day with some of my grandmother’s writing. So, without further ado, here is the next excerpt from Beatrice Allen Page’s unpublished manuscript, Landscape with Figures:

“A discussion over cocktails at the Stuarts’ as to where we would live and in what period if we had the choice. It made me realize what a provincial New Englander I am at heart. I’ve often thought I’d like to have lived in Concord during the era of Emerson, Thoreau, Hawthorne, Bronson Alcott, Channing and their friends. I’m not sure that I’d have liked them all or agreed with their strong opinion (anymore than they always areed with one another), but at least you could be certain of an interesting conversation whenever two or three were gathered together.

The town itself was quiet and attractive and neighborly. If you felt in the mood for solitude, there were lovely walks to be taken through outlying meadows and woods and beside the placid Concord Rive with its white pond lilies. I have the impression it was an age of hope and optimism that the world was bound to grow better and better, although everyone seemed to have his own pet scheme for making it better. Or is that impression simply nostalgia?

Carrying my ‘ifs’ a little further, I ask myself: if I could have lived in Concord at that time, and if I could have been anyone I wanted, who would I have chosen to be? The answer is Sophia Peabody Hawthorne. In fact, she comes promptly to mind and excludes all other possibilities.

Sophia, the youngest of the three Peabody sisters, was the prettiest and most charming. She was bookish (she not only read Shakespeare and the English classics, she read Isaiah in Hebrew and Luke in Greek), but not in any pedantic, bluestocking sense; she was gay and witty. She was also a gifted painter but hapy to neglect her own talent to nourish her adored husband’s, ever sensitive to his needs as a person and as a writer, protecting his privacy, never losing faith in his talent, giving him faith in himself through her totally committed heart, always struggling to make ends meet financially and spare him the burden of such worries. In short, an altogether endearing person from a masculine viewpoint, I should imagine.

The real reason I’d have liked to be Sophia, however, is not because she was such an admirable wife, but because she was Nathaniel Hawthorne’s wife. I fell in love with him in high school when I first saw a picture of him and have never entirely got over it. Judging from Sophia’s description of him, who could blame me or any woman for falling in love with him? She wrote her mother he was ‘a union of power and gentleness, softness and spirit, passion and divine reason…ardent, rapt, tender…’

Nevertheless, one little episode has bothered me ever since I read it a few years ago, in Louise Tharp’s fascinating book on the Peabody sisters, I think. When he came upon his ten-year-old daughter, Rose, writing a story, he scolded her severely and forbade her ever to do such a thing again. Why? It was both cruel and seemingly senseless, and so unlike him. You would have expected him to be proud of her, to have encouraged her, or at least to have reacted with indulgent amusement.

True, he didn’t think much of women writers, although he seemed to have no objections to women painters – or at least those who gave it up for him. Writing, he thought, deprived women of delicacy; they might just as well walk through the street stark naked. Such an attitude just doesn’t fit my image of his character. Even if it had been his misfortune to read only poor writers among the female sex, surely he was intelligent enough to realize there might be a few good ones, too.

It hurts to discover such insensitivity in the man you love, so I try to find some explanation that will put a better light on it. Perhaps Hawthorne, knowing the torment of not being able to write the way he wanted, or sometimes not being able to write at all, of fearing he could not complete a book he’d started, or having completed one, fearing he’d never be able to write another – perhaps knowing all the agony and frustration he’d endured as a writer, he wanted to save his child from such suffering. So he punished her much as a parent spanks a child for running out into the street, not because it was doing something wicked but to make sure it will never get hurt.

That must be the explanation, I tell myself. Still, I’m glad I didn’t know about the episode when I was visiting the Old Manse some years ago. It would have spoiled my impression of the Hawthornes’ idyllic family life.

I remember sitting down on the window seat in the upstairs hall that day and imagining myself as Sophia. It was a lovely summer day and as I gazed out on the tranquil Concord River, I could almost see Thoreau drifting down it in his green dory, as I imagined Sophia must have seen him sometimes. Yielding to an impulse, I exclaimed, as I imagined she must have, ‘Here comes Henry!’

Instinctively, all the sightseers passing through the hall turned their heads to look out the window, before they eyed me a little uneasily and filed on down the stairs.”

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Mondays With Muddy

31 Monday Oct 2016

Posted by emilypageart in MOndays with Muddy, Uncategorized

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Beatrice Allen Page, Beatrice Page, journal, Mondays with Muddy, unpublished manuscript, wordplay, words, writing

This is the next excerpt from Beatrice Allen Page’s unpublished manuscript, Landscape With Figures:

“A very soft, feathery, pocket-sized breeze has sprung up this morning. I wish I could think of another word for it. ‘Breeze’ has too sharp an edge: it should be reserved for small winds that are brisk and invigorating. As a matter of fact, on consulting the dictionary, I find that it was originally a nautical term deriving from a Spanish and Portuguese word meaning ‘northeast wind,’ and similar to an Italian word meaning ‘cold wind from the north.’

The only word I know for the kind of wind barely stirring the curtains now is ‘zephyr’ and that’s too poetic and affected for everyday use. Apparently the only way to get around the difficulty is to make a phrase: a ‘breath of air,’ for instance, or a ‘current of air,’ or a ‘tiny puff of wind.’

There is another word I feel is missing when I shift my eyes to the poplar down by the edge of the field. When a good breeze blows through them and the sun is shining on the leaves, they appear to twinkle. But when, as today, there are just little puffs of air stirring through them, the sunlight glinting and glancing off them is not quivery enough to be called a twinkle. I can’t think of any word that describes the rather indolent, intermittent gleaming.

In spite of the richness and flexibility of the English language, it lacks a number of needed words. Most of the new words that are added to the language are either technical or slang. Why do so few writers create new words? There is James Joyce, of course, but his neologisms were mostly made up of combinations of words or plays on words. Gerard Manly Hopkins created several words that admirably served their intended purpose – words like ‘inscape’ and ‘wanwood,’ for example – but they have never become part of general usage.

What is harder to understand is why we have let so many useful and onomatopoetic words fall into desuetude. For instance, the old New England word, ‘scoon,’ meaning to skim, sail or skip upon the water, from which ‘schooner’ presumably derives. Or ‘dornick,’ meaning a stone of a size suitable for throwing. And ‘springal,’ meaning an active youth. How better describe that appealingly gangly lad I saw on the beach early this morning, just looking for something to do, than as a springal searching for dornicks to throw in the water?”

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Mondays With Muddy

24 Monday Oct 2016

Posted by emilypageart in MOndays with Muddy, music, Uncategorized

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Beatrice Allen Page, Beatrice Page, cello, journal, Landscape with Figures, Mondays with Muddy, music, piano, unpublished manuscript

This is the next installment of my grandmother’s unpublished manuscript. Beatrice Allen Page’s Landscape With Figures:

“I’ve had occasional glimpses of the Rosenblums sitting on their porch or out in their yard, but apparently they don’t care for swimming and beach-sitting and prefer to stay quietly by themselves. So we’d never met. As I was walking past their house late this morning, however, Mrs. R was just coming out. Even now, a trace of real beauty lurks behind the overlay of heavy make-up and dyed black hair, and there is a faint suggestion of a kind of queenliness in her carriage in spite of the lumpy figure stretch the too-tight dress.

Impulsively I stopped, introduced myself, and told her how much I’ve enjoyed her husband’s cello playing.

She gave me a searching, suspicious, even slightly hostile look which took me aback. Then abruptly she changed, having apparently decided I meant what I said and was not just gushing. Her face took on a glow of warm responsiveness and in a rather deep and slightly raspy voice that was not unattractive, she insisted upon my coming in to meet her husband, promptly abandoning whatever plans she may have had in mind when she came out.

I spent a delightful hour with them, in the course of which I gathered certain facts. He is a cardiologist and what he called a ‘prevented’ cellist, meaning I suppose that he never considered himself good enough to become a professional musician.

‘I’m like Chekhov,’ he explained happily. ‘I have both a wife and a mistress. Medicine is my wife and music is my mistress.’ He talks in a slightly  hesitant way with an accent, and the enlarged eyes behind the thick glasses look at you with gentleness and humor.

‘It is a good in-stru-ment,’ he said, patting the cello lovingly. ‘Good enough for me. It sounds. But sometimes I dare allow myself to imagine it is a Stradivarius. And I, I am Piatigorsky, or sometimes Casals.’

His wife laughed appreciatively although she has undoubtedly heard his little jokes dozens of times. She was once a professional pianist. There were autographed photographs – lares and penates that accompany them everywhere, I suspect – of Toscanini, Horowitz and other musical greats, ranged about on tables, but I could not get close enough to any of them to read the inscription and find out what her name had been. I had a feeling she did not want to reveal it, that she preferred to close off the past from the present. Arthritis in her hands put a stop to her career, which perhaps accounts for the slightly bitter cast of her mouth.

‘But she plays accom-pan-i-ments for me sometimes,’ Dr. R said, bestowing an affectionate look on her.

Their muual pride and joy is their son who is a violinist and currently hoping to land a job with one of the major symphony orchestras. They clearly have great expectations for him.

‘He has a good tone,’ said Dr. R. ‘Full, bi-i-g’ He drew the word out so it sounded almost like ‘beeg’ and opened his arms out in a wide, circular movement. ‘Everything is bi-i-g, full, round. Rococo.’ I doubt if that was the word he meant; I think it just sounded as if it should be. Then as if he were anxious not to brag too brazenly, he added, ‘But the lit-tle things, I tell him the get ground under.’ He twisted his heel into the rug to demonstrate. Nevertheless, when he raised his head, his homely face was alight with the pride he could not conceal.

‘Sometimes he and my husband play duets together,’ Mrs. R said, and added simply, ‘It is beautiful to hear.”

In St. Louis Dr. R plays in an amateur chamber music group. His medical practice keeps him so busy, however, that he has little time to practice the cello. ‘But,’ he says, ‘I play ev-er-y day. No matter how I feel. Even if only for three minutes. One must nev-er miss a sing-le day.’

To see that kind of loving enthusiasm and discipline, particularly without hope of recognition for one’s talent, always makes me feel good. I don’t see it very often. It has made my day.”

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Mondays With Muddy

17 Monday Oct 2016

Posted by emilypageart in MOndays with Muddy, Uncategorized

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Beatrice Allen Page, Beatrice Page, journal, Mondays with Muddy, parental love, parenting, unpublished manuscript

Here is the next segment of Beatrice Allen Page’s unpublished manuscript, Landscape with Figures:

“A discussion arose on the beach among a group of mothers as to whether it was possible to love one’s children equally or whether one could not help having a favorite. Most of the women insisted they gave each of their children the same amount of love although they loved each child differently. One or two, struggling to be honest, confessed they weren’t altogether impartial in their emotions even though they tried to be in their treatment, and then tried to rationalize their partiality. One of them said, for instance, that she loved the youngest of her three children most because he needed love more than the others. Another said that her second daughter was so obviously the apple of her father’s eye that she instinctively kept the balance by loving her first daughter more.

My glance happened to fall on Laura Palmer, who has five children but is so young-looking that if she wore her hair down her back, she’d look almost like a teenager. The youthful appearance is due in part to her fresh, unwrinkled skin and in part to a somewhat wide-eyed, ingenuous expression. In fact, ever since I met her, I have regarded her as somewhat naive, not in an irritating, but rather an appealing way.

She was following the discussion with an increasingly bewildered look on her face, and finally when someone said to her, ‘What about you, Laura?’ she burst out: ‘I just don’t know what you’re talking about! How can you parcel out love among your children? I love each and every one of my children with all my heart!’

It was a totally spontaneous remark. Clearly, she was not trying to impress anybody or make herself out to be the most loving mother there. She simply expressed what she felt, astonished that anything so obvious had to be stated. When someone teased her by asking how it was possible to give the whole pie to every child, she looked blank.

Her words, uttered so artlessly, were like a little flash of illumination for me. I suddenly saw how an apparent contradiction could be more true than a truth arrived at by reason, or could be true in another dimension, so to speak. I think that’s what is called non-Aristotelian logic but I’m not sure.”

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Mondays With Muddy

10 Monday Oct 2016

Posted by emilypageart in Uncategorized

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Beatrice Allen Page, Beatrice Page, changing seasons, fog, journal, Landscape with Figures, Mondays with Muddy, poplars, unpublished manuscript

This is the next excerpt from Beatrice Allen Page’s unpublished manuscript, Landscape with Figures. This is another of my favorite segments. The sentence that begins “The all at once a fresh northwest breeze sprang up” just kills me. Such imaginative and lovely imagery. Sentences like that remind me of why I loved her so much:

“It was still foggy when I got up this morning but while I was having breakfast, tiny currents of air began to stir just enough to send a kind of ectoplasmic wraith floating past the windows now and then – wisps of fog of a different consistency than the quiescent mass of it. It was the beginning of the fog’s withdrawal. When I stepped out in the yard a little later I saw another indication, according to the old wives’ tale, that the fog would soon burn off: little gossamer webs scattered about on the grass.

I’d like to know what spins them. They’re not woven in traditional spider design like the ones hanging between the posts of the railings; they look like tiny doilies of unbelievably sheer chiffon flung lightly on the lawn. It occurred to me that perhaps they weren’t woven by anything, that the dew had simply arranged itself that way by some means incomprehensible to me. I touched a few experimentally. Instead of vanishing abruptly in a spatter of minute droplets as I had expected, they only stretched and tore, which seemed to indicate they were held together by some sort of tenuous filaments. For a second I even thought I could feel them against my finger but all I could see on my skin was a trace of dew.

By late morning the fog was pulling away slowly as if ceremoniously unveiling the blue sky. Then all at once a fresh northwest breeze sprang up, blowing a dazzling sun into view and the poplars burst into delicate clapping like elderly gentlewomen applauding with kid gloves on. The day turned into one of the most beautiful ones we’ve had all summer.

Nevertheless, some minor changes went on behind the scenes during these past few days of fog. An occasional sumac leaf, for instance, has turned scarlet. The woodbine trailing along the ground shows a twist of red now and again. For the first time I discover thick clusters of frosted berries hiding among the leaves of the bayberry bushes, although they must have been gradually developing for quite awhile, just as the days have been gradually growing shorter although I had not really noticed it until this evening when I suddenly realized it was dark before eight thirty.

Autumn is by no means ready to make her entrance but she is standing in the wings biding her time. One quarter of the year of grace I allowed myself will soon be over. It comes over me that I can’t indefinitely postpone deciding where I shall go when summer ends. I don’t think I could face again the loneliness of staying here by myself when everybody else has left.”

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Mondays With Muddy

03 Monday Oct 2016

Posted by emilypageart in MOndays with Muddy, Uncategorized

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Beatrice Allen Page, fog, journal, Landscape with Figures, Mondays with Muddy, unpublished manuscript, writing

Here is the next installment from Beatrice Allen Page’s unpublished manuscript, Landscape with Figures:

‘We’ve been muffled by fog for two days now and it shows no sign of burning off. This is considered just cause for complaint by almost everybody. Grievances are aired in the News Shop, the post office, the market, wherever two or more people happen to meet.

I, too, pretend to grumble so that I won’t be looked upon as one of those irritating people who always see a bright side to everything. Actually, I like the fog. I like the hush of it. I like the feeling of anonymity it gives me. I can be anyone or anything. Or I can imagine myself as invisible as Siegfried wearing his Tarnhelm. And because the landscape is partly hidden from view, I pretend when I go for a walk that I don’t know what I’m going to come upon next, what unexpected house or tree or turn in the road. Sometimes I really am surprised – the fog makes me see something long familiar in a different way, just as a picture does.

Walking over to the harbor this morning, I felt as if an ancient Chinese scroll were being unrolled before my eyes. Against the background of fog, the landscape was brushed in with light, deft strokes, like ink on silk.

Only the boats moored closest to the shore were visible. The fog had blotted out all reflections in the water, of course, and the sailboats looked as if they’d been pegged down by their masts to something solid.

When I got home I noticed a whole series of perfect spider webs hung between the posts of the railing on both sides of the front steps. They were so tenuous that I should probably not have seen them if the fog had not superimposed a visible design of moisture on the filaments. Oddly, there was neither a spider nor his hapless prey in any of them. Had the spiders just put out their nets like lobstermen setting out their traps and gone off to wait for a catch?’

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Mondays With Muddy

26 Monday Sep 2016

Posted by emilypageart in karma, MOndays with Muddy, Uncategorized, writing

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Beatrice Allen Page, demons, journal, Landscape with Figures, Mondays with Muddy, unpublished manuscript, Vietnam, writing

As a reminder, every Monday, I post an excerpt Landscape with Figures, an unpublished manuscript by my grandmother, Beatrice Allen Page, who I called Muddy. We’re nearing the end of it with only another 35 pages to go. I do have other unpublished works of hers (along with her published works), but none in the style of a journal, so not as easy to break up for weekly posts, so I’m still figuring out if and how to continue with our Mondays With Muddy. I’ll keep you posted, of course. Anyway, here is the next excerpt from the current manuscript:

‘Over at the hairdresser’s I picked up one of the expensive, sophisticated women’s magazines and while sitting under the dryer, I read my horoscope for the month. The prevalence of horoscopes in magazines is another indication of the widespread interest today in the occult and the esoteric, in everything from witchcraft to I Ching.

Why are so many people ‘looking for a sign?’ Are they unwilling to take responsibility for their own lives and decisions? Are they caught in a hopeless bewilderment that makes them grasp at any straw? I suspect most of them would indignantly reject such a suggestion. They probably feel they are seeking not escape from life but greater intensity of life. Instead, however, of searching out the mysteries of existence with patience, humility and awe in the way of previous generations, so many people today see to be looking for a quick and easy road to heaven. Unfortunately a lot of the shortcuts apparently lead to hell.

To dabble in the occult has always been recognized as dangerous. You may stir up demons that get out of hand and take over control. I begin to sound like Mr. Hollis despite the fact the demons to which I’m referring are born and lurk in the dark hollows of the human mind. (As a matter of fact, if I truly believed in a creative, just and loving God, instead of being one of those who are ‘lukewarm, and neither cold nor hot,’ I think the Lucifer myth would offer as plausible an explanation as any other I’ve ever heard for the presence of evil in the world.)

But even if I can’t quite accept Mr. Hollis’s belief in demon-possession, I find it is not at all hard for me to believe that hatred is a force that can erupt in some event that has no apparent relationship to the hater. Sometimes when I read about some cold-blooded murder or ghastly accident, the uneasy thought creeps into my mind that I myself may have had something to do with that bloodshed even though it took place thousands of miles away and is utterly abhorrent to me. It is as if some of the rancor, the meanness, the callousness in my own heart and mind seeped through the body of humankind like a poison in the blood and broken out eventually in violence. Not because my personal thoughts and feelings are working some kind of sorcery akin to casting the evil eye on someone, but because we are all more closely related than we realize. I’m not talking about what people mean by ‘collective guilt’ when they blame society for a crime that has been committed by an individual. I mean something much less obvious, something hidden like a malignant cell that proliferates and spreads to another part of the body before it becomes manifest.

If this were true –  and apparently I have almost persuaded myself that it is – then there is a positive as well as a negative side to it: my good will as well as my malice, my joy as well as my despair, could have an influence on some person or some event either near at hand or far away.

I remember now what B. said to me once when her son was in Vietnam: ‘I pray that Bill’s life will be saved. I can’t conceive of a God who would save one boy’s life because he had a mother praying for him  but would let another boy be killed because he didn’t happen to have anyone pray for him. But I do feel an obligation to keep my spirits up as much as possible, not only for Bill’s sake but for all the other boys involved.’ She groped around for words, trying to explain what she meant. ‘I have a conviction that minds touch one another, that moods may set up waves or vibrations that travel great distances in space and time and affect the thoughts and moods of others.’ She smiled a little wryly, I recall. ‘Call it superstition if you like. I’ve no doubt the psychiatrists have an even less flattering word for it.’ And then catching the look on my face, she added, ‘I suppose you, too, think it’s a crazy notion.’

When I assured her that I found some of the evidence for ESP very convincing, she shook her head and said: ‘I mean something more than that. It’s as if all the people in the world were roped together by an invisible rope, climbing a mountain. Each one has to exert all possible effort not to slip, not just for his own sake but because if he loses his footing, it’s going to pull down the next man who’s roped to him, and then the combined weight of the two falling will exert even more of a pull on those on either side of them, and so on. Of course, people will slip from time to time, people who are in more dangerous spots or who may have less strength. That’s all the more reason for those with a firmer footing or more strength to hold tight and keep climbing.’

Her analogy doesn’t answer the age-old question as to why some of us should have ‘a firmer footing,’ i.e., the opportunity to lead lives of freedom and security while others never have a chance to know anything but war and horror, of deprivation and grief. >That question is as unanswerable as ‘Why is that dog for?’

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Mondays With Muddy

19 Monday Sep 2016

Posted by emilypageart in MOndays with Muddy, Uncategorized, writing

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art, Beatrice Allen Page, Landscape with Figures, magic, Mondays with Muddy, unpublished manuscript, writing

Here is the next installment from Beatrice Allen Page’s unpublished manuscript, Landscape with Figures:

“I brought home from the library C. S. Lewis’s autobiographical book, Surprised by Joy, simply because my eye chanced to fall on it and I have enjoyed other books of his. I read most of the night and my astonishment kept me awake the rest of it, for there I found described far more vividly than I could ever do, the strange, haunting sensation associated with both ‘The Magic’ and ‘the northern mood.’

The magic was always evoked for him, I gathered, by something with a northern connotation. They belonged together as one experience which he calls ‘Joy’ even though, as he says, it might almost equally well be called a kind of grief: ‘an unsatisfied desire which is in itself more desirable than any other satisfaction.’ In each instance it only lasted a moment but it seemed to him of tremendous significance, something quite different from ordinary experiences, ‘something, as they would now say, ‘in another dimension.’ He speaks of it as a ‘stab,’ a ‘pang,’ an ‘inconsolable longing.’ ‘All Joy reminds,’ he writes. ‘It is never a possession, always a desire for something longer ago or further away or still ‘about to be.’

He caught his first glimpse as a child of whatever-it-might-be through nature. His second glimpse of it came through Beatrix Potter’s Squirrel Nutkin, which aroused in him an intense desire for what he calls the ‘idea of Autumn.’ He went back to the book again and again, not to gratify the desire because it was manifestly impossible to possess a season, but to reawaken the desire.

His third glimpse came some years later when, leafing through a volume of Longfellow, he came upon the lines from Tegner’s Drapa:

I heard a voice that cried

Baldur the Beautiful

Is dead, is dead –

(A ‘northern’ shiver runs down my spine as I copy the words.)

Lewis had no notion of who Baldur was but he was ‘instantly uplifted into huge regions of northern sky.’ He ‘desired with almost sickening intensity something never to be described (except that it is cold, spacious, severe, pale and remote).’

Later on he came to call whatever gave him this sensation, ‘Northernness.’ It might be a landscape or Norse mythology or Wagnerian music. The last surprises me: Wagner’s operas seems too flamboyant, too crushing to be northern, even though they deal with Norse mythology. He speaks of being engulfed in pure Northernness: ‘a vision of huge, clear space hanging above the Atlantic in the endless twilight of Northern summer.’

He wondered for awhile if the bittersweet longing he felt was a disguise for sexual desire – a possibility I, too, have speculated on – and came to the conclusion that sex might sometimes be a substitute for Joy, but no more than a temporary expedient. ‘You might as well offer a mutton chop to a man who is dying of thirst as offer sexual pleasure to the desire I am speaking of.’ (I doubt if he meant to imply there was any resemblance between a mutton chop and sex.)

He learned, even as I, that to focus on the sensation was only to frighten it away, and that it could not be sought for its own sake, for the ‘thrill’ of it. It came to him when he was least conscious of himself and his own feelings or state of mind. Eventually, after his conversion to Christianity, he came to believe that the experience itself was of no importance. ‘It was valuable only as a pointer to something other and outer.’ Since my recent glimpse of The Magic a couple weeks ago, I could almost go along with him in accepting it as evidence of ‘something other and outer’ – not just some momentary psychological state – but I wonder if I shall ever find the explanation or the word for that other and outer.”

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Mondays With Muddy

12 Monday Sep 2016

Posted by emilypageart in MOndays with Muddy, Uncategorized, writing

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This is the next excerpt from Beatrice Allen Page’s unpublished manuscript, Landscape With Figures:

“Just read a newspaper article maintaining that the human organism can learn to adapt itself  to a contaminated environment. Even supposing that is so, can the human spirit transcend an atmosphere of ugliness and callousness?

How can we have any reverence for human life if we have no reverence for other forms of life and for the earth on which all life dwells and which is part and parcel of it?

Not that I’m advocating a simple back-to-nature movement as a cure-all for the world’s ills. As George Eliot wrote somewhere, it takes more than turning a man loose in a field of buttercups to make him moral. As long as we have closed our minds and dulled our senses to everything that does not serve our immediate needs and greeds, it won’t avail us much to move to the country or the mountains or the seashore. But if we could look beyond those immediate needs and greeds…

More and more I am coming to believe that if we have become alienated from one another, it is in part because we have become alienated from our common ground of being, in a quite literal sense.”

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Mondays With Muddy

05 Monday Sep 2016

Posted by emilypageart in dance, humor, kindness, music, Uncategorized

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Beatrice Allen Page, Beatrice Page, crushes, growing up, journaling, Landscape with Figures, Mondays with Muddy, summer love, unpublished manuscript

This is the next installment of Beatrice Allen Page’s unpublished manuscript, Landscape With Figures. I know this one is longer than normal, but it’s my favorite excerpt from the book. It’s poignant and funny and sweet and sad and glorious, all at once. Enjoy:

At the Prescotts’ cocktail party yesterday their young daughter Tina helped serve the hors d’oeuvres. She is about twelve or thirteen, childhood virtually outgrown but with traces of ‘little-girl-ness’ still lingering in the budding figure and the small, rather triangular face with its slightly tiptilted blue eyes.

I was talking with a good-looking young college student I’d just met, when she approached us. Approached him, I should say, because it was clear that she had no interest in me beyond politely offering me a canape. They obviously knew each other. He greeted her as if he were truly glad to see her, without any adult-to-child condescension; he told her he liked the way she was wearing her hair, and when she moved off toward the next knot of guests he called after her, ‘Don’t disappear till we get a chance to talk, Tina.’

She turned back toward him with a shy smile that seemed to hint at a secret between them, and lifted those kitten-blue eyes to his face for just a second. The expression in them was kittenlike, too – both guileless and sensuous.

The twinkle in the young man’s eyes as he faced me again showed that he had known all along what I had just discovered in the fleeting glance Tina had given him: that she was naively and passionately in love with him. I had seen and felt it with a little shock of recognition; it had reopened a chapter of my own life, long closed and almost forgotten. The sudden uprush of recollections was so vivid that it seemed to me that I could read Tina’s future for the next few months or years on the basis of them. I knew all the exaltation and sweet suffering, the hours of revery and yearning that lay in store for her, and the inbreak of reality that would eventually and inevitably wake her from the lovely and disquieting dream. I knew the confusion that would follow, the groping and growing before she reached some equipoise between the forces tugging at her from different sides. I knew because I, too, had fallen passionately in love with an ‘older man,’ i.e., a young man in his mid-twenties, when I was about Tina’s age. I would happily have died for him – provided, of course, that he was on hand to witness my sacrifice and hold me in his arms as I drew my last quivering breath.

It’s no doubt a common pattern for adolescent girls. Calf love, puppy love, a crush, we call it from a vantage of adulthood and smile indulgently. How can we so easily forget our first ‘serious’ love with all its heights and depths of feeling? Of course we don’t really. We just let it sink out of sight until something like that glance of Tina’s I intercepted pulls it unexpectedly up to the surface again.

There was that summer in my own life when I fell in love with Gavin McCaig. Until then I had never wanted to grown up. I remember wishing on my ninth birthday when I blew out the candles that I could stay that age forever. It seemed to me I had learned a great deal since my eighth birthday and so I was glad to be nine. Beyond that, however, I saw no need to grow; at nine I knew enough. Not in the sense of bookish knowledge, but in the wisdom that comes simply from having lived. Or, to express what I felt a little more accurately perhaps, it was as if I had not been fully awake at eight years old but at nine I was. Then when I reached ten, it seemed to me I had not been fully awake at nine, but now at ten I certainly was, and I wanted to stop right there.

I hated the idea of being an adult because I felt, without being able to put it into words clearly, that grown-ups had to carry heavy responsibilities which literally weighted them down like a physical burden. They could no longer run, skip, play hopscotch, jump rope or even lie down on a grassy bank and roll to the bottom. In addition, they were constrained by all manner of senseless rules and customs. They had to keep their hands and faces clean and their clothes neat all the time. They couldn’t walk along the street singing or eating a peanut butter sandwich. They couldn’t go up to someone on the beach they’d never met and say, ‘What’s your name?’ They had to wait to be introduced and then they had to make polite conversation instead of asking things they really wanted to know such as: ‘How’d you get that little scar over your eyebrow?’ or ‘Have you ever seen kittens being born?’ or ‘What would you do if you woke up and found a burglar in your room?’

There was one great disadvantage to being a child and that, of course, was having to obey and conform to the irksome dictates of parents. Meals had to be eaten at the same time every day even if you weren’t hungry or wanted to go on readying a book. You had to go to bed at the same time every night even though you weren’t sleepy. The only advantage I could see to growing up was that I would be free of all these parental restrictions. Yet I was afraid that as a grown-up I, too, might get caught in a routine similar to theirs, hemmed in on all sides by responsibilities and the established way of doing things. It was preferable to hang on to childhood as long as possible.

I was still trying to hang on, although knowing I was waging a losing battle, when Gavin McCaig began to play a part in my life, or in my imagination at least. Then suddenly I couldn’t wait to grow up. Instead of looking upon my developing figure with dismay, I wondered impatiently how long it would take before adults would accept me as a grown-up woman.

Gavin bore little resemblance to his mother, of whom I was so fond, either mentally or temperamentally. He was a squarish, solid-looking young man – the epitome of masculine strength it seemed to me – whose principal interests were sports and jazz. He was ‘taking the summer off,’ ‘deciding what he wanted to do.’ He may have been something of  a ne’er-do-well but he had more than his share of what would be called ‘charisma’ today.

He was a friend of my parents, like his mother, but the difference in our ages seemed to me no barrier to romance. He was the first man who ever stood up when I entered the room, and when he shook hands it was with a firm handclasp, a warm smile and a direct look which I chose to interpret as having special significance for me. When he dropped in on my parents I was certain he had really come to see me. I imagined he was secretly in love with me but could not speak of it because I was admittedly young for marriage and one did have to observe the conventions. I was sure, however, that he was just biding his time and I fabricated endless daydreams of the momentous day or night when he would declare himself.

He certainly must have known I was in love with him. I conveyed it to him quite intentionally by meaningful glances, by letting my hand linger in his when we shook hands (which I saw to it we did not only on every occasion of our meeting but of our parting as well), by ‘accidental’ brushing of my shoulder against his arm. Be it forever to his credit that he never betrayed his amusement to me or as far as I know to anyone else.

I continued to go on bird walks with his mother. Being friends with her gave me a good excuse to drop in a the McCaig house on the pretext of having come to see her. Sometimes I was lucky and found Gavin there but the house was too full of people for us every to be alone. I assumed this disappointed him as much as it did me.

One evening toward the end of summer my parents went to see friends next door. I was up in my room ostensibly reading but actually scrutinizing my face in the mirror in the hope of finding I looked older than I had at the beginning of the summer. On my bureau was a vase of snapdragons from Mrs. McCaig’s garden, which she had given me, and the faint breeze coming in the open windows would waft up the scent of them in little tufts. It is a fragrance that will forever associated in my mind with Mrs. McCaig, but more with her son Gavin (because I pretended that he had given them to me) and the bliss of my newfound love – and with a certain sadness, too, because before that evening was over I was to take my first tentative step out of the wold of childhood and would never be able to enter it wholeheartedly again.

I had never gone to the McCaig’s house in the evening. It suddenly occurred to me I could slip over there and back before my parents got home. It was already dark but still early. I could pretend I had come to borrow a bird book from Mrs. McCaig. As I approached the house I could hear someone – and I knew it w as Gavin – pounding out ‘Limehouse Blues’ on the old upright piano. Laughter and singing and chatter floated out on the soft air. Gavin hardly paused between pieces. Jazz has three predominant moods: sensual, melancholy and exuberant. Though I could not have named them then, I was tossed from one to another as I stood listening under the willow tree for several minutes before I could muster up my courage to enter the house.

When I finally did go in and stand just inside the door tentatively, Gavin looked up with his cordial smile, his eyes squinting from the smoke floating up from the cigarette in the corner of his mouth, and waved me a welcome. All Mrs. McCaig’s children radiated hospitality, even to a child, and someone indicated a chair and invited me to sit down. I did, shyly, half hiding in the shadows.

The music went on. Gavin played by ear and ‘could play anything.’ My feet began to tap on the floor; he cause my eye with an understanding look that urged me on, and suddenly I flung off my self-consciousness and was out in the middle of the room, dancing with wholehearted abandon, imitating dances I’d sen in the movies and throwing in a few innovations of my own. For perhaps a minute and a half I was the center of all eyes. It was a taste of glory I had never before experienced. I heard one of Gavin’s brothers say, ‘The kid can really dance!’ and my idol nodded in agreement. My cup was too full to contain. I turned and darted out the door with the applause still sounding in my ears. My heart was pounding not with exertion but with excitement. I was elated, distracted, miserable altogether and I could not have said whether what I felt was closer to anguish or joy.

Weaving a little dizzily I wandered around to the other side of the house. Here the sound of the music and voices was muted, and the night filled with the sound of crickets and katydids. Instead of the smell of cigarette smoke and whisky, the soft scents of the garden hung on the air, and overhead millions of stars floated in a dark bowl. Mrs. McCaig was sitting on a stone bench in the garden. She did not speak but I knew she had seen me and was silently inviting me to join her. I sat down beside her and for just a moment she laid her hand upon mine in what I took to be a gesture of greeting but which I suspect ow was a gesture of farewell because she sensed I was no longer the same child who had tagged along on her nature walks.

We sat in silence for awhile, and the night and her quiet presence began to calm me down, to fill me with a sadness and a longing which I could not then have explained. After awhile she began pointing out various constellations to me: Cassiopeia, Cygnus, the Pleiades. Paradoxically, while she usually had a somewhat detached, impersonal attitude toward people and things close at hand, she had a familiar attitude toward the distant. It was as if she could hold out her hand and say, ‘Come,’ and a star would drop into it and nestle there.

I felt as if I were being torn apart. I wanted on the one hand to linger as long as possible in the realm of the simple, sensuous delight in nature, of freedom from adult responsibility, in the domain which Mrs. McCaig shared with me; on the other, to step forward into a new world of parties and romantic excitement, of music and dancing, of moonlight sails with my true love, or driving around in a convertible with my hair blowing in the wind – Gavin’s world. I could not bear to give up the one I’d explored with Mrs. McCaig; neither could I bear to let go the one I’d just briefly set foot in.

Perhaps we really never make decisions. They are made for us – by events, by time, by obscure motives and processes within ourselves. Summer came to an end and we went our separate ways, back to the cities where we lived in the winter. As the weeks passed, it was not the nature walks with Mrs. McCaig which I missed. It was Gavin I longed for. Once he called my parents long-distance. They were out and I enjoyed the bliss of having him all to myself on the telephone. Small wonder I imagined that I was the one he really wanted to talk with, because with his usual kindness, and no doubt secret amusement, he let me keep him on the phone for almost ten minutes.

I could not sleep all night for joy. I went over every word of our conversation, injecting cryptic meanings into the most obvious remarks. I was more certain then ever that my love was reciprocated and that he was just biding his time until I was old enough so that my parents would accept the situation. So strongly did his image possess my mind that one winter evening when a car drew up in our driveway and a man got out and Mother wondered who it could be, I, looking out the window and nearly suffocating with rapture said, trying to sound casual, ‘Why, it looks like Gavin McCaig.’

But it wasn’t. Suddenly I was frightened. If my mind could play such tricks on my that I could mistake a man who bore no resemblance whatsoever to the one I loved…I sensed danger. I felt a need to right myself, to shake myself out of the dream world which had become so real to me. And with that effort there came with devastating clarity the realization of the truth: I was still a little girl in Gavin’s eyes, he was not in love with me and never had been, and I was a victim of my own deluded wishes.

When we came back to Stoneleigh the following summer, the McCaigs had not arrived. I found myself suddenly caught up in the social activities of my contemporaries. I sailed; I went to the well-chaperoned Yacth Club dances; I had hot, hushed conversations about boys with my girlfriends.

The days passed and the McCaigs did not return. I was secretly relieved and at the same time inexplicably a little sad when I heard their house was up for sale. I never saw any of them again.”

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