Arts

IN THE EYE OF THE BEHOLDER

Work of Art “Art” isn’t just paintings and sculptures, it can be anything in which we find beauty and meaning — even food. Show us a thing, place, or person that’s a work of art to you. This antique carved carousel lion is art to me. Beautiful carving, wonderful expression … and a child — […]

HANGING OUT – GREENWICH VILLAGE IN THE 1960s

Garry and I watched a documentary on Netflix titled Greenwich Village: Music That Defined a Generation. It was about Greenwich Village in the 1960s. Both Garry and I were there. He was already a working reporter, but young enough to enjoy the very special culture of this wonderful corner of New York.

greenwich villagge 1960s

I was still a kid. A teenager. In college. I was with my first boyfriend. He was into the Village scene. I took to it like a proverbial duck to water.

From the old Italian coffee houses that really sold coffee and other non alcoholic drinks (I was too young to drink and never liked the stuff anyhow), to the tiny, dingy coffee houses where folk music was born. It was the Heart of Hip and everything was a 15 cent subway ride from home. The world was mine.

New York on ones doorstep if you are a teenager is fantastic, but Greenwich Village in the 1960s? That was the stuff dreams are made of.

From Bob Dylan and Tom Paxton, to Pete Seeger and Judy Collins … they were all there. The famous, soon to be famous and a few infamous people. All young, making music and passing the basket.

I’d take the subway and get off at Bleecker Street, alone or in the company of friends. It didn’t matter whether you brought company or went by yourself. There were always people to meet. You didn’t need much money — good because none of us had any. We were kids, mostly without jobs and still in school. Those of us not still living with parents lived in apartments shared with lots of other people to make the rent and afford something to eat now and again.

All I needed was subway fare — 30 cents round trip — and a few more cents for a hot (or cold) chocolate at the Reggio. For this pittance, I could spend an entire day and evening in the Village. Hanging out.

“What do you mean “hanging out?” asks my granddaughter.

“You bought a coffee or a chocolate and just sat. Read a book or a newspaper. Watched people coming and going on the street, hoping you’d see someone you knew or wanted to know.”

“That’s it? You just sat around?”

“Yup. Just sat around. That was the definition of hanging out. No one hurried you or told you to buy something or leave.

Bleecker and MacDougalYou could sit with your coffee and book all day if you wanted to. No one would bother you. When it got dark, you went to one of the places where people sang. There were usually no entry fees. Hopefully you had enough money to drop something in the basket for whoever was performing. Sometimes, you had no money. More to the point, you had exactly enough to buy a coffee and a couple of subway tokens. But that was okay. It was the 1960s. We were cool.”

No cell phones. A lot of people had no phone, period. People rode bicycles with naked guitars strapped to their backs. Car? I think most of us didn’t have driver’s licences. I didn’t. That was years in the future.

People were friendly, funny and convinced we were going to change the world. Maybe we did. We sure did try.

Out near Hofstra in Hempstead, where I was going to school and was a music major, my soon-to-be husband and his best friend decided to bring culture to Long Island and opened the AbMaPHd (pronounced ab-ma-fid) coffee-house. They brought in the guys and gals who were playing in the Village. Dave Van Ronk gave me my first good guitar strings. He even put them on the guitar for me.

What did I do there? Hung out, of course. Sat around, meeting friends, drinking something, listening to music, meeting musicians. Just hanging. No one was texting, computing or phoning. There was no electronic background noise (unless you count the squeal of feedback from the mikes). No beeping, dinging, or strange wailing noises of incoming calls. The noise was human. People talking, laughing, fighting, singing, discussing. Eating and drinking.

It was a wonderful time to be growing up and if I hadn’t been there, I’d envy me for having been a part of it.

THE 12-FOOT TEEPEE – AN AMAZON REVIEW

Obviously I didn’t write this.I would be embarrassed to say this much nice stuff about me, but I have to admit I’m delighted. In the midst of the craziness of my life, all of a sudden I’m getting wonderful reviews of the book I’d pretty much given up on. It never went anywhere. I’m not even sure I know how to find my publication website … or have any idea what my password is. Or anything.

If nothing else, it’s humbling that there can be such a huge disparity between my perception of the book I wrote and other people’s view of it. That I might not be the best judge of my work goes without saying … but to be 180 degrees out of alignment forces me to wonder what else I’m completely wrong about.

teepee book shelf

In any case, I have taken the liberty of copying and pasting the review here because I have no idea how one reblogs a review that isn’t on a blog. And this is on the Canadian Amazon site, making it even more inaccessible. The title of the book is also a live link to the source, so please visit that site too. The author deserves your support.

I’m beyond grateful for this review. I’m touched and encouraged. This is a difficult time for me, for obvious reasons. Having something so nice happen right now makes me feel (sorry about the pun) heartened.

THE 12-FOOT TEEPEE

5.0 out of 5 stars

The fascinating construction of a life Jan. 30 2014

By Jiibo Dyallo

Format: Kindle Edition | Amazon Verified Purchase

Marilyn Armstrong is a widely read blogger on WordPress, and that’s how I became aware of her. I thought, ‘anyone who writes this well must have written at least one book.’ The 12-foot Teepee, in fact, is the name of the book and the basis of the blog’s URL, teepee12 dot com.

Tempus fugit, especially for daily bloggers. Marilyn tells me, in correspondence, that she’s no longer quite the same person as the one who wrote the book. As a former resident of Jerusalem, though, she says she once lived near a place where archaeologists found “a Canaanite temple, on top of which (pillar on pillar) stood a Greek temple. On top of which (pillar on pillar) was a Roman temple. On top of which was – you guessed it, pillar on pillar – a synagogue.” No doubt today’s Marilyn stands pillar on pillar on the one who wrote this book, and I think that that keeps the book current. A life contains its own archaeology, and what is an autobiography (as I assume this is, in essence) if not a tell?

Protagonist ‘Maggie,’ as a child, was sexually abused by her father. That revelation is how the book begins. I worked for an LGBT newspaper in the 1980s and kept current on feminist and lesbian literature during the period when the magnitude of familial incest was first being disclosed to the world. I’ve read many dozens of accounts – brief, elongated, literary, plain, agonized, detached – by people who endured this experience. Also, I’ve read numerous complex bestsellers embedding the theme, such as Margaret Atwood’s The Blind Assassin and Anne-Marie MacDonald’s Fall on Your Knees. I noticed right away that Marilyn was somehow overcoming the saturation factor and writing highly readable text. Perhaps it was her style of writing – plainspoken enough to be nodded at by Hemingway, yet subtly full of craft. Her approach was fresh, and witty at appropriate moments. Perhaps there was some engaging mystery, too, in the enigma of her father as an inconspicuously, but almost incomprehensibly, evil man. I’m not sure if I would even have credited Marilyn with restraining herself from exaggeration if I hadn’t read M. Scott Peck’s monograph on such folk, People of the Lie. I knew that such individuals really do exist. In any case, Marilyn’s way of telling the tale with judicious truth but without a show of anguish, and without the jargon that is now often used in such accounts, made the difficult events completely readable.

The book then progressed through subtly interwoven anecdotes to the unveiling of related tales: the construction of a knock-off Sioux-style teepee as a project for self-healing and for spending quality time with a lively granddaughter; the concurrent battle with spinal problems and surgeons of greater and lesser competence; and the challenges of new-found poverty for Massachusetts people caught up in the tech bust of the 1990s. This all sounds daunting, not to mention rather random and terribly personal, but Marilyn makes it as vivid and coherent a piece of writing as you will find anywhere. She wins your heart. The feeling that you want things to go well for her (I don’t know her personally at all apart from a couple of emails back and forth among fellow bloggers) turns out to be a waterslide of suspense that runs you right through the book from beginning to end. She also integrates a spiritual journey from secular Judaism into Christianity that is neither dwelt upon nor glossed over – it has its time and place in the story – and it also arouses interest – regardless, I should think, of the personal persuasion of the reader. The bottom line, though, is that Marilyn is a writer who can captivate you with a tale of how her son pieced together PVC pipe sections to make wobbly teepee poles. I can’t imagine what topic she couldn’t make interesting.

I think that this book deserves more attention than it’s had. Marilyn is not sure that it does – she says in her email that she has, to some extent, returned to religious skepticism in recent years. Life has gone on. The tell has mounded up further. Where a church once stood in her psyche, a big community teepee for comparative religion and degrees of religious belief now stands, pole on pillar. Its architecture is newer than the book.

If you have a sense of discovery, though, you still need to know how it got there, and this book is the only dig that’s been done.

MORNING SHADOWS

CHURCH DOOR, TREE AND SHADOWS

INSIDE LOOKING OUT, OUTSIDE LOOKING IN

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