From the office in the oak grove

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Two full moons ago, I shared a glimpse at my outdoor office. Yesterday, I asked the boss if I might share few details about the location and the unique job I enjoyed under the shade of red and white oak trees. And he said yes.

The adventure started with a phone call and brisk interview. It was a working interview. The interviewer wore a leather flat cap and showed me wooden shields and signs.

“Can you paint?” he said.

“Yes, I can,” I said. “I brought my own brushes. Should I have brought my own paint?”

He didn’t answer. He was sorting through a stack of shields piled on a wooden table. He explained that some shields required touch up work due to weathering and use while other shields need to be painted — originals, as he put it.

“If I like your work, I can keep you busy all summer,” he said as he produced cans of paint and assigned a place to work. “If I don’t like your work…” Well, suffice it to say he related that my working interview would be concluded and I should not return.

“I’ll be back in a few hours,” he said and assigned two projects for me to complete. Then he got in his truck and drove down a service road to do something somewhere else on the property.

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It took a few moments for me to gauge what to start with. I picked up each shield and sign and weighed where to start. After I opened a couple of paint cans, I searched for a water bucket or anything to keep the brushes clean and for mixing colors. I salvaged a water bottle for a trash bin and began to paint. Long story short, he liked the work I did and told me I should show up the next day. That routine continued for most of the summer.

One, of many, comments he shared with me continues to intrigue me. It involved the idea of hand-painted art versus computer-generated, printed signs.

“There is juju with these things,” he said inspecting one of the shields I painted. “People connect with this stuff, because it was created with human hands. Not some computer.”

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I listened to him. I examined the source material that he shared with me. He sketched bestiary on a wood panel and I watched. He asked for my brush and corrected a shadow and I learned.

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As I drew the typography of a sign for the ring, it became clear to me what he had been telling me and showing me this summer. The clean, manufactured sterility of our culture separates the element of human touch. When I painted the “y” from the word “only” it was similar but not an exact facsimile of the “y” in “beyond” on the line below. Yes. Precision could have improved the exactness of the two letters. My lettering and painting captures my technique as well as foibles. 

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During this summer, I read several books by Ryōkan and Bashō. The historical footnotes and commentary on the calligraphy of the poets were as exciting as the literary work itself. The fact that scholars continue to examine the brushstrokes hundreds of years after the poets passed from this earth testify to the essence of human connectivity. The falter of a stroke — a brush loaded with ink that lacks the energy to complete a long stroke remains a signature of the poet. Was it intentional? Or accidental?

As I examined a finished sign with him one afternoon, I said, “It’s not perfect.”

“Only God is perfect,” he said. “These are magic. When people see these signs, they will know that this is real. This is the real thing. Not a duplicate. This is OS. Original standard. Good stuff. See you tomorrow.”

[Podcast] How long it takes to write a haiku?

08 May 2014 Podcast Cover

Welcome to the relaunch of the Coffeehouse Junkie audio podcast. A lot of things have happened during that time and there is much I plan to share with you, just not in this episode.

Yes, it is true. The last two years or so I have fasted from coffee. I almost had to rename this blog and audio podcast because of it. Thankfully, my sister introduced me to Maniac Coffee Roasting in Bellingham, Washington. Specifically, the Decaf Espresso Royale blend. Check them out at ManiacCoffeeRoasting.com. They are the unofficial sponsor of this episode. If you would like to officially sponsor an episode, email me at coffeehousejunkie [at] gmail [dot] com for details. Please include “podcast” in the subject line so that your email doesn’t end up in the spam folder.

Amy Annelle - A School Of Secret Dangers

Amy Annelle – A School of Secret Dangers

Very special thanks to Amy Annelle for granting permission to use her song “Will Try” between the segments. Years ago, the album A School of Secret Dangers introduced me to her work. If you like her song, check out Amy Annelle’s latest album The Cimarron Banks. Visit the website HighPlainsSigh.com for more info about her music or find her music on Apple iTunes.

Here’s what’s coming up in this episode:

  • How long does it take to write a haiku?
  • So many books, so little time
  • Keep Calm and Write Something
  • Last night, I fell asleep writing a poem

 

Listen here:

 

Or listen on:
PodOmatic: coffeehousejunkie.podomatic.com
SoundCloud: soundcloud.com/coffeehousejunkie

 

How long does it take to write a haiku?

It is twilight. A meager meal of potatoes and cheese provides a father and his children sustenance. As they eat he tells them about a son who lived a long time ago in a far, distant land. He was the son of a samurai and is famously know for his poetry…. [read more]

UPDATE: This blog post is available as part of an audio podcast.

Listen here:

Or listen on:
PodOmatic: coffeehousejunkie.podomatic.com
SoundCloud: soundcloud.com/coffeehousejunkie

E-book: How long does it take to write a haiku?: and other stories

Purchase the e-book Kindle Edition for $0.99!

What do you think about when you see a stack of books? In this short collection of stories you will also learn what a creative director thinks of when he sees a stack of books. Who is the audience for your poems? Is possible to write in your sleep, or not?

Always be prepared to read your poems

When I mentioned earlier today that you should join the Traveling Bonfires tonight at Malaprop’s, you really were invited to join the reading. Two of the three poets were unable to show up for tonight’s reading. The emcee of the poetry reading and founder of the Traveling Bonfires invited anyone in the audience to read poems. He asked me to read my poems as well.

I wasn’t prepared to read; only to listen. But no one else came prepared to read. So, I frantically dug into my old messenger bag and found two poetry chapbook manuscripts by other poets. For a brief moment I thought I would read from their manuscripts, but I didn’t want to read poems that weren’t ready for the public. Sandwiched between loose papers and a copy of Selected Cantos of Ezra Pound and Narrow Road to the Interior was my red notebook containing poem sketches and revisions. I had half of a thought to read selections from Pound and Basho, but in my notebook I found six poem sketches and revisions to test in front of an audience.

The moral of the story is this: always be prepared to read your poems and if you’re a poet in the Asheville area (or if you’re a poet traveling near the Asheville area) contact me or the Traveling Bonfires (travelingbonfires@yahoo.com) and we’ll find a space and a mic and a crowd of listeners.