Writing by Yvonne Watterson

~ considering the lilies & lessons from the field ©

Writing by Yvonne Watterson

Tag Archives: Van Morrison

The Love Actually is All Around . . . Happy Birthday, Sophie.

20 Sunday Dec 2020

Posted by Editor in 9/11, Awesome Women, cancer, Children's Books, Education, Emmylou Harris, Family, favorite teacher, Love Actually, Memoir, Memoir, Mother Daughter Relationship, Ordinary Things, Pre-school, Soundtracks of our Lives, summer camp, Teaching, Themes of Childhood, Van Morrison, Van Morrison, Women and careers

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#ChildrensBookDay, airports, Antrim, baby, bookstores, Cancer, children's books, children's literature, Dolly Parton, heroic teachers, Ireland, ironing, Jane Dyer, laundry, life-work balance, Love Actually, Motherhood, Northern Ireland, parting, stay-at-home-mom, Sweet Sorrow in the Wind, The Irish Times, Van Morrison, working moms

As her T-shirt reminds me, “good things will come.” Soon, I hope.  It is my darling girl’s birthday today, and with COVID keeping us in our respective places, we’ll have to make do with Facetime. I woke up missing her the way I knew I would and remembering that I can’t remember life before her . . . 

Suddenly, one day, there was this thing called parenting. Parenting was serious. Parenting was fierce. Parenting was solemn. Parenting was a participle, like going and doing and crusading and worrying; it was active, it was energetic, it was unrelenting. Parenting meant playing Mozart CDs while you were pregnant, doing without the epidural, and breast-feeding your child until it was old enough to unbutton your blouse. 

I stayed home with Sophie for a year after she was born. It was the best year of my life, with her attached to me in one of those Baby Bjorn carriers without which I would have been completely unprepared for being a mother, as one of those hovering salespeople in Babies R Us had warned me.

Just the way I like it, business was slow that first year. Some days I made it out of my pajamas – only some and only if  felt like walking out to the mailbox, unlike Dolly Parton, who checks the mail in full makeup and heels. Fair play to her. Other days, I also showered, but mostly, I was mostly like the imaginative little girl I had once been, the one who had to be reminded to wash her hands or brush her teeth because she was so absorbed in play and a world of pretending.  I loved playing with my very own baby girl, feeding her, dressing her in miniature clothes with impossibly tiny buttons, brushing what little hair she had with a soft toothbrush, and bathing her in the kitchen sink. For twelve idyllic months, with her daddy off at work, our girl was all mine, I danced around a house filled with sunshine and Van Morrison – when I still liked him before he weighed in on COVID with bad songs railing against social distancing and masks. Spectacularly high on new baby smell, I inhaled, and I remember thinking about sixteen years later, that a bottle of that very fragrance would go a long way, if only to mask the Teen Spirit.

There were interminable hours spent simply looking at her. Just. Looking. At. Her. Examining every tiny feature and flicker across her face, searching for resemblances to me, her father, her grandparents, and wondering how it was that two imperfect people had made this one perfect thing. She didn’t mind the attention. Or she did, but this was before she had words or discovered those beautiful hands that fly with expression today. We used to call it hand ballet.

Mostly, my baby girl bounced with curiosity and glee. When she cried, it was for food or comfort or just to let us know she was there. I couldn’t bear it. I hovered constantly and still do albeit from another country and much to her chagrin. I was one of those mothers who picked her up the instant she began to cry at night. My mother made it worse, urging me to do so by reminding me the way only an Irish mammy can that the day would come  when my daughter would have to cry herself to sleep without me there to make it all better. Wouldn’t it be great if we mothers could bank all those hours of holding and comforting for such a day, like the day, I lay in the ICU following eight and a half hours of surgery while my fourteen-year-old girl wept in bed and rocked herself to sleep? This is why I hate cancer.

When the time came for me to go back to work and take her to pre-school, I was wholly unprepared for the crying – mine and hers – that came immediately before and continued for some time after I deposited her in the waiting arms of Bonnie, the cheery classroom assistant at a Montessori school where it seemed that all the other mothers didn’t have jobs outside the home. They loitered in the parking lot in shorts from the Gap and Birkenstock sandals, gossiping over coffee in mugs they’d filled at home – this was in the days before there was a Starbucks on every corner. While I was not dressed like Dolly Parton for a turn at the Grand Ol’ Opry, I like to believe I conveyed a vague impression of adulthood with my Anne Klein suits bought on sale at Lohemanns and my hair on the verge of sensible. But only on the verge – where I faithfully remain.  I had returned to my career in education as an assistant principal, trying to impress on someone – by someone I mean me  – that I was “A Professional Working Mother.”

Sophie was not impressed at all and showed it by crying, daily, all over my dry-clean-only blouses. In retrospect, I made this a much bigger deal than it needed to be, realizing eventually that there must be some sort of lucrative pact between dry cleaners and the fashion industry. By accident, I discovered that if I didn’t put things in the tumble dryer, the dry-clean only blouses turned out just fine. So after forty odd years, I have taken umbrage against the dryer, rarely feeding it anything other than towels and jeans. I still don’t get the concept of a dryer for people who live in a desert. The clothes will dry if we just hang them on a clothesline, but nobody in our Phoenix neighborhood had a clothes line in the backyard.  Bizarre, given that the sun shines most days and also that “doing a load of washing” is in my DNA, having grown up in Northern Ireland. In the old country, everybody hangs clothes out on the line and then runs like hell to rescue them when the rain invariably falls. I remember the first thing I bought for my mother with my first real pay check from not-really-a-job as a receptionist at a local “leisure” center, was a tumble dryer from the Electricity Board.

I know this is fast becoming a rant, that has nothing to do with where the love is, actually, but the question remains – is it not illogical to own a tumble dryer in Phoenix? I once asked my late husband about it, and he just looked at me like I had two heads. Clearly, the directions were lost on him or he had an aversion to phrases like  “tumble dry low,”  “remove quickly from dryer,” “dry flat,” or “dry clean only.” His favorite setting was “Permanent Press,” but I don’t think he ever knew what that meant. Also, he was a man, the kind who never read manuals or  labels or asked for directions. Never. To be scrupulously honest,  I don’t know what “permanent press” means except it has something to do with often reducing some of my favorite skirts and shirts to napkin-sized deformities. But back when I was pretending to be a grown-up – for a whole year at home with Sophie – he didn’t do the laundry. I did. All the clothes were safe. And so was I. This is not to suggest that I’m dangerous now, but, I am, as earlier noted, on the verge.

In spite of my safe clothes and my sensible job, Bonnie wasn’t impressed with me. Mortified and avoiding eye-contact with her, I handed over my wailing, flailing girl, and she would try to placate me with reassurances that Sophie would be just fine as soon as I was out of sight. If only I would just leave . . . Although she had to say it three times,  Bonnie showed amazing restraint and never once rolled her eyes as I stood there wild-eyed and fretting about the impending separation from my daughter.  I know, I know I was irrational to expect that Bonnie would spend hours staring – as Madonna (mother of Jesus, not of Lourdes) – at my beautiful girl and cheering with delight and recording on film and in writing when she did something for the first time. Anything. I was mad and sad that I would miss the first time Sophie watered a plant in the school garden or cracked a nut – this was a thing in her Montessori classroom – or completed a puzzle. I would miss telling her father,  my parents, my friends – just falling short of alerting the media – about any time she had experienced another developmental milestone  like that time she had spoken her first word – daddy –  or clapped her hands for the first time – for daddy –  or let go of my hand and stood straight like a little warrior to my ovation, “Sophie’s standing! Sophie’s standing!”

I was jealous  that it would be the magnanimous Bonnie – not me – who had the magic trick to distract my inconsolable daughter and make the damn crying stop. Walking away from my little girl writhing in the arms of “the other woman,” cleaved me in two. I’d pretend to leave, but instead I sat in the car with the air-conditioning on but also with the window down so I could continue to listen to the unmistakable sound of my child’s crying. I would wait until the wails gave way to worn-out sobs and when she finally stopped, I would reapply my makeup until my face matched the boring business suit and not even a  glimmer of guilt-stricken working mother remained. Meanwhile, all the other mother’s children were crying. It always amazed me that out of that early morning cacophony, each of us could pluck out the unique sound of our children’s specific anxiety. Mothers know the cries of their babies.

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Around this time, I discovered a book by Kathi Appelt. Like me, Appelt knew the anguish of leaving a child. She experienced it again when her son was 12 and going off to summer camp. Bracing herself for how she would feel as he prepared to go off to college and inspired by the lovely Sweet Sorrow in the Wind sung by Emmylou Harris, she wrote “Oh My Baby Little One.”

I found it on the discard table in a Borders when we still had a real bookstore where I could also get The Irish Sunday Times – on a Wednesday.

Every night, I read to Sophie the story of Mama Bird who reassured Baby Bird that every day when she was off at work, her love would still be with him. Magically, it would slip inside his lunch box or sit on his shoulder during playtime or nestle on his pillow at nap-time. At the same time, it would curl around Mama Bird’s coffee cup as she went about her daily business.

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And every night, before closing the book and kissing her goodnight, I would ask Sophie, “Where’s the love?” and she would whisper as though it were a secret:

All around, mama. The love is all around.

How it eased those morning goodbyes with Bonnie and numerous other teachers throughout the years. And there were lots of them. Never satisfied with her teachers because they never seemed to understand that I was her first teacher and that I knew her best, we kept switching schools. By the time she was in 2nd grade, my daughter had become a veritable tourist in the public education system, hopping from school to school, becoming ever more resilient, while I kept searching for that one teacher who would change her life as Mr. Jones had changed mine.  That one teacher never showed up. 

I remember one summer she took a drawing class at a community college, and I remember watching from my car as she strode onto the campus to study art with students who were ancient – at least in their twenties. She was as tall as me but infinitely more brave. I knew she knew I was watching and waiting for her to turn around and wave. And she did. She never lets me down.  Kathi Appelt’s rhyming verse still sparkles:

So blow a kiss and wave good-bye –

my baby, don’t you cry.

This love is always with you

Like the sun is in the sky.

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Thus our days began,  each of us released to our respective distractions and mundanities, finding therein both delight and difficulty, the way we all do. Sometimes, in an unguarded moment at work, between emails and meetings, things that matter and things that don’t, I’ll wonder what she’s doing, and I’ll find myself smiling as I recall her as a three-year-old, fighting sleep with all her might and poring over Jane Dyer’s watercolor illustrations, searching for the love – a tiny red heart – so cleverly hidden on each page.image_3

And sometimes, I wish this book had been available to my own mother, given all the goodbyes and the sweet reunions we have shared at airports on either side of the Atlantic. I love that my baby girl knew that the love was all around long before Hugh Grant’s Prime Minister told us so in Love Actually.

In the end, if you’re looking for love, you are sure to find evidence of it at the airport, where those who stay and those who go are often telling the only truths that matter:

Whenever I get gloomy with the state of the world, I think about the arrivals gate at Heathrow Airport. General opinion’s starting to make out that we live in a world of hatred and greed, but I don’t see that. It seems to me that love is everywhere. Often, it’s not particularly dignified or newsworthy, but it’s always there – fathers and sons, mothers and daughters, husbands and wives, boyfriends, girlfriends, old friends. When the planes hit the Twin Towers, as far as I know, none of the phone calls from the people on board were messages of hate or revenge – they were all messages of love. If you look for it, I’ve got a sneaky feeling you’ll find that love actually is all around.

Happy Birthday, Sophie. It’s a privilege to be your mother.

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thanksgiving in the time of corona

26 Thursday Nov 2020

Posted by Editor in Art, Belfast, Christmas, Memoir, Photography, Saying Thank You, Thanksgiving, Van Morrison, Writers

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Amazing Grace, Annie Lamott, Astral Weeks, camera angles, christmas, gratitude, Happy Thanksgiving 2015, identity, immigration, Life Lessons, Memoir, perspective, photography, prayer, thanks, Thanksgiving, trees, Van Morrison, Words of Wisdom, Writing

Almost a decade ago,  I enrolled in a college photography class. Not a bucket list kind of thing by most standards, but it was something I had been meaning to do for thirty years.  I had never been able to find the time for it, always too busy being busy and bemoaning the pace of life as a woman trying to play equally well the roles of mother, wife, daughter, sister, best friend, teacher. At the same time, I had also been waiting for Tom Petty to show up on my doorstep and beg me to be one of his Heartbreakers.

A dear friend signed up with me, and we were like teenagers competing for an “A” from the photography teacher, a badass with a Nikon. Like me, she had breast cancer and neither time nor patience for pink ribbons. Less technician than artist, she had a penchant for Photoshop and its post-processing capabilities that she knew would made us look competent.  Her dead-pan dead-on sense of what was important inspired me to do my homework and never to miss a class. Even as she bristled at our predictable photographs shot straight-on, she would remind us, with a sigh, that “photography is just light” – it’s just light, and we just needed to find it and appreciate it when we did. It was “writing with light.”

I saw magic in it, and I wanted to be good at it, to take the kinds of photographs Amyn Nasser talks about:

I believe in the photographer’s magic — the ability to stir the soul with light and shape and color. To create grand visual moments out of small and simple things, and to infuse big and complicated subjects with unpretentious elegance. He respects classic disciplines, while at the same time insists on being fast, modern and wild.

Determined that we would create such moments in our often pedestrian pictures, she assigned as homework the week of Thanksgiving, a “prepositional scavenger hunt” that required us to shoot from various angles – against, across, beyond, beneath, around, behind, below, between, inside, outside, on top of, toward, through, upon . . . So it was that on a Thanksgiving afternoon, I found myself wandering the grounds of the Arizona State Capitol, eventually pausing beneath a canopy of shimmering green and pink.

I have no idea how long I sat there, looking skyward and thinking, but it was long enough for prepositions and perspectives to give way to gratitude and grace –  Amazing Grace –  and thoughts of Van Morrison in full flow at The Hollywood Bowl, mystifying me the way he used to do before he became dangerous, denying the COVID-19-pandemic that has left so many families grieving the loss of loved ones this Thanksgiving, contradicting doctors, and protesting the protocols that prevent him from performing and making people sick.  For just a moment this morning, I’m remembering Morrison when he was merely grumpy and not as dangerous as Donald Trump. For just a moment, I’m remembering the beautiful Astral Weeks/I Believe I have Transcended, a song he once described as “one where you can see the light at the end of the tunnel.”

In the spirit of the holiday, I could maybe say that Thanksgiving has something to do with that moment of transcendence among the trees in Arizona as I gazed up at those shimmering leaves. But that would not be true. Even after living an American life for over thirty years, the celebration of Thanksgiving does not come naturally to me. Some of my American friends are still surprised when I tell them there is no such holiday in Ireland, that Christmas is the holiday that warms us. Thus, I know whereof she speaks when Carole Coleman, an Irish woman living in America, apologizes to her American family and friends,

. . . we will be doing the turkey thing all over again five weeks from now.

It was something else. Looking up and losing track of time that November afternoon, I think I found my footing once more. I saw the light, I suppose, and the kind of gratitude Annie Lamott describes in her Help, Thanks, Wow: The Three Essential Prayers:

Thanks is the prayer of relief that help was on the way, that either the cavalry arrived, or that the plates of the earth shifted and that somehow, you got your sense of humor back, or you avoided the car that was right in front of you that you looked about to hit.

And so it could be the pettiest, dumbest thing, but it could also be that you get the phone call that the diagnosis was much, much, much better than you had been fearing. And you say the full prayer, and its entirety, is: Thank you, thank you, thank you, thank you, thank you. But for reasons of brevity, I just refer to it as Thanks. It’s amazement and relief that you caught a break, that your family caught a break, that you didn’t have any reason to believe that things were really going to be OK, and then they were and you just can’t help but say thank you.

Thank you – a powerful phrase that often goes unsaid right when we need to hear it the most, especially during a pandemic.


There’s a lovely minute or two in the Irish film, “Waking Ned Devine,” that never fails to remind me of this. The hapless Lottery official has just arrived unannounced at Ned Devine’s funeral, right when  Jackie O’Shea is beginning the eulogy.  Always quick on his feet – and realizing his scheme to cash in on Ned’s winning lottery ticket is about to come crashing down – Jackie pauses. He looks over at his best friend, Michael O’Sullivan, who is posing as Ned, and as an easy smile spreads across his face, he looks out into the congregation and delivers this:

vieilles-canailles-1998-14-g

As we look back on the life of . . .

Michael O’Sullivan was my great friend. But I don’t ever remember telling him that. The words that are spoken at a funeral are spoken too late for the man who is dead. What a wonderful thing it would be to visit your own funeral. To sit at the front and hear what was said, maybe say a few things yourself. Michael and I grew old together. But at times, when we laughed, we grew young. If he was here now, if he could hear what I say, I’d congratulate him on being a great man, and thank him for being a friend.

This year, Rabbi Bentzy Stolik tells his congregation in Olney, Md, to start each day by getting “on the treadmill of gratitude.” In these times, when we are replacing all the known ways with new routines and rituals, showiong appreciation is more important than ever.

Thank you, my friends.

Happy Thanksgiving to you and yours.

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P.S. Thank you, Seamus Heaney.

30 Sunday Aug 2020

Posted by Editor in A Poem for Michael and Christopher, Act Two, Door into the Dark, Postscript, Seamus Heaney, The Underground

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Fifth Anniversary of Heaney's Death, Irish DIASPORA, Noli Timere, Seamus Heaney, The Underground, Van Morrison

Whether it be a matter of personal relations within a marriage or political initiatives within a peace process, there is no sure-fire do-it-yourself kit. There is risk and truth to yourselves and the world before you. And so, my fellow graduates, make the world before you a better one by going into it with all boldness. You are up to it and you are fit for it; you deserve it and if you make your own best contribution, the world before you will become a bit more deserving of you.

~ From his remarks to the University of North Carolina at Chapel Hill graduates, May 12, 1996


Dear Seamus,

Seven years since you left us, I want you to know your poems are still with me, showing up like true friends to catch my heart off-guard and blow it open. I never had the chance to tell you in person how much I loved the words that scored so many episodes of my life.  So it is in a recurring and imaginary conversation, that we are standing at the bus-stop down the road from Barney’s Forge. It has begun to rain and the 110 bus is late. I’m glad. All “happed up” in your duffel coat, you – our Laureate – remark on the drizzle. Colloquial, you remind me of the way my father speaks. I agree and, before it is too late, I find inadequate words to thank you . . .

. . .  for every time I was braver and bolder because of something you had written; for the way you schooled me to love from afar the language and the graveled lanes of Castledawson and Bellaghy;  for showing me how to “credit marvels” in the unlikeliest and smallest of  things; and, for nudging me to set down words on a page or light up a screen with them, so I might one day be able, “to see myself, to set the darkness echoing.”

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Ma’s Bookshelf – By Sophie

In the very worst of times, cleaved in two by loss, I turned to you because only your words worked  – certain and sure. I remember when you died, we were all a bit lost, struck by a collective realization that only you would be capable of producing the words that would even begin to assuage Ireland’s sorrow over your passing.  Somebody even said that your death left a breach in the language itself. Only you. You always had the right word right when I needed it, when I was caught again in limbo – Incertus – between faith and doubt, a rock and a hard place, fear and wonder, magic and loss – like Van Morrison’s dweller on the threshold.

If you have the words . . . there’s always a chance that you’ll find the way.

This morning,  I am pulled back again to “The Underground.” It has always been one of my favorite – all the more since finding out it was a favorite of yours too and that back in 2009, when asked to choose a poem or two that would exemplify your lifetime achievement in poetry, ‘The Underground” was one of them.

The Underground

There we were in the vaulted tunnel running,
You in your going-away coat speeding ahead
And me, me then like a fleet god gaining
Upon you before you turned to a reed

Or some new white flower japped with crimson
As the coat flapped wild and button after button
Sprang off and fell in a trail
Between the Underground and the Albert Hall.

Honeymooning, moonlighting, late for the Proms,
Our echoes die in that corridor and now
I come as Hansel came on the moonlit stones
Retracing the path back, lifting the buttons

To end up in a draughty lamplit station
After the trains have gone, the wet track
Bared and tensed as I am, all attention
For your step following and damned if I look back.

You never looked back.

When I heard that your final words were in the form of a text to your wife from your hospital bed, I thought of your Orpheus in the Underworld and the Latin you loved:

Noli Timere.

Just two words from an ancient world illuminating a tiny dark space – “Be not afraid.”

No longer the shy and fretting young poet who signed his first poems Incertus, you left what was needed –  simple and spare, a forward-looking reassurance. As you had told us once before, that “it is important to be reassured.”

Thank you, Seamus.  I am reassured and looking forward. I am  walking on air.

For that, I am forever in your debt.

Codladh sámh.

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For Bob Dylan on his Birthday – in Black & White

24 Sunday May 2020

Posted by Editor in Aging, Art, Bob Dylan, Daniel Kramer, Dispatch from the Diaspora, It's Not Dark Yet, Michael Gray, Photography, Positively 4th Street, Street Legal, Tangled up in Blue, Where Are You Tonight? Subterranean Homesick Blues

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"Where Are You Tonight?", Bob Dylan, Bob Dylan's 75th Birthday, Daniel Kramer, Dylanologists, Mavis Staples, Michael Gray, Not Dark Yet, photography, Slane Castle, Street Legal, The Grateful Dead, Tom Petty, Van Morrison

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Bob Dylan has always been almost as old as my parents. He has also always been forever young, staring up at me from the cover of  a book that has graced my coffee table for decades.

When was it when a Dylan song first mattered to me? I can’t be sure, yet I can’t remember a time when it didn’t, a time when I wasn’t tangled up in blue.

Maybe it was in the Spring of 1979, when my high school English teacher let me borrow his Street Legal LP, an album that was crucified by a handful of critics considered more qualified than I to measure the success of a Dylan song. (Not pioneer of Dylan studies, Michael Gray, mind you, who writes that it is “one of Dylan’s most important and cohesive albums . . . of astonishing complexity and confidence delivered in one of Dylan’s most authoritative voices.”) Granted, he points out that it was badly produced, but that doesn’t matter to me.  What matters to me and anyone else who has ever missed someone – or something – is “Where Are You Tonight?” It remains a staple in the soundtrack of my life. We all have one.

But without you it just doesn’t seem right.
Oh, where are you tonight?

“Hey, hey, HEY, hey.”

Where are you tonight? 

https://youtu.be/FgbsvGUW27Y

Picturing the picture on the cover of the Street Legal album, it occurs to me that this was the first time I considered Bob Dylan in color. Until then my idea of him was monochromatic, an iteration of the Dylan we know from the “Subterranean Homesick Blues” video – forever flippant, flipping over his cue cards, dropping them in the alley. Deadpan.

Laid Off. Bad Cough. Paid Off. And, finally – naturally – What?? 

What??

Always on the road, heading for another joint.

That’s what. That’s why. 

During one of my first summers in the United States, one of my American cousins took me to Buffalo to see The Grateful Dead open for Tom Petty and Bob Dylan.  In color. Previously, I had seen Dylan perform at Slane Castle in Ireland in the summer of 1984 –  a mighty performance with Santana and  Van Morrison. But this was different. This was as American as the idea could be. Deadheads. Tie-dye. Weed. The Wave. This was the Fourth of July.  “It doesn’t rain on the Fourth of July!” Bob Weir told the crowd, and like poetry,  the heavens opened. This was Positively 4th Street (What??) and I loved it.

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As a going away present, my cousin later gave me the coffee table book. Published in 1967, it is a collection of photographs by Daniel Kramer. Black and white, these indelible images taken over a period of two years, reveal the young man Kramer characterizes as someone “who set his own marks and did not allow himself to be manipulated.”

Gentlemen, he said
I don’t need your organization, I’ve shined your shoes

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For Kramer, Dylan was “someone worth photographing,” someone worth seeing from different perspectives. For me, Dylan is someone who forces you – without telling you – to shift a little in order to see better.  Thus we find him perched on a branch in a tree or in an alleyway in London or Stuck Inside of Mobile. Or in the falling shadows.

Photography is just light, of course, and the good photographer will always find the right light. It is writing with light. As Amyn Nasser describes there is a kind of magic in this

. . . ability to stir the soul with light and shape and color. To create grand visual moments out of small and simple things, and to infuse big and complicated subjects with unpretentious elegance. [The photographer] respects classic disciplines, while at the same time insists on being fast, modern and wild.

Yes, the ability to stir the soul, to see things right in front of us and into the empty spaces between them. Also a welder, the self proclaimed song and dance man makes gates out of vintage iron and scrap metal items such as spanners, chains, and car parts and axes. Some include reminders that he is also a musician – a treble clef or a guitar. Born and raised in iron ore country in Hibbling, Minnesota, Dylan writes in Chronicles, that he has always worked with iron in one way or another. Paul Green, the president of the Halcyon Gallery in London – which first showcased Dylan’s iron works explains, “He’s drawing from an industrial past, a working man’s past . . . It’s partly about looking back but it’s also about resurrecting these items and the physical act of putting these objects together.”

Why do gates hold such appeal to Dylan? He says it’s “because of the negative space they allow. They can be closed but at the same time they allow the seasons and breezes to enter and flow. They can shut you out or shut you in. And in some ways there is no difference.”

Bob-Dylan-674-x-280

What??

Because something is happening here
But you don’t know what it is
Do you, Mr. Jones?

Something is happening here, and Bob Dylan doesn’t have the answers either. We won’t see him on tour for a while. On the road almost continuously since 1988, he has canceled the summer leg of the “Never Ending Tour,” his representatives saying it will resume once they are confident that it is safe for both fans and concert staff to do so. The coronavirus may have altered his touring plans, but Dylan has been busy. Over the course of a month, he has dropped three original new songs, the most recent with an announcement that he is releasing a new album on June 19, Rough and Rowdy Ways. This flurry of activity began on March 27 when a new song, a 17 minute rumination on the assassination of President Kennedy and America and music,  “Murder Most Foul,” arrived unexpectedly at midnight  with a Tweet from Dylan:

Greetings to my fans and followers with gratitude for all your support and loyalty over the years. This is an unreleased song we recorded a while back that you might find interesting. Stay safe, stay observant, and may God be with you.”

And, back to black and white . . .

Of course we found it interesting, the timing of its release in the middle of a pandemic that continues to upend national and cultural life with the Covid-19 death toll this Memorial Day weekend hovering close to 100,000.  We may not yet know the full social, cultural or political legacy of the coronavirus, but we know that part of it will be the incalculable loss spread out before us on the front page of the New York Times today. In black and white, the names of a thousand people who were known and who leave behind the people who miss them terribly, and who in the middle of their grief, had to pluck just the right detail from a whole life to include in an obituary that might just help the rest of us ‘know’ their loved one as more than just a number. In black and white before us a list of deaths that could fill ninety-nine more pages today.

I find myself recalling a hot monsoonal night in the summer of 1988, when I saw Dylan play at the amphitheater in Mesa, Arizona. Lightning struck during his performance “Mr Tambourine Man.” Of course it did. At the time, a recent immigrant to the United States, those were days of wonder for me, days before we worried about what waited around the corner – before we were observant, before we knew better.

As easy it was to tell black from white
It was all that easy to tell wrong from right
And our choices were few and the thought never hit
That the one road we traveled would ever shatter and split

On your birthday – and every day, Bob Dylan – may you stay safe, stay observant, and may God be with you.

 

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Yvonne writes a fortnightly column for her hometown newspaper, The Antrim Guardian

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© yvonnewatterson.com Writing by Yvonne Watterson and Yvonne Watterson and Time to Consider the Lilies & Lessons from the Field, (Considering LIlies & Lessons from the Field) 2011-2020. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and owner is strictly prohibited. Unless otherwise attributed, all blog contents and original images are created by and are the sole property of Yvonne Watterson, author, photographer, and blog administrator. Excerpts and links may be used, provided that full and clear credit is given to Yvonne Watterson and Time to Consider the Lilies & Lessons from the Field with appropriate and specific direction to the original content. Writing by Yvonne Watterson participates in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn commissions by linking to Amazon. This means that when you buy a book on Amazon from a link provided on this site, I receive a small percentage of its price.

The Lilies at Rideau Hall, Ottawa, Canada ~ photograph by Ken Kaminesky .

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From there to here . . .

Yvonne hails from Antrim, Northern Ireland, and has lived in the desert southwest of the United States for almost thirty years. Married, with a daughter who is navigating her path through the "teen tunnel," and a haughty cat, Atticus, she has spent the better part of the last three decades in the classroom as a student, teacher, and administrator. Her mid-life crisis came as a sneaky Stage II invasive breast cancer diagnosis which subsequently sent her to the blogosphere where she found a virtual home away from home . . .
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