B.J. Titus started with one triangle and then randomly chose pieces from her stash of fabric scraps, and the quilt began to take on a life of its own. Random Acts of Piecing is akin to Random Acts of Kindness. Both are about mending and transforming fragments.
The Grout Monster came over before our open studio. She grouted pendants, picture frames and a house number with ease. Then came the sunflower. The GM removed the painter’s tape after grouting, revealing a berm around the edge. One petal reached past the others and broke through the berm, and she had the inspiration to begin carving the still malleable grout with a blade, tracing all the contours.
She thanked me when she was done. She had found it meditative. She asked me what mandala meant. It is a sacred circle.
Her stepfather had died that week, and she told me about asking the funeral director to put the chairs in a circle. This was the one thing she wanted, that her family could see each other and tell stories about her stepfather.
In her grief, she created intricate beauty, both in the honoring of her stepfather, and in delicately outlined petals.
This last strawflower in our garden caught my eye, as autumn fades, a beacon of hope in orange. My heart feels brittle like the dead leaves, with the grief of this world. To notice remnants of beauty is a hopeful act. To offer my sliver of beauty from my studio is what I will do right now, even as I continue to pay attention to the grief, to notice what I see and what I don’t see. Muriel Rukeyser’s poem the Ballad of Orange and Grape stays with me:
Ballad of Orange and Grape
After you finish your work
after you do your day
after you’ve read your reading
after you’ve written your say –
you go down the street to the hot dog stand,
one block down and accross the way.
On a blistering afternoon in East Harlem in the twentieth
Most of the windows are boarded up,
the rats run out of a sack –
sticking out of the crummy garage
one shiny long Cadillac;
at the glass door of the drug-addiction center,
a man who’d like to break your back.
But here’s a brown woman with a little girl dressed in rose
and pink, too.
Frankfurters frankfurters sizzle on the steel
where the hot-dog-man leans –
nothing else on the counter
but the usual two machines,
the grape one, empty, and the orange one, empty,
I face him in between.
A black boy comes along, looks at the hot dogs, goes on
I watch the man as he stands and pours
in the familiar shape
bright purple in the one marked ORANGE
orange in the one marked GRAPE,
the grape drink in the machine marked ORANGE
and orange drink in the GRAPE.
Just the one word large and clear, unmistakeable, on each
I ask him : How can we go on reading
and make sense out of what we read? –
How can they write and believe what they’re writing,
the young ones across the street,
while you go on pouring grape in ORANGE
and orange into the one marked GRAPE –?
(How are we going to believe what we read and we write
and we hear and we say and we do?)
He looks at the two machines and he smiles
and he shrugs and smiles and pours again.
It could be violence and nonviolence
it could be white and black women and men
it could be war and peace or any
binary system, love and hate, enemy, friend.
Yes and no, be and not-be, what we do and what we don’t
On a corner in East Harlem
garbage, reading, a deep smile, rape,
forgetfulness, a hot street of murder,
misery, withered hope,
a man keeps pouring grape into ORANGE
and orange into the one marked GRAPE,
pouring orange into GRAPE and grape into ORANGE forever.
Muriel Rukeyser, “Ballad of Orange and Grape” from The Collected Poems of Muriel Rukeyser. Copyright © 2006 by Muriel Rukeyser. Reprinted by permission of International Creative Management.
Source: Breaking Open (Random House Inc., 1973)