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Archive for October, 2009

One of the pleasures of buying work from beginning artists is watching them fulfill their potential. Last January, I saw enough promise in John Wilson’s work to buy one of his masks. Now, in masks like “Shaman and His Helpers,” his work has reached its first maturity.

Compared to most of Wilson’s earlier works, “Shaman and His Helpers” is a busy piece, both in subject and execution. It benefits, too, from Wilson’s study of traditional masks through pictures, the most obvious benefit being the use of eye holes instead of painted irises and pupils.

The mask depicts a shaman and his spirit helpers. One of the spirit helpers sits in the shaman’s mouth, as though resting after a long climb up his esophagus. The other sits in the middle of his forehead like a frontlet. Both these positions suggest that the helpers are indicators of the shaman’s true nature.

The helpers look more or less human, but the one in the mouth is in a vaguely frog-like position, while the one on the forehead is round enough to be a moon. While the shaman’s eyes are narrowed as though he is entering a trance, both helpers have closed eyes, as if asleep or focusing inwardly.

One way or the other, you sense, the shaman’s and the helpers’ eyes are going to be in the same state shortly: Either the shaman is about to enter their world of perception or else the spirits will come into his. No matter which happens, the result is a mask of a half-realized transition.

Interestingly, too, the spirit on the forehead is painted similarly to the shaman, while the spirit at the mouth is left unpainted. That may be an artistic decision made because any paint would be overwhelmed by the red of the shaman’s lips. But the effect is to suggest that the spirits are in some ways opposite.
Are the spirits different aspects of the shaman’s nature? Or perhaps the helper in the mouth is unrevealed, a creature of the dark, and the moon-like one on the forehead is a creature of light? At the point portrayed in the mask, they do not seem at odds, so perhaps they are opposites needed for balance and insight. Whatever the case, a moment of magic and transition is depicted.

The awe of the moment is heightened by the design of the mask. Tall, thin masks are common in the northern tradition, but in this case, the physical dimensions suggest a lean asceticism that seems fitting for a shaman. This asceticism is heightened by the high cheekbones and the deepness of the eye sockets near the nose, which suggest that the shaman might have been fasting. The black eyebrows reinforce this sense of gauntness, especially in a bright light that emphasizes the cheekbones and eye sockets.

At the same time, the mask carries a hint of menace or pain. Especially from a distance, the hands of the spirit in the mouth suggest fangs. Similarly, the unusually bright red used in the mask leave a half-unconscious impression of blood, as though the shaman’s trance is accompanied by a nosebleed and his biting of his own lip. Or perhaps the redness of the lips suggests that the shaman is giving a sort of birth to the spirit clinging to his lips. The suggestions are understated – there are no blatant riverlets of blood trickling from the nostrils or down the chin – but they are only more effective for being subtle.

And always the grain, which Wilson has carefully matched to the contours of the face, stands out, suggesting a movement or fluidity just below the skin. Influenced by his teachers at the Fred Diesing School, Wilson has always shown an awareness of the grain as a finishing detail, but here that awareness is not just a reflection of technical skill, but also an addition to the design.

When this mask first went on the market, I missed the chance to buy it, and cursed my slowness to make a decision. Luckily for me, the first owner changed their mind, and I was able to buy it after all. The more I study “Shaman and His Helpers,” the more I think it is Wilson’s best mask to date. At the same time, knowing that he is a constant carver and likely to have decades to continue his learning of his craft, I can’t wait to see what levels he will reach next.

shaman-and-helpers

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Because I have been in business for myself during much of my adult life, people occasionally call me an entrepreneur. They mean it for a compliment, so I try to hide the fact that I consider the term an insult.

I can see why they might apply the term to me. I’m rarely at my best in a 9 to 5 job, and I maintain a sole proprietorship called Outlaw Communications that I occasionally remember to declare my GST on. Once or twice, I’ve even created jobs by sub-contracting.

Still, there is a fundamental difference between an entrepreneur and me. An entrepreneur is someone who wants to accumulate money or power, a whole-hearted participant in the game of capitalism set on building their own empire – if only so they can take early retirement. But I’m none of those things.

By contrast, my attitude is that of a bourgeois intellectual. Although I see no nobility in poverty, and don’t object to having a good year for income, I am not especially concerned with accumulating money. My ambition in those directions extends only so far as being comfortable, and having a good chance to be as comfortable as I am now in the future.

As for power over people, while I mildly prefer it to them having power over me, who needs the responsibility? I am far more interested, too, in interesting work now than in early retirement – especially since, if I worked hard enough to take early retirement, I probably would forget how to enjoy it anyway.

Besides, having survived on the outer edge of academia for years, I am full of anti-capitalist sentiment. Accumulating privilege seems a ridiculously trivial way to spend my time when there are so many books, films, songs, and pieces of art to appreciate – to say nothing of exercise, conversation, and food. Why make the effort, especially when it is so soon forgotten? Andrew Carnegie and John Paul Getty may have been known in their times, but their names are only half-familiar at best today.

Consequently, I have a hard time understanding in my heart of hearts why a grown adult would be pleased to be called an entrepreneur, or imagine that I would be. Taking on that role seems to involve an obsession with the banal, and a deliberate decision to ignore most of what makes life worth living while getting nothing worthwhile in return.

Frankly, the idea of being an entrepreneur bores me. As for being called one, why would I pleased that someone considered me so shallow?

This attitude, no doubt, explains why I will never be rich. But, please, don’t strain my manners by calling me an entrepreneur. I aspire to better things than that.

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This afternoon, I heard Tlingit artist Nicholas Galanin speak at the Bill Reid Gallery. His talk was my first prolonged exposure to concept art applied to Northwest Coast art. I came away stimulated, but not particularly sympathetic to the effort.

Galanin is the latest of several generations of artists, and has done some jewelry in the traditional style. However, at least for the time being, he is not especially interested in traditional art or culture. He talked about traditional art as being confined by the stereotypes imposed by a romantic view of first nations, and – rather tellingly – could not tell where he obtained a traditional song he used in a video, even though in coast cultures, rights in songs and their performance can be important pieces of property. [Note: Both Galanin and Sonny Assu tell me that it was not the traditional song whose source Galanin didn’t know, but a hiphop song that was part of the same work. See the comments below. I apologize for the error].

Instead, Galanin is more interested in exploring the First Nations as another ethnic minority within the dominant culture – in particular, how coastal images are bastardized and exploited by cheap imitations made in Asia for the tourist trade in the Northwest Coast. He discussed, for example, a series of masks he made out of pages of the Bible, talking about how he found it appropriate that the holy book of Christians, who suppressed shamanism, should be converted into a shaman mask. Galanin also talked other paper masks he had made and how they were masks by a first nations person that showed no signs of first nations culture.

Other projects he discussed involved embedding tourist-trade masks in a wall covered with wallpaper that depicted idealized pictures of 19th century life and another in which the same type of masks were covered in Chinoserie. In a pair of videos, he had a traditional dancer (or an approximation of one) and a modern dancer moving to the same traditional song. In yet another series of work, he gave his version of the highly idealized photos of Edward Curtis: naked women with masks added in a graphics editor.

Meanwhile, ten meters from the podium where he stood was his contribution to the Bill Reid Gallery’s Continuum show: A version of Bill Reid’s “Raven and First Men” rendered by a chainsaw. Galanin was seeing his version of the famous sculpture for the first time, because he had outsourced the work – as he does much of his work.

The outsourcing is a commentary on commercialism, but I also had the sense that for Galanin what matters is not the actual work so much as the concept. Apparently, he sees his role as that of impresario, rather than as an artist who necessarily creates works with his own hand.

Having been a grad student in an English department of a major university, I am tolerably well-versed in such approaches to art. Nor do I find anything in Galanin’s social commentary with which I disagree.

But I wonder if I am missing something, because I have never found this kind of concept art very compelling.

For one thing, it seems to have little room for something that is central to my own appreciation of art – the enjoyment of craft, of sheer artistic excellence. Part of this lack may be that it does not delve deeply into tradition, so it has no standards to judge skill by. But the major reason for the lack seems to be that, when you are making a comment, craft becomes unimportant or perhaps a distraction.

Moreover, when you are commenting on commercialism, too much craft is probably out of place. If anything, your message is stronger if an object shows a lack of craft.

This situation helps create another problem: most concept art, including Galanin’s, is like a symphony of a single note. If your ideal is the “well-made object” of Bill Reid’s aesthetics, then viewers can return to it many times, and even discover something new after the first viewing. In comparison, concept art seems simple and to offer few reasons to return to it. Once you have grasped the message – which is often simple enough that you can reduce it to a single sentence, or at least a rather short paragraph – nothing is left to appreciate. Concept art seems to be unambiguous and unsubtle by nature, and, consequently, not very interesting.

In this respect, it is interesting to compare Galanin’s chainsaw Bill Reid knockoff with Mike Dangeli’s ridicule mask, which is also in the Continuum show. Where Galanin’s “Raven and the First Immigrants” seems one-dimensional, Dangeli has reached into his cultural history to bring an old concept into the future: just as the ridicule masks of the past were public announcements of a wrong, so Dangeli’s is a declaration of the wrongs suffered from the first nations. Dangeli’s mask is every bit as social or political as Galanin’s sculpture, but where Galanin’s sculpture seems facile, Dangeli’s mask is ambiguous and complex. And I doubt it is a coincidence that Dangeli is throughly involved in preserving and reviving his culture while Galanin sounds like a typical deracinated intellectual.

But such issues are a matter of taste. Regardless of what I think of Galanin’s work, I have to admit that the very fact that it takes the form that it does illustrates the diversity of Northwest Coast art and proves it a living tradition. And that by itself, I suspect, is something of value.

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(The following is a handout from my days of teaching first year composition at university. It is meant to be a very basic introduction to the complicated study of logical fallacies. Anyone who finds it useful can reproduce it, so long as they give me credit for it)

For thousands of years, people have been cataloging invalid arguments. These are arguments are invalid largely because they are illogical. That does not mean that they cannot be extremely effective; the associational fallacy, for example, is the basis of a good deal of advertising. But the illogic does mean that they should not be accepted in an essay, which is meant to be the construction of a logical structure of ideas.

Over-Generalization:
Too large a conclusion is drawn from too specific evidence.
Example: Three regional airlines have just gone bankrupt, and many of the larger lines have discontinued flights on certain routes. The North American commercial transporta­tion system is in chaos.
Airlines are not the only form of commercial transportation, and bankruptcies and discontinued routes might not be enough to justify calling the result “chaos.”

Over-Simplification:
Too many considerations are left out for the conclusion to be valid.
Example: Getting a good grade in English is easy. All you have to do is write essays of the required length and repeat the teacher’s opinion.
Grammar and punctuation, structure, and even original thought are also factors in getting a good grade.

Either/Or:
Only two extreme positions are acknowledged, and no alternatives or mixed positions. Sometimes called “the excluded middle.”
Examples:
a.) America: love it or leave it (a statement made by political conservatives in the 1960s)
b.)What do you want: good grammar or good taste? (a slogan once used by Winston cigarettes)

You can criticize your country and still want to live there, and good grammar has no relation to good taste, so it can hardly be its opposite.

Post hoc ergo procter hoc (Latin, “after this, therefore that”)
Because one event occurs after another, it must be caused by the second event.
Example: I carry a gun so I won’t be robbed. It must work. After I was robbed a year ago, I started carrying a gun, and I haven’t been robbed since.
From this statement alone, you can’t be sure of any cause or effect. The speaker may not be going to the same parts of town as before, or maybe they have just been lucky.

Non sequitur (Latin, “it does not follow”)
No logic exists between two parts of an argument
Examples:
a.) “I made the decision myself, because if we listened to experts, we’d have a tyranny of expertise, and then where would we be?” (John Fraser, former Minister of Fisheries)
b.) “I couldn’t have kicked that girl to death. I wear soft shoes” (a murder’s explanation of why he was innocent)

Why should Fraser insist on making the decision when the whole point of experts is to have someone with advice worth listening to? Similarly, you can still kick with soft shoes – or even when you’re barefoot.

False Analogy
A poor choice of metaphors or of similar situations.
Examples:
a.) Some people cannot be educated. You can’t make a silk purse out of a sow’s ear.
b.) A well-run office is like a machine. You should be able to replace people without disturbing the office’s efficiency, just as you can replace a bolt or a gear in a machine.

You can’t make a silk purse out of a sow’s ear, because silk isn’t made of pigskin, but it’s not clear that people are that inflexible.
As for an office being like a machine, every organization has an informal organization that compensates for problems with the official organization. For instance, a receptionist may compensate for a company officer’s inability to keep to deadlines. Replace that receptionist, and the office may become disorganized.

Ad Hominem (Latin, “to the person”)
Attacking the person who holds the argument, not the argument itself.
Examples:
a.) People who complain about the conduct of Cabinet Ministers have a vested interest in attacking the government.
b.) Ignore what teachers tell you about writing. They’re all frustrated journalists and novelists who aren’t good enough to compete in the commercial market.

Both these statements may be true or false. But, either way, they do no mean that the attack isn’t valid or that their advice isn’t worth following.

Ad Populum (Latin, “to the population”)
An argument that appeals to popular prejudice or belief.
Examples:
a.) Canadians have worked too hard to see their jobs stolen by recent immigrants, or, even worse, to support them when they go on welfare or unemployment.
b.) Everyone is entitled to an opinion.

The first example tries to appeal to anti-immigration prejudice, the second to the popular wisdom of a cliché. Neither replaces a reasoned argument.

Associational Fallacy
A position is made attractive by who holds it – either a famous person, or people with desirable qualities.
Example: I have no crystal ball. But based on our previous mailings, I’m willing to go out on a limb and make a prediction –
Of all the people who receive this invitation, only a very special group will select accept.
You can easily spot them in any crowd. The young in mind, no matter what their age. Eternally curious. Open to new ideas. Alert to future possibilities. Those fortunate few who didn’t stop growing – intellectually – the day they left school. (a magazine subscription offer in the mail)

The implication is that, if you subscribe, you will prove yourself open-minded and curious, too.

Appeal to Authority
A position must be correct because of who holds it. Alternatively, some greater force such as God or a natural order may be mentioned. Note that this has nothing to do with citing who you got an idea from.
Examples:
a.) Biology is destiny. Women must be dependent on men.
b.) It is historically inevitable that capitalism give way to socialism.

Here, “biology” and “historical inevitability” are represented as greater than human forces with which no one can argue.

Circular Argument
An argument in which the first statement depends on the second, and the second on the first.
Example: There are no drafts of the last half of the poem because Shelley never finished it. If he had finished it, we would have had the drafts.
Besides being faulty reasoning in other ways (the drafts could have been lost), this argument simply goes round and round.

Dormitive Explanation
Similar to a circular argument, the second statement simply repeats the first one – bu tthe repetition is disguised because of a change in wording.
Examples:
a.) Opium puts people to sleep because it contains a dormitive principle.
b.) Ted Bundy killed young girls without remorse because he was a sociopath with a disturbed libido.

“Dormitive” is an adjective that refers to sleep, and a sociopath does things without remorse.

Value Judgment
A position is attacked or defended because of its moral or ethical qualities.
Examples:
a.) That is an evil position to hold.
b.) My plan is simply common sense.

Arguments are supposed to be about logic. The morality or ethics of them are irrelevant.

Equivocation
A word or phrase is repeated, but with a different meaning each time.
Examples:
a.) The law is clear on this point. You can’t argue against it any more than you can argue against the law of gravity.
b.) Since evolution is just a theory, my theory about the origins of life are just as good as any biologist’s.

You can’t argue against gravity because it is a description of how the universe works, but the laws of a country are made by humans and regularly argued. Similarly, a theory is just below a law in science – a position that best explains the evidence – while a “theory” in ordinary conversation is just an opinion.

Confusion of Logical Types
A logical type is a level of organization. For example, a body is of a higher logical type than an organ like the liver, and an organ is of a higher logical type than a cell. You cannot compare or contrast different logical types because they create the absurdity of the parts of something being discussed as equal to the thing itself.
Example:
a.) The needs of the individual are more important than the needs of society.
b.) Ignore the details and concentrate on the larger picture.

Give too much priority to either the individual’s or society’s needs, and you are likely to have trouble. In much the same way, the larger picture is composed of details, so you cannot ignore them.

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I’m not looking forward to the 2010 Winter Olympics in Vancouver. I never watch sports, and I’m concerned about the costs, traffic, and the virtual declaration of martial law during the games. The fact that I once dreamed of being in the Olympics myself only makes me angrier at the travesty that they have become.

Still, I could almost reconcile myself to the games for the sake of all the First Nations art commissioned for them. Some of that art was on display this weekend at the Aboriginal Art Exhibition at Canada Place this weekend, and I thoroughly enjoyed it – even if the lack of organization at the event seems ominous if it is a foretaste of how the games themselves will be run.

Being appreciative of the commissioned art is something you can file under No-Brainer. I mean, what’s not to like about the art? There’re medals with Corrine Hunt designs, commemorative coins by Jody Broomfield. The snowboarding pavilion at Cypress Bowl will have a wall graced with a new work by Dean Heron. GM Place will have a new work by Alano Edzerza, Nat Bailey Stadium a new work by Aaron Nelson-Moody, and the list goes on and on.

After fumbling badly by making the symbol of the game the inukshuk – a symbol that has nothing to do with British Columbia, much less Vancouver – the games organizers have had the sense to commission locally, focusing on less established artists and on members of the Salish nation, whose territory the Vancouver venues are on. I understand that some 45 works of public art will be added to the Lower Mainland as a result of the games, and I consider that an unalloyed good.

Sadly, though, the Olympic organizers fumbled again in their first efforts to bring most of these works to the public. The display was almost completely unpublicized except for newspaper stories just before the event and some Internet transmission. Even then, it was called an exhibition, so that most people arrived unaware that most of the work on display was for sale – an oversight that bitterly disappointed the artists who had taken tables and paid the exorbitant prices charged for parking at Canada Place.

Even worse, the management of the event was haphazard. I heard artists complain that they were unable to set up for credit or debit cards, and the rumor was that the one bank machine in the exhibit hall required a substantial surcharge to use.

And perhaps the worst thing was that, in order to fill up the hall, the organizers seem to have let anyone exhibit who cared to pay for the table. As a result, many tables displayed tourist junk that did not belong in the same exhibit as the commissioned artists.

For me, the incompetence of the organizing was summed up by the sight of two singers on the stage gamely belting out songs to rows of empty chairs, and a snack bar that had closed down at least two hours before the end of the show. Meanwhile, the exhibitors were strolling around talking to each other.

Such poor planning undermines the celebration of the artists. My impression is that the exhibition organizers couldn’t have cared less if the artists were treated with respect.

Perhaps the organizers can learn, but if this is how they put on such a relatively small event, then we should expect chaos during the games themselves. I might be lured downtown to see the aboriginal market at the Queen Elizabeth Theatre, but I, for one, plan to spend the three weeks of the games bunkered down safely in Burnaby, far away from the insanity.

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This Facebook meme sounded interesting, so I decided to take the time to answer it:

***********FOODOLOGY******
What is your salad dressing of choice?
Oil and vinegar. They not only enhance the taste without smothering it, but they are low-fat.

What is your favorite sit-down restaurant?
Well, it has to be a sit-down restaurant, because I don’t touch fast food. I like Rasputin’s (although I have to be careful not to have too many different types of dumplings and ignore all the other choices), and the Afghan Horseman. When I’m in Dunbar, I like to treat myself to vegetable pakora and buttered chicken at Handi. And give me any Greek restaurant and I’ll be happy.

What food could you eat every day for two weeks and not get sick of?
I have a bagel from Solly’s every morning for breakfast. They are real bagels, not pieces of bread shaped like bagels, and they have enough variations that I never tire of them.

What are your pizza toppings of choice?
Spinach, capicolla (provided it’s the real thing and not just ham covered with pepper), Gorgonzola and any cheese besides mozzarella. But the crust is just as important; give me a dry oven-baked one or I’ll pass.

What do you like to put on your toast?
Butter, and nothing else.

***********TECHNOLOGY*****
How many televisions are in your house?
One – and I feel a little ashamed of that, so it’s hidden in a cabinet. But I’m not going to sit at my computer desk to watch DVDs. I spend too much time there already.

What color is your cellphone?
I don’t carry a cell phone. If I’m out doing errands or wandering, that’s my own time, and I don’t care to be disturbed. I figure that very few things will be so important that they can’t wait for a few hours.

Do you have an iPod?
No. iPods don’t support the free (and superior) Ogg Vorbis format. Besides, the Sansa players have more features and better sound quality for a much lower price.

***************BIOLOGY****
Are you right-handed or left-handed?
Left. I figure that this simple fact gave me a head start at independent thinking. When you’re left-handed, you learn early to translate physical instructions so that you can do them.

What is the last heavy item you lifted?
The new stacked washer and dryer – although I suppose it was more of a drag than a lift.

Have you ever been knocked unconscious?
No, although I felt as though my whole skeleton shook a couple of times when I was tackled while playing high school rugby.

********BULLOLOGY******
If it were possible, would you want to know the day you were going to die?
Not really. I probably wouldn’t believe the prediction anyway. Or, if I did, it would become a self-fulfilling prophecy, because I’d be defiant and get careless.

If you could change your name, what would you change it to?
I’m used to the name I have, for better or worse, and couldn’t be bothered. But, if I did change it, I would find something that allowed for lots of variations so I would have a choice.

Would you drink an entire bottle of hot sauce for $1000?
Yes, diluted 2:1 in water.

**************FAVORITOLOGY****************
Season?
Mid-spring and early autumn. The temperatures are decent without being uncomfortable, and I like the signs of change.

Holiday?
My birthday or my partner’s, because we try to do some thing interesting and go out to dinner.

Day of the week?
No favorites. Since I freelance, I work irregular hours and often work weekends or into the evening, so the days of the week don’t mean much to me.

Month?
May and September.

***********CURRENTOLOGY*****************
Missing someone?
I work from home. At times, I would even appreciate seeing anyone, just for a change.

Mood?
Pleasantly busy.

What are you listening to?
Ray Wylie Hubbard’s “Snake Farm” (it just sounds nasty).

Current worry?
What have you got? I have a well-developed imagination, so I can find half a dozen things to worry about before breakfast. I usually don’t let any of them get to me, though.

***************RANDOMOLOGY*****************
First place you went this morning?
To the bathroom to shave.

What was the last movie you saw?
I can’t remember (it’s been a slow year). But it probably would have been science fiction or fantasy.

Do you smile often?
Yes, if grinning counts. I grin when I’m enjoying myself, when I hear or see something I appreciate, when I’m nervous, and even when I’m angry. I have a different grin for each of these occasions.

***************OTHER-OLOGY*****************
How many pairs of flip flops do you own?
None.

Last time you had a run-in with the cops?
I keep away from cops. They’re like F. Scott Fitzgerald’s rich: they’re different from you and I, and I don’t approve of the difference.

Last person you talked to?
My partner, as she came in the door from doing errands.

Last person you hugged?
My partner.

Do you always answer your phone?
Yes, although I often hang up quickly if it’s someone trying to sell me something. I get calls from around the world, and I wouldn’t want to miss them.

It’s four in the morning and you get a phone call (or text message), who is it?
A wrong number, or someone with an emergency.

If you could change your eye color what would it be?
I would want my eyes to be greener than they are.

Do you own a digital camera?
Yes. I use it most often to take pictures of art for insurance purposes.

Have you ever had a pet fish?
No. I’m a parrot person.

Favorite Christmas song
I admire Sileas’ version of “Thomas the Rhymer” on “File Under Christmas.” If that doesn’t count, then something medieval and not often heard. I could list far more Christmas songs that I hope never to hear again.

What’s on your wish list for your birthday?
A new piece of Northwest Coast art.

Can you do push ups?
Yes, I do fifty every day unless I’m sick.

Are you excited or nervous about the future?
Neither. I can only do so much to influence it, so I cultivate a stoicness about the uncertainty.

Do you have any saved texts?
No.

Have you ever been in a car accident?
No.

Do you have an accent?
Yes. It’s a western Canadian accent with the vowels, combined with a mid-Atlantic accent picked up second hand from my father’s Yorkshire. The combination makes people very unclear where I come from; over the years, they’ve guessed Ireland, Iceland, and Jamaica.

What is the last movie to make you cry?
Can’t remember. I could tell you what music did, though.


Plans tonight?

I’ll do some more writing, eat, then watch one episode of “Primeval” and another of “Tru Calling.”

Have you ever felt like you hit rock bottom?
Yes, but I won’t talk about it here.

Name three things you bought yesterday?
Two 18 karat gold rings by Gwaai Edenshaw, spinach, and a tamale dinner special at a Mexican restaurant.

Have you ever been given roses?
Yes, by my partner on my 21st birthday.

Met someone who changed your life?
Dozens of people have introduced me to things I might never have discovered on my own. But I won’t mention the people who have changed my life for the worst because I won’t give them the satisfaction, and I won’t mention those who have changed my life for the better because I wouldn’t want to embarrass them.

Name two people who might complete this.
Who knows?

Would you go back in time if you were given the chance?
Without hesitation. The chance to see different periods would be irresistible to me. I wouldn’t want to see wars or great social upheavals so much as daily life. I’d like to do things like hear Samuel Taylor Coleridge deliver a lecture, or see the first performance of Shakespeare’s plays, or attend an Althing in early Iceland and the coronation of Charles II.

Do you have any tattoos/piercings?
No. Both are very permanent, and I would quickly get bored with them and regret them.

Does anyone love you?
I hope so, but that’s private.

Would you be a pirate?
Only if I could be one like William Dampier, the subject of “A Pirate of Exquisite Mind.” Dampier was a pirate who was also a naturalist, and a writer, and introduced a number of words into the English language.

What songs do you sing in the shower?
Well, it would be in the bath, and it would be whatever song I woke up with in my mind (I wake up with some song at least one day out of three, if not more often)

Ever had someone sing to you?
Only if “Happy Birthday” counts.

Have you held hands with anyone today?
No, although a parrot put two toes around my finger and held it there for a time.

Who was the last person you took a picture of?
Can’t remember, which tells you how rarely I do so.

Are most of the friends in your life new or old?
New.

What is one thing that scares you?
Not knowing what is happening, and being misunderstood. But both have happened often enough that I can live with them, even if I dislike them.

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The other night, I woke in the early hours to the sound of coyotes howling. The howling is a thin quaver that seems to rise slowly through the sky then disappear, and I can think of others sounds that I would prefer to awaken me. But, once awake, I lay on my back with my hands behind my head enjoying the eeriness and the thrill that fluttered through me. I hadn’t heard them in months, and I was starting to think that the local pack had moved on.

Probably, I am a minority in my enjoyment of coyotes. Many people call them vermin. Others are convinced that coyotes will drag young children away, although that has only happened once or twice. Still more are angry because their cats or lapdogs have become the snack for a pack – although the real blame lies with their own irresponsible treatment of their pets.
But I figure that you have to expect that the wilderness is going to creep in one way or the other in an urban area, especially one so full of parks and trees as greater Vancouver. And when you live hard against a green belt as we do, then inevitably the occasional cougar or bear is going to stumble into someone’s back yard. Compared to such visitors, coyotes make good neighbors, going about their business while causing a minimum of fuss.

I used to hear them frequently at night, answering the sirens trailing from the nearby fire station. Sadly, that ended when a patch of woods a couple of blocks away was replaced by condos. However, they are frequent in the daylight. Once or twice, I’ve seen half-grown ones partly concealed by the bushes, but the adults put on a bold front, making so little fuss about walking down the street that at first you think they are stray dogs. Once, I even saw one passing through the middle of our townhouse development, ignoring the people and mostly unnoticed.

Several times, too, I’ve seen them on the sidewalk, sitting waiting for the flow of vehicles to change with the traffic light. I suppose they are watching the vehicles, not the light, but sometimes I am not so sure. The few times I’ve made eye contact with a coyote – from a safe distance, let me assure you – I’ve wondered afterwards if it was a sentient creature evaluating the level of threat I represented. After those experiences, I’m not quite prepared to rule out the possibility that some of them know which light it is safe to cross the street on, even though they are presumably as color-blind as dogs.

Coyotes are not creatures of beauty. If anything, they are scrawny things, living lives of desperation. Still, I admire them for being a part of the wilderness that can adopt to the city. I sometimes think that urban life is an isolated one that leads everyone to imagine that they can control everything about their lives. As the coyotes slip from park to park throughout the urban sprawl, eating our garbage and denning in greenbelts in the ravines of creeks, they disprove such ideas with a quiet disdain.

Their continued experience shows that, no matter how we try to isolate ourselves, we cannot deny nature. Despite all the radical changes to their environment, despite the way they are hunted, coyotes still survive. And I, for one, appreciate their casual upsetting of all our assumptions about ourselves and our cities.

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