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The handing out of the roses

Posted in British Columbia, Bruce Byfield, Carol Young, Freda Diesing School of Northwest Coast Art, Personal, roses, Terrace, Uncategorized, tagged , , , , , , , on April 18, 2011| Leave a Comment »

Over the past weekend, I was in Terrace in northern British Columbia to attend the graduation ceremony and exhibition for the Freda Diesing School of Northwest Coast Art. I would have wrangled an invitation anyway that I could, because the art show is worth seeing, but fortunately I didn’t have to. I was invited to attend so that I could announce the Mature Student Award, and, just before I rose to spoke, a touching thing happened.

The award was started by me and my late partner, Patricia Louise Williams two years ago, after I noticed that many of the awards for First Nations carvers required that the recipient be under twenty-five. Knowing that older students give up even more than young ones when they return to school, and how much older students add to the class room, we decided that they deserved an award, too.

This year was the first time the award had been given out since my partner died and the award was listed as being in her honor. I knew, too, that Carol Young, last year’s winner, was going to give a eulogy for Trish – something I knew that I could not possibly do without becoming incoherent with tears. So I knew going into the graduation ceremony that my emotions would be running high.

Carol gave a brief speech that had me fighting to keep control. She spoke of Trish’s lifelong interest in Northwest Coast Art and of the crafts that she was always doing. She spoke, too, of Trish’s generosity, and how she used to cut the blossoms from her miniature roses and hand them out when we were on our weekend errands.

Then she announced that, in honor of Trish, each student would take a rose and hand it to someone in the audience.

That was it. I lost all hope of control and started crying. By the time Carol announced me, I could barely see for crying.

I walked slowly to the front, buying time to dredge up some composure. To say the least, I didn’t succeed very well.

Somehow, I managed to stand straight and talk slowly. Afterwards, people said I talked well, but I don’t know if they were being kind or not. I don’t even remember what I said.

But I got through somehow. I may have said that, because of money donated at Trish’s memorial service and raised through the sale of her craft supplies, that this year the award was being given to three students, two of whom were honorable mentions. I’m not sure, though. All I know for sure is that I announced the winners, and handed each a wrapped book, and faltered back towards my seat.

The ceremony ended soon after, and the crowd followed two drummers to Waap Galts’ap, the campus longhouse, which is a happy blend of a traditional Tsimshian and a modern building. There, we heard the students talk, and watched Nuxalk and Tsimshian/Salishan dancers moving around the flats and glass cases of the exhibition.

Occasionally, as the evening continued, I saw people in the crowd holding one of the roses. Usually, they were women, and often seniors, although once I heard a lover give a male student a rose, on the grounds that men rarely receive roses. That seemed especially fitting, since Trish had said something similar to me on my twenty-first birthday.

But no matter who held the rose, the sight never failed to leave a catch in my breath and tears in my eyes. Later that night, as I stared up into the dark in my hotel room, I reflected how strange it was that a gesture carried out by people who had never known Trish should be so much more moving that the memorial service held a few weeks after her death. I was not the least ashamed of crying, because I knew that Trish would have sobbed to see it, and I knew I had to cry in her place. I drifted off in melancholy satisfaction, and slept well I awoke, grateful for the gesture and wondering if it might be repeated next year.

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Widower and women

Posted in Bruce Byfield, grief, mourning, Personal, Uncategorized, widowhood, tagged , , , , , , , on April 12, 2011| 8 Comments »

On July 5, 2010, I was unexpectedly widowed. I’ve spent the months since then learning how to live alone. I am starting to adjust, although I dislike parts of how I live now, and probably always will. But one thing I have not accustomed myself to is the difference in how women regard me.

For me, one of the bonuses of being in an obviously happy relationship was that other women could relax around me. They trusted me not to come on to them. If I helped them, they understood that I had no agenda beyond being helpful. If I found them attractive (and, of course, sometimes I did), I wasn’t about to act upon the attraction.

What I liked about this perception of me is that it allowed me to talk to women, and to get to know them as people. Of course, I’m sure that some women entertained lingering doubts about me, and that their interactions with me were hedged with reservations. But, so far as the culture permits, as a married man I could be friends with women.

Now that I’m suddenly single, much of that is gone. Although I’m not aware of having changed my attitudes or behavior, how I’m perceived by women is suddenly changed — even by women who have known me for years. Although I’m still operating on the assumptions built up by years of marriage, I’m reclassified as single.

Being relatively young and looking younger, I am assumed to be looking for another relationship As a widower, I’m assumed to be missing regular sex. Suddenly, my speech is being scanned for innuendo, and my actions are viewed with skepticism. At best, there’s a reserve and a questioning in the women I meet that wasn’t there before.

And, just to make matters worse, my awareness of that reserve makes me more nervous, which makes many women more nervous still, creating a vicious cycle that I don’t know how to break.

The irony is, I am far from sure that I want another relationship. I can’t say that I would turn one down, or that I don’t have excruciating bouts of loneliness, but the possibility barely registers with me. I’m still recovering from the last one, thank you very much, and I’m not sure which would be worse: being widowed a second time, or leaving someone I loved to survive my death.

I can’t help thinking, too, of how Raymond Chandler and George Orwell made fools of themselves after their wives died, begging every women they met to marry them. Orwell even went so far as to suggest that any woman who married him would soon end up a wealthy widow with control over his writings, a piece of bribery that strikes me as both gauche and as being at odds with the upright image he affected in his writing. I would hate to be a figure that attracted similar ridicule and disdain. Chandler and Orwell sounded so desperate.

But the main reason that I contemplate staying single is that I never did care much for the mating game. The ritual has changed since I was last single, but for all the loosening of outdated tradition, it still seems to degrade men and women alike. I mean, no wonder there are so many breakups and divorces: the game is so stylized that you have practically no chance of getting to know a lover or a spouse until after you’ve moved in together.

True, I was lucky once. But the odds of repeating that luck seem slight. And why should I settle for second best? The thought of looking for another relationship seems so tiresome to me that it’s hardly worth the effort.

Right now, all I really want is friends with whom I can talk, regardless of whether they are male or female. A cause or two to distract me wouldn’t hurt, either.

But the frustrating part is that there is no way to communicate this attitude to the women I meet. If I tried to express my attitude, it would either seem too personal too soon, or else some roundabout strategy in the mating game. There are no rules in the rituals of male and female for declaring that you are not playing, and no way to protest your classification.

So the fact remains: against my wishes, I am suddenly a single man. And every woman knows what a single man wants, right?

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Being tidy

Posted in Bruce Byfield, Personal, Uncategorized, widowhood, tagged , , , , , on April 7, 2011| Leave a Comment »

After months of wondering, now I can finally say: It turns out I’m a tidy person after all.

Probably, it seems strange that a middle-aged person wouldn’t know such a fact about themselves, so let me explain:

My late partner Trish was in many ways an exemplary person, more generous and loyal than anyone else I’ve ever known. But even those who loved her would not say that she numbered tidiness among her virtues. Although she kept herself and her clothes clean, she reacted early and strongly against her mother’s obsessive housekeeping. In her adult life, she was infamous for being able to create clutter around her within minutes of sitting down in a spot –even if she was in someone else’s home. It didn’t help, either, that she was always buying craft supplies against a possible future project.

I never cared much for the resulting clutter, although I didn’t object that much, either. I always kept tidy the areas of the townhouse that I frequented, like the computer workstation, as well as the kitchen and bathroom, but despite some vague threats, I never tried to tidy Trish’s storage areas. Anybody who has been in a long term relationship will understand why – there are some things that you just don’t do if want the relationship to stay happy.

Then, in the last couple of years as she became progressively weaker, even I had better things to do than tidy, like spending time with her.

But, one way or the other, I was so busy accommodating Trish’s preferences that I lost sight of my own. Although one of the first things I did in the months after her death, just to keep busy, was to tidy her things and give many of them to wherever they would do most good, I wasn’t sure how long the vistas of empty tables and the expanses of carpet that my efforts created would stay. Maybe, my efforts would be like weeding, and gradually I would slip into sloppier ways living by myself.

To my surprise, the tidiness has continued. It’s not that I’m obsessive about keeping the clutter down, or go to bed with discomfort gnawing at the back of my mind if something is out of place. It’s more that having worked so hard over so many weeks to make sure that every book had a place on the shelf and that drawers were free for random objects, I’d rather keep the townhouse in the same state. Besides, taking twenty seconds to put something away when I’ve finished with it is far less objectionable to me than tidying once a week or month in a massive effort that makes me feel that I’ve lost a day to drudgery.

Anyway, when you’re the only one in the house, you know that if you don’t do something, no one else will (not that Trish ever did much tidying, even when she was healthy). When the effort is up to you, you might as well act now than later.

So, apparently, I’m a tidy person after all. I might have guessed by the home directories on all my computers, which are so well organized that I almost never have to do an automated search for the files I need.

But like I said, what a strange thing to learn about myself at my age.

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Mike Dangeli, “Honoring Her Spirit”

Posted in aboriginal art, art, art appreciation, British Columbia, Bruce Byfield, First Nations art, indian art, Michael Dangeli, Mike Dangeli, Northwest Coast Art, Patricia Louise Williams, Personal, ravens, Uncategorized, tagged , , , , , , , , , , , , , , on April 3, 2011| Leave a Comment »

I’ve been interested in Mike Dangeli’s work since I saw his ridicule mask in the Continuum show at the Bill Reid Gallery. The idea of taking a traditional form of commentary and applying it to modern relations between the First Nations and industrial culture seemed far wittier – and ultimately, more meaningful – than the other post-modern statements in the show. Later, when I heard Dangeli lecture about his efforts to live his culture in a modern context, I became even more interested. But it was only in October 2010 that I got around to commissioning a piece from him.

Whenever I commission work from an artist, I like to suggest only broad guidelines, and encourage the artist to experiment and maybe do something they wouldn’t ordinarily do. Accordingly, I told Dangeli that the painting was to be in honor of my late partner Trish Williams – the second piece I had commissioned in her memory – and could have up to four raised canvases. We discussed the primary colors, and I left him the pamphlet from her memorial service and some of the feathers I had collected over the years from our parrots. Remembering, too, Mike’s association of the north wind as a messenger between this world and the creator that might appear at a funeral, I also suggested that the north wind might be part of the design.

When I came to pick up the painting three months later, it had grown in its creation, with two side panels added to give room for Dangeli’s design.

The central panel of “Honoring Her Spirit” depicts Trish in raven form, with me represented by the red face on her wing. Around her are four ravens, for the four nanday parrots in our household during her lifetime, their bodies painted in the colors of nandays.

To the right, is a panel showing the north wind in the spirit realm. Where the central panel is made of definite lines in a more or less traditional formline design, the north wind is painted with thinner and less definite lines, its breath curling in non-traditional designs. The implication seems to be that we can only see hints of the spirit world – that nothing in it is as definite to our senses as the world around us.

On the four raised canvases, the birds sit poised between the two worlds, which suggests that they are part of both, or can move between them. The red lines on the raised canvases are roughly reminiscent of traditional northern designs, and spill over into the central panel, as the feathers do, both perhaps suggesting the interconnections between the two worlds.

However, the north wind is also blowing into the central panel, suggesting the coming of death. Trish’s transition into death is shown on the left hand panel, where her image is mirrored imperfectly, simplified and disjointed and drained of color to reflect our imperfect understanding of what happens after life.

This is a simple but powerful idea, ingeniously strengthened by the different styles in the panels. Yet what is eerie is that, although Dangeli did not know while he was painting, one of our four parrots died before he completed the paining – and only one of the birds is looking into the other world. The other three, who are still alive, are facing towards the everyday world. And if that is not enough, the feathers at the top center are from the dead parrot, although Dangeli no doubt picked them out at random. Whether these touches are serendipity or an example of the heightened perceptions of an artist, I won’t say, but they do add to the already highly personalized subject matter.

The painting now hangs in my bedroom, below two examples of Trish’s needlework. That seemed the most appropriate place for it.

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Keeping the roses alive

Posted in Bruce Byfield, death, grief, mourning, Personal, roses, Trish, Uncategorized, tagged , , , , , , , on March 27, 2011| Leave a Comment »

Wanting to feel useful, today I tackled a task I’ve been putting off: cleaning up the plant pots from the courtyard outside my door. I imagined that I shirked the task because it would be dirty and exhausting, but I had barely begun before I understood that the real reason was I didn’t want to face the memories that lay in wait for me.

Except for the laurel, none of the several dozen pots had been planted by me. It was the sole survivor of three that Trish and I had bought years ago when the strata council had chopped down the fir that shaded our balcony. The others had quickly died, and this one had been moved to the courtyard when our deck was last rebuilt, only to die in last summer’s heat wave when I was too distracted to notice. Our parrots Ning and Sophy had enjoyed having it against the outside of the living room window, since it gave them a hidden place from which to peer out at the world.

The rest were the remnants of miniature roses and one or two efforts at growing mint and other herbs. I had never had a hand in those. They were Trish’s, and among some people she was as well-known for her roses as for always carrying a craft project with her.

Before the carcinoids took hold, an hour or two in the evening or weekends was a part of her life. She was proud of them, having never had much success with gardening before, and she kept her notes about them in a leather-bound book stamped with Celtic knotwork designs. She enjoyed, too, going to the monthly meeting of the local rose society, and she delighted in the names of each rose: Pandemonium, Golden Amber, Black Jade, Pinwheel, and all the rest.

But the real point of growing the roses was distributing the blossoms, few of which were over three centimeters in diameter. Regardless of whether she was going to her job, or we were going shopping at Westminster Quay, the parrot shop, or a bookstore, her departure was always delayed by her snipping the latest blossoms. At summer’s height, she would soak paper towels and carefully wrap the blossoms to preserve them. When she got to wherever she was going, she would hand them out, to the delight and occasional puzzlement of the recipients.

I suppose you could rationalize the distribution of the blossoms by the fact that Trish had several dozen plants, and, when they were blossoming, we hardly had room in our townhouse for more than a few blossoms. But, although we never talked about why she went to such efforts, I knew that she enjoyed offering the small gifts that she had produced to those she saw regularly.

Once, a cashier snootily refused them, and we never shopped at that bakery again. For my part, I was furious that such an innocent and pleasant gesture should be met with hostility. Most people were pleased by the gesture in the middle of their workday, and some came to look forward to it so much that they were visibly disappointed if Trish had run out of blossoms or the plants weren’t producing that day. To some distant acquaintances at Westminster Quay, she was simply the Rose Lady.

But as Trish sickened, she had less energy for roses. One by one, their numbers feel due to frost or disease, and, increasingly, the losses were not replaced. When she could, she still enjoyed tending them and distributing the blossoms, but, with each year she had less energy for anything so active. Nor did she want my help; the roses were her activity, and, not being a gardener and increasingly worried myself, I did not offer help as often as I could.

Two years ago, her health was poor enough that she hardly had time to fertilize the roses, let alone prune or keep them free of disease. Last year, as she struggled with pneumonia and slowly died, she had no time for them at all.

Today, I found that only three rose bushes survived, and one of them will need some concentrated attention to thrive again. But I decided that, despite my lack of gardening skills, I will do my best to keep them alive. The effort is a way I can continue to connect to a time that, nine months later, already seems so fabulous and distant that sometimes I wonder if it existed at all.

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Why I’m a feminist

Posted in Bruce Byfield, feminism, Personal, Uncategorized, tagged , , , , on March 23, 2011| 1 Comment »

In an era when many women hesitate to call themselves feminists, I consider myself a male one. This self-identification is not always easy. On the one hand, some women believe that a man can never be a feminist, and only makes the claim in the hopes of getting laid. On the other hand, many men ridicule the claim as proof of effeminacy or homosexuality, and while I haven’t been called a traitor to my gender in so many words, I have been called a “neutered male” and worse.

Fortunately, I am more inclined to laugh at both these extremes than be insulted, because, as I usually tell people who ask why I take this position, I suspect I have little choice in the matter. If I weren’t a feminist, then I simply wouldn’t be me. I certainly couldn’t live with myself.

If I were feeling flippant, I’d say that I call myself a feminist because that’s what I am. In the simplest terms, a feminist is anyone who believes in the equality of men and women. Since that is what I believe, what else would I call myself?

However, when people ask me why I call myself a feminist, they’re usually not looking for taxonomy. What they really mean is: what makes me a feminist, anyway?

One reason, I suspect, is that I have always quicker to see similarities rather differences, and patterns and continuities rather than chaos and separation. I am not unaware of the biological and social differences between men and women (I am, in that sense, a healthy heterosexual), but except in matters of sex, gestation, and lactation, they mean little to me.

With this perspective, I never got the habit of thinking of men and women as separate species. As I have observed before, gender is not a large part of my self-identity, so I am always surprised to find a man or a woman for whom it is.

More – I remain unconvinced by studies that claim innate gender differences. I consider most of them poorly designed efforts to prove the researchers’ own prejudices. Admittedly, men and women are socialized differently, but watch them talking and thinking about important matters, as I did as a university instructor, and these differences disappear. Or, at the very least, they become no greater than those between individuals of the same gender, or people from different cultures. So, to me, the idea that men and women have the same range of intelligence and talent requires no great feat of imagination. Based on what I notice, the idea seems merely self-evident.

Another psychological reason for my feminism is that, having started life with a speech impediment that caused many people to denigrate me, I have an instinctive sympathy for anyone who is too quickly dismissed by society. And when such a person attempts self-assertion, my sympathy only increases. The frustration of not being taken seriously, the anger at being held back, the mixture of self-despair and determination to prove your judges wrong – few of the attitudes expressed by feminists are completely foreign to me, and I could not ignore their positions without denying some essential parts of me as well.

Still another reason that I call myself a feminist is that I am a clumsy liar, both to myself and others. My sense of self depends strongly on me being the sort of person who faces facts – even unpleasant ones – and I would be ashamed to pretend that the inequality of women didn’t exist for no better reason than my own convenience.

True, I may not always see an observation first for myself. Yet when someone points out (for example), that my life has probably been shaped by male privilege as much as my own abilities, I have admit that they have a point. Although I squirm, evading the obvious would only make me ashamed.

That same interest in truth also leads me to want my life to be based on something solid. If my sense of self-worth were based – like many men’s’ – on a sense of superiority to women (or anyone else), part of me would know how meaningless it was. It would be like mistaking a job title or empty praise and an award for actual accomplishment. Instead of clinging to such a fragile sense of self-worth and being afraid of womens’ equality, I would rather cultivate a generosity of spirit and support it. To be perfectly selfish about it, I know that the only way that I can be confident of my own self-worth is if I support the right of other people to assert theirs as well.

At any rate, even if I were not temperamentally inclined to be a feminist, do you realize how much feminism has done for modern culture? My own chief field of literature has been transformed in the last thirty years because of feminism. Its re-examination of the past alone would make it worthwhile. Without feminist scholars, Aphra Behn would be less than a footnote, and Ann Radcliffe barely a name. Only two of the Bronte sisters would be known, and each of them for one book apiece. Elizabeth Barrett Browning would be the writer of a handful of conventionally soppy sonnets, and Christina Rossetti dismissed as a quaint writer of children’s doggerel. Or so I would have been told, and without feminism I would have happened on the truth inconsistently, and probably missed it sometimes altogether.

Thanks to feminism, dead branches of the past have flowered unexpectedly, and literature is enriched – no, better than it used to be. And you can make a similar list for all the arts and many of the sciences. These changes are so far-reaching that, even if I disagreed with the criticisms or aims of the many branches of feminism, I’d still be grateful for the broader artistic and scientific perspective it offers.

Really, how can people keep asking why I am a feminist? Under the circumstances, what else could I be?

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The short-end of being accidently fashionable

Posted in Bruce Byfield, exercise, gym, humor, Personal, shorts, Uncategorized, tagged , , , , , , on March 14, 2011| 1 Comment »

Once every decade or two, something I am into becomes popular. The situation is rare enough that I am still recovering from my chagrin when the local TV news used The Pogues’ “Fairy Tale of New York” as background music to an account of a dinner for the homeless a decade ago and from everyone knowing the plot of The Lord of the Rings when the movies were released. But by far my most frequent moments of unintentional trendiness and the resulting breakup of my routine revolve around exercise.

Since I’m built like a cement mixer, you might not realize by looking at me, but I have been a regular exerciser all my teen and adult years. Any day in which I don’t burn a minimum of seven hundred calories running, swimming, or cycling, I count as a slack day. I’m the sort you see doggedly jogging in a snow storm, or being unfashionably sweaty at one end of the gym. I consider exercise a necessary balance to all my hours at the keyboard, and a form of meditation besides. Unlike many people, I like exercise, and the heavier the better.

The trouble is, people are always discovering exercise. That means that the shoes I need periodically sprout velcro buckles and thick tread more suitable for a tank, or blossom in outlandish colors – anything so that their prices can double. Functional sweat tops disappear, replaced by tailored suits made of synthetic fibers that cause me to break out in a rash, and the gyms are always crowded in the first few weeks of January until the newcomers find the courage to break their New Year’s resolutions (much to everybody’s relief).

All this is superfluously annoying when all I want is ankle and arch support in my shoes, natural fabric, logo-free gear and a quiet place to sweat. But, this time, the fashionistas have gone too far. Noticing the popularity of basketball among males under twenty five, the sports stores have decided that all they need to carry for any sort of exercise is basketball shorts – baggy shorts that fall to the knees, and that generally amount to free advertising for an American team.

The least of my problems with the stores only selling basketball shorts is that I look ridiculous in them. Most of my height is in my torso, and I’m considerably below two meters tall. Wearing basketball shorts, I only look like a kid who’s growing too quickly for the length of his trousers. That’s how I feel, too.

But what I really object to is that basketball shorts are completely unsuited to strenuous exercise (and, for all I know, that includes basketball). They might be barely tolerable for the genteel weight-lifting that most of the men at the gym do, in which ten reps are followed by twenty minutes of conversation. But on the pavement or on the saddle of a bike, nothing is more unsuitable.

When I’m working up a sweat, I want my legs as unencumbered as possible. I don’t want them tangling in folds of loose fabric that bind them and prevent them moving freely. That is almost as bad as wearing sweat pants while doing strenuous exercise.

Yet because of the whims of fashion, a day is fast approaching when I won’t have the simple clothes I need to continue doing what I’ve done for decades. Within a few months, unless I abandon exercising altogether, I’ll be forced to choose between three unsatisfactory alternatives: wearing what’s easily available and feeling confined and uncomfortable; shortening a pair of shorts with one of my unsatisfactory hemming jobs (assuming that the synthetic fabric allows me to do that), or else ordering pairs of rugby shorts online and enduring the chafing of the thick material.

Probably, I’ll end up ordering the rugby shorts. But I resent having to make the extra effort simply because trendiness has touched down like a tornado in an area that I happen to frequent. My best hope is that it will move on before my present crop of shorts falls apart, and I can go back to being unfashionable for another ten years.

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Calvin Morberg, Eagle Frontlet

Posted in aboriginal art, art, art appreciation, British Columbia, Bruce Byfield, Calvin Morberg, First Nations art, frontlet, indian art, Northwest Coast Art, Personal, Tlingit, Uncategorized, tagged , , , , , , , , , , , , , on March 5, 2011| Leave a Comment »

I first became aware of Calvin Morberg’s work through a shark mask he sold to the Inuit Gallery. I was too late to buy it, but I did catch a glimpse of it. Although the finishing was a little rough, I was impressed by the originality of the design, and decided to keep an eye on his work. I tracked him down on Facebook, and, a couple of months later, I bought this eagle frontlet from him.

With its red background, abalone and harbour seal whiskers, in many ways, the frontlet is a typical Tlingit design. The general design is one that I have always admired for its boldness and embellishment – two traits that seem more common in Tlingit work than in any of the other northern First Nations. Tlingit work, I have always thought, has a touch of exoticness missing in Haida or Tsimshian or Nisga’a work, which I like to think helps to explain the traditional Tlingit reputation for being shamans. But, regardless of whether that is true or not, Morberg has carved a striking version of a common general form.

True, like the shark mask, this frontlet has a rough touch or two. In particular, the abalone is not well-matched, and, if you look closely, you can see the drilled hole in each piece that suggests Morberg has bought what was convenient – and not what best suited the piece.

However, these are minor flaws. As in all the other frontlets of this general design that I have seen, they are part of the background. What draws the eye is the central figure, and there Morberg shows his skill.

The central figure offers a set of planes consisting of the lower and top beak and the nares, all at contrasting and complementary angles, drawing the eye down to the wing feather tips at the bottom. From the bottom, the wing tips draw the eye back to the painted lower half, circling the design there until the inverted T-shapes at the top draws the eye back up to the eyes, and finally back to the beak via the eyebrows so that the process begins again. This is exactly what successful formline should do – trapping the eye, and keeping it moving around the entire shape. In fact, in moving about the central figure, you soon stop to notice the rest of the frontlet.

Nor is there any roughness to the finishing that would distract the eye in its progress. If the abalone provides a rough surface, the central figure provides a smooth one without sharp edges, and together they create a contrast as obvious at a glance as at a touch.

Another part of the central figure that I appreciate is the painting. To start with, Morberg has taken the unusual step of adding paint to the lower half; in several other eagle frontlets that I have seen, this area is usually occupied entirely by carved wings.

But even more interesting is the pale copper green, which seems to be a hallmark of Morberg’s work just now. Given the red background, he could hardly use red as the secondary color, and the green is an ideal choice, because it complements some of the shades in the abalone.

Also, of course, for those in the know, the color is a reminder that copper was a measure of wealth on the coast – a reminder that is especially fitting since frontlets are an indication of chieftainship, or at least high rank.

I don’t know where Morberg’s developing talent will go next. However, because of pieces like this eagle frontlet, I expect to hear more of him in years to come. I wouldn’t be the least surprised if, sooner or later, I buy other pieces from him.

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Mitch Adams: Gagiid Mask and Killer Whale Comb

Posted in aboriginal art, art, art appreciation, British Columbia, Bruce Byfield, comb, First Nations art, Gagiid, Haida, indian art, masks, Mitch Adams, native art, Northwest Coast Art, Personal, Sasquatch, The Incredible Hulk, Uncategorized, tagged , , , , , , , , , , , , , , , , , on March 4, 2011| Leave a Comment »

One of the dangers of knowing artists (pity me!) is that, when they’re in town, they usually have pieces for sale. That is what happened a few weeks ago when Mitch and Diana Adams were in Vancouver a few weeks ago for the Chinese New Year celebrations. After dim sum, Mitch took my back to his mother-in-law’s apartment to show me what he had brought with him – and, inevitably I bought two: A Gagiid mask and a Killer Whale Comb.

The Gagiid features in the dances of Haida secret societies. The Gagiid is a castaway who, as he wanders the shoreline by himself, grows so crazed that in his endless foraging he devours sea urchins without removing the quills, which embed themselves around his mouth. Cryptozoologists often take the story as evidence for the existence of the Sasquatch, but this identification requires a giant leap of illogic, since the Gagiid is originally a normal man, and in the dances (if what I have heard is correct), the point is to reintegrate him into society. Today, at least, the Gagiid is frequently green, a depiction that often encourages Incredible Hulk jokes – a comparison that is actually closer than you might at first think, since the story of the Hulk is also about reintegrating him into society.

Mitch Adam’s Gagiid caught my attention because of the attention to details. His mask’s blue eyes are not an anomaly, and most likely not an effort to connect the Gagiid with Europeans; blue-eyed Haida were apparently noted by the first Europeans to reach Haida Gwaii in the eighteenth century. However, like a shaman, this Gagiid has eyes with pupils that roll upward, suggesting he is in an altered state of consciousness.

Other details follow naturally from the story. The Gagiid’s face is long and thin, as though he is half-starved. The gaps between his teeth suggest that some are missing, while those that remain are irregularly shaped and sized, as though they have been chipped, either through eating hard food or perhaps after too many falls on the rocks that line the shore. Moreover, not only are the lips swollen, but the the lower face is out of proportion, as though it has swelled, too. Similarly, the blood drawn by the sea-urchin quills (on the mask depicted as porcupine quills) is fresh and running on some, as though the wounds were fresh, and simply a ring of red on others, as though the wounds were made some time ago and the blood has dried.

What makes this detailing all the more impressive is the size of the mask: approximately sixteen by ten centimeters. I have seen masks twice or three times the size with less attention to detail (several with woolly eyebrows that give the Gagiid the appearance of Groucho Marx, an effect that Adams has avoided, I’m glad to say).

The same attention to detail is found in Adam’s Killer Whale comb, which is about the same height as the mask. Combs of this design, he tells me, were not for tidying a head of hair, as most people assume, but for untangling the warp of wool on a loom. Perhaps this knowledge of the shape’s purpose encouraged him – unlike the designers of many combs in Northwest art – to carve a comb that is actually functional, with flat sizes and tapering ends, and not just an approximation of the shape.

Made of yew, Adam’s comb benefits from the beauty of the tight and highly visible grain. However, the grain probably caused him trouble, too, since it runs vertically while the design is horizontal. On one side, the pupil of the eye looks as though it might been a knot, and, if you look closely, you can see several other places, such as the outer curves of the mouth or the shape of the nostrils, in which the two sides are not perfect mirror images. At any rate, even were identical sides possible, differences would remain, because the grain is much darker on one side than the other.

Ironically, the most regular part of the carving is the front design – probably the part least likely to be observed. Yet it is an indication of Adam’s determination and skill that the irregularities are minimized and unnoticeable to the casual eye. Having set himself a difficult task, he proves his skill by doing it extremely well.

Notice, too, how the design conforms to the shape of the comb. Only one design feature positively identifies the carving as a killer whale – the fin depicted on both sides of the handle.

Like “Peaceful Warrior,” the laminate mask I bought several months ago, these two pieces show Adams’ ability to work in miniature. He is perfectly capable of a stunning work at larger sizes, as his “Blue Moon Mask” demonstrates, but Adam’s attention to detail makes his smaller works consistently stand out from similarly-sized pieces from other artists.

My only reservation about buying these pieces is that, when I did, Adams lost the opportunity to show these work to the galleries while he was in town, and extend his reputation. I am sure that both would have sold. But, despite the danger of visiting an artist, I feel privileged to have had first chance at them, and to display them in my townhouse.

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How to write a news release

Posted in Bruce Byfield, journalism, news release, Personal, press releases, Public Relations, Uncategorized, writing, tagged , , , , , , , , , on February 24, 2011| Leave a Comment »

News releases are less common than they were a few years ago. Particularly in computer technology, they have been partly replaced by blogs. However, many organizations still rely on releases when they have major news, and when an acquaintance recently asked my advice on the frequency of releases, I also started thinking of the mechanics of writing them.

The first thing to remember about writing releases is that they are your organization’s bid for attention. Unfortunately, though, you are competing with dozens – sometimes hundreds – of publicists, all trying to get attention of the same journalists. These journalists see more news releases in a month than you will probably write in your life. They can’t pay close attention to them all, and, in some cases, familiarity has bred contempt.

Under these circumstances, try to envision the audience for your release as people with attention deficit disorder. They aren’t inclined to read your release all the way through, so you have one of two goals: to try to keep them reading, or, failing that, to make sure they get your basic message before they stop reading.

These goals shape the structure of every release. Basically, your news release is a repetition of whatever you have to announce: first as a phrase, next as a paragraph, and finally as several paragraphs.

Step 1: The Headline

The phrase is your lede or headline. Probably, it’s the most difficult part of writing a release, because it needs to summarize your news in about half a dozen words and encourage jaded journalists to read the rest. For this reason, you often want to write the lede last, when your main message is probably clearest in your mind.

Some releases use a sub-lede, in a slightly smaller font, in the hopes of embedding two thoughts instead of one in readers’ minds. This technique can be especially effective with a tantalizing lede that is immediately followed by a more explicit sub-lede.

Most of the time, though, a sub-lede is a waste of effort. If you can’t summarize in six to eight words, then twelve to sixteen often aren’t going to help you that much. You can’t be sure that readers will go beyond the first headline anyway.

Step 2: The First Paragraph

However, in the hopes that they are interested enough to read on, the next stage is to summarize your news in perhaps a hundred words in the first paragraph.Traditionally, the first paragraph starts off with a dateline — the name of the city, in brackets, from which you are writing. However, in the Internet era, a dateline is only necessary if the story is local and you wish to emphasize that you are writing from where the action is.

If possible, the gist should be in the first sentence, but this is the place where writers start to flounder in a number of different ways. One common mistake in the first paragraph is to echo the language of the lede too closely – if you start repeating yourself so quickly, you create the impression that you don’t have much to say, and readers will not bother with the rest.

Another mistake is to cram the first sentence with as many adjectives and adverbs and clauses and sub-clauses as possible, in the effort to summarize the news. Torturous sentences don’t encourage anyone. Far better to divide such a first sentence into several shorter sentences that are easy to read.

Still another mistake is to reach for cliches. For instance, a few years ago, every organization that issued a release liked to claim it was “a world leader” in its field. However, cliches will defeat your goals every time, because the whole problem with cliches is that, since they are familiar, they encourage readers to pay less attention, and skip over the rest.

Instead of these mistakes, focus on stating the main points clearly: who is making the announcement, what the announcement is, and why anyone else should care about the announcement.

Of these points, why anyone should care is the most important, and the hardest to write. If you are unfamiliar with the subject matter, you may have to pump someone for the information. Conversely, if you are familiar with the subject matter, you may take its importance for granted, or find trivial reasons far more important than anybody else would. At other times, the only honest answer would be that the subject is not important at all, and that you wouldn’t be writing the release in the first place, except that somebody in authority insisted, in which case what you say will sound unavoidably feeble. Yet stating the subject’s importance in a few sentences — perhaps even half a sentence — is the entire reason for the release; leave it out, and nobody has any reason to read the rest of the release. You need to imaginatively project yourself into an outsider’s frame of reference, and ask yourself what might matter to potential readers (or, to be more precise, what journalists think might matter to potential readers).

Given the pitfalls and the difficulty of stating your points, don’t be surprised if you spend more time over the first paragraph than the rest of the paragraphs in the release combined. However, after you have wrestled with the first paragraph, the remainder of the release generally comes more easily.

Step 3: The Body of the Release

The rest of the release is formulaic. Usually, the second and sometimes third paragraph give more details about your news in three to five sentences apiece.

About the third or fourth paragraph, readers may be getting a little restless, so it’s usually an idea to bring in a quote to encourage them to keep going. A quote breaks up the release and (unless it’s so stilted that no one obviously said it) is a personal touch – which readers always appreciate.

The best quote is one from a person who is relevant to your news, either an expert in the field or an executive in the organization that is issuing the release. Ideally, it should be something that the person could actually say out loud. Next best is one that the speaker writes for themselves.

However, if you have a good ear for the way that people speak, don’t hesitate to write the quote, then ask the person to whom the quote is to be attributed to approve it as something they would actually say. If the alleged speaker is a senior executive, that may be the only way you’re going to get your quote. Too often, an executive is either too busy to write the quote themselves or else, as often happens with technology releases, knows too little about the mechanics of whatever is being discussed to say anything that sounds knowledgeable.

After the quote, a release often has a paragraph or two that gives a less important detail or two. You can get away with such paragraphs because, having come so far, readers are likely to finish reading just out of habit. Still, you want to keep such secondary paragraphs short so you don’t tax readers’ patience too much.

In the last paragraph, you can provide a few housekeeping details, such as when an event is taking place or a product is scheduled for release. This matter is necessary, but not terrifically interesting, so personally, I like to augment it with another quote that stresses the importance or interest of the news, or its implications. That way, you might reinforce your message in readers’ minds one last time.

During the release, I like to describe the organization with only a short phrase. Stopping to describe the organization in detail is a distraction from the main purpose of the release. However, some of those who read the release all the way through may want to learn more about the organization without clicking a llink. For these readers, I like to put at the bottom of the release, separated from the rest by a sub-heading, a paragraph or two about the organization. It’s there if anyone wants it, and, being clearly marked, can be ignored by everybody else.

Final Preparation

And with that, you have the 200-400 words of the release. Rewrite it until it’s as short as possible – you can only get away with long releases if your news is unusually important. Proofread it endlessly. Simplify the language, and cut where you can. Grab a couple of people and get their reactions, and edit yet again, paying special attention to the lede and first paragraph, since you are now in a better position to know what they should say.

Then, just before you send out your news, check that you have included the email and phone number for whoever readers can contact for more information or to set up an interview. I like to put this information at the top of the release, above the lede, on the grounds that at, the very least, people will see that you have news and know where to learn more. This practice may mean that you endure clueless questions from people too lazy to read the release, but at least it means that you have connected with them.

One last point: Don’t let my suggestion that you assume readers are easily bored tempt you into doing something truly outrageous, such as sending out a release on bright pink paper with a novelty font. Ploys like that will get you attention, all right – but not the kind you want. More likely, it will result in people snickering at you.

Instead of going so far, concentrate on expressing your news in straightforward, effective language, and as concisely as possible.There’s an art to writing a news release, but it’s a starkly functional art whose structure shouldn’t be obvious to anyone except another publicist.

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