Archive for July, 2009

“Life” – Upon Reflection

Monday, July 6th, 2009

The older we become, the more thought we put into everything we do. For example, Jim goes grocery shopping early in the morning to avoid the crowds. We carefully chose the organizations that we consider worthy of our support. We think twice before taking any trips, due to the cost of gasoline, and as a result, we mostly stay at home. I suppose the act of becoming older does not have to be such an insular, hunkering-down process, but for us, that is the transition.

While others were having barbecues on the Fourth of July, or going to concerts, or watching fireworks, I was quilting, reading, or splurging, by eating ice cream with hot fudge on top, whipped cream, and two cherries! Jim was at work, exhausting himself in helping others.

I was reading a book written by Edie Clark, whom I met this summer when she gave a talk about New England foods. The Place He Made is a riveting and true account of the life and death, the good times and the bad times, of that same woman’s husband, and his insurmountable problems with cancer. The story is about “process,” though, not just about a series of catastrophes, and it is written with uncanny sensitivity.

It is a sad book, only insofar as, in the end, her love dies. However, he died peacefully and with her at his side. Everyone who dies should have such a vigilant witness. The telling of this poignant tale, complete with some of their dialogue, must have been cathartic for her to write down in her daily journal. Surely, her writings helped her to create the book, and to tell the story as accurately as possible.

At a certain point in all of our lives, we come to the stark realization that we will not be here always, a sobering thought. Who among us can imagine that life can and will go on, without our presence? How can we envision ourselves as non-beings, when we are here today, living, breathing, loving, eating, writing … ?

Yet, we know others who have made that journey to the Great Beyond and left us here to continue to either enjoy life, or suffer through our remaining time.

Holidays are increasingly difficult for me. I prefer the sameness of everyday activities and have come to really dislike special events. On July 4, I chose to spend my day reading about struggles in the lives of those two individuals.

I have decided that Life does not have to be a happy, happy, “la la la” affair, all the time. For me, it just has to be “real.” For that reason I have given up reading novels, and now, only want to read about events that really did happen. Life is too short to bother with foolishness, or foolish people, (no particular person in mind, as I write that).

I am as entitled to my quirks as you are to yours. In this realization, there is a measure of comfort.

Patricia Cummings
Quilter’s Muse Publications

Book Review: This I Accomplish: Harriet Powers’ Bible Quilt and Other Pieces

Monday, July 6th, 2009

book cover

Book cover of “This I Accomplish …”

This I Accomplish: Harriet Powers’ Bible Quilt and Other Pieces by Kyra E. Hicks (Black Threads Press, 2009) is a hot-off-the-press, 180 page book. Bill Gaskins wrote the Foreword. The author chronicles activities surrounding the quilts of Harriet Powers (1837-1910), a former Georgia slave. The two appliquéd quilts Powers made are currently held by the Smithsonian Institution in Washington, D.C., and the Boston Museum of Fine Arts. As mentioned on the back cover, Hicks tracks two nineteenth century women who sought to buy the Bible quilt, and offers the profiles of three men who actually owned the Pictorial Quilt.

Many of the facts revealed are newly-discovered, by the author, and appear in her book for the first time. This new information will be a welcomed resource to the libraries of every quilt historian. For those who have always wanted to know the full history of these quilts, to the present time, information is given as to where they have been exhibited, who has written about them, who has mentioned them in lectures, and more! This scholar provides almost 200 bibliographic references, most of them annotated. Derivative works, such as poetry, and photos of quilts made in honor of Harriet Powers are included, and serve as a fun treat.

This is an amazing compendium of factual data surrounding the making and the keeping of the two Powers’ quilts. Congratulations to Kyra E. Hicks for her thorough research of the works of Harriet Powers, a very important African-American woman who once sold one of these quilts to a white woman named Jennie Smith, receiving only $5.00 in compensation.

This book is long overdue and is a wonderful tribute to a now much beloved American quilter. If you are already thinking ahead to Christmas, this book would be a nice one to add to your wish list. But, why wait? You may just want to order a copy now, for summer reading! Already, Kyra Hicks, a veteran writer, is hard at work on her next book, another related to African-American quilting! Quilter’s Muse gives this current effort a two-thumbs up!

ISBN: 987-0-9824796-5-0

Be sure to read Kyra Hick’s blog that she frequently updates:
http://blackthreads.blogspot.com

As an aside, let me add that, for a time in the early 1990s, the Smithsonian licensed reproductions of the Harriet Powers’ Bible quilt to be manufactured overseas. I turned my nose up at one of these reproduction quilts at Sam’s Club. I did not want to pay even $19.99 for the poorly-made quilt that featured about two stitches per inch of hand-quilted stitches. The price was low enough: $19.99. Even with the poor workmanship, the quilts quickly sold out. Under pressure from American quilters who actively fought the Smithsonian policies, the overseas reproduction of our American treasures soon ceased.

See images of Harriet Powers and her quilts here.

Patricia Cummings
Quilter’s Muse Publications

“Big House, Little House, Back House, Barn”

Sunday, July 5th, 2009

When I heard about the lecture, “Big House, Little House, Back House, Barn,” I was reminded of the farm where I lived as a teen. Thomas Hubka, a University of Wisconsin professor, presented a talk in Boscawen, NH last week, and will again deliver his slide lecture at two separate NH locations this week, Temple and Chatham (pronounced “Chat-ham”). This is yet another event sponsored by the New Hampshire Humanities Council. Click on this link, for a list of places and times of meetings.

aerial view-1964

Aerial view of the Grace family farm in Deerfield, NH in 1964. There are about 40 acres of cleared land to the left of the house, divided partially by a line of trees. The property extends backwards, through woods, and a wetland swamp, all the way to the Candia, NH line: 89 acres, in all. I used to ride my horse on some of the trails through the woods, although the deer flies were brutally vicious, taking chunks out of the skin of the unwary.

The place before my parents bought it

Don’t you just love the coon skins hanging on the barn?

My parents did not necessarily buy this place for the quality of home that sat on the acreage. For $12,000.00, it was an investment. My father, John E. Grace, had hoped to work a lot more on improving the house, but got the news that he had kidney cancer, shortly after purchasing the property. Pronounced “cured,” he started a tree nursery, in addition to working at his “day job” in Manchester.

Deerfield farm layout

The layout of the Deerfield farm when my parents purchased it in 1963.

It would have been difficult to make a silk purse out of this sow’s ear, but before he could accomplish his dream of making this property a “show place,” my father died of a spinal tumor in 1974. My mother continued to live in the home until she was hauled off to a hospital with a heart attack, and never returned. The farm sold in 1999, if I remember correctly.

Previously a dairy farm, the property my parents purchased was a sprawling affair of outbuildings. The old farmhouse was attached to an unfinished “shed” under the same roof, featuring visible, hand-hewn beams.

What one’s eye could not miss was a huge meat freezer that no one dared to move, lest it disturb the upright supports in the cellar underneath it, thus causing the floor to collapse.

At the end of the “shed,” as we called it, there was a chicken coop with laying boxes for the hens, enclosed with chicken wire. This was a good way to be able to collect eggs in the dead of winter, without going outside.

There was a loft above the chicken coop where old items were stored, such as a broken rocking chair. To the right of the loft was a room with a roughly cut out entrance. This was situated above the kitchen and had been used as a room by hired help, at some point, before the mice romped freely, leaving their trail.

Downstairs again, to the left of the chicken coop was an area that went right into the barn, again, sheltering barn entrants from exposure to the weather. My father disassembled that connector, so that the cost of fire insurance would decrease.

Previously, when one passed through that corridor, overhead was a straw-covered wooden platform where “the old drunk who worked there” slept.

The barn seemed to have been built in sections, with the main part being built first, and then a long extension that featured stanchions for milking dairy cows, and closed in pens for heifers. At the back, my Dad assembled two pens for my horses.

Lucky and Red - May 1964

“Lucky,” a half-Arabian gelding, and “Montana Red,” a retired Standardbred racehorse graze in three acre pasture to the left of the house in this May 1964 photo.

At the back and to the right side of the back barn was a milk-processing room. I remember its soapstone sink. Perhaps, the soapstone came from Francestown, NH, well-known for its soapstone manufacturing. Another free-standing room abutted the milk-processing room, but there was no point of entry between the two. The door opening was on the other side of the building. Someone had stored old paintings in there.

A separate barn with a cement floor was on site. Without enough upright beams, it collapsed during the weight of one winter’s snow. Next to that was a carriage shed, with yet another chicken coop at the end. So, as you can see, the place was a conglomeration of these many buildings. Today, only the house with the one connected shed remains. The new owner has torn down everything else.

Deerfield farmhouse 1964

This view of the farmhouse shows a roof dormer, which was removed, as well as the window awnings. The white door seen on the side of the front of the house actually led into a long mud closet for hanging coats, and then into a living room with two mismatched tin ceilings, making it appear as if the room had been two rooms at one time.

My father had a fireplace installed, as well as hardwood floors, a sheet rock ceiling and faux wooden beams. He added wood paneling, and a French glass door between the living room and large country kitchen. With a huge braided rug, the room was a cozy place where my Dad and I played music, quite frequently. He also fixed up the front porch and added screens and a door.

Patricia Grace in Deerfield living room 1966

Me, Patricia Grace, with trophy for being named Princess of the Deerfield Bicentennial Celebration in 1966. Here, I am standing in the living room of the family home.

I have fond memories of the farm and growing up in a small town, especially being a member of 4-H. It was nice not to be able to “see” any neighbors, with open land on either side and across the street. The property consisted of 89 acres. The new owner has built a luxury home in the back field where I used to pick wild blueberries along the side of the field, and also, ride my horse. Of all the former buildings, only the main home with the attached shed remains and is rented out, as far as I know.

Times change and one can see how people tried to make do, in the past. The New Hampshire countryside is looking more prosperous these days, except for the remaining falling-down barns, previously used by dairy farmers. They simply did not have the time or money to do upkeep to the buildings.

I am posting this because I can certainly relate to the topic currently being presented by a NH Humanities Council speaker. We tried to attend the lecture last week, but alas, by the time we arrived, the crowd had already spilled into the hallway, and we couldn’t see or hear a thing, so will wait for a more propitious time.

Patricia L. (Grace) Cummings
Quilter’s Muse Publications

American Alliance for Quilts Press Release – Quilters’ S.O.S. – Save Our Stories Celebrates 10 Years of Interviewing Quiltmakers

Thursday, July 2nd, 2009

PRESS RELEASE
For Immediate Release
July 2, 2009

Contact:
Amy E. Milne, Executive Director
(828) 251-7073
amy.milne@quiltalliance.org

ASHEVILLE, NORTH CAROLINA -July 2, 2009 – How often do you see a quilt and wonder, “If only this quilt could speak; if only the quiltmaker could tell us about this work?” Unfortunately, quilts can’t speak, and all too often the quilts we see have been detached by time and circumstances from the hands and voices of their makers. Quilters’ S.O.S. – Save Our Stories, an oral history project of the Alliance for American Quilts, celebrates the fundamental connection between objects and voices with nearly 1,000 interviews and 10 years of service.

QSOS_Christine Carlos

Pictured from top to bottom are: Q.S.O.S. interviewee Christine Carlos, “Waterfall,” a quilt by interviewee Duncan Slade, and interviewee Kellie Wachter.

In October 1999, recognizing the fragility of the bonds between quiltmakers and their quilts, the Alliance for American Quilts initiated Quilters’ S.O.S. – Save Our Stories (Q.S.O.S.) in partnership with the Center for Material Culture Studies at the University of Delaware. The purpose of Q.S.O.S. is to record, preserve and share the stories of quiltmakers and their quilts on the Alliance’s website. In January 2007, the project’s archive moved from the University of Delaware to the American Folklife Center at the Library of Congress.

Nearly 1,000 full-text interviews with photographs are available to date, with more being added all the time. The interviews include quiltmakers who are professional to those who simply dabble. For the last three years, there has been a focus on including interviews with Latina, Native American, young, male, longarm and older quiltmakers.

In addition, the online downloadable how-to manual, which guides volunteers through the interviewing process, has been a key factor in the growth of Q.S.O.S. interviews. More than 300 volunteers have conducted the interviews and more and more quilt guilds and quilt organizations are beginning to document their members. The DAR has been documenting their members and members of their communities since 2004.

“Quiltmaking has traditionally been a way for women to express and share themselves. And while quilts can still be utilitarian, many of today’s contemporary quilts are an edgy and aware medium in which artists react to and comment on their world,” says Karen Musgrave, Q.S.O.S. Co-Chair. “Few people truly understand the scope of today’s quilt world and we are only beginning to understand the value of this body of documentation. I am proud of the contribution that Q.S.O.S. has made to not just the quilt world but the world. I would love to be a fly on the wall 100 years from now when people read these interviews and view the quilts.”

The interviews are being used in ways that were not foreseen in the beginning. The interviews are being used for masters and doctoral theses, writers are using them for their books and articles, guilds are using them to determine speakers and teachers, quilts are being purchased, and long lost friends and family is being reunited.

Sue Reno said about her experience, “I felt very validated by the finished transcript; it helped me self-identify as a serious artist.”

One of the newest features added to the website is an online publication of the interviews of quiltmakers inspired by President Barrack Obama. A goal of the project is to provide audio excerpts of interviews online and other resources aimed at providing students, educators and quilt enthusiasts everywhere with new ideas and tools for using this powerful collection of interviews in the near future.

A public service announcement by Quilter’s Muse Publications