Uncle John’s Log & Co.

First task: Joan, I am so sorry that Greg Brown is gone from your life. He was a good one, and always will be remembered in the lore of unique canine personalities we have known.

Wow. Thirty days since my last entry. It’s been one of the more intense months of my life, with all matters giving way to concentrated artistic effort. The result—two creative milestones disguised as brand promotions for Maker’s Mark—is perhaps the most mature expression of the mixed-media style that I’ve had under gradient development for more than a decade. Beginning with my first “cosmosaics” of the late 90s, I sought a personal approach to collage that would fuse the characteristics of my greeting-card miniatures with fine-art aesthetics at a new level of archival craftsmanship. A stronger forward momentum took place when I studied the work of Kurt Schwitters, in preparation for the 2006 CONNECTIONS exhibition, and to produce my KOSMOS show the following year. Concurrently, I’ve given greater attention to the durability of my pieces as “artifacts,” and, beginning with Pearallel Universe, to the introduction of more hand-rendered elements into my compositions. More details to follow as we get closer to the opening reception at the historic distillery.

Yesterday, after Dana and I delivered my new collage artworks to Loretto, we headed north to submit four of my wood engraving prints to the gallery at Elk Creek Vineyards as part of an exhibition that will feature Wesley Bates. We also stopped at Larkspur Press to meet with Gray and get an update on the project for Maurice’s poetry. As usual, the master printer is composing this publication with a stunning regard for letterpress quality. What started out as a broadside sheet has expanded to a limited edition of bound collector booklets. He showed us the latest proofs, and I borrowed back my maple block to do some additional clean-up in the white areas. Although I doubt if I comprehend how important an event this will be considered in the world of fine book arts, I do appreciate that my creative work never before has been presented in a context of such literary distinction.

After the marathon push to fulfill these August obligations, I figured I would spend today catching up on rest and doing a bit of reading and writing. We ended up taking Bruce to UK’s ER with another worrisome episode of GI bleeding. He’ll stay there indefinitely for more diagnostics and possibly some transfusions, too. Unlike earlier this summer, I hope that this time around they can identify the root cause and deal with it properly.

I know I haven’t been writing much lately, but I recently promised myself that if I couldn’t dwell on positive things, then I best not record anything at all in this space. Although that may seem to indicate my prevailing mood, good developments continue to unfold. It is necessary to remain focused on practical goals. Each day sees progress on multiple fronts, even in the face of adversity. Extra time spent at the Blue Bank Farm, working on the stone flue, allowed me to overcome the deficiencies of my extended learning curve. Now I know I can complete the masonry job this summer according to my original vision. I helped produce a successful annual dinner for The Salvation Army, which fulfills a major volunteer commitment. Although I cut back on my involvement with the Brass Band Festival this year, I felt obligated to complete the poster series I started in 2005. That should be wrapped up soon, which clears the deck a bit more in favor of a greater commercial workload. Yesterday I woke up with a solution to the Town House storm water drainage problems that have bedeviled me for years. I’m reading Dr. Dyer’s book on learning to live one’s imagined life. Creating the prerequisite balance is a daily challenge that I can surely meet, but only through the relentless re-alignment of my inner thoughts and awareness, and I’m convinced that I shall do that only by truly accepting the all-sufficiency of God’s love.

Far away in the sunshine are my highest inspirations.
I may not reach them, but I can look up and see the beauty,
believe in them and try to follow where they lead. . . .
        —Louisa May Alcott

My log is currently suspended for the annual March Experiment.

— Month of February workout totals: Swim-3; Bike-2; Run-3; Lift-2; Yoga-0; Pilates-3; Lupus-1

— If I accomplish nothing else over the next 30 days, I must find “the means.” I won’t try to define exactly what that means (hey, is that a pun?), but most of you know what I’m talking about. It can look like ferocity, but mere ferocity is no match for the kind of unrelenting competitive intensity that Uncle Don held out as mark of the victorious spirit. Well, maybe I did just define it. All I know right now is that I need to regain the source of it, and the man who coined the term is in the hospital and probably dying. He is my Godfather, and from him I inherit the challenge of “the means.” James and I were talking about him this morning when we accompanied Joan to inspect Joe’s Riverland. It was a wonderful outing that combined the gentle Lamb of March and memories of our lost Clansmen with an enduring camaraderie that is too rarely enjoyed (and I don’t mean scarce, but rare). I’m so glad we did it.

— Speaking of Joan: she uncovered this NPR feature that makes me think we might have been among the last of the “Oldenday Players.” This closing thought sums up the sad, ironic state of current affairs:

…in the rush to give children every advantage—to protect them, to stimulate them, to enrich them—our culture has unwittingly compromised one of the activities that helped children most. All that wasted time was not such a waste after all.

— Wow, did I ever miss the mark at the end of January when I failed to predict that the majority of Democrats were finally ready to kick their Clinton habit! Rather than Senator Obama’s campaign suffering from too many losses in too many states, it appears that the exact reverse has taken place, and now Hillary faces the need to complete an urgent end-zone bomb to stay in contention. Too bad that more conservative Republicans didn’t rally to Romney sooner and offer to the nation the kind of clear ideological choice that a Barack-vs-Mitt face-off would provide.

— Dadbo once gave us an item of firm advice: never work through a general contractor. He learned that lesson the hard way when he and Mombo built our house on the Shoop Road lot. The truth of his warning was born out last week by my experience with one of our clients who’s completing a new dental office. Due to the construction manager’s faulty information and his cover-my-butt attitude, what could have been a perfectly handsome interior wall treatment will fall short of what we worked to achieve on our client’s behalf. It makes me wonder how many other compromises they were forced to swallow in order to get the doors open on time. But maybe I’m missing the whole point—they did what they needed to do to achieve a massive relocation, with a net gain of significant improvement. What’s wrong with me? Done is better than perfect!

— On Saturday, March 8th, the Community Arts Center will hold its annual benefit and live art auction. According to the Center’s promotional material, the artwork is from some of the area’s top artists, and I can’t disagree with that, even if the list includes your humble correspondent. The online photo gallery offers sneak previews of artwork that will be on the block, and they did a good job of putting together that feature for the Website. The mixed-media collage I donated, Then Sings My Soul, was created nearly a year ago for KOSMOS: Discovery and Disclosure.

— Go back another year to the first March-X and that’s when I helped organize some local cyclists that would form the B.I.K.E. | Boyle County group. On March 11th, the local organization devoted to cleaning up and preserving Clark’s Run (C.R.E.E.C.) will host a community forum that will focus on trails and greenways. B.I.K.E. has not only promoted the idea of safer, more bicycle-friendly streets and roads in Boyle County, but has always hoped to collaborate with community partners as a catalyst for planning a network of shared-use byways and connecting trails. Yesterday I finished a draft of our comprehensive recommendations to kick-start the development of a community master plan that envisions much more than the construction of a few off-street recreational trails. The process will take leadership, commitment, and years of effort. Available funding will go to the localities which combine a strategic vision with constituent support. It’s a challenging goal, but many places have already done it. Some of you know that from your travels and vacations. Those communities improved the quality of life for their populations and, at the same time, attracted visitors, new residents, and employers. Can we do it here? Stay tuned. Bye, everybody!

For the despondent, every day brings trouble;
for the happy heart, life is a continual feast.
          —Proverbs 15:15 (New Living Translation)

V & S

After a weekend of fruitless troubleshooting, I went to bed last night without the layout proof I needed for a presentation this morning. Just after daybreak, in my bathrobe, I was sipping hot coffee, watching the masons starting their shift, laying concrete block for the new library wing across the street. My gloom was thicker than the dismal conditions outside. I had to solve my problem, but I couldn’t take my eyes off the workers. How early did they arise to be on that scaffolding at first light? Had they found a sanity rooted in predictable, hands-on craftsmanship that seemed to be eluding me? At my lowest point I almost believed it was time to abandon it all, to go out and find some kind of real job like that… But who was I kidding? So I faced the quandary again, telling myself, “think positive,” and actually managing to do it without skepticism, feeling resolved to the outcome, whatever it might be.

Later, after everything had worked out, and the client had said he really liked my design, and I had gotten a solid inquiry from Alabama about a new project, I sit here with a second paragraph that needs a culminating thought, trying to make some sense of my day—a Monday that feels like more than the start of a new week…

— Month of January workout totals: Swim-1; Bike-2; Run-0; Lift-2; Yoga-5; Pilates-4

— I’m barely hanging on to athletic respectability, thanks to Yoga/Pilates, but that doesn’t do much for my aerobic fitness. This hasn’t been one of my better annual kick-offs, “exercise-wise,” compared to the past few years. My hope is that our traditional Super Sunday mountain-bike ride will help me turn this around, because I have no intention of not being in decent shape this year. Good. That’s settled.

— “Health is wealth,” but here’s another important reason I need to stay in noticeably sound condition: the mayor asked me to think through the idea of establishing a permanent Bicyclist/Pedestrian Advisory Committee for the city of Danville. Sounds like he intends to take my recommendations to the Board of Commissioners as soon as I finish my homework. It came out of nowhere, but seems in sync with my desire to disengage at the state level to focus more on local action. As I’ve probably said before, my days as a Kentucky Commissioner are undoubtedly numbered, since the governor who appointed me wasn’t re-elected, and my term on the KBBC will expire before long.

— Seeing Ken Watanabe in Clint’s Letters reminded me of his other emotional performances in Geisha and Samurai. And then I became even more sad, because I recently found out that Hollywood set decorator Gretchen Rau died of a brain tumor. I was really wanting to enjoy more of her exceptional work.

— I’ve been hearing funny things about The Producers since I was a college student, but it never occurred to me that it would take 35 years before I finally saw the show. This evening Dana and I had fabulous seats at Norton Center for the excellent national touring production, and I don’t know if I’ve laughed that hard since I first saw Blazing Saddles. When I’m in the right mood, nothing is more hilarious to me than Mel Brooks at his very best. I’ve always figured he was a comedic genius, but after experiencing “Springtime for Hitler” tonight, I must appreciate that he’s a genius—period. I was reminded that, when facing down the wicked, many unavoidable things are required by our warriors, but art is the best—the only true—revenge, and satiric comedy may be the ultimate—the most difficult?—form of that. Would that every aspiring dictator could look ahead only to having his personality cult reduced to an object of ridicule and gut-cramping laughter.

There is no safety for honest men except
by believing all possible evil of evil men.
          —Edmund Burke

Rhetoric does not get you anywhere, because
Hitler and Mussolini are just as good at rhetoric.
But if you can bring these people down with
comedy, they stand no chance.
          —Mel Brooks

V & S

Some things catch me off guard when they shouldn’t, like Brendan’s revelation that my visual style influenced his knack for strong image making. Well, there’s been plenty of artistic cross-pollination occurring within our extended family for quite some time, and his effect on the way I communicate with words has been equally significant—otherwise, nobody could stand reading anything at this site.

Brendan has his own way of describing the contemporary high-contrast style under discussion, but I’ve always called it “graphic illustration.” I’m no scholar, but it certainly has its historical pedigree in the printing arts (the anonymous masters of the 1400s, Dürer, Grien, up through the centuries: Rembrandt, Thomas Bewick, Rockwell Kent, Munch, the Expressionists, the Arts-and-Crafts printmakers, and the Bauhaus designers). Of course, the “look” has been radically influenced by photomechanical techniques (including cinema), and their appropriation by innovative artists and legendary illustrators (Warhol, Glaser, Otnes, Holland, Schwab). Few may give credit to the nameless pulp or movie-poster artists, but they also made their contribution to the style, as did the legendary comic artists, such as Harold Foster and Milton Caniff (genre exemplars of chiaroscuro, who probably had a more formative influence over generations of creative youngsters than the art history books).

I see it all as a moving stream of visual development in Western art, periodically spiced with Asian influences, but always a binary interpretation of how highlight and shadow define form. It’s how a visual decision maker has always tried to give the most simplified illusion of volumetric reality, by the handling of light sources, minimizing modeling, and harshly controlling the equilibrium of figure-ground relationships on a two-dimensional plane, culminating today in the ubiquitous tool of Adobe Photoshop (just as a reminder, I reserve the right, without warning, to squirt India ink in the face of anyone who uses Photoshop as a verb).

Wow, that’s an awfully wordy bit of rambling, and it could really use some editorial refinement. Naah. I’ll just click the “Publish” button instead…

— Each time this year I’ve run the 5+ miles back downtown from the cabin, the time has felt shorter, even though I’m running pretty slowly these days. The silence transpired more quickly for me this morning, too. Milton handed out his periodic survey to the group, and I discovered a 1961 Horizon in Mack’s studio that had an interview with Andrew Wyeth, famous at the time, and now the greatest living American painter. I’ll have to digest the whole article during another visit, but I was able to scan a few stimulating quotations, and then Sara Jane offered me a new commission, with the freedom to interpret a photographic image with my choice of style—the perfect assignment. Everything conspired to boost my motivation to aggressively advance the Brady and Eckerle projects, plus my fine-arts enterprise in general. I couldn’t think about anything else as I ran home. So, why am I sitting here with this log entry?

— Cliff and I had a conversation about blogging the other day and it got me thinking about my string of 616 or 617 consecutive posts, and how important making daily entries used to seem. Brendan still refers to this site as a daily journal, but that hasn’t been true for well over a year. Once again, time is malleable, and, as Arnold has said, there’s adequate time each day for everything meaningful enough to do. Blogging isn’t about the time, but about having something worth saying to yourself, maybe worth recording, possibly worth sharing. I eventually figured out that doesn’t happen every day. When it does, not much time is required to get it down.

— Terie and Marty bought the M:I:3 DVD and left it at our house, so, late last night, I watched the J.J. Abrams picture for the second time, and I liked it a bit more this time around. I think Tom Cruise is the Burt Lancaster of his generation. Regardless of what I might think of his personal life, his work product demands respect. (Hey, not all celebrities can be a James Stewart or Charlton Heston; Lance Armstrong falls into the same category.) If Cruise had not become an actor, he would surely have been an Olympic or professional athlete in some discipline. He has the mentality and natural capacity for high-performance physical achievement. Although one of the least flamboyant stunts, his Chinese-village tile-roof footwork is probably the riskiest choreography in the movie. As I’ve declared before, I think he squandered the full potential of the classic franchise and put its longevity at risk, but this sequel is the best of the lot, the most team-oriented, and it fits nicely into our ancient family idea of an M:I Saga Series. In my opinion, Abrams is a creative, meticulous director with a feel for the spy genre compatible to Mission: Impossible—Cruise certainly can’t be faulted with his selection—but Abrams will need to have further honed his story-telling skills to do justice to his upcoming Star Trek feature, another Desilu-originated concept from the “silver age” of television.

— Local historian, R.C. Brown, is dead at 90. He once saluted me on a Danville street as, “Mr. Dixon, the Spin Doctor!” We often held different political perspectives, but shared a fascination with local heritage. I recruited him in 1991 to expound before a camera, as part of a fundraising documentary (the same program in which we cast Alyx as a child actress). He was in his 70s then, and I was young enough to think I might have a future directing videos (as close as I got to being Ken Burns when I grew up). Brown was the doctor, not me. He was from Ohio, too, but went on to get a Ph.D. from the University of Wisconsin. He taught history at Buffalo State College for 28 years. When he retired to our area, he rapidly became an authority and wrote The History of Danville and Boyle County. I’ll always believe that Professor Brown respected me as a talent, even though I consider his remark shaded by a mild one-upmanship. Perhaps he did understand better than most the true nature of my commercial craft, but I hope he wasn’t thinking of Victor Papanek’s quotation:

“In persuading people to buy things they don’t need, with money they don’t have, in order to impress others that don’t care, advertising is probably the phoniest field in existence today.”

I prefer this one:

“The only important thing about design is how it relates to people.”

— Thomas Bewick, my newest hero, couldn’t escape the ongoing necessity of making money with “coarse work” (as his daughter called it), despite his artistic reputation and unmatched skill as a wood engraver. I wanted to return the library book and avoid fines, but couldn’t help myself, and finished the biography by Jenny Uglow this week. As I said previously, learning more about his life has reinforced for me the notion that, although everything changes on outward levels, nothing really changes in the human dynamics of making a living as an independent, creative craftsman. I was notably saddened when I learned that he never fulfilled his dream of having the cottage workshop close to nature described in his memoir:

“The artist ought if possible to have his dwelling in the country where he could follow his business undisturbed, surrounded by pleasing rural scenery & the fresh air and as ‘all work & no play, makes Jack a dull Boy,’ he ought not to sit at it, too long at a time, but to unbend his mind with some variety of employment — for which purpose, it is desireable, that Artists, with their little Cots, should also have each a Garden attached in which they might find both exercise & amusement — and only occasionally visit the City or the smokey Town & that chiefly for the purpose of meetings with their Brother Artists.”

Dana reminded me that we all tend to get what we desire if we want it badly enough.

V & S

— Month of August workout totals: Swim-0; Bike-9; Run-0; Lift-2; Yoga-0

— When I first participated in the Pound & Pedal 20-miler, it started in downtown Danville and ended at Turtle in the Night Farm, the Morgan family homestead in Forkland. With a climb up Catholic Knob, plus its 30-to-40-mph descent, the course was tough and exciting. As we gathered this morning for the annual challenge, which now has a long-established course that extends into Mercer County and back, nobody remembered exactly how long a history the event has, but Ernst thought today might be the 20th anniversary. The current course is not as dramatic, but it’s still rigorous and far from flat. The best athletes took part in the traditional run-bike team competition, so I managed to win the bicycle-only division with a time of 1:05:41. Once again it fell short of the elusive 20-mph average, but only 19 seconds slower than my 2001 finish. Hey, I can live with three seconds a year. Dick B told me I was “aging gracefully.”

— If I could make a living doing what I did yesterday… Well, I don’t know how to complete that sentence. After spending the morning with graver tools, I pulled a crude proof to see if my block was nearly done. It was the best print I could produce at home, but it told me it was time to head to Larkspur. We made the trip to Monterey and I spent the rest of the day alternating proofs on the Vandercook with more clean-up and finishing touches. I wasn’t sure if Dana was getting bored, but it turned out to be an opportunity for her to spend some time with Gray and get a better sense of his rare individuality. I left the block in his hands with a sense of satisfaction, looking forward to his broadside composition of the Manning poem with my illustration.

— I don’t want to sound like I’m complaining, but the Arts Across Kentucky article about me was published with a disappointing number of errors and poor visual decisions, but that seems to be somewhat typical of the magazine. Nevertheless, it’s good publicity and is apparently seen by many high-level people. They still haven’t updated the Website to reflect the current issue that contains my profile. It’s up to me to leverage this constructively, otherwise it may offer little on its own to enhance my situation.

V & S

Forgive me for yesterday’s wacky post. I’m rounding the final turn of a new wood block—the first I’ve executed outside the workshop environment. The spot I’ve set up in the little galley kitchen on the second floor is ideal. Painters need soft northern light, but the way the afternoon sun from the small window streams by my left shoulder is perfect for engraving wood. I can see each minute detail with total, three-dimensional clarity. Gray loaned me a magnifying visor, but I prefer the naked eye, as long as I have the proper light.

Why does wood engraving appeal to me? There’s something about the precision that satisfies an inner aspect, much in the same way that the spontaneity of collage appeals to another part of me. Perhaps Wesley put it best when he wrote, “Engraving is like drawing on a black board. Every line you make is a white mark on a black surface. You are adding light to darkness.” That hits pretty close to home for me.

On the other hand, it’s widely acknowledged that wood engraving is a demanding, unforgiving medium. I’m considered fairly decent for a “beginner,” but that’s because I can tap a lifetime of graphic investigation as I make each binary decision—black or white? I still have a significant mark-making technique to learn and “muscle memory” to acquire. I must also develop an even deeper resistance to haste. There are no shortcuts, “happy accidents,” or undo keys in wood engraving. Every mark must be deliberate. The process does not reward chance; it yields only to planning and tenacity. I find a challenge in all that, obviously, but I wish I’d been more strongly captivated by it earlier in my artistic life. After creating the lino block for Joan and Wayne’s wedding invitation, I abandoned printmaking for nearly 30 years. So be it. I’m slowly making up for a bit of lost time.

Milton felt positively enough about my Easter morning words at the cabin to reschedule them for this past Sunday. There were a lot more people there, thanks to his endorsement, including Bruce, Lee, and David. Keeping in mind that some of my talk refers specifically to the “Shared Silence” community, I publish it here in its entirety (full credit to my best buddy Mike for the heart of this essay).
 
 

ON DEXTERITY AND THE WISDOM OF HANDS
(After Silence: 4-8-07 and 7-8-07)

Like many of you, I have retained great friendships from childhood, young adulthood, and middle life. The concept of this talk originates with my best friend from college years, James Michael Menke, a behavioral scientist who earned a doctorate in chiropractic and currently serves on the faculty of the Program for Integrative Medicine at the University of Arizona, where he is at work on a Ph.D. in experimental methodology. Mike is the resident chiropractic authority at AndrewWeil.com and, in addition to his scientific publishing, contributes articles to “Dynamic Chiropractic,” the largest circulation periodical for his profession. I must give due credit to him for many of the facts, observations, and speculations that I include in my words.

* * *

It’s been four and a half years since I offered words after silence, when I reflected on my 50-mile birthday run, an event now overshadowed in memory by an occurrence that took place two days before—a present from Dana, an extraordinary celebration with friends and a retrospective exhibition of my greeting cards. Hundreds of these “miniatures” carried my dexterity of hand through a period of relentless computerization in my chosen field, something I never could have anticipated in my youth, when I fully expected a lifetime of evolving manual craftsmanship as a commercial artist. Although I’ve cut back drastically on my card-making hours, I see it now as an essential bridge activity that has prepared me for an increasing dedication to the fine arts in later life. In short, I accidentally found a way to preserve the traditional hand skills which so many in my profession have lost, having bartered them away for a new fluency with software, mouse, and keyboard.

* * *

Is it progress when we trade our ability to develop our hands for increasingly cerebral preoccupations? For most of our lives, American culture has equated handwork with unskilled work. “Manual” mostly means “menial”—or tasks no one else wants to do—and manual dexterity is associated with dullness. As those who work with their hands know at some level, hands work faster than eyes and minds can follow and quickly gain greater knowledge of objective reality. Phrases like “hands on” or “in touch” have come to mean being more connected with the way things really are, outside our frameworks of mental abstraction. Similarly, I often experience the way in which a captive idea is stuck on a mental spinning wheel until the hand is permitted to liberate it with a thumbnail sketch. Dana has told me it amuses her to see my hand moving unconsciously when she finds me deep in thought. There seems to be a direct link.

According to surgeon Frank R. Wilson, author of “The Hand: How Its Use Shapes the Brain, Language, and Human Culture,” a pianist is the summit of human achievement because of his or her ability to direct 400 muscle contractions per second, all in a single, purposeful action to produce music. Dr. Wilson proposes that the evolutionary gift of the human hand over 3 million years ago forced our brains to grow to direct and control this remarkable tool. Language and reasoning were just byproducts of a brain designed for “handedness.”

Neither raccoons, monkeys, nor apes have hands like those of the human. The human hand was made to sense and assess, control and force, and then express, caress, and eventually—to heal. The human hand is the product of anatomy and innervations unique in biological life. Menke believes that the Wilson hypothesis also puts a minor dent in the popular notion of mind-body. American mind-body dualism assumes minds affect bodies, and largely ignores how bodies affect our minds. He thinks it is an ingrained bias we don’t even notice, stemming from an ongoing love affair with the brain as our main source of power and identity. We have bodies simply to lug around and protect our brains, right? He goes on to propose the intriguing possibility that the musculoskeletal system expresses our true identity, and that our glands, organs, and brains see to it we have the requisite stuff needed to accomplish our mission. Perhaps our brains are mere servants of the hands. Could it be our hands make us distinctively human, and not our brains?

Is it possible that Argentina’s piano virtuoso Martha Argerich represents the most recent leap in human evolution? Maybe the arrival of a Yo-Yo Ma advances our species more than a Bill Gates or a Susan Sontag—who can say?

* * *

Consider the progressive prejudice against manual in favor of mental expertise and how Western society has pushed dexterity to the bottom of the totem pole, since the decline of the great European guilds of the Middle Ages, to the point that we have a situation where the work “Americans won’t do,” is potentially leading us to the brink of social crisis. One could make the case it was wrong to advise mamas, “Don’t let your babies grow up to be cowboys.”

Consider how various health care professions that are more probative and that delve into problems with hand intelligence remain low on the occupational ladder or command less respect among elites. Jerome Dixon is a beloved clinician in his adopted home of Campbellsville, but he is also thought by many of his peers to be one of America’s outstanding hands-on osteopathic practitioners. When people, who already know my brother is a physician, learn that he is a D.O., I can detect the crestfallen look in their eyes. “Mamas, Don’t Let Your Babies Grow Up to Be Skilled Musculoskeletal Diagnosticians.”

Why is there such a cultural emphasis on working with the head instead of the hand? Working with your hands—sometimes called making an honest living, because you can see and count your accomplishments—is on the decline, even though it is the most difficult American work to outsource. It’s impossible to fight a fire, massage a spasm, wax a floor, cuff a criminal, cleanse an injury, build a road, or fix your commode from a call center in Bombay.

Manual consciousness—the wisdom of hands— is too often dismissed in our head-centric culture. Problems can frequently be found and solved by hands without all the judgmental posturing of the mind. Hands can quickly know what our minds may never grip, manipulate, articulate, or ultimately grasp.

As Yale University researcher Paul Bloom has explained, an adaptive mistake in human development may have given us an inborn comfort with the idea of a consciousness as being separate and separable from bodies. Whereas, Dr. Bloom suggests we have built into our DNA an indifference for the physical body as a temporary vessel, and are predisposed by evolution to believe in the supernatural, since minds and bodies seem to have a separate existence, Menke finds a more basic and immediate interpretation of Bloom’s data—that breaking the body away from the mind only leads us to fragmented views of ourselves and others.

In his book on Harlan Hubbard, Wendell Berry de-scribes how the Kentucky artist and individualist committed himself to “an authentic life in his consciousness.” He writes that Harlan’s genius was in how he gave “the body a significant life in the world,” an existence that was “dignifying and pleasing to itself.” Like his most constant mentor, Thoreau, Harlan Hubbard sought first to live well, and to him, this meant a certain mistrust of mental abstractions removed from the objects of thought and one’s affection for those objects. In Harlan’s own words, “The mind tries to live by the artificial structure of the world, but the body will have none of it, holding to primeval forces. People try to be all mind….this has gone so far that now….the earth itself is but an idea.” Berry concludes that fundamental to Hubbard’s character was his refusal to live by mind alone. In his unwillingness to put his body and his bodily life under the rule of abstract ideas or monetary values, he avoided contemporary man’s tendency to use the world and its goods without love or care, a denial of both the life of the body and of the spirit.

* * *

And so, when I reflect on the particular abilities of my own body, it is with humility that I must appreciate each one’s distinctive integration of dedicated practice, mindful habit, and genetic heritage. This is painfully obvious when I presume my hand dexterity might cross over or be successfully interchanged. In other words, don’t let me transplant a seedling, touch a leaky pipe, or pick up a musical instrument. What of the untold wealth of dexterity that may exist within the group of unique individuals who frequent this cabin? What can I ever know of it? What do I know of the personal dexterity of Karen, Mary Ann, Leslie, or Sara Jane? What products of accomplished hands lie beyond my limited awareness?

Nevertheless, I won’t forget my sense of admiration when I first saw Lester run his fingers over a selected piece of lumber. How many times have I marveled as Ernst leaves the saddle to apply his deft touch to a shifter assembly, correcting a malfunction within seconds? What of the other familiar pairs of hands I know only when they hold a cup of hot coffee in the chilly air on a Sunday morning, never having witnessed their most articulate performances? What of Jim’s nuanced grip of the reins, Elizabeth’s green thumb, Dan’s expert trigger squeeze, or Victoria’s compassionate caress? What will I ever know of these? If I haven’t understood the hands, how can I hope to ever know the real person?

Having said that, I believe I can state without fear of contradiction that the most awe-inspiring pair of hands among us is forever gone from our physical circle. They belonged to someone I think of when I read what Harlan Hubbard wrote in 1932:

“There is but one great man. That is he who makes a masterpiece of his life. No accomplishment can offset bad living.’’

When in my friend’s presence, I failed to fully regard either of those immensely capable hands, preferring instead his characteristic twinkle of eye. Who else among our circle could demonstrate to his extent the genius of handedness—to execute a graceful brush stroke, to throw a well-proportioned pot, to compose in limestone with incomparable decisiveness, to improvise jazz melodies by intuitive fingering, or to repair the living tissue of a damaged joint? Even now, the thought of it nearly takes my breath away. These were not hands in mere service to the intellect, but a mind and heart in service to the world—properly and definitively through his magnificent hands.

How grateful am I for the good fortune to have encountered those hands, and the rich depth of human character they shaped in order to empower their creative potential! His world will continue to possess their diverse manifestations—animate and inanimate, evidence of the spirit they energized—long after the hands have left us for a place filled with new activities for the hands of a soul—the unimaginable creative pursuits of Life Everlasting.

— Month of July workout totals: Swim-6; Bike-7; Run-2; Lift-3; Yoga-2

— As I continue to thoroughly enjoy my peak cycling season, I notice an increasing level of muscle tightness and pelvic inflexibility due to a decline in periodic yoga practice. Balance and discipline. Why is it so difficult to calibrate?

— On Saturday, when Dana baked Terie a birthday pie (Blue Bank blackberries plus organic red raspberries), I decorated the crust with her favorite thing that makes her happy.

— I seemed to need every available minute yesterday to meet my evening deadline, but I managed to complete three mixed media collage artworks, including a “Fifteenth Cosmosaic,” the largest composition in the series so far and the first to be executed specifically for public exhibition and sale. Dana and I hand delivered them to Kathleen, the coordinator for the Lexington CONNECTIONS show, and she accepted all three on the spot. Even though it was getting late, she was kind enough to spend some time providing framing advice. I’ve been concerned I haven’t yet developed the ability to frame my work in a manner commensurate with the quality of the art. I intend to rectify that with these pieces, which are due in the city next month.

V & S

While at Kelly Ridge, Joan let us pick out some of Joe Wood’s old fishing poles for our trip to Michigan. She also handed me a book by Harlan Hubbard titled “Payne Hollow.” I pointed out to her the handwritten note on the front jacket flap that said, “Not for loan.”

“Too bad,” she replied. “He should’ve stuck around to enforce it.”

I immediately began to read the small work, as Dana drove us north for a few Lexington errands. I’d never heard of this memoir—the heartfelt story of an artist-craftsman and his quest for an isolated, unconventional life close to the earth, but I quickly understood why it might have been one of Joe’s most treasured books. Hubbard describes his conviction that a longing to live an even more primitive, solitary existence is less important than the compromises necessary for the richer satisfaction of a married life.

The author did not win me over from the start, but rather by slow degrees. I’m struck with the parallel of my own experience with Joe himself. Perhaps he came to the same conclusions about a life alone. Perhaps this is my sister’s way of helping me better appreciate the natural course of their own love story.

Wow… and I still have the second half of the book ahead of me.

The “Etch A Sketch” came easier to me than it did to most, but I never dreamed of doing work like this guy. Joan sent me the link to his site.

I suppose I’ve always had fairly decent eye-hand coordination. My sax fingering wasn’t that good, though; it had to do with rarely practicing, in addition to being able to blow on a reed, which I always detested at some fundamental level. Actually, I could have been a great bulldozer driver, or operated one of those tall cranes they use to build a skyscraper. Maybe I could even fly one of those Predator UAVs… Video games? You better believe I could do that, but I’ve never really allowed myself more than a dabble with Marty now and then. For me, doing more than that would be about as wise as trying rock cocaine.

It took longer than I expected, but my drawing for the Housing Authority was a pleasure to execute. The illustration technique I used was directly inspired by my favorite masters of pen and wash—Jack Unruh, Ken Dallison, Joe Ciardiello, and Alan E. Cober. Dallison is known for his automobiles and Ciardiello for his portraits, but all of them have worked with great breadth of subject matter. I’ve marveled at their skill for decades, but they have a similarity of approach that is close enough to my own capability that I can relate to how they visualize and have learned from their prolific examples. Unruh is exceptional—equally adept at rendering people, places, and the natural world—and I could die happy if I gain a fraction of his ability. Cober, who, of the four, actually did die (happy I hope, although much too young), holds a special place in my personal history. At the height of our indecision concerning what to do about the crumbling situation at Wright State, Dana and I had the opportunity to question him at a workshop. He counseled us to trust and follow our instincts, so the two of us got out together. He was a great adviser to hundreds of talents over the years, and I’m grateful to have been one of them.

I sent out the rest of this year’s Christmas cards, which use a small block print that I call “Holy Infant.” Technically, I guess it would be considered a wood engraving, since it was cut on the endgrain, but it seems far too primitive for that description, since I used a tool more suited to a woodcut (sidegrain), the piece of wood itself left a lot to be desired (from a quality standpoint), and the actual printing process was a crude affair using old stamp-pad ink. Nevertheless, the rustic effect pleased me, and it was just a limited experiment anyway. It just heightens my desire to do some proper printmaking, using a true engraver’s tool, with one of the good maple blocks I bought over a year ago from Wesley Bates.

Dana and I decided to just go all the way with a “biopic grand slam,” and so we borrowed “Ray” from the library. Every so often I watch an Oscar-winner at work (Nicolas Cage in “Leaving Las Vegas” comes to mind) and I think, “Is this truly a performance that deserved an Academy Award?” This was definitely not one of those times. I’ll leave it to others more gifted than me to characterize Jamie Foxx’s phenomenal achievement.

As far as the movie goes, it makes “Beyond the Sea” look anemic by comparison—the difference between an obvious indie project and a big commercial picture with the highest production values. “Ray” is one of the best sounding Hollywood products in recent memory. The sound mixers deserved their awards every bit as much as the lead actor. Superbly directed, designed, and edited, the film is a technical masterpiece, but was it a better picture than “Million Dollar Baby?” No—because Clint delivers the full package that your heart is yearning for when you choose a movie like this. “Ray” has its moments—quite a few, and they’re exceptional—but failed to sustain a deep emotional connection for me. I cared more about whether Johnny Cash overcame his addiction in “Walk the Line,” and I really don’t think it was a function of who Ray Charles was or how good a job Jamie Foxx did.

I’ll continue to contemplate the similarities and contrasts of the four musical biographies I’ve discussed in my last two entries, and why one or another excelled in a particular area. In any case, each one of them is well worth the time, but now I plan to accept a couple new assignments in the spare-time department—the complete “Firefly” collection plus an early Paul Watkins novel…

The precision of certain activities has a strong appeal for me—creating fine typography, fishing for king salmon, engraving wood for printing… and now I can add reloading ammunition to the list, which I did for the first time tonight with David, in his gun room. I’m not mechanically inclined enough to fix engines nor meticulous enough in my logic to write code, but there are aspects of the shooting sports that demand an exactitude which I can manage. I found it satisfying to balance all the parameters and tolerances in order to hold a finished .44 Magnum cartridge in my hand.