Showing posts with label Grimm's Fairy Tales. Show all posts
Showing posts with label Grimm's Fairy Tales. Show all posts

Saturday, May 12, 2018

LOOKING BACK ON MOTHER’S DAY

Dorothy Greenlaw Marquart and son Paul

Tomorrow is Mother’s Day, and I plan to include a few excerpts about my mother from the introduction to Their Adventurous Will, Profiles of Memorable Louisiana Women, a book I wrote in 1984, in a sermon I’ll preach. Since the introduction is on my screen this morning, I felt that a redo of it would be appropriate to include in “A Words Worth” to celebrate this auspicious occasion:

“A few years ago, in the silence of too much winter, my mother passed away. Her death shocked and grieved me, and in attempting to transcend the offense of her death, I wrote a tribute to her in my column, “Cherchez la femme,” which was featured in the Daily Iberian, New Iberia, Louisiana. In writing about Mother, some of the qualities which marked her as an outstanding woman became more apparent to me and that recognition of her uniqueness moved me toward writing this book. She isn’t among the women highlighted in the following essays, but I feel that a small cameo of her life belongs in the introductory notes to this volume.

A friend and I were once discussing our mothers, and I asked her if she remembered the scene in Peter Pan in which Tinker Bell is dying and Peter asks for those in the world who believe in fairies to clap their hands.

“Well,” I told my friend, “my mother would have been the first to clap her hands.”

She was fantasy itself; she saw sprites dancing in open fires, drew pictures of gnomes painting the woodlands and created pastels of quaint cliff dwellings where other-world spirits lived.

My mother loved words and books. When I was three years old, she would seat me, cross-legged in the middle of a small kitchen, and open for me giant editions of Mother Goose, A Child’s Garden of Verse, and Marigold Garden, laughing at friends who often dropped in to proclaim that I was backward because I didn’t talk and only sat quietly, absorbing the book characters she knew I’d remember for a lifetime.


She read aloud the entire series of Uncle Wiggly in the Cabbage Patch, The Little Colonel, Raggedy Ann and Andy, Greek Legends, Black Beauty and Grimm’s Fairy Tales, even after all of the children in our family had learned to read.

Every month for years, Mother would take one of the three children in our family to Claitor’s Bookstore in Baton Rouge, Louisiana, to choose two books for our nightly reading session. She was the first family member to open the books, touching the pictures with credulous delight. My mother began to fly in the heavens long before Mary Poppins opened her first umbrella to make her wonderful flights! For her, I wrote my first story at age six. I remember only that the tale concerned a small child who opened a door in a tree and found herself in a fantasy world similar to Alice’s Wonderland.

My mother was one of the first Golden Eaglet Girl Scouts in the United States, an honor bestowed on her in the early 1920’s when Girl Scouting was in its infancy. She loved woodlands, flowers, and even garter snakes, one of which became her favorite pet when she camped-out, primitive style, in the Dismals of Alabama after winning a trip to Juliette Low Girl Scout Camp.

One of her greatest legacies to me was a love of the Episcopal Church to which she was deeply devoted after her conversion as a teenager. She single-handedly attempted to establish a mission in my hometown of Franklinton, Louisiana, with its predominantly Baptist and small Roman Catholic population. 

The church was never built, although a sign advertising the mission church still stands on a vacant lot which she had coerced an old-family Franklintonite to donate. She didn’t convert enough Baptists or Roman Catholics to build the church and congregation but she did accomplish some “consciousness-raising” about Anglicanism. While she was working on the project, the Episcopal Bishop of the Diocese of Louisiana introduced her to someone as “that woman with the red-hot poker who gets people moving.”

When Mother was a teenager, she exemplified the phrase which accompanied my graduation picture in my high school annual: “Large, divine and comfortable words.” She loved the syllables and accents of words and would roll them out at inappropriate times as she did following a Baptist Church service when she filed out the door and shook the minister’s hand.

“Dr. Gayer, that was really an excruciating sermon,” she remarked, thinking she had expressed a highly complimentary description of his delivery.

“Well, yes, Miss Greenlaw,” he answered, “come to think of it, it probably was.”

My mother was the only Protestant Jewish mother I knew. When one of her five children became ill, she prepared chicken soup, grape juice ice (grape juice poured into an ice tray and frozen, then sliced), milk toast and caramel pie. In the manner of a traditional Jewish mother (which she wasn’t), taking care of the family was probably her singular life goal. Even after my brothers had grown up and married, they came home to her when they were ill and upset. She died while still looking after two of them.

She was one of the most sensitive persons I’ve ever known; yet she was tough in the tenacious, weather-beaten way of those trees she loved so well.

When I went home for her funeral, some of her friends and family members said to me: “She was too good.” She probably wouldn’t have liked that remark; she didn’t think of her life as role-playing or as some kind of martyr’s legend — she simply believed in St. John the Divine’s words: “Absolute self-giving is the only path from the human to the divine.”
Friends and family also told me: “She was proud of you.” I know she was. I’m proud of her. She gave me the ability to perceive “tongues in trees,” the sight to see “books in the running brooks, sermons in stone and good in everything.” She also gave me a love of nature, music, humor, and imagination.

Mother was buried in a dress with bright red buttons because she not only loved red, she lived red. Vivacious, garrulous, she was a woman who talked back to life situations which would have felled me years ago.


Back in the mid-1960’s, I wrote a poem about my father which was published in American Weave, a literary journal, and my mother showed the tiniest bit of jealousy that I hadn’t published something about and for her. I told her then that I would write a poem about her. I never did. But Their Adventurous Will is for her. Somehow, I think she’ll be able to read it, even without her glasses.”

Happy Mother's Day!

Wednesday, December 27, 2017

HOW STILL THE RIDDLE



Until I reached pre-teen age, my mother read to three of her children nightly from books she somehow managed to buy at Claitor’s Bookstore during WWII, a period when rationing affected the purchase of luxuries like children’s books. In our collection of children’s books from which she read, Grimm's Fairy Tales became a favored volume that included the classic folk tales of Cinderella, Rapunzel, Hansel and Gretel, Goldilocks, Little Red Riding Hood and other interesting tales that fascinated and sometimes terrified me. I attribute a lifetime love of literature to these nightly readings that delighted my mother as much as it did us. I’ve always enjoyed myths, folktales, mystical poetry and, as Charles Simic says, I believe that “…poems and paintings reassemble reality in new and unpredictably pleasing ways…are a collaboration of dream and intellect…”

Pinyon Publishing’s newest collection of poetry and art, How Still the Riddle, contains many references to myths and fairy tales, showcasing the talents of Francine Tolf, a poet who lives and works in Minneapolis and her deceased sister, Gale Tolf. Gale’s magical illustrations might have appeared within the pages of a volume like Grimm’s Fairy Tales and complement the lyrics of an inspired poet.

In the preface, the poet explains that How Still the Riddle features rhyming poems, which would have pleased her mother who “loved rhythm and sound and musicality,” and which she tried to instill in the poems of this volume. The ink and watercolor drawings by her late sister, Gale, were inspired by myth, legend, and fairytale, and are a meet companion to the rhyming poems. The artist considered Shakespeare “one of her best friends. He knew more about psychology than Freud and had a sense of humor to boot!” Her drawings often reflect her appreciation for the place of humor in memorable art.

I was drawn to nature poems in the beginning of the book; e.g., “Summer Gold” where “Luxuriant and lush, late summer/mornings melt like easy gold/to full ripe afternoons, so humming-/rich a heart can barely hold/such heavy wealth./I tell myself /to savor slow the molten skies/and laden trees and dragonflies—/but never do…” And I turned a few pages to find the drawing of a magic man who appears in “Moon,” and plucks the moon from a diamond sky, then “descends into a mountain cave,/hammered it till paper thin/with magic anvil luminous—/and then he hung it back again.” Readers will discover that many of the poems and drawings appeal to children, as well as adults and that they create the same kind of mystery indicative of the Grimm tales. 

Poems like “The Desert Father” who leaves home and his comforts to fast and pray” border on morality tales, but redeem themselves by being amusing. The pleased expression on the face of the desert father who has escaped “worthless pleasure sold and bought/by desperate people craving to be whole…” becomes irony when the good father “stumbles on [his own] cunning sin of pride.” 

I was intrigued by a poem with no accompanying drawing entitled “The Island of Discussion” bearing an explanatory note that this is an island in Scotland where, in the past, those with arguments traveled to sort out their problems. “They say time on this mossy-green island/heals grudges and mends cruel wounds./It might be the meadows, it might be the mist,/but sworn enemies leave its shore friends.” Francine invites readers to sail there and “unpack ancient grievances while sipping good whiskey and sweet honey cake under fir trees in lake-scented air” —an idyllic idea that takes place on an idyllic island and would that readers could make such a voyage to resolve contemporary world problems!

Poets will appreciate Francine Tolf’s tribute to poetry in “Sing Me A Poem” in which she issues the invitation to “unriddle the riddles and after you’ve mended/the tattered illusions and patches and shreds,/weave me a tapestry braided and blended/ and woven from poetry’s magical threads.” The poem is accompanied by a drawing of a wizard singing a poem to a woman holding a hand to her forehead while trying to untangle enigmas. Unexpected images and a rhyming poem with emotional color will appeal largely to the adult reader, but young readers might enjoy the illustration in this tribute as much as poetry-loving adults will appreciate the contents.

Moonflowers, wild beasts, snakes with fangs extended, fairy queens, goblins — creatures from old mythologies and cultures rise from the unconscious of poet and artist in How Still the Riddle, and, as Simic says, “make poems and paintings that reassemble reality in new and unpredictably pleasing ways.” 

Francine Tolf’s work has appeared in Southern Humanities Review, Poetry East, Contrary Magazine, Rattle, and Water-Stone Review. She has received grants from the Minnesota State Arts Board and the Elizabeth George and Barbara Deming Foundations. Gale Tolf (now deceased) was an award-winning artist, writer, and teacher with a Masters degree in Gifted Education. Her art was exhibited in Mandala Gallery, Pacific Grove, CA; Carl Cherry Foundation, Carmel, CA; Northeastern Illinois University; the Pacific Grove Museum; Monterey Public Library; and many other venues.

How Still the Riddle is another handsome volume produced by Pinyon Publishing, a premier publisher of art and poetry with offices based in a log cabin on the Uncompahgre Plateau near Montrose, Colorado. Order from Pinyon Publishing, 23847 V66 Trail, Montrose, CO 81403.