Tag: Brainstorm

  • Mixed Species Flooring Experiment

    Mixed Species Flooring Experiment

    Mixed Species Flooring Experiment: character beech and jatoba, a.k.a. Brazilian cherry (Photo: R.P. Murphy)
    Mixed Species Flooring Experiment: character beech and jatoba, a.k.a. Brazilian cherry (Photo: R.P. Murphy)

    Repurposing Rosslyn’s icehouse is an ambitious project within a diminutive space. On the one hand, it’s an historic rehabilitation of an obsolescent utility building into a home office/studio with lifestyle perks like a hot tub and firepit. It’s also an experiment in adaptive reuse: reinventing this no-longer functionally relevant building with materials cherry picked from 17+ years of architectural salvage, surplus building materials from several renovations, and a a carriage barn full of lumber harvested, milled, and cured on site from a decade and a half of restoration work in Rosslyn’s fields and forests. There are even a couple of personal objectives woven into the present project, but I’ll hem them in for now do that I can reflect on the mixed species flooring photographed above and below.

    You’re looking at two different hardwood species in these flooring samples: beech (this batch has been selected for its “character”, patterned grain) and jatoba (a.k.a. Brazilian cherry). Both of these are surplus remaining from our 2006-9 rehab of the house, and either/both of them *might* find their way into the icehouse. I’ll explain more in due course, but today I’d like to narrow our focus to our preliminary “research”, experimentation with enough whimsy and creative license that it almost feels like playing around.

    I’m referring to a sort of exploratory brainstorming, decidedly unscientific experimentation but curiosity-fueled artistic experimentation. The question we’ve begun to explore is what might be possible if we combined dissimilar wood species in the same floor? Could the beechwood and the jatoba hardwood flooring merge into an appealing design element? Would this experiment in combinatorial creativity contribute meaningfully to a unique, cohesive design?

    Wondering and wandering into this experiment was made possible by Pam and Tony who pulled stock from storage, arranged patterns playfully, and sent me the photographs to ponder. And while there’s still plenty of experimentation ahead in this little mixed species flooring experiment, the creative cogs have begun to spin…

    Flooring Experiment: jatoba, a.k.a. Brazilian cherry (Photo: R.P. Murphy)
    Flooring Experiment: jatoba, a.k.a. Brazilian cherry (Photo: R.P. Murphy)

    Why Experiment with Mixed Species Flooring?

    Sometimes the singing underneath surfaces in a timely manner. Good fortune allows the insights of Kathleen Kralowec to help answer this question. All of the following excerpts are drawn from her article, a wise wander that opens as if I’d written it myself.

    This article, I warn you, is itself an experiment: a conscious act of wandering.

    Kathleen Kralowec, “Why Artists Must Experiment” (Source: Medium)

    Let’s wander a bit with Kralowec.

    Recognizing an act as an experiment releases it from a lot of… demands of perfection. The outcome of experimentation is knowledge, and failure is just as valuable as success, because one has expanded one’s awareness of one’s own abilities, one’s deeper ideas, the potential of a media, a process, a genre, an art-form.

    And so we play with beech and jatoba, experimenting and exploring, yielding to our curiosity, risking failure, but also possibly failing our way toward success.

    Flooring Experiment: character beech (Photo: R.P. Murphy)
    Flooring Experiment: character beech (Photo: R.P. Murphy)

    Artists must experiment in order to find their way… because there is no other road-map, no other way to discover how best to navigate…

    As creatives we must grow comfortable with the prospect of forging our own way, navigating by trial-and-error. Kralowec goes on to propose the notion of a creative/artistic studio as a laboratory. Experimentation — and this encompasses failures as well as success — is fundamental to the creative process. And so Pam and Tony and I plunge headfirst into our laboratory, experimenting, mapping the unknown.

    Practice, or rehearsal, is meant to increase precision on an existing pattern of action. Experimentation takes us outside those repetitions, to unexplored territory, untried actions… Experiment is an open door, an invitation to do things that might not work, and its necessary for what we may as well call innovation in the arts.

    Jettisoning the familiar patterns, the customary solutions, and the “right way” is liberating, and sometimes a little unnerving. Welcome to the wilderness!

    Experimentation allows one to explore the wilderness of one’s own talent and the wilderness of one’s own mind… Sometimes one must let go, enter into the experimental space, give oneself that permission to stumble, in order to advance to the next stage.

    Mixed Species Flooring Experiment: character beech and jatoba, a.k.a. Brazilian cherry (Photo: R.P. Murphy)
    Mixed Species Flooring Experiment: character beech and jatoba, a.k.a. Brazilian cherry (Photo: R.P. Murphy)

    And stumble, we will. Stumble, I do. Often. But every once in a while, wandering in this metaphorical wilderness of experimentation, we discover something singular, something remarkable.

    Extending Kralowec’s notion of art studio as experimental laboratory to our creative practice(s) in general, then it’s incumbent upon us to untether from the familiar, the tried and true, the already discovered, in order to wonder and wander uninhibited, in order to explore and experiment without prejudice and confining assumptions. Not always, of course. And we must be willing to fail. Often. It is this vulnerability combined with curiosity, and with the courage to challenge our constraints and catalyze that curiosity through experimentation into the possibility of discovery.

    At this stage we’re still early in our experimentation. Discovery is still eluding us. But our curiosity and our carefree experimentation are raring to go!

    https://www.instagram.com/p/CmFsG48OEa4/

    Now that we’ve experimented with the beech and jatoba flooring in their raw, unaltered state I have a couple of follow-on experiments I’m hoping to run. Stay tuned!

  • Leftovers as Ingredients

    Leftovers as Ingredients

    Ingredients for Christmas Turkey Dressing (Photo: Geo Davis)
    Ingredients for Christmas Turkey Dressing (Photo: Geo Davis)

    Last night, I enjoyed Christmas dinner, the sequel. No, not the movie. The leftovers. Leftover turkey, mashed potatoes, gravy, green beans, roasted, butternut squash, all smothered under her blanket of gravy. And for dessert, pumpkin pie, and pecan pie.

    And, as you may have predicted, it was delicious. Perhaps even more delicious than the first go round. Have you ever noticed that some meals just taste better the second time around? Hold that thought…

    And note that I didn’t mention leftover turkey dressing / stuffing. There’s still plenty of that, but I’m one-and-done with stuffing. I enjoy making it, but after an initial scoop (and a small scoop at that) on Thanksgiving and Christmas, I’m on the the tastier dishes. It’s too filling. Too heavy. Too, well, just less appealing to me, even when drowning in gravy.

    Ingredients for Christmas Turkey Dressing (Photo: Geo Davis)
    Ingredients for Christmas Turkey Dressing (Photo: Geo Davis)

    Leftovers

    This post is brought to you by leftovers. Yes, the ones crammed into your refrigerator right now. But not just those. Let’s expand our thinking beyond food. I imagine you have all sorts of remainders and vestigial scraps tucked into the nooks and crannies of your home. Junk drawers, closets, garage,… I’m thinking about all of those items (I’ll stick with “items” for now, but fair warning that I’ll soon ask you to consider them “ingredients”) that you could have thrown away but didn’t because you suspected that you’d be able to use them again in the future.

    You with me?

    Don’t worry, I’m not going to show you photographs of the two ingredients above as they after becoming turning dressing, after being served on Christmas, after getting scooped into a glass container, and after spending some time in the refrigerator. Sure, the turkey dressing is still edible, but it’s decidedly less photogenic at this stage.

    But last night while feasting on our Christmas dinner sequel I got to wondering why the leftovers tasted better during their debut. It’s different than stew and soup and even some pasta dishes, all of which seem to hit their stride only after they’ve had some time to rest a while. And maybe it has something to do with the fact that my first experience with this meal followed a morning-until-late-afternoon cooking frenzy. Whereas last night I simply sat down and devoured the goodness.

    Leftovers as Ingredients (Photo: R.P. Murphy)
    Leftovers as Ingredients (Photo: R.P. Murphy)

    Ingredients

    This post is *also* brought to you by ingredients. Yes, like the fresh celery and onions above, we joyfully imagine crisp, colorful ingredients bursting with flavor. But poking through the fridge, pushing aside containered leftovers, wondering what in the world to eat, we get a different feeling. Less joyful. More resigned. But sometimes, last night’s dinner for example, we are surprised when we embrace the sequel.

    Sometimes we get creative and reimagine the leftovers, decide to experiment with different combinations, different preparations. We cease to think of the leftovers as unfinished extras from the first meal, and we repurpose them as the ingredients for a brand new creation. Remember corn cakes and turkey gravy? Sometimes it works, and sometimes it doesn’t.

    While overeating Christmas dinner for the second time it struck me how similar edible leftovers and building materials can be. Think of surplus lumber and architectural salvage. They get pushed to the back of the proverbial fridge (in our case, usually one of the outbuildings) in the hopes of one day becoming the ingredients for something relevant and exciting and new.

    Leftovers as Ingredients (Photo: R.P. Murphy)
    Leftovers as Ingredients (Photo: R.P. Murphy)

    Leftovers as Ingredients

    You see where I’m going with this?

    I’ve repeatedly mentioned that the icehouse rehabilitation is an adaptive reuse project. Transform an obsolete utility building into a useful, relevant multi-use space that adds value to our life at Rosslyn. And, in addition to repurposing this handsome historic building, we have endeavored to repurpose as many surplus building materials and architectural salvage artifacts as reasonable (i.e. functionally and aesthetically viable) in the design and rehabilitation process.

    I’ve talked about the repurposed columns and the loft flooring experiment, and I recently celebrated the upcycled coatrack and the antique ice hook (which will be displayed prominently as decor once rehab is complete). I’ve post a couple of updates on our “research” into upcycling garapa decking and re-milling our homegrown lumber into flooring (and other interior millwork). In the weeks and months ahead much of Hroth and Pam’s focus will shift indoors, and I’ll be relating additional opportunities that we’re exploring for repurposing our building leftovers as the raw ingredients for a brand new working and relaxing space that will fuse more than a century’s ingenuity and artifacts into an integrated, cohesive (and hopefully beautiful+charming) space.

    As we journey through the icehouse rehabilitation, endeavoring to create relevance and value for leftovers while ensuring that the final result achieves these lofty aspirations of functional and aesthetic integration, cohesion, and attractiveness, brainstorming and collaboration become more and more important. And more and more enjoyable! With such a diverse cast of contributors, I’m hoping that we’ll cross pollinate and evolve ideas that none of us individually would have come up with. Co-creation is sure to conjure out-of-the-box ideas and original solutions that draw upon the diversity of experiences and passions and perspectives. So, please consider this an open invitation to share your suggestions!

  • Icehouse Rehab 4.5: Foundation Collaboration

    Icehouse Rehab 4.5: Foundation Collaboration

    Icehouse Foundation Collaboration: concrete truck arrives
    Icehouse Foundation Collaboration: concrete truck arrives

    Last Friday I gushed that it’d been a monumental week. No hyperbole. Tackling (and completing) Rosslyn’s icehouse foundation was an epic accomplishment, a concrete collaboration conjoining two separate teams to rescue the foundering concrete project. And while Friday’s post was brief, timely-but-abbreviated recognition for the indefatigable individuals who pulled off this remarkable feat, today I’ll show you the step-by-step process from prep work and two separate concrete pours to completion of the icehouse foundation and crawlspace floor. I see this accomplishment  as an enduring testament to (and foundation for, excuse the pun) the unique energy fueling Rosslyn’s icehouse rehab, an intrinsically collaborative and transformative revitalization and adaptive reuse project.

    Rising from the Ashes

    After repeatedly failing to produce a verifiable estimate, timeline, and definitive commitment (ie. a contract), the concrete subcontractor imploded mere days before starting work on the icehouse.

    “Bad news,” Pam informed me and then told me she needed to get back to me in a moment. No time for bad news, I thought.

    By the time she called me, minutes later, both in-house teams had convened to brainstorm. Given the tight project timeline, they decided to undertake the foundation and slab themselves. This marked a return to the original plan (subsequently discarded in lieu of hiring a concrete contractor in the mistaken assumption that it would streamline and accelerate the project timeline) but with a twist… turning two teams into one. Full pivot!

    One team (Pam, Hroth, Tony, Justin, Eric, Matt, Andrew, Bob, Phil, Scott, Brandon, Ben, and others) has been rehab’ing the icehouse, and the other team (Pam, Peter, and Supi) has been rebuilding the boathouse gangway, etc. You read right, Pam is managing both projects. And several other Rosslyn initiatives including our master bedroom balcony re-decking, master bathroom shower tile tune-up, overall property management at Rosslyn, ADK Oasis Highlawn, ADK Oasis Lakeside, and multiple other properties. (Since I can hear you wondering, yes, she’s that good!)

    The combined concrete collaboration would be Pam, Peter, Hroth, Supi, and Tony. With everyone coalescing around one specific goal — completing the icehouse concrete as well or better than a dedicated contractor without blowing up the budget or timeline — the objectives were obvious, but so was the potential for challenges and setbacks. Imagine a metaphorical pressure cooker. Top clamped tight. For a week. With zero room for mistakes. And yet, collaboration prevailed despite the inevitable stress.

    From layout to excavation to vapor barrier to pinning the old foundation to setting rebar to wiring mesh to pouring initial footings and slab to forming curbs and setting rebar to final pour and stripping… these five came through delivered in a big way. Together they’ve guaranteed a sound, well constructed foundation for Rosslyn’s circa 1889 icehouse rehabilitation. I can report with profound pride and pleasure that it was a total success.

    Most of the crew was able to gather on Saturday evening to celebrate their accomplishment, an end result that is in all likelihood superior to what we would’ve wound up with in the first place. Sometimes setbacks are actually the inspiration to regroup, reboot, and outperform original expectations. Sometimes fiasco fans the fires of triumph. Sometimes the phoenix rises from the ashes.

    Video Mashup of Concrete Collaboration

    If you’d prefer the quick zip through, then this video mashup is for you.

    https://www.instagram.com/reel/CkovuO_AApb/

    Thanks to Pam, Hroth, and Tony for recording the photos and videos featured in this video mashup!

    Photo Essay of Concrete Collaboration

    Okay, now it’s time for the photo essay chronicling the step-by-step progress and the series of accomplishments made possible by the collaboration of Pam, Peter, Hroth, Supi, and Tony.

    Thanks to Pam, Hroth, and Tony for recording the photos featured in this photo essay

  • Leaping & Untethering

    Leaping & Untethering

    Rosslyn Boathouse, by Bill Amadon
    Rosslyn Dock House, by Bill Amadon

    In the spring and summer of 2006, when Susan and I took a leap of faith and made the decision to pursue Rosslyn as our future home, it was apparent to both of us that we were biting off considerably more than we could chew.

    Dream big. Dream a little bigger. And then leap!

    From leaping capriciously, optimistically, idealistically, and oh-so romantically into this Rosslyn adventure 16 years ago to an eventual and inevitable untethering at some point in the future, Susan and I have courted an unconventional but rewarding existence. In a sense we’ve never stopped leaping.

    Now with 20/20 hindsight (and a decade and a half of years of lessons learned and humility earned) I’m comfortable admitting that we got in over our heads. Waaayyy over our heads. Our skillset and our checkbook were too lean; our romantic outlook and our self confidence were too stout. Needless to say, that’s a fraught combination. But I wouldn’t change a single thing. Well, maybe a few things…

    I envisioned Rosslyn’s rehabilitation as an adventure, a risky adventure, but an adventure well worth the risk (and the 100% investment it would take, not the least of which was our undivided time and energy.) Rosslyn would become our love affair, our work and play, our vocation and avocation, and — despite a resolute decision early in our relationship to embrace unclehood and aunthood while remaining childfree — Rosslyn would become our surrogate child.

    In due course, heck, practically from day one, Rosslyn would eclipse literally everything else in our lives. That’s truly not an exaggeration. And, in all candor, it wasn’t particularly wise on our part. If we could do it again, we would try harder to define and observe boundaries. We would create actual limits. We would take breaks. Or at least, we tell each other that that’s what we would do differently. We would try to create boundaries. We would try to take breaks.

    But you can’t un-live life. And regrets are uncomely.

    Re-examining life, however, is not only possible. In this case it’s prerequisite to the task at hand. The tasks at hand…

    Rosslyn Dock House, by Melissa Davis
    Rosslyn Dock House, by Melissa Davis

    Leaping

    Today Susan and I are longer-term Rosslyn residents — by a factor of four! — than even our most unbridled expectations at the outset. And yet we struggle to untether ourselves from our adventure fairytale with this home, property, and community. In the months ahead I’ll explore this curious connection with place, with an old house that became our home, with a community that beguiled us from the outset and wove us into its enchanting tapestry, and also with the fact that we originally envisioned this chapter of our lives as a temporary transition, a wholesome regrouping, and how challenging it has been to separate ourselves from Rosslyn, and from this community. The complex liminal space we envisioned Rosslyn becoming way back in 2006 was not ready to graduate us after three of four years as we’d originally anticipated. And today Rosslyn’s remarkable liminality is once again catalyzing profound and important growth for us. Transformation is omnipresent, not only at Rosslyn, but everywhere. We’re living through many levels of concurrent transition. And Rosslyn, as she has since 2006, is guiding us, nurturing us, and preparing us for what awaits us down the road.

    Today’s post, though rambling and unwieldy, comes at a time when we are brainstorming and daydreaming and contemplating what it would look like to untether and disembark on a new adventure. The vision is still forming, the seed still germinating. But you’re invited to join us as we contemplate and eventually cast off.

    Bur first, before introducing the wonders we’re currently navigating, let’s hopscotch through a few earlier posts that refresh our memory about how this marvelous tale began.

    Rooted in a personal shift from wanderlust to houselust, I spent 2003 through 2005 recognizing that I was thinking differently about home and community.

    I’d made it into my early thirties without owning a home due to my intentionally peripatetic lifestyle, and despite an aesthete’s appetite for buildings and furnishing and gardens, I hadn’t the least interest in settling down. No biological clock ticking. No nesting instinct. No yen for taxes and maintenance and burst pipes and snow shoveling. No desire whatsoever for the trappings of a settled, domestic life. I understood why it appealed to others, but for me the commitments and encumbrances far outweighed the pride and financial wisdom of home ownership.

    Until recently.

    Something had changed, and I couldn’t quite figure out how or why. (Source: Paris Renovation Bug)

    Perhaps for nostalgic reasons I began looking at forgotten farms, bygone barns, meandering stone walls hemming in overgrown fields…

    The perfect place, I explained to Bruce, the friend and realtor who shuttled me from property to property, would be a small, simple farmhouse in the middle of fields with a sturdy barn and some acreage, maybe a stream or a pond or access to a river. Barns, in particular, pulled me. Secluded places with good light and views, forgotten places with stories still vaguely audible if you slowed down long enough to hear the voices. No loud traffic. An old overgrown orchard, perhaps. Asparagus and rhubarb gone feral near the barn. Stone walls, lots of stone walls and maybe an old stone foundation from a building long ago abandoned, the cellar hole full to bursting with day lilies. A couple of old chimneys in the farmhouse with fireplaces. A simple but spacious kitchen. A bedroom with plenty of windows. A room to read and write and collage the walls with notes, lists, photos, drawings and scraps. Someplace I could tinker at myself, gradually restoring the walls and plaster and roof. Timeworn wide plank floorboards of varying widths that I would sand by hand to avoid erasing the footpaths and dings and cupping from a burst pipe years before. (Source: Serene, Patinaed Fantasy)

    As Susan became more and more interested in my North Country real estate search, we both began to imagine what it would look like to spend more time in a place that pulled us like poetry, viscerally if sometimes inexplicably.

    “I’d be living a green lifestyle in the Adirondacks too. I love it here. I’d be thrilled to live here for a few years.” Peripatetic by nature, I enjoyed relocating every three to four years. Having grown up in the Adirondacks, mostly in the Champlain Valley, I had long yearned to reconnect, not just for vacation or a weekend. (Source: Postprandial Soak)

    Projecting our lifestyle fantasies onto the tapestry of the Adirondacks’ Champlain Valley became a constant pastime.

    We could waterski and windsurf for half the year instead of just two or three months, starting in May with drysuits and finishing in the end of October. We could sail the Hobie Cat more instead of letting it collect spider webs on the Rock Harbor beach. I could fly fish the Boquet and Ausable Rivers in the afternoon while Tasha snoozed on the bank. We could join Essex Farm, the local CSA, supporting a local startup while eating healthy, locally grown and raised food. I could grow a vegetable garden, an herb garden, an orchard. Susan could work for an architecture firm in Burlington and volunteer at the animal shelter. We could buy season passes to Whiteface and downhill ski several days a week. We could cross country ski and snowshoe and bike and rollerblade and kayak and canoe and hike, and maybe I would start rock climbing again… [With] our collective brainstorm leap frogging forward, it all started to make a strange sort of sense, to seem almost logical. (Source: Almost Logical)

    Susan and I loved to tell stories, and increasingly we were beginning to insert ourselves into the intoxicating plot of a co-authored fairytale nestled into the Adirondack foothills, rebooting our lives and our work in a more intentional, healthier, happier way. Creating a new chapter together.

    “Are you serious? Would you really want to live at Rosslyn?” Susan persisted.

    I was unclear whether she was horrified or excited. I had made the suggestion spontaneously, without forethought, and now I felt embarrassed. I knew the idea was absurd. We both knew it made no sense at all. And yet we had returned to see the house again that morning. A second visit to a house we had already decided not to buy. Why? It exerted an inexplicable pull for both of us. It had awakened our imaginations, our fantasies, our hopes.

    “No. And yes,” I said, hedging. “No, I’m not really serious. I just suggested it off the cuff. It’s probably the stupidest idea ever, or at least the least serious idea ever. But yes, there is a side of me that would love to live at Rosslyn. I’ve felt it each time we’ve visited the house. I’m not sure I can explain it…”

    “You don’t need to,” Susan said. She was beaming. “I agree.” She rose out of the bath and wrapped a towel around her broad shoulders. “What a dream it would be, to live in that grand old home!” (Source: We could live at the Rosslyn)

    Little by little we were talking ourselves, talking each other into a transformation that would encompass virtually every aspect of our lives. It didn’t happen overnight, but the possibilities we were conjuring had begun to eclipse our desire to stay in Manhattan, my desire to return to Europe, and our realistic sense that anything else in the world could possibly make as much sense as relocating to the western shores of Lake Champlain to build a home together.

  • Quest for Permission

    Quest for Permission

    Quest for Permission (Photo: Geo Davis)
    Quest for Permission (Photo: Geo Davis)

    I am on a quest for permission. Permission from Susan, from Rosslyn, even from family and friends. Most of all I am on a quest for permission from myself. This morning a serendipitous swirl of accidental-coincidental happenings helped me realize this. Chief among them (and the rightful recipients my profound gratitude) in the order they fluttered across my morning:

    • newly arrived “intense black” (actually deep green) fountain pen ink from Wordsworth & Black;
    • a joy-filled (cheerful words and jolly doodles) letter from my mother, Melissa Davis;
    • timely, astute, perspective bending counsel from Virginia Woolf; and
    • even more timely but equally astute, epiphanic insight from Nick Bantock.

    In the photograph above, a few artifacts hint at the serendipitous series of events that, to my arguably esoteric way of thinking, fall into a phenomenon I refer to as rhyming. Sometimes the universe rhymes, or as poet Jeffrey Harrison might offer, if you’re receptive to it, you might hear “The Singing Underneath“. I’d best stand aside and let him guide us.

    “just beneath the world we see,
    there is a silent singing that breaks out
    at moments, in flickering points of light.”
    — Jeffrey Harrison, “The Singing Underneath”

    The fountain pen, clogged with dry ink, awaiting new ink, had been a metaphorical reminder that I was stuck. Clogged. I wasn’t flowing as I needed to be. But new ink arrived just in time. The crusty piston pulled clean water in and pushed it out again. Unclogging with each plunge of the piston. Anticipation as I drew up the new ink. And then lines on paper. Perfect. Flowing again.

    My mother’s 2-page note, complete with her unique illustrations, was an attentive parade of grateful acknowledgments gathered during a recent adventure together. Unselfconscious. Whimsical. Honest.

    Virginia Woolf’s words needn’t be explained, only shared.

    “He chooses; he synthesizes; in short, he has ceased to be a chronicler; he has become an artist.” — Virginia Woolf

    I don’t know where I came across these words, and I’m failing now to find them. Perhaps I’ve misattributed this quotation? This morning at least, it doesn’t matter. The shift in perspective is precisely what I needed to consider. to prepare me for the keystone concept that gathered it all together.

    Artist and author, Nick Bantock, shared a reflection on Griffin & Sabine that resonated right for me.

    THE idea of writing a love letter to oneself sounds both indulgent and cheesy, and yet done in the name of self-acceptance rather than narcissism, I feel there’s much merit to the act.

    I think when I wrote the following passage, from Sabine to Griffin, I was doing exactly that, I was articulating an inner need to bringing together and unite my opposite selves, my logical and intuitive personas:

    “I have loved you in every manner that my imagination could contrive. I have wanted you so deeply that my body sang with pain and pleasure. You have been my obsession, my passion, my philosophers stone of fantasy. You are my desire, my longing, my spirit. I love you unconditionally. Do you hear me, Griffin? Do you see that I cherish you beyond question, that you have nothing to prove to me? You are making your journey to secure yourself. I am already tethered to your side. If you can love yourself, as I love you, there will be no dislocation — you will be whole. Bring yourself home to me and I will immerse you in every ounce of tenderness I possess. Sabine.”

    Looking back, I can see that whilst the tale of G and S was certainly an expression of romantic longing, it was also a quest for permission. I was trying to give myself, and others, the encouragement to be both opposite and whole. — Nick Bantock (Source: Facebook, November 14, 2022)

    Eureka! In revealing what he’s come to understand about what compelled him to create the Griffin & Sabine books, his words struck that ineffable something that Susan and I are grappling with and that I’ve been exploring in Rosslyn Redux — wondering, yearning, exploring, growing toward, backsliding and second guessing, and then venturing tentatively out again — over the last couple of years. I genuinely believe that he has captured succinctly and lucidly our journey: it’s “a quest for permission.”

    I’ve referenced frequently, perhaps too frequently, an ongoing transformation in our relationship with Rosslyn, an evolution in our scheming and prognosticating and brainstorming. I’ve acknowledged liminality and the sometimes bittersweet, sometimes conflicted emotions that manifest suddenly and unpredictably as we attempt to navigate from comfort and stability toward the unfamiliar, unknown. At last I’ve stumbled on what I’ve needed to know. My quest for permission needn’t require such wayward roving. It is first and foremost my own consent I’m questing after. And part of accepting this is granting myself permission to embrace art above chronicle. I’ve suspected this. Dithered. Wondered. Worried. But this morning a confident confluence is flowing. And I’m ready…