Daybreak: Lake Champlain sunrise through “wavy glass” in late August, summertime slipping through the hourglass. (Source: Geo Davis)
Since my earliest Rosslyn intrigue, wondering if the house and property might one day become a home for us, daybreak was my fixation. Perhaps it was just my lifelong affinity for early morning. As an early riser dawn has long been my favorite time of time, a world of possibility… Perhaps it was just curiosity what Rosslyn would feel like, look like, wandering room-to-room early in the morning. Although the front hallway was still in decidedly unfinished condition when we first visited, I imagined the walls painted a pale yellow, transporting the sunrise inside, warming the house with the brightening day.
Daybreak Discernment
This summer has been marked with singularly spectacular sunrises (and sunsets), and I’ve written much and often about these liminal states. This morning, however, catching sight of daybreak through wavy glass in the front parlor, I was struck concurrently with two thoughts.
The wave-rippled surface of Lake Champlain was refracting dawn’s beacon, distorting the beam of fiery orange sunlight into a row of burning “puddles” that wavy glass in the parlor windows was further altering into a dancing mirage. Searing reality transformed into a optical illusion. I was reminded that Rosslyn has often altered my way of seeing and experiencing.
These summer days are filtering faster and faster from anticipation to happening to memories. Just as the fleeting illusion of fiery puddles or bonfires or — pushing possibility to it’s breaking point — fiery cairns guided my eye to the rising sun, wobbling up out of Vermont’s Green Mountains like some hallucination, almost as quickly mellowing to a buttery yellow before vanishing altogether in the cloud bank above, just as quickly this summer is reaching its conclusion.
And these bittersweet realizations, as if coupling and procreating, gave birth to a daybreak haiku.
A window view early on a Sunday morning. A blazing daybreak. Wavy lake and wavy glass. Near, familiar silhouettes framing a veritable mirage. Dawn within. Dawn without.
Undocking 2022: ready to remove the docks (Source: Geo Davis)
Once upon a time undocking referred to a boat pulling away from a dock, a ship disembarking from a pier. At Rosslyn we also use the term to describe the annual autumn removal of docks (and boat lift) from Lake Champlain once the boats have been hauled and we begin to prepare for the North Country wintry. There’s also a more modern conotation in recent decades that summons grainy video footage of a spaceship uncoupling from the space station, or in a more quotidian context disconnecting technological devices or applications. For me today, in this post, undocking is all of these and more, a sort of metaphorical undocking, uncoupling, disconnecting as well.
Undocking 2022: docks removed (Source: Geo Davis)
Undocking v1.0
Let’s start with those first two photos above. Before and after autumn dock removal. In the first, an early morning photo, I sent the drone up for an end-of-season portrait of Rosslyn’s waterfront. A moody moment as if the lake and sky and the forces of nature were brooding, perhaps wavering, second guessing this seasonal transition. Less than a couple of hours later the boatlift sits high and dry (just barely visible north of the cottonwoods and west the multi stem maple) and the docks are lined up on the beach, their temporary home until late fall / early winter when they’ll be moved up onto the grassy terrace.
Undocking 2022: ready to remove the docks (Source: Geo Davis)
This third image, an aerial view directly above the boathouse, dock, and boatlift, offers a better perspective of the waterfront before undocking. And the photograph below offers virtually the same view except that the docks and boatlift have been stored on shore.
Undocking 2022: docks removed (Source: Geo Davis)
Of course, before proceeding with dock and boatlift removal, there’s an important prologue, disembarking in the Nautique ski/surf boat and the Chris Craft picnic boat for the final time of the season. So last Friday we hauled both boats for the winter, and today we removed the boatlift and the docks. Undocking complete, we’re —metaphorically speaking, at least — one step closer to our big seasonal transit. We’re temporarily unmoored. Unvesselled.
https://www.instagram.com/reel/CiCnGSnAgab/
Undocking v2.0
In the spring of 2021 I sold a 31’ sloop that I’d sailed around Lake Champlain for seven seasons. In retrospect, I suppose it was one of my pandemic pivots. Although I’d been considering selling it sooner rather than later, I had expected to hold onto the sailboat for at least another year or two. I was contemplating a move to a larger boat, and I was beginning to wonder aloud with Susan if it might be time to start thinking about coastal sailing, a step toward blue water sailing that has long beckoned me. I’ve explored my rather sudden decision to sell Errant elsewhere, so I’ll curtail that narrative here. But I’ve brought it up for two reasons.
For starters, selling Errant was part and parcel of an ongoing period of transition with roots well before — but catalyzed during — the pandemic. But there’s something more germane to the present context.
Usually when I headed out to sail it was for a span of hours. Maybe half a day. If lucky, maybe a day. But sometimes, when opportunity allowed, I would depart for days instead of hours. On occasion Susan would join me. More often I sailed solo. And whether heading out for a few hours of wind chasing or setting off on a multi day sailing adventure, I would experience a euphoric wave as I hoisted the sails. An exhilarating wave simultaneously deep in my gut, high in my heart, and even higher in my head would sweep over me. A sort of high that would fill me with enthusiasm and hope and a profound feeling of freedom.
Helming 6-tons of home, vessel, food, and plans into a stiff chop and a swift blow is one of my “happy places”, as the saying goes. A plan and an itinerary but also a comfortable awareness that circumstances and conditions could shift unexpectedly, that sailing by definition presupposes a state of fluidity and flux from undocking (or untethering) to setting anchor or returning to harbor.
To some degree this euphoric state is present every time I set out in any boat, any journey, any transition. Our seasonal migration between the lush shores of Lake Champlain and the high desert southwest is one of these undocking rituals. A setting out. An ending. A beginning. Closure. A fresh start. A new adventure. Another chapter. Seasonality writ large…
But I’m digressing and meandering. Back to the present, to removing the boats and storing them for the winter, to removing the docks and storing them for the winter, to winterizing the waterfront for the coming cold, the snow, the ice…
The present undocking is even more significant for us than usual. Or at least I have the sense that it is more significant. As we navigate a period of curated liminality, I am especially conscious of the uncoupling. The untethering. Sometimes a simple, familiar seasonal ritual — falling out of summer and into autumn, undocking vessels and the temporary means by which we secure them — turns out to be an integral constituent part of a larger, more profound transformation.
This is what I see when I look at the aerial photographs above. It is an awareness, a conscious yielding to the change(s) underway. I’m confident that Susan and I are both attuned to this liminality, that we’re aware and willing to embrace the shift, to immerse ourselves fully into what is feeling like a monumental shift in the proverbial seasons. I believe that we’re in the flow in a way that has eluded us in recent years. In many years really. This present undocking and its various rhizomic permutations feels more significant than its predecessors. In fact, this undocking is increasingly reminiscent of our transition from Manhattan to Essex 16 years ago. It’s still early. And it’s still unclear what exactly were moving through, moving toward. But we are journeying toward greater clarity each day.
I’ve waxed whimsical on autumn before, and I’ve celebrated wonder-filled winter aplenty, but what of the blurry overlap between the two? Well, today I’d like to pause a moment betwixt both current seasons. Or astride the two, one foot in autumn and the other in winter. To borrow a morning metaphor from my breakfast, let’s pause for persimmons (as a way to grok — and hopefully embrace — our present seasonality.)
What?!?!
For the time being let’s sidestep the vexing fact that almost a dozen years into cultivating three persimmon trees in Rosslyn’s orchard we’ve never produced a single edible persimmon. Instead let’s look at persimmoning in terms of this morning’s sweet and sour, ripe and rotten persimmon episode.
Fuyu Persimmon, Sliced (Photo: Geo Davis)
I’ve been monitoring two pretty persimmons in the fruit bowl. I’ve been checking them daily for ripeness. Firm, firm, firm, less firm, slightly supple, soft, ready! Or so I thought this morning. I lifted the first much anticipated fruit in the lightless shadows of 5:00am. If felt perfect. I gathered the second and grabbed a small cutting board. I prefer to allow my mornings to illuminate naturally, calibrating by circadian rhythms holistically, so I generally avoid turning on the lights, even this time of year when 5:00am is still shoe polish dark. As I prepared to plunge a knife into the first persimmon, I detected something unsettling. The slick surface of the persimmon had a fuzzy spot about the size of a quarter. I turned on the light, low, but enough to show that I’d missed my moment with the persimmon. It was rotten. Moldy. Both. I’d literally been checking daily, often lifting both fruit from the bowl to examine them, but somehow this previously perfect fruit had suddenly become rotten. The second fruit showed not fuzzy rot spot. I carefully cut out the leafy stem, and sniffed the inside of the persimmon. Perfection. Somewhere between the consistency of gelatinous custard and viscous liquid, the persimmon was divine.
Fuyu Persimmon, Sliced (Photo: Geo Davis)
At this point seasoned persimmon aficionados are aware that I’ve been recounting an experience with hachiya persimmons (rather than fuyu persimmons), and the photos portray the latter. You are correct astute reader/persimmon connoisseur. And as my prologue likely betrays this morning’s experience was not well suited to photography. But it did remind me of a previous persimmon apropos of the actual topic I’d expected to explore in this post (but have so far mostly skirted.) And that memory, of a similar morning anticipating and then partially enjoying a persimmon is what lead me to these photographs. Why partially, I can hear you think. I partially enjoyed that persimmon, a fuyu persimmon, because the first few slices were ripe and delicious. But partway though the small fruit the sweet turned to astringent. And this puckering experience is a sure sign that the fruit is not yet fully ripe. Now, lest I’m misleading you again, I’m sorry to say, the photographs in this post are not of that persimmon either, though they are, in fact a fuyu persimmon. And, as a discerning eye might note, this photographed persimmon was delicious throughout.
So why all the persimmoning? The memories of this morning’s fruit and the part ripe, part unripe fruit a year or two ago, offer me a glimpse into the sort of autumn-into-winter transition we’re in right now. Almost ready, almost ready, over ready! And sometimes ripe and unripe at the same time. And, as I understand it, persimmons are often culturally associated with joy, good fortune, and longevity. I am hopeful that our present season change, still in limbo, but creeping closer and closer to that transition from autumning to wintering, from autumn vibes to winter vibes, might — like persimmons in the best of circumstances — may portent joy, goof fortune, and longevity for the rehabilitation projects underway in the icehouse, the boathouse, and our home.
1-1/2” ZIP System insulated panels reading for installation (Photo: Hroth Ottosen)
Willing Winter Away a Little Longer
There’s something meditative about this time of year, a marginal meditation on interstices, on the span between autumn and winter, harvesting and larder hunting, biking and skiing, Thanksgiving and Christmas,… This liminal space is tied with winter-to-spring for most dramatic transitions in the circle of seasonality. And yet some years, this year, the switch is far from binary. There are moments when we appear to be on the crux, the hinging moment between the most abundant season and the leanest season. And other moments we’re currently in both concurrently. Ripe and rotten. Well, not rotten, really, but in terms of exterior carpentry, the going gets exponentially more challenging once snow arrives and temperatures plunge.
And so, for a while longer, we’re willing winter away. Tomorrow we’ll be installing the first round of spray foam insulation inside the icehouse, and we’ll *hopefully* begin installing the ZIP System paneling outside the icehouse. In other words, we’re getting really close to having the icehouse ready for winterier weather. The boathouse isn’t really winterizable, however, and temperate conditions are a huge boon as we forge ahead. At the risk of temping fate I’ll admit that it’s almost as if nature is holding her breath, stalling between autumn and winter. With luck, we’ll be able to take advantage of a little more borrowed time. But she can’t hold her breath forever, and we’re all aware of that…
This non-harvest, autumning haiku was born of Carley‘s lethargic mid-morning siesta by the fireplace. Contentment, canine style. It’s a tough life.
https://www.instagram.com/reel/CljJSOFgoFV/
Wintering: unhaiku
Between blushing vegetation and gingerbread outbuildings, what name for this season?
Hustling pre-hibernation and melting flurries with breath, what post apple appellation? What pre skating designation?
I echo my own refrain again into the autumn interstices ringing with wintering song.
Willing Autumn Linger Longer
Like ripening persimmons, the transition from unripe to overripe happens whether we’re watching for it or not. Likewise fall vibes have been exiting gradually, and winter’s stark contrasts have been insinuating themselves into the autumnless voids. It’s inevitable that winter will arrive, and it will be glorious in its own right when it does. But here’s hoping fortune smiles upon us a little longer, that we can dwell in this construction-centric liminality for another week or three. Or right up until Christmas!
Hankering for a hammock huddle this morning, so I’ll I revisit the photograph I shared on June 6 depicting a herd of hammocks near the orchard. Yes, the color is a little over juiced. And the shadows are dark almost to the point of feeling ominous. Or cozy? But this moment beckons this morning given yesterday’s storm damage. (I’ve included another image below capturing just how close one of the fallen trees came to both the icehouse and the hammock huddle.
Hammock Huddle Haiku
Together apart,
plein air cocoons canopied
beneath maple trees.
— Geo Davis
Pandemic Precursor
While quarantining during the early months of the pandemic Susan and I spent time exploring and experimenting with aspects of our property that we’d never considered before. Or not recently, at least.
Sixteen years have lulled us into habits, ways of living and looking at Rosslyn that have possibly become more confining than we’d realized prior to weeks-on-end of quarantine.
We spent many afternoons and early evenings on the lawn of the abandoned clay tennis court (located west, northwest of the icehouse). It started because the early spring sunsets were best visible from here, but it continued because we discovered a fresh and inviting space and perspective that we’d previously overlooked. And this new vantage, this new ritual catalyzed a shift in our thinking. Wondering, really. We’d inadvertently stumbled upon a liminal space. And the longer we spent hammocking together near the glowing Solo stove fire pit gifted to us by our older nephew, bundling up as the evening grew chill, witnessing another pandemic sunset, the more our conversations and questions raced into exciting new places. Our wondering wandered further and further into liminality.
Transitions. Flux. Liminality. Interstices. Inflection. Evolving… We are awash in transitions! (Source: Transitions)
Three years later we’re navigating a tempest of transformation. But I’m tickling a tangent, so best to stick with our hammock huddle for now.
Ensemble Hammocking
Our earliest ensemble hammocking in this location, back in March or April 2020, was nestled up together in this wooden arc stand.
Pandemic Hammocking 2020 (Source: Geo Davis)
Needless to say, no side-by-side reveal since we were quarantined, and we weren’t super swift with selfies…
We’ve long loved hammocks, stringing them up throughout our property, so it occured to me that it would be fun to create a group of hammocks hanging together in the hopes that soon we’d be able to be joined by friends once again. Recumbent social distancing!
The hammock huddle shown at the top of this post was born. The same is shown here, minus the giant maple tree that used to tower nearby.
Hammock Huddle (Source: Geo Davis)
As it turns out, the hammock roundup has been a hit. For the third season in a row we’ve enjoyed group hammocking among the still adolescent stand of maple trees growing between the tennis court and the orchard.
Yesterday‘s storm damage was distributed throughout our property, and the immense maple that succumbed in the photo stood right next to the hammock huddle. Guided through the forceful blow by some benevolent force, the towering tree exploded onto the ground without damaging the hammocks, the maple trees in which they are suspended, or for that matter any of the adjoining trees save a few branches here and there. It’s remarkable really. Even the gate through which we drive the tractor was unscathed. And, as I pointed out yesterday, if the wind been blowing in the opposite direction, the maple would likely have destroyed the icehouse that we are just beginning to rehabilitate. Instead, we have a new aperture of visible sky this morning and a year’s worth of firewood.
When looking inside and searching within, wondering inward, wandering wayward, try to remember the power of pause. Dwell for a moment or maybe a day in the interval between familiar and mysterious, the interstices potently perfumed, possibilities pollinating, fierce fecundity flowering, fruiting.
— Geo Davis
The Power of Pause?
This small poem might not be complete. Close. But possibly still evolving. Likely.
Born of the lily macro, a habitual perspective for me. Intimacy. And unlikely angles. A fascination with the familiar unfamiliar. And the proximity between the known and the unknown. The exotic, unanticipated, irregular right in front of us. Even within us. The relationship between native and exotic. The gap. Distance. Time.
What if we more comfortably stalled in these interstices? If we opted to dawdle in the discomfort of risk, of uncertainty, of transition long enough to grow slightly more comfortable? And if investing ourselves in the pause, yielding trustingly, patiently, curiously might actually enrich us? Might fortify fruiting?
Sometimes it’s as if frames from two different films overlap. For a moment. Sometimes longer. Occasionally the overlapping images complement one another, but often the experience is jarring. Confusing. Unsettling.
Seasons bleed into one another playfully, testing our agility, our resilience. Far-flung geographies, domiciles, and life stages muddle, merge, and drift apart again. Our worlds intermingle. For a moment. Sometimes longer.
October Rain, Wordy
Tell me a story of prism pocks on pears. Sing me a song of raindrops on apples. Pen me a poem of flickering daylight, flirting with nightfall; of sleepless longing for toil-oiled muscles and limber limbed spring; of sauntering through my cherished orchard in sultry summer, still oblivious to the dreary drama of October rain.
October Rain, Visual
Sometimes poetry leans on language, word bricks and word mortar, to sculpt a song or a story. Sometimes vision is enough to free the singing underneath…
https://www.instagram.com/reel/CjYQvj3AtKY/
October Rain, Singalong
Another perspective on October Rain just might wiggle it’s way into your mental repeat. I happened upon the subtly hypnotic jingle by Robin Jackson, and now it’s continuous looping like a subconscious 8-track tape in my graying gray matter.
Mostly October is crisp and clear along the Adirondack Coast. Quintessential autumn. But exceptions and rules are made in mysterious ways…
Revisiting my mid-March boathouse illustration as a black and white watercolor. Aaahhh… the magic of digital! (Source: Geo Davis)
Back on March 28, 2022 I shared a whimsical boathouse illustration including some of my creation process. At the time I conceived of the exercise as a way to exercise my rudimentary watercolor abilities while enticing the universe to hasten the spring-to-summer transition. Verdict is out on whether or not my efforts wooed the universe. But the practice was a pleasure, and I’m resolving to make time for more watercolor illustrations this autumn and winter.
You can click the back/forward arrows in the original Instagram post below to see some of the pre-finished phases.
https://www.instagram.com/p/Cbqit9bOz6P/
B&W vs. Color Boathouse Illustration
So why revisit this potently pigmented image with achromatic ambitions?
I’ve been experimenting for about a decade with black and white as a visual storytelling medium (carpemidlife.com and @carpemidlife). It’s part of a larger project stretching my comfort with creative risk — in poetry, essay, and storytelling and in photographs, collage, illustration, mixed media mashups, and even a little bit of video — as a way to repurpose midlife malaise into midlife motivation. One of the early decisions I made for focusing and structuring the project was restricting all image-making (and writing, for that matter) to black and white. We live in an era of magnificent digital imaging, stunning verisimilitude, oversaturated colors, and a panoply of intelligent filters, algorithms, etc. to augment reality.
Make no mistake. I’m profoundly grateful to experience these magnificent modern advances in image making, but I find myself missing the granularity and character of the analog world. I explore this more at Carpe Midlife if provoked your curiosity. If not, I’ll return to the present context.
So often in our sweet sixteen years as the stewards of Rosslyn, I’m drawn to the juxtaposition of old and new. In many respects rehabilitating Rosslyn and making our life here has blurred past, present, and future. History is alive. And similarly much of our quotidian existence is timeless. There’s a whimsical simultaneity of lives and times that infiltrates our lakeside lifestyle. And rather than resist it, I often find it enriching, even entertaining. And so I’ve come to playfully experiment, sometimes renovating that which is vintage or antique. Others times I accelerate aging. Or agelessness. And sometimes these shifts in perspective yield surprising, often refreshing new experiences.
I was curious to see what might happen by repurposing a colorful new illustration as a colorless facsimile. Stripping away the cheerful colors, what remains? Is it an anemic phantom image? Does the emphasis change? The feeling?
In my opinion there’s a world of difference between what I notice visually and what I feel internally in response to the black and white boathouse illustration at the top of this page and the color-soaked original below. What do you think?
Original boathouse illustration watercolored cheerfully in hopes of hastening grey spring into technicolor summer! (Source: Geo Davis)
From Boathouse-lust to Wonder-lust
If you’re a longtime reader and you’re detecting a subtle shift in some of these recent blog and social media posts, you’re not wrong. You’re perceptive.
There is a shift underway. Like so many whose views and lifestyles have evolved over the last couple of years — pandemic year and post-pandemic year (if we’re bold enough to assume the latter) — Susan and I have new stories to share about Rosslyn. We’re navigating a liminal space that is still unfurling it’s mysteries for us. As we find our way, I’ll share the experience. With a little luck, we will share the experience.
But for now, I just want to acknowledge that this period of introspection and reflection and significant transition for us is undoubtedly woven into posts like this one. Sometimes familiarity and comfort are exactly what we need. And sometimes wondering and wandering away from the familiar and the comfortable can be just as important.
To remain nimble amidst unpredictability and unforeseen challenges, optimistic astride setbacks and failures, innovative and creative under duress. And to navigate gratefully and passionately at all times.
From carpentry fiasco (boathouse gangway) to carpentry triumph (house deck), from summer to autumn (bittersweet seasonality), from hale and hardy to COVID crash dummy, from perennially postponed icehouse rehab to 100% timely reboot, from Adirondacks to southwest,… We are awash in transitions!
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…
