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May 10, 2008

"Ms. Spyder's Tea Party" (c) 2007

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"Ms. Spyder's Tea Party, Flam Chen, Tucson, Arizona" (c) 2007 Stu Jenks and Flam Chen

    [Two images of Paul, Nadia and the Flam Chen Troupe performing 'Ms. Spyder's Tea Party' at Nimbus Brewery, on April 28th, 2008. Not many good images that night, from me. I really need to invest in that $1200 long Canon lens. I hate to go more into debt, but I may have too, if I'm going to stay viable in all of this. (My current lens just isn't fast enough.) But I got a couple of OK images, I think. I quite like the intimacy and strength in the image of Nadia and Paul, spinning poi. And the graininess of the big poi shot doesn't bother me that much.
    Again, friends and neighbors, if you have a chance to see Flam Chem, run don't walk.]

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May 05, 2008

"Desert Shacks, Marana, Arizona" (c) 2008

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"Desert Shacks, Marana, Arizona" (c) 2008 Stu Jenks

    [This image along with the one of the intersection of Orange Grove and Ina Roads was taken from a Cessna last Saturday. My first flight in a small aircraft. Reminded me of piloting a small boat in choppy seas. Was a lot of fun but I can now understand why some folks don't like to fly.]


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May 04, 2008

"From Lively to Sin Vacas" (c) 2008

"From Lively to Sin Vacas" © May 2008 Stu Jenks

    [Images from top to bottom: "The Last Chair, Lively, Virginia", "The Flowering Oaks, Lively, Virginia, "Ancient Oak, Lively, Virginia", "Harriman, Tennessee", "Minnie Pearl's Hat, Ryman Auditorium, Nashville, Tennessee", "Mary at the Cadillac Ranch, Amarillo, Texas", "The Very Large Array, New Mexico", "Panoramic Cadillac Ranch, Amarillo, Texas", & "Cattle and The VLA"]

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        We had just had a perfectly nice little box lunch at an Interstate rest stop in the Valley of Virginia. No harsh words. No crazy comments. No imagined slights from us. Then, as my mother was getting a scarf out of the car, preparing to walk over and get back into the Penske truck, she said to me.
    "You know, after Pamela was born I had a miscarriage and I fought to have another child, so remember that, the next time you get upset with me!"
    I shrugged my shoulders, gave Annie a crooked smile with a slight shake of the head and walked my elderly mother back to the truck.
    And this was Day Two of what turned out to be a week-long journey, driving my mother and her things to an independent living place, near my home in Tucson, Arizona.

    I thought it would be fun, driving Miss Daisy across the country. It was anything but. When Annie arrived, ten days before we were going to leave for Arizona, she was prepared to do a lot of work, packing my mother up. What she didn't know was that in the months leading up to the move, Mom hadn't done a thing. When I arrived three days before we departed Virginia, Annie had done an amazing job, in spite of everything.
    Even though I had been to The River to visit at Christmas, I had no idea how much my mother had begun to fade. She started out the day as a woman in her eighties and ended the day as a six-year-old child. When friends would ask me, on the phone, how my mother was, I would say she was 'petulant'.
    But my mother’s old, and it's not her fault that she has become more of a spoiled brat. She has always been this way. But now, she was ruder, more insulting, and more manipulative that I've ever seen her. She’s never been one to apologize or try and walk in anyone else's shoes, but now it was all or nothing, black or white, good or bad, with no gray in between. And the All was All Her. We either loved her or hated her, and she wasn't shy to say anything now. [Like she ever was.] And even though it was never her intent to be hurtful, that didn't mean it didn't hurt. [Whether a truck runs over you by accident or on purpose, you've still been run over by a truck.] Add to that the entitlement issues in her DNA and the occasional histrionic tears and you've got a nightmare for Annie and I.

    Miraculously, we got the 26-foot Penske truck on the road on Friday Afternoon, with Mother and Annie following in Mom's Buick Le Sabre. We made it as far as Charlottesville, Virginia that night.
    Besides the little adventure caused by me getting the truck stuck in the parking lot of the motel, (I embedded the rear end into the pavement while trying to go up a little hill. Had to get a tow truck to wince it free), the first day's drive was uneventful and rather pleasant for me. For me. Not for Annie. For Annie had Mom in the car with her, for hours. After Day One, Annie and I traded off my mother. Day Two, Mom rode with me. Day Three, she rode with Annie, etc. That way, we each had every other day without the presence of my mother.
    When Mom doesn’t get her way, either she is wrong, you are wrong, or all of us are wrong. There is no simple difference of opinion in my mother's world. If you disagree with her, you hate her. If you are angry at some behavior of hers, you hate her. If you ask for something that she doesn't want to give, you hate her. I wish I could say this was new, but it isn't. It's just more so.
    Also, Mary puts people into two groups, those she considers family and those she doesn't. If you are considered family, then you are obligated to do what ever she asks. You are her servant, her peasant, her slave. And if you refuse, politely or no, she gets mad and either insults you or tries to shame you into doing what she wants. Again, not new. Just more desperate and pitiful these days. (Then again, my mother’s ancestors did own slaves and she was raised by black servants. Perhaps I expect too much.)

    The manipulations and criticism started long before we left Lively, Virginia.
    By the time we reached Tennessee, Mom was saying she wanted to go back home to Virginia or go to Raleigh and live with my sister, Pamela. (Not an option, now or ever.)

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    In Nashville, she thought she was in Richmond, Virginia. Truly. She thought we were on Broad Street, seconds after we had left the Ryman. Thought the Mosque was just up ahead. ‘What the fuck,’ I silently mouthed to Annie in the rear view mirror, as we drove back to the Interstate.

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    In Arkansas, she tried to jump out of the car. We affectionately call it The Arkansas Incident. We were driving slow and it was at night, so no one got hurt.
    By Oklahoma, we couldn't stand to even think of eating dinner with my mother. We prepared food for her to eat and brought it to her room at sundown, and then Annie and I went out and had our own dinner.
    I took some pictures of Mom at the Cadillac Ranch near Amarillo, Texas that turned out to be somewhat iconic. Thanks God for that.

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    By Santa Rosa, New Mexico, she was weeping in the hallway of the motel, saying we were abandoning her.
    The Very Large Array was fun for Annie and I, and we even had one lighthearted moment with Mom. The sustained winds were 40 miles per hour that day and as we were walking Mother to the Visitors Center, one of us on each arm so she wouldn't blow away, Mary said, with a bit of wonder in her voice,
    "Son, you are really taking me on an adventure."
    We all three laughed. The one and only time that would happen in 2500 miles.

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    I could say more. I probably should have said less. Bottom Line: Mary is all settled in at Sin Vacas, an upscale retirement village, where all the street names are in Spanish for nutty things. ('Street Without Sin', 'Street Without Denial', 'Street Without Danger'. Mom lives on Calle Sin Envidia: 'Street Without Envy'. And Rancho Sin Vacas, the gated community where the elderly village is, means Ranch Without Cows.) She’s making some new friends and going to church. She's slowly learning how to get to the bank and to the grocery store. And she’s even saying thank you to me when I come up to help connect the computer or put together a lamp (Even though I know her 'thank yous' really mean 'please don't leave me all alone'.)
   
    Mom and I don't really get along. Haven't really for years. I tolerate her and she probably tolerates me too.   
    But one piece of advice or rather a warning to all.
    Don't say to me "You're being such a good son."
    I'm not. And if you say it to my face, I’m probably going to get pissed off.
    I didn't move Mom because I'm being a good son. I did it because Mom begged me to move her to Arizona, and that we had few options left, for Mary can't really take care of herself anymore without help.
    I told Mom a number of times, that I really didn’t think it was a really good idea to leave 100 friends in Virginia behind, to live near her son and her 92-year-old sister and her son's ex-girlfriend in Arizona. But we have a saying in my family: "Mary does whatever Mary wants to do." Her so-called friends in Virginia, most of them rich, white, arrogant fucks, call Mom ‘a force of nature.’ They are not complementing her.
    No, I'm not a good son.
    I'm not doing this because I want to, or that I even think it's the right thing for her to live in Tucson, but our choice are limited now.
    Retirement places in Virginia are much more expensive there than in Arizona.
    My sister Pamela lives in Raleigh, in the Old Home Place, but she is fighting cancer and is really in no condition to be around Mom, in a number of ways.
    It's by default that I'm doing this, have done this.
    I'm not a good son.
    I'm just the person who’s doing what needs to be done.
    That's all.
    If I had my way, Mary would be living in Virginia somewhere.
    But you rarely gets your way if you are with my mother.
    It's Mom's way or the highway, pretty much.
    Even though she would deny that.

Cadillacranch1    “Your hair is so beautiful,” she says.   
    “You’re as handsome as your father was,” she says.
    Mom is over the top with her compliments now. I’m repairing a chest-of-drawers in her new apartment. She’s following me around.
    She may be a bit sun-downy these days. She may be her normal Narcissistic self, but she isn’t stupid. She knows she fucked up. She knows Annie and I are pretty tired of her shit.
    Phase One is done: Mary and her stuff have been moved across the country.
    Phase Two is mostly done: Unpacking Mary’s shit and getting her settled in.
    Now, on to Phase Three: Maintaining Mom in Tucson.
    Once-a-week visits and occasional chats on the phone is the plan. My plan. Her plan would be for me to be at her beck and call, 24 / 7 / 365. That ain’t going to happen.

    The view from her balcony is fabulous. City lights in the distance at night. An arroyo filled with birds and their songs during the day. I close my eyes and hear the quails’ sing. I feel sad. Mom doesn’t even notice the beauty right in front of her. I open the sliding glass door and reenter her apartment. She yells something at me from the bedroom. I can’t hear what she is saying. I don’t really care.

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April 05, 2008

Hoop Dancing: The Nocturnal Photography of Stu Jenks: Chapter One: "The Wisteria Prayer Tower"

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Hoop Dancing: The Nocturnal Photography of Stu Jenks: Chapter One:
“The Wisteria Prayer Tower, Sonoran Desert, Arizona" © 1999, 2008

    I'm here alone tonight with a small hoop made of wisteria, the vines a gift from Mary Ann’s backyard. I twisted them into a circle and wrapped the hoop with a battery-powered string of clear Christmas lights. The hoop and lights sit at the base of a saguaro cactus. I open the shutter and walk back to a nearby shelter. It's a simple structure. Just four posts and a crude roof made of two by fours, spaced a few inches apart, to give some shade from the midday sun. A couple of benches too. From this short distance, I can see the glow of the hoop, and I begin to drift off into memory, thinking of a night under this shelter, just last year.
    [It has just begun to rain. We've had a great dinner at Caruso's, celebrating her birthday. It's Monsoon season and we decided to go look for storms. We found a big one. The rain's coming down in sheets. The shelter proves little relief from the storm but we don't care. I gaze upon her silk green dress, not completely soaked, sticking to her beautiful body, her nipples showing through the fabric. Mary Ann and I are very wet. In many ways. We laugh. I press her against one of the shelter’s supports and kiss her deeply again. She kisses me back hard and makes a little moan. I feel a stirring. It's really pouring. I hardly notice.]
    I blink and sigh. Back to tonight, this moment, this time. I leave the shelter and walk back to the hoop and the saguaro. The glow of Tucson's city lights shines over the mountains to the East. I gingerly approach my Rollei. Ever so slowly and evenly, I advance the film, with the shutter still open. I turn the knob a third of a turn, then another third, then another, until I'm relatively sure I've drawn the film through at least two or three frames. I then close the shutter.
    I consider another exposure. I open the shutter again. I slowly take my hands away from the camera, and step back from the tripod. I walk toward the shelter. I then take myself out of the moment, out of this night, and daydream myself back to that night, last year, with Mary Ann. The one with the hard rain, with that never-ending kiss, with that wet silk green dress.

March 29, 2008

"Red Ridge Prayer Stick" [Batik Fabric Detail] (c) 2007

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"Red Ridge Prayer Stick" [Batik Fabric Detail] (c) 2007 Stu Jenks

March 27, 2008

"County of Cochise, Arizona" (c) 2008

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"County of Cochise, Arizona" (c) 2008 Stu Jenks

    [I was at this three-day domestic violence training a few weeks ago. Some court staff from Cochise County drove up to attend it. They drove a county car. On the first day, I saw the official seal, attached to the side of their car. On the second day, I brought my camera.
    I talked with the P.O.s about the irony of the seal during an afternoon break. They didn't get the joke I saw. It used to be the 'county of Cochise', of his people, his family, his tribe, but not anymore. And my guess is he looked nothing like this picture, for no photograph was ever taken of the man, just like Jesus doesn't look like his portraits either. Not that funny of a joke, really. Frankly, I'm sad and angry, all at the same time.]

March 26, 2008

"Night Train at the 7th Avenue Railroad Crossing, Tucson, Arizona" (c) 2007, 2008

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"Night Train at the 7th Avenue Railroad Crossing, Tucson, Arizona" (c) 2007, 2008 Stu Jenks

March 23, 2008

"New Mexican Prayer Wheel" [Detail] (c) 2008

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"New Mexican Prayer Wheel" [Detail] (c) 2008

(A better detail photograph, then before, of the 'New Mexican Prayer Wheel', a batik cloth and found object sculpture hanging at my studio. And please come by Studio BR-549 and see this and other works, by myself and other artists, during the Spring Open Studio Tour on May 10th and 11th of this year. Unless the Wheel sells between now and then, it shall be hanging on a well lit wall at our studios at 549 N. 7th Avenue in Tucson, Arizona)


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March 20, 2008

"...at the Singing Rocks" (c) 2008

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"Dead Hundreds-Year-Old Ironwood Tree at the Singing Rocks, Ironwood Forest National Monument, Arizona" (c) 2008 Stu Jenks


[On the fifth anniversary of the War in Iraq.]


March 18, 2008

Tucson Roller Derby: Night Two of the 2008 Season

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Tucson Roller Derby: Night Two of the 2008 Season

    [The new season begins. FTW won their bout over The Copper Queens and Vice beat the IC. Good play, all around, from all four teams. New format this year: Two bouts each Game Night. All four teams play. It's tiring for the players I suspect but a joy for the fans. Below is a sampling of the action from last Saturday's bouts (plus some portraits of two new refs and one veteran.) Hope you enjoy the images, and I'll see you around the rink.]

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March 12, 2008

"Coral Sea Roses" by Cathy Spann

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"Coral Sea Roses" (c) 2008 Cathy Spann

March 01, 2008

Flame Spirals: The Nocturnal Photography of Stu Jenks: Chapter Sixteen: "Solstice Rock, Catalina Mountains, Arizona"

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Flame Spirals: The Nocturnal Photography of Stu Jenks:

Chapter Sixteen: “Solstice Rock, Catalina Mountains, Arizona” © 1998, 2008

[December 21st, 1998; The Day of the Winter Solstice]

            I've just passed Windy Point and it's beginning to snow. Oh boy oh boy! I'm leaning a little forward in my seat in my old King Cab, looking out the windshield at the flurries, as I continue to climb the winding two-lane road up Mt. Lemmon. My heart rate has increased just a bit. I can feel it pound. I light a smoke.
            My truck is not good in snow. No weight in the back. A 2 x 4. Just a couple years ago, when I was coming up here to pray at Solstice Rock, I had to turn around for I was slipping and sliding so much. I ended up praying north of Prison Camp instead. But today, it's just starting to snow, not much on the road yet and if it does snow a lot while I'm up here, I'm pretty sure I can get down. Getting up is the hard part, and I've only got another few miles to go anyway. I can make it.
            Soon, I reach the pulloff near Solstice Rock. It's snowing quite a bit here. Less than an inch on the ground, but it's sticking. I park the truck, pointing it downhill toward Tucson and pull the hand brake. Screw it, I'm going. It's powder so I'm probably OK.
            I put on my Boo Boo hat, slip on my old gloves, and zip up my blue polar fleece jacket. And lastly, I wrap my old tan wool scarf around my neck and tuck it into my coat. A scarf that my sister knitted 30 years ago. Not knitted for me personally, but I ended up with it anyway. My favorite scarf. I lock the pickup and walk across the road to the little trail that leads up to Solstice Rock.
            Just a short walk up to the Rock. It's delightfully cold. Within minutes, I'm standing on a ledge made of flat granite slabs and huge granite boulders that I call Solstice Rock. No one else calls it that. Just me. A grand view of the Rincon Mountains opens to the east. A thousand foot drop is right below my feet. Snow is coming down heavier now. Best back up a bit away from the edge. Think I'll go to my praying place now.
            I've been coming here since 1988 on the day or night of the Winter Solstice to pray. I pray other days, at other places, quite often actually, but this is the place I come to pray big prayers. I take a deep breath. I close my eyes, then open them. What to pray for this year? I empty my mind. Something short, simple, true. Light. Yes, Light.
            I begin locally. I speak out loud. No Americans around to think I'm crazy for talking to myself. Actually, I'm talking to God. Ok, Stu, empty your mind again. Light. A prayer about Light.
            "God, it's me again. Not that you don't hear from me often, but I'm up here on Solstice Rock to do my Solstice prayers, like I do every year. God, I call you for Light. Bring Light. To Annie, bring her Light. To Michael, bring him Light. To John and Beth, bring them Light. To Mary Ann, bring her light. To Lisa, bring her Light. To Mike, bring him Light. To James and Julia, bring them Light. To Len and Virginia, bring them Light. To Jeff, bring him Light. To Linda, bring her light. To Dirk, bring him light. To Karen and Steve, bring them Light...."
            I pray for God to bring Light to all of my friends and acquaintances I can think of, a few people that used to be friends and a couple who unfortunately are enemies now. Then I expand the circle to include strangers. To every one in Tucson.
            "God, Bring Light to all those who are struggling to recover from addiction. To all of the poor, bring them Light. To the rich too, bring them light. To all who suffer, bring them Light. To all those in the Tucson Valley below, bring them Light."
            I turn to the face northwest toward Prescott.
            "To Byron and Shawn, bring them Light. To all in Arizona, bring them Light."
            My voice begins to rise, stronger, louder.
            "To all in the West, bring them Light!"
            My arms spontaneously open by my side. I face to the east.
            "To Mary and Stuart and Pamela, bring them Light. To all I know and don't know in North Carolina, bring them Light. To all in Virginia and all up and down the East Coast, bring them Light. To all of America, bring them Light."
            My voice is quite loud now. The snow's coming down hard and fast.
            "To all who are suffering in the world, bring them Light. To the people in Europe, bring them Light. To all in Asia, Africa, South America, The Whole World, bring them Light. God, please, bring them Light. Bring us all Light."
            Tears are flowing down my cheeks. I cry every year.
            "Bring them Light!"
            My voice gets quieter.
            "Bring me Light, God."
            Almost a whisper now.
            "Please God, Bring us all Light"
            The snowfall is heavy, with many little and big flakes. I tilt back my head and watch the flakes come down. They hit my glasses but I don't care. I watch them for a few seconds and then I adjust for the slight wind. I spy one I want.
            And then, I catch a big snowflake with my tongue.

February 29, 2008

"Darkness Darkness": An Exhibit of Contemporary American Night Photography

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"Darkness Darkness": An Exhibit of Contemporary American Night Photography

[Lance Keimig asked me to be part of this show. It'll start at Harvard and there is talk (and hard work being done) to put the show on the road. Being in this show is an honor and kind of a big deal, if you ask me. If you are in Boston in March and April, feel free and check it out. And if you can't make that, here is the link to the Darkness Darkness website and you can see the images there. Mine will be a huge photograph on nylon that was first shown, in that format, at the last Mythic Journeys Conference in Atlanta. Thanks again to Lance and all those who have helped me, financially, spiritually, and emotionally over the last decade and more of my art career.]


February 24, 2008

"Rappahannock River Prayer Stick" (c) 2008

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"Rappahannock River Prayer Stick" (c) 2008 Stu Jenks

[Batik Fabric, Crab Pot Buoy, and Eye Bolts: 7'10" x 21" x 5"]

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February 18, 2008

Flame Spirals: The Nocturnal Photography of Stu Jenks: Chapter Eleven: “Casper the Friendly Ghost"

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Flame Spirals: The Nocturnal Photography of Stu Jenks:

Chapter Eleven: “Casper the Friendly Ghost" © 2003, 2008



    The canyon smells of dark musk and wet sand. It rained yesterday which is uncommon for the Sonoran Desert in the springtime. Usually we’re without rain until July. This thick rich scent is three months early, but neither I nor the Palo Verde trees are complaining.
    I’m rock-hopping up this anonymous canyon at the base of Mount Lemmon. The Full Moon's large and bright. I need no flashlight. There is no trail. It doesn't matter. I’m just wending my way up through the large granite boulders that sit in the trickling creek.
    I find the angle pretty quickly. I've come with an idea but then again, maybe, I'll try something else. I have my Zippo, my Pentax and a 28 mm lens, for my idea is to create a wide angle flame spiral. But wait a minute. There's a small puddle of standing water in a depression on this boulder. Hmm. I do a practice drawing or two off to the right. This'll work.
    I set up the angle and the shot, and focus on a spot on the boulder. Then, with my index finger, I dip into the puddle of water and begin to draw a water spiral on the rock. It takes many passes back and forth from the puddle, but a wet spiral slowly appears. I return to the Pentax and look through the viewfinder. Yea, boy. I then open the shutter, draw a flame spiral and wait ten minutes before closing the shutter. I then notice something that I didn't expect. Over the ten minutes of exposure time, the water spiral has almost completely evaporated, leaving barely any wetness at all on the rock. I just stare as the spiral disappears. I close the shutter at the end of ten.
    I redraw the water spiral, open the shutter, do another Zippo pass, and step out of the frame for another ten minutes. Cars pass far below on the Mount Lemmon highway, cold air rushes down the high mountain wash, and the water spiral fades away. I don't have to be Buddha to recognize how this vanishing water spiral shows me that Life is temporal. That nothing is permanent. That everything changes.
    An old lesson that can't be taught enough, to this Middle-Aged, Middle-Class American White Boy.
    It's the Wednesday before Easter. I'm aware of a Christian energy, a Holy Ghost, that's moving through this time of year. Yet this water spiral evaporating right before my eyes truly resonates far more with me than any image of a suffering Christ or thoughts of his final dinner of bread and wine among friends. This water spiral is my own personal Holy Ghost.
   The Holy Ghost was always a cool thing to me as a kid. The Father, The Son and The Holy Ghost. Amen. I didn't trust God the Father all that much. My own Dad was a distant man who rarely praised me and often seemed to look at me with silent scorn. It was hard to wrap my arms around an image of a Loving God the Father, with a Dad like mine. Also, I didn't know about the Son, Jesus. He seemed a little weird to me, getting himself crucified and what was up with the drinking his blood on Sunday. Ick, I thought as a child. But the Holy Ghost? Now that I could get behind as a six year old. Mysterious and a little scary but I always had a feeling that the Holy Ghost was on my side. A wispy piece of God that was everywhere. A part of God that liked me personally. Sort of like Casper the Friendly Ghost but bigger.
    I can still get behind Casper. I feel him here tonight with my Zippo, and the little water spiral that keeps disappearing, and the musky green smell in the creek, and the cold mountain air that comes from above.
    After a bit, I pack up and rock hop back down to my truck. When I reach the road, I look back up the canyon and thank it for the good night and for the little bit of magic that it gave me. And also for the little lesson that everything changes, and that nothing stays the same.
    A little lesson, perhaps, from Casper the Friendly Ghost.


February 11, 2008

Flame Spirals: The Nocturnal Photography of Stu Jenks: Chapter Nine: “O.K. Street, Bisbee, Arizona"

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Flame Spirals: The Nocturnal Photography of Stu Jenks:

Chapter Nine: “O.K. Street, Bisbee, Arizona"
© 1998, 2008

   
Annie and I have driven down to Bisbee for a night. We checked into The Copper Queen Hotel late this afternoon and just now finished a pretty good meal at a cafe nearby. It's quiet tonight and delightfully cool. Standing in front of the hotel, we lean against each other in that comfortable way that lovers often do.
    "Mind if we go for a walk and I shoot a bit?" I ask.
    "Not at all," Annie replies, with a bit of a come-hither look in her eyes.
    I grab my camera and tripod and we walk up Brewery Gulch, past St. Elmo's Bar and a number of closed little shops filled with bad Hippie art. [I used to make bad Hippie art myself. I was great with the details but bad on the Big Picture. Came from smoking too much dope, if you ask me.] We walk a good ways up the Gulch until we are out of the bars and into the houses. We marvel at the quaint little homes as we walk past them and then, after a while, we head back down toward Central Bisbee.
    We come down Brewery Gulch a different way this time, past the old Bisbee Jail, and I spy this wonderful alley.
    "Wow, that's great,” I say, looking into the space. “I wonder if I can pull off a spiral in there?"
    "That'd be great if you could," says Annie.
    "I think I'll give it a try."
    The Rollei sits on the tripod. Shutter set. Lens focused. I then open the shutter.
    I walk into the narrow alley and paint a flame spiral with my Zippo. I then stroll out and spontaneously give Annie a big wet kiss. She grabs a hold of me, pulls me close and kisses me back, just as deep and then some. Time passes. We break the kiss and I go and close the shutter.
    "Now, that was fun," I say, as I advance the film, looking back at her.
    "Yes it was," she says.   
    I open the shutter again and repeat my light painting. I also repeat the long deep kissing with Annie. I take about another two exposures. Seems like the length of the exposures are getting longer and longer. I wonder why. After exposure number four, I suggest to Annie, that we head back to our room.
    "Sounds good to me," she replies, with a shy grin.   
    I pack up the gear and walk toward Annie. She hooks my elbow with her arm and pulls me close. Then, side by side, we walk up the hill to the Copper Queen Hotel.

February 08, 2008

Flame Spirals: The Nocturnal Photography of Stu Jenks: Chapter Eight: “Grace St. Paul’s Episcopal Church, Tucson, Arizona: Labyrinth Walk”

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Flame Spirals: The Nocturnal Photography of Stu Jenks:

Chapter Eight: “Grace St. Paul’s Episcopal Church, Tucson, Arizona: Labyrinth Walk”
© 1997, 2008

    The Sexton was nice enough to put up an extension ladder. I climbed onto the roof of the Parish Hall, that overlooks the maze. The Sun’s going down fast. Gordon and Judy, the two priests at Grace St. Paul's, have OK'd my shooting the Thursday Evening Labyrinth Walk. The parishioners have just arrived, about ten in all. From the roof, I tell the walkers that I'm going to shoot their meditation this evening.
    "And don't worry if you're shy and don't like your picture taken," I say. "I'm using real long shutter speeds so everyone will be a blur. That OK?"
    "Sure that's fine," one woman says, with others nodding their approval. But one woman walks to the side.
    "Really, you can walk the Labyrinth. No one will know who you are." I say.
    She doesn’t say anything but she doesn’t return to the circle until much later.
    Judy, the facilitator of the Walk, explains to the congregation how this works.
    "One by one, we'll enter the labyrinth and begin to walk," she says. "You can have a prayer or a question in your mind or you can just empty your mind. You can walk it fast or slow. There is no right or wrong way. I would just suggest that you stay as much in the moment as you can. Just be in the Labyrinth. And when you reach the center, stop for as long as you like, and then walk back out. And don't worry about bumping into each other or passing each other in the Labyrinth. It's really easy to pass and it’s OK to touch each other."
    Some people chuckle.
    "Also, I suggest you walk silently. All right, let's start."
    Judy presses play on a nearby boom box and Gregorian Chants come from its small speakers. One at a time, the participants enter the labyrinth.

    A little history about the Church and I:
    I was born and raised in the Episcopal Church. Baptized, confirmed, the whole nine yards. My mother Mary is what I affectionately call a member of the Episcopal Mafia: A member of the Standing Committee of the Diocese of Virginia, music director and a vestry woman at her parish in Lively, Virginia, and active in the Church since she was a child. Dad was Senior Warden for a time and designed the Memorial Garden at his home church of St. Mary's Whitechapel. He rarely goes to church in his retirement years. He doesn’t believe in God, much less Jesus, but he is still a cradle to grave Episcopalian. My sister is a member of the choir at St. Mark's Episcopal in Raleigh, North Carolina, but by her own admission, she is only going to church to ‘cover my bets just in case there’s a heaven.’
    I rarely go to church. Christmas. Maundy Thursday. Maybe Good Friday. Not Easter. Funerals, yes. Weddings, when they happen. That's about it. I'm not a Christian. I don't believe in the Risen Christ, and I believe that they basically fucked up the faith after the Nicene Convention in the third century AD, when they took out the Gospels of Thomas and Mary Magdalene, and minimized the Sacredness of Women in the Church. Plus I believe in Reincarnation, the validity of all of the world's religions and the sanctity of the mystic's individual journey to God. Some would say that shouldn't exclude me from attending Grace St. Paul's, a very progressive, liberal, reconciliation church, but it does. In my own mind, not the minds of the congregation or the clergy, but in my mind.
    When I do, on those rare occasions, attend a service at Grace St. Paul's, I add and take out words from the liturgy so I don't feel like a hypocrite. You'll often hear me say ‘Through Jesus Christ and others’ instead of ‘Through Jesus Christ our Lord’ and when the congregation is reading the Nicene Creed, there are whole sections in which I stand silent and mute.
    But my roots, both ancestral and personal, are in the Anglican/Episcopal church and to deny that would be, for me, like a Jew who doesn't go to temple, denying that he is a Jew at all. And I do like the ceremony of Holy Communion, a good non-shaming sermon from the pulpit, and strong loud music from a big pipe organ. I go to midnight service on Christmas Eve, primarily to sing "Silent Night", and at the outside chance, to sing "In the Bleak Midwinter." And even though I don't go to Easter services, I can easily hum the refrains from "Hail Thee, Festival Day" and "Jesus Christ is Risen Today."
    The Church is in my DNA and in my muscle memory whether I like it or not. And I believe it's important to honor the spiritual practices of my ancestors, living and dead, regardless if I practice them myself.
    And even though I don’t believe that Jesus was the only Son of God, I do believe in a number of his teachings, most important in my mind: That we as human beings have a moral obligation to help those who are poor in body, mind and spirit; that God is Love and Love is God; that God is a mysteriously magical healing energy, and that He loves me, no matter what.
    He loves me when I’m sober. He loved me when I was a drunk. He loves me when I eat too much. He loves me when I eat my vegetables. He loves me when I give a kind word to a friend. He loves me when I’m a judgmental asshole.
    And that one of my jobs while I’m on the planet is to try and love myself a fraction as much as He loves me. And by doing so, I’ll hopefully love others a whole lot more, than if I was trying to do it alone.

        The Labyrinth is full of people, perhaps a dozen now. Some are solemnly looking down as they walk. Others are joyously swinging their arms around the corners of the maze. A couple are sitting outside of the circle. Me? I'm on the roof mumbling about how I'm losing the last bit of sunlight. My exposures are up to 5 seconds now but it's not the blurs I mind. I want them. I just need some light for a good negative. I'm a little flustered. I relax and take a breath. Breathe, Stu, breathe. I see my friend Beth make a sweeping move around a sharp corner of the labyrinth. I open and close the shutter. Nice. I watch the changing composition of people below in the ground glass of my twin lens reflex. I wait, and then shoot again. Wait and then again.
    After a few more minutes I'm done shooting, yet the parishioners are still walking the maze. I climb down the ladder and walk toward the entrance of the Labyrinth. I take a breath. I wonder 'Did I get the shot?' I clear my head of that worry as best as I can and enter the maze, slowly passing someone who is coming out. I follow the path. I look at my feet as I walk. I take one of the hairpin curves a little fast, and allow my arms to swing wide as I regain my balance. I smile. And for a few moments, I'm grateful to be a member of this Episcopalian Tribe.

Flame Spirals: The Nocturnal Photography of Stu Jenks: Chapter Seven: "Millennium Eve, Arizona"

Millyeverevisited3

Flame Spirals: The Nocturnal Photography of Stu Jenks:

Chapter Seven: "Millennium Eve, Arizona"
© 1999, 2000, 2008

    “I’ve got to go out and shoot” I say to Angie.
    It seems like we have been in bed for months. Now that I think about, we have been in bed for months, at least since July. Well, not every waking moment, just from when the sun goes down to when the sun comes up. Problem is, that’s the usual time I’m out shooting.
    Angie just looks at me and smiles. Does that smile mean ‘Yes, it’s OK, honey. Go out and shoot?’, or does that grin mean, ‘You silly boy. Who do you think you’re fooling? I’m beautiful, half your age, and willing to have sex with you anytime you like. Do you really think you’re going out into the desert tonight and shoot photographs?’
    “I really got to go out and shoot, Angie. You don’t mind, do you?” I ask.
    “Of course not. Go.”
    She smiles again. It doesn’t help matters that she's naked.
    “I’ll go tomorrow night,” I say. “The moon will still be pretty full then.”   
    “Okay.” She says, and reaches out for me.

   

January 30, 2008

Flame Spirals: The Nocturnal Photography of Stu Jenks: Chapter Five: "The Hoodoos of Coalmine Canyon, Arizona"

Hoodoosrevisited2
Flame Spirals: The Nocturnal Photography of Stu Jenks

Chapter Five: “The Hoodoos of Coalmine Canyon, Arizona” 
(c) 2000, 2008

    I’m driving cross-eyed to meet the dawn. It’s four a.m. I left Tucson seven hours ago. The sky is still black. I’m so tired.
    North of Flagstaff, south of Tuba City, I’m listening to Bruce Cockburn, singing from the boom box that’s sitting next to me on the passenger seat of my 1985 Yellow Nissan King Cab truck. I bought the truck new, but it no longer has any power to speak of. Can’t even get it to pass emissions anymore. On my third carburetor now. 300,000 plus miles on the odometer. I’ll have to sell it soon, but it still gets me to places like Coalmine Canyon. At least I hope it does today.
    I left Flagstaff an hour ago with a full tank of gas, plenty of smokes and a cooler filled with Diet Coke. I just cruised past the Cameron Trading Post but I didn’t stop. Maybe I’ll stop on the way home. I’m sipping on a cup of fake cappuccino that I got at a Texaco station in Flag. Getting closer to Tuba now. Transmission humming a bit too loud. Nothing wrong with it. It’s just old.
    ‘Apartheid in Arizona, slaughter in Brazil. If bullets don’t get good PR, there’s other ways to kill. Kidnap all the children, put ‘em in a foreign system. Bring them up in no man’s land where no one really wants them. It’s a stolen land,’ sings Bruce.
    The Hopi pretty much escaped the boarding school system, I've been told by friends, but that wasn't the case for the Navajo, whose reservation I just entered back at Cameron. Many Whites took in the Navajos or rather took the children, changed their clothes, forbid their language, cut their hair and tried to make them into little white boys and girls. It didn't work; not in the long term. Just angered the Navajos and left an even greater divide between the Anglos and the Indians. Still some hurt, resentment and sadness exist to this day.
    The Hopi and the Navajo were traditional enemies. Hated each other hundreds of years ago, and still there are some sore feelings between some of the members of the tribes. From the Navajo perspective, they immigrated into this area and just wanted to have a little land to live on. But from the Hopi perspective, the Navajo were uninvited guests, who attacked them on their mesas, and felt entitled to land that wasn't theirs.
    Now that's an oversimplification of things. Today, many traditional and modern Hopi and Navajo, together, fight Big Oil and Big Coal, trying to protect their rights and their lands. A good friend of mine who is Navajo has been battling the oil companies for a while now, along with his friends and members of his family and God bless them for that. But people are people, and much like some of my Southern breathen who still see ‘Damn-Yankee’ as one word and who still smart when they think about The War Between The States, so too, to this day, do some Navajos still mess with some Hopis, and some Hopi still trick some Navajos.
    Just a few years ago, the Rainbow People were looking for a place to have their annual Smoke Dope/Have Sex/Be Spiritual/& Dance Till Dawn event. A Navajo woman said to the organizers that ‘you could have your gathering on my land.’ The Rainbowers were thrilled to have it on Native Land. Only problem was, after hundreds of them arrived and set up camp, the local sheriff informed them that they weren't on Navajo land but on Hopi land, and the Hopis rightly wanted them to leave. The White boys and girls left, but not after they had deposited a couple of days of shit in holes they had dug, on the Hopi property.
    It's a complicated thing, the relationships between Hopi, Navajo and Whites. Some hold on to old resentments. Some forgive and let it go. Some go about their business and don't make no never mind of it. Some continue to perpetrate. People are People, White and Native alike.
    “You’ve been leading me beside strange waters. Streams of beautiful, lights in the night”, Cockburn continues to sing.
    I’m approaching Tuba on U.S. 160. A line of dark gray is to the east. Just a hint of morning. It’s coming but not for a while. The reds and purples of the Painted Desert aren’t visible yet, but soon they will glow. Now, the mesas are just deep black humps and lines against a slightly lighter black sky. I drive past a crudely painted sign pointing toward dinosaur tracks. I see the old Laundromat that has unavoidable sand in its washers. And I then take a right at the Tuba City Truck Stop, which in any other little town, would simply be a small breakfast café with a very big parking lot. The decaying carcass of a Rezzie dog lies off the shoulder at the crossroad. (Many Navajos don’t talk of the dead, not touch dead things, so dead dogs and cats often slowly rot along the side of the road and then are eventually blown away by the strong mesa winds.)
    The Hopi village of Moenkopi is off to the right, perched on the cliffs that overlook the cornfields below. No corn now. It’s early Winter, late in the growing year. Moenkopi is far away from the traditional three mesas of Hopiland. I’ve often wondered if the Hopi and the Navajo of Tuba City got along better, due to being forced to go to the same schools, the same Basha’s grocery store, the same Tribal Health Care Center.
    The gray to the east is changing color to blue. Best beat feet if I’m going to get to Coalmine before dawn.
    [Coalmine Canyon (Coalmine for short) has been a sacred place for me since the mid-1980’s, when my friend Mike, who used to live in Tuba, told me about the place. At the time he asked me to promise not to tell just anyone about Coalmine, so if I’m a little vague on directions , that’s why. It’s not as if you can’t find it on a good Triple A Indian Land map, but you’ll have to do your own footwork. And be nice to the place, if you ever do go there.]
    Coalmine Canyon gets its name from a line of exposed strata, close to the top of the mesa, that consists of a very thin vein of coal. You can see parts of the canyon from the paved road if you look left at the right time, but the canyon doesn’t jump out at you. Coalmine is actually a number of smaller canyons falling off from a high mesa. It drops probably a good 800 to 1000 feet to the canyon floor. Its walls are pink, purple and white with a line of black, and the sandstone is so soft, you can easily crush it under your feet. Neither traditional Hopi nor Navajo medicine men go to Coalmine Canyon for they believe it is haunted, and it is said that on the night of a Full Moon, you can see the Ghosts of Coalmine dancing on the pink walls. I’ve never seen the ghosts but one time years ago, when I hiked deep down into the canyon, I felt the energies of good and evil having a little battle. Maybe I was just too hungry or too tired or I just imagined the whole thing. But maybe not. I’ve definitely felt dead spots in there at times, and in those places I do not stay long. Whatever, the energies are very very strong at Coalmine, both positive and negative. I’ve come here to pray, to shoot, to grieve, and to just be, for over fifteen years.
    This morning I’m going to the eastern part of Coalmine, an area I’ve only been going to for the past five years or so. Attempting to find the little dirt road that goes down into this section of the canyon is as much about sensing the road as it is about seeing it, and in the dark, I slow way down, under twenty miles an hour, continuing to glance to the left, trying to sense a break in the fence along the road. The paved road is straight in front and behind, for probably four miles either way. No traffic. No surprise. Always looking left and then, suddenly, I see it and I turn my truck onto the one lane track.
    Dirt roads on the Rez are ‘Subject to closure due to weather conditions’ as the maps say. Translation: If it’s been raining or snowing, getting back to Grandma’s hogan can be quite an adventure. The weather is dry this morning, but out of habit, I stop, get out, and check the ground. It’s good and solid. The earth here is a mixture of sand and dirt. More sand, less dirt. I get back in my truck and put it into gear. I go slow but not too slow. Too slow and I’ll may get stuck in the loamy soil. My truck is a 2 x 4, not a 4 x 4, so I have to keep my speed up, but not too much, for the shocks on my truck are just regular shocks. Plus my truck sounds like a box of rocks as it is. Knock it too much more and new rattles will appear. The current rattles drive me nuts as it is. Slow but not too slow, Stu, but not too fast. The middle automotive path.
    The one lane track descends down from the first level of mesa to the next level, but not the bottom of Coalmine. That’s way down there and miles away. No horses or cows in sight. No living creatures at all which is normal. The cows tend to be on the floor of Coalmine and the horses come and go as they please. I turn off the boom box. The bouncing of the truck tends to make the tape sounds yowwy, and now I must be present, to say the least. The dropoff to my right isn’t a couple of feet but a hundred feet or more. Slowly, I bounce down down the track.
    I le