Athens: Gourmet Walking Tour

With the Beautiful and Spirited Sophia

We reach Monistroika Square, our meeting spot, and sit on a short wall next to the old town church surrounded by new shops. A petite young woman with blonde hair walks up and says, “Mrs. Brown?”

Ahh. We are in the right place. Sophia has found us. 

Sophia is 90 pounds of 100% Greek. But she’s unlike most Greek women. First, she’s 40 years old and unmarried. Second, she dyes her hair blonde. Third, she’s tiny. Fourth, she’s wearing short black shorts and a white tank top. 

“Greek men are useless,” Sophia laughs. “They don’t have decent jobs and often struggle financially. Why would I leave  my mother’s home, where I live free of rent and my mother buys and prepares my food, to struggle with a man?”

Makes sense.

Sophia loves her Greek coffee and cigarettes, yet she never lights up during our private gourmet tour of old town Athens. Even though she’s barely 5 foot, Sophia walks through the streets of Athens like she owns the place.

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We set out for our 4-hour tour at 10 a.m. with Sophia leading us out of the touristy area to where real Greeks buy shoes and attend church.

Our first stop is an ordinary corner bakery. Sophia settles us at a table for three then she speaks to a woman who prepares a little cheese pie and spinach pie (spanakopita) for tasting. Thank the mythical Gods, everything in Greece is made with phyllo. “Pita” means pie. So spanakopita is spinach pie. They  make everything into delicious savory or sweet pies.

Every Greek region and island has its specialty pie made of local cheese and greens. Pies are also made from milk, meats and fruits… with drizzled honey!

We eat the cheese and spinach pies, keeping in mind we’ll sample foods for the next four hours. Still, I eat it all. Shameless.

We move onto the street where Sophia stops at a food cart and buys a baked circle of thin bread covered in sesame seeds. The vendor puts it into a paper wrapper and hands it to me.

“Greek people will nibble on these throughout the morning,” Sophia says as she marches. “It’s another excuse to eat!” Brent and I take turns biting the crisp bread.

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“When we cross this street, we’ll be in a real Greek neighborhood,” Sophia says while staring down drivers and using her index finger as a command to brake.

Brent and I are thrilled to see authentic Greeks going about their authentic Greek lives.

“All these people,” Sophia says with a flourish of her right hand indicating men and women window shopping or speaking on the street, “they’re Greek!”

We pass a Greek Orthodox Church and when I comment on it, she insists we go in. I’m not budging because the sign says, “No shorts.”

“Go! Go!” Sophia insists, holding the door open and pushing us in.

“I’m not going,” I say. “I’m wearing shorts.”

“They won’t care because you’re not Greek,” she says. “Me, they won’t allow me in because I’m Greek.” Her shorts are shorter than mine.

Sophia has such a strong will, I can’t resist. Plus, I understand she’s only insisting because she thinks it will add to our experience. I mean, who ever heard of a church on a gourmet food tour?

I follow Brent in, reverently. Our eyes adjust and I see old Greek women at the front of the church queued to speak to the gray-bearded priest in his long black robe.

Other women knell in front of glass-enclosed shrines. They rise and kiss the glass.

IMG_0126The architecture is beautiful. A deep blue ceiling is dotted with gold stars, which sounds like the ceiling our guide described for the now-gone Parthenon and the entry buildings to the Acropolis.  

Brent, one of only three men in the entire church, stops in the back and I stand just behind him, trying to look invisible. I’m not religious, but I well understand sacred space, particularly for those who belong there. To our left, in an alcove, is a handsome young priest, perhaps in his early 40s, who is keeping a careful eye on the proceedings.

Sneaking out, I turn toward the back and there’s Sophia, outside the double doors, but craning her head inside, along with her right arm pointing as she says, “Take one of those!”

I look to where she’s pointing, at a desk/counter just inside the door with a woman sitting behind it. On the counter is a basket with small plastic bags of flour. I don’t want a bag of flour and keep walking. Sophia’s head and arm are active, though, and she’s whisper-yelling, “Take it! Take it!”

I pick up a bag to appease her (the price for being able to flee the church) and hear a voice say, “Excuse me!” It reverberates against the blue ceiling loud enough for everyone in the church to hear. Of course, it’s the good-looking priest, approximately 6 foot 3 inches, slender in his floor-length robe with a face like the guy who plays Riggs on Grey’s Anatomy.

Busted.

“That is for people who will bake bread for the church,” he says with very little Greek accent. “I don’t think you plan to make bread.” He reaches for the flour. He isn’t mean, but he isn’t nice. I just smile like a simpleton as he takes the flour out of my hand. I say, “Okay, thank you,” as though he is giving me something and escape outside, but not before Sophia has a curt exchange in Greek with the priest that most folks can easily hear. 

Sophia asks me what he said. I tell her.

“It’s not for making bread for the church,” she says with an eye roll. “The church is wealthy. People make large donations, including leaving their apartments when they die, which causes all kinds of family problems.” She’s a member of the Orthodox Church, she admits, but doesn’t allow it to dictate how she runs her life. 

Well, I didn’t want to intrude on the church in the first place. But how much goodwill would they have fostered by allowing me to the damn four tablespoons of flour? I’ve always been stumped by how much money goes into a church’s building, its décor and artifacts.

IMG_0117Hoping to forget about the handsome priest, I match Sophia’s quick pace until we see an old-timey bakery with a sign in front that reads, “Established in 1932.”

Seeing Sophia head for the bakery’s door makes me happy!

The shop’s specialty is Loukoumades, a doughnut-shaped treat made of flour and water, deep fried and coated in hot honey. Sophia’s 90-year-old grandmother brought her to this shop when Sophia was a small child. It feels like an old cafeteria, with foam green tile walls and everyone using trays. Most patrons are elderly, and alone. “This is nostalgic for them,” Sophia says about the patrons. They all have the same thing; a plate with six of the treats floating on honey. Sophia disappears and returns with our own tray and plate of six, which Brent and I gobble up in short order. 

As we leave, we pass a table where a very old woman sits with what appears to be her granddaughter. They chat and chew Loukoumades. The tradition continues!

“Some people look at me and think they should treat me like a child,” Sophia says. She has spunk aplenty, though, and a sharp intellect. Sophia can hold her own. She’s still irritated with the Turks for invading Greece and ruling for 400 years, from the 1400s until 1802, and for destroying monuments and forcing the Greek culture underground. “I’m just grateful we don’t speak Turkish and wear Burkas.”

Sophia’s brother lives in Hong Kong and she visits him each year. 

Our next stop is an authentic Greek coffee shop preparing coffee old-style, which is bitter. They serve the coffee with small sides of sweets made from just about anything; lemon, tomatoes, eggplant, cherries and other veggies. The small pieces of fruit or vegetables are cooked in sugar and water until it’s a syrup. The pieces remain whole, not crushed. 

We watch as the tall, slim Greek barista with a small, gray beard grinds fresh coffee for each cupful. He places a little sugar and water into a brass cup with a long, straight handle. He then pours the coffee grinds into the little cup and squashes it into a tray of sand with a hot plate underneath. He pushes the sand up and around each cup so it heats evenly, and the grinds fall into the water mixture. After a few minutes, he stirs each cup with a long-handled spoon. 

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A pretty young woman who reminds me of my daughter, Jaime, brings our coffee on a tray. My plate holds the brass container and a small white cup in which the barista poured just a splash of coffee. Nearby, she places a plate of sugared baby eggplants, and another small plate of Turkish delights.

“Sip the coffee from the cup,” Sophia instructs, “and then pour the remaining coffee into the cup. Pour it all!” We do, and the coffee goes to the exact rim without going over. I admire the velvety foam. 

We sip coffee and take nibbles of the candied eggplant. The two flavors together are actually quite nice. Brent and I normally only drink decaf, but he opted for the caffeinated while I ordered decaf. Sophia can’t understand why anyone would drink coffee without the caffeine. I tell her I want to create my own energy, versus living off of caffeine’s artificial stimulation. 

“What are the potential ill effects of caffeine?” Sophia asks. She drinks eight shots of coffee each day. Before she met us at 10 a.m., she had taken two double shots, and she was now enjoying a shot of espresso with us. 

“I’m sleeping much better at night since I switched to decaffeinated,” Brent says.

I’m unable to articulate any ill-effects, but tell her how I quite cold turkey, which wasn’t smart, and had a headache for ten days, and got so depressed I questioned my existence and thought it would be okay if I died. I wasn’t suicidal. But I did think about death as my body got used to operating without caffeine.

IMG_0121“I’ll bet it tastes different,” she finally says, with a disapproving look. “I have stopped smoking seven times. When I wasn’t smoking, I didn’t have energy and my thoughts were slower. I didn’t feel normal. I missed feeling normal, so I started smoking again.” 

“Take a sip,” I tell her and hand her my cup. “Now taste Brent’s.”

We all take turns sipping the decaf and caffeinated. Ultimately there is a difference. Decaf isn’t as flavorful.

Because the coffee is unfiltered, the grounds make a sludge filling half the cup. She warns us not to sip any sludge. Brent picks up his cup and a spoon and pretends to take a big mouthful. 

Sophia leans forward and yells, “No!” Brent laughs and soon she is laughing, too. 

The Turkish delights are little rectangles of jellied candy covered in powdered sugar. Sophia explains that folks can’t distinguish if it is a Greek recipe, or something adopted from the Turks when they ruled Greece. The candies are flavored pine and rose. The pine tastes just like a pine tree and the rose tastes just like perfumed rose water. I don’t care for either of those odd flavors.

“If you like them,” Sophia says, “they are Greek. If you don’t like them, they are Turkish!”

We leave the coffee shop and walk a couple of blocks to the meat market. Vendor stalls equipped with refrigerated cases line the corridor. The concrete floor is wet from constant hosing down. It is hard to listen to Sophia talk when looking at all the animal corpses hanging from hooks; rabbits skinned of everything except the white fur on their feet and tails; Goat heads skinned with eyeballs intact; cow heads; innards that include the lungs heart and intestines.

“Greeks don’t eat lamb,” Sophia says. 

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Brent takes lots of photos of everything. I’m not comfortable looking at the carcasses, which makes me a hypocrite because I eat meat. I can’t get through the meat market fast enough.

We exit the meat market and turn right into the fish market. 

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Next we’re surrounded by tables of spices and nuts. Vendors give us samples of walnuts, almonds and pistachios. Brent is consumed with looking at all the spices in plastic bags. He buys oregano and a powder for making Tzatziki (just mix it with Greek yogurt). He also buys a snack made of honey and sesame seeds. 

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At the fruit market, we try all types of olives; green, Kalamata and black prepared with and without salt. One is stuffed with red peppers. Yum. Brent buys a small basket of fruit that looks apricots or persimmons. A vendor peels one and offers it to Brent, so Brent buys it with Sophia’s assistance. 

Sophia purchases cherry tomatoes from her favorite vendor to prepare traditional Greek salad at a future stop on the tour. A woman in a burka pushes her way next to Sophia, who is talking to me and Brent. The woman then pushes Sophia to the right using her body.

“Do you see what this woman is doing to me?” Sophia asks. “She is pushing me out without evening looking at me.” Sophia stands her ground and pushes back. The woman keeps talking to her companion and keeps pushing, ignoring Sophia. 

As we walk away, Sophia says, “She thinks I have no value because I’m a non-believer. Like I’m not human.” There is truth in what Sophia says and I share with her my experience of a group of Muslim women in burkas at the Nairobi airport. They sat on the bench where I had been sitting for an hour and slowly pushed me, trying to crowd me out, but I would not be moved. As the old spiritual says, “Like a tree planted by the water, I shall not be moved.”

IMG_0157Our next stop is a lovely shop selling Greek food products. Sophia sets us up at a small table in the back and begins to make Greek salad, shooing us to explore the store. Brent selects several vacuum packs of olives. While we eat Sophia’s salad, we also sample wines from Crete and other islands. 

“Traditional Greek salad is only tomatoes, crumbled feta and olive oil,” Sophia says. “Greeks don’t like red onions, but they always add red onion for the tourists.” She insists on using cherry tomatoes cut in half. All other Greek salads we try are made with cut-up large tomatoes, and it’s not the same as Sophia’s salad. She spritzes a cherry-flavored olive oil, from the Isis brand, and a balsamic truffle vinegar on our salad. They are both amazing. We buy both products, which are reasonably priced.

By the time we check out of the store, we’re behind schedule. Our tour is only supposed to run four hours, until 2 p.m. It’s 2 p.m. now and we still have two stops to make! We’ve been doing lots of talking throughout the day. We decide to visit the meat shop and forgo the gyro shop because Brent and I have already been eating gyro. 

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The meat and cheese shop was started by two Armenian brothers in the 1930s. With customer input, they began preparing Greek meats and cheeses. Sophia brings a sweating carafe of water and I divide it equally between me and Brent. Because it’s a hot day and we’ve been out of water, I take a mouthful of the drink and instantly realize it’s not water, but some kind of alcohol! I sip it back into the glass and feel extremely wasteful. Brent likes it and continues to sip. I’m mortified that I’ve now dispensed the entire carafe and won’t be drinking it. I apologize to Sophia several times. She won’t have any of it. It’s far too much for Brent to drink as well, or he wouldn’t be able to walk home!

We try Buffalo salami and beef pastuma, a meat Greek’s love to use in pies, sandwiches, etc. Brent buys a chunk of pastuma made from camel meat, the way it was traditionally prepared by the Armenians. He also bought hard beef salami.

When our tour is officially over, Brent asks if Sophia knows where a currency exchange is and she says yes. She graciously takes us there. We’re ready to go back to the Acropolis, where the Segway tour office is located, and Sophia offers to help us find it because she lives near the Acropolis. We are very grateful for her assistance! It is now 3:15 and our tour starts at 4 p.m.

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With the address of the Segway tour office, Sophia leads the way, up one street then down another. We walk in the front of a row of restaurants where men at each place tell us how great their food is, and how deep their restaurant’s heritage. They push business cards on us. Sophia calls the Segway tour office to find out exactly where they’re located. We turn around and go back by all the restaurants with the men still talking to us. “Remember me?” one yells.

Sophia walks us right to the tour office. We say a difficult goodbye as the Segway folks look on. How can we properly thank her for such a personalized tour and for going out of her way to find the exchange and the Segway tour?! We tip her well and hope it’s enough to convey how much we appreciate her energy, time, thoughtfulness, and how much we enjoyed being around her, like spending the day with a spirited and fully-alive friend!

James Coleman, Skateboarder

Skateboarding is his Passion

Ever had a passion in your life that was a constant? Even if you become distracted by life’s happenings, you somehow find your way back to it, every time… as though it’s your obsession? Maybe a loss or a gain, or a quiet day of contemplation brings it all back to you, and once again you tear out the walls of your life to make room for your obsession. 

For my son James, skateboarding has been his constant.

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James Coleman, age 2.

I had a big, Ninja Turtles 80s-style board when I was really little,” James says, “like age 5 or 6 years old, but I’d only sit on my butt and roll. Later, I put together a “Frankenstein” from old boards, trucks and wheels my friends gave me.”

James remembers the weekend at Southlake Mall when he was in an arcade playing Mortal Kombat or Street Fighter II, and his sister Jaime tapped him on the shoulder.

“I turned around and y’all surprised me with a K-B Toys skateboard with plastic trucks, and although it didn’t roll very fast, it was perfect for learning beginner tricks. I learned a few tricks and developed more board control and started going down big hills and driveways and stuff. I’ve been hooked ever since.” 

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James’ first set of wheels; riding with his sister Jaime.

James is turning 33 in November and has yet to let go of his dream. 

But why?

“I love everything about skateboarding,” James says. “It feels so free, it keeps me in shape, allows me to interact with our environment, and doesn’t have coaches or rules like other sports. I can learn as many tricks as my body will allow, and skating keeps me disciplined.”


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James, age 11.

James says I always told him to follow his dreams (for years I had a bumper sticker on the back of my forest green Caprice Classic that said “Follow Your Bliss”), so he took my advice grew up wanting to do what he loves and getting paid for it. 

Like most people pursuing a passion, James has had plenty of reasons to give up. It’s hard. Staying focused can be difficult. Friends drop out of the skateboarding world and move on. Making a living to pay the bills is paramount to pursuing dreams. Oh, but wait, James eschews a traditional career so he can remain free to skate. That means he goes without a lot of things, which most people go to work everyday to afford; a place of his own and/or a new car. He rents a bedroom from a friend and drives a 2007 Prius. He doesn’t get paid for skateboarding… but he does receive boards, clothes, shoes, etc., from his sponsors.

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His favorite saying.

Even though money is tight, James won’t skimp on healthy food; keeping his body perfectly tuned is his main aim. And he drinks lots and lots of water (I’m his mother, I have to stay on him about something other than reminding him to not destroy public or personal property in his pursuit of skateboarding perfection!). 

“I’m a human before I’m a skateboarder,” James says, “and I respect my body, mind and soul so they can take me to my highest potential/calling. I feel as healthy and talented as ever, like a seasoned veteran, but with a youthful approach.”

He pushed himself as a teenager and into his 20s, and allowed his skating career to evolve organically, letting things happen naturally. While in middle school, James became sponsored by Ruin, a new skate shop in Sandy Springs. He spent a lot of time with his friends hanging out at the shop, learning from others and skating in the shopping center. He has remained friends with Ian, the shop owner, ever since.


“I have so many sponsors now,” James says, “sponsors I used to wish for. They came through because I never gave up on working hard… with a smile.“

As a kid, James was always on his skateboard, even in the house. He stood on the board while watching TV and would work on flipping the board. Sometimes I tolerated it, sometimes the thought of oil from the trucks getting on the carpet was a bit too much.

If James wasn’t physically on his board, he would pull out his finger board and ride his two fingers on the miniature replica, mimicking all types of flips. If we were in the car, his fingers would ride the board all over the dash, languidly, which is James’ style. On the dinner table, he’d stack up a few books to resemble a skate park and he’d ride the fingerboard over the books.

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Nosejam, Tampa, Florida, 2017.

From the age of 10 onward, James would sketch out his tricks in cells, like a storyboard for a movie. He would watch tapes (before everything went digital) and write out the sequence of his tricks. He hung out with skate fanatics like himself, guys from his schools who were good at photography or video, and they’d find locations all over Atlanta (and later cities up and down the east coast, and then San Francisco) to shoot “footy.” Again, James would detail out the sequence of his moves in sketches. He ate, slept and drank skating; the definite of obsession.

Inspired by originality, James is drawn to people whose spirit shines true in what they do, those who express themselves from the heart, with positivity.

Often influenced by people who have nothing to do with skateboarding, James wonders if that’s why he still has a fresh outlook and approach to skateboarding. He’s inspired by anyone who makes sacrifices to be true to themselves and humanity, because he believes we’re all one.

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Riding for Westside.

“I’m a fan of expansion and seeing the big picture, of people who push the boundaries of thoughts and feelings, who bring everyone with them to the next dimension and beyond. Bruce Lee. Salvador Dali. Helen Keller. Anne Frank. Malcolm X. Gandhi. And so many more, including fictional characters like Sonic the Hedgehog and characters from X-Men.”

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Crooked Grind, Chattanooga, TN, 2016. Printed in Thrasher Magazine and featured on Thrasher Instagram.

James spent September of this year in Bordeaux, France, filming with Minuit and hanging with his good friend Yoan Taillandier, a renaissance man whose talents and skills reach beyond the norm. Yoan is the mastermind behind Minuit (French for “Midnight”), which has a distinct aesthetic of skateboard audio/visuals shot mainly at night. Minuit offers clothing and accessories under the Magenta brand.


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Wallie Up, Crook Tap Down; Miami, Florida.

As for his skate style, James may be a little ahead of his time. He strives for street-skate art. Don’t talk to him about half-pipes or Tony Hawke. Now, Chad Muska, a pro who rode for Shorty’s skateboard company in the 90s, was one of James’ favorites to watch. Muska is the reason James wore everything “Shorty’s” as a teenager.

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“I feel like a meteor that’s going to crash into the skateboard world and change the chemistry of it all,” James says. “All I have to do is keep being me, staying true and working hard.”

Am I super proud of James? Absolutely. Do I get scared when I hear him talking about sleeping in his Prius as part of his super thrifty take on the world? You bet. And then I remember what a good soul he is, wise from trying and making things happen, and I don’t worry so much.

Currently, James is working on a video sponsored by Adidas and being filmed in Tennessee. 

“I feel blessed to be able to still skate at my age and have supporters I respect. My best is yet to come, I love staying productive and always having skate videos, footage or magazine/web articles ready for release.”

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Wallride, Paris, France, 2017.

I’m writing this blogpost as though James is just another subject of an article, rather than my own flesh and blood. The truth is, I sensed James before he was born. His face came to me in a dream when I was pregnant with him; I can still see his white hair and blue, blue eyes from the dream. I’m not a woo-woo kind of person, but when James was about 2, I had a premonition the doctor would find a medical condition in his tiny little body, and when the doctor shared his diagnosis, I wasn’t caught blind-sided (and James is fine). I’ve always felt that connection with James on a visceral level, and when we  drum with our fingers on countertops or tabletops, we get into a groove of perfect timing on a physical level. It’s uncanny, like playing an instrument with yourself. 


My sense of James started before he was born and continues to this day. I can feel him, who he is. I admire his tenacity in pursuing skateboarding as his all-out passion. I worry that I didn’t push him in other directions that might have brought him more life satisfaction. Like many mothers, I worry I did mostly wrong, and very little right, by my children.

I’m proud of James, the man he’s become, and I’ll always be proud of him, whether he hits the skateboard world like a meteor or not. 

Spotlight interviews with James:
James’ Current Sponsors
  • Theories brand clothing, and Theories of Atlantis.  
  • Magenta skateboards.
  • Reality Grip; hand-painted grip by Eric Staniford, my florida skate friend from way back who now lives in LA. He supplies me with Entitled Reality Grip, which features images of iconic and inspiring people. 
  • Broadcast wheels.
  • Harvest roots ferments; a locally-produced kombucha company from the southeast. 
  • Westside Skateshop (Jon Montesi’s skateshop in Florida. I’ve ridden for them since I was a teenager. Jon still helps me out so much to this day. Thanks Jon!)
  • Shaqueefa O.G.; Tampa squad/shirt company. (You’ve seen Ishod, Koston, and Grant Taylor wearing them for years.)
  • Minuit audio visual-primo global nigh skating vids/clothing from the mind of my good friend and frenchman Yoan Taillandier.  
  • Supra Footwear-flow.

Jolly Greek Carver

Touring Paros in the Orange Screamer

Brent and I are tearing down a two-lane road on Paros island, Greece, in a small quad Brent has dubbed the Orange Screamer. We left Parikia, the port city, and are headed to villages on the opposite coast. 

I see a brown sign announcing an ancient marble quarry near the village of Marathi. 

“There’s an ancient marble quarry ahead,” I yell to Brent. He pulls the screamer over when we see the place, and parks next to two other cars crowded just off the roadway, at the beginning of a 15-foot-wide pathway laid with marble brick. We walk the path and find the quarry. 


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The view from the top of the quarry road.

I later learn the Parian marble found here is one of the finest varieties and was the favorite of renowned Greek sculptors because of it’s transparency, which allows light to penetrate the marble and produce a distinct radiance. Parian marble can have a transparency as high as 7 centimeters, while other marbles, such as Penteli, have only 1.5 centimeters transparency. 

The marble was so sought-after, supply outstripped demand and it became expensive. Archaeologists estimate that 75% of all sculptures created in the Aegean islands were made out of marble from Paros. The acclaimed Venus de Milo and Hermes statues were sculpted from Parian marble. Structures believed to be made from the marble include the treasury of the temple of Athena at Delphi, the temple of Apollo and the magnificent temple of Solomon.

A nearby deserted building was once a French mining company believed to supply the marble for Napoleon’s tomb in 1844. 

On the downside, at the height of the Roman empire, it’s believed the quarry employed 150,000 slaves as miners. The quarry operated from the 3rd century B.C. to the 7th century (and then by the French company for a short period in the 19th century).

Near the quarry, I’m drawn to a little shelter surrounded by blooming and colorful plants. Is it a nursery? A marble carving studio? 


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Brent at the entrance to the Greek Carver’s home.

An older man is speaking Greek to other visitors who appear to not speak Greek. He gesticulates and points to framed photos on the wall. He’s a happy man, spreading cheer as Brent and I walk through. He has groomed plants in large, square cheese tins and other playful planters. A peddle sewing machine sits nearby. On a table are hand carved marble ornaments.

He pinches off pieces of Basil and gives them to me and Brent, gesturing for us to smell and taste and enjoy.


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The Greek Carver’s garden of cheese tins and marble spires.

His has a set-up that demonstrates how marble was manually carved. He even has a little model made of marble, a building next to a slope that goes underground. From the building extends a rope with equipment suited to haul out marble; a tiny marble replica of how they mined marble. 


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This tiny building made of marble is a replica of a mining building, complete with the equipment attached to the rope to recover marble from the mine.

I’m enchanted by his green thumb, and the interesting “used” items on display. 

“Mama. Papa,” he says to me, pointing to a framed portrait of a couple. Mama, mama, mama, he says, pointing at another photo, to indicate his great-grandmother. He points to the sewing machine and says Mama.

He’s smiling broadly and saying other things in Greek. We listen and watch his hands dance and nod yes, smiling. He is so adorable. 

Behind his table of wares is a wall; solid on the bottom and windows on the top. The window panes are grimy but we can make out a chair and a blanket. Brent thinks he lives here. 


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Marble, an anvil and antiques provide decor outside the Carver’s home.

I must buy something from him. Other folks look around and leave, but I want to support his good cheer and his hand-carving of marble, so I select a perfect heart, about 3 inches at the widest, for 6 Euros. He very carefully wraps the heart in paper, then tapes it closed. All merchants throughout Greece wrap every item and then place them into gift bags. They’ll staple the gift bag closed, or will tape it closed, and always attach their business card. 


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The Greek Carver very carefully wraps up my small purchase. His table is full of his carved pieces.

But I don’t need a gift bag and show him I’ll simply put it in my purse. Brent and I plan to create mosaics from the goodies we find in Greece (rocks from the beach, sea glass, pottery pieces, etc.) and this heart will be a charming addition. He offers to write a receipt and I say no. I should have let him, though, because then I would have his name. 

Brent takes photos as I transact with the gentlemen. He is so joyful, I can’t resist giving him a hug. Then he poses in his all joyousness for Brent, with his arm over his head. 

We get back into the Orange Screamer and head for the next village, Lefkes.

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Brent color-coordinates with the Orange Screamer.

Often, I think of this happy marble carver in his garden on the edge of a quarry, sharing his family portraits and his love for life. 

I regret not knowing his name. 

Word by Word

A Writing a Day

Susan, a friend and damn good writer, agreed to attend Natalie Goldberg’s writing workshop in 2015. Susan traveled from  Portland and I flew from Phoenix to Albuquerque, where we joined eight other women in a van headed to the Upaya Zen Center in Santa Fe. That van ride with intelligent, interesting women was a precursor to what we’d experience during the upcoming writer’s retreat. Ultimately, there were more than 50 of us, mostly women, enjoying vegetarian meals, meditating, writing, being silent during daylight hours and sharing our work for four days. 

Like most people who dream of being “writers,” I’ve been a huge Natalie Goldberg fan since reading Writing Down the Bones when it was published in 1986. Then she followed up with Wild Mind: Living the Writer’s Life in 1990. I formed a writer’s group with friend’s Kate and Richard, who both happened to be from upstate New York but somehow chose Atlanta as their home in the late 80s. We’d meet weekly at each other’s houses, on a rotating basis, and perform 10- and 20-minute writing practices about any old topic. We stuck to Natalie’s writing practice rules: Keep writing, don’t stop, don’t lift your pen off the paper, don’t edit, and be specific – Cadillac, not car.

 

Kate and Richard are both excellent writers, but we all suffered from the typical writer’s milieu; we had no central area of interest on which to focus our writing. We’d write and write between timer bells on topics that didn’t really matter, on short stories that would never go anywhere. It was a lot of fun, though, and hopefully we honed our writer’s craft even if we weren’t churning out bestsellers. 

Writing has always been central to my life, even when I wasn’t doing it as a living. Please know, I’m writing for a living now as the Sr. Communications Specialist for an insurance company. I’m not making a living by being a published author or journalist or columnist, but writing about insurance is also not as boring as it might sound. I started a company magazine for our customers and enjoy researching and writing articles on many interesting topics, particularly people. So that’s this writer’s lemonade! 

When I say writing has always been central to my life, it’s because I’ve written for my own pleasure these many years, even when doing a good bit of writing in my marketing jobs. Writing is a compulsion. I wrote my first “chapter book” when I was 9. Putting down words is as necessary for me to live as air. When I don’t write, I become moody. Tense. Back then, I simply didn’t know what to write about, so I fooled around with essays and short stories.

I found out writing fiction isn’t my thang, though I grew up reading fiction by famous Southern women writers like Flannery O’Connor, Eudora Welty and Carson McCullers… and wanted to be just like them. McCullers The Member of the Wedding blew my young mind; O’Connor’s A Good Man is Hard to Find shocked my teenage sensibilities and yet resonated with macabre inner stirrings that felt like a birthright; and Welty’s One Writer’s Beginning was published in 1984, the time I was seeking a writer-guru… a path to self-expression.


 


When I went to Kenya in 2005 as a marketing advisor to the Great Lakes University of Kisumu, I found plenty to write about. Plenty of life or death topics. Topics that mattered. And after a year of posting to a blog in Kenya, I came home and compiled a portion of those blogs into Poverty & Promise: One Volunteer’s Experience of Kenya, a book that won several awards and was published by an independent press.

Since then, I’ve searched for topics that mattered as much as the lives of Kenyans (without having to move to another country). It’s not easy. 

Back at the writer’s retreat, when all of the women writers (and the four or five men who attended) were gathered in the Zendo for one of Natalie’s talks, a participant shared with the group that she and one of the guys in attendance wrote emails to each other every day. They had done if for years. Committing to write to each other made it more likely they would send something, anything, as a way to stay on track, stay in the habit, and get the writing practice they needed. Receiving guidance from another writer was a plus!! 


 


This struck me as an excellent idea and when I proposed it to Susan, she agreed. Of course, it was more than a year after the retreat that I asked Susan about being daily pen pals. After the retreat, we had agreed to share our writing pieces with each other for feedback, but we didn’t set deadlines. It wasn’t until March of 2017 when we began writing our daily practice emails.

Today, I set out to capture the content from all my practice-writing emails to Susan, and put them into one document. I dreaded it, even procrastinated for several weeks. As I went through the Sent folder and copied and pasted each email, I was surprised by some topics and astounded by others, both mine and Susan’s. Several were really good. And extremely interesting. And heartbreaking and funny. As I meticulously pulled my content and re-read hers, I didn’t want it to end!

We agreed no pressure about writing every single day; no reprimands, no guilt. We didn’t email every day, although we tried. We were compassionate about life happening, and days when we were exhausted, or if we were traveling. But I didn’t want to lose momentum, so I made myself write on some days even when I was brain-dead.

If I didn’t feel like writing on my computer in my studio (because it’s also where I work from home for my job and I sometimes get sick of being in front of a computer), I’d write to Susan from my iPhone while propped up in bed, very late at night, but not past midnight or I would have missed writing that day. Susan and I were both shocked at how much coherent writing can be accomplished on such a tiny keyboard. 


 


Although we’ve only been doing daily writing-practice emails for seven months, when placed into the word doc, my writings filled 157 pages in Arial, 11 font size, single-spaced lines with a space between paragraphs. It was nearly 100,000 words (99,944 to be precise, including this blog post). 

Just like with the Kenyan blog, words add up. And before you know it, you have a book. And a detailed record of your life and thoughts that would otherwise disappear into the ether.

Susan says, “Our partnership has inspired me to start looking at my writing as a thing of value, not simply an indulgence.” Just another bonus of this practice!

I’m so grateful to Susan for being my writing practice partner and my muse. She’s my ideal reader (something Natalie instructed us to find). She’s uncommonly wise and a knock-out voice the world needs to hear from. I’m the luckiest person on the planet to get to read Susan’s eloquent, life-affirming and charming writings (nearly) every single day!

Such an honor.

Needles and Canvas

Exploring needlepoint artists such as Janet Haigh and Kaffe Fassett as I dive into needlepointing with no training.

Art and the Importance of Trying

Wanting a lap project to work on while watching TV, I pulled a needlepoint canvas out of my closet and studied it. Not knowing anything about needlepoint, I watched a few how-to YouTube videos, found an embroidery needle, calculated that the six-strand embroidery floss already in my studio would work with the gauge of the canvas, and started needlepointing! 

Needlepointing seemed so mysterious; I thought I’d need an expert to tell me what thread to use, what size and how much, etc. But the need to create won out over more careful planning and without even sewing frames to the canvas to keep it square, I started running that needle in and out on the diagonal, fascinated with the smooth yet textured result.

I bought the canvas several years ago from artist Linda Holman Carter (carterholman.com) at the Litchfield Arts Festival. I love her colorful style of painting women and farm animals. The hand-painted canvas, at $50, seemed reasonably priced, even if I didn’t know how to needlepoint. It felt like a “retirement” project, one I’d be able to dive into and learn about when I had time. 

I also bought a 12 x 5.5 inch signed and numbered print of Holman Carter’s “Corn Maiden” painting. It’s framed and hanging in my art studio. Linda always sketches a little chicken next to her signature.


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Linda Carter Holman’s print “The Corn Maiden” hangs in my studio.

I’ve searched Holman Carter’s website and am unable to find the name of the painting-turned-needlepoint-canvas shown at the top of this blog. The illustration of a woman at a garden table is 12 x 12 inches. You can see areas of open mesh that still need to be filled in, like the fish bowl, white lines on the tablecloth and the book she’s reading. I’ve made plenty of mistakes (using wrong colors, not keeping it 100% square, handling and mushing some of the completed areas) but that’s how we learn new things, right? 

While searching for another Carter Holman needlepoint canvas to work on, I came across some YouTube videos of artists who design needlepoints for Ehrman Tapestries.

What a glorious few hours have been spent viewing videos of these artists and dreaming over their offerings on Ehrman Tapestries website.

My favorite video is about artist Janet Haigh and her glorious Cre8-space, a fun workshop in Somerset, England! I watch Janet’s video over and over to hear about her creative process and see all the goodies she has created in many mediums, not just needlepoint designs. The video’s production quality is superb.


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Janet’s blog is also a treasure. She’s fascinated with textiles and started Heart Spaces Studio, “a place for all things textile,” where workshops are held and artists lease Cre8-space. On her blog, Janet shares works by other artists as well as photos showing her own pieces in progress.

Wanting to see artists in their personal Cre8-space, I quickly viewed the other perfectly-produced videos of Ehrman designers, like Margaret Murton, who is quite proper, Candace Bahouth, who is a little boho, Kaffe Fassett, who is a color-inspirationist, and Raymond Honeyman, who you just want to move in with and feel the calming and perfect blend of his masculine/feminine home decor. 

Here are samples of each artists’ work featured on Ehrman Tapestries website. Janet’s pieces are on sale now! I have a wish list going.


Janet’s Cre8-space video of her lovingly-crafted art remains my favorite. If you only have time to watch one, make it hers, and I hope you forget the rest of the world as you view it! (If you find a little more time, watch Raymond and then next Kaffe!)

Needlepoint isn’t hard and I encourage anyone with a passion for textile and needlework to give it a try. Kits can be expensive, though, so shop around… and wait for sales. I have so much more to learn about Needlepoint, Learn from my mistakes with these tips:

  1. Stretch your canvas before beginning. You can easily see how my Carter Holman canvas is skewed because I didn’t have the patience to stretch it before I started working on it.
  2. Cover your canvas when you’re not working on it to keep dust and other things (pet hair) from settling on the fibers.
  3. Wash your hands frequently when working and avoid touching stitches already in place, to eliminate soiled or worn-looking threads.
  4. Unless you have a stash of threads, I recommend buying kits that come with yarns, then you know the colors are exactly what the designer had in mind.

Below is my most recent project, purchased from Got Needlepoint?. I follow them on Pinterest and receive Brenda Stimpson’s e-newsletter via email, but you can do either/or because the same information is shared in both places (though it’s fun to see Brenda’s latest travel adventures and her needlepoint finds).


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My current incomplete project: a 10 x 8-inch printed design.

Chasing Georgia Ghosts

In Search of Flannery & Alice

It’s Labor Day and you better believe traffic headed north on I-75 toward Atlanta will be thick, possibly even crawling. So I take a trick from Mama’s playbook; avoid the interstate on my way to the Atlanta airport. I steer my rented Altima northeast toward Macon, intent on traveling 2-lane blacktop highways and taking an impromptu literary detour.

Destination: Andalusia Farm in *Milledgeville, Georgia.

Flannery O’Connor lived with her mother, Regina, at Andalusia Farm from 1951 until her death from lupus in 1964 (I was one year old). I’ve been wanting to stop by Andalusia for a few years, every time I travel back to Georgia to visit family, but it has never worked out.

Flannery is best known for her Southern Gothic tale A Good Man is Hard to Find, plus many other short stories and novels.

From Warner Robins, it takes an hour and 15 minutes to find the house on N. Columbia Street, a well-trafficked four-lane highway. When I turn into Andalusia’s drive at 2628 N. Columbia Street opposite Butler Ford, America’s Best Value Inn and Badcock Home Furniture, a locked gate with a “no trespassing” sign cuts my trip short. 

I had checked the website before setting out and knew the house was closed; I just couldn’t resist stopping by in case, through some miracle, it was accessible. The only content on andalusiafarm.org had read:

“We are hard at work readying Andalusia for its reopening as a historic house museum at Georgia College. During this transition, we will be temporarily closed to the public. Information on the reopening of the museum will be posted on this site, and our social media pages. Thank you for your continued support!”

I later learn that just the month before, on August 8, a small celebration was held at the house when the Flannery O’Connor Andalusia Foundation gifted the Andalusia house to Georgia College and State University, whose campus is only four miles away. Flannery is an alumni of the college. Watch a short video here.

Garden & Gun magazine published a September 22, 2017, article titled Flannery O’Connor: Under New Management about the house getting a new start with Georgia College. Here’s a photo of the house credited to the college that ran in Garden & Gun.

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Andalusia home where Flannery O’Connor lived until her death in 1964.

At the locked gate, I think maybe I can at least see the house from the drive, perhaps spot one of the peacocks strolling through the yard, generations removed from the ones Flannery used to raise here. 

But, no. Another sign indicates the house is two miles away, too far to see beyond the trees surrounding the drive. Looking at the property on Google maps gives you a feel for how peaceful the area is. Although N. Columbia Street is also busy U.S. 441 highway, the tree-dotted land immediately surrounding Andalusia is undeveloped.

Liking Andalusia’s Facebook page is as close as I’ve gotten to seeing the house in the 21st century. While there isn’t a ton of information on the FB page, there are photos of renovations to the Hill House (called “the tenant’s farmer’s house” in the first black and white photo below) that started in 2011. 

Writers in Residence: American Authors at Home, published in 1981, contains images of homes and writing spaces of writers from across the U.S.

Glynne Robinson Betts traveled widely to write the content and take the photos. Often, she was given tours by the authors themselves, but at Andalusia, Mrs. Regina O’Connor was her tour guide. Here are the resulting pages.


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It’s telling that all but one of the photos are of the exterior and the land; most people know that “place” is as much a character in Southern writing as are the people. In her book, Betts writes this about Flannery: “In her book-lined bedroom on the ground floor of the farmhouse, her desk turned away from the inviting front windows, she wrote about the country people of the Georgia Bible Belt, their strengths and peculiarities.”

When Georgia College re-opens Andalusia Farm, I’m coming back to see that bedroom and, hopefully, that writing desk!!

Alice Walker

Undeterred, I put “Wards Chapel Road” into google maps on my iPhone and drive 15-minutes to where Alice Walker grew up just outside of Eatonton, Georgia. 

Along Wards Chapel Road are: 1) the place where Alice was born on Feb. 9, 1944, to her sharecropper parents, Willie Lee Walker and Minnie Lou Tallulah Grant; 2) her family home, called Grant Plantation; 3) the Wards Chapel cemetery where her parents and other ancestors are buried; and 4) the Wards Chapel A.M.E. church which Alice attended.

I drive up and down the road, twice, looking for signs of her birthplace and homes, but can only find the church, obviously unused now, but neatly maintained. I imagine what it was like for Alice and her family to walk to the tiny church each Sunday on a once-dirt road in the segregated South. 


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Wards Chapel A.M.E. Church near Eatonton, Georgia, where Alice Walker attended.       Alice wrote, “Any God I ever found in church, I brought in myself.”
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Sign in front of the Wards Chapel A.M.E. Church.

Alice is best known for writing “The Color Purple,” which won a National Book Award and the Pulitzer Prize for Fiction. While she’s a talented and award-winning writer, Alice did so many other amazing things.

She married Melvyn Leventhal, a white civil rights activist in 1967, the year the Supreme Court struck down laws banning interracial marriage on June 12. Alice and Melvyn were brave to live in Mississippi. Her book The Way Forward is with a Broken Heart, published in 2000, is a quasi-fictional portrayal of that marriage. The book “opens with a story, merging fact and fiction, of my version of our life together,” she writes, “when we lived in the racially volatile and violent Deep South state of Mississippi.”

Alice was later an editor at Ms. Magazine and went on to become a professor at Brandeis and Berkley Universities, and wrote several more novels and collections of poetry.

Alice’s mother, Minnie Lou, a well-known gardener in Eatonton, once said, “A house without flowers is like a face without a smile.” And Alice once said, “In search of my mother’s garden, I found my own.” She even wrote a book of essays, articles, and speeches entitled In Search of Our Mother’s Gardens: Womanist Prose.

In 1974, Alice and Minnie Lou visited O’Connor’s Andalusia Farm where Alice was delighted with the peacocks. The Southern Literary Trail website describes an interaction between mother and daughter. “[Alice] said the peacocks in O’Connor’s yard ‘lifted their splendid tails for our edification. One peacock is so involved in the presentation of his masterpiece he does not allow us to move the car until he finishes with his show.’ When Alice commented that the Farm’s peacocks were inspiring, even while blocking the car, Minnie Lou responded, ‘Yes, and they’ll eat up every bloom you have, if you don’t watch out.’

At age 73, Alice’s contemporary writings and poems are imminently accessible on her official website, alicewalkersgarden.com. Dig in deeply to the poems, videos, photos, complete essays and articles about plays, musicals, books, her personal past and other things impressing Alice lately. Fascinating.

Joel Chandler Harris (1848-1908), also from Eatonton, Georgia, is remembered mostly as an Atlantan because he spent much of his adult life living at the Wren’s Nest, which is now the oldest house museum in Atlanta. Harris was a journalist and editor at the Atlanta Constitution until 1900, but he’s most famous for the Br’er Rabbit stories told by Uncle Remus.

In the late nineteenth and early twentieth century, some people didn’t have a problem with Harris’ stories written in African-American dialect of the mid-1800s, and set on plantations. In fact, he was reported to be the second-most-read American writer of his day, behind Mark Twain. 

If you still remember those Br’er Rabbit stories, you can visit the Uncle Remus Museum in Eatonton, housed in a log cabin. I drive past it and remember visiting the museum as a child (45 years ago). Controversies seemed to start up around his writings after Disney released their version of the Br’er Rabbit stories in the movie Song of the South in1946.

Funnily enough, The Institute of Southern Studies published an article by Alice Walker in the Summer 1981 edition of the Southern Exposure Journal entitled, Uncle Remus, No Friend of Mine. Walker writes:

“Our whole town turned out for this movie: black children and their parents in the colored section, white children and their parents in the white section. Remus in the movie saw fit to ignore, basically, his own children and grandchildren in order to pass on our heritage–indeed, our birthright–to patronizing white children who seemed to regard him as a kind of talking teddy bear. I don’t know how old I was when I saw this film–probably eight or nine–but I experienced it as a vast alienation, not only from the likes of Uncle Remus–in whom I saw aspects of my father, my mother, in fact all black people I knew who told these stories–but also from the stories themselves, which, passed into the context of white people’s creation, I perceived as meaningless. So there I was, at an early age, separated from my own folk culture by an invention.”

Within a 30-mile radius, and in successive generations, three wordsmiths were nurtured by their surroundings of red clay roads and Pine forests. Their works would find their way out of central Georgia, and then out of Georgia and ultimately around the world. 

Leaving Eatonton, I continue on back roads through lake country — Lake Sinclair and Lake Oconee — toward the airport, hitting the expressway and remembering what it was like to call Atlanta home for 15 years, battling constant traffic. Such a contrast to driving the slower-paced back roads lined with dense trees, winding toward the home-places of great writers. 


  • Milledgeville was the capitol of Georgia from 1804 until 1868. On January 19, 1861, Georgia’s Secession Committee met in the capital building and voted to secede from the Union. On his march to the sea, Sherman and his Union Army occupied the city of Milledgeville on November 23, 1864. Wikipedia tells us, “In 1868, during Reconstruction, the legislature moved the capital to Atlanta, a city emerging as the symbol of the New South as opposed to Milledgeville, seen as being connected to the Old South.”

Puerto Penasco, Mexico

Rocky Point

A beach destination for Arizonians, Puerto Pensaco (aka Rocky Point) has much to offer: sun, beach, good food, drinks with generous amounts of alcohol and only a mere 4-hour drive from Phoenix. My husband Brent had visited Rocky Point with his family (and later with college roommates) since the age of 5. On our second day there, we decided to explore the town and document the excellent graffiti and murals we had spotted on our drive in.


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Entering the Old Port, we see men sitting under makeshift shelters with large coolers and bright signs touting shrimp and fish. It’s early, around 8:30, and we’re the only folks around. We follow the road along the Sea of Cortez and notice shops loaded with souvenirs: t-shirts; traditional Mexican dresses for women, girls and babies; beach cover-ups; cowboys boots; brightly-painted pottery; Cuban cigars; pretty straw sun hats with bands of floral cloth; headbands with funny sayings; fidget spinners in all colors; clackers (remember those acrylic balls on string that clacked together from the 70s?); and refrigerator magnets of cactus, sombreros, and chili peppers.


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Men stand in the middle of the road pointing to open parking spaces. But we’re just seeing what’s down here, we don’t want to walk around just yet. Murals catch our eye in various places, and we determine to re-visit and photograph them. 


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Onward to Sandy Beach, where Brent remembers parking in the sand and tying a 22-foot parachute between his truck and Glenn’s jeep 30 years ago, during spring break from college. This was their base camp for a week and they defied anyone to park between them and the water. 


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We turn at a large Marlin statue and roll past a few open-air restaurants and several kiosks renting 3-wheel scooters, 4-wheelers and rail cars. The main road that runs by Sandy Beach is unpaved, but wide, and trucks moving in both directions spray water to pack the dirt. The sea is to our left and along Sandy Beach several high-rise condo complexes block access to the shore. The Reef, a restaurant/bar that’s been in Rocky Point as long as anyone can remember, sits by itself away from the condos, and nearby is the beginning of a long pier, built up with massive boulders, the future site where folks will disembark from cruise ships.

The dirt road continues to Choya Bay. It’s low tide, so the entire massive bay is empty, except for a few folks walking out there, and a couple of dogs playing and sniffing. We follow the narrow dirt path into the business district, which consists of Oxchitl’s cafe (pronounced So Cheese) and J.J.’s Cantina, another party-station staple of Rocky Point.


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Little houses in various stages of repair and disrepair are crowded together along the bumpy dirt road for two blocks. We circle back to Oxchitl’s for breakfast. It’s a busy place. Sally is the owner. Her mother owned a restaurant in Choya Bay, so Sally continued the tradition and now serves breakfast with an attitude. That’s what the menu says. Sally is a little salty. We opt to sit on the roof under a loosely woven straw cover, with a view of the empty bay. The weather is perfect, the food is worth the drive. 



Because we saw everything there was to see in Choya Bay during our 4-minute loop, after breakfast we head back to the Old Port, to do a little Christmas shopping. This time, people crowd the sidewalks and music comes from every restaurant and bar. Vendors peddle carts loaded with frozen fruit bars, fruit drinks of every conceivable combination (Pina Coladas are especially popular), brightly-colored candy and fried snacks.

Men step from the shadows and ask Brent if he needs to visit the Pharmacia. Viagra and Cialis can be bought over-the-country, as well as antibiotics, such as Z-packs and amoxycillin.


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We stroll along the shaded sidewalk looking at all the goodies, taking our time, stepping into some of the shops. Attendants are, well, quite attentive. I touch a little dress that my 2-year-old granddaughter Ella would look cute in and a man instantly says, “What size would you like to see? We have all sizes, even for you.” At one stall, we spend quite awhile carefully selecting gifts.


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We turn up a side street to look for murals. Some buildings are empty. One lacks a roof and doors. I take a photograph and then Brent sees something and he takes the camera. We continue like this for the rest of the weekend, passing the camera to get shots of graffiti and murals.


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A building covered in metal decorative pieces and colorful pottery sits in a triangular intersection. Every exterior wall of the building is adorned. Within the building, a labyrinth of ceiling-high shelves, additional floors, roof decks and balconies are stuffed with curios. Sensation overload. Again, we pass the camera back and forth, having a ball exploring every nook and cranny.

“This place must be 30-years old at least,” Brent says.

We pass shelves of painted sinks, and planters, and old banks shaped like Winnie the Pooh and Mickey Mouse, tons of plates, bowls, hand-blown drinking glasses and hearts. Brent finds a red glass heart with white stripes looking like a heart with veins. I select a Grecian-urn shaped planter.  A practical souvenir. The woman who checks us out says the store has been there 28 years. We don’t really want to leave, it’s a magical funhouse where our inner artists come out to play. 


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As we walk back to the car, the Old Port is in full swing. Parched, I buy a tooty-fruity iced drink and Brent buys a beer. More music blares, and not just from restaurants and bars. The strip is a place to cruise, and many people drive their pimped-out 4-wheelers. I’m so mesmerized by the vehicles coming onto the strip, I can’t move. Just stand with the fruity drink and watch one crazy vehicle after another slowly roll past, each with its own sound system blaring, competing with music from the restaurants and bars.


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One couple has speakers mounted directly behind their heads. They’ll go deaf! Another rail car is hoisted six feet off the ground, with giant knobby tires, and a two-foot speaker mounted on the front, covered in faux fur, pulsing with the bass. The four people talk as though they can hear each other.

Brent stops and walks back to where I stand, tooty fruity drink straw in my mouth. I can’t move. “Let’s get a seat in that restaurant upstairs and watch the show,” I say. But I only half mean it. Still, I could stand watching the sights and the people, listening to music, American and Mexican, for hours.


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We drive back to Las Conchas, to the casita we rented through Airbnb, and put on our swimming gear, ready to kayak!

I’ve never launched a kayak into the sea, with waves coming at us. Plus, a couple of folks sitting on the patio next door are watching. “I’m a little nervous,” I say, thinking it’ll help dispel my anxiety a little by talking about it. 

Of course, I’m exaggerating the sea’s ferocity. This is the Sea of Cortez (Gulf of California), and Puerto Penasco is tucked way, way up into the crook of Mexico as it extends over and down into the Baja peninsula.


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We wade out thigh-deep and Brent yells, “Get in, get in,” and I do and he does and he says “paddle, paddle,” and I do and he does and soon we’re past the breaking waves and slipping into the sea… and we’re free. The water is calm and I feel an exhilaration that’s hard to describe. Brent saw an estuary behind the casita and wonders if there’s a way to get to it from the sea, so we’re looking for a Southeast passage. We row and stop and glide and watch the Pelicans dive for fish. We sometimes hit a swell just right and the tip of the kayak goes underwater. Cold water rushes over me, and I love it, even shout “Whoohooo” with the bounce and the splash. 


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Once the passage into the estuary is confirmed, we turn north to where we put in. The tide is still coming in and we fight it, along with the wind. It’s fun. No one else is around. Does that mean they’re smart enough to NOT be in the water at high tide? 

We row hard toward the beach, determined to shove up far enough to stick in the sand. Goal accomplished. We drain the kayak, shove in the wheels and pull it up the cement drive and onto the dirt road. Our casita is the second house down, so we drop the kayak and rinse off under the outdoor shower.


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We’re hungry and it’s time to find Chef Mickey’s Place, recommended by two locals we met the night before. Chef Mickey was on the TV show “Iron Chef” and one of his appetizers won first place. Without a reservation, we’re placed at a 4-top next to the door. I slide around next to Brent to get out of the way. More romantic that way anyway. We must order the prize-winning appetizer of dates stuffed with Gorgonzola and served with shrimp in a light cream sauce. Yum!!!

We both order a giant Margarita, though I’m not much of a drinker. I can’t taste the Margarita mix. With a drink this strong, I just sip it and gulp water. Within a few minutes, Brent looks very relaxed. Even his hair looks relaxed. He puts his arm on the back of my chair and says, “What a perfect day.” I agree.

We’ve had a beautiful, fun day driving and exploring.  


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A mariachi comes by and Brent requests “Sositas en Chihauhua.” Even though it’s a very old song, the singer knows it. Brent recalls a dinner in Mexico when he was young and Marco, the captain of his dad’s boat, requested the song. Three mariachi’s joined in and Brent never forgot it. 

When the Mariachi finishes playing for us, he says, “I haven’t played that song in 25 years. Thank you for reminding me about it.” We tell him it seemed as though he plays it all the time. He even used his fingers to drum on the guitar, making us laugh. 


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Brent has bacon-wrapped shrimp with mushroom marsala sauce and I dine on shrimp in garlic butter with vegetables. Both are excellent! 

“What a great day,” Brent says again after drinking his Margarita (and half of mine), smiling lazily. 

‘I’m driving home,’ I think. 

Stuffed and content, we head back to the casita and dream of how perfect tomorrow will be in Puerto Penasco. 


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Kit Carson, Jewelry Artist

Kit Carson is Alive and Well and Living in New River, AZ (at least for a couple more weeks)

Last night, Brent told me about a yard sale in our neighborhood where he spent two hours going through jewelry-making tools and supplies, including precious stones and gems.

“The house belongs to an artist named Kit Carson,” Brent said. “That’s really his name.”

Kit Carson is a well-known Arizona artist who sketches, paints, makes large sculptures out of rusted metal, and handcrafts jewelry. He moved to New River 25 years ago onto a 2-acre plot where he designed and built his stone house, complete with metal framing around interior windows and doors.

Brent, thrilled with his haul from yesterday (particularly the price) spreads his treasures over our dining room table. Some are pieces of Kit’s jewelry in various stages of completion which Brent plans to use in his own jewelry one day. His jewelry-making supplies are in his office closet and eventually he’ll bring them out, set them up and cast silver and gold pieces with inlaid stones.

“He’s having the yard sale all weekend,” Brent says. The way he describes Kit’s house and yard makes me want to go.

When we turn onto 20th Street, the big yard sale sign from yesterday is gone. We park at a trail head in front of Kit’s house, to keep his yard open, and find him on the front porch. Kit is tall and slender, wearing sunglasses and a hat against the determined morning sun as he organizes things.

“Your sign is gone,” Brent tells Kit.

“Really?” Kit says, “Hey, I recognize you from yesterday.”

“Yeah,” Brent says, “and I brought my wife this time.”

Kit’s friend Linda is coming over to help with the sale and he says he’ll wait until she gets there before replacing the sign. The missing sign is a great opportunity for us to take a very careful look around the yard before other people begin to arrive.

Kit’s house sits on the edge of his land facing Tonto National Forest, a glorious desert valley that rises up to tall mountains and plateaus as far as the eye can see. The house sits on a rise and across his yard is a half-round metal building looking like a military barracks, with a wood shelter built over the top, and barn doors that enclose the building. His workshop is in the barracks. Three feet from the workshop is an art studio with white walls and a large table down the center, a big picture window facing Tonto. Attached to the studio, and connected by a door, is a garage. The studio and garage have items for sale, but I’m more interested in the neglected antiques scattered about the grounds.

Kit recently sold his house because his “need to be in Prescott, his hometown, right now is more important than me being in New River.” When the house sold, he told the new owner he’d clean up the yard. Thus, the yard sale.


Kit-House
The 1,200 square-foot house that Kit Carson designed and built.

Kit will continue to make art in Prescott, and so he’s taking a lot of things with him. Those items are marked NFS (Not For Sale). Of course, they’re the pieces everyone wants!

I’m looking at auto parts when he opens an old Frigidaire next to me and says, “I think I want to keep this. Put in a couple of glass shelves and a light and it will make a great cabinet for storage.” It’s a fine old fridge with curved lines and a handle that works securely. The patina is perfect. I notice a $150 price tag. Not only does Kit keep finding things he wants to keep, he tells me he actually took a couple of things out of a customer’s hands the day before, refusing to sell them.

Obviously, even though he’s made the mental decision to move to Prescott, it’s emotionally hard to leave his custom-built home of 25 years.

In his 67 years, Kit collected metal pieces from everywhere he traveled. “Every piece you see out here,” Kit says, “I loaded into my Nissan truck from somewhere and hauled it here.” All over the yard, Kit has organized the pieces, mostly metal, into his “Library of Visual Solutions,” which includes gears of every size from every type of machine; automotive parts; discs from tractors; aluminum serving dishes; hubcaps; scrap metal; chunks of colored glass; drill bits; lighting fixtures, ceiling tiles; mid-century lawn chairs; oil cans and on and on.

Everything is old and covered in rust. I carefully go through boxes on the porch of the workshop then wander out back and spend the next two-and-a-half hours sifting through the Library of Visual Solutions. A nearby blooming Palo Verde has attracted so many bees, they provide a steady buzz as the sun warms the surrounding metal.

The weather is ideal for being outside on a Saturday morning. High of 78 and a breeze. I find a white box and stick in a tiny, old porcelain heater used for target practice. Then I find another tiny, porcelain heater, turquoise and not as beaten up. It still has the little door on hinges, though the door is rusted. Into the box it goes.


LibraryofVisualSolutions
The Library of Visual Solutions.

Here’s a wire light cover, and here’s a rusted oil can with no bottom. What about this metal dashboard with speedometer? Wonder what kind of car it’s from. Into the white box. Metal drawer pulls go in. A piece of rusted wood stove, two rusted ceiling tiles and a railroad lantern (unfortunately without the glass globe) go in.

‘These items, very farmhouse chic as popularized by Joanna and Chip Gaines, would sell so well on Etsy,’ I think. Maybe I should start an Etsy store as my cousin Sonua suggested. She thinks people would go crazy for photos of my cat in my miniature dollhouse. She’s probably right. Who doesn’t love a damn grown cat trying to fit into a miniature dollhouse? I could sell cats in dollhouses and rusted stuff.

“This is the light area,” Kit says, indicating the ground around him as he picks up a section of a mid-century modern floor lamp, the kind with cone-shaped light fixtures that can point up or down. “I used one of these fixtures on my outdoor shower. Go look in my backyard and check it out.”

Clearly, Kit has a sense of humor that comes across in his art. A toaster sculpture has a butter knife wedged into one slot. A giant tractor, at least 20 feet long and 7 feet wide, sitting in his front yard was bought by a client who lives in Cave Creek. She plans to place it between two large Saguaros in her yard. “There’s a tricycle on the very back,” I point out to Kit, “in case it’s not supposed to be there.”

“The tricycle goes on the very front of the rig,” Kit says, “to act as the new power source.”

I walk up to his house as suggested and admire the stone work. The deep porch faces Tonto National Forest and features old lantern lighting fixtures. He’s topped off his side banister rail with chunks of colored glass and laid tiles into the concrete walkway.


Kit-FrontPorch
The front porch entrance embellished with metal, colorful tiles and glass chunks.

At the back door, which has a decorative, one-of-a-kind metal screen door, a vertical window is filled with colorful glass pieces. underneath the window, Kit randomly placed colored pieces of glass in the mortar between stones so it looks like they’re tumbling out of the window and onto the ground.

Next to the window is the outdoor shower with the lamp fixture over the shower head. In the back, over his patio, he’s welded gears and hubcaps and bicycle wheels to make an interesting eave. His house is his art. And his art is inspired by Spain’s Antoni Gaudi (that great architect of the La Sagrada Familia, Park Guell, Casa Vincens, etc., who believed in making things by hand, and using mosiacs) and Art Nouveau imagery.

As the white box fills up, I find a metal wire container that’s a prize in itself and begin filling it: six Japanese glass floats that Kit picked up on the beach near Homer, Alaska; a deep silver platter weighing a couple of pounds and tarnished black; a large brass bed knob; an acrylic drawer pull with brass fittings; a white enamel light fixture; two child’s chairs, rusted, which will make great plant stands once I replace the seat with mosaic tiles; several car taillights with real glass and metal casings; an antique refrigerator handle; a mid-century modern lamp once painted, now rusted but ready for re-wiring; and my favorite find, two cast aluminum sconces with scroll work fronts.


Kit-Sconces
The aluminum sconces are my favorite things (and need cleaning) but I also love the little round turquoise heater with it’s rusted door, and the mid-century modern lamp for its shape, even though the paint has rusted away. Someone used the little green enamel heater for shooting practice, but it will make a unique planter or vase by placing a glass cylinder inside. The antique boat handles all speak to me.

Etsy buyers would go nuts!

Linda arrives and begins helping. She’s very thin, a retired school teacher and friend of Kit who once rented Kit’s art studio for two years just to sit on the porch and gaze at theTonto National Forest. “He’s a very famous artist, you know,” Linda tells me. She points to a rust-covered lighting fixture Kit welded together with scroll work and a fleur de lis as centerpiece. The price is $575. “That’s a deal,” she says. “Some of his clients will pay up to $10,000 for a commissioned piece like that.”

Everything needs cleaning, but Brent cautions me to not clean too much for fear it would remove the gorgeous patina. “That’s why Kit has these things outside,” he says, “so they’ll rust, and so the bronze and copper pieces will turn. If you burnish too much, you burnish away what makes them valuable.”


Kit-MoreJunk
More stuff, including the Japanese glass floats, wire basket and rusted children’s chairs that I plan to convert into mosaic plant stands.

I hold up a very heavy, rusted item that looks like a big, round microphone from the 1930s. “What’s this?” I ask. “That is a burner,” Brent says. “The gas goes in through here and the flames come out of these perforations.” It looks like a sculptural piece to me.

“Can I use your sandblaster to remove the rust? What will it look like?”

“Sandblasting will remove the rust and all you’ll see is the cast iron underneath. It’ll be gray.”

“Will this last a while or rust out?” I ask.

“That will outlast you,” Brent says. “That will out last you by five times.”

Brent and I daydream together sometimes, talking about one day building a greenhouse in the backyard with an attached She Shed for my writing space. He’s looking for fun pieces to display, and maybe even lighting fixtures to use in the greenhouse. The aluminum sconces I place in the wire basket will be perfect on either side of the She Shed door, inside or out.

After Kit runs up to 20th Street and Circle Mountain Road and re-posts his big yard sale sign, more and more people begin to stream in, heading into the art studio and garage, where Kit’s expensive art pieces are on display. Some men wonder out of doors through the Library of Visual Solutions, but most folks are inside missing the real show outside!

However, Kit is a musician, too, and his electric guitar is set up in his studio, so he turns it on and plays a little rock, the perfect background music for treasure hunting. So there really is a show inside, too!


Kit-GreenHeater
This little enamel gas heater is probably my second favorite thing, after the sconces. And it still works, though I wouldn’t enjoy the live flame or fumes.

Brent finds a gorgeous, handmade box, about 5 x 4 x 3, made with dove tail joints and pegs and solid-working brass hardware. He’s going through all the jewelry items again, which are mostly in tiny zip-lock bags, and puts his picks into the box. I see a hair barrette made of brass with a craved design and put it into Brent’s box. Then I find an intriguing brass circle and put it in there, too.

When Brent shows Kit the box, to settle on a price, Kit picks up the brass circle and says, “I cast that from a level case. Then I put the level it in, and attach the whole piece as a belt buckle. You can tell if you’re level.” He laughs. I like it, and knowing it’s his handiwork makes it more meaningful.

Brent takes the brass barrette out of the box and places it on the table, not realizing I had put it in there. Kit picks it up and says, “I made that when I was about 22 years old,” and he puts it back in Brent’s box. The barrette has a very delicate carving of twisting ribbon. Considering it a piece of art, I’m proud to have it.

As I’m taking one final look around, Kit comes over and shows me a small black plastic level, the type he used to cast the brass circle. And then he puts it into my hand and walks away.


Version 2
Kit’s custom back patio.

We load our goodies in the truck and head south on 20th, bumping along on the dirt road listening to all the metal items clanging, moaning and squealing in the jostle. I feel like Granny sitting in her rocker on top of the Beverly Hillbillies truck crammed with their rustic possessions.

“Dang, Honey,” Brent says, “sounds like The Grape of Wrath in here,” and I can’t help but burst out laughing!


RESOURCES

  • Kit Carson – Craft in America Video: http://www.craftinamerica.org/shorts/kit-carson-segment/I really like this 7-minute video because we see New River. It’s shot in his yard and the Tonto National Forest, which is basically his front yard. Kit does a great job of explaining his inspirations and process. Views of his property show his Library of Visual Solutions, his stone house and workshop.