We are just a group of retired spooks that discuss things that you’ll not find anywhere else. It makes us unique. Take a look around. Learn a thing or two.
“Meticulously painted, Ferguson’s darkly humorous narratives evoke an achronological magical realism, featuring composite cities and landscapes comprised of everything from from 16th Century European towns to early 20th century Americana (or Canadiana as the case may be),” the gallery says.
“Combining grandiose narratives of the great ages of exploration with a distinctly paranormal bent, Ferguson’s work subtly hovers the line between fantasy, surrealism, and realism without ever falling into either of them fully. Norman Rockwell meets H.P. Lovecraft.”
Peter Ferguson was born in Montreal, Canada in 1968. He set his sights on an illustration career after seeing the movie Star Wars, deciding that he would like to draw spaceships.
After graduating from the Ontario College of Art and Design in Toronto in 1992, he began his career as a professional illustrator, using oil as his medium of choice.
Peter’s brilliant ability to conceptualize clients’ ideas as well as his distinctive characters gave him a running start in the editorial and book publishing markets. Since signing with Three in a Box Inc, Peter’s career has grown steadily.
Peter is also a highly sought after fine artist, who’s vividly imaginative works read like a lucid dream of an alternate history, recalling the aesthetic of Dutch Renaissance painting, old National Geographic photography, and 18th century British Naval history.
Meticulously painted, Ferguson’s darkly humorous narratives evoke composite cities and landscapes from 16th Century Europe and early 20th century small town Americana (or Canadiana as the case may be).
Combining grandiose narratives of the great ages of exploration with a distinctly paranormal bent, Ferguson’s work subtly hovers the line between fantasy, surrealism, and realism without ever falling into either of them fully.
Luminously painted and complex in their composition, his paintings retain an air of both melancholy and wonder at days gone past.
He has an enormous gallery on line with all sorts of interesting and amazing art. You can find it HERE (it opens up in a separate link).
Ferguson’s work subtly hovers the line between fantasy, surrealism, and
realism without ever falling into either of them fully.
Canadian painter Peter Ferguson has been working had a career as a professional illustrator since graduating from the Ontario College of Art and Design in Toronto in 1992. He has been very successful over the years and has had many clients such as Marvel Comics, The Wall Street Journal, and has illustrated the covers of the Sisters Grimm collection.
His personal work is an imaginative mixture of the fantastical and bizarre. The fusion of technical skills and imaginative depictions of characters within the work seems to indicate that strong cultivations of narratives are the premise behind his extraordinary oil paintings.
This is an index of art that I have found profound, interesting,
beautiful or enlightening. In any event, I find that art soothes my
soul. I enjoy painting figurative and portraits in oils using the more
traditional Flemish technique, but it never really brought me the kind
of money I need to live off of. Such is the life of a painter today.
Please enjoy.
Articles & Links
You’ll not
find any big banners or popups here talking about cookies and privacy
notices. There are no ads on this site (aside from the hosting ads – a
necessary evil). Functionally and fundamentally, I just don’t make money
off of this blog. It is NOT monetized. Finally, I don’t track you
because I just don’t care to.
Kayla Mahaffey “KaylaMay” is a Chicago based artist specializing in illustration and fine art. In 2012, she attended the American Academy of Art where she gained knowledge and strengthened her skills.
Her work speaks about how living in our world can be tough and how making the best of it can simply be done by holding on to each other.
Her inspiration is the world around her and her colorful paintings contain hints of whimsy and realism that tell a story of inner thoughts and society issues that sometimes go unheard. Being born and raised on the South side of Chicago, only ignited her love for all things art.
Seeing the struggle and the support from the community made her work evolve to a concept that is personal to her. She continues to further her technique and creativity in her field in order to paint a beautiful picture of a new world for those who live in it.
‘Off to the Races’ narrates the ever-changing road of life. As we travel through life we experience the daily trials and tribulations that help shape us into the people we are today. During this journey we may end up hitting some bumps or may experience some rough terrain, but it’s how we deal with those situations that make the difference.
We are all on the journey to greatness, each individual racing to the finish line in hope of reaching goals and prosperity. With the race may come with it mistakes and regret, but not taking part in the race leads you nowhere.
Playful portraits by Chicago-based artist and illustrator Kayla
Mahaffey. Using a combination of whimsy and realism, Mahaffey explores
the inner thoughts and personal issues that so often go unheard,
creating work that reflects both the struggle and support she sees
within her own community:
“Living in our society can be tough and most of the time we have
to make the best of it. A wild imagination can take you so far, but at
the end of the day we need to realize and observe the world around us.
And the world around us is where I find my inspiration to paint.”
Her work speaks about how living in our world can be tough and how
making the best of it can simply be done by holding on to each other.
This is an index of art that I have found profound, interesting,
beautiful or enlightening. In any event, I find that art soothes my
soul. I enjoy painting figurative and portraits in oils using the more
traditional Flemish technique, but it never really brought me the kind
of money I need to live off of. Such is the life of a painter today.
Please enjoy.
Articles & Links
You’ll not
find any big banners or popups here talking about cookies and privacy
notices. There are no ads on this site (aside from the hosting ads – a
necessary evil). Functionally and fundamentally, I just don’t make money
off of this blog. It is NOT monetized. Finally, I don’t track you
because I just don’t care to.
The works of Tokuhiro Kawai always conjure whimsical and phantasmical stories of the likes of the Aesop and Anderson, the Grimm brothers’ fairytales. Each of his painting entails a particular story that draws viewers to its details and its numerous fascinating characters. Characters which encompass from within so vivaciously and vividly.
Kawai’s attempt to reinvigorate Renaissance style of painterly technique by imbuing myth, legend and fantasy has defined a unique sense of visual style. This style is both intriguing and refreshing in the field of Japanese contemporary art.
Each of Kawai’s painting is the blackboard to his imaginary filmstrip that allows his liberal expression to be realised into a magnificent vista that arouses viewer with curiosity and delight… not to forget the natural Japanese love of cats.
Tokuhiro Kawai is known for paintings that both recall and satirize scenes from mythology. Yet, as his statement with Gallery Gyokuei reminds us, “The history of pictorial expression is history of reproduction.”
In recent years, Kawai has specifically garnered popularity for the motif of felines donned in the garb of royalty.
Tokuhiro Kawai (1971-present, Japanese) Tokuhiro Kawai (1971- present, Japanese) is a surrealist contemporary artist who weaves stories into his art. Sometimes relying on fantasy and magic, his works ignore gravity and perspective, stimulating thought and imagination with vivid colors. Kawai’s “regal” cats are whimsical.
- TokuhiroKawai (1971-present, Japanese) - The Great Cat
“After the modern period, art expression has shifted its theme to personal lives and the role of storytelling is gradually passed over to literatures and films. Gyokuei says.
“Upon this, Kawai approaches to work on the now fragile bond between story and picture to bring the two into reunion. Since gods and faith are less related to our modern society, Kawai complements the theme with his own imagination.”
Born in 1971 in Tokyo, Tokuhiro Kawai graduated in 1995 from the oil paintings department at Tokyo National University of Fine Arts and Music, and in 1997 he graduated with a master’s degree from the same university.
He has held several solo exhibitions in Japan and a group exhibition at the Mori Art Museum in 1997, where he was an award recipient, and at Setsuryosya Firenze in 1999.
In 2006 he took part at a group exhibition at Kabutoya Gallery, Tokyo, as well as being involved in numerous exhibitions at Art Fair Tokyo since 2008.
The works of Tokuhiro Kawai always conjure whimsical and phantasmical stories of the likes of the Aesop and Anderson, the Grimm brothers’ fairy. Each of his painting entails a particular story that draws viewers to its details and its numerous fascinating characters, which encompass from within so vivaciously and vividly.
In Symbiotic Relationship – Automatic Duel (Lot 557) Kawai’s floating angels behold the younglings lopsided in the sky, with the younglings’ swords closely opposed at each other. In which this composition have a nuanced affiliation with the angelic wall mural of The Creation of Adam at the Sistine Chapel from the Renaissance.
Kawai’s attempt to reinvigorate Renaissance style of painterly technique by imbuing myth, legend and fantasy has defined a unique sense of visual style that is both intriguing and refreshing in the field of Japanese contemporary art.
Each of Kawai’s painting is the blackboard to his imaginary filmstrip that allows his liberal expression to be realised into a magnificent vista that arouses viewer with curiosity and delight.
Kawai has a particular gift for painting animals and many of his compositions are filled from top to bottom with flamingos, foxes, owls, ammonites, and pelicans.
Cats seem to be his favorite and they are pictured as conquerors, tyrants, and gods.
In one of his pictures a feisty cat has killed an angel like it was a songbird and is holding the limp corpse in his fangs while standing like a stylite atop a classical column.
Tokuhiro Kawai is a Japanese artist from Tokyo born in 1971. The works of Tokuhiro Kawai is always coloured with beautiful stories. Ignoring the principles of physics such as gravity and perspective, idealized characters appear inside the picture, creating depth and expression to the view of his world.
Tokuhiro Kawai is known for paintings that both recall and satirize scenes from mythology. Yet, as his statement with Gallery Gyokuei reminds us, “The history of pictorial expression is history of reproduction.”
In recent years, Kawai has specifically garnered popularity for the motif of felines…
The cultural depiction of cats and their relationship to humans is old and stretches back over 9,500 years. Cats are featured in the history of many nations, are the subject of legend and are a favorite subject of artists and writers.
Cats in Asian art have been a part of Chinese, Japanese and Korean art for centuries and are still prominent subjects of contemporary artists.
The Chinese cat goddess Li Shou was worshipped and adored, and likewise, the Japanese paid tribute to the Maneneko who is said to have saved the life of a Samurai warrior. Rooted deep in myth, cats in Asian art became an icon for Chinese and Japanese as well as other Asian cultures.
Owned only by the elite few in Japan, early scrolls show cats on leashes and living luxurious lives indoors.
In contrast, in China cats were depicted as hunters. In the Edo period (1603-1868), Japan was at peace and turned its attention to Ukiyo-e art and culture. Ukiyo-e woodblock prints made art available for the masses, and the merchant class was the first to purchase such prints.
These prints depicted cats going about their natural cat behavior: playing, sleeping and cleaning themselves. Human forms soon became cats that were often caricatures that professed some social commentary.
In the mid-19th century Japanese Kabuki actors were portrayed by cats, as it was against the law to display actual pictures of the real actors and courtesans. Because of cats’ viciousness, cat monsters appeared in art and in literature as Bakenekos. Many Asian artists have portrayed the cat through history as pampered pets, hunters, ghosts, monsters or spirits.
Something to look forward to in any trip is a contact with the local animals. Japanese people have lived with cats for ages and because of this history there are places in Japan that are a must-see for all cat-lovers.
‘Cat Cafés’ have become increasingly popular, and the wide variety of cat-themed merchandise available in Japan will surely appeal to the cat-lover in you.
Japanese people have had a long relationship with cats. More than 1000 years ago, people in the upper class were already living with cats. Common people also started having pet cats at home several hundred years ago and Japanese people have been involved with cats in a variety of ways since then.
There are shrines that worship cats as gods across Japan and cats have also played a part in folk beliefs through the ages.
The extent to which Japanese people have been involved with cats is evident from the volume of artworks that depict cats as the main subject.
In the Edo period (1603-1868), Ukiyoe virtuosos Hiroshige Utagawa and Kuniyoshi Utagawa painted cats, and in the Meiji period (1868-1912), the great novelist Soseki Natsume wrote the novel “I Am a Cat”, which became a famous masterpiece of Japanese literature.
Even nowadays you can find examples, such as the famous character “Hello Kitty” the cute anthropomorphic cat, and “Krocchi” a stray cat character that has recently started to become popular. Cats have been loved by Japanese people through the ages.
Places that show traces of the relationship between cats and people are scattered throughout Japan.
Tashirojima Island in Ishinomaki City located east of Sendai City
is known as the ‘Cat Island’. Cats come to welcome the boats at the
port. Many cats wait patiently around the fishing port for fishermen to
return.
Neko-jinja or the cat shrine is located in the central area of the island and it enshrines a “cat god” in hope of a good catch and safety of the fishermen. Cats have been worshiped as gods for several hundred years when people began forecasting the outcome of fishing based on cats’ behavior.
Tashirojima Island was damaged by the Great East Japan Earthquake and tsunami in 2011, but many of the cats survived, evacuating to the area around Neko-jinja.
Aoshima Island in Shikoku area is also known as a cat island. The catch-phrase of this island is “15 residents and 100 cats, the cat paradise”.
They say that 10 years ago when the population of the island went below 50, the number of cats started to increase. The biggest appeal of Aoshima Island is that you can have an extremely close contact with cats. The island has recently become increasingly popular as a tourist spot, especially among cat lovers.
Day trips to the island are recommended since there are no accommodation or restaurants in Aoshima.
There is a passenger boat which makes the 45-minute ride twice a day to Aoshima from Nagahama port in Ozu City, Ehime prefecture located at the west end of Shikoku island. There is a limit to the number of passengers since the boat is used for the islanders’ daily use and therefore there is a chance you may not be able to board.
There are also no stores or vending machines on the island, so please make sure you take food and drinks when you visit.
“Of course, you can also see cats in the city. In Yanaka, a cat town in Tokyo reasonably close to Ueno Park, you can see cats living freely in the city.
You can feel the old atmosphere of Japan in Yanaka Ginza, a shopping street that has kept their old streets and atmosphere. The cats living there also add to the view of the town. Shopping there is also a fun experience for cat-lovers because Yanaka Ginza has many shops selling cat-themed goods.”
“Nyankodo” in Jinbocho, approximately 10-minute train ride away from Tokyo Station, is a book store that collects only cat-themed books.
They carry books related to cats published all over the world including photo books, literature, picture books, story books and comics. They also have books on Kuniyoshi Utagawa, a world-famous Ukiyoe painter and a photo collection of Mitsuaki Iwago, a wildlife photographer. You will surely find your favorite book here.
“Maneki-neko”, the beckoning or welcoming cat, is best known in Japan as a lucky charm said to bring business success. Cats used to be a lucky charm in the silk industry long ago as they get rid of crops eating rats and silkworms.
They became popular as a lucky charm to increase business. It is believed that a cat with a beckoning paw has the power to bring in more people.
According to a legend, Gotokuji Temple, located approximately 10-minutes from Gotokuji Station on the Odakyu Line in Tokyo, is the birthplace of Maneki-neko. Enshrined on one corner of the temple are a number of Maneki-neko that were donated by those whose wishes came true. There are several kinds of Maneki-neko, ranging from the small ones that cost several hundred yen to big ones that cost as much as 5,000 yen. This is a perfect souvenir for your family and friends. I bet you can almost see the smile on their faces now!
Movies that Inspired Me
Here are some movies that I consider noteworthy and worth a view. Enjoy.
Stories that Inspired Me
Here are
reprints in full text of stories that inspired me, but that are nearly
impossible to find in China. I place them here as sort of a personal
library that I can use for inspiration. The reader is welcome to come
and enjoy a read or two as well.
My Poetry
Art that Moves Me
Articles & Links
You’ll not
find any big banners or popups here talking about cookies and privacy
notices. There are no ads on this site (aside from the hosting ads – a
necessary evil). Functionally and fundamentally, I just don’t make money
off of this blog. It is NOT monetized. Finally, I don’t track you
because I just don’t care to.
This is a great short story from Ray Bradbury from his collection of short stories titled "R is for Rocket". This story is short, and nice, and is presented here in full text for easy reading. It concerns a man who was born with large green wings, who somehow lost his way in life, and how (with the help of his children) was reborn again.
Uncle Einar
“It will take only a minute,” said Uncle Einar’s sweet wife.
“I refuse,” he said. “And that takes but a second.”
“I’ve worked all morning,” she said, holding to her slender back, “and you won’t help? It’s drumming for a rain.”
“Let it rain,” he cried, morosely. “I’ll not be pierced by lightning just to air your clothes.”
“But you’re so quick at it.”
“Again, I refuse.” His vast tarpaulin wings hummed nervously behind his indignant back.
She gave him a slender rope on which were tied four dozen fresh-washed clothes. He turned it in his fingers with distaste. “So it’s come to this,” he muttered, bitterly. “To this, to this, to this.” He almost wept angry and acid tears.
“Don’t cry; you’ll wet them down again,” she said. “Jump up, now, run them about.”
“Run them about.” His voice was hollow, deep, and terribly wounded. “I say: let it thunder, let it pour!”
“If it was a nice, sunny day I wouldn’t ask,” she said, reasonably. “All my washing gone for nothing if you don’t. They’ll hang about the house — “
That did it. Above all, he hated clothes flagged and festooned so a man had to creep under on the way across a room. He jumped up. His vast green wings boomed. “Only so far as the pasture fence!”
Whirl: up he jumped, his wings chewed and loved the cool air. Before you’d say Uncle Einar Has Green Wings he sailed low across his farmland, trailing the clothes in a vast fluttering loop through the pounding concussion and backwash of his wings!
“Catch!”
Back from the trip, he sailed the clothes, dry as popcorn, down on a series of clean blankets she’d spread for their landing.
“Thank you!” she cried.
“Gahh!” he shouted, and flew off under the apple tree to brood.
Uncle Einar’s beautiful silk-like wings hung like sea-green sails behind him, and whirred and whispered from his shoulders when he sneezed or turned swiftly. He was one of the few in the Family whose talent was visible. All his dark cousins and nephews and brothers hid in small towns across the world, did unseen mental things or things with witch-fingers and white teeth, or blew down the sky like fire-leaves, or loped in forests like moon-silvered wolves. They lived comparatively safe from normal humans. Not so a man with great green wings.
Not that he hated his wings. Far from it! In his youth he’d always flown nights, because nights were rare times for winged men! Daylight held dangers, always had, always would; but nights, ah, nights, he had sailed over islands of cloud and seas of summer sky. With no danger to himself. It had been a rich, full soaring, an exhilaration.
But now he could not fly at night.
On his way home to some high mountain pass in Europe after a Homecoming among Family members in Mellin Town, Illinois (some years ago) he had drunk too much rich crimson wine. “I’ll be all right,” he had told himself, vaguely, as he beat his long way under the morning stars, over the moon-dreaming country hills beyond Mellin Town. And then — crack out of the sky —
A high-tension tower.
Like a netted duck! A great sizzle! His face blown black by a blue sparkler of wire, he fended off the electricity with a terrific back-jumping percussion of his wings, and fell.
His hitting the moonlit meadow under the tower made a noise like a large telephone book dropped from the sky.
Early the next morning, his dew-sodden wings shaking violently, he stood up. It was still dark.
There was a faint bandage of dawn stretched across the east. Soon the bandage would stain and all flight would be restricted. There was nothing to do but take refuge in the forest and wait out the day in the deepest thicket until another night gave his wings a hidden motion in the sky.
In this fashion he met his wife.
During the day, which was warm for November first in Illinois country, pretty young Brunilla Wexley was out to udder a lost cow, for she carried a silver pail in one hand as she sidled through thickets and pleaded cleverly to the unseen cow to please return home or burst her gut with unplucked milk. The fact that the cow would have most certainly come home when her teats really needed pulling did not concern Brunilla Wexley. It was a sweet excuse for forest-journeying, thistle-blowing, and flower chewing; all of which Brunilla was doing as she stumbled upon Uncle Einar.
Asleep near a bush, he seemed a man under a green shelter.
“Oh,” said Brunilla, with a fever. “A man. In a camp-tent.”
Uncle Einar awoke. The camp-tent spread like a large green fan behind him.
“Oh,” said Brunilla, the cow-searcher. “A man with wings.”
That was how she took it. She was startled, yes, but she had never been hurt in her life, so she wasn’t afraid of anyone, and it was a fancy thing to see a winged man and she was proud to meet him. She began to talk. In an hour they were old friends, and in two hours she’d quite forgotten his wings were there. And he somehow confessed how he happened to be in this wood.
“Yes, I noticed you looked banged around,” she said. “That right wing looks very bad. You’d best let me take you home and fix it. You won’t be able to fly all the way to Europe on it, anyway. And who wants to live in Europe these days?”
He thanked her, but he didn’t quite see how he could accept.
“But I live alone,” she said. “For, as you see, I’m quite ugly.”
He insisted she was not.
“How kind of you,” she said. “But I am, there’s no fooling myself. My folks are dead, I’ve a farm, a big one, all to myself, quite far from Mellin Town, and I’m in need of talking company.”
But wasn’t she afraid of him? he asked.
“Proud and jealous would be more near it,” she said. “May I?” And she stroked his large green membraned veils with careful envy. He shuddered at the touch and put his tongue between his teeth.
So there was nothing for it but that he come to her house for medicaments and ointments, and my! what a burn across his face, beneath his eyes! “Lucky you weren’t blinded,” she said. “How’d it happen?”
“Well. . .” he said, and they at her farm, hardly noticing they’d walked a mile, looking at each other.
A day passed, and another, and he thanked her at her door and said he must be going, he much appreciated the ointment, the care, the lodgings. It was twilight and between now, six o’clock, and five the next morning, he must cross an ocean and a continent. “Thank you; good-bye,” he said, and started to fly off in the dusk and crashed right into a maple tree.
“Oh!” she screamed, and ran to his unconscious body.
When he waked the next hour he knew he’d fly no more in the dark again ever; his delicate night-perception was gone. The winged telepathy that
had warned him where towers, trees, houses and hills stood across his path, the fine clear vision and sensibility that guided him through mazes of forest, cliff, and cloud, all were burnt forever by that strike across his face, that blue electric fry and sizzle.
“How?” he moaned softly. “How can I go to Europe? If I flew by day, I’d be seen and — miserable joke — maybe shot down! Or kept for a zoo perhaps, what a life that’d be! Brunilla, tell me, what shall I do?”
“Oh,” she whispered, looking at her hands. “We’ll think of something. . . .”
They were married.
The Family came for the wedding. In a great autumnal avalanche of maple, sycamore, oak, elm leaf they hissed and rustled, fell in a shower of horse chestnut, thumped like winter apples on the earth, with an overall scent of farewell-summer on the wind they made in their rushing. The ceremony? The ceremony was brief as a black candle lit, blown out, and smoke left still on the air. Its briefness, darkness, upside-down and backward quality escaped Brunilla, who only listened to the great tide of Uncle Einar’s wings faintly murmuring above them as they finished out the rite. And as for Uncle Einar, the wound across his nose was almost healed and, holding Brunilla’s arm, he felt Europe grow faint and melt away in the distance.
He didn’t have to see very well to fly straight up, or come straight down. It was only natural that on this night of their wedding he take Brunilla in his arms and fly right up into the sky.
A farmer, five miles over, glanced at a low cloud at midnight, saw faint glows and crackles.
“Heat lightning,” he observed, and went to bed.
They didn’t come down till morning, with the dew.
The marriage took. She had only to look at him, and it lifted her to think she was the only woman in the world married to a winged man. “Who else could say it?” she asked her mirror. And the answer was: “No one!”
He, on the other hand, found great beauty behind her face, great kindness and understanding. He made some changes in his diet to fit her thinking, and was careful with his wings about the house; knocked porcelains and broken lamps were nerve-scrapers, he stayed away from them. He changed his sleeping habits, since he couldn’t fly nights now anyhow. And she in turn fixed chairs so they were comfortable for his wings, put extra padding here or took it out there, and the things she said were the things he loved her for. “We’re in our cocoons, all of us. See how ugly I am?” she said. “But one day I’ll break out, spread wings as fine and handsome as you.”
“You broke out long ago,” he said.
She thought it over. “Yes,” she had to admit. “I know just which day it was, too. In the woods when I looked for a cow and found a tent!” They laughed, and with him holding her she felt so beautiful she knew their marriage had slipped her from her ugliness, like a bright sword from its case.
They had children. At first there was fear, all on his part, that they’d be winged.
“Nonsense, I’d love it!” she said, “Keep them out from under foot.”
“Then,” he exclaimed, “they’d be in your hair!”
“Ow!” she cried.
Four children were born, three boys and a girl, who, for their energy, seemed to have wings. They popped up like toadstools in a few years, and on hot summer days asked their father to sit under the apple tree and fan them with his cooling wings and tell them wild starlit tales of island clouds and ocean skies and textures of mist and wind and how a star tastes melting in your mouth, and how to drink cold mountain air, and how it feels to be a pebble dropped from Mt. Everest, turning to a green bloom, flowering your wings just before you strike bottom!
This was his marriage.
And today, six years later, here sat Uncle Einar, here he was, festering under the apple tree, grown impatient and unkind; not because this was his desire, but because after the long wait, he was still unable to fly the wild night sky; his extra sense had never returned. Here he sat despondently, nothing more than a summer sun-parasol, green and discarded, abandoned for the season by the reckless vacationers who once sought the refuge of its translucent shadow. Was he to sit here forever, afraid to fly by day because someone might see him? Was his only flight to be as a drier of clothes for his wife, or a fanner of children on hot August noons? His one occupation had always been flying Family errands, quicker than storms. A boomerang, he’d whickled over hills and valleys and like a thistle, landed. He had always had money; the Family had good use for their winged man! But now? Bitterness! His wings jittered and whisked the air and made a captive thunder.
“Papa,” said little Meg.
The children stood looking at his thought-dark face.
“Papa,” said Ronald. “Make more thunder!”
“It’s a cold March day, there’ll soon be rain and plenty of thunder,” said Uncle Einar.
“Will you come watch us?” asked Michael.
“Run on, run on! Let papa brood!”
He was shut of love, the children of love, and the love of children. He thought only of heavens, skies, horizons, infinities, by night or day, lit by star, moon, or sun, cloudy or clear, but always it was skies and heavens and horizons that ran ahead of you forever when you soared. Yet here he was, sculling the pasture, kept low for fear of being seen.
Misery in a deep well!
“Papa, come watch us; it’s March!” cried Meg. “And we’re going to the Hill with all the kids from town!”
Uncle Einar grunted. “What hill is that?”
“The Kite Hill, of course!” they all sang together.
Now he looked at them.
Each held a large paper kite, their faces sweating with anticipation and an animal glowing. In their small fingers were balls of white twine. From the kites, colored red and blue and yellow and green, hung caudal appendages of cotton and silk strips.
“We’ll fly our kites!” said Ronald. “Won’t you come?”
“No,” he said, sadly. “I mustn’t be seen by anyone or there’d be trouble.”
“You could hide and watch from the woods,” said Meg. “We made the kites ourselves. Just because we know how.”
“How do you know how?”
“You’re our father!” was the instant cry. “That’s why!”
He looked at his children for a long while. He sighed. “A kite festival, is it?”
“Yes, sir!”
“I’m going to win,” said Meg.
“No, I’m!” Michael contradicted.
“Me, me!” piped Stephan.
“Wind up the chimney!” roared Uncle Einar, leaping high with a deafening kettledrum of wings. “Children! Children, I love you dearly!”
“Father, what’s wrong?” said Michael, backing off.
“Nothing, nothing, nothing!” chanted Einar. He flexed his wings to their greatest propulsion and plundering. Whoom! they slammed like cymbals. The children fell flat in the backwash! “I have it, I have it! I’m free again! Fire in the flue! Feather on the wind! Brunilla!” Einar called to the house. His wife appeared. “I’m free!” he called, flushed and tall, on his toes. “Listen, Brunilla, I don’t need the night anymore! I can fly by day! I don’t need the night! I’ll fly every day and any day of the year from now on! — but I waste time, talking. Look!”
And as the worried members of his family watched, he seized the cotton tail from one of the little kites, tied it to his belt behind, grabbed the twine ball, held one end in his teeth, gave the other end to his children, and up, up into the air he flew, away into the March wind!
And across the meadows and over the farms his children ran, letting out string to the daylit sky, bubbling and stumbling, and Brunilla stood back in the farmyard and waved and laughed to see what was happening; and her children marched to the far Kite Hill and stood, the four of them, holding the ball of twine in their eager, proud fingers, each tugging and directing and pulling. And the children from Mellin Town came running with their small kites to let up on the wind, and they saw the great green kite leap and hover in the sky and exclaimed:
“Oh, oh, what a kite! What a kite! Oh, I wish I’d a kite like that! Where, where did you get it!”
“Our father made it!” cried Meg and Michael and Stephen and Ronald, and gave an exultant pull on the twine and the humming, thundering kite in the sky dipped and soared and made a great and magical exclamation mark across a cloud!
The End
Fictional Story Related Index
This is an index of full text reprints of stories that I have
read that influenced me when I was young. They are rather difficult to
come by today, as where I live they are nearly impossible to find. Yes,
you can find them on the internet, behind paywalls. Ah, that’s why all
those software engineers in California make all that money. Well, here
they are FOR FREE. Enjoy reading them.
Movies that Inspired Me
Here are some movies that I consider noteworthy and worth a view. Enjoy.
Stories that Inspired Me
Here are
reprints in full text of stories that inspired me, but that are nearly
impossible to find in China. I place them here as sort of a personal
library that I can use for inspiration. The reader is welcome to come
and enjoy a read or two as well.
My Poetry
Art that Moves Me
Articles & Links
You’ll not
find any big banners or popups here talking about cookies and privacy
notices. There are no ads on this site (aside from the hosting ads – a
necessary evil). Functionally and fundamentally, I just don’t make money
off of this blog. It is NOT monetized. Finally, I don’t track you
because I just don’t care to.