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Thursday
Jul242014

In The Picture

The brown sign says "Malabar Farm 9" and on a whim, I pull my car off to the right. I've got time.

This isn't my first trip to Malabar. Years ago, we took a tour there, marvelled at the author's books on the bookshelf, listened to stories of his wife's interior design. We admired wallpaper and bedspreads and looked at ourselves in the ornate mirrors of the Big House. But today my visit is fleeting; I simply stopped to smell the cow poo. 

It's still early; the gardener is weeding the patches of mulch around the flower bushes, just down the steps from where Bacall and Bogey posed for their wedding pictures.

There's a carving of Ganesha over the doorway. I notice that birds have built a nest behind it. Behind me, the green hills of Richland County roll out in waves, the sound of a distant mower revs up from behind a line of trees. The sky is a bright and intense blue, spotted with cotton ball clouds: unreal, like a child's Sunday school project. A rooster crows, a sheep baas. I peer over the fence at the animals in their pens. What a good life they have here in these hills.

"Do you want me to take your picture in front of the cows or something?" says an approaching farmer, lifting his John Deere hat off his brow, smiling his tanned cheeks at me and placing his arms akimbo.

"No thanks, I'm just here to take pictures of the house."

"You don't want yourself in the picture, huh."

But, dear farmer, I want to say, I am in the picture. I'm here in this picture as much as that famous Hollywood wedding is still here, as much as Bromfield atop his tractor. My face is in these hills, this sky. This farm is why my grandparents met. This is where my dad would ride his motorcycle, this is where his sisters would go blueberry picking. My grandparents, buried up the hill and around the bend, are now part of this earth, part of every blade of grass. My story is in these hills, in the dust we're stirring here now, exchanging words next to braying donkeys and clucking chicks.

I wanted to tell him: I am in the picture. I always will be.

Later, on the phone with Dad, I tell him where I stopped today, and say how lucky I think he was to grow up in one of the most beautiful places in the world. On the other end of the phone line, there's a brief, whistful silence, and I think how he'll always be right there in that picture too.

(I first wrote about my attachment to Malabar Farm and Louis Bromfield back in 2006.)

Friday
Jun202014

Everything There Is

The fireflies low on the fields of freshly planted corn and soy
Taking your breath away so sharply you think that might be the moment you leave the earth
It's a joy and a fear of dying so strong that it's almost as if the joy will cause your death
The moment when you realize that you can't record what you're looking at
The fear of not being able to put those moments down in words, or in photographs, or in paint
Because that is our immortality
And so instantly you face your mortality with the beauty and the joy
And everything there is
Terrified that you won't get those words down before you go
To the point where you rely on the voice recorder on your cell phone
To do the work for you as you race along the highway
So you remember those fireflies, that corn, that soy
The mist hanging low over the hills after the rain of the storm
The lightning flashing through the clouds in pinks and orange
The light of the sign: Ted Nugent is playing soon at the Indian Creek Tavern
Cars pull up, you wish you could go, but you know you're female, you know you're scared
But that light: the lighted arrows pointing the way
And yet you drive, and get lost, and drive by a cemetery
And hold your breath because you know that you're so vulnerable
That that could be the moment that it takes you
That you leave, that you're gone
The fireflies, the corn, the mist, the soy, the lights

Sunday
Mar022014

How I Learned To Love The Mall

I get a text: "I am at a mall."

It's Jim. He's at a mall. This is not the first time I've received such a text. People tend to think of me when they visit malls.

"Still awaiting the illuminating essay how I learned to stop hating and love the mall."

Earlier that day I'd gone to the mall to see a baby kangaroo. I follow this mall on Twitter; they follow me back. We have a mutual love. It's no secret.

"Because this makes me want to build a doomsday shelter."

I know: I have a fetish. I have a strange and insatiable fetish for malls. For the skylights and fake trees, the slick reflective tiles, escalators carrying teens to the food court. Nail salons. Generic clothing stores. Kiosks. The fountain.

A fetish for something that everyone else hates. A fetish for ugly. I can try to help you love the mall. But it might just be a predilection.

* * *

I have very distinct rules for enjoying the mall.

#1 GO ALONE
I never, ever go to the mall with other people. I can't even imagine going to the mall with other people. (Jim, as a male on your own, this might not work for you, especially if you bring your camera. I acknowledge that this part of it makes it a huge benefit to be a white female, although I still think I get weird looks sometimes.) This allows me to experience it at my own pace; five minutes if that's all I need, or fifty if the mood strikes. The Zen of the Mall is being alone with your thoughts; not speaking, just listening. Mall acoustics are fantastic in that they both magnify and mute: the hubbub of commotion reduced to a hush of distinct words. It allows you to both be very much in the moment, and also alone and separate from other people's experiences should you wish to be.

#2 DO NOT GO THERE JUST TO SHOP
Of course, it's important to support the businesses in malls or there would be no malls. Many of the stores in malls today are small businesses: locally-owned, specialized; I feel completely comfortable spending money to support the local artists in the airbrush store, or the family-owned baseball cap store where the bags are generic and the grandson helps at the cash register during the holiday season. (I also spend money in locally owned businesses downtown and in my own neighborhood.)

Whenever I feel obligated to go to a mall to shop, though, I can feel the same pressures that make other people hate the experience. I don't like feeling obligated to move faster through the crowds, I don't like that there has to be a destination. There is no enjoyment when you have a distinct purpose: there is no stopping to enjoy the way the light through the skylight hits the walls, the way the fake leaves on the fake trees are flapping in the fake breeze.

#3 APPRECIATE THE FOLIAGE
I know the plants are probably fake; I love them anyway. They're well-placed and well-chosen, symmetrical; a form of interior landscaping artwork. I love their futuristic plasticity; I love that maybe someday when we're no longer here, they could still be. 

#4 BRING A CAMERA
It's very likely that one day I will be approached by mall security for the number of photos I take in malls. For the fact that I go to the mall almost exclusively to take photographs. (In fact, I have been approached by them once, when I'd very obviously arrived at the nearly empty mall to take pictures with my larger camera. Since then, I've stuck to cell phone photographs and point-and-shoot cameras.) Of course, I try to avoid taking pictures of children, and anyone else who very obviously doesn't want to be photographed. While it's too late to create something like this, I also think that mall society presents a very interesting cross-section of humans, and documenting it makes sense to me. More than anything, it's the light I love. Mall architecture is designed for photography: the skylights filter the light perfectly, creating a beautiful assortment of postive and negative space and well-lit landscapes. There are focal pieces, textures, and a calming emptiness. There is ample room to move around and find different angles, find the way the light hits the geometry of the cathedral ceilings best. The mall is, to me, a playground of light and portrait subjects and sculpture, the largest photographic studio you can imagine.

#5 SIT DOWN
After visiting the mall kangaroo, I was headed back to the car when I saw an older lady sitting cozily on a bench near the Macy's entrance, just watching the people go by. She had a smile I recognized from older ladies on park benches; the joy of experiencing humanity as an observer, watching life happen, watching the people go about their business, feeling their experience in a way that is easy. When it's too cold for park benches, mall benches make wonderful substitutions. I can't wait until I'm the age where it's acceptable to stare at passersby with that look in your eye: I'm enjoying watching life through you. I'm enjoying imagining your stories, where you might head next, what brought you here in the first place. 

I wanted to take this woman's picture, but when I thought about it, I realized that it was enough to take her story and her lesson. Sit down. Watch life go by.

But these are just my rules. 

* * *

When I moved back to Ohio three years ago, the first thing I noticed was how suddenly accepting I was of everything that once stood for conformity. Sports. Cars. Malls. These were the things that, when I lived here in the 90s, drove me to dress all in black, and yet to decry the proliferation of Doc Martens worn by those who didn't even listen to punk music; to make blanket statements like "I hate jocks" or "look at all those assholes with cellphones." 

But when I moved back here, I started to understand something important that I couldn't grasp before: There's a unique and delectable challenge to finding self within sameness. It narrows the scope of vision and focuses it on smaller but more important differences you might not have noticed before: it helps you to realize that, truthfully, there is no sameness. That's a myth constructed for us, a myth we don't have to buy into even when we're participating in the very thing they are selling.

Of course, there's also a huge element of nostalgia embedded in these "conformist" fetishes. Not the nostalgia for something familiar but just the opposite: the nostalgia of an alternate reality. When I go to a ballgame, I'm imaging what it might have been like to grow up as a jock, a girl who embraced the sports side of her tomboyishness (instead of the side that cut her hair off and played bass in bands). When I visit the mall, I'm visiting someone else's teenage years, someone who spent hours with friends swinging their feet under a table and gabbing over a shared tray of french fries, someone who flipped through records at Sam Goody's (not just on the occasion you were there with your grandma and convinced her to buy you the new Sir-Mix-A-Lot cassette in spite of the explicit content sticker). Someone who wears lots of Ed Hardy.

Because more than lists of rules and appreciation of the way the skylight forms the sun onto its walls, my love of malls is about other people's stories. I visit to absorb them, to reimagine them, to collect them. What the mall teens wandering in packs talking about. What the woman at the MAC counter with a saddlebag of makeup brushes does when she clocks out from showing people the best way to apply eyeshadow. I go to the mall because I want to be that old lady on the bench, absorbing life as it goes by. There are a million places I could do this, but the light, the plants, the shiny floor tiles, the people: it's a little slice of perfection for me. It's easy. It's society under one roof. It's social commentary. It's both futuristic and nostalgic. It's heaven.

 

(There is a much longer essay to be written — one that would require a lot more research that I have time to give right now — about where I think malls should be headed: more social and community engagement, less commercially-focused. I also want to acknowledge that malls are currently horribly unenvironmental, both ecologically and socially. This doesn't mean that they always have to be: I'm a believer in progressive approaches to improving the impact these already-built structures have on our lives and our environment.)

© Zan McQuade. All rights reserved.

Friday
Jan242014

The Knock on the Door

For the second time since we've lived here, someone knocked on our door today, having run out of gas on our drive. It was two young girls in thin coats, freckled, one wearing more eyeliner than the other, both of them faintly red-headed, and I said I would drive them to the gas station. When we got up to their truck, there were two boys inside, bundled up, looking the other way. The face of the boy in the back was obscured by the fog of his breath on the window pane. I thought I saw a patchy beard, but couldn't be certain. They wore work coats, their heads pulled back in the hoods like turtles retreated into shells. The boy in the passenger seat stared the other way, east, toward our mailbox, to where the day lillies would grow in summer. 

The truck was at an angle on the drive. We decided that I could get around the truck; the boys didn't want to get out of the truck to push it anyway. The girls grabbed their big bright pink wallets, and I drove them to the gas station. 

"Are you sure those guys are going to be okay?" I asked them. "If you want I can call my husband and ask him to have them come inside..."

"No, they'll be okay, they're bundled up."

I said this honestly because I was afraid that the boys with faces obscured by breath fog and hoods were going to rob the house while we were out getting gas. I wanted them to know it wasn't empty. I tried to say it casually, off-handed. I didn't want them to know I was mistrusting of anyone.

We got back with the gas. The boys were still in the truck. The house was fine. This is not that story. Or any story really, just what happened after I heard a knock on the door.

The girls were going to culinary school. One of the boys lived here, the other didn't. They were all from the same small town. "Up towards Dayton?" They spoke like young girls do, everything a question. Everything a wonder.

"I grew up in a small town, too." 

"Yeah, just cornfields." Said with the spite of someone who only recently left a small town for the big city. "It's my first time living in the city."

"How do you like the city?"

"It's fine. The traffic is too much sometimes?"

We talked about cars. It was her dad's truck, the girl with more eyeliner; the gas gauge was broken. I told them I'd bought my car from my mother. The marginally intimate conversation of newly acquainted strangers stuck in the same car. I asked how old they were. "19?" Oh, running out of gas at nineteen, with boys in your truck and a culinary career in your future. 

Suddenly I felt weird for asking. "I didn't really need to know how old you were. I guess I'm just making conversation."

They were going to become bakers. Pastries and stuff. They didn't have AAA. "We called the police and they said they couldn't help us either." I said it was a colder winter than I could remember in a long time. "What a day to run out of gas."

The emo looking woman in the gas station booth had to run their payment twice; the girl with less eyeliner stood holding the red plastic canister, hands shoved into her sleeves. I had to wait for a woman buying Marlboro Lights with a credit card to finish her transaction before we could figure out why the gas wouldn't pump.

We rode back to the house, the interior of the car smelling faintly of gasoline. The sound of it sloshing against the red plastic at her feet. 

I had some 80s Todd Rundgren playing when they knocked on the door. Blue-eyed soul ballads with saxophone. I introduced them to myself, and then to the cat. I was wearing pajama bottoms and a big sweater, my hair was uncombed, gray bits sticking up more than the rest. I put on a proper coat to go outside. I can barely remember nineteen, thin coats, work that starts at noon.

The girl with less eyeliner sat in the backseat. "Do you not know many people here either?"

"No, we do, but since my husband and I both work from home, we..."

"Don't get out much?"

"Yes, I guess you could say that. During weekdays at least." I thought of the roaring fire we had last night. I thought of how we pretended to be Jacques and Julia while cooking spaghetti. How I like to sit with my toes shoved under his legs on the couch.

Our car choked as it started. Their truck was nearly blocking us in; a service truck had to stop traffic so that I could reverse into the oncoming lane.

The boy in the passenger seat, looking the other way out the window. Refusing to get out and push the car. 

"They're not chivalrous kinds of guys."

The girl with more eyeliner pulled a five and two ones from her big bright pink wallet and tried to hand it to me. I backed away on the ice. I told them I'd do it for the karma, not to worry. I told them to be careful backing out. My voice sounded genuinely concerned.

They were going to be late to work. They didn't know many people here yet. They liked our house. 

I can barely remember nineteen.

© Zan McQuade. All rights reserved.

Wednesday
Dec112013

More Feelings About Baseball

Untitled

I. Boobs
Last weekend I spent two days walking my boobs around a convention center. Or so it felt.

I want to write about being a woman at a sports convention. I had a lot of feelings about it. Many I can't put into words. I don't know where to begin. I guess boobs is as good a place as any to start.

I wasn't the only pair of boobs walking the floor that day. There were a healthy number of women walking the convention floor, wearing red scoop-necked shirts that screamed REDS. Many carried backpacks filled with memorabilia, one had flown in from California to tell Danny Graves that she never held his departing gesture against him. Many pushed strollers. Some carried seats from the demolished Riverfront Stadium for their husbands, who carried baseball bats in tubes. (I could write another entire essay about people carrying around baseball bats in tubes.) There were also the Mrs.-es. They wore shirts that said Mrs. Votto, or Mrs. Bruce. Most of the Mrs.-es were on the arms of other men, presumably their husbands, sometimes pushing a stroller, always with their hair in place. Because the wife of Joey Votto would never leave the house with her hair out of place. (No, seriously: before I get too far into this, I have to mention how well put together everyone looked. I'm obviously not spending enough time getting ready in the morning.)

And then there were the rest of us. Childless, manless.

I dressed in a uniform I was comfortable in but that wasn't too feminine: royal blue jeans and motorcycle boots, Cincinnati raglan shirt. I hid my hair (oh the historical implications of a woman hiding her hair!) under a gray tweed baseball cap. I haven't done this in years: tomboy it up, tried to blend in. Stuff a load of baseball cards into my backpack so I can hang out with the boys. Pass.

With one difference: I felt obligated to apply lipstick before I had my picture taken. I did not do this to seduce baseball players, players I couldn't even bring myself to put my arm around, instead hovering slightly above and behind them, letting them put their arms wherever they wanted to but too afraid to put mine anywhere because oh my god that's a giant famous baseball player standing there next to me. Because I was not there to seduce them; I was there to have my picture taken with someone I admired on and off the field, because I enjoyed watching them out on that patch of green. Because they were a part of a team I loved and cheered for and groaned over and reveled in. 

* * *

Photographs are, admittedly, something we put out there to seduce the rest of the world, or at least to memorialize our potentional for seduction. And sometimes we invite attention we didn't expect.

The day after Redsfest ended, I posted a photograph on Twitter of myself standing with three relief pitchers, amused by the fact that our photo had been bombed by the adorable kid of one of the pitchers. Soon after posting the photograph, I was contacted by someone who told me he liked my look and would be happy to get me into one of the baseball-themed t-shirts he produces. I realized as our conversation progressed that he was talking to the lipstick-wearing girl in the tight-fitting raglan shirt smirking at the camera without a husband or a baby in sight exactly the way that people assume a woman like that expects to be talked to, especially one who has just posted a photo of herself on the internet: Compliment her looks! Ask her if she works out! (I laughed at that one for a good ten minutes from prone position on the couch. Does lifting a chocolate chip cookie to my mouth count? Angles!)

To be fair, he was completely kind in our exchange. And this kindness, truly, is part of a greater conversation on how men are raised to be kind and flattering and complimentary towards women, while it's this very same behavior that can make many women feel uncomfortable and, in the wrong context, even threatened. Sometimes we welcome the flattery, and other times it leaves us shaking with fear. In no way am I scolding this particular dude who was not in the least bit threatening. I'm just using him as a vehicle to get to my greater point of how my experience at the convention was colored by my gender. 

As disarmed as I was by the conversation, I knew it wasn't his fault. Or the fault of the guy sitting behind one of the baseball memorabilia tables that he felt the need to compliment my hat as I stood there admiring the design of the Topps Heritage cards. Or Eric Davis's fault for calling me "cutie pie,"or my fault for smiling and gushing about it on Twitter when he did. It wasn't my fault, or anyone's really, for assuming that all the women standing in line wearing lipstick wanted to be kissed by Brandon Phillips. Or for noticing how it was mostly women who wanted their picture taken with Corky Miller, mostly women who wanted to hug Sam LeCure. (Though it's pretty obvious that the beards at Redsfest - Cingrani, Miller, Hoover, LeCure - essentially acted as beards for women who love baseball. With the bearded ones, it was somehow just as socially acceptable for women to coo and ogle and fan themselves with convention floor maps as it was for us to stand there listening to them talk about how excited they are for the year ahead, which players they're most afraid to face from the pitcher's mound, how they keep fit between the end of the season and spring training, what they think of new manager Bryan Price.)

It wasn't the behavior of a single individual that made it weird to be a woman at a sports convention; it was part of a greater culture. It's the expected behavior toward a pair of boobs walking the floor at a convention center without a man or a baby or a backpack laden with sports memorabilia, wearing red lipstick. No one has formed the mechanisms yet for dealing with the unexpected phenomenon of a woman at a sports convention. Not even other women. Presumptions are made: She must be a Mrs. Votto; she must be here with her kid. 

They don't know how to deal with it any better than we do. It's embedded in my own insecurities and defense mechanisms and feelings of competitiveness: I feel so out of place. I'm not like these other women.

II. Balls
When the truth is this: there's a certain amount of privilege to experiencing a sports convention - and spectator sports in general - as a woman. I've already addressed how we get to appreciate things about baseball that men don't. We're asked philosophical questions. We're some of the first chosen when we volunteer for a game of toss & catch with our favorite pitcher. (The moment I realized I was essentially being pitching coached by Sam LeCure in the art of throwing a ping-pong ball so he could catch it with a lint roller - "nice and easy, underhand, like this..." - was pretty wonderful.) We're offered a sweeter laugh from the players when we crack bad jokes about standing on platforms to make ourselves taller in pictures. Our cameras are given flirtatious lickety-split smiles from Billy Hamilton. We're okay to take selfies and get hugs. We have a bathroom all to ourselves. We're allowed to let ourselves soften when we see a newly-signed player sitting there by himself, everyone else too afraid to talk to him, and even though we don't have a lot to say, we talk to him, about how overwhelming this must all be, about how he likes Cincinnati so far, about how overwhelming this is for us too.

Our small talk is acceptable. Because we are women, because we wear lipstick. We get away with a lot more because we have ponytails. Because we are unexpected.

III. What Turns Us On
I think I finally get why some men say they can't understand women. I'm trying to explain how I feel about being a woman at a sports convention and I can't even make sense of it. It's weird! People expect you to want to marry Joey Votto! or It's great! The players are so nice to you and you get picked first for games!

The simplest explanations we give for our feelings as women are also sometimes the most contradictory. We ourselves are contradictions. We don't do much to dispell the myth that we're at the game to ogle the players, because, to be honest, maybe sometimes we are. We talk about how we would never want to seduce a baseball player, but love to talk about our crushes on them (though everyone knows that a crush is a just crush because there's no intent behind it). We don't do ourselves any favors by applying lipstick before we meet our favorite pitcher. Lipstick, I once read, is meant to mimic the flush of blood to the lips when a woman is sexually aroused. Because sometimes we probably are. But sometimes we just want to look good in pictures.

Even when we are getting off on something, it's not necessarily by the physical presence of a man. For some of us it could be the idea that we're standing in a room with a bunch of people (regardless of sex!) who are semi-immortalized on pieces of cardboard, making us part of some niche moment in history. For some of us it could be that we're all collectively gathered together in a common spirit of love for a team, for a city, for potential and hope. For some it could be getting a picture of your two favorite beards in the same room, or finding a hat your size in the $10 bin. For some of us it could be the excitement of meeting someone we've long admired, realizing that nearly thirty years after we used to watch him in the outfield, even though Riverfront is a decade gone, we're still both here on earth and we both have memories of that time and here he is signing our baseball card. For some of us it's Chris Heisey. For some of us a lipstick is just a lipstick. For some, it could very easily be the simple beauty of the whole thing.

That might be what turns me on. 

IV. A Different Kind of Buzz
I learned recently that Lorde based her song "Royals" on a 1976 National Geographic photograph she saw of Kansas City Royals player George Brett being offered a multitude of baseballs by fans to be signed. For those of you who don't spend as much time as I do listening to car radio, the lyrics of the song go:

We can never be Royals
It don't run in our blood
That kind of lux just ain't for us,
we crave a different kind of buzz

I get this so much. The fact that the origins of the song lie in baseball makes it even more appropriate to what I'm trying to say.

Part of me wonders if the whole reason I feel so awkward, so desparate to prove myself at baseball games and conventions as a "true fan," the whole reason I try so hard to learn how to keep score, that I worry so much whether or not I have the right card in my hand to be signed, is that these sports things weren't intended for grown women. Of course there are women who are true fans who know the game inside and out. Of course there are female sportswriters. And of course there are women who grew up with baseball. But really I'm none of those. I wasn't Doris Kearns Goodwin: my dad hated baseball, still does. I had to come to it on my own, as a fully grown woman with breasts and lipstick and hormones and still a love for the mathematics and artistry of baseball in the way Tom Seaver described it to Roger Angell:

Pitching is a beautiful thing. It's an art -- it's a work of art when it's done right. It's like a ballet or the theatre. [...] When you do it, when you can sense sometimes that it's been done right, it's an extraordinary feeling. It's the most beautiful thing in sports.

Or as Eve Babitz writes in Slow Days, Fast Company:

The baseball field below was gorgeous. It was the first I'd ever seen, but I'm sure other people must think it's a beautiful one. The grass all mowed in patterns like Japanese sand gardens and the dirt all sculpted in swirling bas-relief. "It's so beautiful," I gushed.

I find baseball, like Eve Babitz and Tom Seaver, simply beautiful. When I finally came to baseball, and it appeared to me that there was room for me only as a Mrs. Votto or a peanut shucking statistician with a hot dog paunch and a sunburn, I didn't know where to place myself. (Though I'm working on that hot dog paunch.)

And so I'm left wanting to make a place for myself in this world as a grown-up woman who has suddenly become really interested baseball the same way Lorde describes wanting to be a Royal: I crave a different kind of buzz. It don't run in my blood, but I'm injecting it anyway. Because I find the whole thing beautiful and enjoy the proximity to beauty.

V. "For the sake of feminism and for the sake of baseball."
I suppose I wrote this whole thing for a purpose and maybe that purpose is this:

The entire problem might come down to a word I relied far too heavily on in what I've written up to now, a word even Lorde relies on in her song: the collective "we." The assumption is that we as women have everything in common, when, really, we're all just a bunch of "I"s - even those like me who have yet to figure out what "I" means among a mess of "we"s - enjoying an impermanent "we" for the sake of team spirit. For the sake of feminism and for the sake of baseball. 

Let some women be the Mrs. Vottos. Let some women wear scoop-necked shirts. Let some be Fox Sports Ohio girls. Let others shove their babies into the arms of a patiently waiting Jay Bruce, let some carry heavy backpacks laden with signed baseballs. Let some know statistics. Let some keep score. Let some now be the ones entering the batting cage. Let some be the ones who find beauty in the way the dirt is raked between the bases, the way the setting sun hits the outfield wall. 

Let us each have our own reason for being there too.

© Zan McQuade. All rights reserved.