Here is a video showing sculptor Sabin Howard working on a maquette and inspecting pre-sculpted armatures. Most scenes are set at Pangolin Foundry in the UK. This video was created by the sculptor’s daughter Madeleine.
Of the rainy morning, drinking my coffee: heavy cream and coconut sugar. I am thinking about the week passed.
The writer, Lee Howard, no relation to my husband, wrote a wonderful article about my participation in the WWI Memorial as a model in the relief. Howard is a skilled writer and the piece is lovely–warmly written and respectful. He quoted me correctly. He portrayed me with both kindness and some playfulness.
I particularly liked that he quoted what I said about appearing in Sabin’s amazing relief:
“All told, it’s pretty cool,” she said. “Perhaps (someday) one of my great-great-great-great-great-great-great-grandchildren will stand in front of the relief and look at my face and feel our connection.”
So I have posted a new article on Medium, a site I’ve never used before, about my experiences at the 64th Viennese Opera Ball.
I was invited by a dear friend who’s an Austrian Countess.
What a gorgeous gala! Filled with music, song, fashion, and delectable food. Not to mention the fascinating people I encountered.
I loved the ball and enjoyed myself immensely. It was the most beautiful pageantry! It was truly a treat and I recommend it.
Read all about it on Medium.
2018 was a helluva year. This is my personal, highly idiosyncratic take on the Best of 2018. I hope you enjoy the list and I hope it inspires you.
Best Movie: A Star Is Born. I cried like a baby at the end. Love always contains loss, love and loss nest inside each other like Russian matryoshka dolls. And how great was the music?
Best Book I read: The Seven Principles for Making Marriage Work by John Gottman, PhD. This was a tough choice, I read a lot of great books. I’ll mention Jordan Peterson‘s 12 Rules for Life: An Antidote to Chaos; The Coddling of the American Mind; John Medina’s Brain Rules; and Scott Adams‘ Win Bigly. Oh, and I’ve been working my way through Daniel Kahneman’s Thinking Fast and Slow. In the end, I chose the book that resonated most deeply for the way of the human heart. Dr. Gottman’s work is amazing, and he rocks!
Best Song: Shallow, Lady Gaga and Bradley Cooper. I mean, right?!?!
Best TV Show: The Big Bang Theory. I’m binge-watching. I keep plunking down the $ on Amazon Prime for each season. It just makes me happy to snuggle up with my husband at night and watch a few episodes–giggling at my own inner nerd as much as at Sheldon, Leonard, and the gang. “Math, science, history, unraveling the mystery…”
Best Place to Visit: The Dolomites. A world heritage site. Awe-inspiring grandeur. And after a day of hiking up and down the mountains, you get to eat Italian food! How great is that?
Best Restaurant in Manhattan: The Fairway Cafe. The service is spotty, the noise rattles the windows, and the food is tasty. Go for the yummy eats, not the ambiance. It’s New York for New Yorkers.
Best Yoga Studio in NYC: Yogaworks UWS. Thoughtful teachers, a caring community. Alas, it closed at the end of November. I miss it.
Cutest Grandson: Mine. ❤️
On a recent Saturday, my husband and I enjoyed date night at the Paris Theater. We watched the film Colette.
I’m a novelist and so the film held a special resonance for me. It’s always intriguing for me to see how other women do it–how other women wrestle with the great fanged beast of their need to write–how other women embrace the struggle of creativity and storytelling alongside the demands of partnership and self-actualization.
For me, there is no self without writing. If I’m not writing, it’s because I’m in a no-self space. That’s not a wholesome place for me.
Colette is turned on to writing by her husband Willy, who calls himself, in the film, a “writing entrepreneur.” He cheats on her and tells her to pen her thoughts and then proclaims her work to be worthless. Then he re-reads it and loves it. He pores over her prose with her and teaches her to edit and revise. At least in the film, he is instrumental to her discovering her talent.
Willy publishes her book under his own name. When it becomes successful beyond his wildest dreams, he locks her in a room to write another book.
Colette slowly wakes up to her own worth. Her self-awareness grows as she uncovers her individual sexuality. Her husband cheats but she begins to sleep with women–which he permits, as long as she doesn’t sleep with other men.
It’s comical when the husband beds her paramour and they both carry on with the libidinous lady in question.
There’s a kind of leftist-liberal-proselytizing fabric to this movie; the husband is an exploitative patriarchal scumbag and noble, victimized Colette naturally finds a supportive woman partner/lover. So many films these days are taken over by the need to preach leftist liberal values. I wish more films would focus on good storytelling and leave preaching propaganda to the politicians. It’s boring.
When a story delves deeply into the human condition, the spectrum of left-right, liberal-conservative falls away. What is left is meaning. That meaning is far more moving, far more convincing, than even the best propaganda.
In this case, the film transcends the current Hollywood piety. After all, Colette was a French novelist. She’s an archetypal French woman novelist. She actually lived the life and she did so before it was appropriated by a certain tiresome sector of post-modernist feminists–as if being a traveling mime with a woman lover is the only way to be a woman novelist.
I admire Colette but her choices wouldn’t work for me. I would never have been happy or fulfilled without children and a husband. Being a mother and wife contributes to, and enhances, my fruitfulness.
As painful as my situation is with one of my beloved daughters and with a dearly loved husband who took off for the antipodes, putting his own art before the family who needs him–despite everything–I was always supposed to be a wife and mother. And a novelist. And lately a screenwriter.
Willy exceeds his role, too, I think. Yes, he’s selfish, self-indulgent, egotistical, and riddled with vices. He’s also the fulcrum on which Colette’s own writing turns. He’s a catalyst for her. I find that real life is like this, that people are like this: marbled through with light and dark. Variegated. Bittersweet.
People are complex. They enter our lives bearing gifts, some laced with poison, some with nectar. Often the most difficult characters in our stories are our best teachers.
And beyond the propaganda is the story of a woman coming to own her own voice.
This is the essential struggle for a woman novelist: owning her own voice. Even for women who come across as strong, as I seem to, there’s vulnerability at the root. How do we embrace, own, and integrate that vulnerability with our creative talent?
There’s a great new video for THE YEAR OF LOVING.
Book trailers are a thing. They’re supposed to tease and intrigue the viewer, so the viewer wants to buy the book. They should also entertain and perhaps explain a little bit.
I made this one, and I had a lot of fun. I hope you enjoy it.
Art gallerist Sarah Paige’s world is crumbling. One daughter barely speaks to her and the other is off the rails. Sarah is struggling to keep her gallery afloat in a tough market when she learns that her most beloved friend has cancer. In the midst of her second divorce, two men come into her life: an older man who offers companionship and stability and an exciting younger man whose life is as chaotic as hers.
Sarah’s courage, humor, and spirit strengthen her, but how much can she bear, and what sustains her when all else falls away?
“…A lively, fun romp through life that carries readers through the options and choices of a heady year in which everything changes and Sarah learns how to live the life she chooses not just in response to, but in spite of, the swirl of relationships around her. Women will find it the perfect leisure or beach read.” – Donovan’s Bookshelf
“The Year of Loving is a wonderful read for those who adore romance, intelligent women’s fiction, and steamy scenes. And as always, Slatton manages to turn any story into a literary piece…” – The Portsmouth Review