Skip to main content

Anabasis: Journey to the Interior: Diary 2/24/12

Text inspired by writer Patricia Ann McNair's daily journal prompt #2: I always thought.
I always thought that my grandfather was a war hero, who had fought in World War II and killed German soldiers during a midnight raid on his unit, when they were cornered with their backs against a stone cliff and only dense trees in front of them, obscured by the thick darkness of night on the Italian mountains, their attackers blasting away at them from the natural cover, disposing of five men in my grandfather’s platoon in seconds, and presenting my grandfather with the certain prospect of meeting the same fate, until with a loud roar he charged forward at the wall of invisible attackers, the bullets pinging around him but missing him, as he let loose with his Sten machine gun, swinging the barrel from side to side like a fireman dousing a blaze from above, not knowing what he was hitting or where he was going, until he heard the click that told him his magazine was empty, and he realized he was standing in a clearing, many yards from where he started, surrounded by the bodies of ten Germans, six of them dead, four of them groaning from the wounds he had given them. I always thought this of my grandfather because that’s what he told me. Except it turned out that not a word of it was true. He had been too old to join up, and he was also a miner, which meant that he worked in an industry considered essential for the war effort. He had nothing to talk about from the war, except for the fact that he worked underground and hewed coal out of the earth, and got his back broken in 1943 from a roof collapse in the mine. He so much regretted missing the war -- his war, he called it --  that as soon as his grandchildren were old enough to talk, he told them stories like this. It was only many years later, when I was nearly a grown man, that I found out the truth: that my grandfather was not, in fact, a war hero.

Popular posts from this blog

Restoring my Printing Press

I've just finished restoring and assembling my large etching press -- a six week process involving lots of rust removal, scrubbing with steel wool, and repainting. Here is a photo of the same kind of press from the Chicago Printmakers Collaborative: And here is a short YouTube video of me testing the press, making sure the motor still works after nearly seven years of lying in storage:

Brancusi in Plastic

Artist Mary Ellen Croteau is showing these columns made from recycled plastic cartons and lids in the window of the Columbia College bookstore on Michigan Avenue. They are a playful homage to Brancusi's "Endless Columns", with a serious environmental message for our times: Image copyright Inhabitat.com and Mary Ellen Croteau Mary Ellen also runs a wonderful experimental art gallery in a window space in west Chicago, called Art on Armitage . I will be exhibiting a mixed media piece there during August 2012.

How to etch a linoleum block

Linoleum as a material for printmaking has been used for nearly a hundred years now. Normally, you cut an image out using special gouges similar to woodcut tools, cutting away the lino around the image you want to print. This is called relief printmaking, because if you look at the block from the side, the material that remains stands up in relief from the backing material. You then roll ink with a brayer over the surface of the block, place paper over it, and either print by hand or run it through a press. You can do complex things this way (for example, reduction linocuts), but the beauty of the process is that it is quick, simple, and direct. Incised lino block, from me.redith.com Etched lino block, from Steve Edwards A few years ago, I saw some prints that were classified as coming from etched linoleum blocks, and I loved the textures I saw in them. In the last few months, I've been trying to use this technique in my own studio, learning about it as one does these d...