ROMANTIC ALLUSION: Lily of the Valley

Lily of the Valley, Convallaria majalis. The delicate, bell-like blossoms combined on a stem brush our nostrils with their intoxicating scent. Unless you grow the flowers or are lucky enough to have them scattered freely in your garden, you may be unaware that they only bloom for a few weeks in the Spring. More than that, within their sweetness lies deadly poison.

And yet, Kate Middleton chose to carry a bouquet for her marriage to Prince William. What a lovely symbol, though we know Princess Katherine was not "white as snow." Nor are the flowers on the Lily of the Valley always white. For with the pink bloom that covers younger and older women's cheeks as they hear their lovers' names, so can the pink blossoms be seen in the rare variety.

The naming of the plant has underlying Romanticism. English folklore tells us lilies grew where a nobleman's blood was spilled in a great battle with a dragon. Other stories include the blossoms serving as charms used by witches, or as cups for fairies. In Greek mythology, Lily of the Valley represents Maia, the daughter of Atlas, whereas the Romans saw Maia as a nurturer, and named a month of the calendar that became, May (ehow.com; Wikipedia).

The plant's name has been borrowed for seemingly innocent literary titles, such as Balzac's Lily of the Valley or Pasternak's 1908 poem, Lilies of the Valley. It's also found in religious script such as a passage in the Bible, the Song of Solomon, 2:1, "I am a rose of Sharon, a lily of the valleys." A profane turnabout comes in a  dystopian usage of this biblical reference in Margaret Atwood's book, The Handmaid's Tale (1985).

Ray Bradbury's Fahrenheit 451 (1953) refers to another line from the New Testament: "Consider the lilies of the field, how they grow: they neither toil nor spin... " to offset the rampant commercialism bombarding the hero. A more benign allusion surfaces in the film Lilies of the Field (1963) with Sidney Poitier. Other spiritual citations of Lily of the Valley can also be seen in the Torah and the Qur'an, indicating that the flowering plant dates back to Old World Asia.

The fragrant blossoms' duality is never more appropriate than in Edith Warton's 1908 book, The Age of Innocence, where May carries Lily of the Valley, as she represents "innocence," attracting and repelling Archer. When he chooses May, Archer's sacrifices his true love. The choice eventually eats away at his soul, a subtle poison if there ever was one. 

Writers across media have used the innocent-looking Lily of the Valley for lethal concoctions, e.g. Anne Perry or Maria Lang (Swedish name Dagmar Lange). Moreover, I'll admit I didn't watch the acclaimed, AMC cable television series, Breaking Bad (2008-2013), but when I learned the anti-hero, Walter White--chemist turned drug dealer--used Lily of the Valley berries as a weapon, I thought how apt. From dedicated schoolteacher to deadly scientist, few flowering plants could symbolize better that complex character.

When I return to what inspired me to write this blog, I remember the innocence: my mother's favorite fragrance; the Lily of the Valley which grows here on Cape Cod each Spring, only to disappear before I can pick them for my table. Then, I remember the loss.

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Romantic heroine, Lili, fights her duality in my latest book in the SHADOWWATER series:

Categorizing to Define - An Artist's & Author's Bane

Take a minute and look at this picture. Ask yourself is it a painting?
Now that you know: what does the artist depict? Specifically?
Who painted it? Is it typical of their work? How would you describe the artist's style?
When was it painted? Early or later in the artist's life?

These questions predominate art history, but not art appreciation. For to appreciate the work, the viewer needs to bring his/her own experience into mind; use her/his own perspective or eyes. An art historian can answer the questions above. However, enthusiasts can use their senses to "define" what the work means to them.

No one will debate that great masters such as Gustav Klimt who painted the above, "Birch Trees," in 1902, had true technique. From those who can't paint to those who dabble to those who successfully show/sell their work, few would argue Klimt's talent. Professional and amateur critics will have to decide whether the above work represents Klimt's best opus.

Personally, I love most of Klimt's paintings. Thus, I love the artist. He's unique though in his early paintings closer to Japanese/Impressionist painters. When he found his "style," described by the experts as Symbolism, no one could match his gift at the time.

Today, pseudo-pundits without any experience with art history, painting, or appreciating visual art make judgments solely based on their own, often, cursory glance. If this painting above were to be shown in a local gallery, with an other artist's name, would people still flock to see it?

Take away all that came before in this essay, and I would still love Klimt's "Birch Trees" on their own merit. First, I adore Birch trees. Second, the trees look real enough to touch. Third, I see the light and shadow as a walker would toward the end of the day. Finally, the surprise: how the ground bursts with autumn color, only to find as you get closer dots of blue, including one birch displaying a patch of sky blue. All these element ignite my desire to wonder at Klimt's decisions, influences and the like. However, these observations, impressions are mine. They may not be yours or how others see the work (the Nazis saw Klimt's paintings as a threat and destroyed three of his earlier pieces).

Here, on Cape Cod, we are fortunate to have many skilled artisans in all media, especially painting. Unfortunately, the competition for recognition, for sales remains fierce. And if patrons should by a painting, they base their decisions on cursory glances, impulsive gift-buying or size-requirements. (To see a brilliant example of this behavior watch Woody Allen's Hannah and Her Sisters).

Summer gallery visitors on the Cape who walk into galleries often see one painting on a wall and decide, "No, I don't like her or his 'style'," and leave the premises, without spending time to see the artist's other pieces. My initial instinct is to shout: "Don't be so dismissive." No, artist wants to be defined by one work.

You'll also find a plethora of writers, here. And yet, many new authors--on and off Cape--who try to publish today have their work categorized, defined; classified by publishers, promoters, and the like, without regard to whether the author sees the story as fitting said category. For example, I'm often asked to post what genre/sub-genre classifies my books. Sometimes, I have a plethora of choices, but most of the time, the choices are: Paranormal. Paranormal Romance. Paranormal Mystery. Mystery. Romance, etc. I'd pick a paranormal/preternatural romantic mystery. Not a choice. The publisher and promoters don't offer that choice.

If forced to choose one category, I'd choose, Mystery. Paranormal elements run throughout my stories but share equal weight with romance and mystery. When you have a chance to read a review of my sequel Dark Sea, Shadowwater II ( written by freelance critic, editor, Kevin Peter of Moterwriter) on the "Press/Reviews" page of my website: www.shadowwater.net , Mr. Peter centers his discussion around the "mysterious."

Furthermore, I'd hope potential readers will read, Shadowwater, the original story in the series, and then go on to the sequel. And as you read the novel, I hope you will avoid pigeon-holing like many critics do, or define my writing based on a few chapters. What I'm asking is that readers, please keep an open mind. I don't pretend to be the Klimt of storytelling. Nevertheless, as with Klimt and so many of his predecessors and future artists contented with, judging an artist or author's ability, creativity or imagination based on one example does not a a painter or a writer make.

A growing number of writers across the country are asking to be judged by their body of work: not whether their books have been published or self-published; not by their personalities or lack thereof, or by their jacket photo--men continue to get away with disheveled slovenliness whereas women must look like cover girls (Excuse me, but who has the money to pay for studio photographers these days?). Distinctiveness, not formula, will sell more books.

I'd like to believe I have a distinct voice and rattle the bones of conventional formulas. However, my writing is grounded in the naturalness that is Cape Cod: the people, their passions, the seascape/landscape, and the "magic."

I recognize esteemed writers have preceded me; I don't aspire toward gaining international recognition, winning prizes or having a billion-dollar empire. What I would like is for those who love to read to give me a chance. Clear your busy minds and let your senses, your belief in the power of love, nature; community take you on a new adventure. Should you choose to read the second book, Dark Sea, Shdowwater II before the original novel, the action begins to rebuild after the rush of the first book's, Shadowwater, ending.

Here's another approach. Picture yourself at the ocean. During low tide the sea softly laps the beach, increasing its rhythms as the high tide builds momentum, until sweeping waves push forward, disrupting the calm. Then, the cycle begins again.

Hear those words, see these words, feel these words and you will join the natural rhythms that are Cape Cod, these cycles underscore my stories.

Shadowwater and Dark Sea, Shadowwater II are available on Amazon/Kindle, Barnes & Noble, and your local bookstore. For more information, please go to my website (above).

Black and White and Gray

The anarchist, Hugo Kalmar, in Eugene O'Neill's THE ICEMAN COMETH replies to other drinkers' gibes with "The days grow hot, O Babylon! 'Tis cool beneath thy villow trees!"His favorite quip makes the other men in the bar snicker, still Hugo knows there's truth in his words.

For each contentious issue humanity faces today there are three viewpoints. What one believes, what the other believes, and that foggy area in between. Americans have been brainwashed by pundits--talk radio, television commentators, movie heroes and politicians--to believe courage means never straying from their convictions. Shunning not only the other side but also refusing to explore what's not clearly stated, like a stubborn child. 

From the days of the old westerns where the man in white stood for justice and the man in black represented villainy, some Americans have this unflinching idea that bi-partisanship shows weakness, though during the Ford Administration, for example, hands reached across the aisle. Today, many bemoan Congress' inability to find the middle. Voters, however, elect those that allegedly represent their stance on issues when in fact these voters elect extremists, politicians who refuse to see between the lines.

During political campaigns, television ads only disgrace personal attributes of the contender and cite statistics that can be manipulated easily. Does anyone really listen? Read? See? The apathy that exists in the U.S. has never been worse. Voters go into the polls with their own short-sighted, short-term agendas and have little regard for long term consequences--much like the candidates they elect, and that's if they vote!

Most who follow current events, politics would say "Tea Party" Congressmen are Far Right. I couldn't agree more. Conversely, in response there are some Democrats who have returned to the Far Left. Both sides present contestable opinions that prompt further examination. While our Congress continues to take sides, preparing for the ultimate confrontation, the 2016 presidential election, Senators and House Representatives have forgotten to prioritize the issues. What matters most? 

Employment numbers have risen exponentially during the Obama Administration, yet the unemployed argue "I don't have a job." It took years of corporate greed, loopholes, and untethered policies to get to the Great Recession. Thus, the recovery has taken a long time to reach every household. Jobs aren't rabbits that can be pulled from a magic hat;  terrorist threats won't go away just because we want them to; immigration won't be tossed if we ignore it. And, climate change is here to stay--far more alarming than Ebola, border control and greedy politicians. 

To return to my activist platform for a moment, no matter how many times people resist the facts that support the immediate effects of climate change, most Americans refuse to read the data, have become too cynical to believe what scientists from around the world have now agreed upon. "If it doesn't affect me, why should I worry?" My response: look at the gray area. Even though you may not agree with the figures or warnings, don't look at this critical, environmental occurrence as right or wrong. 

Focus on what's going on. Use your eyes. A map appeared on Twitter recently showing all the hot spots as mapped by a scientist following warming trends. California isn't the only place on earth suffering from extreme drought. Brazil, Australia and so on all have similar, devastating hot spots (see map below). 

Food prices have increased dramatically because farmers have been unable to save their crops IMMEDIATELY hurt by the warming trend. You see, you don't have to go very far--just down the block to the supermarket--to see how you, your family and future generations will suffer because you have chosen to either not vote, ignore the elections, and/or vote for the loudest not necessarily the most effective candidate. A politician may give voters what they want to hear. But will he/she do what's best for the majority? 

We could argue that lobbyists, wealthy donors and the like buy our elections. That isn't enough. Without voters being willing to see beneath the surface, make informed choices not based on t.v. ads or loud-mouth radio hosts, to learn about their own community and the consequences of avoiding issues, our country will be left broken. You see O'Neill's "Hugo," had a point, out of context maybe, still an insightful statement. You duck from the heat, find shelter, but you will still get scorched.

I HEAR THE EARTH CALLING

Last weekend's nor'easter shook me. The angry wind; rain hitting the windows as incessant fingers tapping, and flickering lights warning of intermittent power outages that would follow all day. We're used to these storms on Cape Cod, but later in the season and not with such vehemence.

Like the scratches on my window panes, this gale left scars. My mind tossed and turned, trying to find a way to avoid the pain. What will happen? Should I end or continue with what had become a shadow, remnant? I then knew he wouldn't fight to save us or work to move us forward. He couldn't and I wouldn't blame him for that. No, I decided. The pushing and shoving in my head ceased.

More so, the storm had served its purpose in reminding me how connected I am to what's going on outside as much as inside. What happens outside my body, my door, my town, my state, my country impacts me. We are intertwined, the earth and I. No, I'm not a pagan or neo-Druid, though I respect their choice, I have chosen to hear what's beneath the surface.

Nature keeps knocking, few want discover what she's telling us. Locked in personal battles to survive, many Americans justify ignoring environmental plight with: "I'll let the scientists worry about it." or "I don't have the time to care." On Twitter, the message is sent again and again that we're out of time, yet who is listening? Based on this week's mid-term elections, I'd conclude not many. No matter the candidate, if voters chose one who puts limitations on funding to protect the helpless, i.e. people and wildlife, then they elected to choose disintegration.

Desensitized men and women, especially those with power, refuse to see the consequences of their actions. Our economic infrastructure will regress, as the working and middle classes lose their stake in this country's future. And what will precipitate the negative impact will be the decline of our country's natural resources.

The dangerous suggestions already milling around Congress include selling off parcels of land in our national parks, drilling for fossil fuels off the East Coast (already in consideration before the elections, now more of a fait accompli) and ignoring warnings about climate change and mass species extinctions around the world, e.g. newts and salamanders are dying off by the millions in Europe due to a fungal, yes, another one, infection spread by an invasive relative from China.

I may have more time than the average American to contemplate these disastrous consequences; however, though I don't have the ability to engage in the world around me, physically, as I once did, I do have the wherewithal to keep connected. That connection includes listening. The signs are all around us, as close as our window panes. The future is in all of our hands. Subsequent generations will suffer if we don't act. Mother Earth is calling you. Do you hear her?

Passionate about the sea, nature, love, suspense? Read my sequel, DARK SEA, Shadowwater II. Go to www.shadowwater.net for details.

New Book and Nor'easter!

Copyright 2014 Wendy Shreve

ALL RIGHTS RESERVED

DARK SEA now available on Kindle. Paperback out this week on Amazon.

Nov. 3, 2014: Cape Cod weather: 50 mile/hour sustained winds; gusting 60 miles/hour. Rain w/flickering lights. Electricity potentially going out any minute. . .

Go to my website, www.shadowwater.net for jacket synopsis or Kindle/Amazon for preview excerpt. Thanks for your support!

Signing off. . .

Wendy