Re: “Kit,” posted here on April 19, 2010
“Inconvenience” is a jewel of a book. Small, golden-butter-colored, typeset by hand, printed on individually selected paper stock and then hand-bound, it contains poems by Kit Kennedy, and by Susan Gangel, and by both Kit and Susan, and Susan’s line drawings. It’s called a “limited edition,” but there is nothing limited about the care and imagination and uniqueness of line — lines of poetry, lines of drawing — that Kit and Susan present.
It’s tempting to ask how Kit and Susan found the idea to collaborate in this way, or what the genesis was of each of the 11 poems and 7 drawings. For me, “Inconvenience” can be seen as one answer to the question Kit posed back on January 2, 2010 — “What exactly is a line?” — as she inaugurated her blog on “small poems and small plates.”
www.poetrybites.blogspot.com (scroll down the green column on the right for info on “Inconvenience”)
“They’re not yours? Seriously, who’s Tom?”
“That’s the name of the company. They donate one pair of shoes for every pair they sell.”
“And where did you buy them? Online?”
– Overheard at a party recently.
According to a “Good Business” profle in the October 11, 2010 issue of Newsweek, TOMS Shoes got its start when founder Blake Mycoskie saw a mis-match, so to speak, in the world of charitable donations. Specifically, donated shoes were not getting to the people who needed them because the shoes were not the right size. He decided to start a shoe company with a dual purpose — “to do good and do well” by tying, so to speak, the donating of shoes to the purchasing of shoes. “To provide the correct sizes, over time, he created a constant revenue stream, making sure each donated pair was backed with a purchase.” And, as my friends at the party demonstrated, he also decided to rely primarily on word-of-mouth marketing,
Re: “Quick take” on Laura and Kate Mulleavy, posted here on March 10, 2010
“There is no doubt that Rodarte, the label designed by Laura and Kate Mulleavy, was based on California nature: colors and textures, for instance, were meant to evoke trees. I’m not sure you would be able to detect the influence without knowing that the sisters live in California. But it was apparent to me that a different sensibility was being expressed in the clothes and patterns; it was coming through very clearly, and therefore it must be something very close to the Mulleavys’ experience.”
From an “On the Runway” report by Cathy Horyn in The New York Times on September 19, 2010 (reporting on the spring 2011 fashion shows in NYC).
“The sensation was unusual and I still remember it, as I remember the position of a long vanished tooth. It was as much psychological as physical. It seemed to go straight through the small of my back into my ideas, without involving my thoughts … I then returned to Harrogate … and immediately began to write ‘Maurice.’ No other of my books has started off in this way.”
From E.M. Forster’s “Terminal Note” at the end of the novel “Maurice” (explaining how actually being touched by another man provoked “that precise moment (he) conceived” the story, which was begun in 1913 and finished in 1914).
“Another Redelmeier philosophical pearl is ‘Do not get trapped into prior thoughts. It’s perfectly OK to change your mind as you learn more.’”
From “Think the Answer’s Clear? Look Again, a Doctor Says,” a profile of Dr. Donald A. Redelmeier — “a physician-researcher and perhaps the leading debunker of preconceived notions in the medical world” — by Katie Hafner in the August 31, 2010 issue of The New York Times.
These words — speaking of the evolution and the execution of an idea — hang next to Sean Scully’s painting Angel in the Cantor Museum at Stanford University:
“One of the foremost contemporary abstract painters, Sean Scully has employed elements of shape, color, composition, and light based on observaiton in the natural world to grapple with ideas of spirituality, immateriality, and transcendence. Angel was inspired by an airplane flight that the artist took from PIttsburgh to New York City. He later wrote about the painting:
I was looking at the strange cream, blue-gray color of the clouds, thinking about the sky. I thought of a painting split in half. Drawing and painting. Spirit and body. Idea and physical fact. When I got into New York, I went to the studio the next morning and made the painting. And it arrived in the world made right. One might say it is the result of a flash of insight that took place, in a free and unburdened place. That’s why I love Angel so much, and why it is so clear. A child of air travel.
“Like an angel that has two wings, this painting is a dyptich, that is, it has two panels. Scully uses stripes and lines to establish dichotomies and dualities. Linear black stripes on a white background on one panel are juxtaposed to the other panel of blue/green stripes rendered with highly visible brushstrokes. This painting suggests landscape elements such as barbed wire, ploughed fields, earth, and sky, as well as other abstract associations, such as winter and spring.”