Sewing by hand

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By Caitlin Kelly

When was the last time you sewed anything by hand?

It’s now considered such a retro idea. Get new clothes! Take them to the dry cleaner for repairs!

Do you even own a sewing box, filled with needles and pins and a rainbow of spools of thread?

 

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When I was at boarding school, we each had a two-tier sewing basket. I loved it and the sense of always being ready, that it gave me. We learned only a few stitches but I’ve never needed more, and have made tablecloths and pillows without a machine using these simple stitches.

I admit, embarrassedly, I don’t know how to knit or crochet or embroider, all arts I truly admire. So this, for now, is the extent of my skill.

 

 

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Instead of being attached to yet another screen, touching more plastic and metal, there’s the softness of linen or cotton or silk.  The endless challenge of threading that damn needle!

As someone always curious about pre-industrial life, I love how this simple action repeats one made over millennia and across every geographic boundary.

I find it meditative and soothing and love making little repairs or making small sachets filled with dried lavender out of vintage textile scraps, tucking them between ironed pillowcases in the linen closet or thrown into our suitcases when we travel.

I also have some lovely antique buttons, with no official use (yet!)

Here’s a pillow cover I recently made from some flea market white linen and a great 30s bit of cutwork I found in a Paris flea market that someone dyed indigo.

 

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Another big zuszh!

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We moved this Vlaminck litho, bought at auction two years ago, from bedroom to livingroom

 

By Caitlin Kelly

Grateful for eight days completely out of the apartment — where we both also work as freelancers, my husband as a photo editor and I as a writer and writing coach.

We save a lot of money not renting office space or a co-working desk, (and can write off a small part of our monthly living costs as a result as a tax deduction), but that also means we’re using every part of our one bedroom all the time: one bathroom, one kitchen, every hallway, etc.

But it means additional wear and tear, even for two tidy adults with no pets or children.

 

So while we were away on holiday we had the following jobs professionally done:

 

had the entrance hallway, wooden floor, re-sanded and refinished

— had the flaking, peeling bedroom window frame smoothed and repainted

— had all kitchen cabinets given  a fresh coat of paint (installed 2013.)

 

That was, certainly, a big investment of $3,000.

 

When we got home and took another week off to settle in, we got to work:

 

— moving art from one room to another; we have a good collection of photos, by us, by friends and colleagues and prints, drawings and posters. Sometimes we put them away for a few years to appreciate them anew. We also rotate out intense/dark colors during the hot summer months.

— painted one wall a deep olive green

— moved three mirrors into the dark foyer. All are vintage/antique, none costing more than $300.

— ordered a new chandelier for our dining room and found an electrician ready to install it.

 

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I found that funky old beveled mirror for $125 in an antique shop in Port Hope, Ontario

 

— added a patterned fabric, (home-sewn by hand, double width), cover for Jose’s homemade computer desk and moved a different lamp into its corner.

— arranged for pick-up by our local thrift shop for a number of items, including a standing lamp and balcony chair.

I’m more obsessed with beauty and good design than many people.

But I’m fine with it.

I studied interior design and learned a lot. And having lived (!?) 30 years in the same space means I’ve made multiple changes over time — wall colors, curtains, art, rugs — to not go mad with boredom and claustrophobia.

We’re not buying all-stuff-all-the-time! I often carry a tape measure with me to make sure anything we acquire will fit into our space, both spatially and visually.

Once you’ve established a color scheme, stick to it!

We use a great tribal wool rug I bought in Toronto decades ago for $100, and a nice repro wooden Pembroke table I found in a local consignment shop and a Crate and Barrel sofa we might soon replace, even though we love it, as the arms are sagging and an upholsterer told us it would cost more to re-do them than buy anew…

I also know what I like and will wait a long time for it….like our black Tizio lamp I bought in my 20s for (!) maybe $500, a huge sum then as now. It’s elegant, efficient, classic and versatile.

To save money, we do most of our own interior painting. We’ve been given some tremendous/iconic images as well — like the famous black and white photo of JFK standing at the Oval Office windows; this one signed by its creator and given to Jose, his colleague at The New York Times.

 

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Same hallway — top image is a rotogravure by Steichen. The lower image is mine, a stairwell shot in Paris. Wall color: Gervase Yellow (archived), Farrow & Ball. 

 

Tips for a quick refresh:

 

— Whenever you paint a room, note the paint color, brand and date you purchased it. Colors get discontinued! Farrow & Ball archives some colors but will remix any of them for you on demand and quickly.

Keep some paint handy for touch-ups. Don’t allow it to get too hot or cold as this degrades the product; we keep ours at the back of a hallway closet.

Replace items as they wear, chip, fray or discolor. If impossible, wash/dry clean/dye or toss and go without. It’s depressing to live in dirt or chaos.

Throw stuff out! Those of us lucky enough to even have too much stuff have too much stuff!

Sell whatever you can. I found out a vintage tribal rug I paid $200 for might fetch me $1,200 after I showed it to a local dealer. Next step, hope to sell it on Ebay or Chairish.

Clean every corner, deeply. I had to scrub one wooden floor with a Brillo pad to remove grime that mopping didn’t address. Baseboards, the back of things (fridge, stove, printer, etc.) All windows!

 

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Old Crate & Barrel cabinet, glass lined with fabric by the yard. Above, a photo of Jose and his parents, long gone, and a Moroccan lantern found at a flea market, sand-blasted at the auto body shop and painted in Blazer (Farrow & Ball, archived.) I hand-carried that huge wicker suitcase home from a Canadian antique show — thanks, Air Canada!

 

It always feels good to re-fresh our home — it nurtures, protects and revives us.

 

A fab week in Santa Fe, NM

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By Caitlin Kelly

It had been 20 years since my last visit — a 10-day trip with my husband Jose, then a very new boyfriend eager to show off his hometown. His late father was the minister of a small downtown Baptist church and he regaled me with happy memories of riding his bike down Johnson Street, where the Georgia O’Keefe Museum now houses her artwork in the shell of that original adobe building.

Santa Fe has a low, intimate building scale, since most buildings are made of brown adobe — curved, smooth, rounded forms made from a mixture of straw and earth, a visual uniformity unique to this small and ancient city.

Santa Fe is the state capital, founded in 1610, at 7,199 feet altitude, the oldest state capital, and the highest, in the U.S. — the 2012 census puts its population at 69,204.

It draws many tourists and celebrities; Game of Thrones author, and local, George R.R. Martin donated $1 million to create the arts center Meow Wolf.

On this visit, we stayed the first four days with one of Jose’s oldest friends, then at the Hilton, whose public spaces are filled with beautiful, large-scale original art, the city center a two or three block stroll away.

One weird caveat — the city has no taxis! There is a car service but $30 (!) is a fortune to travel a few blocks. I do not use Uber or Lyft and both are available.

Also, NB: the city’s altitude and strong sun mean plenty of water and sunscreen.

 

Some highlights:

 

Shopping

 

 

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I love Mexican embroidery!

I love Santa Fe style — elegant bohemian — a look more difficult to find at home in New York, where the official color is black. There is a lot of tie-dye and embroidery and insane amounts of Native American jewelry on offer, but if you like ethnic textiles from places like India, Mexico, Laos and Guatemala, you will find a lot of choice.

The city attracts some very wealthy visitors and homeowners, so some prices are eye-watering, but there are more moderate offerings:

Passementrie is a treasure trove if you, like me, love textiles — cotton, silk, linen, in pillow covers, throws, scarves and clothing.

 

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A selection of cowboy boots at Nathalie

 

Nathalie, on Canyon Road, has been in business since 1995, owned and run by its namesake, a former French Vogue editor, bien sur! A stylish mix of clothing, cowboy boots, antique and new home objects.

 

Spirit, downtown, is amazing, but spendy-y, as is Corsini, the men’s store next to it. But a great selection of floaty dresses, knitted leather handbags, basic T-shirts, wallets, jewelry. The men’s store has gorgeous cotton jeans in all those weathered Southwestern colors, $225 a pair.

 

Check out all the local food offerings to take home, from blue corn for pancakes to chile powder to posole.

 

Every day, local natives bring their handmade silver and copper jewelry for sale in front of the Palace of the Governors. Lots of choices! Many local stores also sell native jewelry, both current and vintage; Ortega’s has a huge selection.

 

If you’re interested in pottery and contemporary art, wander along Canyon Road, lined with galleries.

 

Collected Works is a fantastic 40-year-old indie bookstore with a cafe attached.

 

Act 2 is a consignment shop on Paseo de Peralta, with a wide selection of women’s clothes, shoes, accessories — including sizes large and extra-large. Not the Chanel-Gucci kind of store but lots of linen and cotton. I scored two handbags and a linen shirt.

Dining

 

Such great food!

 

La Choza

A classic since 1983, ever popular, in the Railyard neighborhood. We ate there twice: lots of margaritas and Southwestern food like frito pie (ground meat and trimmings), chalupas, enchiladas and served in a former adobe home.

 

 

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Cafe Pasqual’s

With only 50 seats, bright green wooden chairs and Mexican tiled walls, this cafe offers a long menu and delicious food, from breakfast on.

 

Izanami

This was one of the best meals I’ve eaten anywhere, sort of Japanese tapas, with a huge choice of sake and wine. The dining room is beautiful and the deck offers fantastic views of the wooded canyon. We ate soba noodles, shrimp and oyster tempura, asparagus tempura, pork ribs and gyoza, plus a glass of red wine and one of sake; $105. This is the restaurant at Ten Thousand Waves, out of town, so you’ll need a car to get there.

The Teahouse

This lovely restaurant on Canyon Road serves food all day and has an amazingly long list of teas, hot or iced. The quiet and intimate rooms are filled with black and white photos or you can sit outside under an umbrella in the shade.

Day Trips

 

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Ten Thousand Waves is a must! This spa, lodging, restaurant combination has been in business since 1981, Japanese in design. Private hot tubs, massages and dinner available. A few caveats: the women’s locker room is cramped, with only 2 showers and one toilet, while the place is very busy. It’s also at the top of a steep hill and I saw no access for those with mobility issues. The massages were excellent as was the private hot tub.

Taos

A 90-minute drive north into rugged countryside. Much smaller and quieter than Santa Fe. Worth it! Population 5,668.

 

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The Santuario

 

Chimayo

There are two reasons to make the drive, the gorgeous early Mission church, the Santuario de Chimayo (built 1813 to 1816) and the 50-year-old restaurant Rancho de Chimayo, with delicious food, shaded patios and very reasonable prices. Their sopaipillas are heavenly — and don’t forget to dip them in the pot of honey on the table; they come with almost every meal.

Los Alamos

Where the atomic bomb was developed!

Santa Fe National Forest

A short drive from town, this thick forest of pine and aspen has picnic sites, campsites and hiking trails.

Valles Caldera

Gorgeous! I’m doing tbe next blog post about this National Park, a 57 mile drive northwest of Santa Fe.

 

 

What do you really see?

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Looked down from our bedroom window to see this…

 

By Caitlin Kelly

 

I think about this a lot.

For a writer, I’m a highly visual person. It informs how I live, how I think, how I write and how I connect to the world.

My father was an award-winning film director.

My husband is an award-winning photographer.

I sold my first images — three covers — to a Toronto magazine while still in high school and went on to sell my photos to Time, The New York Times, Washington Post and others.

I see beauty everywhere, all the time. I could spend all day photographing the world.

But I wonder how many people now — staring into their phones — even see the world around them. I shout “DON’T WALK INTO ME!” at anyone phone-staring while ambulating.

It’s disturbing how little we notice of the subtleties: the changing light season to season, how it gets low and yellow in fall; the specific bright green of spring vegetation, the minuscule worlds beneath our feet in any forest.

My daily joy is my Instagram feed, with spectacular images from around the world — Scotland, Finland, Italy, many by talented amateurs (check out Grant Kaspo’s stunning photos of Scottish mountains, in all seasons and hours) but also by legendary pro’s like fellow Canadian Gary Hershorn, who I met a long long time ago when we both worked in  Toronto and now live within an hour’s drive of one another near New York City.

Recently asked by an awestruck Insta follower, “How do you do it?” Gary replied “You just have to look.”

 

Are you looking?

 

Gimme shelter…magazines!

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By Caitlin Kelly

I need help!

Everyone has an obsession, right?

Mine seems to be shelter magazines, the industry word for magazines focused on interior design. Stacks of them fill baskets, bookshelves and bags around our apartment, and I part with them reluctantly, only because there’s no room.

I grew up, ages 8 to 16, in boarding school and summer camp, which I’m sure has something to do with this. Boarding school meant sharing a room with at least 3 or 4 others, sleeping in a twin metal  bed with an institutional chenille or cotton bedspread. Summer camp meant sharing with 3 or 4 others and sleeping in a wooden bunk-bed, its only “decoration” the graffiti of earlier residents on the raw wood.

So beauty, comfort, style and elegance matter a great deal to me.

I’m able to keep my wallet snapped shut and stay off of most on-line shopping sites, but…but…oooohh, I do love a gorgeous fabric and have splurged multiple times ordering fabric-by-the-yard and having it made into custom throw pillows or curtains.

 

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I had our old Crate & Barrel sofa refreshed with new bold piping on the seat cushions and had these throw pillows custom-made. Adding piping or welting always makes it  look more finished.

 

Our most recent purchase, from an antiques show in town, are four 1960s pale gray Chinese Chippendale-esque outdoor chairs, fabric for their cushions and a new outdoor rug for the balcony.

Because Jose and I so enjoy entertaining, it’s nice to open the door and feel completely at ease that our guests will enjoy a pretty, comfortable environment.

I also studied interior design seriously in the mid-1990s at the New York School of Interior Design, planning to ditch journalism and change careers. But my husband bailed and I couldn’t afford to work for $10/hour to start at the bottom. I loved my classes and  now really appreciate what training and skill it takes to create a spectacular space.

My parents each had terrific taste, collecting art and antiques. My father had a gorgeous Knole sofa I still remember decades later. My mother brought home lovely mirrored textiles from India and pale mantas from Peru.

And my maternal grandmother inherited a pile of money and hired Toronto’s best interior designer to furnish her apartment and, later, carriage house. I still remember a spectacular orange wallpaper from her powder room.

 

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Our living room curtains, lined, custom-made maybe a decade ago. Lots of colors to work from in here; that pale yellow-green (Farrow & Ball’s Gervase Yellow) is one of them.

 

So I happily spend hours paging through other people’s homes, whether a villa in Tuscany, a cottage in Muskoka, Ontario or a 17th. century pile in some bit of rural England. I’m not especially drawn to opulence, and much prefer simplicity, like 18th century Swedish designs or the work of Axel Vervoordt.

I love The English Home, as much for  its amazing early houses — some 400 or 500 years old — as the distinctly British sense of color and design. All those tall, tall windows, lined chintz curtains and dressing tables.

On my last visit to London, my pal Cadence, author of Small Dog Syndrome blog — who knows my love of textiles — took me to the Cloth Shop, a legendary London store that supplied fabrics and ribbons to the costume-makers of the Harry Potter films. I bought a lovely teal fabric that now covers our bed headboard.

 

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Two Farrow & Ball colors; French Gray and Peignoir (the lavender one). The drawers were custom-built into a former closet and this is the corner of our small dining room.

 

And, because I am a complete Farrow & Ball fangirl, I traveled 2.5. hours one-way by train and taxi in July 2017 to visit their paint and wallpaper factory in Dorset and meet one of their two heads of color, Charlie Cosby; here’s an interview with her and some explanations of their quirky paint color names, like Dead Salmon, Clunch and Elephant’s Breath.

Here are a few of my favorite go-to design retailers: Wisteria, Ballard Designs, Jayson Home, Anthropologie, Mothology, Dash & Albert, Serena & Lily.

 

Why buy art?

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Tools of the trade! An auction catalogue and bidding paddle

 

By Caitlin Kelly

Isn’t that something only rich people do? Billionaires in salerooms like Christie’s and Sotheby’s (pronounced Suth-uh-bees with a soft, slurred th) flicking an eyelid to denote their multi-zero bid?

Actually no.

But buying original art — even a numbered print, (lithograph, engraving, etching, silkscreen, monoprint, linocut) — can feel intimidating until you learn the lingo.

My father is a documentary film-maker but also a talented artist working in a range of media, including oils, lithograph, engraving and even silver. He’s collected art  — from a Picasso litho to a Renoir engraving, (both of which I’ve spotted in Swann catalogues), to Inuit soapstone sculpture to 19th century Japanese prints.

I was very lucky to grow up with such eclectic beauty on our walls, and it absolutely informed how I see and what I enjoy. It also showed me that owning art is a lovely decision. You can go through a few sofas in your lifetime, but art you love is something to keep for years.

In my 20s, thanks to an inheritance, I bought a large silkscreen print, photos by Jerry Uelsmann, Andre Kertesz and Steichen and three colored pencil sketches. I did, I admit, make a calculated decision about the photos, and sold the Kertesz later at Swann.

 

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The saleroom at Swann Galleries in Manhattan. The works are all on display for preview and you can ask to examine them closely without covers before you bid to know what their condition is and how much it might cost to restore.

 

If you’re on Etsy or Instagram, you’ll find many artists selling their work, some of it very affordable. Generally, it’s wise to frame paper artwork carefully with acid-free matt and UV-protective glass  and photos, especially, need to displayed out of direct sunlight.

 

But why buy art?

 

Good heavens, why not?

If you can afford $500 or $1,200 for a new cellphone or computer you can acquire art at that price.

Hanging on our bedroom wall is a gorgeous litho I got at Swann for $600 by Maurice Vlaminck, from the 1920s. Over our bed now hangs an etching by Raoul Dufy, from the same auction, for which I paid a bit more.

I read the catalogue carefully, decided which ones I wanted and decided what my budget was — the auction house always adds a “buyer’s premium” of 25 percent, sometimes less. I registered, got my paddle (which you raise to show you’re bidding on that item), and waited for hours til “my” pieces came up. There are hundreds of items in an auction, and its rhythm is carefully planned. There’s always an estimate given weeks in advance, which can go low or blast far above projections.

But you can also buy art at antique stores, galleries, graduating student shows at local art colleges, street fairs.

I love the explosive style, brilliant colors and Canadian landscapes of this artist, Julia Veenstra, who I found and follow on Instagram.

A splurge — $1,500 — was for an image I stumbled across at the Winter Antiques Show, a very fancy New York City affair I usually just attend to savor museum-quality material I could never afford. But…oh my…there was a photo exhibitor from California selling images by a man I had never heard of that stopped me in my tracks.

I now want all his work!

Here’s a link to the image I bought; the photographer is a man in his 60s, a Finn named Pentti Sammhallahti. Here’s the page of his work.  

I find it mysterious, quiet and deeply compelling.

I’ve been collecting photography since my 20s and Jose, of course, added some extraordinary images from his own collection — including a signed and numbered original print of The Loneliest Job in the World, the iconic black and white image of former U.S. President John F. Kennedy standing in his office, silhouetted against the window; Jose began his career at The New York Times working with the photographer George Tames, who signed and gave it to him.

Copies now sell for $50 from the Times’ archive — our print is very different, much darker and has a totally different feeling to it as a result.

So, where to start?

 

Go to a museum or contemporary art gallery — and take your time!

 

Notice which pieces move you.

 

Which make you stand still and stare, mesmerized?

 

What is it about them: color, period, artist, detail, scale, brushwork, subject matter?

 

It doesn’t have to be pretty or decorative.

 

Ignore everyone who snaps a cellphone image and doesn’t even look at the work.

Learning about materials and processes will make asking questions of gallerists and auctioneers easier.

I wish everyone could afford and would own some original art. Few things I’ve ever spent money on have offered me such consistent daily pleasure.

 

Do you own any?

Would you ever buy a piece if you could afford to?

Which categories appeal to you?

Bath time!

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Those little mosaic tiles we bought in Paris and shipped home

 

By Caitlin Kelly

Too funny.

Turns out bathing is the new black, according to The New York Times Style section:

“In the past two years we have seen bath time taking off,” said Alisha Ramos, the publisher of Girls’ Night In, an online newsletter aimed at 25-to-34-year-olds seeking a respite from overcharged lives. For her followers and a widening circle of contemporaries, the bath is a place to unplug, to indulge in the ultimate luxury: taking time for oneself.

When we renovated our minuscule — 35 square foot — only bathroom — the deepest tub I could find was top of mind. It’s 21 inches deep, takes a good 20 minutes-plus to fill and is annoying as hell to clean.

But oooooohhhhhhhh. The luxury of having every inch covered by warm water, especially on cold, windy winter days.

I buy cheap-o bath oil and toss in drops of scented oils: cinnamon, eucalyptus, peppermint. Or my favorite product ever, Algemarin, a German product which my granny used to use, which turns the water a deep blue and smells divine.

I know showers are more efficient, but — as anyone who reads this blog knows already — efficiency is not my highest goal. Pleasure, yes. Our building’s water pressure is lousy, so a shower is also no great source of enjoyment.

I don’t stay in the tub for hours, usually maybe 15 minutes at most.

I designed our bathroom to look and feel like a spa somewhere in the Middle East, splurging on gorgeous tile I shipped home from Paris, choosing a strong mustard Farrow & Ball color for the walls and adding metal touches like the copper jug I bought in Istanbul, a copper handmade sink we bought in Mexico for $30, ($1,000 here), a small brass bucket to hold things like toothpaste and floss and a metalwork bowl my father brought home from Jerusalem.

The curved wooden vanity, (which I also designed and had custom-made), floats above the floor to make cleaning easier.

I also planned for safety and comfort and made sure the edge of the tub is a wide, smooth piece of marble, perfect for sitting on comfortably when ill or post-surgery.

One of the happiest moments of my life was on a bitterly cold winter’s day in Paris, visiting one of the city’s many old-school hammams, spending the day wet and steamy, then swaddled tightly in crisp white sheets, then sipping mint tea.

A schmancy spa has nothing on an old-school hammam, crowded and noisy and a real taste of normal life for even middle-class Parisians; my last visit to one, in the 18th. arrondissement, had me slipping across a marble slab with dozens of naked women, clustered like seals.

Quel souvenir!

 

Are you a bath person?

Too many screens?

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At least these screens were used at a recent photo conference — in a room filled with other people!

 

By Caitlin Kelly

And yet, here we are again!

A recent New York Times piece on how the wealthy eschew screen time while the rest of us poor suckers spend all our time on them:

Life for anyone but the very rich — the physical experience of learning, living and dying — is increasingly mediated by screens.

Not only are screens themselves cheap to make, but they also make things cheaper. Any place that can fit a screen in (classrooms, hospitals, airports, restaurants) can cut costs. And any activity that can happen on a screen becomes cheaper. The texture of life, the tactile experience, is becoming smooth glass.

Which is a terrible paradox.

 

Without a screen, your phone or computer, I couldn’t be communicating right now with you and with readers arriving at this blog (!) from the most unlikely of places — New Zealand, Nepal, Romania, Zimbabwe, VietNam, Yemen, South Africa.

Without a screen, I wouldn’t be earning our monthly living costs by reading on-line, setting up interviews by email then writing on a laptop and hitting send.

Without a screen, I couldn’t use Skype to chat with friends, and coaching fellow writers and doing PR strategy, with those living outside my town.

 

And yet…I get lonely and bored if all my interactions are thus mediated.

I get out into nature.

I regularly meet friends for a meal or a coffee.

We throw dinner parties.

Church, occasionally.

A new-to-me weekly meditation group of women.

 

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I host an annual women’s tea party, using an early 19th. century tea-set.

I go to the gym at least three times a week, as much to be social in spin class and afterward as to exercise.

 

Here’s a new book I’m eager to read, written by Mark Boyle,  a British man who has gone back to living alone an 18th century rural life there since 2016, eschewing all technology.

Here’s a recent piece by him in The Guardian:

 

This way of life is often described as “the simple life”. Looking at it head-on, it’s far from simple. This life is actually quite complex, made up of a thousand small, simple things. By comparison, my old urban life was quite simple, made up of a thousand small, complex things. I found industrial life too simple, and thus repetitive and boring. With all of its apps, switches, electronic entertainment, power tools, websites, devices, comforts and conveniences, there was almost nothing left for me to do for myself, except that one thing that earned me the cash to buy my other needs and wants. So as Kirkpatrick Sale once wrote in Human Scale, my wish became “to complexify, not simplify”.

 

 

How about you?

Are you trying to lessen your screen time these days?

A different point of view

By Caitlin Kelly

It’s been a long time — 23 years — since the death of my dog Petra, a small black and white terrier mix I inherited from my mother as she went off to travel. I loved seeing the world through Petra’s eyes and wondered what it was like to experience it all from a height of a foot, not my five feet, five inches.

 

We take so for granted the way we see the world, that everyone else does, too, which of course they don’t. Read any news source today and our political divisions are obvious.

 

It’s one of the reasons I love to travel, whether a few hours upstate in New York or abroad. People think differently. People see, literally, differently.

One of my favorite assignments of 2017 was meeting a Quebec farmer who took me into one of his fields and explained the function (!) of cornsilk. I’ll never see corn the same way again.

On a current project for The New York Times, I visited a Brooklyn classroom and watched tween girls in hijab confidently wielding power tools. Not at all what I’d expected!

A joy of journalism, for decades, for me, is how often it pushes us into wholly unfamiliar situations — physically, emotionally, spiritually. If you want to work in journalism and can’t imagine a thousand other ways of being in this world — run. It’s not the job for you!

In my work, I’ve met Queen Elizabeth, convicted felons, FBI firearms trainers, crime victims, Billy Joel, a female Admiral. I’ve witnessed the aftermath of a horrific head-on car crash and reviewed ballet.

A new book by Hallie Rubenhold is reframing the classic narrative around Jack the Ripper’s victims; here’s a Guardian story about it.

Using my cellphone camera is helping me see the world anew.

Some images:

 

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I love to sit at the bar and to eat alone there, two activities I know some women find intimidating and won’t do. This is from one of Manhattan’s best restaurants, Via Carota, and I loved the image in black and white better than in color. When you work in photography you stop seeing beauty per se and look for information — sometimes color is overwhelming and distracting.

As you look at the image, notice what you notice first and why: the drinks and their prices? The quality of the the light? I was most interested in the very rear, the people sitting at the table in bright sunlight. You can even see through the window across the street — to the hair salon where I get my hair done.

 

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Jose and I had just been to the ballet and were leaving the Koch Theater when I noticed this pattern of beaded metal curtains with the lights of a building behind. I liked the juxtaposition.

This was interesting; just as I noticed it, so did Jose. It’s easy to ignore something as basic as the curtains because they’re often functional as well as decorative. I liked the warm tones here as well.

 

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On our recent trip to Montreal, this amazing tiled serpent, coiled around a column, advertises a Mexican tourist agency. I just liked the color and detail without needing the entire image. Sometimes a fraction is much more compelling than the entirety.

Trying to capture the whole serpent would have been more difficult because of too much distracting stuff around it. I like how the shadow bisects the image, and had never seen tile of this shape before.

 

 

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I love shopping to see what sort of environments a decent designer can create — these were two enormous pillows in Brown’s, a Montreal shoe store. Loved the color, texture and wit.

Chartreuese is one of my favorite colors, anywhere. That graphic black and white, and its scale, are fantastic. I found the pillows more interesting than the shoes!

 

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Nothing special — the doors to the dining room of our Montreal hotel. But I love the texture and light and shadow.

There’s beauty everywhere. You just have to notice it.

 

 

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I’ve walked past this red wooden bench in our town hundreds of times, and have sat on it it a few times. But I loved it with some snowflakes.

The weathered cracks make this more interesting to me.

 

 

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Literally, out the bedroom window, looking straight down. This is one of my recent favorites.

 

This feels mysterious to me. When do we ever look down into or onto a tree?

 

Look up.

Look down.

Look at something you find ugly — why?

Look at something you’ve seen 1,000 times before and notice something new.

Listen to a podcast or radio show or TV show you’ve never heard.

Read an author or genre you’d normally avoid.

 

Has something ever radically changed your point of view?

Kintsugi life

 

 

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By Caitlin Kelly

As a philosophy, it treats breakage and repair as part of the history of an object, rather than something to disguise. — Wikipedia

 

The term is most often used to describe a specific way to repair broken pottery, often Japanese. I think it fits life as well.

By a certain point — for some, their teens, others their 50s or 70s — you’ve quite likely been dropped hard a few times against something unyielding. By this, I mean metaphorically and (I hope!) not the result of assault or physical abuse.

We’re not delicate porcelain or exquisite Ming pottery, but we are all fragile and all end up, inevitably, crazed; a word with two definitions, the second meaning spider-webby fine cracks.

 

In a culture increasingly devoted — paradoxically — to the rustic, artisanal and authentic and the social media offerings of glossy perfection, the notion of being broken and repaired, let alone stronger, more beautiful and more valuable for having been broken, perhaps repeatedly, seems radical and bizarre.

 

I’m into it.

Volumes have been written of late praising grit and resilience, as if — at the end of months or years or decades of being gritty and resilient — we aren’t exhausted and scarred. Maybe wiser. Maybe sadder.

I love early porcelain and china, and use several 18th. century pieces as butter dishes…stupidly undervalued. I want to enjoy them while I can. Unlike Japanese work, with its elegant crack-filling lines of gold, they’re stapled together (!), like recent brain surgery patients.

I don’t love these objects any the less for their war wounds, but am so grateful these little emissaries from the past are still with us….that having graced someone’s table in 1789 or 1832, they’re still here for us to use and share.

I feel this way about people.

The ones I most admire aren’t the shiny folk, all smooth and slippery, glittery, preening  and unscathed, but the ragged and weary survivors of physical, mental, professional, emotional and financial struggle — depending on their age and background, possibly all of these — who somehow remain graceful and fun, able to laugh and savor what’s left of their lives.