Tootsie, Dustin Hoffman, and women

“But I was a better man with you, as a woman… than I ever was with a woman, as a man. You know what I mean?”
– Michael Dorsey to Julie Nichols, from the movie Tootsie

Dress like a tall, strong woman. Platforms help, as do hand weights to keep strong arms toned.

Dress like a tall, strong woman. Platforms help, as do hand weights to keep strong arms toned.

In 1983, the movies Tootsie and Gandhi were both up for Best Actor awards. Ben Kingsley won over Dustin Hoffman. I saw both movies, and while I greatly admired Kingsley’s performance and the movie – and how could you not give an Oscar to Gandhi – I thought Hoffman’s dual performance of portraying volatile actor Michael Dorsey and actress Dorothy Michaels was a tour de force and worthy of the coveted statue. You could feel Hoffman getting into and understanding his female role. Tootsie has remained one of my favorite movies ever since.

I thought about Tootsie recently when a few Facebook friends posted a clip of part of a Hoffman interview from a few years ago that recently went viral. He talked about the premise of the movie coming from a discussion between him and his long-time friend Murray Schisgal, an American playwright and screenwriter, when the latter wondered how a man would be different if he were born a woman – not what is it like to be a woman. Hoffman thought the make-up team should be able to make him a beautiful woman because he considered himself an interesting woman and therefore expected to be beautiful on the outside as well.

You should watch the clip yourself, but basically he talked about how he had missed out on meeting too many interesting women in his life because they didn’t possess the physical beauty that was his – and society’s – measuring stick for approaching or wanting to know these women. He called it a “brainwashing,” and the clip ends with an emotional Hoffman proclaiming that Tootsie was never a comedy for him. No wonder it went viral! First of all, for me, I adore Dustin Hoffman. I think he’s a great actor. You can feel the intensity and integrity in all the characters he portrays on film. It was touching and refreshing, respectively, to see him so moved and to admit to what many men do – determine whether they want to get to know a woman based on her looks. It’s great that he understands the loss of not knowing so many interesting women in the world.

Silver pops against black: Lava 9 earrings (Berkeley, CA), Carmela Rose bangles and Asian Art Museum flower bracelet (San Francisco), and Kate Peterson necklace (El Cerrito, CA).

Silver pops against black: Lava 9 earrings (Berkeley, CA), Carmela Rose bangles and Asian Art Museum flower bracelet (San Francisco), Kate Peterson necklace (El Cerrito, CA), and Museum of Modern Art ring (NYC).

While I congratulate Hoffman on this epiphany, I have to take issue with something that I noticed about the movie and the characteristics and what it was saying to me and to others long before I saw the Hoffman interview clip. I loved the character of Dorothy Michaels. She was a firecracker who spoke her mind and yet was sensitive and wise. However, the two main female characters – Julie Nichols, played by Jessica Lange, who won Best Supporting Actress for her role, and Sandy Lester, played by a pitch-perfect Teri Garr – were not strong women. Julie drank too much and knowingly dated a womanizer who treated her shabbily. Sandy was lovable but had low self-esteem. (Although she finally stuck up for herself in her finest moment in the movie after Michael told her that he never said he loved her: She fought back, proclaiming, “I never said I love you, I don’t care about I love you! I read The Second Sex, I read The Cinderella Complex, I’m responsible for my own orgasm. I don’t care! I just don’t like to be lied to!” She triumphantly turned her back on him and stomped out, with the prized box of chocolates given to Michael by Julie’s father tucked under her arm.

But who was the strong woman? Dorothy Michaels! Who taught Julie to take control and not be a doormat to her director lover Ron Carlisle, played by Dabney Coleman? Dorothy Michaels. When I realized that, I thought to myself that the inadvertent message is that women can’t be strong, or that they need the help of a man to be strong, something that I’m sure was unintended. Maybe others can weigh in on this seeming incongruous message because to be sure there are challenges in the movies to gender stereotypes. For instance, Dorothy lets it loose on Carlisle during her audition for the role of Emily Kimberly, hospital administrator for a popular soap opera, when Carlisle tells “her” she’s not right for the part because he’s “trying to make a certain statement” and “looking for a specific physical type”: “Oh I know what y’all really want is some gross, caricature of a woman to prove some idiotic point that power makes a woman masculine, or masculine women are ugly. Well shame on you for letting a man do that, or any man that does that. That means you, dear. Miss Marshall.” Of course, Miss Marshall, the producer, sports power pantsuits, wears her hair in an androgynous bob, and has a tough swagger, but you expect this cliché in a movie about the sexes.

A close-up of accessories for a mixed-fabric summer dress.

A close-up of accessories for a mixed-fabric summer dress.

At the end of Tootsie, when Michael Dorsey rips off his Dorothy Michaels wig to reveal who he is after a long, rambling monologue, he faces Julie and says: “I am Edward Kimberly. Edward Kimberly. And I’m not mentally ill, but proud, and lucky, and strong enough to be the woman that was the best part of my manhood. The best part of myself.” This is the moment in the movie that references Hoffman’s discussion in the interview clip about how a man would be different if he were born a woman. It seems to me that in imagining what it would be like and putting ourselves in that situation we actually strive to be the best that we can be. We imagine ourselves as the opposite sex to be interesting, strong, and beautiful inside, which ultimately makes us beautiful on the outside no matter who says what.

Tootsie, which was deemed by the U.S. Library of Congress in 1998 to be a “culturally significant” film and preserved in the National Film Registry, still has a lot to say about men and women – our roles and our perceptions. Whereas the American Film Institute ranked Tootsie the “second funniest film of all time” in 2000, Hoffman was adamant in saying that it was not a comedy for him, and in a nod to its cultural significance, his performance is above and beyond the male-actor-playing-a-woman role such as Robin Williams’ Mrs. Doubtfire. I love so many lines from Tootsie and the sentimental-but-wistful theme song “It Might Be You” sung by Stephen Bishop. Now I have another reason to love the movie, thanks to Hoffman’s honesty and his generosity in sharing his epiphany about women with all of us.

Lauren Ari: Art as affirmation of the artist’s existence, Part II

Everything you can imagine is real.
– Pablo Picasso, Spanish painter, sculptor, printmaker, ceramicist, and stage designer

Dictionary Project: "Tickle."

Dictionary Project: “Tickle.”

The Power of mixed media
Lauren Ari’s use of mixed media, as opposed to any one medium, allows her to express what she is trying to say. While the Richmond-based artist likes working with different materials, her foundation is drawing. Working in mixed media, therefore, enables her drawings to be three-dimensional. Throughout her prolific career, Lauren, 46, has produced some amazing projects, as well as collaborative and interactive pieces of art.

Two years ago, she collaborated with an artist to build an eight-foot-tall structure made of clay that resembled an old-fashioned opera shell, which housed a singer and a butoh dancer –performing a postwar Japanese dance that rejected Eastern and Western dance in order to search for a new identity that would establish meaning for a defeated society. Lauren and her co-collaborator invited the community to make parts that would be attached to the structure. “I’m really interested in the interaction,” she said. She likes people to interpret her work by themselves and to bring their past to the experience, rather than being told what the piece means. This is exactly how she wants people to view her Dictionary Project and Bedscapes.

Lauren's Dictionary painting called Mother.

Dictionary Project: “Mother.”

Dictionary Project
Begun in 1999, Lauren’s Dictionary Project was informed by the fact that she wasn’t stimulated in school. Looking back on her education, she jokingly wondered if she could have learned everything from an encyclopedia. Playing with that idea she envisioned getting a dictionary and painting and learning from it. “It just went into motion and moved forward,” she recalled. When she went to the El Cerrito Recycling Center’s free book exchange shelf, she found a “big, beautiful, old dictionary” on the ground. “I’m a really good ‘manifester’ of stuff,” she said, of her serendipitous experience at the recycling center.

Dictionary Project: "Dreaming" - Annie from Annie's Annuals and her seedlings and flowers.

Dictionary Project: “Dreaming” – inspired by Annie from Annie’s Annuals and her seedlings and flowers. Lauren’s murals grace the walls of the well-known nursery in Richmond, CA.

Since the beginning of the project, she has “fallen in love” with the dictionary – its words, the images on the pages, the edges of the fine paper. “I like the contrast between the delicate, old papers and printing, and my intuitive, quick, impulsive, first thought, best thought, down on the paper, don’t edit – boom,” she explained, punctuating each word. “The complement works really well.” The Dictionary Project – numbering some 200 paintings, which are in her own gallery, galleries in San Francisco, and in private collections – is an ongoing project for Lauren, who said, “I can’t get away from it. I just love it.” This project speaks to how prolific she is.

Bedscape: Sleeping with Death.

Bedscape: “Sleeping with Death.”

Bedscapes
In 1997, Lauren was moved by a “brilliant” art show in London that dealt with the topic of sleeping. A quote from Cervantes’ Don Quijote de La Mancha, which was printed in the pamphlet, inspired her, as did the notion of sleep as death: “All I know is that while I’m asleep, I’m never afraid, and I have no hopes, no struggles, no glories – and bless the man who invented sleep, a cloak over all human thought, food that drives away hunger, water that banishes thirst, fire that heats up cold, chill that moderates passion, and, finally, universal currency with which all things can be bought, weight and balance that brings the shepherd and the king, the fool and the wise, to the same level. There’s only one bad thing about sleep, as far as I’ve ever heard, and that is that it resembles death, since there’s very little difference between a sleeping man and a corpse.”

Lauren's Bedscape "quilt."

Lauren’s Bedscape “quilt.”

Lauren was flooded with a lot of images, but she didn’t translate them, along with the quote, until circa 2004 when she began her Bedscapes Project. She embraced the concept of everything being at the same level when one is asleep as well as the ambiguity between sleep and death. The bedscapes run the gamut of emotions – some are tongue-in-cheek, of which bright colors are used to depict humor. But as viewers look more closely, they see that the message is not “funny.” “I think of them as Venus flytraps,” Lauren said. Some are humorous, some dark – with Lauren’s penchant to mix them up. She views them together on the wall as a quilt, involving sewing, quilting, and piecing together. While mostly made out of clay, the bedscapes may move to a different media, according to Lauren. She is still working on them – so far, she has created approximately 30 – for a show planned in May 2014 at the FM Gallery (483 25th Street, Oakland, CA 94612, 510.601.5053).

Bedscape: "War Babies."

Bedscape: “War Babies.”

The subjects or the different “stories” for the Bedscapes Project find her – including her experiences and things that concern her. “War Babies” was made at the start of the Iraqi War. Early on, she would conceive an idea and create a bedscape. Nowadays, with less time and energy, she will ruminate on ideas, although the bedscapes are still intuitive and spontaneous. “I like for them not to feel labored and to just come together,” she explained. “I like it to be somewhat rough or imperfect – with a feeling of freshness.”

Although her art is not labored, it has a certain freedom that’s difficult to get to. She created two bedscapes that deal with the Chevron refinery in Richmond, called “Rooster’s Wake-up Call”: A giant bird is looming over a man in one bed, while two people covered in a black oil slick lie in another bed. A pile of people on a bed is a visual representation of the history one brings when sleeping with another person. For a bedscape addressing global warming, her tongue-in-cheek “solution” was to give trays of ice to a polar bear in a bed. Another bedscape entitled “Sleeping with Death” depicts a woman sleeping with a skeleton. “These are visual poems for me,” she said. “These are things I feel that I can’t figure out, that I feel are too big a subject matter for me to take on.”

Bedscape: "Rooster's wake-up call."

Bedscape: “Rooster’s Wake-up Call.”

Bedscape: "Who are you sleeping with?"

Bedscape: “Who Are You Sleeping With?”

Finding your own way through art
Lauren has spent most of her life volunteering and teaching. Her high school encouraged students to volunteer. “It always sat well with me that you give back,” she said. Lauren is a painting instructor at NIAD (National Institute of Art & Disabilities) Art Center (531-551 23rd Street, Richmond, CA 94804, 510.620.0290), a contemporary studio art program and gallery serving adults with developmental and other physical disabilities. She also teaches at the Richmond Art Center (2540 Barrett Avenue, Richmond, CA 94804, 510.620.6772), a nonprofit arts education and cultural institution, and Great Clay Adventure, which brings clay instruction to schools.

Bedscapes: "The Kiss."

Bedscape: “The Kiss.”

As was the case with the girl at Children’s Hospital (see Part I), she has experienced illuminating moments as an instructor. Lauren was teaching art to a kindergarten class when the teacher approached one girl, who had smashed her clay, and asked her where her penguin was. Lauren intervened and helped  the girl verbalize her thought process. When the girl responded that the penguin was under a rock, Lauren celebrated her out-of-the-box thinking. “That is just as valid; I don’t have to see a million penguins for you to be right,” she said of her initial reaction. “That’s how I’ve modeled my life.”

Indeed, Lauren entreats all artists to not listen to anybody but themselves. “Be okay with making lots of what I call ‘ugly’ art. It doesn’t have to be perfect; you just have to be in there doing it,” she said. She tells students in her children’s classes that being an artist is akin to being an investigator, with artists using their eyes. “There’s no wrong way,” she insists of the creative process. “You just need to find your own way. As long as you’re not hurting anybody and you’re finding joy, just go for it – this is your one life. Enjoy it and see what’s out there.”

Lauren with Bella, the family dog.

Lauren with Bella, the family dog.

Editor’s note: Lauren teaches art classes at her home studio on Thursdays, 7pm to 9pm, called Art Camp for Adults. Each session comprises four classes. Lauren suggests ideas and the group decides on the direction. The next session begins in September 2013. Lauren is also open to teaching art classes one on one with artists who are experiencing creative blocks or those who want some coaching and need assistance in putting their portfolio together in order to apply to art high school or college. She also hosts art events out of her home twice a year. To see more of Lauren’s work and to contact her, go to her website www.laurenari.com.

Lauren Ari: Art as affirmation of the artist’s existence, Part I

The artist is a receptacle for emotions that come from all over the place: from the sky, from the earth, from a scrap of paper, from a passing shape, from a spider’s web.
– Pablo Picasso, Spanish painter, sculptor, printmaker, ceramicist, and stage designer

Lauren at the entrance of her backyard garden.

Lauren at the entrance of her backyard garden.

I met mixed-media artist Lauren Ari, 46, at the Stockton Avenue Art Stroll in El Cerrito this past May. She was selling her framed paintings at the invitation of Jen Komaromi of Jenny K, who is a friend of hers and a fellow former preschool parent. Lauren and I hit it off, and although we had just met, a passerby in the store thought we had known each other for years. The relaxed conversation and easy laughter was largely attributable to Lauren’s honesty and energy. “I’m really honest – perhaps too honest – because my work is that way,” she told me in June, when I visited her at her home in Richmond, a welcoming place that is both an informal museum and sunny garden celebrating her colorful work.

When you look closely at Lauren’s paintings and sculptures, you feel as if you’ve gone – with her permission – into the recesses of her imaginative mind, where both light and dark co-exist. You also feel the frenetic energy that created it and the energy emanating, pulsing from her, which is infectious. “There’s something that’s faster than me, personally; I think I’m behind this energy that is moving me,” she said. “I trust something bigger than myself.” Indeed, Lauren added, “A lot of what I do is very intuitive; I don’t set out necessarily to do X, Y, and Z. Circumstances happen and I follow them.”

The sculpture All Is Love in her studio.

The sculpture “All Is Love” in her studio.

Following the winding path
Creativity was encouraged and ran in the family – her aunt was in ceramics and her uncle is a basket weaver. Her mother was also a creative type and reserved an area of Lauren’s bedroom for making art. She fondly remembers her grandmother’s coffee table books and paintings on the walls of her home, and as a child, Lauren pored over her grandmother’s books on Picasso, who inspired her. “”He spoke to me,” she recalled. By age 15, she was doing performance art with Racheal Rosenthal, called “Doing by Doing,” at the Women’s Building in downtown Los Angeles, where she grew up. She transferred out of public high school to attend a local art school. Although she labeled herself a “square peg,” in this creative environment in which all her teachers were artists she began to identify herself as an artist. “They exposed you to so much,” she said. “I really felt like I was learning for the first time.”

Lauren's flower pots in her garden.

Lauren’s flower pots in her garden.

At the age of 17, Lauren attended the Rhode Island School of Design (RISD). The first year at RISD provides the foundation for all students, and although at the time she admitted that she was not ready to listen and just wanted to be left alone to create her art, Lauren said that she learned “most everything.” While she was at RISD, her parents divorced, which led her deeper into her art. “I was in my own space; art was healing for me,” she recalled. Adding to her burden was the familial pressure of how she would be able to make a living from her art, despite her family’s encouragement to pursue her passion. “I didn’t have enough strength in myself to have faith in what I was doing,” she said.

Tile painting in the garden.

Tile painting in the garden.

She dropped out of college after two years and returned home, enrolling in the local community college and then taking on a variety of odd jobs. Feeling the need to finish school, she moved to the Bay Area upon the advice of a good friend and got her BFA with High Distinction from the California College of Arts and Crafts (CCAC) (5212 Broadway, Oakland, CA 94618, 510.594.3600) and later attended the University of California at Davis, where she earned her MFA.

“Art was my voice and a way for me to ground myself into existence,” she said, reflecting on that difficult time in her life. Many years later, when she was teaching art to critically ill children at Oakland’s Children’s Hospital, one of her students, a young girl, did not want to leave her class to undergo a procedure. She kept putting her hand down on the paper, leaving imprints which reminded Lauren of prehistoric cave paintings. “It was like she was saying, ‘I’m here,'” she said. For years, much of Lauren’s work represented proof that she existed. The act of creating was her way of saying to the world: “I’m here.” Art was her vehicle for staying present. “It was a big moment for me to really see myself,” she said.

At home with her daughter Mirabai.

At home with her daughter Mirabai.

The Impact of motherhood on the artist
Lauren experienced another revelation when she gave birth to her daughter, Mirabai, in 2006. Until she became a mother, Lauren didn’t realize how consumed she was with making art. “I didn’t question it [my art] as much. It was who I was, what I did, and I just gave myself over to that,” she said. “It gave me my purpose; it gave me a place to be and to ground.” Whatever energy she had she shifted to raising her daughter. “Having a child later in life was a very humbling experience for me,” she said. During that time, she realized – in a “shockingly painful” way – how imbued she was in her desire to be constantly creating.

“I have a lot more spaciousness now,” she said. Instead of excusing herself to work in her studio, she allows herself the luxury of having long conversations with people. She engages in activities that she has never done before, and she and her poet husband, Daniel Ari, and daughter do a lot of dance and movement together as a family. Lauren has since slowed down with her work. “I’ve just become a lot more relaxed,” she said. Before her daughter’s birth, she had already accomplished many of the things she felt she needed to do as an artist, including having several of her pieces included in the Achenbach Collection of the De Young Museum (50 Hagiwara Tea Garden Drive, San Francisco, CA 94118, 415.750.3600) and a two-person show at the Klaudia Marr Gallery, a well-known gallery in Santa Fe. “I succeeded in the outside world and those were all great things, but now I’m trying to figure out how to get back to my practice,” she said. “I’m trying to figure out what’s next.”

Lauren's sculptures in her studio.

Lauren’s sculptures in her studio.

Editor’s note: Lauren teaches art classes at her home studio on Thursdays, 7pm to 9pm, called Art Camp for Adults. Each session comprises four classes. Lauren suggests ideas and the group decides on the direction. The next session begins in September 2013. Lauren is also open to teach art classes one on one with artists who are experiencing creative blocks or those who want some coaching and need assistance in putting their portfolio together in order to apply to art high school or college. She also hosts art events out of her home twice a year. To see more of Lauren’s work and to contact her, go to her website www.laurenari.com.

One of the many murals in Lauren's backyard. You might recognize her murals at Annie's Annuals in Richmond, CA.

One of the many murals in Lauren’s backyard. Her murals grace the walls of Annie’s Annuals Nursery in Richmond, CA.

Plant a tree, have a child, write a book

(Every man should) plant a tree, have a child, and write a book. These all live on after us, insuring a measure of immortality.
– attributed to the Talmud and Jose Martí, Cuban revolutionary and poet

Vintage Underground's owner Carlos showing off his creations.

Vintage Underground’s owner Carlos showing off his creations.

On my last day of vacation in Chicago a few weeks ago, while on my vintage hunt, I met Carlos, the owner of Vintage Underground (1507 N Milwaukee Avenue, 773.384.7880), a shop that carries clothing, accessories, and jewelry dating from the mid-century. He was receptive to me taking pictures of his store for my blog, and when I finished making my way around the huge basement-level shop, he asked me what my blog was about. I told him it was my way of celebrating entering my 50s by living creatively, fully, and meaningfully. When I mentioned having finished my first novel back in 2006, only to be crushed by receiving 60 rejections from literary agents, Carlos scoffed.

Our ginkgo tree, which we planted in our backyard after we got married nearly 15 years ago.

Our ginkgo tree, one of my favorite kind of trees, which we planted in our backyard after David and I got married nearly 15 years ago.

“Sixty?” he repeated. “That’s nothing!” He proceeded to tell me that he would have stopped at 100, if that. “‘Plant a tree, write a book,'” he said. “Ever hear of that?” When I shook my head, he advised me to look up the Buddhist saying on the Internet. [When I came home, I indeed looked it up and found that there is disagreement about its provenance, but most references seem to give the nod to either the Talmud or Cuban revolutionary and poet Jose Martí. The order of the commandments is also varied. Carlos, as you can see, left out the part about having a child and the reason for doing these things.] For Carlos, the purpose of planting a tree and writing a book was not just about immortality but also expressing yourself, taking delight in these activities, and simply being.

Me and my kids, my heart and soul, downtown, along the Chicago River.

My kids – my heart and soul – and me downtown, along the Chicago River.

He showed me a turn-of-the-century handbag that sported two compartments. He had attached watch parts and gears to one side of the handbag. On the inside, he had inserted various things – a lipstick case and a toy gun – in the elastic straps. He also showed me a necklace and cuff he had made especially for a party he was attending. The watch hanging from a thick chain sprouted wings, while watch parts embellished the wide polished sterling silver cuff. All three pieces evoke a Steampunk aesthetic.

When Carlos told me making jewelry was his form of therapy, I laughed. But he was serious. Why pay someone money to listen to you talk about what’s troubling you and then you leave and that’s that? Here in his shop, he can create something beautiful and feel good about it. The act of creation is joyful, soulful, and meaningful. Other people also appreciate and purchase his creations, and he takes pride knowing they are wearing what he has designed. What he creates lives on. Carlos was on to something. And I fully agree with his philosophy on creation.

Leather and lace for summer.

Enjoy life! With cut-out leather and lace for summer (handbag from The Fickle Bag, Berkeley, CA).

Dress comfortably in the summertime, and dress with confidence.

Dress comfortably in the summertime, but more importantly, dress with confidence.

When I came home and found the full reference to the quote, at various times during that day and following days I pondered how it applied to me. Taken literally, I have done all three – we have planted fruitless cherry, ginkgo, and peach trees in our backyard and twin Aristocrat pear trees in our front yard; I have two children; and I’ve written my first novel, though it still needs one more round before I am ready to say that it’s done. But I realize having done all three is not the end of the journey. Our deciduous trees need their leaves to be raked and composted every fall. Their branches need to be pruned. They need watering. Our children, especially as they head into adolescence, will need just as much guidance, albeit with an invisible hand and eye, as when they were toddlers. And writing a book is a life-long process – one in which you get better as you get older and draw from your life experiences and wisdom. And then the next book is an extension, a growth of the first one, a growth of you. I am a better writer with each piece I write, whether fiction or nonfiction; I am a better writer than certainly seven years ago and even two years ago.

Reliving the nostalgic 70s with bell-bottom lace pants and floppy hat.

Be creative in all you do: Reviving the nostalgic 70s with bell-bottom lace pants and floppy hat.

For me, the original saying could not have come at a better time, when I’m going to be spending the next month and a half doing one last revision on my first novel and then figuring out how to set it free out in the world. There can be variations on the theme – plant vegetables or flowers, help birth babies or baby animals, adopt or mentor a child, write and record a song or design a building or paint a painting or choreograph a dance. Plant a tree, have a baby, write a book – such poetic, yet fierce words. Find your variation on a theme. Rejoice in the act. Become “immortal.” Simply be. Fully alive.

Novel almost done.

Novel almost done!

Chicago: Oak Park’s Frank Lloyd Wright and “Papa” Hemingway

I believe in God, only I spell it Nature.
– Frank Lloyd Wright, American architect and interior designer, Truth Against the World: Frank Lloyd Wright Speaks for an Organic Architecture

The front of Frank Lloyd Wright's first home and studio.

The front of Frank Lloyd Wright’s first home and studio.

When traveling with children, adults have to find the balance between visiting sites that children will enjoy and doing things they will enjoy. On our third day of our Chicago vacation from last week, it was our turn: We took the train to Oak Park, which is 10 miles west of the Chicago Loop, to tour Frank Lloyd Wright’s first home and studio and the other homes that he designed. While our kids weren’t thrilled to walk to 20 sites, they retained some of the information from the audio portion of the tour, which I consider a small victory.

Exterior detail of Wright's home.

Exterior detail of Wright’s home.

Oak Park became a destination for Chicagoans who fled for wide open spaces after the Great Chicago Fire of 1871, which killed hundreds and destroyed more than three miles of the city. So just in case the house next door went up in flames, one’s property line would be far enough away to be safe from catching fire. Our touring day could not have been any better – warm but pleasant, with low humidity and a slight breeze. Led by a guide, we saw his home and attached studio first, which had beautiful stained-glass and leaded-glass windows, built-ins, interesting ceiling lines, and sconces that showed off a house wired for electricity.

The beautiful children's room.

The beautiful children’s room.

Wright’s mother, to whom he was very close and who bought the house next door to his home, knew he was going to become a famous architect. His mother, who was a teacher, fostered this belief by hanging photos of buildings around his crib. The top floor of his home features a very large open room that was called the children’s room. He didn’t believe that children should be seen and not heard – the prevailing Victorian attitude. An interesting piece of information: His mother and wife developed the concept of kindergarten – no doubt in that great room – by letting their children play with building blocks, which was the foundation for the kindergarten curriculum. In addition, Wright’s son created Lincoln Logs.

The Frank Thomas House, 1901, 210 Forest Avenue.

The Frank Thomas House, 1901, 210 Forest Avenue, Oak Park.

Wright had to borrow money from his mentor and boss, Louis Sullivan, whom he called Lieber Meister for beloved master, in order to build the house for his wife and growing family. Sullivan helped shape Wright’s career and influenced what became known as the Prairie School of Architecture. They parted ways when Sullivan discovered that Wright had designed a number of homes on the side, which was a violation of his contract. The many homes we saw on the tour were in fact Wright’s early bootleg homes. They all represented the Prairie School of Architecture’s philosophy of being close to Nature. The style is characterized by earthy interior and exterior colors, horizontal lines, obscured front doors, rows of vertical windows, and integration with the landscape. The massive Unity Church was an artistic breakthrough for Wright, who realized while designing and building this church that “the reality of the building is the space within” – in other words, the walls and roof don’t define the building.

The Frederick C. Robie house in Chicago.

The Frederick C. Robie house in Chicago.

We also toured the Robie House (5757 South Woodlawn Avenue, Chicago, 312.994.4000), which is a U.S. National Historic Landmark located on the campus of the University of Chicago in the Hyde Park neighborhood. Wright considered this house the crowning achievement of the Prairie style and ultimately the structure that he cared about the most in terms of preservation. Designed and built between 1908 and 1911 for Frederick Robie, a successful businessman, and his family, the house cost nearly $60,000, which is the equivalent to approximately $1.3 million today. Interestingly enough, the built-in dining room cabinets are made of plywood, which at the time was a new technologically advanced building material.

The Nathan G. Moore House, 1895/1923, 333 Forest Avenue.

The Nathan G. Moore House, 1895/1923, 333 Forest Avenue, Oak Park.

Robie only lived there for a little over a year; he was forced to sell to pay off his father’s debts when his father passed away and his wife divorced him after finding out about his mistress and his frequent trips to brothels. Two more families lived in the house, with the last family selling it to a seminary, which turned it into a dormitory for married students. Two plans to demolish the house were defeated, with the last attempt in 1957 bringing out Wright, at age 90, to protest via a press conference. The house was saved and donated to the University of Chicago in 1963, and has been undergoing restoration since 1997 by the Frank Lloyd Wright Preservation Trust. There is still much to be done before the house is returned to its former glory, but historians have been working painstakingly to ensure that the house reflects its original state.

Hills-DeCaro House, 1896/1906, 313 Forest Avenue.

Hills-DeCaro House, 1896/1906, 313 Forest Avenue, Oak Park.

I have long been a fan of Arts and Crafts, Art Deco, and Frank Lloyd Wright architecture, mostly for their devotion to simplicity and attention to detail. Seeing the intricate patterns in the stained-glass windows and rugs and lighting fixtures, the murals in his first house, and the built-ins was definitely a spiritual moment for me and a very moving experience – you truly feel close to Nature. If you’re ever in Chicago, touring Oak Park and the architectural buildings in the City is a must to fully appreciate the history of this great area.

Hemingway’s legacy in Oak Park
As a writer, you should not judge, you should understand.
– Ernest Hemingway, American author and journalist

Paying homage to "Papa" Hemingway in front of the house of his birth.

Paying homage to “Papa” Hemingway.

By the time we finished up our Frank Lloyd Wright tour and walked to Ernest Hemingway’s birthplace (339 N Oak Park Avenue, Oak Park, IL 60302, 708.848.2222), I only had an hour to do either the tour of his birthplace home or the museum. I could not do both. I stole a glance around the first floor of the three-story Victorian house, which was decorated in period style. When I was told by the guides that the tour focused on the first six years of his life in his grandfather’s house (his family moved afterwards to a house that his mother designed and had built) and that the museum, which is located in the Oak Park Arts Center (200 N Oak Park Avenue) a few blocks away, was comprehensive and focused on his writing career, I opted for the museum – while the kids grabbed a bite to eat. My appetite was literary.

The Oak Park Center, which houses the Hemingway Museum.

The Oak Park Center, which houses the Hemingway Museum.

I wish I could have done both, but the museum was a treasure trove of Hemingway memorabilia and had numerous artifacts that required more than an hour of one’s time to see and read everything, including two videotapes that were running in a loop. Hemingway was born on July 21, 1899, and went to school through high school in Oak Park.

I took a seminar on Hemingway when I was an undergrad at UC Davis, and I loved reading his novels and short stories, sharing and discussing what was going on in his stories, and examining the structure and rhythm of his sentences and the choice of his words. One of the best pieces of advice Hemingway has given to other writers is his famous theory of omission, from Death in the Afternoon: If a writer of prose knows enough of what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an ice-berg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing. He also wrote, “Never confuse movement with action,” which is another great lesson for writers.

The crowded room that housed myriad photos and other memorabilia from Hemingway's life.

The crowded room that housed myriad photos and other memorabilia from Hemingway’s life.

I knew that he was an ambulance driver during WWI and was injured by trench mortar and machine gun fire while passing out supplies to soldiers in Italy in 1918. I knew that he fell in love with one of the nurses who cared for him and that she eventually gave in to his advances, but when he returned to the States, she wrote him a Dear John letter. It was fascinating to read Agnes Von Kurowsky’s letter. Little did she know that her letter would be displayed in a museum for all to read!

Some interesting things I learned: His high school teachers gave him a solid foundation for his writing. One teacher in particular had her pupils imitate the writing styles of well-known authors, which I think is a great exercise. Instead of going to college, Hemingway became a cub reporter for the Kansas City Star newspaper, which taught him to be the writer that he best known for: short sentences, short first paragraphs, and vigorous English. There were so many things to see and read that I could not get through in an hour. Another trip to Chicago warrants another trip to Oak Park, which is also a quaint, bucolic town by itself. After leaving the museum, I felt inspired and look forward to rereading some of Hemingway’s classic novels and short stories.

I leave you with this Hemingway quote: “My aim is to put down on paper what I see and what I feel in the best and simplest way.”

The Simpson Dunlop House, 1896 by E. E. Roberts, 417 Kenilworth Avenue. Not a Wright design, but just another beautiful home in Oak Park.

The Simpson Dunlop House, 1896 by E. E. Roberts, 417 Kenilworth Avenue. Not a Wright design, but just another beautiful home in Oak Park.

June 12, 1898: Philippine Independence Day declared

The price of freedom is eternal vigilance.
 – John Philpot Curran, Irish lawyer and politician

An outfit that reminds me a little of traditional Filipina fashion - the embroidered flowered blouse with stiff sleeves and scalloped edges.

An outfit reminiscent of traditional Filipina fashion – the embroidered flowered blouse with stiff sleeves.

Today is Independence Day in the Philippines. On this day in 1898, Filipino revolutionary Emilio Aguinaldo declared independence from 300 years of Spanish rule during the Spanish-American War. The Americans came to the islands to expel the Spaniards, but turned around to become the Filipinos’ next colonial ruler and exporter of the island country’s rich natural resources. Despite the declaration of independence, Filipino rebels fought for their country in 1899, in what was to become the Philippine-American War, with which few Americans are familiar. In the Treaty of Paris, Spain ceded the Philippines to the U.S. for $20 million. It was not until after World War II that the Philippines finally gained their independence.

Floral accessories for an embroidered blouse with scalloped edges.

Floral accessories for an embroidered blouse with scalloped edges.

I first read about the little-known Philippine-American War when I was researching the history of the Philippines for my first novel-in-progress, A Village in the Fields. My main character, Filipino farm worker Fausto Empleo, left his homeland to come to America to “change his luck,” which is what my father wanted to do when he left his coastal hometown of San Esteban, Ilocos Sur, in the early 1920s. The turn of the century in the Philippines was and still is an incredibly fascinating time. The exhilaration of freedom was soon stamped out by shock and betrayal. This was a war that was not acknowledged, an unofficial war. It was a war that helped determine the 1900 presidential election of incumbent William McKinley and anti-imperialist William Jennings Bryan. It has been later called the first Vietnam War for the torture that American soldiers inflicted on innocent civilians. It is a war that I will be returning to in my fiction writing.

Colors of the Pacific Ocean.

Colors of the Pacific Ocean.

In honor of Philippine Independence Day, here is an excerpt from Chapter 2, “What was left behind,” of A Village in the Fields:

When Fausto reached the second floor, he saw a candle glowing in his lelang‘s bedroom. She was usually asleep by this time. He hesitated before pulling the crocheted curtain aside, but she was sitting up, waiting for him. He sat on her bed, inhaling the musty, bitter scent of betel nut mixed with lime from her lips and red-stained teeth.

“Lelang Purificacion,” he said, “Pa will not give me his blessing.”

“If he did not love you, he would let you go without a care. You should be honored by the burden of his love,” she said, and sighing, stared out her window, the capiz-shell shutters wide open. “When you are in America, you must remember him and forgive him. Better to be hurt by his love than to be all alone with nothing.”

“What about you, Lelang? Will you try to change my mind?”

She pursed her lips as if she had swallowed something more bitter than betel nut juice. Tiny wrinkles fanned out from her mouth. “I have a story to tell you. It is not my intent to change your mind. I tell you this now because I do not want you to be ignorant.”

He laughed. “Lelang, I am going to America to gain knowledge.”

She kneaded her fingers. Veins, like thick twine wrapped around her fist, warped the shape of her hands. “Do you know the date June twelfth, eighteen ninety-eight?”

“Independence Day,” Fausto answered. “The Americans helped us defeat the Spaniards. Miss Arnold taught me about the Americans’ involvement.”

She pulled her shawl over her shoulders. “There was another war after the Spaniards were removed, but you will not find it in any American history books. Your father was too young to know what was happening in the lower provinces and on the other islands – we do not talk of the bad times – but I told him years later, when he could understand. He never forgot, but now you will make him think of it all the time.”

“Remember what?” Fausto’s voice was as taut as the woven mat stretched across his lelang‘s bed.

“The war with the Americans,” she said softly. “I had received word that my parents and sisters and brothers were being sent to a detention camp set up by American troops in our hometown of Batangas. We thought the news was false, but your lelong, Cirilo, went down there to bring them here. When he left, your father was only ten years old. More than a year and a half passed before your lelong came back alone. He had lost so much weight. He would not say what became of my family. The day he came back was the day my family ceased to exist. It was also the day your lelong ceased to exist.”

Fausto’s Lelong Cirilo, who before his long absence had welcomed the removal of the Spanish government from the Philippines, kept his sons from attending the American schools that were cropping up across the islands and swore under his breath at the American soldiers who passed through town. Two American Negroes arrived one day and settled in San Esteban. He befriended them, welcoming them into his home for meals and accepting their dinner invitations. When he returned late one evening, he confided to Purificacion that they were American soldiers who had deserted the army. “They will never return to the States. They said they are freer in our country than in their own,” he insisted, though she didn’t believe him. He told her the white American soldiers had called him “nigger” and “savage,” words that they also hurled at the Negroes. “My friends call me brother, and there is great truth to that,” he said.

Fausto had no recollection of visits to their house by Negro soldiers, though he remembered seeing two Negro men at his lelong‘s funeral. When his lelang died, he looked older than his sixty years. He always had snowy white hair as far as Fausto could recall. Each year had separated him farther from Batangas, but keeping a secret from his family for so many years had aged him, kept the memories fresh.

When Fausto’s lelong was dying, he took his wife’s hand and said, “Forgive me, Purificacion, for burdening you with silence and now the truth about your family.”

He spoke as if he’d just arrived amid the makeshift detention camps in Batangas. He was labeled an insurrecto, an insurgent, by American soldiers who found him outside the hastily drawn boundaries. Everywhere soldiers confiscated possessions and destroyed crops, torched houses and rice-filled granaries. Black clouds blotted out the sun, and rolling green fields turned to gray as ash rained down on the camp. Ash clung to their hair and eyelashes, their bare arms and legs. Cirilo tasted smoke in the rotten mangos they were being fed. Exhausted and starving, he fell asleep to the squeal of pigs that were being slaughtered nightly and left to rot in their pens. When Cirilo asked what they had done wrong, an American commander accused the villagers of being guerrilla supporters. It was necessary, the commander said, to “depopulate” the islands.

Unrest plagued the camps. Men, propelled by the hope of either being released or spared death, turned on each other by identifying alleged rebels – regardless of whether the accused were guilty or innocent. Those singled out were held down on the ground, arms pinned behind their heads or tied behind their backs, mouths pried open, beneath the running faucet of a large water tank. “Water cure,” Cirilo called it. The American soldiers in their cowboy hats shoved the butts of their rifles or their boots into the prisoners’ bloated stomachs for several minutes while a native interpreter repeated the word over and over again, “kumpisal” in Tagalog to the prisoner and “confess” in English for the Americans’ sake. But many of the prisoners drowned.

The detention camps were overcrowded, with little food or clothing to go around. Malaria, beriberi, and dengue fever raged. American doctors treated the soldiers who fell ill, but neglected the sick prisoners. Everyone in Purificacion’s family died of disease. Cirilo didn’t know if anger or grief had kept him alive. He escaped with two prisoners one night, but not without having to grab the patrolman’s bayonet and smashing his skull. On his journey back to Ilocos Sur, he heard similar stories of detention camps and ruined villages. Some said the Americans were angry because the natives were ungrateful for their help in liberating them from Spain. Instead of welcoming them as heroes, the Americans complained, the natives were betraying them, hurling their bolos and hacking to pieces American soldiers who stepped beyond the towns they had pacified. They used spears, darts, and stones, but they were sticks compared to the American bayonets. The guerrillas were easily flushed out by the American soldiers like quails in a shoot.

Cirilo met a compatriot who had fled his hometown of Balangiga on the island of Samar. He told Cirilo that the American soldiers had rounded up the townspeople and crowded them so tightly into open pens that they could not move. They slept upright, leaning against one another. The American Navy fired on his village from their gunboats before they landed to invade. “They are turning our lovely islands into a howling wilderness. They cry out, ‘Kill and burn’ everyone and everything in their path,” he said. Another man who had escaped ruin in his hometown recited an order – like a drinking song, a motto – that he said had been handed down from an American general to all his soldiers in the field: “Everything over ten” would not be spared. Everything over ten.

“This is your America,” Fausto’s lelang told him, and slumped against the scarred wooden headboard of her bed.

“Things have changed.” Fausto’s voice faltered. “When I was in school—”

“Poor boy!” She sat up, spittle flecked on her lips. “Those kind American women in those American schools were not teachers. They were just another soldier, telling you what to do. How could I tell you then? Miss Arnold opened up the world for you. Education is good. But they came here for a darker purpose.”

“Lelang, Miss Arnold is not evil.”

“You are not listening!” She shook her head, her gray hair brushing her shoulders like a stiff mantilla. “You will never be accepted by the Americans because they will always treat us different. The Negroes in America have been there for hundreds of years, but they are still treated like criminals. Why go there with this knowledge?” The flame hissed as the melted wax pooled around the short wick. Her dark eyes were wet in the candlelight. “You think your father is ignorant, but he is not. American education made you smarter, but their schools erased our past, just as the Spaniards did.”

“Lelang, I am not ignorant.” Fausto got up from her bed, but suddenly felt weightless, unanchored. He held on to one of the thick, carved bedposts.

“I told this story only once before, to your father after your lelong passed away.” Her fingers kneaded her pliant cheek, skin shattered by deep wrinkles. She whispered, “Until that time, Emiliano never knew why his own father was so untouchable.”

“I am sorry for your loss.” Fausto’s words, his whole body was stiff. He pulled down the mosquito net from the four posters of her bed until she was encased in white gauze. She seemed so far away from him as she blew out the candle.

“We must make use of the bad times,” she called out.

He unhooked the curtain from her bedroom entryway and let it fall in front of him. “It will make me stronger, Lelang,” he said. He waited to hear her voice again. In the moonlight, wisps of smoke rose and disappeared.