Living in a rural area in the Colorado mountains provides a unique set of obstacles to be dealt with, including a forty-five mile commute, one way, on winding mountain roads which can be treacherous in winter weather conditions and clogged with tourist traffic in the summer that can turn a forty-five minute drive into and hour and a half. It can be nerve wrecking and even hair raising at times. And the wear and tear on my vehicles – proper maintenence and tires, etc… – due to all the mileage I put on them gets downright expensive!
I hate that commute and for several years now I’ve been asking myself why I do this live in this remote place. Three years ago, I hit black ice and rolled my car over on its side, totaling the car and raising my insurance, even though I had broken no traffic laws or violated the rules of the road. I hadn’t been driving too fast or being reckless. It was simply the road conditions that caused me to wreck. The cop almost landed on his derierre when he approached to issue me the ticket because the road was a sheer sheet of ice.
But it’s not just the commute. There are other unique difficulties that come with living off-grid, like hauling water and keeping generators and solar systems functioning, and chopping wood for winter fuel. Only in such remote locations does one have an internet outage during the writing conference that your hosting, causing you to have to stay at a hotel and miss one full day of events, as it happened during this year’s WordCrafter virtual writing conference. It can be tough when you don’t have the simple ammenities that many people take for granted.
Yesterday, as I was driving home from work, I saw something that reminded me of why I live where I live, in spite of the need to do that often treacherous and all too frustrating commute. As I turned off the highway and headed up the dirt road that I live off of, I came around a corner and saw a patch of brown, almost hidden in the meadow grasses below a heavily forested hill. At first I thought it might be a cow or perhaps a horse, as the folks who live just over the hill keep livestock, but it didn’t stand tall enough above the grasses to be of the equine or bovine persuasions. I slowed down to get a better look, and the sound of my car must have drawn the as yet unidentified animal’s attention, causing it to look up and allowing me a good look, as well.
I hit my brakes and then threw my car into reverse, backing to a spot off the road, where I had a fairly decent view of a large brown bear which was now watching me to see what I was up to. The bear watched me for a couple of minutes, as I dug in my computer case for my Kindle, the only device with a camera that I had available. Then, he must have decided I didn’t pose much of a threat and went back to whatever he had been doing in the grass before I came along. The grass still hid him partially, but I was able to snap several photos of him before he lost interest and decided to head back over the hill. I had a much better view as he ambled away, so I slid out of my car and walked to the back of the car to snap a few more shots. He looked back to see what I was doing, but didn’t seem to concerned, as he turned and continued on his way.
That’s why I do it. That is why I make the commute, and why I make lists and keep things stocked up, so I don’t end up making extra trips, and do all of the other things that are kind of a pain, but are necessary to accomodate my chosen lifestyle. That’s why I work so hard to grow a following and make money from my writing and publishing skills, so I won’t have to make that commute anymore.
Because living where I live, I get to see things like that big brown bear and many other kinds of wildlife that city dwellers miss out on. The bear I saw yesterday was only one of many wildlife sightings that living here has offered me. Many are just glimpses, such as the two foxes playing in a drainage pipe at the side of the road, or the bobcat running through the trees, but on a few occasions, I’ve even been afforded the opportunity to capture them in photos and created the wonderful images I’m sharing here today.
The flora and fauna surrounding my Colorado mountain home are what makes it all worth it. Beside road side wildlife, my mountain home offers opportunities to view and often, photograph many species of birds and plant life. Beautiful wild flowers and and magnificent bird photos inhabit my photo library, where the images of a small fraction of all the magnificent species to which I have been witness to, have been captured. Many encounters that I wasn’t able to capture through the lens have instead inspired poetry or found their way into stories that I’ve written, or other writings.
All of this serves to remind me of the reasons why I do what I do, and live where I live, strengthening my resolve to keep doing what I’m doing. My motto has always been “Endeavor to Perservere”, or keep on keeping on, and that’s just what I’m going to do, but now I remember why I’m doing it.
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After seventeen years of tobacco-free life, I started smoking again.
I hate it when I do something SO stupid there’s no excuse for it, SO asinine that the only way to absolve myself is to take a spanking by bending over and backing up into a wall really really fast.
In 2001 after huge exertion, I quit a three pack-a-day habit. I am not a cold turkey type of person. I’m more like a warmed over chicken type of person. I have to do things in steps.
To quit smoking I used nicotine gum and the patch. In two months I was down to half a pack a day. I know, you’re not supposed to smoke and wear the patch. Tough. I did. Then I made a big jump. I went to a mere two cigarettes a day. I managed my craving by hiding cigarettes in plastic bags on the side of the road. I smoked them on my way to and from work. On Monday morning I bought a pack and spilled sixteen cigarettes into the trash. As I drove the rural twisting road to work I smoked my first cigarette. Then I paused at my secret stash place, took a baggie from my pocket and deposited the remaining three cigarettes under a bush. On the way back from work I stopped again and smoked the second cigarette.. On the day following, I stopped at the bag in the morning, took out a cigarette, then stopped again in the evening. Every other day I would buy a new pack and start the cycle again. One day a motorist spotted me as I was putting my baggie under the bush. He drove past, pretending not to see me. I drove a bit further in the opposite direction and stopped. I could see the man through the trees. Sure enough, he was looking around for whatever I had put in the baggie. I don’t know what he was expecting. Was he hoping for an ounce of weed or a wad of hundreds wrapped with a rubber band? He found my bag, and I saw his shoulders slump in disappointment. The man was obviously a low character.
He lit the cigarette, tentatively at first, to test it. Maybe there was something “special” about it. Alas, there was not. He finished the smoke, (the nerve of the guy!) crushed it underfoot and returned to his car.
I understood at that moment that I had reached the height of the ridiculous. It was time to end the farce. No more cigarettes. I was done.
It was lovely, being free of tobacco for twenty years.
What drove me back to smoking? What could be so frustrating, so enraging to cause me to undo that effort, the dedication that I had given to ending my addiction?
I taught a class of rich tenth graders about the marvels of digital photography.
I had been hired by a private school to teach one semester. The money was good. I taught three classes per week. The head of the board of directors had read an article about my volunteer work with a low-income high school. I had done four years of mentoring. Working with disadvantaged kids had given me deep satisfaction. They were respectful, hungry and grateful. At the holidays each student made a card for me using a personal photo project. Some of them were lovely. Some of them betrayed an appalling lack of literacy. The students’ basic reading and writing skills hardly existed. I got a photo card from a senior. It had a razor-sharp black and white shot of a street scene. The little girl jumping rope was in mid-air. The old guys loafing in chairs were laughing as clouds of beer-spit hovered before their lips, each globule perfectly stopped like a cluster of stars in space. Some were small white and foamy, some were clear and spherical, some were shaped like flying liquid bullets. This was a real talent in the making. The boy’s scrawled message read like this: “Thang yu m Rosh fore teeshng mu to shit photo”
Then came the offer to teach at “Country Day Academy”. I was thrilled to have a chance to be paid nearly five thousand dollars to teach a semester in a school where every student would have a laptop and a digital camera.
The school was a beautiful facility. It was set in the midst of parklands. There were benches under oak trees, little waterfalls, gentle rolling hills. I saw kids skateboarding along broad walkways, wearing torn jeans and hoodies. Most of the students seemed attached to a cell phone or an Ipod.
I had done my mentoring in a public school built like a prison. It was all fences, high walls and right angles. There was no greenery, no plant life. Trash blew along its paved quadrangles, empty Cheetos bags yawed in the wind. Every year there were a handful of murders among the student body. Memorial posters hung in the corridors:
“Jerry Rodrigues, 2003-2018. We’ll miss you.”
The posters were enlarged class photos of self-conscious teenagers with bad skin and confused expressions.
“Nguyen Van Pham, 2004-2019. So Much Promise.”
I felt no fear. Wherever I walked students greeted me.
“Hey Mr. Rosch, how ya doin?”
“Mistah Rosch, ‘wots happenin? Everything’s cool, it’s all good, you know?”
I carried four thousand dollars worth of gear in my photo bag. I never had any trouble at Naked Gun High School.
Now I was in a different environment, an affluent California suburb. I was confident I could ignite a love of photography in some of these kids at “Country Day Academy”.
On the first day of the semester, I arrived at my classroom half an hour early and set up my tools. I had a laptop and my camera gear. The school provided a digital projector so I could show images and procedures on my computer to the entire class. I would have loved a digital projector back at Flying Bullets High School.
Every student was to have a Mac laptop for my class at “Country Day Academy”. The latest and best photo editing software would be installed on each computer.
There were four rows of long tables with chairs in the classroom. They formed a square that was open at the ends. In the room’s center I had a small table to hold the computer and projector while I spoke. I could stand outside the square and walk around the classroom to reach each student. I could see all twenty four of my students and they could see me.
I had been told that I could use basic forms of verbal discipline. There would be no shouting, no cursing and of course no corporal punishment. To back up my discipline I had the option of sending a student to the principal’s office. This was a feeble deterrent. The principal, Mrs. Forster, was as frightening as a stick of cotton candy. She used “therapy talk”. “What are your feelings, Trish?. Why are you acting out? What can we do to resolve your issues?”
At one o’clock the bell rang to begin fourth-period class. Within five minutes, fifteen of my students had drifted in and taken a seat. They were talking among themselves. They gave me a cursory glance. The boys continued pushing one another and laughing. Several were immersed in portable video games. The girls were listening to their Ipods, talking about boys and squealing at supersonic pitch.
By ten after one, another four students had arrived. They took their seats casually and looked around the room. They were either smirking or looking completely stricken and miserable.
I still had five missing students. I started the class.
“Hi, I’m Mister Rosch, and this is a class in digital photography. Would each of you answer when I call your name? I need a while to remember names, but I’ll know you guys soon enough.”
They looked at me as though a giraffe had suddenly materialized in the room, something completely out of place, exotic and impossible to ignore.
A girl wearing a soft white hoodie sat at the end of the rear table. Her eyes were unfocused. I knew she was listening to music. It was so loud I could hear it. I was amazed that her head didn’t turn to mush.
“Young lady, please take the hood down and turn off the Ipod.”
She didn’t hear me. I met the eyes of the girl next to her and cocked my head to the right. The girl poked her neighbor. The hoodie girl emerged from her trance. Her neighbor spoke with enough volume to be heard over the music.
“Off the hoodie! No Ipod,” she yelled, poking her thumb in my direction to fix the blame where it belonged. The girl’s face emerged from the shadow of the sweat-shirt’s hood. She was lightly freckled, her hair short and black. One of her cheeks was distorted by a huge wad of gum being masticated with large chomps of her teeth. Her mouth opened and closed like that of a lamprey.
“Your name is?” I asked. .
She removed the chunk of gum and put it into a tissue. “Stephanie,” she answered. She placed the gum and tissue in her backpack.
“Oh..uh.. Stephanie Blarney,” she said, and there was a titter of quiet laughter from the class.
I looked at my roll list and found one Stephanie, last name Hubbard.
I asked the girl in the next seat. “Is she Stephanie Hubbard?”
“Guess so,” the adjacent girl answered. She looked to her left. “Is that your name, Blarney?”
“Yeah,” Stephanie Hubbard grunted. The white ear buttons of her Ipod dangled from her dainty hand like the eye stalks of an insect she had just squashed.
I was about to resume roll call when a thin young gentleman appeared. His skin was conspicuously pimpled, his hair looked like a broom that had served as a target for shotgun practice. His eyelids were at half mast. Marijuana vapor rose from his clothing like mist from a rain forest.
As he took a seat I said, “Sir, you’re twenty minutes late.”
He looked up at me and said, “Huh?”
“Twenty minutes,” I said.
“Twenty minutes what?”
“You’re twenty minutes late,” I repeated. I wasn’t going to get angry. What would be the point?
“Oh well that’s cool,” he responded.
“Just take a seat, please.”
The boy looked around for a place of comfort, for a friend, an acquaintance, a safe spot. He stumbled to and fro until he found a seat that had no neighbor. His spot was padded with two empties on one side, and an empty on the other.
Some of the students were laughing at the boy. Little snorts gusted from their noses.
I continued the roll. Megan Ballantine. Anthony Candoli. Keith Eberhardt.
I had gotten that far when the door opened and a compact black student entered the room. He was the only black student I had seen on the campus. He walked with a combination droop and bounce, very loose in his knees. His hands were held with each index finger pointed out while the other fingers curled into a fist. His limbs moved with the swaying grooves of the hip hop gangsta. His head was thrust forward, his elbows jogged, his arms kept criss-crossing his chest.
He went directly to a seat at the table nearest the door, scooched himself between two friends. There was a little rally of smacked hands, coded fingertwiddles and muttered incantations of “right on right on”.
When this was done the latter student squared himself to face forward and smiled at me with perfectly false sincerity and charm. His eyes twinkled with benevolent mockery.
“S’up man?” he asked rhetorically. “Everything ‘aight?”
I walked to the door and twisted the lock mechanism to the left, and then back to the right. I did it three more times, loudly, conspicuously.
It was 1:25.
“I want everyone to know that from now on this door is closed at three minutes after one. Class begins at one. You’ll have three minutes grace. That’s it. I’m cutting you slack.. Don’t even bother coming through the door after that. Go straight to the principal’s office.”
I repressed my desire to start a “when I was your age” speech. No good, no good, utterly useless and stupid.
I booted up the computer. The screen at the front of the room lit up to display its desktop. I sat in the chair next to the computer and projector. I moused onto the icon of Photoshop, so I could open the program.
“There were supposed to be twenty four computers here,” I said to the class at large. “Does anyone know where those computers might be?”
A hand shot up. It belonged to a young man with a broad forehead and the faint beginnings of a moustache. He wore glasses and was dressed neatly in a short -sleeved shirt and belted khaki pants.
“Your name is?” I began.
“Damian,” he said. “I think the computers are still being checked out by Jeff in the tech lab. He’s supposed to bring them here when he’s done.”
There’s always a kid in class who wants to help the teacher. Sometimes he’s the smart kid, the geek. Sometimes he’s the kid with the worst grades. He becomes a helper out of desperation. I had a feeling that Damian was the-geek. He spoke with a quick enthusiastic tone. He knew everything, had all the answers. I saw several sets of eyes roll upward. This was the familiar Damian known to the student body.
Damian nudged the boy next to him. “Bock,” he said confidently, “Why don’t you go down to tech lab and get those laptops, or find out why Jeff hasn’t brought them up ?”
Bock was a chubby frazzle haired person whose shirt buttons weren’t properly aligned.
The division of labor had already been apportioned. I had one of each, the geek and the helper with the low grade point average.
Without referring to me or looking in my direction, Bock rose from his chair and loped out the door.
“He’ll take care of it, Mr. Rosch,” said Damian with calm familiarity. “Jeff is notoriously slow.” He pantomimed the act of inhaling marijuana. The air hissed through his lips. “He gets the job done but he loses track of time.”
First day problems, I thought. At least the projector was there, and it worked.
“I’d like to finish calling the roll, so at least I can put some names to faces,” I requested. I tried to keep my tone calm.
Then a pert little girl wearing denim overalls and a plaid Pendleton raised her hand and waved it like a semaphore.
“Okay,” I said fatalistically. “What’s your name?”
“Um…I’m Kate…and…um…I need to go to the bathroom.”
“Kate,” I answered, looking conspicuously towards the wall clock. It said 1:30. “This class is over in twenty minutes. Can you possibly wait until then?”
“I …um….well…it’s you know…girl problems, a real emergency.”
What was I going to say? No, you can’t replace the leaky tampon in your snooch? I didn’t entirely believe her but I couldn’t be sure. I made the worst tactical error of the entire semester.
“Kate, just go,” I shook my thumb as if it had a mild burn. “Please come back here immediately. Don’t dawdle in the hall.”
Kate vanished in a whiff of pleasant soapy odor. I didn’t see her until the next class, two days later.
Immediately another girl waved her hand in the air. I held my silence for a couple of minutes. The girl in her seat kept waving. I held the silence until the room acquired an uncomfortable muttering edge. There was a hole where a response should be and no one wanted the hole to continue existing. Words began to spout from students’ mouths, random words, like “Man,” or “Hey”, or “Jeez. Finally the girl said, “Fuck, man, I gotta go too!”
I nodded. Three other girls rose with her, and all of them fled the classroom as if a plague-carrying stink had arisen somewhere in the collective bio-mass. They were fleeing this stinky death as if it would otherwise stalk them the rest of their short lives.
Vizz! The door opened and closed. The class was down to fifteen again.
No sooner had the three girls vanished than a handsome young lad with the look of James Dean entered the room. The students were suddenly quiet. This young man, keeping his back to the wall, slid the entire perimeter of the classroom until he found the seat closest to me, the seat at the very end of the table next to the windows. He stuck out his hand and said, “Woodleigh. Atherton Woodleigh.” I shook his hand.
“Most people call me Lee. They tried calling me Woody but I cut them up a little and put a stop to that real fucking quick.” This was delivered with clear sincerity and humility. It wasn’t a boast. It was a fact.
I found the name of the sociopath on the roll list and marked it with a check and the time: 1:36.
The conversational volume in the room now grew until it was a general melee. Everyone was talking.
I found a phone book under the teacher’s desk near the windows. I raised it and slammed it down on the desk.
“Goddammit!” I shouted. “Will you shut up?”
They shut up. Now they were all watching me.
At that precise moment there was a clatter at the door and it pushed open as if by its own volition. I saw a long double tiered metal cart forcing its way into the room. The one called Bock slid past it and took its front end. He pulled with his back towards the class. Half his shirt tail hung over rumpled brown pants. At the other end of the cart, facing me, was a tall man with a long pony tail. He wore a black leather vest with a Hell’s Angel logo done in elaborate beadwork.
‘Here’s the Macs” Bock said triumphantly. Everyone began to rise from their chairs
“Sit down!” I commanded, and I was obeyed. “Bock, will you hand out the computers, please?”
The Tech Man, Jeff, said, “Sorry about the lateness, man. These lops are a little creaky from last semester. The Essential Theater Arts class used ‘em and those guys don’t care about their gear at all, no way. Had to reformat every one of ‘em. Not the kids, I mean. The computers. You know what a bitch that is?”
Each computer had a number taped to its bottom. The first student to get a computer was a bulky boy with light curly hair. He occupied the seat nearest the door. He looked under the computer and said, “Uh uh, this computer’s bunk, number zero one three six, uh..uh..it crashes every two minutes.”
He thrust the computer back onto the cart and reached for another. Jeff slapped his hands away.
“Ain’t no computer good enough for you, Rick, you do this every time I give you a lop, every fucking time.”
There followed a general rumble as students vied for computers with known reputations. These laptops weren’t the latest, greatest Mac Powerbooks. They had less RAM, smaller hard drives, and for two years they’d been in the hands of careless students. Some had scratches and dings but they still made an impressive pile of laptops.
I had been mentoring on the other side of the bay at Drawn Dagger High School. There was one computer per fifteen students and that computer ran with Windows 95 and might crash every time it tried to digest a large photo file. There were three printers in the photography room, ancient Hewlett Packards that printed only black and white. By dint of my own efforts soliciting photographers I had attracted six good but obsolete digital cameras, four or five monitors and a very old copy of pirated Photoshop. The software wouldn’t install properly on half the computers. I had gotten some refurbished Epson color printers but there wasn’t money for the ink. The teacher and I pooled our own funds and bought some ink.
This wrangling at “Country Day Academy” over Mac Laptops was too much for me. I felt as if someone had opened my chest and tied a square knot in my esophagus, then put it back inside me. Now I was expected to swallow.
I couldn’t swallow this. I couldn’t.
Every day was like the first day. Some were worse. A few were better. Mostly, they were like this: chaos, petty wrangling, disappearances to the bathroom without return, lateness accompanied by staggering indifference. There were rolled eyes, concealed music players, giggling, fights, reading comic books, animal noises and farts.
I tried really hard but I couldn’t help feeling that I’d failed in some obvious way. If I had been a better teacher I could have controlled these kids. I had two students who cared. One was mister geek, Damian. He had it all down. Technically he knew the subject better than I did. He needed counsel in the creative side but at least he cared. There was a girl named Lizzie. She was a big country girl with long straight reddish hair. She worked hard. She didn’t know anything, but she wanted to know. She worked, and she learned. Her photography was dreadful! Her photos looked like very poor snapshots. How could a person who learned what she had learned, worked as she had worked, still be incapable of making good images?
Some people have it, and some don’t.
I had promised that the student who showed the most progress would win a nice digital camera. It was a donation from other photographers. Liz won the camera. Damian didn’t need it. He already had a good digital camera and would probably end up at Harvard in a couple of years.
I projected the material on the screen while the students sneaked around in the dimmed classroom, plotting ways to disrupt their own educations. Their literacy was no better than that at Murder Incorporated High School. There was a difference. The kids at Murder Inc were trying but lacked the opportunity. The kids at “Country Day Academy” had the opportunity but were trying not to.
I assigned essays. I spoke about the work of historic geniuses like Steichen and Halsman. I showed presentations of images on the screen. I assigned homework. I asked the students to read up on Diane Arbus and Henri Cartier-Bresson. The latter was a French photographer who shot witty and profound black and white photos. He used a Leica, a small camera with which he could catch the spontaneity of Paris street scenes. I asked the class to turn in essays on the great Frenchman.
This was the one that sent me to buy a pack of cigarettes. This “essay” was scrawled on half of a torn piece of lined notebook paper in handwriting worthy of a four year old. My student had written the following: “Henry Carter Beast was a great photographer. He was a genius. He took a lot of pictures. They were all in black and white. They had some greys too I think.”
That was three years ago. I haven’t been able to stop smoking. I don’t buy tobacco. I have a friend, a retired lawyer, who has some farm land in North Carolina. He’s a tobacco connoisseur. He loves to play with blends, tweaking this and that, walking through his curing sheds inhaling every fragrance. I’m a member of his research team. He sends me a pound bag every few weeks. I make the cigarettes on a machine. The tobacco is without additives or adulterants. It’s a long way from Marlboros. That doesn’t change the fact that I am, again, a tobacco addict. I don’t smoke nearly as much as I did before. A few cigs a day. I stopped once. I know I can stop again.
Arthur Rosch is a novelist, musician, photographer and poet. His works are funny, memorable and often compelling. One reviewer said “He’s wicked and feisty, but when he gets you by the guts, he never lets go.” Listeners to his music have compared him to Frank Zappa, Tom Waits, Randy Newman or Mose Allison. These comparisons are flattering but deceptive. Rosch is a stylist, a complete original. His material ranges from sly wit to gripping political commentary.
Arthur was born in the heart of Illinois and grew up in the western suburbs of St. Louis. In his teens he discovered his creative potential while hoping to please a girl. Though she left the scene, Arthur’s creativity stayed behind. In his early twenties he moved to San Francisco and took part in the thriving arts scene. His first literary sale was to Playboy Magazine. The piece went on to receive Playboy’s “Best Story of the Year” award. Arthur also has writing credits in Exquisite Corpse, Shutterbug, eDigital, and Cat Fancy Magazine. He has written five novels, a memoir and a large collection of poetry and photography, Feral Tenderness. His autobiographical novel, Confessions Of An Honest Man won the Honorable Mention award from Writer’s Digest in 2016.
Visit Arthur’s blog, Write Out of My Head.
See Arthur’s Photography here: https://500px.com/p/artsdigiphoto?view=photos
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Day four of the WordCrafter “Seizing the Bygone Light” Book Blog Tour brings this wonderful tour to a close. Thanks to all who ventured on this brief book tour with us. On Day #1, I introduced this wonderful collection of photgraphy and poetry, Seizing the Bygone Light: A Tribute to Early Photography, an amazing collaborative effort from Cendrine Marrouat, David Ellis, and Hayida Ali, right here on Writing to be Read.
On Day #2, we visited Barbara Spencer’s Pictures from the Kitchen Window, where she interviews the three members of the ArtProMo Collective about their inspiration for Seizing the Bygone Light and the combining of poetry and photography as a storytelling medium.
Day #3 found us over at Robbie Cheadle’s Robbie’s Inspiration, where we get a guest post from the authors about their visions and collaborative efforts to create this unique collection of visual imagery and verse.
Now here we are, back where we started, where my review of this very interesting collection will finish off the tour. I want to thank you all for joining us, and if you missed any of the four blog stops along the way, just click on the links above to go back and see what you miss kelellpe.
Seizing the Bygone Light: A Tribute to Early Photography combines the visual media of photography and the art of poetry into a insightful method of storytelling. Cendrine Marrouat, David Ellis, and Hadiya Ali are visionaries in their arts. This collaborative effort employs the use of styles of both photography and poetry, which they have created themselves, exploring new and unique realms in their individual mediums.
The book is structured into three sections of black and white photographs. The third section combines the Pareiku and Haibun poetry of David Ellis with photographs of bygone days, while the reminigrams created by Cendrine Marrout produce timeless photos, and the captivating subjects and striking images of nature by Hadiya Ali are inspired by the photographic images of Irving Penn and Karl Blossfeldt, but her young eye and fresh vision offer unique perspective. The result of this collaborative effort is a stunning collection of inspiring visual stories that pay homage to the black and white era of days past, while at the same time, celebrating the rise digital photography with their original and innovative styles
Inspirational and innovative, Seizing the Bygone Light: A Tribute to Early Photography, is a must for anyone with an interest in photography or its history and for anyone who likes to view the world through a unique and captivating lense, as well as those who just have an appreciation of poetic form. I give it five quills.
About the Authors
Hadiya Ali is a 19-year-old Pakistan-born artist who now lives in Oman. A keen observer of people,
she noticed at a very young age how talented market workers were at what they did – but that they
seemed unaware of their own talent. So she decided to capture their stories with her camera.
Before she knew it, her project had attracted attention and she had been booked for her first
professional photoshoots, suddenly realizing that she, too, had been unaware of her own talent all
Hadiya works on projects that capture unique stories and themes. Some of her photography is
featured in The Auroras & Blossoms PoArtMo Anthology: 2020 Edition.
David Ellis lives in Tunbridge Wells, Kent in the UK. He is an award-winning poet, author
of poetry, marketing workbooks/journals, humorous fiction and music lyrics. He is also a co-author
and co-founder of Auroras & Blossoms, and the co-creator of PoArtMo (Positive Art Month and
Positive Art Moves) and the Kindku / Pareiku.
David’s debut poetry collection (Life, Sex & Death) won an International Award in the Readers’
Favorite Book Awards 2016 for Inspirational Poetry Books.
David is extremely fond of tea, classic and contemporary poetry, cats, and dogs but not snakes.
Indiana Jones is his spirit animal.
Cendrine Marrouat is a French-born Canadian photographer, poet, and the multi-genre author of
more than 30 books. In 2019, she co-founded the PoArtMo Collective with Isabel Nolasco, and
Auroras & Blossoms with David Ellis. A year later, Ellis and she launched PoArtMo (Positive Art
Month and Positive Art Moves) and created the Kindku and Pareiku, two forms of poetry. Cendrine is
also the creator of another poetry form (the Sixku) and a type of digital image (the Reminigram).
Cendrine writes both in French and English and has worked in many different fields in her 17-year
career, including translation, language instruction, journalism, art reviews, and social media.
Together, Cendrine, David, and Hadiya comprise the PoArtMo Collective, an artist collective dedicated
to creating and releasing inspirational and positive projects.
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Day #3 of the WordCrafter “Seizing the Bygone Light” Book Blog Tour finds a guest post from the authors, Cendrine Marrouat, David Ellis and Hadiya Ali to tell us more about this amazing collection on “Robbie’s Inspiration”, hosted by Robbie Cheadle. Please join us in supporting these authors in their ambitious efforts to pay historical tribute.
Welcome to Day 3 of the Seizing the Bygone Light blog tour hosted by WordCrafter Book Blog Tours.
Welcome to the talented David Ellis, Cendrine Marrouat and Hadiya Ali with their new book Seizing the Bygone Light: A Tribute to Early Photography.
PoArtMo Collective started as FPoint Collective, a group of photographers. When we recently relaunched, we decided that it was time to welcome a larger diversity of artists.
Our passion for photography is still there, though. And while some of us are professional digital photographers, we are all indebted to the pioneering days of the art form, a time when documenting the minutiae of everyday life was the norm.
In 2020, we wondered how we could pay tribute to those old days through a multimedia project involving three artists, digital images, and poetry. The concept would be challenging, but we knew we could achieve something unique.
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Day #2 of the WordCrafter “Seizing the Bygone Light” Book Blog Tour brings an interview with authors Cendrine Marrouat, David Ellis, and Hadiya Ali by Barbara Spencer on “Pictures From the Kitchen Window”. Please join us to learn more about these three innovative artists and their wonderful collection of poetry and photography.
A Behind-the-Scenes Look at ‘Seizing the Bygone Light:
PoArtMo Collective started as FPoint Collective, a group of photographers. When we recently relaunched, we decided that it was time to welcome a larger diversity of artists. Our passion for photography is still there, though. And while some of us are professional digital photographers, we are all indebted to the pioneering days of the art form, a time when documenting the minutiae of everyday life was the norm. In 2020, we wondered how we could pay tribute to those old days through a multimedia project involving three artists, digital images, and poetry. The concept would be challenging, but we knew we could achieve something unique.
Meet my guests: Cendrine Marrouat is a French-born Canadian photographer, poet, and the multi-genre author of more than 30 books. In 2019, she co-founded the PoArtMo Collective with Isabel Nolasco, and Auroras & Blossoms with David Ellis…
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Welcome to the Seizing the Bygone Light Book Blog Tour, where we will be learning more about a delightful collection of photographs and poetry, which was created by three authors of the ProArtMo Collective as a tribute to early photography. This is a four day tour that will run through March 18, bringing you a guest post on Robbie’s Inspiration from the authors on what they strived to accomplish with Seizing the Bygone Light: A Tribute to Early Photography, an interview with the author’s by Barbara Spencer on Pictures from the Kitchen, and a review of the book by me to wrap things up, right here on Writing to be Read. I do hope all of you will join us in celebrating the history of photography along with authors Cendrine Marrouat, David Ellis, and Hayida Ali.
The medium of limitless possibilities that is photography has been with us for almost 200 years.
Despite its great advancements, its early days still influence and dazzle a majority of professional photographers and artists. Such is the case of Cendrine Marrouat, Hadiya Ali and David Ellis, three members of the PoArtMo Collective.
The result? Seizing the Bygone Light: A Tribute to Early Photography.
This unique collection of artistic styles brings together different innovative concepts of both gripping writing and stunning visual imagery.
Visual imagry can be a method of storytelling, and a powerful one at that when presented with a skillful hand. I know each of the authors has put much thought into the stories they wished to tell here, and how they wanted to do it. So, to introduce you to this marvelous group of original photography and poetry, I wanted the authors to tell you what they are trying to accomplish in their own words.
What inspired you to create this book?
All three of us were inspired together to celebrate the stunning vintage photography of the past and at the same time create an artistic project that shines a contemporary light alongside it, with our own individual blends of photography and poetry. This book allowed us to express ourselves in endearing ways that combine all of our passions and strengths. We wanted to collaborate in a way that would cause people to really become interested in the
images of the past and the endless rewards that they have to offer.
What makes Seizing the Bygone Light: A Tribute to Early Photography unique?
Our book looks back at the beginnings of photography in a way that has never been done
before. It is divided into three parts.
In part 1, Hadiya Ali has “recreated” the timeless photographic styles of Irving Penn and Karl Blossfeldt. Part 2 features some of Cendrine Marrouat’s reminigrams, a type of digital image that she invented years ago. Finally, in part 3, David Ellis shares a series of pareiku poems inspired by archival images.
Anyone with an interest in vintage photography has noticed how it documented the minutiae of
everyday life. Seizing the Bygone Light: A Tribute to Early Photography looks at that triviality
with a refreshed and positive outlook. It is one of the reasons why it is so unique.
The other reason? Three authors and artists whose vastly different styles actually complement
one another in a fascinating way.
(The Pareiku is a visual poetry David and Cendrine invented in 2020. For more information, visit
Did you face any particular issues while working on the book?
Yes, we did. But these issues actually helped make the book more interesting and unique than if just one author had worked on it.
Hadiya decided to recreate the timelessness of Karl Blossfeldt’s and Irving Penn’s beautiful photography. She quickly realized that the subjects and props she was supposed to use were not as widely available as before. She had to find substitutes, like ordinary plants and create her own props, which taught her valuable lessons about simplicity and creativity.
Cendrine struggled to select the images that would fit the book, until she found herself thinking about her emotional relationship with photography. The result was ten images that made complete sense together, gelling naturally with Hadiya’s photos and David’s poems.
David used archival images as inspiration for his poetic section. At first, he was a little unsure about which photos to include, until he realised that since every photograph tells its own story, there should be an unconscious thread that can link almost anything if you are willing to look hard enough to uncover it. He then made sure to select the most intriguing, engaging images he could find and let his subconscious mind make the necessary connections between them, which was very exhilarating in the extreme.
Why do you think poetry and photography work so well together?
Because they more or less speak the same language. It is all about the finer details and how they are interpreted. Photography, just like poetry, thrives on meaning and purpose; both disciplines require attention to subject matter and framing things in the right light if they are to be taken seriously. Both mediums are great at telling stories with minimal amounts of words, they connect instantly with our souls and move us, just like beautiful music, we identify with common struggles and the beauty of life as it unfolds around us.
What are your goals with this release?
We would love it if this book led to more people getting interested in checking out photography of the past. Digital images are fantastic, but exploring old and film photography leads to a greater awareness of what photography truly is and represents. The greatest rewards lie there.
Do you have any advice for artists?
Never give up! Make time for your craft, do many different things to feed your passions and above all don’t be afraid to put your work out into the world. If it sounds like someone is exerting their opinion rather than giving you actual independent advice, feel free to take what you need and ignore the rest to improve and evolve your work. Your work will never be perfect but that doesn’t stop you from always trying to make the next piece even better than the last, to the best of your ability, then move on and sincerely appreciate the art you have made!
What kind of book can we expect from you next?
We are always working on new ideas. This year, Auroras & Blossoms (Cendrine and David) plans on adding several more guides and workbooks for authors and artists to its list. Members of the PoArtMo Collective will also continue working together on more positive and inspirational books and themed exhibits.
When this book was brought to my attention, I was eagar to learn more about this unique collection of original photography and poetry, and as I learned more about the creativity and inspiration of its authors, I came to believe that Seizing the Bygone Light may be a very special collection indeed. If you would like to following along on this book blog tour to learn more, check in right here on Writing to be Read for guiding posts that will lead to each blog stop, or just subscribe to this blog for reader feed or email notifications.
Book your WordCrafter Book Blog Tour today!