The Shawl

October ShawlOctober is the shawl around the shoulders of winter
The be-draggled be-gonias that will fast be-gone
Lavender shadows in the soft silver hair of the elders
And in the air of an aging year that will not go down quietly

The bite of the noon breeze is sharper than my mother’s tongue
Keen
Whetted by the contrast of cerulean and coppery shades
Shimmering in the reluctant light

As it pulls the unknowable close
October rustles her shawl
Tucked snug around the thin days
And turns inward.

 

Jaylene Whitehurst
October 2, 2015

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It might as well have been fairy dust…

I can feel the breeze lifting the leaves and feel the sun as I hop out of the car and head for the front door.

I can feel the breeze lifting the leaves and feel the sun as I hop out of the car and head for the front door.

I rarely pass the corner of Fillmore and Cruise Streets in my hometown of Corinth, Mississippi, that I don’t picture my mother looking out the front passenger window of our ’57 Chevy, shaking her head at the site of where Rubel’s Department Store once stood. From my backseat spot, I heard her sigh, time after time, “Tore down Rubel’s for a Kent’s Dollar Store. A KENT’S Dollar Store!”
My memories of Rubel’s have decades less duration than hers. If I was ever inside the store, I don’t clearly remember. The vague imagery I have of its interior is more likely cobbled together from what I heard over the years than from what I actually saw. My clearest memory is of the exterior: a massive red brick structure that rose skyward and loomed right outside my car window, as we passed on the way to church three times a week. Its presence pressed hard toward Fillmore Street, but my relationship with it was mainly born of the connection my parents had to it.
They grieved when it was gone. A part of their identity and a way of framing their community left when a pale brick building, hunkering close to the ground, claimed the same spot.
Before I had the words to express what I was aware of, I knew on a level below the surface that my family’s connection to the architecture of this town was about more than buildings. Their stories were built within edifices that might be left standing only in their memories, but those structures remained as significant as when they were mortar and brick, board and nail.
This brings me, by a circuitous path through time and town, to the Corinth Library. Pulling into the familiar parking lot, I remind myself, more than I want to admit, of my mother and Rubel’s.
The current Corinth Library was built in 1969. Here’s the spot where I feel a kinship with my parents, aware that I too have experienced changes in this town, for in spite of its construction year, my mind persists in calling a forty-six year old structure The New Library, and I allow my mind to have its way.
Before there was The New Library, with its expansive clerestory windows and its sturdy tables and chairs with the pale wooden legs and laminate surfaces that have served users dependably and with its balcony that has intrigued decades of children as only a balcony can, there was another library with single windows and oak furnishings and a stairway leading to another mysterious upper floor, off-limits to the likes of elementary-aged me.
Before there was The New Library, where I spent hours as a high school junior contracting for an “A” in Mrs. Mildred Myers’s American History class, where I did all research that couldn’t be accomplished at home with the treasured beige and green set of World Book Encyclopedias, there was another library with shelves upon shelves of knowledge and adventure, riches to be explored upon presentation of nothing but a magical card and a signature.
Before there was The New Library, where I, as a young woman, browsed glossy periodicals I couldn’t afford to buy and checked out art books before the Internet made every facet of art accessible with a couple of clicks and where I first saw the work of local painters hanging in the auditorium, there was another library with a sunny room to the right of the entrance, its white shelves full of children’s books illustrated with bright colors and extraordinary characters that leapt from over-sized pages like paintings in motion.
Before there was The New Library, where brick and soaring glass create an airy space that shifts with the seasons drifting across the sky, where boots and sandals sound the same — muffled by industrial carpeting — there was another library where wooden floors welcomed me into a cool hush smelling of leather and paper and ink, the dusty scent of accumulation a comforting relief from the heat of summer.
Before there was The New Library there was what will always be, to me, The Real Library.
When summers stretched beyond imagination and school holidays loitered instead of speeding past, my mother could comfortably drop me off at Sterling’s or Kuhn’s to wander the aisles, with my pocketed allowance money, while she made her Thursday round of errands in town.
Or I could ask to go to the library.
A crisp white building, with starched angles and two stories, it sported dark shutters aside the simple double hung windows and a welcoming portico that had once been part of a wraparound porch, long gone. When it wasn’t making rounds, the Bookmobile would be parked alongside the building. During the school year, it occasionally came to West Corinth School, leaving me mesmerized by the idea of a library on wheels. I was pretty sure that to drive the bookmobile would be the best job in the world.
The sparkle of sunlight danced through the leaves of trees that lined the gravel drive and parking lot on the south side of the building, especially in summer when, when the most pressing hurry was to look through as many books as I could before Mother’s errands brought her back around to pick me up. I don’t believe there was ever a time I approached the front door that I didn’t feel a nervous stir of anticipation: I was about to step into a hallowed space that opened onto the world of imagination.
I trust my impressions of that space more than I do precise memories; it was the sensations that arose in my pliable younger self that remain firm, to this day.
The entrance, with its checkout desk presided over by Augusta Richardson, received ambient light from The Children’s Room, jutting streetward on the right of the entry. Henrietta Byrd was on duty too, but Mrs. Augusta, as if she knew the random times I’d be dropped off, was as ever present as a sentinel (and with a similar bearing), guarding that sunlit room to the right.
Oh, The Children’s Room! I can still see the glitter of dust motes on the slanted rays of early afternoon light. It might as well have been fairy dust.
If only Mrs. Augusta would cease with her suggestions and let me browse in peace, the magical spell wouldn’t be broken. Shhhhhh… I so wanted to do the unthinkable and shush the librarian! But I tried to be a good girl and, frankly, I was rather terrified of displeasing the woman so, more than once, I left with books of her choosing instead of mine. Second graders in 1962 didn’t easily disagree with grownups who were tall and authoritative.
Stepping up to the checkout desk to present my selections to Mrs. Augusta, I imagined what it would be like to approach the throne of God and be found wanting. Did God have a cocked eyebrow like Mrs. Augusta? Hmmm… I felt slight courage and great trepidation every time I pressed on with Tales of King Arthur and the like, instead of the stories about rosy-cheeked children she kept steering me toward.
But finally there was that time when I was older, probably in fifth grade —and I still have no clue how this happened — that I checked out a John Steinbeck book and read strange grown-up words that I didn’t understand about life far outside The Children’s Room. Far outside The Young Adult literature I frequented now. The look on Mrs. Augusta’s face when I returned the adult narrative left her mouth agape. Speechless.
I had finally silenced the librarian.
Played out in The Real Library by an unsuspecting but well-meaning antagonist and the child that I was, I still look back on that as one of the most satisfying episodes of my life.
The New Library has gone through its own changes over time. I miss the wooden card catalog, its former space now filled with shelving for new arrivals, and its purpose fulfilled by keyboards and screens on a kiosk where I never have to stoop down to tug out a bottom drawer. There’s more shelving than there used to be, more books. Computers take up spaces where books once lined walls and tables stood. The expanse of clerestory windows has blinds now, relief against the intensity of sunlight that has, more than once, stabbed me in the eye.
Mrs. Augusta, who quieted patrons early on in the The New Library as well as in The Real Library, has been followed by a succession of keepers of the books, who oversee technology, periodicals, and DVDs, as well as a selection of books in audio.
My mother’s grief about Rubel’s Department Store certainly didn’t hold her back from frequenting Kent’s Dollar Store. I clearly remember shopping there with her, listening to the conversations of adults interacting with each other, shaping my own memories of childhood. The woman did love a good buy, wherever it came from.
I miss The Real Library that lives in my memory, yet I strongly value The New Library, a significant community resource that keeps changing with the times. With its meeting spaces, public computers, and ongoing exhibits in the auditorium, it has offered services to the Corinth area for forty-six years that the tall white structure couldn’t.
Like my mother, I feel the past and the present colliding within me as I go about my errands in this town. The people and the places that defined and shaped who I was as a child — gone now for years— still cast a long shadow across my life.

Alcorn County resident Jaylene Whitehurst is an artist and Licensed Professional Counselor. She may be reached at 662-286-5433 or jaylene@heartworkccl.com. She contributes to Crossroads Magazine and the Daily Corinthian.

Merry Mandala!!!!

May we live the cycle of embracing the darkness and being pulled toward the light.

May we live the cycle of embracing the darkness and being pulled toward the light.

The celebration of Christmas isn’t over for me. There’ve been years I feel a let down on the 26th, but not the past few years. Rather than the end, this feels like a beginning. Every Christmas, every Winter Solstice, every turning of the dark season toward the light, is more an opening to continue expressing the light than an ending of anything. I no longer rush to take down my little tree. It is no longer a chore but an unfolding, a changing of the environment gradually.
It is a relief to let it be beautiful a while longer. To know it will be tucked away when the time is right for me. To know it is all a process of Love.
Whatever, however, you celebrate this season, may you linger in the warmth.
May we carry it forth. May we be changed.

The Dance with Color

IMG_1338My front porch in late summer makes me smile. That’s a small thing, but—then again— it’s not. The combination of yellow siding, red front door, and dark green shutters are complemented by greenery tumbling from the window box and clustered pots. As I kick back in an aging wicker chair with the paper and my morning cup of coffee, the scene lifts my spirit.

Yellow, red, and green. The pleasure those colors give me is unfailing.
We are each in a continuous dance with our surroundings, a back and forth process of creating a physical atmosphere and a personal mood. Our emotional states influence our surroundings; our surroundings influence our emotional states. The dance with our environment is a merging of both.
But it’s a dance we may not be leading. We can’t consciously take charge of the spaces in which we spend hours until we wake up to their emotional impact on us. Color, in particular, has significant psychological power to create and enhance mood.
The study of color psychology is an inexact science; our individual responses to color are personal and somewhat cultural, so talking about how color affects us is subjective. No color has been shown to produce the same effect for everybody and it would be boring if it did. Psychologically, we simply aren’t wired for that kind of rigid emotional response.
Still, there are predominant feelings that arise in the presence of specific colors. Being aware of this, plus being tuned in to our own emotions, we can lean toward the colors most likely to help us create an atmosphere we want.
Let’s get acquainted with a few of our partners in the dance with our surroundings:
• It’s no accident that McDonald’s arches and school buses are bright yellow. This is the color to which our eyes are most sensitive. In small amounts, yellow gets our attention, but because it’s highly reflective, it’s also fatiguing to the eye. Yellow is stimulating; a little goes a long way. While it’s a cheerful color, it’s worth noting that, because of its stimulating quality, it can increase sensitivity to frustration, anger, and pain. Simply knowing this, we might consider moderating yellow in classrooms, medical offices, and children’s nurseries. If we love yellow, we might opt for a softer shade or use it as an accent if we’re painting an area where this stimulation could be a problem.
• Red is generally considered the most powerful hue. Intense red is associated with passion, anger, and danger. When I’m mad, I see red. Stop signs and fire engines aren’t red by chance. As the color of blood, red signifies life itself and liveliness, as in “red-blooded.” If we want to send a high energy message, red is the optimum color to rev us up. Think of the Target bull’s eye motif and the red Macy’s star. Red is also an appetite stimulate. Have you noticed how many fast food restaurants use red in their decorating and advertising? Again, no coincidence.
• A blend of the passion of red and the stimulation of yellow is orange. Orange, like red, is often used in the food industry. Akin to yellow, it’s associated with energy and the sun, but its cheerful qualities are intensified by its leaning toward red. Fiery orange can draw out feelings of ambition, endurance, and perseverance.
• Blue has a calming effect and there are suggestions that workers are more productive in blue spaces. Because of its association with the sky, light to middle blues impart a sense of spaciousness and serenity. Deeper blues are associated with stability and dependability. Notice how often financial institutions use blue motifs in advertising and the use of blue in military uniforms. However, blue can also feel chilly and dark shades may suggest sadness. Hence, we get “the blues” when we feel down.
• A mixture of peaceful blue and energetic red gives us purple. This mix of calm and liveliness in one hue creates uneasiness for some of us and evokes strong responses: we either tend to embrace purple or run from it. This is a color associated with royalty, magic, and wisdom. Light purple is romantic, while deepest purple tends toward melancholy and, in some cultures, is symbolic of mourning. Mysterious and intriguing, purple sets the stage for a wide range of moods.
• Of all the colors, green produces the least eyestrain because the brain focuses the color green directly on the retina. The combination of a green background with white lettering is considered easiest for the eye to read; hence we see green highway signs with white reflective text. Think of the blackboards in many of our classrooms that were actually green boards. There was a reason for that. From the spring green of emerging shoots to the deep shimmering cool of a forest, green is universally linked to nature, growth, healing, and rebirth. Paradoxically, this color that is restful and symbolic of growth also encompasses shades that bring to mind illness and a lack of ease. Bilious green? Green with envy? Green takes us for a ride, running the gamut of responses.
• Currently, pink (named for the flower of the same name) is our most gender specific color, linked with femininity and gentleness, but it was not always so. In the early 20th century, pink was actually recommended for baby boys as a lighter version of the commanding and masculine red. Blue was considered dainty and more appropriate for baby girls. This pattern shifted prior to World War II, but, while pink remains related to sweetness and delicacy, it can also be an intense and lively color on its own, no longer a toned down version of red. When I’m feeling lively, I’m “in the pink,” and that’s definitely not a pastel pink!
• One of the neutral colors, brown is warm and comforting, because it’s one of the dominant colors in nature. While it’s conservative, that doesn’t necessarily mean it lacks presence. Think of a rich chocolate brown leather sofa or beautiful woodwork that conveys substance and permanence. Lighter browns balance intense colors and act as a resting place for the eye. Discreet and reserved, brown can be a grounding influence, without dominating the space.
• Gray, another neutral, enhances the power of other colors. Walls of art galleries are often gray because its subtlety intensifies the color in artwork. In the home or office that has significant hanging art, gray is a flattering option. There is a saying that gray is the color in which creative types are most creative. Though it’s understated, gray is distinctive and timeless, like a classic gray flannel suit.
• In our culture, black is traditionally associated with mourning, death, and fear, leading to negative connotations, like “black sheep” and “black mark,” but black has another side to consider. Sophisticated and elegant, it creates an atmosphere of stylish refinement. Think “black-tie affair” or “little black dress.” Black provides sharp contrast, allowing other colors to pop. While it’s unusual to see a room painted black, I have seen a stunning sunroom that had black walls and white trim: crisp, unique, and dramatic. And definitely not depressing.
• White is symbolic of innocence and purity in our part of the world, but it isn’t that way everywhere. In parts of Asia, it’s the color of death and mourning. Their white is our black, another example of how subjective our responses to color can be. White tends to make a space feel open and airy, eliciting feelings of tranquility and freshness, but, used alone, it can be quite sterile. Fortunately, if we like the effects of white, we can use it in combination with other colors or layer it with varying tints of white to create interest. The human mind can perceive at least two hundred shades of white, so the possibilities are endless.
Beyond these general responses to color, we bring our past experiences with us as we decorate our spaces. Our history with a color shapes its psychological power to touch us on an unconscious level; no one dances with the same color in exactly the same way. Yet, we’re stumbling in our relationships with our surroundings when we miss the wonderful opportunity to truly engage with the spaces we create. As we become aware of the power our surroundings have to enhance the quality of our lives, we can experiment with our color choices with our eyes and our memories wide open. Our stories continue to be told and unfold in our physical spaces.
When I was four years old, my mother sewed me a sundress from a couple of flour sacks, donated to the cause by my Mama Ethel. My bare feet drew the heat of our newly poured concrete walk up my legs, like two wicks, as I spun like a top in the June heat, proud of my sunny new dress.
The flour sacks were yellow, with a pattern of soft red roses and green sprigs. Yellow, red, and green. Just like my porch today.
Those colors made me smile then and they still do.

My dance continues. My story unfolds.