Slides 13 and 15

The Slide: My grandfather, sister and mother

The Date: Christmas Eve, 1963

The Photographer: My father

Film is exposed at the speed of light but most of us don’t move that quickly. That’s why we’re so often caught unprepared in photographs. In this slide my mother is somewhere between facial expressions and my big sister who is tenderly cradling our little sister’s doll… well… who knows what going on there? But my grandfather, the subject of the photo, smiles in obvious delight at his Christmas gift. It is a King Size paint-by-number oil set from Craftint. My father raised the camera, focused carefully and snapped the picture.

“Sheesh Dad,” Sally complained. “Thanks for letting me know. That’s gonna look stupid.”

My grandfather turned the box around so I could see. The two panels shown on the front were shown on the back as well though one of them, the one of The Last Supper, was pictured in stunning color. I followed along as he read aloud.

“CRAFTINT KING SIZE DELUXE

PAINT-BY-NUMBER OIL PAINTING OUTFIT

The Ultimate In Paint-By-Number Sets

Each set contains, two huge 18 x 24 genuine artist's panels, 30 numbered jars of oil paint, 3 deluxe artist's brushes, a large bottle of brush cleaner, and complete directions.

It's exciting and challenging for you to paint the 2 beautiful panels in each King Size Set. Remember BOTH of the panels paint-up in FULL COLOR! One is shown in black-and-white merely to withhold the thrill of achieving the actual FULL COLOR results!”

“Wow,” I said. “Let’s do it!”

My grandfather laughed. “No Bobby. I think I’ll work on these myself. This project is going to take some very careful work. You see, this is what you call real art.” And with that he raised the age- old question. What is art?

My mother and father bought the gift knowing he would love it. He had retired from the bottle factory and needed something to keep himself busy. And, where some would suffer from the tedium of filling one paint number at a time for hours on end, my grandfather had just finished forty years on the line putting bottles in boxes one by one, hour after hour, day after day. Tedium would not be a problem. Furthermore he had an artistic bent—or at least a creative one. He loved to build things. He played nearly a dozen instruments including the musical saw. He sang, whistled, whittled and carved. And he’d been hinting about a paint-by-number set. For years he’d seen full-page Life magazine advertisements promising that anyone could be a Rembrandt. Of course it wasn’t quite true. What they meant was, anyone could put paint on a panel - or as Craftint called it a HUGE 18 X 24 genuine artist’s panel –and after a few days or maybe weeks they could have a painting that reminded one of Rembrandt. But, of course, Rembrandt never painted the way these paint-by-number painters did. I wonder though…what if he had? What if Rembrandt or Leonardo or Michelangelo or Picasso had decided to create this way? I’m guessing these guys could have still pulled off some real art?

Craftint did not start the odd revolution. In fact Michelangelo may be guilty of inspiring the whole thing by assigning pre-numbered pieces of his famous chapel ceiling to his students. But Palmer Paints, the first of many paint-by-number companies, launched Craft Master in 1951. In the first two years they sold nearly five million kits created by a staff of twenty-five full time artist/designers. Wide-eyed kittens, Scotty puppies, New England seascapes, Swiss Alps, tropical lagoons, Alaskan glaciers, oriental shrines, Venetian canals, snowy egrets and yes even nudes—all could be painted by anyone able to hold a brush and see. Stores were forced to set up entire paint-by-number departments to handle the rush of sales. In what became a huge publicity ploy, red-faced judges at The San Francisco Art Show awarded third prize to a Craft Master painting. Even President Eisenhower was a paint-by-number enthusiast giving kits to his entire White House Staff for Christmas. Television stars “Ozzie and Harriet” were seen on their show dipping a brush into tiny vials of premixed color and painting away at the kitchen table.

Paint-by-numbers were an American craze. Nearly every home had one hanging somewhere. Art critics were, of course, beside themselves—nearly apoplectic—but they held little sway over America. Certainly no one in my town paid them any attention. We lived in a fairly artless, culturally deprived part of the Appalachians. Did we think paint-by-numbers were tacky? Hey, we’d just spent four months gluing together a ten thousand-piece puzzle of the Taj Mahal. We hung it over the fireplace. We were probably the wrong people to ask that question.

“Okay,” the critics said, “but all this staying in the lines is defeating the artistic process and destroying the creative spirit.”

Well, I wasn’t so sure that was true. After all, staying in the lines was pretty much what we did in the 1950s. And who was to say we couldn’t get a little crazy once in a while--maybe use vial number 9 to paint all the 1s and 4s. I’m not saying I ever got so wild but hey—I could have.

My son Nate is a real painter—an artist and teacher. We often find ourselves grappling about the art world. Judy and I recently returned from a trip to Washington where we visited The National Gallery of Art. It was there, one floor down from a gorgeous exhibit of small French landscapes that we gazed upon a shower stall hanging on the wall. It was an old ceramic shower stall just hanging there—about three feet off the ground, placed at a twenty degree angle. I later told Nate, “I’m not sure how many of my tax dollars were used to create this grand masterpiece but whatever I paid was too much.”

“You have to understand Dad,” he said, “There are two camps. There are the fine art people and then there are the conceptual artists. Most of the time, they don’t have much in common.” He went on to explain that fine art is often quite beautiful… or if not beautiful at least displaying the effort of a skillful artist. Fine art is the kind most of us like to hang in the dining room. On the other hand, conceptual art is not concerned with skill. Conceptual art is all about the idea as in, “Hey I have an idea. I think I’ll write a grant to hang that old shower stall on a wall. I’ll put it about three feet above the ground at, let’s say, a twenty-degree angle. I was thinking ‘bout the National Gallery.”

I know that art appreciation is a matter of personal taste. I’ve seen television ads and heard the announcer screaming, “The Starving Artist Sale at The Holiday Inn! Three days only! Original paintings! All for under $14!” A thirty-second ad is long enough to know why these artists are starving and why some should probably die. But, I gotta say… forced to decide between these works and an askew shower stall hanging in my living room, I’m going with the crappy paintings every time.

Nate just earned his MFA. He spent two years creating paintings using old 50s snapshots as source material. I think he did a great job combining skill and concept. In his own words: “My paintings navigate and comment on the historical space of 1950s America as seen in discarded snapshots and slides. Paint and brush become the tools for possessing a photograph and the memories of people and places. The camera captures a moment of frozen time, but by slowly remaking the photographic image into a painting the viewer is compelled to reconsider what is depicted and to search for its inherent meaning.”

What a great concept. And the viewer is indeed compelled—which, I think, is a characteristic of real art. Real art compels one to ponder, consider, contemplate, feel, act, change and on and on.

So here’s what I’m thinking. Conceptual art is about the idea. That being so, can you think of a more exciting idea than the one Dan Robbins thought? In 1950, Dan was a twenty-six year old artist working as a package designer at Palmer Paints. He had an idea. I can’t say he thought of it as conceptual art. It was probably just a way to make money—but what an idea! He decided to make paintings and then deconstruct them into areas of pure unblended color, each color represented by a number. Then he would mail the numbered drawings to millions of people around the world. Many of these people would never have held a paintbrush in their lives but that was the idea. Dan would convince them that if they followed his simple instructions they could create a work of art. If they believed him, it would result in millions of paintings. What would happen in the art world… no…. what would happen in the world if he could pull this off? Well he did pull it off. And what difference did it make? I can only speak for one man.

During January and February of 1964, nearly everyday after school, I stopped by my grandparent’s to see my grandfather’s progress. Each day I got more excited. And so did he. As I walked in the front door I could see him seated at the dining room table covered with newspapers. He peered through the bottom of his bifocals carefully filling in the spaces.

“I finished all the 26s this afternoon,” he said proudly. “Now I’m thinking it’s time to stop before I go blind. Look it here.” Then he held up the panel so I could see and each day I was more amazed. If I stood far enough away, all the pure colors blended beautifully. “Yes sirree Bobby,” he said. “This is gonna be some real art.”

What did Dan Robbin’s dream mean to my grandfather? I can honestly say that I never saw him happier.

So I wonder...was it real art?

Slides 32,46,65,66 and 9

The Top Slide: The Evangelical Covenant Church

The Photographer: My sister Sally

The Date: Summer 1967

My town had only a couple thousand residents but boasted a dozen churches, though actually I don’t recall a lot of boasting. The churches were all small. The Methodist and Presbyterian were probably the largest but even so I don’t think they could have squeezed more than a hundred-fifty in their pews. Our little building exceeded fire code at a hundred though seldom was that a threat.

Speaking of fire codes, the front doors were the only way in or out of our church—makes me shudder a bit. On the other side of these doors was a small entry area with coat racks and hat shelves. The sanctuary was straight ahead through glossy painted, creaking double- swinging doors. A carpet runner bisected the pews—ten rows on the left, eight on the right. There were fewer on the right due to the heating register in the floor. The upward blast through that metal grate would easily melt an old lady’s nylons were she forced to sit above it on a winter morning.

At the front were two elevated platforms. To the left stood an upright piano and to the right an electric organ. Between them a large wooden pulpit anchored the room. Behind the pulpit sat three chairs. The center one (the one with the arms) was largest and, oddly, never sat upon. When I was seven the pastor’s son told me that no one sat in that chair because that one was for God. This seemed plausible. Even at so young an age, I had a vague conceptual understanding of God’s attributes like omni-presence (meaning always there), omniscience (meaning that he is all knowing) and, of course, omni-powerful. I also understood, purely from personal experience, that God was omni-invisible. So he might very well sit in that chair. Who could tell?

From the beginning of my life I was around the church a lot. My father was the chairman for thirty some years as well as a Sunday school teacher. My mother served as treasurer for most of my life and both parents sang in the choir. From elementary age on, I helped my father mow grass, rake leaves, shovel walks, vacuum carpets, scrape and paint—really whatever needed doing. I was happy to be grown and gone the morning he pulled on hip waders and descended into the church basement to pump out two feet of raw storm sewage. The man was dedicated.

I remember being in the building one Saturday while my mother dusted the pews in preparation for the Sunday service. I wore my hair short in those days, much as I do now, and I liked it to stick up straight in the front. Like many boys, I used a nearly miraculous product called Butch Wax. It came in a blue plastic tube about four inches long. To get the product on your hair you twisted off the cap and then with one finger pushed the wax from the bottom until it oozed out the top. Then you placed the tube onto the front of your hair and slid it upward. Boy, that did it! If you left your hair alone it would not move all day or perhaps ever again.

On this particular Saturday, I horsed around in the sanctuary waiting for my mother to finish. I don’t recall how it happened but somehow my Butch Wax fell inside the top of the upright piano. On tiptoes, hanging by my armpits from the hinged lid, I gazed deep into the guts of the instrument. The tube was gone. My mother had not seen what happened, so I quietly closed the lid and innocently ran my finger up and down the keys to hear if anything sounded at all… well… waxy. Fortunately, everything seemed fine so I was off the hook. Of course, if God was sitting in his center chair, he could hardly have missed what happened but I wasn’t sure it qualified as a sin so I kept it to myself.

It was my secret until well into my twenties though by then I’d long abandoned any guilt. Honestly, I’d nearly forgotten. Judy and I visited my parents one Christmastime and went to the church with my father to help decorate the tree. This involved rolling the piano a few feet to one side. Normally it was a simple procedure but this year one of the piano casters would not roll. Stooping to investigate I was delighted to find my old tube of Butch Wax jammed between the metal wheel and housing. Judging from the wax’s smell and color, it had aged none at all.

In retrospect, I should not have worried that a little wax would harm the music in our church because, honestly, it could not have gotten worse. Like most churches, we sang the great old hymns of the faith. Unlike most churches, we sang them at half speed—maybe slower. Everyone needed three or four breaths just to make it through the first line. When we finally reached the chorus, I could not hold a whole note without growing dizzy and tilting toward my grandmother. Occasionally people just passed out. True, it happened most often in the summer so heat was certainly a factor but it always happened while singing. My mother warned my grandfather not to lock his knees. This was easier said than done. Many hymns had seven or eight verses—maybe more—with a chorus sung between each. That meant my old grandfather stood bent kneed for ten or twelve minutes. He never passed out but often, early in the week, found himself unable to walk.

Sometimes my father and I tried to push the tempo, singing extra loudly, hoping the organist might follow along but she would not do it. Or perhaps could not. Either way it was a tug of war we always lost. Most likely, it was a tug of war she didn’t know was happening. I don’t think she even heard us. Certainly she was unaware of her own hearing aid dueling with several others in the congregation causing the neighbor’s dog to howl mournfully. It was a sad sound coloring even our more joyful dirges. The first time I heard Good Vibrations by the Beach Boys, I remember thinking, “That weird space-aged instrument in the chorus sounds just like Sunday mornings.”

Music was not my only complaint. There were also the pews. It is clear to me now that the pews in my church were not designed to be sat upon. They were hard maple and slippery beyond a child’s control. The back and seat were set at ninety-degrees though, I swear, the back tilted in a bit in several rows. During the service my parents quietly (you know the look) encouraged me not to squirm and to sit up like a big boy—bottom in the corner, legs dangling over the edge. This I found impossible as sitting like a big boy with my bottom in the corner meant my little boy legs did not reach far enough to dangle over the edge. Consequently my calves rested painfully on the front of the pew cutting off my circulation within minutes and causing what I called “stinglies” to vibrate from my toes half way up my body. At that point I slid noisily onto the floor and then could not stand because my legs were no longer connected. One of my parents would put me back on the pew whereupon the cycle repeated and this brings me to my next complaint—the preaching.

The preaching was after all the only reason I endured the pews and honestly I never really understood much of it. My earliest recollection was feeling frightened by an angry man, Reverend Perry, who strutted and screamed. The style was not consistent with our denominational heritage and fortunately he was our pastor for only a couple years. Unfortunately those were the very years I became able to retain memories. After he left, it was a new pastor every year or so and not one prepared sermons for children. So a sermon was twenty-five minutes of stinglies and mind numbing incomprehension to be endured until we all mumbled the final fourteen-verse hymnslog during which time my grandmother could have killed, cleaned and cooked a Sunday chicken.

At the beginning of seventh grade, I was required to enter a two-year study called Confirmation. Two buddies and I met with our pastor for an hour or so every Saturday morning and I did perhaps another hour of homework each week. We were given an elementary overview of the Bible, Church History and Christian Belief but none of it felt elementary to me. It felt important, sometimes confusing and mostly difficult particularly the memorization—the books of the Bible, The Apostle’s Creed and much more that I’ve forgotten. At the end of two years, if we believed what we were taught and were willing to say so in front of the congregation, we were invited to join the church as official members. I believed it all and gladly joined but I can’t say I enjoyed the Confirmation experience very much. Actually, I can’t say I remember it much.

I have one slide taken on Confirmation Sunday. I stand at the front of the church. I am white robed like my friends Curt and Phil on each side. Behind us stands our pastor in a black suit. I don’t know whose fault it is but the picture is terribly out of focus. I don’t know whose fault it is—probably my own—but that’s the way I remember Confirmation too.

Fortunately my church experience was not all so difficult. In fact some of it was wonderful. Our congregation began in 1900 as The Swedish Mission Covenant Church. By the time I was born they’d dropped their Nordic moniker but held on to many of their best traditions. One of them was the annual Christmas Smorgasbord—probably the envy of every other Christian in town and most of the heathens too. Since we had nowhere to eat at the church, we rented the top floor of the Grange Hall. Parking on side streets, we walked the sidewalks between deep mounds of shoveled snow and climbed the crooked outside stairs to the banquet hall. Even before opening the door our nostrils flared with the spicy smell of a couple hundred thousand Swedish calories.

The windows dripped from heat rising off tables full of steaming food. In the kitchen, women in fine dresses beneath colorfully printed aprons looked as if they’d gained a few pounds from the sheer smell of it all. Meatballs, korv sausage, thuringer, smoked salmon, baked ham, pickled herring, deviled eggs, baked beans, rice pudding, lime Jell-O with pear halves and maraschino cherries, pickled beats, cucumbers, olives, limpa rye, hardtack, pepparkakor—have you had enough or should I go on? This was the kind of feast that historically made pillaging Vikings sleep for months.

As a special treat, at the end of the evening, each child was given a clear plastic gift bag containing a candy cane, a Hershey bar and a fresh Florida orange. This may not seem like a big deal today but it was then. In those days it was hard to find an orange in the wintertime and these oranges were the size of softballs. The candy canes were a foot long. I’m serious. And the Hershey Company hasn’t made a chocolate bar that big since Barney Fife left for Mt. Pilot—since Will Robinson got lost in space.

My church knew how to celebrate. Every summer, following the service on one particular Sunday we headed out to the Hooley property for a picnic. I never knew Mr. Hooley but he had a nice piece of woodland beside an open field and he offered it for our use. Picnic Sunday was the only time I went to church without a suit and tie. After the service we climbed in our cars and headed out of town. My father and some of the other men spent the previous afternoon scything grass for softball and putting up long tables in the grove. Ten minutes after we arrived, charcoal grills poured smoke from hot dogs and burgers. We shoved our hands into deep tubs of ice water searching for homemade root beer or Grape Nehi and then the eating began. Insert half of the Smorgasbord above and then add hotdogs, burgers, barbequed chicken, corn on the cob, apple, cherry and strawberry rhubarb pie topped off with rich vanilla ice cream made on site. What a great afternoon.

So here’s my point. I did not always love being at my church but I loved my church. Outside my home, it was the most important place in my life. Why is this so? Because of the story I heard there again and again. I could not escape the story then nor can I now. From my boyhood it wove itself seamlessly into my being. Here it is in a nutshell:

God who was omni-always (that’s my word for around from the beginning) made us all, made us perfectly and loved us completely. It couldn’t get any better than that. He also made us with free will, which was the best thing to do but unfortunately we used it to turn against him and that got us into terrible trouble because we became separated from our very source of life. This meant that we had to experience death. Death hadn’t even existed until then. So to help us out, God made us some rules. There weren’t even a dozen but we couldn’t follow them, which only made things worse. Some people were so miserable they just threw up their hands and quit trying. The only good thing about the rules is that they convinced us we couldn’t get back to God by being good. And that’s just what he wanted us to know.

Then he did an amazing thing. He came down to earth as a human baby. Talk about a great disguise! Only a few suspected who this baby might really be. Even his mother forgot from time to time. Anyway, the baby (who was named Jesus meaning “The Lord is Salvation”) grew into a boy. We don’t know very much about his early years. Only one story is told about him getting separated from his parents during a pilgrimage. He was twelve and they were scared nearly to death. One can imagine them thinking, “It’s one thing to look after a God-baby but quite another when he gets to Jr. High.”

The only other thing we’re told is that he never sinned. Then in his early thirties, after amazing many people with his teaching (not to mention his miracles) he got into trouble. He angered the religious authorities of his day until they figured out a way to get him sentenced to death. So Jesus, who was innocent and could have called down a few battalions of angels to defend himself (that’s a whole other story) instead allowed himself to be executed upon a cross. It was his idea to pay the price for all the sins that men and women would ever commit. I know. It’s crazy. Omni-crazy even. And there’s more. Jesus didn’t stay dead but instead rose back to life proving that he was God, more powerful than death and able to offer us a gift of life—full, free and forever.

This is the story I heard from my earliest boyhood. I didn’t often hear it all in one sitting, but week after week, month after month, year after year, in Bible stories and sermons and dragging hymns, through Advent and Christmas, Holy week and Easter, smorgasbords and picnics, in the lives of people sitting next to me in the pews, some who lived well and others not so much, the story came alive. It belonged to me. I could not be myself without it.

Of course, there is much more to tell. This is only a snapshot—little more than a thumbnail really. I know that some people haven’t given the story much thought. Others know it well and ridicule the whole thing. I stand with those who believe it is true.

At the end of the service, Rev. Perry would shout, “Let us pray.” I loved it when he said those words. It meant he was almost finished and then we could go home and eat.

Slides 20, 44, 45 and 64

The Top Photo: Mickey Mouse and me

The Date: Early July, 1965

The Photographer: My cousin Peter

I went with my Californian cousins to Disneyland. I may have been the first in my town to go there—maybe the first in all of Northern Pennsylvania. People from our parts didn’t travel much. A trip to Disneyland was a big deal in 1965. I suppose it still is but back then Disneyworld was six years from opening and Disneyland, Walt’s original dream, was still one of a kind. Walt himself kept a little apartment on the second floor of the fire station, just inside the main gate, and it was not unusual to see him strolling down Main Street greeting his guests. Like most American kids, I watched Walt Disney Presents every Sunday night so I was familiar with many scenes around the park. What I’d not seen I imagined well.

I was twelve years old, only days from turning thirteen as evidenced by the slides in the carousel. In one I stand in my madress hat with Mickey Mouse, shaking his white glove, feeling a little silly knowing I might be too old for my level of excitement. In another, two mermaids lay sunning on the rocks of a serene lagoon, apparently unaware that I am photographing their alluring, scaly forms from The Sky Ride gondola floating high above. I remember viewing the processed slide for the first time and being disappointed that the mermaids appear so far away. I recalled capturing them in my viewfinder. I remembered focusing the lens so carefully. Believe me, I had 'em! They were right there! I rode The Sky Ride a lot that day. The ticket taker knew my name.

On one of my flights I was stunned to find the mermaids gone. I peered deep into the coral green. A fleet of grey submarines followed a rail around the lagoon. There! Right beside a sub, I saw one swimming porpoise like only more attractive than any porpoise I’d envisioned. Even from so high I could see she was beautiful. I had to get on that sub for a closer look. My cousin Peter rode the gondola in the seat across from me. He was a year younger. He stretched his chubby frame to look over the hand rail dangling spit from his lips. It was a game he’d nearly perfected. The idea was to let the spit stretch toward the ground a few inches—maybe as many as four or five—and then suck it back in before it fell on the tourists below. Unsuccessful in his last attempt he jerked his head back in the gondola and slunk down as far as the safety bar would allow.

“Oh Sheesh,” he said, howling in laughter, “I think I got that lady bad.”

“Hey, you wanna try that submarine ride?” I said casually.

“Naw. Look at the line. It’s clear over to the Matterhorn. Let’s do this some more.”

So we took another ride across. This time from a distance I could see the creatures were back, tail fins flapping playfully, bodies glistening in the late afternoon sun. When we were directly above them, the gondola stopped for about a minute swinging slowly back and forth. I did not know for certain that it was an answer to prayer. It may have been a coincidence. Either way, I took the opportunity to snap a picture. I looked at my cousin. He was about year away from sharing my interest.

“I think I’ll try that sub,” I suggested again. “I always wanted to ride one. You comin’ or not?"

We stood for a little over an hour and as we neared the front of the line I peered toward the outcropping of rock where the mermaids lived. They were gone. This either meant they’d punched their time cards and blended into the mostly human park populace or perhaps they were back in the water. At the front of the line, we squeezed through the turn style and descended the stairs into one of the eight subs circling the lagoon. Ours was called Nautilus. I grabbed the first tiny seat, flipped it down and peered out my porthole into a coral reef possessing beauty only Disney and God could create. Slowly the sub began to move. We heard loud sonar pings and the voice of our captain. ”Let me be the first to welcome you to the port of Rainbow Ridge, the gateway to the wonderland of the sea. Please keep your hands and arms inside the submarine. The fish get mighty hungry!”

My cousin looking through his own window said, “Oh cool, look at that big fish. It looks almost real.”

I hardly heard their words. I shoved my nose against the tiny window and tried to look right or left, my breath condensing on the cold glass. Crabs, spiny lobster, a large grouper, a giant squid and then more sonar pings.

“Now ahead of us, folks, is a seaweed forest. The submarine’s pressurized atmosphere sometimes get to you, and makes tangles of seaweed take on strange shapes like fish and maybe even mermaids.” I shoved my face against the glass. No mermaids.

The captain droned on, “Now we’re going deep into the ocean to view a dazzling maritime graveyard.” A mournful sound filled the submarine echoing my fading hopes. “There my friends is the saddest sound of the ocean,” the captain said. “That is the song of the hump-backed whale.”

He talked the entire time but peering deeply into the ocean depths, beneath polar caps and past Neptune’s sputtering paint pots, I heard little. After seven or eight minutes he said, “Well I can see we’re once again approaching Rainbow Ridge and we’ll now begin our ascent. You may need to pop your ears.” I’d seen the subs from the sky so I knew we’d not descended but now my heart sunk deeply. This was our last day. My cousin would never agree to wait in line again and we couldn’t stay on for another ride. We’d tried that twice at Pirates of the Caribbean and been told by a human pirate that we ought not try it again if we hoped to live another day. He let out a laugh and a loud arghhh. Then leaning near our faces with a distinctly southern Californian accent he whispered menacingly, “You - really - do - not - want - to - mess - with - me. You understand don’t you?” That seemed a bit harsh for one of Walt’s employees but yes… we understood.

I was about to pull away from my porthole when I saw a splash of bubbles and something swimming toward me. I cupped my hands goggle like around my eyes and tight against the glass. Yes! It was a mermaid! She swam to my window, reoriented her body vertically, smiled and blew me a kiss. Graceful bubbles escaped her lovely lips as I felt my face flush. She was an exquisite specimen. Her scales, glimmering rainbow colors in the refracted coral light, modestly covered her partially human form. She ascended slowly toward the surface and I took her in fully—thick flowing hair, tanned human skin, dark eyes, two large frustratingly effective clamshells and luminescent scales flashing tiny dots of light on the palms of my hands. She was only inches beyond my face. Then with one flip of her impossibly long fin she was gone.

My camera hung around my neck but I never thought to take a picture. Instead I experienced the moment. The sub stopped and the captain thanked us. “I hope you’ve enjoyed your trip into the wonderland of the sea. Please lift your seat as a courtesy to our next guests.”

My cousin said, “Cool.” I looked at him and realized he not seen her. The portholes were too small, the glass too thick and of course there was that oddity of refracted light. Only I’d seen her smile, felt her kiss and gazed upon her lithe sparkling form. She was mine alone.

Twenty years later and three thousand miles away, I sat around a New England meal with my wife Judy and our closest friends. I shared my siren tale. Laughing, my buddy said, “What a great picture of that peculiar passage from boyhood to being a man. And… it sure rings true. Our son turned thirteen last week. I opened his dresser drawer the other day. On one side were his Legos and on the other side his shaving cream and razor.”

Ah yes. I suspect it was something like that for us all. For me it was Mickey on one slide and mermaids on the other.

Slides 95, 96, 97, 98, 6 and 4

The Slide: Judy and me in Sweden

The Date: June of '75

The Photographer: My father

My paternal grandfather grew up in the province of Smaland in southern Sweden. It is to this day a beautiful land of misty white birch, fields of buttercups and stonewalls everywhere. The walls are not decorative like those in New England. The walls in Smaland are big, five feet tall, six feet across the top, stretching field after field and longer every year.

Each spring the fields yield an abundance of new boulders. The farmers gather this crop they did not sow and pile it higher along the walls preparing for a more fruitful harvest. This hard land was my grandfather's home.

Barely more than a boy, he embraced his mom and dad for the last time and left those rocky fields of tiny potatoes, dreaming of deeper, darker, American soil. The fields he envisioned were probably in Minnesota, where I now live, but he had no idea how vast his new country was. By the time he reached western Pennsylvania, years had passed. He now knew the love of a wife who spoke his language. He knew the joy and worrisome responsibility of young children. He knew the hopeless monotony of American factories and the sweat of the oil fields. And he knew the ache in an immigrant's heart—an ache for which there was no remedy.

One day he saw something that filled him with joy. A "For Sale" sign stood in a field by a farm nestled on a hillside. The farmhouse didn't look like much and was far too small for his growing family, but it was every bit as good as what he'd known in Sweden, maybe better. There was plenty of lumber to build a barn. The few fields were dark soil, and most wonderfully, there were boulders everywhere. He was finally "home" in America.

My father grew up on that poor farm, sharing the tiny house with his mom, his dad and five siblings. It was a tough life but joy nestled on that rocky hillside. My father's mother, my grandmother, had not met her husband's family in Sweden but she wrote to his sisters faithfully, for sixty years, nearly every week.

In 1966, my grandfather died. My father felt terribly sad that Grandpa never made it back to Sweden. "I should have taken him for a visit," he said. "I could have made it happen." So for his mom, he did make it happen. In June of '75, my father, mother and younger sister Ingrid drove to the farm, picked up my grandmother and began a long journey back to the homeland. There she would meet her beloved sisters in law, Anna and Ruth, to whom she had written most of her life.

During the same weeks, Judy and I traveled back from Africa where we spent our first year of marriage. The chance to meet my family in Sweden was serendipitous. We had planned to spend another year in Zaire but due to Judy's continual struggle with tropical disease, we decided to come home early. She'd had a tough time. From the moment we stepped off the plane, she suffered from the heat and humidity, which by comparison made most American cities—Miami for example—seem brisk and invigorating. It's safe to say her first year of marriage was less romantic than she'd anticipated.

Within three weeks of our arrival I was flat on my back with malaria. It's a scary disease. As the missionaries say, "The first week you hurt so bad you're afraid you might die. But by the second week, you feel so much worse you're afraid you might not." Judy was just nineteen and spent the first month of marriage playing nurse to a delirious husband, crawling on all fours to and from the bathroom and eating through a straw. To make things worse, most of our new friends were missionaries who had long ago made the tough cultural adjustments and didn't seem to remember our novice fears. I believe missionaries are the most forgetful people I've ever known. Let me explain.

The first week we were there, the deacons at our church organized seven consecutive suppers in missionary homes. Each evening the stories began over salads and fresh garden vegetables and continued through chicken mwamba (a delicious combination of chicken, palm oil and peanut butter gravy over white rice). The dish is surprisingly tasty, though not recommended for seven consecutive evenings. At some point during the meal, our host would say, "So, are you starting to learn your way around?"

"Well, no," I'd reply. "Actually, we're still waiting for our drivers' licenses. Until they come, we're stuck at home."

"Well, praise God for that!" our hostess would say. Then with a little laugh, "Believe me, the longer you're stuck at home, the safer you are. Most of the drivers out there are little kids! Arthur, tell them what happened to Mary."

Each evening the names changed, but the stories remained much the same. Mary was back-ended by a ten-year-old cabby whose uncle, a government official, demanded a payoff or Mary's family would be kicked out of the country.

A guy named Jim stopped his car with the front bumper two inches over the crosswalk and was thrown in jail. Of course the phones didn't work, so no one in the church knew where he was. It took three days to find him. In Africa, prisoners are fed by their families, but Jim was single, so Jim "fasted".

The name Verner Pauls remained consistent through all seven evenings. Poor Verner's car was slammed from the side and shoved into a crowd of people. Verner wasn't hurt, but apparently someone in the crowd was. When he attempted to help them, a mob over turned his Fiat, set it on fire, and beat Verner within a breath of his life. He flew back to Goshen, Indiana, and no one expected him to return very soon. Usually, following a fairly detailed description of Verner's battered body, someone sensitively noticed Judy's tension. Trying to steer the conversation in a more pleasant direction they'd ask, "Seen any big snakes yet?"

This would lead us into Green Mamba territory.

"Oh, yeah, deadliest snake in the world," our host would warn. "Why, they can kill a horse in three minutes!" Since I'd seen no horses, I was surprised everybody seemed so fixated on that three-minute equestrian statistic. " 'Course, if it bit you, you'd be lucky to last thirty seconds. Did you hear 'bout that Bower girl who got bit last Christmas?"

Well… yes. We had heard but that didn't matter. They'd tell us anyway about little Lori, who would have been dead if she hadn't been bit in the fatty part of her bum and if her dad hadn't had serum right in the fridge and if the houseboy hadn't chopped the Mamba's long green head off in mid-flight just before it bit her again. The conversation usually ended with our hostess saying, "More dessert anyone?"

I don't know why this behavior surprised me. I suppose it did because one would expect loving Christian people to be more sensitive. On the other hand these were not just loving Christian people. These were missionaries and they are a different breed. I remember their type coming to our church when I was a kid. I endured many long slide shows. Most of the pictures were of church buildings, hospitals, maybe a baptismal service in some muddy river—fairly calm stuff. But always mixed in the middle was a shot of the smiling missionary standing with a painted tribal chief, mud red, holding a long spear, sporting a belt of monkey skulls and always… always someone's femur bone stuck through his nose.

"This is my dear friend Chief Bonsongungu," they'd say. "He comes Wednesdays for tea."

In truth, I believe missionaries are remarkable people. And, who knows, we might have joined their ranks had Judy not contracted malaria, typhoid fever, shigellosis, amoebic dysentery and a lovely orphaned family of tapeworms—all in the first six months. On our way home, stopping in Sweden to meet our family, Judy was down twenty ill affordable pounds and I didn't look too beefy myself.

We made our way to my parent's hotel having not seen them in a year. Needless to say they were shocked by our appearance. Their daughter in law was still beautiful but rail thin and their son looked like an indigent. I'd not touched my hair or beard since our wedding day.

For the next week we traveled with the family and my grandmother nearly wore us out. She was the first one up in the morning—ready to go. Stockholm, Goteborg, Malmo and then over to Copenhagen for a day or two at Tivoli Gardens and an evening with the Danish Circus—my grandmother's first circus. She loved it all. Finally the big day arrived, the reason for her journey, the day she would meet Ruth and Anna.

It was a sunny summer morning. We drove our van to the small village of Nybro and then headed out of town into the countryside. My grandmother translated aloud the directions she'd received from Anna while my mother compared each tiny farm to a black and white photo she held in her hand. "Okay, I think we may have found it," my mother said glancing back and forth between picture and landscape. "Bob," she said to my father, "turn here. This is it."

For a hundred yards, we followed a dirt drive—a high wall of boulders on the right, white birch and pine on the left and at the end a farmhouse the color of dandelions. As we approached, an old man rose from a porch swing yelling to those inside. We pulled up in front of the house. I slid the van door open. Two old women shuffled through the screen door. My grandmother saw them and uttered a soft sound. I helped her step from the van as the women made their way down from the porch. All three laughed aloud with outstretched arms before meeting in the middle of the dusty drive where they wrapped themselves together and wept.

Other distant cousins quietly appeared standing with us in a circle around the old women. No one spoke. It was a holy moment. Later formal introductions were made in a joyous blend of languages.

Over the next couple days more cousins arrived, many meals were prepared and eaten, hundreds of photo snapped and then sadly it was time to go. Of course there were more tears. For my grandmother, Anna and Ruth this was a final goodbye. "Okay ladies," my father said, "one more shot." They stood together—Anna, my little grandmother Gerda and Ruth. My father snapped their picture.

The reunion was the highlight of our trip but not the highlight of the eventual slide show. My father had taken most every picture. My mother made it clear that unless my father was in the shot, he would be taking it. Judy and I didn't help much because we used our own camera—a tiny Kodak 110 that we'd carried through Africa. I bought it because I loved its' compact size and because the salesman assured me that everything was going that way. "In the next ten years," he said, "the 110 will become the camera of choice. " Unfortunately, that meant I had no choice about buying the tiny 110 projector since the slides were half the size of my father's more common, supposedly soon to be obsolete 35mm.

Several weeks later, back in the States, all our relatives gathered at my parent's for an evening of slides. They were excited to hear all about Grandma's trip and vicariously meet their Swedish family. Judy and I were there too. Earlier in the day I had organized the slides, discarding the really bad ones and placing the others chronologically in the carousels. My father had returned to work that week so he appreciated my help never questioning my motive. But I had one. Though he did know, he had not taken all the slides. I took one.

We were in a Swedish village. My mother needed something in the drugstore so while my father ran into to get it, my mother stayed in the van with my grandmother. My sister and Judy and I got out to stretch our legs and it was then we saw the advertisement. It was on a large column right in the center of the street. It was unlike any ad I'd seen in modern 1970s America. For that matter, it was unlike any ad I'd seen anywhere. Ingrid commented first, "Sheesh! You won't see that back home."

"No kidding," Judy said. And then laughing, "In fact Bob, I don't think I want you even looking at it."

But I did look at it and I thought to myself, "This advertisement is quite beautiful. It is quintessentially Swedish and I think Dad needs to share it with the family back home."

"Mom," I said through her open window, "give me the camera." I removed the cover, set the shutter speed as quickly as I could and snapped the picture. My father exited the store. We climbed in the van and drove away.

Weeks later, our living room was filled with extended family and a few close church friends. About 9:30, we all agreed it was dark enough and I began the show. My grandmother commented throughout, particularly delighting in the shots of Tivoli and the Danish Circus. "I couldn't believe it," she said, "These crazy elephants sat on stools and this young lady drove her motorcycle on a tight wire right over my head. It was so loud. Oy yoy yoy!" Then she added,

"The lady wasn't wearing very much either." Everyone laughed.

Toward the end of the evening came the slides of the reunion, the moment the three "sisters" met and the litany of relatives—who was who and how we were all related. Finally the three old women appeared on the screen posing at their final goodbye.

The room fell quiet.

The projector fan hummed.

No one spoke.

"You know Dad, " I said, "these are beautiful slides."

"Well… thanks," he said softly.

I turned to my uncle. "Don't you agree Carl?"

"I sure do Bobby," he said, "I think they're really something. Makes me so sad I couldn't be there too. They're beautiful. Really great."

I turned back to my father. "I mean it Dad. You really did capture the experience through these images. We can see your heart.

More silent agreement…

Oh look," I said, pretending to fuss with the projector. "I think there's one more." I pushed "forward" on the remote and an image appeared. It was taken in the center of a tiny Swedish village. There was a moment of quiet and then laughter—loud and long laughter. When my father was able to breathe he offered his stammering disclaimer but no one accepted it.

My uncle Glenn, beautifully dead pan said, "I'm disgusted. Come on Martha we're going home."

More laughter.

I had anticipated this moment for over three weeks. It was worth the wait.

Slides 16 and 71

Slide 71: Me on the couch

The Date: December 1971

The Photographer: Unknown

The photo shows me at age twenty, home from college for the Christmas holiday. It could be Easter but camouflaged in the lower right hand corner is one red Poinsettia. It's Christmas time.

I'm slouching comfortably in the corner of our old sofa having found my sweet spot. The soft fabric is printed with early Americana but the design screams 1970s, as does the orange wall behind. The wall wasn't always orange. The previous summer it was a lovely understated mossy green that my family enjoyed for years… so I painted it orange.

For several winters we had ice problems on our roof and the resultant leaking caused cracks in the living room ceiling. I had a couple free weeks between the end of my freshman year and my summer job so my father hired me to Spackle and repaint the ceiling. "And while you're at it," he said, "you might as well go ahead and repaint the walls."

"Yeah, I could do that," I said, "but you know Dad you might want to change it up a bit—maybe paint one of the walls in a complementary color."

"What exactly does that mean?" he asked.

I had just decided to major in art and was anxious to answer the question. "Complementary colors are colors that complement one another," I explained. "They are two parts that create a whole. One color makes the other appear more vibrant. Red with green. Blue with orange. Purple with yellow. With this particular green I say we go with a bright yet soothing reddish orange. What do you say?"

"Well," he said tentatively, "I don't know. I wouldn't want a big change. I've always liked how calm and peaceful this room feels."

"Calm and peaceful are good," I said, "but I've learned some things in my art classes that could really improve the design of this room. I think we could make it pop a bit." My father didn't respond which seemed oddly condescending and I felt an unfamiliar irritation rising in my chest—maybe because this was the first time that I thought I knew something he didn't. I shrugged defensively. "Hey, it's your room Dad. You want green, I'll paint it green. No big deal to me. I don't live here anymore."

He seemed uncertain. "I don't want to be closed to something more attractive," he said. "It's just… I wouldn't want to… I'm just a little concerned that… Explain to me again what you were envisioning."

"Well Dad," I said, "I know you love the autumn and that's all about complementary colors. If the leaves were all red or all orange it would be beautiful but when you mix in that touch of green pine and that blue sky it really pops. Doesn’t it? That's the power of complementary colors."

My father stared at his wall. He seemed to not be getting it. "And you're thinking that would work in our living room?" he asked.

"Yes I am," I said passionately. "Dad, if my college courses have taught me anything it's that complementary colors work. One color makes the other even more beautiful. That's why we say they complement each other."

"I don't know," he said. "I think we'll stay with the green."

"And I agree," I shot back. "I think you should stay with the green… on one wall. But why not complement it with another wall of subtle orange?"

"Because I don't know if I've ever seen a subtle orange," he said. "It seems to me that orange is sort of an unsubtle color."

I threw my arms upward gesturing in wild frustration. "Hey that's fine Dad! We should probably forget about it then. Jeesh!" My father, surprised by my reaction, stared at me saying nothing so I continued gaining speed and volume. "Your lack of confidence is irritating because I just studied this stuff for an entire ten week trimester and as you know I got an A plus for the first time in my life which is why Stu Carlson my Art professor told me I'm good at this so I think I know how complementary colors are suppose to work but if you want to stay with peaceful calm soothing subtle mossy green boredom I'm fine with that… really."

He was smiling—maybe on the edge of laughter though I couldn't be sure. "You okay?" he asked.

"Of course I'm okay," I said way too loudly.

He paused staring at the wall, then at me, then back at the wall.

I waited.

"Okay," he said. "You go buy the paint tomorrow and I'll see you after work."

The next morning I stood in the hardware store seconds after the clerk unlocked the front door. I was determined to prove to my father that I could deliver on my promise. I would create a calm yet vibrant living space. This was important to me because I was at the age when I needed to choose a potential career.

A year earlier, when I went off to college, I knew I wanted to be some kind of performer. I was writing music, playing guitar and singing songs. I was telling stories. I was trying to make people laugh whenever I had the chance and often when I didn't. None of it applied to my college curriculum. I could have chosen to study music but I'd never learned to read notes and it was a tough major. Coming off a less than exemplary high school career I was afraid to attempt that tract.

The next and most logical choice was theater. My freshman year, I auditioned and was chosen for a play. I enjoyed it and thought I did well. Unfortunately the director did not share my feelings and worse yet never thought to tell me his. So one day I stood excitedly outside his opened office door and rapped a knuckle on the glass. He glanced up wincing and waved me in. He sat behind his desk piled high with scripts and blue book essays. He slouched nearly horizontally in his chair with one hand flayed across his brow massaging his temples— headache. With his other hand, he pointed toward a stool and mumbled, "Mr. Stromberg what can I do for you?"

"My advisor told me I should stop by and tell you that I'd like to major in theater," I said.

"Oh she did huh? And why would she advice that?"

"Well, I told her I’d like to become some type of performer and we thought the theater program might be a good place to start." He leaned further back and turned slightly toward the wall. Both hands massaged his eyes now. He had a bad headache.

Then he said slowly, "You don't have it Bob."

"I beg your pardon."

"You don't… have… it."

I was confused. "I don't have what?"

"You don't have the temperament to make it in the arts. This is no place for fun and games. Honestly, I think you should go into nursing. Hospitals need happy guys like you but we don't need you here. And furthermore…”

I don't remember everything he said though he didn’t say much. He had a really bad headache. It was clear he didn’t know me well and the little he knew he didn’t like. I left his office confused, red faced—so embarrassed. I stood in the hallway for a long time staring at an audition board knowing my name was not welcome there. He could not technically keep me out of the program but he directed every play. My chances of getting on stage were not good.

Spring term I enrolled in Art 101 and met Professor Stu Carlson. He saw something in me. He appreciated my work and that changed my life. I knew someday I'd find a way on to a stage but until then I was an art major.

A few weeks later I stood at the counter in the hardware store back in my hometown. "What can I do for you?" the clerk asked.

"I need a gallon of orange paint," I said.

He reached beneath the counter retrieving a large book of tiny color samples. "What color orange are you lookin' for?" he said. "Do you have a name or a number?

I was unprepared for the question. Staring at two pages of orange squares, one barely discernable from the next I said, "I need an orange that will complement a wall and go with a couch."

"We can mix pretty much any shade you need," he said. "Maybe you could bring in something and we could match the color for you."

And that's what I did. I ran home and got a couch cushion. I figured that way I'd tie the couch color into the orange wall, which would then complement the green wall and carpet creating a well integrated, calm yet vibrant design.

I finished painting in the late afternoon and had just enough time to pick up the drop cloths, wash my hands and return the furniture before my parents pulled in the driveway. I was excited. I thought the room looked great though optically the color created a slight tickling sensation. I grabbed a magazine and sat casually on the couch. I heard my folks pull into the basement garage... then footsteps and conversation up the stairs. The door opened. They looked toward me and their jaws dropped. For a moment, speechless, they did not move. Then my mother said, "My glory!!! That's really… orange!!!" And then, "I hope it's not too bright. Do you think it might be a little bright? Maybe?"

"No, no, I don't think so," I said quickly, "These are complementary colors that's why they seem to kind of….."

My father completed my sentence. "They vibrate don't they? Is that an optical illusion or is the room bouncing around a bit? And Lucielle," he said to my mother, "Look at you. You almost look like you're tipping."

"I am tipping," she said sitting awkwardly on the ottoman. "I feel little queasy too. Do you guys feel that?"

"No," my father said, "doesn't really bother my stomach but I am a little short of breath."

I tried to remain calm, which was difficult with the room pulsing so. "Well," I said, "autumn can take your breath away too. Let's give it a few hours. It may dry a little calmer."

And it did…but not by much. It was a terrible color choice that really only looked somewhat natural from mid October through Halloween. The rest of the year, the orange was far too dominant to integrate with seasonal décor like red Poinsettias. Christmas time was an interior designer's nightmare.

I look now at the photo of myself sitting against the orange wall. I remember my clothes—the favorite brown buckle shoes that I bought for a high school dance and still wore two and a half years later. I loved those shoes. I loved them so much that I bought them a half size too big mistakenly thinking my feet were still growing. I wore two pairs of socks. I remember my favorite light grey denims with the dark pinstripe that I got at the Jeans Boutique on Lawrence Avenue in Chicago. I remember my favorite sweater, my hairstyle and my beard that was finally coming in fully. This was a good time in my life.

And there I sat at Christmas time, my skin reflecting that awful orange. The wall was a failure. But, and here's the point, I was not. I was not a failure or at least never felt like one because for a decade my parents delighted in that awful wall. I'm not suggesting they liked it but they delighted in it decorating it with my equally amateurish paintings. They delighted in the wall simply because it was mine.

Slide 16 on the carousel shows my folks around 1967. They're standing together by the kitchen sink in my grandparent's home. My mom washes. My father dries. At that time my grandparents lived next door and we shared all our evening meals—one day at our house, the next at theirs.

In the photo they are smiling.

This is what I saw most everyday of my life. Oh, I remember many other expressions but if I had to choose one that exemplified who they were and how they looked upon their children, this is the one. We were loved unconditionally which meant we could fail without being a failure.

I remember a conversation. My wife Judy and I had just returned from Africa. We spent our first year of marriage there on the Christian mission field. It was during this time that we decided I had to give performing a try and we formulated a plan. Back home again we sat around the kitchen table with my folks.

"Okay you two," my mother said excitedly, "we are dying to know. What are your plans?"

I was a little nervous to answer. It's not as if we'd been able to calculate our risks but clearly the stakes were high. We had no money and owned little more than our clothes. But… my mother asked so I answered. I said, "I have decided to become a mime."

My mother said, "What's a mime?"

"Well," I said, "It's a kind of actor that usually doesn't talk but that probably won't work so well for me. Still I want to learn how to move like they do. I want to understand the power of gesture. I want to add that to my stories and songs and comedy just to see what happens."

My father looked serious. "Where do you go for something like that?" he said. "And how do you make a living?"

I knew these questions were coming and answered with my rehearsed response. "I found a little theater school in the state of Maine," I said. "We thought we'd move to New England—somewhere near the middle. There are lots of people there and I figure where there are lots of people there are lots of schools. I was thinking I could go to those schools and ask them if they need an assembly program. If they do, they can pay me some money and then we'll pay our bills."

Even as I spoke I felt my confidence waning. "Why?" I thought. "Why had I not chosen graduate school like my friends? I considered seminary. Why didn't I stay with that? Would any schools hire me? Could I find enough work to pay our bills? Could we ever buy a car let alone a house? And we want to start a family! Am I out of my mind? " It was a crazy idea like the bright orange wall right behind me in the other room.

I looked at my hands. I played with my cup. My finger traced a pattern on the tablecloth. No one spoke. I looked at Judy for help. She sat to my left her expression mirroring my own. We looked across the table at my parents.

They were smiling.

They were both smiling that smile.

"Oh you two," my mother said, "it's perfect."

As it turns out, it was. It was perfect, or nearly so, and it began an adventure continuing to this day—an adventure I might have feared, perhaps fled, had I not known the freedom to fail. What a gift that is.

I am not my parent’s only child so I will not speak for my sisters—though I doubt they disagree. They can tell the stories of their lives and are more than welcome to a carousel or ten of their own. As for me…

My parents smiled on my orange wall.

They smiled on me.

They are smiling still.

Those smiles have, in a big way, empowered and sweetened every step of the journey.