The Big Easy

New Orleans is much more than the French Quarter with Bourbon Street, Mardi Gras craziness, music, and beignets  -- although all of those are to die for and first-time visitors should never neglect them if the opportunity to experience any of them presents itself.  But what else is there?  Glad you asked.

On the way to West Virginia for Christmas this year with the family, Greg and I first enjoyed a full week in a timeshare trade-in in the Big Easy.

Before, I've had two previous very short visits there under extremely different circumstances:  one was as a very poor graduate student attending a convention, sharing accommodations with other poor students, and the second was also for a convention (my husband's), and I was along for the ride, this time as a new mom, happily sharing accommodations with husband and a stroller-riding seven-month old.  Because both of these forays were tightly limited by meetings as well as by finances, I had only a cursory overview of the area. 

So this most recent visit held promise -- I was going to finally actually SEE the city and what it has to offer.  Although Mardi Gras was long gone, this was the Christmas season, another opportunity for celebrations and decorations. A great move --  before the trip we purchased visitor's passes (still mindful of a budget) that were good for three compressed days of admissions into a broad variety of sites and activities.  

But prior to activating the passes, our first couple of days we spent getting a good lay of the land, which involved a lot of walking and enjoying things that don't require an admission price, such as getting up close with the locals:

Relaxing near the French Market

We strolled around Jackson Square, side-stepping the horse-drawn  carriages, admiring art and chatting with artists outside the square; we browsed in art studios and antique stores, and avoided one rainy hour by walking under the cover of the French Market.

Iconic scene at Jackson Square

We splurged calories at Cafe du Monde for one breakfast of beignets and chicory coffee, listening to the jazz trio that was standing just outside of the patio, and when totally stuffed, we moseyed over to relax on a bench watching the equally lazy Mississippi River.  We jumped on trolleys to check out the surrounding area, including the beautiful campuses of Tulane and Loyola Universities.  And of course, even though we ate some meals in our condo, we took advantage of several of the wonderful restaurants.  One was Cajun, complete with live music provided  by a Zydeco band. 

Dancing the two-step

One attraction our pass didn't cover was Preservation Hall, so we purchased those tickets separately, and one evening, we sat on wooden benches, shoulder to shoulder, and listened for a solid hour to some of the best of what New Orleans is all about:  jazz.  A couple of the performers, including the drummer, looked as if they had been there since the early days.  

Preservation Hall -- waiting for the show

Following this, we made our requisite -- though fairly speedy -- trip down Bourbon Street, just because.  And there Greg bought a huge cocktail to slurp on the way (open containers are perfectly legal.  What a night.)

I'm not going to go into the detail that these following sites really cry out for because I don't want to lose you.  (One important point to keep in mind -- you can enjoy jazz just by being out on the street.  Somewhere, some group or single musician is performing for passersby./  Here is a quick list of what we enjoyed (we didn't make it to everything the city offers, however), but those we did get to enjoy may appeal to you as well.  And they are all covered by the Visitor's Pass):

The Audubon Aquarium of the Americas (we watched the penguins at feeding time and they showed off for us, sweeping around the perimeter of their glass-enclosed pool;  we entered the parakeet garden area, and the little curious budgies browsed inside my open jacket and inside my open purse hanging on my shoulder, and sat munching on our sticks encrusted with seeds.)

Curious and sweet Budgies

The Audubon Insectarium    (Yeah, bugs.  Greg loved it all and I loved the butterfly garden.)

Sites behind Jackson Square:  St. Louis Cathedral, the Cabildo (historic building where the Louisiana Purchase was formalized, also lots of interesting artifacts), the Presbytere (another historic building housing displays about Katrina and upstairs are the super-cool carriages and costumes from Mardi Gras).

Left to right, Cabildo, St. Louis Cathedral, Presbytere

Quickly now:  we visited wonderful museums, including the stunningly exhaustive but emotional National World War II Museum (you need a lot of time for this one).

We took a two-hour riverboat ride on the Natchez, where we were treated to lively tunes from a jazz quartet, and also to a Christmas performance by local schoolchildren.

We took a drive out of town a little way for a Cajun Pride Swamp Boat  Ride (fun!).  At the conclusion of the trip, Greg got acquainted with our captain's pet, named, appropriately, Alli.  I passed.

As I said, even though we stayed fairly busy, we didn't get to everything.   But a vacation isn't intended to leave us exhausted;  it also can be a springboard into even more adventures, those missed on the first go-round.

My First Ever Painting!

A couple of weeks ago I went to a studio called Painting With A Twist and I liked it so much that I'm going back.  You can check its website -- they're franchised and have tons of locations (at least 80), in several states, clustered mostly in the southeast.  I went to the one in St. Petersburg.  The "twist" is that it's an artist-directed play-date type of activity, teaching students to create a painting in a single two- or three-hour class, the longer one is dedicated to a bit more detailed painting.  So, at the end of the class, I walked out with a completed canvas.

The company provides everything we aspiring artists need:  the easel, canvas, paints, brushes, and even an apron, complete with dried paint splatters, that, when tying it on, I at once felt as if I were already part of the artistic process.

I picked the date and time from their calendar for the specific painting I would attempt:  a Monet-inspired curved bridge over a flower-surrounded pond -- similar to the settings you might have seen of his home in Giverny.  And you probably already know that his style was "impressionist" which is good because that provides me LOTS of leeway when displaying my finished piece:  "Hey, this is MY impression."  But there are thousands of paintings rotated through the months and people who book private parties have the option of picking one that might not be on the regular schedule.  Children's subjects are also available, so there is pretty much universal appeal.

My class met in the morning, but they have midday and evening classes, too, and at any time, students may bring a bottle of wine or snacks to enjoy, and perhaps share (further evidence of their special "twist").  The company provided my morning class with coffee and doughnuts on the serving counter.  One thing in the studio that tickled me was their fancifully painted list of house rules.  Among them, the two I most remember are "Please do not dip your paintbrush in your wine glass," and "Please do not drink your cup of brush rinse water."   I knew that this was where I belonged.

Even without the wine, however, I managed to drop my paper plate of paints onto the floor, paint side down, of course.  The young teacher didn't miss a beat in washing away my mess, saying "Oh, this happens all of the time,"  and I could see the possibility in those wine-enjoyed evening parties -- but coffee?

Anyhow, I had a wonderful time painting my very first canvas which I proudly brought home to my admiring husband.  Yes, he earned points with that.  

My two-hour "Monet"

(*I'm still working on this photo-importing problem, and I still don't have it licked.  My painting is a bit brighter than this appears here.  Oh well.......)

Hindu Temple, Continued

This is a continuation from the March 28 posting on my trip to the Hindu Temple of Florida.  Unfortunately, photography was not permitted within the temple, so I'll try to be clear but brief here. 
[*Note:  Not having interior shots is for the best, anyhow, because I'm having a difficult time importing photographs!  My only recourse is to procure the help of my more computer savvy son to help me -- and he's not here.  So, until I get brighter minds than mine in on this whole thing, we'll just use our imagination, shall we?]

Our guide who met us at the steps of the temple was a volunteer, a pediatric intensive care physician, and he was happy to answer all of our questions.  Luckily, the pager and cellphone on his belt remained quiet throughout the time he spent with us.  

After leaving our shoes in the special room down on the first level, we carefully walked barefoot across the damp patio, through the doors, and over the threshold  directly into the temple.  I saw first that the ceiling is not grand or higher than about 15 feet; its material is simple residential style and thus provides a more muffled and intimate space than I had imagined.  Two large fairly plain chandeliers are evenly spaced and centered in the room. The windows,unadorned squares of plate glass, line the two long sides of the space providing lots of daylight. 

White painted tiny footprints of (I believe) baby Brahma lead across the black tiled floor from the front door to the opposing side that looks most like an altar area, although a folding conference table standing on the floor in front looks utilitarian and incongruous.  Later, the guide explained that the footprints are recognized in a birthday festival with a decorated cradle, and he pointed toward the ceiling.  

At each of the room's corners are black marble-tiled niches, I'd guess about five feet deep, each with a god statue, draped in garlands of fresh flowers and fabric tucked around the figures, as saris.  The altar end of the room contains four niches, each with statues, either standing or seated.  I'm not sure about their material:  some were highly painted (perhaps plaster?), and some were detailed in finely wrought metal.  The only interior examples of Sanskrit I saw were engraved on the bases of the statues.  

Several other elements of worship are there as well -- trays and bowls of spices and other offerings.  At one point, our guide dipped his finger into a bowl of ash, and putting the ash-print between his eyes, said, "Ashes to ashes . . ."  and he smiled at us. He explained that the gods are simply manifestations of the one God -- the OM -- and just as the sun's rays spread out from but remain part of the sun, all are linked to the one God.  

While we were there, a few worshipers entered, and for a few quiet moments in the Namaste pose, honored Ganesh  (the elephant god who removes obstacles), before coming further inside.  Some brought gifts of food and laid them on the step of a niche.  I was interested in watching a priest outside of one of the temple windows;  bare-chested, and wearing a loose flowing garment and shawl, he was sitting at a small burning brazier, and was leading a ceremony with two women seated on small mats at each side.  He was chanting and dropping colored powder and waving a small twig brush through the smoke.  At one point he stood, stepped back a few paces, and the two sari-clad women slowly circled the fire as his chanting continued.  I learned later that the ceremony was intended to help the troubled marriage of the younger woman;  the second woman was her mother.  

At the conclusion of the tour, the guide encouraged us to take our time, and if we wished, to walk clockwise on the outside patio which encircles the temple.  Of the 27 in my group I believe that I was the only one to do this.  I enjoyed the solitude, absorbing the energy of the space as I passed three-dimensional carvings of gods, giving thanks and feeling honored for the experience.  

Finally, I  dried my feet, donned my shoes, joined the others on the bus, and we headed to an Indian restaurant for a lunch buffet before returning to St. Petersburg, a little tired, a lot full, and very happy.  

Hindu Temple of Tampa

A few days ago I posted a poem dedicated to my friends in an Artist's Way class I attended.  The purpose of this course is to teach techniques for freeing our creative spirit, guidance I certainly needed to regroup myself and return to that which I love:  writing.  One of several techniques is to take oneself on an "artist date," which can be anything from spending quiet time on a park bench, to rummaging around in antique stores, browsing in a museum or crafts store, buying crayons or paints, or whatever else calls out and sounds like a good idea.   One of my dates was taking a two-hour painting class (I'll tell you later about my "two-hour Monet").

But the one I want to share with you now is the group tour I took from St. Petersburg to Tampa, to visit the Hindu Temple of Florida  This opportunity was provided by a local chapter of OLLI (Osher Lifelong Learning Institute), a national organization which encourages members to explore interests, and to keep learning and stretching.  So, as a member, I selected this half-day trip as one of my "dates."

Early in the morning before leaving the house, I wrote down my expectations, having never been to India, or never before explored any Hindu temples elsewhere.  My experiences with large centers of worship include cathedrals in Europe and mosques in Istanbul, Turkey, but no interiors of synagogues, or any of Hindu or Buddhist temples.  

So, based on limited experience, I presumed that the word "temple" signifies a large structure, with a soaring ceiling, the whole space feeling cavernous and echoing -- and that I would feel  like a single small soul in a lofty space.  I also envisioned lots of Sanskrit and god carvings and statues of those I'm somewhat familiar with -- Shiva, and perhaps, Ganesh.  I imagined domes and Moorish- (or Islamic-) influenced  window styles. I knew beforehand from the OLLI description that we would enter the temple through the tallest Hindu tower in the United States, and I pictured a literal tower - something akin to the Washington Monument, only highly decorated, or maybe something similar to an Islamic minaret.   I also imagined fragrant and voluptuous gardens, with simple benches for meditation, here and there along soft paths; and water would be an important element, rounding out the sensory experience.

I rather missed the mark in almost all of this, to put it mildly.

As our bus approached the temple grounds, I could see that the temple did indeed look very large -- quite tall and ornate. Unfortunately, the temple's grounds are seeing new construction and are far different than what I had envisioned.  Instead of gardens of flowers and trimmed paths, the area is an expanse of sand and sparse grass.   A new "U"-shaped single-story block building sits across the yard, its open end facing the temple entrance.  Still unfinished, it is somewhat plain and austere, though it does have shaded porches.  

There was water, but it was outside the temple  grounds, an adjacent pond surrounded by tangled wild growth and blocked off by a chain link fence.  A fat white swan was nosing around in the weeds on the far shore, and he later startled our group when he took low flight and wing-slapped the pond's surface loudly before landing out of sight among the weeds on the bank closest to us.

The temple's tower is sloped and highly decorated, reminding me of Thai architecture.  An immense osprey nest adds even more height.  The first level (a few feet above ground)  interior is comprised of social and educational rooms, restrooms, a room for our shoes, and an elevator accessed from a covered porch.  I chose to take the front steps that lead through the tower and into the concrete patio area before the swinging glass front doors. 

Front steps lead through the tower to the worship space.

I saw that the temple was encircled by a covered concrete walkway.  Before entering the temple, our guide briefly described the statues of gods depicted in niches or presented on walls around and adjacent to the entrance, and answered questions about them. 

Representation of  three gods Brahma, Vishnu, and Shiva

Shiva

This was a lot to take in even before entering the main worship space.

To Be Continued . . .

Musing the Mountains

Riding the crest of hills, as a ship caresses the waves, I'm drawn to my home.  I look out of the airplane window to take in the darkest green blanket folds, for I am a child of these mountains, of their cool dark hollows, their rivers that can be silent deep pools, or agitated whitewater, tumbling and crashing against ancient stones. I see, too, border-crossing roads, snaking in and out of the folds and side-winding to the isolated family farm, as well as the company house of a coal camp, or the river bank community that provides drugstore, bank, school, and church.  

From my window seat, I imagine the magic to run my open palm along the velvet treetops.  The chenille ridges from this vantage point are soft rivulets, gracefully synchronized, just as the ridges along the sandy bottom of the sea. My gaze skims the peaks and slides into the valleys.

To the children reared here, the mountains are the most enticing of playgrounds.  When I felt their pull, I would hear my mother warn:  "Don't leave the paths; the mountains here are honeycombed with miles of abandoned mine shafts, and flooded by years of rain runoff."  The top layer could easily give way beneath a child's weight, and send her tumbling down to be lost forever.  These warnings were hard to remember once the wild grape vines became impromptu swings, the mountain pools and shade wonderful respite from pre-air-conditioned summers' heat, the mountain paths passageways into Indian explorations, or to the best of hiding places.  

Being within the hollows of tightly ruched mountains, some folks from the flat lands can feel claustrophobic, cut off, just as the hollows squeeze the daylight, leaving us in extra shadow-hours until the dark of night descends.  However, many of us from these hills, given the expanse of the ocean or the prairie, feel exposed and vulnerable in such openness, and the unfiltered sunlight harsh in our eyes. 

Yes, from these hollows, to see the sun midday, I must look directly above or else through trees that line the hilltops.  An observation from a white-headed philosopher friend from long ago, his arm resting against the back of his front porch swing, and speaking in time with its rhythmic slow-motion squeak:  "If I didn't have these mountains to rest my gaze upon, my eyes would get tired." 

There's a softness and musical grace of evergreens, and of oak, elm, and maple, of whispered lyrics from the tall branches of her hills, no less fine than the towering monsters of the American West, which themselves are the cymbal crashes, the climactic outpouring to the solitude of the plains,  and also, very different from the staccato snares of the Sawtooths.  But here in my home,  the soft green mountains are the melody, the sweet song of my heart.  

The mountains and the  New River  from my West Virginia front yard.

Palm Sunday

Palm Sunday.  Celebration of the return.  Bitter-sweet successes of meeting your challenge, your life's purpose, keeping your promises, facing darkness and knowing that behind it is the light.  Resurrection, renewal -- joining the cosmos or continuing within it.  "It" is here and now, permeating, suffusing, all. 

I am one with it.  I am it.  I join and have always been it . . . as we all are, as we all have been, so will we always be.  This is the day.  This is indeed and forever more the day, which is made up of light and dark, and light again.  Perhaps my soul will choose quickly or perhaps "quickly" has no meaning.  It is at it is.  But whatever, I will not cease the "I" within.  I contain I.  I sustain and maintain and remain.  This is all and everything.  We, you and I, will fly with angels.  

Namaste.

Sweetly Scented Yesterdays

     Remembrances wash through me unbeckoned but so welcomed, having been dormant, but very potent, memories.  They need but the simplest catalyst, such as a visit into an antique store that is jumbled and bulging with evidence of long-ago lives -- 100-year old sideboards and chairs, dining tables creaking under stacks of worn books, tarnished silver, chipped china, yellowed lace, and framed family portraits, eyes peering through time, their visage now resting in my hands.  All of these things suddenly transform my memories, call forth through the years and restore to me the musty basement of concrete floor and block walls, the foundation of the house my carpenter grandfather, Pop, built for his family.      
     Through the mists of time, down I go once more to the bottom of the steps, and just off to the left along the wall is Pop's silent workbench.  I detect the pungency of oil, and the perfume of freshly sawn pine.  To the right of the steps along the facing wall, are stout wooden shelves, heavy with canning jars full of long ago summers' tomatoes, beans, and peaches.  Oh, how I recall playing with my brother in my grandmother's, Mom's, backyard, zipping in and out of freshly laundered sheets on the line, my mouth watering with the splendid sweet aroma of peach-canning day, pure syrupy heaven wafting up the stairway and out through the screen door!  Mom's canning stove sits at the back wall of the basement, and in the sweltering end-of-summer days, the cool floor and walls down there make standing over the steaming redolent pots more bearable.

     But so many more memories swirl within that space.  To the left of the stove is Mom's dank zinc double wash tub with built-in scrub board, a rubber hose draped into one side from the adjacent ringer-washer, still sharp with bleach and 20-Mule Team detergent. The basement's center, including the mysterious space under the stairs, is a blur of slightly acrid stacked boxes with the stored paraphernalia of family life -- of Christmas ornaments and outdated clothes (too good to throw away) nestled among stinging mothballs.  Hanging from the rafters above the boxes is one of the most romantic remnants -- Mom's sidesaddle, its once-fragrant leather is now brittle with age.

     And in my mind, I've returned, circled once more back into the present, to discover that I'm standing in the antique store, caressing an ancient family photo, still resting in my hands.