this brutal history

ashley with public transformation
swooping through with her videographer
before they head out for texas
breaks down the differences between
an independent artist
a community artist
and a civic artist
by saying something like this:
an independent artist
is holding the paintbrush
and bringing to fruition
their vision,
a community artist
engages through interviews or
listening to storytellers or other ways
of hearing/holding/taking in a community story
and bringing it into their work
while still holding the paintbrush,
a civic artist
hands the paintbrushes out
to the community to make the work
while offering mentorship and guidance
but letting the community’s work
come out through the community


what feels like the first time
in forever
watching clouds under the sky
move over
(white whisps against a blue a so blue
it almost hurts)
how the book about here
also names the four cardinal direction mountain ranges
surrounding tucson
and also mentions the cleaving
the decimation
of a 2,000 person community
whittled down
to just over 100
and this is part of what we mean
when we talk about
this brutal history
in an expanse of mostly flat/cut goldyellow,
a few of the eyebrow-shaped lightning boy grasses
standing a foot tall
noticeable in the sun
upon closer inspection
the big blocks of
mauve stucco
washed by today’s bright sun
and rising
into the scene of sky

how i pause before i say delightful
because really, perhaps what i mean is:

complex and fraught
niepa in her narwhal/unicorn/some kind of fabulous creature hoodie
planking across the arms of the great fireplace (p)leather chair
saying she’s roasting
over the barbecue
jessica’s brazilian cheese bread
which reminds me of cynthia’s popovers
puffed and domed
in the muffin tin
from the water world:


Nepalese Hindu devotees gather to bathe in the Shali River on the outskirts of Kathmandu, Nepal. – voice of america, day in photos


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