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Mindful walking: The serendipitous journey of community-based ethnography. Qualitative Inquiry, 20 5 , — Karr, M. The art of memoir. Keightley, E. The mnemonic imagination: Remembering as creative practice. Basic critical theory for photographers. Lather, P.
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Troubling the angels. Women living with AIDS. Boulder, CO: Westview Press. Leggo, C. The heart of pedagogy: On poetic knowing and living. Teachers and Teaching: Theory and Practice, 11 5 , — Autobiography: Researching our lives and living our research. Writing a life: Representation in language and image. Transnational Curriculum Inquiry, 7 2 , 47— Riffing while riffling: 25 poetic ruminations.
ED'S PLACE: A Memoir by Mary Bergan Blanchard
Levi Strauss, D. A sea of griefs is not a proscenium. The Rwanda Projects of Alfredo Jaar. Levi Strauss Ed. Essays on photography and politics [Introduction by John Berger] pp. Long, P.
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Minding the muse. A handbook for painters, composers, writers, and other creators. Seattle, WA: Coffeetown Press. Lorde, A. The cancer journals 2nd Edition. Lykes, M. Silence ing , voice s and gross violations of human rights: Constituting and performing subjectivities through Photo PAR. Visual Studies, 25 3 , — Meyer, K. The reconfigured eye.
Visual truth in the post-photographic era. Miyako, I. Tokyo, Japan: Shueisha. Naguib, F. Uninhabiting the violence of silencing: Activations of creativity, ethics, and resistance.
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Nepo, M. Seven thousand ways to listen. Staying close to what is sacred. New Photography exhibition guide. Angela West: Back Home [Photographs]. The turn to experience in contemporary art: A potentiality for thinking art education differently.
Palmer, P. The courage to teach: Exploring the inner landscape of a teachers life 20th anniversary edition.
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The basis of criticism in the arts. Pinar, W. Curriculum theorizing: The reconceptualists. Berkeley, CA: McCutchan. Kridel Ed. Thousand Oaks, CA: Sage. Powell, K. Breathing photography: Prosthetic encounters in research-creation. Qualitative Inquiry, 21 6 , — Prosser, J. Light in a dark room: Photography and loss. The archive in the witness: Documentation in settings of chronic insecurity. A method of inquiry. Lincoln Eds. Rieff, D.
Roorbach, B. Writing life stories 2nd Edition. Rose, G. Visual methodologies: An introduction to researching with visual materials 3rd Edition. London, UK: Sage.
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I was 13 when that version came out, and I loved dancing to it even as what they had done to the song itself unnerved me. Rosie Clooney. Ella Fitzgerald. Tony Bennett. And even Elvis. It would make my mother boil; not a meal—nay, not even a cup of coffee—was offered in that tiny house on a hill where they lived when I was a child, my mother would say, seething. My Aunt Niel, too, perfectly—exquisitely, really, for she looked like a model—put together in the simplest of pieces: a long slim skirt, a sleeveless white blouse, a stylish coat or shoulder bag making it an outfit, the whole greater than the sum of its parts.
Or later, when she left Troy with her husband, an engineer who worked on construction projects throughout the country, and would send to us paintings she had done in oil. One was of my sister as a little girl seated on a hassock; many were of fruits and flowers. My aunt had clipped articles about the way Jackie dressed, and had decorated and entertained in the White House.
I could see my way clear from this pattern of visual artistry to the flat on Second Street in South Troy where my father had, long ago, composed the poems that I found after his death. He had placed them in a beautiful but now tattered leather-and-cloth portfolio. There were about two dozen, dating to , when he had graduated that January from high school graduations back then were in January and June. It was dated March 17, My Uncle Briggy—my godfather—had been groomed by my grandfather because he was the oldest to become a doctor, and in doing so, lift the fortunes of the family.
But Briggy played an instrument: the guitar. His instrument was the banjo.
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