I love your opening comment, Heather. I Love Lucy as a penpal is a wonderfully bizarre thing to consider.

I too have only peeked over Georgia’s wall… unable to step inside.

The first time was to study some of her paintings and I was following an old book with a simple map showing 2 places in Abiquiu where she lived.

It’s also when I first visited Mabel’s place, Ghost Ranch and laid on the bench to see Georgia’s view of the Lawrence Tree. I remember feeling scared someone would catch me as I peered over the wall, trying to breathe in some of the magic. At this time, the home wasn’t open to visitors.

I’ve been back several times and even had reservations twice to visit when it first opened to the public. It was a 6 month wait back then. I canceled both times, not having the nerve.

I’ve read every book ever written on Georgia and know of her extreme need for privacy. It’s been a while since I’ve re-read one, but I believe she never wanted this particular house opened to visitors…and I can’t seem to get beyond it. Silly, I know…but it’s there in me.

I realize that they need to make money to keep it maintained and protected and I’m sure each visitor is very respectful and cherishes her memory… but unless she sends me a sign telling me it’s ok, I think one of you is going to have to write about what you see…when you finally do go…so at least I’ll know.

Having said that, it is unusual to find the figures from the Old Testament in any retablos. In our class we painted Sarai (Sarah), Rebecca, and Miriam. We really only had time for those three (along with the “Queen of Heaven.” I will send you an email with the name and address of our retablo teacher, who is a fantastic folk artist and who has his works for sale. I know he painted several, and possibly other figures in addition to those three.

Every free moment at the art workshop is dedicated to producing art. Every free moment at the writing workshop is dedicated to walking, writing, sitting, being. One is not better than the other. Producing art is being, but there is a sense of urgency in the art workshop that is missing from the writing workshop.

Does it have to do with the very practical problem of having materials at hand. (I need my instructor’s paints and stamps and gold leaf and boards at the art workshop, whereas with writing I have everything I need — pens and notepads and me)? I don’t know, but I do feel the difference.

One thing I noticed today is the apricots are still green here. The apricots at our house have already ripened and are long gone.

Tonight was somethng called the Coffee House. It’s a cross between open mic and talent show. Two readings, both of which were very powerful. One of the writers was a poet who’s in my retablo class. I hope to post information about him later this week. He just published a new book, and his work is wonderful.

Also a lot of young kids who played music and did DJ stuff and beatboxing (link). The kids (they’re teenagers) are sitting in here with me in the computer lab now. Me and the youngsters - ha!

Your work with the Hebrew Scripture and retablos sounds fascinating. Can’t wait to see how those teachings filter down through your art. I am glad you get to sit with Sarai and Rebecca. As I revisit Chinua Achebe’s Things Fall Apart, I run into Ani, the earth goddess. She reminds me of Gaia. And the women of the Old Testament. I believe they all sit together. Holding the earth.

Remember that peek over the wall at Georgia’s place last summer? It doesn’t take much to see why she loved it there. Structure and bones.