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June 12, 2015


Just wonderful. Thanks for sharing the process.

Yes yes - love it!

That is wonderful, strong, expressive work. I know this will be a book I'll want to own.

Such a RAMBUNCTIOUS flower!!! Right on!

This is a great project, Beth, and I much look forward to seeing its development, all your prints, and of course the finished book. It's interesting that adding the hand (with a firm grasp) to the lily has turned it into a revolutionary symbol and removed any 'flowery' aspects. Did this just happen in the process of working out your drawing, or was it intentional? Would it be far-fetched to interpret it as Gabriel's secret sign announcing a revolutionary birth?

Thanks, Nina, Nic, Hattie, Vivian, Natalie!

Natalie, what's fascinating to ME is your comment, because it articulates something I noticed about the "feeling" of the print but haven't really been able to put into words. Yes, maybe that's a perfectly feasible interpretation! All I knew was that I didn't want it to be a wimpy "flowery" gesture, but something firm and strong, and while I was consciously trying to emphasize the lily, the hand just kept insisting on equal time. In the first version of the print (see the second photo from the top) the hand was actually behind the frame. When I cut off the bottom of the block for the second version, the hand came forward and the lily seemed to tilt back - an illusion, but another way in which the hand insisted on its importance. I think I want to use the traditional symbols of Mary, which figure in art and also in some of the poems, but in a new and more active way. Thanks for helping me think through this further!

Fascinating process and beautiful results!
You should consider giving workshops :)

Terrific print — so full of energy. I hadn't realized this was going to be an illustrated work. Can't wait to see the finished product!

Farthest from a "wimpy flower"; the vigor you'd hoped for is abundant and evident. Fantastic project, Beth.

What a gorgeous print, Beth -- and I also love getting glimpses of how the process unfolds, and the different stages along the way. Now I am thinking about similarities and differences between printmaking and poetry; the original draft, the cutting away, knowing that if one cuts too much the whole thing will be lost. (Though of course with a poem one can simply write more lines; with a block of wood, not so much.)

I have one of your prints framed on my desk at work and I look at it daily with joy.

Of course - I worked under the fist and rose symbol for many years, but didn't realise that - as Natalie says - that's what this invokes! How mysterious and wonderful that it shows up here, and what a powerful, haunting book I'm sure this will be.

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Who was Cassandra?

  • In the Iliad, she is described as the loveliest of the daughters of Priam (King of Troy), and gifted with prophecy. The god Apollo loved her, but she spurned him. As a punishment, he decreed that no one would ever believe her. So when she told her fellow Trojans that the Greeks were hiding inside the wooden horse...well, you know what happened.