International Women’s (Surfing) Day and…

…and when, perhaps, men are going to catch up or on. If ever.

When I started board surfing in 1965, almost fourteen-years-old, there were girls and women who surfed. Not that many, and those who were good at it were known by name. In San Diego’s North County, Barbie Barron from Oceanside, and Margo Godfrey were the main contenders.

It would be totally wrong if I didn’t mention that my older sister, Suellen, got me into board surfing. If Suellen had romantic notions about what surfing is, and she did, and we all do, the truth is that sometimes surfing lives up to those notions.

Trish went to Junior High with Barbie and was a member of an upstart Oceanside Girls Surfing Club before Trisha’s father got transferred to Philadelphia. I would run into Barbie frequently when I got out of High School, 1969, and did a lot of pre-work, dawn patrol surfing at the short jetty south of Oceanside harbor. Trish, who came back west in 1968 with a lot of east coast sophistication and a touch of the vibe (so alluring to a rube from Fallbrook), would ask if I actually spoke to her. No. Barbie did own the Offshore Surf Shop in Carlsbad for years. I reached out shortly after she retired. So, still no.

My only live almost interaction with Margo Godfrey was a big-but-blown out afternoon at Swamis, Scott Sutton, Jeff Officer, and I stuck with that situation because we had to wait for Scott’s father to do whatever he had to do that was more important than taking kids surfing. Margo and Cheer Critchlow were walking out, so casually, hitting the outside lineup, while we were going for the insiders.

I did write about my one interaction with the most famous woman surfer of that generation, Joyce Hoffman, from Christmas of 1970, the piece entitled “Joyce Hoffman’s Bra.” It is Google-able. I checked.

Oh, and I threw in a shot of Silvana Lima to represent women surfers who rip but don’t, perhaps, fit into the ‘image’ that sponsors are looking for. The image issue is, to a lesser extent, perhaps, also true on the men’s competitive side.

This is probably the right time to apologize for my attitude toward women. I love women, and my realization that boys and men treat women, um, rudely, and artists, trying to capture something of the beauty and wonder of women are insensitive if not clueless. So, yeah, one of those “I didn’t know, I don’t know, I’m working on it” kind of man-pologies.

Here’s how this post happened: I wanted to write about women who surf. Not finding anything I was stoked on in a quick web image search, I decided to check out my own media library. These are images that have appeared on this site. Some of the silk screen images are from the 1980s when I thought it was completely a good thing to do nudes. You know, like, tasteful.

Because of the way I put this post together, the writing is as disjointed as the images. Still:

Margo Godfrey, Santa Cruz, Oct 1969
from pinterest
taken from Matt Warshaw’s Encyclopedia of Surfing

The second from the bottom drawing was done by my youngest sister, Melissa. She died of metastatic breast cancer a few years ago. She did surf. She was so committed to producing high quality, high emotion images. I endeavor to live up to her standards, knowing I have a long way to go.

The last image is of my favorite surfer girl, Trish.

All original art works are protected by copyright, all rights reserved. Thanks for respecting that. AND… I have more to say about macho-ness and all that. Quick shout out to WARM CURRENTS. Check them out.

Temporarily Forgetting Taxes

I am indecisive on whether or not to take a chance and go surfing today. I have responsibilities, obligations and commitments, deadlines. Then again, whatever swell there might be drops off to nothing after today. It is already doing so.

Four years ago, on the first anniversary of my sister Melissa’s death, metastatic breast cancer, I was surfing. Some chop had developed on the water and the swell was, it appeared, dropping. I may have been the last one to get out. I was hanging on the beach with Mikel, nicknamed Squintz, and Bruce, the unofficial mayor of Hobuck. I had missed my sister’s funeral as I had missed our father’s eight months earlier. I hate funerals. I have been to as few as I could get away with not attending since the first one I attended, my mother’s, fifty-two years ago.

I did write about my paddling back out in a sort of memorial to Melissa. Writing may be shouting into the void, or not; it is how I process, possibly how I cope; even if it is difficult to partially process or cope with even the lesser mysteries of life, and knowing it is impossible begin to fathom that which no one has yet fully explained.

Death is the one guarantee in life. Death. We ignore death, we postpone thinking about death. It seems almost sinful to dwell on death. It is, certainly, counterproductive.

But people die. Some we know, some we’ve heard of. We cannot help but compare where that person was in life compared to where we are. But we don’t… dwell. We move on.

I didn’t remember that it was an anniversary. Trish reminded me. That it was five years surprised me. Thirteen years since Trisha’s father died, fifteen since her mother’s passing. She put the deaths of my parents in the timeline. Six, in December, for my father. Fifty-two, as I said, for my mother.

Surprising. Not shocking; yet I remember, easily, and vividly, the circumstances of each event.

The memories get blended into the mix, the redundancy and rhythm of the daily traumas and dramas, the routine of waking, and being awake, and trying to accomplish… something; oh, and dreaming.

Waves, I believed, during that mid-day, mid-summer, solitary session, came to me; I got into the rhythm of the sets; I believed that honored my sister. Though all this could be easily explained away, I still believe this. My sister was an artist. I have called on Melissa’s spirit to assist me, at times, when I am attempting to transform something in my mind to paper. No, I never produce anything as moving as the work she fretted and worried over and kept at until everyone but her believed the work to be perfect. No, I don’t blame her spirit.

Of course not. That would be ridiculous.

“Are you looking at me? Don’t look at me?”

If I do think about death, there is a story I go back to:

Trish and I, twenty-six and twenty-seven, had lived in among farmland in Quilcene for a cold winter, during which the bridge connecting where we lived and where I worked sank. Workdays were thirteen and a half hours long for eight hours pay. It was spring. It was a Saturday. The sound of gunshots woke us up. We looked out the window. There were several trucks in the field at Irving Johnson’s farm across the road. I went outside, walked down the road, watched from behind the barbed wire fence.

The victim of the gunshots was being hoisted up on a chain, one of the crewmembers slicing into the carcass. The rest of Mr. Johnson’s herd, seven or eight head, was a ways off, chomping on the spring-wet grass. Each of the steers would look up, toward the truck, then at other members of the herd, then, perhaps hoping the killing/butchering crew wouldn’t notice him, resume the chomping. The butchering of the first steer well in hand, two of the crew members headed toward the herd. One had a rifle. The herd moved. Slowly, not a stampede. Jockeying for position. That wouldn’t help. The farmer and the lead butcher had already selected which steers would die.

Mr. Johnson, supervising from the butcher’s truck, saw me. He waved. I waved. He put his hands out to his sides, slightly cocked up at the elbows. It wasn’t a celebratory gesture. It meant, “This is what we do.” I turned and walked toward our gate before the next shot was fired.

I hope this doesn’t make me sound… I don’t really know- Maudlin? Fatalistic? It is just a story, a memory, but it has already made me think of other memories.

No, really, I have other things to think about. There may be some waves. I’ll check.

I hadn’t really studied this work by my sister, Melissa Lynch. I cannot help but notice one of the figures is pulling the other one up, as in a rescue from drowning, OR one is trying to keep the other from ascending.

New Semi-Surf-Related Art by Melissa Lynch

My sister (and realartist) Melissa Lynch sent me her newest illustrations the other day. I, of course, a little confused by the technique but excited by the images, asked if I could use them on my site.

troubledshoresI

TroubledShoresII

The illustrations are titled “Troubled Shores I” and “Troubled Shores II,” and refer to the ongoing Mideast-to-Europe refugee crisis. They demand some study, and with the world-wide implications of desperate people sacrificing everything to escape violence and terror, finding greed and fear and, for way too many, death at sea; with politicians using fear and hatred as campaign strategy; with radicalized assholes killing for some perverted version of what they claim is religion but is not about any god but, rather, about more power… well, we can’t help but be caught in this.

It’s interesting that Melissa includes the Statue of Liberty. Perhaps the ‘huddled masses’ already here are… yes, the drawing has me thinking of things I was already thinking of, the consequences of whipped-up fear and hatred; but my worst fears are that there is no other America to run to.

Here’s what Melissa wrote to me:
I sent them for your use if you want to use them. No worries if not. They are mixed media, using a transfer method for the background texture, which is images from the internet about the refugees, a photo of the Statue of Liberty, and the “Raft of the Medusa” by Théodore Géricault (1791–1824). Then I drew on that background with pastel chalk. It was for my class and the assignment was to use the “Raft of the Medusa” as a springboard to react to current events. I titled it “Teeming Shores” or “Shores 2015”.

I used the same method and “appropriated” your wave illustration on an earlier piece (giving you credit of course). You might be interested in it too. If so, feel free to use it.
lynch.melissa.06 
The Raft of the Medusa as inspiration 
Alternate process; Collage: Photo-copy transfers, Glue, and India Ink. 
* Wave background appropriated from my brother, Erwin Dence. 
lynch.melissa.06detail
Raft of the Medusa Inspired – Detail
This is a detail of a larger work which was inspired by the painting by Géricault, depicting a great tragedy. 

This work depicts myself playing in the sand as a child, a wave threatens to wipe me out. The woman in the foreground depicts my mother who passed away when I was very young, and my father, distraught with sorrow, and despair. The other women surrounding me and holding back the wave depict the many other “mothers” who stepped in to help protect and guide throughout my life; sisters, sister-in-law, step-mother, friends’ mothers, teachers, and aunts, and as an adult, my very dear friends. The wave itself, appropriated from my brother, though depicted here as a destructive force, also represents his help and guidance in my rearing, without which I wouldn’t be who I am today.

PS. “The Ragged Line” illustration was accepted to the Illinois Board of Higher Education 1 year exhibit!
RaggedLine5-sm
I am claiming (because it’s the way I remember it) Melissa drew this to illustrate a short story I wrote with the same title. I take no credit for her talent. And, since I’m showcasing her work, here’s another, Winter At Sea:
winteratsea-sm

Ragged Edge- Prologue

I’ve let go. I’ve given up… on the struggling.

Still, I hold my breath, as best I can. Have to let some out; in spurts, like crying… sobbing really; that kind you can’t control, can’t stop.

Prrrt, prrt, prrrt.

Still, I’m reaching, reaching… up.

Blackness. I try to open my eyes. The water is filled with sand, pulled up from the bottom, I guess, by the storm.

And my eyes burn. The blood had reached them before he gunned the… what? Motor? Engine? And he turned so fast, so sharp, sharply.

My hands were on my forehead, my eyes on him. Wicked smile.

“So; it’s swim,” he said, puckering his lips; like a kiss. Wicked kiss.

But then he realized… he dropped the… I don’t know what it was, something from his boat. He reached for the pearls. His mother’s, he’d said. Too late.

I could only barely see his hand, reaching.

Maybe my smile was as wicked. And I just fell backward, like, like…

Like sleep. Sinking, deeper; don’t know how deep.

And now my second best dress wraps around me, like seaweed. Tangled. The pearls, the necklace, twisted in my hair. And, and it’s like… like I can’t kick hard enough.

I close my eyes.

Mistakes. Who to trust, who to…

Let it go.

Other eyes; sad smile, sad recognition. I saw him, they designed the restaurant that way; in the kitchen. Cooking. And me; what was I doing?

And he looked down, holding onto some bit of pride.

And I looked down, no pride left.

This was just for a second. I put the smile back on, for my host. Maybe that was the moment he realized I was… was I? Acting.

Wicked.

Was this the easy way?

Is this the easy way? Do I let go; surrender?

The panic is gone. There’s peace. No. Not yet. There’s…wait. I’ve been… rising… released.

<Plllll-uuuuu-rrrrrrrrrr!

Breath! No! Half foam. Choke, cough… breathe.

There’s a moment here, moments; and then the water that had pushed me up pushes me onward. Oh, I can swim; I know how; but I’m swirling, still swirling… but, but, but I see lights. Sky. Morning. It’s…

Another wave. Another. Breath, hold it, move with the waves.

Moments, moments, still moving. Closer to the shore.

Stand up. Stand. And…knocked down, but forward. I rise. I rise, again. And…

The original story, “Ragged Edge,” was published on this site in August of 2013, with another wonderful illustration by my sister, Melissa Lynch. She drew the original illustration here, entitled “Winter At Sea,” for, well, me, and for the gallery she belongs to in Illinois. Because it also fits so well, I felt I should go back, address “Ragged Edge” from a different angle. Ironically, I had always wanted to expand “Ragged Edge” just far enough more to include telltale blood trickling down the forehead of the woman rescued from the stormy surf, now safe, if only temporarily, in the truck of the man who found her on the beach. The victim would share another look of recognition, this time with her attacker.
Maybe she’d touch his mother’s pearls. And then? Released.
Maybe it’s not ironic. Maybe it’s how it was illustrated in my mind. Thanks, Melissa, for making something only imagined real.