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For my only mother, Lois Genevieve Keaton Halstead,
my only daughter, Katelyn Genevieve Kimmons,
and my only son, Christopher Stenhouse Kimmons—

Saint Genevieve

My mother, Genevieve, who has made a habit of bearing all things, believing all things, and hoping all things.

By Mother’s Day, Sunday, May 10, 1981, I had been a mother for 42 days, enough time to know I was in for a wild ride as co-guardian and trainer for an entity I could already see was going to challenge much of what I thought about myself and motherhood. Katelyn Genevieve came with a set of well defined eyebrows, just like her Grandmother Genevieve’s. She seemed to have a set of opinions she was only waiting for words to express. She had my mother’s name, but as a baby, she more resembled my mother-in-law, Nancy Alexander Kimmons, our No Nonsense Nana, whose level gaze could be as fierce as my newborn’s.  The newly arrived Katelyn Genevieve Kimmons met little resistance in taking me prisoner.

I grew up listening to my mother’s stories of her own growing up with a childlike parent who became a mother in 1927 at the age of seventeen.  Genevieve was a mother first at the age of twenty, and again at the age of twenty-two, when I was born.  She was the mom who let the neighborhood kids write on our walls with crayons before she repapered (only later to discover that the crayon would bled through), who only laughed when we turned the house upside down playing ghost in the twilight while she visited a next-door neighbor, who genuinely loved and appreciated the lively wit of the boy down the street who painted his toenails green and wore beachcomber pants. That boy had a reputation for being, you know, strange, but he was not strange to my mom. She just loved him.  She enjoyed his company. And years later, when he came by to visit with his partner, she welcomed his friend with open arms, even though if you had asked her to quote what the Bible says about homosexual men, she probably could have.

My stay-at-home mother raised me to be a career woman, so I was primed and ready in the late Sixties when the Women’s Liberation Movement launched into overdrive.  She was a mother a total of six times before she was finished. I helped diaper, feed, and look after the two boys who came nine and ten years after me, and in September of my senior year in high school, visited my mom in the hospital to see my newborn sister. I was a junior in college when her last boy was born, so I was gone by the time he was growing up. As a young woman, I thought my mother had done our family’s share of populating the planet. I decided I would never have children.

Then I was presented with The Choice.  I chose the wild ride.  Five years later, finding I had not had my fill of babies, I proposed to the man who by then had become my husband that we go for another. Presto.  In nine months, Christopher Stenhouse Kimmons made his entrance.  We liked to joke that we only had him because we needed to balance the kitchen table settings.  He was as laid back at the moment of birth as his sister had been intense, relaxing in my arms in his first five minutes, content to be here.

At the time I birthed my first child, a friend was birthing her first published novel.  When I birthed my  second, there was little time to think about anything else besides managing my family, including a little girl who never knew any authority—an exercise in leading from behind—and holding down a job that demanded daily creativity and energy.  The childcare choices for my infant were terribly limited, proved horrifically disappointing for my toddler, evened out in a well-run day care center, and finally came back to me when I began working from home.

I sometimes remember the story of the great-grandmother I never knew whose toddler died in the care of an older child one summer day while she worked in the garden.  And of the grandmother I did know whose toddler died of cholera many years before I was born.  The mothers I have known have always worked, mostly for no pay at all, much less for equal pay at an office.

I thought I was ready for the challenges of child rearing by the time I was thirty-one.  What I didn’t know then was how much the process of parenting would change me.  As Anna Jarvis, the complicated Appalachian woman who invented Mother’s Day predicted, no card’s pretty verse can sum up the experience, no token gift can come close to assuaging the sacrifices a conscientious mother makes for the children she bears.  Anna Jarvis never wanted Mother’s Day to become yet another opportunity for commerce. She hoped it would be a solemn occasion for contemplating what women do to make life better. I don’t think it occurred to her that life ever would be easier.

My children have taught me at least as much as I ever taught them, and in most respects, what really has happened is that we have learned together as we have forged into the unknown.  We’re still learning, together, even though we live with many miles between us.  I still infuriate and mystify my own mother, now 85. She wonders how I can love her and not agree.  I’m thankful that, to this day, she demonstrates unconditional love, forgiveness, and true acceptance and appreciation for people the mainstream often rejects as strange. How she can listen on the radio to haranguing preachers who yell about abomination, I don’t know.

I’m thankful for the lesbian woman in Chicago who has befriended Christopher, feeding him, providing work for him, and generally standing in for me as he pursues the life of a professional musician.

My mother’s loving spirit will ride with Katelyn Genevieve Kimmons June 3-9, when she bicycles several hundred miles from San Francisco to Los Angeles to raise money to end AIDS.

Mostly, I’m thankful for a mother who clings to the principle of love that allows us human beings to bear all things, believe all things, and hope all things.  Because I’ve seen wonderful results from her example, I also cling, however imperfectly, to that same principle.

Comic Relief

Wow, two blog entries in one day.  But I didn’t want to let this day  pass without noting that somewhere in the Great Transcendent Nation of Appalachia, someone found some humor  in yesterday’s ridiculous election results in West Virginia.  I direct your attention to www.westvirginiaville.com, wherein Doug Imbrogno identifies the problem:  Obama Derangement Syndrome, or ODS.

Sometimes I want to hide my face in my hands.  Indefinitely.

A couple weeks ago, West Virginia’s John Raese made national news by telling an audience of Putnam County Republicans that the requirement that he post a sign banning smoking on his business property was the same as Hitler making Jews wear a Star of David.  Mr. Raese will be running against Joe Manchin in the fall for the U. S. Senate seat once held by Robert Byrd. In a YouTube video, Mr. Raese is shown saying that he believes everyone ought to be able to do as he or she pleases, “’cause I’m an American,” he reasons.

Today, I’m feeling numb as I read dozens of Facebook posts expressing shock, sadness, but mostly embarrassment that once again, a great many West Virginians, 57,081 of them to be exact, have proven themselves to be braying asses too stupid to understand the value of their individual vote.  They squandered their votes on an imprisoned Texas felon crafty enough to get on the presidential ballot in the State of West Virginia. (Not much craft involved, since West Virginia’s ballot laws are lax.)  No doubt, those West Virginians will be the inspiration for much hilarious commentary on this evening’s satirical talk shows.

But what about the rest of us?  The ones who have either elected to stay in West Virginia, or have come back, often because of family ties? Some of us are deeply committed to a clean environment because it directly correlates to better health for human beings. Some of us are working hard for a diversified economy that will allow entrepreneurs to create opportunity for many years in the future.  Some of us see the beauty of West Virginia that is too often obscured by careless industrial practices, the same practices and attitudes that apparently also dull minds.  We’re the ones who insist that West Virginia and its people are worth making sacrifices for.

Today, some of us have to be wondering why we bother.

A view of the Greenbrier River from Castle Rock, Greenbrier County, West Virginia. Photo by Doug Chadwick

Sometimes I like to look up words just to make sure someone agrees with me about their meanings.  The use of the word ‘pristine’ usually makes me writhe with exasperation, since too often I hear it applied to  Appalachian landscapes that may be beautiful but are anything but pristine.  Logging and mining companies of the early 20th century left very little untouched in the central Appalachian Mountains of the United States, so the word ‘pristine’ must be used advisedly in this region–unless you just like to see me writhe.

But, much to my delight, Doug Chadwick captured the textbook definition of ‘pristine’ from a Greenbrier County, West Virginia, cliff.  My favorite online dictionary, www.onelook.com, quotes the McMillion dictionary definition of ‘pristine’ as “completely free from dirt or contamination–’pristine mountain snow,’  or, ‘immaculately clean and unused.’

Onelook tells me that the word dates from the 1530s when  in Middle French it described something primitive, ancient, pertaining to the earliest period, and drew from Old Latin, meaning ‘before.’  Meanings of ‘unspoiled, untouched, pure’ date only to 1899, but, according to McMillion, ’are regarded in some circles as ignorant.’   They said it, not me.

2012 lies before us, as pristine as this Appalachian mountain snow.  Soon we’ll have to march out into it, tracking it up, leaving muddy footprints as we travel along.  But for now, it’s marvelous to catch a glimpse of a pure and timeless world, one we can pretend for a moment is pristine.

Find more of Doug Chadwick’s photography at www.theartstorewv.com

Charleston, West Virginia filmmaker Steven Schmidt created this documentary around an interview with Rock and Roll Hall of Famer Fuzzy Haskins, originally from the community of Elkhorn, in McDowell County, West Virginia. Haskins moved to New Jersey as a teenager where he met George Clinton. Schmidt interviewed Haskins in 2009 when the musician was in Charleston for a West Virginia Music Hall of Fame induction ceremony.

Our Answer to the Amazon

An ordinary autumn day in Appalachia

This is the nursery that reseeded the North American continent after the last Ice Age.  There are few other places on Earth as biologically diverse as our Appalachian hardwood forest.  Like all ecosystems, its intricate balance can be thrown off kilter by human action, but it can also be amazingly resiliant if left undisturbed.  Someone recently asked why some of us stay and fight so hard what often seems to be a losing battle against wholesale degradation of the land, air and water.  One of the answers is right before your eyes.

I don’t know who took this photo.  I found it on Jim Shaver’s Facebook photo page, but I think it may be another Troy Lilly shot, of ForestWander.com fame.

More Ahhhhhhhs

Long Point on Summersville Lake, by photographer Karen Underwood

This is the time of year when it seems that anyone with an eye in Appalachia is snap-happy.  Views like this are part of the reason so many of us are loathe to leave, and others who have left yearn to return.  Even if you live in a town, you don’t have to go far to get to woods and water.  The Gauley River, pent-up behind Summersville Dam, creates this lake in central West Virginia.  Just downstream, the river courses through a boulder-strewn riverbed made famous by the whitewater recreation industry as the Upper and Lower Gauley.  Every fall, the US Army Corps of Engineers draws the lake down to winter pool. This year, the Corps drained the lake lower than usual to inspect the dam, creating a longer and even more furious whitewater season.

Fayette County, WV, photographer Karen Underwood, who took this photograph, predicts that this weekend colors will peak here, just in time for Bridge Day.

Appalachian Autumn

A view from Cheat Mountain by photographer Troy Lilly

Cheat Mountain is not just one big hill in West Virginia, but a high ridge that snakes more than 50 miles from the southernmost tip at Thorny Flats in Pocahontas County, where Snowshoe Mountain Resort takes advantage of the range’s highest elevations, to a northern point near Parsons, in Tucker County.  Alpine and Nordic skiers know Cheat Mountain as Snowshoe, Elk River,  Timberline, Canaan Valley, and White Grass ski areas.

The region was once the  home of the largest red spruce forest south of Maine.  The area pictured here was still an unbroken wilderness until just before the Civil War.  It is still hardly populated, except for a few small towns and hamlets lining ancient Indian paths that are now two-lane roads.

West Virginia photographer Troy Lilly took this picture. Many thousands of people apparently know his work. I’ve just recently discovered him  via friends on Facebook.  I look forward to sharing more of his photos, as they come close to creating the feeling you get when you actually experience an Appalachian autumn evening.

View from the Top

Photographer Troy Lilly's view from Spruce Knob, West Virginia

According to his website, www.forestwander.com, photographer Troy Lilly hikes the mountains of West Virginia with his young son, Rusty, taking photos that he then offers free of charge to webmasters and publishers.  This one turned up on the Facebook page of writer Jim Shaver.  I thought he had taken the photo since there was no photo credit, so apologies to both Troy Lilly and Jim Shaver, and a big thank you to Jim for straightening me out.

Spruce Knob is in the extreme southwest corner of Pendleton County and is the highest point in West Virginia.  What you see is the Spruce Knob National Recreation Area in the Monongahela National Forest, a favorite destination for hikers, mountain bikers, and seekers of solitude.  There’s plenty of it here.

Saturday afternoon at the movies, in Sutton, West Virginia.

The 12th Annual West Virginia Filmmakers Festival wound up today
in Sutton, after screening 30 new films, eight of them for the first public
showing ever.

Actually, most of the work was done on digital video cameras, putting the art and craft of making movies within reach of anybody with the desire, equipment as humble as a flip camera, and a computer editing program. Some of the work was, indeed, shot on flip cameras, and some of it on very sophisticated equipment that, in the hands of experienced videographers, yielded luscious images.

All the movies I saw were ambitious, from 15-year-old Jacob Schedl’s first
person short of how it feels to be 15 (Memory Trail), to three full length narrative features taking on the subjects of the struggle to maintain integrity in a foreign culture (Ai Means Love, set in Martinsburg), the ambiguities a race element can add when a relationship goes very wrong (The Deposition, set in New Martinsville area)  and the horrors of being cooped up for a weekend with three very unpleasant hare-brained women, three dopey guys, and one ingénue. Enter the wild-eyed guy with an ax (Year of the Donkey, location unknown). Sorry, I couldn’t stick around for the denouement of that one. It was after midnight, and I had been sitting in the Elk Theater since 1 p.m. Friday with nothing but a box of popcorn between me and starvation. (Note to next year’s schedulers: Leave a block of time, maybe 4 p.m. to 6 p.m., for folks to grab some dinner.)

Hundreds, no—thousands—of people missed the world premiere of Romeo Must Hang, a documentary about Harry Powers, the mild-mannered, bespectacled merchant of Quiet Dell, West Virginia, who turned out to be a serial killer. Festival planners no doubt meant well when they slotted it on Thursday night, but a cold rain drove away all but the most determined festival goers, who weren’t yet many on that first
night. The movie explores the social milieu of the late 1920s when the man born in The Netherlands as Herman Drenth set up shop in the Harrison County farm community and began corresponding under several aliases with ladies who responded to ads in lonely hearts club magazines.

Documentarian Bob Wilkinson did a good job of recreating the story visually, but it was difficult to hear well in the reverberating old church sanctuary that is the Landmark Studio for the Arts. I had the same difficulty with The Night of the Hunter, Charles Laughton’s chilling classic based on West  Virginia novelist Davis Grubb’s book that followed Wilkinson’s piece. I would like to have seen both in the Elk Theater, just down the street, where the sound for movies was excellent. The two were great companion pieces, as Grubb named his terrifying villain Harry Powers, and used his memories of actual mob scenes related to trying the case in Clarksburg to develop his fiction.

Festival planners were shocked at the turnout on Friday evening for Elaine McMillion’s documentary, Lincoln County Massacre. The theater swarmed with burly, bearded Brothers of the Wheel and their consorts, who came from West Virginia, Ohio and Kentucky to see the story retold on screen of the time in spring, 1980 when a surprise 4 a.m. visit from the state police turned what the Brothers say was a simple family campout into a melee. McMillion, a journalist who has the advantage of being from Logan County, knows that people aren’t always what they seem. She gets beneath the surface that so often trips up outsiders to produce a thoughtful exploration of culture, image and prejudice.

Saturday afternoon, childhood’s golden hours for watching movies on a cold, rainy day, proved golden once more. Give Up the Fuzz was a blast of funkadelic fun that had everybody rocking out for a few minutes with Clarence “Fuzzy” Haskins, the McDowell County boy who moved to New Jersey and national fame with George Clinton, The Parliaments and Parliament Funkadelic. Filmmaker Steve Schmidt pulled a few miracles out of the air to put the piece together, directed a group of friends to re-enact Fuzzy’s early days in West Virginia and on the road with the band, and deftly worked in TV footage, movie clips, still photos and old posters to pop everyone squarely in the eye and heart.

We hadn’t quite recovered from The Fuzz when we were abruptly transported to places in Morocco where westerners are rarely welcomed. Robert Peak of Berkeley Springs used the universal language of music to work his way into the confidence of fellow musicians in a coastal walled city, a village of cave dwellers, and a town in the Atlas Mountains. It was somewhere close to astonishing in Musicians of Morocco
to see players cast the same spell with an assortment of stringed instruments that you sometimes encounter in a place like Clifftop, during the Appalachian String Band Festival. Peak frames their beautiful faces and enchanting music with expert skill.

Then we were off to northern California with writer/director Laura Holliday, who told us the story of a 16-year-old boy who yearns to be famous. Rockstars: The Pete Weaver Experience has funny, perfect pitch dialogue and a plot that is only implausible when a real rock star makes Pete’s dreams come true, but the piece is otherwise so well written, directed and acted I was willing to forgive.  I expect we’ll see much more from Holliday, who, we were told, was 17 at the time she created this piece. I didn’t catch her connection to West  Virginia, and it may only be that a festival juror saw the piece at another festival and liked it. I was happy to see it, too.

There was an entertaining piece of claymation, a funny little film ballet of a pair  of OCD hands shaking pills in a plastic bottle, a few heartfelt and informative docs, a couple of scary pieces, one goofy feature, and several pieces that I didn’t see, as my time was up in Sutton.

The newly crowned West Virginia Filmmaker of 2011 and winners of $2,000 in prizes are announced on the WVFilmmakers’ Festival site.

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