Recently, my husband and I got a new kitchen table. We moved almost two years ago into a house where everything was neutral--brown carpet, beige walls, brown and grey flooring, grey kitchen cabinets. I love color, so it's been hard for me to adjust, although I must admit that that neutral walls make a good backdrop for paintings. Still, I miss the pop of color.
When we went looking for a new table, I wanted something bright to liven up the place. We settled on a tile table full of greens and blues and yellows. Though we had set out to get a small rectangular table, I loved the contrast of square tiles with the round shape, so we ordered a round table.
When it was delivered and sitting in our dining nook, I thought: "That reminds me of Grandma's table."
Grandma Hillesland was a folk artist who painted wild flowers on her furniture. It probably came out of the tradition of Scandinavian rosemaling, though Grandma's style was unique. Here's a rocking chair she painted:
Perhaps her greatest achievement, though, was her kitchen. I'm sorry I don't have any pictures of it. She painted flowers on the doors of all her cabinets, with little added flower frills on the edges between cupboards. The big round table had a sunflower in the middle and a border of flowers around the edge. I remember the table itself as a grayish white, a nice neutral background for all the colored flowers. To walk into her kitchen was to enter a cheerful imaginary garden, an especially welcome sight on a gray day in Washington state.
I think the image of a colorful round table stayed with me subconsciously as I shopped, connected to childhood vacations and the special comfort of being at Grandma's house.
As a writer, I believe in the subconscious. I write stories or images and think "Where did that come from?" Often I have no idea.
I've written several blog posts about the inspirations for stories. For example, I blogged about how seeing an ineptly hidden avocado led to my story "Dear Squirrel, and reading about someone knitting stars led to my story "Casting Off." But of course, that's only the genesis of the story, what poet Richard Hugo calls the "triggering subject." It's a mystery, even to me, how I get from seeing an avocado on my porch to writing a story about a woman who reveals her plans to burn down her ex's house in messages to a squirrel. It's the subconscious, putting disparate things together without my conscious mind. Part of a writer's job is to let the subconscious mind work.
Sometimes I get a good story out my subconscious. Other times I get a colorful table.
Ann Hillesland writes fiction and essays. Her work has appeared in many literary journals, including Fourth Genre, Bayou, The Laurel Review, and Sou’wester.
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