“Bird in the Clouds” Photograph by Hannah Parker, 13 (Burlington, VT), published in Stone Soup Magazine, May 2019. A note from Emma Wood As a teacher of literature, I am constantly thinking of new ways to categorize ways of writing, so that I can say to my students, “Poetry is this,” and “Fiction is that.” Since I love to organize and arrange, these kinds of neat categories are very satisfying to me. However, reading—and especially reading submissions for Stone Soup—serves as a constant reminder that these categories can be both limiting and unproductive. There are short stories that read like poems, poems that read like stories and look like art, and art that tells stories. Often, art that crosses these generic boundaries (meaning, the boundaries of genres) is the most powerful and the most creative. This weekend, I encourage you to create outside of the usual boxes. For writers: Instead of sitting down with the intent to write a story or a poem or a personal narrative, sit down to simply . . . write. Since some structure is always helpful, maybe set a timer for 10 minutes and look at Hannah Parker’s stunning image “Bird in the Clouds” (above) for inspiration. Try to write without stopping for the whole 10 minutes, letting the words and your mood lead. For visual artists: instead of taking photos of a picturesque scene or an interesting object, think of creating your own scene. How might you tell a story with an image? How much can you convey without any words at all? Similarly, if you paint or draw, challenge yourself to draw a story, rather than a thing. I encourage you to look at the paintings of Pieter Bruegel for inspiration. Alternatively, think of ways to incorporate text into your visual art. Maybe that means using watercolors over a newspaper story or adding text to a photograph. Whatever you do, do it in the spirit of experimentation and play! Until next week, Customer service and online accounts This week we launched a new Customer Service FAQ to answer some of the questions we have been receiving most often in the last few weeks since launching our new website and order-processing functions. The FAQ starts off with advice on how to log in to the new “My Account” facility and moves through more detailed questions about checking your subscription details, updating your payment information, and more. If you have been wondering about how something works on the new site, take a look! Plus, you can always write to us at subscriptions@stonesoup.com with any questions about your account or our services in general. We love hearing from you and we want to help. Do you have an outstanding query with Stone Soup? In the past couple weeks, we have become aware that our former fulfillment house has for some time been taking messages and answering customer queries even though they no longer work for us. Some of the information given out to subscribers was incorrect, other issues were not followed up on as promised, and they had not been passing any details of the messages or calls on to us. If you have an open query with Stone Soup, especially one left by phone or sent to an email address with the letters “icn” included in it, would you please resubmit it by writing to us direct at subscriptions@stonesoup.com? We will deal with it for you right away. Thank you. Please note that any old customer service email address(es) and telephone numbers that you may have noted are no longer functional. Please delete them from your records. We do not currently have a facility to take telephone queries. We intend to reintroduce that facility within the coming months, and for now we ask you please to email us with all of your requests and questions at subscriptions@stonesoup.com. We will keep you informed about improvements to the site and to our customer service as we work on it over the coming weeks and months. Highlights from the past week online Don’t miss the latest content from our Book Reviewers and Young Bloggers at Stonesoup.com! We’ve published another short interview with a former contributor to the blog. Siena DeBenedittis wrote the story “Illuminated,” which was published in our March/April 2015 issue. Now she’s a college student studying environmental studies and English. Her interview is full of great advice, including, “Rejection is an opportunity to improve.” Read it here. From Stone Soup July/August 2019 “Hope” is the thing with feathers by Emily Dickinson Reviewed by Kate Choi, 14 (Seoul, South Korea) What is hope? Why do we feel hope? And why is hope so important to us? In a story from Greek mythology, hope was famously the only item to remain in Pandora’s box after it released the evils of the world, demonstrating just how valuable hope is to us: had hope escaped from our possession, humanity would have been unable to survive the evils of the world. Emily Dickinson believed in the power and value of hope just as strongly. Famously reclusive, this 19th-century American poet remained largely unpublished during her lifetime, by her own choice. After her death in 1886, however, her poems were discovered and published by her close friends and family. Since then, Dickinson has grown to become one of the most mysterious, emblematic, and loved poets of all time with her short but powerful poems. Much of her poetry is devoted to exploring the nature of life, death, and what she called the “Circumference,” the boundary where the reality that we know meets that of the sublime—God, for example, or for the less religiously inclined, Truth with a capital T. Dickinson was the first poet to really capture my attention when I was younger, and she is now one of my all-time favorite writers. In her beautiful poem “‘Hope’ is the thing with feathers,” Dickinson explores the power of hope and what it means to us as humans. …/more Stone Soup is published by Children’s Art Foundation-Stone Soup Inc., a 501(c)(3) educational nonprofit organization registered in the United States of America,
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Guest Post: No Boundaries in Art
by Sarah Lynn “No Boundaries” is exploding with color, something I particularly love in artworks. The blues, purples, and greens of the piece are relaxing and seem to flow in and around the image, while the peaches, yellows, and reds of the picture break up the scene in a way that only enhances its beauty. This beauty itself does not take one form—the piece is abstract. It can visually represent any number of things. I, for example, see a garden or a village celebrating some special event. Another person may see a lake or an underwater scene. What makes this piece unique is that the interpretation of the piece is different for each viewer. I also love that this piece has no rhyme or reason in the direction the paint travels. It needs no explanation for its being. The artist, Christian Goh, calls his work “messy art.” Goh, who is on the Autism Spectrum with dysgraphia and dyspraxia, says he likes this type of art “because there is no right or wrong, no confusing rules to follow, and I do not need words to express Me.” His art is a form of escape from the rules that society imposes on everyday life. This, I think, is the reason art was created. When creating art allows the artist a moment to breathe away from the pressures of normative society, it has achieved its purpose. Just by looking at the image, you can tell the artist was letting his paintbrush move, not dictating where it went, but instead letting it tell him where to go. I personally relate to this method of producing art. When I have too many things on my plate and just need a mental reset, I draw. Knowing I can take time to produce something created only for me to see and engage with is comforting. Drawing allows me to mentally step back, go on autopilot, and just zone out until the things cluttering my brain have left and I am able to refocus. Just like Goh, when I create art, I feel free to ignore the binary of right and wrong, ignore the rules society poses, and create without words. “No Boundaries” speaks to this need to distance yourself from societal standards. The painting is also a visual reflection of empowerment for Goh. Self-empowerment in today’s society is so important. You can’t let anyone else tell you what to do, who to be, or how to act, or else your life is being dictated by another person. One of the boldest things you can do in life is stand your ground and insist on doing things your own way, as Goh has done in his “No Boundaries.” He combined colors and shapes in ways that he saw fit, to reflect his decisions as an artist without needing permission from society. While Goh’s art appears similar to other historical types of painting, like impressionism or abstract impressionism, the fundamental beliefs behind his “messy art” are different from artists belonging to those movements. Both art forms were borne from artists’ dissatisfaction with society at the time of the art’s creation as well as dissatisfaction with past art forms. However, Goh’s “messy art” is borne from a much more personal need: to express himself in a way in which he feels comfortable. It is a prime example of self-empowerment: Goh is able to make his own decisions and create something which he enjoys and takes pride in. I encourage you to learn from Goh’s work. Today, go create a piece of art that frees you up inside. Create something just for you that you think is a reflection of yourself. It should be up to you to decide what object, icon, or shape(s) represent you. Discover what drives your art like Goh has in “No Boundaries.” About the Author: Sarah Lynn is a student at UC Santa Cruz studying art and art history. She has made art all her life and encourages Stone Soup readers to always follow their creative passions in life.
Documenting history in children’s art: Egypt in the late 1970s
We at the Children’s Art Foundation were very lucky to be given these extraordinary felt pen drawings by the Egyptian government in the late 1970s. Besides being unusually strong works of children’s art most of them depict a day in history that still resonates: the visit by Egyptian President Anwar Sadat to Israel in 1977 to negotiate a peace treaty. Most of these pictures depict the parade that celebrated his return from that visit. Welcome to Sadat, by Khaled Abd Al Jalil, age 12, Egypt Celebrating the 6th of October Anniversary, by Nahed al Majra, age 14, Egypt Parade Marking Signing of a Peace Treaty with Israel, Cairo 1979, by Moustafa Mouhamud Hussein, age 14, Egypt Delighted with Peace, by Wahid Saif Al Nassar, age 13, Egypt The Street, by Aissam Abd al Jowad, age 13, Egypt The Street, by Arfat Mousani Abd Al Azziz, age 13, Egypt Elections, by Ashraf Anwar Ahman, age 11, Egypt Playing at School, by Souad Ramadan Mouhamad, age 13, Egypt Picking Oranges, by Tahal Taher Al Bata, age 14, Egypt Baking Bread at Home, by Saben Hassan El Sharkawi, age 14, Egypt Elections for the National Assembly, by Azza Abd Al Samiya, age 14, Egypt This was an historic meeting. It was a meeting that led to signing of a peace agreement between Israel and Egypt, two countries that had formerly fought each other. Sadat was awarded the Nobel Peace Prize for his role in bringing peace between Egypt and Israel. He was assassinated in 1981. Stepping back from the history–just look at these astonishing drawings of crowds! Pay particular attention to the freedom with which space is depicted. The young artists do not try to use vanishing point perspective, the drawing system that makes objects and spaces look three dimensional, that makes them look real. You have a bird’s-eye view, or perhaps you can think of it as a helicopter view of some of the street scenes. In the image on the upper right you see a wall of people. Notice the vibrant colors–the imitative way in which color is used. These young artists felt free to interpret the excitement of the day through an imaginative use of color. In reality, Cairo’s streets look like ours. They are not pink or orange or blue or green or yellow. Cairo streets don’t change color at intersections. But, they do in a couple of these pictures–and none streets are colored grey or black. You can also research these pictures for details of different lives and cultures, in specific points of history. Look at the second-to-last last picture, ‘Baking Bread at Home’. Note the details in the kitchen: a wood-fired bread oven; a kerosene light that suggests the house doesn’t have electricity; and the wash on the line. Look at the dress of the people in ‘Picking Oranges’, and how much manual labor is taking place. And get an insight into an Egyptian schoolyard in the 1980s in ‘Playing at School’. How different is it from any other school yard? You can order any of these images as prints from the Children’s Art Foundation’s Stone Soup store. Just search for Egypt to bring up the full selection.
