Painted Flowers Shouldn’t Talk Back tells the story of a suburban women’s art collective that painted together in Houston, Texas, from 1970 to 1977. They called themselves the Garden Artists, though their subjects were much more varied than just garden views. Author Margaret Killinger’s artful narrative illustrates how these women creatively confronted profound sociocultural challenges through decorative art. Some discovered much-needed financial independence and personal freedom through the group; others, camaraderie and gratification outside home and marriage. Still others found a welcome reprieve from the demands of motherhood, the confines of suburban conformity, or the sinking weight of grief. They collectively learned to confront stark walls and to determine what they could and could not live with, all the while enjoying art and each other. Framed by Killinger’s 2008 group interview conducted in Houston, the story moves via memories and other interviews to El Paso, Austin, San Antonio, Santa Fe, and New Orleans. The women’s story is furthermore told under the shadow of Killinger’s own search for answers. She began exploring the women’s lives after the sudden, quiet death of her mother, a portrait artist and peripheral member of the group who collapsed and died in 2004, when she was just sixty-five years old. Nancy Alvarez—the eccentric, hilarious leader of the Garden Artists who shaped each of their stories—died one year later, also sixty-five. To make sense of these losses, Killinger looks back to when the women were prolific Houston artists with Nancy as their quirky guide, a time when they were arguably most alive. Resolution comes through deciphering what their art meant to them back then and exploring what it could mean for readers today.
It was l929. Margaret Bundy, a young journalist with an interest in literature, jazz, and politics, worked for a Seattle weekly called the Town Crier. Assigned to review the Northwest Annual art show she met a struggling young painter named Kenneth Callahan. In l930 Kenneth and Margaret eloped. Though not a perfect union, they were mutually distressed by the Great Depression and shared a love for travel as well as a love for the Cascade Mountains, where in l938 they rented a woodcutter's shack in the Robe Valley near Granite Falls, Washington for fifteen dollars a year. The Callahan's circle in Seattle included many who subsequently became well-known, as did Kenneth, in the world of arts and letters. Her observations provide insight into the characters of these well-known personalities. But Margaret's interest in people was not limited to those in the art world. She was equally attracted to many of the pioneers and working people she met. She and Kenneth used the expression 'a real person' to describe someone they found of value. Margaret brings to life many 'real' people who, regardless of social status or wealth, have fascinating stories to tell. This memoir is compiled from her earliest recollections until her untimely death at the age of fifty-seven in l96l. 1904 - 1961. Child of Mabel Upton (Chicago University Medical School) and Edward Bundy (self-educated lawyer in Seattle). Graduated l924 from the University of Washington School of Journalism. Reporter for the Seattle Star newspaper. Edited the weekly Town Crier. Later wrote features for the Seattle Times. Married Kenneth Callahan in l930. Traveled to Mexico, Europe, and Central America. Active in the Seattle political scene of the l930s. Son born in l938. Subsequently, divided her time between Seattle and a cabin in the Robe Valley in Washington's Cascade Range. Margaret compulsively recorded her thoughts and impressions about everything: the people she knew, political events, and her intense love of nature. ForeWord Clarion Book Review
A unique compilation of childhood writings by the acclaimed author of Gone With the Wind features short stories, fairy tales, journal entries, essays, and single-act plays, all penned from age eight to seventeen.
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