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What happened at Beit Bat Ya’anah: part 13

Note to readers: It’s been a while since I’ve had the time to advance the tale of the archæological site called Beit Bat Ya’anah and its inhabitants. The progress of Professor Einer Wayfarer’s efforts on that remote ridge in the Negev Desert to observe the seemingly out-of-place and elusive protégé of her controversial colleague Avsa Szeringka was temporarily interrupted by non-literary Three Star Owl activities: a busy fall season of pottery-making for shows, sales, and holiday shoppers kept me more in the studio than at the keyboard. Posting on my blog has suffered in general: there simply hasn’t been enough time to assemble both words and art for weeks and weeks. But things have relaxed somewhat now, and I’d like to get back to telling the tale. So far, all the action has occurred at the dig site, and only a few days have elapsed since Professor Wayfarer’s unenthusiastic arrival there.

This is the thirteenth episode in the series.  To read the twelfth episode, click here. If you wish to catch up on the entire story in full detail, click here to start at the very beginning.  At the end of each installment, there’s a link to click to continue on to the next one. If you need a less thorough reminder, or a basic intro to the fiction I post here, there’s also a brief summary of both What Happened at Beit Bat Ya’anah and its prequel The Ganskopf Incident in this post.

Now let’s take up the tale again, first by jogging the memory (caution mild spoiler alert for those who haven’t read the rest of the story yet), and then by a brief change of scene, with a look at Professor Wayfarer’s volatile European colleague Avsa Szeringka, who is the director of “the Institute” and who may be behind much of what has happened in the story so far.

Previously, we learned that Wayfarer was enticed to the remote archæological site “at the behest of her colleague and friend Avsa Szeringka (pronounced “zhə-RING-ka” with a zh like in Zsa-Zsa or French je), who had somehow herself managed to remain comfortably ensconced at the Institute near cool, gray Oxford,” by means of an imperious letter in expressive but convolute and ambiguous English, which is “not Avsa Szeringka’s second language, nor even her third.” This letter obliquely requires Wayfarer to seek out “an artefact” at the site, which she eventually realizes is actually a person: Dario, Avsa’s sleek grad student of uncertain linguistic and ethnic origins. While Wayfarer is making slow progress trying to understand who Dario is, his mentor is monitoring – if not manipulating – events from afar.

[Note: for anyone wondering about the prominence of hand-written correspondence in this story, now is a good time to remind you that the action takes place in the early 1980s, when email and cellular phones were just beginning to be used in universities and businesses. For participants in a remote desert dig, telephone access would be limited to weekend leave and payphones in town. For overseas communication, everyone would have relied on gummed stamps you had to lick, crinkly onion-skin air-mail paper, and postal delivery times measured in days, if not weeks, with letters being driven into town and mail fetched back to the site no more than once or twice a week, along with groceries and other supplies.]

Correspondence: considering two letters

Her silk-robed figure barely discernible from the rare antiques which furnished the damask-curtained, high-ceilinged room that functioned as both boudoir and office in her eponymous Institute near Oxford, Avsa Szeringka didn’t look up as her assistant placed the daily mail on the desk in front of her. It was the usual thick stack, arranged as Avsa required with the journals and manuscripts to be reviewed at the bottom, the routine business correspondence next, and any hand-addressed personal missives sorted to the top to be read immediately if they were from someone of whom she approved, or to be individually snubbed, if not. Bills she never saw; she had people for that.

This morning two envelopes interested her. She took them from the top of the stack and pushed the rest across the desk, disturbing the striped cat bunched at the corner of the Turkish leather writing pad. The tiger opened its mouth to complain, but nothing came out but a staccato fishy click, which Szeringka ignored, except to briefly bare her teeth back at the animal as she placed the two interesting letters in front of herself.

She considered them. They were both postmarked on the same date in Be’er Sheva, Israel, and they were each addressed with familiar but contrasting scripts. Unexpectedly, both packets were flimsy; neither could have more than one sheet of paper sealed inside. This was disappointing: she’d hoped to provoke heftier responses from each of her correspondents.

She reached a long-fingered hand towards one, but picked up the other instead, opened it and read it quickly.

Avsa,” it began bluntly, “your ‘artifact’ is decorative but uncooperative and gives the distinct impression of preferring not to be handled, at least by me. This is an attempt to extend your metaphor accurately, and not prurience. Otherwise, the Negev is hot as hell, the living conditions are primitive, and the insect life is both appallingly forward and unanimously venomous: wish you were here.” Signed briefly, “E.W.

Szeringka sniffed. The gruff humor of the message was hardly worth the postage to transmit it. If Einer didn’t have more to say, then it was clear that her dear friend and colleague wasn’t paying sufficient attention. Avsa made an impatient sound with her tongue. This letter required no answer.

She let it drop and picked up the other. Its external address was tidy and elegant, much more precisely written than Einer’s hasty American scrawl. She passed the unopened envelope briefly under her nose, noting a coniferous odor, faint but still detectable: she’d given him the fountain pen with the amber-scented ink herself, ostensibly a prize for some end of term academic achievement. Unperfumed versions of these showy trophy pens were coveted by their awardees, treasured carefully and displayed prominently on desks all over the Institute, and not, she knew, generally employed to write with. How like him to think so little of the prize, or of the inconvenience, as to bring an old-fashioned reservoir pen with him into the field, and actually operate it in the desert heat and grit. Avsa slid a fingertip under the envelope flap and, unfolding the page, read what he’d inked there.

When she had read his words twice – there were only a few – she stood and moved to the window, parting the heavy draperies a hand’s width. A blade of northern sunlight slid in, not gray at all but a sharp white ray of August, showing the many lines on the pale planes of Szeringka’s face in deep relief.

The lines at the corners of her mouth deepened. Yes, each of these letters was disappointing; the first, perhaps predictably, but the second, shockingly. Uncooperative, Einer had written about her student. Avsa had thought this must be irritable exaggeration, until she had read his letter.

She turned her head from the window and called out to her assistant in heavily accented English. “Wynn, tea! The osmanthus oolong whole leaf, I think, this morning. And a sheet of the official letterhead.”

Einer had said he preferred not to be handled. Yet that was precisely what his letter — that impertinent, rebellious tone in so few words! – required her to do. He had left her no choice but to handle this, and not gently.

Avsa Szeringka abruptly pushed back the floral drape wide, flooding the walls, the carpet, her dressing gown, her slippers, herself, with light. Really, it shouldn’t be necessary to strong-arm the stubborn creature: like it or not, he was going to have to take some responsibility in the effort. She strode back to her desk, pushed the cat off with animus, and while impatiently waiting for Wynn to arrive with both tea and stationary, began to calculate postal turn-around time to that stony armpit of the desiccated south while drafting stern and irrefutable points across the offending letter’s envelope. This time, wishing to be perfectly understood, she didn’t waste time with English.

To be continued…. Click here to read Part 14 “Earthmoving”

Posted by Allison on Dec 20th 2011 | Filed in Beit Bat Ya'anah, archaeology, art/clay, artefaux | Comments (6)

Last chance to see…

“Ossuary: an archæology of resurrection” in the show Death and Rebirth at Maryville University’s Morton May Gallery in St.Louis.  The show will be up until this friday, December 2.  Click here for details about the show and about the Ossuary.

<< Detail (photo and piece, A.Shock)

Posted by Allison on Nov 28th 2011 | Filed in Events, art/clay, artefaux, effigy vessels, field trips, owls, three star owl | Comments (0)

Pick of the litter

Among the sculptural vessels I’ve made recently for upcoming holiday sales, a couple things stand out.  This is one of them:

Feather Bundle Jar with Owl (13.5″ ht, stoneware 2011, photo and object A.Shock)  >>

What you can’t see in the photo is the interior glaze, a fiery glossy red that contrasts strongly with the dry, dinosaur-green outside.  The jewel-like red studs give a hint of what’s on the inside, however.

This piece will be available starting tomorrow at the Three Star Owl booth at Audubon Arizona’s Gifts from Nature event tomorrow and Sunday (12 – 13 Nov, 10am-4pm, click here for details).

I’ll also be offering functional pieces, including frog skeleton mugs, scorpion mugs, beastie pitchers, and ravenware, just for starters.  As always it bears repeating: Come early for best selection!

And, they’ve pretty much taken rain out of the forecast for Saturday, at least — so really, there’s no excuse!

Posted by Allison on Nov 11th 2011 | Filed in Events, art/clay, effigy vessels, owls, three star owl | Comments (0)

…more Three Star Owl news…

Deadlines, shows, and orders have been keeping me busy in the studio the past few weeks as the pre-holiday calendar winds up to year’s end.  Not complaining!  But, I have noticed that recently this space has been more full than usual of Three Star Owl news and less full of natural history, birds, and fiction (will Professor Wayfarer ever find out what kind of accent the elusive shirker Dario is sporting?)

In keeping with this trend, here is more Three Star Owl news.  My recently completed piece, The Ossuary: an archæology of resurrection, is part of a show, Death and Rebirth, currently at the May Gallery at Maryville University.  Curated by James Ibur, Death and Rebirth showcases ceramic sculpture by more than 20 artists, including the work of Mark Messenger, Arthur Gonzalez, Adrian Arleo, Susan Bostwick, Kurt Weiser, and more.  Each piece deals with the eternally cyclical nature of mortality and lifeforce, especially resonant during this season of Día de los Muertos, All Soul’s Day, and Halloween.  If you’re in St.Louis, the show will be up until 2 December 2011.

For those of you who are not in St. Louis or are unable to visit the May Gallery, a bit more information about the Ossuary is in order.  It belongs to the same corpus of work as the earlier Owl Hives.  Here are some images (be sure to click to enlarge), and a dose of scholarly commentary thanks to a friend of Three Star Owl, Darius Danneru, PhD, who has generously squandered his ample expertise on — and occasionally even loaned his person to — my creative efforts.

<< Ossuary: an archæology of resurrection (smoke-fired stoneware, 13″, A.Shock 2011)

Notes on “Ossuary: an archæology of resurrection”

… related to these [Owl-hives] is another well-preserved unprovenanced piece from a private collection (fig. 9). With tiny strigids issuing like bees from its interior, this tripod effigy vessel/ossuary is itself owl-like, large-headed and standing on two taloned legs and a tail, shrouded in a torn, priestly cloak of feathers fastened with curiously unknotted twine. Below the cloak the body is textured with bones, above it the form is both lidless vessel and roofless, columbarium-like house with windows.

Owl about to launch (detail, “Ossuary”) >>

This mix of architectural and sepulchral imagery suggests a funerary significance, but the sarcophagal feel is leavened by a swirl of rebirth: the gravid cavity shelters the proto-owls while they await release from the depths of their bone hoard (whether the owls’ conceptual matrix or simply the remains of the last meal hardly matters), and the tomb’s roof and windows are open to allow the owls to launch like souls from the Guf and be restored, winged, to the world.”

– Text excerpted from D. Danneru, “House-Owls and Owl-Houses: do model ‘owl hives’ at Beit Bat Ya’anah offer evidence of ancient strigiculture?” Obscure Histories Quarterly, v. 42:3 (Fall 2010) p. 84.

Darius Danneru, PhD, is the Wayfarer Professor of Crypto-cultural Studies at MacCormack University, a fellow of the Szeringka Institute, a member of ICER, ESSA, and currently a visiting Professor at the Oriental Institute, University of Chicago.

<< peeking through the windows into the heart of the Ossuary.


Posted by Allison on Nov 4th 2011 | Filed in Events, art/clay, artefaux, effigy vessels, three star owl | Comments (6)

Happy Owl Face

The Camelback Studio Tour in the Sherwood Heights neighborhood of southern Scottsdale is over until the next one (that’s March 9, 10, 11, 2012, by the way, so mark your calendars now), and I’m tired but happy.  Thanks to all who came by to visit, shop, or both.  The sale seemed to occupy the last hot days of summer — I can’t recall ever getting a sunburn at an art sale before — and now desert autumn has set in, with sudden refreshing showers, cooler temps, and pranking breezes.

<< content horned owl (detail; A.Shock 2011)

My next event is in less than three weeks: the Audubon Arizona Gifts from Nature benefit art event, Saturday and Sunday the 12th and 13th of November.  More about that soon, when I have more details.  Hope to see you there and, the forces of clay willing, Three Star Owl will have some new work for you to take a look at.  Meanwhile, Happy Diwali!

Posted by Allison on Oct 26th 2011 | Filed in Events, art/clay, effigy vessels, owls, three star owl | Comments (0)

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