A Special Place

Chapter 35a

Published: 08 Apr 2014

A Special Place–Part Thirty-five–Matt

Gabrielle was wise in the ways of teenagers and, knowing that we had been out as late as we were the night before, let me and Luke sleep as late as possible. We barely had time to grab a quick shower–and Luke had to shave, of course–grab a glass of OJ and head for St. Mary’s. As soon as we were in the Jeep, Luke risked the family jewels to give me a full, open-mouth kiss and said, “Sarang Hanun Pomul, I can see right now this is going to be a week with very little love making. Today, Monday, Tuesday and Wednesday we will be slaving away on the concert and exhibition. And you know Greywolf–at least–will insist we get a good night’s sleep Tuesday because of the AP physics exam Wednesday. Thursday–are you having practice Thursday?”

“I had thought we might not, but Paula and Eugene overruled me, so we will.”

“So Thursday after school we’ll be right back in the grind. Wednesday we can leave right after the exam and maybe have a little time together, but there is so damn much riding on this week and weekend. I mean if we don’t pull this off and get into Oberlin, I guess we’ll be separated for at least the school year…” We both became very silent for what seemed like ages. “Matt, we have to do this and if that means giving up any love making this week, we have to go without. Otherwise…” Again, silence. “Anyway Thursday and maybe Friday afternoon after school, I’ll be with Uncle Michael training the docents and…”

“Maybe Saturday morning we can find some play time because Saturday afternoon we’re at Millie’s and Saturday night and Sunday…”

“Well, for me at least, there’s something else. Fr. Tom is doing a crash confirmation course from 7:30 until 9:30 every night this week. That’s also more important to me than I thought it would be. I mean, it’s really important to me…” More silence. “Maybe we can wave to each other as we pass in the hall at school,” Luke smiled and again managed to get in a kiss without spearing himself on a gear shift or my driving off the road.

“Yonghon Tongmu, when I realized you loved me as I loved you, I thought life would be one long, romantic journey together. But…”

“Yea, Sarang Hanun Pomul, so did I. I mean, I thought being in love smoothed the road of life into a super highway. Sure as hell wrong on that weren’t we?”

“But would you trad…”

“Never! Whatever it costs, it’s worth it, my beautiful Dark Angel,” Luke said as we pulled into the parking lot at St. Mary’s.

Throwing all caution to the winds, I leaned across the console and pulled his mouth to mine for a long, deep, tasting-my-Luke kiss. “Nor would I.” We both jumped out of the Jeep, me heading for the choir room and Luke for the Common Hall. Uncle Michael’s Lexus was already parked in the parking lot, but I didn’t see Mr. Stephenson’s car.

While I was having the choir warm up, Luke met with Uncle Michael, Mr. Stephenson and the other members of the Fellowship to talk about the afternoon. Seems Mr. Stephenson had come with Uncle Michael.

Gabrielle, Margaret, Millie and Mom were preparing a picnic lunch for all of us to have at St. Mary’s because we were all going to help get the exhibition set up.

When Fr. Tom made the morning announcements, he said that the Common Hall and some adjoining classrooms would be off limits until the exhibition opened Saturday night. “Coffee hour will be on the church lawn today. And if you haven’t been invited to the Saturday night concert/recital for family and friends or didn’t call in for tickets for Sunday shortly after it was announced, I’m afraid you are out of luck,” he said, “but the exhibition will be open Sunday evening until everyone has seen what they want to see and all of you are welcome to come. Also, as I announced in the newsletter, the bishop will be here for confirmation next Sunday. Because the Common Hall will be in use, there will be a simple reception for him and the confirmands in the downstairs hall, but no parish dinner,” he added.

After coffee hour, the family and the Fellowship spread a picnic in the church yard and had lunch. When we finished, we went into the Common Room. “John, Luke and I will work with teams today getting the display panels set up,” Uncle Michael said. “Then we will start mounting the lights. I don’t expect we will get much done beyond the panels today, if that. We will meet here after school each day and those not involved with the concert will mount the exhibition. We need to have it mounted by Wednesday so we can begin training docents. Michael and Mary Kathryn, you need to decide whether or not you want to be docents. Luke wanted to keep his two special projects a secret until the opening, but decided he would like for you to be docents which means you will have to see them and keep them secret.”

“I really would like to be surprised, but I also want to be a part of my brother’s big moment,” Mary Kathryn said.

“Same here,” Michael said.

“Uncle Michael, what if I kept the two pieces veiled until Saturday morning and have a private opening for the family? Then you could fill in Michael and Mary Kathryn on anything they need to know.”

As heads nodded in agreement, I looked at him and mouthed, “There goes Saturday morning.”

“Sounds good to me,” Uncle Michael said. “Well, let’s get organized and go to work.”

Uncle Michael had drawn a chart of the placement of the panels and we all started setting them up. I expected the task to move much faster than it did, but it was 6:00 before we had them in place and secured. There was still the task of mounting the special lighting equipment and getting it adjusted when Uncle Michael called a halt. “I have arranged to have food and drinks delivered to my place so let’s call it quits and go eat and relax. We got more done than I expected so we are in fine shape.”

As soon as we could, Luke and I left school Monday. I was going to help him and Uncle Michael mount lights until time for practice.

When practice was over, most of the lights had been mounted, but not adjusted. Uncle Michael ordered in fast food for the crew then Paula, Eugene and I joined in setting up lights until time for confirmation class. Since Paula, Jacob and I were not involved in that, I offered to drive them home. Linda attended class with Bill. “I need to keep an eye on this wayward Baptist,” she laughed as she kissed him on the cheek. Hardly enough for such a stud muffin, so he pulled her to himself for a real kiss.

“Ah, young love,” Paula said and laughed.

Bill actually blushed, then became very serious. “Yea, young love. Matt, Luke, I want you two to know just how very happy you have made me. I am discovering young love; I mean real love and, man, it is fantastic. It’s hard for me to believe about myself but, just think, only a few weeks ago all I saw or wanted–I thought–from a woman was a good fuck. You know, screw ’em and move on to the next one. Then all I would have wanted Linda for was as a willing fuck partner. I would get my rocks off without ever thinking about her. In fact, I have had women whose name I couldn’t remember the next day. I cared nothing for them from the waist up–well, maybe I’d have to include teats….”

True to form, Linda landed one upside Bill’s head–but pulled the punch and laughed.

“Anyway, now… now… I mean… this love and courting thing is new to me and I’m a real greenhorn at it. But, man, the learning is sure as hell great even if it is hard work!”

While I took Jacob and Paula home, Uncle Michael and Mr. Stephenson continued adjusting the lights. When I returned, all were adjusted. “That’s it for right now,” Uncle Michael said. “Final adjustments will be made when the works are mounted. But it’s time for the class to be over and I think we all need to go home. Ready John?”

Mr. Stephenson smiled and said, “Ready Michael.”

“I’ll get the lights,” I said as Uncle Michael and Mr. Stephenson turned to go. When they stepped outside, I saw Mr. Stephenson reach out and take Uncle Michael’s hand before the door closed. I smiled to myself. I guess there really was something in the water at the farm.

Michael and Mary Kathryn were going to ride home with me and Luke since, as a sophomore, he was not allowed to have his car at school. As we approached the Jeep, Luke said, “Wild Woman, I’m sure you and Michael are expecting to make out in the back seat, but I have a better plan. Michael needs to practice his driving more than he needs to make out. Toss him the keys, Matt.” When I did, Luke took me by the hand and we crawled into the back seat.

“I hope you two don’t expect this to happen every night this week!” Mary Kathryn pouted. “Time about is fair play!”

And so it was. Tuesday night, Mary Kathryn and Michael got the back seat. About half way home, Luke said, “You two are going to have to slow it down back there, you’re fogging the windshield!”

“We are not!” Mary Kathryn responded. “It’s your unrequited lust doing the fogging.”

Luke laughed, “You’re probably right!”

Greywolf was waiting for Luke and me when we got home for a physics review session. He had us stop at 10:30 saying he thought we were both in good shape for the AP exam. “Now go to bed and keep the playing around low key!” he laughed. We were both pretty tired from the past few days and, while we hadn’t admitted it to each other, we were pretty tense about the coming weekend.

After some snuggling and cuddling, I lay with my head on Luke’s chest, thinking about my love for this man when he said, “Matt, can I ask you a question?”

“Of course, why do you ask?”

“Well, sometimes I feel like if you don’t talk about something it’s not there.”

This sounded serious. “Ask away.”

“Are you nervous about your recital and the concert?”

I was relieved even though I didn’t know what I had feared. “To be honest?”

“Yea, to be honest.”

“Frankly, I’m scared stiff. You know what this weekend means for us.”

“Yea, that’s why I am scared shitless. If we blow this, it’s Florida and New York. Sarang Hanun Pomul, I don’t know how I can stand being away from you for nine months.”

“Sometimes that’s all I can think about, Yonghon Tongmu. Today at practice, one of the pieces was almost perfect, but not quite and suddenly I felt paralyzed. I felt it had to be perfect or we would be separated. I know it didn’t have to be absolutely perfect, but I couldn’t convince myself of that. I guess for the past few days, I have come to realize how much is really riding on this weekend.”

“It’s got to work, Matt, but if we allow ourselves to keep getting worked up, it won’t be worth shit.”

“I know, and we also need to do well on the AP exam, but I don’t feel as though I can go to sleep. To be honest, Bright Angel, I am tense as hell!”

“I’ve heard sex is a great tension reliever…”

“Luke, right now I don’t think I could get worked up for sex and you know if I can’t, things are really tense. It would just remind me of what’s at stake!”

“Get your running clothes on, Matthew, we are going running.”

“Luke, it’s night!’

“But the moon is bright. Let’s run off the tension!” He jumped out of bed, grabbed his running shorts and I did the same. We climbed down the trellis and hit the road. As we approached Michael’s place, I noticed his lights were on. “Want to see if Michael would like to join us? Maybe he can take our mind off what’s happening.”

“Let’s.” We opened the front door quietly and went up the stairs. I tapped on Michael’s door very softly and he opened it.

“Hi, guys. I was just about to go to bed. Whats’up?”

“Michael, we are both so uptight over the weekend and we have AP physics tomorrow and couldn’t even think about going to sleep.”

“Have you thought about keeping your hands off each other? That might help,” he laughed.

“To tell the truth, we haven’t done anything except some cuddling. Not even a lot of kisses. We have so damn much riding on this weekend…”

“Yea, I thought about that a few times myself. When I kissed Wild Woman good night, I thought about what it would be like to be separated for almost a year.” Michael was very serious. There was no joking now. “So what have you decided to do?”

“I thought a good run was in order. Maybe if we get really tired, we can sleep. Matt asked about your joining us.”

“Sure, why not. Let me get shorts on.” Honest, we were so used to seeing each other that way, it hadn’t occurred to me Michael was naked. He quickly pulled on a pair of shorts and we went outside.

Passing through the house, I asked, “What’s going on, Michael? I hadn’t noticed when we went in, the place is wreck.”

“Well, it’s kinda a long story, but basically, Dad was finally woken up to the fact that he had treated Margaret as a plug in wife and the whole place is being done over. And of course, the downstairs bedroom is being made into a nursery. What do you guys think of Kathryn Elizabeth and Mary Margaret as names for the girls? Gets all my major women in my sisters’ names.”

“You’re sure about this twin business, aren’t you?”

“Positive.”

“The names sound fine to me.”

“I like them,” Luke said, “Now let’s run.”

After we had been running for quite awhile, Michael asked, “Isn’t that the Richardson’s farmhouse?”

“Sure is,” Luke answered. “Hell, we’ve run five miles already! I guess we need to turn back.”

We did and after a couple miles, Michael said, “Guys, let’s drop back to a slow jog. I want to talk.” We slowed down and while we were all three breathing hard, soon we had caught our breath enough for Michael to talk. “You know I had that strange dream, Matt. Well, I had another one. It was almost like the other one; I mean, Mary Kathryn was holding a baby, our boy, but this time I was there. Well, actually, I was standing looking at the two of them. Well, that’s not it either. I was kinda in half–two halves, I mean. Well, I mean, I was in one piece, but each half was dressed differently. Both were in black, black robes, but they were different. When I spoke to Mary Kathryn, she looked up and said, ‘Michael, are you ever going to make up your mind or are you always going to be two halves of a person? Our son needs a whole daddy, not two pieces of one.” I started to answer, but then I woke up. I was absolutely soaking in sweat and felt that I was cut in half, but I didn’t know why. I didn’t understand. Can you make sense of that?”

“I can’t,” Luke said. “I mean sounds as if you have a split personality,” he smiled, “but I have always seen just Michael who is about as together as anyone I know.”

I didn’t say anything for the longest time. I seemed to be seeing an image in my mind, kinda flashing on and off. I could almost get it, then it would flash off. “I don’t know, Michael. I kinda have a mental picture I can’t get clear, but I think Luke is on to something. Maybe not a split personality, but a split into who you will be or could be. I mean you keep seeing Mary Kathryn with your son and that’s not likely to be anytime soon–at least I hope it’s not.”

Michael smiled a weak smile and said, “If there is a son of mind, there will be a star in the east and I’ll be a cross eyed dove.”

Luke looked puzzled. “A cross eyed dove?”

“Yea,” Michael laughed. “Haven’t you noticed the Holy Spirit descending on the Virgin in the stained glass window at St. Mary’s? It’s cross eyed!”

I had seen the window since I was a baby and had never noticed, but as soon as Michael said that, I remembered the dove and, damn, it was cross eyed! “So your dream is about the future, Michael. And don’t put it down as a ‘mere dream.’ I learned long ago there are dreams and there are dreams. I think you are almost in touch with something and your dreams are guiding you. Think about the future and being two halves rather than a whole. I bet something will come out.”

“I talked with Fr. Tom about the first dream the day I went in with you and he said almost the same thing except he added, ‘Talk with your brothers. I think they are in touch with something I know nothing about.’ I talked to Matt, but didn’t go further. I was afraid you’d laugh–and I don’t know why. I knew better. When I told Mary Kathryn, she laughed at first and said, ‘I hope this baby boy bit doesn’t mean you’re just trying to get in my pants.’ But then she said, ‘Michael, it can’t be bad because I am holding our son.’ Well, we’re at my place. Thanks guys and this is among us. Ok?”

“Ok, Lil Bro,” I said and Luke nodded agreement.

At home, we climbed the trellis, took a quick shower and fell into bed. After a soft good night kiss, we were both sound asleep in seconds.

Both Luke and I were confident when we met the gang for lunch as were Eugene and Larry. “Fives all the way ’round?” Jacob asked.

“I think so,” Larry replied. The other three of us nodded agreement.

“Looks like Independence may have another distinction,” Michael said. “How many AP Scholars are we going to have this year?”

“I don’t know,” Larry said. “Eugene and I haven’t taken as many AP classes as Luke and Matt, but I think we’ll make AP Scholar with Honor. Luke, how about you and Matt?”

“If we did as well on ours this year as we think, we’ll be AP Scholars with Distinction.”

“Man, we have something to live up to,” Michael said.

As soon as lunch was over, I asked Luke, “How about we take an hour or so before we go to St. Mary’s. It’s a beautiful day and I hear the falls calling.”

“Sounds good to me, Matt, Babe. Want to ask Eugene and Larry to join us? I think Eugene could use some falls time. I mean he’s under more pressure than we are and holding up well, but time at the falls would…”

“Sorry I didn’t think of that, Luke. Kinda selfish. I was just thinking of us, I mean, ‘Babe, I need your loving!'” I sang. But those two guys… Man, they have a shit load of stuff. Hey, Eugene, Larry, wait up,” I called to the two who had started out of the cafeteria.

When we caught up with them Luke said, “Look, guys, Matt and I are going to the falls for an hour or so before we get back to work at St. Mary’s. How’d you guys like to join us?”

“Sure we wouldn’t be invading your time together? I know how precious it is this week,” Larry said as he put his arm around Eugene’s waist and hugged him.

“Same for you two. Let’s go. Do us all good.” As the two walked toward Eugene’s car, Luke said, “Matt, some way or other, those guys need to know we are all supporting them. I mean what Eugene is facing is terrible and they have as much riding on this concert as we do.”

“Yea, you’re right.”

By the time we were at the end of the path to the falls, all four of us were naked and ran to the top of the falls and dived in. We were immediately transformed form care-ridden adults into normal, care-free teens–swimming, ducking each other and generally horsing around. We swam for over an hour, then flopped down on the blankets we had brought from the Jeep. I guess, given the fact that our love making had been put on the back burner for awhile, you would have expected some heavy making out, but it didn’t happen. I lay with my head of Luke’s chest, listening to his heartbeat, as he stroked my hair, occasionally kissing me on the top of the head. Eugene and Larry were doing about the same thing–occasional kisses, stroking each others hair, rubbing hands over the naked body of the one they loved. It was a gentle, loving time. The sun was so warm and the swim and being with my Luke was so comforting, I fell asleep. It seems all four of us did. Luke woke me up when he pulled me atop himself and gave me the hottest, open mouth, lots of tongue kiss I had had for what seemed years. I could feel myself getting hard fast when Larry called over to us from where he and Eugene were lying, “I can see things are heating up over there and I hate to break it up, but I think we better head for St. Mary’s. A quick glance at my watch told me he was right.

Practice was near perfect. The PBS engineers asked us to do one of the pieces again so they could test the taping equipment since it was all installed by the time we had finished practice. We did the “Hallelujah” from “Christ on the Mount of Olives.” That should have been a good test of any taping equipment!

After we finished, Larry, Eugene, Paul and I started toward the Common Hall. As soon as we were alone, Larry pulled Eugene to himself, gave him a great kiss, and said, “Gene, it sounds wonderful. It is going to be great!” When we reached the Common Hall, I was surprised at how much work had been done and how great it looked. Millie had been right when she said this would be the cultural event of the century for Concord.

A Special Place–Part Thirty-five–Luke

I had gone directly to the Common Hall where Uncle Michael, Mr. Stephenson and the gang were already at work. Everyone was laughing and having a good time and obviously enjoying what they were doing. “Greetings, Art Lovers,” I announced as I entered the Common Hall.

“Luke, I left the mounting of the work in Gallery Three for you. Here’s the key. The door is locked” Uncle Michael said.

I went into the gallery and stood for a long time just staring at the painting of my Lakota warrior. I was absolutely weak-kneed just looking at it. It was the very essence of the man I loved with my whole being. Finally I tore myself away and mounted the picture. When it was in place, I got Mr. Stephenson and Uncle Michael to come and help adjust the lights. When they walked in, both stood still as I had done and looked at the picture. “Luke, that is a magnificent work. It makes me feel honored to be able to say it was done by one of my students. It really captures Matt’s spirit and, if I may say so, I can see why you love him so. You are a lucky man to be loved by him. And don’t get me wrong, he is damn lucky to be loved by you. And both of you are lucky–no, I would use a different word–you are blessed in that you love each other. I hope and pray that never changes. Sometimes, we get lucky, really lucky, truly lucky when we least expect it,” he smiled as he glanced at Uncle Michael.

“Look, I may be not quite eighteen and I’m really new to this love stuff, but I’m not blind or dumb. When are you going to announce your new partner to the family, Uncle Michael?”

Mr.Stephenson blushed as Matt at his best and Uncle Michael laughed. “I think that has just about been figured out by all of you, hasn’t it? I know Michael is on to us and David would be if he weren’t so wrapped up in making things right for Margaret and himself. You know you and Matt started the whole thing the night we went to Lexington. John and I talked after we got to his place– we love the same things so talk came easy–and I guess you could say we’ve been dating, courting, whatever, ever since. We have the same kinds of values: we both have lost partners. It just came naturally to me–falling in love again, I mean. I worried about the age difference, but John didn’t. He worried about the money difference, but I didn’t. The only problem we had was when I suggested we move into the carriage house and he balked.”

“I didn’t want Michael to romanticize our relationship into his with James. I knew and loved James. He was a wonderful person, but I am not James.”

“How long until the house is finished?”

“Too long, but the private space, our space, will be done by the first of June. In the meantime, John and I have talked about the carriage house and made it–not the one I remember, but one I WILL remember. That’s the reason you haven’t seen me around your place very much. I’ve been camping out there making sure it’s what John and I want and not something I remember with fondness.

“Did you, by any chance, speak to David about a similar situation?”

Uncle Michael laughed, “As a matter of fact, I did, but it was beginning to dawn on my baby brother. It’s just that he can be slow sometimes.”

“When are you moving in. I mean both of you.”

“We’ll both be in as soon as this exhibition is over. Not that we’re not moved in already for all practical purposes,” Mr. Stephenson said, blushing.

“What John means is we have our bed already,” Uncle Michael laughed and Mr. Stephenson put Matt’s blushing to shame.

“Great! Another of my favorite people becomes part of the family.” I hugged both of them and said, “You two are damn lucky too!”

Both said, “Agreed,” in the same breath.

When the lights were adjusted, my two mentors left the gallery and closed the door softly behind them, leaving me with the painting. I continued to look at it and think about the past two or three months and how much had happened and, indeed, how blessed I was. My love for Matt and his for me overwhelmed me. Before I knew it, tears of sheer joy were streaming down my cheeks. I wiped them away, turned and walked to the door. I looked back at the painting once more before closing and locking the door.

As I entered the Common Hall, Eugene and Larry walked in, arm in arm. They were followed shortly by Matt and Paula. “How’d it go?” I asked.

“Couldn’t have been better,” Paula responded. Eugene and Matt agreed.

“Larry, how’s your part shaping up?”

“Great! There are some tiny adjustments to be made, but the test tape we did today sounded very good. Tomorrow we’ll make any adjustments to the mikes–I don’t think there will be any to be honest–and start operating the cameras. We’ll tape the whole practice if the mikes don’t take a lot of time and I’ll get my hands on the remote control for some cameras. Man, I am really getting into this audio-video thing!”

When it came time for the confirmation class, I walked outside with Matt, Paula and Jacob. Matt was taking them home since they stayed after practice and worked on the exhibition. As we stepped outside, Matt said, “Luke, isn’t that your van leaving the parking lot?”

By the time he said it, the van was turning the corner. “I’m not sure. It looks like it. But why would it be here? I guess it just looks like ours.”

“Must be,” he responded. In spite of the fact we were standing in the open, Matt suddenly kissed me and said, “Be back for you and the wild ones, Stud Muffin.”

“He’s not my brand, Matt,” Jacob laughed, “but if he were, I’d sure go along with the stud muffin bit. Wouldn’t you, Paula.”

“Think I’d have to agree with you, Jacob.”

Wednesday essentially saw the completion of the mounting of the exhibition. Uncle Michael and Mr.Stephenson were going to make final adjustments of the lights for “Surrounded by So Great a Cloud” after everyone else had left. Thursday Uncle Michael started training docents. I was surprised that he seldom had questions of me. It was obvious he had been listening carefully every time I had answered one of the questions the gang asked or had made a comment. I think he knew the pieces better than I.

Of course, most of us were involved in confirmation class and that set a stopping point for work and training. Confirmation class was lively with questions and since practically everyone involved knew each other, no subject was closed. Michael raised the question of sex before marriage and Larry the church’s position on gays. Bill was concerned about his past. There was a lot of discussion of how to live out your faith in a world which was more concerned with things and sex and appearance than reality. We had a great discussion on what it means to be religious. We really got into a lively discussion when Michael talked about his conversation with Matt about “being religious.” I had thought all this religious stuff would be boring and nothing but a bunch of rules, but soon discovered that wasn’t boring and the rules were not really rules at all. I mean I had always been taught you do this and you go to heaven and you do that and you go to hell and suddenly I was hearing that you had to use your own brain and principles. It was very freeing and scary at the same time.

Wednesday and Thursday nights, Matt slept in my bed. Neither of us were yet very comfortable making love at my place, but we did have a great time in the shower and did some major cuddling and great kissing. Frankly, I suspect that was about all we would have done at his place. By the time we got home, we were exhausted by both the work and the tension. We didn’t talk about it a lot, but we were both really keyed up over our projects. I’m sure we would have been had the outcome not been so personally important to us, but that sure didn’t make us less tense! Not a night passed without our talking about what it would be like to be separated for a year.

Thursday night we had talked a bit about it when Matt said, “Luke, I don’t worry about our falling out of love or falling in love with someone else if we end up in Florida and New York. That’s not my worry. And I don’t worry about missing you. I mean I know I will and it will hurt like hell and probably have a major impact on the work I am able to do. I know that, so I don’t worry–I just hate the thought. You know what I really worry about?”

“Well, if you don’t worry about our falling out of love with each other or about falling in love with someone else or about the pain of being separated, I can’t think of anything to worry about. Or, to be honest, the pain of being separated is enough to be worried about.”

“Luke, what I really worry about is being unfaithful to you. I mean we had done a damn good job–most of the time I think too good a job–of keeping control of our passion and lust. But you know I am horny, hot most of the time. There have been plenty of times had you not kept a cool head, we would have been fucking like bunnies–and I do mean fucking. I am not likely to be less horny next year than now and there will be no love making AND I don’t think we’re going to leave Concord virgins so we will have had sex, all the way sex. Man, I really do worry about that. I don’t know about you, but I know I will never stop loving you, but I don’t know what I would do if you were unfaithful to me. But I don’t worry about that, what I do worry about is me.”

“I don’t, Sarang Hanun Pomul. Our love has gotten us over some pretty rough spots and I’m sure it will keep us faithful. I know that nothing you could do would stop my loving you. That’s just the way it is. But, to be honest, I don’t know how I would or could handle your being unfaithful. But it’s not going to happen,” I said as I pulled Matt’s body atop mine for a deep, deep and passionate kiss. “If you’re tempted, remember this,” I said as I gave him a kiss which ended only after I was breathing for the two of us for a long while. Cuddled in each others arms, we were soon asleep. I slept peacefully, but sometime in the night I woke up as Matt pulled me close and gave me a special, life-giving Matt kiss.

Friday, during home room, Ms. Jones called me, Matt, Paula and Eugene to the office. “I had a thought this weekend and came up with a plan. If it is more than you want to do, please say so; I will certainly understand. Each year when we have had the spring concert by the ensemble and chorus, we have had a performance during the school day. This year that was not planned, but what do you think about doing that Monday? That would also allow students who might not think it important to see Luke’s work.”

“I wouldn’t commit the ensemble to another performance without asking them,” Eugene said. “They have worked like slaves and I think have enjoyed it, but after Sunday they anticipated getting on with their lives.”

“Same for the chorus,” Paula added. “I would certainly be willing. Another performance is something most musicians look forward to, but these are high school kids.”

“I have only one problem with it,” Matt said. “St. Mary’s can’t hold the student body and we certainly can’t do it without the organ.”

“Plus the fact that the whole student body could hardly see the exhibition at the same time,” Luke added.

“Well, it seemed a good idea,” Ms. Jones said, “but I can see the problem. And I do appreciate the fact that you two won’t make a commitment for your groups without checking… I’ve another thought. What do you think of this? The freshmen and sophomores will come to school and immediately be transported to St. Mary’s for the concert. Meanwhile, the busses will come back and take the juniors and seniors to the exhibition. We’ll have the cafeteria prepare sack lunches for everyone and after the first half, we’ll have lunch on the church lawn, clean up and then the juniors and seniors will go to the concert and the freshmen and sophomores to the exhibition. Since they are younger, they probably will be ready to leave before the concert is over, so the busses will bring them back to school and go back for the juniors and seniors.”

“So far as taking care of the students, that sounds fine,” Eugene said, “but now you’re asking the musicians to do two additional performances, not just one.”

“It’s going to be pretty hard on the docents as well if they have to ride herd on freshmen and sophomores,” I commented.

“Some of the juniors and seniors are no better,” Paula added.

“Look, we’ve all worked our asses off–pardon Ms. Jones, but we have–for this and Independence will shine because of it. Larry told me last night the engineers have already gotten a commitment to do two one hour broadcasts of the concert and an hour for the exhibition. They couldn’t promise, but the producer of the Performance Today was very impressed with a tape they sent him and there is a possibility he will do at least one program on National Public Radio. If all that is going on, I think the students might benefit from participation in what Ms. Jones has suggested,” Eugene said. “I still won’t answer for the ensemble; they will have to do that, but I’m willing.”

“You won’t have to worry about behavior. I can assure you of that. You know Independence’s worse students almost always behave like perfect ladies and gentlemen on field trips. Plus, I will make sure the teachers understand that I expect them to see that the students behave exceptionally well. And again, it’s your decision–yours and your groups, Paula and Eugene–but I really would like to have all our students see what being dedicated and disciplined is about. If you like, I’ll have the two groups meet and you can discuss this with them. If we’re going to do it, members of the chorus and ensemble can report directly to St. Mary’s and Mr. Allan will take all who ride the bus as soon as they are all here.”

We all agreed and Ms. Jones announced at the beginning of the first period the two groups would meet immediately. I went to talk with Mr. Stephenson to see what he thought.

When we got to lunch the whole cafeteria was a buzz with students talking. I don’t know why the intercom is really necessary. I think I was the only student in the school who had not heard the whole school was going on a field trip Monday. Mr. Stephenson had been very pleased that my work would have more exposure, “Even if it’s only high school students,” he said. “All exposure is good.”

Just when Matt and I were ready to leave school, Ms. Jones called us all into her office again. “Thanks for going the extra mile–miles is more like it. I really appreciate it. Luke, Matt, I know you two are leaving, but take the rest of the day off–all of you. I’ve also called down those who are serving as docents–is that the right word, Luke?” I nodded. “So they can have the rest of the day off as well. Is transportation a problem?”

Eugene looked at me and Matt and said, sheepishly, “Guys, I know you want some time together. It’s been–I was going to say a hard, but that is not the problem–a difficult week.” Matt was blushing of course and Ms. Jones was laughing. “But do you think we could hit the falls?”

I looked at Matt, who did his best to look like a pouty kid, but his eyes gave him away. “Matt, Eugene and Bill all have cars. Transportation is no problem,” I said.

“I’ve authorized your sign out, so sign out and enjoy. The others will be waiting in the lobby.”

The time at the falls was what we all needed. Before we had been there too long, Paula started the swimming. Skinny dipping was the order of the day. “Wonder if Ms. Jones had this in mind,” Jacob asked as soon as Paula started the race to get naked.

At one point, Mary Kathryn was at the top of the falls and I knew I had been very accurate in painting her as a water sprite. And while I wasn’t into women sexually, I did appreciate beauty and Wild Woman was a beauty. As I stood looking at her, Matt walked up, slipped his arm around my waist and said, “I agree. She’s a real beauty. And look at Michael standing behind her. If that’s not love, I don’t know what is. He is absolutely worshiping her and she is unaware of it.”

We stayed at the falls until it was past the time we would have been home. Matt’s and Eugene’s cell phones were used to call parents and all had said they thought we deserved the break. Finally, Bill took Linda, Jacob and Paula home. When they had gone, Michael said, “I think you four guys probably need some time together,” and he and Mary Kathryn left, walking down the path hand in hand, stopping several times for a kiss. That sister of mine had made kissing an art! By the time they were out of sight, the four of us headed for the water. After maybe twenty minutes, we all flopped down on a blanket. “Luke, Matt, I want to ask a very personal question or two if it’s ok,” Eugene said.

“Ok,” Matt and I said together.

“Are you two still holding out for the big night?”

“We sure are,” I said.

“Well, we are because Luke maintains control. I tell you if it were left up to me, Mr. Larsen would no longer be a virgin,” Matt said. “Man, there are times when I would have crawled his body big time. In fact, that really has me worried.” Matt then told the two about our discussion of next year should we end up separated. “I am really worried,” he said, “that I will be unfaithful to Luke. I know I don’t want to and I know I could never love anyone but Luke, but I get so hot!”

“The reason I asked was because…well, you know Larry and I have tried to start over–well, I know I can’t be a virgin again, but you know what I mean. And Matt, you’re dad is right once you have started, even with how we started, it has really been difficult not to go all the way every time we get beyond the kissing stage. Maybe you need to think about that.”

“Look, I know that being without Matt is going to be hard and I am sure that being without sex with Matt once we have gone all the way will be even harder. I know we both will be tempted, but that’s going to be true as long as we live. We’ll just have to work at it. And when it is all said and done, if–and I said IF–one of us is unfaithful, we will still love each other and I am sure we love each other enough to survive.”

“Well, I just wanted both of you to know that as hard as it is to refrain from sex, it is harder after you start. But of course, my only experience is refraining from sex with someone I love more than I do my life…The big day’s approaching, right!”

“YES!!!” Matt exclaimed, May 31.”

“And you have talked with Dr. Bailey?” Larry asked. “We did and I sure wish we had done before, I mean even after I rap…”

“Let it go, Larry.”

“Before we started having sex. To tell you the truth, we both hurt each other and not just when we were having anal intercourse. I guess we both thought that hurting was just a part of it and that we had been born knowing what to do. Have you been doing what she advised you to do in preparation?”

Matt and I had both read sheets on oral and anal sex Margaret had given us and made sure we understood them, but we had never discussed what we were doing in response. I immediately knew that Matt was doing all the things on the sheet because he turned bright red. I even felt my face getting a warm glow.” Larry laughed, “I guess those blushes answer that question. Well, if you don’t mind, I think I’ll take my babe and this blanket and go down stream a bit for some heavy making out. We have been almost as chaste as monks since the hectic rush started.”

As two of disappeared around a bend in the river, Matt was on top of me, his hair creating a special world in this special place. He started kissing me with abandon, his tongue invading my mouth giving me the taste of my Lakota warrior. As he continued his passionate kissing, he slipped his Lakota arrow between my thighs and started thrusting it in and out. Since he was leaning forward, each thrust also gave my Nordic sword a powerful thrust. I reached behind him and pulled his hips into mine as my fingers spread his cheeks. I was able to hold him to myself and brush his rosebud with a finger as he continued humping me wildly. His mouth left mine and he started sucking a place on my shoulder. Suddenly I felt my finger slip into him and as it did, he pushed forward, bit my shoulder hard and I felt his hot seed spill between my legs and over my balls. As he continued erupting, he bit harder and through clinched teeth groaned loudly, “Yonghon Tongmu, I love you!” over and over.

His thrusting had brought me close to the edge and his hot seed pushed me over. I too, shouted as my climax hit me, taking away my breath and making me see whirling stars, “Damn, Sarang Hanun Pomul, damn!” We lay, Matt still atop my body, resting from spent passion in the afterglow of the first real sexual release we had given each other in what seemed like years. Gradually we recovered and Matt started, once again, smothering my mouth with kisses, less lustful, but hardly less passionate. “Sarang Hanun Pomul, how could I ever be unfaithful to someone who gives me the pleasure you give me with your body? Dark Angel, I cannot even imagine making love to anyone except you. You are my very life,” I said.

Matt raised his head, his hair still covering us, smiled and looked into my eyes. “You better not because you and your body belong to me. And to be honest, I feel the same way, Bright Angel.” Matt rolled off my body and we lay, side by side, holding each other and exchanging sweet, gentle kisses. “Luke, Babe,” he said and he looked at me, “at least this time you’ll not have any explaining to do about a hickey unless you’re shirtless then it might be hard to explain teeth marks,” he laughed.

As always, it seemed, time had flown by and there were obligations. I yelled to Eugene and Larry, “If you guys haven’t finished for the day, you better hurry up if you want to eat before confirmation class.

The two reappeared, Larry carrying the blanket, holding hands and stopping for a kiss several times. “From the shouting, I think we were just about on the same schedule,” he laughed. “Now I suggest a quick swim because I see the two of you are as big a mess as Eugene and I.”

After the swim as we were getting dressed, Matt said, “I really have no reason to go into St. Mary’s with you tonight, but do you want me to go?”

“Of course I want you with me always, but don’t you think it would be a good idea if you spent some time with your family tonight? I plan to eat and spend what little time is left with mine. I have hardly seem Mom and Dad for what seems like months. I can go in with Michael and Wild Woman.”

“I hate to agree with you, but you’re right. What about afterward?”

“Don’t get me wrong, Babe, but I think I’ll come back and spend the night at my place in my bed alone. Tomorrow is a big and long day.”

“Again, you’re right, much as I hate it. See you for a run in the morning?”

“You bet, Lover.” I said as I kissed Matt. We agreed since Saturday would be a long hard day, we’d sleep in until 8:00.

When I left the house with Mary Kathryn for the morning run, the day was perfect–blue skies, no clouds and bright May sunshine. Matt was waiting for us at the end of his front walk and we could see impatient Michael running toward us. When he reached us, he gave Mary Kathryn a good morning kiss and Matt said, “Ok, ok, let’s get on with the serious business.” Michael grabbed Mary Kathryn and planted another kiss on her. “I meant the other serious business,” Matt chided. “Let’s run.”

Given the day we had ahead, we only ran two miles and when we returned to Michael’s place, Margaret met us and said, “We’re all having breakfast at the Greywolfs’. Get your showers and get dressed and meet there.”

“Luke, there’s no reason for you to go home,” Matt said. “Shower time!”

We showered, taking our time washing each other and, yes, playing around.

When we got down, everyone was present–including Uncle Michael and Mr. Stephenson–and we made short work of breakfast and were all ready to go to St. Mary’s by 10:00.

When we arrived, the rest of the Fellowship was present, along with Millie and Paula’s and Larry’s mothers, whom I had invited. Uncle Michael met us at the outside entrance to the Common Hall. “I have turned on the lights and everything is ready, Luke.”

“Ok, when we go in, I will unveil the major piece in the Common Hall. After you have seen it, the docents will take you through the other galleries until you are ready to go to the final one. There is a work to be unveiled there as well. I have catalogues for all of you so you can read or ask the docents or both.”

[[Author’s Note: I have had a real struggle as to how to present the works in a manner that will allow you, the reader, to imagine the pieces. Originally I had the catalogue as a separate document, but realized that you would have to keep shifting back and forth between the narrative and a catalogue. I have finally decided to include the catalogue, set off by [ ] in the narrative. I hope this works. A Special Place–Part Thirty-five–Narrative Continued will be posted as soon as possible. it will include the concert/recital. Patience. It took a long time to write as well! Sequoyah]]

A Special Place–Part Thirty-five–Luke

[AN EXHIBITION OF THE ART OF LUKE HANS LARSEN

It is said that an artist, if asked to explain a work, will simply point to the work itself. While I believe my work can and will stand on its own, much of it is extremely personal and I believe that someone viewing a work will have a deeper appreciation of the piece if some of its history is known. Accordingly, each piece–or in some cases a collection–is shown in this catalog and in many cases a simple statement made concerning it as a piece of art. Following that are comments which you may or may not read as you see fit. They will, I believe, open a new depth for anyone viewing any of the works.

There are many to whom I owe much for their help in making this exhibition possible. However, there are some who must receive public acknowledgment and my deepest thanks and appreciation. Literally, without their help, this exhibition would never have been. Mrs. Millicent Willingham demanded that I produce a worthwhile exhibition and, when money proved a problem, took away that excuse by providing funds. Further, she handled all the publicity for the event and arranged for two receptions following the recital concert and the opening of the exhibition. Mr. Thomas Washington of Lexington Foundry provided materials and labor for the casting of the three bronze statues in the major exhibition piece. Without Herr Hans Dietrich the materials and labor would have been worthless because he provided the expertise needed to cast the bronzes. Uncle Michael Sanders, who was only recently reunited with his brother David Andrews, volunteered to place his years of experience at my disposal in setting up the exhibition and handling any dealer interested in my work. Finally, Mr. John Stephenson, my art teacher since junior high, helped me understand that life requires more than bread and butter; it also requires art. For any acclaim this exhibition may receive, much belongs to him. And, finally, to The Family who gave me life in the beginning and continues to sustain it, this exhibition is dedicated.

Luke Hans Larsen

The Galleries

The exhibition is arranged in four galleries. The main gallery is in the Common Hall and the three smaller galleries are in three classrooms across the hall from the main gallery.

The Main Gallery

The exhibition’s major piece “Surrounded by So Great a Cloud” is set up in the center of the main gallery. The other works in the main gallery are described, beginning at the outside entry and moving clockwise around the hall.]

When everyone gathered around the major piece in the main gallery, I removed the veil covering it and, as I did, Mr. Stephenson turned it on.

[Surrounded by So Great a Cloud–A Moving Sculpture: The sculpture consists of three bronze castings–made using the lost wax process; an etched glass panel–etched using chemical etching, sandblasting and diamond drill carving; all mounted in a steel framework. The pieces are mounted in a manner which allows them to be moved by small electric motors in the base of the work. The bronze castings are of the three families which make up The Family, my extended family. They are on a scale of approximately one-to-two and average three feet in height. The glass panel is three by five feet by two inches thick.

The Artist’s Comments: Of all my work, “Surrounded by So Great a Cloud” has the most complete history of its evolution available for all to see. On the reverse of the panels behind the sculpture are the sketches I made as the idea evolved. These range from formal sketches in a sketch book to those made on the edge of class notes, to sketches made on school napkins, to several made with felt-tip pen on toilet tissue! Originally, the sculpture was to be a single three-sided sculpture in clay with one side devoted to each of the families which make up The Family. As I sketched and thought about the project, the concept evolved into the sculpture you see before you.

While I was thinking about the sculpture, I ran across an article on the lost wax process of casting bronze and became fascinated with the possibility of having the figures cast. I soon learned there were two major problems connected with using the ancient lost wax process. The first was finding someone who was expert in using the process and the second was money. Fortunately, both were solved at the same time when Mr. John Stephenson, my art teacher, put me in contact with Mr. Thomas Washington of the Lexington Foundry. While the present foundry does not have the expertise to do the casting, Mr. Washington asked a retired craftsman, Herr Hans Dietrich, to look at my clay sculpture. Herr Dietrich graciously came out of retirement to do the casting, and Mr. Washington provided the materials and labor. Neither man would accept payment for their work and the sculpture was made possible through their skill and generosity.

About the time I had decided to cast the statues in bronze, if possible, I recalled a phrase used in the Mass on All Saints’ Day: “surrounded by so great a cloud of witnesses”. The phrase lodged in my mind and I began to think, not of a cloud of witnesses surrounding me and The Family, but the cloud of people who surround us with their love and concern. I very much wanted to capture that idea and honor those as well as The Family. If I could come up with a way to do that, I would solve another problem. Elizabeth Andrews, wife of David and mother of Michael, died two or so years ago. I was struggling with how to include her when the picture was further complicated by the marriage of David to Dr. Margaret Bailey, who had earlier been accepted as a member of The Family. The answer came as I was walking down the street window shopping. I suddenly noticed the reflection of people in the glass of the window. I would, I decided, do a glass panel with the faces of those who surrounded The Family. Again, expense almost eliminated the idea since a sheet of glass large enough to do what I envisioned and the tools and materials to do the etching were expensive. When Mrs. Millicent Willingham gave me money to carry out the project, I was terrified because I had never done work in glass before and knew I would have to teach myself and, more terrifying, had to be successful in doing the panel. Fortunately, I loved every minute of the learning process and was, I believe, successful in carrying it out. Many citizens of Concord may be seen in the panel and at the top is Elizabeth who, The Family knows, still surrounds us with her love.

The final figures are very much as I originally conceived them, except each family became a separate piece and they were cast in bronze from clay sculptures. The faces and torsos of the figures are quite detailed, but the balance of each figure is intentionally unfinished because I believe that at any point in our life we are “unfinished.” The figures, it will be noted, are mounted on a revolving steel platform around and above which the etched glass panel, mounted in a steel ring, revolves as well, “surrounding” The Family.

At the close of this exhibition, “Surrounded by So Great a Cloud” will find a permanent home at the James Sanders’ Hospitality House where, it is to be hoped, those staying to be near loved ones in the Concord Hospice will find themselves surrounded by love and concern.]

As soon as the veil was removed, there was absolute silence in the room, so much so I wondered what was going on. I soon found out as I looked around. The expressions on the faces of the people I loved told me I had struck a chord in each of them. I watched as tears formed in the eyes of Michael and David. Mom and Dad both reached out and placed an arm around my waist. Matt walked up behind me and kissed me on the neck then put his arms around me. Yong Jin and Greywolf were suddenly holding hands as David reached behind himself and took Margaret’s hand in his. Mary Kathryn walked in front of me and pulled my arms around her waist. Silence still reigned. Finally Michael spoke, his voice choked with emotion, “There’s Mom, still watching over us all.” Once he spoke, others started speaking.

“There’s Chelsea and Gladys and Dr. Walker. Without their having watched over us, this wonderful piece would never have been,” Matt whispered. Then, in a voice tinged with a some anger, he continued, “Luke Larsen, how could you have ever dared think of taking your talent from us and the world? How could you have dared take this from us? How could you dare?” The “silence in church” atmosphere which had prevailed was broken and others started naming the people in the cloud: Uncle Michael and Mr. Stephenson, Ms. Jones, the entire Fellowship, Mr. Swartz, Fr. Tom and about a dozen others.

“Luke, if this was all you had done, your exhibition and your stature as an artist would have been firmly established,” Greywolf said.

After everyone had stood looking at the piece for a very long time–the glass panel had made two or three revolutions–Mom said, “I think we need to kinda stay together as we move through the rest of this exhibition”. The Family agreed–of course the Fellowship, including Michael and Mary Kathryn, had seen all the other works in the gallery and hung back so Mom and Dad, and all the others could see everything.

[The Family: A series of eleven paintings portraying the members of the artist’s extended family. While there are slight variations in the size of the eleven canvases, all are approximately four feet high and conform to the Greek idea of the Golden Section, a height to width ratio which is expressed by the formula w/h = h/w +; h, or about 3/5. All except one have a similar background, a grayed off-white which helps each figure seem to stand out from that background. The eleven use the full range of acrylic painting techniques from what may first appear to be pen and ink drawing through the delicate colors and edges of watercolor to paint applied in the manner of oils.

The figures are painted to provide some insight into how the artist sees the members of The Family, his relationship to each person and often the person’s ethnic background. Each canvas is complete unto itself but the whole is greater than its parts in that, taken together, the eleven paintings picture The Family–not just individual members.]

“I think each of you will recognize the subjects of “The Family,” I said.

[Beowulf–Jens Larsen: Jens Larsen, the artist’s father, is of Scandinavian background and, accordingly, is portrayed as Beowulf, the great Scandinavian hero. He is pictured in full battle gear, except for his helmet which he holds in his left hand. The bloody sword in his right hand suggests he is resting after having killed another monster. The early Anglo-Saxons were great metal workers in iron, bronze, and gold. Gold ornaments were frequently enameled in bright and beautiful colors. To accomplish the look of such work in this painting, a great deal of gold leaf has been used, along with extremely high-gloss acrylic paint.

The Artist’s Comments: My father is a modern Anglo-Saxon hero to me. His monsters–it is true–are not external, but he has done battle against internal monsters, monsters which challenge his loyalties. I was extremely interested in including the beautiful “duck” helmet uncovered in the Sutton Hoo excavations, but to have Beowulf wearing it would have completely obscured Jens’ face. At the same time as I struggled with how to show his face and the helmet, Jens had what was probably his greatest struggle and, when I realized he had–again–slain the monster, I suddenly thought about presenting him as resting immediately after his victory–helmet in hand. The ornaments and helmet are based upon those uncovered in the excavations at Sutton Hoo, England, which have provided much of our knowledge of the skills of the Vikings.]

As Dad approached “Beowulf”, he stopped quickly, looked at the catalogue, looked at the painting and his eyes filled with tears. “Luke, you have honored me far beyond what I deserve. Matt asks how you could dare think of taking your life, I ask myself how I could have dared to treat you as I did. And, my God, I even thought of disowning you. Son, can you–and Matt–ever forgive me?” He was crying openly, something I had seen him do very few times in my life.

“Dad, I hope the painting answers your question.” Dad wrapped me in his arms and hugged me so tightly I thought I would stop breathing. “Thanks, Dad,” I said as he released me. He then embraced Matt in an equally tight bearhug.

[German Tavern Maid–Gabrielle Larsen: Gabriel, the artist’s mother, is German–Bavarian to be exact–and is portrayed as a Bavarian tavern maid of, perhaps, the eighteenth or nineteenth century. She is dressed in Bavarian dress–a low-cut white blouse with puffed sleeves and a richly embroidered skirt and vest. She is shown carrying a tray laden with food above her head with one hand and steins of beer in the other. The tavern and patrons are done with light brush strokes in earth tones, only slightly darker than the background.

The Artist’s Comments: Originally when I thought about a painting of my mother, I decided to present her as Brunnhilde, the heroine in Wagner’s “Ring of the Nibelrung”. In fact, I even started that painting. I had chosen Brunnhilde to be Gabrielle because of my mother’s ferocious loyalty and devotion to The Family, and her willingness to sacrifice on their behalf. That incomplete painting is exhibited directly below the final representation of Gabrielle. However, as I painted, Brunnhilde seemed too war-like to represent Gabrielle. I then saw her in terms of her care for The Family and realized she was more like a tavern maid–youthful, joyful, playful and dedicated to seeing that the physical needs of its members are met while being a good listener and one who did not allow her personal concerns to overshadow her concern for family members. Also, I knew that a tavern maid was there to serve, but that there were limits beyond which she would not budge–Gabrielle, my mother! Finally, I see my mother as a beautiful young woman and the tavern maid is surely that!]

When the group moved to “German Tavern Maid,” Mom immediately started laughing. “Luke, how did you know I once wanted to be a tavern maid? Some of my happiest memories are of going to the tavern with my dad and watching the maids waltzing around, keeping the customers’ hands off while flirting like mad. It seemed so much fun!” She, then, looked at the catalogue and, after reading what I had written, “Nice to know your grown son still thinks of you as a beautiful young woman!” she said as she kissed me. “And I am really glad you didn’t finish the Brunnhilde one. I always thought she was too serious and a pushy broad.” Her laugh proved the tavern maid was an accurate representation of my mom.

[Water Sprite of the River Falls–Mary Kathryn Larsen: Mary Kathryn, my sister, is portrayed as a water sprite at the falls on the Sequoyah River which runs through the families’ farms. She is seen here, nude, sitting atop Lookout Rock, her golden curls blowing in the wind. Youthful, obviously, but definitely a well-developed young woman. An acrylic water color technique was chosen to emphasize the delicate nature of the creature and the beauty of the falls. At the same time, there is enough color and substance to indicate her strength.

The Artist’s Comments: Mary Kathryn is definitely a water sprite and no other figure would have done her justice because she is–as water sprites are–playful, often mischievous and very beautiful. While water sprites are expected to be nude, Mary Kathryn’s nudity is also a nostalgic look back to the time when the children of the family went skinny dipping at the falls and, at risk of being strangled by Mary Kathryn and my mother, that still sometimes happens! A beautiful, spirited young woman, Mary Kathryn is sometimes known as Wild Woman and even that element can be seen in this water sprite who is certainly not one of those Victorian “fairies”. This is a full-blooded, full-spirited water sprite. To my eye, she is completely at home at the falls.]

“Luke, I want to buy that piece on an installment plan!” Michael said as the rest of the family saw it for the first time. “I figure at a dollar a week, my great-great grandson will finally get you paid!”

“I hope you four don’t think we haven’t known that skinny dipping is still often the order of the day,” Yong Jin said. “Luke, it’s a magnificent work and really captures Mary Kathryn’s spirit and beauty.”

[Runner, A Self Portrait–Luke Hans Larsen: The artist is portrayed as a runner running down a country road, approaching a huge old oak on the side of the road. The technique used is essentially that of poster art, but with greater detail in the setting, especially in the large oak tree. The runner is running “flat out” and can almost be heard shouting as he runs.

The Artist’s Comments: I have always been reluctant to do a self-portrait. Somehow or other it has always seemed egotistical to me. When I realized that the series would be incomplete without one, I first decided to use the caricature Millie Willingham–who dares defy Millie?–demanded for the posters announcing the event, but I realized it was not in keeping with the series. After working very late one night, I was reluctant to get up and get dressed for the daily run the kids in the family do together. However, when I got up and got moving, I realized that the morning run was one of the things which bonded the Gang of Four–the name the four kids have given themselves–together. And, more than that, I realized on that morning I was alive. In that moment of realization I was, in the words of C. S. Lewis, “surprised by joy”. When I again approached the task of painting myself, I wanted to capture both the runner and the joy I felt. A part of that joy came not only from just being alive, but also from where I was. For The Family, the old oak shown in the background is a kind of symbol of our having taken root and growing in the beautiful area of the county where we live.]

“Luke, do you know the Navajo run to greet the rising sun, shouting because they are alive?” Greywolf asked. “In fact, on one of their days of celebration, men run twenty or so miles shouting all the way because they are alive and are blessed. You are so alive in that painting and, Luke, you have the depth and strength of that oak. Never forget that. It will serve you well if you ever begin to question yourself, I mean your strength and depth of spirit and character.”

“Yonghon Tongmu, I’ll promise to play “More” for you tonight in exchange for that picture of the man who makes that song mean so much to me,” Matt said.

I planned to give Matt the painting if he wanted it, but I couldn’t miss this. “I’m sure you wouldn’t dare add something to your program at this late date but, Sarang Hanun Pomul, it’s a deal!” I laughed, knowing that the program for tonight was fixed in concrete. Nonetheless, I couldn’t resist kissing the one who inspires me to sing “More”.

[Lakota Medicine Man with St. Michael–Patanka St. Michael Greywolf: Greywolf is the head of the Greywolf family and, while it is never discussed or even mentioned, head of The Family as well. Here he is seen as a Lakota medicine man, illustrative of his Lakota background, dressed in a buffalo robe complete with a buffalo head. His well-known long hair is shown hanging free and his face is painted in a traditional pattern of red, black and white. He carries an eagle’s claw in his right hand and burning sweet grass in his left. He has several eagle feathers in his hair and wears a choker of bone and pipestone. His chest is covered with a breastplate of bone. The technique for this part of the painting is similar to an oil painting which allows for showing great detail. Standing behind Greywolf is St. Michael–done with a much lighter touch, but with great detail as well. St. Michael holds a shield to protect, not himself, but faint figures seen in the background, and he stands with sword raised.

The Artist’s Comments: There was never any question of how Greywolf would show up in this exhibition. His name made it very clear. Raised by his Lakota grandfather until the grandfather’s death, Greywolf was taken in by an uncle who abused him horribly. Eventually he was rescued by an Episcopal priest. After it became clear he needed healing from the abuse of his childhood, the priest took him to a Lakota medicine man. Near the end of his stay with the medicine man, he went on a vision quest during which he was given his Lakota name Patanka. While the word means buffalo, it means much more to the Lakota. Patanka, for a Lakota, holds the fullness of one who protects the weak and provides for all. When he returned to the priest, he sought baptism and was given a Christian name which resonates with his Lakota one–St. Michael, defender of the weak and struggling. No greater honor can be bestowed on a Lakota than being given an eagle feather–this is the reason Greywolf is shown with several in his hair. Should anyone doubt that Greywolf is well named, they need only ask someone who was present when the former principal of Independence High School made derogatory statements about a young man before the entire student body!

To the best of my ability, the symbols and clothing of Greywolf as a medicine man are correct. I knew what he was to be in this series of paintings, but assuring the accuracy of the representation required considerable research. I hope I did it well.]

There were no comments on Greywolf’s picture for the longest time. Then Greywolf said, “Luke, you must have done some serious research because there couldn’t be a better representation of a medicine man. I must say, though, I’m afraid you have given me more power than I have, but I think Matt has inherited the spirit of a medicine man…” He was silent for a moment, then said quietly, “One of my greatest wishes is that you and Matt will have an opportunity to meet a real one. They have powers–great powers–which I don’t understand, but don’t need to. The power is just in them.”

[Korean Mother–Yong Jin Greywolf: Yong Jin is Korean. She is shown here in a hanbok, the national dress of Korea. Each stage in a woman’s life dictates the color and trim of the hanbok. Yong Jin is shown as a Korean mother. Her hanbok is a deep, rich blue with white bands embroidered in purple at the end of the sleeves and around the neck, announcing she is the mother of a son. Her hair style is that of a married woman. Her dress and hair style both show she is yongban, a member of the Korean aristocracy.

The Artist’s Comments: Because Yong Jin is obviously a lady, I chose to show her as yongban, a member of the Korean aristocracy, regardless of whether or not her Korean bloodline supports that position. She is dressed as the mother of a son–again, not only because she is, but also because it characterizes her. She is the mother of a son for whom she sacrifices, but also for whom she has high expectations and on whom she places high demands–gently, but firmly. But Yong Jin is not just the mother to Matthew, she is also a demanding mother to the other sons and daughter of The Family, never expecting or accepting less than the best any of them has to offer in any of their life’s endeavors. As a teacher, she expects and demands the same of her students. She is shown laughing because, as she once said, Koreans are the Italians of Asia and her frequent laugh, sense of humor and enjoyment of conversation support the claim.

Originally I planned to show her standing before Namsan, the sacred mountain in Seoul, done in an ink and brush style. While that style is seen often in Korea, I changed my mind after seeing a picture of Kunjongjon, part of the Kyongbokkung palace complex. The use of the Korean decorative coloring, Tanchong, used on the building is especially beautiful to me. The seemingly simple yet complex patterns are painted in vivid colors of red, orange, blue, yellow and green, plus others based on iron compounds. The very brilliant colors and seemingly simple yet complex patterns were Yong Jin for me. Thus, she is shown before the Throne Room of Kyongbokkung which is decorated with Tanchong.]

“Obviously, more research, Luke. And I am glad you placed me before Kunjongjon. It means so much to anyone who loves Korea. One day the whole complex may, once again, be freed from the Japanese building erected to stop the flow of chi and, maybe then, Korea will be whole again. And I appreciate your ignoring my “tainted” bloodline. I am proud of it even though it makes me a mongrel to most Koreans.

[Shaman–Matthew Sarang Hanun Pomul Greywolf: This portrait of Matt was an extremely simple one to conceive, but very difficult to execute. The painting reflects Matthew’s Lakota and Korean spirituality in that it is of a divided shaman, one side a Korean shaman and the other a Lakota medicine man. Unlike the painting of Greywolf as a medicine man, which is done in great detail using color, this one is done entirely in black and white, appearing as a pen and ink drawing. Except for the face, the work is almost an abstract. The two sides blend together in the face so Matthew is clearly visible, but the balance of the painting is vague and unclear because Matthew’s vocation as a shaman is–to me and, I suspect to him–vague and unclear.

The Artist’s Comments: There has never been any doubt in my mind that Matthew Greywolf can perform magic since the first time I heard him play the organ. And as the years passed, I sensed a great depth of spirituality in Matt. Once, when he told his mother he could sense a presence before a person came into the room, she told him he was from a family in which, for five hundred years at least, there had been shaman–odd in Korea where most shaman are women. Later, when Greywolf spoke of a Lakota medicine man–another version of the shaman–I sensed a resonance within Matthew with that tradition. As soon as I thought about doing The Family, I realized Matthew would have to be presented as a dual shaman.]

“As I said,” Greywolf commented when he saw the painting of Matt, “I think Matt has inherited some, if not all, of the power of a medicine man.”

“He definitely inherited power from his Korean shaman ancestors,” Yong Jin said confidently. “More than that, I am convinced he has also empowered the Gang of Four. That explains how all four knew about their conception.”

“Well, I can’t come up with a better explanation,” Jens said.

“I was sure when Luke told me he knew when Matt was approaching. Now with Michael’s positive statement that Margaret is carrying twin girls…” Yong Jin mused.

“She certainly is,” Michael was quick to state.

“I guess this is as good a time as any to make the announcement,” Margaret laughed. “I found out yesterday that he is at least half right. I am carrying twins.”

Kathryn Elizabeth and Mary Margaret to be specific,” Michael said in a definite no-questions-allowed voice.

[An American Pioneer–David Andrews: David Andrews is of Scottish-Irish ancestry which goes back to before the founding of this nation. The fiercely independent people from which David sprang settled in the mountains of Appalachia and eventually some members pushed westward. The painting is done in the style of Norman Rockwell, to many THE painter of American life and ideals. Long dismissed as “just a commercial artist”, Mr. Rockwell’s work has recently won wide acceptance and acclaim in the art world with exhibitions in major American cities. David is dressed in buckskins and is wearing a coonskin cap headgear like that made famous years ago by the movie “Davy Crockett”. He is leaning on a Kentucky long rifle, peering off into the distance as though listening for danger or hearing a call to adventure.

The Artist’s Comments: This is the only work in my exhibition which consciously seeks to imitate another’s work and style, but when I decided David had to be portrayed as an early American pioneer, Norman Rockwell immediately came to mind. While Mr. Rockwell worked in oils, this–as most of my painting–is done in acrylics, but using the techniques I would have used had I been working in oils. I chose to present David as a pioneer, not only because of his background but also because, as a male nurse, he pioneered in that field. Further, David was a pioneer in getting the first serious EMS team and equipment for Concord and the surrounding areas.]

“Luke, I see you don’t miss a trick do you?” My granddad would have been proud of that painting and the fact that you chose the pioneer image. He never grew tired of telling me stories of those folks who struggled, demanding freedom in–and a living from–these mountains. Thanks,” David said.

[Guardian Spirit–Elizabeth Andrews: The painting of Elizabeth is is the only painting in the series which has a different background. Here, instead of the grayed off-white, it is a blue so pale it may appear at first as white. The figure is almost invisible, having been done in a blue only ever-so-slightly darker than the background. The figure is of Elizabeth Andrews as she appeared in her most robust youth. She is seen standing on Lookout Rock at the river falls, looking down on four figures playing on the beach–The Family’s four children at six or seven years of age. Careful examination will reveal that Elizabeth is smiling, happy, observing the children at play.

The Artist’s Comments: How does one paint a spirit? How can someone who is no longer alive be portrayed as a presence as real as a living person? This was the problem presented to me when I approached a painting of Elizabeth Andrews. After years of happiness with little heartache or pain, it almost seemed The Family was required to pay back bills when Elizabeth discovered she had cancer. Her struggle was brave, but the disease wrapped her in pain and took her from us–first because of her disease and pain and then, finally, when her death released her from her suffering. Yet, to a person, we know Elizabeth is still a part of us, loving and watching over us. As I thought about how to go about the task, I recalled many happy moments with Elizabeth, but kept coming back to the idea that she was watching over us. It was this which reminded me of the times she stood on Lookout Rock at the top of the falls, watching over the four children playing below. That was Elizabeth. In deciding to convey the idea of her as guardian spirit, I saw her–faintly–in that place watching over us in happy days. To achieve a distinction from the living family, I decided to change the background color of this canvas and to use the slightest possible difference in color between the background and the figures. It was only when I had finished the painting and was examining it that I noticed Elizabeth was smiling.]

“Luke, I’m really glad you included Mom. I wouldn’t have thought of your doing so, but I should have known you would,” Michael whispered with tears in his eyes. “I know she watches over me. Most of the time I don’t think about her as much as I did, but I do miss her terribly at times.”

“And you should,” Margaret said as she placed her arms around Michael’s shoulders. It was the first time I had ever seen her really seem like a mother to him. He buried his face in her shoulder and had a good cry as David embraced the two of them.

[Greek Warrior–Michael Andrews: Michael is a handsome young man in every sense of the word and he is a warrior for justice and right. This painting joins the two. On the usual grayed off-white background is seen a Greek style vase in black with white decorations, Michael as a Greek warrior, spear raised, fighting off a snarling dog–the dog of prejudice and injustice.

The Artist’s Comments: As a part of the application for a summer art camp I attended two years ago, applicants had to submit a “study of the human body”. When the campers arrived, I was somewhat chagrined to discover I was the only one who had done a nude! Others had drawings or paintings of hands, faces, sketches of other parts of the body and only one other had a full figure and it was a pencil drawing of a draped woman. I had done a nude of Michael in charcoal and pastels. I recalled that work and decided that, in order to show both Michael’s physical beauty and his passion for justice, there was only one possible answer: the painting you see–Michael as a Greek warrior. Preliminary sketches I did were not satisfactory for my concept but, as I was trying to decide on what approach to use, my sister asked me a question about “The Odyssey” which she was reading for an English class. When she showed me the passage, I noticed a small illustration of a Greek vase on the page. The idea of a Greek vase painting came to me and, at first, I dismissed it as pretty far out. However, as I started sketching, I came to see the possibilities. When the painting was finished, I found it struck the very note for me that Michael in his youthful eagerness for right does in reality.]

“There’s a real man and he’s mine, all mine,” Mary Kathryn said as she made a great pointing gesture toward the painting and pulled Michael’s lips to hers for a mouth-filling tongue kiss.

[Mother Watching Over a Sick Child–Margaret Bailey Andrews: The painting of Margaret was done as a period piece. The scene is a bed in a log cabin with a child lying, back to the viewer, half-covered, and a woman, Margaret, sitting beside the bed. She is seen in profile by the dim light from a fireplace and the candle sitting on a table beside the bed. The fire and candle cast a glow over her face and the bare back of the child. While the child is obviously a nearly grown young man, she sees him as a child. What can be seen of her face expresses both her deep concern and her boundless hope as she watches into the night. The colors used are muted earth tones illuminated by the warm glow of fire and candlelight.

The Artist’s Comments: The world knows Margaret Bailey Andrews as a doctor, and that she is. However, The Family came to know her in more than a professional role when she was called upon to help save the life of one of the family’s children, me, who lay near death. While the child in the painting is obviously a young man, the concern shown by Margaret is that of a mother watching over her child. I chose the setting to reflect Margaret’s own heritage as a child of mountain pioneers–as is her husband David–and the courage of those women who left the comforts of the “civilized” part of colonial America to follow their husbands and families into the wilderness. The darkness surrounding the two is intended to indicate the seriousness of the situation, but the glow of fire and candle suggests hope and happier days ahead.]

Millie, who had been standing behind The Family, said, “Beautifully done, Luke. Beautifully done. And for those of us who know you, there is no doubt who the young man is. Margaret, you did the world a great service when you kept this young fellow alive.”

“I was only a part of what kept him alive, a very small part. Matt has to take most of the credit. He may not be a medicine man or a shaman, but no one will ever convince me otherwise,” Margaret responded.

[The Artist’s Comments on the Series: When I first thought about painting the members of The Family, I intended to do rather traditional, almost photographic, likenesses but the more I thought about it, the more it became a spiritual journey into what The Family is and means to me. I realized, as soon as I started painting, that I had undertaken a major project–since the entire series had to be completed in a three-month period. Often it seemed I would never complete the paintings but, when they were finished, I realized that I knew and loved The Family as I had not done before. That, alone, made the exercise worthwhile for me. I hope the results are worthwhile for the viewer.]

“Luke, I don’t think I have ever known a family who has been honored as much, and certainly not more, than you have honored yours in these works. Not only are the paintings and the sculpture outstanding art–and while I’m no expert, I know they are–but they also speak of a deep love and affection not often found among today’s families, I’m afraid,” Ms. Wright said.

When we had finished with “The Family,” all those present read their catalogues and spent time where they wanted looking at the rest of the work in the main gallery.

[Exercises, Techniques, and Methods: On the wall opposite “The Family” are displayed works by the artist produced as required exercises in art classes and art camp, experiments with techniques and tools, and application of various methods. These will be described briefly beginning near the back wall and moving clockwise.

A Vase: Done as an assignment in a pottery class, this is the only example of wheel thrown pottery found in the exhibition and the only one owned by the artist. He says, “I must have thrown a ton of clay before I achieved anything worth keeping. When I had created this pot, I was finished with trying to throw pots.” The pot stands twelve inches high and is similar in shape to American Indian pots. The glaze has a white slip underglaze covered by a terra cotta color opaque final glaze which has been engraved to allow the white slip glaze to show through. The design is based on pre-Columbian Mayan patterns of circles and curves.

Michael–A Nude Study: This charcoal and pastel study of Michael Andrews was part of the inspiration for Greek Warrior in “The Family” series. Michael is shown standing, arms outstretched, in the exuberance of youth. His strength and physical beauty are apparent, as is his joy at being alive. (Artist’s note: This sketch is the property of Mary Kathryn Larsen and was graciously loaned by her for this exhibition.)

The River Falls at Night: Another class assignment, this time for a photography class, resulted in this picture. The assignment was to capture a night scene. The artist chose not to do an obvious one–a brightly lighted scene–but to attempt to capture a special place, the river falls. The final print was the result of several night’s experimentation and at least half a dozen rolls of film. The length of the exposure is evident from the track left by the rising moon above the lip of the falls.

Lifeline–A Montage: “Using anything you like, create a montage of your life. You may use photos, magazine pictures, objects. The only two rules are you may not leave any of the background showing and you may not use words except those found on objects or pictures.” This was a semester-long class project in my junior year. The result was much larger and more complicated than I anticipated but, when I started gathering materials for it, I found so many things I wanted to include: one of my first baby shoes, my first book which bears teeth marks proving I attempted to read it with my mouth, school pictures from the first grade on, magazine pictures of a bicycle, a report card from sixth grade, a picture from my junior high prom, a note from Greywolf to my dad telling him Matt and I had been showing off in Matt’s new Jeep and he was grounding us for six weeks, a number of matchbox cars from a collection I started in grade school and continue to the present, and many other things. The actual time line follows a serpentine route over an entire sheet of plywood.

Costume Designs: These are sketches for some of the costumes designed for Independence High School’s Drama Club’s 1993 production of “Macbeth”. Shown are the battle costumes of Macbeth and Macduff, Macbeth’s costume as king, the costumes of the three witches, Lady Macbeth’s costume–worn at the beginning of the play, and her sleep walking costume.

The Artist’s Comments: Asked to design the costumes for “Macbeth”, I really didn’t know where to begin. In the light of the fact that I was given a free hand, I looked into how the play had been costumed in recent productions, some using modern dress. I quickly decided to go with the time of the setting and started research into the dress of the period. The acrylic watercolor sketches are the result. The major characters’ costumes are pretty much what one would expect, but the witches offered an opportunity to experiment. One is dressed in a filmy grey and black costume which looks much like rags. Another is dressed in a distorted version of court dress with the expected bright colors and careful fit changed to muddy browns and yellows and the fit made loose and askew. The third witch is dressed as a temptress in a clinging gown of translucent green. All characters are shown on the set which was also my design.

Life, Death and Transformation: This is a highly abstract oil, one of the few in the exhibition, which uses color to signify the three stages in this spirit journey. Moving from left to right and bottom to top, life is symbolized by green, death by black and transformation by yellow. The paint has been applied to the canvas with a palette knife in geometric shapes and swirls. Each stage blends into the next, moving from the rich green in the lower left corner to the almost-white yellow in the upper right corner.

The Artist’s Comments: Having gone through a near-death experience and a transformation, I sought to convey something of that experience through painting. Clearly, I came to understand, it was possible only through a metaphor, an abstract, in which colors represented the journey I had taken. I chose green, the color of life, to represent my life before the experience. It is the color of spring, of growth, of life itself since we are utterly dependent upon the green of plants for our life. The paint has been applied to the canvas with much texture as life is many textured. When I first conceived of the painting, I thought of using black for death, but recalled the actual experience where death appeared as darkness, but not simply black–it was a smoky darkness. The paint has been applied to the canvas in great swirls as if drifting smoke. This is most noticeable when the color gradually lightens to a dark gray. As with death, my initial choice of color for the transformed life was different from the final choice. Initially I had chosen red, the color of blood. However, as I thought further, the proper color was yellow, the color of light. Accordingly, the transformation aspect of the painting ranges from a gray, smoky yellow where it mingles with death to the very bright and light yellow of the full transformation. Here the paint has been applied in a manner that suggests rays of light.

The Fellowship of the Rings: A pen and ink drawing of the right hands of an Independence High School group dedicated to elimination of prejudice and discrimination. All ten selected Hopi overlay rings as a symbol of their fellowship. The rings are shown on the hands which form a circle, a fellowship circle.

The Artist’s Comments: Originally calling themselves by the somewhat arrogant name “The Select Few”, Michael Andrews, Mary Kathryn Larsen–sophomores, Linda Randolph–a junior, and Matthew Greywolf, Paula Wright, Larry Watley, Eugene Willingham and myself–seniors–were a group of high school friends. Contrary to custom, Michael was persuaded to run for student body president, usually seen as a junior privilege. During the campaign, Bill Lance joined the group after Michael’s campaign posters were vandalized. Two of the group had purchased Hopi overlay rings which were admired by the others and all decided to select and wear Hopi overlay rings from the collection of Mr. Swartz of Swartz’s Jewelry Shop. Bill Lance, very angry over the vandalizing of Michael’s posters, announced he was withdrawing from the campaign in support of Michael Andrews. When he made the announcement on the school TV, Bill displayed his ring and announced that he was a member of “The Fellowship of the Rings” and the name stuck. Not a part of the original “Fellowship of the Rings”, Jacob McAllister joined the group after the election. The pen and ink drawing was done from many sketches made during lunch which the group eats together.

Mentors–Michael Sanders and John Stephenson: A pencil drawing of Michael Sanders and John Stephenson shows the two men working while setting up this exhibition.

The Artist’s Comments: This is my latest work. Mr. Stephenson has been my art teacher since junior high school. Uncle Michael has been an art dealer in Charleston for many years and is a graduate of the Chicago Art Institute. When he came to live in Concord, he offered to help mount this exhibition. During breaks, I sketched the two men and then, from memory and the sketches, did this pencil drawing of the two at work–my two mentors.

Prom Queen–Paula Wright: This full-length portrait is of Independence High School’s 1995 Prom Queen, Paula Wright. The figure is done using acrylics as one would oils. The figure stands alone on the canvas before a background of white with the faintest tinge of green. She is dressed in a red Korean hanbok with accessories and hair style which might be seen on a young Korean bride.

The Artist’s Comments: Paula did me the honor of being my prom date for this year’s prom. Her dress was kept secret until I arrived to pick her up. Yong Jin Greywolf and my sister Mary Kathryn had decided she had the coloring and poise to be beautiful in Mrs. Greywolf’s hanbok. Needless to say, they were correct. After this exhibition, this portrait is a gift to Paula’s mother, Ms. Sandra Wright.]

Mom and Yong Jin got a great kick out of playing “do you remember” as they looked at the montage. Ms. Wright exclaimed over the painting of Paula and actually squealed when she read that it was to be hers. When she did, she ran over and hugged me and gave me a huge kiss. “Just wish you were available,” she laughed. “If Paula didn’t grab you, I think I would try to interest you in an older woman!” Having been around Matt too long, I blushed.

Uncle Michael and Mr. Stephenson forgot where they were, I guess, as they stood before the drawing of the two of them. They were holding hands like two teenagers. “Your first sale, Luke,” Uncle Michael said. “I’m offering $1,500 for the drawing and if someone else wants it, I’ll pay $100 more than their highest offer. That is mine and John’s for the house. And I want ‘Life, Death and Transformation’. I think there will be several offers for it, so we’ll wait about setting a price, but I want it.”

“Uncle Michael, I feel I should give the oil to you for all you have done. And I am definitely giving you and Mr. Stephenson the drawing. It’s your housewarming present. I would be honored to have you accept it.”

“Luke, we would be pleased and honored to accept, wouldn’t we, John?”

“Indeed we would.”

[The Second Gallery

The Second Gallery is located across the hall to the left.

Retrospective: This gallery contains examples from throughout the artist’s life and needs no explanation.

The Artist’s Comments: A retrospective? A not-quite-eighteen-year-old with a retrospective? That was a question I asked when it was suggested by my mentors. Both reminded me that a retrospective traces the development of an artist, regardless of age. Accordingly, Uncle Michael and Mr. Stephenson asked my parents and members of my extended family for anything they might have for this exhibit. The two men made the selection and mounted this display. In the retrospective, you will see a crayon “drawing” made before I started going to school, a Thanksgiving turkey made from a hand print in kindergarten and other things I drew, made and painted since I was three or so until the present. It is a kind of “empty the attic” exhibition which I hope you enjoy.]

I knew the general public would not get the kick out of the retrospective members of The Family did. They were all soon busy playing, “Do You Remember When?”

“There’s Luke’s masks of the three other kids,” Mom said. “Remember when he did those? The first time he was doing Michael, he forgot to oil his face well and we had to chip off the plaster. Michael was doing his best to scream and yell, but his face was all sealed behind plaster!”

“There’s his first oil. He painted that in Matt’s room–I can’t remember why” Mom said.

“I do. I had told him if he did it in his room I’d bust a bottom,” Jens laughed. “And with good reason.”

“I learned that when I went up after it was finished and Greywolf and I had to get paint remover to clean up the floor. But the painting of the barn is good. It never looked like a child’s work,” Yong Jin said. “And how old was he? Eight or nine as I recall,” Yong Jin said, still looking at the picture of our red barn.

Other such comments continued as the retrospective took on the appearance of a retrospective of the life of The Family.

[The Third Gallery

The Third Gallery is located across the hall to the right and contains what must be termed commercial art.

Posters:

Macbeth: This poster for Independence High School’s 1993 production of Macbeth shows Macbeth and Macduff meeting with the three witches on the heath. The figures are done very realistically and the lettering is of the period.

A Midsummer’s Night’s Dream: Done in watercolor, the poster for Independence High School’s 1994 production of “A Midsummer’s Night’s Dream” captures the fairytale-like nature of the play. The characters are shown in the famous forest practice scene with Bottom in the donkey’s head.

Campaign Poster: Michael Andrew’s campaign for student body president at Independence came at the insistence of a group of friends following his bold stand against prejudice. Michael was the first student to challenge the principal’s derogatory remarks concerning a former student and spearheaded a service of repentance and memorial for that student, Gregory Burnette who, because of prejudice, took his own life. The poster shows Michael jumping hurdles–he is on the track team–and his slogan: “No hurdle too high for Independence with Michael running!”

Concert and Exhibition Posters: These have been seen all over town. Done in blues, they are caricatures of the three leaders of the concert/recital and of myself: Paula Wright, Eugene Willingham, Matthew Greywolf and Luke Larsen. The lettering was chosen from a serif font discovered in a book of 18th-century font designs.

The Recital/Concert Program Cover: The decision to use lettering as decoration resulted in this cover. The background is a rich ivory and the lettering is done in an iron oxide brown. The very fancy cursive font was found in the same book as that used for the posters.

The Exhibition Catalog: The cover for the exhibition should have shown one of the major pieces from the exhibition. This posed two interesting problems. Two of the pieces which might have been on the cover were to be kept secret until the opening of the exhibition. “The Family”, which might have been used otherwise, did not lend itself to photography. The final decision was to utilize the caricature of the artist already used for the poster announcing the combined concert and exhibition.

The remainder of this collection are caricatures done in pastels and charcoal.

Millie Willingham, shown in her full glory with her J. D. and branch in hand. (Author’s note: For all of you who do not know, J. D. is Jack Daniels, a Tennessee sour mash whiskey–and if you’re old enough or a real rock and roll fan, Janice Joplin’s drink–and branch–as in branch or creek–is the southern expression for water added to sour mash whiskey.)

Fr. Thomas of St. Mary’s, shown in full vestments, but racing to the front of the church for service, late as usual.

Gladys and Chelsea of ICU, shown dressing down an unknown doctor.

Mr. Ron Mitchell, shown explaining a calculus problem to a group of bewildered students.

Bill Lance, ladies man and jock, evidenced by the lipstick on his face and his basketball uniform.

Ms. Jones, shown in her principal’s office, laughing at some student prank.

Linda Lipinsky, shown in full battle array ready to do battle with any male who does her wrong.

Jacob McAllister, shown extending his hand to Michael Andrews after the student body election.

Herr Dietrich, shown examining the clay models for “The Family” bronzes.

Mr. Tom Washington, shown looking over a bronze casting.]

Again, those looking at the pictures revealed their own interests as they looked and chatted among themselves. “Luke, I’m pleased you chose to put my drink in a Jack Daniels’ glass. Don’t own one, but would hate to think someone might get the idea I drink Kentucky bourbon,” Millie laughed merrily.

“Luke, I almost stole that caricature of myself before my mom saw it, but I guess she’s seen worse. At least the lipstick is on my face!” Bill grinned.

“Luke, are Mr. Washington and Herr Dietrich coming to the exhibition?” David asked. “It would be a pity if they didn’t.”

“Mr. Washington called earlier in the week to say Herr Dietrich was ill and he didn’t know whether they would make it or not. He called again and said when he told Herr Dietrich he thought he was too ill for the trip it was like magic medicine. He was up and around the next day. They drove over yesterday and spent the night so Herr Dietrich wouldn’t become overly tired and they will be spending tonight here as well. I tried to get them to stay with us, but Mr. Washington felt that a hotel would be best. But they will be here.”

“Even if you couldn’t see his face, everyone who knows him would know you captured Fr. Tom,” Linda said. “It’s the 10:59:59 sprint to the back of the church for the 11:00 service, sure enough.”

“How many times have I seen that look on Ron Mitchell’s face,” Greywolf laughed. “Calculus is so simple to him he just can’t understand how students don’t get it.”

“I appreciate the scene you chose to put me in,” Jacob said. “I really learned a lot from the election. Frankly, I think it is my finest moment to date–I mean acknowledging that the better person won. And it was the beginning of friendships I will remember always.”

Linda just looked at her caricature and said, “What can I say? It’s me all right.”

And so the conversations went.

After everyone had seen all they wanted to see, I said, “Ok, if you will all gather in gallery four, there is another unveiling.”

[The Fourth Gallery

The Fourth Gallery is located directly across the hall from the Common Room.]

When everyone was present, I lifted the veil from the one piece which was absolutely not for sale–ever. There had been silence when “Surrounded by So Great a Cloud” was unveiled; now there was the sound of sudden intakes of breath when I unveiled the only work in the fourth gallery.

[The Fourth Gallery contains a single painting “Matthew Sarang Hanun Pomul Greywolf”: The medium is acrylic, but the technique is one used with oils. Done in great detail, the painting is a full length, life-sized portrait of Matthew Sarang Hanun Pomul Greywolf. He is dressed as a Lakota warrior in moccasins and a breech cloth of white buckskin which emphasizes his darkness. Aside from these, he wears nothing except a headband, choker, and arm bands of red and black bead work–the colors of a warrior. Shown in profile, his face is also painted in a red and black pattern suitable for a warrior. In his hair, which is loose and streaming in the wind behind him, are two eagle feathers–a mark of honor, and especially so for this young warrior. Clearly visible on his cheek is a scar received in his battle to save a life while risking his own–the mark of a true warrior. He is looking into the distance, seeing what others may never see.

The Artist’s Comments: Once, while walking with Matt across the meadow from the falls on the Sequoyah River, a stiff breeze came up and caught Matt’s unbound hair, causing it to stream out behind him. In a flash, I saw him as a true Lakota warrior. The sun highlighted the scar he had received when he gave no thought to himself in order to save my life. I knew I wanted to capture that picture and struggled off and on for several weeks trying to do so. I did sketch after sketch without success. Then, one night after I had been working for some time, the portrait you see suddenly flashed in my mind. I grabbed my brushes and started painting furiously before the mental image disappeared. I painted until sunrise, working without stopping. I painted until I had captured the spirit of Matt. When I laid down my brushes, the picture was complete as you see it. Not another brush stroke was added.]

After the initial intake of breath, silence descended upon the gallery. People moved, as little as possible, to allow everyone to get a good view of the painting. I was afraid to look up and see what was going on. Finally, when I did, I saw tears streaming down Matt’s face. Greywolf had become a Lakota chief, standing proud, looking first at the painting, then at his son, then back at the painting. Yong Jin was teary eyed as was Gabrielle. Dad stood, looking like Beowulf, acknowledging another great warrior. The silence was finally broken by Millie who whispered softly, “Greater love hath no man…” Matt moved across the room quietly and stood before me, looking at the painting as he reached behind himself and took my hands. The silence descended again after Millie’s statement and lasted for at least five minutes–it seemed a year–then everyone started talking at once, all wanting to tell me how great the painting was. Matt knew how to let me know and, in front of everyone, took me into his arms and gave me a deep, passionate Matthew Sarang Hanun Pomul Greywolf kiss.

“Beautiful job, Son,” Dad said. “I am proud of you beyond measure. Matt, you have a fantastic mate. Love him for your lifetime.” I could hardly believe my ears.

Almost everyone wanted to look at something a second or third time so it was almost 1:00 when Uncle Michael closed and locked the doors. “Everyone is invited to my place–I guess I need to say our place, mine and John’s–for lunch.” And that was how the newest couple was introduced to the family.

I certainly hope that each of you were able to imagine the works in this exhibition. In writing this section I have discovered that even though I can’t draw worth diddly, describing a work of art is a poor way to display it. Maybe one day someone will become Luke Larsen long enough to do a painting. Who knows?

A Special Place

Chapter 35b

Published: 08 Apr 2014

A Special Place–Part Thirty-five-B–Narrative Continued–Matt

Uncle Michael had a buffet set up in the new gazebo with tables along the river. Everyone was still talking about Luke’s exhibition, all excited. When lunch was over, Millie said, “Constance–Ms. Jones–called me yesterday and told me there would be repeat performances Monday.”

“Yes, Mom, she asked about our doing it and both the chorus and ensemble–along with Matt of course–were delighted to do it.

“Might that not prove to be a major conflict?” she asked. As soon as the words were out of her mouth, there were horrified looks on five faces. “Holy shit!” Luke exclaimed. “Matt, we have really blown it this time. Maybe it’s not too late to call it off. We have to do those interviews. Getting into Oberlin depends on them. Holy shit! Holy damn!”

I was near tears. I suppose it was not too late to cancel Monday, but how would that look since we had promised Ms. Jones we would do it? Millie let us stew in our own juices for a while longer then said, “I hope this is a lesson to all five of you. I know you are young and tend to think long range planning is the next twenty minutes…”

“Millie, we forgot the interviews, not because we weren’t planning ahead, but because… well, we were not thinking beyond this weekend on the one hand, but on the other, about all Luke and I have talked about is what would happen if we didn’t do well so we could be together next year. I guess we kinda missed thinking about what would happen between the concert and exhibition and next fall,” I answered.

“Well, I hate to be the rescue lady all the time, but I knew you had a lot on your minds this weekend and I know how much Constance wanted the whole school to see that talent without discipline is not enough–and I hope you have learned that from this mix up. The committee arrived late yesterday–the whole admissions committee, the heads of the music and arts departments as well as the professors of choral, instrumental music and organ. Constance had called before they arrived and I explained what had happened. They were impressed that you were willing to add two performances and that the docents were willing to conduct tours of the exhibition for high school students. I explained that you needed to learn a lesson about responsibility and all agreed that you did, but you had also taken your responsibility to your school very seriously and were willing to make other arrangements. Accordingly, they have scheduled individual interviews this afternoon, beginning at 3:00. If those are not completed, they will do some tomorrow afternoon as well. I know that puts more pressure on you because of time, but that was the best they could do since they are scheduled to leave after lunch Monday.”

“I’ll stay up all night if I have to,” Luke said. “Whatever they ask, I’ll do.” The other four of us were nodding in agreement.

“You’ll not have much time between the interviews and dinner at my place, which is also a part of the interview process as I am sure you are aware. Then, immediately after that, the concert and exhibition are on tap. Busy day, kids, but I know you can do it.”

At 3:00, we were all in Millie’s living room and, after the introductions, the whole committee met with us for half an hour. The chair, Professor James Paul, began by saying that of course we knew this was an unusual and unique situation. “Frankly, we would not have done it for many people, but Mr. and Mrs. Willingham have been very generous to Oberlin over the years and have asked nothing, absolutely nothing, in return–until Mrs. Willingham called us about this situation. She was so convinced that we needed you as much as you needed us that she flew us all down here so we could actually make a decision before we leave Monday. We had heard what you have done–including your part in what has to be an exceptional event among high schools, your participation in the Service of Repentance and Memorial for a former classmate. We were impressed to say the least. All of us look forward to the recital/concert and exhibition this evening and tomorrow evening. We have even discussed going again Monday and may show up to see how you handle high school students. However, we want to be convinced you should be admitted or not before we leave so we will have a meeting Monday and let you know our decision. I know this puts a great deal of pressure on you and you already have a great deal because of what you have undertaken, but I fear life is often like that. What we plan to do this afternoon, and I hope we can complete it, are individual interviews with the people in your area and the admissions committee. So let’s get started.”

“Members who are not involved with individual interviews at any time will meet with the admissions committee. Professor Roger Stewart is head of the music department and he will begin with Ms. Wright, then Mr. Willingham and finally with Mr. Greywolf. Professor Taylor Granville is head of instrumental music and will meet with Mr. Willingham first. Ms. Ruth Rote-Batten is head of choral music and will meet with Ms. Wright, and Professor Isidore Moler, head of organ, will meet with Mr. Greywolf. Mr. Watley, Professor Ralph Edison is head of the cooperative program with Case-Western Reserve and will meet with you. Mr. Larsen, you will meet with Professor Henry Pross of the art department. The admissions committee will meet with you in the library, head of music in the parlor–good old fashioned word and room, Millie–organ in the dining room, choral music here, and I’m afraid art and cooperative program are exiled to the outdoors–or maybe I should say have the privilege of being outdoors. It is a beautiful day and, believe me, we are loving the weather after an Ohio winter. Any questions? Ms. Wright if you will be so kind as to retire to the library. Mr. Greywolf, if you would go with Professor Moler and Mr. Willingham go with Professor Granville. Mr. Watley, you should go with Professor Edison and Mr. Larsen with Professor Pross. Committee members, if you would try to complete your interviews in thirty minutes it would be helpful. These people have a full evening ahead of them! Are there questions? If there are none, let’s get to work.”

The interviews went right on schedule. By 5:00 all interviews were completed. When we all gathered back in the living room, Professor Paul said, “I know you five must feel as though you have been put through the wringer. Well, you should because you have. I hope we have not spoiled dinner for you and I am sure we all look forward to further conversation over dinner. And I know we are in for a treat this evening although it is more pressure on you. I say we are looking forward to the evening, not to be polite, but because Millie–I have known Millie as a true friend for thirty years and I know that she doesn’t mince words–says we have a treat in store. And that means we have a treat in store, no question about it.”

“Your folks brought your clothes for tonight while you were busy with the interviews,” Millie announced, “so you don’t have to go home to change. Eugene, take the guys upstairs to your place to change. Paula, you can use the guest room next to mine. And, guys, no playing around.”

“Mom!” Eugene shouted as the rest of us just blushed.

When we got upstairs, all four of us collapsed on Eugene’s bed, exhausted. “Man, I hope I don’t have to go through something like that often,” Larry said. There was a chorus of agreement. “Well, I guess we better get moving. I need a shower–I need to make love to my babe–but since that is out, I do need a shower.” Again there was total agreement.

“Guess Millie had planned for such events. The shower is large enough for all of us,” Eugene said. Soon all four of us were in the shower and there were two couples who got in a bit of playing around before they reluctantly left the shower, dried each other and started getting dressed. Luke, Eugene and I had decided that the men would wear what was almost an official school uniform–blue blazer with a school crest on the pocket, white shirt with blue and red stripped tie and grey slacks. I noticed that Larry was looking a bit worried and he finally said, “Look, guys, I hope I won’t embarrass you, but Mom couldn’t swing an outfit when people started getting them last fall.”

“Then what’s this?” Eugene asked as he took a garment bag from his closet. There was a note on the outside and when Larry read it, his eyes filled with tears.

When he showed it to us, I understood why. It read, “To a wonderful son from a very proud mother”.

I bound my hair loosely and Luke put on a headband which matched his tie. “Got to get some control over this hair or get it cut,” he said.

“You better get it under control because it will not be cut,” I told him firmly.

As we walked downstairs, there was a chorus of whistles. College professors were whistling at us! It was great because I immediately felt a lot of tension drop from my shoulders and it was evident the others felt the same. When Paula emerged, she was an absolute knockout. She was wearing a pale green ankle length dress which set off her coloring and which showed her figure well. The whistles we had received were nothing compared to those Paula got. She was obviously made comfortable by the response to her appearance because she did a turn around the room and bowed.

A maid brought in a tray with glasses and served the Oberlin people while Millie explained. “I know it’s not legal to serve alcohol to minors, but most of these kids have had wine all their lives. And if this evening’s events doesn’t call for a celebration, I don’t know what would. Kids, to your health, your talent, your happiness,” she said as soon as we all had glasses. “Now let’s eat.”

As soon as we were seated at the table–in Concord only Millie had a dining room and table big enough for all of us–Millie said, “Ok, I know you haven’t had time to compare notes, but how did it go?”

Professor Stewart said, “To be honest Mrs. Willingham, I am glad we actually got to meet this crew. Had anyone written about what they have been through in the past few months, I would have found it hard to believe. And my understanding is that it is not over yet for Eugene.”

“It’s not over for any of us, Professor,” Luke said. “Eugene, of course, bears the brunt of the situation, but I assure you that when anyone in the Fellowship…”

“The Fellowship?” Professor Rote-Batten asked.

“Yes, the Fellowship of the Rings,” Luke responded and then told her about it.

“Wouldn’t it be exciting if high school gangs were fellowships such as this group?” Professor Moler asked. “To tell the truth, you all seem unreal. How do you explain it? Good parents and upbringing?”

“True in most cases, I guess,” Eugene said, “but definitely not in mine. I guess just as some people get on the wrong path because of friends, we got pushed or pulled on the right one.”

“Very unthinking of me, Eugene,” Professor Moler said.

“It’s ok. I have a real mom and she came just when I needed her,” he responded.

Dinner conversation ranged over a number of subjects. A whole can of worms was opened when Professor Paul mentioned that if we were accepted at Oberlin, there would not be on-campus housing available. “Do you think you can handle that?”

“I guess you’ll just have to give us full scholarships so we can spend the money set aside for college on housing,” Paula laughed.

“That sounds like a great idea, James,” Professor Stewart said. “Very reasonable Miss Wright. Very reasonable.”

“Eugene and I have been looking at a map and since some of us anticipate joint enrollment next year–Larry and Matt at Case-Western Reserve and Luke at Cleveland Art Institute, we thought a house in Elyra would be a great idea. In fact, since it is pretty clear that at least those three will be in school for five years getting dual degrees, we even thought about pooling our money for a down payment and buying a house.”

“And you would live with four guys, Miss Wright?” Professor Granville asked.

“Can you think of a place safer for a beautiful young woman than in a house with four guys who think of her as their sister?”

The conversation then turned to what the five of us would be doing this summer. Paula had accepted a job in a camp for Jewish children doing music therapy under the direction of a therapist. Luke and I had already talked about Sewanee and Sarasota. “Larry and I haven’t given a whole lot of thought to the summer since there is a good possibility that the trials will drag on. I will have to be here and, frankly, I need him here to help me get through this mess. The child abuse trial probably won’t take too long, but who knows how long it or the federal child pornography trial will last?”

“There are two trials?” Professor Moler asked. “I thought there was only one next week.” Eugene then told him about the federal charges.

Professor Pross said. “My God, it’s a wonder you are outside a mental hospital, Eugene.”

“I am lucky I guess. Three aren’t.” He then had to tell about the three who were in the state hospital as a result of McBride’s abuse. When he finished, he smiled and said, “We HAD thought about writing a soap opera, but no one would believe it.”

“I hate to break this up, but unless someone has an urgent question, I think we better let these five go and prepare for a performance and exhibition,” Millie said.

“By all means, go,” Professor Paul said. “If we have any questions after tonight, we’ll talk with you tomorrow. See you at the reception.”

Paula went with Larry and Eugene and Luke and I hopped into the Jeep, and the five of us headed to St. Mary’s. When we arrived, everyone was present and I quickly changed into my organist cassock and surplice while Paula donned a cassock and surplice. The chorus had chosen to wear vestments from St. Mary’s rather than the usual white shirt or blouse and black pants or skirts. Larry and Luke called Eugene and me into the hall and gave us a good luck kiss before going upstairs. Luke was the lucky one; he got to sit with the family. Larry, of course, would be busy helping tape the concert/recital.

Promptly at 6:55, we all went upstairs and took our places. The church was packed. Extra chairs had been added where possible and there were a few people standing. Millie was in her usual place with the bishop and his wife, and Ms. Wright and Ms. Watley were sitting with the family. At 6:00 sharp, Eugene lifted his baton and the program started.

A Special Place–Part Thirty-five-B–Luke

After giving Matt a good luck kiss, I went upstairs and sat down with the family. Before I had time to look at my program, Mary Kathryn leaned over and said, “I think you have another painting which won’t be sold,” and laughed. I soon found out what she was talking about when I looked over the program.

An Organ Recital by Matthew Sarang Hanun Pomul Greywolf and a Concert by the Independence High School Brass and Percussion Ensemble Eugene Willingham, Conductor and Mixed Chorus Paula Wright, Director

The Program

Overture for Trumpets — Henry Purcell

Te Deum laudamus (excerpt) — Antonio Dvorak

Nun danket Alle Gott — Sidfrid Karg-Elbert Now Thank We All Our God — arr. P. Wright and M. Greywolf

Voluntary on the Doxology (Old 100th) — Henry Purcell All People That On Earth Do Dwell — Arr. P. Wright and M. Greywolf

Five Hymns for Organ, Brass and Percussion Ensemble and Mixed Chorus Arranged by Eugene Willingham, Paula Wright and Matthew Greywolf All Things Bright and Beautiful Alexander Smith, soloist The Spacious Firmament on High Ronald Johnson, soloist All Creatures of Our God and King Jackson Simpson and Alexander Smith, duet Praise to the Living God Ronald Johnson, Alexander Smith, Jackson Simpson, Paula Wright, quartet Amazing Grace Paula Wright, soloist

Rex Tremenda from Requiem — Hector Berlioz

Prelude to Mefistofele — Arrigo Bonito

Rigaudon — Andre Campra

Sheep Shall Safely Graze — J. S. Bach

Jesu, Joy of Man’s Desiring — J. S. Bach

The Family: A Tone Poem in Four Movements — Matthew Greywolf Dedicated to The Family

Movement One: Beginnings Movement Two: Children Movement Three: Separation and Conflict Movement Four: Reconciliation and Renewal

**************************************************************** Intermission: There will be a fifteen minute intermission. ****************************************************************

Grand Choeur Dialogue — Eugene Gigout

Christ on the Mount of Olives: Hallelujah — Ludwig Van Beethoven

Three African American Spirituals for Organ and Chorus I’ve Been ‘Buked Steal Away Twelve Gates to the City With the Brass and Percussion Ensemble’s Jazz Quartet LaTishia Gregory, piano

Symphony No. 2 in C sharp minor, Op. 26: Preludio — Marcel Dupre

Gigue Fugue in G major — J. S. Bach

Toccata, Adagio and Fugue in C major — J. S. Bach

From Acht kleine preludien und fugen — J. S. Bach Prelude and Fugue in C major Prelude and Fugue in E minor Prelude and Fugue in G minor Prelude and Fugue in A minor

Suite Mondale, Op. 43: Toccata — Flor Peeters

Toccata in E minor — Johann Pachelbel

Sanctus — Charles Gounod Paula Wright, soloist

Te Deum in C major — Benjamin Britten Maria Gomez, soloist

Yonghon Tongmu: Fantasia on “More” in Four Parts — Matthew Greywolf Innocence Darkness Love Light

The audience is asked to refrain from applause until the end of the piece before the intermission and the end of the program.

The Brass and Percussion Ensemble Eugene Willingham, trumpet and conductor

Trumpets Chancey Edwards DeWayne Few Jeffery Gaines Arthur Owen Alexia Farmer Richard Phifer

Horns Jose Gomez Scott Hacklemann Kevin Smyth Janice Ito India Taylor

Trombones Sandra Watson Colin Foley Glen Thompson Amelia Rodgers

Tuba James Elbert

Percussion Hans Greig Chastity Nils LaTishia Gregory (Ms. Gregory also plays piano for the Jazz Ensemble.)

The Mixed Chorus Paula Wright, soprano soloist and director Alexander Smith, tenor soloist and associate director Ronald Johnson, bass soloist and assistant director

Soprano Rebecca Alexander Tracey Alison Elizabeth Bailey Jesse Boston Jamie Mitchell Melissa Ross Lynn Smith Marilyn Scott LaKeisha Tate Susan Williams

Alto Maria Gomez, alto soloist Kendra Jackson Margaret Johnson Betty Kelly Christine Nhu Louise Park Maria Smith

Counter Tenor Murray O’Kelly Neil Pilafian

Tenor Jackson Simpson, soloist Patrick Murray Kenneth Pless Jason Thomas Charles Vincent Michael Williams Timothy Yeager

Bass Thomas Curnow Martin Daggette Robert Elbert Roger Foley Curtis Newland Wayne Smedvig

Disclaimer: The selection of music and its performance in St. Mary’s Church does not imply endorsement of the religious expression in the music or of St. Mary’s. The music was selected based on the desires of the performers and its merits as music. The performance is being held in St. Mary’s because of the necessity for Matthew Sarang Hanun Pomul Greywolf to present a recital on the organ at St. Mary’s and through the generosity of St. Mary’s in offering this performance space.

Program Notes

How This Program Came to Be Matthew Sarang Hanun Pomul Greywolf did an independent study in music this, his senior year. A recital was to be the basis for his grade. When Mr. Derrick Smith, music teacher at Independence High School, was unable to prepare the Percussion and Brass Ensemble and the Mixed Chorus for spring concerts, Greywolf invited the two groups to join in his recital. Student directors Paula Wright and Eugene Willingham, together with Greywolf, put together the recital/concert including arranging much of the music.

The Music Purcell: Overture for Trumpets — The program opens with fireworks from the Brass and Percussion Ensemble joining the organ in this explosive composition.

Dvorak: Te Deum laudamus (excerpt) — The program continues with an equally fiery work by Dvorak in which the Mixed Chorus joins the ensemble and organ.

Karg-Elbert: Nun danket Alle Gott and Now Thank We All Our God — Karg-Elbert’s composition, based on a melody by Johann Gruger, is performed by the organ and ensemble. Following it, the hymn “Now Thank We All Our God”, by Martin Rinckart as translated by Catherine Winkworth, is sung by the chorus accompanied by the organ.

Purcell: Voluntary on the Doxology (Old 100th) and All People Who On Earth Do Dwell — As in the previous work, the Purcell Voluntary is followed by the hymn on which Purcell’s composition is based, a melody from Pseaumes octante trois de David. The hymn sung by the chorus, again accompanied by organ alone, is a paraphrase of Psalm 100 by William Kethe. The interlude for ensemble and organ was written by Greywolf and arranged by him and Willingham.

Five Hymns for Organ, Brass and Percussion Ensemble and Mixed Chorus — This is a work based on hymn tunes from The Hymnal 1982 of the Episcopal Church. The descant for “The Spacious Firmament on High” was written by Wright with help from Greywolf. The five hymns have been arranged by Willingham, Wright and Greywolf. All Things Bright and Beautiful — The hymn tune is Royal Oak from The Dancing Master and the words are the work of Cecil Frances Alexander. The Spacious Firmament on High — Creation, the hymn tune, is by Joseph Hayden. The words are Joseph Addison’s paraphrase of Psalm 19:1-6. the descant is by Greywolf. All Creatures of Our God and King — The melody is an adaptation of Lasst uns erfreuen by Ralph Vaughan Williams. The words are William H. Draper’s translation of words by St. Francis of Assisi. Praise to the Living God — This selection from a Medieval Jewish liturgy was translated by Max Landsberg and Newton M. Mann. The hymn tune, Leoni, is a Hebrew melody. Amazing Grace — New Britain, the hymn tune, is from Virginia Harmony and the words are by John Newton.

Berlioz: Rex Trenenda from Requiem — Composers have frequently omitted the Day of Judgement from their Requiems, but not Berlioz. In fact, after seeing the Michelangelo frescos, he began imaging music which would express the “overpowering majesty and terror of the Day of Judgement. In this music, the composer depicts humanity’s reaction when brought before the ‘King of Dreadful Majesty’.” The work places great demands upon the chorus.

Bonito: Prologue to Mefistofele — Many are the retellings of Faust. Bonito not only wrote the lyrics for the opera Mefistofele based on Faust, but also the music. The opera opens with a prologue in which the Tempter wagers with God that he can obtain Faust’s soul. The prologue concludes with the heavenly hosts resuming their eternal praise of God.

Campra: Rigaudon — A rigaudon is a lively old French dance done in 2/4 or 4/4 time. Campra was an early eighteenth-century composer who was well known both as Master of Music at Notre Dame and in the French opera house. This piece could well be used in either and, perhaps, was used in both. It is often used today as wedding music. The chorus is given a break as the ensemble and organ present what seems almost a dialogue between the two.

Johann Sebastian Bach: Sheep May Safely Graze and Jesu, Joy of Man’s Desiring — No church organist is, it seems, without the ability to play these two Bach pieces in his or her sleep. Because they are so familiar and so often used, they are not as appreciated as they might be. “They are the two ‘real’ pieces I first played at St. Mary’s and I often use them when I haven’t had done adequate practice for a service,” Greywolf acknowledges. “Nonetheless, I love these two wonderful pieces very much and would not feel that I had presented a recital without playing them.”

The Family: A Tone Poem for Organ, Chorus and Ensemble Matthew Sarang Hanun Pomul Greywolf

This original composition by Matthew Sarang Hanun Pomul Greywolf is dedicated to his extended family: the Andrews, Larsen and Greywolf families who comprise The Family of the title. From the Composer: It is my hope and dream that The Family will stand on its own merits. However, in the manner of most tone poems, it tells a story. The enjoyment of the piece is, I believe, greatly increased if that story is known.

Movement One: Beginnings — The family had its beginning when three young men met when all were in the military. Two were married–Patanka St. Michael Greywolf had met and married Yong Jin Kim while an Army Officer in Korea, and Jens Larsen, a Marine officer, met and married Gabrielle Hauser while stationed in Germany. David Andrews, a Navy officer, was unmarried when the three met. Later he married Elizabeth McDowell, a sweetheart from his college days. When the time came for the three to be discharged from active duty, David had located three adjoining farms outside Concord where the three families now live. The piece opens with an original composition by Greywolf called “The River Falls”. This composition ties the entire tone poem together in recognition of the central place the falls (on the river which flows through all three farms) plays in the history of The Family. When first introduced, “The River Falls” is heard in a lyrical and very romantic mode. The voices of the chorus are used, as they often are in this work, as an instrument, i.e., there are no words. Included in the movement are variations on four national anthems–United States, Korea, Germany and Denmark–and a Lakota chant, honoring the heritage of members of the family. The meeting of the three men is recalled through the use of three military anthems, sung as a canon by the men of the chorus. It concludes with a rendition of the children’s song “Old McDonald Had a Farm” in which members of the ensemble and chorus provide the animal sounds.

Movement Two: Children — Within three years of moving to the farms, the three women gave birth to four children: Matthew Sarang Hanun Pomul Greywolf and Luke Hans Larsen, who were born on the same day, and Michael Andrews and Mary Kathryn Larsen, born a few days apart two years later. The movement opens and closes with a version of “The River Falls” suggestive of a children’s play song. Between the opening and closing, three lullabies are heard, sung by the women of the chorus–Korean, German and American. One of the moral values held in high esteem by the families is that of tolerance. An incident illustrating this is reproduced when half of the men of the chorus start doing “movie Indian” war whoops and are interrupted by the other men who do Lakota war cries. This event took place when the three boys were young and Greywolf stopped the “movie Indian” war whoops and taught the boys a Lakota war cry. This same war cry played a significant part in the revolt of students and faculty of Independence against pejorative remarks made by the former principal. Also included in this movement is a toccata and fugue on the round–technically a canon–“Row, Row Your Boat”. When the chorus and ensemble join the organ, the audience is invited to sing along under the direction of Ms. Wright.

Movement Three: Pain and Conflict — Obviously, people have pain and conflicts–sometimes minor, sometimes major. Three families cannot hope to live almost as a single family without experiencing pain–from things as minor as childhood scrapes and bruises to the major pain of illness and death from cancer of Elizabeth Andrews. Likewise, conflicts happen–some minor as political disagreements to serious conflict arising from misunderstandings and a clash of values. This movement is written in an atonal and dissonant mode–one section employs the twelve tone row. The choral section again uses the human voice as an instrument. The concluding rendition of “The River Falls” begins as a dark dirge and rapidly evolves into utter chaos with the chorus and ensemble clashing with each other and the organ.

Movement Four: Reconciliation — “The River Falls” which opens this movement begins with a brief reiteration of the chaotic rendition from the previous movement which soon becomes pastoral in nature. The middle of the movement includes Jan Struther’s hymn “Lord of All Hopefulness”, sung to the Irish hymn tune “Slane.” The movement concludes with the Book of Common Prayer version of Psalm 133: Ecce, quam bonum!–Oh, how good and pleasant it is when brethren live together in unity!” The hymn tune is an original composition by Greywolf based on “The River Falls”.

Gigout: Grand Choeur Dialogue — The second half of the concert/recital opens, as the first, with a great display by the organ and ensemble in this work.

Beethoven: Hallelujah from Christ on the Mount of Olives — Not to be left out, the chorus also contributes to the fireworks of the second half with this work by Beethoven.

Three African American Spirituals for Organ and Chorus — Historic black colleges, in the middle of this century, were lead by Fisk University in bringing African American spirituals to the attention of the American audience. Tours by choral groups from the universities often endured great hardships because of segregation, but continued–often providing a significant income for their schools. Usually the spirituals were unaccompanied, but the first two presented in this concert are accompanied by the organ and the third adds the Jazz Ensemble made up of members of the Brass and Percussion Ensemble and feature LaTishia Gregory on piano.

Dupre: Symphony No. 2 in C sharp minor: Preludio — No organ recital would be complete without a work by Dupre, French Romantic organist and composer.

Bach: Gigue Fugue in G major and Toccata, Adagio and Fugue in C major — Again, two extremely well-known pieces by Bach and favorites of Greywolf.

Bach: From Acht kleine preludien und fugen — Bach’s “Small Preludes and Fugues” are used extensively in all manner of settings. Greywolf has chosen four for this program.

Peeters: A twentieth-century Canadian composer, Peeters is well-known for his liturgical works and his work with hymn tunes often heard in churches. Greywolf has chosen a Toccata from one of his longer works, Suite Mondale, Op. 43.

Pachelbel: Toccata in E minor — Pachelbel is another organist/composer who is a “must” in any organist’s repertoire.

Gounod: Sanctus — The Sanctus is a part of the Mass and is usually sung by the congregation. Composers, however, have written very elaborate Masses which preclude congregational participation. While this undermines the whole idea of the congregation being an integral part of the celebration of the Eucharist, the music certainly has a place in celebrations. Clearly, while Gounod’s Sanctus is beyond the abilities of an average congregation, the music certainly captures the spirit of the Sanctus as the song “angels, archangels, and angel choirs” sing to glorify God. Ms. Wright points out it tries the abilities of the Mixed Chorus.

Britten: Te Deum in C major — Benjamin Britten, an English composer of our century, was once credited with keeping British hopes alive during the Second World War when there seemed to be no reason to hope. Certainly in his Te Deum the sense of hope and strength is very present as will be felt in this performance by the chorus, ensemble and organ.

Greywolf: Yonghon Tongmu: Fantasia on “More” in Four Parts — “More,” the theme from the rather grotesque film “Mondo Cane”, became a popular song in the sixties. For The Family, it has almost become a theme song. Greywolf has written a fantasia on the tune and incorporates in it “The River Falls” heard in the first of his compositions “The Family.” The fantasy describes a relationship.

Innocence: The piece opens with a very lyrical and pastoral rendition of the song played on the organ. As the work continues, the ensemble begins “The River Falls” in the background, providing a backdrop for the main theme. The men of the chorus begin singing the words to “More” to a variation of “The River Falls” while the women sing “More” in a lullaby-like manner, suggesting the innocence of childhood. The choral part becomes more animated as “More” is sung in the manner of a children’s play song, complete with hand play by members of the chorus. The ensemble grows increasingly soft until it is heard no more and the chorus “winds down” in the manner of children exhausted by a day of play. The organ continues, softly, playing the theme as a lullaby until it, too, is heard no more.

Darkness: As the first section of the piece suggests the innocence of childhood, the second suggests death, not of innocence, but death itself, It opens with a chaotic version of the theme being played by the ensemble while the chorus, often using voices without words, suggests a flickering in and out of consciousness, going from clarity of the song to an incomprehensible rendition of it. Meanwhile the organ modulates from the original major key to a minor one as the song becomes a dirge. The dirge continues as the chorus alternates between male voices singing, without words, in a minor key and very changing tempo–suggesting a struggle against darkness, and female voices singing, again without words, in a major key–faintly at first but growing stronger, suggesting the struggle is being won. However, from time to time, when life seems sure, the male voices of doom override the female voices. Finally, the organ modulates back to a major key, supporting the women’s voices as the male voices gradually fade. The section ends with the chorus and organ softly playing and singing the theme when the trumpets, including the organ’s state trumpets, announce the successful end of the struggle and the chorus bursts forth in a triumphant version of the theme.

Love: “More” is a love song and to use it as a theme for the part of the fantasy called “Love” would appear to be easy. Greywolf reports that it was the hardest of the four sections to write. “It is a love song and therefore very easy to become sentimental and the love I wanted to describe was not sentimental, but profound.” The section opens with “The River Falls” being played by the ensemble in a pastoral mode. When the organ joins in, it employs flute stops and the rarely used vox humana stop. Both organ and ensemble gradually move from the falls theme to “More.” As soon as the melody is clearly established, the chorus joins in, singing “More” in a very pure, simple manner. “More” goes through several transformations becoming a waltz, played by the organ alone, a lilting version sung by the chorus and finally a passionate version using all the available musical resources. This section concludes with an organ and ensemble arrangement reminiscent of the big band era as a soprano and tenor duet sing the song to each other and then together.

Light: “The River Falls” theme is heard once again and for the last time as the fourth part opens. The organ and ensemble join to paint a picture of sunrise over the river falls. Faintly heard above the rather quiet falls theme is the duet from the previous section, singing “More” in a quiet, lyrical manner. As the sun finally breaks free of the horizon, the organ, ensemble and chorus break forth in a joyous rendition of “More.” The remainder of the movement comprises a number of versions of the song–some played by the organ alone, some by the ensemble, some sung by an unaccompanied chorus and others performed using combinations of the three. The arrangements include a Latin one, a country-western one, a rock and roll one and several others. The piece concludes with an “all stops” version of the song, ending on a definite triumphant note.

A Special Place–Part Thirty-five-B-Narrative Resumed–Luke

When I saw “Yonghon Tongmu”, my eyes started filling with tears of joy. As I read the description of the piece, I realized what Mary Kathryn meant. Matt was certainly going to earn the painting of me! Just as I finished reading, there was a sudden explosion of timpani and the concert/recital began. When the second piece began and the chorus joined the ensemble and organ, it was sheer heaven. I was not a musician, but I knew enough to know that this was an outstanding performance.

When “The Family” came to a close, everyone in the family was teary eyed, even Dad. Twice in one day my dad had tears in his eyes! It was hard to believe. Just as the last note faded away, the applause was thunderous. It went on and on and on. Matt, Paula and Eugene bowed and, as the applause continued, called the members of the chorus and ensemble forward to take several bows. Finally Eugene held up his hand for silence and said, “Of course, we could listen to the wonderful sound of your applause all night, but we have a second half. But, before your intermission, Mr. Greywolf begs a personal privilege… Matt.”

“I want to take a personal privilege at this point, but before I do, I think the chorus and ensemble should be excused to prepare for the second half of tonight’s concert.” The chorus and ensemble quickly left and Matt turned to the audience. “Thank you for your patience and your applause. My part would not have been possible had it not been for Millie Willingham. I need to tell you a short story. When I was four, I escaped my mom one Sunday and, before I could be stopped, made it to the organ where Millie was playing. Old hard-as-nails Millie could have been expected to smack my behind and send me back to Mom but, instead, she lifted me onto the organ bench beside her. That became my pew. When I was almost six, Mom decided I should start piano. Usually I was an obedient child, but this time I threw an absolute temper tantrum. I was not going to take piano; I was going to take organ from Millie. I didn’t get my bottom tanned, which probably should have been done because I really was throwing one tantrum after another every time piano was mentioned. Instead, Mom decided to speak to Millie about it. Millie suggested she let me try. ‘He’ll change his mind,’ she said. I didn’t and, for several years, played the organ without using the pedal manual. I couldn’t reach it. When I could, Millie used to keep me in my place by showing off. After she finished her “showing-off piece” she’d say, ‘You’ll never be able to play this, Matt’. Well, Millie, we’re going to see about that!” With those words, Matt went back to the organ and cut loose on the Toccata, from Widor’s Symphony Five, the piece he had played for me several weeks before.

When he finished, the audience went wild as Millie got up from her pew and ran and embraced him. I could hear her all the way to where we were sitting saying, “Perfect, absolutely perfect. Nice legs you finally grew Matthew Greywolf,” and hugged him again. I glanced over at the Oberlin committee who were seated in the pew directly behind Millie’s. I swear Professor Moler’s jaw was in his lap and the others were equally impressed. My babe had done good!

I wanted to run to Matt myself, but thought better of it. I know had I been working as hard as he was, he would have distracted me. He could distract me regardless of what I was doing. I loved that man of mine!

As soon as fifteen minutes had passed, the chorus and ensemble was again in place and, with a nod from Matt, Eugene raised his baton and the second half began. It was great, of course, but this time I wasn’t as attentive as I might have been. I was bracing myself for “Yonghon Tongmu.” I wasn’t sure what my reaction would be, but I knew it was going to be a very emotional time for me. As the whole group started the Gounod Sanctus, I got caught up in it and forgot about what was coming, but as soon as it was over and the Britten started, I looked at my program and finally dared read the notes on “Yonghon Tongmu.” When I finished I started breathing deeply as I said over and over to myself, “Don’t lose it, Luke,” because I knew I was about to have my whole life flash before my eyes.

When the piece started, it was so lighthearted that I forgot about what was coming and relaxed. Everything was fine, then the second part started and I found myself on an emotional roller coaster. I mean I knew the outcome of my suicide attempt, but I was living the whole thing over again–from my utter hopeless love of Matt to my near death experience. Fortunately, I just turned white and started trembling rather than weeping or screaming which I was afraid I would do. When I thought I could stand it no longer, the third part started. It was so beautiful that I felt myself relaxing. It was only then that I realized I could taste blood. I had bitten my lip until blood came. Further, I saw I had clinched my fists to the point where I had left nail prints in my hands. But all was well and I knew it because the chorus, organ and ensemble began a simple, beautiful version of “More.”

By the time the final movement was over, I was absolutely on an emotional high. I wanted to run and grab my Sarang Hanun Pomul and kiss him until we both fainted, but the ensemble, chorus and Matt weren’t through because everyone in the audience was standing and applauding. There were many shouts and whistles. After the ensemble and chorus had stepped forward and taken several bows, Paula held up her hand for silence and said, “I guess you want an encore.” Another explosion from the audience. As soon as they had quieted down she said, “I suspect some of you are wondering how this group of musicians could get together and neglect one piece of music. Well, we decided if you wanted more, we would save it for an encore. She turned, gave the signal, and Handel’s “Hallelujah” from “Messiah” rocked the rafters. After its conclusion, the audience still begged for more. Eugene signaled for quiet and started a very spirited rendition of Independence’s fight song followed by the more sedate alma mater. The audience still wanted more and Paula said, “Matt, this is a gift from the chorus and ensemble for asking us to be a part of this wonderful evening. This is for you and the one you love above all others. The ensemble and chorus then did the most lyrical version of “More” from “Yonghon Tongmu.” I tried not to look at Matt for fear it would reveal too much, but I couldn’t keep my eyes away and when I looked up, he was looking directly at me, a huge Matt smile covering his face and that hot Lakota Korean, so help me, mouthed, “I love you,” then joined in singing “More”.

As soon as the song was finished, Millie came up front and presented flowers to Paula, Matt and Eugene, then turned and said, “You have had half of this evening’s treat. The second half is the art exhibition. May I suggest you go by the tables set up on the lawn for refreshments and to meet these young people, including Mr. Luke Larsen, and the go into the Common Hall and enjoy his exhibition.”

I made a quick dash and was able to go against the flow of traffic to get to the front and then raced down the stairs. Matt was in the center of the room surrounded by members of the ensemble and chorus, but I didn’t let that stop me. I finally reached him and grabbed him and lifted him off the floor in a great bear hug. I was thinking, “Man, I would like to do more than just hug you,” when Matt leaned forward and kissed me full on the mouth.

When he broke the kiss–it was pretty short for a Matt kiss–he looked into my eyes as he said softly, “Luke Hans Larsen, I love you and I don’t care who knows it!” I wasn’t sure I didn’t care, but when I looked around the kids were either applauding silently or looking away–not in disapproval, I suspect, but just to say, “It’s your private world”. Matt then took my hand and started racing up the steps as he said, “Let’s meet our admiring public, Mr. Larsen”. When we reached the back hall, Larry had finally completed his work and had Eugene in his arms.

Admiring public they were. Of course, these were family and friends. Nonetheless, it was obvious they had thought the group had done a splendid job. Mr. Smith came by where Matt, Paula, Eugene and I were meeting people and said, “I am very pleased I didn’t have anything to do with spring concerts this year. Had I been in charge, we would have done a passable job, but you three have set a standard I hope I can achieve one day. You outperformed any college group I have heard and, as for high school groups, well, they aren’t even close. Fantastic job. I only wish I could claim part credit, but it all belongs to you. Bravo!”

“Not so fast,” Eugene said. “This is the end result. Sure we put the concert together, but where would we have been had you not taught us well from the beginning? I guess, as is true with all teachers, people only see the end results and not the hours devoted to getting kids to that point. Thank you, Mr. Smith. And thank you for having confidence enough in us to allow us to try to pull this off.”

“Well spoken, Eugene,” Paula said. “I couldn’t agree more.”

“Add my name to the list,” Matt said. “You were the one who decided I could do an independent study. Had that not happened, tonight would not have happened.”

“Matt, Eugene and I and our groups owe you big time as well. There was no real reason you should have chosen to share the spotlight with us. Not only did you share it, you made it shine very bright for us and our groups. Thanks,” Paula said and kissed Matt firmly on the mouth. “I wish there was some way we could really show our appreciation.”

“I guess, in a way, we owe Michael Gray something for being an…”

“Asshole, Matt, the word is asshole,” I helped out. Don’t think Matt will ever be very good at being a foul mouth.

“I accept your thanks,” Mr. Smith said, “but I don’t think Gray deserves any for being an asshole. It was just natural for him,” and laughed.

Millie walked up while we were talking and said, “Larry, the committee will soon complete their initial tour of the exhibition. They will take longer tomorrow, Luke. Now they would like to meet with the engineers from PBS. Larry, do you think you could ask them if they would be willing to do so? I know it is getting late and they would like to get back to Lexington, but it would be very helpful to the committee if they could spare the time.”

“Sure, I’ll ask, but I don’t know if they are willing to stay any later or not.”

A Special Place–Part Thirty-five–Narrative Continued–Larry

When Paula said she and Eugene owed Matt and would like a way to show their appreciation, I saw a gleam come into Eugene’s eye. I knew my man well enough to know he was hatching up some plot, but I didn’t have time to talk with him. I had to go inside to find the engineers who were preparing to tape the exhibition. They wanted to get some work done tonight so I wasn’t sure how they would respond to another request. “Mr. Steinbeck, Mr. Greentree, there is a committee here interviewing five of us for possible admission to Oberlin College in Ohio. If I am accepted, I will also do joint enrollment in Case-Western Reserve in audio-video engineering. They have asked to meet with you tonight if you can spare the time. I know it’s late and you want to get home but if you…”

“We’d be happy to Larry. The only problem is filming the exhibition. Actually, we’re not making alot of progress because of the people inside and we don’t have anyone to do the voice over. Poor planning on our part. I guess we thought we could just grab Luke, but I see that’s not possible.”

“I’ll talk with him and see if we can’t make arrangements for filming tomorrow afternoon before the performance and before the exhibition is open to the public. Would that be helpful?”

“It would be great. We’ll plan on doing that and if we can’t, we’ll make other arrangements if this Oberlin thing is important to you.”

“It’s damned important. Thanks a million.”

I found Millie and told her what we had discussed. “I’ll talk with Fr. Tom and make arrangements for filming about 4:00. That should give you plenty of time before the concert begins. I’ll also check with Luke. I’m sure he’ll have no problem with helping out. You go and get the engineers and take them to the conference room.”

When the three of us reached the conference room, I introduced the engineers–Mr. Ralph Steinbeck and Mr. Henry Greentree–and the committee members and turned to go. “Larry, if you are not busy, I think we’d like to have you sit in on this interview,” Professor Paul said. He then explained why they were in Concord and that while the others were able to demonstrate their talent and skills, I had not been able to do so. “I know that before it is broadcast, the tapes will be edited by professionals and we can’t really learn much about Larry through them. We thought if we could talk with you, we’d get a clearer picture of Larry’s talents and how you see him doing in the field. First off, just how much input has Larry had in the whole process?”

“Before we ever came to Concord, Larry had done an evaluation of St. Mary’s from the standpoint of the placement of cameras and mikes. The first we knew about what we might be doing came from a fax of his layout,” Mr. Greentree said.

“And when you got here, what did you find?” Professor Pross asked.

“To be honest, we did not find what we expected. We expected to see little correlation between the plan and reality. What we found was that Larry had done a job which would been accepted as that of a professional. He was realistic as well. Soon after we were introduced he said, ‘Now we’ll see the difference between what I thought was and reality.’ That’s a great insight. Most young engineers spend hours trying to make reality fit a plan. Larry was very clear that the plan could be changed, the reality could not.”

“So reality and plan were not the same?” Professor Moler asked.

“Are they ever?” Mr. Steinbeck responded. “However, Larry’s plan was closer to reality than many I, and I suspect, Henry–Mr. Greentree–have made. The first day we were here we did meter readings using some very sophisticated equipment which Larry did not have available. But his ears and eyes served him well. Very few changes were made from the original plans.”

“And many of those, I would like to point out, were the result of our having better equipment than Larry had seen in the school TV studio. You can’t plan to use something you don’t have. For example, most of the cameras we used were remote controlled. Larry is used to using stationary cameras or holding one on his shoulder. But, within minutes of having the controls explained, he was handling them as if he had used them for years,” Mr. Greentree said.

“We also, unknown to Larry, went to school to see some of his work with the very limited equipment they have. If you want to see pure Larry work, get a copy of the campaign spots he made for the race for student body president. No-one had anything to do with those tapes except Larry.”

“Actually gentlemen, we have seen those tapes. Mrs. Willingham sent copies, along with Larry’s application as she did tapes of the music and photographs of Luke’s art.”

I was waiting, I guess, for the bad news because these two fellows were painting me as a professional and I knew I was not. And the campaign tapes were really rush jobs. Anyone could see that.

“There is something I want to add which, in one way, has nothing to do with his talent and skills and potential for success, although I do want you to know that those are there, but so far as I am concerned, something else is more important and I think you should consider it as well,” Mr. Greentree said.

I knew it. Here comes the bad news.

“There are a lot of rotten things which go on in our business from child porn to doctored stories to false advertising. We’re not proud of that, but it’s there. We haven’t known Larry long, but when you work and sweat with someone, you learn about them quickly. Ladies and Gentlemen, Larry Watley is one of the finest young men I have met in a long time. I only hope my son grows up to be as honest, hard working, disciplined and dedicated to his calling–that’s what it is for you, Larry–as Larry Watley.”

“I couldn’t agree more, Henry,” Mr. Steinbeck said. “Frankly, I have no question about Larry being a great addition to Oberlin. If I didn’t know Oberlin’s reputation, I might want to question you as to whether your school was good enough for him and that is said only half joking,” he said and laughed.

“Gentlemen, we appreciate your taking this time with us. And,” Professor Paul laughed, “I hope it doesn’t give Larry a big head, but I think we would tell you that we have only known him for a few hours and we see nothing which would make us question your evaluation of him. You will be back tomorrow?”

“Yes, we were going to film the exhibition tonight, but this interview was more important so we are making arrangements to film it tomorrow afternoon.”

“Again, thank you. And if your sons grow up the way you hope, give Oberlin a call. We always need good people who are good students and they don’t always come together as in this crew we have met here.”

We shook hands all around and left the conference room. “Larry, we meant every word we said in there,” Mr. Greentree said. “We would have said no less had you not been present. It’s a real pleasure working with you and with the others. See you at four and you’ll have someone to do the voice over as we film?”

“Sure. In fact, I’ll have Luke and a couple others. That way someone can act as docent and Luke can make any comments he wants to make.”

“Great, see you at four,” Mr. Steinbeck said.

After they left, I went to the exhibition where I found the docents still busy and Luke standing to one side talking with a group of people. Millie found me and said, “Larry, I have asked Luke’s and Matt’s parents so Matt and Luke can stay with you and Eugene tonight–I told your mom you would be staying over. You four have had a long day and if Luke and Matt are already in town, they can sleep a few minutes later in the morning. I expect the four of you to get some sleep and not play around all night.”

“Millie, I think we are all too beat to play around, but I sure hope there’s time for a massage. I know Matt could use one after his time at the organ and I suspect Eugene could as well.”

“Sounds like a good idea for all four. Hot tub, massage and then to bed, Ok?” I nodded.

When I went looking for the others, I saw Paula and Eugene talking to Fr. Tom. Before I went over to where they were, Matt and Luke came up and Luke said, “Understand we’re staying over”.

“Yea, but Millie has laid down the law–hot tub, massage and to bed. No playing around.”

I don’t think she needs to worry about that on my part,” Matt said.

“Ditto,” Luke added. “I didn’t get the workout Matt, Eugene and Paula did, but just dealing with all these people has really taken the starch out of me.”

It was midnight before we got to leave for Eugene’s. When we reached his house, Millie was already there and handed Matt a travel bag. “Luke, Matt, clean underwear, socks and shirt inside along with something else. Yong Jin said it was from Margaret for the four of you.”

When we got upstairs, Matt opened the bag. Inside were the clothes along with two bottles of massage oil. “Hey, Larry and I have made a discovery about warm oil. Be back in a minute,” Eugene said as he took the two bottles and ran downstairs.

The three of us sat on Eugene’s bed and talked about the evening. I told Luke about the taping tomorrow and the interview the committee had with the engineers. Just as Eugene returned with the oil, I said,”This would have been a hell of a weekend with the concert/recital and exhibition OR the interviews, but both? Damn!”

“You are forgetting something, lover boy, there is also the bishop tomorrow morning. I’m coming to think of this as the survival of the fittest weekend!,” Eugene said.

“Damn shooting,” Luke agreed. “But man, we are surviving. Hot tub!” Ordinarily we would have left clothes from the bed to the tub, but we had to take the time to hang up blazers and pants. The rest got tossed in a pile. After a quick shower, all four of us hit the hot tub. A nanosecond later Matt and Luke and Eugene and I were entwined in our lover’s arms. I mean, is there any real benefit to just soaking in a hot tub when you can be holding your love, kissing the reason you are glad to be alive? I think not.

A Special Place–Part Thirty-five–Narrative Continued–Luke

After fifteen minutes or so in the hot tub, I looked at Larry and smiled. Our lovers were almost asleep. After all, not only had they the stress of the performance, but both had done a hard day’s work physically. I lifted Matt out of the tub, dried him and, when he started to dry me, he was so sleepy I had to finish the job. I noticed Larry was having the same problem with Eugene. Larry and I picked up our lovers and took them to the bed which Eugene had covered with two beach towels. On the night stands on either side of the bed were glass cylinders of water holding the oil. “Eugene suggested using a water bath to keep the oil warm,” Larry said. “It works like magic.” He took a bottle of oil and began massaging Eugene’s shoulders and back as I did the same for Matt. We turned them over and did their front and before we were through, both were sound asleep. “My babe is one tired man,” Larry observed.

“Same here. I sure don’t want to wake them. Maybe I can get the towel out from under Matt without doing that.” I did, as did Larry.

“I think we could roll them on the floor and they would still be asleep,” he laughed. “I must confess, I am pretty bushed myself. Good night, Luke,” he said then he gently kissed his sleeping lover.

Millie let us sleep until 9:00 so showering, shaving and getting dressed was done without any love making beyond a good morning kiss. When we were dressed, the four of us went downstairs where Millie was waiting breakfast for us. “Hope you guys got some rest and didn’t play around all night.”

I laughed and told her just how little playing around was done. “I doubt that Matt or Eugene remember anything except going upstairs.”

“That’s about it,” Matt said. “I do remember dreaming about a wonderful massage–at least, I think I was dreaming.”

“No dream, lover,” I replied.

When we got to St. Mary’s, Fr. Tom said the bishop wanted to talk to Matt. Matt went to the office and Fr. Tom, unlike most Sundays, was vested and ready to start on time. When I got to the back of the church, I noticed the committee was again sitting behind Millie’s pew. I hadn’t expected them to be present. I almost fainted when I looked to where the family was sitting because Mom and Dad were sitting with them. I guess they wanted to see their two kids received into the Episcopal Church, but it surprised me. As I walked toward my pew, I saw Fr. Tom walk down the side aisle toward the front when he should be going to the back for the processional. I looked again and saw that Eugene wasn’t with Millie. I had a feeling something strange was going on here.

Fr. Tom signaled Matt before he could start the prelude and walked to the chancel steps. “Last night, the Independence High School Mixed Chorus and Brass and Percussion Ensemble presented a concert here. Our organist, Matt Greywolf had invited them to do so when they were not going to be able to have a spring concert at school. Matt was obligated to do a recital, but, in the words of Mr. Eugene Willingham and Ms. Paula Wright, he asked them to share his spotlight. The two groups asked me about a way they wanted to show their appreciation to Matt–and to St. Mary’s for providing a performance space. I thought it was an excellent idea. Therefore, I asked the bishop to get Matt out of the picture so we could get a surprise ready for him. Matt, if you will discard the service bulletin you have and take this one, you will see the gift of appreciation your fellow musicians have for you. Of course, you have to work at it as well. The congregation will find the correct bulletin in the pockets in the pews. We couldn’t give them to you early because this is a surprise. Matt, you’ll need the music folder behind the music you planned to play.”

I reached forward and took the “correct” bulletin and thought, “Never a better surprise or gift”. The music for the service had been selected from the concert program! When I looked up, the ensemble was gathering in the chancel. Matt was teary eyed, but finally managed to get control of himself and start the prelude. It was the Dvorak “Te Deum.” As soon as it started, the chorus processed into the church.

But the surprises were not over. When it came time for confirmation and reception, the bishop called for the candidates and presenters. Millie and Larry walked forward to be joined by Eugene; Linda and Bill were together, Uncle Michael was the presenter for Margaret, Michael and David. Yong Jin was asked to present Mary Kathryn since she was her godmother and I asked Matt to present me. We, and a few others not part of the Family or Fellowship, were standing at the altar rail when I caught a glimpse of Greywolf out of the corner of my eye. I wasn’t sure why he was present until I turned around and man, what a surprise. Mom and Dad were standing with him!

I don’t remember a great deal about the ceremony I was so thunderstruck. But Mom and Dad were there being received into the Episcopal Church! Matt had seen our van that day. Mom and Dad had been meeting daily with Fr. Tom and almost got caught. After a long, hard struggle, Dad had finally decided he couldn’t live with being a part of a church which condemned his son. About that time, Mary Kathryn saw what was going on and her mouth fell open. As we turned to return to our pew, I grabbed Dad and hugged him tightly. Then I lost it. I started crying like a baby hugging my dad. Then he came unglued. Well, if people didn’t like crying Larsen men, that was their problem!

After the reception–this time it was Mary Kathryn who had a good cry while hugging Mom and Dad–we all went to Uncle Michael’s for dinner. He had invited the Oberlin committee and they came. By this time I think they were beginning to think they were family! It seems he was in on the plot Eugene and Paula had hatched up last night and I don’t know how he managed it, but he invited the members of the chorus and ensemble along with the bishop and his wife and the Oberlin committee. There were tons of people and tons of food.

Professor Rote-Batten ended up sitting with Luke, Eugene, Larry, Paula, Michael and Mary Kathryn and me in the gazebo. After she got relationships straightened out , she said, “I couldn’t help but notice you two were overcome emotionally this morning. If it isn’t too personal, what was involved that I didn’t know about?”

“Well, it’s a long story. Are you sure you want to hear it?”

“All of it. We’re here to learn about five people, not check grades or references. We’ve done that.”

Four of us looked at each other and Luke finally said, “You do know we’re gay, don’t you?”

“As a matter of fact, we do, but that has nothing to do with whether or not you’ll be accepted into Oberlin.”

“Well, it has everything to do with why Mary Kathryn and I broke down this morning. Just for the record, Paula will be safe with us, not only because we do count her as a sister and would beat the shi… Take care of anyone who tries to do her wrong, but she will be living with two couples who have pledged they are together ’til death do us part’. But the story…” Luke and I told the whole story of how we came together and how Dad had reacted when he learned I was gay. “He has struggled bravely…”

“Now the comment about Beowulf really takes on depth,” the professor said. “And the painting of Matt… and let me guess. Matt wouldn’t, by any chance, have given you a strange name, would he?”

“Korean–at least I think it is,” Matt said. “Yonghon Tongmu, Soulmate.”

“Holy shi…”

“Professor, you must know Michael. You almost said his favorite curse words!” Mary Kathryn laughed.

“You two guys told the world of your love for each other and few are the wiser,” Professor Rote-Batten laughed. “You are a pair! And, Luke and Mary Kathryn, I can see why you broke down and, I suppose, your parents made this switch without your knowing about it?”

“A complete surprise to all of us,” Michael said.

“Back to this ’til death do us part’ bit. Do you really mean that?”

“Yea, like being married. Of course, not legally. And while we haven’t had it yet, Luke and I will have a commitment ceremony, probably before we leave for Oberlin. We think we will know when the right time comes,” Matt answered.

“Eugene and I really haven’t talked about a public ceremony–and certainly wouldn’t until this mess with the upcoming trials is over. But I think you could say our commitment is as close to being married as a gay couple can have. It’s total “til death do us part.”

“All of you are awfully young to be talking about “til death do us part,” Professor Rote-Batten said. “And you know, you’re going into art and music–well, I guess you might be safer in engineering Mr. Watley, not sure–where, for whatever reason, there are going to be many gay men and some are going to be very handsome and very seductive. You are very handsome, all four of you, and very inexperienced. The temptation will be great,” Professor Rote-Batten observed.

“And I wouldn’t be honest if I said that didn’t frighten me,” Matt said. “I don’t mean next year. I’ll have Luke then and, believe me, when he’s around there is no such thing as a handsome man compared to him. I am worried about our being separated this summer.” I hadn’t intended to say that, but it just sorta slipped out.

“Let’s be honest. Gay men do not have a corner on talent and creativity, but there does seem to be something which draws them into the arts. I would be surprised if both of you were not tempted to break your promises this summer. But I assure you, it won’t be the last time you will be tempted. Temptation is just part of life,” she observed. “But, it’s amazing the power love has.”

“I certainly hope so. Matt and I have talked a lot about what would happen if one or the other were unfaithful.”

“So have we,” Eugene said.

“Well, don’t stop talking. If you keep talking to each other and keep loving each other, you can overcome just about anything. And, as I said, your being gay won’t keep you out of Oberlin and while I would like the others on the committee to know of your devotion to each other, I don’t think I will tell them. This has been a kind of sacred conversation for me and I’d like to be selfish and treasure it by myself. By the way, I have just had a sudden thought which might be of help with housing. I’ll check it out because I’m not sure about it, but I’ll be in touch as soon as I get back. Also, I may be wrong, but from some of the looks and actions I have observed, I gather that there is another couple among us. Right?”

“Yea, we’re the straight couple in the family,” Michael said. “Mary Kathryn and I are responsible for grandchildren, but no one will let us get started on the job.” Mary Kathryn, Wild Woman, demonstrated her skill as she smacked Michael a good one.

By the time lunch was over, it was time to get to the filming. Larry asked Mary Kathryn and Michael to go with him to help with the voice over for the film.

The evening’s concert/recital went as well as did the night before–maybe even better. After the last encore, Millie came forward to make the presentation of flowers and then said, “I would like for you all to share in a joyous moment for Independence High School and the five seniors responsible for tonight’s concert and the exhibition. I would like to introduce to you Professor James Paul, chairman of the Oberlin College Admissions Committee. Dr. Paul.”

“Thank you Mrs. Willingham. At the request of Mrs. Willingham, and I might add her expense, the entire admissions committee from Oberlin, along with department chairs and others, came to Concord to interview and observe Miss Paula Wright, Messrs. Luke Larsen, Eugene Willingham, Larry Watley and Matthew Greywolf. We did this because of events which occurred after Oberlin’s admissions were closed, but Mrs. Willingham convinced us that those five young people had much to offer Oberlin as well as Oberlin having much to offer them. We went over all their official records before coming, we read their application essays, talked with their principal, counselor, and several teachers. Since we have arrived, we have interviewed them as well as a number of people who know them. We have surely observed their talent, their discipline and potential. I could go on, but I will not. We promised the five we would make a decision about their admission before we left at noon tomorrow. I think we all expected it to be a decision we would have to make at the last minute, but it has not turned out that way. After a conversation with the college president this afternoon, I am happy to announce that all five have been accepted into Oberlin and, Miss Wright, as you so correctly pointed out, we needed to give you full scholarships. Well, you have them.”

There were high fives throughout the chorus and ensemble, applause and whistles from the audience. Larry was fighting his way to the front as was I. Soon there was a five way hug going on as the five of us hugged each other.

It took a long time for us to get out of the church and to the reception as we were swarmed by people. I think we were a bit numbed from all the surprises of the day, but not enough for us to miss the fact that Matt and I and Eugene and Larry would be together next year.

Matt and I got home before midnight and were still high from the day’s excitement. Thoughtful Larry had brought one of the bottles of the massage oil to St. Mary’s and told us he had stashed it in the Jeep. Matt took it downstairs and found a glass large enough to hold it and water and heated it in the microwave. Tonight, he gave me a massage first and I didn’t fall asleep. How could I when he started massaging my cheeks and rubbing my rosebud. When he did my front, he–as usual–avoided my manhood until last, then brought me to a roaring climax, literally. I am sure that Yong Jin and Greywolf heard my shout as I exploded, spraying me and my Dark Angel with man’s seed. Matt, on the other hand, groaned softly until his climax hit him and then he took a deep breath and held it. His climax past, he grabbed me and started covering my body with kisses. Soon we both were kissing and licking each other, sucking nipples and kissing some more. Matt lay atop my body as we continued our hot making out. Both of us were surprised when a second climax rocked our bodies at the same time. We lay holding each other in the afterglow of our love making until he said, “Yonghon Tongmu, you are my life and my world but, damn, we are a mess!” Laughing, he hopped out of bed, scooped me into his arms and carried me to the shower. When we had cleaned up, we went back to his bed, and I inhaled deeply the fragrance of my Matt and cradled in his arms, went to sleep and dreamed of Oberlin and our life together there.

(Castle Roland Administrator – These two chapters were originally published separately, but with our new format, chapter 35b would have been renumbered and the remainder of the chapters and the section headers that Seqouyah inserted would be thrown off. So I took the liberty of placing both chapters together, with a separator to maintain the integrity of A Special Place.)