The Choiring of the Trees - Donald Harington [27]
She spelled it for me, and she told me it was pronounced properly Vera Dis, although she didn’t mind that I had been saying it Verdus, which was the way Nail Chism had pronounced it too.
“I have too many eyes,” I thought she said, but she was saying that she had a surplus of the letter i in her name, three of them, and I jokingly called her Three-Eyes when I was irritated with her, which was not often: she was fourteen years older than I, and I loved her dearly.
Sometimes I’ve wondered if she couldn’t tell this whole story of her growing up and becoming a woman much better than I could do it. What follows I have put into her words, pretending it’s what she spoke to me, but it wasn’t then, that year I first met her, and it wasn’t even over the many years following that I knew her and we would sit endless hours together rocking away on the porch while she told me the whole story of her life. No, what follows is a kind of combination of bits and pieces she told me over the years, and some other things I learned from other people who knew her, and parts of it, perhaps the best parts of it, not from what she or they said but from what she wrote, in her private diaries, which came into my hands after her death many years later. So yes, I will let her tell this:
That studio, up there in the top of that turret, behind that large northern light. No one (except my father) was ever allowed into it, and it became my cloister, my nunnery, my ivory tower, as well as my autodidactic academy. It is not true, as some newspapers have said, that I was self-taught. But Little Rock High School, a seven-block walk east of my house, offered no courses in art, just as it offered nothing in Spanish, French, voice, or piano. I had begged to be allowed to go off to Arcadia College, an Ursuline Academy for Young Ladies in Arcadia, Missouri; I knew nothing about it except that it offered classes in art and had a wonderful pastoral name; but my father would not let me leave Little Rock. So for most of the years of my adolescence I had to learn art from trial and error and what books I could find or order. At the age of eleven, and continuing until the age of…well, until I removed myself forever from that house, I used that little turret studio as a private place for working out my ideas about the making of pictures.
My father wasn’t a miser, but he didn’t throw his money around either, and when his children wanted something we had to beg for it and justify it and remind him several times and then promise to do something in return for it. I always managed to get what I needed for my studio: the easel, the palette, the mahlstick, and all the tubes of paint, and yards of canvas, and endless sheets of drawing-paper. Daddy did not approve of the expenditure; he did not want me to become an artist; for that matter, he didn’t want me to “become” anything, other than grown-up…and he wasn’t sure he wanted me to grow up. But Mother had her garden,