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Chapters (64)
  1. Cover
  2. Dedication
  3. 2008
  4. Chapter 1
  5. 2013
  6. Chapter 2
  7. Chapter 3
  8. Chapter 4
  9. Chapter 5
  10. Chapter 6
  11. Chapter 7
  12. Chapter 8
  13. Chapter 9
  14. Chapter 10
  15. Chapter 11
  16. Chapter 12
  17. Chapter 13
  18. Chapter 14
  19. Chapter 15
  20. Chapter 16
  21. Chapter 17
  22. Chapter 18
  23. Chapter 19
  24. Chapter 20
  25. Chapter 21
  26. Chapter 22
  27. Chapter 23
  28. Chapter 24
  29. Chapter 25
  30. Chapter 26
  31. Chapter 27
  32. Chapter 28
  33. Chapter 29
  34. Chapter 30
  35. Chapter 31
  36. Chapter 32
  37. Chapter 33
  38. Chapter 34
  39. Chapter 35
  40. Chapter 36
  41. Chapter 37
  42. Chapter 38
  43. Chapter 39
  44. Chapter 40
  45. Chapter 41
  46. Chapter 42
  47. Chapter 43
  48. Chapter 44
  49. Chapter 45
  50. Chapter 46
  51. Chapter 47
  52. Chapter 48
  53. Chapter 49
  54. Chapter 50
  55. Chapter 51
  56. Chapter 52
  57. Chapter 53
  58. Chapter 54
  59. 2023
  60. Chapter 55
  61. ACKNOWLEDGMENTS
  62. CREDITS
  63. ABOUT THE AUTHOR
  64. What’s next onyour reading list?

Joan considered for a minute. “You have to remember that the photos aren’t necessarily about the people in them—just like you said. They expressed things I wanted to say. When I made those pictures I think I wanted to stop time. The kids were growing up so fast, and in a photograph, they stay that age forever. But then they grew up, and . . .” She waved her hands and frowned. “I’m not explaining this right. I’ve realized—over time—that all my work is about time. When I started—you remember, Aria, I told you I did that performance art. That was about ephemerality, how quickly time passes. The pictures were a way of stopping time. Instances. I liked making them, but then I started to want to express the slower passage of time. Deep time, like through geological processes. Painting landscapes enabled me to do that because—well, the landscapes, the shape of rocks, the way water cuts through the land—all of that is deep time. But also, the act of painting allows me to show time passing in physical ways. The paint itself, brushstrokes, impasto—it shows motion, gestures. You can make light and shadow appear to move across the canvas with techniques of illusion. And it’s physical—a photograph of a painting doesn’t do it justice, but if you’re standing there in front of the painting in real life, you see the work of the hand on the canvas in the brushstrokes, the way the paint is applied. It’s very obvious that it was physically constructed by a person. The artist. I think I’m increasingly interested in showing the physical marks of the artist. Handwriting, fingerprints. I suppose it’s also a way to freeze time, but in a way that’s more obvious to the viewer.” She laughed. “And of course, that counteracts the slow passage of time that I said I was interested in, so you might think I’m contradicting myself, but it’s all one thing.” She made a circular gesture with her hands. “All of it is linked together in ways that I can’t really describe.”

I felt as if I were on the verge of understanding what she meant. It reminded me of Grandpa, who told me we could travel back in time by looking at the stars. It took millennia for the light of some stars to reach us, so when we saw them from our vantage point here on Earth, we were actually seeing the past.

“No, thank you for all that,” Steph was saying. “I really appreciate hearing about it.”

Joan took a sip of iced tea and said, “I’ve gone on for too long. Tell me about your music. Have you always written songs?”