Why I Won’t Be Going to Lunch Anymore
Why I Won’t Be Going to Lunch Anymore
21 Stories of the Santa Fe Painter’s Life
By Douglas Atwill
This book is a work of fiction. Names, characters, and incidents either
are products of the author’s imagination or are used fictitiously.
© 2004 by Douglas Atwill. All rights reserved.
No part of this book may be reproduced in any form or by any electronic
or mechanical means including information storage and retrieval systems
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Library of Congress Cataloging-in-Publication Data:
Atwill, Douglas.
Why I won’t be going to lunch anymore: twenty-one stories of the Santa Fe painter’s life / by Douglas Atwill.
p. cm.
Includes bibliographical references and index.
ISBN: 0-86534-426-4 (hardcover)
1. Painters—New Mexico—Santa Fe—Biography. 2. Painting, American—New Mexico—Santa Fe—20th century. 3. Atwill, Douglas—Friends and associates. I. Title
ND235.S3A78 2004
759. 189′56—dc22
2004000983
 |
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For Robert, who made these stories happen.
CONTENTS
Why I Won’t Be Going To Lunch Anymore
The Deathbed Of Cecily Brompton
The Menace Of The Creeping Buttercup
The Encouragement of Zacariah Mendoza
Preface
It was an evening at Fiesta-time. Don’t tell me which ones are artists, my sister-in-law said, let me guess. We took a close inventory of the room, an animated cocktail party for thirty at my neighbor’s house. That attractive woman with the spiked red hair, that lovely old man with expressive hands in the wicker chair, that handsome man in riding boots, the gloomy middle-aged spinster with the dry sherry, the heavy-set woman with circular ear-rings, the Englishwoman, the Italian man, the Navajo, the tall woman with the small head, the woman in bull-fighting costume and the stylish young man in a sixteen-button suit. Those are the artists among them, she said, with a tone of authority. She was wrong, of course, because all of them were artists, the whole room full.
Ask any people on the street what an artist is really like and you get much the same answer. They are always tormented, ego-washed, choosing queer clothes and exaggerated haircuts, sleeping late, never paying their bills, playing loud music, depositing piles of ignitable rubbish on the floors of their studios, disappointing their long-suffering companions, yearning for public love and shocking the innocent, church-going bystander. Everybody knows these things. Artists are monsters. Newspapers, books and TV tell us that they are and thus it must be true. With these stories I will suggest that this is not always the case.
So if you cannot recognize artists by how they look or what they do outside the studio, what does distinguish them from accountants, dentists or the men on the street? There are three sure signs.
Don’t tell me what to do. Short or tall, my painter friends have one attribute in common: a classic, ongoing discomfort with authority. Tell an artist he must do this, merely suggest he might be happier doing that, and watch the predictable fireworks. Where they might listen to small hints of guidance from another painter, they will never welcome or accept it from outsiders.
Please, dear, get out of my studio. They all share a determination to make time for their art, usually to the detriment of their loved ones. You’ve forgotten to keep the cat’s bowl full once again and Grandmother Atwill’s beloved Minton plates pile up in the sink, spaghetti sauce gluing them together. Forget it. Since there is no hope of assuaging the unhappy ones around you, be true to the work at hand, the unfinished canvas on the easel.
I