African violet victories

Geri's AV with ribbons at fair

I grew this African violet from a leaf cutting three years ago as part of an anxiety-inducing repotting operation. 

There was a time when I avoided even looking at the African violets I passed in grocery and home improvement stores. Experience told me I did not have whatever knack, touch, or mojo was required to care for them. Enough heartbreak, I vowed.

Then my dear spouse Kathy presented me with an absolutely beautiful African violet from McNamara Florist (location formerly known as Sand Point), one of my favorite nurseries here in Fort Wayne. It thrived for two years. I was amazed.

Then I noticed it was looking a bit gangly and the lower leaves were drooping. The need to repot was a sign of success … but it was also another opportunity to screw up.

I consulted fellow Master Gardeners. I studied the African Violet Society of America‘s website. Then I gathered my courage, tools, and potting medium, and performed the transplant.

After some transitory drooping, the patient pulled through like a champ and bloomed again. I hadn’t killed it! What’s more, a few of the cuttings I’d rooted from the leaves removed from the parent plant became brand new little African violet plants.

I gave some of the offspring as gifts, letting my intuition tell me which plant needed to go to what person. Or you might say I let the plants tell me.

The baby African violet that went to my friend Geri knew what it was doing. Under her care, it grew many more lush green leaves, bloomed abundantly, and needed a new pot after about a year. Just like its mum, it took the transplant well.

Summer arrived, and Kathy suggested Geri and I enter our brilliant young charge in the Allen County 4-H Fair. Geri and I are city girls. 4-H and county fairs have not been part of our experience, by and large. But what the heck, we figured. Geri filled out the form and entered the African violet in the adult House Plants: Propagated Potted Plant category.

The plant won Best of Show.

So if you think you don’t have African violet mojo, try the following:

  1. Get a plant from a good source, such as a reputable local nursery.
  2. Water weekly with a weak African violet fertilizer solution (weekly, weakly).
  3. Repot when needed, and don’t panic if it droops afterward. Give it time to recover.
  4. Consult sources such as the AVSA or your local Master Gardeners for information and support.

You just never know what you can accomplish with smart sourcing, well-researched information, and a little help from your friends.

Saying it with flowers

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Does a peony mean “anger,” or does it mean “shame”? (Photo courtesy Foter.com)

It’s one thing for a modern young person to develop a knack for growing things under the direction of a parent, grandparent, teacher, or other important adult. It’s quite another to also become versed in the meanings of specific flowers — rhododendron (“beware”), white poplar (“time”), snapdragon (“presumption”), mistletoe (“I surmount all obstacles”), and more. This is the the language of flowers, which in Victorian times was used to convey a surprising range of sentiments.

1431616332717These are the gifts with which Victoria Jones goes forth in Vanessa Diffenbaugh’s novel, The Language of Flowers (Random House, 2011). On her eighteenth birthday, Victoria ages out of the foster care system and is turned loose in San Francisco to figure out the next step. Isolated and mistrustful, she does little to help herself — but she does plant a garden. She eventually finds work with florist Renata, who is quick to recognize the young woman’s gift for helping people choose flowers for the people and special occasions in their lives based on their meanings.

Her work in San Francisco’s floral world reconnects her with flower farmer/vendor Grant, the nephew of her former foster mother, Elizabeth. Vineyard owner Elizabeth had been Victoria’s mentor in horticulture and the language of flowers. She also wanted to become Victoria’s adoptive mother. This is where the chapters begin to alternate between Victoria’s present-day reality — her work with Renata and her developing relationship with Grant — and the 10-year-old Victoria’s time with Elizabeth. You know something drastic is coming, because Victoria ended up back in foster care; and plenty of changes are unfolding in the here and now that are going to bring those old chickens home to roost.

Such as: the annoying tendency of any language, even the language of flowers, to not remain static and free from contradictions. Victoria visits San Francisco’s Main Library more than once to pore over every volume she can find on flower meanings. She has either been presented with a flower whose meaning she cannot decipher or is looking for a precise botanical response to Grant, who is also flower-fluent. The books are old, crumbling, tucked in between the Victorian poets and gardening books, but it doesn’t take long before she is confused and frustrated anew by multiple, often contradictory definitions of a single flower. She had given her caseworker peony to convey “anger,” but now she finds the flower also means “shame.”

“If peony could be misinterpreted, how many times, to how many people, had I misspoken?” Victoria wonders. Soon, she and Grant begin working on a flower dictionary of their own (it’s included at the back of the book).

Though I was fascinated by the way this young, contemporary character employed the Victorian-era language of flowers to express herself and, ultimately, to help herself and others, some of her behavior is inscrutable, even considering her history in foster care. I also felt disappointed and angry with Elizabeth, who was supposed to be the grown-up. But maybe there’s a reason the foster care system is the setting for stories like this … the actual as well as the fictional.

 

 

Seven Questions with Joel Selmeier

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Stainless steel lattice cap by peace pole sculptor Joel Selmeier

The Seven Questions series continues with my cousin and friend, artist Joel Selmeier — a sculptor who works for peace through the creation of beautiful, original peace poles.

1. What’s a peace pole?

Peace poles were born of a Japanese tradition. In Japan they have a tradition of posts with text on them to commemorate all kinds of things. Just after the Second World War a Japanese man wrote in Japanese, “May peace prevail on earth” on one and had it translated into a different language on each side. Someone saw that and wanted one, etc. Now there are over 200,000 of them around the world and a nonprofit organization organizing the movement for North America.

2. Tell me more about what happened in 1999 when someone saw one of your sculptures and asked you to submit a proposal for a peace pole. It sounds like a transformative moment.

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Joel Selmeier, peace pole sculptor

I had wasted a year in a rock band when I was young and during that episode spent time thinking about what better thing I could do for the world with my life. The Vietnam War had just ended and now that I wasn’t going to be dying there, I decided that the best thing I could do with my life is work for the United Nations, our only department of peace. So I went to grad school to study political science, with a specific interest in peace. And I communicated with someone at the UN about how to establish a career there. But after a year and a half of this, it was clear to me that I didn’t belong in a bureaucracy even if it was the UN. And I didn’t belong in politics. I was an artist. The thoughts that woke me up every morning and kept me going through the day were artistic. I had been trying to avoid becoming an artist because artists starve, but I had no choice. So I embraced it and starved for many years, all the while wondering how in the arts to serve the cause of peace.

Twenty-five years later I was working on a sculpture when someone who stopped to talk to me about it said they were looking for sculptors to submit proposals for a larger-than-normal peace pole and asked if I would be interested in submitting one. I had never heard of a peace pole, but looked into it and discovered that they are art and they are peace. They became my life’s work.

3. How is one of your peace poles born?

People wanting to become part of the movement often get excited about getting a peace pole while all of their friends, when they see it, wonder what the excitement was about. They are just posts with text on them. Trying to make peace poles with which people unfamiliar with the movement will want to engage, and that manage to become part of the communities in which they stand, is a huge conundrum in the face of the practical limitations and the strictures imposed by tradition. The tradition is important. It is what creates the language that enables peace poles to speak. They are poles. They are not twisting and bending shapes. How do you make a pole interesting enough for people who have no idea what a peace pole is to engage with it? In the decade and a half that I have worked on this, I have managed to come up with only two that do that. I put prototypes of them in an art gallery and watched people engage with them in ways that I have never seen people engage with any other peace poles. So I’m working on versions of them now that will be suitable for photographing so I can put pictures of them on my site to see if anyone can afford them. That is the biggest problem for these two. They are expensive.

4. How can a peace pole benefit and function in someone’s garden? In a public space?

There are so many monuments to war. There should be some to peace. I mention on my site that there is a high school in Illinois where when there is an altercation, they tell the kids to take it out to the peace pole and stay there till they figure out how to live with each other. You could do that with a family and a peace pole in their backyard, or with anyone else with a peace pole in a public place. If it can be established as a place that is different, as a place where we drop other problems and considerations in order to work on this one, that is one way that peace poles can be a benefit.

5. Describe the most unique, or challenging, peace pole you’ve made so far.

I made an invisible peace pole. There is a thing called hypersonic sound. It is like a laser beam in how tightly defined it is. If you pointed it across a parking lot, someone who walked into the beam of sound could be hearing deafening thunder while someone ten feet away heard nothing. I put recordings dozens of native speakers of different languages saying “May peace prevail on earth” and put them on a loop broadcasting in a vertical column of sound. It’s on the coast in Texas, I think on private property, where people walk through it on their way to the beach. So it is an invisible peace pole of sound.

6. During the dark times, is making art an outlet? A needed distraction? Or something else entirely?

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Text-only peace pole by Joel Selmeier

Something else entirely. For me making art usually is the only thing between me and darkness. If I cannot be creative I get seriously depressed. It is a bulwark more than an outlet. However, what is the point of making it if no one sees it. It must have an audience in the end. Otherwise it is like cooking food that no one eats. Still, that is not what staves off darkness for me. What does is where I go mentally during the act of creating. There are plenty of outlets for expressions these days. Having people eat what I create for me wouldn’t stave off darkness if I was putting hotdogs in buns all day for the audience. But if I spent three weeks or months or however long it took, to figure out something new that was transformative, it is during that period of time that I would have staved off the darkness. Someone finally eating it is what would keep me from feeling that I had been fooling myself the whole time. And, interestingly, for me, I need only one person to eat that creation in order for that to work for me. After that I lose interest and need to move on to the next creation. Which explains why the best two peace poles I have made are taking so long to find their way on to my website. I have seen people engage with them in a gallery. I’m done. I’m ready to move on to trying to make one that’s even better, if I can, but I need to pay for what it cost to develop these last two. So I have to sell some first.

7. You organize a regularly gathering group of creatives (of many disciplines) in Cincinnati. Why is that important, and what does it do for you?

Sometimes someone in the group will complain about a problem with a material or a technique and someone else will tell how he/she solved that. Sometimes the discussion is about aesthetics. Sometimes it is about opportunities. Today after the meeting ended three of us continued to talk for a while and in the end opened an app that I’d put on my cellphone a couple of weeks earlier. I had found trying to employ that app boring and even distasteful until three of us took it on. Then we were laughing and playing while we figured it out. Einstein was his most productive when he had people with whom to discuss his thoughts. At times we all are. But you’ve got to be talking to people who know what you are talking about. We get that in this group.

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Learn more about Joel’s work at peace-pole.com.

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New Year’s candlelight vigil at a peace pole by Joel Selmeier