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Laura Egley Taylor

Then a miracle occurs . . .

O Christmas Tree!

December 18th, 2010

justen-tree-2008So, Thursday night we went to get our Christmas tree. Our son, Reeve, is home from college for the holidays and wanted to share with his girlfriend, Eliza, our family tradition of walking to the tree lot run by Delancey Street Foundation, picking out a tree, and carrying it home on our shoulders, old-school–style.

It was snowing—had been snowing all day when we set out, bundled up and feeling festive. But when we got to the lot, it was CLOSED! (How can a tree lot close?) A security guard told us that they had shut down early due to the bad weather so that the employees could all get home safely before the roads got too bad.

silver-treeDisappointed (singing “No Christmas tree, No Christmas tree”) and not really sure what to do with the evening we had set aside for Christmasy things, we headed back to the house. However, on the walk home, while talking about Christmas trees we had had in the past, we realized that we had, in our attic, an aluminum tree we had bought back in 2004, used once, and then forgotten about.

Since we had made such a big deal about walking the tree home and wanting Eliza to have that experience, we got the aluminum tree from the attic, took it down the block a ways, then turned around and let her help carry it to our house.

We laughed a lot (especially as people passed us, smiling) then went inside for a lovely evening of tree decorating and cookie baking.

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silver-tree-w-lightsPhotos: (above) My Tim, Reeve’s friends, Evan and Justen, and Reeve (on the other end of the tree) carry our freshly picked-out tree from the Delancey lot in 2008; (bottom) Eliza and Reeve carrying on the tradition, albeit in slightly shinier style.

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P.S. We really like our silver tree! And I’m grateful for the lesson in the beauty of holiday flexibility. . .

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where theater meets magazine production

December 10th, 2010

hearthOn the surface, the fact that I went to school for theater doesn’t seem related to my current role as art director at Mothering. Except that both involve something I really enjoy: creating illusion. Building sets, creating postures and identities and costumes and mood are not all that different from trying to evoke a sense of coziness and comfort when shooting a bowl of soup in the office.

Photo of my annual attempt to create the illusion of a fireplace at my house. (I come by this inclination naturally: When I was little, in the days before my folks had a fireplace, my mom created this same kind of bookcase covering every December, and we kids loved it.)

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exhilaration (and anticlimax)

December 7th, 2010

ta-daTa-da! We are done, finished, through. Jan-Feb issue 164 is outta here!

After the frenzy of layouts and proofing and file-sending, late nights and long hours, Managing Editor Melissa Chianta just signed off on the last page—which is a huge relief, and, as always, pretty much a source of wonder.

But it’s also anticlimactic. Since after a day or two to catch our breath (And after, that is, we also finish up the digital version of the magazine, adding links and digital bonus material), the whole process starts all over again. . .

Still, it feels good to have put this one to bed. High fives all ’round!

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Photo of my computer screen today, showing some of the digital bluelines our press, Quad Graphics, has posted as they assemble our pages prior to printing.

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what artists do

December 1st, 2010

rooflineSo, even though I

1) got up and out this morning and made it to yoga (despite feeling like crap—stupid respiratory crud); and

2) did not dawdle and finished my physical therapy regimen* in 30 minutes; and

3) eschewed the outfit I’ve worn the last three days, quickly and efficiently deciding upon an alternative ensemble: ridiculously ratty—but clean!—jeans and a dapper thrift-store sweater I found in Reeve’s drawer (Hey, he won’t need it—he’s off at school where it’s warm in the winter!); and

4) left the house earlier than usual, making just one stop along the way, at Whole Foods (arnica for the legs and dark chocolate-covered espresso beans for the production team). . .

it still came to pass that as I was headed in to the office, I checked my watch and noticed that it was NOON. How does this happen? Every day? Even on days, like today, when we’re in the production crunch at work? Why can’t I ever get it together?

Bummed and feeling like a screw-up because I can never get to my job before 12:00 (by which time, of course, most people are halfway through with their workdays), I called my sister, who answered the phone with a cheery “Hey, whatcha doing?”

When I complained that I was, indeed, walking to the office, still trying to get to work—like some bad dream where your legs move and move but you never get anywhere—and how I’m always late, etc., she responded, little knowing that her words would turn my day around:

“No, you’re fine. You’re not late. You get things done on your own time, in your own way. That’s just what artists do, you know.

She’s pretty smart, for a little sister.


*have been having hamstring/piriformis/sciatic nerve issues which are really not a problem until I try to sit for more than 10 minutes. But who needs to sit, anyway?

Photo of evening light (if you can call 4:30 in the afternoon evening) on the roofline of the artist’s studio next door. He works late, too.

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