From the Archives

Ashuelot’s Julia Ferrari and Dan Carr turn passion into art. 

Julia Ferrari & Dan Carr

Julia Ferrari & Dan Carr


Posted: Saturday, June 5, 2004 12:00 am in the Keene Sentinel

By Will Coghlan

Like something out of a limerick, they are two artists from Ashuelot whose names fit together for a piece of clever, if tired, word play. She’s Julia Ferrari. He’s Dan Carr.

“It took me a few years to see that one,” Carr says, of their automotive last names. “Most of our friends were way ahead of me on that one.”

As business partners, creative collaborators, and husband and wife, Carr and Ferrari share a number of passions that first brought them together years ago. Ferrari is a painter, printmaker and book artist, specializing in abstract painting. A series of her work, “Further Mound Series,” is on display at Bagel Works Cafe on Main Street in Keene.

Carr is a poet, writer and printer who recently embarked on a new endeavor — politics. He’s running for a seat in the N.H. House of Representatives.

Ferrari and Carr have lived in a long, two-story brick building on Route 119 in Ashuelot for 22 years. The first floor of the building is a big, open space, filled with the tools of the book-making trade: printing presses from various periods, racks of type, stacks of handmade paper, and pages of elegant lettering and illustrations, ready to go into a book.

In the darker corners of the print shop, medieval-looking machinery lurks in the shadows, waiting to be called into service for some largely forgotten part of the process.

They call their business the Golgonooza Letter Foundry, a reference to the “city of transformation through art,” found in William Blake’s 19th-century poetry, Ferrari said.

The birth of a business, the re-birth of a village

Twenty six years ago, Carr was living in Boston, working with a few partners in a printing business called the Four Zoas Press (also a Blake reference). Along with mastering the trade of printing books by hand, he was a fledgling poet, struggling to find a forum for his work.

“There were something like 180 million people in this country then, and only 20 or so new collections of poetry published each year,” Carr said, lamenting all the good writing that was going unpublished.

He knew other writers were experiencing the same thing, so he put a notice in the back of an alternative newspaper called The Real Paper, advertising a class to teach writers and poets how to print their own books.

Ferrari signed up, and was one of the few students who stuck it out until the end of the course.

“Julia was one of the dedicated folks,” Carr says.

The printing and bookmaking was a fitting complement to Ferrari’s primary artistic passions. A painter since the early 1970s, she studied Art History and Studio Art at Mount Holyoke College, where she received her degree.

Through friends in the Monadnock Region, the two found the empty building in Ashuelot, and with surprisingly little deliberation, they made the move to the tiny village beside the river.

“We made the leap,” Ferrari says with a laugh. “We were in our 20s, and we didn’t really think about having a business out here, with no contacts. Had we been in our 40s, we might have been more careful.”

When they moved to New Hampshire, Ashuelot was a nearly abandoned stop on the road between Hinsdale and Winchester. A textile mill had thrived there during the 19th century, at one point manufacturing woolen blankets for the Union Army using power provided by the river.

In 1916, the village buildings and property were sold off in parcels. But the industry foundered and the mill closed in the 1940s, so when Carr and Ferrari moved in, the village appeared much as it had 75 years earlier.

There were three or four “old timers,” Carr said, two of whom had been born in the building where the letter foundry now operates. Through the local historical society, they found one of the brochures published when the village was booming — a real estate ad touting the chance to come purchase a plot near the mill.

“That was one of the richest parts of moving to New Hampshire,” Carr said. “Nothing had really changed in our building until we moved in, and we had people coming over to tell us stories about what it used to be like.”

Today, Carr and Ferrari feel deeply rooted in the little village. It helps that there are a few more neighbors now.

“More and more people are taking an interest in improving the town,” Carr said.

Learning all that her paintings have to teach

Ten years after moving in and starting their business, Carr and Ferrari got the chance to purchase the building next door. The white, two-story structure once operated as the mill’s store, and the open spaces of the glass-front first floor makes just the right studio for Ferrari’s painting.

When Ferrari displays her work, there is always one “seed piece” that will never have a price tag dangling from it. Dozens of paintings can spring from that one work, and it’s often the inspiration for her next series, too.

As an abstract artist, Ferrari says her work includes both dream scenes and elements of reality — series of dozens of works that fit together to form images she sometimes describes as “diary entries.”

“The seed piece says something to me that I can get inspired about for the next series,” Ferrari says. “I haven’t stopped learning from it yet.”

Ferrari’s paintings have been shown throughout New England, including in galleries at the University of Massachusetts, the Vermont Studio Center, Keene State College and Plymouth State College, where she was selected as one of six Granite State artists for the inaugural show at the Karl Drerup Fine Arts Gallery.

The University of Alabama hosted a show of both her paintings and book art.

The books she and Carr have collaborated on are scattered to the far corners of the globe, including in university libraries at Harvard, Yale, Stanford, Dartmouth and Brown, Smith College, Wesleyan University, the Hague and St. Brides Library in London.

One of their recent projects was a commission to print a book of poetry by Maya Angelou, complemented by etchings of jazz musicians by artist Dean Mitchell. Jazz trumpeter Wynton Marsalis composed music to go with the project.

When they went to New York City to celebrate the book’s publication, they were treated to a party in Harlem, dinner with Angelou and an impromptu performance by Marsalis, who leaped to the stage to accompany the jazz band.

For a book of Carr’s poetry, “Gifts of the Leaves,” Ferrari created unique “monotype” paintings to grace the first page of each of the 26 original copies of the book, which contains 26 poems — one for each letter of the alphabet.

In a painstaking process measured in thousandths-of-an-inch, Carr designed, carved and cast an original typeface for the book, naming it Regulus, after a star in the constellation Leo. Carr says the capital “R” is his favorite, although the “Q” is the most eye-catching, with a fanciful, over-long tail extending out into space

Carr says he is one of only two people in the U.S. who still practice the art of designing and hand-crafting unique new typefaces.

The books created at Golgonooza deserve a word more eloquent than the simple title “book.” Held in sturdy, cloth-covered boxes, they are elegant and artistic endeavors. The stark, black letters are spaced sparingly on the heavy, handmade paper. Small squares of Ferrari’s art are scattered among the pages, each protected by a delicate sheet of tissue.

“We like to develop our arts in parallel,” Ferrari said, even though she points to opposite sides of the studio when asked if they work in close physical proximity.

While the poems could exist without the art, and the art without the poems, the combination of the two makes for a stunning presentation.

“Julia’s art is no more an illustration of my poetry than the poems illustrate her art,” Carr said.

Finding inspiration, evolving advocacy

Just west of Ashuelot village, there are 14,000 acres of wild forests, trails, rivers, ponds and wildlife that have served as a source of inspiration for the artist and poet over the past 20 years.

Pisgah State Park is a sacred place to Ferrari and Carr, so when changes in park management this spring prompted fears that the park would become less wild, and less protected, they found themselves stepping into the role of public-lands advocates.

Ferrari organized a forum one April night in her studio to discuss the threat of development in the park. More than 100 people showed up, and she now volunteers her time as the head of a new group called Pisgah Defense, working to advocate responsible park stewardship.

“Even though it can be tough to find time in the schedule of a business owner and artist, we feel committed to those things,” Ferrari said.

Carr has begun to campaign as a Democratic candidate for state representative, based largely on a conservation platform. And of course, he’s printing his own campaign signs — campy white lettering on a vintage green background.

“For us the park is a primary source of inspiration,” Ferrari said. “We believe in the public’s right to have quiet, natural places. If we lose those things in our push for progress, what else is there left to do art about?”

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New fall classes list

Announcing our new fall workshops


Triskillion mandala at Golgonooza Letter Foundry & Press

Triskillion mandala at Golgonooza Letter Foundry & Press

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From Vermont Views Magazine







We finally got some cumulative rainfall in New England, a downpour, and the day before, a quiet rain overnight. This is needed here for the crops to grow … that slow penetration of water, to mingle and make available the soil nutrients, then sun to warm and energize. I think about how our lives are no different. The essential self is affected by our environment of growing up, just as the wind or drought will affect seedlings. I think that none of us come through childhood or life without those difficult events that begin to shape us. Whether we are presented with the deeply challenging circumstances of thoughtless or hurtful people, significant loss, or consistently unstable, undesirable events, environments or conditions, all these things take the developing self and place restrictions and encumbered shackles upon it. I have come to believe that since most of us go thru this (to differing degrees) that it is actually our opportunity for growth being laid out for our lifetime. I would even go so far as to say that it is perhaps our map (in a reverse way) to finding our way back to wholeness and happiness.


I’m beginning to think we come into this life being given the circumstances we need to be broken, then are given the means or circumstances to grow out of them, albeit sometimes very slowly, as it may take a lifetime. Oftentimes it takes recognizing that we can become set in our beliefs, habits, patterns, pain, or restrictions, which can hold us in unhappiness and limitation. But, this can eventually become our comfort zone, and we are hard pressed to change our minds, hard pressed to turn things around. It takes a conscious choice to stop making excuses… however sometime I glimpse that it’s as simple as letting go—letting go of the absolutes, of the mind cage, of the answer No.


Recently I’ve experienced this type of restricting mindset in my day-to-day life, as I have found myself impossibly behind, trying to catch up to a life that was on hold for the last few years, as I passed through the resolution of grief. I found myself in a repeating thought process: that I’d never get caught up, never get things done, never get everything back to a functioning whole, to a new normal… then one day recently I saw that if I did one thing a day, one thing at a time, that eventually things would get done… not quickly necessarily, not finished tomorrow, but projects begun, things in their proper places, un-needed items given away etc. I saw that it was my thoughts that were holding me back, keeping me stuck.


I have heard it said that we over estimate what we can get done in the short term (for instance, in one day) and that we under estimate what we can get done in the long term, (over a few months to a year or more). This idea has helped me to open my mind to pull away from the restrictions and fears that I carry around with me—some of which go all the way back to my youth.


As we all know, change is inevitable: we may not want it to happen, but it will happen in spite of us. In fact, if we freeze in the face of necessary change, the choices will be made for us, and they may not be what we could have chosen. It’s hard to change ourselves. Perhaps as we each struggle through our own path toward change, I’d encourage the letting go of the absolutes that hold us in place, allowing us to begin to see what happens as we allow the nourishing rain of new possibility into our hearts, to warm the soil of our future selves.







I found a box full

Of the possibilities I once was

The fettered and unformed youth,

Whose past held a future undiscovered


Are we the sum of our trinkets?

Empty picture frames & nail files

Marking moments of dawn to dusk

Before one moment that divides the rest


How the heart grows through sorrow

How each and every thing that gets piled up

Gets taken away


And so I sort thru boxes, photos, mementoes

Little things that seemed important

Lifetimes in substance


Yet all of this matters not

For now I carry all my treasures within

Gather up the life

And give it away.


© Julia Ferrari, 2016






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Fall Workshop/ Retreat series




Golgonooza International School of Typography & Letters


conducts Classes & Workshops as well as having some special residency programs for students in the following areas:


Typography, Binding, Letterpress printing, Broadside making, Art/Printmaking, Writing



2016 Season


QUIET FIRE workshop/ retreat series


Taught By JULIA FERRARI bringing her 30 years expertise working at the Golgonooza Letter Foundry & Press, Ashuelot, NH, a fine book press, using metal & wood types, in limited edition books, with original art; working with writers and artists to create beautiful editions.

registration info: 603-239-6830


Improvisational Typography & Music :One day Intensive Retreat  NOVEMBER 11

9:30 a.m. – 5:00
Anais Nin spoke of weighing again her words; this workshop is for writers & designers to get hands-on contact with the tangable world of type.
We will collaborate to create a small broadside edition, with each participant to receive an original copy at the end of the retreat. We will focus on the process of improvisation and the unplanned direction of creative work.

$250. Plus lab fee of $25. Partial scholarships available on a limited basis. Call for details.


Improvisational Typography & Music Retreat  SEPTEMBER 26-29


Anais Nin spoke of weighing again her words; this workshop is for writers & designers to get hands-on contact with the tangable world of type.

We will collaborate to create a small broadside edition, with each participant to receive an original copy at the end of the retreat. We will focus on the process of improvisation and the unplanned direction of creative work.

$500.  Plus Lab fee: $25. *


Journaling / Bookbinding Retreat  OCTOBER 3-6


We will create a simple hand bound book, do active journaling, seek inspiration through walking in the New Hampshire woods & create both drawn and physical mandalas each day.

$500.  Plus Lab fee: $45. *


Writing Retreat      TBD

We will spend one afternoon writing and seeking inspiration.



If  participants cancel more than 30 days prior to your workshop start date, then your tuition will be refunded in full, minus the non-refundable $50. tuition deposit.

If cancellation is less than 30 days prior to your workshop start date, then the following refund policies apply: three weeks prior to workshop, 50% of tuition will be refunded, minus the deposit; two weeks prior to workshop, neither tuition nor deposit will be refunded.

*$50. Deposit to reserve space, (nonrefundable, if canceled 30 days or less before start of classes, unless filled by another student)

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Quiet Fire Retreat

Today I held the first Quiet Fire Retreat, with four of us (Anna Horvath, Gahlord DeWald, Greg Fisher, and myself), working improvisationally together, constructing a complex letterpress form, using lots of multi-letter sizing  and hand fitting…hard work… especially doing design changes, which require reworking the fill spacing around the various sizes. We pushed beyond the resistance, to make the effort, to get the final design we wanted,

Letterpress form in metal

Letterpress form in metal

Letterpress form in metal

which we printed at the end of the day in an edition of 56, plus artist proofs for each of us.


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Golgonooza’s Universe

Meghan after the Turning of the Wheel ceremony

Meghan after the Turning of the Wheel ceremony

Triskillion mandala at Golgonooza Letter Foundry & Press

Triskillion mandala at Golgonooza Letter Foundry & Press

Last night we opened up the known universe & took apart the mandala that had gestated for one cycle in the shop. In doing so we moved the creative energy forward into a new phase for all 4 of us who took part in the event, creating a new form to grow on.

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Interview with Toni Ortner


Kwan Yin

Kwan Yin


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TJ Lyons collection event at MassArt.

TJ Lyons collection event at MassArt

TJ Lyons collection event at MassArt


The attendees at MassArt

Today I went down to Boston to attend the opening ceremony for the TJ Lyons collection at the Massachusetts College of Art and Design. I got front row seats and was mentioned in the talk as being the person responsible for suggesting the collection take the current atrium space, which was then empty. I had known of TJ Lyons from my partner Dan Carr, who had visited him in Boston, so I felt that it was important to have the collection “land”somewhere in Boston. I happened to be visiting to scope out the location for my exhibit there in 2014, and was having coffee with the Library director, Paul Dobbs, when I saw that the atrium was empty, at a time when the collection acquisition was in discussion, but space limitations were causing doubts.

I think small yes’s from those outside the circle of influence can cause big changes and flow.

It did.

Printers cut drawers


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Julia & Jane interview: Life Lessons


The Looms of Enitharmon

The Looms of Enitharmon

Transcript 13 /  pt. 1

from an interview with Julia Ferari by Jane Noyes, at the David Walters gallery February 7


Jane: Tell me how you met Dan again. I think you’ve told me but my memory is poor.


Julia: I was living in Boston. Writing poetry. And I saw an ad in the Real Paper, that is one of Boston’s alternative papers and it said “Print Your Own Poetry.” I think it appeared more than once, before I called up. And So I said, “Oh, that sounds interesting. That’s what I want to do.” It was an odd ad. I think it was very simple and had a phone number. So I thought about it for a day and then I called up. I got this person on the phone, very casual, talking to me. And instead of me asking questions: what do you do, etc. he started interviewing me. So I, being an Aquarian, thought this was a great opportunity to start something new. But I always had to start something new on new moons and looking at my calendar and it was almost a full moon so I said, “I’ll see you in two weeks!” And Dan’s like, ‘what?’ I said, “Yeah, I’ll see you in two weeks.” I didn’t tell him why. Time goes by, time goes by. And I suddenly said to myself, Oh My Goodness, I gotta remember to go do that! So, I looked in the Real Paper and the ad was gone and I looked everywhere and I couldn’t find it anywhere in my notes. And then I looked in my pencil bag and I found it in there, a two inch by two inch piece of paper that has in soft pencil the phone number and it was practically worn away. It was so worn away I was thinking, Oh My God, I could barely read it. And I called and it was the right number. I always think about it, the fact that I came that close to not having my life go in that direction and it became my entire life direction. It was a life lesson… life and destiny…. you get opportunities, but if you don’t take those opportunities your life doesn’t go in those directions. It’s not about fate as much as it is a combination of fate and your ability to make choices and just seize opportunities—but also to recognize them.


Jane: Right, right. And yet in retrospect you can look back on all that near-missed stuff and think well it was all part of the process. Wow. So what happened next?


Julia: Well I went to the shop and Dan had put me to work right away, immediately. Putting away type. No walk around, look, talk… like we would do in our shop in the later years, just talk to people. And of course people weren’t necessarily coming to work but even I think if people came to work we would talk for a while. But he put me to work immediately. ‘Do this…this is how you do it.’ (Laughing)


Jane: The ad had said, ‘Print Your Own Poems’… I mean if I read that I would think I was going to go and this guy is going to show me how to do it. It’s not going to be me working, putting away type. Did that take you by surprise?


Julia: Well, it was an arrangement. You didn’t pay, you came as an apprentice. So you worked for the privilege of getting to do things on your own eventually.


Jane: Did you learn that through speaking with him in the first interview?


Julia: I think so.


Jane: Okay. So it wasn’t suddenly just getting a bunch of work to do.


Julia: Right. But yeah, he says, “This is type and you have to learn about type. And the best thing to do is to put type away. And here it is.” (Laughing) I think I put type away for months and months and months and months. Probably because I didn’t mind doing but also because Dan told me at one point… he would test me to see if I could set type… because when you’re putting type away you have a wooden case. (People collected these for knick-knacks for a while.) So you have to memorize where all the letters go and find the boxes, so when you’re setting type you’re doing the reverse of when you’re putting it away, so technically you are learning when you’re putting away type. It’s best, as opposed to memorizing some piece of paper. And I think at one point after a period of time… I think I was a willing person putting type away, but then he was like, okay set some type. So I set some type and I’m somewhat dyslexic I think, so I set it all backwards.


Jane: It’s kind of a backwards process anyway…


Julia: It is backwards, but you can set type backwards too. Depending on what end of the stick you start at. Just like you start writing left to right. If you started in the stick on the opposite side it would be reversed. And I did that. I set this whole thing in reverse. And Dan goes, Oh! Back to putting away type. (Laughing)


But I stayed. I didn’t leave. And there were many people! Dan said at one point there were like 70 people that came to the shop… lots and lots of people.


Jane: You mean, to do that? So they had all responded to this ad?


Julia: Yeah!


Jane: Oh that’s very interesting. Wow. And so?


Julia: Well he said it was mostly women. Because it was the seventies, the late seventies, and women were coming into their own, wanting to learn how to do things, and this was an interesting thing that people wanted to learn. And he said to me one time, (it was a big building in a part of Charlestown on the Summerville border), and he said he was walking out one time with a woman as she was leaving and they had passed the old wooden freight elevator that was open and some guy was in there, a couple people, going up and they’re talking, and Dan hears them as he’s walking past saying, “Wow, that guy… he has a different woman every week!” (Laughing)


But eventually two people stuck. Mark Olsen and myself. We continued to come back. Most people would come in, work for a while, and then leave. And do something else; it wasn’t for them. But there were two of us that stayed. That was interesting… when I first met Dan, I would say I was definitely not attracted to him. (Laughing) He had a beard down to the middle of his chest. Sort of reddish brown hair and his hair was down to his shoulders. He looked very furry. Mountain man. He had a very Celtic build. Not a real super slender person… muscular, average height, lots of curly reddish-brown hair. So he wasn’t my type, but I worked there! And was just learning how to do things. And actually we irritated each other at first, too.


Jane: Huh! So in other words he told you at some point that you had irritated him?


Julia: I could just tell. I would do something and he would growl.


Jane: And yet you stuck with it!


Julia: Well… I worked there from October in 1977 and was setting type, helping with making books and stuff like that, right up until April I was still working as an apprentice. And then at one point, it was very cold in Dan’s shop by the way… the walls in the shop in Charleston was made up of boards… you could see through the cracks. It was up on the second or third floor, I forget. And it was just an old wood frame building. When the wind would blow, if there was a storm or something, it would blow water through the cracks. I remember Dan getting some of his books damaged at one point and him being upset about it. It was cold. I don’t like the cold very much so I would wear extra layers, so I had like two pairs of long underwear, two pairs of pants, a regular pair of pants and a larger pair of pants over that, and many layers of shirts.


Jane: Well, I can see why! That’s almost colder than just… I mean you were in this building that didn’t have sunlight to bring in extra heat.


Julia: I mean, it had windows but I think it was on the North side.


Jane: That just feels cold…and the work you’re doing is generally pretty stationary. Either standing or sitting as you’re doing all this sorting, but nothing to keep your legs moving.


Julia: Yeah, my hands were cold. But I had enough layers on… I built up my body heat. April came, and Dan shaved off his beard. And of course it was April so I wasn’t wearing all these layers. And I shed my layers. And our story is, we suddenly noticed each other!


Jane: Did he cut his hair too?


Julia: Yes!


Jane: Oh! Was this kind of an annual thing?


Julia: The shaving of his beard was annual, yeah.


Jane: Come spring…kind of like shearing a sheep…


Julia: Yeah! And there was a face under there. And I thought, ‘Wow. Attractive man…’ (laughing) so yeah, that was good, interesting, and another stage of our getting to know each other. I stayed working in the shop, so I was really an apprentice before I had the relationship with Dan. So. I think we were in that shop for four years, Mark and myself and Dan.


Jane: How long had Dan been there before you?


Julia: Boy, I don’t know exactly. I think a couple of years, a year and a half to a couple of years. Because there were a lot of things pinned up on the walls. There were layers of time on the walls, so it had to have been at least a year or more. Every time someone would pull a proof of a print they would just pin it on the wall. Someone came once and did an interview and they had a camera that made everything look like it was some kind of storm, because all the things on the wall, suddenly you could see them all.


Jane: Like a fisheye lens?


Julia: Yeah! It was; it was a fisheye lens. We would look at that and think ‘Wow look at all the stuff on the walls, is that what it looks like?’


Jane: Do you have the pictures still?


Julia: Oh, boy. I don’t know. Not that I have seen at all lately. I think that was in an article somewhere. So we would have to dig it up. That’s an interesting thought, a picture of the building on Sherman Street. It was 7 Sherman Street in Boston. Yeah that’s a good question! I wonder what happened to that, because it was before the Internet, of course.


Jane: Yeah! What I do is keep things even if I don’t know what I’m going to do with them. Maybe I’m afraid that I’ll forget. And then when you come upon them its an amazing experience… puts you back in that place.


Julia: Yeah! I haven’t seen it for (if it exists) I haven’t seen it for thirty years. I just remember seeing it then and being aware of it. People often come to the shop and take pictures.


Jane: Maybe it’s deep in a box just sitting in there all preserved.


Julia: It could be! I think I need some apprentices to help me go through my archives, because there are archives.


Jane: Put them to work in a cold building! (laughing) Tell them to wear lots of layers and grow their hair.


Julia: (laughing) Yes! I did a little bit of archive work in 2012 right within a few months after Dan died because I knew where some of the archives were, so I just went out and did it before it got cold because its a space that’s not heated and I found a poem that Dan had written back in 1978. So if I met him in 1977 and we really got to know each other in 1978… I found a poem that he wrote to me and he was very mysterious… He would write a poem and handset it and then print it right there and then. It was just sort of right at the point where we were falling for each other but it’s sort of this tentative thing as well. And the poem, when I found it, it was almost as if it were appropriate for that moment in time — of him telling me about my life in front of me, as it was at that moment in time when he wrote it. In other words, it was appropriate in a whole new way in 2012, to me, alone… being spoken to from this person, as appropriate as when he first wrote it. He didn’t sign it as his name. It was “Death Chants” he wrote as the signature. But it’s D. C. I knew that was ‘Dan Carr’. “Death Chants” wrote “City of Night”* which was this poem about a meadow, and the life in front of you and it was a poem that was speaking to someone… I think he was speaking to me. Because I remember when I read that poem when I was working in the shop… but part of me was kind of incredulous. I don’t think anyone had written me a poem before. He just printed it, he wrote it, and it was there in the shop when I came in. It was very subtle. He said something like, ‘Oh I just printed this…’ And I read it and I remember at the time thinking, ‘Is this to me?’ But he was the kind of guy that would never say, ‘this is to you.’ He didn’t put himself on the line, he was subtle. And I didn’t catch subtlety very well; “Death Chants… what’s that?” This twenty-something year old girl is thinking, ‘I don’t get it!’ (laughing)


Jane: Did you actually ask that?


Julia: I don’t think so, I was trying to absorb it silently.


With a well and a meadow
There was a moment of silence in twilight
There is a rain in my heart
And my sky answers
If someone told you, say tomorrow
Change your world
Change your past
A thousand winds in the forest
A season of flowers
Covers the earth
Where they broke thru to fresh ground



Jane: Did he show you other work, lay things out for you to happen by and see?


Julia: He was always doing something, always doing something. But this one… part of me knew that was to me, but I didn’t think it was possible. He was way more subtle and sophisticated than I was. But now, looking at it I remember that moment in the shop, I remember him writing it. I remember me thinking, ‘Oh! Is this to me?’ And then reading it… it was about this moment in time and space, asking whether this life was going to unfold together, and the life in general, hinting at together, but talking about the life… what’s in the future, is it this or is it this? So I’m reading this poem thirty years later, and it’s written to me again, taking about the future and the life unfolding. And it was just astonishing. I’ve always believed in the possibility of more than one dimension of time and space. And I felt like this poem was written then, had its own meaning then, but at the same time was meant to come forward in time to 2012 and, speak to me then. That was actually completely possible… out of the realm of the normal, but it was real in its own way. It spoke to me! There’s Dan speaking to me telling me about the future. It was astonishing, actually, it just shook me.


Jane: I bet it did! And yet its interesting because you talk about how important paper is in your lives together… the scrap of paper that you had taken the number from the newspaper, wrote it on another paper, put it aside, almost couldn’t find it, but there it was, and how you weren’t even sure that that number was the number… but you took the chance and it was. And that’s that whole thing with fate. It came back. You can go all sorts of places with me… all these letters… its not just letters as I think of them, I just toss them off on the page. But all that goes into letters in that three-dimensional form, and sorting them and putting them into order and putting them into meaning. Paper is sort of this ethereal thing… it doesn’t really last.
from an interview with Julia Ferari by Jane Noyes, at the David Walters gallery February 7, 2014


Posted in Refounding Golgonooza | Comments closed

Julia and Jane interview: the edge of the cliff, the other side of the mountain

Other side of the mountain

File 18 

Jane: So how are things going with you in this new year?

Julia: …Well I’m coming down the other side of the mountain, kind of. But, yeah, I’m feeling hopeful, energized, just thinking about what I need to do in life and trying not to let my normal way of thinking get in the way, because I can’t be in the normal way of thinking… everything has to open up to a new horizon, so to speak. So that’s kind of what I’m trying to do.


Jane: Well, this is the time. It seems right, it’s either that, it’s serendipitously come as the time as sort of the greater light and the hopeful season, or the season is coming and your mindset is changing. Who knows which, but it seems like a nice thing.


Julia: Good timing.


Jane: Well, I’ve never seen where you live, but just knowing about your heat issues and then when you were so sick whatever it was, after New years or Christmas, it was just like, Oh my god. The picture in my mind was just so dark and grim.


Julia: Yeah, well, it was kind of limiting. It felt limiting. But I’m trying to push back a little bit, and figure out where to go from here.


Jane: Yeah. Well, it sounds like you’ve got more reserve in your … just your self health-wise to be able to do that. So that sounds good. And it can be something to feel excited about too I think, probably. ‘What am I going to do?’ and finding your new path.


Julia: Exactly. And all these things are kind of coming together, conspiring to really push me to that cliff edge and I can’t sort of hang back anymore. I have to go forward!


Jane: Yeah! Can you say what that is?


Julia: Well, I had been teaching… you know, Dan had taught typography at a nearby college and he taught at night so we tried to do our business during the day and he would do that at night. And at one point I did that for a while too, I taught illustration there, and that came and then they didn’t have that course anymore. But Dan’s continued, and when Dan got sick I co-taught the course with him in 2012, the spring of 2012, which was quite scary for me because it was just… I had sat in on his class once. But to just suddenly decide to be at the head of the classroom teaching was intimidating. But I had done the typography here for 30 years also, so it was a challenge. But he was there. He stayed in the back of the classroom; he was sort of the guest lecturer and I would go through the regular class materials. And then when Dan died I said, ‘Boy! I need to make an income…’ And so I asked them if they would let me teach the course because —well, thank goodness, I had taught it! Otherwise I would have been out and in a fearful place of loss. And they said yes, and I taught that semester in the fall and then two classes in the spring. And again this past fall. So I taught a total of three, plus the one with Dan. Four semesters.


Jane: That’s a lot!


Julia: It is! And then that ended. It just ended. Because this semester I was not continuing. I don’t know if I told you that already.


Jane: You did mention that! Why?


Julia: Because, well, you know… Dan taught two different courses. And he was very well-liked, and he was a vital part of that department, interestingly enough, so when Dan died they suddenly said to themselves, ‘we have to advertise for a new person, we can’t have a big hole in the department like this.’ So they advertised, and they got someone last fall. So I was teaching my last semester and that was their first semester, so there was an overlap. I only had a few people in my last class. I think they’re getting less students there because I think the baby boom offspring population is shifting so there are less students.


Jane: And also, not to be too practical, it’s like… college is so expensive for people and there’s such a ‘I’ve got to come out of this with something to either get me a job or get me on the path to a job.’ ‘I can’t afford to dally in the arts.’ I mean it’s horrible to say, but…


Julia: Right! Well it was Graphic Design, so that’s a career…


Jane: Yeah, it is definitely. Actually, that’s a good one.


Julie: But the department a couple years ago started limiting the amount of people they allowed in the program, so that may have been a bit of an error.


Jane: Ha-ha. Well, we don’t want to go down that path…


Julia: Yeah, because they were making it harder for people to get in. But what the end result is, I think, is that there are fewer students in that department now and, therefore, there are less people taking certain classes. And so the new guy that they hired, which wasn’t infringing on my class whatsoever, his class didn’t fill up. His class got cancelled, and the first thing they do when you’re tenure-track is they give you any class that is available, (from an adjunct) that is filled. And mine was a prerequisite (Dan’s typography class, that had become mine), so that, of course, is going to fill. Especially since it was a really small class the previous semester. Kids apparently didn’t get informed they needed to take it and then this semester it was like ‘Bam!’ 17 students needed that class. So it was hard, it was full. And so he took the class. They called me up and said ‘We’re so sorry, this is the way it goes.’ Corporate academia. And so it’s like, “Oh!’ I’m suddenly in a whole new place…” I panicked for two days. It felt like somebody punched me in the stomach for two days, because I taught two classes (one in the fall and two in the spring) and it was the income I had to make ends meet, because the shop has not been able to run fully without Dan. I had not reformulated a way to make money yet, really.


Jane: So you’re out kind of hanging…


Julia: I’m hanging! I’m at the edge of the cliff, just pushed over the edge. But, after two days of panicking and feeling fearful it transformed into this feeling of “okay.” I understood why it was happening; it was happening because I have to be pushed to the cliff, otherwise I would just be riding the easy wave. And so I know that I’m supposed to be doing Golgonooza now. Don’t wait; don’t keep floating on this other half cloud, half doing and half not doing. It’s all or nothing right now. So, strangely enough, I’m calm, not afraid.


Jane: That’s so good.


Julia: Yeah. I don’t know why. I do know it’s because I have to do it and it’s either do it or go get some other kind of employment. But this is what I really want to do so it’s pushing me to figure it out.


Jane: Well! So? You’re happy to be… it’s great to be in a place where you can be calm about it and not panicked and not… well, all the things that easily could have happened I suppose, for any of us.


Julia: And so… If I review all the stuff lost… I’ve lost Dan, I’ve lost therefore the recent Golgonooza business, and then I’ve lost the back-up business, and then I lost my heat! Ha-ha!


Jane: I know! It’s sort of a metaphor for, ‘Okay! Alright, let’s kick you one more time, but let’s see what kind of stamina you really have…’


Julia: Yeah! It’s like losing everything, but not. In a way I’m really lucky, you know, some people have bad things happen where they really just lose everything. Not that I haven’t in a way, by losing Dan I’ve sort of lost my past life. But there’s a whole foundation that hasn’t been lost.


Jane: Right, and that’s what all those years gave you, I think, because of what you both invested. You both invested well. And that’s what a lot of people don’t have; they have no security in relationships or family or friends or jobs, you know, it all collapses. They’re just constantly standing on the edge of thin ice. Which is giving out from under. You’ve got that foundation even if you don’t have the answers or the plans in place. But you could believe in yourself I guess. Know that you can do it. And you will.


Julia: Yeah! So the ice has water that I can swim through in a way as opposed to unknown territory. There is a whole unknown territory though, it’s like the transition between earth and sky almost, it’s like “okay, well… there’s always this meeting of these two things and I just have to move into this next realm almost.” And so, I’m trying to keep my senses open for what it is because I was reading whenever there’s an ending, a major ending, there’s beginnings all around us. And I’m trying to listen for them. Because sometimes we get into habits… and my habits from the past are the things I have to really work with … that I’m used to doing it that way. These new things are all things that I’m not used to at all and I don’t know what to do but I know that this is where I’m at. It’s not like not knowing anything, it’s like “okay, I know this is where I’m starting and I know I’ve never done this before.”


Jane: Right, and yet I still keep having this sense that it’s all new, with some kind of security, and I think it’s that foundation that you’ve created for yourself.


Julia: Yeah. And Dan and I, interestingly enough, because we did that crazy business that everybody said, “Oh you guys can’t do that” and we did it together as a team and it was the only way we could do it was as a team; we supported each other completely. I feel like now that sort of spirit of “We can do this! We can do this through any odds” is one of the things that’s buoying me up because I’ve been there through no money, through weird stuff like eating pasta from the pantry… Have I told you the story where every year we ran out of money? It was pasta month… and I feel like, “Well! Hey, I’ve been there, done that… It’s not the end of the world!”


Jane: Exactly! I think it’s knowing that, too, and that comes from having lived life long enough, … or some wisdom or something, and not going through… ‘This is all new territory to me – but at the same time I’ve been through other kinds of hard times and this is how we got through them – this is what I can do now’ – Kind of a belief. I guess its just some sort of belief in your own ability, your own strength, your own kind of knowing who you are. But I guess, what’s the alternative? You could just lie down on the floor and just wallow in your misery, but what good is that? Also, the floor is too cold!


Julia: Yeah! And the background of thirty years of that and then losing Dan and having to be in that place for two or three months where it was all slipping… and actually in a way it was all slipping before that because Dan was starting to get ill and there were points in time where I was glimpsing things that I could see danger on the horizon; I was intuitively glimpsing the future. But we held it together, and actually we held it together as a team. We never gave up and mourned and wailed… we kind of held it together right until the very end. Unfortunately the tough part about that was we never kind of admitted that it was over… but in a way it makes me have this total sense right now, and I have had it since Dan died, that it’s not entirely over. That there’s almost this sort of physic sense of the partnership continuing.


Jane: Well I think that it makes sense! I mean it has to be one of the strongest links that you had in your life!


Julia: Yeah it was.


Jane: And of course things changed radically, but it doesn’t mean that that got taken away. I mean that was something you kept building on… in a way your job is it take a hold and keep on with it. It’s kind of like, wouldn’t Dan do the same?


Julia: Yeah. I think about that sometimes and the energy in this place,
was never about just Dan and me. It was always this energy of what two beings on the planet could create by moving beyond all odds and bringing in the spirit of creativity and almost a kind of magic of some sort, where there’s pushing beyond the mundane of the world we live in, really, to believe that we create the world that we live in and have the feet on the ground sense that we can get better with a craft; we can make these things and they’re not totally impossible dreams, but dreams that are within our reach. And we did that. And I think that remains! It’s so interesting for me because one of the things about not being able to be here while I’ve had some heat problems is I miss it here. I said to a friend of mine, “It’s like an old friend, this place…” It strengthens me in a way. There’s an energy, a palpable energy here.


Jane: Right. And it’s an energy that you both, well I don’t know if you create the energy but the work that you did together, who you were together, helped to bring it to this place and imbued it… and of course you would want to be back; that’s where you get your strength. Your energy is from all that you guys did, so it is a continuous.. more than a thread.. it may have seemed like it was broken, but it wasn’t broken, before it knitted itself back again.


Julia: Yeah, it’s just transformed, interestingly. And in a way what I feel lately is I have to honor that energy, by doing things, but trying to figure out how to make it work, how to get some young people here to study and to sort of spark that energy. And remembering that this is a cycle, it’s like the cycle of the seasons… this cycle of renewal, that all of us can get in touch with. When I first met Dan he would always be playing the radio, we had music on that was rock, rock and roll, and it was always playing and it was always energizing and we would just work and Dan would do things like write a poem the night before, and that next day he would go in and just go to the cases of type and just start setting that poem. And there it was, it was just made into a physical form; he’d print it and would be just this sort of fluidity and ease, never like this sort of ponderous thing, like ‘Oh I have to make some incredible design here.’ He would just do it! And it was such an inspiration, such a light-hearted fluidity. And that was in Boston. And he had many students. He told me once, he had seventy students at one time, and two of whom remained, really really connected and have done that for all their lives. And that was Mark Olsen and myself. And Mark is still doing it also, he’s down in North Carolina. And so that idea of having students come and having it be playful and having music play and never being ponderous is what I want to do. And I’m saying, “Well what would Dan do?” And that’s what he would have done! And I’m saying, “Okay, Julia! Start Again!”


Jane: Well, it became what you did, too!


Julia: Yes.


Jane: So it’s just part of that. Of course that should continue. And that’s exciting!


Julia: And every time I talk to young people they say, “Oh! I would love to do that!” And I know I have to try to actually formulate something and get them here and see it through. It seems like that’s the stage for me and even in mini steps that’s the stage for me: to get people here and fill the shop with people’s hearts and minds.


Jane: Good! And that creative energy. That’s good, that makes sense.


Julia: A friend of mine in Burlington, VT just emailed me recently and I was talking about what I wanted to do and this heat thing and he said, “why don’t you come to Burlington at some point, and teach a class up here! We could set it up and you could do a book-binding class to start!” And I had to think about it but I said, “Yeah, that’s a great idea! I think I should do that!”


So I’m going to do that sometime and I’m going to spend the next few weeks figuring out what exactly, step-by-step, what I would teach… try to get it formulated in my mind. Even try to do parts of it. But yeah, it’s like jump right over the ponderous and jump right into the actual pond!


Jane: (Laughing) Might as well! That’s so great! You know, the weather is warming up and the ice going to melt and it will be time to jump in that pond. With frogs and all those little fish that have been burrowed away in the mud all winter down at the bottom not moving… back to motion… back to energy! That’s so great, it’s very exciting to hear this!


Julia: I have really positive feelings about stuff. I’m not feeling down. But I think beyond that I’m just starting to see a little glimmer of where to go and how to let doors open.


Jane: Yup. A direction, a path, a way… one foot forward. The next follows and you set off with more energy down a path. Oh, that’s so good, I’m glad to hear it!

And at this point it almost seems ridiculous to even ask about the heating system, but I know that you told me it was kind of off your back and into the hands of the people that actually installed it in the first place? For them to deal with, whoever these people are that will not seem to stand behind their product.


Julia: Yup. That’s a real conundrum of a certain sort because Dan and I… you know, this is a fairly good-sized building… the shop actually has no insulation… something we never got around to. And we kind of tried to stop-gap the cost of fuel which was really becoming somewhat preventative of our being able to continue as a business because it was always a minimal income business…and as the price of fuel goes up when you make the same year after year after year, if not less, then it’s like, “wow!” Everything going up starts to make you wonder if you can continue.


Jane: Especially if you don’t have a way to bring in more income from another place.


Julia: Right… so we were worried about that and we were trying to remedy that. So I just have to reboot that remedying. It will take a lot of rethinking and reworking, but it’s okay. I’m not afraid of that, either.


Jane: Nope! That’s just work.


Julia: Yeah, I think stuff like that happens in the universe. It’s like this impersonal nature of little mini disasters… like having your tooth break…


Jane: It’s just stuff… just stuff…


Julia: Yeah, you can’t let it completely devastate you.


Jane: Exactly… because then you become inert and you can’t do the work that you need to do.


Julia: Right, the weight of the world gets heavier and heavier.


Jane: Yeah, it makes you just want to lie down and go to sleep.

What is the fuel that is in that furnace?


Julia: It’s like wood heat. A wood pellet boiler. But now I’m using oil; I’ve been using oil because I have oil as well.


Jane: Oh, so you have an oil burner but you were primarily using the wood pellets?


Julia: We had two different kinds of systems, yeah. And one system failed, but I do have wood stoves and I have to go light my wood stove downstairs but I’m not perfect with wood stoves; I have to get better at it. I work and then I forget it and it goes out.


Jane: It’s a job and it’s got to get integrated into your day.

We use our use stove; a fireplace-woodstove insert and it’s a great little furnace. And it isn’t our one source but, you know I can see on the days that my husband isn’t home… he’s better at just maintaining that fire. I can certainly do it and if he weren’t here I would be all over it, because it’s sort of cause and effect. Its right here in the living room so its not like I have to go very far to find it. I get in the kitchen and get distracted by something so sometimes I just set the timer and when that goes off I need to go over and check the fire again.


Julia: Oh, that’s a good idea!


Jane: Yeah, you must get so deeply into your work, my god… hours could pass and you might not even remember that you were hungry!


Julia: Oh yeah!! I have a bad habit with that… [laughing]


Jane: It’s a little trick that is only as good as the person that remembers to turn on the timer though! [laughing]

I can always come up with a good idea… it doesn’t always mean that I’m going at following through with my own plan.


Julia: [Laughing] I’ll have to try the timer thing!


Jane: We do what we need to do… But! You know what? It’s the end of January, Groundhog Day is around the corner, we’re halfway to the spring equinox, you know? And it just means more sun, more passive heat that’s going to be there. I think we’ve broken the back of winter. You know, what ever cold weather comes our way is not going to be sustained, we’re going to feel more days when the heat is inside just because of the sun.

And boy, talk about the rising tide…”A rising tide floats all boats” or whatever it is! floats our moods and our energy. I feel hopeful and you sound like you do too.


Julia: I do. I do… and you know there are parts of winter I love. And even as it starts to wane I cling to that time where you have this quiet sort of reflective thing which is so wonderful and I try to make sure I don’t miss it so its like, “OK, don’t forget, Julia!” This is that wonderful time where you can just sit in and work on paper projects or something.

But, yeah. I am. I’m doing okay. I’m feeling positive and I’m taking one little tiny step forward. And I want to teach a class and then I guess I’m going to try and do one here eventually but it may not be until the warm weather. So this idea of doing one somewhere else instead of having to feel stymied by the heat situation I’m just like, “OK, yeah, alright!”


Jane: The Burlington idea you mean?


Julia: Yeah, just keep having classes anyway!


Jane: I feel like there are people around who look for that. My daughter went to the Putney school and she took one of their summer programs… a very basic level of binding that they offered at the time and she just loved it! What you can do just over a weekend… it’s just fun! It’s really fun to discover those things! She’s always talked about that… I mean she’s going into nursing but she still loves whatever her art things are and talks about, “Oh wouldn’t it be fun to do that for a weekend?” You know, with other people, and the energy, and somebody who can take you somewhere. Why not?


Julia: Yeah! So that’s my challenge … is to hopefully be… there’s always the work to be done around that stuff to make sure that you’re getting people engaged, you’re challenging them enough, and you know… all that stuff. So that’s the thing I have to start to think about.

And the other thing is there’s a student in California who is part of a school… I think its called Vestia… that has special programs, she’s an eighth grader, it’s like a Putney school kind of thing. And the students get mentored and they do some project that lasts the whole year and there’s a student that wants to learn typography. And I got an email saying does anybody know someone who would like to help this student? And I said to myself, “this may be one of those little tiny things that you hear… little movements that in it of themselves you might think well, I don’t have time for that, but then on the other hand I said, wait a minute! Maybe this is a movement that could connect me to that school, could get me more work… I thought it was in Northampton and then I found out it was in California. So I would be working on Skype with the person! But that would be good for me, I think. I haven’t done Skype before but I’ve seen people use it…


Jane: Yeah! I mean why not? There are so many ways… that’s in so many ways the way of the world!


Julia: It would challenge me to keep up with technology! And what young people are moving with. Because if I want to teach young people I need to be moving at the same speed and level that they are in terms of technology. So even though I can teach them this other world, I have to be able to do that too.


Jane: Which, what I find remarkable is… Do you know Lisa McCormick? She’s a singer and song writer?


Julia: I think I’ve heard of her, yes.


Jane: I’m sure you have, she’s been around for many years. She’s very wonderful. But I was in a writing group with her for a while but she has, over the past ten years, been doing some very serious guitar teaching online! Over Skype. And I thought, how can you really teach an instrument that way when you aren’t right with the student, and yet I think she’s had a good business going!


Julia: Good! Yeah…


Jane: You know? Why not!


Julia: I think it’s something that’s a new opening of technology that might have its advantages then maybe the student might work with someone in actual closeness… there’s a place for both I guess.


Jane: it’s almost like doing those college kinds of things where people have like one weekend a month they come together yet in-between they’re kind of doing their own work independently or your students come to you once a month to be hands on all together. And then in-between you’re doing the Skype or whatever. I think its just being open to the possibility and the creative ways that all sorts of people are doing. That is exciting! Good for you for feeling open to all of that and wanting to do it!


Julia: Yeah! I don’t know if I have everything she’s looking for because she wants to do some type design and that wasn’t my specialty, that was Dan’s, but I figured I’m going to just open the door up and see what happens; communicate with her and see what we can do.


Jane: Yeah! Exactly! I think that’s terrific. Hey! Next time we talk, or last time we really talked which was maybe two weeks ago, you had talked about wanting to do a talk where you recorded it for yourself as you tell it to me. I’m interested in doing that going forward if you’re still interested.


Julia: Yes! Me too! Because we could do a thing where it’s conversations with Jane Noyes and Julia Ferrari.


Jane: Yeah! The other thing, this just occurred to me, in time if and when you’re up and ready to do it… that’s probably a great way to do a Skype thing! Do you Skype at all now or FaceTime?


Julia: No. I have to learn how to do it.


Jane: And don’t ask me! I will say in our household, my daughter was in the South Pacific  for three months and our friends and neighbors got us onboard. It’s very easy to do once you’re set up to do it. So I see that once things are in place the ease in which you can use that process.


Julia: Yeah, I’m going to learn. My friend in Burlington, he’s like 35 and very tech-savvy so he will teach me. He and his wife are really tech-savvy.


Jane: Yes! Somebody who grew up with it; didn’t have to learn it after they were an adult.


Julia: Yes, exactly. But yeah I would love to do that! I’m taking notes and things and even transcribing a little bit now, but I think that maybe what we could do is start putting little snippets of things on the blog because sometimes I don’t know what to put on the blog and when I go away and I go on a special trip where I’m doing type travels, that’s really easy to do, I just talk about what I did every day.


Jane: Sure, but when it’s just your every day at home it might be different.


Julia: Yeah, it is. So I’m thinking why not put some of these conversations down and maybe selected parts of it where we talk about vision and put that down, and I can just transcribe it and have it be “Conversations with Jane Noyes and Julia Ferrari” or something.


Jane: Yeah! And the thing is when I get my act together to look at your blog… to look at other peoples work it’s easier for me to have questions from the common woman on the streets so that I can ask more either for elucidation or more depth or something.


Julia: Yeah! It’s important to have questions coming. It’s just like having an interview. That’s what we’re doing, we’re interviewing just like you would go interview an artist about their work or a person talking about their history. You need to have the two sides so someone can ask the questions and stimulate the conversation.



Jane: Yeah! Oh yeah. Because the conversation could just go forever and ever and ever. You know? Because there are always more questions and always other paths to head down.


Julia: Yeah. And that’s the other thing, I’m trying to keep that little thread going of a blog and what kind of things would interest people and writing for Vermont Views and all these little things. My philosophy is all these little things that are just moving as threads can come together at some point to some kind of bigger weaving.


Jane: Yeah! I sort have this vision of all these little parts of some kind of a machine and they all get into place and are rolling, and moving to keep this machine going. And it’s doing what it’s supposed to do. And its energy and action.


Julia: Yeah, so maybe I’ll try that and transcribe a little tiny bit this week. And sometimes, like you said, two weeks ago we were starting to talk about things that were actually about the life of Dan and I together and that is interesting too. Like this week we talked about moving forward and there are times to talk about the past, too.


Jane: Oh yeah. It’s all a part of the whole thing. Also you never know, I would guess, with the blog who is going to find it interesting. Or for what reason they find it interesting. And for you it may be your process but somebody else may find it inspirational for who knows what reasons. That’s one of the exciting things I think, about our world and communication these days.


Julia: Yeah, I agree. I think, I hope, that’s what it would be … that people would look at it and — just like when someone looks at a piece of art and sees different things in there, — different kinds of people would find it interesting and if, in the worst possible scenario, if no one found it interesting and it was just there then it would just be there and I can eventually have it written down so that I can someday make a book of the past, a memoir.


Jane: Yeah, that’s perfect! This is great, who knows where it’s going to go! Form this virtual, electronic world into a real book. I can imagine that!


Julia: Yeah! One of the real motivations for me is that memory. I am the carrier of all the memories now. And there are a lot, a lot, a lot of things. And some things were done with other people but there was an enormous amount of stuff that was just the two people and everything that was gone through. And if I don’t get it down, then it’s not getting down. I think people live their whole lives where things never get written down and logged in but there are times when it does and that’s a motivation for me and its something I can occupy myself with, and heal with.


Jane: Oh, I would think so too. I agree. I think that is great. Well I’d love to be the other side of the table… the other side of the conversation, the ears, the whatever it is that that means.


Julia: Yeah! The two sides. I agree. I love that idea.


Jane: Well good! Hey, Julia, someday we actually have to meet in person and just have tea or something! How far past Hinsdale are you?


Julia: Yes! Well, from Brattleboro I am about 13 miles.


Jane: OK, 13 miles from Brattleboro. But it is on the other side of Hinsdale as you’re heading out.


Julie: That’s right. From Hinsdale, oh it’s like seven miles from one point in Hinsdale.


Jane: Oh, okay. So here’s a ridiculous question… Is there any place in Hinsdale, like a coffee shop? I don’t know why, I don’t think Hinsdale has a lot.


Julia: No, I don’t think they do. But I’m in Brattleboro a lot. Because I have friends in Burlington that are going to be putting me up and then I have friends in Brattleboro that I have a little spare room that I’m going to go when its too cold or the weathers bad here I can go to and write and do stuff. So I’m in Brattleboro… I’m calling that my Brattleboro office.


Jane: Oh that’s good! That’s nice, so you have your real home you can go to and retreat to but the other’s kind of a place where… well, it’s great to have a little place in town!


Julia: Yeah, so there’s a possibility we could meet in Brattleboro sometime.


Jane: Alright! We don’t have to plan that all right now but that would be fun sometime just because it’s fun to look the other person in the eye.


Julia: Yeah! You mean to do this kind of interviewing, in fact?


Jane: Well that’s true too.


Julia: We would have to think about where we could do it where people wouldn’t be…


Jane: Well what’s the little office space like? Is that a possibility?


Julia: Well it’s in somebody’s house.


Jane: Oh, okay I get it. I’ll think too, because I actually have some very good friends who are just in town on one of the streets, and they both work all day and say “Oh come and use our house!” So possibly we could even meet at their house or something.


Julia: And also for the month of February I think we should take advantage of this; we could meet there and do it as an interview, put it on the blog and talk about where we are and then have that be the sort of way to spark some discussions; that exhibition is still up, that got extended into February.


Jane: Oh, excellent!


Julia: Yeah! So maybe we should do that and we could go across the street and get a coffee at Mocha Joe’s. They’re so kind there, they’ll bring two chairs in we could just use that as our space to interview.


Jane: Yeah, especially within the work.


Julia: Yes, with all that there you could say, “Tell me about this…” or whatever and then we could use it as a jumping off point.


Jane: Yeah, yeah! So since that’s going to be up and I feel so lucky it’s going to be up for February, we might as well take advantage of it.


Jane: Oh, I think you’re right about that!.


Julia: I’ll bring my tape recorder. And we’ll do that interview about the past and try and get another chapter. I love doing this with you!


Jane: That sounds great, me too! I’m very excited about this!


Julia: It’s very real and like this amazing journey.


Jane: It’s interested to me when I go back and think about how we came together and it was through hospice and whatever, you know, this is an interesting potential model for some ways people might want to do their bereavement work, this whole telling your story; writing your story through taping it. It’s another level of it. It’s very interesting.


Julia: We’re forging some territory.


Jane: I’ll put down 10:30 am, Friday, February 7th. My daughter’s birthday.


Julia: Your daughter’s birthday? Ah, that’s great. Happy Birthday to her, then!

And that will be the same day as the first friday so I will be heading back here and then going back to Brattleboro in the evening for the gallery walk.


Jane: OK, good! I’m all excited about this. I’m really looking forward to next week! Stay warm, get warm! Stay energized and don’t get sick!


Julia: You too! Good luck with everything! Good bye!


Jane: Bye!
Julia Ferrari & Jane Noyes
Jan 31, 2014
Posted in Refounding Golgonooza | Comments closed