PARASOL LEAVES

SPRING–what a magical time it is here in Connecticut. Oh yes, I do know that it is magical any place in the world that knows the glory of changing seasons. May Sarton captured it so beautifully in her poetry, especially my favorites, “Metamorphosis” and “Mozart Again” (included in From May Sarton’s Well).

It was an specially good day for me when I was able to start it by photographing this red maple with its tender new leaves still dripping in the morning mist  (p. 53). Knowing that as soon as the sun broke through, a breeze would start, the leaves would bounce and I would be unable to get a sharp image. The next day the leaves would be bigger, thicker, stronger. That delicate phase of spring’s unfolding would be gone. It is truly satisfying when I am able to capture a fleeting moment with my camera.

 

Sarton’s Poems, My Photographs


From May Sarton’s Well
 is collaboration between the writer, May Sarton, and me, Edith Royce Schade, the photographer and editor. I hope some of you who visit this website and are—or will become—familiar with the book might be interested in finding out why I selected one of my photographs, or created a new one to accompany a particular poem or prose excerpt by May Sarton. So, this is the first of what I plan to be a series of blogs about the process.

This is the only photograph I placed on a page that faces a poem in the whole book. No other poem is paired with a photograph. Why?   I did not want it to seem as if I was trying to illustrate her poems. So, with this exception, only prose quotations face, or are on the same page as a photograph. I felt that this photograph of sun reflected in the calm sea in no way illustrates the light she talks about in “For Monet”. I felt the image and the poem should begin the chapter on “Light”.

I explain my intent in the book’s preface, “I think of my photographs as an accompaniment to May’s prose and poetry, as a piano is to a lyric singer—sometimes in unison, often in harmony, occasionally in counterpoint. Generally I have paired my photographs with May’s prose, separating the images from the poems so that the poetry may stand on its own as a point of departure for the reader’s musings.”