Dexter Undone

“What’s Dexter doing?” he asked, taking a break from shopping and cooking.

“He’s obsessed.  The neighbors’ daughter is home with her two daschunds.  When she lets them out they come charging toward our yard, then stop about two feet from the fence.”

“And?”

“And, I don’t know.  For the last two days he’s been sitting at the fence for hours just looking at their backdoor.  I guess today it’s too cold, so he moved inside. He’s a dope.”

“It’s the equivalent of having two Playboy bunnies move in next door.”

“I suppose,” she said, with a slow blink.

Four days later his vigil continues, the desperation of his yearning so palpable she can’t help feeling sorry for him.  Occasionally he turns and looks at her and lets out a long whine, while she imagines his loves sound asleep by the hearth, their long silky ears laid flat against the floor.

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Back and Forth

“Look back, go back,” say my yoga instructors as we stand in a room heated to over one hundred degrees and they encourage me to arch into a backbend.  I resist.  The wooziness, they tell me, is caused by uncomfortable emotions that rise to the surface in the pose.  What of the sharp pain that occurs a few inches north of my tailbone?  It’s possible, of course, that both are the result of my forty-seven years of schlepping things around: chairs, babies, resentment.  Looking back can make me unsteady.

Yet, there are times when casting to the past brings great satisfaction.  On a trip to New York three years ago, John Robshaw took the time to visit with me in his showroom.  The space was flooded with light and Mr. Robshaw has a very groovy vibe.  He’s sexy in a way that is not overt and aggressive, but emits something of a low hum.  It keeps one quite engaged.

As we talked prints and process he asked where I was headed next.  When I reported that I was off to see Christopher Spitzmiller, he told me that he had just been there to look for lamps for his bedroom.  He went on to describe bases that Christopher had used to test glazes, large swaths of color swiped across the pottery; these were the ones he wanted.  They sounded like just the sort of thing I would want, too.  Classic.  Custom.  Quirky.

They are and I do.  You can see them in this month’s Elle Decor.  In the back.

Image, Elle Decor, December 2012; photography William Waldron, produced by Anita Sarsidi.

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Flower Girl

As much as I love having fresh flowers in the house, I find them difficult.  Difficult to plan in the planting; worse still when it comes to arranging.  In my hands, it’s something just short of mauling.  In fact, the blooms may need therapy once their trembling stems come to rest in the vase.  At the very least I’m sure they commiserate with one another over their brutish treatment.

Then, a week or so ago, Susan from Rainy Day Books called to say, “There’s a new book I think you might like.”  I know you’re thinking this call might have gone out to dozens, might not have been meant just for me.  But I think it was.





Carolyn Roehm and Sylvie Becquet’s photographs for Ms. Roehm’s new book, Flowers, are simply stunning and gloriously large.  I felt like I could crawl right in and hide inside a peony – a most delicious escape (and one which I’m sorely needing.)  But better still, the arrangements are largely one or two blooms, in containers of standard shapes if extraordinary form.  The extra-added bonus being that each flower featured can be grown right here in my own zone.  Heaven, within my reach.

Beautiful and practical (how often does that happen?) Flowers will not only help me structure my arrangements, but my garden as well.  I could not be more delighted.  Flowers, by Carolyne Roehm, here.

I received no compensation for this post, in fact, I bought the book myself.  And I’m glad I did.

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Miles To Go

I can go on, do gush, and fail to force myself to slow the heck down on some occasions.  I can be what I’d like to define as “passionate,” but others may see as undone.

I was, to say the least, excited to see Miles Redd’s new book, The Big Book of Chic.  It helped that it does not have a whiff of some wistful reverie of home, though that’s something I tend to fall into around here every now and again, and is a big, fat fit of fabulousness.

Indeed, both the title and the book announce their intent, which is to bring us something fantastic, as Miles tends to do.  When I read the opening letter, the only real text in the book, I could hear the designer’s voice, which is something I like. (“It sounds as if you just sat down and scratched it out in your notebook,” I said to Mr. Redd.  “I basically did,” was his response and I was happy to hear it.)  If the rest is a stream of consciousness monologue on creativity and inspiration, I’m ever so glad to be along for the ride.

The images are a compilation of the references that have stuck in the designer’s mind and the rooms they influenced.  Scattered about are quotes from Mitford, Waugh, Fitzgerald and other favorites.  “They are things that caught my mind,” he told me and I asked him if he wrote in his books, something I still cannot do because of some misguided sense of reverence.    He does not.  “I remembered them and then had to go back and try to find.”

I like that they have played around with the combination of color and black-and-white photography, the later not being used in solely the vintage images, but sometimes echoing Redd’s rooms that are featured in full-on color.  It helps to see the structure.

As we chatted, we wandered the garden path of luxury and style and inspiration.  “We’re all influencing each other,” he said, “You can just tap something and up it pops.”  Still, “Luxury can walk hand-in-hand with the hard to get.  It’s terrific to have accessibility, but it makes you aware of how fun it is to walk into a shop and have someone say, ‘I have something great for you,’ as they are pulling it from the back room.”

Don’t mess around here.  You can buy the book now or be bidding the rent for it on ebay someday.

All images courtesy of Assouline.

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