Clotheslines Don’t Lie

A memoir by James Avitabile

I might have been about five, when I noticed ladies walking in our neighborhood who dressed differently than my mother. I may have seen them before, but this time I really noticed them. They didn’t seem to belong on the street. They looked like statues I saw in church that had come alive. “Mommy, who are those ladies dressed all in black?”

“They are angels that God put on earth to teach us to love God and to love one another.”

“How does God pick them, Mommy?”

“He’s God, Juny, He just knows who to pick.”

I came to believe that these figures dressed in black were very special. I called them earth angels, but I felt they weren’t human like me. They looked as if they had no bodies underneath their long black dresses and no hair under their veils. Clothes and veils weighed them down and the heavy beads around their waists and the big iron crosses around their necks anchored them to earth so they wouldn’t fly away.

If there were no bodies underneath their clothes, what made some of them so plump, others skinny, some short, others tall? Shouldn’t these angels look alike? All be the same size? Wouldn’t God want it that way? I guess I thought God would want everything neat and precise and orderly. That’s how I was. After I played with some of my toys, I would put them back in the same place on the shelves where they lived. That’s how I liked my world: neat and tidy.

“Mommy, why did God make these angels different sizes and shapes?”

“You gotta ask God, Juny. God can do anything he wants because he’s God.”

How would I ask God? I couldn’t write to him. I could only write my name and the letters of the alphabet. That’s about all I could do. So I knew I couldn’t ask God anything. I’d have to ask my mother.

“Mommy, do angels eat food like we eat? Can they drink wine with peaches like Nunu makes?”

“No Juny, they’re not people like us. They’re the brides of Christ.”

“If they’re brides, why do they wear black?”

“God wanted it that way.”

I wasn’t getting anywhere. But the image of these angels garbed in long black dresses with their heads covered in veils painted a picture in my head that fascinated me like my paper dolls fascinated me.

“Mommy, are there paper dolls of nuns?”

“Oh, Juny, Mommy doesn’t know. If I find a book of nun paper dolls, I’ll buy it for you, if it doesn’t cost a lot of money. Right now, I have to finish sewing a new sweat band in this hat. Go play outside in the back yard where I can see you.”

“I don’t think nun paper dolls would be fun to play with, Mommy. Save the money for the ones that wear happy gowns in pretty colors and have beautiful hair.”

As I climbed the steps to play under the grape arbor I heard my mother say, “Pretty soon you’ll be going to released time classes at Sacred Heart. Maybe you’ll understand more when the nuns teach you about God.”

That fall I started kindergarten at PS 45. Being an only child, I liked playing with the other boys and girls. The teachers were regular people. They wore clothes like my mother’s; happy clothes of many colors with flowers and designs that made me know they were earth people and not earth angels. They made learning and playing so much fun. I liked school a lot and looked forward to each morning. Smiles greeted me as I entered my classroom. Kindergarten flew by. So did the first grade. The second grade got more serious. Miss Aberlin never wore any makeup or perfume. She never wore stockings either. She had an awkward smell about her like she didn’t take a bath every day. She wore drab clothes and sometimes she wore the same dress two days in a row. She never smiled. She had a witch’s nose. She never laughed. For me, when a teacher laughed with us, whatever she was teaching me stayed with me.

Something else happened in the second grade. On Wednesday afternoons I went on a bus to Sacred Heart School to learn about God from his brides in black. Like Miss Aberlin, they didn’t laugh. Their foreheads seemed forever creased. Maybe the starched frame that held the veil crunched their faces or maybe they were just plain angry. You could never get those creases out and in time I could see them getting deeper and more permanent like a scar. Shouldn’t they be happy being brides of Christ? They didn’t look happy. Maybe being happy for them was a mortal sin. They would preach to us that we would go to hell and feel the fires and pain of hell whenever we sinned. I was seven. I didn’t know what sin was. They didn’t teach me to love God. They taught me to fear hell. I remember once when one of my classmates looked out the window, Sister Veronica raised the cross around her neck as if to strike the boy and screamed “I’ll paralyze you with this cross of Christ if you don’t pay attention to what I am saying.” I never forgot what she said. For me at seven she made God a demon to fear and not to love.

The brisk winds of March were beginning to soften. I was going to make my First Holy Communion. I would be dressed all in white: short pants, knee high socks, shoes, jacket, shirt and tie and a white arm band in the shape of a cross tied around my arm.  The girls would be in white fluffy and frilly dresses and wear white veils and look to me like the real brides of Christ. A sea of angry nuns with cricket clickers told us when to kneel, when to genuflect and when to sit.

I had to spend a whole week at Sacred Heart School with the stern sisters in preparation for the perplexing ceremony on that coming Saturday. I hated it. We couldn’t laugh or talk or we’d get slapped. During that week I came to learn that those weren’t ‘earth’s angels’ but were really hell’s angels: mean spirited and willingly hurtful.

The week dragged on. At lunch we were allowed to go out into the school yard and play. It felt so good to breathe the fresh air because the classrooms were stiflingly hot and stuffy. The windows seemed bolted shut and we had to be doubled up with the parochial school students. We sat at desks labeled and carved with boredom and fury and beyond further use.

“God is testing you.” That’s what grim Sister Charlotte said with her deeply rutted forehead. And during one of the very first lunch breaks in the schoolyard—breathing in as much free fresh air as I could—revelation and reality bombarded me. It was the first time I had ever been in Sacred Heart’s back yard, where the nuns lived in a yellow-stuccoed convent. A chain link fence no more than four feet high separated the nuns’ home from the rear yard. It was very sunny but cold that day. The winds kicked up and as they did I saw something that struck me. I saw that a clothes line was attached to the wall of the convent. Clothes were rebelling violently on that double line, flopping back and forth. It looked like the ropes would snap. But it wasn’t the flopping that caught my eye but what was flopping. I saw things on that clothes line that I had seen on ours.

When my mother told me that nuns are angels without bodies, I had believed her. Then why were brassieres of all sizes and flesh colored underpants big enough to fit two of my mother in them and girdles furiously trying to break free from their clothes-pinned bondage? I searched deeper. Whose clothes were these? Did women with bodies live in the same house as the bodiless nuns? I couldn’t figure this out. All afternoon, I stared at Sister Patricia pounding into us more about the consequences of sin. I checked out her hands. I had never paid close attention to them before. They were real. I looked down and noticed she was wearing laced up black sensible shoes like my grandmother’s. If she had had no feet, why would she need shoes? Oh my Gad, I gasped, nuns weren’t angels without bodies, they were like us. They had bodies. I thought a little more. If they’re the ones that wear what was drying on the clothesline, then they did what we do. They eat; they pee; they poop. Clothes lines don’t lie!

 

James Avitabile: Thank you Carmen for helping me find my voice and thank you Alix, Ivy, Leyla, Tom and Victoria for encouraging me to speak with it.

Spring 2013

Letter From The Director

Letter From The Publisher

Masthead

ALL PHOTOGRAPHS 

BY PHOTOGRAPHER

Adler, Jan

Amelkin, Janna

Ashley, Tom 

Belkin, Bernie

Binder, Carl

Borelli, Carol

Ehrlich, Joan 

Fidler, Annette

Forlenza, Ron

Gaines, Jonathan

Goldin, Victor

Grant, Carol

Guberman, Mel

Houts, Peter

Kavesh, Ruth 

Kopel, Larry

LeSchack, Arlyne

Marcovitz, Marshall

Marcus, Dan 

Montaturo, Frank

Petitt, Sara

Rauch, Susan

Russo, Ron

Sacknoff, Robin

Sanders, Arlette

Sanders, Roy

Schaeffer, Mary Ellen

Schmelter-Davis, Lynne

Seeman, Howard 

Shapiro, Michael 

Sholiton, Robert 

Solomon, Bruce 

Tornabene, Nina

Troob, Charles

Vogel, Gerald

Weglein, Walter

Weisburg, Elaine Greene

BY PHOTOGRAPH

 

2 Overcoats 

Adam in Tribeca 

Anteaters make whoopee in Africa  

At the Louvre

Ayer’s Rock 

Basket Boats…Vietnam 

Birds Abstraction

Blizzard 2013 Central PARK-February 09, 2013

Bridesmaids, Phnom Penh 

Bronx Botanical Garden Specimen 

Buddhist Nun…Cambodia 

Bronx Zoo-November 17, 2012 

Cape May Surfer 

Catskill Oct 2003 

Chiaroscuro

Chinese nets at sunset in Colchin, India 

Coney Island Bumper Cars

Contrast #23

Contrast in South of France 

Cuba 2010 Cars

Dancers from The National Contemporary Dance Company, Havana, Cuba

Deep in the Heart of Nowhere (Texas)

Early morning at Kinderdyck

Fishing boats in Morocco 

Flower at Martha’s Vineyard 2012 

Freedom Tower on the Rise 

Ganges, dawn prayers 

Girl at Met 

Got it

Grand Central 

Hands at Play…Vietnam

Hindu Performing Puja (Prayer) in Temple Pool 

Hollywood Beach, FL 

 

Masthead

VOICES: SPRING-SUMMER 2013

Tom Ashley, Publisher
Lynne Schmelter-Davis, Associate Publisher
Charles Troob, Associate Editor

Photo Editors:
Robin Sacknoff
Marshall Marcovitz

Judges:
Robin Sacknoff
Marshall Marcovitz
Peter Houts
Claude Samton
Victor Goldin

Table of Contents

All Photographs 

 

By Photographer

 

Adler, Jan

Amelkin, Janna

Ashley, Tom 

Belkin, Bernie

Binder, Carl

Borelli, Carol

Ehrlich, Joan 

Fidler, Annette

Forlenza, Ron

Gaines, Jonathan

Goldin, Victor

Grant, Carol

Guberman, Mel

Houts, Peter

Kavesh, Ruth 

Kopel, Larry

LeSchack, Arlyne

Marcovitz, Marshall

Marcus, Dan 

Montaturo, Frank

Petitt, Sara

Rauch, Susan

Russo, Ron

Sacknoff, Robin

Sanders, Arlette

Sanders, Roy

Schaeffer, Mary Ellen

Schmelter-Davis, Lynne

Seeman, Howard 

Shapiro, Michael 

Sholiton, Robert 

Solomon, Bruce 

Tornabene, Nina

Troob, Charles

Vogel, Gerald

Weglein, Walter

Weisburg, Elaine Greene

By Photograph

 

2 Overcoats 

Adam in Tribeca 

Anteaters make whoopee in Africa  

At the Louvre

Ayer’s Rock 

Basket Boats…Vietnam 

Birds Abstraction

Blizzard 2013 Central PARK-February 09, 2013

Bridesmaids, Phnom Penh 

Bronx Botanical Garden Specimen 

Buddhist Nun…Cambodia 

Bronx Zoo-November 17, 2012 

Cape May Surfer 

Catskill Oct 2003 

Chiaroscuro

Chinese nets at sunset in Colchin, India 

Coney Island Bumper Cars

Contrast #23

Contrast in South of France 

Cuba 2010 Cars

Dancers from The National Contemporary Dance Company, Havana, Cuba

Deep in the Heart of Nowhere (Texas)

Early morning at Kinderdyck

Fishing boats in Morocco 

Flower at Martha’s Vineyard 2012 

Freedom Tower on the Rise 

Ganges, dawn prayers 

Girl at Met 

Got it

Grand Central 

Hands at Play…Vietnam

Hindu Performing Puja (Prayer) in Temple Pool 

Hollywood Beach, FL 

Indian Dancer, Applying Makeup 

Indian Women

Lincoln Plaza Crowd 

Love in the Museum 

Lyon Arboretum, Honolulu 

Mega Man

Miss You

Montmartre Street

More Than Just a Clown

Moroccan Woman 

NYC Harbor Storm 

NY’s Finest

Odessa Collage 

Osprey

Out Kathy’s Window 

Poppies in Giverny, France

Reflections #13

Reflections #14

Reflections in a Harbor 

Secret

September Still-Life

Shadows

Stairway 1870 House, Sag Harbor, NY 

Subway Sleep 

Sunset

Sunset on the Speranza 

Sunset with Myself 

Untitled – B. Belkin

Untitled 2 – B. Belkin

Untitled – C. Binder

Untitled 2 – C. Binder

Untitled – C. Borelli

Untitled 2 – C. Borelli 

Untitled 3 – C. Borelli

Untitled – D. Marcus

Untitled – J. Adler

Untitled- R. Sacknoff

Untitled 2 – R. Sacknoff

Untitled 3 – R. Sacknoff

Untitled – R. Sanders

Upstate Sunset

Quebec City Storm over St. Lawrence River 

Washington Square Arch  

Why I Live in New York

Windows

Wrinkled stockings 

 

Letter From The Publisher

LETTER FROM THE PUBLISHER

 

Dear Colleagues,

Welcome to our second edition of VOICES, this one solely devoted to the art and creativity of photography. We received a fantastic response from members of the IRP who contributed their efforts to the editors and judges in our inaugural issue of VOICES PHOTOGRAPHY.

Living in the center – the heart – of the most stimulating and creative location in the world, it’s no surprise that The New School for decades has been at the forefront of photography. Beginning in 1934, the school was one of the first institutions of higher learning to offer photography as a course; the renowned Berenice Abbott began instructing students in this discipline. Dozens of “stars” have followed in her footsteps, among them Lisette Model, Larry Fink and Diane Arbus. New School students are surrounded by hundreds of classic art works in The Vera List Collection, art in all media touching on issues of social justice whose home is in the halls and classrooms of our school.

The IRP always has had its share of strong photographers and photography courses. VOICES PHOTOGRAPHY has now given us a proper venue to display the skills, insights and beauty of these photographs. Technology has advanced our cause greatly. Our cell phones have given us an immediate response to the events in our lives as we experience them. One of our editors, Robin Sacknoff, is a professional photographer and instructor who only uses an iPhone in her work.

I want to thank Robin Sacknoff and Marshall Marcovitz, our Co-Editors, along with their staff of judges—Victor Goldin, Peter Houts and Claude Samton—for their work on this first issue. I also want to thank Charles Troob, our Associate Editor, who really makes this all happen. We gratefully thank former Associate Publisher, Ron Russo, who was instrumental in getting our initial online issue out the door and welcome Lynne Schmelter-Davis as his replacement. Marianne Nelson has joined our staff in the much-needed newly created position of Director of Promotion and Publicity.

I’m thrilled with the results, but somehow not surprised. You are in for a pleasurable experience. Please enjoy the eighty winning photographs of VOICES PHOTOGRAPHY.

Sincerely,
Tom Ashley, Publisher

 

Letter From The Director

LETTER FROM THE DIRECTOR

 

Greetings:

I am pleased to share with you this issue of VOICES PHOTOGRAPHY.  You will note how our IRP artists have responded to the new photography technologies and the latitude that is offered.

It is our intention to continue this growth and for you to explore with us the new opportunities offered.  As we close our 50th year we are strong, creative and looking forward to our future growth.

 

-Michael Markowitz

Director, Institute for Retired Professionals