A Hooty-Cackle for On the Butt End of a Sneeze Bar

© Steven Pavlov / http://commons.wikimedia.org/wiki/User:Senapa, via Wikimedia Commons
© Steven Pavlov / http://commons.wikimedia.org/wiki/User:Senapa, via Wikimedia Commons
Credit: © Steven Pavlov

Starkle, starkle little twink.

Who the hell you are I think.

           –Baldy Wilson[1]

In the summer after my first year of junior high school, we moved to a new home, out of town, where miles of forest began at the back edge of our yard. As adolescence drew me out into the world, it was the forest, rather than the daunting and mysterious intricacies of social life, that I sought to explore.

I was allowed to roam freely and I feasted on what could only be furtively scavenged before. I grew healthier and stronger. In the forest, I found the renewing energy I needed to heal my inner wounds. This is how I survived. The forest absorbed my sorrow because its own wounds directed its ambient energies into healing.[2]

I became so incorrigible in skipping school to wander the woods alone that my parents recognized the strong likelihood that I would wander off to the woods with or without their cooperation, and things could get ugly in several ways, if the authorities got involved in our lives. They also knew that I was too proud to get really shitty grades. My mother wrote excuses saying I was ill, whenever my edginess and distraction rose to a fierce need to escape for a day.

I cherished freedom above all else. Any compromise to my freedom felt like injustice, even when it was positive or pleasurable in other respects. Though I loved learning, school attendance felt like undeserved punishment, a sort of jail-lite. 

***

Baldy said, “This is a special truck—with it, I don’t have to pay any attention to speed limits.”

“Why is that?”

“Because I have limited speed.”

***

When John Kennedy won the Democratic presidential nomination, the standard rural northwestern Pennsylvania male beer rant was, “If they let a Catholic get in there the goddamned pope will be running the country.” That was after the first beer—after the third, it got worse. I knew the women would lie about their votes—Nixon’s grim visage looked too much like a dull, dark fate they had already embraced too often. In their lying, they were like me in my silent, secret unbelief. This was my first conscious glimmer of recognition that the wisdom of women had been shat upon by the dominant culture of testosterone and war, as well as my first recognition that I was not alone in the loneliness of living hidden. I realized that women lived hidden like me, long before I discovered that most, if not all, of the men did too.

***

My mother lamented the misery and injustice of a late April snowstorm.

“It could be worse,” Baldy said.

“How?” she asked with audible annoyance leaking from the edges of her voice.

“It could rain cow shit and rocks to splash it,” he replied.[3]

***

A “free puppies” newspaper ad gave us an eight week old, female, part-collie pup. We named her “Sandy” partly as homage and partly for her color.[4] Sandy became my constant companion on many-mile wanders in the woods adjoining our sixteen-acre property. Old enough now to take more meaningful responsibility and acutely aware of the capricious and deadly nature of my family’s complex currents of anger and deceit, I trained Sandy to stay close to home and close to me. The only times she left the yard unaccompanied by me were her full tilt dashes a hundred fifty yards to the school bus stop, when I arrived home after school each day.

***

After the Cuban Missile Crisis, and President Kennedy’s assassination, the real world of politics, war, and mayhem erupted out of the foggy, sterile distance of televised semi-abstraction into here and now. The adults around me didn’t get it (or me) on so many levels that they seemed as abstract as the news. The emptiness of their platitudes was as frightening as the violence leaking into the world through countless cracks in the collective adult sanity that I could no longer trust.

***

As Baldy’s emphysema progressed, he could barely cross a room without pausing to catch his breath, but he refused to give up trout fishing.[5] He loved to fish little forest streams for native brook trout with a long fly rod, a bait casting reel, and night crawlers. He walked miles into the woods in twenty-foot increments, often alone. His daughters (my mother and aunt) were worried.

Aunt Gert asked, “Dad, what are we going to do if you don’t come back one of these times?”

“Wait a week or two and take a walk. You’ll smell me,” he replied.

***

In ninth grade, I enrolled in Latin as a preparation for a future life of study in science, but my inability to engage higher math with my heart had increasingly obvious implications about that imagined future. What I unexpectedly found in Latin was a flood of insight into language, semantics, and etymology. The world of language spilled open like a forest ecosystem. I was filled with desire for the spirit-lifting clarity of multi-layered eloquence.

***

My father was struggling with a minor but frustrating repair on the outside of our house. Sandy took a crap inches from his toolbox, and he flew into a wild, ranting rage. He picked her up and threw her against the side of the house and was about to kick her when I seized a wooden chair from the patio, raised it over my head, and got between him and the still stunned dog.

“Leave her alone.”

“I’ll do whatever the hell I please.”

“If you hurt her, I’ll break this chair over your goddamned head. Then, you can kill me if you want to.”

My father stormed into the house ranting and swearing. I went in via another door, retrieved my .22 rifle, and disappeared into the woods with Sandy, until after dark.

When we returned, my father ignored us. My mother gave me a long, stern lecture about how utterly and shamefully wrong I had been to disrespect my father like that. She couldn’t understand what she had ever done wrong to deserve a son who behaved this way. I listened, silently seething.

I wasn’t nearly as strong as my father, but I had an ace up my sleeve: I was crazier than him, and he didn’t know it. Past a certain point, I didn’t care what happened to me and allowing him to harm Sandy was inconceivable. I would do whatever was necessary to protect her.

***

Reminiscing about a time many years before, when one of his children had been bullied, Baldy said, “I went and had a talk with the boy.”

“What did you say?”

“I told him the next time I needed to have a talk with him, I was gonna spike his pecker to a stump and push him over backward.” He laughed softly and shook his head.

***

On a dead-end logging road, I rounded a bend, and surprised a feral dog. He snarled and bounded toward me. I shot him between the eyes with a movement so fluid and quick it was hardly more than a graceful twitch. The world acquired a harder, sharper edge before the brain-shot dog even stopped twitching. This wasn’t a dream, an achievement, or a victory. No bragging rights had been conferred. The incident was bloody, scary, real, and utterly unforgiving.

That winter, on opening day of deer season, a nine-point buck stepped into the open at fifty yards, and I shot him squarely in the heart. Once again, the feelings were not of triumph or victory, but recognition of the world’s fierce, unyielding otherness. It was a rite of passage, a step across the threshold of adulthood. Unlike earlier transitions of growth, I was conscious of having crossed over into territory from which there was no turning back. I knew that I didn’t know what it meant.

***

Baldy drove a succession of battered old jalopies—hundred dollar vehicles that only needed to get him around town and trout fishing now and then. After his old truck finally died, his mobility was compromised for a while, until he found a baby-shit brown Volkswagen, which had most definitely seen better days.

That summer, Baldy was late for a family gathering at Aunt Gert’s camp.[6] Just when people were beginning to worry, he drove into the yard. Branches, leaves and ferns were stuck in the windows, doors, trunk lid, and bumpers of the Volkswagen, making it look like he had driven wildly through a clearcut jungle. He got out of the car wearing one of those novelty fake arrows that give the appearance of one’s head being transfixed, danced a little jig, and said, “I was ambushed!” The glove compartment was stuffed with crumpled, wadded currency. He’d had a great afternoon betting on (illegal) cockfights.

***

When I joined the rifle team, practice meant coming home from school late twice weekly.[7] Sandy still made her joyous rush to meet the school bus and then returned to the patio to wait. One day she didn’t greet me at the door when I came home from practice. My mother told me that she had been hit and killed by the school bus when she raced it to the bus stop. My father had already buried her. They assured me that she hadn’t suffered.

I was shattered. The world turned very dark for a while, and some of the light never came back.[8]

My parents tried to console me with a new dog, but I was beyond consolation. I kept my distance, and after he dug up Sandy’s decomposing body, I shunned him altogether. When he shredded a rolled carpet stored in our garage, I led him into the woods and shot him. My father approved—even joked about it. He seemed to have no idea of the hardness forming in my heart.

***

I was sitting beside Baldy on Mayburg Old Home Day. His morbidly obese, fundamentalist sister-in-law, Lottie, walked past. “She’ll grow a lot of nice flowers on her grave when she dies,” he said.

“Why is that?”

“Lotta shit there.”

***

I bought a guinea pig. He lived safely in a cage in my room, but he was hardly Mr. Personality. I needed more. Meanwhile, a friend had purchased a de-scented skunk, without prior parental permission, and his parents weren’t happy about it, so we traded. He had named her Petunia, which I found embarrassing, but since she already seemed to know her name, I kept it.

My father was surprisingly supportive and helped me build a cage in our small barn. Petunia had a vivid, bright-eyed presence, and we became friends quickly. She stayed reliably by my side on walks around the yard. I was enthralled with her quirky intelligence and incessant curiosity.

I trusted animals more than human beings. I identified with the raw purity of their feelings.

***

My father said he needed to talk to me—it was important. He said that my mother was in great distress and had confided to him that she was “contemplating suicide” primarily due to the way I had “turned out.” He didn’t say what it was about me that was such a burden, and I didn’t ask. Since speaking in my own defense would have been regarded as an attack on my mother, I said nothing.

***

Baldy invited me to spend a few days in Mayburg with him and my cousins, Scott and Dean. Fishing was our ostensible purpose, but mostly it was about time together in the quiet of beloved ancestral territory. Mayburg was deeply, truly home to Baldy and sharing it with his grandchildren mattered. I gave my parents careful instructions for the care and feeding of Petunia, and they seemed earnestly attentive to my concerns.

Baldy, Scott, and Dean fished, but I tended to wander away from even marginally purposeful behavior into forest solitude for portions of the day. Campfire storytelling anchored wisdom in laughter and vice-versa.

When I returned, my mother told me that she had absent-mindedly left both the cage door unlatched and the barn door open. Petunia was gone.

“She’s a wild animal—she’s probably better off anyway.”

“Mom, she’s de-scented—she’s defenseless.”

“Well, it was an accident.”

I searched and called for her, to no avail. Though her defenseless fate in the wild would probably have been ugly and fatal, I hoped the falsity of the “accident” had been the extent of the lie, and that Petunia hadn’t been on the receiving end of a bullet. She deserved at least a chance to make it on her own—even a rough, poor chance. She didn’t deserve to be executed. I tried to think of her reveling in newfound freedom for at least a little while before an owl, dog, or fox took her, but I missed her shining eyes.

***

After I came out of the woods bearing an out-of-season grouse and a squirrel, Baldy nicknamed me “Snaky Dan” in homage to a Mayburg character from his youth, who lived in a shack and only worked when his hunting luck was bad.

***

On the way to Mayburg with Gert, we came upon a dead adult raccoon and several shocked and bewildered young raccoons by the roadside. We couldn’t save them all and perhaps, they were big enough to survive on their own. Though Gert had great respect for wild creatures, she had little love for animals as companions. But she also knew my tender proclivities and probably something of my wounds—we took one of the frightened kits to Mayburg with us. A nearby camp owner gave us some dry dog food, which the raccoon devoured eagerly, after carefully moistening each piece in a bowl of water.

I brought my new pet home and refurbished Petunia’s cage. I loved his obvious intelligence and we had an instant rapport. He was a one-human animal, at ease with me, but he was afraid of my father and didn’t like Denny.

I tried to teach him skills he would need in a wild life by putting crayfish in a large pan filled with water and rocks, so he could catch and eat them. I gave him unshucked corn and live frogs. He followed me around the yard and returned to his cage voluntarily. He looked into my eyes and recognized me, and I him. We were friends.

My father had been working on something in the barn and, when he came into the house for dinner, he said, “I opened the cage and the little bastard growled at me, so I smacked him on the head with a Crescent wrench.” He thought it was funny.[9]

I knew my raccoon was doomed. I went out to the barn, took him out of his cage, put him on the lawn, and said a tearful goodbye. He walked to the edge of the woods, stopped, and looked back at me intently. I said goodbye again, turned away, and went back to the house.[10]

Something inside of me turned hard and fierce in a dark, secret way. I realized that the brightness of eyes that my parents extinguished with relentless, intuitive mendacity also lived in my eyes and that it was only my own brightness that I could hope to protect. But I didn’t realize they were crazy. I thought this was the way of the human world and I was a misshapen piece that didn’t fit.

***

I showed Baldy an odd-shaped machine part I had found in the woods near Mayburg and asked, “What do you suppose this was for?”

“It looks like a hooty-cackle for on the butt end of a sneeze bar,” he replied.

___________

[1] Rollin David Wilson was my maternal grandfather. Almost everyone called him “Baldy.”

[2] In the late nineteenth and early twentieth centuries, the hills and valleys of the Allegheny Plateau were ravaged for oil and lumber in the spasm of half-blind greed that shaped America into weird empire. I grew up during the peak of the land’s recovery.

[3] Such humor may have been my first conscious appreciation of multilayered meanings as he separated my mother’s complaint from her self-pity, affirmed the validity of the complaint, and substituted laughter and irony for lamentation.

[4] When we lived in town, a previous Sandy had been banished to a great uncle’s farm, ostensibly for his wandering ways, and died on the road, a victim of his freedom in exile.

[5] He had scorched his lungs in an industrial accident during World War Two.

[6] When Mayburg, my mother’s family’s ancestral village became a ghost town with the closing of the Mayburg Chemical Company in 1943, Aunt Gert and Uncle Ed bought one of the company houses, and it became a communal hunting, fishing, and gathering place for a circle of friends and family.

[7] In those socially milder days, when the parameters of delinquency were largely defined by cigarettes and beer, shooting a rifle was a varsity sport.

[8] I still feel stricken when I think of it.

[9] He laughed, and the laughter was genuine.

[10] It seems strange and sad that I do not remember his name.

 


Reg Darling lives in Vermont with his wife and cats. When he isn’t writing, he paints and wanders in the woods. He was an outdoor writer of sorts in a previous literary incarnation, but has wandered off into the rest of his life.


 

 

Body Narrative: Voice

 Voice is the person behind the words that speaks out to the audience…

Voice is your personality and resonance flowing in print.

                                                                                                            —Utley

We learn to speak very young; even before basic language is learned, an infant will vocalize sounds that range from coos of pleasure to cries of hunger. According to scholar Ellen Dissanayake, infants are born with a predisposition toward poetic features in their mother’s voices, including “repetition, exaggeration, elaboration, dynamic variation, and manipulation of expectation.” [i] We adopt variations in our speaking voices naturally, even before we learn to read, yet when it comes to our writing, acquiring a unique voice can be a lifelong process.

Aural voice—the kind produced by breath and vocal organs—is so unique to each individual that people can be identified simply by the manner in which they speak. Peter Elbow, retired professor Emeritus of English at the University of Massachusetts at Amherst, calls this distinguishing feature “voiceprints.” [ii] Much like fingerprints or the particular way someone walks or stands, voiceprints are distinct and distinguishable between individuals.

Text on a page has no physical apparatus that allows us to “hear” a voice, yet we can think about written voice in much the same way as aural voice. The author’s syntax, diction, tone, use of punctuation or pause, idioms, rhythm, and other such elements create a “voice” that is often distinguishable between writers who have their own particular style. Elbow, in the introduction to his book, Landmark Essays on Voice and Writing, describes written voice as dramatic voice, the implied character of the speaker, which might be excitable, pretentious, funny, or stuffy, for example.

Elbow explains, “Most people […] automatically project aurally some speech sounds onto the text.” [iii] He continues, “In fact, people are virtually incapable of reading without nerve activity in the throat as though to speak—usually even muscular activity.” [iv] This explains why so many of us have the urge to move our lips as we read—we’re hearing voice as we read.

Attending to our voice as we write yields great benefits. When the voice is resonant, there is some new truth shared between reader and writer. A 2012 study by Emory University found that reading descriptive metaphors like “velvet voice” roused the sensory cortex, the part of the brain responsible for touch, whereas reading clichés like “strong hands” caused the sensory cortex to remain dark. [v] Voice gives flesh to writing and creates a unique connection between writer and audience. This is what all writers strive for and what only the greatest achieve.

As you begin to cultivate your own style, consider your voice’s history. You might begin by drawing lines on a sheet of paper for each decade of your life, zero to 10, 10 to 20, etc. Thinking about the age you were when you experienced voice chiding you: your naïve voice, a weary voice, a loving voice, a silenced voice, the illusion of having voice or attempting to have a voice, an agonized or troubled voice, a critical voice, an authentic voice. Also indicate in a different colored pen what was going on in your life at the time, including any desires or conflicts you may have experienced.

You might begin to notice that there isn’t just one voice for each person, but many. If you’re familiar with the story you want to tell, you can sometimes intuitively select a voice that most clearly communicates the narrative and emotion. You may have voices that you’ve not yet discovered. Think about whether your voice has changed over time, especially during moments of healing or conflict.

Writing Prompts for Cultivating Voice

  • Write an “I” poem. Dialogue with your different voices—your loud voices, the voice that insists on being heard and your reserved voice, the voice that questions itself. Can you tell the difference?
  • How does your cultural background influence your voice? 
  • Think of someone you speak with often. Try to describe his or her voice. Is it raspy? Nasal? Smooth? What makes someone’s voice forceful, distinctive, or memorable? Describe someone’s voice that is distant or less audible. 
  • Observe a person’s facial movements before and after they speak—what do you notice about the pitch, volume, tone, strength, and clarity of voice? What do the eyes, mouth, and jaw say? 
  • Study an author’s voice that you like a lot and an author’s voice that you don’t like at all; an author who you’ve recently read who has an engaging new voice; two stories or poems by different authors on the same theme; or a piece written in first person, third person, or in a mosaic of voices such as in the poetry of Mark Halliday. Try to find what makes one voice appealing and the other not appealing. What qualities make an author’s voice distinct and accessible? 
  • Experiment with switching voices, writing with multiple voices or with the voice of a game show announcer or talk-show host.   
  • Where is your writing filled with silences? Where are silences made visible? Have you purposefully put blanks between words? Does the silence of what you are not saying speak as loudly as what you are saying? 
  • Imitate an author’s voice you like. Pay attention to punctuation, syntax, verb choice, paragraph length, and imagery. How would you classify the writer’s style? Floral? Bare? Conversational? Fast or slow? 
  • How can you break free from emulation to discover your own unique voice? 

Over the course of a career, an author can experiment with varying voices, tones, and personas. Try not to worry too much about creating a definitive voice; yours will change and evolve as you discover new topics, techniques, and authors. Rather, focus on how to get in touch with what you really have to say—just as children develop voiceprints before they know what language means—the story’s voice will emerge intuitively from the story, as if by magic.

 

 

Image from: http://publicdomainreview.org/collections/high-frequency-electric-currents-in-medicine-and-dentistry-1910/

[i] Dissanayake, E. (2012). Artification: A human behavior for health (Master’s thesis). p. 47. Retrieved from http://www.academia.edu/3893938/Ellen_Dissanayakes_Artification_A_Human_Behavior_for_Health

[ii] Elbow, P. (n.d.). What do we mean when we talk about voice in texts? Retrieved from https://secure.ncte.org/library/NCTEFiles/Resources/Books/Sample/56347chap01.pdf

[iii] Elbow, P. (1995). Introduction. In Landmark essays on Voice and Writing. Mahwah, NJ: Routledge.

[iv] ibid

[v] Paul, A.M. (March 17, 2012). Your brain on fiction. The New York Times. Retrieved from: http://www.nytimes.com/2012/03/18/opinion/sunday/the-neuroscience-of-your-brain-on-fiction.html?pagewanted=all&_r=1&


 

Debbie spent 30 years as a registered nurse. She became a certified applied poetry facilitator and journal-writing instructor in 2007. She is currently a student in the Johns Hopkins Science-Medical Writing program. Her publications have appeared in Journal of Poetry Therapy, Studies in Writing: Research on Writing Approaches in Mental Health, Women on Poetry: Tips on Writing, Teaching and Publishing by Successful Women, Statement CLAS Journal, The Journal of the Colorado Language Arts Society, and Red Earth Review.

 

Cirque du Cynthia

Tsukioka_Yoshitoshi_-_Looking_in_Pain_-_a_Prostitute_of_the_Kansei_EraWhat’s missing from Cirque du Rouge is pretty much anything you might expect in a tattoo shop. The buttery yellow row house on D.C.’s transitioning, quasi-hipster H Street has neighbors that include a CPA, a funeral parlor, a braiding salon, and cozy bistros. Inside, there’s no “flash” – those posters of numbered designs other tattoo parlors offer to walk-ins. Instead, eccentric pieces of art line the walls – cartoon pin-up girls, an art nouveau bare-breasted Indian maiden, an elephant wearing bloomers and a crown. Red metal letters the size of third-graders spell out FUN in lightbulbs. Where a stereotypical shop may have heavy metal screeching over the radio, Cirque du Rouge has Coldplay gracing the airwaves. And then there’s owner Cynthia Rudzis’s taxidermy collection: a jackalope wearing Mardi Gras beads, an armadillo, a caribou head, a skunk, a fox pelt, something that looks like an okapi, and a fist-sized, unidentifiable horned skull wearing a pair of glasses. “I don’t hunt, I don’t like killing things,” she says. “But I do like taxidermy, because it’s an animal that’s still and that I can draw.”

Cynthia and the “Krewe” of Cirque du Rouge are producing fine art for Capitol Hill clientele, and it just happens to be on their skin. In this traditionally buttoned-up city, Cynthia is proving that custom suits and custom ink aren’t mutually exclusive.

Cynthia is forty-eight years old, tall and lithe, with a champagne bob and coffee bangs. She has perfect skin, symmetrical features, and glittering turquoise eyes. Her right arm sports a half-sleeve of a heron in a Chesapeake swamp scene, representing her current home on the bay. A quarter-sized flying pink horseshoe decorates her wrist. She hikes up her pant leg to reveal a framed portrait of her three-footed bearded dragon, Louis. He’s wearing a top hat and smiling, raising a goblet of green liquid in a toast. “There’s no big, deep meaning,” she says. “The pieces I get are just collections of artists that I like.” She holds up her left forearm to show off a Napoleonic bee the size of her hand, framed by green laurels. “I told her, this is what I want, but do it the way you want to do it. That’s how you get the best tattoo.” It’s a collection she has curated since she was “old enough to get a tattoo but too young to care,” when she got a dream-catcher on her butt cheek. “I was that girl,” she says, laughing.

That girl’s artistic aptitude was evident from an early age. “I’ve been drawing since I can remember,” she says. “Seems like that’s the thing I was supposed to do.” Her parents bought her crayons and signed her up for art classes. They’d encourage her to sit outside with an Audubon book, drawing the birds and bugs, flora and fauna. Her taxidermy collection is a nod to weekends in her childhood, when her dad would take her to the Hall of Mammals with a sketchbook and she’d spend the whole day drawing.

As a high schooler, Cynthia had an art teacher named Mr. Merrill who knew her talents could turn into a career. “I wish he was still alive now to see this,” she remembers, gesturing around the main floor of the shop. “Even back then he said, ‘I still think you’re more of an illustrator. Don’t go to art school and let them take all the illustration out of you.’”

Sure enough, Cynthia worked for twenty years in the publishing industry as an illustrator and graphic designer. Then, after a divorce and a new marriage that brought stepchildren into her life, she quit her job and began doing freelance artwork while learning to manage responsibilities in her new household. Some of Cynthia’s prints depicting mythological creatures, the elements, and Celtic instruments caught the eye of the owner of Underground Tattoo in Lexington Park, Maryland, sixty miles southeast of D.C. She purchased them and approached Cynthia, asking if she had ever tattooed. “I had always wanted to tattoo,” Cynthia remembers. “My grandpa was covered, my uncles were covered, all were World War II vets. I loved it.”

So at thirty-seven years old, Cynthia found herself laying a small stencil of a tribal-looking butterfly on the neck of a young woman her daughter’s age. Her mentor was close at hand to take over if anything went wrong. And after Cynthia put in the first few lines, something did:  she accidentally wiped away most of the stencil. The simple design should have only taken ten minutes but ended up taking her an hour. The young woman was pleased with the result, and when she left the shop, the rest of the tattoo staff burst into laughter and congratulated Cynthia. She excused herself and threw up.

In the eleven years since that first tattoo, Cynthia went from an apprentice to a resident artist at Underground to doing guest spots at shops all over the DMV area. And then, a few years ago, her father fell ill, and Cynthia took off four months to take care of him. “He loved his job,” she says. “He’d say, ‘I’m so sorry you’re not going to work.’” After he passed away, Cynthia found two surprises that motivated her to work “harder than ever.” The first: an insurance policy she knew nothing about, which became the seed money for Cirque du Rouge. The second: “A stack of these old illustrations or drawings that I had done,” she remembers, her voice lowered. “And it has my name on the bottom: Cyndy, six years old. He had them. He had them all.”

Since Cirque du Rouge opened in the spring of 2013, the shop has become one of the most sought-after in the district. Demand for Cynthia’s work specifically has grown to the point that she can’t take on any more new clients. In addition to the volume of artwork ahead of her, she has the shop to run, her colleagues to take care of. The work demands a lot – physically, emotionally, artistically – so Cynthia asks the artists to come in and tattoo four days a week. The fifth day is to take care of administrative work – emailing, drawing, and networking. Cynthia, though, tattoos five days a week. After waking up at 5:30, she eats breakfast, walks the dog, and spends a couple of hours drawing for clients – everything from stylized portraits of Vikings to horses with mermaid tails. On her hour-long commute, she checks email at red lights. After tattooing for sometimes ten hours straight, she goes home and works on the business side of things. “I don’t have the time that I used to have,” she says. “Everything is this now.”

Cynthia has the perfect mentality for a tattoo artist, at the intersection of illustration and medical care. All licensed, respectable artists have extensive training in blood-borne pathogens, disease transmission, CPR, and first aid. And these days, most up-and-coming tattooers have formal art education. “It’s so much harder when your canvas is not only curved but breathing,” Cynthia says. Having the basics come naturally means the artist can pay attention to the client’s vital statistics and comfort level. In tandem with top-notch artistic talent is a bedside manner that can jive with the Capitol Hill clientele. “I go through your Facebook page,” Cynthia says of her vetting process, “and if you can’t spell ‘you’ y-o-u… you can be the most talented artist in the world, but I’m not going to have you upsetting people.”

Liaa Walter, another artist in the shop, comes down the stairs and says, “I just need an artist’s eye.”

Cynthia immediately recognizes the client behind her. “Hi Carrie! How are you doing, sweetie?” Carrie is wearing shorts on this rainy autumn day, and when she turns around, she reveals matching stencils of butterflies on the backs of her thighs, connected to laces running down to her Achilles tendons. “Aw, those are so cute!” Cynthia exclaims. She holds out her right hand, forefinger and pinky pointing at the centers of the designs. The three women hold their collective breath for a moment before Cynthia announces, “They’re even with the floor.” She turns to Liaa. “That’s really hard. Awesome. Have fun!”

It’s taking good care of people — both artists and clients — that seems to be the key to Cynthia and Cirque du Rouge’s success. Because of the reputation of her artist’s eye and the years she’s spent tattooing in the area, all of Cynthia’s current projects are for repeat clients. “I’ve been tattooing some people for two, three, four, five years,” she says. “You get involved in their lives – you can’t help it.” Vanessa Redwing, a thirty-five-year-old government analyst, is one of these return clients. She originally sought out Cynthia for her talent in art nouveau pieces and from the start, Vanessa says she was “enamored with her spirit.” She and Cynthia are on their third collaboration, this time on Vanessa’s thigh — a heron and winged insect surrounded by cattails. The first two pieces were half-sleeves. The left is in the style of Alphonse Mucha, a blue-eyed woman looking over her shoulder, framed by windswept auburn hair and orange and pink lilies. Vanessa’s right arm displays a peacock skull against a collage of crimson roses, emerald peacock feathers, and violet beads. Rarely does Vanessa leave the house without receiving compliments on her tattoos. “People ask me if my tattoos hurt,” she says, “and I tell them that I enjoy my time with Cyn and the artwork we collaborate on so thoroughly that I don’t mind the pain.” It’s a pain some people liken to an extended bee sting – but you’re enduring it for hours rather than swatting it away. Cynthia calls herself “the biggest weenie of all” and says she struggles with sitting for her own tattoos for more than three hours. The portrait of Louis, the three-footed bearded dragon, took five. But as she points out, the pain can’t be all that bad: “If it were horrible we wouldn’t be in business.”

And since the demand for business is good, Cynthia’s not afraid to turn away potential clients – for herself or her artists. While walk-ins are welcome, no one at Cirque du Rouge will work with minors, anyone whom they suspect to be high or inebriated, or lawyers who joke about suing if they don’t like the result. Other times, what the client asks for may not fall within the expertise of any of the artists at the shop. In that case, Cynthia is usually able to recommend other gifted artists in the area. Recently, a man met with a female artist in the shop to discuss a tattoo on his hip, and he pulled his pants down to his knees — completely exposing himself. Cynthia called the cops. When the man contacted the artist again, Cynthia intervened and told him that because of his “unfortunate choice” they were clearly not the right shop for him. “But I can’t think of any shop that would be the right shop for him. I mean, at least ask first!” she laughs.

“You can’t make friends out of everybody,” she says, “but you tend to. You’re spending a lot of time. They’re uncomfortable. They’re trusting you. There’s that leap of faith — between the idea coming from their brain, to talking to you, to seeing it on paper. And then there’s still that leap between seeing it on paper — because all you’re seeing is an outline — to seeing it all done. It’s trust. It’s a lot of trust. So that’s a little overwhelming sometimes, that people trust you that much.”


Melody Rowell lives in Washington, D.C. She received a B.A. in English Literature & Critical Theory from William Jewell College and an M.A. in Nonfiction Writing from The Johns Hopkins University.