![]() ![]() ![]() Under John’s guidance, I re-wrote the entire piece at least four times. I urged audiences to support daring work and choreographers to take risks with bodies and space the way I had witnessed choreographers like Trisha Brown doing in New York. I had a theory, which was that dance in Atlanta was primitive compared to dance in New York because it was held back by the dominance of the Atlanta Ballet and a conservative attitude toward arts in the city. My strategy for examining modern dance was to interview my friends, who danced with me a in a small troupe called The Dance Group, also now defunct. That photographer disappeared without a trace-I thought-until I Googled him and found that old article posted on his website. ![]() A viewer can see a window behind me, a bookshelf, dictionary, back of a desk lamp, notebooks-hard edges framing the curves of my arches and waves in my hair. In every house in which I’ve lived since, I hang in my work space a black-and-white portrait of me with my feet up on my graduate school desk taken by one of those photographers. My last assignment for Brown’s Guide had been a piece on Southern photographers for which I had driven around Georgia, Alabama, Kentucky, Tennessee and North Carolina identifying little-known photographers and characterizing each one in an epigraph followed by a paragraph and examples of each photographer’s work. I don’t remember what samples I showed him, no doubt several pieces from a now-defunct magazine called Brown’s Guide to Georgia, where I had envisioned writing travel articles as literary essays. He had just arrived at The Atlanta Journal-Constitution Sunday Magazine from The Chicago Reader. Bless his heart: he was a patient soul and young, though I was younger still. ![]()
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