Skip to content
  • Start Here
  • About

Style & Serenity

  • I Would Have Been a Bird

    September 1st, 2026

    Sophia wanted to be a mermaid before she wanted almost anything else. Not a swimmer, not a girl who liked to float. A mermaid. She watched The Little Mermaid so many times I could recite the songs from another room without ever meaning to learn them.

    She swam competitively for years, face in the water, breathing on a count. Now she rows for her university. Hours on the water most days, out before the rest of the city is up. She spent all those years moving under the surface. Now she moves across the top of it.

    Then Aria arrived, my brother’s daughter, eleven years behind her, wanting the same thing. Nine now. She goes into the water like she’s been invited, straight in, no testing the temperature with one foot first. Dives, comes up laughing, goes back down. Whatever is happening under there is better than whatever is happening up here and she wants all of it.

    I painted Aria when she was smaller. Bent over the surface with her hair pulled up and loose strands falling forward, looking down at something I didn’t paint in. I gave her a tail the color of oceans I’ve actually stood in front of, not cartoon teal, blue going green going blue again, the color of water that’s actually cold. I didn’t give her a face. I couldn’t get it right, and then I understood why. She wasn’t supposed to be looking back at me.

    It took me a while to see that the girl in the painting could have been either of them.

    The tail is only the equipment. What they want is what the water does to you: no weight, no edges, every direction available at once. Nobody actually wants to be a fish. They want to move the way a fish moves.

    Mine was always a bird. Not the feathers. The flight.

    I’ve been drawing and painting as long as I can remember, mostly on paper, long before either of them existed. When Sophia was five or six I signed her up for an art class with Katayoon, and it turned out Katayoon taught adults too. I was home with her every day and I wanted to keep making things. So I took it. Fifteen years later I still go.

    That’s where I get what they get in the water. It’s the only thing that gets me out of my own head. Nothing holding me down, no right direction, nothing waiting on the other side of it. I can put a color down and be wrong and go somewhere else with it. It’s why there’s a painting of a girl with a tail at all. I wasn’t only painting her. I was doing the same thing she was.

    Nobody arranged it. Both of them went for the water before anybody taught them to swim.

    Tell me what does it for you. Water, a canvas, a road, a kitchen at six in the morning. I want to know what yours is.

    My teacher is Katayoon Moghaddam-Soroush, @katayoonarts, who taught my daughter before she taught me and who has become one of my dearest friends. She runs classes, workshops, and camps on Long Island for all ages. If you’ve ever wanted to pick up a brush, find her.

    • Share on X (Opens in new window) X
    • Share on Facebook (Opens in new window) Facebook
    • Email a link to a friend (Opens in new window) Email
    • Share on Reddit (Opens in new window) Reddit
    • Share on Pinterest (Opens in new window) Pinterest
    • Share on WhatsApp (Opens in new window) WhatsApp

    Like this:

    Like Loading…
  • I Don’t Think She Misses Us the Way We Miss Her

    August 25th, 2026

    Her mattress never made it to her room. The mailroom turned it away, and FedEx took it back to the warehouse. The bed frame they accepted, in a box too big for her cubby, so the front desk propped it sideways against the wall behind them. She told us this on the phone, half laughing, half not knowing what to do about it.

    We hadn’t seen her in six weeks. She’d been abroad all summer, home for two of them, then straight to Boston for her internship. The mattress was still sitting at the warehouse. She said she’d get it in an Uber, that people do it all the time. So we drove down. We’d have driven down for less.

    Her dad carried it up and spent Saturday afternoon on her floor with an Allen wrench, working the frame together bolt by bolt.

    We took her to dinner that night, brunch again the next day. She told us stories about people we’d never met like we already knew them. About her job. About the next co-op she’s already applying for, though she hasn’t finished this one. For those two days it felt almost like she’d never left.

    Then we drove home, and the house was quiet the way it’s been quiet since she left, except now it was quiet with the specific shape of her missing from it.

    I don’t think she misses us the way we miss her. It’s what’s supposed to happen. She has three roommates she loves, a schedule, a city that’s hers now, a life that doesn’t run through checking in with her mother every day. It shouldn’t. But I miss her in the ordinary hours. Cooking for two instead of three. Passing her room and seeing the door open onto nothing.

    My husband says her new bed is too soft but that’s the way she likes it, roomy and cozy.

    An unmade bed with cream bedding and a fur throw, beside a window looking onto trees in a college dorm room

    I think about that bed more than I probably should. That it’s holding her up at night in a city we don’t live in, in a room we only saw for two days, put together by the same hands that used to build blanket forts for her in the living room.

    • Share on X (Opens in new window) X
    • Share on Facebook (Opens in new window) Facebook
    • Email a link to a friend (Opens in new window) Email
    • Share on Reddit (Opens in new window) Reddit
    • Share on Pinterest (Opens in new window) Pinterest
    • Share on WhatsApp (Opens in new window) WhatsApp

    Like this:

    Like Loading…
  • You Have to Be Looking

    August 18th, 2026

    Some mornings the news alone could make you give up on people. Gaza. The Epstein files. Wars nobody’s pretending will end. Whole days of evidence that we are not what we’d like to think we are.

    Then my neighbor shows up at the door with something she made, because she remembered that I like it. My pharmacist says my name and smiles like she means it. A stranger holds a door two extra seconds so I don’t have to rush. A friend turns up with flowers for no reason at all, just because she thought I needed them. A child waves at me from a car window like we already know each other. A baby catches my eye in line at the store and grins, nothing to gain.

    None of that fixes anything. It just keeps happening anyway.

    There’s a poem for this, Danusha Laméris’s “Small Kindnesses.” She doesn’t argue that people are good. She just lists the things we do to keep from making each other’s day harder, the courtesies so small you’d never think to thank anyone for them properly, because they’re over before you register them.

    Her line: “Mostly, we don’t want to harm each other.”

    That’s it. That’s the whole case. Not that people are good, exactly. Just that most of us, most of the time, given the choice, go out of our way not to hurt the person next to us. My neighbor. My pharmacist. The stranger at the door.

    Laméris calls these moments “fleeting temples we make together.” I like that better than any argument I could make myself. It doesn’t ask you to believe the world is fine. It just says: look, here’s one more, and another, right where you weren’t looking.

    Her point is that there’s so little of each other left now, that we’re a long way from tribe and fire, and these brief exchanges are most of what we get. Maybe that’s why the small stuff carries more than it should. A held door. A pharmacist who knows your name. A friend who shows up on the day she knows is hard.

    It’s not enough. It was never going to be enough.

    It just keeps happening anyway. You have to be looking.

    Read the full poem here: https://poets.org/poem/small-kindnesses

    • Share on X (Opens in new window) X
    • Share on Facebook (Opens in new window) Facebook
    • Email a link to a friend (Opens in new window) Email
    • Share on Reddit (Opens in new window) Reddit
    • Share on Pinterest (Opens in new window) Pinterest
    • Share on WhatsApp (Opens in new window) WhatsApp

    Like this:

    Like Loading…
  • Cape May, August

    August 11th, 2026

    On the third day I look down the length of the porch and all of us are in the rocking chairs. My sister, my brother, his wife, my husband, the kids. Nobody planned it. We got to the restaurant early and everyone drifted onto the porch, and now we’re rocking at slightly different speeds, watching traffic go by on Beach Avenue, not saying much. My niece has a book open and a snack in her lap and hasn’t turned a page in ten minutes.

    Nobody’s working. Nobody’s leaving early. There’s no reason to be anywhere else and nothing waiting to be gotten back to, which is rarer than it should be. Four days with nothing to do but be together.

    We go Thursday to Sunday. My brother’s birthday is what gets us there.

    The kids set the schedule and the schedule never changes. Ocean in the morning, boogie boards, both of them coming out of the water with their hair flat to their heads. Then the pool. Then dinner outside at a long table, too many plastic carafes, everyone sunburnt and slow. Then ice cream. Then the same thing tomorrow. She’s nine and he’s twelve, which means this version of them has maybe one more summer in it.

    My brother’s birthday falls in the first week of August. My father died on the first of August, nine years ago. My mother died that December.

    My brother was closest to her. He takes that week harder than the rest of us and I don’t think he’d ever say it out loud. That’s most of why we go. A few years of nobody celebrating anything, then Cape May, and now it’s a thing we do, and he spends his birthday surrounded instead of alone with it.

    There are four of us and four versions of every story from growing up. Who said what, who started it, what year it happened. We still argue, and we used to argue with real heat. I’ve relaxed about being right, which took me longer than it should have, and now I mostly enjoy listening to three people be wrong about something I was clearly present for.

    All four of us thought of our mother as our best friend. Each one of us certain, each one with evidence.

    She and my father taught us that family comes first and then made it literal. We were always with our cousins. Vacations, weekends, holidays, the whole calendar. Their friends were family too, and some of them still turn up in our lives. I grew up with cousins who were closer to me than siblings, and that wasn’t luck. It was two people arranging it on purpose for years. That’s the part I want handed down. Not the beach. The habit of being around each other.

    Sophia wasn’t with us this year, the first time. She’s twenty, in Boston, working a co-op through Northeastern in a job that’s entirely spreadsheets. I called her from the beach. I sent her pictures all weekend, the ocean, the ice cream, her dad relaxing under the sun, whether she asked for them or not.

    That’s what you do with the people who aren’t in the room. You keep aiming things at them.

    I’d been thinking about my parents the whole drive down. I was listening to Tara Swart’s book about signs, which says you ask for something specific and then you pay attention. Somewhere on the drive I asked.

    After my mother died I kept seeing 11:11 everywhere, so that’s what I asked her for first. Then a feather. Then an eagle.

    I got 11:11 twice. Then a seagull feather at my feet as I walked off the beach.

    The eagle took longer, and my niece knew about all of it. She kept asking me when we’d see it. Not humoring me. Asking the way you ask about something you’ve signed on for. Some version of that question every day.

    On Sunday we left in two cars, them in theirs and us in ours. I saw an eagle on the back of a mail truck and texted my sister-in-law. A few seconds later she texted back. The kids had just spotted a blow-up bald eagle.

    Two roads, same minute.

    She’s nine and she’s already keeping watch. Nobody sat her down and taught her that. She was on the porch while the adults told stories about people she barely remembers, and she picked up the habit of looking.

    That’s what we’re doing in Cape May. The beach is real and the ice cream is real, and underneath it something quieter is being handed over. I didn’t know it was moving until she started asking me when.

    • Share on X (Opens in new window) X
    • Share on Facebook (Opens in new window) Facebook
    • Email a link to a friend (Opens in new window) Email
    • Share on Reddit (Opens in new window) Reddit
    • Share on Pinterest (Opens in new window) Pinterest
    • Share on WhatsApp (Opens in new window) WhatsApp

    Like this:

    Like Loading…
  • Meditation With a Paintbrush

    August 4th, 2026

    My mind runs. Lists. A conversation from four days ago replayed with my side improved. Plans nobody has agreed to yet. If your mind is endlessly going like mine does, you know that “just relax” is advice from someone whose mind isn’t.

    I meditate, and it works. Sit, breathe, let the noise settle. I keep doing it.

    What I didn’t know is that there’s more than one door into that room.

    I’ve painted in acrylic for over ten years. Less than a year ago I switched to oil, and I did it to make things harder on myself. Ten years is long enough to get comfortable. I wanted a medium that would take something out of me.

    It has. I just didn’t expect it to give this back.

    I finished my second oil last week. A beach at sunset, sea grass bending in the wind, footprints going down to the water. I worked from a photo I found. My husband and I love the ocean, so any beach would have done. This one had the sky I wanted.

    The switch is what changed it. Acrylic dries while you’re still deciding. You mix a color, and by the time it’s on the canvas it’s already drifting somewhere darker than what you mixed, so you’re always working a step behind yourself. Oil stays wet for days. The color you mix is the color that stays. You can push a cloud around, walk away, come back the next morning and move it again, or scrape the whole section off and start it over.

    I didn’t expect that to matter as much as it does.

    Here’s what happens now when I paint. The brush is on the canvas and then it isn’t, and I load it again, and the whole of me is inside one small decision about whether this cloud is dark enough yet. That’s it. That’s the entire contents of my head. Is it dark enough yet.

    No list running underneath. Nothing waiting for a reply.

    I look up and two hours are gone and I couldn’t tell you what I thought about, because I wasn’t thinking. I was mixing a color, getting it wrong, and mixing it again.

    The sky took the longest. All that weather sitting low and heavy, the sun behind it, the light having to find its way through the gaps. In acrylic I’d have had one pass at it. In oil I got to keep asking.

    It’s the same quiet I get from sitting and breathing. It arrives by a different road, that’s all. I don’t have to be still to get there. My hands are busy and my shoulders come down anyway, and I don’t notice it happening until I stop.

    That surprised me. I’d been treating stillness as the price of admission.

    I gave the painting to my husband for our anniversary and it’s going up in his office. He works with patients all day in a room without much of a view. I wanted something on that wall worth looking at, for him and for whoever’s across from him having a hard day.

    And I’m proud of it. It isn’t perfect and I’m still learning, and I’m proud of it anyway. I painted a sky I like.

    I’m not doing any of this alone. My teacher is Katayoon Moghaddam-Soroush, and she’s the reason the switch to oil didn’t beat me in the first month. She makes the impossible feel learnable, which is a rarer thing in a teacher than it sounds, and somewhere in the last few years she became one of my closest friends. She teaches classes, workshops, and camps on Long Island, all ages, all levels. If any of this is tugging at you, she’s where I’d send you.

    If your head doesn’t stop, don’t go looking for the quiet. Go looking for the thing small enough to hold all of you. One cloud. One row of stitches. One line of a song you’re learning badly. The quiet comes in behind it.

    Mine turned out to be a brush. I wouldn’t have guessed.

    Find Katayoon on Instagram at @katayoonarts.

    • Share on X (Opens in new window) X
    • Share on Facebook (Opens in new window) Facebook
    • Email a link to a friend (Opens in new window) Email
    • Share on Reddit (Opens in new window) Reddit
    • Share on Pinterest (Opens in new window) Pinterest
    • Share on WhatsApp (Opens in new window) WhatsApp

    Like this:

    Like Loading…
1 2 3 … 34
Next Page→

Proudly powered by WordPress

Loading Comments...
%d