Chuck Stewart’s photography provided by Fireball Entertainment Group, courtesy of Chuck Stewart Photographs of John Coltrane, Archives Center, National Museum of American History, Smithsonian Institution
Down a dirt lane, I park under a pine grove. I spot the old man I’m looking for standing beside the front door of a small white home, dressed in charcoal slacks, braided belt, and red suspenders over a pin-striped dress shirt, snow-white hair slicked back. He gazes with shiny, vacant eyes at the treetops, as if he has just stepped outside to smoke a cigarette, only he has no cigarettes. The last chief of the Apalachee beckons me in.
Once you could sit in a boat right over the spring source, hemisphere of sky above, hemisphere of water below, and it would be as if you hung suspended between the elements inside a perfect globe of morning-glory blue. Once, but not now, not anymore.
A self-mythologizing takes place when we assimilate the stories of our ancestors into our own—it’s automatic. We tell ourselves that their triumphs have somehow entered our bloodstream. We’re not descendants, we think; we’re heirs—heirs to intangible qualities (ambition, brilliance, endurance) through the fact of a thoroughly diluted blood tie.
Yell If You Think You Might Be Sinking by Taylor Finke examines the homes of women—including Finke’s mother—with whom the photographer has lived. Never quite at home in these places, Finke uses the settings to examine her own ideas about space and domesticity.