This is the third in a series of interviews with Joan Gregory.
I met Joan in a course I was taking. One day she happened to bring her journal to class which was filled with quotes, drawings, and collage as well as writing and notes. Several of us were interested enough that she agreed to do a short workshop for us before the class started one day. In the workshop we learned how to make a simple book and how to work with special papers and decorative elements. I loved it and asked her to talk to me more about this type of work, Art Journaling.
Once the change to a more visual form happened, and you began laying out journal pages and fitting the writing into the space rather than writing and fitting the images into the space, how did your work develop?
 Initially I would write and then add an image or highlight a passage with color. Then, as I mentioned, I would prepare pages ahead of time so I could just fill in the blanks later with writing, but now I’ll go back and forth between the two approaches. You never want to get to a place where you‘re not writing (and I have been there) because you haven’t got a visually attractive page ready yet. I think it’s important to know that you can always go back to a page at a later date and add ‘stuff’.
Often I’ll formulate the page as I write. It has reached the point where I can visually map out a page, like a puzzle, ahead of time and write in some boxes leaving room in alternate boxes for images or text. For example, if I transcribe a poem and it mentions birds, I would know to look for a bird image. Once you start this kind of thing it takes on a life of its own and any rules you thought you had fly out the window. Your imagination soars. In other words, the layouts develop through trial and error and lots of practice. It’s really a very intuitive process and something anyone with the willingness to spend the time at will get the hang of.
How do you suggest someone start becoming more visual?
Each person will bring their own unique signature to the page. Adopt a magpie point of view; begin collecting whatever catches your eye, images and articles from magazines, cards, wrapping paper, etc., then start. Get a shallow box, lids work well, trays do too, or a file folder and add to it as you find things.
 To get you thinking differently about the white page, try sectioning it off into quadrants changing the size of each ‘box’ for interest’s sake. Write in one, color one or two, draw or add images to the other. Use rubber stamps to add an individual graphic or an allover background pattern. Take several pieces of your favorite papers, rip or cut them and paste them onto the page. Embellish with rub on transfers which are still a favorite of mine and can be found at any shop that carries scrapbooking supplies.
A good graphics book, something like The Non-Designer’s Design Book – Design and Typographic Principles for the Visual Novice by Robin Williams or The Graphic DESIGN Cookbook – Mix + Match Recipes for Faster, Better Layouts by Koren and Meckler are two I like that will give you infinite possibilities for laying out a page, or look in any magazine for a design you like. No need re-inventing the wheel! I keep a binder of magazine layouts for ideas.
For inspiration I keep my favorite colored pens, a tray of alphabet stickers, transfers and quotes nearby so I can include them on the page. I had placed a quote vertically before and liked the look of it, it broke up the horizontal repetitiveness so then that became a design element for future pages.
So it seems part of this is simply getting to the place where you are willing to play and explore?
Absolutely. Enjoy it. I recently listened to Clarissa Pinkola Estes, the wonderful cantedora (storyteller) on a webinar program hosted by Sounds True who sagely said, “Perfection is the enemy of done.” I love that! When you’re a child playing and having an adventure you’re not thinking, “Am I doing this perfectly?” So don’t be critical of your work, just do it and keep going, being mindful that what you’re creating is for you, it’s your personal style. It’s about what you love, what you find beautiful, what you are interested in.
What kinds of things have you learned as you’ve explored?
One of the things I noticed was that by adding papers, tags and other items to a commercial journal the pages of the book became thicker; it expanded and would no longer lay flat. To prevent this from happening I learned to remove some pages ahead of time. As a result of the technical concerns, I began taking an interest in bookbinding and how to make a book from scratch, specifically for art journaling. I have taken several courses and now have more options for the overall design of the journal. I can determine the size of it, what kind of paper(s) to use and how I want to bind it.
Something else I started doing fairly early on was choosing a theme for the journal. My second journal began as a Gratitude journal, the third was a Water/Ocean journal, the fourth was titled, “On the Wing” – a journal inspired by birds, insects and angels… and so on. It is yet another way to be creative. It also helps to define what you are going to collect for paper and graphics.
Can you tell us more about how you use ephemera in your journals?
The definition of ephemera is “something short-lived or transitory, especially all types of paper documents, printed and handwritten, produced for a specific purpose and intended for disposal”. Some examples are telephone book pages, wrapping paper, greeting cards, post cards, cancelled postage stamps, advertising, transportation tickets, parking tickets, concert tickets, bills, newspapers, last month’s horoscope, tourist brochures, gift tags, transfers, notices, candy wrappers, food labels, wine labels, and shipping labels.
Any of these bits and pieces can help jump start your writing. Reach into your stash of ephemera, don’t even look at what you are pulling out; paste it in your book and create a story around it. Or document your day using the items you’ve collected while out and about. On a holiday last year, I visited a café called Insomnia. I kept one of the long tubular sugar packages with their name on it and am saving it for a journal entry when I can’t get to sleep.
I once did an entire journal using tea ephemera as inspiration. I had collected a lot of paper tags off of tea bags and tea bag packages and by adding definitions and descriptions of different types of tea, quotes about the drinking of tea, etc. I ended up with a sixty page journal!
There’s no reason to be stuck for ideas.
But, what do you do if you do feel stuck?
If it’s the art angle that you are stuck on and not feeling particularly creative simply choose an image, some patterned paper and a quote and glue them to your page. Now choose two coordinating colored pens and begin writing!
For me it’s not so much being stuck as being distracted. If I don’t commit to journaling first thing in the morning, sitting and writing while I have my first cup of coffee, if I start with email or something else, then the moment’s passed and I may not be able to get back to it that day. Pick a time that will work for you and then commit to it. You must believe that what you want to write is valuable and a worthwhile use of your time.
Try not to have an expectation of producing a whole page every day. Sometimes I’ll just have a date; it’s not that I’ve had nothing to write about, the date still marks what happened. It says, “Oh look, she’s distracted again!”
When it goes beyond distraction and I am really feeling like there’s no movement I’ll explore that. I’ll question why I’m feeling that way and write what comes up. There’s always something lying just beneath the surface. I see it as a great opportunity to use the journal process for one of its strongest benefits – guidance. This type of writing helps discern causes and solutions for these ‘stuck’ feelings.
“There’s such a pleasure each morning in getting to the desk, then sitting down in front of the old white page and waiting for something. It’s a very exciting life to put yourself in the way of visitation”. – John O’Donohue
Next time: Shaping the work and special journals.
Journaling with Words and Images
The second in a series of interviews with Joan Gregory about Art Journaling
 I met Joan in a course I was taking. One day she happened to bring her journal to class which was filled with quotes, drawings, and collage as well as writing and notes. Several of us were interested enough that she agreed to do a short workshop for us before the class started one day. In the workshop we learned how to make a simple book and how to work with special papers and decorative elements. I loved it and asked her to talk to me more about this type of work, Art Journaling.
For many of us, making a commitment to journal is the hardest part. I know I have an assortment of journals that I would write in for awhile and then abandon for long periods of time. How did you move from not journaling to art journaling on a regular basis?
Here’s a quote from my journal that I went back and underlined.
“Journaling is something that you should do every day, whether you just glue, gather stuff or organize material…” taken from Somerset Studio’s 2004 Art Journal Calendar
I added the comment, “And I know I can do that stuff”. That gave me some direction and permission to work in different ways and the insight that collecting and gathering things was as valuable as the actual assembly or writing. I understood that these were things I was capable of doing that could lead me to where I wanted to go with the art journaling. In fact I had been doing it for years, collecting images and quotes, etc. Even to write one has to be an observer, a collector and gatherer of impressions. A bit of breathing space between entries is often necessary. So I moved forward from writing to art with writing by not loosing heart and giving up too soon, and by contributing to the journal in a different way when I wasn’t actually writing. This kept me moving forward.
As I look at the evolution of your journal I see that you began adding stickers, highlighting some text in color, adding pieces of other paper that you’ve printed on, and pictures of collages or work that others have done where you had a response.
I started adding quotes to encourage myself about nine entries into my first journal. Here’s the first
“It is never too late to be what you might have been.” – George Eliot
I began in earnest to decorate the pages by gluing favorite papers and clippings and found that on some days I was more inclined to be visually creative and not write at all. As it turned out it became part of my process, the way it worked for me. It’s often difficult to find time to do both art and writing in the same sitting so allowing several days for the preparation of arty backgrounds is great fun. Then the journal’s good to go for the times you just want to write.
Can you talk a bit more about the transition from “words with art” to “art with words”?
 Sure, there is a really obvious turning point in my first journal, on the page and in my mind. It occurs on the fourteenth entry. I had been leaving blank spaces so I could go back and add something to the page, and realized that I didn’t enjoy working on blank white pages at all. For a lot of people the blank page is intimidating, it almost questions your ability to place anything significant on it. So I realized that by adding color or an image it instantly became more inviting and accepting to words.
During a trip to Calgary in 2004 I had picked up a copy of the September/October issue of City Palate, a locally produced free publication dedicated to the Calgary food scene; the cover was a beautiful fall pastel painting with the caption “digging up the harvest” (in hindsight a perfect synchronistic phrase for the journey I was embarking on). I covered my whole journal page with it and wrote over the top of it. I’d never read anything specifically about art journaling, hadn’t even known such a thing existed but right away the application of color made a huge impact. After that page the images and color become dominant, and I begin to write in the spaces provided by the composition. Up until this time I felt that I’d been dabbling, but after that I felt committed. No more shy little pieces of paper or drawings scattered here and there. I committed to the whole page. In the journal I comment, “I want something more adventurous, more spirited, more lively.” And of course, I am not just talking about the journal. For the first time I saw myself as creating the art as opposed to pasting it in.
I can see that in the beginning you are mostly writing, and then it changes, and it almost seems that what you are reflecting on changes as you add more images. Are you working with a process?
 Actually, the process was working me. In the beginning I was really trying to find a form, some kind of venue for expression and that naturally evolves over time and with continued effort. You might refer to the extras that I started including on the pages as ‘visual aids’ for they guide you often into writing about something you may not have planned for that day. These entries become the happy and revealing accidents. For example a photograph of autumn leaves may inspire a memory of a childhood Thanksgiving or the photo of a recently read book jacket recalls something to mind that the author wrote that resonated with you. Even placing a quote in a ready-made box created by your use of attached images can be a jumping off point for your writing. By writing and doing ‘art’ in this manner I committed to the journal process, whether I realized it or not.
Another thing I did that I’ve carried forward is this; I usually read at night, and then anything that strikes me from my reading, I’ll journal about the following morning. I’ll record a sentence or a paragraph and then comment on why that has meaning for me at this time in my life, maybe explain something similar that I’ve experienced recently. Then I’ll surprise even myself because a thought I’ve never had suddenly occurs to me. So I write about that too!
Are you able to become more conscious of patterns that may have been unconscious when you first journal them?
Exactly. These entries start weaving into the fabric of who you are, what matters to you and why, what nurtures you and gives your life substance and meaning. You are mapping your life, giving yourself a means to connect the dots over time and look at the bigger picture of your journey.
Who are you writing to? Does it sometimes feel as though you are writing to a future self, or offering comfort to a past self?
You are writing to your soul; having a soul conversation. It does sometimes feel as if there are lost pieces of yourself that you recover, that you can see your past actions in a new and more gentle light. Also, you are writing down your aspirations, your hopes and dreams, as well as your doubts and fears. Sometimes you don’t know what you want until you write it down, or more likely, what you don’t want. You are writing your way into your life. The entries become like a snapshot of a particular time. When you go back to your journals, it helps you to see who you’ve become. It becomes another way of acknowledging yourself and honoring your ‘work’.
An interesting exercise would be to pretend you are a stranger finding a journal (yours) and reading about your life. What do you notice most about this person? What questions would you like to ask her/him? Or pretend you are that future self and looking back from the vantage point of years of well-earned wisdom. What kind of conversation might you have with your younger self?
When you journal, you journal alone, even though there may be someone else in the room. Your interaction is with your experience, and with the materials you’ve gathered. What happens when you talk to someone, as we’re doing now, about this private experience?
 It’s the concept of the third person. When two people talk, there’s a third presence that’s added to the conversation, and an awareness that’s different. There are possibilities that open up in dialogue, whether you are dialoging with your own experience on the page, or in dialogue with another about journaling. An interesting sidebar here is that the administrative headquarters for Ira Progoff’s materials on the Intensive Journal Process is called Dialogue House.
Journaling is the excavation of yourself and your experience. It’s a bit of a paradox because as you put down different layers of experience you also have the chance of exploring what’s underneath them. The journal can be a place to explore and experiment, and as I look back I can see that’s what I have been doing.
In terms of privacy it is important to begin journaling with the understanding that it is always your choice to share what you’ve written or not. After all, these are your words, your thoughts, your experience. If you find yourself writing with a view to sharing what you write in your journal, then the authenticity of the writing you are doing for your soul may be compromised; how you write changes with the audience, just as how you speak changes with the audience.
This doesn’t mean you’ll never choose to let others see your journals. Usually after a certain period of time has lapsed, and you have grown you’ll become less attached to what you wrote three or six or so years ago.
If you can approach your journal without expectation, without demanding you produce the Book of Kells or worrying about the profundity of your thoughts, it will go better. The benefits come from a longer process. It’s about keeping going and being open to the unexpected. This unexpected quality is one of the true gifts of journaling. You find yourself writing something you never thought you knew. Again, you are uncovering new information, new sources for yourself. It’s as if something comes toward you as you are writing, is drawn to you by your writing. When you are in transition, writing down what you want to move toward can help set the stage for developments in the future. It can also inspire synchronistic support.
You mentioned that because we were going to have this conversation you looked back over your early journals. What’s that been like?
 It’s been very encouraging. I go back to those journals and see the underlying need to find purpose and make sense of things in my world; I also see the uncertainty and doubts. Some of the questions and the concerns are similar to what I currently write about and I have moments where I wonder if anything has changed at all over the years. Yet it has. I am standing in a different place now. I see that person as someone who was just beginning to make a conscious choice to acknowledge an inner life as being instrumental in having an effective outer life. She was someone who didn’t yet grasp the power of keeping a journal as a form of guidance but was aware enough to want to commit to documenting her unfolding life. All lives unfold but unless you have an exceptional memory and can relive past feelings accurately, it’s difficult to pinpoint growth unless it is written somewhere. It’s like reading a letter you wrote from long ago and a memory you thought you’d lost is found. But you needed the letter to trigger the memory. Journal writing is such a trigger. They are the letters you write to yourself.
I can also see that I’ve become more compassionate toward myself and less attached to “the struggle” knowing that things change and life is moving you forward despite your best efforts to stay ‘stuck’. Those ‘stuck’ places I thought I was in were simply stepping stones and as beneficial as the so called unstuck places. I could liken it to the collecting of papers and images, they may not be producing something tangible as in a finished art piece, but as I said earlier, they are just as valuable. I’ve learned to place more worth on the “being” of who I am rather than only on the “doing”.
Next time: Art with Words
Journaling with Words and Images
The first in a series of interviews with Joan Gregory about Art Journaling
 Handmade Journals I met Joan in a course I was taking. One day she happened to bring her journal, which was filled with quotes, drawings, and collage as well as writing and notes. Several of us were interested enough that she agreed to do a short workshop for us before the class started one day. In the workshop we learned how to make a simple book and how to work with special papers and decorative elements. I loved it and asked her to talk to me more about this type of work, Art Journaling.
What’s the difference between the dear diary-style we learned as kids, which was all words, and art journaling?
 An early page with colour and image You could look at it as art with writing or writing with art. Some people are more word oriented and start off writing and then add art, and others start off with painting, photographs or art and then add words. Another way of describing the different types of journaling methods could be writing- focused or art-focused. The old adage of a picture is worth a thousand words holds true because the images, drawings or collage that you add to your journal also say something about who you are. In fact the images you choose link you to your intuitive and unconscious self maybe more so than the words you write. The art- focused journal relies on the images to tell the story, but there are no hard and fast rules. It’s good to start without an idea one way or the other. Just begin with whatever focus you are comfortable with and let the process take you. The fewer guidelines you have the more likely you’ll be to enjoy journaling and continue with it.
What if you don’t consider yourself an artist?
You don’t need to be a trained artist to be creative, just like you don’t need to have a Masters in English Literature to keep a journal. Besides, we are all creative beings. Like Rumi says, “Inside you there’s an artist you don’t know about”. What’s needed, as in all endeavors you have an interest in, is not how you do it, whether it be writing or art, but that you do it. Also, I use the word ‘art’ very loosely. If you can use scissors and glue and crayons you can create an art journal! Shelve the inner critic.
How did you get started?
Like any young girl I started with a diary at about eight or nine years old, but even before diaries I think we wrote in autograph books. When I was about twelve and going through adolescent angst I started writing poetry, but the actual journal work that I do now didn’t begin until 2001 after buying Julia Cameron’s book, The Artist’s Way. I started doing morning pages, as she suggests in the book, and did the stream of consciousness kind of writing for several years. I found that I did a lot of complaining, not that there’s anything wrong with that, obviously I felt the need to express myself in that manner and much has been written about why that style of writing is helpful, but the bottom line is that it got me writing daily (for the most part).
I graduated from individual pages to the ‘book’ format in August 2004 when I made a conscious decision to keep a journal. The intention for the book came from The Purpose of Your Life, An Experiential Guide by Carol Adrienne where she suggests that you jot down anything that you overhear, think about, read or see that catches your attention more than usual that day; things that excite, delight, or encourage you or a brief description of someone you admire and why. My goal was to write in the morning and again at the end of the day for a month. Manageable, I thought, but soon enough realized I had been a tad overzealous and guilt became my companion as days would go by with no entries. So I relaxed the criteria. This was the first creative thing I had committed to in a long time. The best news was that I persevered.
How did you choose your first journal?
 When you start it’s important to pick something for your journal that’s pleasing to you. Your words are a gift to yourself and you want to wrap them in something special. What drew me to my first journal were the black and cream graphics, the quality of the paper, and the cover, which encouragingly says, “Notebook – Most advanced quality Gives best writing features”. It reminded me of the scribblers that were handed out at the beginning of each new subject in elementary school. They too were cream and they had a maple leaf on the cover, the times table was on the back. The pages were smooth, they smelled of fresh ink. It was a real sensory experience and there was anticipation and excitement about what I would be learning. This time though the subject would be me. I wanted to treat my writing seriously; I wanted to treat my thoughts with respect. I have kept a journal in books of assorted sizes and shapes since that time. I still struggle with creativity, but I can look back and see how I’ve progressed and grown, both in my writing and how I choose to embellish the pages. The art journal has become an integral part of my journey through this life and a necessary vehicle for self expression.
I’d like to end this segment with a quote from Virginia Woolf, who in her lifetime filled approximately thirty-two notebooks.
“What sort of diary should I like mine to be? Something loose knit and yet not slovenly, so elastic that it will embrace any thing, solemn, slight or beautiful that comes into my mind. I should like it to resemble some deep old desk, or capacious hold-all, in which one flings a mass of odds and ends without looking. I should like to come back, after a year or two, and find that the collection had sorted itself…into a mould, transparent enough to reflect the light of our life.”
Next time: From words with art to art with words.
What Matters Most: Living a More Considered Life by James Hollis, Ph.D. 
On Friday, October 16th James Hollis was in Vancouver lecturing for the Jung Society. He has great questions; the kind that lead you deeper and expand your thinking. He began by telling us that reclaiming personal authority was the task of the second half of life and went on to ask, “What’s your philosophy of discrepancy?”
By that I took him to mean, how do you explain the differences? The differences between where you are and where you thought you’d be? The differences between what happens and what you expected? The differences between what you wanted and what you have? He went on to talk about the importance of self-acceptance and the challenge of finding a way to continue to open to your life so that you can keep your appointment with destiny.
The large audience at Christ Church Cathedral was rapt and involved. A group of us showed up at the Museum of Vancouver the following day to hear more and came away with a better understanding of the importance myth and the need to get to the heart of the archetypal stories that come into play in our daily lives. A considered life brings layers of richness and resonance so that, in the end, our home is our journey and the journey becomes our home.
If you weren’t able to be there, his book covers the material he spoke to in the lectures. It will give you lots to ponder.
 Last week when the late afternoon sun and a breeze turned the leaves, wearing their last burst of intense colour, into drifting magic, Aimee and I went for a walk. One of the things about keeping company with a dog is knowing that you will be outside at least four or five times that day, so even if you get engrossed in your work, your friend’s not going to let you forget that the world is there. This day we escaped for a longer walk. As I watched her investigate a section of leaf-covered lawn with intense interest, her nose touching the leaves and rooting for the grass underneath, the demands of the day fell away. We stood together on a carpet of gold and red leaves with the wind shaking more down around us. It was quiet, except for the breeze rustling the leaves, and the distant bark of another dog. Nothing to do but breathe, and swim in colour.
 Last January I became a mentor for Connect to Success, the Vancouver YWCA program that serves women who are entering or re-entering the workforce in a professional or skilled field, or who are underemployed and looking for more meaningful employment. I’ve thoroughly enjoyed the process and look forward to being a mentor again.
If you know someone who would benefit from the program, mentee information sessions for this season are Tuesday September 15th from 10:00 to 11:00 am, Monday, September 28th from 2:00 to 3:00 pm, and Wednesday, October 14th from 10:00 to 11:00 am. The sessions will be held at the YWCA Vancouver, 535 Hornby St., Vancouver (4th Floor). Pre-registration is required, so interested mentees are asked to connect to the program at connect@ywcajobseeker.org/connect2success or call 604-895-5858 for more information.
Mentors are professional women from a variety of fields (business, education, health, science, arts, social science and more) who meet with their mentee each month to share insights and experience, helping them transition into and succeed in the workforce. Matches last from 3 to 6 months with an average time commitment of 3 to 6 hours per month (includes in-person meetings, phone calls, and emails).
If you are interested in being a mentor you can find out more at www.ywcavan.org/connect2success or call Darcie Gabruck, Program Manager at 604-895-5857.
Here’s a question for you. How do you think small businesses will need to change to meet the challenges of tomorrow, and by the way, what does your crystal ball show for those challenges?
I’ve been acting as a Workplace Design Consultant on Tomorrow’s Workplace, a project sponsored by the Surrey Board of Trade. The project hopes to discover what can help good small businesses handle the challenges of the future and move toward being a great small business in the process.
When the project began we really didn’t have a clear idea of what might be needed, but as we’ve moved forward with the businesses in the pilot (one is an engineering firm, one a lumber products company and one sells promotional products for events and a wide variety of other uses) we’ve discovered some common themes even though the business activity differs greatly from business to business.
1. It is more important than ever to be focused and clear about the business you are in and who you are as a brand.
2. Building alliances with other businesses and with the community helps both the business and the community.
3. Learning how to communicate well in the midst of change is a core competency.
The project website has information on the project process and insights, podcasts from team members and more. Here’s the link: http://www.tomorrowsworkplace.net/
I am the kind of person that likes to share my discoveries with someone (the sort that reads good bits from the book she’s reading aloud).
For years I was a member of a management team, and got used to being able to chat for a minute or two during a break, or coming back from making copies.
Now I work as an independent consultant so there are no colleagues down the hall, and the break concept doesn’t really translate. You could say the inspiration for this blog was the need for a virtual break room to share news and ideas, ask questions and just find out what’s going on.
Welcome. I hope you find your visit refreshing.
 Reimagining Work, Self and Relationship by David Whyte
David Whyte’s earlier book, The Heart Aroused, is a favourite of mine so I looked forward to reading this one, published in January 2009.
In it he gives us a new take on work-life balance, writing about the way most approaches to this elusive quality lead us to two undo-able and often opposing agendas (of course it’s not meant to happen that way, but I agree, it’s pretty much what happens). Instead he looks at our longing to meet both personal and work demands and says it’s really more like a three-strand rope to weave than something to balance.
Work, relationship and self are intertwined and need to be understood that way rather than as separate areas competing for our attention and time.
He’s a good story teller and illustrates this perspective by exploring the lives of some great writers (Dante, Jane Austen, Robert Louis Stevenson) and the way their commitment to work, self and relationship informed their lives and work. It’s a poet’s call to go after the deeper satisfaction you seek in your life together with meaningful direction on accomplishing this; the writing is lovely and persuasive.
 Today I had an early morning leadership training session for a client, so woke at 5:00 AM, about two hours before I am usually ready to give up sleeping. It was still dark, and hard to get moving until the light began to show. Aimee the West Highland Terrier and I emerged for her morning walk about 6:00.
The day was still cool, fresh and still. While Aimee sniffed the air I watched the early shift at VGH park their cars and head toward the hospital. Some strode purposefully along while others strolled and stopped to smile at Aimee. A woman came by with golf clubs slung over her shoulder and waited on the corner for her golfing buddy to come by and pick her up. A woman in black running shorts and a red tank jogged by, her hair pulled back from her face in a pony tail that bounced with each step; she gave us a quick smile then focused on the distance.
There was a kind of camaraderie on the street; it was a lovely morning and we were all up to enjoy it before most of the city. There was more activity at this early hour than when I usually took Aimee for her walk a bit later. On fine summer days in the city, the early morning is the time to enjoy before the sizzle of the day’s events and temperature take over.
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