This all started after my husband’s beloved mother died mid-September 2013. His niece graciously arranged for us to stay in a three story condo in Cape Charles, on the Eastern Shore of Virginia. The condo was wonderfully decorated to represent an oceanic theme—huge seashells, pictured images of magnificent sea creatures, and sea ornaments, purposefully arranged to reflect life in the nearby Chesapeake Bay and Atlantic Ocean. However, with all the wonderful décor, there was one piece in particular that captured my attention. It was a framed painting of a mermaid displayed in the master bedroom, titled Metamorphosis by Sheila Wolk. Her beauty captivated me to the point where I couldn’t take my eyes off of her.
A few days following the funeral, we returned home to Louisiana. I desperately missed the ocean beauty that had mesmerized me. I had to have this mermaid poster. When I found her online, I purchased two of them—I wanted my brother in SC to share in my discovery. I was surprised by his reaction when he received my gift. He expressed how beautiful she was, but toward the end of our discussion on where we would display her, he said, “I wish she was black.” I agreed with him—in my heart and soul, I wanted to see what she would look like with a brown complexion. For days I wondered why something of such extraordinary beauty could not possess our dark skin color and still maintain her perfection. My thoughts made me feel guilty. Surely, I was not a racist for wanting to see this image in darker skin. The mermaid was beautiful just as she was, why then should I want to see her any differently?
As the days passed, I contemplated having her framed and mounted on my wall. But this would prove to be very expensive as the print was 266” x 375” which also left the question of where I would place such a large piece in my home that boasted African-American historical art throughout. A huge painting of The Buffalo Soldiers’ March on Fort Sumter was displayed over the fireplace, The Civil Rights icon, Rosa Parks was displayed on an adjacent corner wall, and other smaller figurines representative of African-American culture were displayed throughout my home.
To my regret, I could not hang this beautiful sea creature up without disrupting my historical theme. I had to put her away until I could figure out how to incorporate her display. Meanwhile, I could not stop thinking about mermaids—in particular, Black mermaids. I recall that I had never really seen a black mermaid in literature. I decided to do a search on Google ™ and low and behold, there they were—lots of beautiful images. However, when I searched local libraries and bookstores, I discovered very few, if any, in children’s or adult literature—that is very few Black mermaids.
During the summer break of 2014, I decided to try my hand at painting. I wanted to paint my own version of the beautiful mermaid that had captured my heart on the Eastern Shore of Virginia. She was perfectly fine as I drew her void of color onto paper. The problem for me started when I applied brown paint to her face. I absolutely hated it. She was ugly to me and completely destroyed what I’d perceived for a beautiful brown-skinned sea creature. I decided as a compromise to make her white and faceless with an orange outline. I was so disappointed in myself. Why couldn’t I paint a black mermaid and see the beauty in her?
Despite my obvious conflict with diversity, I finally embraced my painted "white" rendition My reasoning being, she was abstract and could represent any and every one of us—Black, Brown, or White. For me, she represented acceptance—my warped acceptance. Now, there was one little feature that I had subconsciously added. My abstract image of “mermaid acceptance” had curly, short hair at first. Then she evolved into having long, golden, straight hair, and then in her final evolution, she ended up with long, wavy, wet hair that cascaded down her back. The little bit of my image that I had allowed came in terms of her thick, wavy, golden-brown hair.
I still had more work to do. One abstract mermaid in a vast ocean environment wasn’t nearly enough. I needed more to integrate our mighty Atlantic ocean. I decided to make a template of her and reproduced two more mermaids to her exact specifications. The triplets all had white, feature-less faces with varying degrees of curly hair. While I was disappointed in myself for not creating them to be Black, I readily accepted my compromise and decided to have my three nameless, faceless, beauties framed as an original work of art (artwork included in my book).
My framers loved them and favored me by showing off my mermaids and introducing me as an artist--me, an artist. I brought my work of art home and proudly mounted my faceless, white mermaids onto my wall. My son also loved my work and applauded it to be as good as any professional could produce. He often stared at the three mermaids in wonder, just as I did during my days of summer bliss. What were they thinking? How did they fit into their ocean environment? Were they even supposed to be there in all their faceless, nameless, glory?
While I loved my creation, I knew deep in my heart that they weren’t complete. One night in the wee hours of the morning, I got up out of bed and went to the wall where the three mermaids were displayed. They needed to talk to me—but they had no voice, no facial expressions. Even I, their creator, could not connect to their blank white faces. I knew at that exact moment I had to name them. I had to write about them. I had to give them some of my own identity before I could bring them to life.
– Continued in Part Two
Support diversity in Children’s Literature. Please visit my website, www.readtoachieve2.com to purchase The Hunt for the Magic Pearl today.
http://www.amazon.com/Hunt-Magic-Pearl-Shirley-Perry-Church/dp/1480814814 Seek Preview with the image of the three faceless mermaid sisters.