A photograph often tells a thousand words, or so it’s been said.When you add poetic verse to animated images and the inquisitive eye of both Erica Lewis and illustrator Mark Stephen Finein you find yourself victim to the backward realities and ideas that lurk inside the book titled, Camera Obscura.Memories are ingrained in our minds but are subject to change upon our re-telling or remembering them, but a photograph cannot morph or change into an altered version of reality. While a photograph can age and the shape and images can fade, that moment in time stands still. In examining how a memory can be kept alive or reinvented is discussed in the pages of illustrations here, all while remaining safe in the creator’s mind. Images actually reside in the receptacle of saved images the mind keeps tucked away.  This hybrid work of art and poetry asks us, the memory-makers to look closely at what we hold so dear.  What is real and what is imagined? Do recollections through art (written and photographed) stand the test of time? Do they outweigh the memories in our mind? How and why we recount stories the way that we do? How accurate are our re-telling of stories or viewing of old photos can be when we lose the organic nature of each simply in the re-telling.

1984

Do not let the wheat and umber curtains fool you. This picture was not taken in the 1970s. It was taken in 1984. I know this not because I can see the time stamp on the back of this Kodak moment – all I have is the .jpeg my cousin, the blond-haired baby on the left, now a grown man, just sent me – but because I have deduced its age by observation. My cousin looks barely one; my brother looks about four; my sister, about two. Any earlier, and I would’ve been wearing the eye patch I wore to correct my lazy eye all of 1983. Any later, and I would’ve had teeth missing. I’m the oldest. The four-eyed girl clutching Grover and a picture book at the center.  

We really were that happy.