I’m looking for art for the cover of my novel Miriam’s Well, coming out from Ice Cube Press when the clock strikes 2018. This 12-year-in-the-making novel is about biblical Miriam and her brothers Aaron and Moses, but it’s set in the U.S. and has Miriam wandering the spiritual, political, and cultural desert and lushness of this country for 40 years, starting her wandering in People’s Park in 1969. I describe the book as somewhat like Forrest-Gump-Meets-The-Red-Tent. I’m looking for original art to use that resonates with Miriam, her well (way of feeding people and keeping up their spirits during the long haul), wandering, seeking home, the kaleidoscope of family and life, or any related theme. Little caveat: ain’t nobody getting any advance on this book, so I don’t have a budget for art, but I can pay the artist with extensive gratitude, a big pile of books, his/her/their profile at the end of the book, and other ways to share more about this wondrous artist. Thank you for your help! Below is a longer synopsis of the novel. If you know of any art – photography, painting, pastels, sculpture, quilting, etc. — that might fit, please email me at email@example.com. Thanks for reading this far and considering what images would do the trick!
Miriam’s Well Synopsis
From a young age Miriam sees visions she can’t cope with or stop. Growing up Jewish in Brooklyn with Aaron, her boy genius brother, her black father and white mother, she finds her place in the world best through singing and feeding people, much like her biblical namesake. That sense of belonging is shattered when, as a teenager, her worst nightmares come true. After her high-strung mother gives birth to a third child, Moses, who is more Miriam’s than her mother’s, the family moves to Israel. Caught in a freak accident during the Six-Day War, Miriam’s father is killed, her mother disengages from the family, and Kansas relatives take Moses away from her. Shattered and lost, Miriam and Aaron return to their old house in Brooklyn, now owned by their aunt and uncle, to piece together their future. Miriam embarks upon an opposite journey than her career-driven brother Aaron as she takes to the open road.
For the next 40 years, Miriam wanders, yearning for home and meaning while dwelling in the edges of America. She feeds a giant house full of hippies in Berkeley, attends women’s Black Panther meetings in Oakland, and sneaks into Wounded Knee during the 1973 occupation to cook for everyone. She sings to people at soup kitchens in Denver, homeless shelters in New York City, and a San Francisco hospice during the peak of the AIDS epidemic. She even bakes the Cuban bread the leaders of Key West throw at U.S. government officials when the city tries to secede from America in 1982.
Many of the places Miriam lives, first on her own, and later with her half-Lakota, half-Italian husband Joseph, and their daughter Laura, are geographically, politically or spiritually on the edge of America, from Mount Desert Island off the coast of Maine to the beaches of Key West to an extreme west Texas small town. She tries to salvage a relationship at an Idaho back-to-the-land commune, leads women’s rituals at a feminist potato farm (Mrs. Potato Head) in Utah, and runs a cafe at an Alabama ecovillage. Working with the homeless or the hungry, at-risk L.A. Teenagers or overlooked New York City elders, Miriam reaches beyond the edges of her upbringing.
Miriam is continually plagued by her visions and driven by an unquenchable desire to save people while puzzling over what do with her own family. She helps a man search hospitals for his wife after the Oklahoma City bombing, rescues a a teen who overdosed during the Whittier-Narrows earthquake, runs toward the World Trade Center during 9/11, and feeds hundreds after Hurricane Katrina–all to the fury and fear of her family. Her many visits with Moses in western Kansas teach her that she can’t rescue her autistic brother from his quiet life among evangelical Christians, but she can dwell with him there. She can’t live the life her brother Aaron wants for her, but over decades, she helps him recover his own visions. She can’t stop missing her father, but over time that deep yearning changes from overwhelming roar to dull ache. After decades of avoiding, blaming, and distancing from her mother, Miriam discovers Batty isn’t who Miriam thought she was, and her family is intact in a mosaic she never could have imaged.
Much to her own surprise, Miriam finds home in a kaleidoscope of family and friends, healing in the middle of cancer, and peace in the thin places between the world lost and the new land on the other side of her wandering.