The falling leaves drift by my window The autumn leaves of red and gold I see your lips, the summer kisses The sun-burned hands I used to hold
Iâve always loved this song. I think I first heard it on the Midnight in the Garden of Good and Evil soundtrack, which features only Johnny Mercer songs, since his house in Savannah is pivotal to the story. That soundtrack is still one of my favorites, and Mercerâs music never fails to strike a chord with me.
Today is the first day of autumn. Vermont is one of the most beautiful and scenic places in the world this time of year. People from all over the globe make their way here just to see the âautumn leaves of red and gold.â This year, though, they might be a little disappointed if theyâve visited before. With the drought Vermont and much of New England has faced, the colors arenât quite as vibrant as they usually are. Still, if youâve never seen Vermont in âleafingâ season, itâs breathtaking. And truth be told, those postcards and picturesâlike the classic images of Stoweâare often enhanced to make them more vibrant than what nature actually gives us. In reality, itâs more like the softer, subtler version youâll see in the second picture of Stowe below.
No matter what, autumn in Vermont is a season worth savoring. I hope everyone has a wonderful week and a scenic fall. And like Mercerâs lyrics remind us, each season carries its own beauty and its own memoriesâsome bright, some bittersweet, but all worth holding close.
âDo not let any unwholesome talk come out of your mouths, but only what is helpful for building others up according to their needs, that it may benefit those who listen.â
âEphesians 4:29
Words matter. For those of us in the LGBTQ+ community, we know all too well the pain that can come from words spoken carelesslyâor cruelly. Many of us grew up hearing slurs hurled at us, sermons that condemned us, or even loved ones telling us we were âwrong.â These words linger. They can cut deep, echoing long after they are spoken. Ephesians 4:29 calls us to something radically different: to use our words not as weapons but as instruments of grace, to speak in ways that build up rather than tear down.
Proverbs 18:21 reminds us, âThe tongue has the power of life and death.â That verse feels very real when you think of young peopleâespecially LGBTQ+ youthâwho are struggling with identity, acceptance, and belonging. We all know the statistics: depression, bullying, and suicide rates are higher among LGBTQ+ youth. In such cases, a kind or encouraging word isnât just niceâit can literally mean the difference between despair and hope, even between life and death.
As a former teacher, I lived this reality. I could not be openly gay in the classroom, but my students suspected. They knew they could come talk to me. And many did. Sometimes all they needed was a listening ear or a gentle reminder that they mattered. Today, some teachers can be more open about their sexuality, but in too many states, laws are being passed that forbid even mentioning it. In some classrooms, a photo of a teacherâs spouse on a desk is considered âillegal.â Yet the presence of a safe adultâsomeone who is open, or at the very least welcomingâis a lifeline.
Thatâs why I proudly display a Safe Zone sign by my office door. Itâs a silent but powerful word of welcome: âYou are safe here. You are seen here. You are valued here.â Teachers have always had the ability to change lives, but in todayâs climate, it is especially important to let students know: It Gets Better.
Jesus himself was often called âTeacher,â and his words reflect the very heart of Ephesians 4:29. He used his voice to uplift the poor, to comfort the outcast, and to challenge those who abused their power. His Sermon on the Mount gave hope to the weary; his parables painted visions of justice and mercy; his rebukes exposed hypocrisy and oppression. To be like Christ is to use our words in the same wayâto heal rather than to harm, to invite rather than exclude, to proclaim Godâs love in a world that too often echoes with condemnation.
And whether or not you stand at the front of a classroom, you have that same power. Words are not confined to teachersâthey belong to parents, mentors, co-workers, supervisors, and friends. If you are guiding a child, mentoring a young adult, or training an employee, your words carry weight. A simple encouragement can inspire confidence; a harsh comment can wound deeply. Each of us has the power to change someoneâs life through the way we speak. The question is whether we will use that power to tear down or to build up.
Scripture offers us a vision of speech that heals. Proverbs 15:1 says, âA gentle answer turns away wrath, but a harsh word stirs up anger.â James 1:19 adds, âEveryone should be quick to listen, slow to speak and slow to become angry.â Imagine if our leaders, our schools, our churches lived out those verses. Imagine if public discourse sought to build up those most vulnerable instead of exploiting them for power.
In Colossians 4:6, Paul exhorts us: âLet your conversation be always full of grace, seasoned with salt, so that you may know how to answer everyone.â Grace-filled speech doesnât mean silence in the face of injusticeâit means that even when we speak hard truths, we do so with the goal of healing, of justice, of love. And for teachers, mentors, and leaders of all kinds, that means modeling kindness and affirmation in every interaction, showing others by example that their worth is non-negotiable.
Ephesians 4:29 is not just about avoiding âbad language.â It is about cultivating a culture of love. It is about recognizing that our words can be lifelinesâreminders of hope, courage, and belonging. When we choose words that build up, we are declaring to the world: we are here, we are loved, and we are worthy.
May we guard our tongues not out of fear, but out of love. May we speak words that carry the fragrance of Christ, words that heal the wounds so many of us have endured, and words that remind one another of the deep truth: we are made in Godâs image. And may we especially use our words to build up the next generation, who are longing to hear that their lives matter and that their future is worth holding onto.
Usually I look forward to Fridays, but not this week. Iâm not even looking forward to Saturday. This weekend brings with it our big annual set of events at the museum, which means lots of tours, lots of visitors, and lots of chaos. Today I have multiple tours lined up, and tomorrow Iâll be back again for one or two moreâyes, working on a Saturday. Yesterday I put in a twelve-hour day, came home, and went straight to bed. This morning Iâm running on sheer habit and coffee.
If thereâs a silver lining, itâs that today will âonlyâ be an eight-hour day and tomorrow about six. That may not sound like much of a break, but after the marathon that was yesterday, itâs something to be thankful for. Really, Iâll only feel relief when Sunday finally rolls around and I can rest, free from the craziness and hoopla.
And here is your Isabella Pic of the Week. This is the look I get when Iâm not petting her as much as she thinks I should. Normally she likes to curl up on my hip, but with my back problems she hasnât been able to. Instead, sheâs taken to lying on my chest. Itâs her version of cuddling, and honestly, Iâll take it.
When most people picture Art Deco, the mind goes to sleek skyscrapers, angular ornament, and those famous female dancer figurines with ivory faces and bronze limbs. But the 1920s and 1930s also produced a remarkable body of male imagery, especially in sculpture, where the male nude was celebrated as much for its athletic power as for its aesthetic beauty.
Maurice Guiraud Rivière, âCenterpiece Supported by Three Nude Male Figures,â c. 1930s
Sculptural Heroes
The Strength, A bronze group by Maurice Guiraud-Rivière (1881-1947), circa 1930
Auguste Durin crafted muscular athletes whose streamlined bodies recalled both ancient Greek statues and modern gymnasiums. His bronzes often highlight the flex of a thigh or the arc of a torso, creating men who feel both timeless and distinctly of their era. Maurice Guiraud-Rivière gave us dynamic bronzes of runners, discus throwers, and hunters; their bodies drawn into taut, geometric rhythms as if caught in perpetual motion.
Clarte Standing Nude with Globe by Max Le Verrier
DemĂŠtre H. Chiparus, though famous for exotic female dancers, did not neglect men altogetherâhis Le Premier Pas shows a young nude stepping forward with deliberate grace, his body a harmony of energy and elegance. Max Le Verrier, perhaps the most recognizable name in Art Deco sculpture, created striking athletic youths such as ClartĂŠ, a lamp-bearing nude male who holds a glowing globe aloft like a modern Prometheus.
Jean de Roncourtâs âLanceur de Lance,â 1930s
Jean de Roncourtâs works exude virility: his bronzes of hunters, wrestlers, and archers reveal every muscle in sharp definition, nude or scantily draped. Pierre Le Faguays, often working under pseudonyms like Fayral or Guerbe, produced vigorous male and female dancers alike; his Danseur Nu captures the twisting grace of a naked youth in motion. Even lesser-known sculptors like L. Valderi French contributed to this canon of heroic men, cast in bronze and spelter, embodying an age obsessed with strength and beauty.
Nudity and the Male Form
Pierre Le Faguays, âThree Athletes,â 1935
The nude male in Art Deco sculpture is strikingly different from the female nude of the same period. Where women are often allegorical or eroticized, men are athletic, disciplined, and powerful. Nudity was not scandal but symbol: the unclothed male body embodied health, modernity, and idealized masculinity. These werenât portraits of individuals, but archetypesâyouths who seemed to stride straight out of both the classical past and the Jazz Age future.
Art Deco depictions of men werenât limited to bronze and stone. Painters, graphic artists, and muralists also took up the subject, often balancing sensuality with stylization. Tamara de Lempicka, best known for her cool, chic portraits of women, also painted striking male nudes, such as Nu Masculin (1929). In these canvases, bodies are sculptural and polished, more marble than flesh.
Jean Dupas, whose monumental panels adorned interiors of luxury liners, often depicted sailors, mythological heroes, and allegorical figuresâsometimes draped, sometimes nudeâhis men elongated and stylized, their musculature arranged like architecture. In graphic art and advertising, artists such as Paul Colin infused male figuresâwhether jazz musicians, dancers, or athletesâwith the same geometric vitality seen in sculpture.
Even in decorative arts, male forms appear: wall panels, book illustrations, and magazine covers showed sleek swimmers, runners, and workers, clothed or unclothed, embodying vigor and speed. The nude was celebrated not only in galleries but in the very fabric of modern life.
The Question of Whatâs Missing
âNude Athlete,â by Maurice Guiraud Rivière, 1930
One detail that often strikes modern viewers is what is not shown. Many Art Deco male nudes either cover or minimize the penis. This wasnât an accidentâit was a deliberate choice shaped by several factors. The style drew heavily on classical precedents, where small, modest genitalia signaled refinement rather than vulgarity. Social propriety and marketability also mattered: a statuette with prominent genitals would not have graced many bourgeois mantelpieces. Moreover, the Art Deco aesthetic favored clean lines, streamlined geometry, and polished surfacesâthe penis simply disrupted the ideal silhouette. And finally, there was the delicate matter of gender politics: a nude woman could be eroticized without scandal; a nude man, if too explicit, risked reading as homoerotic in a society uncomfortable with such implications.
âNude Athlete,â by Maurice Guiraud Rivière, 1930
So while Art Deco exalted the male body, it often did so with strategic omissions. Muscles, movement, and idealized form took precedence over sexual detail. In this sense, the missing penis tells us as much about the cultural anxieties of the 1920s and 1930s as the stylized bodies tell us about its ideals of beauty and strength.