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Morton Marcus: A strong voice, a sensitive voice, an elemental voice. Hi, this is Mort Marcus. And we've been listening to Maria Farantouri, the great Greek songstress, who to me represents

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the subject of today's show, the new Poetry Show, which is the Celebration of the Muse readings, which begins next week, September 17. Today, we're going to be talking with Amber Sumrall and Florinda Colavin, who have organized this reading,

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which has now become a Santa Cruz tradition. And we will be talking about mostly the first reading and then generally about the other readings, and how In Celebration of the Muse began, and what purpose it serves, or purposes it serves. First of

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all, welcome Florinda and Amber. And could you just tell me how the series of Celebration of the Muse actually began? Lin Florinda Colavin: Well, I only learned this afternoon that in fact, Wilma Marcus, one of the women that's here today with

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us, was the person that originated the idea for the reading series. And this idea originated five years ago at a meeting for people that were beginning- thinking about the National Festival of Women's Theater. Initially, the two

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women who started the series, who are the people who took it on, were Patrice Vecchione and Gabrielle Rosiere, and Patrice is the person who kept this series going until this year when she was not able to do it because she has been in Greece.

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She is in Greece, in fact, and won't be back until mid November. Morton Marcus: Well, it's very fitting that she is there, which is the land of the muse. And that is why I started today's

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show with a Greek songstress, sort of making the- bridging the tie. How's that? Lin Florinda Colavin: Yes, I like that very much. Morton Marcus: Good. Well, why don't you tell us about your

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involvement, how you got involved in the readings? Lin Florinda Colavin: Well, Amber, do you want to? You want to speak to them? Amber Sumrall: Patrice had indicated that she was leaving

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and she asked me if I would be willing to take the series on and Lin was interested in doing it. And we wanted to keep it alive for the women in Santa Cruz. It's a vital part of the community. And so we agreed to do it not knowing the extensive

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work that it would entail, we were under the illusion it would be a little bit less work. And we've been having quite a bit of fun with it. We're doing quite a bit of publicity this year. A lot of outreach to the community. And we want to

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encourage all segments of the community to come and support us, and hear the writers. We have a very, very exciting series lined up this year. Morton Marcus: There's one thing I have noticed over the years is

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that you're not concerned with any "schools of writers," or anyone who represents any attitude towards feminism per se, but just a general poetic reaction towards life from the female point of view. And these readings have been very

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successful in the past. Amber Sumrall: Yes, they have. Morton Marcus: Also, there is a reason for them. They do serve a very specific purpose, do they not, which I know Wilma Marcus

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has been very concerned with. And we are referring to Wilma Marcus not only because she started this, but because she and Bernice Rendrick, two of the four readers on the September 17th reading, are here today. And they will be reading from

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their poems shortly. Anyway, tell us what the time is. Lin Florinda Colavin: Well, one of the real focuses I think of the readings are to give a forum to all the various kinds of women writers in Santa Cruz County. And I think those

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writers just span an incredible span of women from women who are mothers and grandmothers to very young women, women who have been writing a long time, women who have just started writing. The writing community of women in Santa Cruz is just growing and

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growing, and there's a real bedrock of writers in this community. And I think right from the beginning, the idea of the series was to give these writers a place to read. And that initially, although this is changing, but I think is still a

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problem, women have not always- their voices, their writing voices, have not always been heard. And I think that's why the new series was started. And that's why the Women's Festival of National Theatre was started because it was to give a forum

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to women, not the Celebration of the Muses, is local Santa Cruz women, the National Festival of Women's Theater is women all across the United States. But both of them, their goals of both of these productions is to give women's voices a chance to

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be heard. And what we want to do with this series of readings is to give as many different kinds of women writers a place to be heard in the community, women who are very well known to women who have never read publicly before.

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Morton Marcus: As I said, it certainly has been wonderful and it has done just that. What I was also looking at on this lovely poster that you have is that this is a benefit, all six readings are a benefit.

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Lin Florinda Colavin: Yes. Yes, they are a benefit in an attempt to raise money to help support the National Festival of Women's Theater and the money will, all the money that is raised, will go to support that national festival.

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Morton Marcus: Now there possibly can be some people out there who do not know about the National Festival of Women's Theater, and I wonder Wilma, that is Wilma Marcus who I'm talking to, we just happen to have the same names. I wonder,

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Wilma, if you would tell the people out on the airwaves a little bit about the National Festival of Women's Theater and this show does reach Andromeda. Wilma Marcus: Ok, in that case, The National Festival of Women's

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Theater began about five years ago when a group of theater workers, women theater workers, in Santa Cruz were sitting together and thinking about the inequities in theater. We were thinking about how difficult it is as a woman director to find

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work, to find women playwrights whose work needed to be aired were not given more. And we began to realize that more often than not most of the, not only accolades, but the jobs went to the male writers, the male directors, male performers. We

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began to think about how to develop a forum for women in the theater in all aspects of the theater: women technicians, women designers, women actors, writers, all the different areas, and from there, it just began to blossom. And it's been

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five years and we are now working on the third festival for '86. Morton Marcus: Yes, I'm sort of sitting here and Wilma's wondering what I'm doing. One of our microphones does not work,

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so what you're going to be hearing is we're going to be swinging the microphone around on a boom. Wilma Marcus: I'm concerned that Andromeda did not hear that entirely.

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Morton Marcus: Could you go over the first part of it before we swung that microphone? Wilma Marcus: Sure, what I just said was that we began to think about how we could bring attention to the need for women

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in theater to be seen, to be heard, for their work to be aired, and shared. And we found in doing research that there were hundreds of women's theatre companies and women writers and directors all over this country. And we tried to figure out a way

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to bring them together as both a networking and a creative performance arena to make this information known to the general public. Morton Marcus: Well, I have attended some of those

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performances, not as many as I would have liked to. And very exciting stuff. I mean, you're even using high school productions, which- Wilma Marcus: Yeah, we try to span all the ages and we try to

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cover as many different ethnic backgrounds as possible and various political points of view, etc. Morton Marcus: Yeah, may I say that about both In Celebration of the Muse and the National Festival of Women's Theaters, we

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are talking about high quality stuff. We're not talking about what local normally means in other communities. I think the one reason that the people have been involved in organizing this have such high standards themselves, and secondly that

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Santa Cruz is such a stronghold of creative talent and that is male, female, and neuter. Okay, well, I wonder, can I ask Amber and/or Florinda to possibly give us a rundown synopsis on the kind of poetry, and I'll only ask you to do three at a time,

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is this possible? It might not be. I'm just hitting them with this cold and that is, can you in sort of one line tell us what Ellen Bass' poetry is like, Sue McCabe's poetry is like, Bernice's and Wilma's is like. If it isn't possible, I mean, I

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want to do it but what I'm trying to do is to give the people out there a sense what, let's say, these readings are going to be like. Then maybe a little later on, we'll go through another two or something. Can, if I call out

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names, can you tell me? Amber Sumrall: No, there is no way I can possibly lump each Morton Marcus: No, it's a great answer to an impossible writer into a category. What I can say about the poetry is that

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question. The idea that you have made lushness of imagery one of when Lin and I were going through the 60 submissions we had, we had two things that we determined would be the criteria we were looking for. One was poetry that evoked emotional

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your staples for choosing this ensures that each reading is response in us, and the other was we were looking for lushness of imagery. And I think every one of these writers has, if not both of those qualities, certainly one, and those are the

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going to be very, very sensuous and very enjoyable to the two things that we felt were the most appealing. audience. That's a great idea for choosing what your reading is going to be composed of.

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Amber Sumrall: Yes, I would like to add also that we have 10 new writers to this series this year and we're real excited about this. Morton Marcus: Great. Can you tell us some of the names of

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those 10 new writers let's say in the first- I'm gonna get some answers. All right, what about in the first one, September 17th? Lin Florinda Colavin: In the first reading, one of the new

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writers is Wilma Marcus, who in fact has never read her poetry as far as I know publicly, and although Wilma is a very well known person in Santa Cruz County, and much further afield, nationally, her writing work has never been given a public forum.

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Bernice. Bernice has read in other readings, but this is the first time she'll be reading in Celebration of the Muse. Sue McCabe(?) who is not only a poet, but also an editor, this is her first time in the series. So, in the first reading, Ellen

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Bass really is the only person who has read before, and so- Morton Marcus: Well, I happen to know that Bernice has won a contest here. Lin Florinda Colavin: Yes, she has.

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Morton Marcus: She will be much too modest to tell us about it, I wonder if you would. Lin Florinda Colavin: She- The Writers Union in Santa Cruz put together a poetry contest and it was judged by Philip Levine, who

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is a very well known national poet, a wonderful poet. And her poem, in fact, it was one of the poems she submitted to our series, won second place, and Bernice, I don't remember the title of the poem.

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Bernice Rendrick: The poem is "Salvation." I have it with me. Lin Florinda Colavin: Good, I hope you're gonna read it. Morton Marcus: I bet we are, get to hear it. Wilma also is no stranger to the stage. She not only is, of course, the director

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known by all, but some people out there may have missed her wonderful performance as Sister Mary in the play that I continually forget the title of. What was the title? Here we go, we're swinging the boom, folks.

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Wilma Marcus: "Sister Mary Ignatius Explains It All For You." Morton Marcus: Which was wonderful, as the first Jewish nun in the history. Well, okay, we've introduced what the first

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reading is going to be about, who's going to be on it and we do have Bernice and Wilma here. This will, in case the listening audience wonders, will not be the last program on In Celebration of the Muse. We will have Amber back, and we'll have

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Florinda back, and other poets maybe one more time or possibly two more times. And maybe yes, maybe two more times, because that would mean that we'd be able to get at least every two readings in. Bernice, since we have talked about, "Salvation,"

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will you give us some, some of your poetry. In fact, why don't you read us "Salvation" and we, because two of the women did not bring poems, we're gonna stretch the poems out. We're gonna make you hungry for the poems out there.

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Bernice Rendrick: Now, you're telling me. I will start with, "Salvation," since we've discussed that. I'd also like to say that the poems I'll be reading, a lot of them come out of the first 13 years of my childhood, which was spent in

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Kansas. And so, I've been concentrating on that a lot in my writing, lately, that period. Morton Marcus: Yeah, feel free, because I think it'll be more, well, it'll be easier to do it on this show than it will be

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from stage to talk about any aspect of these poems that you want to. Where you began your writing, or what specific information is in these poems that you might not say, let's say, from a stage.

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Bernice Rendrick: All right. SALVATION. Mama promised me to the Lord when I was born, ripened me for eight innocent years till my time had come and it was decreed I should be baptized. Aunt Clara furnished a new dress of pure

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white organdy. When Sunday came the Baptist minister billowed around like a black cloud, and led the lamb into the room, muttering throaty, sacrificial sounds. Down I went, the cold, clammy steps, my hand getting wet, down into the dark pit, my

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panties getting soaked. In the name of the Father, he dumped my stiff body, in the name of the Son, he drowned my pink hair ribbons, my ebony finger curls. In the name of the Holy Ghost he fought down my resistance and bent me deep into the water.

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Morton Marcus: Okay, Bernice, would you like to read another one since we're on the subject of your first 13 years, maybe? Bernice Rendrick: Sure. Morton Marcus: Did you have something ready?

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Bernice Rendrick: I have a lot of poems about that period. Morton Marcus: Great, wonderful. Well read another one. Obviously, this is gonna be really interesting. What I'm gonna do next is I'm just going to go to Wilma who's got a

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totally different experience and this will really illustrate what we were talking about before, which is the multiplicity of all the poems we'll be reading. Bernice Rendrick: Okay, I think the next one I'll do is called,

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"A Long Walk Through Snow." When I was very young, I attended a one room schoolhouse in the country. And a lot of times, I was just trudging back and forth and back and forth and this poem is just simply out of memory of that period.

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A LONG WALK THROUGH SNOW You're six again, outgrowing your sister's brown oxfords, the perpetual blisters gluing skin to your stockings. Though your mangled feet are healed, and now shod in soft leather, you're

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still dressed in the lessons of those years. Your sister and you walk two miles to school, swing tin lunch pails, open them to potted meat sandwiches, cookies, if there are any. You scuff along, puff your breath like cigarette smoke and toss stones

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at the great slush in the stubble fields. And snowflakes fall over the acres your father plants with wheat, falls in the land your mother detest, the barricade that isolates her. A soft white sheet drapes the last top of the oil well, covers cow

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plops and nubs of rotting strawberries, carcasses of newborn chicks. Turning into the windy second mile of what you're taught was once a shallow sea, you recite books of the Bible for Sunday stars, Genesis, Exodus, Leviticus, Numbers, then

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shout the Lord's Prayer into the cold omnipresent air. Trudging the virgin path you leave a small animal trail, your footprints zigzagging from weed stock to frozen puddle to a satin drift where the snow is deep and damp enough to pack, to

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ineffectually splatter the Thompson boys who have come from their place to pester. Up ahead, Miss Eubanks clangs the bell in the crystal air and you run for the one room schoolhouse, enter in stamped snow from those hateful shoes and shake flakes

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from your winter coat onto the coal stove, slapping cheeks. The tears it spits back scald your face, frozen by now in a solemn question. Morton Marcus: That was Bernice Rendrick reading from her poetry

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and she will be one for poets who will be reading In Celebration of the Muse if you've just tuned in, and that is the first of six programs on September 17th at the Loudem Nelson Community Center, starting at 7:30. Admission will

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be $3.50 and it is a benefit as all six programs are for the National Festival of Women's Theater. We are interviewing the organizers of this reading, Amber Sumrall with Florinda Colavin. And we've been talking to two of the poets on the

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initial program. And you just heard from Bernice Rendrick, who's one, and now I would like to turn to Wilma Marcus and ask you, Wilma, to read some of your poems. Wilma Marcus: Okay, well, first of all, I think I'm really

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thrilled to be doing this. This is really exciting for me and I think it's interesting that I have a poem- very little about my work is about when I was a child, very little of it, most of it is about the last 10 or 15 years of my life and what's been

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happening to me. However, I do have a poem that just dovetails with what Bernice just read. It's about when I was six and an image that has stayed with me ever since I was six so, I'm going to start with that poem and here we go. Okay and the

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title of this poem is called: ZAYDE KACHINSKY, and I need to preface it by saying that Zayde is the Yiddish word for grandfather. Haberdasher to Cossacks, your presence is a photographic

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moment, your first name never spoken. I have held for 40 years one image of your life, your shining white handkerchief, linen unfolded, lifted from your pocket by your long, tapered hand and held by a point with triangular perfection, then

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shaken and placed on your immaculate knees. My mother, your child, offers you at dinner a paper napkin. Your polite but firm reply, unshakable and shocking to a six year old at the far end of the family table. "I like my own, thank you." The

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elitism of the image of unfolding linen remains. The geometrics of excellence moved through me from you. Linens of a Baroque order have become necessary to my life. I think of you as I move through crowds, seeing angles, textures, with no

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consideration for intimacy. My vision has been shaped by your elegant ideal, and I have learned of late, I need not know your name. Morton Marcus: That is a different world and yet not so

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different. I mean what I hear certainly in the first poem by Bernice in certain noises, some real sense of male power and male dominance, which has had a lasting effect and in a very traumatic way in both cases, even though poor Zayde didn't

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know it. Wilma Marcus: No he didn't know. Morton Marcus: How about another one? Wilma Marcus: Okay, well, I'm going to read something that's

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going to make Florinda and Amber upset because this is a poem, yeah, this is a poem with absolutely no imagery in it, much less any lush imagery. And I want to preface this by saying that I hope we're going to talk a little bit about process

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during the hour, and I feel that I write in a lot of different forms, and a lot of different voices are just crushing to get out of me. And one of the forms is very related to what I do with most of my life, which is theater. And this, one of the

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things I enjoy doing most in theater is improvisation and I've been writing a series of poems, which I call "Improvisations." And what has resulted is a kind of a series of non-imagistic dialogue-oriented poetry. And

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I'm going to try this out today, even though it doesn't have the lush imagery that we were hoping for. And this is called: IMPROVISATION ON NINE MINUTES I am going to walk in and stay nine minutes. I am going to say-

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no. I'm going to say- no. Hello- no. Oh, hell- no. How are- no. The strategic nonchalance of "hi." How are- no, no, no, I'm I'm, I'm glad to see you, I'm glad to- no. I'm, I'm surprised to see- no. Actually. Actually what? Well, actually, no. You

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look tired. Oh, God, no, no. You look great. No, no, no, too attentive. You look sad. You look defeated. You look, you look alone. You look, you look like you need me. You look like me. You look at me. No, no, no, no, no, I want to say no. I want

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to say, I want to say I miss you. I want to say, I want you. I want to say, I'm afraid of you, I'm afraid of you, I'm afraid of you, today. I have missed you all weekend and it's already Wednesday and I see you and even as we say, "hello," I

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already miss you. Where are you when I don't see you? Do you have a life? Do you have friends? Oh, no, no- do you- no, no stop it. I'm, I'm glad I bumped into you. Actually, breathe. Smile- no, don't smile. Look, look straight. Look

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gifted. I want to tell you- what, what, what do you want to tell? I want to, I want to show you. No. I want to- I wanted to, I wanted to say, I wanted to remind you, I want it to be right here in front of you. I want it to be mature, not scared

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of you, not needy or obvious but just say, "hello," and have you know. Bernice Rendrick: I see you in smoke, in song, in unresolved longing. See you downtown in cheap diner, blowing on a gritty

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mug of coffee, on a park bench tipping a paper sack to your lips. I even peered into the bus station on the slim chance that someone might get off the Greyhound who looks like you. Morton Marcus: Okay, Florinda, why do you write?

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Lin Florinda Colavin: I just want to say I just think that's a wonderful poem, I really like it. Morton Marcus: What I should say before you start is, Florinda and Amber are not just the organizers of the reading, they

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will be reading themselves, but they did not want to bring poetry to this session because they would rather save it for later. So, Florinda is being asked to answer these questions also because I hope I established the fact that

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Florinda Colavin and Amber Sumrall are both poets. Lin Florinda Colavin: Why do I write? I basically am a very recent writer, I only started writing about, I guess, about seven years ago. And I think the kind of the bottom line

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motivation in terms of starting to write was that I really wanted to hear my own voices. And I never heard them when I talked and once I started writing, it was, I just couldn't stop. I did a lot of journal writing for a long time. I-

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there was so much that needed to get out that that was the only kind of form that it could take. Classes kind of helped that form to get- to kind of brought it into form working with Maude, Maude Meehan, really brought- I feel like it's really brought my

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poetry into a place where it's very strong. And at this point, I'm real interested in doing things prose, and going back to some pieces that came into the journal kind of on their own but are sitting there and seem to be short stories that need to be

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worked on. So, right now it feels like my writing is going to go in the direction of some prose for a while, but I also feel like I'm very new at this. Seven years isn't very long to be a writer, I don't think.

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Morton Marcus: You don't remember any lines of your poetry do you? Lin Florinda Colavin: I'll bring some next time. Morton Marcus: We have mentioned the name of Maude Meehan several

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times. Maude will be reading with Patrice Vecchione, who is the original organizer of the In Celebration of the Muse, will be back from Greece and the last reading which is November 26th. Now, basically, each one of these readings will take place

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within two weeks of each other. So, the first one will be on Tuesday the 17th then the second one will be on October 1st, and then we'll have another one on October 15th, and October 29th, November 12th, and November 26th. Maude, though, will be

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here for a whole show of her own, with me, in celebration of her selected poems that are coming up. And that'll be sometime in November, just stay tuned and I'll tell you. I'm not going to tell you now so you won't tune us in till November.

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But just be aware that that will be happening out there on the airwaves. Now, Amber, we asked you the same question and it seems like we're answering the question, why do you write and what do you hope to achieve? So, you might as well answer, you

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know, how you started to write and why you write because it seems like everyone's answering both of those questions. Lin Florinda Colavin: Well, I came from a family that had a lot of experience with writing. My grandfather was the editor of

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the Los Angeles Times for many years, and my uncle was the sports editor for the LA Times and my family encouraged me to write. However, I, I went to a Catholic girls school and I had a nun in my junior and senior year who I really couldn't stand

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and she told me over and over again that I should be writing, I should be writing. And as a result, I didn't even consider writing and the kind of writing that I thought she was talking about, which was the only kind of writing I really knew, was a

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very structured writing that was based on technicalities, format, structure and really didn't give my own voice any kind of a free place to manifest itself. And I started writing about 10 years ago, after an auto accident that took the life of the person I

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was very much involved with, and I had no focus from my grief. And I didn't really know quite how to handle it or how to deal with it. And I just filled notebooks full of what I came to realize were poems, not very good ones, but they served the

00:32:15.680 - 00:32:34.160

purpose, that was the vehicle that my writing, that was how it chose to come out. And so now I feel like I go back to my childhood frequently and retrieve that voice that was stifled or that I stopped. years ago. A lot of my writing now is

00:32:34.160 - 00:32:47.780

like Bernice, and Wilma and Lin, all of us going back and reclaiming our childhood voices that were indeed silenced for whatever reason. Morton Marcus: But that idea of the silenced voice cause really

00:32:47.780 - 00:33:04.220

interests me because it's almost like, I get the picture of some harsh father, godlike figure, you know, saying and let it be silent down there and that's very interesting to me. I'm sure that in a lot of these workshops you talk about where that

00:33:04.550 - 00:33:21.710

silencing has come from and it'll be interesting, but this is not about silencing, this is about speaking and singing and we have been talking to four women who are involved with In Celebration of the Muse who have found their voices and who are

00:33:21.710 - 00:33:37.400

singing and speaking about very, very different subjects in very different ways. Let me for the last time, remind you that we have been talking with the two organizers of In Celebration of the Muse, a six part reading series, which enters its fifth

00:33:37.400 - 00:33:52.760

year, and that is Florinda Colavin and Amber Sumrall, and Amber was just was talking and we have also been hearing from Wilma Marcus and Bernice Rendrick, who are two of the poets who will be reading in the first program, which is

00:33:52.760 - 00:34:11.120

September 17th, Tuesday at 7:30pm at the Louden Nelson Community Center. Both Bernice and Wilma as well as Sue McCabe are three new poets who no one in the county has read before, and they will be joined by Ellen Bass who is very, very well

00:34:11.120 - 00:34:26.390

known in the community. So, I would suggest taking the first reading, see what's going on. You've heard some of Bernice's own poetry and some of Wilma's poetry. And while I go on with some announcements here, I'm going to ask Bernice and Wilma

00:34:26.420 - 00:34:47.060

to ask among themselves, who will read the last poem to end the show. And you can decide yourself, I'm going to tell the audience out there that our announcements are simply that on at 7pm this Friday night, there will be a book signing for a new

00:34:47.060 - 00:35:02.420

novel at the Aptos Book Works in the Rancho Del Mar shopping center. And the writer is Kirby Wilkins, whose new book, "King Season," has just come out and if you have read any of his stories or his collection of short stories called,

00:35:02.450 - 00:35:19.820

"Vanishing," come on down, get a book, have the author sign it. It is a wonderful novel and he is a wonderful prose stylist, who I think Bernice has also gotten to know and has done some work with. Next week on the show, my contraire, Joe Stroud,

00:35:19.820 - 00:35:35.600

will be back and he will be doing a program on the great American poet who died three years ago, James Wright. The decision has been made, it is going to be Bernice who is going to read the poem that will take us out of here and what I will

00:35:35.600 - 00:35:57.860

play after she finishes is a poem to the poets of Greece to rise up and explode with the muse so that the world will be a better, as well as a more vital place to live in. Again, Theodorakis and Maria Farantouri, and if you listen

00:35:57.860 - 00:36:14.500

close, you will hear all the Greek poets she calls on including Nikos Kazantzakis and Palamas and a whole lot of other people. Bernice, you get the final word. Bernice Rendrick: I won. I lost. I'll close with one about my

00:36:14.500 - 00:36:33.020

parents. It's about a lot of different kinds of separation. Waking my parents, mother, father, like a child, I rouse you from your graves reaching one hand towards each of you buried 2000 miles apart as you were torn in marriage. This

00:36:33.020 - 00:36:49.370

ending is not finished. Your discreet death notices, I've suppressed the embarrassing facts. I do the impossible by mine, standing on separate parcels of burial ground, acknowledging our family tragedies cut deepest veins that

00:36:49.370 - 00:37:05.480

flow through marble. With the brooding silence of a cemetery, you withheld your voices, giving me the ripped, married certificate, your union severed like the neck of the chicken that she's slain. Your vows, the splintered stubs of Sunday's

00:37:05.480 - 00:37:23.330

wishbone. Packing in separate suitcases, you sold the farm and parted. Daddy slipping down the porcelain sink, his violence drained off in locked rooms, the county hospital his new home. Momma running to the big city of lights and stars, her new life

00:37:23.330 - 00:37:41.060

spent with a kitchen crew in a veterans hospital returning at night to close curtains, bolted doors, her teaching certificate mildewing in a warped drawer. The placid primary acceptance that goes, there is no more blame than if a storm arrives on

00:37:41.060 - 00:37:59.840

harvest day visits as I bend over your tunes, torn and exposed as I've ever been, going home to what is left: a few clippings, the plot numbers and undertaker's forms, some blurred snapshots of you both in wedding clothes, now joined and sealed

00:38:00.140 - 00:38:05.980

in a manila envelope. Unknown: [music plays]