When I say that I believe that I've come fairly close to meeting my goals with this, here is what I mean. Each new piece I add to my Beyond the Battlefield series, I strive to make successful on three different levels: 1) my reaction to or interpretation of a factual, historical person or event, 2) relevant and informed by my personal experience, 3) representative of a larger, universal truth. When I write my narratives for my works, I limit myself to only those things which refer to the historical person or event that inspired the piece. In this case, I mentioned earlier that I wanted the water to be present as a backdrop for this piece, because of what I believe would be the influence of Magaguadavic Lake on Sarah Emma's formative years. The image of the book represents an incident that Emma says had a tremendous impact on her when she was about thirteen. A peddler had visited their home, and as it was getting late in the day, Emma's mother invited the man to stay at their home until morning. When he was leaving the next day, as a token of appreciation for the family's kindness, the peddler gave Emma a novel, something that her strict father would never have allowed had he known about it. The novel was a melodramatic account of a young heroine who disguised herself as a man in order to rescue her lover from captivity. Emma recalled her feelings after reading the novel by saying, "I felt as if an angel had touched me with a live coal from off the altar" (reminiscent of an account in the biblical book of Isaiah). "I was emancipated. And I could never again be a slave." In my piece, the birds flying away from the book and the live coals, represent that emancipation. The water, very dark in the lower portion of the composition, brightens as the birds continue upward.
Sarah Emma Edmonds: Departure also has significance for me on a personal level, and I believe represents very well a more universal truth. But those are things I leave up to the viewer to ponder.