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Meera Lee Patel

ARTIST, WRITER, BOOK MAKER
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Dear Somebody: Knowing I have enough.

June 12, 2026

Princess Cake for Issue 08 of KITCHEN TABLE Magazine (2026)

A year from now, here are five things from this week that I'd like to remember:

MONDAY

After a week of hosting and another of travel, the ladies and I head to the supermarket to fill the fridge.

These days, grocery shopping makes me feel scummy. Avocados are $4 each and the $8 strawberries spoil within days, but I can buy both if I want to. Having enough—and the guilt of knowing I have enough, spills over into the aisle and joins F where she dances with the vegetation and sprints toward $6 yogurt pouches. I want to yell yes so she delights and no so she understands her own luck, her own privilege—and I want to yell both at the same time—but instead, I walk over to the tomatoes.

It’s only June, but the tomatoes already resemble candy, like giant caramel apples waiting for us to bob up and down and when I raise one to my nose, it reeks of summer. I put several in the shopping cart and move onto the arugula, and afterwards, when I’m already in the cheese aisle, I turn around and go back for more.

We finish our shopping and the ladies help me check out. N scans a peach and I think of the children; she scans a bunch of bananas and I think of the guns; she scans the tomatoes and I think of the scorching heat; she scans an entire chocolate cake and I think of who gets away with what, and why.

When we get home, both ladies help carry the groceries inside though each child could easily fold and fit inside the brown paper bags themselves. I unpack the items; I put them away. Later, when the house is finally quiet, I slice a shockingly red tomato and sprinkle it with salt. I count the forgotten seeds and with each bite, I see how it is sweet and bruised on the inside, too.

TUESDAY

Earlier this year, I worked on an assignment for Kitchen Table, and I’m so excited to finally be able to share it!

The printed illustration in Issue 08 of KITCHEN TABLE (2026)

I was immediately excited when Editor-in-Chief Brett Warnock reached out to me to illustrate Princess Cake: A Fairytale, written by Carla Crujido, about the origins of the Swedish princess cake (originally known as grön tårta or green cake, and later renamed prinsesstårta, or princess cake).

I had a few ideas for how to illustrate this story, which follows a princess on her journey to discover the origins of princess cake and learn more about the trio of princesses for whom it was originally created.

The one I liked most (Idea C) was inspired by a very old Ovaltine or Bournvita label I’d seen when I was a child. In it, a gorilla holds a Bournvita bottle boasting a label of a gorilla holding a Bournvita bottle, and the pattern continues until the bottle and label and gorilla all become so tiny you can’t see them any longer. I liked the endless loop, the idea of generational continuity—how something that is beloved during its time will, eventually, be loved once again.

I handed in 3 concepts:

Concept sketches for Princess Cake / Issue 08 of KITCHEN TABLE (2026)

Both Brett and AD Katrina were supportive of Idea C, but worried the details would become too minute at our half-page scale. After trying to sketch it out more clearly, I realized they were right. They leaned instead towards Idea A, where a layered princess cake features each of the original princesses engaged in their craft at their Husmodersskola, or Housewives’ School, where the cake was born.

With Katrina’s encouragement, my illustration evolved into a contemporary retelling of the original princess story, where global women are shown excelling at their chosen crafts (literature, archery, and the culinary arts) despite the expectations, constraints, and boundaries of their societies.

The printed illustration in Issue 08 of KITCHEN TABLE (2026)

My final illustration for Princess Cake: A Fairy Tale for Issue 08 of KITCHEN TABLE (2026)

Issue 08: The Baked Issue of KITCHEN TABLE

You can read all about the original princess cake—and see my take on it in print— in the latest issue of KITCHEN TABLE magazine. Many thanks to editor Brett Warnock for the assignment, and AD Katrina Clasen for her patience and gentle direction.

WEDNESDAY

I’m listening to A Wonder is What It is, Nick Offerman’s audio series dedicated to poet Wendell Berry, in conjunction with NPR host Alison Stewart.

I’m also listening to Us Against You, book #2 in the Beartown series by Fredrik Bachman, and so far, I love it even more than the first.

THURSDAY

“…That which is muscular does not mean that it is always strong. It means it has strength, but it doesn’t mean that it is always strong, right? And there will be moments where I will have to take a beat, and I’m going to be sad, and I’m going to feel hopeless, and I deserve the opportunity to feel that, knowing that there are people around me, strategically put there, people who love me, who will carry me on until I can catch my breath and continue on with a hopeful life, right?

That feels more human to me than the idea that I’m supposed to just be a beacon of hope all the time. I don’t have it in me. I’d like to believe I do, but I’m a person and life is hard; beyond politics, life is hard, right? And I think that’s where I am, and I deserve that amount of grace, the grace I give these kids as they learn to live as … as they learn to be human, as they learn to be whole, as they grow into adults, as they learn, as they activate their egos, as they learn humility, all the things that we need them to be in order for us to continue on with the world in which we live in a better version of it. I also deserve the same amount of grace. I deserve to give myself the same amount of grace in the moments in which I need it.”

—from Jason Reynolds’ conversation with Krista Tippett on hopelessness, the virtue of stamina, and showing grace to ourselves

FRIDAY

Two snails were going to the funeral of a dead leaf.
Their shells were shrouded in black,
and they had wrapped crepe around their horns.
They set out in the evening,
one glorious autumn evening.
Alas, when they arrived
it was already spring.
The leaves who once were dead
had all sprung to life again.
The two snails were very disappointed.
But then the sun, the sun said to them,
“Take the time to sit awhile.
Take a glass of beer
if your heart tells you to.
Take, if you like, the bus to Paris.
It leaves this evening.
You’ll see the sights.
But don’t use up your time with mourning.
I tell you, it darkens the white of your eye
and makes you ugly.
Stories of coffins aren’t very pretty.
Take back your colours,
the colours of life.”
Then all the animals,
the trees and the plants
began to sing at the tops of their lungs.
It was the true and living song,
the song of summer.
And they all began to drink
and to clink their glasses.
It was a glorious evening,
a glorious summer evening,
and the two snails went back home.
They were moved,
and very happy.
They had had a lot to drink
and they staggered a little bit,
but the moon in the sky watched over them.

—Song of the Snails on Their Way to a Funeral by Jacques Prévert
(thank you to Wendi for sending this poem to me!)

Of all the things you can put in front of your eyes, I’m grateful that my little letter is one of them. 

If you’d like to support me, please buy my books. My art prints and line of greeting cards make excellent gifts for yourself or a friend. You can also hire me for your next project—I’d love to work together. 

xx,
M


To sign up for my weekly newsletter, Dear Somebody, please subscribe here.

Tags editorial illustration, parenting, Wendell Berry, Jason Reynolds, Jacques Prévert
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Dear Somebody: A story has a sense of the whole.

May 8, 2026

Post-thunderstorm clouds in late April (2025)

A year from now, here are five things from this week that I'd like to remember:

MONDAY

It’s 3:48pm and I’m driving to pick up F from school. N bounces around the backseat eating grapes and chattering about her day when a phone call interrupts the ever-present stream of K-Pop blasting our brain cells. I glance at the screen and see a name that hasn’t appeared on my phone in 127 days: Pops.

I pick up immediately. Hello? I shout into the phone, jubilant with excitement.

Hello! he says back and I can hear the smile through the speaker, the crinkling of his eyes. I can hear the warmth, I can hear the sun.

I haven’t seen your name on my phone in a thousand years. You got your phone back? I ask, and he laughs. He didn’t. My mom dialed for him. But: he’s holding it. Talking to me. Slowly remembering.

We talk for 15 minutes before N asks for her K-Pop back. Pops and I laugh; we understand. N sees her dad every day. She never wonders when she will see him next, or if she should start saving voicemails, or if he’ll remember her name.

She doesn’t know that the world will ask her to grow up. To stop calling her mom all the time. To stop asking her dad for advice. That we, her own parents, will urge her to move away and step into the entirety of who she is, even when what we want most is for her to stay.

The days peel away so quickly. The years dissolve in front of me. I blink and it’s the month of May in a year that I never thought would exist. The older I get, the more I still feel like a kid: excited about cake, a thunderstorm, and a phone call from my dad.

TUESDAY

A few months ago, UK children’s magazine AQUILA reached out to me to illustrate an essay about Dr. Sake Dean Mahomed, a British Indian who chronicled his many adventures in The Travels of Dean Mahomet.

Sake Dean Mahomed for AQUILA Magazine (April 2026)

The art director wanted a central portrait of Mahomed, but also for the illustration to touch on the many varied aspects of his life: among his many endeavors, Mahomed was also a surgeon, soldier, and writer. He opened the first vapour masseur bath in England, and the first Indian restaurant in England: the Hindoostane Coffee House in Central London.

I was asked to make the illustration heavily inspired by the Brighton seaside, where Mahomed’s bathhouse was established, so I ushered the four windows into his life inside an outline of the Brighton Pavillion. It was challenging to work within the narrow measurements I was given, as the illustration would sit squarely in the middle of a spread, and I’m sure there are more efficient ways to creatively solve this issue, but I feel satisfied with how it all came together.

A photograph of the printed illustration in the April 2026 issue of AQUILA Magazine (2026)

A photograph of the printed illustration in AQUILA Magazine (2026)

The April 2026 issue of AQUILA Magazine (2026)

Please excuse these shabby photographs; I took them on a gray day here in St. Louis. If you have children in your life, AQUILA is a beautiful, award-winning magazine; and many thanks to AD Benita Estevez for the fun assignment!

WEDNESDAY

Sam Beam at The Pageant (2025)

I saw Sam Beam play as Iron & Wine this week, and though I only knew one song out of the entire set, I was reminded that a good songwriter can lift you out of your body, away from your impossible mind, and into the music.

David Byrne at Stifel Theatre (2025)

I also saw David Byrne play this week. Though I am still mostly speechless, I will say that he is evolutionary—someone capable of pushing us, as people and creative people, in a different direction. He’s also a medical marvel. At 73, he is spritely, creatively agile, socially and politically aware, and very loving. I spent the entire show completely mesmerized; I am convinced that his good health is because the music is in him.

THURSDAY

“In the end, people don’t view their life as merely the average of all of its moments—which, after all, is mostly nothing much plus some sleep. For human beings, life is meaningful because it is a story. A story has a sense of a whole, and its arc is determined by the significant moments, the ones where something happens. Measurements of people’s minute-by-minute levels of pleasure and pain miss this fundamental aspect of human existence. A seemingly happy life may be empty. A seemingly difficult life may be devoted to a great cause. We have purposes larger than ourselves. Unlike your experiencing self—which is absorbed in the moment—your remembering self is attempting to recognize not only the peaks of joy and valleys of misery but also how the story works out as a whole.”

—from Atul Gawande’s Being Mortal, which I recently finished and loved.

FRIDAY
She was Eliza for a few weeks
When she was a baby—
Eliza Lily. Soon it changed to Lil.
Later she was Miss Steward in the baker’s shop
And then ‘my love’, ‘my darling’, Mother.

Widowed at thirty, she went back to work
As Mrs Hand. Her daughter grew up,
Married and gave birth.

Now she was Nanna. ‘Everybody
Calls me Nanna,’ she would say to visitors.
And so they did – friends, tradesmen, the doctor.
In the geriatric ward
They used the patients’ Christian names.
‘Lil,’ we said, ‘or Nanna,’
But it wasn’t in her file
And for those last bewildered weeks
She was Eliza once again.

—Names by Wendy Cope

Dear Somebody: Learn to Let Go. (May 9, 2025)

Of all the things you can put in front of your eyes, I’m grateful that my little letter is one of them. 

If you’d like to support me, please buy my books. My art prints and line of greeting cards make excellent gifts for yourself or a friend. You can also hire me for your next project—I’d love to work together. 

xx,
M


To sign up for my weekly newsletter, Dear Somebody, please subscribe here.

In Life Tags editorial illustration, David Byrne, Sam Beam, Being Mortal, Atul Gawande, Wendy Cope, motherhood
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Meera Lee Patel is an artist, writer, and book maker. Her books have sold over one million copies, and been translated into over a dozen languages worldwide.

Her newsletter, Dear Somebody, is a short weekly note chronicling five things worth remembering, including a look into her process, reflections on motherhood, and creative inspiration.

Join thousands of other readers by subscribing.


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June 12, 2026
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