The Yellow Wallpaper is especially important to me because I struggled greatly with depression and mental illness during four years of physical confinement within a very patriarchal marriage. Read it in full here. Also, Jane Addams is especially a hero of mine. She had so many pots boiling at once – I don’t know how she did it. I hope you will follow the link below and read more about her. Continue reading
It is Women’s History Month and my goal is to post about a different woman every day for the rest of March.
Dominique Christina is a poet, artist, activist, educator, author and self-described “colored girl with stars for eyes.” She is also the only person to hold two national titles for slam poetry at one time and is the only poet in history to win the Women of the World Poetry Championship twice. A former 1996 Olympic Volleyball player, Dominique has over 10 years of experience as a licensed teacher, holding double Masters degrees in Education and English Literature. She conducts performances/workshops all over the country for colleges, universities, nonprofit organizations, and conferences like the LOHAS forum in Boulder, Colorado. She does branding and marketing language for companies like Lotus Wei and Gaia. She is the niece of one of the Little Rock Nine. She sometimes performs with Denice Frohman as Sister Outsider, the duo representing two of the top three female slam poets in the world. Continue reading
For art and artists, these are interesting times…as Adam Marsland reminds us, that’s a Chinese curse…
I’m currently working my way through a re-read of Honoré de Balzac’s marvelous Pere Goriot as part of my 2015 reading list. While the opportunity to savor Balzac’s loquacious piece of realism that examines parental love and Parisian society is certainly pleasant for a dyed-in-the-wool proponent of realism in its various literary expressions, both foreign and domestic, I have found myself with nothing to write about unless, as Mr. Micawber optimistically, invariably expected, something turns itself up.
Since you are reading this, you know that my own Micawberean expectations have not been disappointed. A piece by art critic Jerry Saltz at the Vulture blog of New York Magazine caught my attention because it addresses one of the unresolved cultural questions left to us by the 20th century: to wit, how do we reconcile the merging of popular and what was once termed “high” culture and make intelligent determinations about what is culturally worthwhile for us to explore, discuss, even preserve in this merged culture?
This issue is one that I have explored extensively before, and, despite my best efforts to offer some explanations/insights/whining complaints, it pops up again and again and smacks me (metaphorically, of course) upside the head saying, “How do you like me now, Jim?” and forcing me to take yet another look at this perhaps never to be resolved issue.
So. Here we go again…. Continue reading
Yes, that’s actually what my mother said.
S’s mother and my mother were very close friends going back to their high school days, so S. and I grew up together, ultimately losing touch as adults. When her father died of a heart attack, she made a nearly successful effort to commit suicide. What came out of the suicide attempt was that S. had, in fact, been molested by her father from a very early age.
So my mother told me about what had happened, about the molestation and the suicide attempt. And then she added, “I never liked her. She was always such an overtly sexual child.” Continue reading
Victoria Hanna – Aleph-bet (Hosha’ana) Continue reading
Wilhelm and Jacob Grimm‘s compilation of stories known as Grimm’s Fairy Tales are powerful, perhaps shocking (perhaps not), entertainment for children of any age – and a structuralist literary critic’s dream…
The next book from the 2015 reading list is another of those “rescued” books of mine. Lea and I were wandering around a local antique/junk shop when we came across a “children’s edition” (or what passed for a children’s edition early in the 20th century). The book I have was published by J.H. Sears and Company of New York, although the edition I have was “set up, printed, and bound” by the Kingsport Press of Kingsport Tennessee. There is no publication date, but the book is inscribed, “Nancy Ivey/Grade 1/1929-30″ so this book is at least 85 years old, perhaps older. Continue reading
Diderot’s most well known piece, the dialogue Rameau’s Nephew, is a discourse on what good behavior is – delivered with droll irony by one who has found being good beyond his capabilities….
Part of the pleasure of reading is finding those odd connections between works that at first seem unlikely to be related in any way. Such is my experience with this re-reading of Denis Diderot’s masterful dialogue concerning good behavior and bad, Rameau’s Nephew. As I made my way again through this witty, ironic masterpiece of argument about morals and ethics, for some reason I was reminded of another work whose thematic focus was on that elusive goal of being good: Nan, the late Victorian children’s book by Lucy C. Lillie that I read (and wrote about) a year and a half ago. The object lessons of Nan are simple and straightforward, of course: tell the truth, don’t steal, mind your manners, obey your elders. One of Nan’s most ingratiating traits is her desire to help the less fortunate – a trait that the book clearly describes as more than compensating for her lack of intellectual and artistic talent. She may not be the brightest bulb in the lamp, but she’s a good, kind-hearted bulb and that, Ms. Lillie tells us, is what matters. Continue reading
Call it Simplicius Simplicissimus or The Adventures of a Simpleton – H.J.C. von Grimmelshausen’s picaresque novel of the Thirty Years War is the godfather of all great anti-war literature whether solemn indictment like The Red Badge of Courage or All Quiet on the Western Front or absurdist comedy like Catch-22 or Slaughterhouse-Five.
The Adventures of a Simpleton, also know as Simplicius Simplicissimus (and by other titles) is a book that I have long loved, though this re-read is only my third of this classic satire of the lethal nonsense we call war. The edition I used this time was one I picked up in my favorite used bookstore, my original copy from undergraduate school having disappeared on its own picaresque adventures at some unknown moment in the last 40 years. This entry on the 2015 reading list moves us forward in time several hundred years from the folk literature (with some Horace thrown in) of the last few weeks. As a result we get a known author (although we don’t know a lot about him) and we get our first prose work since those outliers about World War I and John Winthrop I wrote about at the beginning of the year.
More interestingly, from a literary standpoint anyway, we get what will come to be called variously a novel, a mock-heroic romance, a picaresque novel, or a picaresque. The adventures of the hero, initially called Simplicius because of his naivete (and because discovering his real name, indeed his true identity, becomes an important subplot of the work) are episodic, disjointed, and certainly varied. Continue reading
Horace, like any admirable figure, seeks both to model – and teach – what excellence is in his field….
We end our review of The Works of Horace as translated into English prose by the redoubtable Christopher Smart with a look at the work that has been the anchor for his reputation over at least the last 200 years or so. “Ars Poetica,” or “The Art of Poetry,” is, as I mentioned last time, considered one of the classic works in the history of literary criticism. Like all of Horace’s work, “Ars Poetica” is personal and idiosyncratic. Like all of Horace’s work, it is filled with moments of pathos, bathos, and brilliance.
Some critics have found cause to dispute with Horace, noting that he focuses his critique on epic and dramatic poetry – neither of which he wrote – and that, unlike, say, Aristotle, he is not orderly and systematic in his discussion, wandering from topic to topic, often abruptly. There are a couple of ways of responding to that. Continue reading
In his Epistles, Horace discusses, in a series of verse letters addressed to friends, philosophy, virtuous and independent living, social behavior, and being a poet.
This third in a series of essays on Roman poet Horace looks at his verse epistles. Most readers are probably at least slightly familiar with the form in either verse or prose: Martin Luther King’s “Letter from the Birmingham Jail” is a famous prose example; Alexander Pope’s “Epistle to Dr. Arbuthnot” is usually considered the finest example in verse written in English. In both cases the aim is identical – the writer seeks to offer explanation, defense, justification for him (or her)self and for his/her beliefs, practices, or, as in the cases of both Horace and Pope, poetry style choices.
Horace’s Epistles have some of the gentle sting of his Satires, but there is an ease in these works that one doesn’t find in those previously discussed poems. This is Horace writing to friends for one reasoin earlier essaysn or another on one occasion or another, opening up about his work, his health, his pleasures, his annoyances, his hopes, his fears. There’s a freedom to the poet’s writing here that both intrigues and enlightens the thoughtful reader and gives us insight into Horace the man that neither the Satires, aimed as they are at allowing the poet to show off his mastery of analysis and commentary, nor the Odes, meant as they are to be “public” works demonstrating poetic skill and mastery of craft, allow. These works, while equally as skilled as those mentioned above, are the poetic equivalent of good conversation over drinks between friends. Continue reading
(warning: graphic content)
patriarchal principle: Men are entitled to take up space
“Manspreading” refers to men sitting in public spaces with their legs spread wide apart. Anyone – and especially a woman – who has sat in a movie theater, airplane, or any sort of public transportation is all too familiar with the phenomenon. All too many men seem willing to rudely spread out beyond their little designated spaces in places like those I’ve mentioned. I’d really like to have a dollar for every time I’ve been squeezed out of my space in a movie theater by a man manspreading next to me – I could buy most of the books on my wish list at Amazon. Some speculate that this behavior is an act of dominance or is about male privilege. Personally, I have always thought the message is, “Hey,everybody look at me – my balls are so big that I can not even close my legs!” The problem is widespread – if you will – enough that now, the New York City subway authority is mounting a campaign against the practice, using the slogan “Dude, stop the spread please. It’s a space issue.” Continue reading
Horace uses satire in a gently amused (and bemused) way to point out the foibles of human nature. He’s not so much wanting to tear people a new one for being the way they are as he is interested in a thoughtful, even academic way in why we do the foolish things we do to ourselves.
This second essay on the Works of Horace in the Christopher Smart prose translation looks at the great poet’s satires. Horace wrote two books of satires, a total of 18 poems. These satires were his first great successes as a poet and signaled that Horace was one of the great poets of the Augustan Age. on His influence on this genre of literature was so great that his style of handling the genre is known in literary/scholarly circles as Horatian satire.
Before we dig into the works themselves, however, it might be good to make clear what’s meant by “Horatian.” Horace’s greatest rival as a satirist is a Roman poet named Juvenal who lived roughly 100 years after Horace. Where Horace is gentle and good natured in his criticisms of the foibles of his fellow Romans, Juvenal is biting, even bitter in his attacks on human frailties. Where Horace hopes to see better from people, Juvenal demands that people should behave more acceptably. Continue reading
Sometimes one reads to see what one is thinking – sometimes to see what others are thinking – and sometimes one should read to find out where one is….
For 2015 I’ve decided to change the pattern of my reading list adventures and split the list into two segments. The first of these will be a tour of what used to be called “world literature”: great works by authors writing in a language other than one’s own – in my case, English. The second half of the list will focus on authors from North Carolina primarily, the American South generally. My slogan for the year will be “Read globally, then locally,” I suppose.
For the first half of the list I will be in the hands of translators for the bulk of my reading (I read, speak and write French, and I plan also to learn Spanish – at least conversational level – this year, but most of my reading choices are in languages other than those). So as part of my series of essays on these works I will make observations – informed or not – about the quality of the translations I encounter.
So, to the list. Continue reading
In a culture whose value system is thoroughly infused with the spirit of capitalist-democratic-republicanism of one permutation or another, art, tech – let’s face it – every form of human endeavor – is measured only by its ability to generate revenue…
And so we come to the last in this series of essays examining how the evolution of technology (and remember, I refer to technology in a broad sense) has affected art and artists. This last piece will examine two pieces of technology – one is an economic system (capitalism) and the other is really a myriad of technologies coming together to produce – an effect? a composite technology? (the world wide web) and their effects on art and artists over the last 20 or so years.
The history of the uneasy relationship between the political system most commonly referred to as democracy (rarely practiced in a pure form, as, let’s assume, we all understand) and the economic system known as capitalism (also rarely practiced in a pure form, same understanding as above) has been played out nowhere perhaps as openly – and at the same time subtly – as in our America – the good old USA. Our country is one who has tried, with often wildly varying results, to reconcile the basic premises of these two important systems of thought.
The guy who catches the most heat in critiques of capitalism is the one pictured at right whose most important work, The Wealth of Nations, seems to argue for self-interest as a public good even as it warns against the human tendency to collude and engage in ugly practices such as price fixing which he sees as self-interest used against the public good. The most important – and misunderstood by the limited understanding of the average American – idea in Smith’s treatise, however, is his assertion (not that people are naturally unequal, though that certainly is very important because it conflicts with our notions of democracy) that wealth matters more than people. Continue reading
Does disaster loom, brought on by population increases and a governing economic system predicated on ever more growth?
Scratch a problem involving homo sapiens. Smog choking cities. Carbon dioxide and methane warming atmosphere or ocean. Forests rapaciously slashed. No fish where fish used to be. Nuclear waste with no safe home (ever). Pollution everywhere. Children without education. Billions of poor without hope or safe drinking water or adequate food. Disease and death induced by the absence of health care.
And wars. Plenty of wars.
In such examples of human trauma amid conflicts over life-sustaining resources, there’s a centrality rarely discussed.
Too. Many. People.
When I was born, in 1946, America housed just over 141 million people. Today, the 50 states approach 320 million people. Despite a declining birth rate, America gains a person every 16 seconds, thanks largely to the admission of about 1.5 million legal foreign workers each year.
When I was born, the Earth had about 2.5 billion people. The Census Bureau anticipates 9.3 billion people globally in 2050. That would be almost a four-fold increase in the people Earth would seek but likely fail to adequately support.
What Daniel Defoe depicts in Moll Flanders is the story of a person who lives purely for pursuit of “the main chance”: accruing wealth at the cost of family, friends, self-respect…in the hope that once one has “a stock” there will be time for reflection, repentance, reclamation….
I went off the 2014 reading (updated) list(s) for this last “non-holiday” themed book as a result of some comments on the first of my “art and tech” series of essays. An argument advanced by a commenter whose opinions I value and whose friendship I treasure suggested that the only reliable arbiter of human achievement is the marketplace – and argued, at least indirectly, that economic success = validation of one’s efforts. I freely admit that I find such arguments about how life and life’s work should be valued, and they are numerous in these times, troubling. I find them most troubling because, given the amorphous nature of human culture and its values, this may very well be the view that most people choose to adopt.
When I feel troubled by issues of this sort, I turn, as I have for many years, to literature. When I go to literature I am seeking, not answers of the smug and certain sort constantly promulgated by news outlets both left and right. Instead, what literature gives me is perspective – the perspective of fellow artists as well as in most cases (since my penchant is for classics of the canon), historical perspective. Continue reading
The 20th century offered artists – and everyone else – the greatest number of technological advances in human history. But these advances also changed human ecology – and artists and art – in startling ways….
The turn of the 20th century saw humanity in the midst of an onslaught of technological change that has permanently altered how we communicate, travel, and entertain ourselves. The telephone made it possible to hear the voices of friends and family over remarkable distances and receive news, especially personal news, faster than ever before. The automobile and airplane made visiting those distant loved ones first possible, then feasible, ultimately expected. And the phonograph, motion picture camera/projector and later radio and television (remember, television’s blockbuster effect on home entertainment was delayed at least a decade by World War II) made home entertainment as simple as passively sitting and listening/watching. The culture became both easily mobile and easily sedentary in one fell swoop. Modern photography, already 75 years old by the beginning of the 20th century, had been appropriated for artistic purposes for at least 50 years. However, its documentary function far overshadowed its power as an art form for many decades.
The newer technological innovations of recording and film offered artists opportunities – but unlike other technological innovations such as I mentioned in the previous essay (industrially produced paint for artists, the use of the typewriter by authors, the harpsichord’s replacement by the piano in music), these technological innovations did not necessarily lend themselves to exploitation by artists. In truth, the technological changes that developed in the 20th century changed not simply how art was made but how art was conceived and executed and how art came to be viewed in ways that we have not fully considered. A look at the changes that occurred and what their possible meanings are for us culturally seems apropos. Continue reading
As technologies have been developed and then evolved, artists have exploited them in the creation of art. But is it possible to reach a point where technology exploits artists – and through them art?
(For previous essays in this series, look here.)
The work of the late Neil Postman, especially in the camps of those who sing the praises of our current era of rapid technological innovation and implementation, is treated with, if noted at all, skepticism bordering on disdain. Reactions to his 1993 classic Technopoly: the Surrender of Culture to Technology even went so far to to accuse him being a Neo-Luddite.
But Postman raises important questions about society’s relationship to technology and asks that hard question for which none of his critics (this may explain the dismissiveness of some) seem willing to offer an answer: Do we control technology – or does technology control us?
Such a difficult – and profound – question seems important for art and artists for a number of reasons. Continue reading
Good sex is when two nervous systems become one. It’s selfless, literally. A completely unrelated type of good sex is when two nervous systems generate a new nervous system through physical contact. If you combine these two types of good sex you get the best sex ever, and a wonderful new nervous system. Both parents love each other as much as they love themselves and they love the kid even more. If they have the resources to thrive, bet on it. Continue reading
Magazine’s story on college assault claim burdened with shaky sources, biased choice of UVA
Critics are panning Rolling Stone’s 9,000-word account of a sexual assault, an account that preceded protests at the University of Virginia and vandalism of the fraternity house at which, the article claims, the assault occurred.
The chief complaints: First, Sabrina Rubin Erdely’s Nov. 19 story about a woman identified as “Jackie” relied too heavily on the woman making the accusation and failed to show attempts to interview those accused. Second, Erdely “shopped” for a context that best fit her own agenda in proposing and crafting the story. Here’s Washington Post media reporter Erik Wemple:
Rolling Stone thought it had found the “right” campus and the right alleged crime: Following her Nov. 19 story on Jackie’s alleged assault in a dark room at the Phi Kappa Psi house, the university suspended all fraternity activities and a national spotlight fell on the issue of campus rape. Continue reading