Theatre (and by extension, cinema) is perhaps the best example of a cooperative, collaborative artistic medium. Writers may collaborate, artists may collaborate with writers (or vice versa), musicians may (as with jazz) improvise (becoming, in effect, the composers of new extemporaneous works), architects may share billing with builder/craftspersons, landscape designers and interior designers. But in the theatre, the playwright is separated by at least two removes from the actual realization of his vision. There's the text, the director, the producers, and the actors, each of whom has a say in how it turns out; and each can alter, to a greater or lesser extent, the outcome of the playwright's original work. In this sense, any playwright might be said to be dependent upon the skills and abilities of those who actually realize a dramatic work.
Mamet's many successes in the legitimate theatre and in cinema entitle him to speak with some authority as a critic of dramatic art. Great writers of fiction or poetry or drama may or may not qualify as useful or valid critics of their own metier. We usually need to qualify any artist's opinions about their art, by remembering that powerful imagination and creativity may not necessarily be accompanied by a clear rational objective sense. Most artists tend to value what they themselves do best. Occasionally, an artist or writer will admit to admiration for another's work, even to envy. Mamet praises Anton Chekhov, though with the caveat that Chekhov's work is politically tame, blandly "universal" in its meaning(s).
So if Mamet denigrates the "interference" of producers, directors and actors in the artistic process of theatre or cinema, it's understandable that this could be seen as the overblown vanity of pride, of a belief in the sufficient perfection of his own work or vision. Any artist may "earn" the right to make their own case, but we are under no obligation to accept such partisan verdicts, especially when applied to widely different kinds of products. As a screenwriter whose credits include The Postman Always Rings Twice, The Untouchables, House of Games, Glengarry Glen Ross, Hoffa, The Edge, and Hannibal--we'd grant him the authority to make sweeping statements about such tropes as violence and venality in dramatic works.
But would we be willing to accept Mamet as an authority on comedy, or affairs of the heart, or historical dramas, or science fiction, or epics? What is the connection between Mamet's personal proclivities as a writer, and his political points of view?
Some playwrights to have a certain view of humanity, and to be a laborer on two fronts, the way George Bernard Shaw was, as an active socialist part of the time, and a very good playwright the rest of the time. Portraying human beings interacting on a stage, or on a screen, is a perfect vehicle to demonstrate certain principles in action.
And indeed, Mamet has come more and more to believe in a certain view of human life and value, one which he calls "the Tragic View." The tragic view holds that humanity is--in Mamet's words--"greedy, lustful, envious, slothful, duplicitous, corrupt and inspired" and that "this, indeed, is not only a fit subject, but the only subject, of drama."
Mamet sees liberal politicians, and those on the Left as suffering from the delusion that human imperfectability can be corrected, and the imbalance between right and wrong made even, through government intervention. He sees the highest good American democracy has achieved as the balance of powers, set against one another, thus self-restraining.
An argument could be made--and it is a classic (some might say tired) one--that having achieved personal artistic success, accompanied by personal wealth, Mamet now can "afford" to assume the usual privilege of economic success, and glory in his own good fortune by believing that his prosperity is a kind of credential in an imperfect world; that his success is not only proof of his own moral superiority, but that his dramatic actions have been successful precisely because they present life in the terms he sets up.
Mamet himself might suggest that his own "greed, lust, envy, corrupt and inspired" are no more admirable, or exceptional, than any other artist or citizen. And he'd be right, with the possible caveat that he's just a bit more corrupt and inspired than most people.
If the point of drama, as Mamet defines it, is to portray human error in conflict with itself, then we might respond that the early work of Clifford Odets, such as Waiting For Lefty , or Awake and Sing!  is as apt a vehicle, in this sense, as any of Mamet's works. Odets came of age in the Depression years, when the reaction to the excesses of unbridled capitalist speculation and exploitation was at its height. The "tragic view" of human life would be no less pertinent then, than it would be for Mamet, growing up in the post-war years of relative prosperity. The tragic view of life does not imply that people should not have flaws, but that their struggle may not result in a preferred outcome. Since Odets was, in his day, as successful and admired as Mamet is in our time, would it be disingenuous to argue that Odets' politics was somehow as irrelevant or extraneous to the fact of aesthetic achievement, as Mamet's politics is?
For Mamet, the best outcome is measured by the success of the performance. The struggle in the hard knocks arena of public entertainment is no less frustrating, or tragic, than the struggles that occur in politics, or life in general.
As an American Jew, Mamet sees the struggle for Israel's continued existence as a dialectic between those who support the Jewish State, and those who oppose it--or who may hold a contrarian view that includes the Palestinian opposition's interest. Because for Mamet, the predominant contemporary liberal view of the Mideast Crisis--that Israel must in the end learn to compromise with its neighboring Arab States--is consistent with a false promise of the perfectibility of humankind, that people with legendary differences can learn to get along with one another.
But the tragic view of Israel is built on generations, nay millennia of experience, that Jews cannot trust those whose interests oppose theirs, and that if history teaches anything, it's that they will be betrayed and persecuted just because they exist. If Israel's identity is indeed existential, then any Jew may come to believe its best chance for survival is through domination. Further, that any attempt to temper that dominance with compromise or concession is bound to lead to the ultimate capitulation. And that any betrayal of that domination may be identified with weakness, self-destruction, and threat.
As an American Jew, Mamet's politics is heavily influenced by the "tragic view" of Israel's continued existence. Though Jewish American political sentiment has traditionally been liberal, the issue of Israel's existence, and of America's continued support of it, is the key dividing point between liberal and conservative Jewry. Mamet's "Hollywood" politics follows a recognizable pattern for those of his biographical profile. But Mamet's conjoining his aesthetic focus with the politics of personal, financial success may signal a wrong turn.
In America, any man may declare his political beliefs without fear of reprisal or repression. But we're under no obligation to accept those beliefs. Why should we think that portraying the human condition in the make-believe world of theatre or cinema entitles any artist to speak about real problems in the difficult real world? Ultimately, a playwright's work must speak for him.
As I enter old age, I come more and more to understand the impatience of intelligent people who deal with the frustration of seeing history repeat itself, over and over again. If you believe that human life is essentially tragic, then it would seem a futile gesture to take sides in a Shakespearean dialectic in which right seldom, if ever, triumphs.
If we could all admit that the most enthralling physical sensations occur in our most vulnerable states, perhaps our over-mastering inhibitions wouldn't get the better of us.
Mortality is a blessing, which if we could only comprehend its crucial meaning, might liberate us all.
The fact that all that we know and experience is fleeting--not to be repeated, not to be extended indefinitely--might allow us to elevate our response to life, reflecting the value that only limits can grant.
Swimming is a wonderful thing. Our whole bodies immersed in flowing liquid--symbolically amniotic--a sensation that refreshes and enlivens our nervous system.
If a drink could inspire this feeling, it might be the most addictive drug. Most psycho-active drugs are said to either heighten our sense of impression, or deaden our sense of pain.
Innocently enough, here's a stab at an inspiration of the freshness and immersion of bodily clarity and chill, the Swimming Naked Cocktail. Mixed as always by proportion.
3 parts Boodles Gin3/4 part aquavit1 1/2 part Cointreau1/1/3 part fresh lime juice
--shaken and served up with a garnish of a thin slice of lime.
I was a latecomer to the joys of swimming, but eventually I was hooked.
I often have the same feeling with certain kinds of music. Just now I was listening to Chabrier's Scherzo-Valse, which I find so bracing and uplifting, with its crisp enunciation and high spirits, that it's as exhilarating as a dive into a cool pool.
So here's to physical joy, and the pleasures of feeling, and taste.
The University of Alabama Press has just published Calligraphy Typewriters: The Selected Poems of Larry Eigner, Edited by Curtis Faville and Robert Grenier [ISBN: 978-0-8173-5874-7, Quality Paper $24.95]. 334pp. with a Foreword by Charles Bernstein, Index and Notes on the Text. The book measures 7 x 9 inches, with sewn signature binding, and a glossy cover (designed by me and George Mattingly).
The publication of Eigner's Selected follows our earlier work on the Collected Poems of Larry Eigner [Stanford University Press, 2010, Edited by Curtis Faville and Robert Grenier], a four volume hardcover set of 1868 pages.
Any selection will be a reflection of the taste and discrimination of its editor(s), and with a poet as prolific as Eigner was, there can never be a completely settled subset of universal correctness. Certainly all of Larry's famous poems have been included, but the work's overall consistent quality virtually guarantees that any selection will have a satisfying and familiar confirmation, no matter how partisan.
Our determination to include as many poems as would reasonably fit--our selection actually comprises less than a third of Eigner's total published out-put in his life--meant that we used as much of each page as possible, often stretching the limits of traditional margin-practice. Due to a slight trim error, some of the pages are a bit too low on the page, a problem which we could not have foreseen at the proof stage.
Unlike the earlier Stanford edition, in which we established a fixed left-hand margin for all the poems, in the Alabama edition we chose to present each poem roughly centered, in order to give each a degree of autonomy. The resulting shifting margins makes for more variety of placement, and creates a sense of balance.
Calligraphy / Typewriters is intended to reach a wider audience than the bulky Stanford Collected. Our hope is that it will become a sort of textbook of his work for use in classrooms and study-groups, and for the general reader.
For my part, Eigner's work belongs in the handful of major post-Modern writers who broke from the strict confines of traditional verse to create a kinetic, deconstructed experimental work that revisions poetic perception and sensibility in unexpected and astonishing ways. I'm proud to have had a hand in husbanding his contribution to subsequent generations of readers.
Lily Sabine, sleeping, so curled around her intent, dreaming no doubt of escapades and adventures, from the past, or soon to come.
Do dreams serve some purpose in the riddle of survival and genetic mutation?
Since we can't know what it feels like to be "inside" another animal, another being, we can only guess what they dream. We assume that other mammals dream, since they exhibit the same twitchiness, rapid eye movement, and distraction which we have learned to associate with active "unconscious" narratives during sleep.
Are dreams a passageway into our secret meditations, conduits to the unknown? The surrealists thought so, and psychology and psychiatry are both founded largely on an analysis of the involuntary impulses that generate dreams. We live in the "real" world, while conducting a private series of stories or incidents in our imagination, which are parallel to the real but also creative reinterpretations of it. Perhaps, as has been suggested, dreams are a testing ground or a rehabilitation center which exists to work out problems or try out ideas. The brain may be said to possess a certain autonomy with respect to actual experience, in a sense "acting alone" without our conscious direction.
As I get older, my dreams seem to be getting more involved, more tangled with plots and counterplots. I'm not sure why this should be. My life was certainly more eventful when I was younger, and yet my dreams then tended to be briefer, less complex, though often more lucid and powerful in their immediate effect.
Many people report that they can fly in their dreams--an astonishing proposition since humans have never been able to fly--except artificially, with balloons, parachutes, or in planes. Is it possible to imagine that humans may someday mutate, naturally or artificially, into bodies that could fly? What an amazing thing that would be.
Regular readers of this blog--if indeed there are any such animals--know that I've had a profound interest in photography, as evidenced by my many blog-posts here about various well-known photographers over the years.
While living in Northern Japan in the mid-1980's, I developed an interest in documenting the fascinating landscape of that place, by taking pictures. In the course of that pursuit, I quickly realized that I had an untapped orientation to the visual, as well as an aptitude for composing in two dimensions. After returning to the States, I quickly moved into the view camera field, acquiring various large format monstrosities, including a 4x5, an 8x10, and even an 11x14.
I pursued this avocation for 10 years, before abandoning it in 1996, for personal reasons. In the intervening years, I've always intended to return to it, while keeping busy with other distractions such as blogging and antiquarian bookselling.
Finally, this Spring, I decided to explore the possibility of making a collection of my images as a published book. In the time since I had actively worked in the field, the technology of print production underwent a revolution to the digital. What would once have taken a lot of painstaking donkey-work with chemical baths and drying racks and mounting boards, could now be achieved inside digital application programs, projected onto light screens, with an almost limitless range of possible adjustments and augmentations of an image file. The possibility of projecting a collection of mounted silver gelatin prints into a book file was a dream I had nurtured in my imagination for over 20 years. The time seemed ripe.
Fine art photography book production, using the latest high-tech craft in digital lithography, has yielded stunning examples of the work of the best contemporary photographers in the world. The costs associated with this craft have driven much of the industry overseas. In America, one outfit in particular has continued to set a standard, Dual Graphics in Southern California. Continuing a tradition begun earlier at Gardner-Fulmer, Dual Graphics employs the latest in digital image-making from scanning to final print production, to produce breath-taking monographs, with images that rival the original prints they're made from.
30 years ago, hardly anyone would have thought this possible. But it's become a reality.
Presently, I'm about half-way through the production of my book of photographs, the front cover of the dust wrapper for which is shown below. Assisting in layout and design is George Mattingly, a publisher and graphic designer in Berkeley, an old poet and little magazine editor I've know for many years, since our days in Iowa City back in the 1970's.
The book is scheduled to be completed sometime in mid-June. Next week, I'll be traveling to Brea, California, to oversee the printing of the signatures. There are 65 black and white images in the book, predominantly landscapes, with a few studies and abstractions. The shot reproduced below is of countryside in West Marin, an area I spent a good deal of time in during the decade of my photographic work.
The dimension of the book will be 16x14 inches, a huge tome of a volume, in the traditional "coffee table" format. The reason I chose such a large dimension is because I wanted to print my 11x14 inch contact prints at full scale, without shrinking them to fit a smaller vision. One of the great attractions of very large format, is the incredible clarity with which scenes can be reproduced, without blur or weakness anywhere in the field of the frame. Having gone to such trouble to generate these big prints, I couldn't stand the idea of compromising their potential.
The book will be 106 pages, and a $100 price tag, though I suspect that few if any of the copies will be sold for that amount. The run is limited to 300 numbered copies, all signed. I've explored the possibility of national distribution, but I doubt anyone will pick it up. Book distributors aren't much interested in obscure photography books by unknowns, no matter how interesting they are. And I've never been ambitious enough to pursue gallery or print sales.
Good luck, big book!
Let me begin this essay with a series of qualifications.
Since the inception of photography in the 19th Century, there has seldom been any doubt about the inherent quality of photography's function, which is its ability to present verifiable versions of visual reality through the use of artificial glass lenses onto light sensitive surfaces. The degree of accuracy of the reproduction of imagery from reflected surfaces, onto flat ones, has always been its aim and measure.
Of course, accuracy alone cannot account for the effect of modified illusions, which is partly what modern photography offers. The last century of photography is the development of a technology of increasing sophistication, in which "raw" data is manipulated and augmented to create altered or improved versions. When Ansel Adams said the negative is the score, and the print is the performance, he was referring not just to the playing of the music, but to its interpretation. What, after all, is a "straight" print, if not one version of the process. To change that process, or adjust it, by whatever means, is in one sense, just another means to an end, which, from an aesthetic point of view, cannot be more or less than an aesthetic choice.
All art is subject to the vagaries of taste, which is ethically neutral. All attempts to fashion a fixed, defensible bastion of aesthetic criteria are doomed, since there is no final arbitration of value inherent in the artistic realm. Which suggests that all our preferences and pronouncements about the ranking of quality in the arts are opportunistic and arbitrary. They may be constructed around humanistic, or religious, or pragmatic principles. They may begin in utter simplicity, but ultimately, we cannot credit such principles unless we accept them, as starting points, as initial axioms.
There have been attempts to distort the meaning and function of photography by diverting it into cup-de-sacs, such as Soft Focus, multiple imaging, etc.; and since the advent of digital technology, the manipulation of the image itself. But there is no reason, other than the arbitration of prejudice, that we should want or need to object to such variations.
Straight photography, nonetheless, continues to hold a place of privilege, even as it evolves into new means and materials. As we transition out of organic emulsions to digital projections, the terms of the equation may change, but the solution to the problem has the same general aim. The sense of an idealized photograph implies the existence of an idealized subject, and this is what makes landscape, fashion, photojournalism and documentation, etc., each in its way, compete for progressively ever more iconic, diverting, or synthetic instances.
What is the difference between reality and an accurate photograph? What is the difference between a "straight" (unmanipulated) print, and one which has been subjected to various augmentations? What is the difference between an "exaggerated" and an "invisible" manipulation? What is the difference between how I see a scene, or a photograph, and how someone else "sees" it? What is "reality"?
Most photographers will readily admit to manipulations, since to do so is as much a boast and a claim, as it is an admission of some degree of artificiality. The delicate balance between a naked "straight" representation and an augmented work, insures that there will always be some degree of "wiggle" room between what we may decide to expect of, or allow, any craftsperson.
The issue of craft is paramount in any production where method and materials are as crucial as they are in the chemical processes of traditional photography. We tend to be somewhat suspicious of any craft that pretends to define meaning and quality merely as aspects of the refinement of technique, as (for instance) with poetry. A well-written sonnet may say nothing of importance, may be nothing but an equivocal demonstration of wit or word-play. But with true crafts, of which photography is one, it is often convenient to think that the perfection of method is more important that the actual content of the image.
John Sexton began his career as an apprentice of Ansel Adams, and his career has followed a familiar pattern for the kind of craftsman that he set out to be, and has become.
It's tempting to suggest that fine art photographers who concentrate, for instance, on landscape can equate fine craftsmanship with the subtle distinctions one encounters in nature. Sexton has said repeatedly that his aim is to transmit the subtlest shades of feeling and impression through the careful exploitation of the finest distinctions of silver gelatin print-making. Like Adams, Sexton focuses on the familiar scenic icons of the American outback, including notably Yosemite, which Adams immortalized.
But unlike Adams, Sexton seems less interested in evoking the "heroic" aspects of nature, than in transmitting meditative calm, peaceful states of mind, fragility, harmony, and centeredness. It is perhaps no coincidence that an adroit technician--patient, careful, even finicky--should choose these kinds of tropes to explore and convey.
What strikes me, looking at Sexton's work, more than any other quality, is its static fragility. It almost has a feminine aspect to it, a timid sufficiency that chooses to accept whatever mildly pleasant scene chance may offer to his discerning eye. His pictures don't seem to say very much. Images of still or silky flowing water, windless forests, posed leaves or rocks or details of architecture seem chosen primarily because they present little challenge, but may yield delicate possibilities in the darkroom.
When technique overshadows content, an artist may become over-fastidious and prone to mannerism. This is what I see in Sexton's work: A photographer who has become so preoccupied with finishing and revising and drawing out nuance and innuendo that he forgets about the importance of feeling and significant meanings.
Any art which gets so caught up in the technicalities of its craft that it forgets to communicate anything but an appreciation of the function has lost its way. Sexton's passivity and ingratiating distillations leave you feeling as if you needed a nap. There is perhaps some use in presenting images of perfect calm and frozen visual music, for those for whom these are the desirable states of mind. We're all familiar with the drugstore Zen Buddhist approach to the vicissitudes of life in the over-amped Western pursuit of pleasure and wealth, but oversimplifying the potentialities of serious photographic-imaging by promoting it as an aid to nature meditation is nothing but glib salesmanship by critics and gallery-owners, looking to capitalize on the latest new age fad.
It may indeed be true that "art makes nothing happen," but whatever is happening should at least occur in the mind of the viewer.
Technique can get you so far in any art, but without at least a clear vision of what your craft is for, you may be nothing but an experimenter, content to let your ingenious tricks be the main attraction of your work.
Sexton's work is restful, and satisfying in a submissive way. Its only determination seems to be to make everything fit, and clear, but that organized transparency feels ungrounded. His prints seem like problems to solve, rather than experiences to be lived.
It's a beautiful song, redolent of the rock-n-blues-y Southern tradition Orbison came out of, and a perfect vehicle for his high-pitched, plaintive voice. Earlier in the evening, I had tried a new cocktail mix, actually a slight variation on a standard recipe.
Channel 9.1 (KQED) had a Roy Orbison concert reprise last night (we'd seen it before), in which he's accompanied by Bruce Springsteen, among others. Some way into the set, he did Blue Bayou, a song I was surprised to learn he'd actually written (and released on August 1st, 1963, according to Wikipedia).
Two Parts Myers Dark Rum1 part limoncello1 part fresh lemon juice1 part Mandarin Napoleon orange liqeuer
Served over ice and lightly stirred. Very seductive.
And in retrospect, it seemed the perfect accompaniment to the music we later heard.
The slow, unhurried, submissive, passionate, fatalistic, decadent, suffering, delight in the inevitability of transient love and regret.
Coffee table books. Somehow, the phrase suggests decadence, frivolity, perhaps self-indulgence. There's by now a long tradition, over the last century, of books designed to exist as a kind of furniture, as appurtenances of upper-middle-class ostentation, created to be seen or experienced as tasteful extravagances on living-room tables. Early in the 20th Century, photography joined art, travel and architecture as one of the proper subjects for such containers. As the technology of printing progressed, it has become more and more possible to produce printed photo-books that could rival original photographic prints from which they were derived; and with the arrival of the digital revolution, it has finally become possible to make printed images which are just about equal in quality to originals.
When I first took up large formate photography seriously in the mid-1980's, it was in large measure in response to the imagery I had seen in books. Ansel Adams, Edward Weston, Paul Caponigro, William Clift, Imogene Cunningham. Though my original impulse had been documentary--to create color images of Japan, where we were living in 1985--I quickly realized that the real challenge, the true seduction (if you will) was in making carefully controlled and produced black and white compositions that left nothing to chance. Mastering the technique of making large negatives and transferring them to fully realized prints would require some materials, and some trial and error, but with devotion, and a little luck, I soon became capable of doing so.
I'm not sure today, over thirty years later, what my initial expectations were, but clearly I wasn't expecting to enter the competitive world of galleries and workshops and fine monographs. Then what was I thinking? I suppose, given that I've always been a "book person," I was unconsciously imagining that my work would one day find its way into a book. Producing prints for gallery walls is a daunting proposition. Typically, when I worked on a print, I would stop when I'd made a single print that I found satisfying. The idea of replicating that target print with a run, say, of 20 or 50 or a hundred copies, seemed absurd, since I had no audience, and no gallery owner to market them for me. I've never enjoyed the schmoozing and self-promotion that most "serious" photographers have to engage in, either as the subject of my own campaign, or as a "camp follower." I suppose this is partly an ego thing: I don't want to pretend that I think my work is better than it is on the one hand, and I don't like genuflecting to someone who is presumably higher than I am on the pyramid. I don't like vying inside the aesthetic class system--it's a distraction and a bore.
Nevertheless, the idea of having a book of my images was always there in the back of my mind, and by the end of the first decade of the new century, I was finally able to consider underwriting such a publication all by myself. I'm not bothered by the vanity charge; indeed, anyone who has had to submit to the machine of publication by a typical publisher, understands the compromises that go along with it. Except for a handful of household names, hardly anyone can claim to have marketable photographic material in any medium whatsoever. In order for any art to exist on its own terms, without relying on the organs of culture, it must either be entirely free of obligation, or be so carefully husbanded that it's untouchable. Without having gone to the trouble of promoting my work through galleries and workshops, I could hardly expect any "reputable" publisher to consider doing a book of my work. Art book publishing is risky enough, even with established artists and photographers.
With the advent of increasingly precise digital printing, it finally became possible in the last decade or so, to transfer large flat-print images into digital files that could be fed into digital laser-printing machines, which in turn could be made into astonishingly impressive physical pages, even as the organic chemical processes of the old technology were rapidly being supplanted by digital projection media. At some point, I realized that producing a collection of my images in a book was really the ultimate fulfillment of my interest. A book allows you to choose and sequence your images, and to control the parameters of the presentation, in a way you really can't in a gallery. Though a book is certainly a commercial object, in the sense that it may be sold on the open market, it's much less dependent upon sales, than the way a gallery depends upon the purchases of prints. Some galleries use exhibition monographs to promote sales, as if books were just selling tools. But for me, the book is an end in itself, what I'd always imagined as the sublimation of the process, from pre-visioning to darkroom printing to collection.
This year, I finally decided that the time had come to explore making a book from the prints I had stored in my darkroom. Did I have enough good work to fill a book? Was I certain enough of my accomplishment to risk making a fool out of myself?
If you haunt the bookstalls of new or used book dealers, you know that every year there are thousands of poorly conceived photo-books. Many of them are in color, and most of them are artistically drab and careless. Though available digital technology would allow finer productions, few publishers seem willing to spend more on quality, and even fewer seem capable of conceiving tasteful presentations. Many follow ephemeral trends, trying to cash in on temporary aesthetic fads. Every year, there seems to be another "exploitation" book on Ansel Adams, with blurry reproductions, intended to capitalize on his reputation.
And of course, much of the work that finds its way into books doesn't rise to a level of quality that really deserves wide dissemination. So the question remains: Is the work good enough to justify spending the resources to summarize it in the synthesis of a material text? Each artist must answer that question for him/herself. I've always believed that I was my own best critic, that I was really the only one qualified to answer that question, at least with respect to my own work. In a sense, I don't care what other people think. If people dislike your work, you can't control that. There are artists who try to placate their audience, who depend upon others to define their sense of themselves and their work. Ultimately, that kind of obsequiousness doesn't interest me. I'm not looking to "please" people, particularly when it comes to confirming my own worth or vision. If people like your work, great. But if they don't, you can't rely on that as the measure of your own commitment.
Most art books exist within the confluence of art and the market. But art isn't just a marketplace. And there's the simple pleasure of presenting something you've made, with effort and pride, to the world at large. For me, there are few things in life as exciting as making an object--a poem, a drawing, a photograph, a landscape design--out of your own inspiration, bringing it into being. "Did I really do that?" Wow. And your confidence in doing so will be reflected in the quality of your product, not in the sense of a marketable product, but as a child of your creativity. You wouldn't put your own child up for sale or auction; so why would you think your art could be treated like any kind of commodity?
I know of few things that are as gratifying as launching an artifact into the world, so that it acquires an independent existence, with its own integrity. In a sense, artistic vanity and ambition fall away from a valid object, in such a way as to honor the act, and not the individual person. My ambiguity with respect to the artifact may seem unusual, but in the end we're all just custodians--not just of the things we produce or own during our lives, but of the insights and records and residue we leave behind. Posterity will decide what to do with our efforts. That part is out of our hands.
In the next part of this blog, I'll address some of the contextual and critical implications of my work. The art book as material object. The meaning and scope of the images (content).
End Part I
Reflexivity in self-regard presents difficulties. Is regarding oneself critically an exercise in myopic delusion? Can anyone be truly objective about the products of one's own imagination? One's own craft?
Like many people who pursue photography seriously, I began in admiration and idolatry, moved on to imitation, and eventually found myself in the uncharted territory of original exploration. Imitation will take you only so far in any artistic medium. Eventually, you have to ask yourself whether what you're doing has any purpose beyond reprocessing others' work.
In deciding to pursue landscape photography seriously, there were several aspects to consider. There's the investment in equipment, the opportunity to explore remote locations, access to a suitable work-space, and the purpose toward which all that expenditure and time spent leads. Harry Callahan remarked once that the one thing he knew for certain, what kept him going, was the certainty that the one thing he wanted, at the start of each day, was to photograph. It was a reliable compulsion. And that's pretty much what I felt when I began; I knew I wanted to make pictures. And as I became more familiar with it, the more I liked it.
There are many kinds of photography, many approaches to subject matter. I admire many of these different kinds of work, though not all. There are things that photography can do well, while some others seem to work directly against the advantage of image-making. Deliberately making blurry images, for instance, seems to me a distortion of the meaning of photography. It's many times harder to make a precise depiction of a real scene, than it is to do with a camera. This would suggest that whatever potential lies in the direction of that precision is closer to the soul of photography.
One of the first things you notice about serious landscape photography is the tendency to portray "big scenes"--and I was typical in my initial fascination with the heroic images that the great landscape photographers--Ansel Adams, Edward Weston, Eliot Porter, Michael Kenna, and dozens of others--had made. But I also have a strong reductivist tendency in my nature. I like the closely seen detail, presented with intense concentration. And I also love "abstraction" as a genre, the interest in surfaces or spaces that are not about what they are, but what they may mean as pure form, or texture, or metaphorical suggestiveness.
Ultimately, the best landscape photography isn't about the celebration of place, but about the transcendence of place (and name). Beyond referentiality, there's a purer appreciation of any scene than the simply referential can summon. Most photographs are recognizable images, but it's how they are seen, arranged, portrayed, that makes interesting work. Any tourist can perch on the edge of the Grand Canyon, or at the margin of the Pacific Ocean, and snap away, probably in color. The sense of inspiration people feel before awesome natural scenes is rarely interpreted by their cameras, because they don't understand how to translate the feeling into a compelling composition. All sunsets are equally a subset of "sunset" but all are different, and it's that difference, made into photographs, that makes all the difference.
If all landscape photographers are aspiring towards the same goal, in what sense may they actually define themselves, to set themselves apart? Many of the images in my book are of subjects that all landscape photographers pursue: Dunes, mountains, waves, trees, flowers, canyons, cars, buildings. So it can't just be that the choice of subject matter determines the quality of your work. Obviously, no one can "own" a place simply by having successfully photographed it, though the way one great image has been made, or done, may close the door permanently on all future versions of that scene. Anyone trying to re-do Adams's Clearing Winter Storm, Yosemite, will merely end up in slavish imitation. But no one would suggest that Yosemite Valley has "been done" once and for all. There are always more images, more points of vantage, more variations of light, atmosphere and condition to be explored and exploited.
Ideally, I always wanted to do several kinds of photographs, but you have to follow your nose to the places that inspire you. Landscape photography sometimes may seem like a pantheon of shrines, familiar spots on the planet nearly everyone is drawn to. As you approach them, you do so with respect, and awe. They are magical places, which may yield up their beauty or mystery to your lens, or not. Sometimes it's all about luck. There's an old saying in photography, that photographers don't "take" photographs; photographs "take them." Paul Caponigro has said that the process by which a photographer makes an image is an entirely mysterious one, in which a number of elements of opportunity and chance converge. This "moment" may be fleeting, or voiceless, or may seem invisible to the untrained eye. One is, in this sense, "given" to complete certain image, chosen by fate or some higher power to be allowed to perform it. It's like a gift.
I'm not ordinarily a mystical guy. Not religious. Not interested in superstition. But I think there really is something to the notion that one is given to have certain images. It's a combination of desire, accident, timing, unconscious intuition, and perhaps divine intervention (though I'd not be willing to emphasize the divine part). I remember trying to set up this image taken at Death Valley Dunes. The heavy wood tripod I was using kept sinking deeper and deeper into the sand, changing the composition each time I looked through the ground glass to focus. Every so often the wind would blow little bits of sand off the crest of the wave. Standing as still as I could, with the shutter in my hand, using the dark-slide to shield the lens from the sun's rays. And I had no idea whether the negative would develop in the manner I had planned. All these ponderable issues can build up and overwhelm the most inspired visions!
I've talked around the issue of value, but I realize that the point of criticism isn't merely descriptive. Great critics teach you more than they cut you down to size. That was true of Edmund Wilson, or Hugh Kenner. But there are few serious critics of art photography, and few of those spend much effort in attacking what they don't like.
In the final post, I'll try to estimate the value of what I have published in this book, without being either too easy, or too hard on myself.
Can anyone be a fair judge of their own artistic effort? Writers and artists run the spectrum of attitude, from vain boastfulness and pride, to quiet modesty and tact. Courtesy suggests any artist must refrain from indulging in too much self-promotion; whereas a real confidence may express itself as passive acceptance of the judgment of history and the marketplace. A jury of your peers has a nice ring, but we know that fairness and justice are seldom the driving forces of prizes and grants and praise. I've never been shy about offering my aesthetic opinions. Some people believe, apparently, that artistic endeavor is already so difficult, that negative criticism should be avoided, to protect the tender sensibilities of those who might be unable to handle rejection.
Any honest craftsman welcomes criticism, which may help to define meaning and effect, and guide further development. But trying to see your own work, objectively, requires a special kind of disinterestedness. Am I willing to subject myself to the same standard that I set for others? Can I apply a higher standard to myself than I maybe aspired to? Am I willing to admit to myself that my standards weren't high enough, or that I fell short simply because I lacked the inherent talent from the beginning? These are uncomfortable questions which any artist or writer faces, even if they never discuss them in public. Ultimately, any serious critic must insist that merely trying is not enough, and that failure must be a possibility in art, as it is in life. In the arts, "A for effort" can't be on the menu.
My photographs clearly belong to a tradition of "straight" image making that has its origins in the 19th Century--Timothy H. O'Sullivan, William Henry Jackson, Edward S. Curtis, Darius Kinsey, Robert Adamson, David Octavius Hill, etc.--which then evolves fully in the 1930's via the f64 Group, which included Adams, Edward and Brett Weston, Cunningham, Van Dyke, Lavenson, etc. For a time at the turn of the 20th Century, so-called "soft image" work was favored, partly out of deference to the "artistic" qualities of painting, which was ironically undergoing its own formal crisis in reaction to the invention of photography. Just as straight depiction in painting was beginning to disintegrate, photography was finally throwing off its painterly preoccupations and declaring accuracy and vividness as its chief values. If photography could achieve the verisimilitude of "reality," painting could be free to explore other spheres of expression.
By the time I'd entered the field in 1985, serious large format photography--primarily black and white, but moving inexorably forward with color as well--had been accepted as a valid art form. The high art values achieved by Strand, Edward Weston and Ansel Adams in the 1940's/'50's and after, were commonly accepted, and all the major museums in the Western World now mount photographic exhibitions right alongside the plastic media.
For many years, there was a debate about the value of photographic prints. In theory, any photographic negative may be endlessly reproduced (printed). In fact, it's nearly impossible to make so-called "identical" prints through individual exposure and development, even assuming that materials (paper, chemicals, etc., which may be proprietary or privately concocted) are uniform to begin with. The simple fact is that producing more than a handful of superior prints is difficult. In addition, any successful photographer knows that control of an edition is part of the process of controlling the value, particularly with very popular images. Once a photographer closes a print run, or dies, the number is fixed.
As I have mentioned, my own working methods were determined in part by my expectation. I never imagined that my work would ever be shown in galleries, and I could see no particular reason to have multiple prints (mounted or not) of images. Once I had achieved a print that satisfied me, I stopped working on it. Usually, I ended up with only 1-3 prints of a satisfactory image. I never expected my prints to "sell" anywhere, so there seemed no point in have additional ones. Was this an expression of my artistic "modesty" or simple pragmatic efficiency? Perhaps laziness had something to do with it.
Ansel Adams once said, acting as the promulgator of his medium, that "the specter of the hobby is always lurking" behind every amateur photographer, by which he meant, if I read him right, that most people stop short of realizing their full potential photographers, simply by shirking the challenge, excusing their reluctance by calling it a pastime (or a "hobby") instead of the art it can be. It's like a conscience call.
By moving up to larger and larger negative formats, I believed that I could achieve greater accuracy and tonal scale in my work. It was also upping the ante, a commitment which the larger and more demanding (and expensive) equipment would enable. Could I have achieved my goals with smaller formats? Probably not. I had seen how even a 2 1/2 square negative would blur even at 8x10 dimension. "Blow ups" were fine, as long as you didn't get too ambitious. But I was ambitious! I'd seen what Adams and Weston could do with 8x10, and that's the potential I wanted to test in my own work. I didn't exactly want to make photographs just like theirs, but I knew that this was a journey I wanted to take, even if it resulted in failure.
Photography is forgiving enough, that if you use the very best equipment, and the best materials, the odds are that you'll make work that may impress people.
In truth, I was more than willing to let the large format images I knew I could achieve, stand in the beginning for what I wanted. Standing on the rim of Canyon de Chelly and blasting away at the canyon walls below may have been like shooting fish in a barrel, but I couldn't resist the lure of the iconic. And the really big 11x14 negatives I could make, would guarantee that my contact prints would be at least as impressive as any smaller format versions. The greater challenge, naturally, was in finding compositions that were completely original, and not just later examples of the same subjects.
Harry Callahan said that a good photographer was never more than 10 feet away from a great picture. But accepting that as an aesthetic axiom does not necessarily imply that one should be limited to that range of possibility. There are landscape photographers who wander the world restlessly for any kind of exotic picture, even hiring bush pilots and helicopters to get them into the right position or remote location. Both extremes--resisting the exotic, or embracing it--seem unnecessary to me. I think it's possible to construct compelling photos out of arrangements of objects in a room. But that doesn't imply that hiking around the Alabama Hills on the eastern side of the Sierra Nevada isn't also a fruitful approach.
Serious landscape photographers may think of themselves as pioneers, in much the same way that Timothy O'Sullivan was, in the 19th Century. Though the rigors of the outback are nothing like they were in his time, with mule-teams to carry his baggage, there is still the excitement and pleasure of being outdoors, away from "civilization," on the hunt for the wild, untamed, unspoiled natural wonders. That may sound like a cliché, unless you've hiked five miles with a 30lb. view camera on your back, carrying a 12 lb. wooden tripod up a steep trail to a promising overlook.
Though many of my photographs are of classic subject matter--compositions that others have essayed, with greater or lesser success, I think that most of them deserve to be appreciated. My images all have a strong sense of organization, a sensitivity to context, as well as a respect for traditional pictorial values. They aren't humorous. They aren't kooky. They don't strain for effect.
As a conservationist, I have a preservationist's concern for the environment. Some photographers are willing to allow their art to reflect the devastation man has caused on the earth. Robert Adams, Lewis Baltz. There is pain in their photographs, and disgust, and outrage. Even hopelessness. Is it apposite to use your art to make deliberate political statements with your camera? No doubt. But the choice to do so will subtract from the opportunity to appreciate what we most value. Probably the best expression of preservation for a fisherman is not to fish at all, and to insist that no one else does either. As a fly fisherman, I am sensitive to the use I make of fresh water habitat, but the point is to live, not refrain from experience, either as a protest or as a sacrifice.
For me, no photograph could be "merely" pretty and be truly compelling. There must be an underlying mystery, a quality of power or eccentric design which keeps us looking, keeps us coming back, to attempt to unravel what's intriguing to our eye. Though oil storage tanks--big cylinders full of raw or refined petroleum--aren't pretty, I thought that the message implied here by the oddly named company logo, with the criss-crossing grid lines unintentionally setting out an ironic pattern of mathematical meaning, told me something about the world. This photograph was taken with an 8x10 view camera. It could obviously have been snapped with a 35 millimeter hand-held, and the resulting "content" would be the same. But for me, the importance of the "message" of the picture was enhanced by the clarity and crispness of the accuracy of the lens. People who wander about with little hand held cameras, snapping away happily, are missing something.
One of the best aspects about large format cameras, is the methodical routine you go through to set up for a shot. It involves a sequence of decisions. Nothing worth doing in the arts is really easy, and much of the inconvenience of large format photography is really an imposed discipline. It forces you to think about depth of field, about vantage, and about the ambient conditions. Though there may be occasions when time is of the essence--when the available light or transient shadows are fleeting--in general the best photographs occur under conditions of calm pursuit, allowing the unfolding process to dictate what your desire can realize. And then there's luck!
You have to be ready to experience the unexpected. Interesting photographs often become possible under changing conditions, and these may occur under unusual or hazardous conditions. One of my best photographs was taken during a dreary rainy morning in Tilden Park, when the light was drab, and my equipment and I were getting wet. I almost had no idea what would come of this picture, and for some years afterwards, I was uncertain about whether it was a good photograph, or not. But people I showed the image to, told me it fascinated them. The tree trunks almost seemed to be translucent!
When we remember someone we've known, who has died, we may choose, voluntarily or not, to recall them at a certain age in their life. We are all oldest at the point we depart life, but who we were in a larger sense, encompasses the full breadth of our lives, not just the oldest version. Few people are famous as children, or achieve fame at an early enough age that we think of them always as young, immature, and familiar. Perhaps people remember Judy Garland, or Shirley Temple in a perpetual childhood state, as if their having grown up were an afterthought to the larger-than-life quality they projected at the height of their being.
John Ashbery was precocious from an early age, but developed as a writer somewhat more slowly, reaching an impressive degree of fame in his forties, with the publication of Self-Portrait in a Convex Mirror . His earlier work had been somewhat notoriously "difficult"--a quality routinely remarked about his work.
As a young aspiring poet in the 1960's and '70's, I encountered Ashbury's work first by finding a copy of his Tennis Court Oath [Wesleyan University Press, 1962] in a student bookstore while a student at Berkeley in 1968. I wasn't sure what to make of it, but its impressionistic, synesthetic qualities I found intriguing, despite my inability (or unwillingness?) to understand the narrative structure of his poems. It would be later that I would find out about his Dada, Surrealist sources of inspiration, which took some of the mystery (and intrigue) out of my earlier apprehension. When you are young, you may impute mysterious qualities to things simply because of your own innocence or ignorance.
Ashbery's career unfolded in an odd way. The first two books, Some Trees and Tennis Court, were challenging and unapproachable for the general reader. Rivers and Mountains  was a bit more apprehensible, and the camp The Double Dream of Spring  seemed fully formed, mature work. Three Poems  was like meditative prose-poetry, almost a kind of philosophical tract. So when Self-Portrait appeared, its meditative flow struck just the right note, and won all the prizes. Had Ashbery finally crossed over from hermetic abstruseness to fully realized accessibility?
As time wore on, Ashbery's productivity increased, turning out almost a book every two years over the next three decades. Rather than becoming clearer and more sensible, his work became difficult again. After Self-Portrait, I tended to lose interest in his poetry, which struck me as repetitive and playful in a frustrating way. Whereas Tennis Court had been innovative and experimental, Self Portrait had been a triumph, a synthesis of organization combined with unusual insights. His later work became increasingly camp and nonsensical, as if these qualities mattered most.
I have thought over the last 30 years, that Ashbery had written too much, a feeling I tended to have about other writers, such as John Updike, and W.S. Merwin. It seemed to me that Ashbery had become so facile, that he could turn out a poem at any time, with his characteristically elusive elaboration, without the least provocation. Nearly all of his work is filled with fascinating observations, reports of feeling and concept--but these aspects don't necessarily cohere into unified works of art. The point Ashbery seemed to be making was that they didn't need to. He had "done that" before, so why write it again?
Ashbery's long denouement will have to await the judgment of history, but for me, his career's apex is Self-Portrait, followed by a series of extended footnotes.
I had two interactions with him. The first was when he generously agreed to give me poems for a little magazine I was editing in the mid-70's--which, unfortunately, I was never able to use. The second was when I discovered a book that had belonged to him back when he was a graduate student in the early 1950's. I wrote a two-part blog about my speculations regarding the influence of this text on his work, and he wrote me about it. In both instances, he was cordial and not in the least difficult or condescending.
Ashbery was among the handful of writers who were important to me in my writing life. Sophisticated to a fault, deeply intelligent, open-minded, mischievous, ambitious and tireless. The photo above would be from about the time he would have been writing Self Portrait, I think. It shows a young man, casual and relaxed, with an intense curiosity and determination--qualities that you can sense in his work. Ashbery lived a very long life, and was totally redeemed by his successful writing. When someone lives for that long (aged 90) there is little to mourn, because nothing is wasted. He used it all up, a self-consuming artifact of time.
At this moment, the San Francisco Giants are 60-93, dead last in their division, with the worst record in both leagues. In 2016, the team went 87-75, and made it all the way to the second round of the play-offs, losing 3 games to 1 to the Cubs, who went on to win the World Series.
How did this happen?
The odds-makers had put the 2017 Giants in the middle of the play-off picture, picked to win 90 games. From contender to dead last in just a single year!
There were signs of course. After a great first half in 2016, they had a dreadful second half.
Entering 2017, the team was essentially the same as it had been the previous year, with a few minor tweaks, though those proved to be crucial.
Comparing the position player line-ups for 2016 --
1B Brandon Belt2B Joe Panik3B Matt Duffy / Eduardo NunezSS Brandon CrawfordLF Angel PaganCF Denard SpanRF Hunter PenceC Buster Posey
-- to those in 2017 --
1B Brandon Belt2B Joe Panik3B Nunez / SandovalSS Brandon CrawfordLF Hernandez / ParkerCF Denard SpanRF Hunter PenceC Buster Posey
-- you wouldn't have had the feeling this line-up could underperform to the degree it has.
On the analytical side, it's a line-up structured around Pac Bell Park's dimensions. In exchange for fewer home runs, you hope for a lot of doubles and triples, good defense and excellent pitching. And indeed, the championship teams of 2010, 2012 and 2014 were built around excellent starting pitching, with good set-up men and a brilliant closer.
Since the departure of Barry Bonds after the 2007 season, management has consistently emphasized pitching and defense over power. Historically, success can be achieved with either formula. Some great teams of the 20th Century, the Yankees of the 1920's or '50's, for instance, were built around power. However given the legal reconfiguration of major league baseball, free-agency and salary caps, it's difficult for any team, no matter how well-heeled, to hold onto a squad of expensive stars.
With respect to the dimensions of Pac Bell, a good argument can be made in favor of a team with speed and agility--stealing bases and hitting lots of doubles and triples on offense, while covering the big outfield with speed and savvy--counting on good pitching to throttle opponents' power. But any team plays only half its games at home; playing in another park with shorter dimensions can put you at a serious disadvantage if you're playing pepper while the other guys are hitting dingers. In an ideal world, you have it all, power and speed, good run production and great defense, dependable starting pitching and great closers. But maintaining this kind of balance, year in and year out, even if you can somehow bring it together temporarily, is nearly impossible. Teams form and reform, stars rise and fall, older players drop out while young ones rise. Players have good years and bad, but they seldom have them all together at the same time, with the same team. And then there are the injuries.
This year, we lost our ace, Madison Bumgarner, to a freak accident at the beginning of the season. Had he not gone down, he was expected to win 14-18 games. That didn't happen. Samardzija, a good journeyman starter, was exposed for what he essentially is, a very talented player who will never rise to the first rank of performers. Matt Moore, a reconstruction project picked up last year for the stretch run, had a horrible time. Matt Cain, nearing the end of his career, was a shadow of his former self, while Johnny Cueto was lost for much of the year with nagging little injuries. Ty Blach, in his first full season in the bigs, showed signs of promise. Mark Melancon, signed in the off-season to replace the departed Casilla, went down with injury, too, forcing the team to use alternatives (hello, Sam Dyson).
It's hard not to think that when Bumgarner went down, much of the rest of the team didn't fall into an emotional nose-dive, especially when none of the other starters stepped up. Belt, Crawford and Pence all have had off-years, hitting well below their usual average(s). Left field--as everyone has come to characterize it--became the "black hole" which the team seemed unable to cover. Gorky Hernandez (Gorkys Hernandez??) in left field? Jarrett Parker, apparently the heir apparent, went down to injury too, so it's still unclear whether he has the stuff to be a real regular.
Once the season went south, management appeared to have given up too. On July 26th, in the middle of the season, they traded Eduardo Nunez, our starting 3rd baseman, to the Red Sox for minor leaguers. Christian Arroyo, another rookie at 3rd, gave hints of a possible future, then was injured. Throughout the second half, the team has cycled in a long list of minor leaguers, has-beens and also rans--Ryder Jones, Pablo Sandoval, Austin Slater, Conor Gillaspie, Aaron Hill, Mac Williamson, Justin Ruggiano, Orlando Calixte, Mike Morse, Drew Stubbs, Tim Federowicz, Derek Law, Kyle Crick, Steven Overt, Albert Suarez, etc.--none of whom seems likely to be with any major league team two years from now. It has looked a little like desperation.
Who now on the team deserves to stay next year, and become a part of a better team?
Posey seems solid, as does Panik. We'd be stupid to let either of these stars depart. Crawford's still a great fielder, and he still leads the team in RBI's, despite having an off year at the bat. Belt's been a puzzle, throughout his career. On paper, he seems intriguing, but watching him play everyday, you have the feeling he doesn't quite realize is talent. He should be hitting 25-30 homers a year, and at least .275. He also rarely performs in the clutch. Surrounded by a great team, he looks fine, but it's hard to justify his presence here, given our power vacuum. Pence is a quandary too. When he first came here, fans were overjoyed. His enthusiasm, his hustle, his combination of speed AND power, seemed perfect. But he's become injury-prone, and he seems frequently clueless at the plate, swinging at bad balls, over-anxious. Is 2016 an anomaly, or is his career on a decline? Hard to say. I like him in right field. On balance, I feel he would be hard to replace.
The weak spots on this team are --
Third baseLeft fieldFirst base
In the past, I've recommended the team seek to improve its power, and that's my recommendation now. Traditionally, you want production from the corner positions. 1st and 3rd should give you homers and RBI's. Ditto with left fielders. We'd like a right handed power hitter (25-30 homers, 85 RBI's) at third and in left field.
As Posey's career enters its second phase, it would be prudent to move him to 1st, at least on a regular part-time basis, to extend his career and reduce the wear and tear on his body. With luck, he could play until he's 40, and be productive throughout his 30's. He already has Hall of Fame numbers.
On the mound, Bumgarner's the ace. He looks durable, and there's no reason to think he won't bounce back next year. Cueto's contract status is up in the air at the moment. If he elects to stay, we could expect him to put in more good years (he's only 31). Samardzija's no favorite of mine, unless you figure him for a fourth or fifth in the rotation; if he left, I wouldn't miss him. At this point, I want no more of Moore, or Cain. Melancon may or may not be as good as his rep, but Dyson is welcome to replace him, if he can.
So we need one more good starter, and we need a good set-up man or two. No one the team has used this year looks good enough to stay. Gearrin, Strickland, Osich, Law, Suarez, Overt--a mediocre list at best.
Once upon a time, the Giants farm system was among the best, but in recent decades, there hasn't been the same quality. My own theory is that major league baseball has too many teams, and that there's been a watering down of overall talent. Broadcasters today will talk casually about "prospects" in the minor leagues: "Then there's this fellow at Pawtucket, pretty good stuff, ERA of 5.43, a 2-5 record and impressive fast ball at 89 mph." I can remember when that kind of "performance" at Triple A wouldn't have landed you a job at the local hardware store.
When I first started following major league baseball, in 1958, there were 16 teams, 8 in each league. Today there are 30. Imagine how much better teams would be today, if the best players of those 30 teams had to be winnowed down to fill just 16. Most of the marginal contributors would either be in the minor leagues, or out of professional ball completely. Players like Belt, Hernandez, Tomlinson, Moore, Strickland would probably be struggling in Double A.
Is the general level of play better or worse than it was half a century ago? It's an interesting question. Can mere statistics tell the whole story?
In 2018, the Giants will have to play better, and they will certainly need to make some changes. Can the team afford to bring in some sluggers, another quality starter, and some decent set-up hurlers? On paper, you'd think it would be possible. But does the management have the will? Is it a matter of money, or are there other factors? Just this week, Giants management opined that star hitters would be hard to convince to come play for the team, given its "difficult" ball park, and California tax rates. But these problems don't seem to have hurt the Dodgers, who have one of the most feared line-ups of all, and will win our division title for the fifth year in a row.
I have been a fan of the 49ers, off and on, for over 60 years. My stepfather, Harry Faville, had followed the team from its inception in the late 1940's, and by the time television arrived in the mid-1950's, he'd become a confirmed armchair athlete. As a boy, I dreamed of becoming a star receiver or defensive back, but I wasn't built physically to be a football player, and that idea quickly dissolved by the time I was in junior high school. In those days, people didn't worry about the fate of professional athletes. They might be injured from time to time, but it wasn't a concern. Similarly, the political opinions of professional athletes was never something fans or the media paid any attention to. In those days (the 1950's) public figures such as athletes, Hollywood actors, artists, or national heroes might have personal beliefs and sentiments, but they weren't considered important to the general public. Fame itself wasn't a credential.
All that has changed, of course, over the last half century.
Today, in our media-drenched world, everyone is supposed to have an opinion about everything, and what celebrities, and private citizens think or feel about any issue, is presumed to be newsworthy and important.
If Y.A. Tittle or Joe Perry had had opinions about Senate races or race relations, the media in those days would certainly not have considered it worth reporting, and hardly anyone would have cared if they had been. We didn't expect celebrities or high profile athletes to advise us about politics and public relations issues.
Today, we expect Barbara Streisand and Sean Penn and Meryl Streep to tell us what they think about political candidates, and important public issues. They have a lot of capital, and they can make an impact not just with their pocketbooks, but with their public personas. Today, professional athletes may presume to offer their opinions on any subject, and we're expected to listen seriously to them, as if their fame, and their accomplishments on the field of play, made them qualified to speak with authority.
Colin Kaepernick came to the 49ers as a rookie in 2011. In very short order, he established himself as the team's star quarterback, leading the team to a Super Bowl berth in 2012 (which he missed winning by a whisker on the last play of the game), and to a 12-4 record (and a play-off appearance) in 2013. Kaepernick was tall, strong, fast and presented defenses with the quandary of having to cover his runs as much as his passing. Following the 2014 season, team management ushered head coach Jim Harbaugh out the door, in what must be one of the stupidest moves in the history of sport.
After two stellar seasons, Kaepernick was faced with having his role redefined by an unqualified line coach who understood nothing about guiding an NFL offense. As the team tanked under Tomsula (in 2015) and Kelly (in 2016), Kaepernick was blamed for much of the team's lack of success.
Kaepernick was not designed to be a traditional pocket passer. Harbaugh understood that, and used him in such a way as to maximize his gifts. The frustration which hung over the team the last two years, came increasingly to be focused on his shortcomings, rather than on management's failures to find a suitable coach. Owners who blame good players for their teams' poor performance, are scapegoating, and that's exactly what happened to Kaepernick.
Some of the frustration of the team during the 2015-16 seasons inevitably rubbed off on the players. It can't have been easy for Kaepernick, who had basked in the limelight of a Super Bowl appearance at the age of 25, after only two years in the league, to deal with the negative publicity aimed at him and his team. In 2016, he began "taking a knee" during the National Anthem played before games.
I have mixed feelings about the purpose and importance of our National Anthem. On the one hand, I resented having to parrot the "under God" clause in the Pledge of Allegiance. My stepfather Harry, once said that he felt playing the Anthem before every professional sports event, actually diminished its value and weight. Does playing it in this way--over and over (162 times for each game in a major league baseball season!)--really reenforce patriotic feeling and commitment, or is it just a distraction and cliché, going through the motions for the sake of appearance?
Patriotism is a mixed bag. In any democracy, we have the right and obligation to form our separate, various opinions about issues, and to be suspicious and skeptical about what is expressed or advocated in the name or spirit of patriotism. In wartime, patriotism serves to unite and reenforce our devotion to the nation's cause. In peacetime, it may have other purposes.
The idea that a protest of social or political conditions should be directed at the government, and its symbols (including the flag, or the National Anthem, or the Pledge of Allegiance) is a hotly debated topic. Context is very important. If Arabs burn an American flag in the streets of Cairo, that is a very different thing than kneeling during the playing of the National Anthem during a sports event.
Public sporting events are not underwritten by our government, and they aren't by any stretch of the imagination an expression of patriotic feeling. They're entertainment, presented for the enjoyment of their audience(s), and for the sake of profit. The National Football League is a private league, a collection of very rich men and women who invest in teams and facilities as a pastime to generate financial gain. The same is true of the players, who are paid handsomely for their service.
But why should we think that star players such as Colin Kaepernick, or Tom Brady, or Steve Young should be any more skilled or qualified to advise the general public about important political or social issues than anyone else? Does their ability to play a game well suggest that such figures deserve to be regarded as experts? Though most of the players in the NFL went to college, no one would suggest with any seriousness that as a class they have anything interesting or persuasive to offer about important issues.
When Colin Kaepernick first began to be seen in public as the face of the 49ers franchise, he didn't even look to me to be African American. With his short haircut, and typical midwestern speech, he seemed a well-balanced fellow, neither excessively vain nor modest. But over time, he began to change. He grew big "Afro" hair, and had an air of resentment which was obvious on the field, and in front of the microphone. As the team's fortunes declined, he seem to want to transform his persona from one of talented athlete to that of a rebellious malcontent, as if to compensate for the decay of his reputation.
Personal resentment can sometimes get mixed up with a false sense of entitlement. Kaepernick never struck me as particularly intelligent, so his increasingly "politicized" stance seemed to me to express an unfortunate confusion of opportunity. He ought to have let his commitment to his job, and his success on the field, be his statement. To use his celebrity and visibility to harangue the sports audience with his personal protest, was impertinent.
If Kaepernick and other professional sports figures want to express their opinions about politics, they should do so in print, or in other venues. While I'm not personally invested in the notion of the public display of patriotism, I'm also inclined to view the opportunistic expression of personal opinions in sporting events as grossly inappropriate.
Kaepernick's behavior was stupid.
Since professional sports franchises are business ventures, there is no legitimate appeal to the league for personnel decisions. If owners want to sign some players, and not others, that's their choice. If they wish to express their political or social opinions through their running of their franchises, that's their right. Owners are not required to hire or fire according to racial quotas, or to fulfill some idea of social justice.
Personally, though I abhor Kaepernick's political antics, I think he's a very good player, and deserves to play. But he's responsible for his behavior. He may have the right to kneel during the National Anthem, assuming his boss(es), the team owners and management allow him to do so, but that doesn't in itself entitle him to be hired to play on the field. And it doesn't suggest to me that he's due some extraordinary esteem or admiration.
Kaepernick has made a choice, one which you may or may not admire. But that doesn't suggest that any owner is obligated to hire him to play quarterback in the NFL. Kaepernick may eventually come to regret his career choices. There's a risk in taking controversial positions in public.
We're all familiar by now with the cluster of fires which have ravaged parts of Northern California over the last 10 days.
Like most people, I have a feeling of futility about the damage that has been caused, since the manner in which the media usually portrays such events, seems intended to create in the viewing public either a sense of hand-wringing empathy, or pointless indignation over causes and mitigations.
I have three observations about the event. What I'm saying here doesn't in any way suggest that I do not have sympathy for those whose lives or livelihoods have been hurt or affected by tragedy. On the contrary, it's because I DO care that I make these observations.
One: I think it's irresponsible to assume, as nearly everyone has apparently, that these fires, which began, suddenly, all at once, on Sunday the 8th of October, were the result of electrical accidents. I believe it's much more likely that some, if not all of the fires, were the work of arson, set by a mentally deranged individual, driving quickly from location to location, and igniting them in sequence. Though the "investigations" into the causes will likely take months to complete, I think the likelihood of their having occurred all at the same time, in the same general region, goes well beyond chance or accident. We'll know eventually whether my surmise is correct.
Two: Most of the fires that occur outside of large forested regions (and a few that happen inside them) usually begin close to roads or contact points. In other words, they don't begin "naturally"--they begin as a result of human error, or deliberate mischief. All such fires begin small, and grow bigger. Typically, the response time for sudden, unexpected fire events is relatively slow. Our response to such fires is scaled to the "immediate" threat they pose. Inevitably, it often seems, such small blazes "quickly" spread, engulfing hundreds of thousands of acres. By the time they've grown, they have become enormous events, requiring the coordinated action of different jurisdictions, and the probable loss of flora, property, and even peoples' lives.
We hear a great deal about how courageous and hard-working and sacrificing our fire fighters are, about the vast resources marshaled to deal with these huge fire events. What we don't seem to hear about is how efficient such responses are in preventing small fires from becoming larger ones. What, to be very direct, would be the value of responding with greater efficiency and force to new small fires BEFORE they were allowed to grow into large ones? A small grass fire which starts beside a well-traveled road in a semi-rural area seems a small matter, perhaps involving only an acre or two. But left alone, untended, such a fire can eventually turn into a major disaster, simply for lack of attention. What if our fire authorities descended on such "small" fires with greater speed, and resources, BEFORE they became unmanageable? The crucial point of intervention is EARLY in the process, NOT later when things have gotten completely out of hand.
Three: A lot has been made of the destruction of a large neighborhood in Santa Rosa (see above). And without a doubt, for those affected, this is an unmitigated tragedy. The loss of homes, cars, possessions, and even of livelihoods. And a very expensive loss it will continue to be, as federal, state and local jurisdictions and charities spend and spend to provide the social safety net everyone agrees is needed.
California has been on a steep upward growth pattern for a hundred years. As the urban centers burgeon outward, through suburban sprawl, and infill, land that once was either used for agriculture, or was simply ubiquitous "open space" is covered over by housing and paving. As this continues, the intersection between development and "wild" land--the "edge"--becomes a crucial line, where conflict between nature--in the form of undomesticated animals and natural events--and human habitation comes into focus.
In such areas--often referred to nowadays as "Mediterranean" climates or regions--where areas of foliage dry up in the Summer, the risk of fire is much greater. Farmers and ranchers have known for centuries what this risk represents. Leaving large areas of "tinder" poses risks to anyone living or working within such a region. In some parts of the world, such areas burn "naturally"--or "controlled burns" are conducted. Deliberately ignoring the fire risk posed by such vulnerable regions, through complacent urban/suburban planning, or insufficient disaster response, leads inevitably to crises of the kind we have seen. It's just a given, a simple matter of time.
The population of Santa Rosa has literally exploded over the last several decades. It's one of the fastest growing areas in the country. It isn't a "city" in the urban sense, with high density housing within a confined area. It's a huge, sprawling suburban mass, pushing out into the countryside. Both "tract" development, into the immediate surrounding jurisdictions, and more remote "custom" housing out into the outback, have been allowed to proceed, without regard either to environmental consequences, or to the risks involved in living cheek-by-jowl to dry wooded and grassy landscape.
Those who choose to live in such places, must accept the risk that comes with exposing their lives and property to calamities they can't foresee, and which society can't (and shouldn't be expected to) control. California's growth has been posited on cheap open space, a thriving economy, and presumptions about resources that are not unlimited. This growth paradigm has gotten completely out of hand. Its manifestations are everywhere, and hardly need to be reiterated here. Suffice it to say that the "answer" isn't higher density urban centers, or easier pathways to new construction.
These disasters are but another reminder that California has grown too big, and can no longer support these mindless expansions. Humans were never intended to live in the desert. They were never intended to live underwater, or on snowy mountain tops. Despite the engineering "miracles" we've accomplished to bring food and water and space to millions, we can't keep drawing against nature's equity forever. Why allow people to build and live in homes that are next to huge fire traps? If people choose to do so, against advice, then they need to accept the probable risk. Ultimately, we need to stop breeding like insects, and husband what resources and space still exist on the planet.
Does this sound hard-hearted? Not if you compare it to the ruthless alternative. Mother Nature takes no prisoners.
For a long time, I've wanted to write a poem about an experience that was very vivid in my imagination, but which I've never quite figured out how to do.
As anyone who has ever camped in the outback (or wilderness) knows, when there are no "facilities" you just have to find a private place to relieve yourself.
I can still recall, as a boy going camping, the eerie sense of isolation and spookiness I had when I walked some way out of camp, far enough away that I'd have privacy, a sufficient distance away that I wouldn't disturb others and stink up the place. In the forest, you don't have to walk very far to feel totally "lost"--away from civilization and the comforting sense of protection.
This is naturally an experience that our ancestors undoubtedly were very familiar with, before the invention of technology. For tens of thousands of years, people have been finding a convenient tree or shrub, some distance away from camp or settlement.
People rarely talk about this, but it's something humans and animals have done for a very long time, but which we now hardly ever experience or think about.
I remember peeing onto the forest floor, or against a tree trunk, where my stream hissed among a carpet of pine needles or mossy detritus.
But what I most remember is the silence, the strange listening calm that pervades a stand of timber in the wild. It can be a little frightening.
For eons, people have been venturing out into the unknown, where predators or strangers may be lurking. Animals share this same foreboding, the sense of vulnerability, of being subject to surprise or attack.
Our world once was an immense place, largely untracked, unexplored, unsurveyed, unknown. Out of such unknown-ness grows apprehension, and superstition.
When I was teaching once years ago, I had a student who had recently returned from soldiering in Vietnam. He'd been a radioman, who went on patrols with his platoon, often in dense jungle. He told me once about an experience he'd had. He'd needed to take a crap, and had walked a short distance from the bivouac. Squatting beside a downed log, he heard the approach of enemy soldiers--Viet Cong soldiers--just a few yards away. "I dove right into my own shit," he recounted, and he lay there, as quiet as he could, his heart pounding, his breath pumping, as the enemy patrol passed by. They never saw him.
The poem I'd want to write would capture the sense of silence, isolation, and vulnerability which must be a common experience for millions and millions of people in our ancient history, but also the beauty of being in nature, attuned to its sounds, shapes, relationships; the way Indians once must have felt it, knowing its familiar keys, recognizing its signs, the aliveness of inanimate things--rocks, trees, water, wind, creatures. The title might be "going out into the woods to pee" rather in the way an ancient Chinese poet might describe it.
There is sometimes an "entry" into a poem, that allows you to carry it through. But I haven't found it yet. I may never--one of the ideas for poems that may simply never happen. It's a little frustrating. But on the other hand, it's a "poem" in my head, one which I have the experience of, even if I haven't found the words, the sequence of statements to capture it yet.
How many unwritten poems have mellowed or ripened in the minds of men, without ever having been captured? Before writing was invented, they may simply have been stories told around the fire. Or perhaps only known as memories.
My maternal ancestors came from Northern Scandinavia. Norway, apparently. I've never been to Norway, but whenever I see a travel show on television about Norway, I try to imagine--from my "deep" racial memory (if indeed there is such a thing!)--how "at home" these chilly green and white landscapes seem to my sensibility.
Personally, I don't particularly like extremes of either hot or cold. When the temperature rises about 85 degrees or falls below 45 degrees, I get sort of miserable. The heat makes me lazy, takes away my appetite. The cold makes me want to bundle up. Doing physical work in the cold is probably easier, since the heat generated from exertion tends to moderate the affects of cold on the body.
In the movie Fargo, there's an attempt to satirize Minnesotans by having them mouth Scandinavian pronunciations, like "Yah!" or "Jah!" Maybe Minnesota, with its cold weather, is just enough like Scandinavia to justify this kind of stereotypical mugging. It's amusing, but maybe a little exaggerated.
My maternal grandmother's maiden name was Redner, or Raedner. I tried once to trace it back. I even visited the genealogical library in Salt Lake City, the one the Mormons maintain. Mormons are very interested in tracing ancestry. Ancestry has become a big part of the internet database, where you can interact with other "relatives" and build up surprisingly complete lines of verified descent on your family tree. At the Salt Lake library, I was only able to find a few faint references in Wisconsin, but nothing before about 1850. I haven't seriously followed the trail online, but I suspect I'd get somewhat farther back, if I tried.
Anyway, all this as introduction to my latest cocktail invention, for which I haven't found an appropriate name. Here's the recipe:
1 part Boodles gin1 part limoncello1 part Key Lime Liqueur 1/2 part fresh lime juice
garnish small wedge of lime if desired
mixed together over ice
makes one portion
The only unusual ingredient is the Key Lime Liqueur, which I find locally at BevMo. It has a pale green smooth creamy texture, and it's unlike almost any other mixer that I've tried. It's smooth without being dry (the way lime usually tastes). I've added some pure lime juice to this mixture, and even then, the Key Lime tends to make this gin-based drink on the sweet side. If I wanted, I could put in a whole portion of fresh lime juice, which would make it a bit more "cocktail-y" I think.
Sweet and cold, with a bit of citric acid. It's a classic combination, augmented by a commercial mix that is proprietary. The Key Lime may have other flavors added to it--perhaps cinnamon, or licorice? Who knows? Using proprietary mixes suggests that you're not completely in control of the combination, since some of its ingredients are unknown. But that's always been the case. So-called "bitters" fluids are mostly also secret, and those have been used for over a century. There are today dozens of new bitters formulas on the market. It seems to be the new horizon of cocktail mixing! Personally, I like to know what I'm putting into a drink, rather than using a brand-name combination which serves as its own advertisement.
Walker Evans Truck and Sign, 1930
There's something wrong with America. We didn't sort out the classes and put them in their places the way they did in Europe. Things got really mixed up here. A lot of the energy was stifled and twisted and fermented and synthesized into a rich brew, an alembic of pain and greed and dreams and grief-stricken loss and betrayal and hopelessness.
America is a country increasingly in flux. Our demographics are shifting. The so-called "races of color" are streaming in, and will soon overwhelm the so-called white races. As the era of the great European diaspora was thought to be dwindling, the third world is now spilling over. Are we any more tolerant of "diversity" than we ever were, or has all this flux just produced tension and free-floating animosity? I've always felt that forcing people to "accept" other ways of doing things is a recipe for resentment and identity anxiety.
One aspect of America's energy and drive and expansiveness has been its alcoholic indulgence. We went through a deep introspective convulsion in the 1920's, attempting to "temper" our temptation through Prohibition. It's widely thought that Prohibition was responsible for most of the big crime wave that swept over the country during that decade. The Stock Market Crash may have put an end to the sinful flagrant waywardness associated with it, but crime continued to flourish throughout the 1930's and 1940's. Where would Hollywood have been without the inspiration for the Noir paradigm, with its dark shadows and haunting evil undertones?
Drinking--that is, the "hard drinking" we associate with hard living and a devil-may-care attitude towards our own welfare and well-being--has also suggested the "high life"--care-free pleasure and a release of inhibitions and cautions.
Capitalism runs in cycles. Boom times and bad times. Overheated markets and periodic recessions. I've lived through a couple during my lifetime, but nothing like the 1930's, the Great American Depression.
America's drinking habits have been partly a reflection of the economy, and the general mood of the nation. After Prohibition, the American wine industry languished for decades, until its revitalization during the latter third of the last century, when it really took off. Drinking wine is usually associated with food, though taking it alone has its adherents.
Some people actually have hard drinks with food, though they're more often appreciated as a pre- or post-dinner libation. I like them best as a pre-dinner start, though I also like them for a mid-afternoon snack. In Berkeley, Cesar's is the perfect fair-weather hang-out, with seating that abuts the sidewalk, and a fascinating bar menu that changes constantly. It's very like a Spanish tapas place, but with a full bar that can handle a wide range of mixes--something that is pretty rare these days.
Here are three more recipes that I've chalked up on the weekly board over the last couple of months. Who knows whether these were invented sometime in the past by another curious bartender? There are hundreds of drink recipe books, whose contents aren't ever likely to be collated. So I'll have to assume originality here, evidence to the contrary notwithstanding. Cheers!
1 part tennessee rye whiskey3/4 part sweet vermouth3/4 part Sambucca Black1/3 part creme de cacao1/2 part fresh lemon juice
served on the rocks
4 parts dry vermouth1 part blue curaçao1 part anisette liqueur1 part lime
served up with a lime twist
3 parts gin1 part dry vermouth1 part mandarin orange1 part violette1 part lime
served up with a lime twist
I first began reading The New Yorker in the early 1960's, when my mother gave me a subscription as a Christmas present. But I had seen the magazine on newsstands as early as the late 1950's. In those days, it was a very fat and prosperous looking rag, often well over a hundred pages an issue. It intrigued me, with its suppressed by-lines, encyclopedic register of events in New York City. The masthead of the magazine sat atop The Talk of the Town, and underneath it ran the lead editorial pieces. There were never any photographic illustrations then, but they had cartoons, and in the Talk of the Town section, they usually had little cartoon vignettes by a cartoonist named Otto Soglow, though the ones in the Town section weren't signed. Soglow's vignettes and cartoons had a simplicity of style, geometric and controlled, and a kind of innocence that was utterly dry.
Soglow, born in 1900, fell into cartooning by accident, and never left it. Eventually, his association with The New Yorker was so firm and familiar that his visual style was virtually synonymous with it.
Soglow as a young man
Soglow "illustrating" a model as a gag
Soglow mixing a cocktail (probably during Prohibition)
Lots of Soglow's cartoons work off a simple joke--
I wasn't able to locate any of the Talk of the Town Soglow vignettes online, though there must have been hundreds over the years. This is typical of many of them (note Thurber's droopy dog following the wagon) --
Soglow's cartoons relied heavily on immediate recognition, since he rarely had captions. Today's hip New Yorker cartoons often have no obvious subtext, and the irony of the tension between the action and the meaning seems almost anti-humor. Soglow's work is reminiscent of an earlier, perhaps more innocent time of simple, light-hearted amusement.
I haven't been a regular reader of The New Yorker for many years now--I got off that train about the time that Tina Brown was hired as conductor. She's long-gone too, though the magazine still runs good cartoons, but nothing like those Soglow used to contribute.
Did Soglow ever do a cartoon of eskimos? I like to think so. He'd have done a very satisfying little igloo, with furry collared natives indomitably confronting some redoubtable absurdity.
Here's a cocktail I've just made up, to celebrate the work of Otto Soglow. It's pleasantly refreshing, and perfectly suited to a carefree afternoon or early evening, when the frustrations and obstacles of the day have been left behind, and some amusing conversation is in order.
The ingredients, as usual, are by proportion, though the recipe will do nicely for two.
3 parts gin2 parts dry vermouth2/3 part ginger liqueur1/2 part maraschino liqueur1 part fresh lime juice
Shaken and served up in chilled cocktail glasses.
How are you feeling today?
As the day opens up, broadens and elaborates into the complexities of living, are thoughts and feelings ascending into consciousness, appearing and moving?
Today, everyone says they feel like.
The phrase has become so common, it's gone totally viral in our culture, infecting not just the susceptible young, but people of every age and sex and class and persuasion. Its apparent harmlessness may be one reason people seem to regard it with such pathetic affection. It just feels so nice and smarmy and innocent and innocuous, that people can't resist using it in place of more active, deliberate and frank expressions.
In fact, what people really are saying when they say feel like is that they think, or believe, or accept. The choice to retreat from directness to the indirectness or equivocation of feeling allows them to insulate themselves from possible misapprehension, or to hide behind the excuse of personal feeling (i.e., IMO or IMHO).
My objection to this verb phrase is that it's clearly ungrammatical. It is perfectly possible to feel like one is stupid, or to feel like a bird. But to say that one feels like a thought, or a feeling, or an opinion, is to put oneself in at least one remove from the original motive. Like is a simile, which is to say it sets up a comparison, between one thing and another, or between oneself and something else. But if you say you feel like something is the case, you're actually saying you feel like someone who has a certain thought or feeling, as if you were comparing yourself to someone who had this thought or feeling.
Feel like is a deeply corruptive and corrosive instance of insincere, imprecise and sloppy language. People who use it with confidence have accepted it as a substitute for direct assertion, as a way of denaturing their thought, as well as the quality of their communication with others. It's a deflection of responsibility not only to quality of one's own thinking, but to the clarity of all discussion.
The next time you catch yourself saying feel like, say I think or I believe instead. After all, you ARE the person who thinks or believes, not a stand-in.
If you feel something, by all means describe that feeling. But if you think or believe something, by all means say that, and leave the feeling part out.
This last year, among the various books that I have read, were two full-length author biographies: Salinger, by David Shields and Shane Salerno, and James Merrill: Life and Art, by Langdon Hammer. The Salinger book is like a collection of separately drawn episodes, with little attempt to link real life events specifically to Salinger's literary works. The Hammer book is a meticulously rendered account, almost a concordance of relationships between the events in Merrill's life and the separate poems he wrote. Both books are honest efforts, holding nothing back, and following the clues and implications wherever they lead. Neither book could have been written this way a generation ago, which may tell us something about the progress of our public culture--what we're comfortable with, what we're willing to acknowledge and even accept in our cultural heroes, how much truth we can stand to believe.
My discussion here, though, doesn't consist of a book review. Instead, I want to focus on the common aspects of the two men whose stories are recounted, and to meditate on what those common aspects tell us about artistic production, the artistic life, and the possible meanings to be derived from such relationships.
It would help if you knew something about them, since I won't recapitulate the life stories of either man. Much of what is told in these lives is now common knowledge, though it wasn't information that was available to most of the general public while they were alive.
Let's start with some parallels. Merrill was born in 1926, Salinger in 1919. Both were in the U.S. Army in World War II. Both were precocious authors--Merrill's first book was published without his knowledge or permission by his Father when he was 17. Salinger began writing short stories while in prep school.
Both men grew up in relative security and comfort. Salinger's father was a successful food importer, and the family lived on Park Avenue. Merrill's father was head of the Merrill-Lynch investment firm, and was fabulously wealthy. Merrill would never have to work a day in his life, and lived off his inheritance. After leaving the service in WWII, Salinger lived for a few years off his meager writing income from magazine publication, until in 1951, when Catcher in the Rye was published, which was so successful that it supported him in style for the remainder of his days.
Both men, in effect, came to enjoy the negligent independence of means that completely frees the imagination from all aesthetic responsibility. Free to live how they might choose, free to create whatever kind of literature they wanted, and free from the ordinary ethical or formal restraints that are imposed on those of lesser means.
From a literary point of view, neither writer has ever been regarded as a formal innovator. Salinger learned his art by writing for popular middle-class magazines. Merrill's poetry was always formally traditional, working within the confines of historical rhyme and meter, never challenging syntactic or grammatical correctness.
Both men underwent difficult psychological crises during their lives. Salinger suffered a nervous breakdown during his war experience, and even was briefly hospitalized. Over the next decades, he would go through two troubling marriages and divorces, would conduct a weird affair with a "child-mistress" half his age, and would live out his days in a state of mental and physical hibernation from the world at large, cooped up in a "compound" in rural New Hampshire, fending off vain attempts by the media and his fans to reach him, and refusing to publish anything during the last 45 years of his life.
Merrill, a homosexual all his life, suffered through the embarrassment and shame of his secret shadow existence, attempting to hide his sexuality from his parents, and from the world at large, and went through extended periods of psycho-analysis. While he followed his writing career, he spent the better part of his adult years pursuing young men sexually, living a life-style designed to placate his insatiable lust.
Salinger appears to have become obsessed sexually with pre-pubescent girls, in a repeated pattern he seemed powerless to resist. There are possible explanations for this in his psychology. Given his relative freedom, he could indulge his obsession away from the public eye. The seclusion and indulgence seem to have fed off each other. Meanwhile, his fiction became more and more claustrophobic, as his fictional Glass Family memoirs drew him in further and further into the magic realism of their fantasy world.
Merrill, unable to establish a true lasting relationship, despite the outward model of his prolonged partnership with the failed writer David Jackson, finally submerged himself in a fantasy world of spirit communication, described in detail in his ambitious long poem The Changing Light at Sandover.
A common thread is evident in both men, of a shameful private sexual obsession, which became sharper and more problematic as they matured, causing both to involute artistically, while their private lives fell into disarray. In both cases, their financial security enabled them to fend off the world at large, while they were free to delve more deeply into the private world of their eccentric secret art.
Both were men of evident personal charm, which they used to navigate through the "normal" world, a world which increasingly fell away into obscurity and irrelevance, while the private, secret world they lived in became more vivid and seductive. Free to cultivate their bizarre private worlds, their work became more and more trivial to the ordinary reader.
All of which is not to say that the work of their later years is unworthy, or invalid. Our verdict regarding Salinger's work will have to wait until his literary executors release his private archives to publication. In Merrill's case, the long ouija board epic may never have enough readers to be considered worthy, though it has its admirers.
There are dangers to artists and writers who either are born into financial security, or who achieve freedom through strong early sales. Ordinarily, we think of the freedom artists need to create as a positive aspect. But once need is removed from the equation, the tendency to indulge in private obsession may cause tangential distraction, especially if it is accompanied by deviant or suspicious emotional tendencies.
A writer like Henry Miller may decide at the outset to capitalize on his obsessions, as he did with his curiosity and lustful desires. Charles Bukowski, looking hopelessness and degradation straight in the face, built an entire literary career out of a skid-row drunk's life. John Cheever spent the first half of his life writing decent stories for decent people in The New Yorker, while inside he struggled with his demons (alcohol, bi-sexualism, adultery, artistic jealousy) until they finally overcame his resistance.
What we know of the private lives of artists and writers may or may not tell us something we need to know to understand the ultimate meaning of their works. In the case of Salinger or Merrill, I'm not sure that finding out the unpleasant underlying backstory, brings anything useful to our appreciation of Catcher or Sandover. In the end, the works have to stand on their own. A couple of centuries from now, will any possible reader need to know that the author of Catcher in the Rye had a "thing" about little girls? Will our understanding of Phoebe, Holden Caulfield's sister, or of the young prostitute whom Holden sees in his New York hotel room, be enhanced by knowing about Joyce Maynard's year living in Salinger's household? Is it important that we know the details of Merrill's affairs with young Greek boys in Athens, to more fully comprehend what the imaginary deities or ghosts are telling Merrill he must think about his life in Sandover?
Is there some important lesson to be gained by noting that great art may be the result of a kind of friction between intense private obsessions, and the public at large, to whom these private fictional worlds are offered? Guilt and embarrassment--the need to tell a palatable version of a private reality-- may indeed be the strongest drivers of vivid artistic invention.
James Merrill, about whom I wrote in my last blog entry, is not a poet whom I had ever much admired. As an aspiring poet in the 1970's, I knew his books and comprehended his style. I knew vaguely that he came of privilege, and that his highly decorous, highly decorated verse seemed to be carried along on a prosperous negligence--that it belonged to a world I could never properly appreciate, having never had any direct experience of it, and unlikely ever to see it up close, first-hand.
If I couldn't imagine participating in a world accessed through leisure, wealth and social connections, then my appreciation of Merrill's work would forever have a vicarious, excluded quality, like a child who, looking with intense interest upon a toy train behind a department store window, presses his nose against the glass. Literature, though, is one door into the unknown, a medium through which other lives, other milieus, can be viewed, estimated, judged, appraised, or envied or despised. I read somewhere once that "we love all worlds we live in," a fairly pretentious homily at first glance, though the more we think about it, the more intriguing it seems. Some Victorians believed that suffering was its own kind of romantic thrall, a notion you can see in much 19th Century verse and fiction. No one would suggest that people actually can love to suffer, but making art out of suffering is an old technique, certainly not limited to those at the bottom of the social or economic scale.
Though James Merrill grew up in relative splendor and riches, with everything provided and taken care of, his was not a happy childhood. His parents neglected him, and fought with each other, and divorced when he was 11. Though brilliant, from an early age, he was effete, ineffectual and isolated emotionally. A classic case of the incipient homosexual, with an intense and conflicted relationship with his Mother, while irretrievably distanced from his domineering but distant Father. By his late 'teens, he'd been initiated into the gay alternative, and he never looked back. This choice, whether voluntary or not, was unacceptable at the time, and led to difficult accommodations throughout his life, with a long-delayed coming out.
The poetry, early on, rather than becoming simply a refuge from the difficulties of a deceiving identity in the world, would become the testing and proving ground for self-examination and scrutiny, a forum for the dialectic between the outward projected man, and the inward questioning soul. In terms of the progress of his career as a writer, the volume Water Street [New York: Atheneum, 1962] is in several ways the key transitional turning point. A short collection of only 51 pages of text, its lead poem, An Urban Convalescence, is like a declarative statement of where his future lay. Reacting indirectly to the new vogue of confessionals (aka: Robert Lowell, Sylvia Plath, Anne Sexton, Frederick Seidel) then sweeping across the literary landscape, the poem addresses a real event--the tearing down of a neighborhood building in New York--and makes what sounds like a very personal and emotional statement, unusual up to that time for Merrill, and somewhat unexpected.
Formally, the poem isn't fussy or straight-jacketed, hinged with cleverness or artifice. It's almost conversational. Unpretentious.
Reading it now, really for the first time, I can see qualities in it that I mightn't have appreciated before. There's that terrific image of the huge crane "fumbl[ing] luxuriously in the filth of years / her jaws dribbl[ing] rubble," and "wires and pipes, snapped off at the roots, quiver." There's a sense of displacement, even disorientation that the speaker experiences with the leveling of part his familiar landscape, as if the transformation of the urban architecture had done a kind of violence to the unconscious. There's that peculiar reference to Robert Graves in The White Goddess, an ambiguous reference meant apparently to imply a clumsy deus ex machina in which the crane operator (note the pun on a classical bird) wreaks destruction as an agent of change.
The meditation turns sour as the speaker rejects the pat sarcasms of popular cant -- "the sickness of our time . . . certain phrases which to use in a poem . . . bright but facile . . . enhances, then debases, what I feel." Conflicted between the superficial disorientation of urban demolition--a shifting of the gestalt of his past--Merrill now turns against that very past--its tradition, its continuity, its smarmy models of performance and identity, and vows "to make some kind of house out of the life lived, out of the love spent." But it's the ambiguity of a love spent, as if exhausted. Though Merrill would perpetuate the empty husk of his relationship to David Jackson for the rest of his life, and would maintain roughly settled homes in Stonington, Connecticut, and in Athens, Greece, these were indeed "another destination"--of serial male relationships, primarily sexual in character, and ephemeral, and in that way love "spent" rather than permanent and "honey-slow."
Merrill's upper story digs in Stonington Connecticut
The abrupt shift from free verse to quatrains and rhyme from "indoors at last" to the end is like a retreat from the chaotic book of the world, to the private sanctuary of formal discipline, yet one in which secular confession and private desire will be reconciled in the structured context of verse.
The poem is remarkable for the frankness and casualness with which it initially expresses personal feeling, measured against the discipline of higher principles. While the second part at first feels superficially to be a kind of conviction, this falls apart at the end, as the speaker acknowledges the ambiguity of his moral position, an honesty that is unusual. At first, change is encountered numbly, and with revulsion, only to be grudgingly accepted in the end--the intervention of unwanted necessity. Hearing Merrill read this poem, later in life, with his dead-pan baritone, made it seem elegiac, and resolved, though this never happened in his life. Such declarations of principle are always provisional--as the poem admits--always subject to revision, accommodation, the small failures and retreats which constitute a life lived, out of a life spent.
An Urban Convalescence
Out for a walk, after a week in bed,I find them tearing up part of my blockAnd, chilled through, dazed and lonely, join the dozen In meek attitudes, watching a huge craneFumble luxuriously in the filth of years.Her jaws dribble rubble. An old manLaughs and curses in her brain,Bringing to mind the close of The White Goddess.
As usual in New York, everything is torn downBefore you have had time to care for it. Head bowed, at the shrine of noise, let me try to recallWhat building stood here. Was there a building at all?I have lived on this same street for a decade.
Wait. Yes. Vaguely a presence risesSome five floors high, of shabby stone—Or am I confusing it with another oneIn another part of town, or of the world?—And over its lintel into focus vaguelyMisted with blood (my eyes are shut)A single garland sways, stone fruit, stone leaves, Which years of grit had etched until it thrustRoots down, even into the poor soil of my seeing.When did the garland become part of me?I ask myself, amused almost,Then shiver once from head to toe,
Transfixed by a particular cheap engraving of garlands Bought for a few francs long ago,All calligraphic tendril and cross-hatched rondure, Ten years ago, and crumpled up to stanch Boughs dripping, whose white gestures filled a cab, And thought of neither then nor since.Also, to clasp them, the small, red-nailed handOf no one I can place. Wait. No. Her name, her features Lie toppled underneath that year’s fashions.The words she must have spoken, setting her face To fluttering like a veil, I cannot hear now,Let alone understand.
So that I am already on the stair,As it were, of where I lived,When the whole structure shudders at my tread And soundlessly collapses, filling The air with motes of stone.Onto the still erect building next doorAre pressed levels and hues—Pocked rose, streaked greens, brown whites. Who drained the pousse-café?Wires and pipes, snapped off at the roots, quiver.
Well, that is what life does. I stareA moment longer, so. And presentlyThe massive volume of the world Closes again.
Upon that book I swearTo abide by what it teaches: Gospels of ugliness and waste,Of towering voids, of soiled gusts, Of a shrieking to be facedFull into, eyes astream with cold—
With cold?All right then. With self-knowledge.
Indoors at last, the pages of Time are apt To open, and the illustrated mayor of New York,Given a glimpse of how and where I work,To note yet one more house that can be scrapped.
Unwillingly I pictureMy walls weathering in the general view.It is not even as though the newBuildings did very much for architecture.
Suppose they did. The sickness of our time requiresThat these as well be blasted in their prime.You would think the simple fact of having lasted Threatened our cities like mysterious fires.
There are certain phrases which to use in a poem Is like rubbing silver with quicksilver. Bright But facile, the glamour deadens overnight.For instance, how “the sickness of our time”
Enhances, then debases, what I feel.At my desk I swallow in a glass of waterNo longer cordial, scarcely wet, a pillThey had told me not to take until much later.
With the result that back into my imagination The city glides, like cities seen from the air,Mere smoke and sparkle to the passenger Having in mind another destination
Which now is not that honey-slow descentOf the Champs-Élysées, her hand in his,But the dull need to make some kind of house Out of the life lived, out of the love spent.
This week, Donald Trump, discussing new Congressional proposals for immigration policy changes, was reported to have reacted strongly to certain suggested elements that were presented to him, in a private meeting at the White House. In reviewing the policy with respect to Haitians--whose special status as refugees following the catastrophic earthquake there in 2010, was revoked in November 2017, and must return by the summer of 2019--whose protected status was to be extended or granted authorization to allow for citizenship, Trump was reported by some, who were present at the meeting, to have asked "Why do we want all these people from shit-hole countries [i.e., Haiti and nations of the African Continent] coming here?"
Response in the Press and in government was swift and unequivocal. The remark was universally labeled as racist, and condemned as a diplomatic error.
Since Trump's election, his "style" of interaction with the nation, and with the Press, has been unique in the history of the Presidency. Rather than making public announcements, carefully planned and scripted before-hand, he freely ruminates and fulminates on social media ("Twitter"), offering peremptory and inflammatory rhetoric and personal observation with seemingly little regard for the delicate contexts of public opinion, or the world at large. The man speaks his mind unashamedly and carelessly, frequently causing his staff to backtrack and mend fences in the wake of the damage (intended or not) he has created.
There is no doubt that Trump's style of communication is unconventional, though it bears some comparison to the new era of "reality television" and social media, which feeds off of rumor and innuendo. Trump is a new kind of President, perhaps a symptom of the times. One who is willing to offend and shock, sometimes deliberately, as a strategy to create unrest or reaction, or to keep his image and personality constantly before the public eye.
Trump's immigration policy positions have been pretty clear since the beginning of his campaign. He thinks our policy with respect to both legal and illegal immigration has been deeply flawed, and he's used that position to promote his "base" (supporters). Trump believes in a tightly controlled inflow of foreigners, one based not on "need" and sympathy, based not on racial preferences or perceived obligation, but on more traditional criteria, including fitness, skills, and suitability for assimilation. Over the last half-century, our immigration policies have tended more and more to be based on accommodation of perceived "need," refugee-ism, and conversion of those residing here illegally, in violation of their present or continuing status.
Trump's question arises out of a sense of frustration, that our immigration policies seem to have become a huge welfare system in which tens of thousands, hundreds of thousands, even millions of people are either given a free ticket to America, or granted amnesty from deportation and offered a pathway to citizenship, despite having flagrantly violated the laws of our country. The tide of public opinion has shifted over this period, from one committed to the fitness of application, to one of adoption and refuge. The question no longer seems to be whether someone might sensibly be expected to contribute to our country, but to be whether someone seems to "need" to escape from their respective country.
According to figures I've checked on the internet, Haiti is considered the poorest country in the world. It's poverty rate is the highest in the world, and the condition of its population, with respect to public health, education, employment skills, etc., is uniformly terrible. If any nation in the world could quality for shit hole status, it would be Haiti. The magnetic attraction of America to Haitian immigrants must be overpowering. Between 1990 and 2015, the Haitian immigrant population in America tripled in size. Of that number, nearly 50% subsist here on welfare, and as many as 100,000 Haitians reside in the U.S. illegally.
The question at hand is, what should our criteria be for American immigration policy, broadly speaking? Should we continue to prioritize our system to accommodate large numbers of refugees, and illegals, and those whom we feel we owe some reparations, in preference to the classic model of candidates who are educated, healthy, law-abiding, trained, least likely to be a burden on society, and who and apply legally?
Criticism of Trump's remark have focused on its racial aspect, though Trump himself has repeatedly denied a racial component in his attitudes. Certain stories have said that Trump has insulted "countries of color," as if any nation could be so described. Indeed, to insist on such designations seems more racially biased in its assumptions than one focused on traditional models. In the case of Haiti, its population is primarily of African origin. Those who claim "countries of color" as a criteria for policy adjudication, seem to want an immigration policy based on reverse racial preferences, as if we had an obligation to accommodate more "people of color" than so-called "other" racial types.
There is no doubt that President Trump is rude, and speaks his mind. There is no doubt that he is often ignorant, and even foolish in his behavior and speech. But the point here isn't racism. It's about actual immigration policy, and whether we should continue to adjust that policy to suit models and targets that prioritize race over other measures.
Reality is often unpleasant. We've had Presidents in the past who spoke bluntly, and sometimes rudely (usually in private). The difference with Trump is that he doesn't care how he's perceived, or he believes that creating embarrassment, or distress, or confusion--even if it backfires or reflects back on him--is his prerogative.
Frankly, I don't care if he's rude. I've disagreed with almost every program he's advocated, and he's clearly, despite his style and campaign claims, a classic Republican who serves the interests of the rich and big business. But the issue here isn't racism. The media simply has it wrong.
In the continuing search for better cocktail mixes, one recent effort stands out, and has therefore been dubbed the Winners Circle. In horse-racing lore, the Triple Crown winner occupies the winner's circle, covered in robes of white flowers, befitting a champion.
Secretariat, the Triple Crown winner for 1973
Lately, the results of the mixing lottery have been "mixed" but yesterday we hit on a winner. Everyone's taste is different, so each taster much judge for him- or herself. For my money, this is one for the record books. I'd bet it will be a winner for you too.
3 parts golden rum
2 parts grapefruit liqueur
1 part cachaca
1 part fresh lemon juice
Shaken and served up, with a garnish of lemon or lime.
The taste is oddly not unlike a lime-based mix, though there is no lime flavor in it. It is also reminiscent of orange, but there's no orange in it either. Something about the confrontation of grapefruit and cachaca produces this hybrid flavor.
Taste is a mystery. Everyone's chemistry is just a little different. Vive la difference!
We think of genetics as a science now, not a mystery.
Plato thought that the "soul""entered" the body at birth, which was all the Greeks knew of inheritance, and reproduction.
We now know that inheritance and all characteristics are passed through DNA, in random combinations, which include mutations that subtly alter the progression of the inherited blueprint.
We acquired these two younger Siamese cats from the same breeder. They were sisters, born of the same litter, of the same parents.
And yet, you'd never know it from looking at them today. As kittens, they looked much more alike. Both were lightly darkened at their points, and snow white otherwise. But in pretty short order, they diverged.
Lily Sabine (below) is slightly warm cream color with light grey points.
Cappucine (below) developed into a classic chocolate point. Cappy (for short) is a bit larger, while Sabine will always be a miniature. Cappy is stronger, and more determined, though less social than Sabine.
They have different voices. Sabine's is a delicate "mew" while Cappy generally has a vibra-tone, like a cackle. Both are very friendly, and will tolerate being held, but not for very long. Neither is a lap kitty, though Cappy will often settle on your legs in bed. Cappy is an aggressive hunter and chaser, while Sabine is gentler, and perhaps less wild.
Neither has been fixed, but that's not a problem since our male has been, and none of our cats goes outdoors.
They're still young, though full grown now. It will be interesting to see if we outlive this latest generation of our family pets, or they us.
We live in strange times.
The Democratic Party is holding the federal government funding package in Congress hostage to the Dreamers, who constitute something like .00216718% of the population (allegedly 700,000 individuals, but probably many more uncounted).
Meanwhile, the Republicans have thrown all their political weight behind the top 1%, to whom they just gave the largest tax break in recorded history.
What about the other 98.99783282% of Americans?
If we live in a country of representative government, who is actually standing up for the rights and interests of the vast majority of citizens? With each party so exclusively invested in tiny minorities, some not even actual American citizens, it does give you pause.
Who speaks for us?