Category Archives: Art

JUST BOUGHT MY BOOTS

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By

Zachary Klein

zachI know. Boston’s been flirting with record high temperatures this past week. But so what? We’re a third of the way into September and no amount of heat and humidity can shatter my cringe as winter approaches.

I remember the last one all too well:PIC1So I cling to my fast fading memories of summer. And honestly, there aren’t all that many. This wasn’t a kick-out-the-jams season since we’re in deep reno prep for a long overdue overhaul of our living space. We rent out the first floor apartment, live on the second, and have our offices on the third.

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By “prep,” we’re talking about packing up everything from the kitchen, pantry, and a good chunk of the living room and hauling it to the third floor to stuff into our offices and anywhere else we can stack boxes.PIC3

 

Which meant no long trips but didn’t mean no fun. We took a couple of weekends to visit cousins in Western Massachusetts, who have a sweet home on Lake Buel in Monterey.

PIC4Of course it was also wonderful to stay in Brooklyn and drive to Connecticut to visit our grandchildren, who are on the move now—crawling, pulling themselves to their feet, and making all sorts of strange sounds.PIC5

 

 

 

 

Between the family visits, Sue and I continued our ongoing tour of “not particularly first rate cities”—a weekend in Portland, Maine, and, a day in Salem, Massachusetts.

Ahh, what sacrifices we make for CULTURE. Portland Museum of Art (PMA) was showing a exhibit culled from eight Maine museums called Directors’ Cut: Selections from the Maine Art Museum Trail. It was a hell of a lot easier to view the best of each museum gathered in one place than scrambling around—no matter how beautiful the roads might be. This wasn’t leaf-peeping season.

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Andrew Wyeth-Turkey Pond.

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Marguerite Thompson Zorach

The exhibit placed images by distinctively different artists next to each other to treat us to the breadth of visions inspired by the state. For the most part it was successful, showcasing the talents of Winslow Homer, Rockwell Kent, and Andrew Wyeth alongside works by Lois Dodd, Marguerite Thompson Zorach, or Robert Indiana.

 

 

 

 

Winslow Homer-Sunset Fires.

Winslow Homer-Sunset Fires.

Robert Indiana-Eat with Fork

 

 

 

 

 

 

 

 

 

As is the case with many small city museums, Portland’s is a nice size—that is, you don’t start blurring out by the time you leave.

Poker Night from A Streetcar Named Desire

Poker Night from A Streetcar Named Desire

And there was certainly no blur when we visited the Peabody Essex Museum (PEM) in Salem to see American Epics: Thomas Hart Benton and Hollywood.

While the exhibit focused on Benton’s years in Hollywood, creating huge poster-like paintings that captured a sense of story (and were often about great movies), the show included a number of his earlier, more political paintings—some of which were surprisingly (at least to me) powerful. The man didn’t like what we did to Native Americans and abhorred slavery.

Thomas Hart Benton

Thomas Hart Benton

Of course you can’t visit museums without proper nourishment. Each of these two cities had a number of good restaurants, though Portland takes the prize. Rapidly becoming a real artisan, locally sourced foodie town, our favorite meal was at Fore Street.

Pic12The atmosphere was New England coast casual, but the food was not. And people know about it. Fore was banged out for months, but if you were willing to check in at 5 p.m. and hang at the bar for about an hour until they opened the restaurant, it was possible to be seated. ‘Course, I’d be pretty much willing to wait at a bar any time of day, but this time it let us score the best meal we had all year.

PIC13Lunch in Salem’s Finz Seafood and Grill didn’t match Fore. But we left with wide smiles and full stomachs having split a FINZ Burger that came loaded with fried oysters, melted onions, boursin cheese and bacon—and then, there were those fish tacos.

 

In between our “not ready for prime time” tours, we went to a number of friends’ parties, including our traditional July 4th at Bob and Randee’s house. Always great people time with super food. (Hmm, I’m seeing a pattern here.)

The other party that jumps out was Mike and Carol’s 50th wedding anniversary. Mike had been working for close to fifteen years rebuilding a ramshackle carriage house that was crumbling behind his beautiful Dorchester Victorian. We hadn’t been over in a while and the carriage house, where the celebration was held, just blew us away. As did the pig roast and band. It had been a long time since we’ve heard live music at an indoor/outdoor private party. A whole lot of happy.

There were two more day trips to Rhode Island. One to Newport with Bob and Emily, sans Sue, Randee, and Michael, where we sat on a windblown beach protecting our subs from marauding seagulls.

Bob

Bob

With Emily

With Emily

And finally at summer’s end, a group excursion to Pawtucket R.I. to see the Triple A Pawtucket Red Sox.PIC16Upon reflection, summer turned out to be a fine time. And while we were fooled (according to Snopes) about having a once in a lifetime view of Mars on August 28th, it was still something to see.PIC17Luckily, we were easily able to fall back asleep. Musta’ had to do with schlepping those boxes.

“This may not be the best of all possible worlds, but to say that it is the worst is mere petulant nonsense.” ~ Thomas Henry Huxley

 

 

 

 

 

 

BRAINDROPS

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are falling from my head…

By

Zachary Klein

zachWe’re approaching summer’s dog days and I’m feeling pretty mellow, so deciding what to write this week has been difficult. It’s always easier for me if I have a mad on and Germany’s attitude toward Greece jumps to mind. Or how ‘bout them sorry Sox? But mellow is rare, so I might as well see where it takes me.

We recently had a great time at Fenway Park. It was a beautiful night and, as I looked around the field, I realized how impressive a renovation had been done by Janet Marie Smith, the architect of Baltimore’s Camden Yards. Despite adding a significant number of seats and signage to the oldest field in baseball (1912), Ms. Smith somehow made the relic a much more welcoming place while keeping its traditional feel and atmosphere. (Not the ticket prices, though, which are the highest on average in Major League Baseball.) It was a fun night even with the Sox loss–to be expected this season.

And speaking of renovations, despite my writing partner, Susan’s send up of HOUSE HUNTERS in last week’s column, Sue (my wife) and I are gearing up for our own major league kitchen rebuild, replete with wall removals, open floor plan (NOT!), and granite vomitori—whoa—make that countertops. Reconstruction begins sometime in August and I’m fervently hoping that it takes a little less time and is much more successful than our Country’s. Not gonna bet on it though.

Ahh, betting. The Casino War still rages on in Boston. Although voted FOR by almost 60% and supported by rejecting another referendum which tried to overturn the first, a number of politicians are still trying judicial end runs–Including our mayor.

I understand the issues people have with gambling and have some mixed feelings myself. But voters, tired of seeing millions and millions of dollars flow to Connecticut’s casinos, spoke loudly and clearly TWICE. My biggest regret is that Boston won’t allow a den of inequity on one of the harbor islands. And not because The Donald is a bidding developer because he isn’t.catTrumpNo surprise, really. The “Athens of the East” clings to its puritanical ancestry despite our current liberal reputation. Clings to many anomalies. Just ask anyone of Color or eyeball the vast sea of White faces while catching a game at Fenway.

Not sure why, but somehow all that White makes me think of Greece. (I tried not to. Really.) Excuse me, but what two-faced crazy is running around in Germany’s head?

“London School of Economics and Political Science Professor of Economic History Albrecht Ritschl conducted research into how Germany was able to pay off its debts after the two World Wars. In particular, his re-interpretation of the scale of financial payments to, and debt forgiveness for Germany after World War II shed new light on the approach that modern-day Germany should take towards debt-ridden countries such as Greece. Ritschl looked in detail at the financial assistance that was paid to Germany after the war under the Marshall Plan, in which the US gave $17 billion – around $160 billion in today’s values – in economic support to help rebuild European economies. He showed that while the transfers were tiny, the cancellation of debts was worth as much as four times the country’s entire economic output in 1950 and laid the foundation for Germany’s fast post-war recovery.”

It seems pretty obvious the terms of Greece’s “bailout” will crush the poor and working people of that country—but fuck ‘em. Let’s make sure the greed-heads get the interest owed. Every goddam Euro.

And now you got me started. What’s with the response to the Iranian deal? This is a no-brainer but once again the human no-brainers are running their mouths. If Reagan’s administration had pulled this off, all the pols would be kissing his ass. Hell, Nixon cut a deal with China when Mao was still alive! Since it’s Obama’s administration though, both Democrats and Republicans are talking stupid. Batshit racists, whether they know it or not.

Sorry about that. I said no rants….

especially since this has been a fine week. Belated birthday dinner with a good friend, a rooftop dinner with other good friends, and a visit to the Boston’s Greenway’s amazing new installation by Janet Echelman, an aerial shape and color shifting translucent public art sculpture.Aerial

Janet-Echelman-Netting-sculpture

 

 

 

 

tumblr_nopdc9G41s1s5qhggo8_500(For more information about Ms. Echelman’s wonderful piece, including a time-lapse video of the installation check out http://www.echelman.com/project/boston-greenway/. You won’t be sorry.)

Thank you Big Dig for stitching my city back together and creating space near the ocean for beauty.

It never ceases to amaze me how little public art is offered in our cities compared to say, Mexico or France. But hey, that’s a topic for another week.

Told you I was feeling mellow.

 

The mind is its own place, and in itself can make a heaven of hell, a hell of heaven. ~ John Milton

ANOTHER TAKE ON CRIME WRITING

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zach

By Zachary Klein

I’m an outspoken pacifist. I cover my eyes while watching most violence I see on television or in the movies. And I continue to believe in humanity, despite the gruesome reality that surrounds us.

I also earn my living writing about murder, betrayal, greed, and as much of the dark underside in our society as I can possibly perceive and understand.

What’s wrong with this picture?

Nothing. Writing is an art and I believe that every type of art gives all of us the space to experience the truly ugly strands of human nature without having to act them out. I’ll go even farther. It doesn’t have to be art. I believe the same about pornography, politically incorrect movies, and any “make believes.” I feel exactly the same about video games—though I haven’t played one since Tetris.

I know the argument that viewing/reading violence, sex, and the politically incorrect, actually encourages people to act out their inner uglies. I just don’t believe it. Worse, arguments like those have tightened control on what we can see, listen to, write and produce. We’ve lost a serious amount of creative space, not added. In fact, I think that throughout history, restriction and censorship has done more damage than what it tries to condemn.

A few nights ago Sue and I were flipping through mainstream channels, spotted the film Airplane, and stopped to watch—though we’d seen it a boatload of times. The movie had been released in 1980 and, at the same moment, we turned to each other and agreed that it would be impossible to make that movie now. “Have you ever seen a grown man naked?” pilot Peter Graves asks a little boy. (Not allowed to crack wise about pederasty these days.) A stewardess blows a rubber doll. (Where besides a fetish flick can you watch that?) An airport manager sniffs glue. And much, much more that defies our current cultural zeitgeist. Nothing in the movie was sacred. Oh, Airplane was rated PG.

The politically incorrect parts were making fun of and lambasting racism, sexism, drug use etc, rather than promoting it. Know what? Our kids did not grow up traumatized from sexual innuendo. (Who do you know that became a racist after watching Blazing Saddles?) No matter how you slice it, there’s a loss here.

I’ll grant my belief that every type “make believe” as a space to allow the worst of ourselves to be harmlessly encountered is difficult to conceive. Especially since we live in a world with an amazing amount of violence and perversity that has always, and continues, to exist. It’s tough to see how crime writing has reduced crime when crime is rampant. That writing about murder has reduced killing. But I believe it’s tough to see because the gift of imaginary freedom has always been buried under reality. And reality isn’t particularly pretty.

We’ve been socialized to think entertainment is simply that. For fun. That art is something to read, watch, and sometimes feel. And it’s that socialization which has reduced the power of “make believe” and I believe added to real life’s crushing brutality.

So before we can get an honest answer to my proposition, we actually need to eradicate the social/political/poverty and race issues that cause the actual violence in which we live. Only please don’t hold your breath waiting for that to happen.

Even if we were magically able to staunch the blood flow, there will always be an underside in everyone and that’s not going anywhere. Except into imagination which I as a reader and writer hold most dear. For the “make believe” we read in crime fiction or see in violent movies or hear in some dark music is a space that allows us to visit, explore, and treat the worst parts of ourselves—harmlessly, and then come back to our normal lives and sit down at the dinner table.

I’m not saying I write detective fiction simply for the good of humanity. In past columns I’ve mentioned the wonderful similarities I see (and sometimes get to enjoy) between playing jazz and writing detective fiction. (To be honest, probably more traditional jazz than total free-form.) The excitement of taking a paradigm and pushing at its boundaries. The novelist’s pleasure of bringing their audience into unknown places and unexpectedly intense situations.

But more than the personal enjoyment, I believe that, without proof, our work as crime writers contribute to the hope of a better, less violent, more tolerant world. And whether or not we collectively, cognitively, acknowledge it, all the multiple forms I mentioned above give promise to that hope.

We need imaginary violence. We need a place for kinkiness, we need a space in which we can safely (for ourselves and others) try out anything we want to be—without actually being it and without fear of reprisal.

We need more Breaking Bads, Sopranos, Deadwoods, Big Sleeps, Red Harvests, and especially more movies like Airplane.

You can’t depend on your eyes when your imagination is out of focus ~ Mark Twain

MICHAEL PAUL SMITH

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BY Zachary Klein

I’ve known Michael for close to thirty-five years. During that time we decorated my apartment together (he was living downstairs), wallpapered (actually Michael did that with Sue), and attended his “decades” party. He threw them at his place and completely remodeled the interior to match the time in which the party was taking place. And of course Michael designed the previous covers for my Matt Jacob novels.

But more importantly, I’ve watched his growth as an artist and learned that acclaim and acknowledgement don’t have to change who you are and who you want to be. That’s a gift that keeps on giving as I travel through my own creative endeavors. But rather than  go on about Michael, his life, and his work—please just enjoy.

A SELF DIVIDED

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BY

ZACHARY KLEIN

I’ve written about the Showtime program Homeland a number of times with my last comment (I think) a couple of years ago. A new season has begun and, as most of the show’s other seasons, it’s high quality and anxiety producing. Although I’ve only seen the first three episodes, the series is once again a plot driven spy versus spy versus double agents drama. And once again it has raised questions for me. In our present era when every Muslim is often seen as a potential enemy and threat, it’s complicated to look forward every week to a terrific TV series that is built around a world view I detest.

Well, I just doubled down on that conundrum. Prisoners of War (original Hebrew title being Hatufim, (which translates to “Abductees”) is the threadbare low budget Israeli show upon which Homeland is based. In fact, after Hatufim won Israel’s Academy Award For A Television Series was sold to 20th Century Fox, some of the program’s creators and cast have been directly involved with the US show. We brought the dvds home from the library and have barreled through most of Season One. Gotta say, so far it’s a much better series, focusing intently upon the two ex-prisoners of war and the effects their release after seventeen years has upon themselves, their families, and everyone in close contact. Especially the Israeli intelligence community.

No surprise I’d find Prisoners the better show. People who have read any of my Matt Jacob novels or even my Just sayin’ series Interviews With The Dead (King Richard lll, Truman Capote, Martin Luther King, Norman Mailer and more to come) know my writing is character driven. Although I’m sure there will be more spy versus spy as Prisoners progresses, fact is, the characters are already more fleshed out and complicated than those in Homeland. The truthfulness of the relationships between each of the characters and the situations in which they find themselves feels true to the bone. And more. This is a particularly smart show where the unexpected occurs at exactly the right moment with writing and acting I just love.

But here’s the rub. Prisoners of War has raised even more misgivings inside than Homeland. Anyone who knows me knows my feelings about the overwhelming abuse and injustice the Israeli government exacts upon the Palestinian people. And while Prisoners has yet to identify the kidnappers, it doesn’t take a weatherman to imagine who they were.

So here I am, once again, praising a show whose politics sicken me.

Pablo Picasso was a misogynist his entire life—using women then kicking them to the side once he was done with them. Yet it’s impossible to ignore that he was arguably the greatest artist of the twentieth century who created Guernica, the most important anti-war painting many of us have ever seen. Even Diego Rivera, whose murals closely reflect my own political point of view, was often questionable when it came to his personal life. And, of course, there’s always the Ezra Pound dilemma.

Music, theater, and literature are also overloaded with artists who created great work but I wouldn’t invite to dinner. (Actually, there are some on my list who disgust me as people, but I’d love to engage in conversation.)

Firesign Theater’s album title, How Can You Be In Two Places At Once When You’re Not Anywhere At All, only half describes my plight. I am somewhere. Stuck between my values about humanity and art I enjoy or even love, at the same time made by people who make my skin crawl. Hell, it’s hard enough to bridge the contradiction about individual artists, but when two television shows I consider art (ok TV haters, take your shots) present attitudes and behavior I abhor, that interior contradiction becomes even more difficult to transcend.

But in for a dime bag, in for a pound. Throughout my own artistic life I’ve maintained that it’s essential to separate people’s creations from the individuals themselves. I’ve always believed to not do so would lose too many important, thought-provoking, often beautiful experiences.

For all the agita these two series raise, that’s my belief and I’m sticking to it. If a creation merits consideration as art, then I’m going to view it as such—despite its content or creator. To be otherwise would undercut my convictions about freedom of speech. And just as I won’t judge a person simply by their politics or beliefs, neither will I judge creative expression only by the person who created it or the content it presents.

So how to recommend a television series that triggers serious internal conflicts? For those who don’t share my ideas about the Israeli/Palestinian conflict, it’s easy. Rent or borrow Prisoners of War and enjoy great television.

For those that do share my Middle East politics, I’d say grit your teeth and, for this series, allow art to trump.

“What is life without incompatible realities?” ~ Ursula K. Le Guin