Bryan R. Monte – AQ16 Summer 2016 Art Reviews

AQ16 Summer 2016 Art Reviews
by Bryan R. Monte

Andriaen van de Velde: Dutch Master of Landscape, Rijksmuseum, 22 June to 25 September 2016
Living in the Amsterdam School. Amsterdam Stedelijk Museum, 7 April to 28 August 2016

Not Just a Pleasant, Sunny, Sunday Afternoon

On 22 June 2016, the Rijkmuseum’s soon-to-be-director (as of 15 July), Taco Dibbets, launched the Andriaen van de Velde Dutch Master of Landscape exhibition. Van de Velde, the son of a painter was one of the best landscape artists of the de Goude Eeuwe (the Golden (seventeenth) Century) even though he only lived to be thirty-five. The museum has assembled one of the largest collections of Van de Velde’s oeuvre (60 works — 37 sketches and 23 paintings from public and private collections). It includes not only landscapes peopled with farmers, milkmaids, shepherds, shepherdesses and farm animals arranged around a lone tree or thatched huts or cottages, but also the seaside, ice skating and hunt preparation and even a few religious scenes. In addition, many of these paintings are accompanied by Van de Velde’s preparatory pen and ink sketches. The Rijksmuseum describes Van de Velde as “one of the best Dutch landscape artists,” but Dibbets added during his introductory speech, that Van de Velde painted much more than just scenes from a “pleasant sunny, Sunday afternoon.”

The combination of sketches with the paintings clearly shows the development of the larger canvases from various sources. The link was clearest for me in Van de Velde’s “The Annunciation” (1667). To the right of this painting hangs a sketch of woman naked to the waist, posed with the same outstretched arms and expression of fear and astonishment as the draped Virgin who greets the angel. The woman’s pose in the preparatory sketch allowed Van De Velde to make this standard religious scene much more compelling by having his Virgin look directly at the angel versus a more traditional paintings in which the Virgin looks away.

Although Van de Velde was generally a landscape painter, he also paid equal attention to the human element in his compositions. The central painting of this exhibit is certainly his “Portrait of a family in a landscape” (1667), Van de Velde has painted a well-to-do family out for a ride in an open coach. This painting shows off the family’s money through their elaborate clothing and red coach drawn by two white horses. The gentleman is dressed in a brown coat and stands in the centre foreground of the painting with a walking cane. His wife stands on his left in a black dress and a red mud skirt. Even further to his left is his son who holds a mottled white-and-brown dog on a leash. To his right is a nanny who holds his daughter dressed in white. The triangular placement of these burgers also emphasises their social solidity, familial order and wealth in the middle of an ideal countryside.

In contrast to this wealthy family, however, Van De Velde also painted many fieldworkers. “Haymakers resting in a field” (1663) depicts an intimate gathering of fieldworkers, some taking a break. The first four in the foreground are seated. One man has his arm around a woman while another looks on and another man smokes a pipe. To the right is a man standing drinking from a large, brown jug and a fourth man is asleep on a mound of hay. There is such a contrast of activity in such a small space of canvas—and these are only the characters in the foreground. In the background, four other workers continue to build haystacks with pitchforks and by hand. Other general social scenes include ice skating as in “Colf players on the ice” (1668) and “Ice skating outside the city wall” (1669) which are populated by men, women, children, dogs and horse-drawn sleds lit in a dusky gold-gray winter light.

Van de Velde’s mastery of colour, light and shade is further demonstrated in his paintings of Scheveningen which include “View of a Beach” (1660) and “The Beach at Scheveningen” (1670) with the ships and horses lit in what I think is a similar yellow light to what Breitner used in his paintings at Scheveningen two centuries later.

Some surprises in this exhibition were Van De Velde’s “Figures in a deer park” (1667) in which the eye is drawn by a row of tall trees dwarfing the figures of the men and deer beneath them to the left and into the distance. Others are sketches of figures representing “The Continents of Europe and Asia and America and Africa,”(1671) and a few male nudes (undated). Lastly, are sketches of “Plundering soldiers at a peasant’s dwelling” (1669) showing soldiers with a battering ram and others loading muskets preparing to break down an old farmers door. Another sketch, “Marauders attack peasants at their huts” (1669) shows the next scene in which a man on his knees is about to be run through with a sword, a woman with bare breasts is held by a man from behind whilst another approaches, and a last man with sword drawn chases two figures towards the fields. Such was the reality of life during the wars in the Lowlands during the 17th century. These two, atypical pen and ink sketches remind us how quickly a quiet, sunny Sunday afternoon in the countryside then could disintegrate into chaos and carnage.

Living in The Amsterdam School

If you’ve ever wondered what happened when the optimistic, fin de siècle, organic Arts and Crafts and Art Nouveau movements crashed into the trenches of the First World War, visit the Living in the Amsterdam School exhibition now at Amsterdam’s Stedelijk museum. This carefully-researched exhibition will show you the lavish interiors created as these movements entered the dark, expressionist wood created by this Dutch movement (1910-30). And since this exhibition concentrates on carefully reconstructed interiors and objects, the visitor is able to get a feel for what it was like to live in a stylish 1920s Amsterdam home, work in an office or shop at some of the Netherlands’ most prominent department stores.

Instead of seeking solace in the simple, natural forms as the Arts & Crafts/Art Nouveau movement had done, the Amsterdam School sought escapism and adventure in the exotic possibly as a reaction, but also perhaps as a precursor of the coming financial and political disasters. Characteristics of the Amsterdam School include unusual use of colour (red, orange, and yellow detailing on dark backgrounds), unusual wood detailing and carvings and exotic influences and designs. It’s worth visiting this collection of Amsterdam School artwork because as director Beatrix Ruf said at the press conferences it “is the largest ever assembled.”

The exhibitions first gallery includes a pyramidal display of the distinctive somewhat-tear-shaped clocks (similar in shape to Amsterdam School building towers) in various but mostly dark woods with orange, red and black accents. This is part of the 300 clocks collected for the exhibition and which also mimic the shape of the tops of the towers of the Amsterdam School buildings where mainly large, exterior clocks of similar design were displayed. (One design in particular, by Hildo Krop, contains long, thin, seated memento mori figures at the top of each clock). This gallery’s exhibition is also augmented (as in some others) by a film, music or video. (In this gallery, it is a silent film about Amsterdam School architecture exteriors).

The next gallery includes the reconstruction of an office with a large table and several very solid chairs and coffee table (One needed a very strong back to move this characteristically heavy massieve furniture) Further galleries include furniture for the home including first living, dining and bed rooms including photos of some of their occupants involved in various activities such as knitting next to the hearth, reading, etc. The dark wood furniture in this collection, some by Peter Lodewijk Kramer, creates a very den-or cave-like interior. A notable exception to this a suite of black and white bedroom furniture by Joseph Crouwel which stunningly presages the streamlined clean lines of Art Deco.

Another aspect of the Amsterdam School included in this exhibition is sculpture including the Modernist looking Girl (three-quarter figure) sculpture and the cast concrete Man with Wings (who looks more like a demon with wings from The Lord of the Rings) both by John Rädecker. Hildo Krop is also represented by his wood closets with wooden sculptures both above and in the cornices. Some of Krop’s work can also be found today on some of the city centre’s sculptured bridge pillars.

The exoticism of the Amsterdam School movement is given further explanation by its use in film theatres and department stores. In the 1920s, going to these two buildings was a type of escape, the first for a new form of entertainment—film, the second to a sort of retail adventure. These are demonstrated for example, by photos of the Tuschinski theatre’s Pieter den Besten’s native American designs (mural and lamp) and in The Hague’s Bijenkorf department store’s by two, giant, dark-wood, carved staircase padauks with details of flautists, a harpist and theatre masks by H. A. van de Einde. Toordorp is also represented by an expressionist (almost ’60s hippieish) brightly-painted wooden changing screen.

The last three galleries include even more gems. In the antepenultimate gallery, objects are displayed on shelves similar to those used in depots. These objects include firescreens, ceramics, a cradle, and an exquisite chest of drawers by Louis Bogtman of batik-patterned wood and wrought-iron from a private collection which demonstrates how Eastern styles affected the Amsterdam School.

The penultimate room in the exhibition has dozens of characteristically tear-shaped, dark, metal, hanging electric lamps demonstrating the new influence electricity was having on home interiors. Across from the lamps are distinctive stained-glass windows for both commercial and home use.

The exhibit’s final room contains a collection of Amsterdam School exhibition posters of shows, revivals and retrospectives. In the centre of the room is a red, yellow and white bedside table by Hildo Krop, which looks strikingly similar to the simple angular, Mondrian-coloured Modernist furniture made by Gerrit Rietveld. It demonstrates how Dutch interior design and this long-lived, multi-media artist (1884-1970) reinvented themselves again in the 1930s.

There’s probably something to satisfy everyone’s interest in early 20th Dutch interiors from chairs, tables, sofas, beds, desks, paintings, rugs, lamps, windows, posters, art magazines, photos, film, video and music. Visitors with children will probably be grateful for the “Build Your Own Clock” hands-on activity area, about two-thirds of the way through the exhibition, for visitors with children. Here children can construct and customize (detail and colour) their own Amsterdam School style clock. There are three different styles (5 minutes for the easiest, 15 for the most difficult). The clockworks, however, must be purchase downstairs at museum shop.

Even though Dr. Marjan Groot spent 10 years researching and collecting the Living in the Amsterdam School’s over 500 objects, gallery visitors are not overwhelmed by either too many objects or too much information. Her selection provides a rich overview that is exhaustive but not exhausting for the visitor. It is both scholarly and tasteful and the perfect length for a morning or afternoon museum visit.

Bryan R. Monte – AQ15 Spring 2016 Book Reviews

AQ15 Spring 2016 Book Reviews
by Bryan R. Monte

Scott T. Starbuck. Industrial Oz. Ecopoems. Fomite Press. ISBN 978-19425-15166, 111 pages.
Jane Summer. Erebus. Sibling Rivalry Press. ISBN 978-1-937420-1, 185 pages.
Priscilla Atkins. The Café of our Departure. Sibling Rivalry Press. ISBN 978-1-937420-87-1, 77 pages.
Wendy Gist. Moods of the Dream Fog. Finishing Line Press, 29 pages.

Last year was a very productive year for non-traditional publishers addressing contemporary issues such as climate change and global warming and timeless personal ones such as the love and sudden loss of a friend or partner, or depicting their unique corner of the world. The four books I’ve chosen to review for AQ15 are concerned with some of the issues mentioned above and, because of that, I felt they were of sufficient merit to warrant a review in Amsterdam Quarterly.

The first book is Industrial Oz, Ecopoems by Scott T. Starbuck. Industrial Oz is a pro-ecology, anti-war, anti-banks, philosophical, counter-culture poetry book. In his essay, “The Defence of Poetry,” Percy Bysshe Shelley wrote that “poets are the unacknowledged legislators of the world….Poets … are not only the authors of language and of music, of the dance, and architecture, and statuary, and painting; they are the institutors of laws, and the founders of civil society…”

In Industrial Oz, Starbuck takes this charge very seriously. Industrial Oz depicts Starbuck’s many interests and concerns such as hiking, fishing, pollution, species extinction, rain forest destruction, global warming, the disposal of nuclear waste, the wisdom of indigenous peoples and their “pacification” by Europeans, the “taming” of the wilderness, the disappearing pensions of Generation X, and war’s effect on the “home front” including vets with PTSD and other disastrous, sociological and environmental problems. It asks and answers important questions such as how were the Americas “settled” by Europeans, how were its resources acquired and used and, as a result, what is the future of those continents and the planet?

Starbuck’s poems use various approaches, some more programmatic, others more aesthetic. Structurally and thematically Starbuck’s poems can sometimes be longer, somewhat political Ginsbergian riffs such as “Why All US-Made Nuclear Waste Must Be Stored At The White House” or “What if one Night a Big Solar Storm Went By?” Other times his images and examples or “evidence” are more subtle and his lines shorter, but all his poems are just as compelling. For example in “How It Is” the effect of global warming and its disastrous effect on coastal countries is rendered quite simply and geographically: “Sometimes you forget Greenland exists/…Then it melts and Holland disappears.” In “River Reflections” in just 46 words Starbuck’s discusses his own political stance—how politics considers him unimportant, how he has rejected TV, and the source of his power against the system. “Like the elk/my vote/won’t be heard” but the poem ends with the defiant: “I am a nonessential/ and unproductive/ worker// yet a threat/to the machine /merely by resting// and thinking.”

In his poem, “Thinking About the Association of Writers & Writing Programs 2014 Conference in Seattle,” he challenges the seeming non-awareness or lack of interest in academic programmes for environmental/political issues such as the death of sea stars and polar bear cubs due to climate change and the 100-tonne Fukushima nuclear storage tank spill which happened a week before this writers’ convention. (I remember getting feedback on my AIDS poems from professors and students in a mid-80s graduate writing programme and both parties wondering aloud if perhaps I wasn’t being a bit “hysterical” about an illness that might not turn out to be so serious). As an image of these programmes solipsistic and incorrect focus, Starbuck describes how as a child he carved sand circles: “for onlookers to enjoy//before the next set of waves erased everything.” Some other poems, such “Poem for Ishi” and “Of Whales and the Hinckley Hunt on Christmas Eve, 1818,” could also be used in secondary and tertiary, cross-curriculum writing and history classes related to questions about what happened to Americas’ indigenous peoples and its wildlife after their “discovery” and the “pacification” of the Americas by Europeans.

Throughout all the poems in Industrial Oz, though, no matter what their format, the central thread is Starbuck’s love and concern for the wilderness and the Earth. And in that light, all of the poems in Industrial Oz are worth reading if you share Starbuck’s concern for the future of mankind and the planet.

Next follow two elegiac books published by Sibling Rivalry Press that use two different approaches to chart the writers’ grief as they remember/memorialise a loved one. The first book, Erebus, is about someone killed in a plane crash, the second, The Café of our Departure, about the memory of someone who was slowly slipping away with cancer, who, in the end, decided to take his own life. Both depict the haunting that memory creates due to a desire to try to hold on to some part of these people’s lives and their relationship with the narrator in the past and carry it into the present and future. However, the two employ different, stylistic approaches. The first uses a more objective, factual, and scientific approach in its recapitulation of the relationship and attempted recovery of the person. The second uses a more aesthetic approach using art, museums and food to try to remember an almost life-long friendship.

The first book is Jane Summer’s Erebus. Erebus is the most southern, active volcano in the world, located in the Antarctic continent. In Greek mythology it is also the entrance to the underworld. What Moby Dick is to whaling with its catalogue of sails and harpoons, Erebus is to fatal, exotic sightseeing plane crashes. It is a well-written, obsessive, extended catalogue of grief about the crash—a history of what was taken suddenly—the passengers’ lives—and what was returned much later—some exposed bodies or parts and personal belongings including some, ironically unspoilt, colour photobooks of Antarctica and passengers’ journals.

Erebus has three, formal chronological divisions or parts entitled: 2013, 1993, and 1973 in which the writer works backwards to her relationship with the plane crash victim, Kay Barnick in New York City in the early ’70s. In the preface, Summer warns that “this story is based in fact…but it is above all a work of art, and thus a certain amount of leeway must be allowed.” Throughout the three sections, Erebus’ two-line lyric stanzas bind and build on the effect of information from news stories, photos, aircraft, airports, Antarctic geography, maps, wildlife pictures, notes left behind by her dead friend, a quotation from Aristotle’s The Neomachian Ethics about friendship, items of New Zealand history and culture (including James Cook’s “discovery” of the island), Summer’s implication of a possible airline cover up related to the crash, white flight and increased crime in Manhattan in the late ’70s, an equation of the deadly g-forces exerted on bodies of those in the unsurvivable crash and lastly, a list of all passengers and crew to tell a chilling and unrelenting tale of an airline catastrophe and the loss of a loved one. Using this method, Erebus, as an artistic creation, is certainly worth more than the sum of its parts.

The second book, Priscilla Atkins’ elegiac book, The Café of our Departure choses a different strategy. The Café of our Departure is also divided into three unnamed sections with an epigram from James Schuyler’s “The Morning of the Poem.” This poetry remembers a loved one from a much more epicurean perspective based on art, good friendship and food and poetry. The book describes Atkin’s gay, high school boyfriend and later, former husband, Mike, including his slow death from cancer and his choice to end his own life. The poems include references to their favourite cafes and restaurants “Unguided tour of Grief with Green Wallpaper,” museums “Resolve,” art “La Nature Morte” and “Sky in a Jar,” and photographs “First Trip to Chicago After” interspersed with teenage adventures of buying greasy fast food and fishing trips in “Mike,” a reconstruction of Mike’s suicide in “Resolves” and many references to the poetry of James Schuyler, which I imagine both the writer and the subject greatly admired.

Another aspect about this book that is exceptional is Atkins’ honesty as she courageously describes her ex-husband’s impending fatal illness/suicide and his changing role in her later life as they became more aware of his sexual orientation. Her acceptance and depiction of Mike’s gay “friend” Mark, is also exceptional as shown in the poem, “Anything You Want.” “Before heading downstairs/Mark said: “Take anything you want.” Atkins writes that amidst the stacks of Fiestaware, the “Shirts, slacks hanging in the closet;/rows of empty shoes” all she wants to do is to: “lie in your bed/and keep watch/.”

Throughout the book, Atkins uses different poetic forms—from two-line stanzas and traditional four-line quatrains to longer free-form stanzas. All include Atkins attention to detail to and objects such as in her poem entitled “Mike” in which she references death in the beginning but also the fun and companionship they experienced as teenagers: “Only you and I would be giddily/in overalls digging out/petrified worms (from the last trip)…For an entire year, we snorted/like Lily Tomlin’s Ernestine. (Pity the poor teachers/who had us in class together)./Summer days we’d drive your parents’/ car all over hell and back/…—but mostly to laugh and talk, to get the/feeling you get after doing that for hours.” Due to this wide span of time and poetic forms, The Café of our Departure is a fitting and moving memorial to her former friend and husband.

Wendy Gist’s Moods of a Dream Fog chapbook contains poems that describe the people and landscapes of the American Southwest some of which were previously published in more than 14 different literary journals, including Amsterdam Quarterly. Gist is not only adept in her selection of images but also in her use of different types of typography and lines. Sometimes she keeps her lines short and lets them float down the page as in “Drip Wish”

The woman peers
       out the
                  tent screen,
                           looking,
                     flat
on her backbone,
      at bloat between
monolithic
         slot of volcanic
                    tuff

Other times she writes moving block prose poems, such as “Visitor at Tsaile Lake” and “Morning Beat.” My other favourites in this collection include “Canyon de Chelly Echoes” which uses repetition to recreate the indigenous American ritual very effectively, and “Midsummer Night at Isotopes Park,” which includes this fine stanza, is a very poetic and sociological, contemporary description of Southwestern culture:

“Fine men I so love, husband and son, grub nachos, imbibe
pricey beer. Fun-loving women fork strawberries and kiwis
from fruit cups, sip Blue Moon draft, turn tipsy to us, laugh,”

For me, however, the short erotic poems including “Blush” and the title poem “Passion Fog” are the most arresting. “Passion Fog” explores both the light and dark sides of attraction and why one should be careful: “She can’t tell/up till now/if he strives to bite/or kiss tender.” Unfortunately these poems are not at the very beginning of the chapbook where I would have placed them, but come after “To My Dream,” “Intimate Waters,” “Electrolysis of Love” and “Winter Walk through Twilight” which don’t seem to resonate with me as much as the other 23 poems, but then a score of 19 out of 23 isn’t bad either. Gist’s Moods of a Dream Fog poetry chapbook is a good, strong entry in the world of first chapbooks. I recommend it especially for readers interested in poems about love, passion, relationships and the landscapes and cultures of the Southwestern US.

Bryan R. Monte – AQ15 Spring 2016 Art Reviews

AQ15 Spring 2016 Art Reviews
by Bryan R. Monte

Living in the Amsterdam School. Amsterdam Stedelijk Museum, 7 April to 28 August 2016
Document Nederland: Carel van Hees fotografeert het onderwijs. Rijksmuseum, 24 March to 12 June 2016

Living in The Amsterdam School

If you’ve ever wondered what happened when the optimistic, fin de siècle, organic Arts and Crafts and Art Nouveau movements crashed into the trenches of the First World War, visit the Living in the Amsterdam School exhibition now at Amsterdam’s Stedelijk museum. This carefully-researched exhibition will show you the lavish interiors created as these movements entered the dark, expressionist wood created by this Dutch movement (1910-30). And since this exhibition concentrates on carefully reconstructed interiors and objects, the visitor is able to get a feel for what it was like to live in a stylish 1920s Amsterdam home, work in an office or shop at some of the Netherlands’ most prominent department stores.

Instead of seeking solace in the simple, natural forms as the Arts & Crafts/Art Nouveau movement had done, the Amsterdam School sought escapism and adventure in the exotic possibly as a reaction, but also perhaps as a precursor of the coming financial and political disasters. Characteristics of the Amsterdam School include unusual use of colour (red, orange, and yellow detailing on dark backgrounds), unusual wood detailing and carvings and exotic influences and designs. It’s worth visiting this collection of Amsterdam School artwork because as director Beatrix Ruf said at the press conferences it “is the largest ever assembled.”

The exhibitions first gallery includes a pyramidal display of the distinctive somewhat-tear-shaped clocks (similar in shape to Amsterdam School building towers) in various but mostly dark woods with orange, red and black accents. This is part of the 300 clocks collected for the exhibition and which also mimic the shape of the tops of the towers of the Amsterdam School buildings where mainly large, exterior clocks of similar design were displayed. (One design in particular, by Hildo Krop, contains long, thin, seated memento mori figures at the top of each clock). This gallery’s exhibition is also augmented (as in some others) by a film, music or video. (In this gallery, it is a silent film about Amsterdam School architecture exteriors).

The next gallery includes the reconstruction of an office with a large table and several very solid chairs and coffee table (One needed a very strong back to move this characteristically heavy massieve furniture) Further galleries include furniture for the home including first living, dining and bed rooms including photos of some of their occupants involved in various activities such as knitting next to the hearth, reading, etc. The dark wood furniture in this collection, some by Peter Lodewijk Kramer, creates a very den-or cave-like interior. A notable exception to this a suite of black and white bedroom furniture by Joseph Crouwel which stunningly presages the streamlined clean lines of Art Deco.

Another aspect of the Amsterdam School included in this exhibition is sculpture including the Modernist looking Girl (three-quarter figure) sculpture and the cast concrete Man with Wings (who looks more like a demon with wings from The Lord of the Rings) both by John Rädecker. Hildo Krop is also represented by his wood closets with wooden sculptures both above and in the cornices. Some of Krop’s work can also be found today on some of the city centre’s sculptured bridge pillars.

The exoticism of the Amsterdam School movement is given further explanation by its use in film theatres and department stores. In the 1920s, going to these two buildings was a type of escape, the first for a new form of entertainment—film, the second to a sort of retail adventure. These are demonstrated for example, by photos of the Tuschinski theatre’s Pieter den Besten’s native American designs (mural and lamp) and in The Hague’s Bijenkorf department store’s by two, giant, dark-wood, carved staircase padauks with details of flautists, a harpist and theatre masks by H. A. van de Einde. Toordorp is also represented by an expressionist (almost ’60s hippieish) brightly-painted wooden changing screen.

The last three galleries include even more gems. In the antepenultimate gallery, objects are displayed on shelves similar to those used in depots. These objects include firescreens, ceramics, a cradle, and an exquisite chest of drawers by Louis Bogtman of batik-patterned wood and wrought-iron from a private collection which demonstrates how Eastern styles affected the Amsterdam School.

The penultimate room in the exhibition has dozens of characteristically tear-shaped, dark, metal, hanging electric lamps demonstrating the new influence electricity was having on home interiors. Across from the lamps are distinctive stained-glass windows for both commercial and home use.

The exhibit’s final room contains a collection of Amsterdam School exhibition posters of shows, revivals and retrospectives. In the centre of the room is a red, yellow and white bedside table by Hildo Krop, which looks strikingly similar to the simple angular, Mondrian-coloured Modernist furniture made by Gerrit Rietveld. It demonstrates how Dutch interior design and this long-lived, multi-media artist (1884-1970) reinvented themselves again in the 1930s.

There’s probably something to satisfy everyone’s interest in early 20th Dutch interiors from chairs, tables, sofas, beds, desks, paintings, rugs, lamps, windows, posters, art magazines, photos, film, video and music. Visitors with children will probably be grateful for the “Build Your Own Clock” hands-on activity area, about two-thirds of the way through the exhibition, for visitors with children. Here children can construct and customize (detail and colour) their own Amsterdam School style clock. There are three different styles (5 minutes for the easiest, 15 for the most difficult). The clockworks, however, must be purchase downstairs at museum shop.

Even though Dr. Marjan Groot spent 10 years researching and collecting the Living in the Amsterdam School’s over 500 objects, gallery visitors are not overwhelmed by either too many objects or too much information. Her selection provides a rich overview that is exhaustive but not exhausting for the visitor. It is both scholarly and tasteful and the perfect length for a morning or afternoon museum visit.

Document Nederland

Document Nederland is a series of approximately 180 photos of the Dutch educational system in Rotterdam, by Rotterdam photographer and filmmaker Carel van Hees, currently on display at the Rijksmuseum in Amsterdam. This series is a year-long, longitudinal, photographic documentation of Rotterdam’s educational system from infants school to university and is part of a larger series of photographic documentation, which was begun in the mid-1970s which has almost annually documented changing or controversial aspects of Dutch culture such as unemployment, elections, the broadcasting media, youth, post-WWII neighbourhoods, healthcare, refugees among other topics. The exhibition was given an enthusiastic introduction by Rijksmuseum director, Wim Pijbes. Pijbes also mentioned the unusual way Van Hees’ poster-size photos of the Dutch educational system are presented by the Rijks—in lightweight frames, which visitors can page through. In addition, these photos are illuminated by spotlights hung above in an otherwise darkened room which this reviewer found a very compact, yet intimate way to present such a large collection.

Van Hees’ photos capture Rotterdam’s educational institutions as modern, constructive and multi-cultural. Hees’ photos of the RDM Campus Albeda College welders show the strength and beauty of two young men whose dirty, heavy protective clothing—helmet, steel-toed shoes, fireproof gloves and aprons—reminds me of Lewis Hine’s iconic Powerhouse Mechanic Working on Steam Pomp (1920) or his 1930s Empire State Building girder riveters. It’s understandable why this photo was used to promote the Document Nederland series.

This static photo is contrasted by another more lively group of predominantly female, shipping and cruise school students (Scheepsvaart en Transport College) in their dark blue, uniform dresses clumped together and bursting with laughter whilst their two male colleagues or instructors remain (shyly?) almost hidden in the background. Van Hees’ photos also document constants in the Dutch educational system such as student teacher conferences at the elementary OBS Bloemhof and secondary OSG Hugo de Groot and graduation ceremonies at the polytechnic Zuiderpark VMBO and Erasmus University, where the facial emotions and intensity of interaction are the same and only the size of the desks and types of gowns are different.

Van Hees’ photos reveal the Dutch educational system’s merocratic aspiration to be open and accessible to all classes, races and genders. When asked during the press conference which of his photos he found the most iconic of the Dutch educational system 2016, Van Hees directed me to two, large portrait photos presented side by side in the gallery. One was of a student in coat and tie from the prestigious Ermaains Gymnasium. The other was of a student in an orange worksuit from the Zuiderpark VMBO. Van Hees’ commented in a brief interview (to be presented in AQ15 next month) that although the two young men both came from “two different educational programs, (they) were still two fellow citizens from the big city.”

Carel van Hees at Document Nederland: Carel van Hees fotografeert het onderwijs exhibition, March 2016, Rijksmuseum Amsterdam. Photo Copyright © 2016 by Bryan R. Monte.

Carel van Hees at Document Nederland: Carel van Hees fotografeert het onderwijs exhibition, March 2016, Rijksmuseum Amsterdam. Photo Copyright © 2016 by Bryan R. Monte.

The art of Van Hees’ photos is indeed his excellent portraiture of these students’ world whether he captures them in class, socializing in groups, with boy/girlfriends, sitting alone or sometimes even anonymously from behind, their clothing, hairstyles and posture still revealing something about their backgrounds and outlook.

That said, my one criticism of Van Hees’ photographic series is even though he was given permission to restrict himself to Rotterdam, in doing so, he missed documenting some pressing issues in rural areas such as the closing of small, local elementary schools and/or the lack of high-speed internet for some of these schools which is also a concern for the Dutch educational system albeit a minority and a peripherally geographic one.

This criticism aside, however, Van Hees provides an excellent overview of the Dutch, urban educational system anno 2016. He shows young people from infants to university in all social and economic groups in class and socializing with their peers. The value of these photographs is not only as a historical document, but also as sensitive, moment opnamen as Van Hees referred to them, in which he has captured the students’ hopes, fear, frustrations, activities and achievements artfully.

In addition to Van Hees’ photoseries, the photographic work of ten, secondary school finalists in the Jong Nederland competition that Van Hees judged were on display at the Rijksmuseum’s Teekenschool (which I was surprised to discover was older than Amsterdam’s own Rietveld Art Academy, and in fact, actually gave birth to this institution). Sashia de Boer (Het Lyceum, Alkmaar) won the Document Junior photo competition for her series of retro-punk photos shot in vintage ‘70s clothing against ’70s-style school backgrounds captured in the stylistic black and white photographic grittiness of that era. She will participate in a six-month internship with Van Hees at the Rijksmuseum before, according to Van Hees, going on to study at the Rietveld Academy.

Two other students whose work I feel is also worth mentioning is that of Rosalie van der Does (Wassenaarse Adelbert College) and Joelle Tahapary (Kalsbeek College, Woerden). Van Der Does, who took her national, second-form finals at 19 due to a disability, shows the challenges she faced in her photographs, especially one in which she appears to be standing still and everyone around her moving so quickly that they’re blurred and another in which she lying down, eyes closed, her right hand covering the right side of her face. On the other hand, Tahapary’s photos are abstract, kaleidoscopic and look somewhat like modern stained-glass windows. All ten sets of finalists’ photos on display at the Rijkmuseum’s Teekenschool document successfully the creativity engendered by the Dutch educational system in general and by this Jong Nederland competition, specifically.

Bryan R. Monte – (AQ14) Autumn 2015 Museum Review

Zero—Let Us Explore The Stars Exhibition, Amsterdam Stedelijk Museum   7 July to 8 November 2015
by Bryan R. Monte

If you are in Amsterdam on a rainy afternoon and the lines at the Van Gogh Museum and the Rijksmuseum both wind down the street, may I suggest a visit to the Amsterdam Stedelijk Museum’s, Zero— Let Us Explore The Stars special exhibition. Even though I thought I was fairly well versed in “Modern” art, I was surprised last July to attend the press opening for a retrospective of an art movement about which I had no previous knowledge.

Zero is an exhibition about a group of optimistic, future-oriented, European (Dutch, French, German, Italian and Swiss) artists, who, in the 1950s and early ’60s, used simple, cheap, monochromatic and sometimes recycled materials in novel ways including puncturing, (Henk Peters), cutting and burning, (Otto Piene), mounting or stacking (Amando and Jan Henderiske) or just painting and/or displaying found objects (Jan Schoonhoven).

Zero artists (or spouses) with the Zero Manifesto on wall behind them at the Amsterdam Stedelijk Museum, (4 July 2015). Back row l. to r.: Elizabeth Goldring Piene, Christian Megert, Jan Henderikse and unidentified woman. Front row l. to r.: unidentified man, herman de vries and Uli Pohl.

Zero artists (or spouses) with the Zero Manifesto on wall behind them at the Amsterdam Stedelijk Museum, (4 July 2015). Back row l. to r.: Elizabeth Goldring Piene, Christian Megert, Jan Henderikse and unidentified woman. Front row l. to r.: unidentified man, herman de vries and Uli Pohl.

Just as with any new movement when people are experimenting with materials, some were more successful than others. Henk Peter’s Aquarel (1966, 2014 reconstruction), a wall of water-filled, triangular-shaped plastic bags filled and hung against a black background and illuminated by spotlights was for me the simplest yet most memorable work in the exhibition. The 20 rows of perfectly aligned bags of water catch the light in such a way that they actually shine against the black wall. Followed closely thereafter would be Yoyao Kusama’s One Thousand Boat Show (1963) a boat made of what looks like white stones, with hundreds of identical smaller images of the same boat projected around it, which seems to float in the room. And a third work would be Jan Schoonhoven’s R 62-16 (1962) mentioned above which, once painted white and mounted, shows the simplicity and the restful rhythm of its repeated structure.

Less successful in my opinion, however, are Amando’s tires mounted on a wall, Guenther Uecker’s chairs or TV sets with nails pounded in their sides or Jan Henderiske’s beer crate or cork sculptures, which although most students are accustomed to stacking crates in their rooms to make cheap shelving, I wouldn’t particularly call that art. In the same vein, herman de vries’ white, seemingly architectural, model building blocks don’t move me as much as Otto Pien’s perforated metal drum with its rotating internal light source that casts changing, expanding and deflating geometric images on the surrounding walls. Similarly the optical illusions that would come later in the sixties are preceded by works such as François Morellet’s, Sphère-trames, stainless-steel sculpture (1962) or the more dynamic optical illusions (albeit monochromatic ones) created by Günther Uecker’s, Heinz Mack’s and Otto Peine’s Lightroom gallery: Homage to Fontana (1964).

Some of Zero’s real treasures, however, are reserved for almost last. Two galleries to the left of the entrance hall (the last two if you follow the map provided by the museum) is a room of Zero videos. The best of these are the nude body painting performance art of Yves Klein with a live, seated audience and string quartet accompaniment in addition to Heinz Mack’s silver spaceman clothing, tall poles hung with round and banner-like silver reflecting material which seems set on another planet rather than on a North Sea beach. The former clearly seems to pre-date the later sexually-free counter-culture happenings that would take over campuses and the art world just a few years later.

Even if its sunny outside, I’d still recommend you take a break from the crowds on the Museumplein and use the opportunity to learn more about a relatively unknown (for me) 1950s and early ’60s European art movement which was the historical predecessor of the optically illusionary and happenings art of later ‘60s and early ‘70s. I guarantee your time at the Stedelijk will be well spent.

Bryan R. Monte – (AQ14) Autumn 2015 Book Reviews

AQ14 Autumn 2015 Book Reviews
by Bryan R. Monte

Nights at Rizzoli by Felice Picano. O/R Books, ISBN 978-1-939293-67-1, 224 pages.
The Don’t Touch Garden by Kate Foley. Arachne Press. ISBN 978-1-909208-19-3, 61 pages.
The Magic Laundry by Jacob M. Appel. Snake Nation Press, ISBN 978-0-9883029-9-0, 134 pages.
When I was a Twin by Michael Klein, Sibling Rivalry Press, ISBN 978-1-937420-91-8, 63 pages

My mailbag was much heavier this summer due to readers’ responses to my short, diaried memoir of Philip Levine and the books I received from publishers and authors. I have had plenty to read and I have selected one memoir, one book of short stories and two books of poetry to review for a good mix of genres.

The memoir, Nights at Rizzoli by former New Yorker and now Southern California resident, Felice Picano, is a small, handsome book with beautiful cover art—NYC building fronts (front) and artists, (back) by Max Wittert. It describes Picano’s work at the Rizzoli bookstore in “snotty, pushy, Upper Midtown Fifth Avenue” (across from Tiffany’s) in the 1970s, the store’s multi-national, polyglot staff and their celebrity customers. These included among others Mick Jagger, Philip Johnson, Salvador Dali, Rose Kennedy and Jacqueline Kennedy Onassis. Picano presents most of these encounters with celebrities as things that just happened to him, not meetings he sought since he fails to recognize both Kennedys until well into their first meetings and, in fact, he turns down a date with Johnson at his “nine-room penthouse suite overlooking the city.” Then there are the more unusual encounters such as the man who was building a new house in Montana who asked Picano one evening for suggestions on what sorts of books he should stock there to make his artist guests feel at home. Seven thousand dollars worth of books later, Picano helped him find an answer.

At his job interview, Picano is asked to make suggestions on how the store can improve its sales—“get more intellectuals and college students coming in…by offering Garcia Marquez, Octavio Paz, Lezema Lima.” Rizzoli continues to expand as Felice convinces the store manager, Mr. M., to display English-language, best-seller books in the store more prominently, especially Jaws for which Picano makes a special poster composed of “a pair of snorkel goggles I owned, splashed…with nail polish and added in my old rubber swim fins…chewed up with a box cutter.” Picano also assists in setting up Rizzoli’s art gallery next door whose opening features Erté’s work and includes the appearance of the legendary dancer, Josephine Baker, who arrives in a white Rolls Royce.

In addition to his bookstore duties, Picano also describes his activities as a nascent gay activist, as the leader of the Purple Quill gay men’s writers group and as a volunteer in an ad hoc vigilante squad through which on “Thursday(s)” from “midnight to 3 A.M.” he protected the gays and their suburban daddies who had sex in the empty meat and produce trucks parked “beneath what was left of the elevated West Side Highway” from teenage gangs from “the projects above 14th St.” Picano’s partner in this squad was an Afro-American transexual called Marsha Johnson who “kept three sharpened-to-stiletto-point Afro combs in her big “do.”” Picano’s memoir takes you close to the action—physical, historical and sexual. His writing style is very clean and his description has just the right number of details to place his reader firmly in the milieu making his memoir not only informative, but also entertaining.

The second book is The Magic Laundry by Jacob M. Appel. This collection represents his third prize for fiction writing in about a year. Winner of the Serena McDonald Kennedy Fiction Award, The Magic Laundry is a collection of eight interesting and quirky short stories. By accident, I was sent a few extra copies. Appel wrote that I could keep the copies for myself. I wrote him, however, that I would give them to my workshop students with the adage: “This is how you write good short stories!”—and that’s true. These stories are composed of characters from many walks of life all dealing with life’s unexpected twists and turns—from within or without—a university professor and Darwin descendant, whose daughter returns home at X-mas break with an orang-utan she liberated from her university’s animal laboratory, a Turkish watchmaker in Brooklyn who decides to join the fight against the construction of a sports facility in his neighbourhood because leading the charge is a very attractive woman only to discover, accidentally, that he has a talent for public-speaking and politics, and the cover story about a man who wants a nice, quiet job so he can study the classics and play baseball, whose parents set him up in the coin laundry business whose machines mysteriously seem to heal people’s ailments, creating problems with his customers and competitors. This collection marks the post-Modernist end of the Hemingway code where heterosexual men avoid “talky time.” Appel’s main characters are well-rounded, articulate (at least internally) and caught in multi-tiered conflicts, whose outcomes this reader usually found (seven out of eight times) delightfully unexpected. If you want to know more about how to write contemporary fiction, read this book.

Even though the old adage goes: “Never judge a book by its cover” the cover of Michael Klein’s new poetry book, When I Was A Twin, is certainly very attractive. Looking like “Wolverine goes to Fire Island,” Klein stands tall on the front cover with his brushed back hair and beard and big hands, wearing a P-coat on a wooden boardwalk which winds out towards the ocean. This is another exquisite cover from Sibling Rivalry Press—cover photos and art by Shef Reynolds; cover design by Seth Pennington.

The poem “Harmonium” begins this collection. It’s a haunting update about what has changed in the poet’s world and life (with a reference to Allen Ginsberg’s trademark harmonium playing at his readings) since the death of the person to whom it is addressed. The poet mentions Bruce/Caitlan Jenner’s transition, gay marriage, not going to cinemas anymore to watch films and: “Websites: So many websites like radium./There’s a website that consists entirely of lists/Whenever I look at a list with names on it/I think of death and awards.” With this poem, Klein deftly introduces the three subjects—death and lists and fame—which his book explores throughout.

His structural alternation of block prose poems with more experimental list poems, whose imagistic links change sometimes from line to line, and his use of these two forms to explore subjects such as film, theatre, actors, actresses, and horse racing, caught and kept my interest through the entire book. And the list poems with their fast changing-linking-build-your-own-narrative, rather than covering up or confusing the subjects actually strips away and clarifies them. Klein, like Trinidad in this issue, also has a poem about 9/11, “The planes I said and then the nothing afterwards,” which describes the cruel chance that determined who survived that day: “Did they ask for more/living at the intersection of alive and not living?” and the bewilderment of those survivors who lived to see the disaster wrought by Hurricane Sandy a few years later: “And now, or just last week, more disaster: the predicted water/took up something furious to wreck the houses down in Queens.”

But it is the sorrow for a sibling slowly drowning in depression at a distance which is the main theme of this book, an experience rendered painfully accurate in “The Motivation of an Actor”

….I watched my brother live, but couldn’t touch the flame around his life. And I didn’t want to be absorbed by art. I didn’t trust art to throw me back….

Klein’s poetic rendering of his relationship with his twin brother rings, unfortunately, very true to my own with a schizophrenic, artistic relative.

And I do have another confession to make. Even though I’m gay, I must admit I have more of an affinity for Klein’s poems about horses “Other Horses” (experimental poem) and “The Lives of Horses” (prose poem) than for those about the theatre and film, “Music for the Theater” and “Giuliette Masina” having gone yearly to watch a cousin compete in the equestrian arena at the state fair. I do still, however, enjoy Klein’s list poems such as “Things that Might Be True” and “The Medium” having also started to write my own series about past boyfriends and therapists and why things went wrong.

When I was a Twin is a book of well-written poems, some more challenging and experimental than others. (which, in my opinion, is exactly what a poetry book should offer). I think readers will experience much leesplezier (reading pleasure) as we say in Dutch from this thin volume of poetry, which I wholeheartedly recommend.

Last is a poetry book by British-born, Amsterdam resident and local treasure, Kate Foley. The Don’t Touch Garden is a compilation of poems from six of Foley’s previous books. These poems are about birth, adoption, childhood, family and and the search, albeit too late, for one’s biological parent. This new edition of these poems by Arachine Press is bound in a cover which includes a photo of a garden with a gate and a bench which, despite the book’s title, seems to welcome one in. This book, like Klein’s, is small enough to fit into a coat pocket and is the type of book I would read and meditate on when I was younger as I wandered around my town “looking for the trapdoor out of suburbia.” In “Bison” Foley comments on her almost lifelong lack of knowledge of her biological parents: “My pre-history is as blank as a people without pots/or bones.” Or with advancing age, suddenly finding our parents in the mirror as we begin to resemble them unwittingly physically and psychologically. The poem “Paradox” also discusses this voyage of discovery of parentage: “Mirror, mirror on the wall/the old joke goes/I am my mother after all.//but which ?” It also illustrates her advice in the introduction to this volume: “to parent the face we find in the mirror.” It is a brave book, which recreates what some children growing up were probably told to (and would like to forget), but which others feel impelled to explore to understand who they really are.

The Don’t Touch Garden includes poems about war-time Britain, (the title poem being the longest and the most interesting in this collection to me due to its historical nature), poems about young parents, “Corchipoo,” (including a young child overhearing her parents having sex) and an abusive, adoptive uncle “The Man on the Bike.” In this poem, the adoptive mother asks: “Tell me! What did he say?”//She means ‘What did he do?’” The tensions between wondering about who her birth parents were, to trying to find a place in a home where she doesn’t seem to fit due to her expanding poetic perception and her parents’ more restricted worldview (whom she takes care of as they age) continues throughout the book including the poem, “The End of a Long Conversation” where Foley meditates on her parents’ death and final separation without a proper good-bye. The Don’t Touch Garden is small, beautiful, thought-provoking book, which should be in every English-language collection about adoption and searching for one’s true parentage.

Bryan R. Monte – AQ13 Summer 2015 Book Reviews

AQ13 Summer 2015 Book Reviews
by Bryan R. Monte

Einde verhaal/End of Story by Philibert Schogt, Arbeiderspers, ISBN 978-90-295-3903-6, 2015, 344 pages.
Poor Advice by Lou Gaglia. Spring Up Mountain Press, ISBN 978-0-9863490-0-3, 2015, 216 pages.
The Best Women’s Travel Writing (vol. 10) edited by Lavinia Spalding. Travelers Tales, ISBN 978-1-60952-098-4, 2014, 305 pages.

This issue includes reviews of three books which I feel are guaranteed to provide AQ’s readers with enjoyable summer reading. The first is a novel, Einde verhaal/End of Story by Amsterdam’s Anglo-Dutch writer, Philibert Schogt. The second, Poor Advice, a collection of short stories by American writer, Lou Gaglia, and the third, The Best Women’s Travel Writing, Volume 10, a collection of women’s travel essays, edited by Lavinia Spalding.

Einde verhaal/End of Story is Schogt’s fifth novel, (the fourth published by the Arbeiderspers). It is the bilingual story of John or Johan Butler, an emigre Dutch-Canadian translator who lives in a little village just north of Amsterdam who is about to retire until he receives one last, controversial and potentially dangerous assignment. Butler, who has lived in the Netherlands for the last 20 years, receives the assignment to publish Tobey Quinn, a famous American novelist’s latest nover of the same title into Dutch. Since this novel contains a passage in which the God takes part in a celestial talent contest with Charles Darwin and the devil and loses, however, Quinn, Quinn’s publisher and ultimately Butler all receive death threats from a fundamentalist, Christian preacher—End of Story—end of you!” John/Johan Butler, nonetheless, translates the first chapter and when things heat up, travels back to Canada to his parents holiday camp, Butler’s Hideaway, near Algonquin Park for his own safety, to meet Quinn and to confront his Dutch-Canandian background which he abandoned twenty years previously when he decided to move to the Netherlands temporarily with his girlfriend Cindy for a year. After one year became two and two years two decades and John/Johan fell in love with and impregnated his publisher’s assistant for whom he was doing translation work, John/Johan’s stay finally became permanent.

But death threats and infidelity are just minor parts of this novel which is really about growing up bi-lingual and the type of cerebral and thus emotional attachment conflicts it creates. The protagonist is not one person but two—John in English and Johann in Dutch. And the novel is written in two languages—English to tell mostly John’s point of view and Dutch to reveal Johan’s. In addition, in the more epistolary English sense, John’s English part is told in the first person, whilst Johan’s more emotionally reserved Dutch part is told in the third person. As a result of this, the two parts of the story are not parallel. John tells much more about his sexual exploits on a secluded Canadian island with his high school girl friend who accompanies him to the Netherlands for 20 years, than his Dutch alter-ego ever does. Johan is also much more in love with his 20 year younger wife, his two daughters and his idyllic life in the village of Holysloot just North of Amsterdam, its back garden draped in apple blossoms, than his alter-ego John who writes his memoirs whilst Johan sleeps and who wants to return to Canada. It’s the death threat that finally tips the scales and enables John to drag Johan back to Canada to encounter the country where “they” both grew up which is now both familiar and foreign due to their 20 year absence. John/Johan also encounters many surprises towards the end of this story, which I will not give away, but which sustains the narrative suspense to the novel’s end.

This is a novel most bi- or polylingual writers, readers and artists will enjoy since its explains the cerebral bifurcation and emotional difficulties encountered by people raised in more than one culture and belonging wholly to none.

Lou Gaglia’s Poor Advice is a collection of humorous, entertaining short stories, set mostly in one of New York’s Italian-American neighbourhoods but occasionally branching out into other alternative settings. Due to his not-completely dependable narrators lack of education, however, they don’t always grasp the situations in which they find themselves. For example, the narrator in the title story goes to the opera alone after not being able to get up enough courage to ask a waitress out. He describes the interval of the opera as “half time” how he had trouble staying awake until:

Mimi went into one of those viscous coughing jags hacking up a storm while everyone, except the horses, looked on worried. Before she knew it, she was in bed dying, and the writer was bent over her, not even minding she was coughing in his face—a sure sign of true love when a girl can cough in a guy’s face and he doesn’t even flinch or get pissed.

Another interesting story is the surrealist “Tony, the Mustache,” during which a moustache is persistently worried about being shaved off because his wearer’s girlfriend doesn’t like the way he looks.

Tony lived in constant apprehension. As a result, he was a very jumpy mustache. He had horrible nightmares a few times a week, sometimes more….Tony could be described as a nervous wreck of a mustache, though his master would only refer to him as “this stupid mustache,” which sometimes left Tony depressed for days.

This narrative is even more interesting because not only does this moustache have consciousness, but it is also is able to talk to other moustaches it passes on the street.

“You look a little down in the bristles, Tone.” Ray said.
“I am.”
“Thinking about being shaved again?”
“What else?”
“Look. I told you. Stop reading that Satre.”
“I can’t help it. Anthony’s reading Being and Nothingness.
“You don’t have to read it. Curl your hairs.”

Although, many of these stories are satirical and/or humorous such as “Orca (A Madcap Thriller)” a satire of Jaws and “Days of Wine and Pratfalls,” about a waitress who infects her boyfriend with her clumbsiness as she learns to be graceful by practicing yoga, some stories such as “Little Leagues” and “This is my Montauk” delve into serious subjects such as the long-term effects of bullying and drugs in their narrators’ neighbourhoods. Both of these stories, due to their realism and candor are worth the sum of all the humour and entertainment in this book. Poor Advice is a fine, well-balanced, collection of short stories and comes with “A Reader’s Guide,” which could facilitate discussion of this book in secondary and tertiary educational settings. It is certainly one that will not disappoint recreational or academic readers.

The last book for the summer that I would like to recommend is Lavinia Spaulding’s The Best Women’s Travel Writing, Volume 10. I spent about a month reading one of these thirty-one travel vignettes each night before I went to sleep and enjoyed learning about travel and cultures from the Arctic “For the Sake of the Sin” (Norway) by Blare Braveman, and “Leader of the Pack” (Finland) by Peggy Orenstein to the tropics “Good is Coming” (India) by Angela Long, “Ashes over Havana” (Cuba) by Magda Montiel Davis and “Why did the American Cross the Road” (Vietnam) by Sarah Katin and the writers who describe the many countries in-between.

Many of these journeys are made by women with various goals in mind. Some are on errands, such as Davis in “Ashes over Havana,” where she first describes her frustration trying to get her father’s ashes back into the country he fled after the Cuba revolution and later trying to fulfill his wish to be strewn on the playing field of Havana’s baseball stadium. Due to the guards at the stadium’s entrance however, Magda decides to covertly deposit her father’s ashes outside of the stadium with an old friend, Ive, who has remained in Cuba since their childhood. Later at Havana’s seawall, she throws the last of her father’s ashes into the sea that separates Havana and Miami. But the ashes

…fly back inland, toward a pretty girl with brown skin kissing her boyfriend, a pretty brown girl now covered with my father’s ashes. Ive and I stare at each other. Ay, I say to the pretty brown girl’s boyfriend as he wipes the white off her face, her hair, her blouse, pernonanos. It’s O.K. he say, pronounced O-kah, the anti-imperalista, Revolutionary way…That’s O.K. I say….Dad’s happy going home with her tonight. He always liked brown-skinned girls best.

Other stories include accounts of women’s journeys made despite recent medical traumas or hardships and/or on-going disabilities. For example in “An Unwanted Guest” (Indonesia), Simone Girrindo describes not only the toll hiking through a Javan rainforest and a accidently stepping on a jelly fish took on her journey and her relationship, but also the added effect her chronic medical condition had on her own health and her relationship.

At home, my condition and his abilities had, somewhat magically, never been at odds, but here, the difference seemed stark and divisive. He belonged to the land of the healthy, where people move easily, their arms and legs vehicles that get them where they want to go. And I was on another island entirely, a place that, no matter how many times I circled it, offered no way off.

Many of the other stories in this collection describe women pushing themselves to their physical limits to discover and/or reclaim their bodies’ strength and resilience. This writing is also accompanied by a keen eye for the history and the culture of the people among which they are living. It is an excellent collection of travel essays, not only for women but also for men who want to share these women’s insights of their travels in different parts of the world.

Bryan R. Monte – AQ12 Spring 2015 Exhibition Reviews

AQ12 Spring 2015 Exhibition Reviews
by Bryan R. Monte

Ed Atkins, Recent Ouija Stedelijk Museum, Amsterdam 21 February to 31 May 2015
Rembrandt van Rijn, Late Rembrandt, Rijksmuseum, Amsterdam  12 February to 17 May 2015

Is Anyone There?

“Is anyone there?” was usually the first question asked at the beginning of a Ouija board game, played during adolescent sleepovers just before bed. Ouija is a game which requires the suspension of disbelief that one or more persons whose hands are resting on the planchette are not actually pushing it around the board to produce answers rather than supernatural powers. Recent Ouija is the name of Ed Atkins’(1982) has chosen for his one man, multi-media show held at Amsterdam’s Stedelijke Museum until 31 May 2015. The show in the museum’s basement is divided into nine spaces: #1 Warm, Warm, Warm Spring Mouths, 2013; #2 Counting 1, 2, 3,; 2014 #3 Bastard, 2014, #4 Ribbons, 2014; #5 Happy Birthday!!, 2014; #6 Untitled, 2015, #7 ‘No-one is more work than me’ flextime redux, 2014; #8 Even Pricks, 2013 and #9 Material Witness OR A Liquid Cop, 2012.

Gallery #1 features a computer generated model, one of Atkins’ avatars, which recites poety as its hair grows longer. One of the poems it recites (and one of the high points of this exhibition for me) is Gilbert Sorentino’s “The Morning Roundup” from his book, Corrosive Sublimate. Sorrentino’s meta-poetry and meta-fiction is intended to stand for itself with images that come fast and change quickly so that one must (at least partially) construct one’s own narrative to make sense of what is going on. (I was introduced to Sorentino’s work when I published my literary magazine, No Apologies, in San Francisco in the ’80s). Borrowing on Sorrentino’s modus operendi, Atkins offers meta-poetry and meta-imagery in his Recent Ouija paintings, video and audio pieces in which the visitor is to construct his/her own narrative. The Ouija effect, however of these installations (where meanings are to arise spontaneously as if created by the incorporeal other and not from the self as in when someone “consults” a Ouija board to find answers to questions) is not all that apparent to me nor was I surprised, perplexed, challenged, etc. by what I saw, heard or felt. In fact, the only image from Atkin’s work that momentarily startled me was on the cover of his Zürich/Mainz Kunsthallen/Julia Stoscheck Collection exhibition catalogue—that of a small hand grasping a much larger than scale thumb which momentarily appeared to me as another body appendage.

Perhaps it’s because I am aware of some of the sources of Atkins spoken or sung texts and visual iconography—classical music, advertising, postmodern poetry, gay culture, world events—that I readily made associations from my own experience or world events for his images and avatars so that this installation didn’t seem magical or its meanings did’t seem to come from unknown sources.

For example, the video of the male avatar in gallery #4 (Ribbons, 2014), naked and hiding under a café tables or shirtless with his head resting top of the café table, a cigarette burning to ash in his hand reminds me of Warmostraat backrooms from the 1990s and the Straight to Hell videos of a decade later, in which various straight-identified, young men were subjected to various sorts of gay sexual bondage and humiliating words for various bodily orifices or appendages were written on their heads. (Although the Internet is full of images and videos of many straight lager lads have also had some of written some of the same phrases on their foreheads of their inebriated, unconscious friends). However, I can’t remember too many of these young men with their heads on café tables singing “Erbarme dich, Mein Gott” (Have mercy upon me, My God) from J. S. Bach’s St. Matthew’s Passion where Peter begs God tearfully for forgiveness for denying he knew Jesus thrice to save his own life. (Although this pairing of high-brow music with low-brow culture has also been used before in the film, Clockwork Orange, for example). Even the disembodied head in gallery #5 (Happy Birthday!!, 2014) with a bit of blood below its nose emploring: “Look at me, look at me!” and reassuring with: “It’s just a bit of blood” didn’t make me look or feel squeamish as I am of real blood. Thus, this technology and installation did not suspend my disbelief.

Perhaps for less literate, apolitical, twenty-something, virtual-native, X-box, thumb jockeys, these installations blur the distinction between fantasy and reality. But for this literate, political, 55+, virtual émigré (computer mainframe and personal computer user from 1984 onward), X-box virgin, I found Atkin’s Recent Ouija exhibition unsurprising and disappointing. I was always aware I was watching simulations, not reality. My senses were not tricked and delighted as they are when I viewed Rembrandt’s “The Conspiracy of Claudius Civilis” with its mysterious, phosphoric-yellow light that seems to radiate from the canvas itself or saw Stanley Kubrick’s ride through time in 2001, A Space Odyssey during which the double planes of speeding lights on the screen made my theatre seat seem to move. Perhaps if Mr Atkins had tried harder to merger high- and low-art as did Kubrick in Clockwork Orange, then his work would be more interesting to me and accessible to older audiences. In addition, if it were possible to talk or interact with the avatars and installations and not know if their answers were computer or human generated (someone behind a screen somewhere) then they would blur the barrier between physical and virtual reality which is the goal of Ouija. Instead, I feel Recent Ouija is a poor example of what a combination of more conventional art and music and modern virtual art and technology can offer.

The Old Man’s Still Got It

From a completely different era, another one man show, not more than a few hundred metres away, the Rijksmuseum’s Late Rembrandt tries to unlock the secrets of the great man’s last years by bringing back together prints, etchings, pen and ink and drypoint drawings and paintings from all around world (but mostly from the UK). These media help demonstrate Rembrandt’s virtuosity and inventiveness even in the last decade of his life including some exceptional portraits he painted in those years.

These different media have been hung together into galleries with the following themes: “From Life,” “Conventions,” “Emulation,” “Light,” “Experimental Technique,” “Intimacy,” “Contemplation,” “Inner Conflict” and “Reconciliation.” The temporarily assembled collection (this exhibition will hang for only 100 days) includes the addition of the life-size Portrait of Frederik Rihel on Horseback, 1663 two versions of Lucretia from 1664 and 1666, The Jewish Bride, (which according to Vincent Van Gogh, was Rembrandt’s masterpiece) and which hangs next to the Portrait of a Family, both from 1665 and sharing some of the same poses and hand gestures and, of course as previously mentioned, The Conspiracy of Claudius Civilis, 1661-1662 with its mysterious yellow light which seems to radiate from the canvas itself. With so many media and paintings from the same decade, this once-in-lifetime exhibit should have something for everyone interested in Rembrandt’s later life. A good guide for making your way through the galleries is the Rijksmuseum’s own pamphlet, Late Rembrandt, which individually names and describes all 105 items in the exhibition. This pamphlet can be found in a rack in the stairway beyond the lift in the “entrance” hall and is available for a free-will donation.

Despite the richness of this collection however, it’s shame that the galleries are so filled with people that it is difficult to see many of these masterworks, let alone move about. (Note: De Telegraaf, a Dutch national newspaper reported on 25 February, five days after my visit, that the number of visitors per two hour slot would be reduced from 1,500 to 1,000).

Hopefully, by reducing the number of people present by one-third, visitors will have more of a chance to view the masterworks and perhaps even sit down to contemplate some of them occasionally. Another problem, however, is that the etchings, drawings and prints, are hung at eye-level for visitors standing up. Those in wheelchairs have difficult viewing them even though the usual metal curbs have been removed in most places so it is possible to roll up right under them.

It’s unfortunate there wasn’t room available in the middle of the galleries to put these prints in glass cases, but of course, with the great number of visitors and the necessary safety precautions, this probably wasn’t feasible. Even with all the overcrowding, I’m sure visitors will see things they will remember and enjoy for years to come. However, they should also consider booking twice to come back and see what they’ve missed before this exhibition closes on 17 May 2015.

Bryan R. Monte – AQ12 Spring 2015 Book Reviews

AQ12 Spring 2015 Book Reviews
by Bryan R. Monte

Aquarium by Michael Conley. Flarestack Poets, ISBN 978-1-906480-37-0, 27 pages.
The Magician’s Daughter by Meryl Stratford.Yellow Jacket Press, No ISBN, 24 pages.
Reading the English by Bryna Hellmann. American Book Center Espresso Book Machine, ISBN 978-9491-03057-4, 290 pages.
Scouting for the Reaper by Jacob M. Appel. Black Lawrence Press, ISBN 978-1-937854-95-9, 186 pages.

Since last autumn, I have been receiving books to read and review for this issue of Amsterdam Quarterly. Most of these books have made their way to me personally via the authors, whilst a few have been sent through the post. I am happy to report that out of the dozen or so I have received, there are four I would very much like to share with my readers.

The first is Jacob M. Appel’s award-winning book of short stories, Scouting for the Reaper published by Black Lawrence Press and winner of the Hudson Prize. This book is so dark you’ll have to read it with a torch (Am. Eng.: flashlight) at midday to explore all of its shadowy corners. This collection is a fine example of postmodern, gothic American literature whose greatest exponent is Stephen King. In 186 pages Appel describes East Coast suburban America as a place where the creepiest, most unfortunate things happen to educated people who should know better.

In “Creve Coeur” men from two generations of the same family are drawn as the proverbial moths to a flame to do favours for a beautiful woman and her daughter. This attraction, however, ends in the electrocution of the father despite his wife’s warnings.

In “The Extinction of Fairy Tales” a single, female folklore researcher purchases a home in suburbia through an early inheritance due to her parents’ fatal automobile accident. Here she loses herself in her research, cut off from her neighbours, her only contact with the outside world, an African-American man, who mows her lawn. Decades later when he without notice suddenly fails to show up due to retirement, illness or death and her overgrown yard becomes a nuisance for her neighbours, the folklore researcher’s thin tether with reality is paradoxically cut leading to her quick demise. My particular favourite in this collection, however, is the title story, in which an undertaker makes his daughter wear a girlscout uniform to gain his potential customers’ sympathy and possibly more lucrative funeral arrangements.

In Scouting for the Reaper, Appel combines his knowledge of art, medicine, and East Coast American culture to weave tales that are frighteningly believable and which you will keep you reading to the very end.

Amsterdam resident Bryna Hellmann’s Reading the English, is an informative and entertaining book about the history of the English language written by the founder of the New School of Information Services, Amsterdam. In 275 pages of text, Hellmann describes the history of Western Europe starting with the last Ice Age and proceeding to the present day. She mentions the influence of the Romans, Anglo-Saxons and Christian monks on the first form of English spoken in the British Isles. Then, in simple, declarative phrases that don’t pull any punches (typical of those used in this book), Hellmann mentions the influence of the Viking invasions on English:

Around the 8th century, the first Danish Vikings landed on Britain’s Eastern shore. Crops were burned in the fields, books were ripped apart to get at the gold and jewels, and the monks protecting the churches treasures were murdered. Young women and children were taken as slaves, and men who didn’t get away in time were murdered.

In addition to an accessible text, Hellmann’s book is filled with maps, charts, and parallel translations, (for example, of an Old English Beowolf text, a middle English folksong or a King James Bible passage in modern English), which assist readers in understanding the geographical, historical and cultural as well as the linguistic development of English. Cultural elements include sidebars about the The Bayeux Tapestry, an excerpt from Sir Thomas Moore’s Utopia, and reproductions of the title pages of Christopher Marlowe’s The Tragicall Historie of the Life and Death of Doctor Faustus and William Shakespeare’s Hamlet among others.

Hellmann pays especial attention to the Romantic poets and women novelists. She also covers the change in English literature, culture, fashion and women’s liberation in roaring 1920s from a refreshing London-based point of view rather than the usual New York, F. Scott Fitzgerald, Great Gatsby perspective. She explains the best way for her readers to familiar themselves with the changes in English literature in this period:

If you’re coming new to Joyce and Woolf, start with his story, The Dead and her novel, Mrs Dalloway. This works for Henry James too. His sentences and paragraphs and novels are all very long and need slow, thoughtful reading, so start with one of the novellas: Daisy Miller, Washington Square or The Turn of the Screw.

Hellmann has written a book that is both educational and entertaining and which will certainly help young readers better understand the English language and the literature that its various cultures, over more than the last millennium, have produced.

Michael Conley is a poet whose surrealistic poem, Aquarium, caught my attention in autumn 2013 in AQ8 in my review of the Flarestack Poets 2012 anthology, Sylvia is Missing. Aquarium is also the name of Conley’s own poetry chapbook published in 2014 by the same press. Based on this one poem, it does not surprise me that Mr Conley’s collection was chosen for publication. What did surprise me, however, was the sweep of his poetic themes and styles. Conley discusses themes such as the realistic description sex and death in the natural world and same sex partner relations in “A Romantic Picnic with my Lover, the Entomologist,” and “We Discover a Severed Thumb in the Woods,” the semi-surrealist “16.07.2003 After “The Death of Dr. David Kelly” by Dexter Dalwood” in which the narrator “pushes his palms against his eye sockets” to form “yellow spots” which later “turn white and float/towards the bridge of my nose to form/ a huge misshapen moon.” “Rising” with its scientifically entitled sub-parts: I. Oxygen, II. Lead and III. Anti-Gravity describes his grandmother’s final illness and death. These are just a few of the subjects and themes Conley explores in Aquarium. My favourites are “Gemella” in which Conley’s grandmother, eight months deceased, appears to him on the shore of Lake Como. “Gemella’s” lines also float down the page in four to eight syllable lines each a bit more indented then the one above which conveys both his grandmother’s state in the hereafter and her dementia before her death:

The question is/how she managed/to fool us with the illness/for so long. Ten years/since the day we caught her,//moon-eyed stashing butter/in an upstairs cupboard/accusing the neighbours/of stealing her slippers.

Another poem “The Greatest Joke Ever Told” charts the development of Conley’s surrealist wit at a young age. As a four-year-old, Conley asks “Mrs. Clegg’s husband” who’s identified a beech tree, if it is called that “because it goes to the beach/all the time.” In a more serious vain are the poems “Cartoonist” “We Are No Longer Interested in the Sea” “Body Double” and “Losing It” the first are about freedom of artistic expression (strangely prophetic post-Charlie Hebdo), the second about ecology and the last two about a son’s physical and psychological inheritance from his father. Aquarium is an inspiring, well-written chapbook. (I wrote two new poems—one for my multiple sclerosis series and another about my family—in pencil in its margins whilst reading it). I hope it also inspires you to take pen or brush to hand.

The second chapbook I’d like to mention is Meryl Stratford’s The Magician’s Daughter. It was the winner of the ninth annual YellowJacket Press Chapbook Contest for Florida Poets. Having been a third-grade school teacher for many years, Stratford knows how to write simple yet powerful and memorable lines. Her view of life, however, is far from simple. She addresses subjects such as the death of a parent and its affect on her students in “Goldengrove.”: “The lesson for today is grief/I write the word i before e/ on the board.” The children write poems about people or things they’ve lost and “After the last sentence, they look up/as if they’ve come back from far away,” an experience that most writers strive for: to be in the zone and out of themselves and time as they write about what is important and hopefully, eternal. Stratford continues her book with poems about childhood and adolescent development including young love in “How Knowledge Enters the World,” and “Green Lake” and “Nixie”, and she addresses the magic of the natural world in the book’s title poem. In “Mallory Square, Key West,” she explores the wonder of living in the moment: “o sun/melting/ filling the sky with yellow light/ drenching us in yellow fragrance/ we are here/we are all here.”

In “Lake Erie” and “When my Mother Died” she explores the consequences of her grandfather’s and her mother’s passing. In “We Could Use a Little Magic.” she presents world economic malaise in the metaphor of a “Magic Store…going out of business/unable to conjure customers.” and reasons that “We’d need Houdini himself/to get us out of this entanglement, /this short-sightedness, this smoke-and-mirrors/greed.”

Stratford’s poetry describes major life stages and wider social and economic issues with simple, metaphorical poetic language. As with Conley’s book, I started some of my own poems in its margins because I found it so inspiring. I’m sure you will also.

Bryan R. Monte – AQ11 Autumn 2014 Book Reviews

AQ11 Autumn 2014 Book Reviews
by Bryan R. Monte

The Heart Imagining Itself (and other tropical dreams) a journal for imagining the heart by Yolanda V. Fundora, 2014, UrbanAmish.com, 978-1-50028-053-6, 46 pages.

Mysterious Acts of My People, Valerie Wetlaufer, Sibling Rivalry Press, 2014, 978-1-937420-66-6, 87 pages.

Phoning Home, Essays by Jacob M. Appel, South Carolina Press, 2013, 978-1-611117-731-0, 177 pages.

Planetary Emotions by Yolanda V. Fundora, 2014, 978-1-50028-533-3, UrbanAmish.com, 121 pages.

The Talking Day by Michael Klein, Sibling Rivalry Press, 2013, 978-1-937420-27-7, 64 pages.

During the summer reading period, I received five books that I felt merited a review or mention in this issue. Two of the five books are books of poetry, two are journals (one blank and one illustrated), and the last is a book of essays. Two of the books “authors” are male and two are female and they discuss subjects in Jewish, Latina, lesbian, gay and straight American and European cultures.

Jacob M. Appel has worked as a Brown University professor of bioethics, as well as a doctor, attorney and New York City tour guide. He has written more than 200 articles, and in the last year, has had three books published including a collection of essays, Phoning Home, about his upbringing and thoughts as a third-generation, Flemish-Latvian-American Jew. Appel’s essays describe how his family’s relations over the last century and on two different continents have been influenced, tempered, tested, broken and even erased through exile, emigration and genocide.

What makes Appel’s essays so interesting and unique is his candid, stastical or professional approach and/or non-melodramatic description of his relatives’ experience. For example, in “Caesura—Antwerp, 1983” when one of his uncles happens upon a long-lost friend from the Antwerp Jewish Ghetto in a small Spanish village while searching for someone to repair his watch, Appel does not describe a Schindler’s List reunion. Rather, the two old men just embrace, shake hands and talk for as long as it takes to repair the watch, then go back to their lives on different continents.

Appel’s ability to see and write about things clearly, rationally and without melodrama also permeates his discussion of bioethics related to healthcare and the quality of life, “Opting Out,” “Charming and Devoted” and “Livery” and limits of political discourse in America due to death threats he’s received related to his openness about his opinions on end-of-life decisions, “Our Incredible Shrinking Discourse.” I must admit that Appel’s wish, “for the medical staff to place a plastic bag over my head during my sleep” once his body no longer functions as he wants it to, differs somewhat from my own wish to stay connected to whatever apparatus necessary as long as I can still write by moving an eyeball à la Jean-Dominique Bauby. However, he makes a good case for his own situation and that of his relatives. He is a keen observer with a wide and precise vocabulary and his sentences and passages vary in length and rhythm making them a pleasure to read. The essays in Phoning Home could certainly be used as a model and a source of inspiration for others trying to capture somewhat quirky family histories from a novel, detached but also realistic point of view.

AQ10&11 artist and contributor Yolanda V. Fundora submitted two journals she created. The first journal, The Heart Imagining Itself (and other tropical dreams), features richly illustrated images from Latina culture opposite empty, lined pages. This journal will be especially good for writers who benefit from visual prompts include a series of representations as to how the heart imagines itself as the the first day of spring, the sun, the moon, a cloud, a star, etc., in addition to those of the Virgin, a mermaid, the hanging woman, a cactus and different types of fruit trees. The colours are so vivid and the subjects sequentially-placed that I can’t image an ekphrastically-oriented or inspired writer being unable to discover or create new material working in this journal.

In contrast, the only illustrated part of Fundora’s second journal entitled, Planetary Emotions, is its cover which includes a representation of the stars in the winter sky revolving around the North Celestial Pole in prismatic colours. The 121 lined pages inside this 6×9 inch (15×23 centimetre) bound, paperback journal are blank and should provide enough space for one’s thoughts at least for a season (based upon the use of at least one page per day). It will certainly be small and light enough to take along on journeys or to work or class and should also be the right size to be stored later in a bookcase next to your favourite books.

I discovered poet Michael Klein’s book, The Talking Day, while “surfing” Sibling Rivalry Press’ website this summer. I had not heard of Klein before, and I found the four “example” poems, “Cartography,” “from “When I was a Twin,”” “Provincetown 1990,” and “The Poet” to be intriguing. These four sample poems are exceptional in their range and description. The first poem, “Cartography,” demonstrates the power of the poet’s imagination and how a map for him is like the backdrop to a story—in this case a village with smoking rising from it and a woman walking down a road. The next, “When I was a twin” is an elegy and expresses the poet’s shock at his loss. This shock is even stronger because the nature of the loss isn’t revealed until halfway through the poem. “Provincetown 1990” is a very chilling poem that describes both the force of sexual desire and the spread of the AIDS epidemic, and how it passed by the two men and changed them. The last poem is an account of the poet’s development, his ars poetica and his awareness of his history and that of another writer.

Other subjects covered by Klein include alcoholism, gun rampages in America and their aftermath (referring to the book’s title), aging, and urban gay life. Stylistically I find his prose poems, “Florida” and “Movie rain and movie snow” the most arresting due to their sudden turns right at the end. In addition to its excellent poems, The Talking Day, has an eye-catching, camp, erotic cover photo featuring a tan, naked man shown in a side pose in a garden, framed by hula hoops and some sort of net. This cover is certainly as intriguing and as beautiful as Klein’s poetry. I don’t know how I could have missed Klein’s career. I have only my emigration to the Netherlands twenty-one years ago and my ex-pat teaching career as an excuse. This being his third acclaimed (poetry) book, I feel I have some catching up to do.

Mysterious Acts of My People is a remarkable, debut poetry book by Valerie Wetlaufer. It covers a wide range of subjects such as love, loss, sex, violation, nature, religion and madness. The book’s title poem introduces a world in which life is cheap and violent. “They say you can get two redheads/for the price of one in this town,”… “More of my bones were broken in hospitals/than on playgrounds.” Wetlaufer also describes this world masterfully using a variety of typographical formats. Whether in “The Canyon” where she describes the natural world in prose poem blocks to draw her inner landscape or in “The Mind’s Boil” where words float all over the page to describe madness, Wetlaufer expresses herself in ways that are both arresting and memorable.

In addition to typographical variation, Wetlaufer is also able to employ monologue effectively to describe herself and her fictional and historical figures. “Insomnia with Solomon” (a page and a half column with no stanza breaks) describes Wetlaufer’s thoughts one after another starting with a phone call by her mother and thinking about the neighbour’s barking dog, why she should “stop eating red meat, take the train more often,” juxtaposed with “get my car washed, my eggs harvested,” etc. a long list of the important and the mundane which continues until it ends with the thought again of her mother’s call. Other interesting monologues include “Needle Pointing North,” about a settler gone mad, “The Window Smasher Speaks,” and “Glass Makes a Clean Cut,” by Mary Sweeny an asylum escapee and even an “erasure” poem, “The Margin of the Lake,” with lines from Dorothy Wordsworth’s journal: “I wore a dress of whisper to touch it feels smooth surprise/my face now flame colored.”

I hope you have a chance to explore Mysterious Acts of My People, or one of the other books mentioned above, during the long autumn and winter evenings. ‘Til March 2015!

Bryan R. Monte – (AQ10) Summer 2014 Book Reviews

Amsterdam Quarterly Summer 2014 AQ10 Book Reviews
by Bryan R. Monte

Later by Philip Gross, Bloodaxe Books, 2013, 978-1-85224-979-3, 80 pages.

The Other History: or unreported and underreported issues, scenes, and events of the 19th, 20th and 21st centuries by Scott T. Starbuck, FutureCycle Press, futurecycle.org, 2013, 978-1-938853-41-8, 39 pages.

Towards a Digital Aesthetic: The Art of Yolanda Victoria Fundora by Yolanda V. Fundora, UrbanAmish.com, 2014, 978-1-49615-583-2, 122 pages.

During the past reading period, three titles have come to my attention, which I feel are relevant to AQ10’s theme of the earth, ecology and the future. The first two are books of poetry with environmental and philosophical themes and the third is a book about digital design which contains the artist’s/author’s images from both the natural and man-made world.

The first book, Later, is by 2009 T.S. Poetry Prize winner and English nature poet, Philip Gross, who is featured in an in-depth interview in this issue. In Later Gross continues his poetic explorations into his father’s failing health and death (the first 34 pages of the book) within the context and the limits of land, water, sky and language. To say, however, that this first section is just devoted to his father, however, would be misleading. gross_cover150X240 In fact there are also poems about natural landscapes, political change and language. In the first poem, “Flying Down Wales,” Gross describes Wales’ mountains as a“knobble-/back spine” and “surly wrinkles.” The next poem, “Home, 1990,” describes the effect that the end of communism and the lifting of the Iron Curtain had on refugees from Eastern Europe (and their families). “Come, you can come home now,” but instead the poem’s narrator looking into his father’s mind concludes: “Estonia was safe here, inside of you.” “Variations on the Theme from the Cornish” is as much a poem about language and culture as it is about Gross’ father’s decline.

To be sure there are poems almost exclusively devoted to Gross’ father’s illness such as “Stroke Ward,” “In High Care,” “Step,” “Survivor,” “Fall,” and especially “Birch his Book” which describes Gross’ father’s aphasia. Since some days I can type better than I can speak due to my MS, I think I understand a bit of Gross’ and his father’s frustration. Gross describes very well the situation where “few things and fewer each day answer to their names” and how he tries to teach his father the tree’s name, (a birch) as his father did for Gross when he was a child. The ambitious, eight-part poem entitled “Spoor,” (Dutch for train tracks or rails), mixes a journey to The Hague with his father’s physical decline and it relationship to his damaged neural network. I know very well the effect of the “blood shadow/ of stroke damage” and the “Scuff marks” in the brain that sometimes causes unexpected hesitations in my conversations due to my inability to find the right word or even substitute a simpler one. While I’m struggling, there’s also the added frustration of people finishing my sentences.

But as I mention in the beginning of this review, there is another side to Later, one in which I believe the poet, afer he has grieved, really begins to see the whole world again, especially its connectivity at the physical, social and metaphysical levels. In the book’s title poem, Gross uses the image of a bird that “stands up almost, on the water, up-and-un/ruffling wing of spray” as a metaphor for consciousness “…Yes, maybe that’s what self is, not/ a tight-inside-us nub/but what we are, thrown/out and off, un-self-seen,/ once-for-all,”. Gross moves forward in his poetic style in that he rediscovers his description of the social world which he explored in depth in his earlier collected volume, Changes of Address: Poems 1980-88. In Later, he links this social awareness with his ongoing concerns related to physics and metaphysics as can be seen in his poems “Barry Island, with Dante and Ducks” and “Goal.” As “Barry Island” concludes, the narrator is brought back from his expansive metaphysical meditations at the seaside “at the point of pure/ attention,/ the vanishing point,/ a kind of ever after” to the more local, temporal sights and smells of the place: “in the here and Thursday,/ with the smell of burgers,/ beach tar, spindrift pink/ of candyfloss, a bit/ of grace, a bit of luck.”

His next poem, “Goal,” uses the same method but in reverse. This time Gross starts with a pub crowd watching a football match: “goal! has lifted them clean off their bar stools/ and out of themselves/ their mouths wide, like one full-on/ gust of wind; there may be words / and somewhere, losers.” Two stanzas later, Gross compares this feeling of happiness with “launched/ like a toddler from a rough grip” and ends the poem in an expansive direction: “great laughter/like God’s….” The natural world, most especially the wetlands and seaside, remains the prominent setting for his poems, yet, I can’t help feeling personally that after he has worked through his father’s death, (perhaps the real Later of this book) Gross begins to notice and embrace the vibrant social world around him and integrate it within the big picture. Other favourites of mine in this collection are the literary “Glosa, Westron Wynde,” the technically-interesting, delicately-balanced, concrete poem “Whit” and the biographical poem, “Dirac, The Tower,” about the theoretical physicist, Paul Dirac.

It so satisfying to see a poet successfully address so many subjects simultaneously, and to do so by employing simple lines that seem to float effortlessly down the page. With this approach, Gross writes poetry with a great reach and accessibility without calling attention to the himself as observer, but rather to his subject matter. Lastly, I would like to mention that the beauty and simplicity of Later is also reinforced by its cover design: a very tasteful, blue-grey colour inset with Paul Klee’s painting, “North Sea, 1923,” à lá Turner with its horizontal bands of light pink, gray, green, purple, yellow and one of blue three quarters towards the top of the painting, suggestive of a coastline.

In contrast to the subtle beauty of Later’s cover, the cover of Scott T. Starbuck’s The Other History: or unreported and underreported issues, scenes, and events of the 19th, 20th and 21st centuries features a dead duck covered in spilt oil. Similarly, Starbuck’s environmentally-concerned poetry doesn’t pull any punches. It is political, yet doesn’t fall into the standard trap of being purely polemic and/or programmatic.starbuck_cover150X228 Starbuck reaches to find new images to discuss events in American history that many are ignorant of either because they have been suppressed or ignored such as the removal and/or extermination of indigenous American peoples, the pollution of their once bountiful, pristine land and, until the Obama presidency, climate change.

The book begins strongly with the poem: “The Other History or How Federal and California Politicians Killed Indians.” “A student in my class says her history professor doesn’t believe/ Ishi’s people were killed for 25 cents a scalp then five dollars a head.” In the poem Starbuck explains how the California state government and the cattle ranchers “pacified” the indigenous Americans in the 1850s, “whose descendants (now) fight poverty with casinos.”

Starbuck brings the personal and the political quickly together as in his short poem about the melting ice caps, entitled “How It Is.” The poem begins: “Sometimes you forget Greenland exists/ like two pages stuck together in a novel…. Then it melts and Holland disappears.”

One of the most imaginative poems in this chapbook is “What If One Night a Highly-charged Comet Went By?” in which he explores what would happen if humanity experienced a technological, historical and personal amnesia in which computers were wiped clean, big business was unknown, “Libraries were shelves of paperweights” and people began to explore the natural world again with a new consciousness. He proposes a Utopia where: “People rose at sunrise/and went to bed at moonrise./The wheel and the sewing needle/became essential.” resulting in a rebirth of humanity and human consciousness “without countless pressures, distractions, /clogged airways, and moving images in boxes.”

On a more personal level, the book’s penultimate poem, “River Reflections,” reveals a lot about Starbuck’s environmental philosophy and his belief in the extent to which he can change things. In just 47 words, Starbuck simply states: “Like the elk/my vote/won’t be heard. // I have little/ economic/or political power. // I’m uninterested / in matters / lacking soul. // I gave up / television / when I was 15. // I am a nonessential / and unproductive / worker// yet a threat / to the machine/ merely by resting // and thinking.”

This is good, environmental-activist poetry reminiscent of Allen Ginsberg’s anti-nuclear poems, but sharper and quicker to the point. The Other History is soul-stirring and pragmatic and could be used to educate students about human and environmental disasters/atrocities not usually covered in standard high school/second-form or college/university textbooks. It’s heartening to see that 19 of this slim collection’s 29 poems have appeared in 19 literary and/or artistic venues. That said, it’s a shame that none of The Other History’s poems have been published in more mainstream publications like The New Yorker or The Christian Science Monitor. As a result, Starbuck’s poems may never reach the audience they deserve and thus, also will be less effective in initiating real change.

Technology and the reach of humankind, however, are not always the source of destruction in the natural world. Yolanda V. Fundora’s Towards a Digital Aesthetic demonstrates how digital images can enhance the viewer’s appreciation of the beauty in both the man-made and natural worlds. Her book’s introduction begins with a history of her involvement with digital technology following every change in the ‘80s and ‘90s and hoping that someday low-cost technology (computers and printers) would catch up with more traditional techniques to produce lasting works of art. TADAcover (I also experienced these technological changes in producing computer-generated books by typesetting my first magazine, No Apologies, in the mid- 1980s on the Brown University mainframe in CMS and saving it to reel to reel tape. Then in the 1990s, I designed books in GUI environments that produced bit-mapped type saved to 5 ¼ and 3 ½ inch “floppies” and CDs. And now  a generation later, I create multi-megabyte, word-processing and graphic application files for AQ’s websites and print-on-demand yearbooks that are saved to USB sticks and “the Cloud.”)

In the introduction to her book, Fundora also confesses that her love of art at a very young age caused her to ask adult strangers waiting in line at NYC’s MOMA or other museums if they could smuggle her in. (I too, share this experience with patrons of Cleveland’s main library, its Museum of Art and Severance Concert Hall.)

Her book, (which, like Starbuck’s, is available in both printed and digital formats) is divided into six parts: an introduction followed by her digital images grouped under the headings “Cityscapes,” “Landscapes & Trees,” “Abstraction & Symmetry,” “Musings and Ruminations” and “Noteworthly Floralities.” Four of her five paintings on display in this issue come from the first section. These include her bifurcated and partially denatured pictures of Amsterdam’s canals and her “Cleveland Park Fence,” and her “Rooftops of Amsterdam” with its Van Gogh style/Santa Fe colour sky and clouds. The fifth painting, “Waterfall Pilgrimage at Ohiopyle,” along with her other nature paintings in the second section, reminds me of Tiffany’s stained-glass windows, especially her “Dappled” and “Jockey Hollow” tree series drawn in broad brushstrokes and seemingly backlit. Just as interesting are pieces in other sections, the “Abstraction & Symmetry” section being my next favourite, especially the paintings entitled: “Organica” featuring what appears to be almost flower-like swirls of red, white, black and light blue, “The Birth of Galaxies” featuring swirls of colour sweeping out from a single point and “Magnificat” which looks like a combination of pastel and earth colour rock strata and crystal faces. Towards a Digital Aesthetic is truly a beautiful collection. It has inspired me to try my hand at creating digital art. I’ll begin with something simple like modifying some of my Amsterdam scene photos in Adobe Photoshop to create the sliders for  the AQ11 Autumn 2014 issue. I hope Fundora’s book also inspires you to take up your digital pen or brush to explore new techniques or styles to create your own visual art.