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https://www.latimes.com/entertainment/arts/la-et-hillerman29-2008oct29-story.html
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en
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Tony Hillerman knew New Mexico
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[
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[
"Samantha Dunn"
] |
2008-10-29T07:00:00+00:00
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His New Mexico was as enchanted and troubled as it is in life.
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en
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/apple-touch-icon.png
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Los Angeles Times
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https://www.latimes.com/entertainment/arts/la-et-hillerman29-2008oct29-story.html
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When I heard that Tony Hillerman had died Sunday at 83, I felt that stone-heaviness of grief, as if he were a beloved great-uncle. I felt regret, like I’d never gotten to say goodbye or even offer a thank you for all that he gave me. Gone was a positive influence in my life, someone who had helped me grow up and become a writer.
Considering that I never actually met Hillerman, this needs some explaining.
As a teenager growing up in rural New Mexico, I’d hole up with “The Blessing Way” or “The Dance Hall of the Dead,” pretending to be sick to escape the misery of high school and spend the day instead with Lt. Joe Leaphorn of the Navajo Tribal Police.
My mother probably realized I was faking but she, too, was a huge Hillerman fan; besides, she likely thought I’d learn more about grammar, anthropology, history and logic by reading than sitting in a classroom. Over the years, I must have read both those books half a dozen times.
They, of course, are just good old nail-biting whodunits, but even when I knew how the stories ended, I enjoyed going back and revisiting the world-weary Leaphorn, seeing scenes play out in my head, trying to figure out where exactly Hillerman slipped in the first clue to the murder. In Hillerman’s books, I found more than entertainment; I found reassurance that someone else had the same experience of the world as I did.
A difficult place
New Mexico indeed is the “Land of Enchantment,” a tourist bureau’s dream with picturesque sunsets, colorful balloon fiestas, real cowboys and Indians, and quaint old towns that look almost too photogenic to be real. Beneath all this, I knew it as a place of profound paradox -- stunning vistas and nuclear bombs, unique cultural traditions and bone-crushing poverty, racial blending and murderous violence.
Looking at the slick cover images on New Mexico Magazine, or hearing visitors say, “New Mexico is so spiritual and such a healing place,” I’d think I was missing something.
But Hillerman’s stories reassured me that I wasn’t crazy. He saw it too. In an essay in David Muench’s photo book “New Mexico,” he writes about the state as a place influenced by “edges” that overlap -- the mountain and desert climates, the cultures of the Spanish, the Anglo and the tribal forces of the Navajo, the Pueblos and Apache. His books about Leaphorn and, later, detective Jim Chee, may have been fiction, but I knew he was speaking in code about the way things really were.
Yes, New Mexico is this beautiful and this ethereal, and it is also this dangerous and this mean.
“Enchantment” denotes a spell cast, and if you grow up around people who whisper about Santeria and skinwalkers and kachinas, you know that’s not something to take lightly. Hillerman’s writing was all the more powerful because he, like me, had been born elsewhere -- he was an Okie from a hamlet called Sacred Heart.
Those were accidents of birth, however. I imagined Hillerman felt as I did; we were always New Mexicans, a spell that, once cast, you cannot shake. Hillerman once said in an interview that the first time he pulled up to a trading post and saw elderly Navajos sitting on the bench outside, he felt “right at home.”
Like my actual great-uncles, he had served as an infantryman in World War II. And, like my uncles also, he had killed in combat, a fact about which he was taciturn and stoic.
He had been severely wounded, and often talked about traveling through New Mexico after the war with two fellow soldiers who were Navajos, and coming upon tribe members conducting an Enemy Way ceremony to cleanse another soldier of his service. These images stayed with him, influencing his work.
Yet it seems to me his direct experience of pain, of fear and suffering, of brutality and survival, influenced his work even more. Hillerman always gave his characters the complexity of their humanity, good or bad. They may have been fictional creations, but their substance was real. It was life, it was messy. Hillerman respected the humanity of his characters just as he respected the intelligence and life experience of his readers. And it seems to me that such compassion -- because that’s what it is -- is always gained at the price of tough life experience.
One more thing: I didn’t appreciate this for a long while. After high school, I buried my love of Leaphorn and Chee. I was trying to be an intellectual, you see. College and all. Reading literature, don’t you know? Stories about people in Connecticut, boys at boarding school, Borges and Camus. I hung out in New York and tried to be one of the literati.
I was as embarrassed of Hillerman as I was of my own family.
Rediscovering him
It took my own failings, moral dilemmas and pain to embrace where I came from -- Hillerman included. And now he is gone, and I can only hope what any writer hopes: not only to write one thing that will matter half as much to one reader as Hillerman’s many works have mattered to millions, but to write with the kind of compassion and respect he did. And gratitude.
He called his memoir “Seldom Disappointed” after a saying his mother had: “Blessed are those who expect little. They are seldom disappointed.” He wrote, “Looking back at life, I find I have often received more than I ever expected and suffered less than my share of disappointments.”
Thank you, Tony Hillerman.
Samantha Dunn is the author of “Faith in Carlos Gomez: A Memoir of Salsa, Sex and Salvation.” Freelance writer Dick Kurth contributed research to this piece.
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http://momarnd.moma.org/video-contributors/
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Video Contributors
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K Allado-McDowell is a writer, speaker, and musician. They are the author, with GPT-3, of the books Pharmako-AI, Amor Cringe, Air Age Blueprint and Out Side, and are co-editor of The Atlas of Anomalous AI. They created the neuro-opera Song of the Ambassadors, and record and release music under the name Qenric. K established the Artists + Machine Intelligence program at Google AI. They are a conference speaker, educator and consultant to think-tanks and institutions seeking to align their work with deeper traditions of human understanding. Kâs work has been covered by The New York Times, The Atlantic, WIRED, Bookforum, Artforum, BOMB, Lithub, The Warburg Institute, Institute of Network Cultures, and by writers including Erik Davis and Bruce Clarke. K has spoken at TED, New Museum, Tate, Serpentine Gallery, HKW, Moderna Museet, Christieâs, MacArthur Foundation, MfN Berlin, Ars Electronica, Sónar, and many other venues, and has taught at SCI-Arc, Strelka, and IAAC.
Professor Daniel A. Barber is Head of School, Architecture at University of Technology Sydney. He is a historian and theorist focused on environmental dimensions of architecture’s past, present, and future. He is especially interested in how the pedagogy and practice of architecture are adapting to climate instability. He is the recipient of a 2022-2023 Guggenheim Fellowship, and is part of the British Academy Global Convening Grant on the Just Transitions. He has recently held teaching positions and fellowships in the US, Portugal, and Germany.
Brock Bastian is an Associate Professor in the School of Psychological Sciences at the University of Melbourne. He is trained as a social psychologist and his research broadly focuses on the topics of ethics and well-being, often focusing on questions such as why promoting happiness may have a downside, the cultural factors leading to depression, and why valuing our negative and painful experiences in life is a critical pathway to achieving happiness. His work has been featured in outlets such as The Economist, The New Yorker, TIME, New Scientist, Scientific American, Harvard Business Review, and The Huffington Post, among many others. He has been the recipient of the Wegner Theoretical Innovation Prize, and his contribution to psychology has been recognized by the Australian Psychological Society and Society of Australasian Social Psychologists early career researcher awards. His first book, The Other Side of Happiness, was published in January 2018.
Homi K. Bhabha is the Anne F. Rothenberg Professor of the Humanities and Director of the Mahindra Humanities Center at Harvard University. He is also Senior Advisor on the Humanities to the University President and Provost. A prominent literary and cultural critic, Homi is the author of numerous works exploring colonial and postcolonial theory, cultural change and power, and cosmopolitanism, among other themes. Born in Bombay, Homi was educated and taught in British universities, before moving to the University of Chicago and ultimately Harvard. Developing the work of psychoanalytic and post-structuralist thinkers, Homi has been a profoundly original voice in the study of globalized cultures.
Tim Birkhead is a zoologist whose research focuses on populations of birds and their reproduction. Tim has made important contributions to the field of behavioural ecologyâthe study of how animal behaviour evolves under the influence of environmental pressures. He also studies the competitive actions of male birdsâ sperm.He showed that extrapair paternityâwhere the offspring raised by a pair are the result of the female mating with an outsider male â is common amongst birds. Tim also demonstrated the existence of âguarding techniquesâ, which are carried out by the male bird in a pair. In studies of the zebra finch, he revealed that the sperm of the last male to mate with a female took precedence for fertilising her eggs. Tim is the author of Bird Sense: What itâs Like to be a Bird (2012), a popular science book that discusses life as a bird and was shortlisted for the Royal Societyâs Winton Prize for Science Books in 2013. His TED talk, The Early Birdwatchers, has received over 100,000 views.
Sara Bodinson is Director, Interpretation, Research & Digital Learning at The Museum of Modern Art. She joined the Museum in 2000, coordinating internships for college and graduate students as well as programs and web initiatives for teens. In 2009, she began to oversee the Museum’s interpretive planning process and the development of resources including labels, audio, apps, games, and participatory spaces, as well as qualitative visitor research and evaluation. In 2015, her responsibilities expanded to oversee digital learning initiatives, including online courses and podcasts. Bodinson holds a BA in art history and film studies from Smith College and an MA in art history from Hunter College, where she wrote her thesis about the Arab Image Foundation. She is a member of the executive committee of the Professional Organization of Women in the Arts and the Smith College Museum of Art Visiting Committee.
Yarimar Bonilla is Associate Professor, Anthropology and Caribbean Studies at Rutgers University. An accomplished scholar and a prominent public intellectual, Yarimar is a leading voice on questions of Caribbean and Latinx politics. Her second book project American Disaster â for which she was named a 2018 Carnegie Fellow â examines the politics of recovery in Puerto Rico after hurricane Maria and the forms of political and social trauma that the storm revealed. She is developing a multi-media political atlas of the Caribbean entitled, Visualizing Sovereignty and is a principal collaborator in the #PuertoRicoSyllabus project. She has been the recipient of multiple grants and awards from the National Science Foundation, the Wenner Gren Foundation, the Carnegie Foundation, the Russell Sage Foundation, the Chateaubriand Fellowship Program, the Schomburg Center for Research in Black Culture, the Carter G. Woodson Institute for Afro-American and African Studies at the University of Virginia, and the W.E.B. Dubois Institute at Harvard University. She is currently Section Editor of Public Anthropologies for the journal American Anthropologist, and serves on the editorial committee for Small Axe: A Caribbean Platform for Criticism.
Hillary Brenhouse is a Montreal-born writer focused on women, religion and culture, and alternative living arrangements. She is also the co-editor-in-chief of Guernica, a magazine of global art and politics, and curates its special themed issues. She is also a senior editor for The Guardian. She’s published in The New Yorker online, The Oxford American, TIME, the New York Times, and elsewhere. And she’s edited for The Guardian, Topic, and The Nation, among others. She edits nonfiction manuscripts on a freelance basis, too.
Kerry Brodie is the Founder and Executive Director of Emmaâs Torch. Founded in 2016, Emmaâs Torch provides refugees with culinary training, ESL classes and interview preparation, setting them up for successful employment in an industry in which their cultural heritage and cuisine can be celebrated. Kerry is a graduate of the Institute of Culinary Education, where she won the Wusthof Award for Leadership and was named ACCSC Graduate of the Year. She holds a Masters in Government from Johns Hopkins University and a Bachelors in Near Eastern Studies from Princeton University. She was named one of City & Stateâs 40 Under 40 in 2018.
Andrew Brown is Associate Director of Research at the Van Alen Institute in New York. A researcher trained in empirical analysis of programs and public policy, Andrew oversees projects that explore the relationship between mental well-being and cities, and develops workshops that convene stakeholders to design strategies to urgent problems. In 2017, Andrew coordinated a workshop on potential mental health impacts of the impending shutdown of one of New Yorkâs busiest subway lines, convening academic institutions, public health professionals, issue advocacy groups, community boards and other organizations of concerned citizens. Insights from the workshop were worked into a health impact assessment conducted by students at Cornell University, which provided recommendations for addressing health concerns during the subway disruption. Andrew received his Master of Public Administration from the Robert F. Wagner School of Public Service at New York University.
Susan Burton is the Founder and Executive Director of A New Way of Life Reentry Project, an award-winning organization that has transformed the lives of more than one thousand formerly incarcerated women. Her memoir, Becoming Ms. Burton: From Prison to Recovery to Leading the Fight for Incarcerated Women (2017), included a foreword by Michelle Alexander, was the winner of an NAACP Image Award, and was named a âBest Book of 2017â by the Chicago Public Library. Susan has received the Citizen Activist Award from the Harvard University Kennedy School of Government (2010), and was named a CNN Hero (2010) and a Purpose Prize winner (2012). Most recently she was chosen by the National Women’s History Project as one of its honorees for Women’s History Month in the United States (2018).
Ben Carrington is widely regarded as one of the worldâs leading authorities on the sociology of race, politics and popular culture. Prior to joining USC Annenberg, Carrington taught in the Department of Sociology at the University of Texas at Austin for 13 years, and before that he worked at the University of Brighton in England. He is also a visiting Carnegie research fellow at Leeds Beckett University. Outside of USC Annenberg, Carrington holds courtesy appointments with USCâs Department of Sociology and the Department of American Studies and Ethnicity.
Dipesh Chakrabarty holds a BSc (physics honors) degree from Presidency College, University of Calcutta, a postgraduate Diploma in management (considered equivalent to MBA) from the Indian Institute of Management, Calcutta, and a PhD (history) from the Australian National University. He is currently the Lawrence A. Kimpton Distinguished Service Professor in History, South Asian Languages and Civilizations, and the College at the University of Chicago. He is the Faculty Director of the University of Chicago Center in Delhi, a faculty fellow of the Chicago Center for Contemporary Theory, an associate of the Departments of English, Comparative Literature, and Cinema and Media Studies, and, by courtesy, a faculty member in the Law School.He is a founding member of the editorial collective of Subaltern Studies, a consulting editor of Critical Inquiry, and a founding editor of Postcolonial Studies. He has also served on the editorial boards of the American Historical Review and Public Culture.
The crux of Chow and Linâs practice lies in their methodology of statistical, mathematical, and computational techniques to address global issues since 2010. Chow and Linâs projects are driven by the discursive backgrounds in economics, public policy, media, and these are further augmented by enduring exchanges with specialists from those fields. Their projects have been exhibited at Arles Les Rencontres De La Photographie, Art Museum of Guangzhou Academy of Fine Art, Venice Arte Laguna, Houston FotoFest Biennial, National University of Singapore Museum and were invited to present at the United Nations Conference Centre in Bangkok. Their works are in the permanent collections of Museum of Modern Art (MoMA) and China Central Academy of Fine Arts Museum. They are authors of The Poverty Line (published by Actes Sud and Lars Müller Publishers, 2021) which is in the collections of the MoMA library and Centre Pompidou Bibliothèque publique d'information. Stefen Chow and Huiyi Lin currently reside in Beijing, China.
Amander Clark PhD is a stem cell scientist, geneticist and developmental biologist who is internationally recognized for her work on the germline and in vitro gametogenesis. Professor Clark has authored over one hundred research articles, and is regularly invited to speak on the use of stem cells to understand fertility and infertility. Professor Clarkâs work has been recognized by Awards from the International Society for Stem Cell Research, STOP Cancer, the Lance Armstrong Foundation, and the Concern Foundation. More recently, she was awarded the prestigious Founders Medal from the Australian and New Zealand Society for Reproductive Biology, and was selected to serve on the National Academies of Science Engineering and Medicine Board of Health Sciences Policy. Professor Clark was recruited to UCLA in 2006, awarded tenure in 2012 and advanced to Full Professor in 2015. From 2017, Professor Clark served as Department Chair of the UCLA Department of Molecular Cell and Developmental Biology and is currently the inaugural Director of the UCLA Center for Reproductive Science, Health and Education. As of July 2023, Professor Clark advances to President of the International Society for Stem Cell Research, a global non-profit that promotes excellence in stem cell science and applications to human health.
MJ Corey is a Brooklyn-based psychotherapist and writer. She earned graduate degrees in Creative Nonfiction and Counseling Psychology from Columbia University in 2014 and 2016, respectively. She is best known for authoring Kardashian Kolloquium on TikTok and Instagram, where she applies media theory and postmodern frameworks to the Kardashian family. Her Kar-Jenner culture writing has been featured by Refinery29, Paper Magazine, and The New Yorker, among many others. She also maintains a recap column about the family’s reality show with Vogue Magazine, and a personal substack called “DeKonstructing the Kardashians.” mj has been interviewed by Vulture, NPR, The Daily Dot, The Hollywood Reporter, Slate, Nylon, i-D, Polyester Zine, ABC Radio Sydney, and Rolling Stone, and she has spoken about her academic approach to pop culture at Parsons School of Design, George Washington University, and University of Pennsylvania. In addition to her Kardashian work, she collaborates on a blog called Infinity of Lists with her friend Nimay Ndolo, and a web series called Between Two Salads with her sister, Marie.
Maureen Craig is Assistant Professor of Psychology at New York University. Her work focuses on understanding social and political attitudes among members of different social groups (e.g., groups based on race, gender, sexuality) from dual perspectives: those of traditionally-stigmatized groups as well as societally-dominant groups. For example, some of her research explores the conditions under which members of one stigmatized group perceive other stigmatized groups as potential allies, as potential competitors, or as any other outgroup. Another line of work examines how exposure to information about diversity affects majority and minority group membersâ intergroup attitudes, social categorization, and political attitudes. She also has interests in how category and feature-based stereotyping may operate independently or in combination to affect downstream judgments of other people.
Prajna Desai is an art historian, poet, and independent curator. She writes about visual politics, print culture, and built form at the intersection of cultural history and histories of science. She has a Masters in English Literature from the University of Mumbai and a PhD in History of Art and Architecture from Yale University. Currently the Asia Research Fellow in the global research initiative at the Museum of Modern Art, New York, she was previously Visiting Professor at Stern College for Women, New York; College of Staten Island, CUNY, New York; University of Southern California, Los Angeles. Her writing has appeared in a number of publications including Artforum, Frieze, Aperture, Art India, Guernica, and Open Democracy. She has led self-initiated curatorial projects across various media at Project 88, Mumbai (2013, 2016, 2017); Delfina Foundation London (2014) Dharavi Biennale, Mumbai (2014-15), and Focus Photography Festival (2017).
Ranjodh Singh Dhaliwal is Ruth and Paul Idzik Collegiate Chair in Digital Scholarship and Assistant Professor of English and Film, Television, and Theatre at the University of Notre Dame. He researches and teaches about the aesthetic and politico-economic entanglements of our technological cultures. His award-winning writing appears, or is forthcoming, in Critical Inquiry, Configurations, American Literature, and Design Issues, among other venues. He holds a Ph.D. in English and STS from UC Davis and a B.Tech. in Computer Science and Engineering from IIT Indore. He has also previously been a visiting fellow at the research Cluster âMedia of Cooperationâ in University of Siegen, Germany and a graduate student at the Universe of Chicago. His researchâwhich is situated at the crossroads of media theory, science and technology studies, and literary criticismâhas been supported by the University of California Humanities Research Institute, Linda Hall Library, and the Hagley Museum, among other institutions. Professor Dhaliwal is currently working on a book project titled Rendering: A Political Diagrammatology of Computation, which asks ‘what exactly is computing?’ Illuminating the hard-coded political logics we take for granted in our contemporary digital cultures, his project shows how our cultural narratives, politico-economic formulations, and epistemic beliefs get crystallized into computational hardware and software architectures. His other projects have found him researching the entanglements between data and narratives, popular discourses of the future in simulation video games, material and cultural histories of artificial intelligence, and new taxonomies of internet aesthetics. He is also engaged in several critical making projects, including a number of public-facing game design endeavors.
Johanna Drucker is the Breslauer Professor of Bibliographical Studies in the Department of Information Studies at UCLA. She is internationally known for her work in artistsâ books, the history of graphic design, typography, experimental poetry, fine art, and digital humanities. Recent titles include: Graphesis: Visual Forms of Knowledge Production (Harvard University Press, 2014), The General Theory of Social Relativity, (The Elephants, 2018), Downdrift: An Eco-fiction (Three Rooms Press, 2018), and Visualization: Modelling Interpretation (forthcoming). Off-World Fairy Tales, a collaboration with Susan Bee, was published in Fall 2020 (Litmus Press). In 2014, she was elected to the American Academy of Arts and Sciences and awarded an honorary doctorate of Fine Arts by the Maryland Institute College of Art in 2017. Her recent work includes: Visualisation: LâInterpretation Modellante Visualizing Interpretation (MIT, 2020), Iliazd: Metabiography of a Modernist (Johns Hopkins University Press, 2020), and Digital Humanities Coursebook (Routledge, 2020). Her work has been translated into Korean, Catalan, Chinese, Spanish, French, Hungarian, Danish and Portuguese.
Teman Evans is global head of design at General Mills and a faculty member of Harvard Universityâs Graduate School of Design, where he teaches courses in design thinking, branding, and strategic innovation. Prior to this, he was the global director of brand design and customer experience design at PepsiCo. Previously, Evans was vice president of branding and strategy at Foote, Cone, and Belding and worked with architects David Rockwell in New York and Rem Koolhaas in Europe and Asia, where he created innovation strategies for global brands from Prada to the Beijing Olympics. Teman also co-founded DIOSCURI design and brand consulting agency, where he was chief creative officer.
Mark Fettes is Associate Professor, Faculty of Education and Associate Director, Imaginative Education Research Group (IERG). He is also the President of the World Esperanto Association, an organization that works to promote the Esperanto language while also stimulating discussion of the world language problem and to call attention to the necessity of equality among languages. He has previously worked with First Nations organizations around issues of language maintenance and revitalization. This in turn is related to his long-term interest in cultural diversity and intercultural communication, and particularly the management of multilingualism in a globalized world.
Ulrich Furbach is a retired Professor of Artificial Intelligence at the University of Koblenz and Adjunct Professor at Vellore Institute of Technology in India. He is co-owner of wizAI solutions GmbH. His research interests include knowledge management, automated reasoning, multiagent systems, and cognitive science. Ulrich obtained his Diploma and Habilitation in informatics from the Technical University of Munich and his PhD from the University of Bundeswehr. He directed the Automated Reasoning Group at the TU Munich from 1987 to 1990 and the Institute for Knowledge Media in Koblenz from 2000 to 2003. He was president of CADE Inc., he was a board member of the European Coordinating Committee for Artificial Intelligence and he was speaker of the German AI Society. He is co-founder and owner of the spin-off company wizAI (www.wizai.com), which develops knowledge management systems, information systems and solutions for digital signage.
Beth Gardiner is a journalist and author of Choked: The Age of Air Pollution and the Fight for a Cleaner Future. She was awarded grants from both the Pulitzer Center on Crisis Reporting and the Society of Environmental Journalists to complete the project. Over the course of her more than 20-year career, Gardiner’s work has been published in the New York Times, the Guardian, National Geographic and the Washington Post, and she has appeared on the BBC, Sky News, ITV.
Katherine Gibson is internationally known for her research on rethinking economies as sites of ethical action. She trained as a human geographer with expertise in political economy and, with her collaborator for over 30 years, the late Professor Julie Graham, developed a distinctive approach to economic geography drawing on feminism, post-structuralism and action research. The diverse economies research program they initiated has become a vibrant sub-field of study within the social sciences. In the late 1990s the collective authorial voice of J.K. Gibson-Graham led the critique of capitalocentric thinking that was blocking the emergence of economic possibility.
The Guerrilla Girls are feminist activist artists. They wear gorilla masks in public and use facts, humor and outrageous visuals to expose gender and ethnic bias as well as corruption in politics, art, film, and pop culture. Their anonymity keeps the focus on the issues, and away from who they might be: they could be anyone and they are everywhere. They believe in an intersectional feminism that fights discrimination and supports human rights for all people and all genders. They undermine the idea of a mainstream narrative by revealing the understory, the subtext, the overlooked, and the downright unfair. They have done hundreds of projects (posters, actions, books, videos, stickers) all over the world. They also do interventions and exhibitions at museums, blasting them on their own walls for their bad behavior and discriminatory practices, including their 2015 stealth projection on the façade of the Whitney Museum about income inequality and the super rich hijacking art.
Lawrence Abu Hamdan is a Private Ear, listening to, with and on behalf of people affected by corporate, state, and environmental violence. Abu Hamdan’s work has been presented in the form of forensic reports, lectures and live performances, films, publications, and exhibitions all over the world. He received his PhD in 2017 and has held fellowships and professorships at the University of Chicago, the New School, New York and most recently at the Johannes Gutenberg University Mainz where he developed his research. Abu Hamdan’s audio investigations have been used as evidence at the UK Asylum and Immigration Tribunal and been a key part of advocacy campaigns for organisations such as Amnesty International, Defence for Children International and Forensic Architecture. His projects that reflect on the political and cultural context of sound and listening have been presented at the 22nd Biennale of Sydney, the 58th Venice Biennale, the 11th Gwangju Biennale, the 13th and 14th Sharjah Biennial, Witte De With, Rotterdam, Tate Modern Tanks, Chisenhale Gallery, Hammer Museum L.A and the Portikus Frankfurt. These works are part of collections at Reina Sofia, MoMA, Guggenheim, Hamburger Bahnhof, Van AbbeMuseum, Centre Pompidou and Tate Modern.
Dorita Hannah is an architect and trans-disciplinary performance practitioner/scholar who focuses on spatial performativity and performance design with an expertise in contemporary cultural environments: researching the dynamics and fabrications of theatre architecture and urban scenography. She collaborates with artists, designers and cultural organisations to co-conceive, design and direct events, installations, exhibits, objects and constructed environments. Hannah also focuses on postgraduate research centred on performance practices and socio-political design, principally through the concept of âevent-spaceâ: demonstrating via design work and scholarly publications that the built environment housing an event or performance is itself an event and an integral driver of experience. Her formulation of Performance Design led a global change in thinking and practice around performing arts design specifically as well as design performativity generally.
Michael Hardt is an American philosopher and a Professor of Literature at Duke University. His writings explore the new forms of domination in the contemporary world as well as the social movements and other forces of liberation that resist them. In the Empire trilogy – Empire (2000), Multitude (2004), and Commonwealth (2009) – he and Antonio Negri investigate the political, legal, economic, and social aspects of globalization. They also study the political and economic alternatives that could lead to a more democratic world. Their pamphlet Declaration (2012) attempts to articulate the significance of the encampments and occupations that began in 2011, from Tahrir Square to Zuccotti Park, and to recognize the primary challenges faced by emerging democratic social movements today.
Hawa Hassan is the Founder and CEO of Basbaas, a unique line of Somali hot sauces and chutneys available in the U.S. Born in Mogadishu, Somalia, Hawa escaped the civil war by going with her mother and four siblings to a U.N. refugee camp in Kenya. After a year in the camp, her mother was eventually able to get an apartment and launch a small business. When Hawa turned seven, her mother seized an opportunity to send her to Seattle, Washington, to live with a family friend. It would be fifteen years before they saw each other again. When they eventually reunited, the two rediscovered their shared love of cooking. Basbaas reflects Hawaâs personal passion for her culture and her entrepreneurial streak. And of course, itâs an homage to her mother.
Katja Heitmann investigates in her visual-choreographic work what moves humankind in the current era. Katja Heitmannâs choreographic work consists of extreme aesthetics, in sharp contrast to human fallibility. Her minimalistic and minutely designed imagery confronts viewers with a frantic flood of insights. This distinct, perceptible tension returns in all her work. As a choreographic sculptor, Katja is constantly searching for the core of her material. By means of radical concepts and well-considered forms of performance, she strips her artistic material of any noise. Only that what really matters is shown with astonishing sharpness. In every detail of her work lies the grand gesture. Katja Heitmann wants to move her audience. Through her work she constantly seeks interaction with society, with the city, with people. The universal character of her work makes it possible for anyone who wants to find their own entrance to the work. Katja Heitmann creates unique performance installations and theatrical exhibitions that appeal to an astonishingly varied audience and regularly brings them to tears. In 2016 Katja was awarded the Prize of the Dutch Dance Festival. In 2020 she was honoured with the prestigious Gieskes Strijbis Podium-award.
Pablo Helguera has been Director of Adult and Education Programs at The Museum of Modern Art since 2007. Previously, he was Senior Manager of Adult Programs at The Solomon R. Guggenheim Museum (1998â2005), and Manager of Public Programs at The Museum of Contemporary Art, Chicago (1996â98), among other positions. Over the course of a 20-year career in museums, Helguera has conceptualized or directed more than 700 public programs for over 150 exhibitions. As an artist, Helguera has exhibited and performed widely in international museums and biennials. He has received a Guggenheim Fellowship, Creative Capital and Franklin Furnace grants, and was the first recipient of the International Award of Participatory Art of the Emilia Romagna Region in Italy (2011). He obtained his PhD from Kingston University, London, where he has been visiting professor since 2004.
Stefan Helmreich is an anthropologist who studies how scientists in oceanography, biology, acoustics, and computer science define and theorize their objects of study, particularly as these objects â waves, life, sound, code â reach their conceptual limits. A Book of Waves (Duke University Press, 2023) details how scientists at sea and in the lab monitor and model ocean waves, seeking to capture in technical language these forces of nature at once periodic and irreversible, wild and pacific, ephemeral and eternal. The book includes reflections on waves in mythology, surf culture, feminist and queer theory, film, Indigenous Pacific activisms, Black Atlantic history, and cosmology. Helmreichâs previous ethnography, Alien Ocean: Anthropological Voyages in Microbial Seas (University of California Press, 2009), is a study of marine biologists working in realms usually out of sight and reach: the microscopic world, the deep sea, and oceans outside national sovereignty.
Yasmin Hernandez is a Brooklyn-born and Puerto Rico-based artist and writer whose work is rooted in individual and collective liberation practices. Yasmin studied art at Cornell University and served as an artist educator with Taller Puertorriqueño, Philadelphia; El Museo del Barrio, East Harlem; Studio Museum, Harlem. She has also taught art to Pre K-12th grade students in Aguadilla. In 2017 she was invited to exhibit as part of Occupy Museumâs Debt Fair installation at The Whitney Biennial, with a segment focused on the Puerto Rico debt crisis. She has subsequently used her art in aid efforts following the twin hurricanes of Irma and MarÃa.
Arthur Huang is the founder and CEO of Miniwiz, a company dedicated to upcycling and consumer trash and industrial waste reuse innovation. With a background as a structural engineer and an architect, he is an innovator of loop economy building material solutions. Under Arthurâs leadership, Miniwiz has been awarded the Financial Timesâ Earth Award (2010), The Wall Street Journalâs Asian Innovation Award (2011), and the Technology Pioneers title by the World Economic Forum (2015). Personally, Arthur has been named Emerging Explorer, National Geographic (2016); Technology Pioneer, World Economic Forum (2015); IDEA GOLD Award, Chicago (2013); Mayor Bloomberg’s New York Venture Fellowship, New York (2012); Wall Street Journal Innovation Award, Hong Kong (2011); 40 under 40 Design Talent Award, Perspective, Asia (2011), amongst others. Arthur holds a B.A., Architecture from Cornell University and an M.A., Architecture from Harvard University, Graduate School of Design.
Mike Hulme is Professor of Human Geography in the Department of Geography at the University of Cambridge, UK, and Fellow of Pembroke College. The focus of his research career has been the analysis and explanation of the idea of climate change and his work has been published extensively across the natural sciences, social sciences, and humanities. He is the author of nine books on climate change, including Contemporary Climate Change Debates: A Student Primer (Routledge, 2020). From 2000 to 2007 he was Founding Director of the Tyndall Centre for Climate Change Research, based at the University of East Anglia.
Masamichi Katayama is an interior designer based in Japan. In 2000 he founded the interior design firm Wonderwall Inc. where he continues to serve as the Principal Designer and Director. He is internationally acclaimed for his sense of balance, which incorporates contemporary elements while paying respect to free-thinking, tradition, and style in embodying a concept. His major projects include Uniqloâs flagship shops (including those in New York, Paris, Ginza, and Shanghai) and Emporium Melbourne, named one of the 9 most beautiful malls in the world by Architectural Digest. In 2020, Katayama received a Frame Lifetime Achievement Award. Additionally, he teaches at Musashino Art University as a professor in the Department of Scenography, Space, and Fashion Design.
L.A. Kauffman has spent more than thirty-five years as an activist, journalist, historian, strategist, grassroots organizer. Most recently L.A. is the author of Direct Action: Protest and the Reinvention of American Radicalism (2017). L.A.âs writings on organizing and social movement history have been published in The Guardian, The Nation, The Progressive, Mother Jones, Village Voice, n+1, The Baffler, and many other outlets. L.A. was a central strategist of the two-year direct action campaign that saved more than 100 New York City community gardens from bulldozing in 1999. L.A. was the mobilizing coordinator for the massive anti-war protests of 2003 and 2004, which remain some of the largest demonstrations in U.S. history. More recently, L.A. was a key organizer of successful campaigns to save two iconic New York City public libraries from being demolished and replaced by luxury towers. L.A. is currently involved in a range of organizing projects to oppose the Trump presidency.
Eduardo Kohn is an Associate Professor and Anthropology for the Ecozoic Lead at McGill University. He was awarded the 2014 Gregory Bateson Prize in Anthropology for How Forests Think. His lifework is dedicated to developing the conceptual equipmentâthe ideas, methods, and theoriesâto prepare us to live in this age of unprecedented anthropogenic climate change. Centrally, this involves imagining better ways to live with the living world, in ways that can allow that world to orient our conduct. It involves, that is, a fundamental rethinking of anthropology and âthe humanâ so that we can learn to âecologizeâ our ethics.
Shigetaka Kurita is an artist and designer who created the first emoji in 1999 for the Japanese telecom giant NTT DoCoMo. While the system offered emails, they were restricted to 250 characters, so emoji were a way to say more in a limited space. While emoji were immediately copied by other Japanese telecoms companies, the symbols were not standardized, meaning they could not be used across different networks. Additionally, they stayed fairly limited to Japan until 2010 when they were incorporated into Unicode, the standard that governs the software coding of text. That year, 722 emoji were released on both iPhone and Android. In 2016, the Museum of Modern Art in New York acquired 176 miniature drawings of faces, objects, and abstract places, etc.
Hannah Landecker is a historian and sociologist of the life sciences. She holds a joint appointment in the Life and Social Sciences at UCLA, where she is a Professor in the Sociology Department, and the Institute for Society and Genetics, an interdisciplinary unit at UCLA committed to cultivating research and pedagogy at the interface of the life and human sciences. Landecker is the author of Culturing Life: How Cells Became Technologies (Harvard UP, 2007), and has written widely on biotechnology and society in work funded by the National Institutes of Health, the National Science Foundation, The American Council of Learned Societies, and the National Endowment for the Humanities. She is co-director of the UCLA Center for Reproductive Science, Health and Education at UCLA, and a member of the Senior Editorial team of BioSocieties.
Lina Lapelyte is an artist who lives and works in London and Vilnius. She holds a BA in classical violin, a BA in Sound Arts and an MA in Sculpture from the Royal College of Art, London. Her performance-based practice is rooted in music and flirts with pop culture, gender stereotypes, aging and nostalgia. Throughout her artistic career, LapelyteÌ has explored various forms of performativity, crossing genre boundaries while entwining folk rituals with popular music and opera formats, frequently using stylized expression, grotesque and conceptual musicality. Her collaborative work with RugileÌ BarzdzÌiukaiteÌ and Vaiva GrainyteÌ, opera âHave a Good Day!ââ holds several awards, its libretto is translated into nine languages and its been touring extensively. Their newest durational performance work,â âSun and Sea (Marina)â, râepresented Lithuania at the Venice Biennale of Art in 2019 and received the Golden Lion award for the best national participation.
Dr. Matthias Laschke is a postdoctoral fellow in Professor Dr. Marc Hassenzahlâs Ubiquitous Design working group at the University of Siegen. Matthias studied Industrial Design at the University of Duisburg Essen and completed his doctorate at the Folkwang University of the Arts with a focus on Human-Computer Interaction. His research focuses on the design of transformational objects (ie, pleasurable troublemakers) and persuasive technologies in the areas of sustainability, procrastination, willpower, adherence to the theory, or prudence in traffic. He also deals with the field of experience design and the socio-cultural influence of technology in everyday life. He has participated on a number of research projects, that have addressed themes such as mobility (BMW Research and Technology), travel (Deutsche Bahn AG), health (Siemens), and sustainable consumption and behavioral change (Wuppertal Institute for Climate, Environment and Energy).
David van der Leer is the Executive Director of the Van Alen Institute in New York. As the Executive Director of a 124-year-old design nonprofit that develops cross-disciplinary research, David oversee provocative public programs and inventive design competitions to make cities better places. Prior to repositioning Van Alen Institute, David created and curated the Architecture and Urban Studies program for the Guggenheim Museum from 2008 to 2013. David has created, chaired, and led nearly 30 design competitions, and he has commissioned numerous design and art projects. He enjoys rethinking conventional design competition and commissioning processes and actively promotes new practices in events like the Design Competition Conference he developed and co-chaired at Harvard University in 2015. Born and raised in The Netherlands, David is a graduate of Erasmus University Rotterdam, and of the High Impact Leadership program at Columbia Universityâs Business School.
Graham MacIndoe is a photographer and an adjunct Professor of Photography at Parsons, The New School. A former heroin addict, Graham has spoken about art and media depictions of addiction at TEDx Stanford, Aperture, The New School, and Columbia University. His photographs have been published and written about in The New York Times, The Guardian, The Financial Times Magazine, Harpers, Fast Company, Rolling Stone, I.D., Vice, and Esquire. His work is also in the collections of The Scottish National Galleries, The New York Public Library, The British Council, The V&A Museum, The Museum of Fine Arts Florida, The British Museum of Film and Television and various private collections. Born in Scotland, Graham holds at BFA in painting from the Edinburgh College of Art and an MFA in photography from the Royal College of Art in London.
Linsey Marr is the Charles B. Lunsford Professor of Civil and Environmental Engineering at Virginia Tech. Her pioneering research on aerosol science made her one of the worldâs leading experts on airborne viruses and their transmission, and an invaluable resource for understanding the behavior of the COVID-19 virus. Her writing has appeared in both scientific and popular publications, from the American Journal of Infection Control to the New York Times. In 2020, she was appointed to the board of the National Academies of Sciences, Engineering, and Medicine.
James Keir Cecil Martin is Associate Professor, Department of Social Anthropology at the University of Oslo. He is the author of a number of academic and media publications on Papua New Guinea and the global economy. He was formerly a Lecturer in Social Anthropology at the University of Manchester and is a recipient of the Royal Anthropological Institute’s Sutasoma Award for work likely to make an outstanding contribution to social anthropology. He is currently working on the growth of psychotherapy among new middle class populations globally and is a practicing member of the British Association for Counselling and Psychotherapy.
Born in 1978 in Ibiza, Spain, Nuria Garcia Masip grew up between Spain and the USA. In 1999, after completing her university studies, she traveled to Morocco where she developed an interest in Islamic art. In 2000, she returned to Washington D.C. where she started studying the rikâa, sülüs, and nesih scripts with calligrapher (hattat) Mohamed Zakariya. In 2004, she moved to Istanbul where she continued to study the sülüs, and nesih scripts with hattat Hasan Ãelebi, and with hattat Davut BektaÅ. In 2007, she received her diploma (ijazah) in these two scripts, signed by her three teachers. She holds a Masters in Art History from the Sorbonne University, has won prestigious prizes in international calligraphy competitions and her work forms part of various private and museum collections. She has also organized numerous workshops and conferences on this art to promote the art of calligraphy internationally. Her work is firmly rooted in the classical school of calligraphy and she enjoys preserving the techniques and materials of the tradition. Nuria is currently living in Paris where she teaches, researches, and works on calligraphy.
Mariana Mazzucato (PhD) is Professor at University College London (UCL), where she is Founding Director of the UCL Institute for Innovation & Public Purpose (IIPP). She advises policy makers around the world on innovation-led inclusive and sustainable growth. Her current roles include being Chair of the World Health Organizationâs Council on the Economics of Health for All, Co-Chair of the Global Commission on the Economics of Water, Co-Chair on the Council on Urban Initiatives, member of the South African Presidentâs Economic Advisory Council, the UN High Level Advisory Board for Economic and Social Affairs, the European Space Agencyâs High-Level Advisory Group on Human and Robotic Space Exploration for Europe, Argentinaâs Economic and Social Council and Vinnovaâs Advisory Panel in Sweden and the OECD High-Level Advisory Panel on Climate and Economic Resilience. She is winner of international prizes including the Grande Ufficiale Ordine al Merito della Repubblica Italiana in 2021, Italyâs highest civilian honour, the 2020 John von Neumann Award, the 2019 All European Academies Madame de Staël Prize for Cultural Values, and the 2018 Leontief Prize for Advancing the Frontiers of Economic Thought. She was named as one of the â3 most important thinkers about innovationâ by The New Republic, one of the 50 most creative people in business in 2020 by Fast Company, and one of the 25 leaders shaping the future of capitalism by WIRED. Most recently, Pope Francis appointed her to the Pontifical Academy for Life for bringing âmore humanityâ to the world. She is the author of four highly-acclaimed books: The Entrepreneurial State (2013), The Value of Everything (2018), Mission Economy (2021), and The Big Con (2023).
John McGeehan is a British research scientist and Professor of Structural Biology at the University of Portsmouth. As a Co-Director of the Institute of Biomedical & Biomolecular Sciences he leads a research team on enzyme engineering, with a recent focus on manufacturing an enzyme to break down plastic. He holds a BSc (Hons) degree in Microbiology from the University of Glasgow, a PhD in Virology from the Medical Research Council Virology Unit, Glasgow, and obtained a Postdoctoral Fellowship with the European Molecular Biology Laboratory, Grenoble, France in the group of Dr Raimond Ravelli. He has previously held a position in the Structural Biology Laboratories at the University of York.
Raffaele Mollica is a master wig-maker whose flagship hand-crafted wig, now known as the âRalf,â has been celebrated in publications such as Vogue, The New York Times, and People, among others, and on television on both HBO and PBS. Having emigrated from Sicily in 1956, he attended the Fashion Institute of Technology in New York. He subsequently broke into the fashion scene and became the in-house wig-maker for Vidal Sassoon, Kenneth and then Elizabeth Arden. In 1975 he founded Raffaele Mollica, Inc., a small, family-oriented business dedicated to making hand-crafted custom wigs and hairpieces for both local customers as well as serving a global clientele.
Enrique Morones is the Founder of Border Angels, an all volunteer, non profit 501©(3) organization that advocates for human rights, humane immigration reform, and social justice with a special focus on the US-Mexican border. Border Angels works to dispel the various myths surrounding immigration in the United States, in addition to providing education and migrant outreach including water drops in the desert, food distribution, and free consulting to migrant families in both Spanish and English, amongst other initiatives. Enrique was honored with Mexicoâs Othliâs Award and in 2009 received the Mexican Human Rights Award from President Felipe Calderon. Additionally, he has been named one of Hispanic Business Magazineâs âmost influentialâ Latinos in the United States of America as well as one of San Diego Magazineâs â50 People to Watch.â
Timothy Morton is Rita Shea Guffey Chair in English at Rice University. He has collaborated with Björk, Laurie Anderson, Jennifer Walshe, Hrafnhildur Arnadottir, Sabrina Scott, Adam McKay, Jeff Bridges, Justin Guariglia, Olafur Eliasson, and Pharrell Williams. Morton co-wrote and appears in Living in the Futureâs Past, a 2018 film about global warming with Jeff Bridges. He is the author of the libretto for the opera Time Time Time by Jennifer Walshe. He is the author of Being Ecological (2018), Humankind: Solidarity with Nonhuman People ( 2017), Dark Ecology: For a Logic of Future Coexistence (2016), Nothing: Three Inquiries in Buddhism (2015), Hyperobjects: Philosophy and Ecology after the End of the World (2013), Realist Magic: Objects, Ontology, Causality (2013), The Ecological Thought (2010), Ecology without Nature (2007), eight other books and 250 essays on philosophy, ecology, literature, music, art, architecture, design and food. Mortonâs work has been translated into 10 languages.
Therese Nelson is the Founder and culinary curator of Black Culinary History. Founded in 2008, Therese created the organization to connect chefs of color, to preserve black heritage throughout the African culinary diaspora, to promote and share the work of her colleagues, and to preserve the legacy being constructed by black chefs for this next generation. Throughout her culinary career, Therese has worked her way through the kitchens of major hotel groups from Hilton and Marriott to Orient Express and Four Seasons. As a recipe consultant for Get Em’ Girl Inc. brands she helped create the cookbooks The Get Em’ Girl’s Guide to the Power of Cuisine and The Get Em Girl’s Guide to the Perfect Get Together.
Hawk Newsome is an activist and a prominent leader of New Civil Rights Movement. In 2013, Hawk joined the Justice League NYC and has engaged in their national campaign to fix the broken criminal justice system. Previously to his work with the Black Lives Matter Movement, he was a County Committee Member of New Yorkâs District 79. He has previously worked as a paralegal and later as Special Projects Coordinator for the office of the Honorable Robert T. Johnson at the Bronx County Office of the District Attorney. As the DAâs liaison to the community, he worked with N.Y.C.H.A tenantsâ associations and social service organizations throughout the Bronx. Hawk attended Howard University Law School, Washington, DC. and completed his Jurist Doctorate at Touro Law School, Long Island, NY.
Natalia Oberti Noguera is the Founder and CEO of Pipeline Angels, a network of women investors that is changing the face of angel investing and creating capital for women and non-binary femme social entrepreneurs. Natalia is also Creator & Host of Pitch Makeover, a podcast on startups, pitching, investing, and #morevoices (women, non-binary people, and men of color). She holds a BA in Comparative Literature & Economics from Yale, as well as an MA in Organizational Psychology from Teachers College, Columbia University. She serves on the boards of Walkerâs Legacy, Women 2.0, and iRelaunch. Inc. Magazine selected Natalia as one of âThe Most Impressive Women Entrepreneurs of 2016,â Latina.com included her in their list of â25 Latinas Who Shine in Tech,â and Womenâs eNews recognized her as one of 21 Leaders for the 21st Century for 2012. StartOut, a network of LGBTQ entrepreneurs, honored Natalia with the 2017 Nixon Peabody Trailblazer Award.“
Amanda Palmer is an American singer, songwriter, musician, author, performance artist, and former member of the acclaimed punk cabaret duo The Dresden Dolls. In 2008, she released her debut solo album, Who Killed Amanda Palmer. She left her record label in 2010, and self-released Amanda Palmer Performs The Popular Hits of Radiohead On Her Magical Ukelele and Amanda Palmer Goes Down Under, amongst other projects. She is known as âThe Social Media Queen of Rock-N-Rollâ for her intimate engagement with her fans via her blog, Tumblr, and Twitter (800,000+ followers), and has been at the vanguard of using both âdirect to fanâ and âpay what you wantâ (patronage) business models to build and run her business. Her book The Art of Asking (2014), was developed from her acclaimed TED Talk and subsequently became a New York Times Best Seller.
Jussi Parikka is Professor in Digital Aesthetics and Culture at Aarhus University where he leads the Digital Aesthetics Research Centre (DARC).He is also visiting professor of at Winchester School of Art (University of Southampton) and at FAMU at the Academy of Performing Arts in Prague where he leads the project Operational Images and Visual Culture (2019-2023, funded by the Czech Science Foundation). In 2021 he was elected as member of Academia Europaea. Parikka was awarded a PhD at University of Turku in 2007. His dissertation was on computer viruses and network accidents.
Mary Jo Pham is a former U.S. diplomat, who was involved in several successful gastrodiplomacy campaigns. In particular, she has written extensively on South Korean gastrodiplomacy as a case study. She has also handled corporate and policy communications across APAC for 10+ countries. Additionally, she is a two-time winner of U.S. national journalism awards, as well as the recipient of The Franklin Award (2016) and The Glenn Munro Award for Outstanding Potential and Leadership (2013) by the U.S. Department of State.
Perc Pineda is the Chief Economist of Plastics Industry Association, where he serves as the organizationâs primary staff expert on economics, statistics and industry research. Perc received his Doctor of Philosophy and Master of Philosophy in Economics from the New School of Social Research in New York. He also holds a Master of Arts in Economics from the American University in Washington, D.C. and a Master in International Management from the University of Maryland. Before joining PLASTICS, Perc was the Senior Economist of the Credit Union National Association, where he tracked macroeconomic trends, conducted economic research, wrote articles for industry publications, and interfaced with the media.
Steven Pinker is the Johnstone Family Professor of Psychology at Harvard University. He is an experimental cognitive psychologist and a popular writer on language, mind, and human nature. A native of Montreal, he earned his bachelorâs degree at McGill University in 1976, his PhD from Harvard in 1979, and taught at Harvard, Stanford, and MIT before returning to Harvard in 2003. Pinkerâs research on vision, language, and social relations has won prizes from the National Academy of Sciences, the Royal Institution of Great Britain, the Cognitive Neuroscience Society, the American Psychological Association, and the Association for Psychological Science. He has also received eight honorary doctorates, several teaching awards at MIT and Harvard, and numerous prizes for his books The Language Instinct, How the Mind Works, The Blank Slate, The Better Angels of Our Nature, and The Sense of Style. He is Chair of the Usage Panel of the American Heritage Dictionary, and often writes for The New York Times, Time, and other publications. He has been named Humanist of the Year, Foreign Policyâs â100 Global Thinkers,â and Time magazineâs â100 Most Influential People in the World Today.â He is currently doing research on a diverse array of topics in psychology, including the role of common knowledge (where two or more people know that the others know what they know) in language and other social phenomena; historical and recent trends in violence and their explanation; the psycho-linguistics of good writing; the nature of the critical period for acquiring language; the neurobiology and genetics of language; and the nature of regular and irregular phenomena in grammar.
Andrea Polli is a professor in both the College of Fine Arts and the School of Engineering at the University of New Mexico. As an artist, she works at the intersection of art, science, and technology and her practice includes media installation, public art, community projects, and writing. In 2015, she created the large-scale, public installation âParticle Falls,â a real-time, environmentally reactive projection that allows viewers to see current levels of fine particulates projected on surrounding buildings. For her work, she has been awarded the NYFA Artistâs Fellowship, the Fulbright Specialist Award and the UNESCO Digital Arts Award.
Sheetal Prajapati is a creative practitioner working across the field of art and public engagement as an educator, artist, curator and administrator. She is current on faculty at the School of Visual Arts, New York in the MFA Fine Arts program. Previously, Sheetal served as the first Director of Public Engagement at Pioneer Works in Red Hook, Brooklyn. She has also held positions at The Museum of Modern Art, New York; the Mary and Leigh Block Museum of Art at Northwestern University, Evanston, IL; Museum of Contemporary Art Chicago. As an artist, Sheetal has held residencies at the Wassaic Project, Haystack Mountain School of Craft, and the The Elizabeth Foundation for the Arts, among others. She received a Bachelor of Arts in History and Gender Studies from Northwestern University and a Master of Arts in Arts Administration and Policy from the School of the Art Institute of Chicago.
Michael Preysman is the founder and CEO of Everlane, a direct-to-consumer design brand based in San Francisco, California. Inspired by the lack of affordable options for quality basics, Preysman founded Everlane in 2011 to provide consumers with well-designed, high-quality clothing and accessories at an approachable price point while simultaneously encouraging them to stay informed and educated on product origins. By cutting out the middleman and openly sharing the costs behind each product, Preysman has become a distinguished leader in the transparent retail space, and a disruptor of the luxury clothing industry. Prior to starting Everlane, Preysman was an investor at Elevation Partners for both their New York and Menlo Park offices investing in media and entertainment companies.
Ravi Ragbir is a community activist and a nationally recognized leader in the immigrant rights movement. Originally from Trinidad and Tobago, Raviâs personal struggle with the immigration system, inspired him to become a dedicated community educator, spokesperson, and advocate. A former volunteer for the Families for Freedom, he went on to serve as Chair of the Board of Directors for the organization where he trained other community organizers and elected officials about immigration issues and how to reform the deportation system. In 2010, Ravi became a full-time organizer for the New Sanctuary Coalition of New York City, one of the largest coalitions in the city focused on immigrant rights, with over 20 faith-based and supporting organizations, representing over 3,000 New Yorkers.
Shirin M. Rai is the Distinguished Research Professor in the Department of Politics and International Studies SOAS, University of London. She is a Fellow of the British Academy. She is the Founding Director of Warwick Interdisciplinary Research Centre for International Development (WICID)at the University of Warwick. Shirin Rai is an interdisciplinary scholar and has written extensively on issues of gender, governance and development and politics and performance. In particular, she has been working on issues of gendered care and work and the costs of this carework, and on developing a framework of politics and performance across the social sciences/humanities boundaries. Her recent books include Performing Representation, a commentary on women MPs in the Indian Parliament as well as co-edited the OUP Handbook of Politics and Performance. Her teaching and research build on this work at both theoretical and empirical levels. After securing her BA at Hindu College, Delhi University and MA in the Department of Political Science, Delhi University, India, Shirin Rai carried out her doctoral research at Christâs College and Faculty of Social and Political Sciences, University of Cambridge. She joined the Department of Politics and International Studies, University of Warwick in 1989 and left to take up her current position at SOAS in 2022.
Dr. Ashanté M. Reeseâ¯earned a PhD in Anthropology from American University. Broadly speaking, Dr. Reese works at the intersection of critical food studies and Black geographies, examining the ways Black people produce and navigate food-related spaces. Animated by the question, who and what survives?, Dr. Reeseâs work has focused on the everyday strategies Black people employ while navigating inequity. Her first book,â¯Black Food Geographies:â¯Race, Self-Reliance, and Food Access in Washington, D.C., takes up these themes through an ethnographic exploration of antiblackness and food access.â¯Black Food Geographiesâ¯won the 2020 Best Monograph Award from the Association for the Study of Food and Society and 2020 Margaret Mead Award jointly awarded by the American Anthropological Association and the Society for Applied Anthropology. Her second book,â¯Black Food Matters:â¯Racial Justice in the Wake of Food Justice, is a collection co-edited with Hanna Garth that explores the geographic, social, and cultural dimensions of food in Black life across the U.S. Currently, Dr. Reese is working on a cultural history of sugar and Sugar Land, Texas in which she explores the spatial, economic, and carceral implications of sugar and the sometimes contradictory and deadly sweetness that marks Black life. A committed teacher, Dr. Reese was the recipient of the 2020-21 Friar Centennial Teaching Fellowship.
Jennifer Robinson is an Australian human rights lawyer and barrister at Doughty Street Chambers in London. She has acted in key free speech and human rights cases before courts and tribunals around the world, including the European Court of Human Rights and UN special mechanisms, and has conducted human rights missions for the International Bar Association. She founded the Bertha Justice Initiative, a global fellowship program supporting the next generation of human rights lawyers, and International Lawyers for West Papua, which advises the West Papuan movement for self-determination. Robinson is a founding board member of the Grata Fund, Australia’s first independent public interest litigation fund, and serves on the boards of Article 19, the Bureau for Investigative Journalism and the Commonwealth Lawyers Association.
Paul Rockower is the Executive Director of Levantine Public Diplomacy, an independent public diplomacy organization. Paul has over ten years experience in the field of communications and public diplomacy, with a vast and varied career in both the academic and practitioner domains. A leading expert in the burgeoning field of gastrodiplomacy, he previously served as a Press Officer for the Israeli Foreign Ministry, directing the media and public diplomacy of the Consulate General of Israel to the Southwest. Amongst other roles, he has also been a Visiting Fellow at the Taiwan Foundation for Democracy, where he researched Taiwanâs public diplomacy outreach.
Michael Rossi is an Associate Professor of the History of Medicine and Chair of the Conceptual and Historical Studies of Science at the University of Chicago. He is a historian of medicine and science in the United States from the nineteenth century to the present. His work focuses on the historical and cultural metaphysics of the body: how different people at different times understood questions of beauty, truth, falsehood, pain, pleasure, goodness, and reality vis-Ã -vis their corporeal selves and those of others. His first book manuscript traces the origins of color scienceâthe physiology, psychology, and physics of colorâin the late-nineteenth-century United States to a series of questions about what modern America ought to be: about the scope of medical, scientific, and political authority over the sensing body; about the nature of aesthetic, physiological, and cultural development between individual and civilization; about the relationship between aesthetic harmony, physiological balance, and social order. His second project looks at how linguists, anatomists, and speech pathologists moved, over the course of the twentieth century, from viewing language as a function of sound-producing organs (tongue, lips, palate, larynx, etc.) to searching for a notional âlanguage organâ within the brains of all human beings. Such interpretative shifts in understanding human anatomy are neither an ancient phenomenon nor one limited to extreme medical specialization, but rather are ongoing issues, providing a window on the social, political, and philosophical understanding of modern bodies, medicine, and science.
Emelyn Rude’s work sits at the intersection of economic, environmental, and culinary history and is broadly focused on the development of the food system in the United States in the nineteenth and twentieth centuries. She is particularly interested in the history of eating animals and previously studied the factors driving the growth of American chicken consumption and the impact of marine species declines on the production and consumption of food. Her current research project aims to understand how species declines and extinctions events changed American eating habits more broadly, with the ultimate goal of retelling the story of the American food system through the lens of this type of environmental degradation. She received her PhD in History from the University of Cambridge in 2022, her MPhil in Economic and Social History from Cambridge in 2018, and her Bachelor’s in Social Studies from Harvard University in 2012. Her interest in food is not purely academic, however. Prior to going to graduate school she helped run high-end restaurants in New York, worked as a pastry cook and recipe tester, and helped to write and edit various cookbooks. These days she publishes an independent magazine focused on food history called EATEN and is also a trained and certified sommelier.
Jeffrey Sachs is a world-renowned professor of economics, leader in sustainable development, senior UN advisor, bestselling author, and syndicated columnist whose monthly newspaper columns appear in more than 100 countries. He is the co-recipient of the 2015 Blue Planet Prize, the leading global prize for environmental leadership, and has twice been named among Time Magazineâs 100 most influential world leaders. He is currently Professor, School of International and Public Affairs at Columbia University, and previously served as the Director of the Earth Institute at Columbia University from 2002 to 2016. Prior to Columbia, he spent over twenty years as a professor at Harvard University, where he served as the Director of the Center for International Development and the Galen L. Stone Professor of International Trade. His work on ending poverty, overcoming macroeconomic instability, promoting economic growth, fighting hunger and disease, and promoting sustainable environmental practices has taken him to more than 125 countries.
Susan Schuppli is a researcher and artist based in the UK whose work examines material evidence from war and conflict to environmental disasters and climate change. Current work is focused on learning from ice and the politics of cold. Creative projects have been exhibited throughout Europe, Asia, Canada, and the US. She has published widely within the context of media and politics and is author of the book, Material Witness published by MIT Press in 2020. Schuppli is Professor and Director of the Centre for Research Architecture, Goldsmiths University of London where she is also an affiliate artist-researcher and Board Chair of Forensic Architecture. Previously she was Senior Research Fellow and Project Co-ordinator of Forensic Architecture. Prior to working in the UK she was an Associate Professor in visual/media arts in Canada. Schuppli received her PhD from Goldsmiths and participated in the Whitney Independent Study Program after completing her MFA at the University of California San Diego. She is the recipient of the 2016 ICP Infinity Award.
Anwar Shaikh is Professor of Economics at the Graduate Faculty of Political and Social Science at the New School University, New York. He is an Associate Editor of the Cambridge Journal of Economics, and was a Senior Scholar and member of the Macro Modeling Team at the Levy Economics Institute at Bard College from 2000-2005. In 2014 he was awarded the NordSud International Prize for Literature and Science from Italyâs Fondazione Pescarabruzzo. His intellectual biography appears in the most recent edition of the book Eminent Economists II published by Cambridge University Press (2014). His most recent book is Capitalism: Competition, Conflict, Crises (Oxford University Press, 2016). He has written on international trade, finance theory, political economy, econophysics, U.S. macroeconomic policy, the welfare state, growth theory, inflation theory, crisis theory, national and global inequality, and past and current global economic crises.
Salil Shetty joined Amnesty International as the organizationâs eighth Secretary General in 2010. A long-term activist on poverty and justice, Salil Shetty leads the movement’s worldwide work to end human rights violations and has spearheaded a significant move of Amnesty International’s work to the global south. Before joining Amnesty International, he was Director of the United Nations Millennium Campaign from 2003 to 2010, credited with significantly increasing awareness of and accountability for the Millennium Development Goals across the world. From 1998 to 2003, Salil Shetty was Chief Executive of ActionAid, a leading international development NGO. Salil Shetty studied at the Indian Institute of Management, Ahmedabad and at the London School of Economics.
Lindsey Snell is a print and video journalist specializing in conflict and humanitarian crises. She has produced documentary-style videos for MSNBC, VICE, Vocativ, ABC News, Ozy, Yahoo News, and Discovery Digital Networks. Her print work has appeared in Foreign Policy, the Daily Beast, al Araby and others. One of her pieces, on Aleppo schools hit by airstrikes, won an Edward R. Murrow award in 2016. In 2016 on one of her trips to film in Syria she was kidnapped by al-Qaeda and later detained in Turkey.
Jonas Staal is a visual artist whose work deals with the relation between art, democracy, and propaganda. He is the founder of the artistic and political organization New World Summit (2012âongoing). Together with Florian Malzacher he co-directs the training camp Training for the Future (2018-ongoing), and with human rights lawyer Jan Fermon he initiated the collective action lawsuit Collectivize Facebook (2020-ongoing). With writer and lawyer Radha DâSouza he founded the Court for Intergenerational Climate Crimes (2021-ongoing) and with Laure Prouvost he is co-administrator of the Obscure Union.
Mary Caswell Stoddard is an Associate Professor in the Princeton Department of Ecology and Evolutionary Biology. She joined the department in 2016. She is an Associated Faculty member in the High Meadows Environmental Institute, the Princeton Bioengineering Initiative and the Lewis-Sigler Institute for Integrative Genomics. Cassie received her undergraduate degree from Yale University, where she researched avian vision and plumage color evolution at the Peabody Museum of Natural History. She received a Marshall Scholarship and an NSF Graduate Research Fellowship to study at the University of Cambridge, where she completed her PhD research. Cassie joined the Harvard Society of Fellows in 2012 as a Junior Fellow and was named a 2013 LâOréal USA For Women in Science Fellow. She received a 2018 Alfred P. Sloan Research Fellowship, a 2018 Packard Fellowship and a 2022 Schmidt Science Polymath Award.
Sabrina Strings, Ph.D. is Professor and North Hall Chair of Black Studies at the University of California, Santa Barbara. She was a recipient of the UC Berkeley Chancellorâs Postdoctoral Fellowship with a joint appointment in the School of Public Health and Department of Sociology. A certified yoga teacher, her work on yoga has been featured in The Feminist Wire, Yoga International, and LA Yoga. Sabrina is also an award-winning author with publications in diverse venues including, Ethnic and Racial Studies; Signs: Journal of Women in Culture and Society; Fat Studies: An Interdisciplinary Journal of Body Weight and Society and Feminist Media Studies. Her most recent book is Fearing the Black Body: The Racial Origins of Fat Phobia (NYU Press 2019).
Stephanie Shepherd is an entrepreneur, environmental advocate, and tastemaker who educates her millions of fans on how to blend luxury lifestyle and conscious consumerism. Her style, beauty secrets, and work as a humanitarian have cultivated a global community. Formerly the Chief Operating Officer of Kardashian West Brands, Steph has since established her own platform and partnered with American Express, Google, and J Brand â among other prominent lifestyle brands. Most recently, Steph has lent her expertise to Kourtney Kardashianâs website, Poosh, and Elle Magazine as a monthly contributor. She has hosted and an executive produced her very own Facebook Watch series, âSteph Shep Says.â As well as recently joining sustainable personal care brand +Plus as the Chief Impact Officer. In 2019, Steph co-founded the digital climate education platform, @FutureEarth. Shepherd is also an ambassador for Days For Girls International, The Environmental Working Group and John Kerryâs World War Zero climate change initiative. She most recently joined the board of Vice President Al Goreâs The Climate Reality Project. Through her advocacy, Stephanie has generated millions of dollars and thousands of volunteer hours for organizations who, like her, relentlessly pursue human flourishing and environmental preservation.
Mickalene Thomas is a multidisciplinary artist whose work draws on art history and popular culture to create a contemporary vision of female sexuality, beauty, and power. Blurring the distinction between object and subject, concrete and abstract, real and imaginary, Thomas constructs complex portraits, landscapes, and interiors to examine how identity, gender, and sense-of-self are informed by the ways women (and âfeminineâ spaces) are represented in art and popular culture. Thomas received a B.F.A. from the Pratt Institute in 2000 and an M.F.A. from Yale University School of Art 2002. Her work is in numerous international public and private collections, including The Museum of Modern Art, New York; San Francisco Museum of Modern Art; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; Museum of Fine Arts, Boston; Art Institute of Chicago; MoMA PS1, New York; Brooklyn Museum of Art, New York; Studio Museum in Harlem, New York; Yale University Art Collection, New Haven, CT; and Hara Museum of Contemporary Art, Tokyo. Thomas has been awarded multiple prizes and grants, including the USA Francie Bishop Good & David Horvitz Fellow (2015); Anonymous Was A Woman Award (2013); Brooklyn Museum Asher B. Durand Award (2012); and the Timerhi Award for Leadership in the Arts (2010).
Sissel Tolaas is an artist and scent researcher, focusing intensively on the topic to challenge the idea of the artwork as a physical object. Her pioneering project SmellScape, which first began in 1998 and continues today, has captured the unique scents of 52 cities across the globe. Tolaas has shown her work at museums and institutions across the globe including MoMA, DIA, and the TATE Modern. Her most recent exhibition, RE___, considers the politics of smell and opens at the ICA in Philadelphia in August 2022.
Jana Traboulsi is a designer, illustrator, artist, and teacher. Her work focuses on image making as critical commentary, often bridging between the personal and the socio-political. She is the art director of the pan-arab quarterly Bidayat and the Lebanese publishing house Snoubar Bayrout. In 2014 she co-founded Sigil with Khaled Malas, Salim Al-Kadi and Alfred Tarazi. Sigil is an Arab art collective that seeks to explore the marvelous and terrifying metamorphoses of the Arab landscape that is the stake and site of historical and contemporary struggles.
Daveen Trentman is a Co-Founder and Partner of The Soze Agency, a creative agency that consists of artists, strategists, filmmakers, activists, storytellers, immigrants, refugees, organizers, formerly undocumented, digital wizards, masters of design, writers, LGBTQ people, parents, allies and accomplices, that create campaigns, projects and strategies to promote equity and bring attention to important issues. As the Production Director and Curator for The Museum of Drug Policy Pop-Up, Daveen oversaw the initiative as it toured in four countries. She has also led the Truth to Power, the Right of Return Fellowship, which investments in formerly incarcerated artists.
Julia Turshen is the bestselling author of Now & Again (named the Best Cookbook of 2018 by Amazon and an NPR âGreat Readâ), Feed the Resistance (named the Best Cookbook of 2017 by Eater), and Small Victories (named one of the Best Cookbooks of 2016 by the New York Times and NPR). She also hosts the IACP-nominated podcast called âKeep Calm and Cook On.â In addition to having written for the New York Times, the Washington Post, Vogue, and Bon Appétit, amongst others, she sits on the Kitchen Cabinet Advisory Board for the Smithsonianâs National Museum of American History. She is also the founder of Equity At The Table (EATT), an inclusive digital directory of women and non-binary individuals in food.
Nicola Twilley is co-host of the award-winning podcast Gastropod, which looks at food through the lens of history and science, and an award-winning contributor to The New Yorker. She lives in Los Angeles. GEOFF MANAUGH is the author of the New York Times-bestseller A Burglarâs Guide to the City, as well as the architecture and technology website BLDGBLOG. He regularly writes for The New York Times Magazine, The Atlantic, The New Yorker, Wired, and many other publications. He lives in Los Angeles.
Mike Tyka, PhD Biophysics is a researcher of machine learning at Google and a science artist who studies the structure and dynamics of protein models. He is the co-founder of ALTSpace, a shared art studio in Seattle, where he creates sculptures of protein molecules. Since 2015 Mike has also begun working with artificial neural networks as an artistic medium and tool. He created some of the first large scale artworks using Iterative DeepDream and collaborated with Refik Anadol to create a pioneering immersive projection installation using Generative Adversarial Networks called Archive Dreaming. His latest generative portraits series “Portraits of Imaginary People” has been shown at ARS Electronica in Linz, at the New Museum in Karuizawa (Japan) and at the Seoul Museum of Art.
Former Deputy Director and Lead Researcher of Forensic Architecture (FA), Christina joined the FA team in 2014 and held a variety of roles, from leading investigations and overseeing research and the development of new methodologies, to setting up office structures. She was trained as an architect, and has taught a Diploma unit (MArch) at the Architectural Association (2018-2020). She was also a member of the Technology Advisory Board for the International Criminal Court (2018). Currently, Christina is a Lecturer of Forensic Architecture at the Centre for Research Architecture, at Goldsmiths, University of London, as well as pursuing her PhD at Aarhus University where her research focuses on biopolitics and imaging of the human body. She has received the Novo Nordisk Foundation Mads Ãvlisen PhD Scholarship for Practice-based Artistic Research and is also a fellow at Louisiana Museum of Modern Art, where she co-curated the Forensic Architecture exhibition Witnesses. She is a founding member and the chair of the board of Forensis.
Caro Verbeek is an embedded researcher of olfactory heritage at Vrije Universiteit Amsterdam, the Rijksmuseum and International Flavours & Fragrances. Trained as an art historian she specialises in sensory art and education in museums, art academies and universities. She has 10+ years of experience curating exhibitions and conserving collections (prints, drawings and scents). Verbeek creates olfactory tours and interventions for museums (Rijksmuseum, Van Abbemuseum, Bijbels Museum, Amsterdam Museum) and is determined to alter the way we think about and document ephemeral history and to create a language and sensory skills to do so. Her PhD project “In Search of Lost Scents - Reconstructing the Aromatic Heritage of the Avant-garde’ was widely discussed in (international) media during the exhibition "Aromatic Art (Re-)constructed” dd. 23.02.2017 - 23.05.2017 where people were able to smell the Battle of Waterloo, an 18th century canal house, medieval prayer nuts (all created by IFF), and Futurist and Surrealist olfactory works of art.
Addie Wagenknecht is an artist whose work explores the tension between expression and technology. Seeks to blend conceptual work with forms of hacking and sculpture, her work has been shown at galleries and museums in Vienna, Paris, Istanbul, London, and Eindhoven. In 2016 she collaborated with Chanel and I-D magazine as part of their Sixth Sense series and in 2017 her work was acquired by the Whitney Museum for American Art. Her work has been featured in numerous books, and magazines, such as TIME, Wall Street Journal, Vanity Fair, Art in America, and The New York Times. She holds a Masters degree from the Interactive Telecommunications Program at New York University, and has previously held fellowships at Eyebeam Art + Technology Center in New York City, Culture Lab UK, Institute HyperWerk for Postindustrial Design Basel (CH), and The Frank-Ratchye STUDIO for Creative Inquiry at Carnegie Mellon University.
Tricia Wang is a tech ethnographer obsessed with designing equity into systems and the co-founder of CRADL, The Crypto Research and Design Lab, Tricia Wang. Prior to CRADL, she co-founded Constellate Data, a data consultancy helping organizations get the most out of their data by integrating data science and social science. With more than 15 years of experience working with designers, engineers, and scientists, she has a particular interest in designing human-centered systems. She advises corporations and startups on using âthick data"âdata brought to light using digital-age ethnographic research methods that uncover stories and meaningâto improve strategy, policy, products, and services.
Wim Wenders is a film director, writer, and photographer. He is also president of the European Film Academy, and an honorary professor at the University for Television and Film in Munich. He became a member of the Academy of Arts, Berlin in 1984, and holds four honorary doctorates from the Sorbonne, Paris (1989); the Theological Faculty of Fribourg University, Switzerland (1995); the University of Louvain, Belgium (2005); and the Architectural Faculty of the University of Catania, Italy (2010). He is considered one of the most important figures to have emerged from the âNew German Cinemaâ in the 1970s and was a founding member of the German film distribution company âFilmverlag der Autoren.â He received the Cannes Film Festivalâs Palme dâOr in 1984 for Paris, Texas, the Golden Lion at the 1982 Venice Film Festival for The State of Things, and won best director at the 1987 Cannes Film Festival for Wings of Desire. He has also been nominated three times for the Academy Awards for his films Buena Vista Social Club (2000), Pina (2012), and, most recently, The Salt of the Earth (2015).
Annabel J. Wharton is the William B. Hamilton Professor of Art History at Duke University. She served as the first female Vincent Scully Visiting Professor at the Yale School of Architecture in 2014 and as the Harry Porter Visiting Professor of Architectural History, University of Virginia School of Architecture in 2019. She received her Ph.D. at the Courtauld Institute, London University. Initially her research focused on Late Ancient and Byzantine art and culture (Art of Empire [Penn State] and Refiguring the Post-Classical City [Cambridge]). Then she began to investigate the effects of modernity on ancient landscapes, notably in Building the Cold War: Hilton International Hotels and Modern Architecture (Chicago, 2001). She has combined her interests in the Ancient and the Modern in her last two books: Selling Jerusalem: Relics, Replicas, Theme Parks (Chicago, 2006) and Architectural Agents: The Delusional, Abusive, Addictive Lives of Buildings (Minnesota, 2015). Architectural Agents considers material and digital buildings as agents that both endure pain and inflict it. Her new book, Models and World Making: Buildings, Bodies, Black Boxes (University of Virginia Press) was released at the end of 2021.
Stephanie M. Wildman is the John A. and Elizabeth H. Sutro Professor of Law at Santa Clara University, where she previously served for thirteen years as Director of the Center for Social Justice and Public Service. She was the Founding Director of the Center for Social Justice at the University of California at Berkeley School of Law (Boalt Hall), and received the 2007 Great Teacher Award from the Society of American Law Teachers, the largest national organization of law school faculty. Her most recent books include: Race and Races: cases and resources for a diverse America (2015); Social Justice: Professionals Communities & Law (2013), Women and the law stories (2011). Her book Privilege Revealed: how invisible preference undermines America (1997) won the 1997 Outstanding Book Award from the Gustavus Meyers Center for Human Rights.
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https://www.theguardian.com/books/2022/aug/18/i-thought-drink-and-drugs-enabled-my-creativity-julia-cameron-on-the-drama-behind-the-artists-way
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en
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‘I thought drink and drugs enabled my creativity’: Julia Cameron on the drama behind The Artist’s Way
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2022-08-18T00:00:00
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When even Hunter S Thompson tells you to take it easy, you must be overdoing it. The bestselling author talks about marrying Martin Scorsese, sobering up, and writing a bestseller
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en
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the Guardian
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https://www.theguardian.com/books/2022/aug/18/i-thought-drink-and-drugs-enabled-my-creativity-julia-cameron-on-the-drama-behind-the-artists-way
|
The first and only rule of morning pages is that you must do them every morning – no exceptions. In practice, everyone makes exceptions. But, in the more than 30 years in which Julia Cameron has started her day by writing down three pages of stream-of-conscious thoughts, she has only ever missed one. That was years ago, when she was travelling to New York from her home in Santa Fe, New Mexico, over several flights. Her cherished morning routine was lost in transit. The impact of the disruption is what Cameron, 74, remembers.
“I felt scattered and disorganised, and unable to think clearly,” she says, sounding dismayed all these years later. Then she brightens. “I realised: oh my God, the morning pages really shaped my life.”
She started the habit in her 30s, just after her divorce from film director Martin Scorsese, as she battled alcoholism and cocaine addiction – and raised their baby daughter. In all this chaos, she settled on three handwritten pages as an achievable target, no matter how difficult it might seem.
Cameron’s morning pages have, also, of course, shaped the lives of millions of others. They are a central tenet of her bestselling book The Artist’s Way: a publishing phenomenon that still connects with people 30 years after it was first published. The book is a practical guide to “creativity as a spiritual practice” and has sold more than 4m copies since it came out in 1992.
Over the 12-week course it lays out, Cameron leads the reader through exercises to “discover and recover” their inner artist, which she believes is often buried by factors such as fear of judgment or shame. Much of the strategy and advice in the Artist’s Way is common sense, such as protecting time for creativity and prioritising play. But Cameron’s whimsical, idiosyncratic voice elevates it beyond the obvious.
On the page, she is compassionate and cajoling, convincing you of your capability and jollying you along with anecdotes about her Hollywood years. I’m not surprised to find that Cameron is just as lively and engaging in person – but I am touched by the interest she shows in me.
She has even dressed up for our call, her berry-coloured lipstick matching her glasses and her hair in a loose up-do. I apologise for my own relative scruffiness. “I wanted to look particularly nice,” Cameron says. “Then I woke up this morning, and I thought, ‘Oh dear! My hair is all awry!’”
She recently revisited her 2006 memoir Floor Sample, now published for the first time in the UK. “I found myself feeling that maybe it’s time to give people a glimpse of the artist behind The Artist’s Way,” she says.
“I was able to take a look at exactly how very resilient I had been as an artist. I hadn’t allowed adversity to stop me.” It’s true that in reading Floor Sample I was flabbergasted by the turbulence, hardship and angst that Cameron has endured over her life – as well as the matter-of-fact, even sanguine way she recounts it.
Growing up in Libertyville, Illinois, Cameron was the second-eldest of seven children, born to parents who treasured music and literature. She was only allowed to watch films that received an A-grade for decency – but she could read whatever she liked, fostering a passion for writing.
Living in Washington, in her early 20s, Cameron talked her way into an office job at the Washington Post, and then a byline. She became known for snappy, stylish pieces on everything from nail polish trends to politics. When her bosses suggested she might like to do her actual administrative job, she quit to freelance.
Her big break came when she interviewed the children of the Watergate conspirator E Howard Hunt, a scoop for Rolling Stone. She had a hot new career and a new journalist crowd, “many of them heavy drinkers”. Cameron fitted right in, to such an extent that Hunter S Thompson told her she might like to cut back on the booze. “Five nights out of six, you are the best date in town,” she says he told her. “But on that sixth night …”
But drinking had become central to Cameron’s identity as a hard-nosed, hard-living reporter and her mounting sense of herself as an aspiring spiritual artist.
Striving for control, she imposed rules: no hard spirits, don’t drink and write – unless she had amphetamines to keep her lucid. “I thought that the drinking and the drug use were enabling my creativity … We have a mythology that tells us artists should be drunk and in pain.” But by 1976, she had graduated to cocaine – and married Scorsese.
They met when Cameron was sent to profile the then up-and-coming director. The commission was spiked after their interview concluded in his hotel suite (where she zhooshed up the script for Taxi Driver). Cameron writes in her memoir that she knew within seconds of meeting Scorsese that they would marry; she even called her mother to say so, halfway through their interview.
Their daughter Domenica, an artist, was born within a year of their wedding. The relationship tarnished Cameron’s reputation as a journalist – one editor advised her to get a divorce – but it led to opportunities in screenwriting. Had she stayed married to Scorsese, The Artist’s Way would not have been written, says Cameron. “He was very generous; he shared his films with me and wanted to use my talents – and I was delighted to do that … I would have spent my time aiding and abetting and helping him.”
But Cameron’s escalating reliance on alcohol and cocaine – plus Scorsese’s highly public affair with Liza Minnelli while making New York, New York – put pressure on the marriage. They divorced the following year, after Cameron was hospitalised with a nervous breakdown.
She finally hit rock bottom and got help. “When I started getting sober, I was told that I had to pray,” Cameron says. “I said: ‘Prayer? Not me!’
“They said: ‘You must believe in something.’ I thought about it and then I realised that I believed in a line from Dylan Thomas: ‘The force that through the green fuse drives the flower’, that particular creative energy that makes something grow to be a petunia or a pansy …
“It struck me as being far more benevolent than the concepts of God that I had grown up with.” The thought freed her own tortured artist, facilitating free and full expression; she has been sober for 44 years.
God looms large in The Artist’s Way as – Cameron explains – a shorthand for some kind of creative force or higher power working through us, and the strange synchronicity and mysticism of making art. Now, when she writes her morning pages, Cameron will explicitly address “the Great Creator” or “Little Julie”, her younger self, and ask for guidance. “Then I listen, and I write down what I hear.”
That has included past directives to go to New Mexico (“this was before New Mexico was chic”), and even which route to take there; she went on to split her time between there, Los Angeles and New York.
In the late 80s, she began to test her approach on her fellow “blocked” artist friends and students of the creative writing programmes she was teaching in New York. When her course notes were passed around, Cameron began to circulate photocopies, then selling them for $20.
Word of mouth led them to be picked up by what is now an imprint of Penguin; the first run was just 9,000 copies. On Zoom, triumph glints behind Cameron’s glasses. “They thought: ‘It’s a little teeny California woo-woo book.’ It was only once we had sold about 100,000 copies that they said: ‘Maybe we should pay some attention to this.’”
Was she surprised by the response? No, she says – not because of ego, but because of the wide range of test subjects she had had in her creativity workshops. “Lawyers, judges, sculptors, actors, writers, housewives, accountants, ballerinas – all were finding that they opened up to their creativity through using the tools.”
“What I say is: you’re falling in love with yourself,” she says. “When you write your three pages, you’re sending a telegram to the universe, saying: ‘This is what I like. This is what I want more of. This is what I want less of.’”
She advises doing the pages immediately on waking, before your mental defences are up (and certainly before looking at your phone) – and only three pages. Any more feeds the ego, she says, in itself a block to free creativity.
However, “There is no wrong way to write morning pages,” says Cameron. “It can be as negative as you wish, as positive as you wish, about an issue which is deep or shallow.”
My unbroken streak of morning pages is nowhere near Cameron’s, but, even in my stints of three weeks or so, I have found that they settle me for the rest of the day, a bit like going for a run first thing. The effect is to bring whatever might be rolling around in your subconscious mind out into the open: whether latent desires or uncomfortable truths. For instance, Cameron mentions someone who was forced to confront their problem drinking after realising all their daily pages mentioned a hangover.
The other pillar of The Artist’s Way is “artist’s dates”: a weekly sojourn, specifically to inspire. Like the morning pages, it is simple to do and hard to maintain. But, with consistency and commitment, Cameron swears, “It does transform lives.”
“One of the things I really love is that it forces you to take ownership of your creativity,” the actor Ito Aghayere tells me. Aghayere stumbled upon Cameron’s book in 2018, while feeling adrift not long after moving to LA; within six months, she had landed a CBS show. Most recently, she has appeared in Star Trek: Picard.
She says the book changed her life: “It’s an existential journey into rediscovering that sense of possibility that we can all engage with, no matter what industry you’re in … I’ve bought so many copies for friends.”
It’s not just the conviction of Cameron’s celebrity following that is telling, it’s the diversity. Fans include Patricia Cornwell, Reese Witherspoon, Pete Townshend, Alicia Keys and John Cleese, while Elizabeth Gilbert, author of Eat Pray Love, has completed the entire course at least three times.
Cameron is always being confronted by the impact she has made. “People will come up to me and say, ‘Here’s the book that I wrote’, or ‘the necklace that I made’, or ‘I have my own one-woman show now’. I’m so grateful to think that my work has been a building block in someone else’s.”
No one is exempt. Underpinning The Artist’s Way is Cameron’s belief that everyone is creative and capable of becoming more so. “We all have an inner spark,” Cameron says – and her books give us permission to pursue it. “What I have found is that people read The Artist’s Way with a sense of relief: ‘Oh, so I’m not crazy.’”
Could she imagine her own life without the morning pages?
“No,” she answers, with certainty. “And I don’t want to.”
This article was amended on 21 August 2022 to remove a personal detail.
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https://www.goodreads.com/list/show/131430.New_Mexico_Authors
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en
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New Mexico Authors (37 books)
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"Amanda Searcy (Goodreads Author)",
"Rudolfo Anaya",
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"Norman Zollinger",
"Roger Zelazny",
"George R.R. Martin",
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37 books based on 9 votes: Not of War Only by Norman Zollinger, Nine Princes in Amber by Roger Zelazny, Georgia O'Keeffe: One Hundred Flowers by Georgia ...
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https://www.goodreads.com/list/show/131430.New_Mexico_Authors
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2016 URSCA Abstracts
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Brianna Ahn Effect of Organophosphate Pesticide Exposure on Neuronal Viability and Susceptibility to Neurodegeneration
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https://www.whittier.edu/academics/ursca/2016
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Brianna Ahn
Effect of Organophosphate Pesticide Exposure on Neuronal Viability and Susceptibility to Neurodegeneration
Organophosphates (OPs) are a widely used and readily available class of pesticides and nerve agents that inhibit acetylcholinesterase (AChE), the enzyme responsible for the degradation of the neurotransmitter acetylcholine (ACh). The toxic effect of AChE inhibition includes hyperstimulation at cholinergic synapses, damage of neurons, and predisposition to neurodegenerative disorders. Prenatal or childhood exposure to OPs have also been found to be related to abnormal brain development, cognitive deficiencies, and other functional impairments. This study seeks to understand the acute effects of organophosphate pesticides—chlorpyrifos (CPF), dichlorvos (DDVP), and diazinon (DZN)—on differentiating PC-12 cell viability and susceptibility to oxidative stress. Analysis of cell viability using the MTS assay showed that all three pesticides have a dose-dependent influence on cell survival when PC-12 cells were exposed during their entire differentiation period. CPF concentrations over 25 µM exhibited significant toxic effects (p<0.01). Whereas, significant toxicity levels for DDVP and DZN were determined at concentrations greater than 100 µM (p<0.01). Additionally, stage-specific studies indicate that PC-12 cells are most sensitive to CPF, DDVP, and DZN toxicities at late stages of differentiation during neuronal synaptogenesis. When exposed to sub-lethal concentrations of CPF, DDVP, and DZN over the entire differentiation period, effects on susceptibility to H2O2-induced oxidative damage was also observed in the PC-12 cells. These results demonstrate that OPs adversely affect PC-12 cell survival and normal differentiation. Exposure to these pesticides also increases neuronal susceptibility to oxidative damage and may predispose individuals to neurodegenerative disease.
Hunter Alexander
Vers une autre vie (Towards another life)
Death. The grand equalizer, yet it is also a part of the circle of life. Ahmadou Kouroma, one of the most influential African writers of the 20th century, discusses this concept of death and life in his work “The Suns of Independence.” This presentation will examine the cycle of life of Fama, the main character and a member of the Malinké tribe, in order to explore the relationship that the Malinké have with death and how they go about celebrating and respecting it. First, we will look at the earthly rites, performed at every Malinké funeral, and their components in order to show the pomp and ceremony that accompany them, as the ceremonies can be quite grand. This includes the so called “griots”, parties, food and animals. From there we will go into how animals are representative of the Malinké beliefs as well as how they relate to Fama so that we can highlight his fall from prince hood into the life of a beggar. Finally, we will examine the belief in reincarnation held by the Malinké, looking into the way that they see death positively, a new beginning. We will examine more closely how Fama embodies this belief to emphasize the journey that he takes. Life is a cycle. We feel both pleasure and pain, but death does not have to mean sadness, instead, it can be a joyful new beginning of life.
Julie Alvarez
The Benefits of Sleep and Exercise on Percent Body Fat
A variety of Americans believe that in order to live a healthy lifestyle they should get the suggested eight hours of rest and exercise at least four hours a week. However, both of these variables may not be fundamental to complete a solid muscle to fat ratio. Americans are not fully aware of what they are ingesting during their meals. During the extent of twenty years, obesity has consumed the bodies of the occupants in America (Weaver Aaron et al, 2009). To reveal why this is happening, this study will utilize the Bod Pod machine to analyze the relationship between the hours of rest and practice of the muscle to fat ratio. The participants were twenty-four females of different ages, body types, amounts of sleep per night, and hours of exercise per week. All participants fasted for an eight-hour period and wore tighter and less clothing than usual. They were also surveyed on the amounts of hours they slept per night, hours they exercised per week, and their weight. Through experimentation with the Bod Pod, we were able to conclude how the hours of sleep and exercise affected the percent fat mass and percent free fat mass. The final analysis can be utilized to prove the validity to use the Bod Pod to calculate whether or not there exists an epidemic of obesity within the United States, and possibly across the globe.
Joseph Anderson and Imelda Castro
The Effects of Stress on Blood Pressure and Heart Rate in Pre- and Post-Stress Environments
Stress is a known factor for a physiological response such as an increase in blood pressure and heart rate. This study analyzed how blood pressure and heart rate is impacted from a pre-stress to post-stress environment. These responses are regulated by the sympathetic nervous system; the primary function of this system is to initiate the fight or flight response in an effort to maintain homeostasis. These responses can affect homeostasis by altering the heart rate, blood pressure, and the production of adrenalin. Aside from these major changes, there are smaller changes such as the release of stress hormones which regulate homeostasis during smaller, less life-threatening events when these responses are triggered. Public speaking is a common event that can create an increase of stress on the speaker which is also referred to as situational stress. Participant’s blood pressure and readings were taken in days prior to their presentation to have a baseline reading for a pre-stress environment. The participants then delivered an oral presentation where their readings were taken at the conclusion of their presentation and these readings were classified as post stress. We hypothesize that there will be an increase in both blood pressure and heart rate due to being exposed to a stressful environment. Both heart rate and systolic blood pressure increased in the raw data within the majority of those who presented with heart rate increasing on average of 73.5 bpm to 92.4 bpm and systolic blood pressure increasing on average from 128.4 mmHg to 145.6 mmHg. After conducting T-tests, our data suggests that the change in heart rate is not statistically significant however, the change in systolic blood pressure is statistically significant due to the data yielding a confidence ratio higher than 95 percent. This data suggests that the fight or flight response is activated when stress is introduced, but since public speaking does not require increased oxygen demand to the muscles, blood pressure increases due to the stress hormones of adrenaline and cortisol being released within the blood in response to this situational stress.
Krissy Arechiga
Divorce and Macroeconomic Instability
Divorce rates in the United States have fluctuated over the past several decades and variation in divorce rates is common across states in any given time period. Variation in the economy’s macroeconomic performance has coincided with the observed variation in divorce rates; thus, the link between divorce and macroeconomic instability has been a topic that has received considerable attention. While there have been many empirical studies on the topic, the methodologies that researchers have employed and the reference periods they have examined have resulted in differing results. The analysis presented here extends the related empirical research by looking at the effects of state unemployment rates, growth in gross state domestic product and inflation rates (measured at the national level) on state divorce rates. The analysis uses panel data from five points in time (1990, 1995, 2000, 2005, and 2010) to analyze whether macroeconomic instability has any effect on divorce rates. A linear regression model is employed and both state- and time-fixed effects are accounted for. I conclude that there is a significant and robust negative relationship between state unemployment rates and divorce rates. National inflation rates, on the other hand, are robust and positively associated with divorce rates. Gross state domestic product is not found to be a significant determinant of divorce rates. However, the estimated relationships are statistically significant only when state and year fixed effects are controlled for. These results add to the existing literature by analyzing three macroeconomic variables and providing greater insight on the influence that these factors have on divorce rates.
David Arellano
Contracts: The Effects on Major League Baseball Player Performance
Major League Baseball (MLB) contracts are a cause of concern for owners and organizations involved with the signing of professional baseball players. Unlike other sports leagues, such as the National Football League, MLB contracts are distinct in the fact that the salaries are guaranteed regardless of performance or amount of games played. Although performance bonuses are often included within a player’s contract and treated as an incentive to perform above expectations, they are negligible when compared to the guaranteed contractual amount. As a result, effort is questioned when players perform below expectations, and they are frequently criticized of engaging in opportunistic behavior due to the lack of incentives after signing a multi-year contractual agreement. Although this behavior is assumed to be widespread throughout Major League Baseball, it may be a common misperception due to availability bias as the most prolific players are criticized of engaging in opportunistic behavior. However, this behavior may not be representative of MLB players that do not garnish as much media attention or fan following. To thoroughly analyze opportunistic behavior, most commonly referred to as “shirking,” this study uses panel data for MLB players from the 2005-2009 seasons to determine whether professional athletes engage in opportunistic behavior with regards to the players’ contract status and performance level. This study examines player performance prior to free agency, following free agency, and for players who are under team control, which includes players who are ineligible for free agency and who are signed to a multi-year contract. Opportunistic behavior is derived by the regression of the various performance measures, which includes OPS, OPS+, WAR, and wOBA, as a function of age, age2, games, playoff appearance, and controlling for the players’ position and contract status. The results substantiate the perception of opportunistic behavior and provide insights that are useful for application within the labor market.
Sansanee Arunpoolsap
Effects of Oregano Oil on Bacteria
Many bacteria today have become resistant to antibiotics. Oregano oil contains carvacrol [2-methyl-5-(1-methylethyl) phenol] and thymol (2-isopropyl-5-methylphenol), which are shown to have anti-bacterial and anti-fungal properties. This study aims to investigate the effects of oregano oil on gram-positive and gram-negative bacteria. According to previous research, these compounds disrupt bacterial cell membranes causing them to change shape and lose functionality. This experiment used two pathogenic foodborne bacteria as the gram-negative and gram-positive bacterial models, respectively: Escherichia coli and Staphylococcus aureus. Both types of bacteria were cultured on SOC media agar plates at 37°C. A disk diffusion method was used to determine the zone of inhibition. E. coli and S. aureus were treated with dilutions of oregano oil and changes to colony numbers were determined. The results show that the number of colonies of both gram-positive and gram-negative bacteria decreased after being exposed to oregano oil. The T-test was performed and the p value was calculated to be 0.002 which means that the difference was statistically significant. Gram-positive bacteria were statistically more susceptible than gram-negative bacteria (p<0.05). This suggests that oregano oil is effective in killing bacteria and can be used as a natural treatment for infection.
Alex Bedolla
Neural Regions of Significance in Gestural Communication of Native Deaf Signers: An fMRI Study
The purpose of this study is to investigate the neural regions associated with gestural communication in native deaf signers who use American Sign Language (ASL). Both ASL and pantomimes engage the manual-motor system in the brain, but only the former engages the linguistic system. Utilizing functional Magnetic Resonance Imaging (fMRI) to map the relationship between ASL recognition and production, and pantomime recognition and production. Participants in our study viewed videos of actions (e.g., person using a hole puncher, whisking in a bowl) and signs/ASL representing the actions. Participants either performed a recognition task or a production task. For the recognition task, videos were presented in pairs and participants had to indicate whether or not the pairs of videos matched (i.e., videos were both ASL or gestures, or a combination of ASL and gestures). For the production task, participants either gestured the action or they produced the sign for the action. This study found that recognition and production of gestures produced activations in bilateral middle and superior temporal gyri, inferior frontal gyrus, and left inferior parietal cortex. Additionally, we found overlap of recognition and production of gestures in area Spt in the left hemisphere, a region previously implicated in sensory-motor processes in language. A comparison of recognition of gestures with recognition of ASL yielded greater activation in bilateral superior temporal and middle temporal gyri. Finally, we found greater activation in inferior frontal cortex and the insula associated with the production of gestures compared to the production of ASL. Our results suggest that manual gestures used non-linguistically recruit neural regions commonly engaged in language processes.
Anders Blomso
Inclusion, Exclusion, and Ideological Frameworks
Where, how, and why, does inclusion occur? On whose terms? Across which borders? Inclusion, and its opposite, exclusion, are definitional exercises that occur within and often remake preexisting ideological frameworks. This panel works from the micro to the macro, examining issues related to inclusion and exclusion, first in the Hindu tantric text, the “Hymn to Kali”. By examining the place of this hymn within preexistent Hindu theological and philosophical frameworks, we will understand that tantric practices integrate many practices and seek to include or unify the individual practitioner in the salvific state or realm of the goddess Kali. Next, research on the experiences of LGBTI individuals in Cape Town, South Africa, illustrates how Christian and Muslim groups have negotiated inclusion and exclusion in their social life, and to what end. This paper contests the notion that religious and queer identities are insoluble by asserting that recent years have seen an uptick in inclusive practices by churches and mosques. A third paper explores how political leaders are affected by ideological frameworks in their decision to try to include in their political agendas different regions in global politics. This final paper asserts that President Richard Nixon’s posture towards South East Asia was heavily influenced by the ideological framework established during the Cold War, by examining primary documents that detail his trips to Thailand, Burma (Myanmar), and Indochina (Laos, Cambodia, and Vietnam), with special attention to his ideas about Communism. Overall, this panel looks at different methodological (textual, ethnographic, political) and theoretical approaches to ideas and practices of inclusion and exclusion across disparate ideological frameworks.
Marcell Blow
Community-Law Enforcement Cohesion
The aspect of community policing implementation is a key theory to a way to reduce crime as well as improve the community-law enforcement cohesion. Tensions between law enforcement officers and the communities they police have increased in the recent years. We need policies and programs that bring police and communities together to reduce this tension and fight crime. With my research question being, which crimes do the methods of community policing have the most effect in the fight against crime and building stronger relationships between law enforcement and the society? This study was administered on a police department residing in a suburban city in southern California. Qualitative data consisted of interviews and observations. Statistical data of the criminal offenses in the community was the quantitative analysis. The accumulation of data was used to find correlations to officer opinions of most prominent offenses in their community they police, the amount of action they spend interacting with the communtiy through programs and if there are programs in place to combat the rise of certain criminal offenses. Research suggests that successful programs change the perceptions that police have of youth, from seeing them as targets to appreciating them as community assets. Also, increasing communication and transparency between police and community members enhances cooperation and trust. Most research focuses on community responses to law enforcement. My research examines how police officers perceive the communities they patrol and which programs or policies they believe would work best to reduce crime and increase police-community cohesion. In agreement with the literature the findings reveal that this department is understaffed, as well as there is a lack of community programs through the department as a result of budget cuts. In addition to the officers feeling the community has a lack of education to what goes into the officers’ daily duties. The findings of this study are influential because now we can make strong correlations based off of statistical data compared with what the officers are experiencing. It is apparent that law enforcement needs to invest in educating the community as well as provide proactive programs for the youth of the community.
Amanda Cabanilla
Form, Function, and Structure: Online Dating While Fat
Fat acceptance movements within the US have become more visible in recent years, coinciding with increasing use of the Internet, which has become a crucial mediator of our social and romantic lives. The Internet has provided a new platform for the formation of romantic relationships, with as many as 23% of Americans aged 25-34 entering into marriages and long-term relationships through online dating (Pew Research Center). How do online dating sites both commodify and fetishize fat women’s bodies while simultaneously creating a space for their liberation and recognition as legitimate objects of desire? To what extent can online users achieve social and sexual liberation within the parameters made available to them on niche dating websites? Similar to ongoing debates about pornography, feminists question whether fat women can challenge normative beauty ideals by intentionally sexualizing their bodies within a society plagued by unequal gender power dynamics and the sexual exploitation of women. Anonymous profiles were created for two mainstream and two niche dating websites/applications and 15 male and 15 female profiles that met predetermined criteria were sampled from each dating platform. An analysis of the form/structures of niche online dating websites for individuals seeking “big beautiful women” suggests the replication of social biases against fat women embedded within the websites in the form of questions indicative of the popular depictions of fat women as undesirable. Furthermore, mobile dating applications also impose additional structural limitations on the formation of users’ online identities not found in web-based dating sites. A content analysis of the free-form response sections within user profiles suggests site users are failing to challenge the structural impositions placed upon them, instead seeming to conform without significant resistance. Niche dating websites perpetuate fat stereotypes through the overt sexual fetishization of female subscribers, suggesting deliberate efforts to maintain popular images of the paradoxically hyper-sexualized undesirable fat woman waiting to fulfill male fantasies. Authentic self-expression online is significantly curtailed by the rigidity of digitized hegemonic gender norms and power relations.
Valeria Cabral
The Battle Between being a Soldier or being a Woman
Before the 1940s when women were attending schools for the first time and being involved in sports, society questioned their competence and demonstrated concerns regarding how these involvements would affect their reproductive system and take away from their female duties. Similarly enough, when women began enlisting in the military in the 1940s their intention to join the military was questioned. When joining the military, women were believed to join with the intention to look for a husband, find multiple sex partners, or simply try to be male. However how often do we see men being questioned on their reasons to join the military? Men are often getting praised and celebrated for wanting to join because they will be defending their country and the values of justice, equality, and freedom. Interestingly enough, women who wish to do the same are denied the freedom to do so and the equal treatment they deserve for also being soldiers fighting for our nation. Melissa Herbert, Assistant professor of Sociology at Hamline University in Minnesota, wrote the book titled, Camouflage Isn't Only for Combat in which she explains how women who enter male-dominated areas are often confronted by societal expectations concerning what makes a “real woman”. Often, the idea of this “real woman” does not involve her carrying a weapon, sleeping in foxholes, and not showering. In this paper, I will demonstrate how despite the advancements women have made in society, and in gaining access to military positions, women still face gender discrimination and have to prove their competence as soldiers, while also maintaining their femininity as women. Considering the growing number of women still entering the military to this day, it is important to ask the following, can women be both women and soldiers at the same time, if the military holds justice, equality, and freedom as its core values, then why is it that women join with the fear of inequality and unjust treatment?
Emily Cadena
LatiNO Student Left Behind? Why Latino Males Are Not Graduating from College
Based on the 2010 Census, Latinos are the fastest growing ethnic group in the United States, and the group is projected to be driving the American work force in just a few short years. However, a concerning anomaly has recently been discovered: Latinos are struggling the most with educational attainment, making them the least likely demographic (especially males) to attend and graduate from college. This paper presents research from 10 interviews with Latino men to examine factors that impeded their capability to attend and/or persist in college. Specific factors examined were family support, financial responsibilities and concern, and encouragement from peers and educators. Unlike previous research, this paper will thoroughly explore father-son relationships, and how various dynamics of such may so heavily influence a Latino male’s decision to attend college or not. Data were analyzed using accordant qualitative research. Findings suggest that of all factors explored, the lack of parental support, in terms of having no knowledge about financial aid, the application process, or the American college system itself contributes the most to Latino males not attending or graduating from college. Suggestions for further research are provided.
Scarlett Cazares
The Function of Social Networks in the Daily Lives of People Experiencing Homelessness
At the start of 2014, The United States had an estimated 578,424 people experiencing homelessness. In 2015, there were 44,359 people experiencing homelessness in Los Angeles County alone. This study seeks to understand the function of social networks in the daily lives of people experiencing homelessness. Research was conducted in a suburban city just outside of Los Angeles. It uses primarily ethnographic methods, including field observations and interviews to understand the ways social capital and recovery capital work in the lives of people experiencing homelessness; as well as what kinds of relationships they have with each other and with “support networks”, which are crucial to transitioning out of homelessness, as well as coping with day-to-day life. It is important to note that much of the research focus thus far has been on youths and substance abusers who are already in shelters. With the focus on demographically similar groups, these studies lack the understanding of the interactions between members of these groups. Additionally, research has predominantly been conducted in urban areas, excluding the experience of suburban homelessness. Matching the literature, findings include the cultivation of resourceful relationships which have resulted in access to services, as well as the utilization of social networks to enhance self-esteem. My research also draws attention to a concept I call “trust networks” which are comprised of people with whom the safety of self and possessions are presumed. Ultimately this study provides an understanding of the social lives of those that experience homelessness in our communities; and the ways in which social networks can aid the alleviation of homelessness as a social problem.
Allison Cox
Lights, Camera, Female Action: Exploring the Media’s Depiction of Women’s Activism in the Arab Spring in Egypt
This paper will examine the roles women played in the “Arab Spring,” revolutionary uprisings that occurred across northern Africa with specific emphasis in regards to female activism in Egypt. As many of the North African societies were changing, through similar means of protest and civil unrest to achieve governmental and societal advancement, the uprisings in Egypt in particular used media as a means of achieving social and political change. This paper will analyze how women were portrayed within the media as icons and symbols of their gender. Through the use of viral videos, social media, and news media, women were able to expand outside of their homogenous representation and claim a sense of agency within this historical movement. However, the roles that they held within the revolution proved to be significantly different from their societal roles post-uprising.
Nicholas Creason
Novorossiya, Crimea and Russian Irredentism
This paper will investigate Russian irredentism with a focus on the region called Novorossiya as well as Crimea. These regions, which lay outside of Russian Federation but were once part of the Russian Empire and its successor the Soviet Union. They seem to hold a special significance in the minds of some ethnic Russians both outside and inside Russia as being an integral part of Russia. I will draw on newspaper accounts as well as on literature to examine the views and goals of the ethnic Russians who wish for these territories to be part of the Russian Federation, as well as the policy goals of the Russian government. My paper will draw conclusions about the reasons for not just the conflict in the Ukraine but also similar conflicts that exist in other former Soviet Republics such as Transnistra in Moldalva.
Samantha Cruz
A Turn Around the Garden: Julia Margaret Cameron's Critique of Garden Imagery in Tennyson's “Maud” and “The Gardener's Daughter”
I analyze three photographs posed and taken by the 19th-century photographer Julia Margaret Cameron in 1867-1868 which are titled after lines from Alfred, Lord Tennyson’s poems “The Gardener’s Daughter” and “Maud.” Both poems by Tennyson use garden imagery in order to create an idyllic space where the woman is sequestered and safe from the increasingly industrialized world beyond the gate. Cameron challenges these Victorian gender conventions by reclaiming the image of the garden. In Victorian society, women were expected to straddle the line between childlike innocence and matronly decorum. Julia Margaret Cameron, being aware of the contradictory expectations of women, sets out to show a progression through her own understanding of the garden, moving from praise to criticism. In “The Rosebud Garden of Girls” (1868), Cameron utilizes the physical closeness of her models as well as her characteristic blurred focus to create an idyllic and ethereal landscape in which the girls enjoy each other’s company. This dreamlike quality celebrates the garden as a female space allowing for female friendship apart from male influence, a parallel to the closeness of the female flowers inside Maud’s garden described in Tennyson’s poem, “Maud.” However, in “The Gardener’s Daughter” (1867) titled after the Tennyson poem of the same name, Cameron moves towards questioning the garden, suggesting the space is inherently unsafe because it allows the male to gaze in and idealize the female, just as the narrator does to the gardener’s daughter in Tennyson’s poem. Cameron does so by again blurring the landscape that lies beyond garden gate in the photograph, creating a feeling of unease in the viewer as the negative space looms threateningly behind the maiden within. Cameron’s criticism of the garden culminates in her The Passion Flower at the Gate (1868), in which her subject is much more dynamic, showing an anxious expression and gripping the garden gate in desperation. Cameron makes use of sharp angles and lines in order to portray the garden as suffocating and menacing because it confines the woman, an image in direct opposition to Tennyson’s idyllic descriptions in “Maud.” By critiquing the garden, Cameron establishes herself as a worthy female artist who ultimately rejects Tennyson’s male representation since it perpetuates harmful ideas of what a woman should be.
Russell De La Rosa
Hitler's Consorts: A Study of German Women in Nazi Germany
This study will investigate the interactions, treatments, and involvements of German women within The Third Reich during World War II. With the general, under-representation of women within the social structure, this study seeks to illuminate the harsh, patriarchal ideologies of the Nazi regime that was forced upon the German women during the pre-war and war periods. I will also offer the argument that German women were stigmatized within a strong patriarchal society, promoting the idea that Nazi nationalism was really heterosexism during World War II. Generally, German women were limited in their involvement in the Nazi regime and were expected to stay home with the children while the soldiers were away from home. On the other hand, there were also German women who were very active within the Nazi regime that promoted the party’s ideologies, as well as promoted the visual of the “ideal German woman” in the eyes of the Nazi regime. As recent studies show, with the increasing conflict and the heat of war, women took a more active role in the Nazi regime during war-time that included work as secretaries, nurses, and even guards. Although the women were able to take more of an active role to somewhat “level the playing field” with the male soldiers, they were still restricted to what Adolf Hitler allowed them to do. Lastly, we will also explore the war crimes German women faced from enemy soldiers during wartime, as well as the acts of female genital mutilation that occurred upon German women that were deemed unfit to further the progression of the Aryan race according to Hitler’s Third Reich.
Tana Duong
College Admission Rates: Examining Correlation Between Externalities and Household Influences to Higher Education Admittance Outcomes in the State of Washington, 2000- 2010
The pursuit of higher education is often associated with overall success in pursuing a career professionally as well as building the foundation for a promising livelihood. Yet the process of attending college has grown in prestige and with that, the pursuit of higher education now consists of greater barriers and commitment through standardized testing and centralized scoring systems. This suggests the conditioning of each individual student, as well as that of members in the student’s household, and additional factors such as upbringing and accessibility to resources may largely influence whether one attends college. Therefore, utilizing survey data collected by the University of Washington, this work examines the relationship between the likelihood that a student applies to college and the corresponding likelihood that s/he is accepted to college. Several surveys were conducted between the years 2000 and 2006. In total, data are available for more than 10,000 subjects who reside in all regions of the State of Washington. Thus, this paper utilizes state-level data to isolate the determinants of the pursuit of higher education by high school seniors. The analysis identifies strong correlations between participant’s gender, extracurricular activity, and upbringing when determining the outcome of college admission acceptance. Understanding the influence of factors that contribute to either the decision of applying to college as well as the rate of acceptance allows for greater encouragement and efficacy in the pursuit of higher education in future generations.
Samantha Ettinger
The Effect of El Nino on Greenhouse Gas Concentrations in the Los Angeles Basin
Greenhouse gases are naturally occurring gases in the atmosphere. However, the combustion of fossil fuels and agricultural practices have resulted in an increased concentration of greenhouse gases in the atmosphere. A surplus of greenhouse gases is a global concern due to the imminence of climate change and the overall warming of the planet which affects populations throughout the globe. On the other hand, the El Nino Southern Oscillation (ENSO) is the result of changing wind circulations that creates more precipitation in the Americas and less precipitation in the Western Pacific. The Los Angeles Air Basin traps pollutants such as greenhouse gases due to the inversion layers that often occur such as the Marine Inversion Layer and the Regional Subsidence Inversion. In this study, I collected Nitric Oxide (NOx) and tropospheric ozone concentration data (for the period 1997-2016) -specific to the Los Angeles Basin from the California Air Quality Resources Board. These concentrations were taken from a spectrometer in the Los Angeles Basin that recorded the highest concentration of specific greenhouse gas (nitric oxide or ozone) for that day. I also collected precipitation data from the California Air Quality Resources Board. Precipitation was measured hourly from the Los Angeles International Airport (33.9333 degrees N, 118.4 degrees W) and daily maximum concentrations were recorded by the spectrometer in millimeters. The data for both greenhouse gas concentrations and precipitation was grouped into wet months (October-April) and dry months (May-September) for comparison. Overall, decreased greenhouse gas concentrations both monthly and annually corresponded to higher amounts of precipitation in comparison to drier months and years (El Nino and Non-El Nino years). There was not a direct correlation between greenhouse gas concentrations and rainfall in the Los Angeles Basin, however, there was a decreasing trend. This suggests that pollutants that are normally trapped in the basin are uplifted due to the low-pressure system that is created with rainfall and are pushed eastward, as the general circulation of storms moves from west to east.
Alissa Fa
Environmental Policy on Invasive Species in Hawaii
In this paper, I address the specifics of when and why certain environmental policies in Hawaii were enacted in regards to invasive species. I will emphasize the importance of these policies and how they have affected and will continue to affect the environment in question. The purpose of this research is to examine Hawaii’s environmental policies in relation to the threat that invasive species, both plant and animal, pose to the fragile and unique ecosystem of the state. The topic of invasive species is growing increasingly important in Hawaii and more broadly, “invasive species” does not refer just to animals, but plant life and vegetation as well, which can affect economic, environmental, and societal health. To support this research, I will examine and draw from various case studies of invasive species, as well as analyze how the state has utilized rules and regulations to contain and eradicate these problems. Drawing from legislative and state/government councils I will identify the policies and the reasons that they were enacted. I will support my research and findings using literature from State and Government resources. Due to previous cases of invasive species and the negative impacts they had on the state it was clear that a council be enacted for rules and regulation, as seen in recent years the action set forth for threats of invasive species have proven to be effective.
Gabriel Forbes
Un Handicap Transformateur: Grigris (2013) de Mahamat Saleh Haroun
The Chadian Director Mahamat Saleh Haroun deals with the topic of being handicapped in his 5th film, Grigris (2013). The purpose of this paper is to analyze how the main character is transformed by his handicap and from this, transforms others. It is a common belief that those who are handicapped also inherit a form of depression which is present within them for extended amounts of time. However, Grigris presents a different perspective which was that the handicap was not necessarily a hindrance. The movie presents a wide-ranging model for the physical and emotional characteristics of those handicapped. However, although he has a paralyzed leg, Grigris has a status in the community, a romantic relationship, and the glory of being a hero all because he is handicapped. First, we will consider how Grigris has a status in the community and how the handicap allows him to perform dance moves that others cannot. Next, we will consider his romantic relationship and link it to his handicap. Finally, we will consider his sense of community altruism and attribute it to his handicap. I will be conducting this presentation in French with a Power Point presentation.
Krystal Frith and Maria Lara
Assembling and Improving upon a Prosthetic Hand using a 3D Printer
Through the Artemis program, we had the opportunity to print a prosthetic hand using a 3D printer. 3D printed prosthetic hands are less expensive and could achieve the same functions as a traditional prosthetic hand, but 3D printed hands have a difficult time at turning doorknobs and grasping smooth surfaced objects. There is not enough friction between the 3D printed hand and a smooth surfaced object because of the lack of palm lines, and the creases on both the palm and fingers. This led to our main goal which was to mirror the grip of the 3D printed hand to the grip of a real hand by determining the coefficient of static friction with different materials such as sandpaper, tire liner, grip liner, and sticky pads. The results would allow us to find the best suited material in order to enhance the grip of the 3D printed hand to allow it to lift and move objects easily. We found that the grip liner had the highest coefficient of static friction by laying a block on a smooth table surface, and in between the table and the block we tested each of the three materials using a pulley at the end of the table. Weights were hung on the end of the string to test the friction of the material by measuring the weights until the block started moving. After doing this, we used the formula µs=mh/mb, mb being the weight of the block and mh being the weight of the hanging mass, to determine the coefficient of static friction, µs. After printing the hand, we assembled the prosthetic hand and applied grip liner to the fingers and palm while improvising because the hand did not print adequately. Once the hand was assembled it was clear that the hand would be more functional than before the material was applied because it was able to lift objects because of the friction created from the grip liners.
Lauren Galantai
The Importance of Physical Activity and Nutrition Education during after School Care
In today’s society, the obesity rate continues to increase among the youth population. Although the government has mandated healthy school lunch programs, there are still many times students are not eating nutrient dense items. In order to improve children’s lifestyle choices, holistic interventions encompassing physical activity and nutrition education need to be implemented during after school care, and they must connect to the child’s homelife. Once a week, for six weeks, I visited a local Whittier YMCA to facilitate the existing healthy eating and physical activity program. Through the implementation of the healthy lifestyle curriculum, the positive impacts of a nutrition program were seen through qualitative observations and interviews. Through student engagement in healthy lifestyle activities and parent engagement in maintaining a healthy household, improvements in both the student’s and the family’s attitudes and choices towards a healthy lifestyle were seen by all the staff members. Staff observed parents packing their children healthier lunches and snacks, the children began taking daily walks around the block, and by the end of the summer the YMCA took the children on a hike. To extend the knowledge of the importance of nutrition and exercise to more youth in the area, I have reached out to other organizations with the goal of implementing similar lifestyle intervention curriculum, constructed and implemented an experiment with a group of high school students regarding the importance of nutrition and exercise, and contacted local Whittier governmental agencies regarding this project and to share the results, so they may encourage other after school organizations to participate in this endeavor of healthy lifestyle education.
Azaria Garcia and Maryam Hami
Correlation between Acacia Mearnsii growth, Prionium Serratum, and stream speed in the Western Cape of South Africa
Scientists have previously struggled with determining exactly what makes the invasive species Acacia mearnsii successful. We sought to discover if there is a relationship between the invasion of Acacia mearnsii, Prionium serratum cover, and stream flow. We predicted that the density of Acacia mearnsii along the Holsloot River in South Africa have an inverse relationship with stream power and the Prionium serratum cover. Riparian habitats in South Africa have been negatively impacted by the invasion of Acacia mearnsii. The increasing density of Acacia mearnsii along the Holsloot River, may reduce light availability for native species. Since flooding leads to the removal of native species along the riparian zone, we asked if this will cause an increase in the density of Acacia mearnsii. To answer this question, 3 transects along the riverbed in 3 different areas along the Holsloot River were used to first measure the ratio of the density of Acacia mearnsii and Prionium serratum. The transects went inland and were 3 meters long. The stream speed was measured directly adjacent to the transects on land using the tennis ball method. In these same areas light measurements were taken using a Decagon septometer. All the results indicate that there is a positive relationship between Acacia mearnsii, Prionium serratum, and stream power along the Holsloot River. So, where Prionium serratum stabilizes the streambank we see increased density of Acacia mearnsii.
Megan Garcia
Standard Cardiopulmonary Resuscitation Efficiency Comparative to Active Compression Decompression Mechanical Devices for Cardiac Arrest Patients: A Meta-Analytic Review
We compared active compression decompression (ACD) mechanical devices and standard (STD) cardiopulmonary resuscitation (CPR) in cardiac arrest (CA) patients. Although active compression decompression is a popular treatment in medicine, there is controversy of the effect of ACD- CPR in comparison to standard CPR. This meta-analysis was to study the effectiveness and safety of active compression decompression devices versus standard CPR when treating cardiac arrest patients. An electronic search for articles through various data bases, PubMed, EMBASE, Web of Science, Cochrane (papers of meta-analysis), etc. was conducted for studies reporting cardiac arrest patients who were treated with CPR. These random trials, published from January 1950 to August 2016, were searched using the phrase “standard cardiopulmonary resuscitation and active compression decompression cardiopulmonary resuscitation”. Primary outcomes considered were the restoration of spontaneous circulation (ROSC) rate, survival rate pre- and post-hospital admission, and survival after 24 hours. Complications of CPR were considered to be secondary outcomes. The effects discovered in the included studies were calculated in accordance to the fixed-effects model and random-effects model. The I^2 method was used to determine the statistical heterogeneity that is assumed in the random-effects model. Data was extracted from the 10 studies that met the criteria for this meta-analysis. The studies included 378 adult CA patients treated with the ACD-CPR and 373 patients with standard CPR. Out of the patients reviewed, 218 were out of hospitals and the other 317 were in hospitals. Three articles were identified as high-quality where the other seven articles had poor methodology. The ROSC rate, survival rate after 24 hours, and survival rate at hospital discharge determined that ACD-CPR is preferable to standard CPR, with a relative risk (RR) values of 1.32 (95% CI 0.92-1.90), 1.87 (95% CI 1.38-2.52) and 2.72 (95% CI 1.52-5.17). The survival rate to hospital admission and hospital discharge showed no significant difference between the two treatments, ACD-CPR and standard CPR, with values of 1.02 (95% CI 0.72-1.56) and 0.96 (95% CI 0.69- 1.34). The ROSC rate and the survival rate after 24 hours showed that ACD-CPR is more admirable to standard CPR. To hospital admission or discharge, there was no significant difference between ACD-CPR and standard CPR in terms of survival rate.
Tyler Garfield
PTSD as a Social Disorder
PTSD can be a serious stress disorder caused from the aftermath of a catastrophic event such as war. The focus of this research is to look at PTSD from a social aspect. Is PTSD a social disorder just as much as it is a psychological disorder? A great deal of research has been done in the past about how PTSD affects an individual’s brain activity. But what has not been looked at specifically is how PTSD affects social interaction. People diagnosed with PTSD still have to go about their everyday lives, and this research targets how their social lives have been affected by the disorder. This is important because with the information gathered, it may pave the way to a better understanding of the disorder and how to better treat people with PTSD. In collecting information for this proposal, I interviewed several participants who have been diagnosed or suffered forms of PTSD and asked questions about their social and personal life. Most people who were interviewed were war veterans along with a few who have been through traumatic experiences in their life. The results were compelling: each person who I interviewed had struggled just as much socially as they did mentally and emotionally. These results were very consistent and support the logic that PTSD is in fact a social disorder.
Julia Giffin
Propaganda and the Women of the Soviet Military
This paper will examine the differences in the portrayal of female combatants in propaganda and reality, specifically focusing on women in the Soviet Military during World War II. While women made up a much smaller portion of the military than men, as the war progressed the number of women in the military increased, with some receiving the highest honor in the Soviet Military, Hero of the Soviet Union. Women faced many difficulties during their time in the Soviet Military that their male counterparts did not, but it did not stop them from having major successes on the battlefield. This paper will compare and contrast the depiction of women in the Soviet Military in propaganda and the reality these women faced, and what impact this difference made for these women, as well as societies view of them.
Terianne Hamada and Leslie Lien
Synthesis and Photophysical Studies of Lophine Derivatives with Polycyclic Aromatic Hydrocarbon Moieties and Electron-Donating Groups
Lophines (2,4,5-triphenylimidazoles) are of interest due to their luminescent properties, which can be utilized in fields such as bioimaging and optical data storage. 9-anthracenecarboxaldehyde and 1-pyrenecarboxaldehyde were used to prepare lophine derivatives with the polycyclic aromatic hydrocarbon moieties in the 2-position, in good yield. 9-anthracenecarboxaldehyde and 4,4’-dimethoxybenzil were used to prepare a lophine derivative with anthracene as the substituent at the 2-position and electron-donating groups on the aryl rings at the 4- and 5-positions. 10-chloro-9-anthracenecarboxaldehyde was used to prepare a derivative with the chloro-anthracenyl substituent in the 2-position. Photophysical properties of these lophine derivatives were examined in acetonitrile solution at room temperature. The absorption spectrum of the anthracene lophine had maxima at 254, 196, 346, 366 and 385 nm (values for e were 1.02×105, 1.08×104, 4.90×103 8.16×103, and 1.10×104 cm-1M-1, respectively), while the emission spectrum had a maximum 496 nm. The absorption spectrum of the pyrene lophine had maxima at 239, 280 and 374 nm (values for e were 5.29×104, 2.21×104, and 2.78×104 cm-1M-1, respectively), and the emission spectrum had a maximum at 366 nm. The absorption spectrum of the anthracene-dimethoxybenzil lophine had absorption maxima at 250, 257, 308, 355, 375, and 395nm (values for e were 1.29×105, 1.16×104, 4.40×103, 7.40×103, and 9.20×104 cm-1M-1, respectively), and the emission spectrum had maxima at 540nm. The absorption spectrum of the chloro-anthracene derivative had absorption maxima at 250, 257, 308, 355, 375, and 395nm (values for e were 7.84×104, 8.51×104, 6.80×103, 3.70×103, 7.40×103, and 9.00×103 cm-1M-1, respectively), and the emission spectrum had maxima at 381 and 527nm. Excited state lifetimes and fluorescence quantum yields at room temperature were determined for all compounds.
Brittany Hedderson Moses
Preventative Measures and Coping Techniques for Athlete Burnout
Athlete burnout is a phenomenon that has been studied for decades and several different theories have been used to explain its origins. Although, this review will present different approaches to burnout, each theory understands burnout as a manifestation of specific responses to stress. Athlete burnout is generally and most often defined as withdrawal from a formerly enjoyable activity and characterized by physical and emotional exhaustion, reduced sense of accomplishment and sport devaluation (Raedeke & Smith, 2001; 2009). Burnout is found among competitive athletes of all ages, sports and cultures and can be experienced as varying levels or as a complete withdrawal from a sport (Coakley, 1992; Smith, 1986). Although research on the prevalence of athlete burnout has not been extensive, the need for a review is imperative because of the troubling effects burnout has on an athlete’s well-being (DeFreese & Smith, 2014; Lundquist & Sandin, 2014). Recent literature has presented conflicting results concerning identity as a potential risk factor and protective measure against burnout (Brewer, Van Raalte, & Linder, 1993). Considering these discrepancies, a literature review is necessary to critically analyze the current research and examine the reasons for varying results. This review will also update the knowledge base on the importance of mental skills as coping techniques to prevent and mitigate the effects of stress related to athletic performance (Khodayari, Saiiari & Dehghani, 2011). Conclusions and future directions are identified as well as implications for professionals to protect the mental health of athletes.
Eric Hinwood
The Encaged Partridge and it’s Flight: Madame Brouette (2002) by Moussa Sene Absa
Madame Brouette (2002), directed by Moussa Sene Absa, is a feminist film that has a unique look at the Senegalese culture regarding the abuse of women by focusing on a woman entrepreneur who is trying to empower herself and her friends to overcome the three main ways in which they experience oppression: physically, mentally and legally. The purpose of this essay is to discuss the Senegalese cultural issues that the film uses to further the plot and to demonstrate how the protagonist attempts to overcome some of the aforementioned issues, as well to highlight the relationship between our protagonist and a caged partridge. The main character, Mati “Mrs. Wheelbarrow”, commits many actions, both objectively good and evil depending on the perspective of the observer, to fight the physical oppression of her country’s culture, especially regarding Ndaxte, and interaction between Naago and herself. First, we will focus on physical oppression, using the interaction between Biraan and Ndaxte, and between Mati and Naago, while also touching on cheating, drugs, and money in order to bring these problems to light. All physical wrongs and physical oppression are discussed in this section, along with what Mati has done to combat them and ensure her freedom. Next, we will discuss all the mental oppression and wrongdoings and how Mati trys to change the minds of others through her own actions and ideas. This section focuses on problems with how men look at women, the pressure to have children, and problems with social classes. Finally, we will debate the ways that Senegal has created legal problems for women, because in the film it is made extremely clear that it is very difficult, nigh impossible, for a woman to open a business, to have security in life, and to earn money to use for her own needs and desires without a man. The partridge, similar in various ways to Mati, begins this film in a cage. Their similarities will be revealed in each part of this essay. This presentation will be in French.
Hailey Holmgren
Behavior and Social Development of Maltreated Children in Foster Care
Many studies have looked at how maltreatment relates to behavioral development and school performance as well as foster care and behavioral development and school performance, but not much research has been done on children in foster care who have experienced maltreatment. Since many children who are in foster care have experienced maltreatment, this literature review focuses on how both of these adversities affect behavior and school performance specifically during early childhood and middle childhood, and slightly into early adolescence. This literature review questions if children facing these adversities are more likely to have lower school performance and higher risk behavior compared to their peers not in the foster system and non-maltreated. It is examined if interventions can increase school performance and decrease risk behavior. This research found that children who are in foster care and are maltreated show more externalizing and internalizing behavior problems as well as difficulty in school. Interventions have helped these children when they are implemented during transitional periods of their lives. If more knowledge is available about this vulnerable group of children, they may be less likely to show risk behaviors and have higher school performance.
Emily Iniguez and Maria Rea
Wrong Integration Done Right
Dr. Bill Kronholm, in his article, “Integration By the Wrong Parts”, gives detailed explanation of how to solve a calculus integration problem by using the “wrong parts”. The term of “using the wrong parts” refers to the manner by which integrating by the incorrect parts allows for a simple function to be expanded into a longer and more intricate equation, resulting in a more condensed product utilizing the Taylor Series. This theory was tested with different integral equations and the results were astounding. Kronholm’s theory is proven in this experiment by showing that the mathematically correct manner of evaluating a mathematical statement is not always the only way of solving for its product; in fact, the use of the incorrect parts could produce more accurate results. Interestingly enough, although the integral that was evaluated turned into a long and complicated equation, it was able to be condensed much more easily than by attempting to evaluate it utilizing the correct procedure. If the correct procedure was used, this would have never produced a simplified anti-derivative that was being solved for. This experiment proved that solving an equation incorrectly may actually yield a much ``nicer'' looking product.
Alyse James
Minority Groups in the Punk Scene: Before there was Punk, there was a Band Called Death
My research is centered on minorities in the Punk Rock Scene. The punk rock scene was in response to normative mainstream culture, but even in the Punk Scene, minorities (racial minorities, women, non-gender binary identifying etc.) were underrepresented. My objective was to showcase these underrepresented bands, as well as to showcase the white, male, cis gender, and heterosexual privilege that still remains, even in the punk scene. This was a final project for my Sociology of Punk Rock Class. I watched a documentary called Afro Punk at Garret house and James Spooner the director of the film, after the screening said that Maurice Mitchell who was featured as the lead singer in the band Cipher, was now one of the leaders in the Black Lives Matter Movement. That sparked my interest, because I think there is a strong correlation between Punk Rock and Social Movements. The Riot Grrrl movement was formed out of the Punk Rock Scene. I was able to get in contact with Maurice, and asked him a number of questions about his experience in the Punk Rock Scene, and his views on the lack of minority representation in the scene itself. From the research I conducted I found that in order to change the dynamics of Punk Scene to make it less oppressive to marginalized groups, you’d have to restart the scene all together. My research poses the question, “Is Punk even punk?” If the punk scene is supposed to be a safe space for those who don’t fit in the main stream culture, then why are marginalized groups still fighting for representation in the punk scene?
Alexandra Jimenez and Laura Smith
The Impact of S-Nitrosocysteamine on F508Del CFTR Protein Expression, Maturation, and Function to the Cell Surface
Cystic fibrosis can be a devastating disease having the ability to shorten the lifespan of a patient. There are 30,000 people in the United States that suffer from cystic fibrosis today. F508del is the most common Cystic Fibrosis Transmembrane Regulator (CFTR) defect. Though there have been advances in discovering pharmaceutical targets for Cystic Fibrosis, there are no ideal treatments for correcting the F508Del CFTR protein to the cell surface. The existing drugs and methods used to treat F508Del CFTR still leave patients at risk of advancing to severe lung disease and death. S-Nitrosoglutathione (GSNO) is currently being tested for its potential to treat F508Del CFTR in patients. S-nitrosocysteamine (CA-SNO), S-nitroso-Coenzyme A (CoA-SNO), and S-nitroso-L-cysteine (L-CSNO) have also been found to be F508Del correctors in a previous study. These s-nitrosothiol signaling molecules increase the expression, maturation, and function of the F508Del CFTR. The goal of the current study is to get a better understanding of the mechanism of action that the molecules use to correct F508Del CFTR. Specifically, western blot was used to observe the effect of different concentrations of CA-SNO and Vertex 809 on the CFTR maturation of Wild Type CFBE-410 CF cells and CFBE-410DeltaF Cells. Overall, the western blots for CFBE-410 CF WT cells and CFBE-410 DeltaF Cells showed the possibility that CA-SNO works with Vertex 809 to enhance their effects on delF508 CFTR expression at the ER. Biochemistry, pharmacology, catabolism, transport, and synthesis of CA-SNO, COA-SNO, L-CSNO, and GSNO in the airway epithelium need to be further investigated.
Mathew Johnson and Brian Doyle
Engineering Stilbene and Azobenzene-Based Metal Organic Frameworks for Tailored Light Emission
Metal organic frameworks offer a degree of predictability in the topology of the resulting structures. The primary MOF geometry (i.e., the shape of the secondary building unit (SBU) from which the MOF is constructed) can be influenced by both the linker shape and the metal coordination geometry. The ultimate structure observed in the solid-state can therefore be predicted in ideal cases by considering typical metal ion and/or ligand coordination preferences. This can lead to the generation of homologous series, such as O. Yaghi’s isoreticular IRMOF materials), and can allow materials properties that are influenced by the solid-state structure to be tuned in a rational manner. For example, we report here two distinct Zn-stilbene MOF structures that exhibit different solid-state emission profiles, resulting from important differences in stilbene-stilbene distances in the two different geometries. Varying the reaction conditions between stilbene dicarboxylic acid and zinc nitrate affords both 2D and 3D geometries, with the difference between materials (and, hence, in structure) clearly evident upon observing the luminescence color. Similarly, we reported changing the metal ion to give a series of isostructural 2D structures with the generic formula M3L3(DMF)2. Here, the observed luminescence is solely a function of the stilbene-stilbene geometry, not the metal. The emission spectra are similar, only varying in intensity due to the presence of a quenching paramagnetic metal (Mn). Here we report on a novel phenomenon whereby we are able to modulate the secondary structure of a MOF (i.e., generate structures with the same SBU geometries but with different arrangements of these SBUs with respect to each other) through subtle variations of the ligand electronic structure by incorporating the linker azobenzene dicarboxylic acid. Theoretical and experimental results will be presented.
Julio Juarez
Indigenous Women's Encounter with “Feminism”
This comparative work examines indigenous women’s range of involvement in indigenous movements, particularly those protesting neoliberal policies in Canada and Southern Mexico. Ranging from women’s involvement in the front lines of the Zapatista movement, their involvement in the creation of the Nisga’a common bowl, or women’s involvement in the Zapotec’s struggle for autonomy. Exploring how place, colonial and postcolonial history, and identity shape indigenous feminism, while also exploring the distinctions, if any, between nationalism and women’s agency in these movements and their relevance in the movement. All while taking note of the perceived gender roles that they face as women and as indigenous women. This work hopes to shed some light on feminist perspectives that separate themselves from traditional western feminist thought, but also looking for the similarities and how these ideas are implemented into the movements and to what extent that they have on women's participation and the effect it has had on the movements.
Hyesoo Kim and Stephanie Zamora
Antibacterial Properties of Selected Herbs on Bacillus Megaterium, Enterobacter Aerogenes and Enterococcus Faecalis
Bacteria have developed antibiotic resistance creating the need for natural alternatives. Herbs, a class of natural products, have been shown to inhibit bacterial growth in various studies. In this study, antibacterial properties of seven herbs were tested on Bacillus megaterium, Enterobacter aerogenes and Enterococcus faecalis. The herbs in the study were extracted with methanol, filtered, roto-evaporated and dissolved in dimethyl sulfoxide (DMSO). Bacteria were grown in tryptic soy broth and incubated overnight. The samples were then diluted to match a 0.5 McFarland standard to ensure a fixed bacteria density. Samples were composed of 1500µL of diluted bacteria with 20µL of herb samples and incubated/shaken at 37°C for 45 minutes. The percent transmittance of each sample was measured at a wavelength of 625nm hourly until the control decreased to less than 50%. Percent inhibition was determined by normalizing the percentage transmittance of the sample at 50% of the normalized control. Bacillus megaterium exhibited the greatest inhibition with the herbs (41-67%). In contrast, Enterobacter aerogenes had an inhibition of 33-58%, and Enterococcus faecalis had an inhibition of 11-27%. The minimum inhibition concentration (MIC) for catnip on Bacillus megaterium was 0.014g/mL. In the future, additional MIC values will be determined, and additional bacteria will be tested. This study has demonstrated the potential for herbs to be effective antibacterial agents.
Daria Kosmynina
Biomarker Research for Behcet’s Disease
Behcet’s Disease (BD) is an autoimmune disease that originated along the Silk Road and is prevalent in Asian and Mediterranean countries. However, BD is a rare disease in western countries such as the U.S. and Spain. It develops from genetic and environmental factors and as a result, the immune system attacks self, causing symptoms such as oral and genital ulcers, skin and eye lesions, and joint disorders. Currently, BD does not have specific biomarkers that could guide doctors determine the disease in patients. This summer, only serum from healthy patients was obtained and purified with Affinity Chromatography, and samples were tested with a Western Blot to identify impurities. The Magnetic Bead purifying technique was performed to isolate peptides from HLA that is bound to a mouse biotinylated antibody, to the constant region of the sHLA. Streptavidin is bound to magnetic beads, which bounds the biotin molecule, on the antibody; the peptides are then removed from this complex by elution with 0.1% FA. After a Western Blot was done, the bands were accurate except for the purified sHLA and purified antibody samples, which should have shown one band instead of two. This indicates that there was excess of antibody and sHLA that the Magnetic Beads did not capture. Once this method is optimized, the purified peptide samples will be sent to City of Hope for a Mass Spectroscopy analysis.
Nathan Landau
Can a GINI Stimulate Growth? Examining Effects of Income Inequality on GDP Growth Rates
Income inequality is a topic that has been heatedly discussed both within economies and on a global scale. While perhaps intuitively negative, with respect to the overall health of an economy, theories do exist that point to a positive relationship between income inequality and Gross Domestic Product (GDP) growth, though the majority of the existing literature on the topic concludes that high amounts of income inequality negatively affect economic growth. Economies realize GDP growth through increases in factor endowments (i.e., land, labor and capital), by qualitative improvements in existing factors, and by general technological advancement. For example, greater investment can lead to capital formation and job creation. Using a linear regression model and data for 106 countries that span the period from 1980-2014, this project examines the relationship between income inequality, as measured by GINI Coefficients, GDP growth rates, while controlling for other determinants of economic growth. The relationship is examined generally and for country cohorts that correspond to World Bank income classifications. The relationship between inequality and growth is important, especially for developing countries, as their continued growth can be maximized by identifying the optimal, level of income inequality. The empirical analysis reveals a consistent negative relationship between income inequality and GDP growth rates over the time period examined. Thus, government policies should be geared towards reducing income inequality to realize higher rates of GDP growth.
Jimmy Lopez and Charisma Johnson
The Effect of Exercise on Blood Oxygen Saturation, Heart Rate, and Blood Pressure in Athletes Compared to Non-athletes
There are notable benefits of exercise as it pertains to the overall fitness of the heart and the individual. Our research set out to understand the advantage and difference in the effect of strenuous exercise between athletes (AT) and non-athletes (NA) through a collection and comparative analysis of the blood pressure (systolic blood pressure/diastolic blood pressure mmHg), heart rate (HR beats/min), and blood oxygen saturation (SpO2 %) from 14 young adult individuals. We hypothesized based on previous trends and research that athletes (AT) will have a lower heart rate and blood pressure post exercise compared to non-athletes (NA) due to their increased level of fitness, accompanied by a decrease in blood oxygen saturation (SpO2 %) overall for both AT and NA. However, heart rate values recorded post-exercise significantly differed between the two groups as NA had a value of 84.38 beats per minute that surpasses the AT value of 78.66 beats per minute (P<0.05). As far as blood pressure, there was no significant difference of systolic pressures among both groups (P>0.05). On the other hand, diastolic pressure recorded after exercise showed a significant difference as the NA value of 98 mm Hg was considerably higher than AT at 79 mm Hg (P<0.05). In terms of SpO2 there was a decrease among AT of 2%, yet an increase in NA of 1% following physical activity. Nonetheless, these changes were not significantly different (P>0.05). We were able to conclude based on the results that regimental physical activity has an impact on the overall level of fitness of the individual. Overall findings suggest that due to the effects of exercise regardless of being an athlete or non-athlete, the heart rate and blood pressure will increase while the blood oxygen saturation level slowly decreases, depending on fitness of the individual.
Joshua Lopez
Lung Cancer Screening in Survivors of Previous Cancers
Lung cancer-screening with low-dose CT (LDCT) has been shown to decrease mortality in high-risk patients. The United States Preventive Services Task Force recommends LDCT for patients age 55-80 with at least a 30 pack-year history of smoking. Lung cancer screening in patients with a previous history of malignancy raises a complex set of issues. Patients with a previous history of malignancy may be at higher-risk for developing lung cancer. Those with a history of solid tumors are at risk of cancer recurrence or metastatic disease to the lung. It is unclear whether the same management strategies can be used in assessing nodules among these patients. We analyzed data from a database of lung cancer screening performed at a National Comprehensive Cancer Network designated comprehensive cancer center and identified all patients enrolled in the lung cancer-screening program who had a previous history of cancer. Patients were enrolled in the lung cancer-screening program if they met NCCN guidelines for screening and if their treating oncologist estimated their median survival to be greater than 5 years. Patients were excluded if they were already undergoing chest CTs as part of surveillance for their previous cancer. After a discussion of the risks and benefits of lung cancer-screening, patients underwent LDCT. Patients with negative scans underwent repeat annual LDCT. Management of all positive scans was determined in a multidisciplinary lung cancer-screening board. From 2012-2015, 142 patients with a previous history of cancer were enrolled in our lung cancer-screening program. The mean age of patients was 65 ± 9 years. 58 (40%) were current smokers and the mean smoking history was 44 pack years. Breast cancer was the most common previous cancer diagnosis (51/142,30%) and prostate cancer was second (40/142,23%). 20 patients (12%) had a previous, remote history of lung cancer, but were not undergoing active surveillance. Of the initial scans, 89 (62%) were positive, with a mean nodule size of 8 mm. Among the positive scans, the vast majority 52 (58%) were Lung-RADS category 2. A total of 7 cancers were detected (5%)–6 new primary lung cancers and 1 metastatic melanoma. Patients with a significant smoking history who also have a previous history of malignancy may be at increased risk for development of lung cancer. Nodule assessment in these patients is more complicated due to the possibility of metastatic disease. In our experience, the diagnosis of a new primary lung cancer was much more common than the identification of metastatic disease.
Lindsey Macdonald
Assortative Mating and its Effect on Modern Household Income Inequality in the United States
Household income inequality has been rising in the United States since 1970. Only a portion of this inequality is explained by the underlying wage inequalities. A variety of other factors account for the remainder of the trend. Specifically, empirical evidence suggests that assortative mating has contributed to the rise in household income inequality; however, the impact of this phenomenon is debated and, thus, remains an open empirical question. Assortative mating is a mating pattern and a form of sexual selection in which similar individuals mate with one another more frequently than would be expected under a random mating pattern. With respect to household inequality, this pattern may have implications through individuals with similar education levels being more likely to marry or cohabitate. To explore this potential relationship, we perform an empirical analysis using data from the American Community Survey for the years 2010-2014 that includes regression of husband’s education level to that of their wife’s. We then construct two contingency tables, one for the distribution of pairs by education level and another for the distribution of pairs by random matching. The distributions are then employed to create corresponding Lorenz Curves and the calculation of associated Gini Coefficients. This permits determination of the degree of household income inequality that can be attributed to this sorting of spouses.
Jessica Martineau
Tantra and Unification: A Study of the Hymn to Kali
This paper focuses on “left-hand” tantric ritual practices that are situated within a Hindu theological and philosophical framework. Tantra (lit. weave) as a body of texts and practices foregrounds the importance of sadhana (ritual visualizations and initiations). “Left-hand” refers to a specific type of Tantra that incorporates often forbidden activities (e.g., sexual visualization) into sadhana. The paper explores concepts regarding the cosmos that are intrinsic to understanding tantric practices and texts. Concepts include but are not limited to the three gunas or qualities that are present in all things; Siva (efficient cause of the universe) and Sakti (animating female energy) as dualistic, omnipresent, and paradoxically unified; and, the balance between Purusa or consciousness and Prakrti or nature/matter. The ultimate goal is to analyze the connections between these concepts of the cosmos in relation to devotional practices and imagery of the Goddess as presented in the “Hymn to Kali” and a commentary on it; I will show how the structure and content of the text focuses on unification between (in terms of the panel abstract as a whole, “inclusion” of) a devotee and (in) the Goddess, in the process of visualizing a transition from destruction to compassion, based on particular understandings of the gunas, etc. Evidence from field research is not a component of this paper, but I will suggest avenues for further research in that regard.
Justine Mata
The Phylogenetic Relationships of Bursatella Leachii Subspecies and Their Sister Group Stylocheius
Aplysiidae or sea hares have an important value in the field of biology. For example, neurobiologists examine their large neuronal system to better understand memory and learning, and ecologists examine their defense mechanisms through the toxins they secrete. These toxins have the potential to be used in the medical field, for example, some chemicals from sea hares have been important in cancer research. Sea hares contain around 80 species; however, their relationships between one another are not entirely clear. Bursatella leachii has a circumtropical distribution and is hypothesized to have around seven subspecies. However, this has not been tested yet. Additionally, the relationship of B. leachii to other sea hares has not been resolved. Here, a phylogeny of B. leachii was reconstructed to test the B. leachii subspecies hypothesis and to understand how B. leachii is related to other sea hares. Genes from B. leachii specimens were amplified using polymerase chain reaction. The genetic information was then used to reconstruct the phylogenetic relationship of B. leachii and other sea hares. The preliminary results show that B. leachii is a monophyletic group that is sister to Stylocheilus sea hares. Within B. leachii there is some evidence that subspecies exist, but population genetic methods may be required to determine them. B. leachiii is an important species to study as a purple fluid secreted by the species has been shown to contain a protein with anti-HIV properties. Understanding the phylogenetic relationships of B. leachii is of medical importance as it potentially provides alternative sources for anti-HIV proteins and expanding HIV research.
Collin McDowell
Understanding the Context and Ramifications of Hong Kong’s Umbrella Revolution
This paper describes the short-term effects of the 2014 Umbrella Revolution on the political and social atmosphere of Hong Kong. Additionally, the paper offers insights into the future of Hong Kong’s government, activist groups, and relationship with mainland China. The protests, which were led by activist groups consisting primarily of high school and college level students, had the effect of politicizing the youth and revitalizing the notion of political participation in Hong Kong. However, the use of force by the police during the Umbrella Revolution, especially when considered in light of the more recent Mong Kok Fishball Riots, strikes a worrisome note about the future of political discourse in Hong Kong. The paper is based primarily upon research and personal interviews compiled one year after the event of the Umbrella Revolution, including opinions from a number of sources involved with the protests, such as professors, businessmen, and protesters.
Alyssa Mendez
Teacher Perceptions of Inclusive Education
As public schools within the United States are facing pressure to alter the general education classroom setting into a more accommodating learning environment for students of all abilities, teachers are hesitant to undergo such a transition. Many advocates for inclusive education insist that the integration of students with special needs and typically performing students can be a mutually beneficial learning experience. Current literature concerning inclusive education of children with disabilities makes two dominant arguments: teachers’ differing attitudes towards the efficacy of inclusive education within in a general education classroom setting, and the overrepresentation of racial/ethnic minority students, who are often referred into segregated (non-inclusive) special education programs. However, we do not know how the race/ethnicity of special education students impacts how teachers perceive the efficacy of including these students in a general education classroom setting. This study utilizes a combination of quantitative and qualitative methodology, comprising surveying and interviewing a sample of twenty-seven special education and non-special education (general education/multiple subject) public school teachers. The survey questions concerned teachers’ experiences and views involving classroom inclusion as a feasible and beneficial option for both special needs and typically performing peers. In addition to the surveys, teachers were invited to partake in an interview to supplement their survey responses in more depth. After reviewing the responses, it was evident that an overall lack of time, academic training, experience with students with special needs largely contributed to teachers’ confidence (and lack thereof) with inclusive education. Teachers of color were also more likely to acknowledge the abundance of minority students within special education. Almost every teacher indicated that all students deserve a right to a quality education despite any disabilities. However, as the responses suggest, a quality education is not feasible for all students, particularly when the teacher does not feel confident in his/her training. This study revealed that this particular sample of general education teachers do not feel as though they can successfully accommodate the academic needs of students in special education due to this lack of training and experience. The benefits of inclusive education continue to be obscured behind teachers’ self-proclaimed lack of confidence and inability to provide a proper education for all students. An effort to properly educate and train these teachers may reduce this lack of confidence.
Alyssa Mendez
Art and Madness in Victorian Photography
I examined two sets of photographs; one set by art photographer Julia Margaret Cameron, and one set by doctors Hugh Welch Diamond and James Crichton-Browne. As photography became a distinguished medium in the Victorian era, the camera became celebrated for its ability to represent truth, a means to capture the literal exterior of a scene or individual. However, Julia Margaret Cameron, a renown British photographer, admitted to utilizing her camera to faithfully record what she interpreted as one’s “inner being”, or soul. Cameron stated that through photography, she was able to simultaneously record the features of the outer-being as well as the greatness of the inner-being. But how can a camera concurrently record the greatness of the inner, as well as the outer? This notion seems both contradictory and difficult to understand, as an individual’s internality is not visible through a single, stagnant image. Interestingly, early psychiatric professionals of the Victorian period also assumed that the camera could authentically capture the inner being, in particular, the mental instability of madness. Through their photographs, Dr. Hugh Welch Diamond and Dr. James Crichton-Browne explored the physiognomy of their patients quite faithfully, in an attempt to make a connection between the individual’s physical appearance (the exterior) and their mental health (the interior). These photographs of patients were taken in order to create medical documentation as well as diagnostic purposes. My paper displays how Julia Margaret Cameron and two doctors, Dr. Diamond and Dr. Crichton-Browne utilize the camera to “record” both the interiority and exteriority of their subjects. However, I conclude that in pursuit of capturing the inner being, these photographs veer away from “truth” as the photographers focus their attention on items of clothing and manipulation of their subjects’ appearance. I ultimately question the legitimacy of the doctors’ intentions behind these photographs and argue that the so-called inner-being that the doctors are capturing is nothing more than notions that are in the heads of the photographers that they purposefully attribute to their subjects.
Sarah Meuwissen
Evaluation of Long-Term Effects of Chlorpyrifos Oxon and Diazionon Oxon on Differentiating PC-12 Cells
Organophosphate (OP) pesticides are a widely used and readily available class of pesticides used for protecting crops and livestock. OP pesticides gain their toxicity by inhibiting acetylcholinesterase (AChE), which leads to hyperstimulation at the cholinergic synapse. Hyperstimultation affects neuronal development, function, and survival. Toxicity of Chlorpyrifos oxon (CPO) and Diazinon oxon (DZO) were determined by exposing rat pheochromocytoma (PC-12) cells to a range of concentrations (10 µM, 5 µM, 1 µM, .1 µM, and .01 µM). MTS assays were conducted to determine the cell viability and effect of these toxins. Once EC50 levels were determined, stage specific toxicity for DZO and CPO were conducted with sub-lethal concentrations at 0, 24, 48, and 72 hours. Data revealed that DZO (100 µM) demonstrated no impact on the longevity of PC12 cells at any stage of differentiation. CPO (100 µM) reduced cell survival at later stages of cell development. By understanding the toxicity of CPO and DZO, we can better understand the neurotoxicity of these contaminants and their possible implication on neurodegenerative diseases.
Reneé Miller
The Changing Faces of Death in America: Shifting Trends in American Funerals
Scholars have long noted the changing culture of funeral practices in North America and our cemeteries serve as a historic record of death and mortuary practices in America. Advances in technology and cultural diffusion have changed the landscape of the American funeral industry and the progression and choices of mortuary practices and beliefs have evolved tremendously. The American culture surrounding death practices is in constant evolution and most Americans are unaware of the multitude of choices for the disposal of our body postmortem. Cremation has become a popular choice in recent decades after the Roman Catholic Church lifted its ban on cremation in 1963. According to a 2011 poll in the publication U. S. Catholic, 48% of 151 Catholics surveyed said they preferred cremation over traditional burial despite their belief that the body is needed for their eventual resurrection from the grave. Have changes in American death practices shifted due to the diffusion of practices from our diversity of cultures? Or have our practices changed due to other social factors such as economics or environmental concerns? This paper explores these questions while analyzing the technical advances made in the funeral industry, researching surveys and data on burial patterns and mortuary trends, and my field notes from several Southern California memorial parks. It is important to understand the issues and choices involved in our funerary practices as we all will complete this cycle of life at some point. American funerals have become a multi-billion-dollar industry and according to the Public Broadcasting System’s 2013 statistics, Americans spend 20.7 billion dollars a year on over 2.4 million funerals and their associated practices. My first assertion and hypothesis was that our economic downturns and recessions were the reason why more Americans are going with cremation due to cremation being half the cost of traditional burials. However, research and survey findings lend evidence to support that those individuals who choose cremation over burial are generally well-educated, from the upper class, and environmentally aware (Laderman 2003: 200). It is true that over the past few decades Americans have had to consider the ecology of death in a crowded country as well as its effects on the environment and my research indicates a growing trend in American death practices for “green” burials and “eco-friendly” burials.
Jasen Missailidis
Living Up the Aging Process
Current research shows that having meaning in the later stages in life leads to living longer, happier, and healthier lives. When elderly people have things that bring meaning into their lives, a specific kind of importance is latched to them. Having meaningful characteristics among the later stages in life provides elderly people with a desire to continue performing those characteristics which leads to living longer, happier and healthier lives. Therefore, it is the purpose of this study to provide an answer as to which aspect of meaning predominantly gives elderly people the determination needed to keep living. Finding this conclusion is important because it will help the overall well-being of elderly citizens by providing them an answer as to which aspect of meaning they should strive to achieve. The steps taken in this study which helped to come up with a conclusion included; asking a sample of elderly citizens to rank the top four aspects of meaning that currently provide their lives with the determination needed to stay alive, as well as a rationale for their answers, then all answers were combined and ranked to find the top three most predominant answers throughout the participants. My findings concluded that family, friends and faith were the top three characteristics of meaning among participants. I found that family was the most important aspect among participants because it was the reason for their existence. Friends were found to be the second most popular answer because they are what keeps them socialized and as a result is their way of feeling like a part of society. My findings concluded that faith was the third most answer because it provided them with routine beliefs and practices to follow among their daily lives. Results throughout the study remained consistent and it is clear that we must hold onto things that are important to us. This study shows that in the end all that matters is the simple aspects of life because they provide a positive well-being and overall reassurance.
Cynthia Montoya
The Sexual Socialization of Millennials: Are We Talking About Sex?
Current research on sex-related information available to millennials has focused primarily on the impact of socializing institutions and relationship dynamics on adolescent and adult sex practices, and the gender-biases embedded within the sexual socialization of adolescents. However, little research has been done on the various individuals, both within and outside of the nuclear family unit, and social and technological mediums through which millennials share and receive sex-related information. In the age of technological innovation, does the Internet provide millennials with an alternative means with which to access sex-related information that has otherwise been limited due to factors such as race/ethnicity, religion, socioeconomic status, and gender-bias? “Millennials” is loosely defined as a person born after 1980 and approaching adulthood during a time of rapid technological change and the rise of mass media. This study consists of a 25-question short-answer survey distributed to 100 college students, 64 females and 36 males, ages 18-24. While recent literature emphasizes the importance of influences from parents, siblings, peers, and cultural factors, this study compiles all of the aforementioned variables to create a preliminary order of sexual socialization, which reflects how millennials rank various influencing factors on their sexual educational and practices. Consistent with the literature, millennials appear to perceive parental influence to be a significant influencing factor on their sexual behaviors. However, millennials more commonly seek peer communication through personal or online interactions, and the overwhelming majority of millennials appear to value these peer discussions more than any other source of sexual socialization. Despite the fact that the majority of sex-related information in mass media remains gender-biased, most individuals insist that they received unbiased information. Future research should focus on peer-influenced sexual socialization and the dynamics of these relationships that may supplement the limited and biased sources of sex-related information available to today’s adolescents.
Katya Murillo
Refugee Camps in Jordan: A Gendered Look at the Lives of Palestinian Refugees
Socially constructed gender roles generally vary from culture to culture. While many gender norms do transcend borders, the particular roles a man or a woman is accustomed to having at home might shift as he or she is forced to flee his or her home and community. Though a substantial number of families and communities who encounter forced migration seek refuge in their own country—becoming labeled internally displaced persons—a number of them may find themselves in refugee camps outside of their native land. Currently, there are an estimated five million refugees living and “looked after” in about sixty camps in the Middle East; of those five million refugees, Jordan hosts 664,000 refugees, many fleeing the Israel-Palestine conflict. In this paper, I will focus on and analyze the struggles faced by Palestinian refugees in Jordan through a gender-based lens as they transition from their homes to refugee camps. I will also examine whether the roles Palestinian women in the camps have now differ from those they had prior to residing in Jordan.
Yvett Navarro
Role of Mutated Cardiac Ion Channels and Serotonin in SIDS and the Correlation between Ethnicities: A Meta-Analysis
Sudden infant death syndrome, SIDS, is defined as an unexpected death of a newborn younger than one year often due to random or inexplicable causes. Certain risk factors have been known to be associated with SIDS such as loose bedding, sleeping on the stomach and sharing a bed with an infant. Approximately six published research articles were researched that focused on the specific biological reasons for SIDS. These papers were selected based off certain criteria such as proof of data, relevance of data, time period of research, location of information studied, factors influencing results, and the overall relevance to the SIDS victims. Other criteria include causes such as mutation in the gated ion channel and abnormalities of serotonin which helps regulate sleep. Studies concluded that 20.2% of SIDS victims displayed a mutation in any of the eighteen cardiac ion channel genes. Other studies looked at the levels of serotonin, (5-hydroxytryptamine [5-HT]) and determined that lower levels were found in the case of SIDS victims. Compilation of studies also showed that black and American Indians are at a higher risk for SIDS than non-Hispanic whites, Asians and Pacific Islanders. Meta-analysis of the six articles conclude that both serotonin and ion gated channels play a role in SIDS.
Phoebe Neuburger
Immigrating to The U.S. for A Better Future
In this paper, the question I ask is, “Why immigrants are leaving their home country to come to the U.S, and what they are hoping to find when they arrive here?” Immigration is currently a hot topic right now and I want to know the reasons why many immigrants are leaving. I will first give background information on immigration that includes both the definition of an immigrant and refugee. An immigrant differs from a refugee because an immigrant chooses to resettle to another country, while a refugee is forced to and has no other choice but to leave his or her country. I will focus on two specific cases: Mexico and El Salvador. Both have similar issues and problems, e.g. drug violence, gangs that forced many people to leave. By comparing these two countries, I will better understand what was going on from1970 to the present. I will then focus on my personal story, as well as conversations I had with two adults from the Whittier Adults School; one was from Mexico and the other was from El Salvador. Literature shows that many immigrants come to the U.S. to become a citizen, and to be able to send money home to their families. Others come in the hope of better job opportunities and the U.S. offers many families a better life than in their native land. Living in the U.S. offers a better education for children, and a stable government. To support my research, I will be starting off with the general information about the history of immigration, I will then focus on specific individual stories such as my own reason for immigrating to the U.S. and conversations with two adults from Mexico and El Salvador to support my thesis. I will be using online articles and books to support my project. My preliminary findings are that many immigrants left El Salvador due to economic hardship and political instability, repression, and violence due to the Civil War. Immigrants from Mexico fled to the U.S. due to the labor demands in the U.S. and political unrest in Mexico. I also found that after the Great Recession hit the U.S. many Mexicans are now leaving and coming back to Mexico.
Marissa Ochoa
A Comparison of Southern California’s Arroyo and Red Willows to South Africa’s Cape Silver Willow Under Drought Conditions
In both the Northern and Southern hemisphere, Mediterranean climates are equally affected by intense drought conditions. Drought sensitivity is one of many major factors that regulate distribution of willow species in riparian communities. The purpose of this study was to determine the effect of severe drought on dominant willows in riparian communities in the Angeles National Forest of Southern California and Dwarsberg Trout Haven of South Africa. The species studied were Arroyo Willow and Red Willow, in Southern California, and Cape Silver Willow, in South Africa. Vulnerability curves were used to estimate P50 values and pre-dawn and midday xylem water potentials were measured at both sites. Curves are indicators of drought sensitivity and water potentials measure water-stress conditions. P50 values for Arroyo and Red willows averaged -3.0 and -3.5 MPa while Cape Willows averaged -3.7 MPa. Midday water potentials in the Southern California ranged from -2.4 – -2.7 MPa, while South African willows ranged from -1.5 – -2.3 MPa. Preliminary data on stomatal conductance, which measures rates of gas exchange, and leaf weights have been taken in South Africa while additional analysis is underway in Southern California.
Anthony Osherow
The Gendered Life of Women in the Soviet Union during World War II
Unlike most Western societies during World War II, the women of the U.S.S.R. played very active roles as combatants, after initially playing stereotypical roles as women. This paper will not only analyze the active roles they played as combatants, but the author will also look at their critical roles in societal development as women who kept the war machine going at home by looking at the pre-war and post-war contexts, as well as the contexts of the war itself. State propaganda drew women into the war, initially to keep Soviet society going and then eventually to defend their country as more soldiers were needed due to heavy losses against Nazi Germany. By drawing on various literature reviews, including academic journals and historical books, the author will reveal the gendered aspects of the war as a continuum in both Soviet society and in combat, despite Soviet policies that allow
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Julia Cameron
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Julia Cameron, author of 40 books, is a songwriter, memoirist, novelist, award-winning playwright, and poet with extensive credits in film, television, and theater.
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Julia Cameron, hailed by the New York Times as “The Queen of Change,” is credited with starting a movement in 1992 that has brought creativity into the mainstream conversation—in the arts, in business, and in everyday life. She is the best-selling author of more than forty books, both fiction and nonfiction; a poet, songwriter, filmmaker; and playwright. Commonly referred to as “The Godmother” or “High Priestess” of creativity, her tools are based in practice, not theory, and she considers herself “the floor sample of her own toolkit.” Her book, The Artist’s Way, has been translated into forty languages and sold more than 5 million copies to date.
Learn more about this presenter’s work:
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Joy Harjo
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Poems, readings, poetry news and the entire 110-year archive of POETRY magazine.
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Joy Harjo was born in Tulsa, Oklahoma, and is a member of the Muscogee (Creek) Nation. She earned her BA from the University of New Mexico and MFA from the Iowa Writers’ Workshop. Harjo draws on First Nation storytelling and histories, as well as feminist and social justice poetic traditions, and frequently incorporates indigenous myths, symbols, and values into her writing. Her poetry inhabits landscapes—the Southwest, Southeast, but also Alaska and Hawaii—and centers around the need for remembrance and transcendence. She once commented, “I feel strongly that I have a responsibility to all the sources that I am: to all past and future ancestors, to my home country, to all places that I touch down on and that are myself, to all voices, all women, all of my tribe, all people, all earth, and beyond that to all beginnings and endings. In a strange kind of sense [writing] frees me to believe in myself, to be able to speak, to have voice, because I have to; it is my survival.” Her work is often autobiographical, informed by the natural world, and above all preoccupied with survival and the limitations of language. She was named U.S. poet laureate in June 2019.
A critically-acclaimed poet, Harjo’s many honors include the Lifetime Achievement Award from the Native Writers Circle of the Americas, the Josephine Miles Poetry Award, the Wallace Stevens Award from the Academy of American Poets, the William Carlos Williams Award from the Poetry Society of America, and the American Indian Distinguished Achievement in the Arts Award. She has received fellowships from the Arizona Commission on the Arts, the National Endowment for the Arts, the Rasmuson Foundation, and the Witter Bynner Foundation. In 2017 she was awarded the Ruth Lilly Prize in Poetry.
In addition to writing poetry, Harjo is a noted teacher, saxophonist, and vocalist. She performed for many years with her band, Poetic Justice, and currently tours with Arrow Dynamics. She has released four albums of original music, including Red Dreams, A Trail Beyond Tears (2010), and won a Native American Music Award for Best Female Artist of the Year in 2009. She has been performing her one-woman show, Wings of Night Sky, Wings of Morning Light, since 2009 and is currently at work on a musical play, We Were There When Jazz Was Invented. She has taught creative writing at the University of New Mexico and the University of Illinois at Urbana-Champaign, Urbana and is currently Professor and Chair of Excellence in Creative Writing at the University of Tennessee, Knoxville. Harjo is a founding board member of the Native Arts and Cultures Foundation.
Harjo's first volume of poetry was published in 1975 as a nine-poem chapbook titled The Last Song. These early compositions, set in Oklahoma and New Mexico, reveal Harjo’s remarkable power and insight into the fragmented history of indigenous peoples. Commenting on the poem “3 AM” in World Literature Today, John Scarry wrote that it “is a work filled with ghosts from the Native American past, figures seen operating in an alien culture that is itself a victim of fragmentation…Here the Albuquerque airport is both modern America’s technology and moral nature—and both clearly have failed.” What Moon Drove Me to This? (1980), Harjo’s first full-length volume of poetry, appeared four years later and includes the entirety of The Last Song. The book continues to blend everyday experiences with deep spiritual truths. In an interview with Laura Coltelli in Winged Words: American Indian Writers Speak, Harjo shared the creative process behind her poetry: “I begin with the seed of an emotion, a place, and then move from there… I no longer see the poem as an ending point, perhaps more the end of a journey, an often long journey that can begin years earlier, say with the blur of the memory of the sun on someone’s cheek, a certain smell, an ache, and will culminate years later in a poem, sifted through a point, a lake in my heart through which language must come.”
Harjo’s collections of poetry and prose record that search for freedom and self-actualization. In books such as She Had Some Horses (1983; reissued 2008), Harjo incorporates prayer-chants and animal imagery, achieving spiritually resonant effects. One of Harjo’s most frequently anthologized poems, “She Had Some Horses,” describes the “horses” within a woman who struggles to reconcile contradictory personal feelings and experiences to achieve a sense of oneness. The poem concludes: “She had some horses she loved. / She had some horses she hated. / These were the same horse.” As Scarry noted, “Harjo is clearly a highly political and feminist Native American, but she is even more the poet of myth and the subconscious; her images and landscapes owe as much to the vast stretches of our hidden mind as they do to her native Southwest.” Indeed nature is central to Harjo’s work. The prose poetry collection Secrets from the Center of the World (1989) features color photographs of the Southwest landscape accompanying Harjo’s poems. Praising the volume in the Village Voice, Dan Bellm wrote, “As Harjo notes, the pictures ‘emphasize the “not-separate” that is within and that moves harmoniously upon the landscape.’“ Bellm added, “The book’s best poems enhance this play of scale and perspective, suggesting in very few words the relationship between a human life and millennial history.”
Harjo’s work is also deeply concerned with politics, tradition, remembrance, and the transformational aspects of poetry. In Mad Love and War (1990) relates various acts of violence, including the murder of an Indian leader and attempts to deny Harjo her heritage, explores the difficulties indigenous peoples face in modern American society. The second half of the book frequently emphasizes personal relationships and change. Leslie Ullman noted in the Kenyon Review, that “like a magician, Harjo draws power from overwhelming circumstance and emotion by submitting to them, celebrating them, letting her voice and vision move in harmony with the ultimate laws of paradox and continual change.” Highly praised, the book won an American Book Award and the Delmore Schwartz Memorial Award. In her next books such as The Woman Who Fell from the Sky (1994), based on an Iroquois myth about the descent of a female creator, A Map to the Next World: Poetry and Tales (2000), and How We Became Human: New and Selected Poems (2002), Harjo continues to draw on mythology and folklore to reclaim the experiences of native peoples as various, multi-phonic, and distinct. Using myth, old tales and autobiography, Harjo both explores and creates cultural memory through her illuminating looks into different worlds. As poet Adrienne Rich said, “I turn and return to Harjo’s poetry for her breathtaking complex witness and for her world-remaking language: precise, unsentimental, miraculous.” In recent collections of poetry and prose Harjo has continued to “expand our American language, culture, and soul,” in the words of Academy of American Poets Chancellor Alicia Ostriker; in her judge’s citation for the Wallace Stevens Award, which Harjo won in 2015, Ostriker went on to note that Harjo’s “visionary justice-seeking art transforms personal and collective bitterness to beauty, fragmentation to wholeness, and trauma to healing.”
Harjo’s memoir Crazy Brave (2012) won the American Book Award and the 2013 PEN Center USA prize for creative nonfiction. In an interview with Jane Ciabattari, Harjo discussed the meaning of her last name (“so brave you’re crazy”) and her work’s attempt to confront colonization. “Who are we before and after the encounter” of colonization, Harjo asked. “And how do we imagine ourselves with an integrity and freshness outside the sludge and despair of destruction? I am seven generations from Monahwee, who, with the rest of the Red Stick contingent, fought Andrew Jackson at The Battle of Horseshoe Bend in what is now known as Alabama. Our tribe was removed unlawfully from our homelands. Seven generations can live under one roof. That sense of time brings history close, within breathing distance. I call it ancestor time. Everything is a living being, even time, even words.” Harjo’s other recent books include the children and young adult’s book, For a Girl Becoming (2009), the prose and essay collection Soul Talk, Song Language (2011), and the poetry collection Conflict Resolution for Holy Beings (2015), which was shortlisted for the International Griffin Poetry Prize.
Consistently praised for the depth and thematic concerns in her writings, Harjo has emerged as a major figure in contemporary American poetry. While Harjo’s work is often set in the Southwest, emphasizes the plight of the individual, and reflects Creek values, myths, and beliefs, her oeuvre has universal relevance. Bellm asserted: “Harjo’s work draws from the river of Native tradition, but it also swims freely in the currents of Anglo-American verse—feminist poetry of personal/political resistance, deep-image poetry of the unconscious, ‘new-narrative’ explorations of story and rhythm in prose-poem form.” According to Field, “To read the poetry of Joy Harjo is to hear the voice of the earth, to see the landscape of time and timelessness, and, most important, to get a glimpse of people who struggle to understand, to know themselves, and to survive.”
Harjo told Contemporary Authors: “I agree with Gide that most of what is created is beyond us, is from that source of utter creation, the Creator, or God. We are technicians here on Earth, but also co-creators. I’m still amazed. And I still say, after writing poetry for all this time, and now music, that ultimately humans have a small hand in it. We serve it. We have to put ourselves in the way of it, and get out of the way of ourselves. And we have to hone our craft so that the form in which we hold our poems, our songs in attracts the best.”
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https://dianesbooks.com/book/9780143129257
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The Artist's Way: 30th Anniversary Edition
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"With its gentle affirmations, inspirational quotes, fill-in-the-blank lists and tasks — write yourself a thank-you letter, describe yourself at 80, for example — The Artist’s Way proposes an egalitarian view of creativity: Everyone’s got it."—The New York Times "Morning Pages have become a household name, a shorthand for unlocking your creative potential"—Vogue Over four million copies sold!Since its first publication, The Artist's Way phenomena has inspired the genius of Elizabeth Gilbert and millions of readers to embark on a creative journey and find a deeper connection to process and purpose. Julia Cameron's novel approach guides readers in uncovering problems areas and pressure points that may be restricting their creative flow and offers techniques to free up any areas where they might be stuck, opening up opportunities for self-growth and self-discovery. The program begins with Cameron’s most vital tools for creative recovery – The Morning Pages, a daily writing ritual of three pages of stream-of-conscious, and The Artist Date, a dedicated block of time to nurture your inner artist. From there, she shares hundreds of exercises, activities, and prompts to help readers thoroughly explore each chapter. She also offers guidance on starting a “Creative Cluster” of fellow artists who will support you in your creative endeavors. A revolutionary program for personal renewal, The Artist's Way will help get you back on track, rediscover your passions, and take the steps you need to change your life.
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Description
"With its gentle affirmations, inspirational quotes, fill-in-the-blank lists and tasks — write yourself a thank-you letter, describe yourself at 80, for example — The Artist’s Way proposes an egalitarian view of creativity: Everyone’s got it."—The New York Times
"Morning Pages have become a household name, a shorthand for unlocking your creative potential"—Vogue
Over four million copies sold!
Since its first publication, The Artist's Way phenomena has inspired the genius of Elizabeth Gilbert and millions of readers to embark on a creative journey and find a deeper connection to process and purpose. Julia Cameron's novel approach guides readers in uncovering problems areas and pressure points that may be restricting their creative flow and offers techniques to free up any areas where they might be stuck, opening up opportunities for self-growth and self-discovery.
The program begins with Cameron’s most vital tools for creative recovery – The Morning Pages, a daily writing ritual of three pages of stream-of-conscious, and The Artist Date, a dedicated block of time to nurture your inner artist. From there, she shares hundreds of exercises, activities, and prompts to help readers thoroughly explore each chapter. She also offers guidance on starting a “Creative Cluster” of fellow artists who will support you in your creative endeavors.
A revolutionary program for personal renewal, The Artist's Way will help get you back on track, rediscover your passions, and take the steps you need to change your life.
About the Author
Julia Cameron has been an active artist for four decades. She is the author of more than forty books, fiction and nonfiction, including such bestselling works on the creative process as The Artist’s Way, Walking in this World, Finding Water, and The Listening Path. A novelist, playwright, songwriter, and poet, she has multiple credits in theater, film, and television. She divides her time between Manhattan and the high desert of New Mexico.
Praise for The Artist's Way: 30th Anniversary Edition
“Without The Artist's Way, there would have been no Eat, Pray, Love.”
—Elizabeth Gilbert
"The Artist's Way is not exclusively about writing—it is about discovering and developing the artist within, whether a painter, poet, screenwriter, or musician—but it is a lot about writing. If you have always wanted to pursue a creative dream, have always wanted to play and create with words or paints, this book will gently get you started and help you learn all kinds of paying-attention techniques; and that, after all, is what being an artist is all about. It's about learning to pay attention."
—Anne Lamott
"This is a book that addresses a delicate and complex subject. For those who will use it, it is a valuable tool to get in touch with their own creativity."
—Martin Scorsese
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https://anartfulsequenceofwords.com/tag/reading/
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reading – Rita E. Gould: An Artful Sequence of Words
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2023-07-19T11:48:18-04:00
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Posts about reading written by Rita E. Gould
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Rita E. Gould: An Artful Sequence of Words
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https://anartfulsequenceofwords.com/tag/reading/
|
As we inch toward the end of The Artist’s Way, some loose ends begin to wrap up. Week 9 closes out the prior weeks’ thoughts on our negative conditioning, revealing what keeps us blocked. It also provides us with insights into what we need to do to start and sustain our creative work.
Fear: What’s in a Name?
Blocked artists are not lazy. They’re blocked.
Week 9’s theme is one of compassion, the kind that artists likely need when recovering from the losses discussed in week 8. Cameron introduces this theme by investigating how we label ourselves. She observes that artists often engage in negative self-talk by calling ourselves lazy when we fail to get creative projects underway (never mind finished). Gently disputing this opinion, she states that we actually are blocked. To prove her point, she recounts how much energy we spend on feeling of self-doubt, regret, and grief (among others). Our artistic inaction, she asserts, is caused by being blocked, and as she reveals, we’re blocked due to fear.
Cameron doesn’t specifically draw out why our calling ourselves lazy is so harmful, but we can readily observe how blaming our “lack” of willpower turns to shame when we fail to get artistic projects underway, in turn begetting a cycle of regret because that fear remains unnamed and unaddressed. For Cameron, calling things by their right name is not a matter of semantics[*] but an act of compassion, because we cease scolding ourselves when we acknowledge what truly impedes our artistic endeavors. Moving deeper into this conversation, she explores what makes us afraid, focusing on how these fears (eg, fear of abandonment caused by parental displeasure[†]) may contribute to an artist’s desire to be wildly successful.
The internal pressures fueling our ambitions and need for success (regardless of the source), however, make it challenging to either create art or be an artist. As Cameron reassures us, we should regard any difficulties in getting going as an indicator that we need help versus a sign that we’re not meant to be artists. Such help comes from our supporters, higher powers (if one is so inclined), and ourselves (eg, “filling the form” from week 8). Conquering our fears, according to Cameron, requires us to love our artist. Normally verbose on these matters, her instruction here doesn’t exactly explain how she envisions this working—which would’ve been helpful—but surely the impetus to be kinder to ourselves is an excellent place to begin.
Enthusiasm as Motivation
Remember, art is a process. The process is supposed to be fun.
In the next section, Cameron answers an unposed question: How do we keep going once we’ve finally got those artistic projects started? Many of us believe that rigid discipline, powered by an artist’s indomitable willpower, is the answer. Cameron’s disdain for self-will, long a familiar sight to readers of The Artist’s Way, surfaces as she somewhat uncharitably states that this belief merely panders to one’s ego (making discipline our source of pride opposed to creativity). Discipline, she argues, only delivers temporary results. What sustains us as artists is enthusiasm.
Throughout The Artist’s Way, Cameron firmly states that art is meant to be an enjoyable process. Enthusiasm, in her view, is both a “spiritual commitment” to this process that allows us to recognize the creativity surrounding us and a source of creative energy flowing from “life itself”. Therefore, it’s the joy that we experience from our artistry that keep our artistic momentum going more than our slogging through a schedule. While we may still set schedules, we use them to plan our creative playdates. Similarly, our works areas are more likely to be a bit messier and colorful than the “monastic cells” that we tend to associate with disciplined artists. After all, our artist child self is more likely to create art when their efforts feel like play and their workspaces resemble playgrounds.
The one question Cameron hasn’t answered, however, is how enthusiasm relates to compassion. Between the lines, though, one might note the exclusionary whiff associated with discipline as would-be artists see this as the obstacle to their becoming artists. Subscribing to the myth of discipline is another way in which we’re unkind to ourselves, as this belief implies that creating art requires great willpower that only certain people possess. In truth, creativity is available to all, once we give ourselves permission to have fun and see what happens.
Creative U-Turns
A successful creative career is always built on creative failures. The trick is to survive them.
Week 9 opens with Cameron urging us to keep going, noting that we’re on the cusp of learning to disassemble our emotional blocks. It’s an appropriate warning, as impending success is when we most often experience a creative U-turn. As mentioned previously, creative U-turns are losses associated with self-sabotage (eg, opportunities we refuse). Cameron, as promised in week 8, returns to creative U-turns to flesh out why they occur and how to deal with them.
Cameron cautions that some artists might feel threatened by their approaching recovery and balk at this progress. Others may find it easier to remain “victim to artist’s block” than to take on the risks of being a productive artist. While Cameron is wearing her “tough love” hat here as she uncomfortably points out how we resist recovery, she also wants us to be sympathetic when we reflect on our U-turns, because creativity has its frightening moments. We can, as she suggests, look at such moments as “recycling times”, that is, moments when need a few tries before we succeed in making a creative leap. However, she emphasizes that creative U-turns happen in all artistic careers—a point so important she mention it twice in short succession before providing a lengthy list of artists who themselves had creative failures preceding their eventual successes.
Failure is a part of the creative process, but it is survivable. To do so, we need to recognize that our creative U-turns or series of U-turns represent a reaction to our fear.[‡] Once we’ve acknowledged our U-turns and their sources, we need to seek help. To begin, we can outline what part of the creative process makes us feel uneasy. We might give ourselves confidence by building up to these difficulties (eg, trying a workshop before seeking an agent). We also can tap into our resources by asking other artists we know for assistance. As Cameron assures us, the help will come.
Blasting Through Blocks
Blocks are seldom mysterious.
Perhaps the most exciting part of week 9 involves some advice on how to “blast” past our artist’s blocks. Cameron maintains that we need to be relatively “free of resentment (anger) and resistance (fear)” before we can work on our artistic projects. Therefore, we first need to consider what undisclosed concerns exist with a project or whether we have some lingering, unstated payoffs for not working. As she observes, our blocks are relatively straightforward: they act “artistic defenses” against what we may feel is an unsafe situation. Our mission, therefore, is to assure our artist child that it is safe to proceed. Cameron closes this week by providing a short questionnaire that’s aimed at unearthing these concealed barriers to artistic work, which she indicates is also helpful for clearing away obstructed flow in instances where the work becomes challenging (for an abridged version, see the text box).
Some Closing Thoughts
Week 9 ventures into both new and familiar territory as it persuades us to treat ourselves compassionately. While Cameron’s not one to shy from tough talk should she feel it’s necessary, this push to be kinder to ourselves is as valuable as deepening our understanding of how we artistically block ourselves. We’ve all experienced failures in our artistic lives. But we rarely do we let ourselves off the hook for them. There’s something comforting in being permitted to recognize our fears, let go of shame, and accept that we can move past our creative U-turns.
What particularly resonated with me this week, however, was Cameron’s insightful conversation on calling things by their right names. Being told I wasn’t lazy lifted a weight I hadn’t known I was carrying until I realized that my undone projects had little to with my drive.[§] This section makes the case as to why willpower and ego aren’t to blame for our artistic works in limbo—or sufficient in themselves to get us across either the start or finish line. In doing so, Cameron also highlighted (perhaps inadvertently) how dangerous negative self-talk is. Here, it works as a subtle pattern of self-shaming that convinces us we haven’t what it takes to be an artist while neatly preventing us from dealing with the fear blocking our path. This behavior does a tremendous disservice to our creative lives and likely elsewhere. It’s something that gave me pause even as I enjoyed the sense of liberation I felt at being judged “not lazy”.
Many chapters in this book deal with difficult subjects (shame, anger, jealousy, etc), with week 8 focusing heavily on our artistic losses. It’s easy to see why week 9 might seem like a good place to call it quits. Despite the time it took for me to get to and through this week,[**] I found it to be among the more positive experiences with this book thus far, because Cameron’s advice here generally is useful and easy to enact. While I continue to long for Cameron’s writing to stay a bit closer to the point or to explain how love will conquer my fears, week 9 overwhelmingly is one that should be considered unmissable for those reading The Artist’s Way.
NOTES:
[*] Similar to week 7’s discussion on the difference between invention and inspiration in terms of “thinking something up” versus “getting something down”.
[†]Cameron’s is laser focused on attributing artistic blocks to negative childhood conditioning from parents, which, while important, becomes tiresome and neglects other ways in which the same results may be achieved by different means. For instance, someone from a working-class background could also feel compelled to excel artistically to justify the sacrifices their made to provide their child with the opportunity to be an artist.
[‡] We should, too, mourn them as was suggested in week 8.
[§] Briefly, I wished this was something we were told from the outset of the book or was emblazoned on its cover. But I also almost instantly recognized that I would’ve unlikely to accept this point so early on.
[**] I’m closer to a 12-month than 12-week plan.
Recently, I posted a review on my first three weeks working on The Artist’s Way by Julia Cameron, a self-help book aimed at teaching its readers to embrace their creativity. Week 4, which I’m discussing here, proved to be challenging enough that I felt it needed its own post. Because it contains an exercise that many find difficult (something Cameron also acknowledges), I want to emphasize that there’s always something valuable to learn in such cases—but patience and perseverance are attributes you might want on hand as well.
Allow me to explain.
Getting to Know Me
The snowflake pattern of your soul is emerging.
Julia Cameron
Week 4 focuses on reflection, specifically considering how previous lessons help us become our more authentic selves. While it runs a tad long, this discussion notes how these changes may manifest and affect us before reminding us to use our affirmations to deal with these feelings as we work through our various artistic blocks. The two main exercises focus on learning more about that authentic self and its preferences. “Buried Dreams” explores past interests to provide some activities to try during the second exercise. While the connection between tasks was clear, restating how they relate to the chapter’s theme would be a useful addition.
The second and more challenging exercise is called reading deprivation (now renamed media deprivation). For one week, participants must not read, watch television, or go online—similar to digital or social media detoxes. In The Artist’s Way, Cameron argues that reading and other media distract artists from self-examination. Removing such distractions let us (1) get in touch with our feelings and thoughts (introspection); (2) connect with our inner voice (inspiration); and (3) refill the artist’s well by experiencing the sensory world. With our time freed up, Cameron first predicts we’ll become productive but eventually will shift to playing once we run of busywork. Play is important, because it lets creative grow (eg, the artist’s date). With this tool improving our understanding of ourselves, our creativity should increase as blocks dissipate.
Understanding the Challenges
Problems with Persuasion
This lesson unfortunately includes some elements I found counterproductive to getting onboard with media deprivation. As observed in my previous review, Cameron occasionally hints at a topic before she talks about it. Week 4’s introductory page contains one of these spoilers, as it urges readers to use the “reading deprivation” tool. Inserting this brief admonition before the lesson, detrimentally shifted my focus onto this alarming development. If preparing readers for this concept is a must, it’d be better to mention that we’ll later encounter a tool that assesses media’s impact on creativity where reading blocks are first mentioned in conjunction with filling the artist’s well (“Basic Tools,” p. 23 in the 2020 edition).
But the commentary itself also creates some barriers to reader buy-in. It’s difficult to summon enthusiasm for using this tool when the essay first characterizes words—my artistic medium—as a cross between tranquilizers and junk food. Some claims made here also seemed questionable (eg, that artists are “addicted” to reading[*]). Beyond the rhetoric lies the real problem: people eschew the hard work of examining their feelings and thoughts, using media as a shield. Starting with this point and connecting it to reflecting on our authentic selves could avoid creating more resistance to an already challenging exercise.
Creative Concerns
Turning to those challenges, there’s the matter of motivation. Usually, people who limit their media consumption (as I generally do) voluntarily do so, placing Cameron in the unenviable position of warding off her students’ displeasure[†] while encouraging them to undertake an unwanted challenge. Others understandably worry about how they’ll manage their obligations with such restrictions. These are the prime reasons some find this assignment frustrating. I also identified some other potential obstacles. The introspective among us might not need more time for self-scrutiny. Others who find media inspiring may find it puzzling/upsetting to be deprived of that inspiration. With these latter points, clearly stated goals[‡] might diffuse some resistance here, as these persons could focus instead on other goals such as exploring alternate sources of inspiration.
Getting Some (Online) Guidance
Cameron does respond to the more obvious concerns involving reading deprivation in The Artist’s Way but provides minimal instruction. Being told to procrastinate when it came to work or school struck me as unhelpful, as that’s not always possible. Because I previously found an online resource for this book, I consulted it and discovered that Cameron had been calling this tool media deprivation since at least 2012, which made me wonder why my book from 2020 didn’t reflect this. Regardless, Cameron’s website does advise her students to limit their inflow of media as much as possible without being irresponsible or getting fired. Her online description of media deprivation as a form of “conscious unplugging” also appealed to me more, convincing me that checking my media consumption couldn’t hurt.
It is a paradox that by emptying our lives of distractions we are actually filling the [artist’s] well.
Julia Cameron
Mixed Results
Less Internet, More Doing
With my plans in place and the household informed, I grumpily undertook the requisite week of media deprivation. I quickly discovered my mobile phone was a problem. For a device I spend half my life trying to find when I need it, it felt uncomfortably handy when I didn’t want it. While I couldn’t switch it off,[§] I could relocate it to a nearby room (something I plan to continue doing). With my phone out of reach and apps keeping me focused, my time on my computer was more productive. I also zipped through my to-do list efficiently and finished some projects lingering in my backlog.
Bookless and Bored
Not all my results were rosy. For example, I felt left out when my spouse and child watched television while I tidied up again (apparently, that supply IS inexhaustible). While I hardly missed games and television, losing some family time due to an undesired obligation was difficult. I also missed my reading time. Putting aside a great book (Lulu Allison’s The Salt Lick) was tough but receiving THREE more books in the mail that I also wanted to read (including Sarah Tinsley’s just released debut novel, The Shadows We Cast) felt unfair. The occasional boredom here wasn’t great, nor was having the time to dwell on it helpful. But I have to say, heading to bed instead of fuming was a good solution.
An Unexpected Twist
Ultimately, the promised boost in creativity never occurred, because my grudging efforts ended with deprivation. I could not summon any enthusiasm for hobbies, new or old. Afterwards, I struggled with understanding why I’d been so angry, given that I’ve chosen on numerous occasions to put aside books and other media for weeks with far less difficulty. The Artist’s Way, as it may surprise you, did help here.
In week 3, Cameron explains that we should pay attention to our anger, because it tells us something. My subsequent interrogation here was illuminating. I realized that this assignment unwittingly resurfaced memories of being too exhausted to read while caring for my then newborn, which was a painful instance where I briefly lost “me” in motherhood. This contributed to my resistance, as lacking sufficient reason to set aside books kept me unmotivated. Exploring the source of this reaction or looking for some way to make this exercise meaningful to me might have produced different results. Putting in a more since effort with the other activities, too, may have helped.
Conclusion
One of bigger takeaways of this week is that The Artist’s Way might benefit from an update that modernizes it in general and specifically brings it in line with Cameron’s current thinking. I found the more recent descriptions of media deprivation more appealing as they avoided hyperbole and provide more guidance. As for me, media deprivation proved to be more of trade off than a trade up, but I still learned things about myself (eg, buy-in is critical for me). Knowing what I do now, I’m seriously considering giving this another try, as I’d like to see whether I finally reap those rewards.
TLDR: Trying new things is hard, especially with a bad attitude. Staying positive and finding purpose in doing things differently might help.
Further Reading
For a more positive take on media deprivation, read Ben Kassoy’s article here. While I disagree that Cameron’s goal involves understanding our media consumption (it’s always bolstering creativity), he makes some great points on why media deprivation/detoxes aids mental health and makes us more mindful about our time online.
NOTES:
[*] I suspect that Cameron means reading blocks instead of a reading-based behavioral addiction, which apparently is a compulsion to read that negatively impacts on one’s life and mental health.
[†] Understandably, no one enjoys bad news (or tough love, as the case may be here), but some of what Cameron endures seems uncalled for.
[‡] The Artist’s Way might’ve benefited here by using tactics seen in traditional textbooks (eg, enumerating goals with bullet points, objective statements) so that main points are easy to locate and understand.
[§] It’s a must for someone with a school-aged child who seems to be an injury magnet this year.
I often think that the “new year, new me” vibe asks a lot of January. It feels unfair that, with a flick of the calendar, we switch from merriment to self-improvement (surely, a yearlong project) just when winter blasts into its stride. But given that change has been something of the new normal,[*] perhaps some introspection is warranted.
Certainly, this changeability influenced my reading last year. I read a respectable 45 books in 2021, mostly fiction (heavily leaning towards literary fiction and mysteries) mixed with a few memoirs. While I thoughtfully chose some books, I spent a lot of time reading on a whim. After the last few years, being flexible felt like the right approach. Many books I read also dwelled on serious and/or dark themes, perhaps another side effect of these difficult times. But what hasn’t changed is how reading connects us to ideas, places and people, both familiar and beyond our reach. Below, in no special order, are some of the books that made my reading year memorable.
Journeys: Traveling in Words
While travel stayed limited to nonexistent for many in 2021, books continued to let us explore worlds. Many of these journeys were physical, but they also could be spiritual. Although the characters in these books might be unsure of where they’re headed or if they’re ready to undertake the attendant trials, such trips often prove to be both worthwhile and, indeed, necessary.
Band on the Run
The Bellweather Rhapsody by Kate Racculia focuses on a single (somewhat wild) weekend where hundreds of high school musicians gather for an annual state festival, which happens to coincide with the anniversary of a murder-suicide that occurred in the hotel. The past is on a collision course in many ways in this ostensibly YA novel (there’s plenty for adults here), as old lovers meet, new affairs begin, a witness to the murder comes to confront her past, and a musical prodigy disappears from the room where the murder occurred. In addition to giving me serious high school music department nostalgia, it’s poignant to see these teens negotiating their encroaching adulthood while sorting out new friends and being snowbound in a creaky hotel that might have a murderer on the loose. The resolution comes with a few bangs but is satisfying in its messy, glorious finish.
Cats on the Go
Up next is The Traveling Cat Chronicles by Hiro Arikawa (translated by Philip Gabriel).[†] This novel explores the bond of “pet” and their person as Nana and his human, Sakura, undertake a journey through Japan. Street cat Nana decides to live with the kindly Sakura after Sakura rescues this self-reliant feline from a serious injury. Several years later, Sakura decides that both should visit his closest friends from important times and places in his life. As Nana discovers, Sakura wants one of these dear friends to take in his cat, as a situation arises where he feels he can no longer live with Nana. Nana politely thwarts Sakura’s intentions, choosing to be at Sakura’s side through his challenges. Sakura, however, doesn’t leave his friends emptyhanded, as he continues to touch their lives and Nana learns about the events that shaped this remarkable man. While The Traveling Cat Chronicles leans sentimental in places, Sakura and Nana are a heartwarming pair dealing gracefully with life’s hardest moments.
Dreams for the Future
Rounding out this group is Madeleine F. White’s cli-fi speculative novel, Mother of Floods, which centers around the encroaching apocalypse. While the end of the world should be grim (and there’s certainly dark, difficult moments in this novel), here it proves to be an opportunity for hope. White draws on both spirituality and mythology across continents, weaving a multicultural cast of characters (the majority of whom are women) from different traditions, walks of life, and incomes. Set initially in present day with our world’s too familiar and seemingly intractable problems, Martha (England), Fatima, Badenan (both Iraq), Mercy, Chipo (both Zimbabwe), and Anjani (Indonesia) all struggle, whether it’s with a brutal marriage undertaken for survival, widowhood and debt, physical incapacitation, limited prospects, or lack of fulfilment. The common thread among them is spiritual awakening and connection. Meeting both online and off, in dreams and visions, these mostly ordinary women,[‡] with the aid of the newly ensouled Internet (a clever approach to a “ghost in machine” that gives a conscience to the information highway), these women help reshape the world into one of freedom and plenty. Unlike anything you’ve read and deeply fascinating, White’s novel envisions a better future where smalls acts lead to big change.
Glamor with a Side of Secrets
Wealth is not without its burdens and that includes secrets, both scandalous and terrible, they’d rather keep quiet. Whether it’s a character study of the woman with a façade designed to appeal to her adoring public or a high society affair turned thorny mystery, these novels let us peek behind the scenes and learn what they’re hiding.
Murder on the Island
In The Guest List by Lucy Foley, power couple Will and Jules’s spare no expense on making their society wedding a perfect, private event by choosing a seemingly charming but remote island (accessible only by boat) off Ireland’s west coast as the site for their nuptials. But, as Foley reveals, both guests and the brooding island are harboring secrets as a storm threatens. Careful to conceal the murder victim’s identity for most of the book (no spoilers here), Foley weaves in the various narrators’ impressions of events from rehearsal dinner through wedding night, revealing pasts best forgotten—and the reasons that might mark them as victim or murderer. Foley scatters numerous clues through her story, many which lead to false trails that keep readers guessing. While I did guess the victim’s identity before the reveal (after a few false starts), the killer was quite the shock. The Guest List is a well-paced, tense read that reveals guilt and hidden sins, mends families while renting others, and, arguably, serves a sort of justice.
A Star with Something to Hide
In The Seven Husbands of Evelyn Hugo, Taylor Jenkins Reid’s portrayal of a film legend is so successful you could swear that the titular character stepped out of a magazine spread, which (as it happens) is the ruse she uses to meet with relatively unknown magazine reporter, Monique Grant. Hugo, in fact, wants Monique (who she recognizes as a talented writer) to pen her biography. With both career and love life stalled, an intrigued Monique can’t refuse what may be an opportunity of a lifetime, particularly when Hugo mentions they share some mysterious connection. And Evelyn has plenty of other secrets she’s ready to air about her time in Hollywood.
As a character, Hugo intrigues on every page, because she’s an unabashedly sexual woman who remains unashamed of her desires (however discreet she must be about them; this novel involves same sex romances) and unafraid to use that sexuality as a tool to get what she wants. Evelyn’s naked ambition is a refreshing thing to see in a female character, particularly as Jenkins Reid explores the dual nature of such ambition that both helps Evelyn escape her abusive childhood and propels her to fame but also costs her identity and even love. Hollywood often put it stars through the wringer (and on the casting couch), and Evelyn is no exception. Her resilience and path back to herself and love is extraordinary. Monique, too, grows through the novel (taking more than just notes about Evelyn’s history) and finds herself inspired to demand more from her own life and prospects. As Monique becomes increasing fond of her subject, Evelyn reveals regrets, which, of course, risks this regard. A story reflecting on the price of fame, The Seven Husbands of Evelyn Hugo manages to give us a complicated portrayal of woman living behind the glamorous mask
The Dark Side of Sisterhood
Literature has its fair share of loving sisters who persevere through hardships (eg, the March sisters from Alcott’s Little Women), some who unwaveringly support each other as they survive challenging upbringings (as Jeannette Walls recounts in her memoir, The Glass Castle).[§] However, the books I’ll be sharing do not belong to their numbers. Reminiscent of Oyinkan Braithwhite’s novel My Sister, the Serial Killer (from last year’s review), these sisters are more inclined towards mischief, malice, complicity, and some unhealthy co-dependence. Each reveals a fascinating though upsetting look at sisterly love.
The Recluses
In We Have Always Lived at the Castle by Shirley Jackson, we meet the reclusive Blackwood sisters, Constance and Merricat, six years after most of their wealthy family perished by poisoning that both avoided. Living with the now handicapped sole survivor of the poisoning, their Uncle Julian, the group ekes out a happy enough existence. Only the unusual Merricat (the book’s narrator and a clever young woman who seems rather immature for her age) ventures into the nearby village when she fetches books and supplies. The family, once quietly resented for their wealth, is now openly ostracized after Constance’s acquittal for their family’s murder, with Merricat often being tormented by the angry villagers.
Merricat, who lists sister Constance among her favorites despite her being the likely murderer,[**] is dismayed when her sister suddenly shows signs of wanting to rejoin society at the behest of loyal family friends. To make matters worse, their cousin Charles drops in for a visit. Merricat resents Charles’s intrusion, as he clearly wants to curb her wildness and expresses far too much interest in the family money. Without giving more away, the ending is both dramatic and near perilous for the sisters who nonetheless choose each other and their solitude, right or wrong, as Charles leaves emptyhanded, and the villagers end up repenting their misdeeds.
An Inseparable Pair
Sisters, by Daisy Johnson, is a dark, disturbing look at sisterhood. Fleeing from Oxford after some harrowing school incident involving sisters July (the primary narrator) and September, the girls and their mother, Sheela (the secondary narrator), arrive at Settle House in North Yorkshire. Located by both the moors and the sea, the aptly named Settle House adds a gothic element, as the dilapidated structure provides little respite as it reluctantly shelters the troubled family. The girls, born 10 months apart, share a suffocating, with elder sister September ruling the pair.
Throughout the novel, Johnson slowly parses out the puzzle pieces that reveal why the family left home so abruptly. Their backstory involves both violence and abandonment. September and July respectively resemble parents Peter and Sheela, both in looks and character. Peter proves to be a controlling man who was violent with both his own sister (Settle House’s owner) and wife, and who left the family long before he died. The more fragile Sheela is a single, working parent who suffers from crushing depression—a combination that often forces the children to shift for themselves (Sheela, in the throes of depression, rarely leaves her room during the novel). Johnson’s pacing allows the tension to increase in pitch, with each revelation hinting that the truth to come is worse yet. However, the revelations by no means spoil the shocking twist, as July’s devastating choices prove the ties that bind are inescapable in this novel.
Reading Resolutions
While I may not be a huge fan of January resolutions for myself, I mind them less for my yearlong reading goals. I am continuing to work on both my writing projects and my writing process, which is an ongoing process. Since November/December, I’ve been working through The Artist’s Way (first sampling the text, and now, in January, going through the lessons) to see what insights I might glean. I’ve also put together a few books that I’d like to read by the year’s end in addition to the six(!) books I already finished this year. While my list is shorter than it has been in the past (keeping last year’s flexibility in place), it includes books I’ve meant to read already (again), ones from indie authors, and even poetry. As always, I look forward to the year in reading and wish you many good reads as well!
What are reading in the new year? Share in the comments below!
NOTES
[*] The resolve to stay safe but separate in 2020 turned into the hope of Spring vaccinations. But, as more variants emerged, we’re reminded we’re not quite through this storm.
[†] This book, written by a woman in translation, was recommended to me during #WITmonth. And…it’s about a cat.
[‡] Billionaire entrepreneur Anjani might have humble roots, but her life story is extraordinary in many ways.
[§] Walls’s memoir recounts the unusual, difficult upbringing her parents gave their children (including Jeanette, her sister, and brother) who worked as a team to make better lives for themselves and, when permitted, their beloved parents.
[**]Guests, unlike Merricat, are appalled when Constance offers her cooking.
[††] You can find previous years reading reviews from 2017, 2018, and 2019 by clicking the links.
When I’m ready to curl up on a comfy sofa with a good book, I rarely browse through my spouse’s books. Ignoring our professional tomes or old schoolbooks that survived the Konmari purge, there’s limited overlap between our bookcases. Our common ground appears to be Stephen King’s books[*] interspersed with fantasy or science fiction selections and a smattering of literary fiction. My spouse’s tastes center around the said genres and nonfiction, while I wander freely through many genres. We may read together in the same room, but we’re still reading miles apart.
But, as it happens, being on different pages when it comes to our reading preferences can be an advantage. Allow me to explain.
Unexpected Common Ground
As most bibliophiles know, there’s no greater pleasure than unexpectedly finding common reading interests with another person. Early in our relationship, my spouse and I discovered several books and authors we mutually liked, which led us to recommend books the other hadn’t yet read from our shared authors.
But even years later, we still surprise each other when we discover a reading connection that allows us to share new authors/titles with each other. When my husband recommended Good Omens co-authored by one of his favorite authors, Neil Gaiman, I knew I wanted to read it because I already was a fan of its other author, Terry Pratchett. I enjoyed it as much as he did, and we discussed it for ages afterwards. As a result, I ended up delving into a few other books by Gaiman (Coraline, The Ocean at the End of the Lane), while my spouse read Terry Pratchett’s The Colour of Magic.
The Book Finder
Some time ago, my husband purchased Helene Tursten’s short story collection, An Elderly Lady Is Up to No Good (translated by Marlaine Delargy). Initially intrigued by the cross-stitch cover and its premise, he purchased this book as he felt like it was one that I’d like (crime/detection fiction is a favorite of mine but not necessarily one of his). I loved it so much I’ve written about it here, as well as pretty much re-shelved it to my bookshelf.[†] But I wasn’t the only one who loved Maud. He’s also a huge fan, and both of us couldn’t wait to tell each other the next Maud collection would be released soon.[‡] Similarly, I’ve found several books that match his interest in science fiction (eg, Arthur C. Clarke winner Anne Charnock’s Dreams Before the Start of Time) or travel (eg, Raynor Winn’s The Salt Path) because I spend more time on book Twitter than he does.
In some ways, our situation is akin to having a personal book shopper who gets what you really want and isn’t afraid to suggest some more eclectic choices. Beyond this, I’ve discovered that our different interests and approaches to finding books often lead us to find authors and books for each other that we individually might not have discovered.
The Influencer
To be honest, I read more nonfiction now than I would have without my spouse’s intervention. Sometimes, his reading features how-to books, tomes on self-improvement, and deep dives into history. Over the years, he’s suggested a few books from these categories when he thought they might be mutually relevant so that we could read or listen[§] to them together (eg, Nuture Shock: New Thinking About Children by Po Bronson and Ashley Merryman when our kiddo was young as well as Marie Kondo’s The Life-Changing Magic of Tidying Up when we wanted to declutter).
But some books more related to his career caught his attention, and and my spouse later referred to them me as they touch upon my interests (eg, Sara Wachter-Boettcher’s Technically Wrong: Sexist Apps, Biased Algorithms, and Other Threats of Toxic Tech corresponds with interests in feminism and science). For my part, I’ve gently nudged him to read more detective fiction (eg, anything Agatha Christie) and literary fiction than he might have otherwise considered reading (eg, Kindred by Octavia Butler, which has elements of speculative fiction).
While having someone (again) introduce you to new book is fantastic, the larger victory is that we both found ourselves more willing (albeit selectively) to read from categories that we might not otherwise given a chance. In short, we’re both a bit more openminded when we peruse books, because we now know that there are great books even in categories that don’t spark joy for us.
The Seller
Ever read a book so good that you tell everyone you know about it? My spouse and I both are susceptible to this phenomenon. We’re both well aware that a particular book might not be something the other would standardly enjoy (or even close to it), but we recommend it because it’s that good. I know literary fiction (particularly the grimmer sort) isn’t something my spouse runs toward, but Han Kang’s The Vegetarian (trans. Deborah Smith) is a masterpiece. Similarly, my limited interest in science fiction hasn’t stopped him from insisting that I also read This Is How You Lose the Time War by Amal El-Mohtar and Max Gladstone. I can’t say that time traveling enemy agents is my thing, but I’ll give it a whirl because its epistolary format interests me. If nothing else, we’ll have plenty of opportunities to discuss why we didn’t like each other’s suggestions.
The Wrap Up: Reading Couple Goals
As two people who love reading and writing, we often do want to talk about the amazing books we’ve read—even if one of us will never read that book. But we’ve found that that our differences worked well to expand our individual reading horizons. While it’s great having a book buddy when it comes to chatting about favorite reads, being able to discuss any book with your reading partner is amazing.[**] And who better to do start that conversation with than your significant other?
Do you and your significant other read together or separately? Let me know in the comments section if you recommend books for each other.
NOTES:
[*] He’s his own genre by now, right?
[†] In the writing of this essay, I’ve discovered I’m something of a book thief. I promised to return…most of them.
[‡] We actually put it on our Goodreads to-read lists within 5 days of each other.
[§] As a rule, I rarely listen to audiobooks, as I read much faster than the book can be spoken. But it’s an ideal way to jointly go through a book, particularly if you’re stuck in a car for a few hours.
[**] Of course, you don’t need to be in a romantic relationship to form your own miniature book club or salon, but it is a bonus if you and your significant other can do so.
Without a doubt, 2020 was a challenging year. For some, coping with these harrowing events meant finding solace in books and reading voraciously. Others, despite time freed up by social distancing, could barely turn a page. I found myself seesawing between both states. Although I didn’t meet my reading goals, I’m still happy to say that I read many books that expanded my horizons while remaining home. Even the more intense books (perhaps not the best choices for difficult times) continue to challenge me long after I closed their covers and shelved them. This year’s list, therefore, is not a “best of” list so much as a tribute to those memorable books that made pandemic reading a bit more bearable.
High Hopes: Inspirational Reads
Elsewhere, I discussed Michelle Obama’s memoir, Becoming, and why I felt it was a great inspirational book to read during the pandemic. It remains among my favorites reads for 2020, because she points out the choice that we all have when it comes to viewing our circumstances. This, of course, isn’t the full extent of what Becoming brings to its audience (her life story is fascinating in its own right), but it’s something I ponder often on dark days. How does my perspective control my story? How could it be reconsidered?
But there was another book that I read in 2020 that I found quite inspirational: Chimamanda Ngozi Adichie’s tiny tome, We Should All Be Feminists. Adichie’s book is an approachable, occasionally irreverent, and oft poignant consideration of why we, as the title states, should become feminists. Using a conversational tone (this book sprang from her 2012 TED talk), she makes the case for feminism by addressing both its baggage and the counterproductive effects of clinging to patriarchy—for both men and women. It’s difficult not to see how we’d all be happier if we strove toward gender equality.[*]
The Slowpoke Read: The Drunken Botanist by Amy Stewart
Disclaimer: If alcohol isn’t your thing, feel free to skip ahead. If you like the occasional tipple and/or enjoy science, read on.
Of all the books I finished this year, The Drunken Botanist: The Plants that Make the World’s Great Drinks took the longest to read. But here’s the twist: I think it’s a feature that this book can be read over long periods. Using the familiar plant field guide format, most chapters focus on a single plant, making it easy to read a section, put the book aside, and return when you like. It proved to be an engaging way to absorb material through 2020, when I wanted to read just a bit or found myself unable to focus on reading for long stretches.
Format aside (the book, for the record, boasts a beautiful layout), Amy Stewart’s efforts to better educate her readers about the plants that give rise to the world’s favorite drinks are enlightening as they are entertaining, The Drunken Botanist does its best to give a broad, near encyclopedic view of the various plants (around 160, I believe) and the alcohols they produce. Often, I found myself focused more on the fascinating details involved in the research (eg, cloves are closed flower buds), not to mention the diverse disciplines she references (eg, coprolites shed information on alcohol consumption of the ancients). And did I mention the drink recipes? Stewart’s how-to, however, also extends to gardening and brewing (when feasible for folks at home), making this a rather complete approach to her topic. A careful scientist, Stewart also elucidates what’s unverifiable tales/myths, distillations best left to experts, dangerous look-alike plants, and the tragic history behind some crops and their beverages (eg, slavery, colonization). All in all, a deep, rewarding dive into botany that makes you appreciate the plants behind the bottle.
Lived up to the Hype, or Never Underestimate a Pretty Woman
I decided to read both My Sister, the Serial Killer and Mexican Gothic, because of the well-deserved buzz surrounding these novels. Both allowed me to escape the confines of my home, while I pondered their various heroine’s difficulties. They also shared a common feature: beautiful young women who people misjudge as harmless, albeit in different ways. However, both novels deftly touch on serious topics as they captivate you. I can’t recommend either enough.
Hidden Depths
In Mexican Gothic by Silvia Moreno-Garcia, the heroine, Noemí Taboada, may seem like a frivolous socialite, but this good-time girl has hidden depths. For one thing, she’s keen on earning her master’s degree in anthropology despite her family’s disapproval. The promise of furthering her studies is the carrot her father uses to persuades Noemí to travel to a remote mining town to check up on her beloved cousin, Catalina, who has sent some disturbing letters regarding her new husband, Virgil Doyle. While gothic literature isn’t traditionally set in Mexico, the transplanted Doyle family brough the requisite gloomy atmosphere from England with them. Before long, Noemí realizes something is very wrong in the Doyle’s manor and that she is becoming ensnared by it. Without giving away too much, Mexican Gothic sneaks into literary fiction as Moreno-Garcia masterfully blends serious topics (eg, racism, colonialism,) into the undercurrents of its disturbing narrative, creating an immersive, intense horror story that is difficult to stop reading.[†]
Beauty Is Only Skin Deep
After reading My Sister, the Serial Killer by Oyinkan Braithwaite, never has the platitude about the depths of beauty seemed so true. This darkly comic novel (murder shouldn’t be a laughing matter) grabbed my attention from the title through its conclusion, as I inched closer to learning what makes a beautiful woman (Ayoola) turns murderous. It’s the second mystery (I’ll get to that), however, that made me eager to turn the pages.
Through the older and less lovely sister, Korede, we learn about Ayoola’s unconventional method for managing her man problems. Korede, long made responsible for her sister’s action and well-being, seethes as her sister’s looks let her escape Nigerian cultural expectations of women (eg, cooking[‡]) and the consequences of her actions. Ayoola, long accustomed to deference, expects her older sister to clean up her messes, murder included. Korede, of course, does just that with her usual competence. Work is nurse Korede’s only refuge, where she longs after a handsome doctor, Tade Otumu. Here, too, is her only confidant: a comatose patient in whom she confesses the truth about Ayoola’s exploits. But her sanctuary soon evaporates when Ayoola pays a visit. Before long, Tade is dating Ayoola and her patient, once expected to die, awakens. Korede, in a quandary between two loves, needs to make a choice.
Braithwhite’s searing commentary, focused on female beauty, exposes the misogynistic undercurrents of how societies value women. Korede, the more compassionate and competent sister, is often overlooked, and she can’t even criticize Ayoola without being dismissed as jealous. But Braithwhite carefully shows how beauty isn’t always a blessing. Ayoola’s enjoyment of her halo effect doesn’t hide how the emphasis placed on her looks has damaged her, as she lacks empathy, fails to grasp proper behavior on serious occasions, and holds an understandably cynical view of men (“…a pretty face. That’s all they ever want”) who value her looks but know nothing of her interests or talents. Considering the good fortune showered on Ayoola for existing while beautiful, there is some mystery behind her evolution into a literal mankiller. But the more compelling question is why Korede continues to helps her, given her resentment and horror. The answer to both questions lies in their shared history and bond as sisters.
The Reading Year Wrap Up
This year’s reading, whether disturbing (We Need to Talk About Kevin, The Perfect Nanny [alternative title, Lullaby]) or comforting (all the Rick Riordan books I read with my kiddo), often served as a connection point with the outside world, one that patiently waited for me when the current events left me too tired to read. While it might seem activities like reading should be a lower priority during troubling times, I can’t help but think how much art, music, books, television, etc., served as a balm whether I needed mindless distraction or a reminder that were bigger things besides my own cares. Art matters, particularly when life is difficult. As 2021 will continue (at least for now) where 2020 left off, I plan to stock up on few books (in addition to this year’s Christmas haul). Whether the coming year brings good news or not, I hope to have a good book on hand.
Happy reading, all!
NOTES
[*]I would be remiss to ignore Adichie’s controversial remarks about transwomen, even though they do not appear this book. While she later clarified her statement, it’s important to understand why her remarks missed the mark so that we do a better job of making feminism more intersectional.
[†] I stayed up to the early hours to finish this book, and it did not disappoint. Read here for a more in-depth analysis of the book and interview with the author, Silvia Moreno-Garcia.
[‡]And, you know, letting boyfriends live.
My Reading Year in Review
It’s safe to say that most book lovers hope to read more books in the new year, whether they have a specific goal in mind or long for more time to engage in this favored pastime. But reading isn’t about quantity, as readers who suffer book hangovers can attest. Certain books draw us in, make us wish to live longer within their pages. Some books entertain, while others make our hearts hurt. Some dazzle us with the beauty, the lyricism of their phrasing, while others stun us with their twists.
Whatever the case may be, reading is a powerful act, one that lets us live other lives, builds our empathy, and deepens our understanding. And while reading is often perceived as solitary, we do read books aloud or in parallel (as I did with my kiddo this year[†]), allowing this experience to become a communal one. So, yes, readers want to read more each year but not because they wish to beat some goal. It’s to experience more.
For what it’s worth, I did exceed my reading goals this year,[‡] I also read most (thought not all) of the books I planned to read. I even completed the 2019 Reading Women Challenge (more on that later!). But the true triumph was that I read stories that enriched my world, making me glad I spent time in immersed in someone else’s words. Below, I’ve listed a few books that I found particularly memorable as well as a few books I hope to read in 2020. Regardless of how many books we read, I hope this year is filled with meaningful books for all.
2019 Reading Recommendations
Older Women with Character
If eccentric but difficult elderly women amuse you, then consider reading both An Elderly Lady Is Up to No Good by Helene Tursten (trans. Marlaine Dalargy) and My Grandmother Asked Me to Tell You She’s Sorry by Fredrik Backman (trans. Henning Koch). Unwilling to be sweet, these women will make you see older women less as “old dears” and more as the complicated human beings they are. An honorable mention in this category is Convenience Store Woman by Sayaka Murata (trans. Ginny Tapley Takemori). While protagonist Keiko is younger woman than the women in the aforementioned novels, she, very much like them, chooses to follow her own nontraditional path–much to the dismay of her family and friends.
The Twist of the Tale
The book I read this year with the best twist was Monday’s Not Coming by Tiffany D. Jackson. In this wrenching story of a young woman trying to determine why her best friend disappeared, the reader might work up a few good guesses as to what happened to Monday. Yet, though there were a few odd moments in the story, I don’t think much alerted me to its twist. Second place belongs to The Wife Between Us, a thriller by Greer Hendricks and Sarah Pekkanen. This book advertised its twist in a “you’ll never see it coming way!”, which led me scrutinize the text quite closely for clues. And, sure enough, I picked up on a few details that partially (but not completely) revealed the twist. Nonetheless, I think the authors still surprised me in many places and I was on edge for much of the novel. As a minor aside, there was one final twist that felt a bit unnecessary. In my opinion, it gilded the lily but by no means ruined the book or its overall impact.
Brilliant Nonfiction
This year, I read several works of nonfiction that opened my eyes to the past, often exposing past or ongoing social ills (Black Faces, White Spaces: Reimagining the Relationship of African Americans with the Great Outdoors by Carolyn Finney, Radium Girls: The Dark Story of America’s Shining Women by Kate Moore, Technically Wrong: Sexist Apps, Biased Algorithms, and Other Threats of Toxic Tech by Sara Wachter-Boettcher). Two other notable reads focused on a devastating library fire (The Library Book by Susan Orlean) and a rare books thief (The Man Who Loved Books Too Much by Allison Hoover Bartlett), with both sharing a thread of loss and longing. Since some of these books will feature in upcoming reviews (or already were reviewed), I won’t go into detail here. But keep these in mind if you’re interested in social justice or some fascinating tales focused on the book world.
I’m looking forward to (hopefully!) reading these books and more! Happy new year and happy reading to you!
NOTES
[†] Indeed, my reading list received a hefty boost from reading Rick Riordan’s books about Percy Jackson and the Olympians.
[‡] I aimed to read 48 books and read 64.
Since I committed to participating in #NaNoWriMo 2018 (and potentially talked others into doing so as well), I’ve had no choice but to sit myself down and get writing. Signing up on the NaNoWriMo web site, finding writing buddies, and announcing one’s intentions on social media near-legally obliges one to take part, regardless of how many demands already exist on one’s time. But when is there ever a good time to squeeze more of any activity into any schedule? If I want to prioritize my writing more—specifically, time spent writing fiction—I need to find opportunities to write more. What better way to do so than taking on such a demanding schedule for a month? I imagine finding writing time will seem much easier after NaNoWriMo. So, with some trepidation, I began to write this November. For your amusement, I kept a few notes on my first few days to let you know how it went.
Prologue: 31 October, Halloween
I’ve managed, overnight it seems, to irritate several muscle groups in my back, which does not bode well for spending long periods sitting in my office chair as I type what I hope will morph into a novel. I spend the day engaged in Halloween events (ie, the school parade and classroom party). Following an appointment after school and an early dinner, my son and spouse head off to trick-or-treat, while I vainly keep an eye on our door in the unlikely event the doorbell rings. After they return and my son heads to bed, I decline my spouse’s suggestion that we start writing at 12 AM, knowing that I’m already overtired from Halloween activities and sorting out the upcoming birthday details that were my responsibility. Tomorrow afternoon will have to be my starting point. My spouse, determined to write as much as possible during the first week to build up a surplus should he miss a day, decides to start at midnight anyway. Overachiever.
Highlights: We got one trick-or-treater this year!
Word count: No need to worry about that yet.
Day 1: NaNoWriMo Begins
Despite (or possibly because of) a successful Halloween haul, I now have an overexcited nearly 9-year-old child to ship off to school. Today, I join him there, since I volunteer at the school library on Thursday mornings. Which means I won’t be doing any writing until after 12 PM, when I’m done with my shift. On returning home, I field several phone calls related to said child’s upcoming birthday party that results in making post-party dinner plans on the fly. Once I’m finished, I wolf down my late lunch in time to fetch child from school. I attempt to combine writing with monitoring his homework session and end up failing at the former, once I manage to dump roughly 8 oz. (~237 mL) of water into an open desk drawer. After dinner and bedtime (9 PM), I race to my now drier desk and make my second start at writing. It’s probably the worst prose I’ve written in ages. And yes, my back ends up hurting more than it did before I started. After indulging in some speculation regarding how our household will manage with both adults participating in NaNoWriMo, I call it a night.
Highlights: horrific prose, dumping water in my desk drawer. Oh, and back pain.
Word count: 1730
Day 2: Finances and Broken (Insincere) Resolutions
It’s Friday morning, and I need to sort out the finances (it’s payday). I also get phone calls at odd intervals about various things I need to address, ranging from flight details for my brother to confirming various appointments. It ends up being one of those days where I spend time running errands and feeling as though I accomplished little. Unexpectedly, my parents decide to visit. They were in the area, so they dropped off their updated address book so that I can print out labels for their Christmas cards That wasn’t on my agenda but it is now. After the youngster’s bedtime, I power through roughly 1700 words as midnight approaches again. Being a night owl, I don’t mind the late-night writing jams. It’s the 7 AM wake-up call that I find difficult. Nonetheless, I feel better about what I’ve written today, particularly since I also fixed up a few areas of the previous day’s poor writing. So much for not editing until later, right?
Highlights: Surprise visits, lessening back pain, and somewhat better writing. Honestly, though, I was going to edit as I write.
Word count: 1771
Day 3: Birthday Party
Today, I anticipate writing nothing. Between my brother’s imminent arrival from Texas and readying ourselves for the party (we didn’t put together the treat bags until that morning), I assume correctly that I will have enough to keep me busy. The party proves to be quite successful. Afterwards, we eat dinner at a local restaurant—no cooking or dinner dishes for us! My expectations of writing nothing is met, as I start falling asleep by 10 pm. On the bright side, my back pain seems to be resolving and I fall asleep at a reasonable time. Although my spouse is an early bird, he chooses to stay up late once more so that he can meet his daily word count. Apparently, he’s worried about losing steam halfway through NaNoWriMo and suffering from the“Muddy Mid-Month”. It seems that the Ides of November (that’s a thing, right?) are known for slowing one’s writing. I rechristen it the Mid-Month Slump, but he’s not into it. Either way, I’m in bed before midnight.
Highlights: Party is successful, so now I only need to get through the child’s actual birthday in a few days. Writing does not happen.
Word count: 0
Day 4: Lazy Sunday
Daylight savings time means I slept (or at least was in bed) for roughly nine hours, which feels like a victory after a long day of socializing. We enjoy a lazy morning with my brother before taking him to the airport. During the morning, my spouse’s distressing plotter tendencies manifest further, as he’s created something like a personal Wikipedia for his story world that includes the maps he created for his world prior to November 1st. I spend the afternoon sorting out laundry and other household chores, while the spouse goes grocery shopping. We both settle down to more writing after the kid goes to bed.
Highlights: Family time and a clean(er) house.
Word count: 1671
Day 5: Birthdays Redux
After I fall asleep near midnight on the 4th, I awaken a few hours later. Not feeling sleepy, I decide to read a few chapters of The Backstreets of Purgatory. Perhaps this is not the best choice, as I’m approaching the ending and the novel is clearly ratcheting the tension up towards some big finish. Of course, I can’t put it down, and I end up staying up far later than I planned—and it’s completely worth the sleep deprivation combined with a rambunctious birthday boy. At breakfast, I insist that my spouse must read this book, too. Despite the rain and the ongoing birthday fun, I get my son to school on time and dry, with birthday treats for his class in tow.
Mondays, as a rule, tend to be the most difficult for writing. Among other things, there are after school activities and appointments. If I can snatch moment, I write little notes about my WIP or current blog. Today, I jot down some notes about what I think needs to be added to make my WIP more complete. At present, my scene lacks description that would be helpful for immersing the readers into the situations and visualizing the characters. With that completed, the youngster is retrieved from school. We get several calls from well-wishers, and he open his presents from us. In the evening, after sending the tired birthday tyke to bed, I do the bulk of my writing for the day.
Highlights: Birthday presents and books, plus casual plotting on the fly.
Word count: 1673
Day 6: Election Day
Tuesday is the mid-term elections. Since school is closed, we’re planning to visit a museum or two in Philadelphia in the afternoon. For the morning, though, we’re meeting up my parents at a book store, where they’ll be sending the kiddo off on a birthday book buying spree. Despite the torrential downpours, we return home with a stack of books and I vote before we get to Philly. After a few hours marveling at dinosaurs and brains, we return home, and I start writing earlier this evening. Even better? I hit a good stop pointing well before midnight!
Highlights: Dinosaurs, the human brain, and more books. Steady writing progress.
Word count: 1813
Day 7: Wednesday Walks
After dropping the kiddo off at school, I manage to take a walk around my neighborhood, which is glorious in its fall colors. Feeling refreshed, I spend some time thinking about where my book is headed as I tidy up the dishes. So far, there’s a lot of conversations and a few arguments; I suspect that most of it will end up cut when I add more action. For now, it’s helping me establish the voices of some of the characters, their relationships, and background. I also come up with surnames and, in a few cases, first names for parents/grandparents. I’m committing to setting the timeline to Philadelphia and its suburbs in the early 2000s, which means I’m going to need to do some research at a later point to make sure my writing matches the reality for that times (namely, salaries and rent from that era). I even manage to do some writing before school pick up.
After an afternoon appointment, it’s a long slog through homework time as there is a time-consuming assignment that requires more than the usual parental oversight and support. Exhausted, I send my child to bed (late) and take a half-hour nap before writing. Here’s to exceeding that word count before midnight!
Highlights: Enjoying a sunny afternoon and meeting writing goals!
Word count: 1846
And there you have it. Word counts were (mostly) met! Now, all I have to do is catch up a bit on both sleep and the word quota for that one day. And do it every day until November ends. No problem, right? In my text post, I’ll pop in to discuss making it to the midway point and beyond.
NOTES:
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About Julia Cameron
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Hailed by the New York Times as "The Queen of Change," Julia Cameron is credited with starting a movement in 1992 that has brought creativity into the mainstream conversation— in the arts, in business, and in everyday life. She is the best-selling author of more than forty books, fiction and nonfiction; a poet, songwriter, filmmaker and playwright. Commonly referred to as "The Godmother" or "High Priestess" of creativity, her tools are based in practice, not theory, and she considers herself "the floor sample of her own toolkit." The Artist's Way has been translated into forty languages and sold over five million copies to date.
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Notable New Mexico Geologists
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Overview:
These profiles of living geologists that have worked extensively in New Mexico extend the project started in our Special Volume - 12: "A Brief History of Geological Studies in New Mexico With Biographical Profiles of Notable New Mexico Geologists", published in 2014. We aim to recognize the life and work of men and women who have contributed to various fields within Earth and planetary sciences, including (but not limited to) geology, geophysics, geochemistry, hydrology, environmental science, and mining. This living history project was launched by Steve Simpson’s Science Writing class at the New Mexico Institute of Mining and Technology in Spring 2013. We welcome all with an interest in New Mexico geology to enjoy these profiles, to suggest noteworthy scientists and engineers for future profiles, and even to share their own stories about other scientists who have inspired them or have contributed to knowledge of our region.
Profiles:
Penelope (Penny) Boston:
Dr. Penelope Boston plunged into the wonders of exobiology at a very young age. She grew up travelling the world with parents who were travelling performers, frequently delves into deep caves to do research, has worked with Dr. Carl Sagan on a project and serves on several scientific advisory panels with Dr. Frank Drake, studies both Earth’s subsurface microbiology and the possibility of life in caves on Mars, can speak Klingon, and is a notable New Mexico Speleologist, Microbiologist, and Astrobiologist. A current professor at New Mexico Institute of Mining and Technology, author of over 150 publications, and co-founder of the National Cave and Karst Research Institute and organizer of multiple conferences, Dr. Boston has devoted her career to teaching and understanding overlapping scientific disciplines. Despite being told by many people that studying so many different subjects would be hurtful to her career opportunities, she studies everything that she loves and has developed a successful career for herself.
Kent Condie:
Kent Condie is a professor of geochemistry at New Mexico Tech, where he has taught since 1970. His primary research focus, the origin of the continents, has taken him to observe billion-year-old rocks in remote locations around the globe. A prominent author, Kent Condie has written books and scientific articles that have become standard references in various field of geology, such as Plate Tectonics and Crustal Evolution and Earth as an Evolving Planetary System. [more...]
Wolfgang (Wolf) Elston:
Dr. Wolfgang Elston was Emeritus Professor of Geology at the University of New Mexico (UNM). For over sixty years, Wolf dedicated his life to the study of volcanic rocks in New Mexico and around the world. Wolf’s contributions to the study of the regional geology of Southwestern New Mexico and ash-flow calderas inspired students and geologists from around the country. Wolf also worked on the geology of the Bushveld Complex of South Africa with his last graduate student (of many) at UNM. He was also a frequent lecturer on the New Mexico Humanities Project circuit, where he discussed his experiences as a child refugee from Nazi Germany, in order to motivate students to overcome bullying and prejudice in school. [more...]
Robert (Bob) Eveleth:
 Bob Eveleth is a Miner, a 49er, an engineer, a bartender, and a historian. A 1969 graduate from New Mexico Institute of Mining and Technology (formerly New Mexico School of Mines), he still uses his extensive mining experience and solid geologic knowledge of ores in New Mexico to defeat shady entrepreneurs out to make money from less-informed citizens. For over twenty years he has researched and documented New Mexico history relating to mining, the city of Socorro, and the School of Mines. He has been with the Bureau of Geology and Mineral Resources for over 35 years and remains their Senior Mining Engineer, specializing in Mining Technology, Mining Law, and Mining History. [more...]
Carol Ann Hill:
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https://www.sjsu.edu/steinbeck/resources/biography/steinbeck-american-writer.php
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John Steinbeck, American Writer
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by Dr. Susan Shillinglaw
Download "John Steinbeck, American Writer" as [pdf]
John Steinbeck was born in the farming town of Salinas, California on 27 February 1902. His father, John Ernst Steinbeck, was not a terribly successful man; at one time or another he was the manager of a Sperry flour plant, the owner of a feed and grain store, the treasurer of Monterey County. His mother, the strong-willed Olive Hamilton Steinbeck, was a former teacher. As a child growing up in the fertile Salinas Valley —called the "Salad Bowl of the Nation" — Steinbeck formed a deep appreciation of his environment, not only the rich fields and hills surrounding Salinas, but also the nearby Pacific coast where his family spent summer weekends. "I remember my childhood names for grasses and secret flowers," he wrote in the opening chapter of East of Eden. "I remember where a toad may live and what time the birds awaken in the summer-and what trees and seasons smelled like."
The observant, shy but often mischievous only son had, for the most part, a happy childhood growing up with two older sisters, Beth and Esther, and a much-adored younger sister, Mary.
Steinbeck in 1909 with his sister Mary, sitting on the red pony, Jill, at the Salinas Fairgrounds.
Never wealthy, the family was nonetheless prominent in the small town of 3,000, for both parents engaged in community activities. Mr. Steinbeck was a Mason, Mrs. Steinbeck a member of the Order of the Eastern Star and founder of The Wanderers, a women's club that traveled vicariously through monthly reports. While the elder Steinbecks established their identities by sending roots deep in the community, their son was something of a rebel. Respectable Salinas circumscribed the restless and imaginative young John Steinbeck and he defined himself against "Salinas thinking." At age fourteen he decided to be a writer and spent hours as a teenager living in a world of his own making, writing stories and poems in his upstairs bedroom.
To please his parents he enrolled at Stanford University in 1919; to please himself he signed on only for those courses that interested him: classical and British literature, writing courses, and a smattering of science. The President of the English Club said that Steinbeck, who regularly attended meetings to read his stories aloud, "had no other interests or talents that I could make out. He was a writer, but he was that and nothing else" (Benson 69). Writing was, indeed, his passion, not only during the Stanford years but throughout his life. From 1919 to 1925, when he finally left Stanford without taking a degree, Steinbeck dropped in and out of the University, sometimes to work closely with migrants and bindlestiffs on California ranches. Those relationships, coupled with an early sympathy for the weak and defenseless, deepened his empathy for workers, the disenfranchised, the lonely and dislocated, an empathy that is characteristic in his work.
After leaving Stanford, he briefly tried construction work and newspaper reporting in New York City, and then returned to his native state in order to hone his craft. In the late 1920s, during a three-year stint as a caretaker for a Lake Tahoe estate, he wrote several drafts of his first novel, Cup of Gold (1929) about the pirate Henry Morgan, and met the woman who would become his first wife, Carol Henning, a San Jose native. After their marriage in 1930, he and Carol settled, rent-free, into the Steinbeck family's summer cottage in Pacific Grove, she to search for jobs to support them, he to continue writing. During the decade of the 1930s Steinbeck wrote most of his best California fiction: The Pastures of Heaven (1932), To a God Unknown (1933), The Long Valley (1938), Tortilla Flat (1935), In Dubious Battle (1936), Of Mice and Men (1937) and The Grapes of Wrath (1939).
To a God Unknown, second written and third published, tells of patriarch Joseph Wayne's domination of and obsession with the land. Mystical and powerful, the novel testifies to Steinbeck's awareness of an essential bond between humans and the environments they inhabit. In a journal entry kept while working on this novel - a practice he continued all his life — the young author wrote: "the trees and the muscled mountains are the world — but not the world apart from man — the world and man — the one inseparable unit man and his environment. Why they should ever have been understood as being separate I do not know." His conviction that characters must be seen in the context of their environments remained constant throughout his career. His was not a man-dominated universe, but an interrelated whole, where species and the environment were seen to interact, where commensal bonds between people, among families, with nature were acknowledged. By 1933, Steinbeck had found his terrain; had chiseled a prose style that was more naturalistic, and far less strained than in his earliest novels; and had claimed his people - not the respectable, smug Salinas burghers, but those on the edges of polite society. Steinbeck's California fiction, from To a God Unknown to East of Eden (1952) envisions the dreams and defeats of common people shaped by the environments they inhabit.
Undoubtedly his ecological, holistic vision was determined both by his early years roaming the Salinas hills and by his long and deep friendship with the remarkable Edward Flanders Ricketts, a marine biologist. Founder of Pacific Biological Laboratories, a marine lab eventually housed on Cannery Row in Monterey, Ed was a careful observer of inter-tidal life: "I grew to depend on his knowledge and on his patience in research," Steinbeck writes in "About Ed Ricketts," an essay composed after his friend's death in 1948 and published with The Log from the Sea of Cortez (1951). Ed Ricketts's influence on Steinbeck, however, struck far deeper than the common chord of detached observation. Ed was a lover of Gregorian chants and Bach; Spengler and Krishnamurti; Whitman and Li Po. His mind "knew no horizons," writes Steinbeck. In addition, Ricketts was remarkable for a quality of acceptance; he accepted people as they were and he embraced life as he found it. This quality he called non-teleological or "is" thinking, a perspective that Steinbeck also assumed in much of his fiction during the 1930s. He wrote with a "detached quality," simply recording what "is." The working title for Of Mice and Men, for example, was "Something That Happened "- this is simply the way life is. Furthermore, in most of his fiction Steinbeck includes a "Doc" figure, a wise observer of life who epitomizes the idealized stance of the non-teleological thinker: Doc Burton in In Dubious Battle, Slim in Of Mice and Men, Casy in The Grapes of Wrath, Lee in East of Eden, and of course "Doc" himself in Cannery Row (1945) and the sequel, the rollicking Sweet Thursday (1954). All see broadly and truly and empathetically. Ed Ricketts, patient and thoughtful, a poet and a scientist, helped ground the author's ideas. He was Steinbeck's mentor, his alter ego, and his soul mate. Considering the depth of his eighteen-year friendship with Ricketts, it is hardly surprising that the bond acknowledged most frequently in Steinbeck's oeuvre is friendship between and among men.
Steinbeck's writing style as well as his social consciousness of the 1930s was also shaped by an equally compelling figure in his life, his wife Carol. She helped edit his prose, urged him to cut the Latinate phrases, typed his manuscripts, suggested titles, and offered ways to restructure. In 1935, having finally published his first popular success with tales of Monterey's paisanos, Tortilla Flat, Steinbeck, goaded by Carol, attended a few meetings of nearby Carmel's John Reed Club. Although he found the group's zealotry distasteful, he, like so many intellectuals of the 1930s, was drawn to the communists' sympathy for the working man. Farm workers in California suffered. He set out to write a "biography of a strikebreaker," but from his interviews with a hounded organizer hiding out in nearby Seaside, he turned from biography to fiction, writing one of the best strike novels of the 1900s, In Dubious Battle. Never a partisan novel, it dissects with a steady hand both the ruthlessness of the strike organizers and the rapaciousness of the greedy landowners. What the author sees as dubious about the struggle between organizers and farmers is not who will win but how profound is the effect on the workers trapped in between, manipulated by both interests. At the height of his powers, Steinbeck followed this large canvas with two books that round-out what might be called his labor trilogy. The tightly-focused Of Mice and Men was one of the first in a long line of "experiments," a word he often used to identify a forthcoming project. This "play-novelette," intended to be both a novella and a script for a play, is a tightly-drafted study of bindlestiffs through whose dreams he wanted to represent the universal longings for a home. Both the text and the critically-acclaimed 1937 Broadway play (which won the 1937-1938 New York Drama Critics' Circle Award for best play) made Steinbeck a household name, assuring his popularity and, for some, his infamy. His next novel intensified popular debate about Steinbeck's gritty subjects, his uncompromising sympathy for the disenfranchised, and his "crass" language.
The Grapes of Wrath sold out an advance edition of 19,804 by 1939 mid-April; was selling 10,000 copies per week by early May; and had won the Pulitzer Prize for the year (1940). Published at the apex of the Depression, the book about dispossessed farmers captured the decade's angst as well as the nation's legacy of fierce individualism, visionary prosperity, and determined westward movement. It was, like the best of Steinbeck's novels, informed in part by documentary zeal, in part by Steinbeck's ability to trace mythic and biblical patterns. Lauded by critics nationwide for its scope and intensity, The Grapes of Wrath attracted an equally vociferous minority opinion. Oklahoma congressman Lyle Boren said that the dispossessed Joad's story was a "dirty, lying, filthy manuscript." Californians claimed the novel was a scourge on the state's munificence, and an indignant Kern County, its migrant population burgeoning, banned the book well into the 1939-1945 war. The righteous attacked the book's language or its crass gestures: Granpa's struggle to keep his fly buttoned was not, it seemed to some, fit for print. The Grapes of Wrath was a cause celebre.
The author abandoned the field, exhausted from two years of research trips and personal commitment to the migrants' woes, from the five-month push to write the final version, from a deteriorating marriage to Carol, and from an unnamed physical malady. He retreated to Ed Ricketts and science, announcing his intention to study seriously marine biology and to plan a collecting trip to the Sea of Cortez. The text Steinbeck and Ricketts published in 1941, Sea of Cortez (reissued in 1951 without Ed Ricketts's catalogue of species as The Log from the Sea of Cortez), tells the story of that expedition. It does more, however. The Log portion that Steinbeck wrote (from Ed's notes) in 1940 - at the same time working on a film in Mexico, The Forgotten Village - contains his and Ed's philosophical musings, his ecological perspective, as well as keen observations on Mexican peasantry, hermit crabs, and "dryball" scientists. Quipped New York Times critic Lewis Gannett, there is, in Sea of Cortez, more "of the whole man, John Steinbeck, than any of his novels": Steinbeck the keen observer of life, Steinbeck the scientist, the seeker of truth, the historian and journalist, the writer.
Steinbeck was determined to participate in the war effort, first doing patriotic work (The Moon Is Down, 1942, a play-novelette about an occupied Northern European country, and Bombs Away, 1942, a portrait of bomber trainees) and then going overseas for the New York Herald Tribune as a war correspondent. In his war dispatches he wrote about the neglected corners of war that many journalists missed - life at a British bomber station, the allure of Bob Hope, the song "Lili Marlene," and a diversionary mission off the Italian coast. These columns were later collected in Once There Was a War(1958). Immediately after returning to the States, a shattered Steinbeck wrote a nostalgic and lively account of his days on Cannery Row, Cannery Row (1945). In 1945, however, few reviewers recognized that the book's central metaphor, the tide pool, suggested a way to read this non-teleological novel that examined the "specimens" who lived on Monterey's Cannery Row, the street Steinbeck knew so well.
Steinbeck often felt misunderstood by book reviewers and critics, and their barbs rankled the sensitive writer, and would throughout his career. A book resulting from a post-war trip to the Soviet Union with Robert Capa in 1947, A Russian Journal (1948), seemed to many superficial. Reviewers seemed doggedly either to misunderstand his biological naturalism or to expect him to compose another strident social critique like The Grapes of Wrath. Commonplace phrases echoed in reviews of books of the 1940s and other "experimental" books of the 1950s and 1960s: "complete departure," "unexpected." A humorous text like Cannery Row seemed fluff to many. Set in La Paz, Mexico, The Pearl (1947), a "folk tale. . .a black-white story like a parable" as he wrote his agent, tells of a young man who finds an astounding pearl, loses his freedom in protecting his wealth, and finally throws back into the sea the cause of his woes. Reviews noted this as another slim volume by a major author of whom more was expected. The Wayward Bus (1947), a "cosmic Bus," sputtered as well.
Steinbeck faltered both professionally and personally in the 1940s. He divorced the loyal but volatile Carol in 1943. That same year he moved east with his second wife, Gwyndolen Conger, a lovely and talented woman nearly twenty years his junior who ultimately came to resent his growing stature and feel that her own creativity - she was a singer - had been stifled. With Gwyn, Steinbeck had two sons, Thom and John, but the marriage started falling apart shortly after the second son's birth, ending in divorce in 1948. That same year Steinbeck was numbed by Ed Ricketts's death. Only with concentrated work on a film script on the life of Emiliano Zapata for Elia Kazan's film Viva Zapata! (1952) would Steinbeck gradually chart a new course. In 1949 he met and in 1950 married his third wife, Elaine Scott, and with her he moved again to New York City, where he lived for the rest of his life. Much of the pain and reconciliation of those late years of the 1940s were worked out in two subsequent novels: his third play-novelette Burning Bright (1950), a boldly experimental parable about a man's acceptance of his wife's child fathered by another man, and in the largely autobiographical work he'd contemplated since the early 1930s, East of Eden (1952).
"It is what I have been practicing to write all of my life," he wrote to painter and author Bo Beskow early in 1948, when he first began research for a novel about his native valley and his people; three years later when he finished the manuscript he wrote his friend again, "This is 'the book'...Always I had this book waiting to be written." With Viva Zapata!, East of Eden,Burning Bright and later The Winter of Our Discontent (1961), Steinbeck's fiction becomes less concerned with the behavior of groups - what he called in the 1930s "group man" - and more focused on an individual's moral responsibility to self and community. The detached perspective of the scientist gives way to a certain warmth; the ubiquitous "self-character" that he claimed appeared in all his novels to comment and observe is modeled less on Ed Ricketts, more on John Steinbeck himself. Certainly with his divorce from Gwyn, Steinbeck had endured dark nights of the soul, and East of Eden contains those turbulent emotions surrounding the subject of wife, children, family, and fatherhood. "In a sense it will be two books," he wrote in his journal (posthumously published in 1969 as Journal of a Novel: The "East of Eden" Letters) as he began the final draft in 1951, "the story of my country and the story of me. And I shall keep these two separate." Early critics dismissed as incoherent the two-stranded story of the Hamiltons, his mother's family, and the Trasks, "symbol people" representing the story of Cain and Abel; more recently critics have come to recognize that the epic novel is an early example of metafiction, exploring the role of the artist as creator, a concern, in fact, in many of his books. Like The Grapes of Wrath, East of Eden is a defining point in his career.
During the 1950s and 1960s the perpetually "restless" Steinbeck traveled extensively throughout the world with his third wife, Elaine. With her, he became more social. Perhaps his writing suffered as a result; some claim that even East of Eden, his most ambitious post-Grapes novel, cannot stand shoulder to shoulder with his searing social novels of the 1930s. In the fiction of his last two decades, however, Steinbeck never ceased to take risks, to stretch his conception of the novel's structure, to experiment with the sound and form of language. Sweet Thursday, sequel to Cannery Row, was written as a musical comedy that would resolve Ed Ricketts's loneliness by sending him off into the sunset with a true love, Suzy, a whore with a gilded heart.
The musical version by Rodgers and Hammerstein, Pipe Dream , was one of the team's few failures. In 1957 he published the satiric The Short Reign of Pippin IV, a tale about the French Monarchy gaining ascendancy. And in 1961, he published his last work of fiction, the ambitious The Winter of Our Discontent, a novel about contemporary America set in a fictionalized Sag Harbor (where he and Elaine had a summer home). Increasingly disillusioned with American greed, waste, and spongy morality - his own sons seemed textbook cases - he wrote his jeremiad, a lament for an ailing populace. The following year, 1962, Steinbeck was awarded the Nobel Prize in literature; the day after the announcement the New York Times ran an editorial by the influential Arthur Mizener, "Does a Writer with a Moral Vision of the 1930s Deserve the Nobel Prize?" Wounded by the blindside attack, unwell, frustrated and disillusioned, John Steinbeck wrote no more fiction.
But the writer John Steinbeck was not silenced. As always, he wrote reams of letters to his many friends and associates. In the 1950s and 1960s he published scores of journalistic pieces: "Making of a New Yorker," "I Go Back to Ireland," columns about the 1956 national political conventions, and "Letters to Alicia," a controversial series about a 1966 White House-approved trip to Vietnam where his sons were stationed. In the late 1950s — and intermittently for the rest of his life — he worked diligently on a modern English translation of a book he had loved since childhood, Sir Thomas Malory's Morte d'Arthur; the unfinished project was published posthumously as The Acts of King Arthur and His Noble Knights (1976). Immediately after completing Winter , the ailing novelist proposed "not a little trip of reporting," he wrote to his agent Elizabeth Otis, "but a frantic last attempt to save my life and the integrity of my creativity pulse." In 1960, he toured America in a camper truck designed to his specifications, and on his return published the highly praised Travels with Charley in Search of America (1962), another book that both celebrates American individuals and decries American hypocrisy; the climax of his journey is his visit to the New Orleans "cheerleaders" who daily taunted black children newly registered in white schools. His disenchantment with American waste, greed, immorality and racism ran deep. His last published book,America and Americans (1966), reconsiders the American character, the land, the racial crisis, and the seemingly crumbling morality of the American people.
In these late years, in fact since his final move to New York in 1950, many accused John Steinbeck of increasing conservatism. True enough that with greater wealth came the chance to spend money more freely. And with status came political opportunities that seemed out of step for a "radical" of the 1930s: he initially defended Lyndon Johnson's views on the war with Vietnam (dying before he could, as he wished, qualify his initial responses). And true enough that the man who spent a lifetime "whipping" his sluggard will (read Working Days: The Journals of "The Grapes of Wrath" [1989] for biting testimony of the struggle) felt intolerance for 1960s protesters whose zeal, in his eyes, was unfocused and whose anger was explosive, not turned to creative solutions. But it is far more accurate to say that the author who wrote The Grapes of Wrathnever retreated into conservatism.
He lived in modest houses all his life, caring little for lavish displays of power or wealth. He always preferred talking to ordinary citizens wherever he traveled, sympathizing always with the disenfranchised. He was a Stevenson Democrat in the 1950s. Even in the 1930s, he was never a communist, and after three trips to Russia (1937, 1947, 1963) he hated with increasing intensity Soviet repression of the individual.
In fact, neither during his life nor after has the paradoxical Steinbeck been an easy author to pigeonhole personally, politically, or artistically. As a man, he was an introvert and at the same time had a romantic streak, was impulsive, garrulous, a lover of jests and word play and practical jokes. As an artist, he was a ceaseless experimenter with words and form, and often critics did not "see" quite what he was up to. He claimed his books had "layers," yet many claimed his symbolic touch was cumbersome. He loved humor and warmth, but some said he slopped over into sentimentalism. He was, and is now recognized as, an environmental writer. He was an intellectual, passionately interested in his odd little inventions, in jazz, in politics, in philosophy, history, and myth - this range from an author sometimes labeled simplistic by academe. All said, Steinbeck remains one of America's most significant twentieth-century writers, whose popularity spans the world, whose range is impressive, whose output was prodigious: 16 novels, a collection of short stories, four screenplays (The Forgotten Village, The Red Pony, Viva Zapata!, Lifeboat ), a sheaf of journalistic essays - including four collections (Bombs Away, Once There Was a War, America and Americans, The Harvest Gypsies) — three travel narratives (Sea of Cortez, A Russian Journal, Travels with Charley), a translation and two published journals (more remain unpublished). Three "play-novelettes" ran on Broadway: Of Mice and Men, The Moon Is Down, and Burning Bright, as did the musicalPipe Dream. Whatever his "experiment" in fiction or journalistic prose, he wrote with empathy, clarity, perspicuity: "In every bit of honest writing in the world," he noted in a 1938 journal entry, "...there is a base theme. Try to understand men, if you understand each other you will be kind to each other. Knowing a man well never leads to hate and nearly always leads to love."
|
|||||||
695
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dbpedia
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2
| 15
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https://hyperallergic.com/544650/new-mexico-levi-romero-poet-laureate/
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en
|
New Mexico Names Levi Romero as First Poet Laureate
|
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[
"Molly Boyle",
"Rhea Nayyar",
"Lakshmi Rivera Amin",
"Isa Farfan",
"Mary Karmelek",
"Anthony Majanlahti",
"Ellie Duke"
] |
2020-02-26T18:00:57+00:00
|
The state’s first ever poet laureate is a bilingual lowrider, professor of Chicano studies, and trained architect who plans to travel the state in a 1958 Chevrolet Impala during his three-year term.
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en
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Hyperallergic
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https://hyperallergic.com/544650/new-mexico-levi-romero-poet-laureate/
|
The Land of Enchantment is accustomed to coming in last. One of the final four states to join the union, New Mexico is also regularly ranked at or near the bottom for public education, poverty, and child well-being. But in late January, New Mexico gave new life to the idea of “better late than never” by becoming the 46th state to appoint an official poet or writer laureate.
The state’s selection of Levi Romero — a poet, architect, lowrider, and professor of Chicano studies who writes in Spanish, English, and Spanglish, with and without italics — doesn’t just embody the beguiling complexities of New Mexico. It also underscores the importance of literary representation in the state with the greatest percentage of Hispanic residents. Romero’s appointment comes amid a debate that was electrified last month by Oprah’s book club selection of American Dirt by Jeanine Cummins. The novel, written by a self-identified white woman, has come under fire for its stereotypical portrayal of Mexican immigrants and hokey Spanish dialogue.
The 58-year-old Romero was once described by his fellow University of New Mexico professor Rudolfo Anaya as “a rebellious young man, not well understood in the classrooms where he turned in his poetry instead of book reviews, wore long hair, answered questions about Shakespeare in Spanish instead of the Queen’s English, stayed up late drawing instead of studying, and was lowriding by age 12.” Romero has published two collections of poetry: A Poetry of Remembrance: New and Rejected Works, and In the Gathering of Silence. He also co-authored the book Sagrado: A Photopoetics Across the Chicano Homeland with Spencer R. Herrera.
Romero first apprenticed as a draftsman and builder, then trained as an architect while taking UNM creative writing classes for fun. Amid Albuquerque’s burgeoning slam scene in the mid-1990s, he studied with Sandra Cisneros as well as Native American poets Luci Tapahonso and current US poet laureate Joy Harjo. His work reflects this simmering stew of cultural influences. In “Taos Nicho,” he writes:
my people
mi raza
el mestizaje
la huerfandad
the orphaned ones
whom Spain abandoned
Mexico did not adopt
and the U.S. never wanted
and i feel the sorrow of the Indio …
Santa Fe poet and educator Israel Francisco Haros Lopez calls Romero’s appointment “pure gold. It’s pure inspiration for our communities of color and for la raza in general. It’s a mirror, showing us the worth of American writing from American writers that identify as Chicano.”
Had he not read the work of Chicano poet-activists Raúl Salinas and José Montoya as an adolescent, Romero said he might not have become a poet himself. Growing up southeast of Taos in Dixon, New Mexico, Romero counted his relatives as part of the late-1960s and ’70s artistic movement known as the Embudo Renaissance. “I would read their self-published journals and newspapers and newsletters and things, and it was all in Spanish,” Romero told Hyperallergic. “I think because New Mexico is such a diverse state, and it is such a multilingual state, that it is important that the poet laureate understands the value of more than one language and appreciates the multiplicity of language that exists here.”
Still, Romero remembered, “As a young male Chicano, I couldn’t share my poetry because it wasn’t a safe thing to do. I got ridiculed for writing poems, and so I became a closet poet.” In his poem “High School English,” he describes realizing that not only could his poetry break certain loathsome rules of English, but that he might even be able to write in his own manito dialect of northern New Mexico.
hey, before then
I didn’t know
I could write
sound and make
the language of the page
seem like it was coming
from the tongue of my
deepest personal introverted
most unpunctuated
pero bien locote
self!
Valerie Martínez, history and literary arts program director at Albuquerque’s National Hispanic Cultural Center, sat on the poet laureate selection committee. She said of Romero, “His life’s work, in addition to his poetry, has been really focused on New Mexico communities and plumbing them historically and in terms of land and people. He’s a really apt first New Mexico poet laureate because of that.”
In his three-year capacity as laureate, Romero will engage with schools and libraries across New Mexico. “I grew up cruising and lowriding,” he explained. He’s restoring a 1958 Chevrolet Impala that he hopes to take on a few of these trips. “I’m gonna go for a cruise around the state, and I’m gonna meet people. That’s what you do when you’re a cruiser. It’s all very organic. You might set out with an idea that you’re going somewhere and you’re going to meet somebody, but in fact, what really happens is what happens along the way.”
Romero will document his poet laureate travels through podcasts and “digital cuentos,” short slice-of-life videos that he has previously engaged UNM students in creating. “It’s gonna be cool, to find these voices in these remote places,” he said, speculating about the storytellers he might meet. “New Mexico is built on people’s stories. And poetry is the table on which people’s stories are served.”
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695
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dbpedia
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1
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https://www.huffpost.com/entry/a-conversation-with-julia_1_b_5153844
|
en
|
A Conversation with Julia Cameron about Channeling Your Creativity
|
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2014-04-17T20:11:52+00:00
|
A Conversation with Julia Cameron about Channeling Your Creativity
|
en
|
/favicon.ico
|
HuffPost
|
https://www.huffpost.com/entry/a-conversation-with-julia_1_b_5153844
|
Three pages, unedited, stream of consciousness writing every morning. They're called morning pages. They're a tool for unblocking your creativity, from Julia Cameron's best-selling book, The Artist's Way.
Morning pages changed my life. I think they are better than any therapist or coach or self-help book. Morning pages are healing. They undo stuck places inside yourself. When you write the morning pages, you'll discover that they have an intelligence of their own. If you stick with them long enough, you'll know that all your answers are truly within you. You'll learn how to trust yourself more and see how eerily accurate your intuition can be.
The Artist's Way is not just for artists. It's for anyone who values a higher path and having inner guidance. It more than unblocks your creativity, it unblocks your life!
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After a phone interview with Julia Cameron, I learned that The Artist's Way was initially rejected by her literary agent who said, "Julia, no one's going to be interested in a book about creativity. Go back to being a screenwriter."
But Cameron did not go back to being a screenwriter, at least, not right away. She first started writing the morning pages after she directed her first feature film, "God's will," one that received negative reviews as the "ex-wife of Martin Scorsese." She found herself in Taos, a small spiritual town in New Mexico, where she rented a small adobe house to recover and write. Cameron would get up every morning and write three pages of anything that came to her, "well, there's a big cloud in front of me."
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Writing three pages every morning encouraged Cameron's creativity and led her through her own creative ventures. She figured if writing three pages worked well for her, they would work well for others. And they did.
Cameron tells me that fortunately she's stubborn. She fought for The Artist's Way and found another agent who believed in her book. It led her to Jeremy Tarcher, a publisher, who she is still with today, and has published 30 books with. Artist's Way has sold over 4 million copies.
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Cameron says it's important to fight for your creativity. That's why she wrote the Artist's Way, to encourage artists to believe in themselves. It's her life's message to help people unblock and channel their creativity.
In the following interview, award-winning artist, Julia Cameron, talks about writing, her life, and the creative process.
How did you come to writing and falling in love with it?
I grew up in a house full of words. We had two libraries in my house, one for some pop fiction and one for classics. My parents were both readers and writers, and so it was a natural thing for me.
What is a typical day like for Julia Cameron?
Today is a typical day. I get up and I make myself oatmeal and coffee. Then I start my morning pages. After that, I write out a series of prayers, basically asking God to guard and guide me and my beloveds. If I have an interview, I do that. After that, I turn myself to whatever writing is going on. Right now I'm writing a book on creativity and retirement.
What's your favorite writing environment?
I have a small adobe house with a writing room. It's an octagonal room filled with windows that juts out into the fir trees. I have a favorite writing chair, which is a big leather chair with a hassock. Myself and my little dog Lily both write there.
Do you think where you live and your environment affect the way you create?
I think morning pages keep your creativity going at an even pace. It doesn't really matter if you live in Manhattan or Santa Fe, as long as you're being true to your guidance, you're gonna be fine.
Have you ever had metaphysical or physical experiences during writing?
Metaphysical experiences are commonplace with writing. I write morning pages, which is an Artist's Way tool, and when I do that, I get hunches of what I need to do next.
Do you have any special rituals for your creative process?
I do an exercise from the Artist's Way called, "blasting through blocks." It's an exercise where you write your angers, fears and resentments about the piece of work you're about to start. Then I share it with a good friend. I find that very powerful.
Which book are you most proud of?
I wrote a book that I loved called, The Sound of Paper. Not very many people have read it, unfortunately.
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Do you have any thoughts about the shift in consciousness that is happening in the world, and how it may shift our ideas of creativity and spirituality?
I can't address the whole world, but I can say that 4 million people are working The Artist's Way. They do their morning pages and they become more comfortable in the world and also more daring. As they become comfortable and daring, they make an impact. A lot of times people think, "I'm only one person and the world is big and overwhelming. And what can I possibly do?" When you start doing morning pages, you start doing what you could possibly do.
I notice that the morning pages tends to accelerate your life, and there's an intensity that goes along with that. How would you advise someone going through that?
They do accelerate your life. That's why there are three tools: the morning pages, artist's dates and walking. They don't so much put a brake on the acceleration as they do make you more comfortable being accelerated.
What has been your biggest creative block?
I have an inner critic, a sensor, whom I call Nigel. Nigel in my imagination is a gay interior decorator, who is British. Nothing I ever do is good enough for Nigel. I think all of us have our Nigels and sometimes people come to me and they want me to eradicate their censor. The censor never goes away, unfortunately. But we can learn how to work with it.
You had spoken a few times about dreams of being a Director. How do you feel about possibly looking at that dream again?
I find myself trying to make peace with the way my life has turned out. I could say, "gee, I'd like to direct again," but I don't have any film that I'm burning to direct, and I do have books that I'm burning to write. Do you know the work of the late Nora Ephron? She wrote books and directed films. Nora had a career that I think I would have enjoyed having, and Nora probably wished she had mine.
What does prayer mean to you?
I pray every night. I do it by reading two books, Ernest Holmes, the founder of Science of Mind, it's called, This Thing Called You. It has wonderful prayers in it. The other book is a book that I wrote myself and it's called, Prayers to the Great Creator. It's an anthology of 4 different prayer books. I open the book at random and I find myself thinking, "who wrote these??"
What's next?
I've been working on a musical. We had it put up in Chicago a couple years ago and it was a bad production. I was heartbroken. Now I've decided to go back and try and see if I can make it better. So what's up for me now is circling back and saying "if I believed in myself and I believed in my musical, what would it be like?"
If you had one message you could share with people, what would that be?
Write morning pages.
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11 surprising facts about Santa Fe, NM
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[
"The Santa Fe Travel Insider"
] |
2020-02-13T09:50:10+00:00
|
Santa Fe nicknamed itself The City Different in the early 1900s, fully aware and proud of its uniqueness, but its story stretches back to the 1600s, giving this Southwestern hub multiple centuries to grow into its imaginative, artistic self. Today, The City Different continues to be proud—of
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en
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https://www.santafe.org/blog/post/surprising-facts/
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Santa Fe nicknamed itself The City Different in the early 1900s, fully aware and proud of its uniqueness, but its story stretches back to the 1600s, giving this Southwestern hub multiple centuries to grow into its imaginative, artistic self.
Today, The City Different continues to be proud—of its numerous historic sites and museums, its hundreds of art galleries, and perhaps the most colorful culinary scene in the country. To celebrate the New Mexican capital, consider some of the most surprising facts about Santa Fe—and how you can best experience them.
1. Santa Fe is the oldest capital city in the US
Established way back in 1607, Santa Fe first became a capital three years later, making it both the oldest capital city in the country and the oldest European settlement west of the Mississippi. It also served as the capital of the Spanish “Kingdom of New Mexico,” the Mexican province of Nuevo Méjico, and as the principal city for the Spanish Empire north of the Rio Grande.
Of course, people had been living on and near the site of the city long before its Western founding—namely, communities of Indians. Records show settlements in the area dating back to as early as 1050.
Experience it: Remarkably, buildings from the start of the Spanish era still stand. The nation's oldest building, the Palace of the Governors, has stood since the early 1600s when it was erected to be the seat of the colonial government. Today, this historic adobe structure serves as New Mexico’s history museum, detailing the intervening 400-some years of life in the state. There’s a wonderful (daily!) Native American artisans market under the portal, where you can buy jewelry and tokens straight from the artists.
The San Miguel Chapel, aka “the Oldest Church,” also dates way back. Yes, it’s still standing—and generally offers services twice a day (once in Latin).
2. …but the city’s Native roots run even deeper.
A significant part of Santa Fe’s culture is connected to New Mexico's 23 Native American Tribes, Nations, and Pueblos. Each tribe comprises its own sovereign nation, so the rules, language, and culture differ. North of Santa Fe, you can visit the Eight Northern Pueblos—Nambé (Nanbé Owingeh), Ohkay Owingeh (formerly San Juan), Picurís, Pojoaque, San Ildefonso, Santa Clara, Taos, and Tesuque—the history of which dates back more than a thousand years.
Experience it: Numerous Indigenous celebrations are held throughout the year on the Pueblos, with three notables in January alone: King’s Day Celebration, St. Ildefonso Feast Day, and St. Paul’s Feast Day. March is the quiet month for most Pueblos — be respectful, and don’t plan a visit then. Public events ramp back up in July and August with the anniversary of the 1680 Pueblo Revolt and Santa Clara Feast Day. Also, since 1922, Santa Fe has hosted Santa Fe Indian Market, the largest and most prestigious intertribal juried art market in the world, and celebrates Indigenous Peoples' Day with a full weekend of cultural events.
3. The landscape is more ski-basin than desert.
Contrary to popular belief, Santa Fe isn’t actually high desert—technically, it’s a semiarid steppe at the crossroads of grass and shrub lands, piñon-juniper woodlands, and 1.6 million acres of high mountain coniferous national forest (with cold winters!). In addition to the 320+ days of sunshine, locals get to experience all four seasons. This means you could easily plan multiple trips here throughout the year, visiting at the perfect time to bike, hike, camp, climb, golf, and ski.
Experience it: Santa Fe and its surroundings are stunning to explore on two wheels or your own two feet. This is especially true in fall, when the aspens go golden and you can walk the many trails through the falling leaves. Try the Aspen Vista Trail off Hyde Park Road to see it for yourself.
In winter, Santa Fe trades hiking and biking gear for skis and boards. Ski Santa Fe—with a base elevation of 10,350 feet—is only 16 miles from the historic Plaza and sees an average annual snowfall of 225 inches. Cross-country skiers and snowshoers can glide through the trees here, too.
4. Santa Fe was the country’s first UNESCO-designated Creative City…
In 2005, Santa Fe made US history by becoming a UNESCO Creative City. One in 10 jobs in Santa Fe are connected to the arts, and the The City Different has a vast creative scene spanning several districts and neighborhoods, beloved by locals and tourists alike. It would take months to explore it all, but that shouldn’t keep you from trying.
Experience it: Meow Wolf has that immersive thing going on. The first permanent installation appeared in 2016, supported by Game of Thrones author George R.R. Martin (who happens to live in Santa Fe). Visitors to Meow Wolf’s House of Eternal Return can explore 70+ connected rooms of surprising portals, secret passageways, and surrealist creations. Another recommended creative experience is SITE Santa Fe, a contemporary art museum with experimental and innovative curatorial approaches to ever-changing exhibits.
5. …and it’s one of the largest art markets in the US.
Santa Fe didn’t become an art powerhouse overnight—like most facts about the city, this one has a long backstory. Artists first began to migrate to Santa Fe in the late 1800s, mesmerized by the landscape, the culture, and the adobe architecture. This trend never really stopped, and the city embraced it with the establishment of the New Mexico Museum of Art in 1917.
Today, The City Different is home to an extensive array of museums and immersive art experiences and a whopping 250+ galleries, 100 of which are located on the winding half mile of Canyon Road. Though it's been true forever, Santa Fe was named the world's best city for galleries and museums by an independent study in 2021. During the summer, Santa Fe also presents a number of art festivals and markets you do not want to miss.
Experience it: If you’d like to meet local artists, visit Santa Fe on a Friday night, when many galleries—especially in the summer—host public openings. Since the Canyon Road galleries are right next door to each other, this is the ideal place to begin exploring the city’s art scene. Meanwhile, if you’re looking for more contemporary art, head to the Railyard Arts District.
6. In Santa Fe, food is an art form all its own…
Whether you’re hitting up a local-favorite diner for traditional New Mexican cuisine or looking for one of the city’s many imaginative twists on the original, New Mexican food is hard to beat. The key ingredient is chile—either red or green—and the heat varies a lot from restaurant to restaurant. If you’re not sure which one to order, you can always say “Christmas!” and try both. (Tip: Try both.)
Experience it: Eat everything you can in Santa Fe. Try a breakfast burrito smothered with green chile at Tia Sophia’s, which claims it's the birthplace of the ubiquitous repast. For lunch, try Tortilla Flats—near Meow Wolf—and their red chile pork ribs. If you aren’t busting at the seams with New Mexican food by this point, go for the stuffed sopaipilla with your choice of meat at La Choza.
If you hit your chile quota (apparently some people have one), try Jambo for some great jerk chicken or Cowgirl BBQ for their ribs sans chile (they also have live music, a kids' play area, a pool hall, and a daily happy hour!).
With 250 restaurants in The City Different, you can't go wrong. One way to try many of them all at once is to plan your visit around the Santa Fe Wine & Chile Fiesta (50 local restaurants paired with 90 wineries from around the world), held the last weekend in September each year.
7. …while the Santa Fe Opera is nothing short of world famous.
Beyond the five performances each summer, the opera house itself is impressive, an architectural wonder of an open-air adobe structure framing views of the mountains to the east and those intensely colorful New Mexico sunsets to the west. Since it first opened in 1957, the Santa Fe Opera has presented more than 170 different productions (totaling more than 2,000 performances), and has become ever more woven into the community of The City Different each year, offering opportunities for all to experience the majesty of the opera!
Experience it: The opera generally announces its upcoming season a year in advance, so you have ample time to plan. Classics such as The Barber of Seville and The Magic Flute, as well as the world premiere of M. Butterfly have graced the stage. Don’t miss the tradition of tailgating in the parking lot beforehand and bear in mind that this is not a regular tailgating event—it can be a very elegant affair! So arrive early, park, and lay out your feast on a white tablecloth (no kidding—it's a thing!). You can also order a tailgate box in advance—how nice is that?!
8. Summer in Santa Fe = art market season.
If the 250+ galleries are not enough to captivate you, consider that Santa Fe also hosts various art markets. They’re mostly held in the summer and feature a blend of Anglo, Native American, Spanish, and international art.
Experience it: Start with the International Folk Art Market, which takes place in July and showcases folk art from more than 50 different countries. And then the annual Santa Fe Art Week, where 100+ events are planned across the city’s museums, attractions, and galleries. During the last weekend in July, you’ll have the chance to experience the Contemporary Hispanic Market, where New Mexico-hailing Hispanic artists show their paintings, printmaking, sculpture, photography, furniture, jewelry, ceramics, weaving, and more, as well as the Traditional Spanish Market, where juried artists from New Mexico and Colorado show their work in 19 traditional categories. Held on the Plaza, the celebrations of Hispanic culture include dance, music, and food.
If you can, definitely stick around for the Santa Fe Indian Market, held the third weekend in August—it’s the largest art market dedicated to Native American art in the world.
9. So many famous writers and artists have lived here (and still do).
George R.R. Martin (Photo by Kate Russell)
Considering just how many people work in the creative sector in Santa Fe, it’s no surprise that some of them are well-known faces. Perhaps the most famous of the local artist contingent was Georgia O’Keeffe, a 20th-century painter known for her vibrant depictions of flowers. As mentioned above, Game of Thrones writer George R.R. Martin currently resides in Santa Fe, and other notable past residents have included D.H. Lawrence and Willa Cather.
Experience it: It would only be fitting to see O’Keeffe’s work in the place that inspired it. The Georgia O’Keeffe Museum, located downtown, features not only her paintings but exhibits on her creative process as well. If you have a car and some extra time, you can also venture north to Ghost Ranch, one of O’Keeffe’s first homes.
Those interested in Santa Fe’s writers and the literati in general should add the Santa Fe Literary Festival to their bucket list!
10. This is one of the most romantic cities in the country.
Photo: Tourism Santa Fe
Santa Fe regularly rakes in the accolades, and romance is always one of its medals. Artists’ cities tend to have an emotional ambiance to them, and there’s something magical about the meeting of ancient cultures with chile-infused cuisine, hills rolling into mountains, and the golds and tans of adobe-style architecture melting into the warm hues of a Santa Fe sunset.
If you’re here to feel the love, take in a sunset accompanied by a cocktail from the vantage point of The Bell Tower Bar, dine at Geronimo, named on Open Table's list of 100 Most Romantic Restaurants in America, try an herbal aphrodisiac elixir at Kakawa Chocolate House, wander the charming, tree-canopied half mile of Canyon Road, poking into one of 100+ art galleries as it suits you, and luxuriate with a couple’s massage at the Japanese-style bathhouse Ten Thousand Waves, a world-class spa with private outdoor baths, set in a forest of juniper and pine.
11. The best trail in town might just be the Margarita Trail.
The Santa Fe Margarita Trail celebrates more than 40 signature margaritas, each of which has been crafted specifically for the trail by a local establishment. Some particularly special concoctions to look out for include the Amaya Jalapeño Margarita (Amaya at Hotel Santa Fe), the MadChile Margarita (Mine Shaft Tavern), and the Juliarita Margarita (named after Julia Staab, the resident ghost at La Posada de Santa Fe).
Experience it: Venture out on the trail! Before you start, pick up a paper Passport at any Visitors Center or download the Margarita Trail app for a map of where to find all 40+ margaritas. Conquer the trail and you’ll earn some very real rewards—in addition to the reward of experiencing The City Different.
Note: This blog was written by author Sarah Osman for Matador Network in paid partnership with TOURISM Santa Fe.
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https://www.newmexicomagazine.org/blog/post/new-mexico-writers/
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New Mexico Writers
|
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[
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] | null |
[
"Peter BG Shoemaker"
] |
2016-09-22T14:59:42+00:00
|
Bookstores and writers in New Mexico.
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en
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https://www.newmexicomagazine.org/blog/post/new-mexico-writers/
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Above: Dorothy Massey, owner of Collected Works in Santa Fe,
talks shop with author Forrest Fenn.
PHOTOGRAPHY BY: KATE RUSSELL
FOR D. H. LAWRENCE, New Mexico was the land “where the old gave way to the new.” For Ernie Pyle it was where “you actually see the clouds and the stars and the storms.” For Willa Cather, it was “a sweep of red carnelian-coloured hills lying at the foot of the mountains.”
Even a woefully incomplete roster of wordsmiths who’ve lived and worked in New Mexico or found inspiration in its lands, people, and cultures adds up to a who’s who of literary America. There’s Edward Abbey, Rudolfo Anaya, Alice Corbin Henderson, Oliver La Farge, Tony Hillerman, Cormac McCarthy, Hampton Sides, George R. R. Martin, N. Scott Momaday, and Leslie Marmon Silko. It’s no wonder that the National Endowment for the Humanities has ranked New Mexico first in the nation for the number of working writers per capita.
New Mexico has natural charms ready to serve as inspiration. But it also has literary festivals, welcoming communities, iconoclastic believers in independent bookstores, and, perhaps most important, readers who support and sustain it all. Traveling north to south, here are the places to go and things to do, straight from the writers (and other literary sorts) who make the state such a powerhouse of words.
TAOS
Beacon to renowned writers since the early 1900s, Taos has always been more than a painter’s town. It gleams with names like D. H. Lawrence, Willa Cather, and, now, John Nichols. Two of the world’s bestselling authors on creativity and the writing process, Natalie Goldberg and Julia Cameron, have Taos roots, too. Jan Smith, who runs the Taos-based—and delightfully named—Society of the Muse of the Southwest, or SOMOS, says that the famed creative energy that has made the city a gathering place for artists, writers, and poets for over a century is only getting stronger. In the past few years, the society has turned out to be a large part of that.
Literary-minded travelers can avail themselves of the group’s ongoing writers’ series (one in the summer, one in the winter), frequent hosted readings and launches of new books, open-mic opportunities for writers, poets, and playwrights, a summer writers’ camp, a Storytelling Festival (October 7–8), a June poetry festival, and an increasingly popular bookshop that takes donations from local writers and others and sells them inexpensively to all comers (108-B Civic Plaza Dr.; 575-758-0081; somostaos.org). Taos hosts a number of festivals every year, and the society has a presence at many of them, including a LitWalk at the Paseo, a one-of-a-kind arts extravaganza featuring performance and installation pieces every September (paseotaos.org).
Poet Veronica Golos, who moved to Taos over a decade ago, fell in love with the “swirl of language, poetry, and music” that characterizes a life lived in close proximity to a pueblo, Hispanic settlements, and the riotous spirit of creativity that permeates the place. She finds a strong sense of camaraderie in the local scene, and singles out the intimate environs of the Brodsky Bookshop (226A Paseo del Pueblo Norte; 505-758-9468) and its seemingly omniscient owner, Rick Smith, for providing a resolute refuge for readers and writers. And in a town with over a dozen coffee shops, Wired? (705 Felicidad Lane; 575-751-9473) is a popular place for writers to gather, as is the Farmhouse Cafe (1405 Paseo del Pueblo Norte, El Prado; 575-758-5683). Also worth a visit is the under-the-radar Op. Cit. Books Taos, formerly known as Moby Dickens (124A Bent St.; 575-751-1999).
SANTA FE
Home to writers of the caliber of Cormac McCarthy, Hampton Sides, Sam Shepard, and the ragingly popular George R. R. Martin, Santa Fe hosts a vibrant and diverse literary community. A central character in that scene is James McGrath Morris. To Morris, an award-winning biographer, critic, and essayist, Santa Fe’s mountains, air, and deep historical culture make it much like Paris in the 1920s: “an intoxicatingly provocative brew for writers.” He recommends the Collected Works bookstore (202 Galisteo St.; 505-988-4226; collectedworksbookstore.com), not just as a place to find books—many by local authors—but also as a place to hear readings of those authors’ newest works. Sweetening the deal: Iconik Coffee Roasters serves up lattes and fresh pastries.
The coffee shops Ecco (128 E. Marcy St.; 505-986-9778) and Downtown Subscription (376 Garcia St.; 505-983-3085)—with its spectacular newsstand and proximity to Garcia Street Books and the artfully literary offerings at Photo-Eye Gallery—allow readers and writers a place to relax, eat, drink, read, and write. Morris also recommends the Lensic Performing Arts Center (211 W. San Francisco St.; 505-988-7050; lensic.org) and St. John’s College (1160 Camino Cruz Blanca; 505-984-6000; sjc.edu/programs-and-events), both of which host regular events with writers from around the world.
Also noteworthy: Rare and used bookstore Gunstock Hill Books (239 Johnson St.; 505-983-0088), whose owner, Henry Lewis, is a gold mine for those seeking hard-to-find or first editions. Don’t miss Op. Cit. Books Santa Fe in its brand-new digs at the eclectic DeVargas Center (157 Paseo de Peralta; 505-428-0321). Finally, if you’re truly inspired and want to get involved in a big way in a short amount of time, the UNM Summer Writers Conference is held in July and features some turbocharged weekend workshops (unmwritersconf.unm.edu).
ALBUQUERQUE
V. B. Price—a poet, critic, journalist, novelist, former editor of New Mexico Magazine, and fixture of Albuquerque’s literary scene—says that the biggest city in the nation’s “most exotic and most eccentric state” doesn’t really even have a scene. “Not here,” he says, not quite jokingly. “We have no time for that; we write for a living.” Yet Albuquerque is an undeniable force in New Mexican letters—it even turned Pulitzer Prize winner Ernie Pyle’s house into the city’s first branch library (900 Girard Blvd. SE; 505-256-2065). Price notes that the University of New Mexico Press has been around for nearly nine decades and has published nearly every New Mexican writer of note (unmpress.com). Over the past 20 years, the city has emerged as a force in performance poetry, winning the National Poetry Slam in 2005. Its writers, in other words, are worth reading.
Two places in the city stand out particularly for Price. The first is Bookworks (4022 Rio Grande Blvd. NW; 505-344-8139; bkwrks.com), the city’s indisputable champion of all things literary. He praises the bookshop’s “aggressive” writers’ program for bringing in local, national, and international authors nearly every night of the week. In addition, Bookworks hosts book clubs and special events throughout the year.
A second high point for Price is Albuquerque’s Chatter Sunday (512 First St. NW; chatterabq.org/sunday). Fifty Sundays a year, Chatter puts together innovative programs of classical music and spoken word. Recent participants have included Albuquerque’s second poet laureate, Jessica Helen Lopez, and Nathan Brown, a former poet laureate of Oklahoma. Each gathering costs $15. Also check out events organized by ABQSlams (the folks who won that national slam in 2005), which include open-mic nights, slam contests, and youth programming (abqslams.org)
Don’t leave Albuquerque without popping into Page One (5850 Eubank Blvd. NE; 505-294-2026; page1book.com), a 35-year stalwart with a sprawling collection of both new and used books shelved together, and an antiquarian book boutique, all overseen by a knowledgeable staff.
LAS CRUCES
For poet Connie Voisine, visits to literary Las Cruces must begin with novelist and New Mexico luminary Denise Chávez and her Casa Camino Real (314 S. Tornillo St.; 575-523-3988; nmmag.us/casacamino). A combination salon, store, and clearinghouse for writers, readers, and even lovers of old-school turntable vinyl, the Casa rests at both the literal and figurative heart of the city. Within walking distance of it is what Voisine describes as her first stop for anything printed: Coas Books (317 N. Main St.; 575-524-8471; coasbooks.com). Founded in 1984 by the archaeologist Patrick Beckett, it’s still in the family, and still has one of the state’s best collections of archaeology, anthropology, and regional-studies materials. The bookstore is also now home to a coffee shop run by the local Milagro Coffee Roasters; it’s there and at the Casa that writers and readers generally gather to get their fix.
New Mexico State University (1780 E. University Ave.) hosts the Distinguished Visiting Writer Series, which has brought Andrea Barrett, David Foster Wallace and others to the city. The series is open to the public, and this year’s highlight will be U.S. poet laureate Juan Felipe Herrera on November 19 (nmmag.us/writerseries).
Finally, Voisine recommends an 80-year-old institution: the dive-bar-cum-open-mic-pit known as the Palacio Bar (2600 La Mesilla Cir., Mesilla; 575-525-2910). Thursday nights feature emerging and veteran poets, alternating slam performances with traditional readings.
SILVER CITY
While German-born, British-raised novelist JJ Amaworo Wilson finds the weather and cost of living in Silver City hard to beat, it’s the cast of characters who populate his adopted home that really makes the place work for him. The Gila Wilderness has long attracted artists, musicians, and writers, and local Western New Mexico University does its bit, offering—as it did for both Wilson and his wife, educator Alexandra Neves—a refuge and a launch pad for those determined to make words work. “So many varying perspectives,” Wilson says, “combined with so many people making stuff, makes this a really incredible place to be.” The town has a few bookstores, the most comprehensive of which is O’Keefe’s Book Shop (102 W. Broadway St.; 575-388-3313). But the day-to-day literary hub is the Javalina Coffee House (117 W. Market St.; 575-388-1350). Owner Polly Hassler-Cook is a dedicated supporter of local writers and artists, hosting readings and providing free Wi-Fi in a space that welcomes browsers and writers alike—as well as those few connoisseurs of javelina taxidermy.
Above: Novelist JJ Amaworo Wilson of Silver City.
PHOTOGRAPHY BY: JAY HEMPHILL
Silver City claims its own poet laureate, Elise Stuart, and the Southwest Festival of the Written Word. Co-chair Jeannie Miller describes the every-other-year event as a “cozy” celebration of writers who live and work in the Southwest. The next one will be in 2017 (swwordfiesta.org). It’s free and held almost entirely in the historic downtown area. Featured writers have included Kirstin Valdez Quade, Denise Chávez, and V. B. Price. The festival also supports a number of literary goings-on throughout the year. Most recently, it launched Use Your Words, a half-hour, twice-monthly radio exploration of writers in southwestern New Mexico (streaming on gmcr.org).
—Peter BG Shoemaker is a frequent contributor to the magazine.
OUT & ABOUT
Other bookshops shouldn’t be missed as you pass through various New Mexico towns. In Las Vegas, Tome on the Range (247 Plaza St.; 505-454-9944) is simply super, and even more so in its new digs on the town plaza. In Truth or Consequences, curiosity is almost always well rewarded at XOCHIS Bookstore and Gallery, where a warren of rooms has everything from Southwestern ephemera to cultural artifacts and contemporary ceramics (430 N. Broadway; 575-894-7685). And the D.H. Lawrence Ranch in San Cristobal, north of Taos, is open to visitors seeking to channel his literary spirit and revel in the beautiful surroundings (575-737-9300; dhlawrencetaos.org).
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New Mexico/Arizona Book Awards
recognizing
the best books in
New Mexico, Arizona & the Southwest
For the past thirteen years, the New Mexico Book Awards Program honors special New Mexico authors/publishers for their special contributions to New Mexico's book community. The complete list of honorees is below.
Honorees
2018
Ollie Reed, Jr., Albuquerque Journal
New Mexico Literary Award
Ollie Reed Jr. has been a newspaper reporter for more than 37 years and a book lover since he had enough teeth to chew the corners off Little Golden Books.
A native of Natchez, Miss., Ollie started his journalism career at his hometown newspaper, The Natchez Democrat, working there for three years before moving to Albuquerque in 1976 to join the staff of The Albuquerque Tribune. He worked at The Tribune until the paper's demise in 2008. He joined the staff of the Albuquerque Journal in 2015 and is now assigned to the Journal's features desk.
Between the closing of The Tribune and the day he joined the Journal, Ollie worked for more than four years at Bookworks, an independent bookstore in Albuquerque, as a bookseller and host of the store's author events.
Throughout his newspaper career, Ollie has written extensively about books and authors. For a time at The Tribune, he wrote a book column called Biblio-File.
New Mexico authors he has written about during his years at The Tribune and Journal include Rudolfo Anaya, Jimmy Santiago Baca, Johnny D. Boggs, Howard Bryan, Steve Brewer, Don Bullis, Suzy McKee Charnas, Stephen R. Donaldson, Max Evans, Tony Hillerman, Ray Hogan, Paul Hutton, Sarah Lovett, N. Scott Momaday, Victor Milan, Paula Paul, Linda Lucero Sachs, Fred Saberhagen, Marc Simmons, John L. Sinclair, Melinda Snodgrass, Aimee and David Thurlo, Robert Vardeman, Walter Jon Williams, Jack Williamson and many more. He regrets neglecting the opportunity to interview "Shane" author Jack Schaefer.
Ollie lives in Corrales with his many books and a bottle of Jameson whiskey.
2017
Jill Lane, ABQ International Balloon Museum Foundation, Executive Director
Friends of New Mexico Books Award
Native of South Bend, Indiana, graduate of Indiana University and L’Universita di Bologna Italy, Jill Lane has worked in the Tourism industry since 1974. A 25-year career as Sales & Marketing Manager with Delta Air Lines took her and her family around the U.S. and brought them to New Mexico in 1995. While carrying on her Delta role, her family became co-owners of The Elkhorn Lodge in Chama in 2000. Here Jill was able to combine her love for travel, writing, and people by welcoming folks and groups from around the world to their mountain retreat.
Following her Delta retirement in 2004, Jill began a lifelong dream of becoming a travel writer and made New Mexico the worksheet for this endeavor. She became immersed in all aspects of New Mexico tourism, sharing her love of New Mexico with her readers. Her published articles have appeared in magazines, on-line publications and travel guides. Jill was named 2010 Tourism Professional of the Year at the New Mexico Governor’s Conference on Tourism.
Founder of boutique publishing house- Enchantment Lane Publications, Jill has garnered numerous awards for her children’s books introducing New Mexico destinations and events to the family market. In addition to kids books, Jill penned their time as Lodge owners through her anthology, “LODGE LORE…Tales from a Mountain Lodge.”
In 2014 Jill accepted a new role in Albuquerque as Director for the Anderson-Abruzzo International Balloon Museum Foundation, where she oversees a variety of roles from fundraising to event planning, all showcasing the iconic Albuquerque Balloon Museum to the world. But she and her famous canine partner, Travelin’ Jack, continue their role in promoting pet travel and animal welfare initiatives throughout New Mexico. As weekend warriors traveling around the state, they promote the Land of Enchantment in all aspects 2 and 4-legged, while dually supporting animal welfare. Together they have raised over $25,000 for NM animal shelters.
Through books, writings, and community based events, Jill has been able to blend her loves and passion for travel, animals and writing. She finds great pleasure in life by delving into and creating her various passions and projects into opportunities for others as well.
2017
Art & Janet Brennan, Casa de Snapdragon, Publishers and Authors
New Mexico Literary Award
Janet K. Brennan is an award winning international book critic/reviewer and the co-founder of Casa de Snapdragon Publishing—and she still finds time to write novels, short stories, and poetry. Her newest book, Harriet Murphy: More Than Enough (2017), is the second in her Harriet Murphy historical fiction series. Janet Has authored 9 books and has written and edited for several national publications, including Chicken Soup for the Soul and Prevention Magazine, Stars and Stripes, Europe. Janet founded her second traditional publishing company, JB Stillwater Publishing in 2010, She serves on the board of directors for the New Mexico Book Association, and was last year's vice president. You can find Janet on Facebook and her Amazon author page, as well as CasaDeSnapdragon.com and her poetry website JBStillwater.com.
Art Brennan is a computer design engineer, retired military, and retired government contractor. He is the co-founder of Casa de Snapdragon with his wife of 40 years, Janet Brennan. Art is an award winning specialist in cover design, format, and graphic art. He is responsible for formatting and layout of both the interior and covers, creation of eBooks, and maintaining the Casa de Snapdragon and JBStillwater websites.
Casa de Snapdragon LLC was co-founded in 2006 by Arthur and Janet Brennan. We are a full service company and provide editing, formatting, and distribution of books. We work as closely with the authors as possible and are only satisfied with our books when the author is satisfied. We can be found on the internet at casadesnapdragon.com and JBStillwater.com.
2016
Karen Villanueva, Book Promotion
Friends of New Mexico Books Award
Karen Villanueva has more than thirty years experience in entertainment PR--and won a gold record for her work with a band and a producer's credit on another band's live album. Having moved from Toronto to New Mexico in 1992 and noting all the authors who lived there, she shifted her focus to work exclusively with authors, books, and small presses for the last 20 years. The New Mexico Book Association awarded her the Special Recognition Award in 2001 for her volunteer work publicizing authors and book events in the land of Enchantment.
The first author to take note of her skills in New Mexico was Rambo's dad, New York Times bestselling thriller writer David Morrell. Called "highly resourceful and a PR dynamo" by one of her past clients, New York Times best-selling author Ann Louise Gittleman called the First Lady of Nutrition, Karen tailors each campaign to suit the genre, platform and personality of the author in order to get the best results. She is a member of NMBA, SouthWest Writers, New Mexico Book Co-op. She has worked in collaboration with various publicists from mainstream book publishers and works well with Community Relations Directors at the bookstore chain level as well as with individual book store owners. Working to set up book signing events and talks for individual authors (often at little cost and sometimes at no cost depending on the author’s budget) Karen also utilizes alternative venues for authors, matching them with other appropriate venues for their events.
Having served as an author/media escort, sometimes publicist, often driver, and sometimes interviewer for up-and-coming and best-selling authors, some of her past clients include: Oscar De Hijuelos, James Lee Burke, Stephen Cannell, Clive Cussler, the wise and wonderful Jeane Houston, the lovely and witty Helen Fielding, Jodi Picoult, Deepak Choprah, Neale Donald Walsch, Marianne Williamson, Donna Eden, Jonathan Miller, Ronald Chapman, Diane Gabaldon, Anthony Bourdain, James Rollins and many, many more!
James McGrath Morris, Author
New Mexico Literary Award
James McGrath Morris is the author of several biographies, including Eye on the Struggle: Ethel Payne, The First Lady of the Black Press, which was a New York Times bestseller and Editor’s Choice and was selected for the Benjamin Hooks National Book Award that recognizes annually the best book on civil rights history. His other works include Pulitzer: A Life in Politics, Print, and Power, and The Rose Man of Sing Sing: A True Tale of Life, Murder, and Redemption in the Age of Yellow Journalism as well as Kindle Singles Revolution by Murder and the Radio Operator. His next book, The Ambulance Drivers: Hemingway, Dos Passos, and a Friendship Made and Lost in War will be published in March of 2017. He was the founding editor of the monthly Biographer’s Craft and has served as both the executive director and president of Biographers International Organization (BIO). Morris lives in Tesuque, New Mexico.
2015
Danielle Foster & Wyatt Wegrzyn, owners of Bookworks Bookstore, Albuquerque
Friends of New Mexico Books
Daniele Foster and Wyatt Wegrzyn owners of Bookworks were awarded the 2015 Friends of New Mexico Books. Bookworks has been supportive of local authors and books through its history in Albuquerque with signings and events. Danielle and Wyatt bought the business from Nancy Rutland and have kept the tradition going of a neighborhood bookstore.
Pat Hodapp, Director of Santa Fe Public Library System
New Mexico Literary Award
Pat Hodapp, Director of the Santa Fe Libraries, was awarded The New Mexico Literary Award in 2015. Pat has been Director since 2004 and opened the Southside Branch of the Santa Fe Library in 2007. Pat has sponsored author events, art events, children’s events, and workshops at all three Santa Fe Libraries. She has also supported small, rural libraries, Native American arts, and Santa Fe non-profits. Pat has also supported NM Book Co-op as a judge in the Book Awards and advisor.
2014
Margaret Aragón & the Reading Albuquerque Staff, KKOB Radio (Albuquerque)
Friends of New Mexico Books
Reading Albuquerque began in 2003 as a collaborative between the City of Albuquerque, 770KKOB Radio, the Albuquerque Public School District, and the Albuquerque Public Library System. The City of Albuquerque Staff produces the show, selects books, on-air guests, curriculum for teachers, and the students who read the thousands of books featured on the hour-long show. Reading Albuquerque promotes reading, books – local and national, authors and illustrators, schools, libraries, and local students. The show is shared with other states on a good thing from Albuquerque.The show would not happen without Margaret as host, the late Art Ortega from KKOB, Michael Carlyle from KKOB, City of Albuquerque Family & Community Service Directors: Valorie Vigil, Robin Dozier Otten, Douglas H. Chaplin: and Paula Delap-Padilla. Eric Lucero was the producer for the show. The radio show on Sundays, was support for enjoyment in reading.
2014
Jim & John Hoffsis, Treasure House Books, Old Town (Albuquerque)
Friends of New Mexico Authors
Jim Hoffis bought Treasure House Books in 1974 when he retired from Chevron Oil Company. John started working at Treasure House on his 14th birthday.
Jim is a Korean War Veteran, is an active member of Korean War Veterans Association, past president of the Association of Former Intelligence Officers, past board member of the Old Town Merchants Association, founding member of Historic Old Town Property Owners Association, and a member and volunteer at the New Mexico Veterans Memorial. Jim pays for and puts up daily the five flags in Old Town.
John has a BA from UNM in Speech Communications/Radio/TV/Journalism. He was an overnight DJ at KUNM FM and a volunteer at Community Cable Channel 27. In 1983 John opened Stagecoach Books. In 1999 Jim retired from Treasure House and John combined the two stores.
John and Jim promote local authors and books and makes people and authors feel welcome in their store.
2014
John Byram (Albuquerque), Director of University of New Mexico Press
New Mexico Literary Award
John Byram is a long time supporter of books and authors in the Southwest and has been responsible for the release of over 200 titles in just that past three years. John is the director of the largest publishing house in New Mexico, with over 25 full-time employees and well over 1,000 titles in print. John came to NM in 2010 with a rich background with WW Norton where he was a sales rep then on the marketing staff, and progressing to the editorial side of academic science titles. Just before coming to New Mexico, he was the editor in chief and director of development of the University Press of Florida.
2013
Don Bullis, Author (Albuquerque)
New Mexico Literary Award
Don Bullis has been a long time supporter of books and authors in the Southwest. He has profiled and/or reviewed literally hundred’s of books by many of the New Mexico-Arizona Book awardees. He has put out a monthly newsletter for the past 4 years and includes them in each issue. He has been a faculty member at the Hillerman Writers Conference on numerous occasions and a long time participant in the First Friday group that Tony Hillerman started many years ago. He has been an active member of the NM Book Coop since its inception in 2005. He has actively helped dozens of up and coming authors as well as many old-timers in critiques, testimonials, and guidance. And if that was not enough, he has been the author of a dozen books. One of these books received the Eric Hoffer Best Book Award in 2013. He was honored by the State Library and Centennial Office as the Centennial Author in 2011.
2012
SouthWest Writers (Albuquerque)
Friends of New Mexico Authors
SouthWest Writers was formed in 1982 and has been helping its members progress in their aspirations to write both professionally and personally. They are one of the largest writing organizations in New Mexico and the nation. SouthWest writers has: a newsletter, many meetings on different subjects, classes, workshops, writing contests, genre conferences, networking, access to critique groups, member website links, and discounts to area merchants. SouthWest Writers has won Albuquerque’s Bravos Award for excellence.
John Stafford, Museum of New Mexico Foundation (Santa Fe)
Friends of New Mexico Books
John Stafford is Director of Retail Operations of the Museum of New Mexico Foundation Shops (MNMFShops). The MNMFShops operate six museum shops in the New Mexico History Museum, New Mexico Museum of Art, Museum of International Folk Art, and the Museum of Indian Arts and Culture in Santa Fe, New Mexico. The MNMFShops also operate two websites: www.newmexicocreates.org, and www.worldfolkart.org. John has over 30 years of retail management experience and formerly held Senior Merchandising Manager positions with May Department Stores and American Home Furnishings.
2011
Max Evans, Author (Albuquerque)
Friends of New Mexico Books
Max Evans is one of the best-known New Mexico writers with over 25 books like: The Rounders, Bluefeather Fellini, Madam Millie, and Hi Lo Country. Evans’ newest book, a Finalist in the 2010 New Mexico Book Awards, is War and Music. The Rounders 50th anniversary edition was re-released in the fall of 2010. Ol’ Max has been a rancher, miner, trapper, and prospector while all the time a cowboy. He now lives in Albuquerque with his wife. Evans has written books, articles, and many of his books were made into movies. He has won many awards including the Owen Wister Award for lifetime contributions to literature from the Western Writers of America.
Sabra Brown Steinsiek, Author, and Founder of Reading New Mexico (Albuquerque)
Friends of New Mexico BooksSabra Brown Steinsiek is the author the prize-winning Timing Is Everything, Annie’s Song, and The Tale of the Pronghorned Cantaloupe as well as two other novels and a book of haiku poetry. In 2008, after bemoaning the lack of reviews for small press books, Steinsiek started an online website, www.readingnewmexico.com, that would review only New Mexico books; books about New Mexico or by a New Mexico author. With a staff of reviewers, all-volunteer, the site promised an honest and civil review to any New Mexico book for free. By the site’s first-anniversary in September 2009 more than 200 books had been reviewed. Books have always been important to Steinsiek, even before her first book was published in 2000. She has been a life-long librarian, was top summer reader repeatedly during her childhood in Carlsbad, New Mexico, and even won an essay contest in high school on “If I Ran The Library.” She is married to Will Steinsiek, executive director of ReadWest Literacy Volunteers of Rio Rancho, and mother to one son, Jared, and two outrageously spoiled cats. She lives life with an overactive imagination always engaged.
Anne Hillerman & Jean Schaumberg, Founders of WordHarvest (Santa Fe)
Friends of New Mexico Books
Anne Hillerman & Jean Schaumberg are no strangers to New Mexico books and authors. Anne and Jean founded Wordharvest in 2002, which is devoted to the art and craft of writing. Wordharvest celebrates the legacy of iconic mystery author Tony Hillerman with two writing contests: the Tony Hillerman Prize for first mystery novel which is also sponsored with St. Martin’s Press, and the Tony Hillerman Mystery Short Story Contest which is sponsored with New Mexico Magazine. They also sponsor the Tony Hillerman Writers Conference on writing techniques and the business of writing. From time to time, Wordharvest also offers one-day writing intensives featuring such topics as travel writing, memoir and writing for children. Wordharvest also sponsors the Joe Leaphorn Award which honors contributions to the world of readers and authors. WordHarvest has been a supporter of the New Mexico Book Awards since the beginning sponsoring the Mystery Category.
Anne Hillerman is also a writer and won the Best Cookbook in the 2009 New Mexico Book Awards for Santa Fe Flavors, and is a 2011 Finalist (and hopefully Winner!) for Santa Fe Gardens which she wrote with husband Don Strel.
Jean Schaumberg, born and raised in Santa Fe, has been in the book business (libraries and bookstores) since 1974. From acquisitions librarian at the Santa Fe Public Library to bookstore owner, she is an avid reader. Currently she is co-owner of WORDHARVEST. Along with business partner Anne Hillerman, she organizes writers’ workshops and conferences for writers of all abilities. Jean graduated from New Mexico Highlands University with degrees in History and Library Science.
David Steinberg, Book Reviewer, Albuquerque Journal (Albuquerque)
Friends of New Mexico Books
David Steinberg been a newspaper reporter/editor and wire service reporter for more than 45 years, having worked for the Miami News, Cocoa (Fla.) Today, The Associated Press in New Orleans, and the Albuquerque Journal. He has also been a (freelance) correspondent for the New York Times and Time magazine in New Mexico. Steinberg has worked for the Journal for 37 years, first in Santa Fe covering local news and the state Capitol beat before moving to Albuquerque to cover the arts. He also been the Journal's Books editor for about 23 years.
2010
Nasario Garcia, Author (Santa Fe)
Friends of New Mexico Books
Nasario Garcia lives in Santa Fe. He was on the faculty at NM Highlands University for a number of years and is the author of several books, including Brujas, Bultos, y Brasas and Fe y tragedias. He was one of the featured authors at the 2009 Chama Book Fair.
Demetria Martinez, Author (Albuquerque)
Friends of New Mexico BooksDemetria Martinez lives in Albuquerque and is the author of several books, including Confessions of A Berlitz Tape Chicana. She was one of the featured authors at the 2009 Chama Book Fair.Derek Buschman, Manager, BordersBookstore (Albuquerque)
Friends of New Mexico BooksDerek Buschman was the general manager at the Borders at Cottonwood Crossing for several years. He was an avid supporter of local books and featured many local authors at events at that store.
2009
Michael McGarrity, Author (Santa Fe)
Friends of New Mexico BooksMichael McGarrity lives in Santa Fe and is most know for his novel Tularosa. He has since written many books and has won the New Mexico Governor’s Award for Excellence in the Arts. He often lectures at the Hillerman Conference.
Joe Sando, Author (Albuquerque)
Friends of New Mexico BooksJoe Sando lives in Albuquerque but is also very attached to the Jemez Pueblo and the Sun Clan. He has be instrumental in encouraging Native American writers and it speaking on Native American history. He wrote Popé among many other books.
Howard Bryan, Author (Albuquerque)
Friends of New Mexico BooksHoward Bryan lives in Albuquerque. He has written Albuquerque Remembered and received Governor’s Award for Excellence in the Arts in 1994. He also won the Spur Award from Western Writers of America for Incredible Elfego Baca. He was a journalist for 42 years.Joe Wesbrook, University of New Mexico Press (Albuquerque)
Friends of New Mexico BooksJoe Wesbrook was the Marketing Manager at the University of New Mexico Press and now works part time at Bookworks in Albuquerque. He first love is New Mexico Books and bees. He has been a frequent contributor to the New Mexico Book Co-op.
2008
Denise Chavez, Author (Las Cruces)
Friends of New Mexico BooksChavez is an author, playwright, director, actress, activist, and lecturer. The Mexican culture is a constant theme in her books as she grew up and lives in Las Cruces. One of the many things she is known for is the annual Border Book Festival in Old Mesilla which is celebrating its 14th year promoting literature of the Southwest. She is an award winning author and has written numerous books including Loving Pedro Infante, Face of an Angel, and the Taco Testimony.David Morrell, Author (Santa Fe)
Friends of New Mexico BooksMorrell is a Canadian transplant who taught at the University of Iowa. He now lives in Santa Fe. He might be best known for his ”Rambo” books. He is considered the “Father of modern action novels.” His books have been turned into films and television series. With over thirty books, Morrell is best known for First Blood, Brotherhood of the Rose, and Burnt Sienna. He is a guest instructor at the Hillerman Mystery Writers Workshop.
Ruthe Francis, Book Consultant (Albuquerque)
Friends of New Mexico BooksFrancis is an author or publisher’s best friend. She has had a long career as a reader, bookseller and now as a book consultant. She advises authors and publishers on how to write their books, their covers, and how to market their books. Many of the books she edited have been selected as Winners in the New Mexico Book Awards. She has been an active participant in the New Mexico Book Co-op since its beginning and has been a Board Member in the New Mexico Book Association. She is the first recipient for the Friends of New Mexico Authors from the New Mexico Book Awards.2007
Tony Hillerman, Author (Los Ranchos)
Friends of New Mexico BooksHillerman was born in Sacred Heart, Oklahoma, and now lives in Los Ranchos de Albuquerque. He was a reporter in Texas, Oklahoma, and Santa Fe. He finally settled in Albuquerque and taught at the University of New Mexico. He has written many books and may be known across the world “as the New Mexican author.” Thanks to his daughter Anne, he now has a yearly mystery writers workshop — the Tony Hillerman Mystery Writers Workshop and an annual writers contest by Wordharvest and partners. His books have been turned into movies, television shows, and specials.Rudolfo Anaya, Author (Albuquerque)
Friends of New Mexico BooksBorn in Pastura, New Mexico, Anaya now lives across the river in Albuquerque. He has been called the "Father of modern Chicano literature." Anaya began his career as a public school teacher and later taught at the University of New Mexico. His first novel, Bless Me Ultima has received countless awards, including the 2007 People's Choice Award from the New Mexico Book Awards. He has gone on to publish many books about the Hispanic culture of New Mexico. His four seasons collection talked about the Albuquerque Balloon Fiesta and Jemez Springs. He has made it possible for many writers to be published.
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https://en.wikipedia.org/wiki/New_Mexican_literature
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en
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New Mexican literature
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2022-07-31T11:05:27+00:00
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en
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https://en.wikipedia.org/wiki/New_Mexican_literature
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Literature of the U.S state of New Mexico
New Mexican literature includes the modern American literature of the U.S state of New Mexico, along with its former Santa Fe de Nuevo México and New Mexico territories. It is influential in English language and Spanish language literatures, and most of its history has been influenced by Native American literature, Spanish literature, Mexican literature, and English literature.[1][2][3][4][5]
History
[edit]
Histories in the region date back to the Hispanos of New Mexico chronicling the oral traditions of the Pueblo, Navajo, Apache, and Comanche peoples. One of the earliest mentions of New Mexico was in Nahuatl as "Yancuic Mexico" in the Crónica Mexicayotl. Among the earliest works of New Mexican literature was Gaspar Pérez de Villagrá's 1610 Historia de la Nueva México.
In the 19th century, Western fiction became popular globally, with tales of Geronimo, Pat Garrett, Billy the Kid, and Elfego Baca becoming folklore icons. Other novels written in New Mexico at this time include Ben-Hur: A Tale of the Christ.
During the 20th century, the 1927 novel Death Comes for the Archbishop set in New Mexico was published, and Fabiola Cabeza de Baca Gilbert produced the first English language cookbook to mention New Mexican cuisine. Scholarly works of the 20th century also remain relevant, especially ones related to the works of Angelico Chavez, James Fulton Zimmerman, Evelina Zuni Lucero, and those of Project Y. Authors and writers of the later 20th and early 21st centuries include Rudolfo Anaya,[6] George RR Martin,[7] and Simon Romero.[8]
As a genre
[edit]
New Mexican literature as a genre often expresses four themes; tourist, priest, dramatist, and local.[9] With a distinctively Hispano, Puebloan, Apache, Navajo, American frontier, Mexican-American, and Chicano expressed worldview.[10][5]
New Mexican authors of fiction and non-fiction alike make use of these aforementioned themes, and its fiction is categorized as a distinctive genre by the Library of Congress.[11] Screenplays set in the region often to make use of the New Mexican literary motifs,[12] even if they were changed from a prior setting elsewhere.[13]
Books that are considered to be recommended reading for this genre are Bless Me, Ultima by Rudolfo Anaya, Eyes Bottle Dark With a Mouthful of Flowers by Jake Skeets, Night at the Fiestas by Kirstin Valdez Quade, Peel My Love Like an Onion by Ana Castillo, Face of an Angel by Denise Chávez, and Pasó Por Aquí by Gene Rhodes.[14][15]
Writers from New Mexico
[edit]
Periodicals
[edit]
Newspapers
[edit]
The newspapers of record for New Mexico are the Albuquerque Journal, The Santa Fe New Mexican, and Las Cruces Sun-News.[16]
Magazines and journals
[edit]
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https://www.ft.com/content/c8a33b3f-cb42-4980-8019-a01688a4ed87
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Hear, hear: The Artist’s Way author on unlocking a new creative path
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2021-01-08T09:30:05.702000+00:00
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Nearly 30 years after the publication of her groundbreaking guide, Julia Cameron wants us to listen up
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https://www.ft.com/content/c8a33b3f-cb42-4980-8019-a01688a4ed87
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Julia Cameron worries that her new book may be too “woo woo”. The bestselling author of the 1992 creativity bible The Artist’s Way: A Spiritual Path to Higher Creativity has been reticent to tell even friends about her daily communion with those “beyond the veil”, of whom she asked guidance and support, and which the new book, The Listening Path: The Creative Art of Attention, touches on. She shouldn’t have worried. As one friend, a Jungian analyst, recently reassured her: “Woo woo is where it’s at.”
The Artist’s Way, the best-known of Cameron’s 40 titles, offered a 12-week programme guiding readers to discover and recover their artistic self. It has sold more than five million copies and been translated into 40 languages. Elizabeth Gilbert has “done” it three times: “Without The Artist’s Way, there would have been no Eat, Pray, Love,” she has said. Russell Brand, Kerry Washington, Pete Townshend and Reese Witherspoon are fans. And sales of The Artist’s Way doubled in the first half of 2020 compared with the year before, with the book even reentering the bestseller lists as many found themselves creatively stalled during lockdown.
The Listening Path, published this month, is a six-week programme that aims to nurture creativity through listening. “I think we are often drifting through our lives, tuned out a little bit,” says the softly spoken 72-year-old over the phone from her home in Santa Fe, New Mexico, which she shares with Lily, her Westie. “The Listening Path urges readers to ‘Tune back in, listen, be alert, be conscious’.” Her mission, says Cameron, is “to connect people to higher guidance”.
I think we are often drifting through our lives, tuned out a little bit”
Cameron leads readers along a “mental ladder” that requires listening on six levels: to the environment, to others, to a higher self, listening “beyond the veil” (to loved ones who have died), listening to heroes we wish we’d met, and, finally, listening to silence. “I think that when we listen we actually are tuning into a higher part of ourselves,” she says. “We are listening, as a friend of mine says, with the ear behind the ear.” The book’s goal is to instil trust in guidance. Hunches and ideas become valued insights; lost loved ones and heroes become active champions.
Her thinking certainly demands a level of openness, and faith in Cameron, if not in God. Religious readers might understand the guidance as God’s. Psychoanalysts might call it the unconscious. Spirituality and Extra-Sensory Perception – from intuition to telepathy – play a large role in Cameron’s work and personal life.
Born the second of seven children to Catholic parents in Libertyville, Illinois, a suburb of Chicago, Cameron believes she has always been “tuned in”. At 27, working as a reporter on Oui, the American porn magazine, Cameron was assigned to write a piece on an up-and-coming director named Martin Scorsese. “I met him for lunch, sat down across the table from him and I heard, ‘This is the man you’re going to marry’. I thought to myself, ‘Does he know that?’ That was a good example of guidance being straightforward and firm. And, of course, I did marry him.” Their marriage, in 1975, lasted one year. Cameron fell pregnant on their wedding night; their daughter is actress and director Domenica Cameron-Scorsese. Being “tuned in” also saved her from addiction in her late 20s, Cameron continues. “I was a drinker and it was getting in the way of my creativity. Suddenly one day – boom! – I received a change of direction. I’ve been sober for 42 years.
“Once I got sober, I began to try to write to be of service,” she says. “In my early writing career, I had always been focused on, am I brilliant? I was a perfectionist and I wanted my writing to inspire people. It was ego-driven.” With a new objective, “my writing straightened out and my career took off”. Stints at The Washington Post and Rolling Stone magazine expanded into playwriting, music composition and poetry; she has multiple credits in theatre, film and television. “I just keep trying to be true by listening to what wants to come next.”
As bold as it is gentle, The Listening Path takes readers on a journey of self-discovery and beyond – the latest step in Cameron’s mission to crack open creativity. “I think what happens with all the tools is that you become a witness to your own life,” she asserts. “The witnessing is very powerful. There’s a propulsion, and you dare to begin. And there is a great grace to starting.” Some might call it woo woo, others will be all ears.
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https://alanrinzler.com/2008/08/literary-destination-taos-new-mexico/
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Literary destination: Taos, New Mexico
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2008-08-01T00:35:11-07:00
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Taos, NM ~ This special place in the high desert has for generations drawn writers and artists, who come for the spiritual power of the timeless big sky, blazing sunlight, and thundering cloudscapes over the vast expanse of desert plains and dark jagged mountains.
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https://alanrinzler.com/wp-content/themes/metro-pro/images/favicon.ico
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https://alanrinzler.com/2008/08/literary-destination-taos-new-mexico/
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Taos, NM ~ This special place in the high desert has for generations drawn writers and artists, who come for the spiritual power of the endless skies, blazing sunlight, and thundering cloudscapes over the vast open plains and dark jagged mountains.
D.H. Lawrence and Willa Cather, playwright Thornton Wilder, poet Robinson Jeffers, painter Georgia O’Keefe, and photographer Ansel Adams are among those who arrived here at turning points in their careers and felt the Taos region exert a profound influence on their work.
The separate reality of Taos Pueblo
The undeniable pull of northern New Mexico as a literary destination is often attributed to the presence of the Taos Pueblo, an ancient village where the Red Willow Tribe has lived continuously for more than a thousand years. Members of the tribe who live at the pueblo today have no electricity and for water rely on the river that runs through it.
Taos Pueblo is a stunning sight. When you see the rich brown adobe dwellings stacked five stories high in sharp relief against the brilliant blue sky, you realize that you’re at the source of the famed southwest culture and architecture seen throughout the region and beyond. The thickened walls, organic, rounded edges and the vigas – heavy log rafters that hold up the roofs – are familiar and timeless.
You can feel how the enduring presence and integrity of these people has inspired writers and their readers to believe there’s a separate reality beneath their stoic and serene style of life, layers within layers of mystic truth and knowledge that only the Indians know – and they’re not telling.
Mabel Dodge Luhan, literary muse
Anyone on a literary quest to Taos soon learns about Mabel Dodge Luhan, a wealthy heiress from the East who arrived in 1917 with fistfuls of dollars and a burning desire to become the muse of the high desert.
Luhan tried to fulfill her fabulous visions by building a counterculture paradise that would offer a communal alternative to what she perceived as a failed materialistic Western culture. She married a local Pueblo Indian, Tony Luhan, and valiantly herded famous artistic cats to her home, with mixed results.
D.H. Lawrence, for example, accepted her invitation in 1922 to visit the place she described as “the dawn of the world” as he was coincidentally traveling the globe, looking for a site to establish his own utopian community.
Things fall apart
Lawrence agreed at first with Luhan’s claim that the indigenous culture of the American Southwest should “shift American consciousness towards organic expression.”
But after a few months, relationships turned sour, as Luhan pressured Lawrence to write the ultimate book about Taos that would revolutionize the world.
Instead, the cranky and mercurial Lawrence painted over the open glass windows of her second story bathroom with watercolors “perhaps to avoid having to see Luhan naked,” according to Lynn Cline in her book on the early Taos and Santa Fe writers’ colonies, Literary Pilgrims. You can still see his artwork decorating the windows in Luhan’s private quarters at what is now a B&B called the Mabel Dodge Luhan House.
You too can sleep here
We jumped at the opportunity to spend a weekend there in the Robinson Jeffers room with its traditional mud walls and high wooden ceiling built of log vigas. Through the windows one night we watched a spectacular midnight moonrise worthy of Ansel Adams’ famous 8×10 Land Camera.
On a stormy afternoon we curled up reading in the B&B’s atmospheric library filled with Luhan’s personal photographs and precious artifacts, basically unchanged since she presided over her literary salons of luminaries whose works became associated with the region.
A writer under every stone
Writers and visual artists continue to come to Taos, drawn to the stark beauty and bold forces of nature here.
“The stars are different,” Georgia O’Keefe said. “The air is different here, the wind is different.”
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Writer Retreat
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About | Teachers | Details | Schedule | FAQ | Contact Register Now! WRITERS' RETREAT with Anne Lamott, Julia Cameron, SARKand other teachers REGISTER NOW OCTOBER 29-30 COLLEGE OF MARIN & LIVE BROADCAST Calling All Writers (and those who want to be) Shop the Retreat Virtual Bookstore CLICK HERE TO…
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en
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Heal + Create
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https://www.healcreate.org/writer-retreat/
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Writing as a Debt of Honor – with Ann Lamott
People usually come to writing conferences because they love to write, or want to write, or used to write, and want to again. There is something inside some of us, a select few, that longs to create written stories about life and humanity and our deepest truths. And when we do not honor that longing, something inside us begins to atrophy. When we let that desire slide by the wayside of busy lives, we do not feel fully alive.
So how do we awaken and commit to the pursuit of a writing life? How do we reinvigorate this commitment when it has been too long since we last wrote with any sustained pleasure and conviction?
This is what Anne Lamott will discuss in her keynote address, the whys and hows of writing, as a debt of honor.
Inspiration Ignited: How to Embrace Healing and Spark your Creativity – with SARK
In this session, you will learn to Revitalize and Re-Energize Your Dreams and Life in every way!
What’s a story you’re telling about yourself that you would like to shift? Bring it to this magical conversation and learn how to move from the stories you typically tell about yourself and your life, to stories that empower you and ignite your creative spark!
It’s time to make magical shifts in your life so that you can Begin, Continue and Expand upon Your Unique Gifts in this world.
Do you desire to embrace your healing journey so that you can:
CREATE something NEW
Get more MOVEment on something you’ve already started
Spring your creative DREAMS into ACTION
Bring your favorite writing things – and you’re encouraged to add some colored pens or pencils to your bag for this one.
Writing Your Book from Beginning to End – with Eric Maisel
You’ve heard it all before: you incubate an idea, the idea percolates up, you start writing, you complete a draft, you revise the draft, and, voila, a book!
But how does this process really work? Why does it take so many writers years and years to get their book written? How can the process of bringing a book into existence be handled much better than it usually is?
Learn how from America’s foremost creativity coach and the author of more than fifty books, among them Fearless Creating, Coaching the Artist Within, A Writer’s Paris, and A Writer’s San Francisco. Come experience this one-of-a-kind, information-packed ninety-minute workshop.
Poetic Rhythms: Creating verses that hit your high notes
Poetry is one of the oldest forms of writing and many of us have forgotten the healing nature of expressing ourselves in this way. Join the Writing Doula and tap into the power of your creativity to give birth to poetry.
Watch what unfolds when you learn how to seamlessly transform your thoughts and reflections into poetic expressions – and create rhythms with your words. Don’t be surprised if what you write evokes laughter or rocks your emotions. The goal of this gathering of creative kindred spirits is to let it go and let it flow.
Come ready to:
• Create spirit-lifting poetry
• Reactivate your muse
• Engage in self-reflection
• Express in a safe space
• Have fun!
No advanced writing skills are necessary to participate in this spirit-lifting experience. All you need to bring is your favorite writing tools and a mind that is open to trust your magic.
* You will have a chance to share your words in the evening Poetry Share Gathering (no one is required to share, and you can simply attend to celebrate the sharing of others).
Mapping Your Writer Hero’s Journey
This session invites you to go deeper into who you are, why you are called to write, and how to tune into the cycle of the “hero’s journey” as it applies to this transformational experience.
During this session, Jacob will lead you through practices designed to bring your true writing desires into greater clarity.
You will learn to understand the Four Characters that play a role in every one of us:
• The Victim
• The Villain
• The Guide
• The Hero
When you understand how each of these archetypes interact, you can empower yourself to grow into your potential as a writer and overcome hindrances that have held you back in the past.
Your creative inner soul self wants to communicate – giving you clues, fuel, courage, and surprising direction for the path ahead.
Bring your notebook and writing tools.
Healing from Procrastination and Perfectionism: How Trauma Blocks Writers
Do you suffer from procrastination that feels insurmountable? Perfectionism that feels utterly crippling? Most writers struggle with these two demons periodically, but for some writers it’s more than just a temporary problem. For writers who have suffered from procrastination and perfectionism for years, even decades, these two obstacles are more than just an ordinary bump in the road on the creative journey—they are deeply-rooted coping mechanisms that the writer adopted in childhood and adolescence to protect themselves from a dysfunctional home environment and/or toxic relationship with their primary caregiver.
In Healing from Procrastination and Perfectionism Lauren Sapala will share strategies she’s discovered that actually work for these kinds of writers. With over ten years of experience coaching writers who thought they could never move forward with writing, Lauren has developed techniques that not only conquer what she calls “toxic procrastination and severe perfectionism” but can also help any writer find their writing voice, rediscover the joy in writing, and finish their creative projects.
This 90-minute workshop requires only you and your favorite writing tools.
Don’t Write Your Book – with Sam Lamott
Many people struggle for years with the traditional approaches to giving birth to the book that lives inside them. They start and find themselves stymied over and over again.
In the true spirit of creativity, Sam Lamott has developed a different approach. During this interactive workshop, he will draw on his years as a top podcaster and storyteller to show you how a process of recorded interviews could be the way to help you unearth those stories, characters, and lessons that you long to bring into life on the page.
Rather than staring at the blank page and wondering why the words won’t come out, learn how to use techniques that professional interviewers and ghostwriters employ to produce captivating works of fiction and nonfiction.
During this session, you will be invited into curiosity, humor, and imagination that can become the keys to unlock your best work.
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https://www.vogue.com/article/the-artists-way-julia-cameron
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If Your New Year’s Resolutions Have Crashed Already, Try This Instead
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2021-01-14T09:00:00-05:00
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A cult-favorite self-help book on creativity is all the more popular in the pandemic era.
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en
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https://www.vogue.com/verso/static/vogue/assets/us/favicon.ico
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Vogue
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https://www.vogue.com/article/the-artists-way-julia-cameron
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Author Julia Cameron’s directive is simple: Write three pages, longhand, without stopping every morning. If you don’t have anything to say, just put down “I don’t have anything to write.” Maybe you’ve heard this piece of advice, from Cameron’s The Artist’s Way: A Spiritual Path to Higher Creativity, before. Essentially a rebranded journal, the morning pages have become a household name, a shorthand for unlocking your creative potential, or, in the language of the book, “unblocking your inner artist.” On page eight of the book, Cameron recognizes this practice as “apparently pointless.” But that’s part of the charm—bring your most inane, inconsequential, self-absorbed drivel and throw it onto the page. Then leave it. Maybe one day you’ll start to see patterns, hidden dreams, or callings in the texts, but that’s really secondary to the practice of writing it down. In essence, it promises creativity as a final destination—no matter how meandering the path to achieving it may be.
First published in 1992 in a batch of 9,000, The Artist’s Way has become a cult favorite. Ironically Tarcher/Penguin, the book’s publisher, was initially concerned that it wouldn’t sell given its genre-defying nature, a precursor to the current trend for mindfulness, The Artist’s Way falls somewhere between “religious” or “self-help,” but fits neither. It’s still a best seller on Amazon and is back-ordered on Bookshop.org. The 25th-anniversary edition features praise from the likes of Eat, Pray, Love author Elizabeth Gilbert and Cameron’s ex-husband, director Martin Scorsese, on its back cover. More than 4 million copies have been sold worldwide since 1992, and 150,000 in 2020 alone (a significant increase from 2019, according to Penguin Random House). With its mustard-color front cover and maroon lettering, the book itself is decidedly unphotogenic, and yet I’ve seen it more on social media in the past year than ever before, a quiet way of announcing to the world, “Yes, I am working on myself.”
Over the course of 2020, Cameron has taught three classes over Zoom: a one-day class with 465 people in May and another for 249 students in September, and delivered a keynote speech for more 400 people in November. Word of the sessions spread like wildfire. A friend and publicist, Laura Gittoes, told me that she was recommended The Artist’s Way by a friend in Australia and a mover in Brooklyn (she later recommended it to me). Sophia Li, a journalist, director, and Artist’s Way devotee, says she can name 10 people off the top of her head whom she has got into The Artist’s Way. “I posted about finishing my notebook [on Instagram]. I’ll get 20 messages about it from friends and random people,” she says. “And before, at least in my world, no one had heard about it or cared enough and now everyone is like, ‘Oh, I’m doing that too!’” She was first recommended the book by an energy healer and has been doing morning pages for four years. Indya Brown, my former colleague who recently moved to Los Angeles, said a septuagenarian vintage dealer told her that everyone in the city was obsessed with their “pages.” “The book has been its own best emissary,” Cameron agrees. Especially, as the phrase goes, “in these times.”
People often find The Artist’s Way in times of struggle and change. Cameron herself conceived of The Artist’s Way after she became sober in 1978. She was a writer, and had believed that creativity and drinking went together “like scotch and soda.” In that transitional period, she realized that what she believed in—really believed in like a religion—was creative energy. “Before that, I wanted to be a real brilliant smarty-pants,” she tells me over Zoom from her home in Santa Fe, New Mexico, wearing pink glasses, and speaking gently and close to the camera. “And after I got sober, I wanted to be more of service, more useful, and more clear in my writing. And my writing untangled itself, and so did my career.”
The Artist’s Way was realized as a 12-week program, a parallel with AA programs, with each week giving the reader tasks: Write down all the people you’re jealous of and why; imagine what you would do if you were 20 and had money, and conversely if you were 65 and had money; bake something; list down traits you liked about yourself as a child; make five arguments on why you can’t believe in God (accompanied by the parenthetical, “God can take it.”) Each week is centered around doing morning pages and taking yourself on an “artist’s date,” an amount of time, alone, to let your inner creative child roam. Amid the pandemic, Cameron is asked often what people should do for the date. “Well, you can take a bubble bath,” she says, settling into a long list. “Well, you can light a candle. Well, you can sketch. Well, you can listen to some music you don’t normally listen to. Well, you can listen to a strange podcast. Well, you can paint your fingernails and your toenails with Swarovski crystals. It helps to not be too sophisticated. It helps to do something an 8-year-old would enjoy.”
While the book itself is a logical approach to creativity (write your pages and reap the benefits), it’s exceedingly gentle and free-flowing. But Cameron doesn’t really seem to care if you do the 12-week program as a workbook, as a regimented class, solo, in a group, or even at all, just as long as you do your morning pages. The book’s instructions are gentle. “Make this phrase a mantra: Treating myself like a precious object will make me strong,” reads the first task for week 7. An emphasis is placed on straightforward, low-stakes fun, like taking a bubble bath or placing a dinosaur figurine on your desk while you work, as Cameron does. But lest you be skeptical of her somewhat kooky methods, the end goal is always clear: to help you unlock your creative potential.
“People are in a deeper sense of awareness right now,” says Jacob Nordby, an author who helps Cameron organize the Zoom sessions, and also moderates audience questions. “‘Do I love my life? What can I change?’ Sometimes that generates a sense of hopelessness. I think that’s why these practices are so useful and why people come to these courses.” And it can feel like a luxury to devote time to your creative child amid, well, everything. “I sometimes think we should do it out of vanity,” Cameron says. “What happens from the front of the room, watching people work with the tools is people become more relaxed, open, and festive. Their humor returns. Right now that’s a very important thing…. I think people have built up introspection due to the closing down of many avenues for their creativity. I think for many people they’ve had grief from a loss of structure. So they’re attracted to a program that’s laid out logically and they’re able to embrace it without resistance.”
Pulling profound conclusions from a task as quotidian as keeping a diary is somewhat of a Cameron specialty. Her new book, out this month, is called The Listening Path. “I realized the tools of morning pages, artist’s dates, and walking were all tools that tuned us into ourselves—they were listening tools,” Cameron says. “People are very interesting if you don’t cut them off. And they often say things that are surprising.” It’s a six-week program: The first step is to listen to your environment, then your peers, then your higher self, then “behind the veil,” to your heroes or others who have passed (Cameron stops to acknowledge that this was when she worried people would think she was too “woo-woo”), then to the silence. The goal with The Listening Path is more esoteric than with The Artist’s Way—your senses will be heightened, and you’ll be surprised by what you find in the silence—but the potential rewards are boundless.
It may feel silly in a time of crisis to, say, draw a bubble bath to help with your problems, but this low barrier to entry is part of the appeal. Nordby tells me that his father gave him the book while Nordby was struggling in the 2008 financial crisis, when he was 34 and had three young children. Working in a warehouse for a government agency, delivering boxes, Nordby started keeping morning pages, which led him to start his writing career. “I found the morning pages practice to become this kind of lifeline to some sense of peace, a little bit of anxiety release,” he says. “It began to take hold.” This accessibility makes Cameron stand out in the world of spirituality—just pick up a pen, write, and see what you find. Alternatively, listen. Li gets to the heart of it: “Amidst the $5K spiritual retreats with modern gurus and trips to Bali to ‘find ourselves,’ Julia doesn’t overcomplicate, glorify, or brand the journey of spirituality or sell a quest to find ourselves. Her simple tools prove that the journey to find oneself happens with intention, not money.”
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https://taos.org/places/d-h-lawrence-ranch/
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en
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D.H. Lawrence Ranch
|
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The 160-acre ranch is located twenty miles north of Taos, New Mexico, off Highway 522 near San Cristobal at 8,600 feet. An ancient Kiowa Indian trail,
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en
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Taos.org
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https://taos.org/places/d-h-lawrence-ranch/
|
D. H. Lawrence, the author of literary classics such as Women in Love and Lady Chatterley’s Lover, and his wife Frieda first came to New Mexico in September 1922 at the invitation of Mabel Dodge Luhan, a New York socialite and arts patron who lived in Taos. The trip was pivotal for Lawrence. While the English-born writer only spent a total of eleven months during his three visits to New Mexico, the state made a notable impression on him. He wrote:
I think New Mexico was the greatest experience I ever had from the outside world. It certainly changed me forever.
The 160-acre ranch is located twenty miles north of Taos, New Mexico, off Highway 522 near San Cristobal at 8,6https://taos.org/wp-content/uploads/2016/07/dhlawrence-copy1-2.jpg00 feet. An ancient Kiowa Indian trail, still used to travel from Taos Pueblo to the red clay pits in Questa by the Taos Pueblo natives, crosses vertically through the property. Under the 1955 Last Will and Testament of D.H. Lawrence’s widow Frieda, it was entrusted to the University of New Mexico (UNM) for the purpose of creating a public memorial to the world-renowned writer.
The Taos community has a rich artistic, cultural, and historical legacy. It is the home of many diverse communities that contribute to this richness. D. H. Lawrence and his circle — Mabel Dodge Luhan, Georgia O’Keeffe, Lady Dorothy Brett, and others — formed an important part of this cultural stream. Along with Taos’ museums, galleries, and historical structures, the D. H. Lawrence Ranch is a living representation of that legacy.
According to the Taos tourist office, it is one of the most sought-after sites for visitors, second only to Taos Pueblo. Due to the efforts of the University of New Mexico D.H. Lawrence Ranch Initiatives and local Taos citizens, the Ranch reopened in 2014 after a five year hiatus and can now be visited Thursdays and Fridays from 10-2 and Saturdays from 10-4 (weather permitting).
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https://guykawasaki.com/julia-cameron/
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Julia Cameron
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2021-01-13T14:30:14+00:00
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Julia Cameron has written over forty books, plays, musicals and screenplays with her most popular being The Artist's Way. The New York Times calls her The Queen of Change. You'll love this podcast about writing and creativity. Listen on Guy Kawasaki's Remarkable People podcast.
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Guy Kawasaki
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https://guykawasaki.com/julia-cameron/
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Guy Kawasaki:
I'm Guy Kawasaki, and this is Remarkable People. This episode's remarkable guest is none other than Julia Cameron. She is the author of The Artist's Way: A Spiritual Guide to Higher Creativity. Over five million copies of this book have been sold. That's about 4.8 million copies more than any single book of mine. The 25th anniversary of this book has over 3,000 ratings, and they averaged five stars. You have no idea how hard it is to have that many ratings come out to five stars. I am in awe of this.
Let me read one of her reviews, "I was turned onto this book in 1995, and it changed not only my life in powerful, profound, and exciting ways, but the lives of several of my family members and friends. It gave me a way in, into my own soul, my deeper voice, mind, purpose for living, and capacity for enjoying life" - Sedera Dharan.
The New York Times calls her the Queen of Change. She's also known as the godmother, or high priestess, of change.
She has written over forty books, as well as screenplays, musicals, and plays. She attended Georgetown University before transferring to Fordham. She has written for The Washington Post and Rolling Stone.
Her new book is The Listening Path: The Creative Art of Attention, it was released yesterday. We cover a lot of this book in our interview.
To get the most out of this episode, you have to know this in advance - Nigel is the name she has given to the self-doubt and negativism inside her. Lily is her dog. You'll enjoy our discussion of the bondage of self-centeredness, the uni-ball 207, and why perfectionism is for second and third drafts.
This episode of Remarkable People is brought to you by reMarkable - the paper tablet company. Yes, you got that right. Remarkable is sponsored by reMarkable. I have version two in my hot little hands and it's so good. A very impressive upgrade.
Here's how I use it. One: taking notes while I'm interviewing a podcast guest. Two: taking notes while being briefed about a speaking gig. Three: drafting the structure of keynote speeches. Four: storing manuals for all the gizmos that I buy. Five: roughing out drawings or things like surfboards, surfboard sheds. Six: wrapping my head around complex ideas with diagrams and flow charts.
This is a remarkably well thought-out product. It doesn't try to be all things to all people, but it takes notes better than anything I've used. Check out the recent reviews of the latest version.
I'm Guy Kawasaki, and now, here is Julia Cameron.
Guy Kawasaki:
Thank you very much for doing this. I love your glasses.
Julia Cameron:
Well, thank you.
Guy Kawasaki:
I read that there's a special store where you are that has glasses like that.
Julia Cameron:
Yes. My girlfriend Scotty has many pairs of glasses. I went and I tried on all of them and I found these, and I thought, “I love these.”
Guy Kawasaki:
How is Nigel these days?
Julia Cameron:
Nigel is alive and well, and critical. He starts me out on a podcast like this - terrified.
Guy Kawasaki:
I think we should put Nigel back in the box because there is no reason to be terrified by me. My podcast is called Remarkable People so I only want remarkable people to look remarkable.
As I was reading the manuscript of your latest book, very early on, I thought to myself, “She would love Brenda Ueland,” and then you mentioned Brenda Ueland! Brenda Ueland changed my life!
Julia Cameron:
That's wonderful. She was a great inspiration to me. She said, “Perhaps we are always talked to by God and his messengers. We're an incandescent power,” and I thought, “Oh, I love that!”
Guy Kawasaki:
My wife gave me her book, If You Want to Write, and, at the time, I had not written my first book. It really took the Nigel out of me and enabled me to write a book. How do you want ideally people to read your book?
Julia Cameron:
I'd like them to read the first three tools, which are artists’ way tools that have been proved over the years to be effective. I want people to get grounded in artists’ way tools, and then launch into the six weeks.
I found, over teaching, that six weeks was a long enough time for listening because people, very quickly, pick up the tools and become acute listeners. I didn't feel we needed to do twelve weeks. I felt, “No, there are layers enough for six,” so it became six but it comes out of experience, Guy.
When I teach, I take the temperature of the class that I'm teaching, and I find myself feeling, “Oh, they're cooked.” The Listening Path was cooked at six weeks instead of twelve.
Guy Kawasaki:
Do you think that the audio version of your book is a better way to learn what you have to say versus reading it?
Julia Cameron:
That's an interesting question. I think the audio is calming, and I think people take in information through listening. It's an example of the premise of the book - do listen. I find that I wrote the book hoping for readers to walk alongside me as we went through the layers. I would hope to have people read the first three tools, start practicing them, and then move a week at a time into the remaining layers.
Guy Kawasaki:
I am very curious, why is there so much about Lily? Is there a deep metaphor or meaning there that you use Lily as a mechanism?
Julia Cameron:
Now, Lily - we should explain to everybody - is my little white Westie dog, and we live together up on top of a mountain. Lily, is my constant companion. I'm worried that I'm turning into a datty old lady.
I'm seventy-two, almost seventy-three, and that I'm someone who datty old lady-talks to her dog, and Lily talks back to me, so there's a lot of Lily in the book.
Lily is also a great listener. When the door squeaks at the courtyard gate, which is about 100 feet from the house, Lily says, “Mom, somebody is here,” and hopefully she thinks it's Nick, my helper.
Guy Kawasaki:
So Lily is a great listener is the lesson there?
Julia Cameron:
Yes, I think so. Lily tells me, “Oh, mom, pay attention.” She barks at coyotes.
I have an acre of land that's wooded, and half of it is fenced for Lily. The fence is about seven feet tall, so coyotes can't get over it, but raccoons and squirrels can, and skunks. So we have a lot of wildlife on the mountain.
Guy Kawasaki:
What would you say is the opposite of listening?
Julia Cameron:
Self-obsession. I think we say a prayer, “Relieve me of the bondage of self,” and the bondage of self is always wondering, “How am I doing? Am I brilliant? I certainly hope so.” It keeps nattering at you. I think I've said enough about that.
Guy Kawasaki:
What you didn't say is that the opposite of listening is talking, because you can be self-absorbed and not be talking, and still not be listening.
Julia Cameron:
Exactly. I think what I would say is that self-obsession is a constant companion that, when we truly listen, we forget ourselves. We become focused on what the other person is saying. We become focused, not on our response, but on what they have to share.
I think one of the tools of The Listening Path is to not interrupt. I think a lot of times in the conversation, it isn't a real conversation. It isn't “my turn, your turn,” It's “your tur- my turn!”
Guy Kawasaki:
You tell me if I start asking questions too quickly, because I want this to be your episode, not mine. Are believing mirrors ever supposed to be critical?
Julia Cameron:
Yes. So the answer is - well, first of all, what is a believing mirror? It's somebody who reflects back to your strength and possibility. They say to you, I believe you can do that, but a believing mirror also reflects back to yourself accurately.
So when I wrote, The Listening Path, I gave it in manuscript form to several people who are, for me, believing mirrors. My friend, Gerard, who has been my friend for fifty-two years, read it and said, “I really liked it. You could have expanded at the end.” I take the notes of believing mirrors, and take them into a second draft, and a third draft. I do multiple drafts of my books.
Guy Kawasaki:
I am also a writer. I have written fifteen books. I would love to know your process of writing - down really at the mechanics of how do you do it.
Julia Cameron:
First of all, I write long hand. I have found that when I write long hand, there is a flow to the work, and an intelligence to the work. I find I don't often need to do too much editing when I'm moving from a long hand draft to the second draft, which is on a computer. I find writing on the computer, I want to say it makes me too glib, and writing by hand makes me more thoughtful.
Guy Kawasaki:
When you are writing by hand, is this the romantic notion of you're using a fountain pen on parchment, or you using a one-dollar pen on a legal tablet?
Julia Cameron:
I don't use a legal tablet. I use what I call morning page journals, which are pages thick - the ink doesn't soak through, and I use a pen called uni-ball 207.
I don't like fountain pens. I find I press too hard and I scratch the paper. I have friends who swear by fountain pens, but I'm awkward with them. So I use the uni-ball 207.
Guy Kawasaki:
There's going to be a run on uni-ball 207s at every stationary store in the country right now. Do you type in the computer draft, or does someone do it for you?
Julia Cameron:
All right, I write in journals, and then I go to FedEx, and I Xerox them because I'm afraid to mail my rough drafts across the country for fear, my God, what if something happens and it doesn't get there?
So I send them to a woman that I work with named, Emma Lively, and Emma and I have worked together for twenty-two years, and she is able to decipher my handwriting. She very seldom has to ask me what word I had intended. Emma types it into the computer. Emma is, for me, a believing mirror.
After she types it into the computer, I say to her, “What did you think?” And Emma tells me what she thinks. Then I work with her as an editor. She and I have written books together, and she's very hard-headed. I find her feedback supportive, but also critical.
Guy Kawasaki:
Just to back up for a second, as you're writing in longhand, are you working off of an outline? Is there an outline in your brain, or it just flows?
Julia Cameron:
I want to say it just flows. I want to say this is where I depend upon prayer. I find myself - I write in the morning pages and it puts me in touch with a flow, a benevolent flow. Then, when I sit down to write, I start right where I am, which is why you have so much Lily in the book.
Guy Kawasaki:
This may seem like a confusing and maybe too esoteric question, but do you write and then listen, or do you listen and then write?
Julia Cameron:
I listen, and then write.
Guy Kawasaki:
So you're listening to something inside you telling you what to write?
Julia Cameron:
Inside me, outside me. I feel like when you tune into your environment you get guidance. So I don't want this to sound to woo-woo. My experience is that you can trust yourself, and when you write by hand, you're trusting yourself, you're listening.
Well, I'll give you an example. We go through COVID, and I'm friends with a woman named Judy Collins, who's a wonderful singer, and Judy has written a dozen books.
I called Judy during COVID and said, “What are you doing?” Which is a fatal question to ask Judy because she says, “I'm practicing the piano, I'm singing, I'm writing a coffee table book, doing a podcast,” and she ticks off a whole list of creative things. Then she says to me, “What are you doing?” And I said, “Well, I'm writing my morning pages. I'm taking walks, I'm taking artists dates, and other than that, I'm not doing anything creative.”
I said to her, “I'm supposed to be the Queen of Creativity but I find myself mulling rather than creating.” So I went to the page, to the next day after talking to Judy, who was inspirational, and I found myself reading guidance, which is, I write, “What should I do next? And then I listen, and I heard, “You're going to write another play.” I had written six plays already and I thought, “Another play? Well, I have no idea,” and then the guidance said, “Start with birds.” So I found myself starting a play, long hand, with the line, “Aren't they lovely?”
Guy Kawasaki:
I love that story. So I'm going to read to you four little clips from your book, and then I have a question after I read them. So one is a greased slide to atheism. Another is driving with high beams. Another is mental cigarette breaks. The last one is a higher force, shaking ice cube trays. This is when it was hailing in New Mexico.
I love those metaphors, and I want to know how do you come up with such great metaphors?
Julia Cameron:
So I'm going to say again, I do the morning writing every day, and Nigel says, “Oh, you're boring,” and you say, “Thank you for sharing, Nigel,” and you just right on writing. What happens is that your Nigel, your critic, becomes miniaturized. It becomes a cartoon voice, and not something deadly, forbidding, looming, and frightening.
What happens when you write something like, “I imagine the higher power giving ice cubes a celestial shake,” if Nigel says, “That's a ridiculous image,” you say, “Nigel, thank you for sharing, but I think I'll keep my image.” So I think the morning pages lead to freedom, and the freedom of expressing dry... Everybody knows high beams versus low beams, and I think it's important not to talk down to your readers, to assume that they're going to get what you're saying. I think that readers bring a world of associations, and people have said to me, “Oh, can I see Lily?” And when I'm doing a podcast, I will hold Lily up. Would you like to see Lily?
Guy Kawasaki:
I would love to see Lily! Yes!
Julia Cameron:
Here's Lily.
Guy Kawasaki:
Oh, wait. She's, you have to...
Julia Cameron:
She's a little bit camera shy. She's focused. If you had a dog barking, she would be alertly focused on the computer saying, “Let me at him.”
Guy Kawasaki:
Thank you for sharing that Lily moment. That was very special. Thank you.
Next question. I think that you and Brenda Ueland share this concern that perfectionism is a barrier. That until you can do things perfect, or everything else is perfect, you can't do anything. So I understand that, but don't you think that perfectionism also produces quality?
Julia Cameron:
So here's how it works for me. I make a list of ten things. If I didn't have to do it perfectly, I'd try, and I list all ten things. Then I find myself writing imperfectly. What I find is that the perfectionist is useful in the second and third drafts, but draft should be free-form.
You asked before, and I didn't answer it, and I should have, if I used an outline and the answer is no. I go with the flow. I believe that there's an inherent form that what we're writing knows the shape it should be.
Guy Kawasaki:
In the book you tell multiple stories about when your landline was not working. In every instance, you said, “I'll call you on my cell phone,” and then later in the book, you talk about how deprivation leads to creativity. Is there some conflict or irony there? Because most people would not associate having a cell phone and deprivation. You could make the case that, without a cell phone, or without any other phone, you'd be in deprivation and therefore more creative. So does this cell phone help you or hurt you?
Julia Cameron:
Well, I keep the cell phone in the kitchen and I only use it for calling out. I found when I had the landline depriving me of communication that I came to rely, again, this is going to sound woo-woo. I have a girlfriend who says as a Jungian analyst, and since she says, “Julia, woo-woo is where it's at.” So that's too woo-woo. I came to depend on ESP.
What I would find is my friend, Jennifer, would call me up and she would be cross with me that the landline still wasn't working. I went to four technicians, and finally one said, “Your conventional landline draws too many volts. So you need to use a portable phone.” I was dubious, but I tried it and it worked. What I found though was that, if I didn't have a working phone, I would go to my cell phone and call out, and I would call my friend, Laura, and say, “Where are you trying to reach me?” And inevitably the response would be, “I was just about to call you.”
I have a friend, a wonderful writer named Jacob Nordby. He has a book coming out called The Creative Cure, and I got to write the forward for it, which was a privilege. I will call him and he will always say, “I was just about to call you!”
Guy Kawasaki:
You talk about the concept of an artist date, and for me, I consider an artist date going out on a drive in a fast car. Most people would say, “Guy, that's not an artist date. An artist date is going to the forest, or going to the ocean, or doing something like that.” I like to drive fast on my artist dates. Am I making this up, or can that be true?
Julia Cameron:
You're talking about - first of all, we should say what an artist's date is - it's a solo, festive expedition to do something that enchants or interests you. You're actually trying to please your inner eight-year-old. I think what you're describing, the thrill of speed, is something that does sound like a valid artist date to me, because it's something that enchants, or interests you, or thrills you.
I have an artist date that people say, “Oh, Julia, that's not an artist date,” and that is: I go to a bookstore where they have a bunny rabbit named George, and instead of looking at the books, I ask permission to pet George. When I pet George, I find myself feeling exuberant. He's a wonderful creature. Then I go to the books, and they say all about snakes, all about big cats, all about engines. I find that the amount of information in a children's book is just about the amount my artist needs to start working.
Guy Kawasaki:
You discuss the power of music in the book and is it conceivable that rap music can be considered a soundtrack for young people?
Julia Cameron:
I think, yes, I think so. I've written several musicals, and I do it on a little teeny keyboard that has eighteen keys. I do it there because it's less intimidating than the major piano. So I write on the little keyboard for fun. I think that rap music is fun.
Guy Kawasaki:
I love the concept of the twenty-minute trick. So could you explain that to my audience?
Julia Cameron:
Yes. All right, I'm going to give credit here to an actress named Jennifer Bassey, who is the one that was crabby with me about my phone. She's a delight.
She was married for thirty years to a writer, and so she observed closely what worked. What she saw him doing - and his name was Luther Davis, and he wrote Kismet - what she saw him doing was tricking himself into work.
I said to her, “I'm stuck. My perfectionist has me by the throat,” and she said, “Try writing for twenty minutes,” and I thought, “twenty minutes - I can manage twenty minutes. That's a small, doable amount.” So I tried writing for twenty minutes and discovered that when I got to the twenty-minute mark, I was up and running and wanted to keep going further.
So the twenty-minute trick is a bribe. You're telling your artist, “You don't need to do something serious. You need to do something festive,” and the festive something is the quick twenty minutes.
Guy Kawasaki:
Wonderful. This is something that, because of my past, struck me as very interesting. I just want to check something. So in your book, you tell the story about how your handyman, and once your handyman came with his wife to your house, and you say something to the effect that she had five carat or eight carat earrings.
I used to work in the jewelry business. So a five or eight carat earring is a humongous earring.
Julia Cameron:
That’s what she said! She couldn't believe the people who would come to her shop and buy these clunkers. She said, “We have a hard time keeping them in stock.” I think she herself has a more petite earring that maybe a little bit more tasteful.
I live in Santa Fe, which is the land of turquoise and silver, and sometimes I see somebody and they have a belt with a huge buckle of solid silver with turquoise embedded in it. I think that the people who are wearing the diamonds are trying to avoid wearing the turquoise.
Guy Kawasaki:
I would like you to explain why people should write their diaries in the morning, but you were composing prayers in the evening. So why diaries in the morning and prayers in the evening?
Julia Cameron:
All right. So the three pages of long hand morning writing are intended to catch you in a vulnerable position before your defenses are up. A lot of times, at the end of writing three pages of free-form stream of consciousness, I would ask a question, “What should I do about X?” And I would listen for an answer. Sometimes I would tend to get a pretty direct answer, which would tend to set my mind at ease for the day. Then I would get to the end of the day, and I would go back to the page and I would say, “I tried X, now what about X?” I would pursue it.
I think that in the calm of the evening, up on the mountain, it was a wonderful time to pursue prayer. I think I'm too energetic in the morning to pray properly. I know there are people who do morning pages, and then they meditate for twenty minutes. I find that I get my most guidance when my hand is moving across the page, rather than when I'm sitting still trying to do nothing.
Guy Kawasaki:
How do you pick your heroes?
Julia Cameron:
I think I look at my own value system and say, “What do I value?” And I find myself answering with answers that surprise me. At this point, The Artist's Way has sold five million books, which is a lot of books, and especially since I thought I was writing the book for ten of my closest friends, and it turned out to speak to others.
It has become a movement, if you would. I found myself thinking, “Who could be graceful with this situation?” And that's where I came up with Bill Wilson. He wrote a little bit for a few people, and now it's spoken to millions.
Guy Kawasaki:
My last question is, for young people listening to this, and they aspire to write. What is your advice?
Julia Cameron:
Write morning pages. I think getting on the page, teaching yourself to move past your sensor to write freely. What I find happens with people when I teach is that they start out a little bit cranky and say, “I'm boring and my life is boring,” but then they write, and they discover that their life is actually fairly interesting, and it gives them confidence.
So what happens is, if you write morning pages in the morning, later in the day when you turn to your other "serious writing," you find yourself writing freely. I would coax young writers to try morning pages. You'll see, it's a wonderful gift. Give it a shot.
Guy Kawasaki:
Thank you. This podcast is sponsored by a company that makes a tablet - this tablet - it looks like this. So this is a tablet, and this is a stylist that operates like a pencil, so I can just write on it. We're going to send you one. Maybe you will like writing with it.
It's not a computer, not in the sense of typing with a keyboard, but you literally, and it feels like you're writing with a pencil. So we'll send you one, and maybe you'll like it. That would just make our day.
Julia Cameron:
Thank you. It looks like fun to me. Fun is enticing.
Guy Kawasaki:
One of the beauties is, thinking about your workflow is, as you write out your book in long hand, with this pencil, pen like device, it will automatically go up into the cloud and be synchronized. So you immediately have another copy, and you could easily give your friend, the other person who helps you write, access to the account so she could immediately have it. You won't have to go to the FedEx store anymore, to Xerox and mail stuff. It might help your workflow. On the other hand, it might just be fun.
Julia Cameron:
It sounds festive, and I will look forward to receiving it.
Guy Kawasaki:
All right. Thank you so much. My wife was just thrilled that I could talk to you. She knew all about, all the daily writing, and the prayer - she's a fan. I went up in her book because I'm interviewing you. So thank you very much.
I hope you enjoyed this episode with, Julia Cameron. Remember: put the Nigel back in the bottle, or at least ignore him. One needs to learn how to control negativism and self-doubt.
I'm Guy Kawasaki, and this is Remarkable People. My thanks to Jeff Sieh and Peg Fitzpatrick, who remove negativism and self-doubt from my podcasts.
Until next time, maintain adequate social distance, wash your hands, wear your mask, and, if you can, get vaccinated as soon as you can. Mahalo and Aloha.
This episode of Remarkable People is brought to you by reMarkable - the paper tablet company.
This is Remarkable People.
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https://www.latimes.com/books/la-ca-jc-santa-fe-new-mexico-literature-books-20190529-story.html
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Reading New Mexico — literature that reveals life at a cultural crossroads
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2019-05-31T15:45:03+00:00
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Rigoberto Gonzalez on how the literature of New Mexico emboldens the experience of Santa Fe, a place with a vibrant literary culture spanning decades
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en
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/apple-touch-icon.png
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Los Angeles Times
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https://www.latimes.com/books/la-ca-jc-santa-fe-new-mexico-literature-books-20190529-story.html
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I’m in Albuquerque to visit the National Hispanic Cultural Center. There’s an exhibit on chola culture that I want to consult for a new project. But really, I’ll make any excuse to come back to this place, which has become part of my personal history.
The first time I visited Albuquerque was in 1992. I was living in the Bay Area, and a friend of mine had just enrolled in the MFA program at the University of New Mexico, where the great Chicano writer Rudolfo Anaya taught at the time. Not only did I demand the right to visit, I also pleaded with her to invite Anaya to lunch. I desperately wanted to meet him.
“When you book your flight,” she suggested, “make sure you time it so that you can see the evening light over the Sandia Mountains.”
Indeed I did. And as the plane began to descend, I did catch the reddish tint over the mountain range, which looked nothing like a watermelon slice — like the English translation of its Spanish name — but I understood. Then something else caught my eye. A red beacon in the middle of the city. Was this symbol some kind of welcome gesture to those flying in from afar? When the plane circled around once more, I craned my neck for a better view: it was the giant K in Kmart.
A few days later, lunch with Anaya at Garcia’s Kitchen across from Old Town was much more memorable. He introduced me to sopaipillas and bizcochitos, and brought me a copy of his latest book, “Alburquerque,” which honored the original spelling of the city that was named after the viceroy of New Spain, the 10th duke of Alburquerque. “It’s a kind of mystery novel,” Anaya explained.
I think I spent most of the meal star-struck by the author of the beloved novel “Bless Me, Ultima,” which took place in 1940s rural New Mexico. This many years later, no other work set in the state has surpassed its popularity even though it continually lands on the most challenged books list. A few of the complaints include the presence of the golden carp and the curandera — paganism and witchcraft, apparently. There is another title that comes close, however: Leslie Marmon Silko’s “Ceremony.” Of Laguna Pueblo, Mexican and white ancestry, Silko was born in Albuquerque. She embodies the three cultures that shaped New Mexico even before it was added to the union in 1912.
Two years later, I was back in Albuquerque, this time in a rental car, headed up to Anaya’s house to pick up keys. Anaya had founded a writers residency in Jemez Springs, just 60 miles north, and he invited me to be his guest. “Our people don’t go into those fancy artist colonies in the east,” he said. “Because they’re too far from where we live and it’s too expensive to get there.” The guest house was nicknamed La Casita, and it was just down the street from yet another of Anaya’s properties. “I’ll be up there in a few days,” he told me as he gave me directions to La Casita. “I won’t bother you, I’ll just come to water the plants.”
Located within Santa Fe National Park, Jemez Springs is a breathtaking combination of red rock and forest. Its other claim to fame is the hot springs, but I didn’t want to embarrass myself with my graduate student budget. So I stayed in the guesthouse the entire week, working on my thesis for Arizona State University.
On the second afternoon, there was a knock at the door. It was Anaya.
“Listen,” he said, apologetically. “I just turned in my first murder mystery and I have no one to celebrate with. Mind if we have a toast?” He held out a bottle of whiskey.
We toasted into the evening. He read some of my work and gave me immediate feedback. I could tell he wasn’t that impressed with my writing, though when the novel was published about a decade later, he graciously blurbed it.
I asked him about that mystery novel, and reminded him about “Alburquerque,” but he told me that this was a whole new venture, with a New Mexican sleuth by the name of Sonny Baca. He had read a few of Tony Hillerman’s whodunits, many set in Navajo country, to understand the basics. The series would follow the seasons and reference New Mexican cultural markers. The complete cycle became “Zia Summer,” “Rio Grande Fall,” “Shaman Winter” and, finally, “Jemez Springs.”
The third time I drove into Albuquerque was to move in. This was the summer of 1997 and I had foolishly enrolled in a PhD program at the University of New Mexico, as an excuse to leave Arizona. I found housing on Vassar Street among a cluster of roads named after Ivy League colleges. I brought my dancing shoes and my two cats. One of the surprising details I had learned about UNM, whose buildings were all adobe, was that it offered flamenco classes. In fact, New Mexico was a hub for flamenco, which explained why many of the folks of Mexican descent I met referred to themselves not as Chicano or Hispanic but Spanish. After dance lessons I bolted to the Frontier Restaurant across the street to devour a bowl of green chile stew.
I remembered my flamenco days when I read Ana Castillo’s “Peel My Love Like an Onion,” which featured a flamenco dancer with a disability. At a presentation, a young Latina in the audience said during the Q&A that she couldn’t relate to this novel because flamenco had nothing to do with Latino culture. Castillo invoked the famous dancer from Taos, María Benítez, who founded the Teatro Flamenco in Santa Fe.
Though Castillo did not set this novel in New Mexico, she set two others there: “So Far From God” and “The Guardians.” The first has magical realist components that shape the tale of four sisters from the town of Tome, an unincorporated village in the Rio Grande Valley. The second is set in the fictional border town of Cabuche and also has four narrators, each shedding light on the dangers that permeate the borderlands, from the femicides to the undocumented crossings.
One New Mexico writer, however, who has built a career with her notable tragicomic novels is Denise Chávez. She was born in Las Cruces but spent her formative years in Mesilla, where she eventually founded a cultural center and the Border Book Festival. I once visited the center and was pleasantly surprised to see Chávez behind the cash register, selling books by Latino authors. I got to spend a few precious minutes with her formidable sense of humor, and I understood a little better the woman who had regaled me over the years with such books as “Face of an Angel,” which is set in a Mexican restaurant, and “Loving Pedro Infante.”
Albuquerque keeps asking me back. Once I returned to deliver the Rudolfo and Patricia Anaya Lecture on Southwest Literature, and another time to interview Anaya after he was named recipient (along with Luis Valdez and Sandra Cisneros) of the National Humanities Medal in 2015. Anaya was too weary to meet me in person, so we had to conduct the conversation by phone. I did get to stay in the top floor of a hotel in Old Town, and since it was Balloon Fiesta season, I saw the sky become even more dazzling as the hot air balloons ascended.
New Mexico literature too keeps pulling me back. One of my favorite story collections is “Night at the Fiestas” by Kirstin Valdez Quade. Her work reaches across the state’s expansive geography and cultural history. And one of my favorite new poetry books is “Eyes Bottle Dark With a Mouthful of Flowers” by Jake Skeets, a Diné poet from Vanderwagen. His poems bring us an intimate portrait of Diné masculinity.
As I make a turn into the Barelas barrio, where the NHCC is located, I make a mental note to visit the famous eatery there to order menudo. I can’t help but remember fondly that I once called this place home. And suddenly I’m seized by the pangs of regret: why did I drop out of that PhD program after one year? Why didn’t I stay a bit longer?
Albuquerque always offers me the most glorious gifts. Like that time I was walking out of a UNM building after teaching a composition class. I saw something odd floating down from above. Before I could begin to speculate on its origin, one of my students called out, “Mr. González! It’s snowing!” I stopped and stretched out my hands in order to embrace it because this was the first time snow and I had met.
A New Mexico Reader
Critic at Large Rigoberto González’s recommended reads
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dbpedia
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https://compulsivereader.com/2014/05/14/4702/
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en
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A review of Writing Wild by Tina Welling – Compulsive Reader
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Reviewed by Ruth Latta
Writing Wild:
Forming a Creative Partnership with Nature
by Tina Welling
New World Library
2014, ISBN 978-1-60868-286-7 pb, 231 pgs.
Tina Welling wrote Writing Wild: Forming a Creative Partnership with Nature, to share an insight she had while hiking near her home in Jackson Hole, Wyoming, a location which attracts visitors from all over because of its magnificent scenery and wildlife. While walking, she experienced “the interconnectedness between the earth’s creative energy and [her] own personal creative energy.” Since then, Welling takes “spirit walks” in nature to replenish her resources and let the earth’s energy provide insights and answers. She encourages her readers and writing students to take such walks and be mindful of their surroundings.
Her writing practice, which she recommends to others, involves “naming”, “describing”, and “interacting.” One should “name” the things one experiences through the senses (like the cry of a red tail hawk), then sit down and “describe” something that attracts ones attention (perhaps a pine cone). By interacting with the natural world, one often uncovers a forgotten memory, achieves clarity, and perhaps the idea for a passage of writing.
Creative writers, according to Welling, nowadays perform the role that shamans did in other societies; they are “speakers for the collective unconsciousness.” Therefore, they need to live more fully than other people do, but not necessarily “at the extremes”. Readers want to find a deep experience of life, which writers can provide if they take nature as their parent, guide and writing partner.
Writing Wild, appearing at a time of concern about the damage that exploitation of the earth’s resources has done to our planet, seems destined for popularity. Writers often seek books which go beyond technique and craft and offer inspiration, another reason why Writing Wild will sell.
As a published writer for over thirty-five years, I found some sections of Writing Wild highly original and potentially useful, like the chapter “Lessons from the Natural World”. In it, Welling offers fifteen original, clever observations about nature than apply to living and writing. “Hatch only the number of eggs you can nurture”, which means that if an idea doesn’t succeed, one should “toss it from the nest” or let it be absorbed in another project.
“Open yourself up to unusual alliances like the raven and the wolf” provides some interesting animal lore. Ravens in Yellowstone will call a wolf pack’s attention to the direction an elk herd is moving, and, once the wolves have brought down an animal, will share in the food. The message for writers: “Be receptive to the new and different.”
Although writing transformed every relationship in Welling’s life and gradually changed her from a perpetual pleaser to a more assertive and self-directed person, she does not elaborate on her artistic development as Anne Lamott and Julia Cameron have in their books of encouragement for writers. Welling urges aspiring writers to try putting their writing first for six months to see if the experience is life-changing in a positive way.
“We don’t need to do everything for everybody,” she declares, “We just need to be somebody to ourselves.” Echoing Henry David Thoreau, she advises, “simplify”, to make time for our writing. Welling’s advice is good, but not always original. Sometimes she is repetitive and sometimes her aphorisms are re-phrasings of the same idea.
She recognizes that not all of her readers live in Wyoming, that two thirds of Americans “live where they cannot see the Milky Way”, and, that for many readers, nature is a neighbourhood park, a bird nesting high on a building or an ant hill beside a sidewalk. She urges us to appreciate and nurture the manifestations of nature that we have.
Predictably, Welling doesn’t discuss the inspiration available to writers from human creations in urban settings. In The Artist’s Way, Julia Cameron wrote about the healing effect of hikes in beautiful rural New Mexico, but she has written in several of her books about the stimulation and inspiration derived from walking in a city, appreciating the architecture, exploring interesting shops, experiencing the variety of different neighbourhoods, and learning from another art form by taking in a concert, movie or exhibition.
Raised on a hinterland farm, I have always appreciated nature, but when young, was often bored with flora and fauna and yearned for the stimulation of human society. Winters were harsh, long and dangerous. Welling does not dwell on the “red in tooth and claw” aspects of nature that can take human lives.
Sometimes Welling is breathtakingly insightful about the status of a writer in society. She notes that artists, like animals, are seen as a “resource”. (Animals are expected to give up their milk, wool, and their lives and artists are often expected to give away their work for free.) “When art is purchased,” she adds, “it is often displayed to exhibit wealth or status, the way the heads and antlers of wild animals are used as trophies.” She does not offer any tips on resisting and overcoming this situation. Shortly after this acknowledgement of the low regard in which writers are held, she declares that “publishing doesn’t really make all that much difference in our [writers’] lives.”
Certainly, love of the creative process has sustained many great writers through poverty and obscurity, but getting published makes an enormous difference to most of us because it validates us. Welling is right that writers want “recognition for who we are,…exchanges between our creative lives and others,” and “…acceptance in the world of like-minded people”, and believes that we can receive it by participating in open mic readings and writers’ circles. Maybe. But I’ve never forgotten an elderly student in a writing course I was teaching who delighted the class by saying, “Next to sex, there is no thrill like seeing your work in print.”
Writing Well has a spot on my shelf alongside my inspirational books for writers by Julia Cameron, Natalie Goldberg, Anne Lamott and Stephen King, but it will never replace them.
Ruth Latta (http://ruthlattabooks.blogspot.com) lives and writes in Ottawa, Canada
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https://www.eclectique916.com/category/places/louisiana-places/
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Louisiana – eclectique 916
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Culture. Is. Power.
|
en
| null |
Richard Williams is one of those men I would never call by his first name. He is “Mr. Williams”. He’s earned my respect that way.
But I may be one of the few. To my surprise, I discovered the father of the top women tennis players in the world – Serena and Venus Williams – is the author of a memoir: BLACK AND WHITE: THE WAY I SEE IT written with Bart Davis.
The memoir was published in 2014 by Atria, a division of the major publishing house Simon and Schuster. Was this book on any African American book club reading lists? How many reviews did it receive? I was recently tipped off to BLACK AND WHITE by the New York magazine’s Fall Fashion cover story on Serena Williams. That author did the research. Apparently most of us didn’t. Or maybe I’m the one who’s late to the party.
In the early years of Venus and Serena Williams‘s tennis careers, Richard Williams was an ever-present figure. He was profiled and hammered by the press as a loose canon control freak father. No humility. No shame. No style. No front teeth. “Crazy like a fox” some people would say with admiration. “Just plain crazy,” others would say dismissively watching him nervously pace back and forth, or exiting the stands for a smoke while his daughters competed on clay or grass.
Mr. Williams’s battle hasn’t only been with the traditions and rituals of the near exclusively white tennis establishment, but with the familiar narrative that Black fathers are incapable of raising worldwide tennis champions. It goes like this: Black men are absent from their homes, strangers to their children, and if they are present and their daughters succeed, it was through an abusive regiment. Think Joseph Jackson, father of Michael Joseph Jackson.
We’ve also been programmed into falling in love with the romantic Black “ghetto” narrative pumped up by the rise of hip hop culture. FADE UP: public courts/drug markets of Compton. See Venus and Serena avoid broken glass, dodge bullets while hitting balls across the net. (You mean there was a net?)
In BLACK AND WHITE, Mr. Williams slams all that:
“…when my daughters burst on the scene, people thought of us as the poor black family from the ghetto rising up against the white tide of tennis and America. The truth was I had created a company before they were born called Richard Williams Tennis Associates, which I still own, and had saved $810,000 which was all in the bank. I paid my own kids’ way through tennis. I didn’t want anyone to help me. I could have gotten sponsors, but Venus and Serena were my children, so it was my responsibility to pay for them. I never had to take one penny from anyone.”
Nothing or no one White or Black was going to stop Mr. Williams. That included the gangs who kicked out Mr. Williams’s teeth (the first time was in the deep South) when he fought for control of their open air drug market located on the Compton tennis courts.
Fighting it out in Compton was part of the plan. Mr. Williams moved his family from Long Beach to Compton where Venus and Serena would have to be courageous, tough under pressure, all under the protection and guidance of their parents and Mr. Williams directly. If Venus and Serena want to be champions also had to demonstrate commitment to tennis, to school, personal improvement, to family. A lack of commitment was a deal breaker.
Nothing can be realized without a plan. That’s Rule #1 in Richard Williams’s “Top Ten Rules for Success”: Failing to plan is planning to fail.
Initially Mr. Williams had no real interest in tennis, but after watching a tennis player on television receive a $40,000 cash prize for winning a match, his interest in tennis ballooned. Mr. Williams’ plan would start with himself. He found a teacher by chance named Mr. Oliver (who answered to “Old Whiskey” because he started the morning with a drink and didn’t stop until the end of the day). Mr. Oliver was sober enough to teach tennis to Compton youth and Mr. Williams. This was also a man who had worked with Arthur Ashe and Jimmy Connors. Ever defiant, even as a beginner, Mr. Williams challenged the age old tennis rule that you serve with the closed stance. He aimed to prove that theory wrong. That became Rule #7: Create theories and test them out.
Mr. Williams was committed to giving his dream team daughters something few young tennis pros had: a childhood. He observes other young tennis players full of potential and talent pushed beyond their commitment to succeed by anxious affluent parents. He notices these young athletes burning out early in their careers because they were told to compete with players beyond their levels. He pointed out to Venus and Serena examples of superstars who were broke because parents or handlers mismanaged their finances. (Venus Williams would eventually fight for and win equal prize money for women in competitive tennis.) And then there were the ones who adopted self-destructive behaviors to rebel, resist, or escape. Mr. Williams observes and shares the lessons with his daughters. Rule #5: When you fail, you fail alone. Rule #6: You learn by looking, seeing, and listening.
Mr. Williams anticipates the cruel world his daughters would inhabit as Black women committed to excellence. “Cruel” may be too gentle a word to describe the life of poverty, racial terror and violence Mr. Williams experienced growing up in Shreveport, Louisiana in the 1950s. These chapters make up the first half of the memoir and making the most traumatic part of his story.
Mr. Williams’s father better fits the narrative he’s fought against his entire life. R. D. Williams was a smooth talker when it came to the women. “R.D. was Mama’s greatest weakness, the invisible man who impregnated her by night and disappeared from our lives by day.” R.D. Williams didn’t have it in him to be a husband or a father. Mr. Williams abandons the notion of having any relationship or connection with his father when he sees R.D. run from the scene as his son is being beaten by a gang of white men.
Mr. Williams lifts up the women in his life like the answer to a prayer. He dedicates the book to his mother Julia Metcalf Williams who is still his “greatest hero”. Though she would never share the grand dreams of her son, she made him a believer in the power of faith and demonstrated it by practically praying the near dead back to life. He calls her a “prayer warrior.” Rule #4: Faith is essential to confidence. It pairs well with Rule #3: Confidence is essential to success.
Flip the order either way.
Confidence is something few people can fake successfully. When it’s real, it’s powerful. I’m sure Mr. Williams’s confidence is interpreted as arrogance by a lot of people he comes into contact with. But without confidence, he would have perished long ago.
Mr. Williams believes education is a game changer. But that couldn’t be achieved in Shreveport, not for a Black man or woman. Raced-based rules limited rights for Shreveport’s Black residents to own land, work for living wages, vote, and learn. The wood-framed tin-roofed school Mr. Williams attended as a boy was called “Little Hope” – “The name was absolutely correct. Negroes had little hope”. There was no flagpole according to Williams. The stars and stripes was nailed to a long stick “bolted on the tin roof.” The single outhouse had maggots. The teacher was dedicated to the forty children in the one room structure, but too fragile and elderly to turn things around. The principal was a “stumbling drunk.” Mr. Williams had spirit or grit, courage, and anger.
In the memoir Mr. Williams describes how one of his best friends was killed by the Klan for stealing a pig. Lil’ Man was found hanging from a tree; his hands cut off and stuck on a fence. But it’s not just the Klan. Another childhood friend is struck by a car driven by a white woman who doesn’t stop. The boy is left to die like fresh road kill. A third is found hands tied, naked floating facedown in the water.
If anyone thinks these horrors happened a long time ago, talk to a living witness.
After the death of his friends Richard Williams turns up the heat on his childhood fascination with stealing.
“I grew from a heated boy into an angry young man, filled with rage. When I couldn’t get the white man’s respect, I dishonored him by stealing from him. I had no sense of guilt or remorse. I was the injured party. I “confiscated” because it made me feel powerful and in control.”
He even substitutes the word “stealing” with “confiscating.” There is no passive resistance in his being. Mr. Williams justifies the badassedness of his youth in the deep South as a way of evening up the score in a brutally racist world.
His escapades go so far as to disguise himself in a KKK hood and robe stolen via the daughter of its original owner. Mr. Williams puts white flesh colored makeup on his arms and hands, jumps on his bike and launches a private war on Shreveport’s white citizens and fellow KKK members. There’s one incident during this hooded rampage that the young Mr. Williams finds himself holding the gun at a lynching. Quentin Tarantino or Dave Chappelle couldn’t make this up.
And yet, Mr. Williams still believed he could achieve the American dream. Fate was in his hands, and a plan to leave Shreveport.
Follow the north star. That’s the place to go for a young Black man who rode the rails in search of a place to breath, to feel free. Destination Chicago turned out not to be that place.
“Black-on-black crime in the inner city was on a rampage. Murders, stabbings, rapes, robberies, muggings, and beatings were an everyday occurrence. Like new enemies in an old war, blacks turned on each other with a vengeance…We were a hopeless people divided not only by racism, but by the contempt we had for each other.”
In BLACK AND WHITE everyone is on notice as Mr. Williams sees it from his experience. In his thirst for knowledge and finding it, Mr. Williams also acquires maturity. His anger and hatred are transformed into committed determination to succeed on his own terms.
As Mr. Williams fights the gang members in Compton over the tennis courts, one wonders why this battle didn’t end fatally for him. Why didn’t the gang members just pop the old man right there, leaving Mr. Williams and his plan to die on the spot where all his dreams began. It didn’t happen because I believe even these young men felt some respect for him based on the unwritten rules of the street. Who couldn’t respect a man willing to fight one or more (usually more) young men half his age for his daughters and for his dreams.
[Unfortunately that tragedy would come to the family later in 2003 — after the championships, money and fame and a move to Florida—the oldest daughter Yetunde Price, who chose to stay in Compton, was shot in the head by a member of the Crips gang who was gunning for her boyfriend driving the car.]
BLACK AND WHITE cuts straight to the chase on what the author/subject has designated as the teaching moments in his life. This is not a book for the reader looking for repentance from the author. There’s only room for gratitude.
In some ways you wonder if the journey has been more important to Mr. Williams’s understanding of the world than the destination. Personally, I’ve always been a strong believer in Rule #8: Always have a Plan B. There was a time Serena Williams wanted to be a veterinarian. Her father would’ve said, “Why not? Go for it.” Both Serena and Venus are designers for interiors, ready-to-wear, tennis fashion. Plan B, C, and probably the whole alphabet plan are in play.
The first pages of BLACK AND WHITE open on the green grass of Wimbeldon – tennis nirvana. The grass descends into the place where fathers and mothers never want to be. When your child is ill and there’s nothing you can do. This opening chapter is what kept me turning the pages. Nothing can describe a parent’s pain when he/she feels helpless. It’s a struggle to apply Rule #2: Always be positive.
For me, this chapter expresses Mr. Williams’ love for his daughters more than any page in the book. And most, if not all, parents can relate. As harsh as the world may be, The Rules have kept Venus and especially Serena on their “A game” despite the smacks and jibes from the forces around them.
The Williams are masters and champions of the 10th and final Rule: Let no one define you but you.
I’m always tickled when parents freak out over a child’s decision to pursue acting in college. For the straight and narrow parent, it’s the “throwing good money after bad money” call. Personally, most of the serious actors I’ve known my lifetime were intelligent, insightful, and committed. The challenge was the ability to make a living or a fortune with their craft. It is why I don’t begrudge any of them from taking up second, third, or fourth careers or occupations. Why stay in the actor box especially in such a fickle business.
For the mega successful ones, they have the resources and celebrity capital to explore other callings. They will give more and are willing to invest their own financial capital into the next act on their terms. This week Kevin Costner sold BP 32 centrifugal oil-and-water separators from his Ocean Therapy Solutions company at $500K each. If you’ve followed Kevin’s movie career, it’s a no-brainer to make the connection of the producer, actor, director’s interest in clean water solutions to his 1995 “Waterworld.” That was 6 years after the Exxon Valdez disaster.
Costner bankrolled the development and research for this project. Sure, the story of an Academy Award winning producer type bankrolling technology lacks the romance of geeks in a garage; but check out this industrial video for the oil-and-water separator. This ain’t no “Waterworld” for sure.Edward James Olmos is also banking on his celebrity and his own boat. He took CNN’s Anderson Cooper out on his vessel (2 celebrities on a boat), but also invested his own movie making chops to this film about the gulf spill. Eddie isn’t about the science, but his own passion around the gulf spill as he considers himself a member of the boating community that navigates these waters.
Perhaps the persons in the film aren’t identified for the sake of protecting their reputations and livelihoods (BP is the biggest game in town), but I’d be interested in knowing who they are and their connections.
Sean Penn is profiled in the July issue of Vanity Fair for his hands-on, hunkered down humanitarian work in Haiti. Sean has set up camp on his own personal, political, and celebrity capital and on his own terms bringing food, medical and other relief aid to earthquake victims. For Sean this may be a third act after his divorce from actress Robin Wright Penn (his second). Not a guy who likes to be spotted by paparazzi on the home turf, but seems amiable to a few snaps of helping people in need.
In the article Sean not only pumps his resources and considerable personal time, but is able to get Venezuelan president Hugo Chavez on the phone to send over morphine and other medical supplies, enlists prominent philanthropists to bankroll an organization, J/P Haitian Relief Organization, and influential friends across party lines who think Sean’s too cool and the cause too great, not to say “yes.” Here’s an example of how relationships with resources can come to the table and make things happen – baby steps though they may be in comparison to the devastation.
Sean’s star power and dedication gives him access to a wide range of resources regardless of his politics or anger management issues with the shutter speed press. It also gives him resources to do his Haiti work on his terms eclipsing Wyclef Jean’s efforts through his Yele Haiti organization which came under financial scrutiny during the height of Haiti’s earthquake crisis. What Wyclef had in cool points among his fan pages on-line and off, and activist artists couldn’t match the access a Sean Penn has to world leaders, and to the personal and relationship resources with business movers and shakers; even Sean’s own Marlboro Man swagger with a side arm plays well with military personnel on the scene. Is it a matter of Sean fitting the narrative of Rebel with a Cause and money?
It doesn’t hurt that the Hill is starstruck. A congressional hearing becomes the mutual love/envy fest of popularity and power.
There is no picture so effective of a star with a cause than Audrey Hepburn in Somalia. She had her day in the sun but UNICEF became a new calling and a new day.
Audrey offered her compassion as well as her celebrity. She became a role model for future UNICEF spokespersons. This was not a cause Holly Golightly would take up; perhaps it’s where Sister Luke in “The Nun’s Story” (a serious role for Hepburn) left off.
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Julia Margaret Cameron in Ceylon Idylls of Freshwater vs. Idylls of Rathoongodde
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Leaving her close-knit artistic community on the Isle of Wight at the age of sixty to join her husband on the coffee plantations of Ceylon was not an easy move for the celebrated British photographer Julia Margaret Cameron. Eugenia Herbert explores the story behind the move and how the new environment was to impact Cameron's art.
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The Public Domain Review
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https://publicdomainreview.org/essay/julia-margaret-cameron-in-ceylon-idylls-of-freshwater-vs-idylls-of-rathoongodde/
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The Victorian photographer Julia Margaret Cameron is currently undergoing a revival with a recent exhibition of her work at the Metropolitan Museum in New York. She has long evoked interest not only because of her distinctive style but also because of her eccentric personality, her dominant — very dominant — role in a circle that in many ways prefigured the Bloomsbury of her grandniece, Virginia Woolf. But there was another strand in her life that was quintessentially Victorian: the imperial. She was daughter, wife and mother of Empire. To top it off, four of her five sisters married “Anglo-Indians” — civil or military officials serving in India.
Her own embrace of this legacy, however, was equivocal at best; she went to Ceylon not by choice but by necessity in the twilight of her life. When she at last settled there, she had been immersed in photography for only just over a decade and was at last coming into her own as a very visible, if sometimes controversial, practitioner of the art. What is poignant are the ways that Ceylon affected not only the shape of her life, but also that of her art. It happened like this.
The progenitor of the clan, James Pattle, was part of the British establishment in India, the latest in a long line of officials in the East India Company. While James rose to a high rank, he was notorious as a drunkard and a liar. His wife, Adeline, was a French aristocrat, the daughter of the Chevalier de l’Etang, who had been exiled to the French outpost of Pondicherry, allegedly for being too close to the young Marie Antoinette. After a spell fighting the British for control of the continent, he had little difficulty in changing sides; in fact it was just as well he was far off in India when the French Revolution broke out. Adeline’s mother was the daughter of French-Swiss missionaries who had been in Pondicherry for several generations.
Fortified with this impeccable imperial pedigree, Julia Margaret was born in Calcutta in 1815 at a time when the British East India Company was still at its zenith. She was the second of seven surviving daughters. Like most colonial children she was sent back to Europe for her education with several of her sisters. In their case, most of the time was spent with their maternal grandmother roaming around Paris and Versailles. In contrast to the miseries detailed in Kipling’s “Baa Baa, Blacksheep”, the girls seem to have had a pleasantly relaxed (not to say, haphazard) education and to have suffered little from the separation from the parental fold. They were finally reunited with their parents in England for a brief period during James’s only home leave. When Julia Margaret returned to Calcutta the age of eighteen after an absence of fifteen years, it was assumed she would focus her attentions on finding a suitable husband.
This indeed she did, albeit in no particular haste. She met Charles Hay Cameron in Cape Town in 1836 where both were convalescing from illness. A Scot of aristocratic lineage but modest means, Cameron was twenty years her senior. He was collaborating with Macaulay on Indian legal and educational reform, and eventually succeeded Macaulay as legal member of the Council of India. They were married in Calcutta and spent the next twelve years there. Though a marriage of extreme opposites, it seems to have been a happy one. Four of their six children were born in India.
The family left India for good in 1848. There were probably several factors in their decision to abandon the ample salary and privilege Charles’ position offered. Julia Margaret always hated separations and dreaded sending her children off to school in England as was the universal custom; by then, too, her much loved sisters were also settling down in England. Furthermore, her husband’s health was precarious. Once in England Julia Margaret’s natural gregariousness found an infinite outlet in a large circle of friends. Indeed, both in London, and later in Freshwater on the Isle of Wight, she attracted an assortment of painters and writers to complement her absorbing family life.
Over what would otherwise have been a very happy life, however, hung the ever-present cloud of financial uncertainty, indeed distress. Charles never had a job the rest of his life, although he doggedly held out hopes of appointment as an official in one of Britain’s colonies — he would have loved to return to Ceylon as governor — but his poor health was against him. As a classic Victorian valetudinarian he spent most of his days clad in a “dressing-gown of pale blue with black velvet buttons and a heavy gold chain”, receiving visitors in his bedroom or walking about the garden reciting Homer and Virgil, his long white locks giving him the air of an Old Testament prophet. What kept them afloat were generous — very generous — “loans” from family members and above all from Charles’ old friend Lord Overstone, one of the richest men in England.
Charles had first succumbed to the charm of the Eden-like island when he went out as co-chairman of the Colebrooke-Cameron Commission, appointed in 1829 to propose much needed reforms to the administration of Ceylon. As a jurist, Cameron’s mandate was to formulate a uniform code of justice for the island, to bring order out of the chaos of competing and poorly implemented systems of law: Roman Dutch, British, and Kandyan. This he did, inspired largely by the utilitarian theories of his friends Jeremy Bentham and James Mill.
Ceylon had become a British possession in 1796, mostly for strategic reasons — it boasted the finest harbor on the Bay of Bengal. When British hegemony in South Asia was solidified after the Napoleonic Wars, its strategic importance was downgraded and the government was faced with the dilemma of what to do with a territory that was a veritable palimpsest of foreign rule since the sixteenth century: Portuguese, Dutch, the British East India Company, the Presidency of Madras, and finally its incarnation as the first Crown Colony. Hitherto Europeans had been unsuccessful in attempts to control the interior of the island, but with the British conquest of the Kandyan Kingdom in 1815, their rule embraced not only the littoral but also its less hospitable hinterland with quite different social and legal structures.
The year Cameron spent in Ceylon — 1830-31 — was never forgotten. Indeed, he would have much preferred to settle there for good with his family rather than return to England (they stopped off in Ceylon on the way “home”), and he clung to this dream for the rest of his life. He had gotten in on the ground floor of the coffee mania that swept the island in the early 1840s, buying up large tracts of land at bargain prices to which he added over the years until he may well have been the largest single plantation owner in the colony. One tract became known as Cameron’s Land.
Coffee, he felt confident, would support his large family and set up his five sons as they grew to maturity. It is something of a mystery that this never happened. To be sure, coffee was vulnerable to all the dangers besetting monoculture on a grand scale. Some were domestic: extremes of weather, blights and rodent infestations, poor management and ignorance, absentee landlords (which were the rule rather than the exception) demanding quick returns; others were global: competition from other producers such as the East Indies, periodic depression in England and Europe. Coffee consumption in England had risen every bit as fast as tea in the nineteenth century, but when times were hard it was adulterated with chicory and other cheaper ingredients.
Then there was the constant problem of an adequate labor force. Most of the field workers were recruited from the impoverished peasantry of southern India and crossed by sea to Colombo or to the northern part of the island via the Palk Straits, which was wider than the English Channel and even rougher. From there they had to make the rest of the long journey to the highland plantations by foot, often weakened by hunger and disease; many died on the way. Getting Ceylon coffee to market was itself a nightmare since the best regions for coffee growing were also the most remote — it had taken Charles eight hours by pony to go from his estate at Rathoongodde to the largest town, Kandy. Road building proceeded in fits and starts, depending on the health of government coffers. Until the railroad reached Kandy in 1867, coffee had to be hauled by bullock carts, far slower than ponies, over roads that were often little more than tracks. The bullocks themselves were in short supply since Ceylonese grasses were notoriously poor. It cost twice as much to transport the coffee the hundred miles or so from the Central Highlands to Colombo as it did to ship it half way around the world to England.
In spite of everything, the 1850s and 60s were boom years, a “Golden Age” of Ceylon coffee — in the early 1860s the island briefly led the world in coffee exports. Even into the mid-70s expansion of cultivation and high prices abroad minimized the initial impact of the fungus that would soon destroy the industry. It is hard to fathom why all this was not reflected in the Camerons’ finances. In fact, things had come to a head already in 1864 when even the patient Lord Overstone agreed with their son-in-law Charles Norman that the estate of Rathoongodde should be sold as the precondition for any more loans. Cameron stalled, however, even though by then he admitted to being virtually “penniless”; instead, he sent his son to manage the plantation. Perhaps Julia Margaret was indulging in some wishful thinking when she declared soon that under Ewen’s direction the estate was turning a profit of £1,000-£1,500 a year in contrast to the thousands of pounds of debt run up by the agents previously charged with administering it: only a few years later they were desperately pleading once more with Overstone for more loans — and this at a time when coffee prices were climbing to new heights.
But it was not just speculative fever and the sacra aurae fames that inspired Cameron to invest in ever more land in Ceylon and to insist on holding onto it through good years and bad. “[H]is reigning passion for his Ceylon properties,” Julia Margaret wrote an old friend in 1860, “has held him in sway + weakened his love for England for the last 20 years.” He truly loved the island and especially the wild landscape of the interior highlands ideal for coffee growing. Whatever his allegiance to the rather mechanistic doctrines of his fellow Utilitarians, he was a romantic at heart. Victoria Olsen, author of a splendid biography of Julia Margaret Cameron, quotes a moving letter to his wife when he paid a visit to his plantations in 1850. The bungalow he had had built at Rathoongodde was like a “Swiss cottage,” he wrote, then took her on a tour of its setting:
The paths through coffee and forest went on for miles, with the “glorious prospects of mountains and valleys . . . before you. It would be nothing less than an eternal shame to you,” he added pointedly, “to be the owner of such a place and not to come and see it.” Life was so much cheaper than in England that even with the expense of their passages, they would come out ahead, he argued, if the family settled there for a spell. He was sure, too, that his health would be far better on the island.
The standoff continued until 1875 by which time Charles was 80 and Julia Margaret 60. Then at last, she resigned herself to settling in Ceylon. Her change of heart was due not only to their chronic penury but also to the fact that four of their five sons were already established there (her only daughter had died a few years before). Her circle of family and friends in England had gradually been diminished by death, and it was all the more important to her to be united with her sons and husband for whatever time was left to her. Given her views on the perils of the island (her husband had almost died on a visit there 1859-60), she made sure to bring along two coffins (and a cow).
Charles perked up immediately at the prospect. He had always insisted that “Ceylon is the cure for all things,” and so it proved. Like Lazarus he rose from his bed and mingled with friends and neighbors for the first time in twelve years. When the celebrated botanical painter Marianne North visited them in Ceylon, she marveled to find him “perfectly upright. He read all day long, taking walks round and round the verandah at Kalutara with a long staff in his hand, perfectly happy, and ready to enjoy any joke or enter into any talk which went on around him.” To her pleasure he would quote poetry and read aloud to her while she was painting. At other times he rode around on his pony.
Even Julia Margaret acknowledged the tropical beauty all about her. “The glorious beauty of the scenery — the primitive simplicity of the inhabitants & the charms of the climate all make me love Ceylon more and more,” she wrote to her old friend Sir John Herschel. She divided her time between Kalutara on the southwest coast, the home of her son Hardinge who was a colonial official, and the family estates in the Highlands. Nevertheless, the coffins did not go to waste (though there is no information about the cow): Julia Margaret died in 1879, Charles the following year. Plantation workers from the Rathoongodde estate carried the bodies the last difficult track to the churchyard in Bogawantalawa, a fervent believer buried alongside a fervent non-believer.
What does all this tell us about Julia Margaret Cameron the photographer? The contrast with her husband highlights all the more her own character and its embodiment in her work. Ceylon — and particularly the highlands of his beloved Rathoongodde — appealed to Charles’s love of nature, the wilder the better. Isolation not only did not bother him, it actually seems to have attracted him. His was a love of the classics, hers a love of the most contemporary artists and men of letters whom she scooped up in her personal embrace. He did not need, as Julia Margaret did, to be constantly surrounded by people — especially people she could boss around and at the same time shower with impetuous generosity. Her photography is intensely people-oriented. For her, beauty lay first and foremost in the human form, a form indeed with a face. She once declared: “The history of the human face is a book we don’t tire of if we can get its grand truths and learn them by heart.”
Her contemporaries found it next to impossible to refuse her when she demanded to photograph them — G. F Watts, Darwin, Carlyle, Tennyson, Herschel, a galaxy of famous men. She favored pensive, even melancholy poses with an emphasis on contrasts of light and shadow. Given her own inclination for exotic attire, it is not surprising that she garbed her female subjects, as Olsen notes, in almost Oriental extravagance. For her representations of religious subjects or characters from literary works such as Tennyson’s Idylls of the King, she would virtually shanghai her models on the grounds of beauty alone. It was commonly believed, reported Thomas Wentworth Higginson, that she “selected her housemaids for their profiles, that she might use them for saints and madonnas in her photographic groups.” Even children did not escape her clutches when it suited her agenda. What is almost entirely missing from her oeuvre, however, is any interest in landscape for itself. She might portray a female figure holding a flower or framed by a deeply-shadowed backdrop of leaves and blossoms, but they were not the focus themselves, not even in photographs such as The Gardener’s Daughter or The Rosebud Garden of Girls.
Ceylon was ill adapted to this repertoire. Madonnas and literary figures seemed out of place. There were few famous men — the governor, Sir William Gregory, rebuffed her attempts to photograph him. Fortunately the celebrated botanical painter, Marianne North, paid the Camerons a visit at Kalutara. “In a fever of excitement” at having a European model, Julia Margaret made a number of photographs of her, four of which survive. In defiance of the climate, she dressed North up “in flowing draperies of cashmere wool [such as Cameron herself was wearing], let down my hair, and made me stand with spiky cocoa-nut branches running into my head, the noonday sun’s rays dodging my eyes between the leaves as the slight breeze moved them, and told me to look perfectly natural (with the thermometer standing at 96°).” She was trying with indifferent success to replicate the portraits for which she was famous: North reading a book and gazing into the distance, North standing against a backdrop of trees (the prickly cocoa-nuts), and so forth. But one photograph is quite different from her usual style. The painter is standing at her easel to the left on the thatched verandah at Kalutara; to the right is a figure — a “native” — stripped to the waist, wearing a dhoti, and holding an earthen vase over his shoulder; the vista opening up beyond the house is virtually unreadable.
North found the setting entrancing: “Their house stood on a small hill, jutting out into the great river which ran into the sea a quarter of a mile below the house. It was surrounded by cocoa-nuts, casuarinas, mangoes, and breadfruit trees; tame rabbits, squirrels, and mainah-birds ran in and out without the slightest fear, while a beautiful tame stag guarded the entrance; monkeys with gray whiskers, and all sorts of fowls, were outside.” Her painting, Bombay Pedlars on Mrs Cameron’s Verandah shows a group of figures, the peddlers, sitting cross-legged in the foreground surrounded by luxuriant tropical foliage with the water behind them. The house by the “great river” might well have reminded Julia of her home at Garden Reach overlooking the Hooghly River in Calcutta, but she seems to have been interested only in the painter painting the scene, not the scene itself.
If she made no photographs of Kalutara and its relatively tame environs, she also made none of the far wilder scenery that her husband loved so much (and which Marianne North painted on at least one occasion) — no woods and mountains and cascades, not even Adam’s Peak rising dramatically to the south of their plantations in the highlands. Nor did she choose to photograph indigenous art in any form in spite of the array of Buddhist and Hindu temples on display all around her. The only concession to Ceylon was a modest collection of individual or group portraits of maidservants and plantation workers, posed rather unnaturally outdoors and often at a distance from the photographer, and clothed to emphasize their exoticism. North notes that in one case she took such a fancy to the “superb” back of a young man that she insisted her son hire him as gardener, “though she had no garden and he did not know even the meaning of the word.” Nevertheless all of her Ceylon models are nameless — the titles seem to have been added later: Girl, Ceylon; A group of Kalutara peasants; and the like. Most critics have dismissed these as of more ethnographic rather than artistic interest.
There are two photographs so unlike anything she had ever done in either country and so similar to a host of pictures taken around the same time by other photographers that one questions their attribution. The photographs lack both the strong contrasts and the focus on the human face typical of her work. One shows large, indistinct groups of “natives” gathered in a forest clearing. A white diagonal extends into the left foreground — possibly tea chests? The other is a muster of plantation workers in descending height from men to women to children, their dress far from exotic and apparently revealing their status in the hierarchy from overseer to lowly field hand. The background is bleak rather than muted or decorative: a vast expanse of smoldering tree trunks and debris, with mountains vaguely delineated in the distance — the scene is typical of many other pictures of the clear-cutting and burning of whole forests to make way for coffee and, about this time, tea. Why pass up the sublime landscapes of Rathoongodde in favor of nature despoiled? Could these photographs in fact have been taken by one of her sons, Hardinge Hay or Henry Herschel (who later set up as a professional photographer in London)?
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https://www.sfinternationallitfest.org/
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Santa Fe International Literary Festival
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The Santa Fe International Literary Festival will take place May 17–19, 2024, bringing together world-renowned authors, thinkers, and passionate readers.
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Santa Fe International Literary Festival
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https://www.sfinternationallitfest.org
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For centuries, this maverick city at the edge of the Southern Rockies has been a cultural crossroads, from Native and Hispano peoples whose oral traditions root them in the landscape to a long line of writers whose work imagines and illuminates the American West and the wider world. What better place to bring together influential authors, thinkers, and passionate readers for an event as unique and inspiring as the city itself?
The Santa Fe Community Convention Center is a LEED-certified green building in the heart of the capital’s historic downtown and home to the Festival.
The Tewa Pueblo people who occupied the site beginning in the thirteenth century called these homelands the “Dancing Ground of the Sun.” Later, Spanish and Mexican inhabitants and American soldiers established seats of government and military operations in the area, including the 1610 Palace of the Governors. While in residence there, Territorial Governor Lew Wallace completed his famous 1880 novel Ben-Hur, one of the most popular novels in history.
Stories to lift us out of the ordinary.
Santa Fe, a city rich in cultural diversity, creativity, and dazzling light, is home to a four-day event that celebrates our shared love of language and ideas. We’ll explore issues at a time of extraordinary change—in politics, race, immigration, the environment, and more—as well as simply escape into great stories. The Santa Fe International Literary Festival will feed our minds and hearts and send us back into the world inspired.
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https://www.penguinrandomhouse.com/authors/44895/julia-cameron/
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Penguin Random House
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https://images2.penguinrandomhouse.com/author/44895
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https://images2.penguinrandomhouse.com/author/44895
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Julia Cameron has been an active artist for more than three decades. She is the author of more than thirty books, including such bestselling works...
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PenguinRandomhouse.com
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https://www.penguinrandomhouse.com/authors/44895/julia-cameron/
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Julia Cameron’s The Artist’s Way has been nothing less than a phenomenon, and has more than earned its place as the seminal book on creativity. Her latest venture, Life Lessons, overflows with inspiration and encouragement, and motivates us to turn to simple prayer to improve our relationship with ourselves and the divine. Here, we catch up with her to talk about the importance of Morning Pages, how Martin Scorsese stands out, and more.
PENGUIN RANDOM HOUSE:The Artist’s Way, first published in 1992, was your very first book. It went on to become an international best-seller, and many today refer to its reception as a phenomenon. What about your book at that moment in time do you think struck a chord with so many people?
JULIA CAMERON: I believe that The Artist’s Way strikes a chord then – and now – due to people’s hunger for creative expression. I believe we are all creative, and that was a radical message in 1992, and remains a radical message in 2016. Through the use of a few simple tools, practitioners of The Artist’s Way are able – and quite quickly – to change their lives. Where many feared “it’s just my ego,” they now are being led to believe “it’s the voice of my soul.” Creativity is a spiritual matter. This was a message people needed to hear, and still do. I am commonly told, “Your book changed my life.” People often burst into tears of gratitude when they meet me in person and thank me for writing the book. “No, no, it’s not me, it’s you,” I tell them. “You are the one who embraced the tools.”
PRH: Did you have any idea that it might take off the way it did?
JC: When I wrote the book, I thought I was writing to my friends; a group of about a dozen very talented people who were blocked and unhappy. I thought I was aiming the book at declared – and discouraged – artists. It soon became obvious that the book had a much wider audience than me and my creative colleagues. Initially, the book was self-published, and so its lift-off came as a delightful surprise. I had been warned by psychic Sonia Choquette that the book would have a wide following, but four million copies sold is something even larger than a “wide audience.”
PRH:Who in the public eye do you think in this particular century are standing out as our lifetime’s most remarkable Creatives?
JC: I’m going to be accused of nepotism when I say that I think Martin Scorsese is our standout artist. He makes movies, both narrative and documentary, year in and year out. I would also like to cite Judy Collins, who, in her mid-seventies, performs more than 100 times a year, traveling many miles coast to coast and internationally to share her gifts.
PRH:Do you think it’s easier to be a professional Creative today than it was nearly twenty-five years ago, when The Artist’s Way came out?
JC: I have to stop you for a moment here. The Artist’s Way aims at erasing the line between amateur and professional. It teaches that creativity is a profound process, and one that must be pursued for its own sake regardless of the result.
PRH:Your latest edition of The Artist’s Way series is It’s Never Too Late to Begin Again: Discovering Creativity and Meaning at Midlife and Beyond. What inspired you to turn your expertise and guidance to this particular subset of society?
JC: As a teacher, I meet students of all ages, but the students I found most poignant were those who were entering what might be called their “golden years.” I myself turned sixty-eight and found myself thinking about aging. I wanted to write a book that, like The Artist’s Way, was a manifesto. “Do it now. Begin now,” I wanted to say. Ours is a youth-oriented culture, and we use this fact to bludgeon ourselves into deep depression over our seniority.
PRH: In addition to being an author, you’re also a teacher, artist, poet, playwright, novelist, filmmaker, composer, and journalist. This is an impressive number of hats for one person. What advice would you offer to someone trying to apply themselves in more than one arena?
JC: I believe we need to eliminate the word “dilettante” from our vocabulary. We are all of us talented, and many of us multi-talented. The Morning Pages, the primary Artist’s Way tool, leads us into taking many risks. It is, after all, risky to try a new arena. Morning Pages urge us to “follow our bliss,” as Joseph Campbell phrased it, and our “bliss” may be hydra-headed. As we work with the pages, we are often urged in new directions. “I can’t do that!” we exclaim. “I’m too old! I’m just an amateur!” only to have the pages insist, try it. I was forty-five years old before I wrote my first song. I told myself, “Surely, if I were musical, I would know it.” I’ve now written many songs, and to my delight, I have found I am very musical.
PRH: Finally, what one thing do you hate going without in a day’s time?
JC: Morning Pages.
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https://screenwritingfromiowa.wordpress.com/tag/julia-cameron/
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Screenwriting from Iowa
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Posts about Julia Cameron written by Scott W. Smith
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Screenwriting from Iowa
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https://screenwritingfromiowa.wordpress.com/tag/julia-cameron/
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“If there’s one thing I learned in prison it’s that money is not the prime commodity in our lives…time is.”
Gordon Gekko
2009 script Money Never Sleeps written by Alan Loeb
On this repost Saturday I’m going back to a 2008 post I wrote after a tornado hit Iowa. When a tragedy hits somewhere in the world or someone famous dies I think of this post. This week actor James Gandolfini (The Sopranos) died at age 51. My thought and prayers go out to the Gandolfini family. If there is a face to the positive change that hit television in the late 90s it is of Tony Soprano played by Gandolfini.
But Dang, 51 isn’t that old. Though that’s how old screenwriter/blogger Blake Snyder (Save the Cat) was when he died. Shane Black who I’ve been quoting all week is still very much alive at age 51. I happen to be 51. So that number did jump out at me when I heard the news.
Death is no respecter of age—or of persons. So this is just a reminder to have a life beyond your work and creative endeavors.
“Screenwriting is a huge part of my life. It’s my profession, it is my vocation. It has been so for nearly two decades now and hopefully for another decade still. It’s not the most important thing in my life by far. By far! You know, my wife, my kids, it’s not the be all, end all.”
Screenwriter Craig Mazin (Identity Thief)
Scriptnotes Ep. 87
Here’s the post that originally ran on May 31, 2008:
“When you drink from the well, remember the well-digger.”
Chinese proverb
Last Sunday one of my partners at River Run Productions had 15 seconds to make it into his basement with his wife and dog before an EF 5 rated tornado ripped through his Parkersburg, Iowa home.
In less than a minute his house was gone and both cars totaled. But he, his wife and dog were safe. The storm killed seven people, destroyed over 200 homes, and damaged another 400.
Iowa is no stranger to tornadoes, but this one was the most powerful to hit the state in over 30 years. It’s one more reminder that things can change in a New York minute—or even an Iowa minute.
Friday I went to Parkersburg to shoot footage of the destruction and interviews for an insurance company. I have been through a hurricane in Florida and a major earthquake in California and I have never personally seen the devastation that I saw as the result of that tornado.
From where I took the above photo, every direction I looked basically looked the same. It’s amazing that more people weren’t killed. Human beings tend to have short memories so this is one more thing to help remind us how fragile life is.
I’ve written a lot about writing on this blog but not much about keeping life in perspective with a creative career. The fact is most of us have difficulty balancing our lives.
I’ve collected some of my favorite quotes over the years that are a little random, but I hope there’s something in here that you can hang your hat on—or at least cause you to smile or reflect on your life and dreams. But mainly I want you to understand that whatever creative dreams you have there’s more to life than chasing that rainbow.
“My biggest disappointment so far is that having a career has not made me happy.”
Shane Black
(Quote after being paid $1.75 million for writing The Last Boy Scout and $4M for The Long Kiss Goodnight)
“It’s an accepted fact that all writers are crazy, even the normal ones are weird.”
William Goldman
Adventures in the Screen Trade
“I don’t dress until 5 p.m. I have a bathrobe that can stand…Yes, I am divorced. One writes because one literally couldn’t get another job or has no choice.”
Akiva Goldsman (A Beautiful Mind)
“I got into screenwriting for the best of all reasons: I got into it for self-therapy.”
Paul Schrader (Taxi Driver)
“For the first couple of years that I wrote screenplays, I was so nervous about what I was doing that I threw up before I began writing each morning. There’s nothing wrong with that. It’s much better than reading what you’ve written at the end of the day and throwing up.”
Joe Eszterhas (Basic Instinct)
“I’m not very good at writing. If I succeed, it’s by fluke.”
Shane Black (Lethal Weapon)
“If you get rejected, you have to persist. Don’t give up. It was the best advice I ever got.”
Anna Hamilton Phelan (Mask)
“The myth about me is that I sold my first screenplay and it’s true. But I had also worked very hard as a fiction writer for ten years and that’s how I learned the craft of telling stories.”
Akiva Goldman (A Beautiful Mind)
He also has a masters in fiction from NYU
“I spent 18 years doing stand up comedy. Ten years learning, four years refining, and four years of wild success.” (It’s worth noting that Martin was on top when he walked away from stand up comedy and never performed as a comedian again.)
Steve Martin
Born Standing Up
“Starting in 2002, I knew for a fact that I had to get out of this business. It was too hard. It wasn’t that I wasn’t good enough, it was that it was too hard. What kept me in it was laziness and fear. It would be nice to say it was passion and I’m a struggling artist who didn’t give up on his craft. All of that sounds good, but the truth is it was laziness and fear.”
Alan Loeb (Things We Lost in the Fire)
“Like the career of any athlete, an artist’s life will have its injuries. These go with the game. The trick is to survive them, to learn how to let yourself heal.”
Julia Cameron
The Artist’s Way
Dee: “Jane, do you ever feel like you’re just this far from being completely hysterical 24 hours a day?”
Jane: “Half the people I know feel that way. The lucky ones feel that way. The rest of the people are hysterical 24 hours a day.”
Exchange from Lawrence Kasden’s Grand Canyon
“We’re constantly buying crap we don’t need and devoting ourselves to endeavors which, perhaps on reflection, with a little bit of distance, would reveal themselves to be contrary to our own best interest.” David Mamet
“Everything in this town (L.A.) plays into the easy buttons that get pushed and take people off their path; greed, power, glamour, sex, fame.” Ed Solomon (Men in Black)
“Writing isn’t about making money, getting famous, getting dates, getting laid, or making friends. In the end, it’s about enriching the lives of those who read your work, and enriching your own life, as well.”
Stephen King
So life in general is hard, and being a writer or in the creative arts is a double helping of difficulty.
Several years ago Stephen King was hit by a van when he was on a walk. One leg was broken in nine places and his knee was reduced to “so many marbles in a sock,” his spine was chipped in eight places, four ribs were broken, and a laceration to his scalp required 30 stitches. It was as if his characters Annie Wilkes (Misery) and Cujo had ganged up on him.
But he had learned a thing or two about adversity after an earlier bout with drugs and alcohol that he eventually won. One of thing things he learned was to not to get a massive desk and put it in the center of the room like he did early in his career. That is, writing shouldn’t be the most important thing in your life.
“Put your desk in the corner, and every time you sit down to write, remind yourself why it isn’t in the middle of the room.Life isn’t a support system for art. It’s the other way around.”
Stephen King
On Writing
Two years ago I produced a DVD based on the book Don’t Waste Your Life by John Piper. The concept was to shoot a Koyaanisqatsi-style video that that showed the arc of life from birth to death. I shot footage from New York City to Denver. I shot footage of a one day old baby in a hospital, people walking into an office building in Cleveland, snow failing in a cemetery and the like. One of the shots for that video was in Parkersburg, Iowa.
It was a traditional Friday night high school football game at Aplington-Parkersburg High School. (What makes this school unique is though the town only has a population of 2,000 it currently has 4 active graduates playing in the NFL.) That high school building is a total loss because of the tornado. Here’s a photo of the scoreboard sign that was blown down during the storm.
There will always be the storms of life. And as I’ve written before, movies can help us endure those storms and even inspire us. (“Throughout most of the Depression, Americans went assiduously, devotedly, almost compulsively, to the movies.”-Carlos Stevens) So work on your craft because we need great stories that give us a sense of direction, but don’t waste your life just writing screenplays.
Related Posts:
Don’t Waste Your Life (Part 2)
words & photos copyright ©2008 Scott W. Smith
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“Live each season as it passes; breathe the air, drink the drink, taste the fruit, and resign yourself to the influences of each.”
Henry David Thoreau
“I lost passion. I felt a little unfulfilled and empty.” Jim Brandenburg
Photographer & cameraman
(Reflecting on his 90-day journey)
We normally associate renewal with springtime but I think fall is a wonderful time to undergo creative renewal and would like to talk to you about a great story of an artist who used the 90 days of fall to undergo a creative transformation.
Today marks the first day of fall. Before I moved to Iowa a few years ago fall had little impact on my life. That third week of September was usually just another summer day in Florida and California. But here in the Midwest the change is amazing to watch. Just this week I was riding my bike and couldn’t help but notice the fallen leaves on the Cedar Valley Nature Trail. Soon there will be an explosion of color in the trees and coolness in the air.
Several hundred miles north in Ely, Minnesota near the Canadian border I’m sure fall is well on the way. That is where photographer Jim Brandenburg calls home. Several years ago when Brandenburg was on contract with National Geographic he found himself in a place that many dream of. Traveling the world in search of great images that people would admire and appreciate.
Yet the schedule was grueling as he traveled away from his family 50 to 70% of the year. After 20 years he decided that he need a time of creative renewal. I have read that National Geographic photo assignments average 550 rolls of film and that a 1,000 is not unheard of. (A thousand rolls of 36-exposure film is 36,000 shots.)
It’s been said that every assignment for National Geographic is like getting up to bat expecting to hit a grand slam home run.
Brandenburg said of the schedule “the day is never done. You start early and don’t stop until you are exhausted or you are absolutely sure you got that photograph. And I had been through that cycle for 20 years and I was getting weary.”
So he began to look for way to find creative renewal knowing that he’d either find a breakthrough or do something different with his life.
So Brandenburg’s idea for creative renewal was to take the fall of 1994 and only shoot one shot a day. If he stayed the course he would shoot less than three rolls of film. He explains it as sort of a Zen experiment in ascetic discipline. To search everyday for the one photograph that needed to be taken.
Brandenburg said, “I was looking for something elusive, an idea or a process, or a spiritual direction of some kind.”
“If your mind isn’t clouded by unnecessary things. This is the best season of your life.”
Wu-Men
It’s reminiscent of the stories of photographer Ansel Adams who in the 1930s would take his 8X10 camera deep into Yosemite. Because he was limited on how much film he could take he would often camp out and just watch the sun one day as preparation for shooting the next day. There is a reason we still admire Adams work today.
And there is a reason I’m bringing up Brandenburg. His special project that was meant for just himself eventually became a National Geographic spread that showed every single shot making it the largest single photo essay in National Geographic history.
(Side note: You can view all of Brandenburg photo from his journey on his website www.jimbrandenburg.com. Because of copyright issues I did not use a photo of his at the top of this post. But that photo was inspired by Brandenburg as I took my camera on an early morning bike ride yesterday after reviewing Brandenburg’s photos for this blog. Creative renewal is contagious.)
Brandenburg’s photo eventually became his best selling book and a DVD followed in which Brandenburg recounts the creative process and the struggles he had along the way. Chased by the Light; A Photographic Journey with Jim Brandenburg is a wonderful documentary full of insights into the creative process. Rarely do you find such an elegant exposition of the creative process and I think there is something here that all writers and artists can gleam from.
On the DVD Brandenburg talks about some of the experiences of his self-assigned experiment that was never intended to be seen by others. Some times he would set out before dark and walk many miles. At day 23 he thought about abandoning the project because he thought he had failed. But he remembered the old saying, “There are no rewards without risks.”
Day after day he waited for the right moment to that that one picture of an eagle, wolves, deer, ravens, loons, trees or whatever else captured his imagination.
His last photograph was December 31, 1994 at 1:40 AM. The photos then sat in a drawer for two years until National Geographic Senior Editor John Echave saw them and then published them in November 1997 as a 90 photo feature.
Brandenburg continues to shoot. He has also taken steps to protect the land “that nurtured and renewed” his creative spirit Brandenburg and his wife Judy have set aside with The Trust for Public Land 640 arces of Ravenwood forest to be preserved in perpetuity.
The Brandenburg’s are also involved with preserving the tallgrass prairies of Jim’s youth at Touch the Sky Prairie Preserve in Rock Country, Minnesota.
If you’re ever in the Lavern or Ely, Minnesota be sure to check out the Brandenburg Gallery or see more of his work online at www.jimbrandenburg.com.
There are other ways to seek creative renewal. Tom Peters says that some times you need to move another country or climate to rejuvenate yourself. No one said creative renewal would be easy or practical. (Heck, how do you think I ended up living in Iowa?) Let me tell you another story of renewal.
When I was in film school back in Los Angeles in the 80s I sometimes assisted fashion photographer Art Pasquali. Art not only had the coolest last name but lived in his studio in downtown LA with two doberman pinschers and flew gliders in his downtime from shooting beautiful people.
After shooting for 20 years Pasquali bought a sailboat and sailed away from LA-LA land, down to Mexico, through the Panama Canal and eventually found his way to the Cayman Islands where he stopped for a Corona and has called it home ever since.
Brandenburg and Pasquali’s stories are exceptional which is why I bring them up. Deep down change and renewal is going to take more than turning off the TV for a week. If you’re a writer it may be taking up photography or writing in a genre or style that you’ve never tried. If you’ve never written a screenplay maybe that’s what you do in the next 90 days. (All you have to do is average a page a day.)
Marjorie Kinnan Rawlings didn’t hit her stride as a writer (or publish a novel) until she moved to rural Florida which would provide her inspiration for her novel The Yearling for which she won a Pulitzer Prize and was made into a movie staring Gregory Peck. Martin Ritt directed the excellent Cross Creek that tells the unusual life story of Rawlings.
Perhaps you just need to take a small step in your creative renewal. Here is Julia Cameron’s suggestion in her book The Artist’s Way:
“Spending time in solitude with your artist child is essential to self-nurturing. A long country walk, a solitary expedition to the beach for a sunset or a sunrise, a sortie out to a strange church to hear gospel music, to an ethnic neighborhood to taste foreign sights and sounds–your artist might enjoy any of these. Or your artist might like to go bowling.”
I hope these stories and ideas provide some inspiration for you as fall starts. When is the best time to start your creative renewal? I’ll defer to Karen Lamb; “A year from now you may wish you had started today.”
Photo & Text Copyright 2008 Scott W. Smith
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“When you drink from the well, remember the well-digger.”
Chinese proverb
Last Sunday one of my partners at River Run Productions had 15 seconds to make it into his basement with his wife and dog before an EF 5 rated tornado ripped through his Parkersburg, Iowa home.
In less than a minute his house was gone and both cars totaled. But he, his wife and dog were safe. A total of seven people were killed in the storm and over 200 homes were destroyed and another 400 damaged.
Iowa is no stranger to tornadoes, but this one was the most powerful to hit the state in over 30 years. It’s one more reminder that things can change in a New York minute—or even an Iowa minute.
Friday I went to Parkersburg to shoot footage of the destruction and interviews for an insurance company. I have been through a hurricane in Florida and a major earthquake in California and I have never personally seen the devastation that I saw as the result of that tornado.
From where I took the above photo, every direction I looked basically looked the same. It’s amazing that more people weren’t killed. Human beings tend to have short memories so this is one more thing to help remind us how fragile life is.
I’ve written a lot about writing on this blog but not much about keeping life in perspective with a creative career. The fact is most of us have difficulty balancing our lives.
I’ve collected some of my favorite quotes over the years that are a little random, but I hope there’s something in here that you can hang your hat on—or at least cause you to smile or reflect on your life and dreams. But mainly I want you to understand that whatever creative dreams you have there’s more to life than chasing that rainbow.
“My biggest disappointment so far is that having a career has not made me happy.”
Shane Black
Was paid $1.7m for The Last Boy Scout
“It’s an accepted fact that all writers are crazy, even the normal ones are weird.
William Goldman
Adventures in the Screen Trade
“I don’t dress until 5 p.m. I have a bathrobe that can stand…Yes, I am divorced. One writes because one literally couldn’t get another job or has no choice.”
Akiva Goldsman
A Beautiful Mind
“I got into screenwriting for the best of all reasons: I got into it for self-therapy.”
Paul Schrader
Taxi Driver
“For the first couple of years that I wrote screenplays, I was so nervous about what I was doing that I threw up before I began writing each morning. There’s nothing wrong with that. It’s much better than reading what you’ve written at the end of the day and throwing up.”
Joe Eszterhas
“I’m not very good at writing. If I succeed, it’s by fluke.”
Shane Black
Lethal Weapon
“If you get rejected, you have to persist. Don’t give up. It was the best advice I ever got.”
Anna Hamilton Phelan
Mask
“The myth about me is that I sold my first screenplay and it’s true. But I had also worked very hard as a fiction writer for ten years and that’s how I learned the craft of telling stories.”
Akiva Goldman
A Beautiful Mind
(He also has a masters
in fiction from NYU)
“I spent 18 years doing stand up comedy. Ten years learning, four years refining, and four years of wild success.” (It’s worth noting that Martin was on top when he walked away from stand up comedy and never performed as a comedian again.)
Steve Martin
Born Standing Up
“Starting in 2002, I knew for a fact that I had to get out of this business. It was too hard. It wasn’t that I wasn’t good enough, it was that it was too hard. What kept me in it was laziness and fear. It would be nice to say it was passion and I’m a struggling artist who didn’t give up on his craft. All of that sounds good, but the truth is it was laziness and fear.”
Alan Loeb
Things We Lost in the Fire
“Like the career of any athlete, an artist’s life will have its injuries. These go with the game. The trick is to survive them, to learn how to let yourself heal.”
Julia Cameron
The Artist’s Way
Dee: “Jane, do you ever feel like you’re just this far from being completely hysterical 24 hours a day?”
Jane: “Half the people I know feel that way. The lucky ones feel that way. The rest of the people are hysterical 24 hours a day.”
from Lawrence Kasden’s
Grand Canyon
“We’re constantly buying crap we don’t need and devoting ourselves to endeavors which, perhaps on reflection, with a little bit of distance, would reveal themselves to be contrary to our own best interest.”
David Mamet
“Everything in this town (L.A.) plays into the easy buttons that get pushed and take people off their path; greed, power, glamour, sex, fame.”
Ed Solomon
Men in Black
“Writing isn’t about making money, getting famous, getting dates, getting laid, or making friends. In the end, it’s about enriching the lives of those who read your work, and enriching your own life, as well.”
Stephen King
So life in general is hard, and being a writer or in the creative arts is a double helping of difficulty.
Several years ago Stephen King was hit by a van when he was on a walk. One leg was broken in nine places and his knee was reduced to “so many marbles in a sock,” his spine was chipped in eight places, four ribs were broken, and a laceration to his scalp required 30 stitches. It was as if his characters Annie Wilkes (Misery) and Cujo had ganged up on him.
But he had learned a thing or two about adversity after an earlier bout with drugs and alcohol that he eventually won. One of thing things he learned was to not to get a massive desk and put it in the center of the room like he did early in his career. That is, writing shouldn’t be the most important thing in your life.
“Put your desk in the corner, and every time you sit down to write, remind yourself why it isn’t in the middle of the room.Life isn’t a support system for art. It’s the other way around.”
Stephen King
Two years ago I produced a DVD based on the book Don’t Waste Your Life by John Piper. The concept was to shoot a Koyaanisqatsi-style video that that showed the arc of life from birth to death. I shot footage from New York City to Denver. I shot footage of a one day old baby in a hospital, people walking into an office building in Cleveland, snow failing in a cemetery and the like. One of the shots for that video was in Parkersburg, Iowa.
It was a traditional Friday night high school football game at Aplington-Parkersburg High School. (What makes this school unique is though the town only has a population of 2,000 it currently has 4 active graduates playing in the NFL.) That high school building is a total loss because of the tornado. Here’s a photo of the scoreboard sign that was blown down during the storm.
There will always be the storms of life. And as I’ve written before, movies can help us endure those storms and even inspire us. (“Throughout most of the Depression, Americans went assiduously, devotedly, almost compulsively, to the movies.”-Carlos Stevens) So work on your craft because we need great stories that give us a sense of direction, but don’t waste your life just writing screenplays.
words & photos copyright ©2008 Scott W. Smith
Read Full Post »
“All the good ideas I ever had came to me while I was milking a cow.” Grant Wood (Iowa painter, American Gothic)
“The way to have a great idea is to have lots of ideas.”
Linus Pauling
1901-1994
Nobel Prize Winning American Scientist
Where do creative ideas come from?
Katie Couric once asked Jerry Seinfeld where his funny ideas came from and he said, “That’s like asking where trees come from.”
I hate to disagree with Seinfeld, but I think a better answer is ideas come from everywhere.
Here’s the formula that I’ve come up with; A+B = C. There doesn’t that help? (Can someone pass that along to Jerry?) This is how Seinfeld connects things: “Now why does moisture ruin leather? I don’t get this. Aren’t cows outside most of the time?” Basic, funny and original.
People that are a lot smarter than me call it dialectical logic. That’s when you connect two unrelated things. A+B= C is simply the result of something new after we’ve connect two unrelated things.
When I was a kid there was this commercial for Reese’s Peanut Butter Cups where a guy comes around the corner eating peanut butter from a jar (like we all walk around doing) and another guys from around the other corner eating chocolate and they run into each other. The one guys say, “Your chocolate is in my peanut butter” and the other guy says, “Your peanut butter is in my chocolate.” But they try the PB/Chocolate mix and both decide it’s good.
A (peanut butter) + B (chocolate) = Reese’s Peanut Butter Cup. (By the way, that’s why these blogs are so long because I keep making connections.) My goal is make them shorter.
The confluence of the Allegheny River and the Monongahela River in Pittsburg form the Ohio River. A+B=C.
Illustrator Gary Kelley says, “Creativity is connecting influences.” If you go into his studio you’ll find a menagerie of art books and torn out photos from magazines that are there to inspire him. Sometimes he tapes them to his easel.
Creativity is not something that only a few mystical souls can tap into. (Granted the quality of the Seinfeld’s creative ideas is what sets him apart.) Nor is it just limited to the arts.
The story goes that back in the 60’s when a couple guys bolted a sail to a door and made the first windsurfer and became very wealthy from their new invention. Thomas Edison’s inventions were the results of lots of creativity–as well as a lot of trail and error.
Another story goes that the founder of the zillion selling “Dummies” books was in a bookstore and overheard a guy ask a salesperson, “Do you have a basic book on computers? Like computers for dummies.”
(This story has been disputed. As they say, success has many fathers.)
Jack London said, “You can’t wait for inspiration. You have to go after it with a club.”
Many of us are guilty of saying, “if I could just head to the beach or the mountains and just get a little place without all the day-to-day distractions then I could really get some ideas down on paper. No kids, no work issues. No people problems. Just a place of nirvana where my creativity would be free-flowing.”
There’s a word for that—fantasy. And being from Orlando originally I can tell you that’s not Fantasyland. Ask anyone who’s ever worked at Disney World about kids, work issues and people problems. (Speaking of Fantasyland, does anyone else miss Mr. Toad’s Wild Ride?)
There was an episode on The Andy Griffith Show were (I think) Andy wants to be a writer and he get the typewriter and the cabin in the woods and he’s ready to go. As soon as he tidies up the place. It’s easy for writers to find reasons not to write.
After I go to this seminar…
When I get a new computer…
When I get that new software…
Then I’m really going to start writing. I’ve done all those things. I also used to buy pants a little tight because I was going to lose a few pounds. As the saying goes, “The road to hell is paved with good intentions.”
You need to go at inspiration with a club? Okay, but how do you do that?
“In action, there is power, grace and magic.” Goethe
You simply start writing. It may just be notes on a paper, but it’s a start. (I like Vicki King’s book How to Write A Screenplay in 20 Days because she pushes you to write.) It may not be any good. It probably won’t sell. (Though Stallone says he wrote Rocky in less than a week.) But you will learn a ton about writing and yourself. And it will give you confidence for the next script.
Musician Jimmy Buffett said on a 60 Minutes interview, “I’m not an every note kind of guy, I’m a capture the magic kind of guy.”
When you start writing you are taking those first steps toward capturing the magic.
The creative process is hard to explain and hard to show on film. But the movie Pollack with Ed Harris has a wonderful scene where we see the spark of creativity that became Pollack’s signature style. He’s in the process of painting when he accidentally spills some paint on the canvas and he does it again and then again. He has an epiphany, and it happens not while he’s reading a book on painting, but while he’s painting.
Creativity is a messy process. You’re going to get paint on your shoes. But you will make discoveries in the process.
A great example in the photography world is Ansel Adams. Adams was a brilliant photographer though it took decades of photographs before the world came to understand that. He would often go into the mountains with a donkey carrying his large format cameras and would often camp out to watch what the light would do.
He is known particularly for his early photographs in Yosemite National Park, but one of his most famous photographs is called Moon Over Hernandez. He captured that photograph late one afternoon while driving in New Mexico. By the time he pulled over and set up his 8X10 camera the light was fading fast and he couldn’t find his light meter so he had to guess on the exposure. His experience paid off but he was only able to take one shot before the light was gone on the cross that grabbed his eye. It is one of his most recognizable photographs.
He had a firm understand of his craft so he could recognize and opportunity when he saw it. He captured the magic.
Stephen King says that a writer he is like a paleontologist. He sees something interesting buried in the dirt and he goes over and brushes away the dirt. He’s unearthing stories.
What is important is to write down what you find. Comedian Rodney Dangerfield was asked how he came up with so much material and he said that three funny things happen to everybody everyday, he just writes them down.
One real estate expert says the secret to his success is “Always be looking.” When you need to find a deal on a house over the weekend it’s difficult. But if you’re always looking there’s a good chance you’ll find a good investment.
You need to cultivate looking for ideas. It may come in an article you read, a person you meet, or seemingly out of nowhere. Think of it like filling a blender with things that interest you. You mix it all together and out of the overflow comes your original ideas.
It is all about discovery. Recently I heard on the radio a fellow talk about what it’s like to re-enter the world after being in prison for years. He said when you first get out you’re in sensory overload. Colors are more vibrant; you hear sounds more clearly. He said when he first got out he wanted to run to people and say, “Do you see those colors?” His senses were alive.
Keeping your senses alive to the world around you heightens your experiences and makes you feel alive. And when our senses are alive we are more likely to be creative (idea-prone) because we are making new connections.
“ An idea is nothing more nor less than a new combination of old elements.” James Webb Young
Or A + B = C
“An idea is a feat of association.” Poet Robert Frost
A + B = C
Arthur Koestler: wrote a whole book on the creative process and says this: “The Creative act…uncovers, selects, reshuffles, combines, synthesizes already existing facts, ideas, faculties, skills.”
Stephen King writes, “Let’s get one thing clear right now, shall we? There is no Idea Dump, no Story Central, no Island of Buried Bestsellers; good story ideas seem to come quite literally from nowhere, sailing at you right out of the empty sky: two previously unrelated ideas come together and make something new under the sun. Your job isn’t to find these ideas but to recognize them when they show up.”
The more you have in your brain to select and reshuffle, the more creative you will be. My favorite quote in regards to this comes from a creative giant of our day Apple & Pixar’s Steven Jobs:
“Expose yourself to the best things humans have done and then try to bring those things into what you are doing.”
Paul Schrader who wrote Taxi Driver once thought he could write a screenplay with Bob Dylan but realized he couldn’t because while most people think in terms of one, two, three, A, B, C and Dylan thinks in terms of one, blue, banana. ( So in Dylan’s case it may be 1 + Blue + Banana = The Times They Are a-Changin’.)
Just a different way of connecting the dots. Like that fellow in A Beautiful Mind with his string connecting letters in newspapers. Although that’s a result where the mind goes into the realm of bizarre in making connections that aren’t healthy.
But I love the scene in Jerry Maguire after Jerry has been fired and he stands before the entire office and asked who is coming with him on his new venture. No one moves. His secretary says she’s close to another pay raise. Total embarrassment for the Tom Cruise character. He’s humiliated so what does he do? He turns to the fish tank and says “The fish are coming with me.”
And the fish becomes a motif throughout the film.
Chances are if you asked the screenwriter Cameron Crowe how he came up with that scene he wouldn’t know. But he captured the magic.
Pieces of April was written by Peter Hedges (who grew up in Des Moines, Iowa by the way) and is a story about a wayward young girl who wants to make amends with her family as her mother is dying of cancer and she wants to cook dinner for everyone at her small New York City apartment.
As her family drives in from the suburbs her oven breaks and her single goal in life is to find a way to get the turkey cooked so it doesn’t turn into another family disaster. It’s a wonderful film. Hedges said he heard a similar true story years ago and connected it with his mother dying of cancer.
So when you hear a story or have a thought that strikes your fancy write it down. Your own background and twist on life will give it originality. Juno was not the first unplanned pregnancy movie in history or even of 2007. But Diablo Cody’s slant gave it originality and that originality was what earned her an Academy Award. (Though I must add that just because your ideas is original don’t expect it to always be that well received.)
Cody has said in interviews that she doesn’t know where the idea for Juno came from. You can control the influences you put in your life, trying to force results is moving beyond the veil of mystery.
If Grant Wood really did get his best ideas while milking cows it could have been the regular, mundane, repetitive work that was the key.
Julia Cameron writes about this in The Artist’s Way. She quotes Einstein as having asked, “Why do I get my best ideas in the shower?” She said Steven Spielberg claims some of his best ideas come while driving on freeways. Many writers, (like Hemingway) have been regular swimmers and others (Stephen King) have been walkers. All activities that seem to stimulate creative ideas.
Musician Jack Johnson hits the waves as he told Rolling Stone magazine (March 8, 2008), “You’ve got to fill up your mind. When I get home from a tour, I put away the guitar and surf a lot. After a while, the songs just start comin’.”
One person who often tops many people’s “most creative” list is comedian Robin Williams who is an avid bicyclist. That is an artist brain activity that fills the brain with images. One of the things that makes Williams fun to watch as he does improv is the rapid-fire way his brain makes connections. (He is not only unusually gifted, but many people forget that he was trained at Julliard.)
An excellent book on ideas is How To Get Ideas by former advertising art director Jack Foster. And the documentary Comedian with Jerry Seinfeld shows the hard work of making funny connections as we watch him develop fresh comedy material.
Your creativity comes out of the overflow of the people, places, and things you pour into your life. So be curious and connected. Fill your blender with influences and the next time you need a creative surge remember the simple formula A+B=C.
If that doesn’t work try milking a cow.
Scott W. Smith is the author of Screenwriting with Brass Knuckles
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(1) OUTRUNNING CANCER. Pat Cadigan decided – why wait to party? “The Hormones Laughed At Me, Saying, ‘Sleep? B!tch, Please – You Can Sleep When You’re Dead! Mwahahahahahaha!’”
Truth to tell, I suspected I was going to have some sleepless nights coming up anyway. This December was my original estimated time of departure. I didn’t believe for a moment that it would be (I’ve probably said that about a thousand times, here and elsewhere). But when a doctor gives you an expiration date, it kinda sticks in your mind even if it doesn’t come true. And though I didn’t believe it, I tried to imagine what it would be like but as I never got within spitting distance of Death’s Door, it didn’t seem like a productive use of my time so I stopped.
Anyway, starting tomorrow, 1 December, every day is a party. They won’t all be noisy and lively parties; some will be too sedate to really be worthy of the term. But I’m calling them parties anyway. From 1 December till…well, who knows? Whatever I’m doing, I’ll be partying. If I’m writing, I’m partying. If I’m in the bathtub, I’m partying. If I’m reading, I’m partying. You get the idea.
(2) IT ONLY TAKES MONEY. Martin Morse Wooster knows how you can get into the Hollywood sci-fi event of the season:
Now I know you’d like nothing better than to go to the Star Wars premiere in LA and chill with Forest Whitaker afterward. Well, guess what: this experience is yours for ONLY $35,000! But you get TWO tickets.
This offer is made on a website called ifonly.com, which offers “unique experiences.” I wish I could tell you more but they demand you sign up for their newsletter before they show you what they have so that’s what I’m able to tell you.
You know, the Washington Nationals only charged me $40, and I got to see two Cy Young winners AND get a Coveted Star Wars Thingie. Five digits for a STAR WARS experience is a little much…
Details
2 tickets to the premiere of “Rogue One: A Star Wars Story” in Los Angeles on December 10
2 passes to the after-party
Does not include a meet & greet with any cast members
Must be 16 or older
Travel and accommodations not included
Background check may be required and guests must provide names within 24 hours of the auction’s close
Auction ends December 5.
(3) END OF TORONTO FAN INSTITUTION. In her latest newsletter for the group, Yvonne Penney announced Toronto’s First Thursday gatherings will end next week.
December will be the final First Thursday as founded by Tommy Ferguson in 1997. This decision has not been an easy one because of its longevity in the SF community in Toronto and region.
Here is why this is happening:
I am retiring in 2017 and I have a long list of things that I want to accomplish and hopefully will have the time and continued health to do it in.
Arthritis is slowly making its presence felt. For a number of years I have had difficulty in walking because of arthritis in my right ankle, my shoulders are in constant pain and my hips give me grief at times.
Because of an unfortunate atmosphere that has arisen because one member decided he didn’t like the pub we were using. When the Foxes Den suddenly closed its doors (It’s now a Firkin), a new venue needed to be found, and rather than work with the group, he decided to start his own. He and his group cannot lay claim to the original pubnite as they were not around when the First Thursday Pubnite was created, which by the way was not created solely for the 2003 Worldcon bid – it predates that. Also, attendance has been low for the past several years; we no longer had the numbers, even at the Foxes Den, we once had many years ago.
This sort of split is not new; it occurs all the time anywhere in the world for any community or interest. I find it stressful….
(4) TREASURE HOUSE FOR READERS. Literary Hub reveres the memory of James Lackington — “The Man Who Invented Bookselling As We Know It”.
Today, few people are likely to remember James Lackington (1746-1815) and his once-famous London bookshop, The Temple of the Muses, but if, as a customer, you’ve ever bought a remaindered book at deep discount, or wandered thoughtfully through the over-stocked shelves of a cavernous bookstore, or spent an afternoon lounging in the reading area of a bookshop (without buying anything!) then you’ve already experienced some of the ways that Lackington revolutionized bookselling in the late 18th century. And if you’re a bookseller, then the chances are that you’ve encountered marketing strategies and competitive pressures that trace their origins to Lackington’s shop. In the 21st-century marketplace, there is sometimes a longing for an earlier, simpler age, but the uneasy tension between giant and small retailers seems to have been a constant since the beginning. The Temple of the Muses, which was one of the first modern bookstores, was a mammoth enterprise, by far the largest bookstore in England, boasting an inventory of over 500,000 volumes, annual sales of 100,000 books, and yearly revenues of £5,000 (roughly $700,000 today). All of this made Lackington a very wealthy man—admired by some and despised by others—but London’s greatest bookseller began his career inauspiciously as an illiterate shoemaker.
(5) HINES AUCTION #5. In the fifth of Jim C. Hines’ 24 Transgender Michigan Fundraiser auctions, up for bid are two autographed books (one trade paperback, one hardcover) by author Stephen Leigh.
Today’s auction is for a signed trade paperback of the Spectrum Award-winning DARK WATER’S EMBRACE and a signed hardcover of CROW OF CONNEMARA, both by Stephen Leigh.
The Crow of Connemara is a contemporary Celtic fantasy set primarily in Ireland. Picking up threads from ancient Irish mythology and folktales, this story is fantasy, drama, and tragic romance all at once, a tale caught in the dark places where the world of ancient myth intersects our own, where old ways and old beliefs struggle not to be overwhelmed by the modern world.
Often compared to Ursula Le Guin’s ground-breaking The Left Hand of Darkness, Dark Water’s Embrace is a fascinating look at issues of human (and alien) sexuality. Stephen Leigh creates a rich world with elaborate care and uses this alien backdrop to delve into issues of survival, sexuality and the meaning of life itself.
(6) STRAHAN’S FAVORITES FROM THIS YEAR’S SHORT NOVELS. Spotted via Black Gate, Jonathan Strahan posted his imaginary ToC of Best Short Novels 2016
The Dream Quest of Vellitt Boe, Kij Johnson (Tor)
The Ballad of Black Tom, Victor LaValle (Tor)
Every Heart A Doorway, Seanan McGuire (Tor)
This Census-taker, China Mieville (Del Rey)
The Charge and the Storm, An Owomoyela (Asimov’s)
The Devil You Know, K.J. Parker (Tor)
The Iron Tactician, Alastair Reynolds (Newcon)
The Best Story I Can Manage, Robert Shearman (Five Storeys High)
The Vanishing Kind, Lavie Tidhar (F&SF)
A Taste of Honey, Kai Ashante Wilson (Tor)
(7) TODAY IN HISTORY
November 30, 2011 — A pristine copy of Action Comics #1, famed for the first appearance of Superman, sold for $2,161,000. It was the first comic book to break the $2 million mark.
(8) TODAY’S BIRTHDAY BOY
Born November 30, 1937 – Ridley Scott
(9) QUARK FOR REALZ? Daniel Dern drew a connection between this New York Times news item and a Seventies TV show — “Space Trash Collector? A Japanese Entrepreneur Wants the Job”.
Sitting in a drab industrial neighborhood surrounded by warehouses and factories, Astroscale’s Tokyo office seems appropriately located for a company seeking to enter the waste management business.
Only inside do visitors see signs that its founder, Mitsunobu Okada, aspires to be more than an ordinary garbageman. Schoolroom pictures of the planets decorate the door to the meeting room. Satellite mock-ups occupy a corner. Mr. Okada greets guests in a dark blue T-shirt emblazoned with his company’s slogan: Space Sweepers.
Mr. Okada is an entrepreneur with a vision of creating the first trash collection company dedicated to cleaning up some of humanity’s hardest-to-reach rubbish: the spent rocket stages, inert satellites and other debris that have been collecting above Earth since Sputnik ushered in the space age. He launched Astroscale three years ago in the belief that national space agencies were dragging their feet in facing the problem, which could be tackled more quickly by a small private company motivated by profit.
Dern remembers Quark was a 1977-1978 TV show. Per Wikipedia:
Quark was created by Buck Henry, co-creator of the spy spoof Get Smart.
The show was set on a United Galaxy Sanitation Patrol Cruiser, an interstellar garbage scow operating out of United Galaxies Space Station Perma One in the year 2226. Adam Quark, the main character, works to clean up trash in space by collecting “space baggies” with his trusted and highly unusual crew.
In its short run, Quark satirized such science fiction as Star Wars, 2001: A Space Odyssey and Flash Gordon. Three of the episodes were direct parodies of Star Trek episodes.
(10) MIND MELD RETURNS. At Barnes & Noble Sci-Fi & Fantasy Blog, Shana DuBois curated “Mind Meld: Some of Our Favorite Characters”.
Kate Wilhelm wrote, “Great fiction reveals that there is no such thing as a common, everyday uninteresting person. They are all interesting if you learn enough about them to discover who lives behind the facade.”
So we asked members of the genre community:
What is one of your favorite novels in which the characters sucked you into the story? What about these characters sets them apart?
The panelists answering the question are: Michael Damian Thomas, Cheryl Morgan, Jana Nyman, Sabrina Vourvoulias, Arianne “Tex” Thompson, Rachel S. Cordasco, and Beth Cato.
(11) FIGHTING ALZHEIMERS. Bill Gates tells about the research he saw on a visit to CalTech in “Why I’d Love To Be A College Student Again”.
People often think that the U.S. spends a huge amount of money—perhaps too much—on R&D. In fact, all U.S. R&D spending accounts for less than 1 percent of national income.
I’ve written before about the importance of government investment to jumpstart innovation. Government-backed research in universities and labs leads to new ideas and technology that build new businesses, create jobs, and strengthen our overall economy.
But those big, life-changing discoveries and innovations—from the cancer cures to moonshots to solar cells– often get their start as an experiment in a university lab, an equation sketched on a professor’s blackboard, or a student asking, “What if?”
A new idea is a fragile thing. It needs allies to nurture it. Government R&D investments provide that important support. Without it, we would have fewer scientific breakthroughs.
Let me give a couple examples of why this is so important.
Some of the most exciting research I learned about during my visit was from Caltech scientists working on identifying possible treatments for neurodegenerative diseases such as Parkinson’s and Alzheimer’s. All of the researchers received government R&D funding.
(12) VISION QUEST. Diane Duane told Facebook readers she developed an eye problem last Sunday. She feared it was a torn retina. It wasn’t – though the real problem is also a concern.
So here’s the tl:dr; version of today’s episode of the Adventure of the Dexter Eye.
Part 1: What happened to me was (thank all Gods in the neighborhood) NOT any kind of retinal detachment, vitreous detachment, or similar traumatic damage to the retina. So today’s teaching moment is: even if you are a health care professional (or former one) and expert at Googling For Symptoms, don’t be so sure you know what’s going on.
This means that I’ve dodged this bullet, only to find I’m standing in front of a bigger, slower one.*
Part 2: What seems to have happened to me is a small transient circulatory blockage in the retina….
And that could be symptomatic of any number of other problems.
This is a herald of other things that may be going on elsewhere. So over the next couple of weeks I get to go to my GP here and have a full workup of bloods and various diagnostic procedures to be determined as we go along, with an eye to ruling in/out a complex of possibilities: circulatory system problems, heart problems, incipient dIabetes, plaque, sunspots, you name it. (There are way too many possible causes for this event…) (OKAY, maybe not sunspots.)
(13) MARTIAN HOPS. The Space Review posted the first part of a discussion of two new productions with Martian roots. “Love and a Red Planet: popular entertainment and the settlement of Mars (part 1)” at The Space Review.
It takes Hollywood about two years to produce a movie or a television show. It can happen faster, and it certainly can be done slower—a situation often referred to as “development hell” in the industry—but two years is about average. Thus, it is unlikely that any of the Mars-themed shows and movies appearing today are a direct result of the success of last year’s movie The Martian. More likely, National Geographic’s Mars series and the weepy teen romance The Space Between Us got started as a result of the success of Andy Weir’s 2014 book that inspired the hit movie, as well as the increased attention that human exploration of Mars gained starting around 2013 or so with Mars One and Elon Musk. The success of the movie, which starred Matt Damon and premiered in fall 2015, probably only reassured any nervous financiers that movies and television shows that used Mars as a backdrop could find an audience.
Mars premiered on The National Geographic Channel on November 14. The Space Between Us was to open in theaters in mid-December (it has recently been delayed to early February), but had a special advance showing in Washington, DC, a couple of weeks ago. Both have at their core fictionalized stories about the first humans on Mars, and in both cases they depict plans for settlement involving public-private partnerships, as opposed to the more common theme of human exploration of Mars. Because of these similarities they serve as useful indicators of how the subject of human settlement of Mars—not simply exploration—is being depicted in popular entertainment. Has Mars-themed entertainment been liberated of some of its prior constraints and is it evolving in new ways, or is it still beholden to many of the standard tropes we’ve seen in numerous other movies? This article will address The Space Between Us, and the second part will address the National Geographic series Mars.
Has Mars-themed entertainment been liberated of some of its prior constraints and is it evolving in new ways, or is it still beholden to many of the standard tropes we’ve seen in numerous other movies?
…Part 2 will address National Geographic Channel’s Mars miniseries.
(14) DEEP SPACE NEIN. With fake news getting so much attention right now, can a new Moon mission succeed in convincing people Neil Armstrong really went there in 1969? “German Mission to the Moon Will Prove the Apollo Landings Weren’t a Hoax”. Gizmodo has the story.
A German Lunar X-Prize team has announced its intentions to send two mobile probes to the Moon to inspect the lunar rover left behind by the Apollo 17 mission. Finally, something that’ll get the Moon landing conspiracy nutters to shut the hell up.
The group, known as PT Scientists, is one of 16 teams currently vying for the $30 million Google Lunar X-Prize, a competition requiring a private group to land an autonomous vehicle on the Moon, travel more than 500 meters (1,640 feet), and transmit high-definition photographs back to Earth. The group is currently working with German automobile manufacturer Audi to develop the rover, and it has signed a deal with broker Spaceflight Industries to secure a ride on a commercial launch vehicle (which rocket company is yet to be determined).
[Thanks to Murray Moore, JJ, Daniel Dern, Mark-kitteh, and John King Tarpinian for some of these stories. Title credit goes to File 770 contributing editor of the day Daniel Dern.]
By Carl Slaughter: David Lee Summers is founding editor of Tales of the Talisman. When he’s not editing a magazine, he’s writing short and long fiction in a variety of subgenres. He has written nine novels in three series. When he’s not editing or writing, he’s operating telescopes at the Kitt Peak National Observatory. Oh, and wish David happy birthday — he just turned 50.
OLD STAR/NEW EARTH SERIES
THE SOLAR SEA
Humans settled the Moon and satellites orbiting the Earth were a common sight, but with the abolition of NASA, humans had no desire to go further and space exploration died.
Then, a technician from the Very Large Array, a radio telescope in New Mexico, discovers powerful particles orbiting Saturn’s moon, Titan, which could be a new energy source. Strangely enough, following the discovery’s announcement, whales around the Earth changed their songs overnight.
As scion of the powerful Quinn Corporation, Thomas Quinn builds a solar sail to find the source of these particles in Titan’s orbit. He gathers the best and brightest team to pilot his craft: Jonathan Jefferson, an aging astronaut known as the last man on Mars; Natalie Freeman, a distinguished Navy captain; Myra Lee, a biologist specializing in whale communication; and John O’Connell, the technician who first discovered the particles. All together they make a grand tour of the solar system and discover not only wonders but dangers beyond their imagination.
THE PIRATES OF SUFIRO
The Pirates of Sufiro is the story of a planet and its people—of Ellison Firebrandt the pirate captain living in exile; of Espedie Raton, the con-man looking to make a fresh start for himself and his wife on a new world; of Peter Stone, the ruthless bank executive who discovers a fortune and will do anything to keep it; and of the lawman, Edmund Ray Swan who travels to Sufiro seeking the quiet life but finds a dark secret. It is the story of privateers, farmers, miners, entrepreneurs, and soldiers—all caught up in dramatic events and violent conflicts that will shape the destiny of our galaxy.
CHILDREN OF THE OLD STARS
The Cluster is a vast alien machine that destroys starships indiscriminately in its quest for something or someone. Commander John Mark Ellis, disgraced and booted out of the service when he fails to save a merchant ship, believes the key to stopping the Cluster is communication. His mother, Suki Firebrandt Ellis is a historian who believes the very leaders of the galaxy are withholding information about the Cluster. Clyde McClintlock believes the Cluster is God incarnate, seeking retribution. G’Liat is an alien warrior whose own starship was destroyed by the Cluster. All together, they set out to solve the mystery of the Cluster before it finds the object of its quest.
HEIRS OF THE NEW EARTH
The Earth has gone silent. John Mark Ellis and the crew of the Sanson are sent to investigate. When they arrive, they find vast alien machines known as Clusters in orbit. Fearing the worst, they land and discover that the once overcrowded, polluted Earth has become a paradise of sorts. The problem is over half the population is dead or missing and the planet’s leaders don’t seem to care. As Ellis works to unravel the mystery, sudden gravitational shifts from the galaxy’s center indicate something even worse is in the offing. Can Ellis save the galaxy from the heirs of the new Earth?
SCARLET ORDER VAMPIRE SERIES
DRAGON’S FALL: RISE OF THE SCARLET ORDER
Three vampyrs. Three lives. Three intertwining stories.
Bearing the guilt of destroying the holiest of books after becoming a vampyr, the Dragon, Lord Desmond searches the world for lost knowledge, but instead, discovers truth in love.
Born a slave in Ancient Greece, Alexandra craves freedom above all else, until a vampyr sets her free, and then, she must pay the highest price of all … her human soul.
An assassin who lives in the shadows, Roquelaure is cloaked even from himself, until he discovers the power of friendship and loyalty.
Three vampyrs, traveling the world by moonlight—one woman and two men who forge a bond made in love and blood. Together they form a band of mercenaries called the Scarlet Order, and recruit others who are like them. Their mission is to protect kings and emperors against marauders, invaders, and rogue vampyrs … and their ultimate nemesis—Vlad the Impaler.
VAMPIRES OF THE SCARLET ORDER
Vampires of the Scarlet Order is an action-adventure novel about an elite cadre of vampire mercenaries who have worked throughout history as pinpoint assassins. Under the command of Desmond, Lord Draco, the Scarlet Order was involved in wars with the Ottoman Empire, The French Revolution and even the conquest of the Americas. Now, at the dawn of the 21st century, vampires are too expensive, too untrustworthy, and frankly, too passé for governments to employ any longer. Nanotechnology can be employed to engineer more reliable super soldiers. What’s a vampire to do?
Though Vampires of the Scarlet Order is first and foremost an action novel, it is also about fear. The problem of fear is that it corrupts even the best people. Fear can drive a well-intentioned individual to rash, frightening acts. Likewise, fear can drive leaders of the best nations to commit atrocities in the name of security. Few creatures understand fear as well as vampires. In Vampires of the Scarlet Order I invite you to view the world of the 21st century through the eyes of vampire mercenaries who have seen history itself unfold. You may be surprised at the world revealed.
CLOCKWORK LEGION SERIES
OWL DANCE
1876, Sheriff Ramon Morales of Socorro, New Mexico meets a beguiling woman named Fatemeh Karimi of Persia, escaping oppression in her homeland. When an ancient lifeform called Legion comes to Earth, they are pulled into a series of events that will change the history of the world as we know it. In their journeys, Ramon and Fatemeh encounter mad inventors, dangerous outlaws and pirates. Their resources are Ramon’s fast draw and Fatemeh’s uncanny ability to communicate with owls. The question is, will that be enough to save them when a fleet of dirigibles from Czarist Russia invades the United States?
LIGHTNING WOLVES
1877: Russians have invaded the Pacific Northwest and are advancing into California. New weapons have proven ineffective or dangerously unstable and the one man who can help has disappeared into Apache Country, hunting ghosts. A healer and a former sheriff lead a band into the heart of the invasion to determine what makes the Russian forces so unstoppable while a young inventor attempts to unleash the power of the lightning wolves.
THE BRAZEN SHARK
Pirate captain, inventor, and entrepreneur Onofre Cisneros sweeps his friends Fatemeh and Ramon Morales off to Hawaii for their honeymoon. Once there, a British agent makes Cisneros an offer he can’t refuse and the captain must travel to Japan. Wanting to see more of the world, Ramon and Fatemeh ask to accompany the captain only to find themselves embroiled in a plot by samurai who steal a Russian airship, hoping to overthrow the Japanese emperor.
(1) FURTHER DISCOVERIES. Two more Star Trek: Discovery cast members have been announced reports Variety.
Doug Jones and Anthony Rapp have joined Michelle Yeoh as the first official cast members of “Star Trek: Discovery.”
Jones will play Lt. Saru, a Starfleet science officer and a member of an alien species new to the “Star Trek” universe. Anthony Rapp will play Lt. Stamets, an astromycologist, fungus expert, and Starfleet science officer aboard the starship Discovery. Yeoh, whose addition to the cast was reported last week by Variety, will play Captain Georgiou, the Starfleet captain aboard the starship Shenzhou.
(2) IT IS WHAT IT AINT. Mike Resnick, in “What Science Fiction Isn’t”, says the history of science fiction is littered with discarded definitions of the genre. The creator of the field, Gernsback, SFWA founder Damon Knight, critic James Blish, all were sure somebody else was doing it wrong.
And what’s driving the purists crazy these days? Just look around you.
Connie Willis can win a Hugo with a story about a girl of the future who wants to have a menstrual period when women no longer have them.
David Gerrold can win a Hugo with a story about an adopted child who claims to be a Martian, and the story never tells you if he is or not.
I can win Hugos with stories about books remembered from childhood, about Africans who wish to go back to the Good Old Days, about an alien tour guide in a thinly-disguised Egypt.
The narrow-minded purists to the contrary, there is nothing the field of science fiction can’t accommodate, no subject – even the crucifixion, as Mike Moorcock’s Nebula winner, “Behold the Man”, proves – that can’t be science-fictionalized with taste, skill and quality.
I expect movie fans, making lists of their favorite science fiction films, to omit Dr. Strangelove and Charly, because they’ve been conditioned by Roddenbury and Lucas to look for the Roddenbury/Lucas tropes of movie science fiction – spaceships, zap guns, cute robots, light sabres, and so on.
But written science fiction has never allowed itself to be limited by any straitjacket. Which is probably what I love most about it….
(3) A PRETTY, PREDICTABLE MOVIE. Abigail Nussbaum’s ”(Not So) Recent Movie Roundup Number 22” includes her final verdict on Doctor Strange.
Marvel’s latest standalone movie has a great opening scene, and a final battle that toys with some really interesting ideas, finally upending a lot of the conventions of this increasingly formulaic filmic universe. In between these two bookends, however, there’s an origin story so tediously familiar, so derivative and by-the-numbers, that by the time I got to Doctor Strange‘s relatively out-there conclusion, all I wanted was for the thing to end. As noted by all of its reviewers, the film is very pretty, positing a society of sorcerers who fight by shaping the very fabric of reality, causing geography and gravity to bend in on themselves in inventive, trippy ways. The film’s opening scene, in which bad guy Kaecilius (Mads Mikkelsen) and Dumbledore-figure The Ancient One (Tilda Swinton) stage such a battle in the streets of London, turning buildings and roads into a kaleidoscope image, is genuinely exciting. For a brief time, you think that Marvel might actually be trying something new. Then the story proper starts, and a familiar ennui sets in….
(4) THE CASH REGISTER IS MIGHTIER THAN THE SWORD, Fanartists have been doing this all along – so Mr Men thought to himself, “I should get paid!” — “Mr Men to release a series of Doctor Who themed books”.
In a fun new partnership, BBC Worldwide and Mr Men publishers Sanrio Global have got together to create a series of Mr Men books based on each of the 12 Doctors….
The books be published by Penguin Random House and will combine “the iconic storytelling of Doctor Who” with the Mr Men’s “whimsical humour and design”.
And, of course, there will also be a series of related merchandise released to coincide with the first four books’ release in spring 2017.
They will follow stories based on the First, Fourth, Eleventh and Twelfth Doctors, played by William Hartnell (1963-1966), Tom Baker (1974-1981), Matt Smith (2010-2013) and Peter Capaldi (2013-present). The remaining Doctors’ stories will follow on an as-yet unconfirmed date.
(5) NORTHERN FLIGHTS. Talking Points Memo says the Internet is fleeing to Canada. Well, okay, I exaggerated….
The Internet Archive, a digital library non-profit group that stores online copies of webpages, e-books, political advertisements and other media for public record, is fundraising to store a copy of all of its contents in Canada after Donald Trump’s election to the presidency.
Five hundred years from now will somebody be writing “How the Canadians Saved Civilization” like that book about the Irish?
(6) STOP IT OR YOU’LL GO BLIND. Gizmodo found out “Why Spaceflight Ruins Your Eyesight”
Astronauts who return to Earth after long-duration space missions suffer from untreatable nearsightedness. Scientists have now isolated the cause, but finding a solution to the problem will prove easier said than done.
The problem, say researchers from the University of Miami Miller School of Medicine, has to do with volume changes in the cerebrospinal fluid (CSF) found around the brain and spinal cord. Prolonged exposure to microgravity triggers a build-up of this fluid, causing the astronauts’ eyeballs to flatten, which can lead to myopia. A build-up of CSF also causes astronauts’ optic nerves to stick out, which is also not good, as the optic nerve sends signals to the brain from the retina. This is causing nearsightedness among long-duration astronauts, and it’s problem with no clear solution in sight (so to speak).
(7) APPLAUSE. Congratulations to JJ – her post about Walter Jon Williams’ Praxis series got a shout-out in Tor.com’s newsletter —
Your Praxis Primer Impersonations is the latest book in Nebula Award winning author Walter Jon Williams’ Praxis series, a standalone story that fits into the bigger arc of Williams’ ongoing space opera adventure. For a helpful rundown on the series, check out this guide to the Praxis universe, with links to excerpts for each installment! If you enjoy fast-paced, fun military science fiction like David Weber’s Honor Harrington books, pick up Impersonations, or start with The Praxis: Dread Empire’s Fall, the first book in the series.
(8) CARTER OBIT. Author Paul Carter has died at the age of 90 reports Gregory Benford. “I wrote a novella with him about Pluto and had many fine discussions at the Eaton and other conferences. A fine man, historian, fan.”
David Weber in his introduction to The Year’s Best Military SF & Space Opera (2015) credited C. L. Moore & Henry Kuttner’s “Clash by Night” (Astounding, March 1943) and Paul Carter’s “The Last Objective” (Astounding, August 1946) as two of the earliest examples of military science fiction (by which he means something a bit more cerebral than all the space opera that preceded them):
The Last Objective by Paul Carter appeared in 1946, but Carter wrote the story while he was still in the Navy; his commanding officer had to approve it before it could be sent to Astounding. It’s just as good as [Moore & Kuttner’s] Rocketeers, but it’s different in every other fashion.
Carter describes wholly militarized societies and a war which won’t end until every human being is dead. Rather than viewing this world clinically from the outside, Carter focuses on a single ship and the varied personalities who make up its crew. (The vessel is tunnelling through the continental plate rather than floating on the sea, but in story terms that’s a distinction without a difference.)
Carter is pretty sure that his CO didn’t actually read the story before approving it. My experience with military officers leads me to believe that he’s right, though it’s also possible that his CO simply didn’t understand the story’s horrific implications.
Carter also wrote a book about sf history. The Science Fiction Encyclopedia says his The Creation of Tomorrow: Fifty Years of Magazine Science Fiction (anth 1977) “demonstrated an intimate and sophisticated knowledge of the field.”
(9) TODAY IN HISTORY.
November 29, 1948 — Kukla, Fran and Ollie debuted on television. (And a couple of years later, my father worked as a cameraman on the show)
(10) TODAY’S BIRTHDAY BOY
Born November 29, 1898 – C. S. Lewis
(11) HINES AUCTIONS KRITZER CRITIQUE. In the fourth of Jim C. Hines’ 24 Transgender Michigan Fundraiser auctions, the item up for bid is a story critique from award-winning author Naomi Kritzer.
Attention writers: Today’s auction is for a critique of a short story, up to 7500 words, by Hugo award-winning author Naomi Kritzer.
Kritzer has been writing and selling her short fiction since before the turn of the century, and she’ll use that experience and expertise to help you improve your own story.
Disclaimer: Winning this auction does not guarantee you’ll win a Hugo award — but you never know, right?
(12) WE INTERRUPT THIS NOVEL. George R.R. Martin will attend a book fair in Mexico. Then he’s going to finish Winds.
My first real visit to Mexico starts tomorrow, when I jet down to Guadalajara for the Guadalajara International Book Fair: https://www.fil.com.mx/ingles/i_info/i_info_fil.asp I’m one of the guests at the conference. I’ll be doing interviews, a press conference, a live streaming event, and a signing. I expect I will be doing some tequila tasting as well. I am informed that Guadalajara is the tequila capital of Mexico. I am looking forward to meeting my Mexican publishers, editors, and fans. This is my last scheduled event for 2016. My appearance schedule for 2017 is very limited, and will remain so until WINDS is completed. So if you want to meet me or get a book signed, this will be the last chance for a good few months…
(13) THEIR TRASH IS HIS TREASURE. Artist Dave Pollot’s business is improving old, clichéd, mundane art prints and selling them to fans through his Etsy store:
This is a print of repurposed thrift store art that I’ve painted parodies of Batman and Robin into….
The Process: This is a print of one of my repurposed paintings. I find discarded prints and paintings (ones you may have inherited from great grandma and brought to your local donation bin), and make additions. Sometimes I paint monsters, other times zombies, and most times some pop culture reference- Star Wars, Futurama, Ghostbusters, Mario Brothers…the list goes on. I use oil paints and do my best to match the style of the original artist. My hope is to take these out of the trash can and into a good home; full-circle- from a print that proudly hung on your Grandma’s wall, to a print that proudly hangs on yours.
(14) BANZAI LAWYERS. SciFiStorm reduces the bad news to basics: “MGM sues Buckaroo Banzai creators over rights; Kevin Smith exits project”.
Let me see if I can sum this up, as it seems a lot has happened very rapidly…MGM and Amazon struck a deal to develop a series based on the 1984 film The Adventures of Buckaroo Banzai Across the 8th Dimension, and signed on Kevin Smith, the creator of Clerks and all the other Jay and Silent Bob movies and the guy I’d most like to just hang out and have a beer with, as the showrunner. But original writer Earl Mac Rauch and director Walter D. Richter claim they have the rights to a TV series. So MGM preemptively filed a lawsuit to have a court to seek declaration of the rights.
Telling fans in a Facebook video…that the lawsuit was “news to me,” Smith announced that he has dropped out of the project.
(15) PLAQUE. Gregory Benford sent along a photo of the plaque he received as a Forry Award winner last weekend at Loscon.
(16) TREE FULL OF TENTACLES. Archie McPhee is working desperately hard to sell you this seasonal abomination:
While her Cthulhumas Wreath Creature guards the entrance to the house, this year there’s a bright red Cthulhumas tree watching everyone and everything and it never, ever sleeps.
‘Twas a week before Cthulhumas, when all through the house every creature was trembling, in fact so was the house. Not one stocking had been hung by the chimney this year, for fear that Dread Cthulhu was already near.
The cats were nestled all snug in their beds, completely indifferent to our cosmic dread. And mamma in her robes and I in my mask, had just steadied our minds for our infernal task, when from deep in the basement there arose such a din, at last we knew the ritual was soon to begin.
Down to the cellar I flew like a flash, lit all the candles and sprinkled the ash. Light on the altar came from no obvious point, it soon became clear time was all out of joint.
When what to my cursed bleeding eyes did appear, but a fathomless void, then I felt only fear. With a wriggle of tentacles and shiver of dread, I knew in a moment I was out of my head.
Then a nightmarish god, with his eight mewling young, burst forth from the dark and shrieked, “Our reign has begun!“
(17) SPEED TYPIST. Just the other day File 770 lined to a clip from Chris Hardwick’s Almost Midnight all about Chuck Tingle.
Looks like it took no time at all for Tingle to write a book commemorating the occasion: Hard For Hardwick: Pounded In The Butt By The Physical Manifestation Of My own Handsome Late Night Comedy Show.
(18) ONE STAR REVIEWS. One-star reviews were a weapon used by some in last year’s literary fracas, though never with any sense of humor. But a Chicago Cubs blogger just put out a book about their World Series season — and it is getting the funniest bunch of one-star reviews I’ve ever read. Read this sample and it will be easy to guess why the author received such a hostile reception….
I know this author from the Internet. He runs a website and routinely posts opinions and people comment on those opinions.
Ín real life he routinely bans commenters on his website that disagree with him. This leads to one of the bad features of this book. If you think a bad thought about the book, it shuts close and you are unable to read it until you contact the author by email and apologize. This is an annoying feature.
Also in real life when one of the author’s website opinion posts are disliked by the majority of readers he deletes the post and comments like it never happened. This book has a similar feature in that the words disappear from the pages over time and eventually you are left with 200+ blank pages that really aren’t good for anything but the bottom of a bird cage. This decreases the value of the book and does not make it suitable for archiving.
Overall, I can’t recommend.
[Thanks to John King Tarpinian, JJ, Andrew Porter, and Harold Osler for some of these stories. Title credit goes to File 770 contributing editor of the day Soon Lee.]
The Science Fiction and Fantasy Writers of America has named Jane Yolen the 33rd Damon Knight Grand Master for her contributions to the literature of science fiction and fantasy.
The award is given by SFWA for “lifetime achievement in science fiction and/or fantasy.” Jane Yolen joins the Grand Master ranks alongside such legends as Ray Bradbury, Anne McCaffrey, Ursula K. LeGuin, Isaac Asimov, and Joe Haldeman.
SFWA President Cat Rambo commented: “Jane Yolen, who has written fantasy and science fiction for ages up and down the range of possibilities, epitomizes what a Grand Master should be. Her 350 books, multiple awards, and overall high standard of prose and storytelling make her one of the treasures of fantasy and science fiction.“
Yolen’s acknowledgement reads: “To know I am now on the same list as Isaac Asimov, Andre Norton, and Ursula Le Guin is the kind of shock to the system that makes me want to write better each day. Revise, revision, and reinvent.”
The award will be presented at the 52nd Annual Nebula Conference and Awards Ceremony in Pittsburgh, PA, May 18-21, 2017.
Jane Yolen published her first novel, Pirates in Petticoats on her 22nd birthday. Since then, Yolen has published novels for juvenile, young adult and adult readers, as well as short fiction, picture books, and poetry. In addition to being a prolific author, Yolen has edited several anthologies. Many of Yolen’s works fall into the fairy tale category and Newsweek has dubbed her, “America’s Hans Christian Andersen.”
Yolen is perhaps best known for her young adult and juvenile books, including the popular “How do Dinosaurs” series. Her short fiction has been collected in more than a dozen collections. She edited three volumes of the Xanadu anthology series, collections of modern folk tales, and The Year’s Best Science Fiction and Fantasy for Teens.
In 1986, her short story “Sister Emily’s Lightship” received a Nebula Award, as did her novelette “Lost Girls” in 1997. Yolen has also won three Mythopoeic Awards for Cards of Grief, Briar Rose, and The Young Merlin Trilogy. She has won the World Fantasy Award for editing Favorite Folktales from Around the World and later received a Lifetime Achievement Award from that same body.
For more on Jane Yolen, please visit a very special SFWA Youtube curated playlist.
(1) NOM DE GLOOM. Turns out nobody will ever voyage to Alpha Centauri – because the astronomical equivalent of the post office has given it a change of address – “Alpha Centauri Gets a New Moniker as 227 Star Names Are Clarified”.
“Alpha Centauri” is getting the boot. The longstanding star name has been displaced by its ancient counterpart in a new International Astronomical Union (IAU) catalog that designates 227 official names for different stars in the sky.
The move was intended to reduce confusion, according to the IAU. For instance, a star like Fomalhaut has at least 30 different names, so it’s difficult to figure out what to call it — or even how to spell it. Variations over the years have included Fumalhaut, Fomalhut and even the unusual Fomal’gaut.
The IAU, which is the official arbiter of astronomical names, chose single names to refer to those stars that have historically had many. Some of the decisions may rattle longtime observers, however. For example, the binary star Alpha Centauri, which lies 4.35 light-years from the sun, is now known officially as “Rigil Kentaurus,” the ancient name for the system.
(2) WHELAN ART PROJECT. Michael Whelan has a Kickstarter going for a new book with Baby Tattoo. The book is being published to coincide with an exhibition of Michael’s art at the Riverside Art Museum in Southern California in February.
It’s actually done very well already – the target was $10,000, and $54,056 has been raised with 22 days to go.
(3) DON’T SPOON FEED THE AUDIENCE. Misha Burnett made a good point in a comment at Mad Genius Club.
I think that “overbackstorying” is one of the signature literary sins of our age. During the after-film discussion with my roommate after we had we had seen “Dr. Strange” the subject came up of filmmakers not trusting audiences to pick up on subtleties.
I can just imagine a remake of “Citizen Kane”.
“Come in now, young man–you can’t stay out there with your new sled, which is called ‘Rosebud’ all day!”
“But I love my new sled, which is called Rosebud! No matter what happens for the rest of my life, this will be the moment I’ll remember on my deathbed!”
(4) YOU CAN TALK TO THE HORSE, BUT NOT NECESSARILY OF COURSE. Fantasy Faction reposted Aaron Miles’ insightful article “A Question of Technology”.
How fantasy elements interact with technology is another aspect of worldbuilding to consider. Necessity is the mother of invention, the creation of a tool to aid in a task. But when you have characters that can make it rain at will, it seems pointless to dig ditches for irrigation. Does your world have magical solutions instead of technological ones, how prevalent is magic and its availability in solving daily problems? The opposite can be true as well, does your world have technological solutions to magical problems? Has a castle population built giant net launchers and long range crossbows to help defend themselves from dragon attacks? Perhaps they’ve developed fire resistant armour and building materials. This is an example of the necessity point in action, it’s human nature to try and counter a hostile force. In a world ruled by magic users, perhaps a resistance has created mechanical devices that negate their powers; maybe your heroes need them to complete a quest?
The level of technology in your work can influence the plot and what kind of solutions the writer can present to their characters. Is a character sick or injured? Is there a medical cure, it is easily available or a rarity? What about travel, does your world have domesticated horses, are there paved roads that allow them to make good time?
(5) WISHLIST OF A FAN’S DREAMS. Corrina Lawson made a list of “Fictional Presents We’d Love to Receive This Holiday Season” for B&N Sci-Fi & Fantasy Blog.
Translation Microbe (Farscape) Lots of translation devices pop up in science fiction universes, including the Babel Fish in The Hitchhiker’s Guide to the Galaxy, but you have to stick that leech-like thing in your ear. Ew. The Translation Microbe from Farscape also has to be sent into the body (via injection), rooting itself at the base of the brain. But it’s painless, aside from the initial injection, and there’s nothing living in your head. As for Star Trek‘s universal translator? That’s a machine that can be lost or destroyed, and you don’t want to be caught out as a stranger in a strange land.
(6) ATKINS OBIT. Lon Atkins (1942-2016) has died. Guy Lillian III sent this tribute about the legendary fan.
Lon Atkins, lost either yesterday or just this morning, was a titan in our Southern fannish world. His Rebel Award, his Fan GoHship at the DSC, were beautiful if finally inadequate reflections of his contribution to our early days as a regional fandom and our growth into the vibrant and important segment of SFdom we’ve become. He was Official Editor of SFPA for four years and kept it going through its slimmest days. His fabled battles at the Hearts table with his great frtiend Hank Reinhardt were not only legendary, but entertaining, helping to build the sense of community that marks the region and its game. He did the best apazines — the best-written, the best-reproed, the most comprehensive — I have ever seen. And he was a gentleman.
I am lost in regret. Lon was a mentor and a model for how a good man conducts himself in science fiction fandom. MELIKAPHKAZ forever!
(7) JIM C. HINES RESUMES FUNDRAISING AUCTIONS. He took a few days off for the holiday, but Jim C. Hines today is taking bids on an autographed, personalized series from Sherwood Smith.
Welcome back to the third of 24 Transgender Michigan Fundraiser auctions.
Transgender Michigan was founded in 1997, and continues to run one of the only transgender helplines in the country, available 24/7 at 855-345-8464. Every tax-deductible donation helps them continue to provide support, advocacy, and education.
Auction number three is for a personally autographed hardcover set of either the INDA or DOBRENICA series, by author Sherwood Smith. Sherwood is also willing to personalize the books if the donor wishes — doodles, notes about something they’re interested in on the text, etc.
(8) FOR THOSE WHO COULD NOT MAKE IT IN PERSON. The exhibit ended its local run yesterday, and will be moving on to other cities. Steve Weintraub has done his best to show Collider readers what they missed — “Over 150 Pictures from the Cool & Unusual ‘Guillermo del Toro: At Home with Monsters’ LACMA Exhibit”.
As you’ll see in the pictures below, not only will you notice things from his films like Cronos, Hellboy, Pan’s Labyrinth, Pacific Rim, and Crimson Peak, you’ll see the 1907 edition of Alice’s Adventures in Wonderland, original Moebius artwork, original comic book pages from Alan Moore’s From Hell, concept art from films like Walt Disney’s The Adventures of Ichabod and Mr. Toad, Sleeping Beauty, Fantasia, Alice in Wonderland, James Cameron’s Aliens, Drew Struzan’s poster for Pan’s Labyrinth, his love of all things Dracula, Frankenstein, H.P. Lovecraft and Edgar Allen Poe, and so much more.
Since most people will never be able to check out the At Home with Monsters exhibit, while walking around I took a ton of pictures. Even though I snapped over 150 high-resolution pics, trust me when I say I didn’t come close to capturing everything there and if you’re near the Art Gallery of Ontario or the Minneapolis Museum of Art when the exhibition opens in either city, I strongly suggest stopping by and seeing it for yourself.
(9) WORLD FANTASY PROGRAM. From Tor.com we learn that the 2017 World Fantasy Con is gathering program ideas. The convention’s theme is Secret Histories – The Use of History in Fantasy. Use their online form.
(10) THE MAGICIANS ON SYFY. This is no fantasy. Lev Grossman’s The Magicians returns for Season 2 on January 25.
(11) THE HOLE YOU SAY. Cards Against Humanity raised over $100,000 on Black Friday by broadcasting a video of a giant hole and asking its users to throw the money in!
This has raised a lot of questions in NPR’s newsroom, some of which Cards Against Humanity endeavored to answer on its site:
What’s happening here?
Cards Against Humanity is digging a holiday hole.
Is this real?
Unfortunately it is.
Where is the hole?
America. And in our hearts.
Is there some sort of deeper meaning or purpose to the hole?
No.
What do I get for contributing money to the hole?
A deeper hole. What else are you going to buy, an iPod?
Why aren’t you giving all this money to charity?
Why aren’t YOU giving all this money to charity? It’s your money.
Is the hole bad for the environment?
No, this was just a bunch of empty land. Now there’s a hole there. That’s life.
How am I supposed to feel about this?
You’re supposed to think it’s funny. You might not get it for a while, but some time next year you’ll chuckle quietly to yourself and remember all this business about the hole.
How deep can you make this sucker?
Great question. As long as you keep spending, we’ll keep digging. We’ll find out together how deep this thing goes.
(12) JONATHAN LIVINGSTON YODA. CinemaBlend makes sure were there when a “Star Wars Bad Lip Reading Video Turns Empire Into Hilariously Funky Seagull Song”.
The folks at Bad Lip Reading have produced some stellar videos over the course of the last few years, but this one might actually be their magnum opus. Reimagining Luke Skywalker’s time with Yoda on Dagobah, the video follows the mismatched pair as the ancient Jedi master sings to a clearly annoyed Luke. Using the speech of the Yoda puppet as a template, the video features a voiceover that replaces the wise teachings of the alien warrior with utter nonsense about seagulls, logs giving birth to sticks, and getting hit in the neck with a hacky sack. It’s undoubtedly one of the weirdest Star Wars related videos that we have ever seen on the Internet, but it’s also that weirdness that makes it so utterly awesome.
[Thanks to Arnie Fenner, JJ, Martin Morse Wooster, Guy H. Lillian III, and John King Tarpinian for some of these stories. Title credit goes to File 770 contributing editor of the day Iphinome.]
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https://www.sos.nm.gov/business-services/limited-liability-and-corporation-faqs/
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Maggie Toulouse Oliver - New Mexico Secretary of State
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https://www.sos.nm.gov/business-services/limited-liability-and-corporation-faqs/
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Where is the office located?
The Office of the Secretary of State at 325 Don Gaspar, Santa Fe, New Mexico 87501. This building is adjacent to the New Mexico State Capitol. Our telephone numbers are 505-827-3600 or toll free at 800-477-3632.
What is the difference between a domestic and a foreign business?
A Domestic business is a registered as a business listing their home state as New Mexico. A foreign business is registered as a business listing their home state or country outside of New Mexico or The United States.
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What is a Professional Corporation?
A professional corporation is one which is organized under the Professional Corporation Act for the sole and specific purpose of rendering a professional service and which has as its shareholders only individuals who are licensed or otherwise legally authorized within this state to render the same professional service as the corporation. This includes but is not limited to attorneys, physicians, surgeons, architects, accountants, engineers and other licensed professions.
What is a Nonprofit Corporation?
A nonprofit corporation is a corporation that is defined by the Nonprofit Corporation Act that is organized for any lawful purpose or purposes including but not limited to charitable, benevolent, eleemosynary, educational, civic, patriotic, political, religious, social, fraternal, literary, cultural, athletic, scientific, agricultural, horticultural, animal husbandry and profession, commercial, industrial or trade association. A nonprofit corporation is a corporation where no part of the income or profit is distributable to its members, directors or officers.
What is a Limited Liability Company?
A limited liability company is a type of business structure that is formed pursuant to the Limited Liability Company Act by an organizer or organizers that have filed articles or organization with the Secretary of State. Owners of an LLC are called members. A Limited Liability Company is a business where no part of the income or profit is distributable to its members, directors or officers.
What is a Foreign Business Trust?
A foreign business trust is an entity formed pursuant to the Foreign Business Trust Registration Act that is engaged in a trade or business under the laws of a state other than New Mexico, that is created by a declaration of trust that transfers property to trustees, to be held and managed by them for the benefit of persons holding certificates representing the beneficial interest in the trust estate and assets.
What is a registered agent?
An individual or corporation, which may be a domestic corporation or a foreign corporation authorized to transact business in New Mexico that is authorized to accept service of process on behalf of the entity.
What is a Director?
An individual or a group of persons entrusted with the overall direction of a corporate enterprise.
What do I enter as the Taxable Year End?
The Taxable Year End is the date the entity books are closed each year. It can be either a calendar year end or a fiscal year end.
How do I obtain a clearance for dissolution/withdrawal?
A request for clearance must be submitted in writing stating the final day of business. The corporation must be in Good Standing before a clearance can be issued.
Can an officer be a director?
Yes, each individual must be identified with both titles.
What is the final day of business?
The date the corporation/LLC ceased doing business, and the business has completed the winding up of all affairs.
How do I obtain a Certificate of Good Standing and Compliance?
The Certificate may be requested, paid for and printed through Online Services or by sending in a letter requesting Certificate of Good Standing, along with the required filing fee. Corporations must be in good standing to obtain a certificate of good standing. Please refer to our fee schedule for the appropriate fee. You may also come in person to our office from 8:00 a.m. to 5:00 p.m. Monday through Friday (closed on holidays).
How long does it take to obtain a Certificate of Good Standing and Compliance?
The Certificate may be immediately requested, paid for and printed through Online Services. Written requests will be fulfilled within 10 business days in which to issue a Certificate of Good Standing and Compliance. For same day service, you may come in person to our office.
What does it mean to be “not in Good Standing and Compliance?”
The failure to file reports, maintain a New Mexico registered agent with a physical address, or pay fees due that are mandated by law, as defined by state statute.
I am no longer in business; will I still need to file a report with your bureau?
All corporations are required to file reports, even if no business is being transacted; however, a corporation may apply for suspension. This would place the corporation in an inactive status and reports would not be required to be filed. The suspension is good for five years.
How may I obtain replacement documents if they’ve been lost?
Contact our Copies Section at 505-827-4513 or toll free at 800-477-3632.
To whom do I make the money order or check payable?
New Mexico Secretary of State.
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https://www.lionsroar.com/julia-cameron-on-the-path-of-creativity/
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Julia Cameron on the Path of Creativity
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Julia Cameron, the author of The Artist's Way and The Vein of Gold in conversation with Samuel Bercholz.
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Lion’s Roar
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https://www.lionsroar.com/julia-cameron-on-the-path-of-creativity/
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Julia Cameron, the author of The Artist’s Way and The Vein of Gold in conversation with Samuel Bercholz.
Samuel Bercholz: Your work is nominally about creativity, but it seems to be as much about tools for spiritual growth. What is the connection?
Julia Cameron: People often say to me, “Your book is a Buddhist book,” or “This is a book about mysticism, really, or this is a Sufi book.” That is probably because creativity is a spiritual path, and at the core of the various spiritual paths are the same lessons. For instance, I recently read Thich Nhat Hanh for the first time, and I found myself thinking that he sees the world with an artist’s eye. I think that’s because he is very heart-centered. Even though we think of creativity as an intellectual pursuit, in my experience creativity is a heart-centered pursuit. We actually create from the heart. I think it’s interesting that the word “heart” has the word “art” embedded in it. It also has the word “ear” embedded in it.
So both Buddhism and creativity involve the art of listening to the heart. That’s where the creative impulse arises from. That’s why I cannot distinguish between creativity and spirituality. When you’re practicing creativity you become a grounded individual, and that communicates the universal.
I’ve been a writer for more than thirty years, and the issues that arise in the creative practice are the same kinds of issues that arise in a spiritual practice. You get to look at your insecurity. You get to look at your inquisitiveness. You get to look at your fantasy that a satisfied desire will lead to satisfaction. As near as I can tell, this is what happens with a grounded meditation technique: you go through all of the shenanigans of the restless nature of the mind and what you are left with is, just be. Out of being, things are made. So creativity is the act of being.
Samuel Bercholz: Your creativity exercises could also be viewed as a form of therapy.
Julia Cameron: Again, I don’t make those definitions. My books are taught by myriad therapists. What they have found is that if they can heal their clients’ creativity, neurosis disappears. This is why they all love this approach, and why therapists facilitate artists’ circles all the time.
My feeling is that an enormous amount of what we think of as neurosis is actually blocked creativity. When people begin living in their creativity, the “neurosis” disappears. I am not certain that we are a neurotic culture; I think we are more a stifled culture, needing to express the self, and you can spell that either small “s” or large “S.”
My feeling is that we are exhausted with talk therapy. Because The Artist’s Way is experiential, it brings people back into their bodies and their hearts. Therapists are using it to bring people into an embodied practice, and that’s why everyone’s calming down.
It’s one of the world’s best kept secrets that art makes people sane and happy. If you think creativity makes you crazy and broke, let’s not do it. On the other hand, if it makes you expanded and connected and joyous and vibrant and beautiful, it may make us a little nervous, but maybe we should try it.
The only time I get in trouble is if I’m not making something myself. If I’m too busy teaching to do my own art I get very sad. It’s a matter of balance for me. I must keep my artist first and my teacher second. I must be making things and then sharing out of that process. If I am only teaching what I have already learned without doing my practice in order to be learning more, I’m very desperately unhappy. It’s dangerous for me.
When we are creative we become happier, more stable, more user-friendly. We have this image of writers as grumpy curmudgeons. Well, when they’re blocked they are, but a writer who’s writing is usually a very festive, even if it’s secretly festive, person. A lot of what I teach is playing. I think that as we become more light, we take our ideas more seriously.
Samuel Bercholz: Do you mean “light” like “more brilliant” or like “light-hearted?”
Julia Cameron: Light-hearted. As we become more light-hearted, we paradoxically take our ideas more seriously. If we’re trying to take our ideas seriously without a light heart we do not have the passion to execute them. This is why I say creativity is a matter of the heart: it takes heart to execute. If you can get people back in their heart, you get them into executing their creativity. If you keep them in their head, the heart becomes hobbled and the capacity to make things that connect becomes hobbled.
Samuel Bercholz: A big part of The Artist’s Way and Vein of Gold is how passion and creativity relate.
Julia Cameron: I think passion is a marvelous thing. I was recently bawled out by a shaman because he took my use of the word passion to mean emotion and turbulence. I use passion to mean an act of will and commitment. I believe that we are intended to be utterly present, present with a passionate commitment. Then when we are, we create. Conversely, when we create, we become present with passionate commitment.
One of the aspects of certain forms of Buddhism that I have difficulty with is that occasionally I get the feeling that people are using their meditation to avoid experiencing the incarnation we all share. They become detached, they hold the larger view, and it becomes: leaf falls from tree, child dies, same value. I think we can hold that view some of the time, but we are intended as humans to resonate far more deeply than that. I believe that creativity as a spiritual path is very much a felt path.
Samuel Bercholz: “Felt” in the sense of passion, or heartfelt?
Julia Cameron: I don’t see those as two different things. Do you?
Samuel Bercholz: No, but…sometimes feeling is just a swirl. Is there a difference between the swirl of emotion and heartfelt feeling?
Julia Cameron: When we’re in a swirl of emotion, in a funny way it’s intellectual. Confusing and conflicting ideas are wrapped up with the emotions, much the way smoke has particles in it. When we are in our heart, there is a clarity to the feeling, a purity to the feeling. It’s less like smoke and more like water. Creativity allows you to purify swirling emotions.
Samuel Bercholz: By grounding them? By liberating them? What happens?
Julia Cameron: You see, for me it’s difficult to talk so theoretically. For instance, this morning I was very frustrated. I sat down and wrote four short poems, and then I was fine. The poems both grounded and liberated what I was feeling.
Then I think we should talk just about the practice, because the intellectual part of this doesn’t make any sense. You can read everything about creativity, everything about meditation, everything about spirituality, and what difference does it make?
Okay, let’s look at the nuts and bolts of The Artist’s Way. Get up in the morning and write three pages of long hand writing about anything.
Samuel Bercholz: What inspired you to do that? This is something you created, and people are doing it all over the world.
Julia Cameron: It didn’t begin with an idea. One day I got up and started doing it, and I found that it worked.
Samuel Bercholz: What do you mean by “worked”?
Julia Cameron: It made me prioritized for my day; it rendered me present to my life; it gave me a seed bed of ideas that later became creative work; it rendered me profoundly present. So I did it more. (laughs)
Samuel Bercholz: Then you wrote the prescription for everybody else. How did you know that this wasn’t just for you?
Julia Cameron: People would call me up who were confused, and I’d say, “Try this,” and it would work for them. That’s how it became larger: I simply shared the tool. It’s a tool that arose out of the fact that I am a writer with a habit of writing; therefore, it was the most natural thing in the world for me to get up one morning and start writing, and then to notice what it did for me.
I also do believe in reincarnation. I think that I’m a teacher, and I suspect I’ve been a teacher for a very long time. A lot of what I know comes from my thirty years of work as a writer, but I suspect that a lot of what I know is remembered. I think this is true for all of us, that we are often doing in this life a work that we began a long time ago. That’s what I think The Artist’s Way is; it’s a work that I probably began a long time ago. Or that artists began a long time ago.
Samuel Bercholz: So do you think there’s an ancestry of artists as well as a family ancestry?
Julia Cameron: Absolutely. When people talk about a spiritual practice, they talk about the lineage of the practice. I think I’m squarely within the lineage of creativity, from the caves forward.
Samuel Bercholz: Is this a natural gift, or something you had to develop?
Julia Cameron: I think we have natural gifts and then we develop them. I think my work is helping people to wake up to their gifts and develop them.
Samuel Bercholz: Do you think everybody has natural gifts?
Julia Cameron: Absolutely!
Samuel Bercholz: So what’s with all these frustrated people?
Julia Cameron: I think we’ve forgotten who we are. I think we’ve forgotten we’re gifted. We’ve been made to feel we aren’t gifted: we have an enormous mythology that creativity belongs to an elite few. They’ve known it since birth, they suffer no fear, they always wear black…
So what The Artist’s Way tools do is reconnect people to their own creative impulses, at which point people become far stronger and begin to move in the direction of those impulses. It’s essentially a spiritual process, a listening process: with morning pages you are listening to what’s going on within you. You’re putting it on the page and communicating it to yourself and, in a sense, to the world.
The second basic tool is something called an “artist’s date,” which is a once-a-week festive period of solitude. This is like turning on the radio to receive. So with morning pages you’re listening to yourself and communicating out, and then you go into solitude, a festive engaged form of solitude – you are out in the world, you are interacting, you begin to feel and hear other impulses. You begin to receive.
Samuel Bercholz: In The Vein of Gold you talk about walking as more than just a physical thing. It’s about visual images that come by and all kinds of things.
Julia Cameron: We are ecosystems. Creativity is an ecosystem. If we want to be creative, we fish from the well of the ecosystem. It’s as though you have an inner trout run and when you strive for creativity you’re fishing out of it. Then you need to replenish it, restock it.
When you walk, a couple of things happen. One is that you have an image-flow moving at you. You see and notice things. You see a tiny little bird skittering under a pine branch. You see a homeless person if you’re in the city. You note the image, and the image goes into the well. The well is part of the heart, and that’s where your art comes from.
Walking also moves you across the bridge into a larger realm of ideas. It allows you to listen to a different frequency. I experience it as a sort of click in the back of my head. I begin to have insights and inspirations which seem to be of a simpler and higher order. There is something enormously powerful about visualizing and moving at the same time. It may just be because we have more energy to deal with, but it really helps things to clarify, and once something clarifies it begins to be able to manifest.
I call it crossing into the imagination. When we make things they begin as thought forms, as spiritual blueprints, and when we are walking and we visualize something, we’re actually drawing it into form. As a writer, if I have a tangled plot line, I go for a walk. I’m not thinking particularly about my plot; I’m thinking about the little wren that I saw, I’m thinking about the mallards, if I’m in New York maybe I’m thinking about the antique velvet rope that I saw in the shop window. And as I’m thinking about these things, “Oh! That’s what I can do with my plot” emerges. Creativity is sort of Zen: as you focus north, solutions emerge south. It’s not linear.
Samuel Bercholz: Well, that’s magic. That’s the way spiritual practice is: it works because it works. I mean, you could do whole scientific studies and they don’t help anything. You can make up excuses why it works, but they’re just excuses.
Julia Cameron: You know, if smart were the solution, very few of us would be screwed up. Smart isn’t the solution. The heart is the solution. That’s why I don’t like the term “mindfulness.” I like the term “heartfulness.” I think it’s more accurate.
Samuel Bercholz: Actually, the term is translated from the Sanskrit, and whoever translated it chose the word “mind” rather than “heart.” But mindfulness refers to the Sanskrit cotta, which is in fact “heart.” So “heartfulness” is more accurate; it’s not about our head at all.
Julia Cameron: Well, this is good. I always thought, what a dreadful word, they can’t mean it.
So we’re really talking about what arises from the heart.
Samuel Bercholz: You don’t mean the little flesh thing, right? What do you mean by “heart?
Julia Cameron: The essence. The center. The place that is simultaneously individual and universal that each of us carries. That point of truth. I think heart is a pretty good word for that.
Samuel Bercholz: What’s the relationship between time and creativity? You’re struggling with a deadline now, working on a book, and all of us who are involved with the world of creativity know there are always deadlines and the panic that comes with them. Do you think it’s positive that there are time restrictions or would it be better if things were eased up?
Julia Cameron: It’s a central question. We yearn for more time with the illusion that if we had open time we would be creating all the time. The trick is to actually learn to use the time which we have.
What I try to teach is how to be creative within the life you’ve got. We are a workaholic society. We are addicted to work and often to work for work’s sake. But when you are happy, rested and in touch with yourself, you can often work very quickly. That’s because when you have some clarity it’s easy to do something quickly. The trick is really clarity. People say, I don’t have time to do the morning pages, but if they do the morning pages it gives them clarity, and that makes them do all the rest of their life more quickly and more easily.
Now, the whole issue of how to be creative within a business environment is an issue of people being connected and clear, which is contagious. I use the term “creative contagion.” Very often if one person in a workplace starts working with creative emergence tools somebody else will say, “What are you doing? You seem really different.” Then they’ll start doing them and you have this sort of grassroots beneath the hierarchy; out of sight of the superiors you have these people who are becoming more and more grounded while also becoming more visionary, innovative and individual.
These tools render us able to see our choices in any given situation. In the middle of a demanding business day you can close the office door for ten minutes and listen to a piece of music. You can go off and write a half a page just to clear your thinking. The tools are very portable. These little tiny timeouts during a day keep you connected, and just an instant of connection creates space for what I call grace, or what other people might call inspiration or intuition. If we make the smallest opening, there is the possibility of creativity. This is why it is so much like a spiritual practice.
Samuel Bercholz: Do you want to say something about the various kinds of addictions and their relationship to creativity?
Julia Cameron: Our mythology tells us that artists are addicted people – that they are promiscuous, drug addicted, alcoholic. We’ve come to think that somehow those addictions are part of the creative process.
My experience is exactly the opposite. My experience is that creativity is freedom from addiction. We are frightened when we feel the force of our own creative energy, because we don’t know how to ground it. This is why my tools tend to be grounding tools, and when creativity is safely grounded and used, addictions fall to one side. Conversely, if you see someone addicted, what you’re seeing is a profoundly creative soul reaching for a substitute to self-expression.
When people get sober they can be profoundly creative. When people get emotionally sober off of a process addiction like workaholism or sex addiction or relationship addiction, they have freed for their use a beautiful amount of new usable energy with which they can make wonderful things. That doesn’t just mean writing a poem or making a ceramic vase. It can be a new system for the office. It can be revamping the way they do parent/teacher meetings.
But often what happens is that when we experience our creative energy we don’t recognize it as creative energy; we just think it’s anxiety. So rather than saying, “How can I direct this energy and what should I make?” we try to block it. We block it by thinking of some titillating sexual adventure. We block it by picking up a drink. We block it with a pint of Hagen Daas. We block it by picking up workaholic work. But it doesn’t go away; it’s still there. Creativity is always there, because it is as innate to humanity as blood and bone. It is the animating force.
Samuel Bercholz: Although a lot of people talk about creativity and sexuality as not different energies. Do you see them as different?
Julia Cameron: No. I would tend to say that energy itself is pure, and that we can abuse it. You can feel the difference between an addictive, deadening sexual encounter and a sexual encounter where you stay present and the other person stays present.
Samuel Bercholz: Being in the present is the issue?
Julia Cameron: I think so.
Samuel Bercholz: Is it the same with creativity?
Julia Cameron: Creativity is living in the connected moment.
Samuel Bercholz: What do you mean by connected?
Julia Cameron: Heartful, present, alert, attentive, engaged.
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Julia Cameron on Art Being an Act of the Soul
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'Art is an act of the soul, not the intellect. When we are dealing with people's dreams - their visions, really - we are in the realm of the sacred. We are involved with forces and energies larger than our own. We are engaged in a sacred transaction of which we know only a little: the shadow, not the shape. In our human lives, we are often impatient, ill-tempered, inappropriate. We find it difficult to treat our intimates with the love we really hold for them. Despite this, they bear with us because of the larger, higher level of family that
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https://inspireportal.com/julia-cameron-on-art-being-an-act-of-the-soul/
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“Art is an act of the soul, not the intellect. When we are dealing with people’s dreams – their visions, really – we are in the realm of the sacred. We are involved with forces and energies larger than our own. We are engaged in a sacred transaction of which we know only a little: the shadow, not the shape.
In our human lives, we are often impatient, ill-tempered, inappropriate. We find it difficult to treat our intimates with the love we really hold for them. Despite this, they bear with us because of the larger, higher level of family that they honor even in our outbursts. This is their commitment.
As artists, we belong to an ancient and holy tribe. We are the carriers of the truth that spirit moves through us all. When we deal with one another, we are dealing not merely with our own human personalities but also with the unseen but ever-present throng of ideas, visions, stories, poems, songs, sculptures, art-as-facts that crowd the temple of consciousness waiting their turn to be born.” ~ Julia Cameron
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Heldt Prizes
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AWSS is pleased to announce the 2023 Heldt Award Winners
2023 Heldt Prize for best book in Slavic, East European, and Eurasian women’s and gender studies
Winner: Julia Hillner. Helena Augusta: Mother of the Empire. Oxford University Press (2022).
Helena Augusta: Mother of the Empire, the winner of this year's Heldt Prize for the Best Book in Slavic, East European, and Eurasian Women’s and Gender Studies, is a meticulously researched study that forges new paths in the genre of biography. Hillner demonstrates how the limitations posed by the lack of reliable primary sources offers a guide for new questions, providing a methodological model for rethinking existing assumptions about biography as a genre and its subjects. The committee is excited to recognize the significant contributions this text makes to women’s and gender studies both methodologically and empirically. With its focus on the ancient world, it opens up a historical period that is woefully underexamined in Slavic Studies. This magnificent volume will have great impacts on scholarly agendas in numerous fields.
2023 Heldt Prize for best book introducing new, innovative, and/or underrepresented perspectives into any area of Slavic, East European, and Eurasian studies
Winner: Adrienne Edgar. Intermarriage and the Friendship of the Peoples: Ethnic Mixing in Soviet Central Asia. Cornell University Press (2022).
Intermarriage and the Friendship of the Peoples provides an unparalleled examination of the ways the Soviet concept of nationality became key to citizens’ subjective identities even as the state also claimed to be creating a supra-national, Soviet nationality. Through archival and textual analysis, interviews with Soviet-era experts, and oral history interviews among mixed couples and families, Edgar’s work is methodologically as well as thematically innovative. Another significant contribution is the study’s focus on families in Kazakstan and Tajikistan, two culturally diverse Central Asian regions that differ significantly from each other. By homing in on decisions such as what to name one’s child and which language to speak at home, as well as how to resolve cultural differences related to gender and religion, this book illuminates the ways Soviet people lived and negotiated the state’s nationality policy in their everyday lives. Finally, Edgar examines changing experiences of intermarriage in the post-Soviet era, when the revival of religious practice and de-Russification processes have created still new challenges for people in mixed marriages. The committee applauds Dr. Edgar for her brilliant achievement of introducing new, innovative and underrepresented perspectives into Slavic Studies and we enthusiastically award our first Best Book prize recognizing this achievement to the path-breaking Intermarriage and the Friendship of the Peoples.
Honorable Mention (in alphabetical order)
Margorzata Fidelis. Imagining the World from Behind the Iron Curtain. Oxford University Press (2022).
Honorable mention for this year's Heldt Prize for the Best Book introducing new, underrepresented, or innovative approaches to Slavic Studies goes to Malgorzata Fidelis' elegantly written Imagining the World from Behind the Iron Curtain: Youth and the Global Sixties in Poland. This study breaks down pervasive misconceptions about Eastern Europe under communist rule and clearly demonstrates that the border between east and west was far more akin to a porous skin than to an Iron Curtain. Exploring the social lives of hippies, members of the avant garde, and rural youth in Poland, this broadly conceived monograph expands our knowledge of the 1960s by combining archival research and oral histories, as well as wide reading in the secondary literature. It demonstrates how Eastern Europe can offer an important, innovative vantage point on twentieth-century global history.
Catherine Wanner. Everyday Religiosity and the Politics of Belonging in Ukraine. Cornell University Press (2022).
The 2023 Heldt Prize Committee awards an Honorable Mention to Everyday Religiosity and the Politics of Belonging in Ukraine. This ethnography provides readers with an unparalleled understanding of the visceral experiences created by vernacular religious practices in Ukrainian public space before, during, and after the Maidan Revolution of Dignity. Wanner’s rich descriptions and analyses capture the ways visual, verbal, and emotional signs and rituals forge people’s sense of connection to place and belonging to the nation. From church services to rituals at the homemade shrines erected to commemorate protesters killed at the Maidan, we learn how the sacred is created and reaffirmed through commemoration, veneration, and mourning. This beautiful and important book illuminates the paradoxical dynamics through which everyday religiosity de-institutionalizes religion, promotes religious pluralism, and also strengthens social cohesion in a time of war.
2023 Heldt Book Prize Committee: Dr. Michele Rivkin-Fish (Chair), Dr. Marijeta Bozović, Dr. Dragana Obradović, Dr. Bojana Videkanić, Dr. Nancy M. Wingfield.
2023 Heldt Prize for best literary translation in Slavic/East European/Eurasian studies by a woman-identifying translator
Winner: Alex Niemi, translator, For the Shrew by Anna Glazova, Zephyr Press (2022).
For the Shrew by Anna Glazova presents a challenge to any translator. Glazova, who has been called “a microscope poet,” writes concise poems that are full of hidden mysteries about the natural world and our relationship to it. Alex Niemi’s translation is sensitive not just to the words but also to the meaning of the poems. The translation commits to clarity while preserving the hermeticity of the original. The Heldt Prize Committee is thrilled to present for 2023 prize for Best Literary translation in Slavic/East European/Eurasian Studies by a woman-identifying translator to Alex Niemi.
2023 Heldt Translation Prize Committee: Dr. Michele Rivkin-Fish (Chair), Dr. Marijeta Bozović, Ms. Nina Murray, Dr. Dragana Obradović.
2023 Heldt Prize for best article in Slavic, East European, and Eurasian women’s and gender studies
Winner: Orysia Kulick. “Gender and Violence in Ukraine: Changing How We Bear Witness to War.” Canadian Slavonic Papers 64:2-3 (2022), 190-206.
This article was part of a forum on Russia’s invasion of Ukraine. We found that the piece really helps to focus attention on an issue in real time and that it functions as a vital call to action. It is an essay, but this does not take away from its scholarly importance. During this time of ongoing war in Ukraine, Kulick’s paper is a necessary intervention. The committee was collectively moved by key questions: What would it look like to view the war through the lives of women, through the experiences of sexual violence and terror? The article poses difficult and challenging questions, but ultimately, questions that demand attention in this current moment. Kulick calls scholars out as a means of calling them in to question how the war is framed, and how we bear witness to its atrocities.
Honorable Mention
Jenny Kaminer. “‘One Foot in the Grave’: Pregnancy and Folk Culture in Recent Russian Films.” Studies in Russian and Soviet Cinema 16.1 (2022), 25-43.
“One Foot in the Grave” is an innovative and thought-provoking article. The committee was impressed by Kaminer’s interrogation of embodiment, pregnancy, and understandings of the self. Though Kaminer’s paper is situated within the fields of Russian film and cinema studies, the author’s clear and concise writing enables non-specialists to engage with the paper. The author deftly demonstrates the long influence of folk beliefs and gives a deep and insightful reading of films that might not immediately be seen in the light of traditional culture.
2023 Heldt Article Prize Committee: Dr. Angela Brintlinger (Chair), Dr. Abby Holekamp, Dr. Ivan Simić, Dr. Chelsi West Ohueri.
AWSS is pleased to announce the 2022 Heldt Award Winners
AWSS Heldt prize for best book by a woman-identifying scholar in any area of Slavic, East European, and Eurasian Studies 2022
Winner
Jadwiga Biskupska. Survivors: Warsaw under the Nazi Occupation. Cambridge University Press, 2022.
This wonderfully written and well-researched book offers a compelling portrait of different groups within the Polish intelligentsia over the course of WWII, exploring its multifaceted resistance to Nazi occupation. Contextualized in the fascinating story of how the Polish intelligentsia came to be, it explains how – despite differing views on a number of issues and the variable and evolving influence of specific personalities – the intelligentsia managed to develop and preserve an idea of the Polish nation through the war years. Biskupska asks big questions and, though she writes on a relatively familiar topic, develops her own sober, honest, and profound analysis, eschewing simple anecdotes and moralizing stories. Working with a deep source base in multiple languages, she presents the important successes achieved by the Polish intelligentsia that have generally been obscured by attention to the successive period and the dynamics of the Soviet imposition of power at war’s end. More generally, Survivors offers a compelling model for how to write about cities under Nazi control.
Honorable Mention (alphabetical):
Eliza Ablovatski. Revolution and Political Violence in Central Europe: The Deluge of 1919. Cambridge University Press, 2021.
Ablovatski’s excellent and absorbing book discusses the failed Socialist revolutions in 1919 Munich and Budapest. A transnational comparison of the German and Hungarian experiences in that year and afterwards, this book “decenters” the Russian Revolution, by focusing on its influence in Central Europe. Admirable for the difficulty of its topic and the breadth of its research (linguistically, geographically, historically), Revolution and Political Violence in Central Europe deserves note for its discussion of revolution’s aftermath, which includes the creation and the manipulation of memory as it relates to the revolution and to the counterrevolution that follows. Ablovatski’s book is also stunning in its conceptualization of violence and gender, and it treats sexual violence with particular nuance and sensitivity.
Theodora K. Dragostinova. The Cold War from the Margins: A Small Socialist State on the Global Cultural Scene. Cornell University Press, 2021.
Dragostinova’s beautifully written and uniquely engaging study begins with the unexpected link of late Soviet Bulgaria to Nigeria. In what follows, we explore the fate of a “small Socialist state” attempting to establish its place on the world stage, a process in which Bulgaria was remarkably successful. Dragostinova explores the path designed and followed by this nation in an attempt to become internationally visible and to consolidate important and useful ties to other countries. Eminently readable and informative, this book advances a series of case studies to add a human touch to the important ideas under discussion, such as “totalitarianism”, agency, and social control. Dragostinova shows us the second world as it emerges into a global framework, making surprising connections between small and large nations in the globe’s many “peripheries” and providing much food for thought.
AWSS Heldt prize for best book in Slavic, East European, and Eurasian women’s and gender studies 2022
Winner
Katalin Fábián, Janet Elise Johnson, and Mara Lazda. Routledge Handbook of Gender in Central-Eastern Europe and Eurasia. Routledge, 2021.
Unparalleled in its usefulness for the fields of study indicated in the title of this prize, the Routledge Handbook of Gender in Central-Eastern Europe and Eurasia assembles a dazzling collection of high-level articles into a coherent and well-formulated whole. Excellent editing permits the enormous breadth of topics introduced here to work both individually and in concert. Readers are treated to sensitive and eye-opening discussions of differences and similarities across a region which features not only different landscapes and languages, but also widely diverse imperial histories and religious traditions. A powerhouse of research on important topics, this volume will be a tremendous resource for years to come.
Honorable Mention
Mie Nakachi. Replacing the Dead: The Politics of Reproduction in the Postwar Soviet Union. Oxford University Press, 2021.
Nakachi’s fascinating book argues that the Soviet Union in 1955 was the first state to make abortion a “woman’s right.” The volume offers stupendous oral histories supported by careful research and analysis; these are recounted with great empathy and without moral judgment. We learn of multiple individual approaches to the postwar abortion regime in Soviet Russia, of suffering, and of survival. In the aftermath of Roe vs. Wade being overturned, this smart and observant history of abortion will be sought out by many.
AWSS Heldt prize for best article in Slavic, East European, and Eurasian Women’s and Gender Studies 2022
Winner
Andrea Bělehradová and Kateřina Lišková. “Aging Women as Sexual Beings. Expertise between the 1950s and 1970s in State Socialist Czechoslovakia.” The History of the Family, 26, no. 4 (2021), 562-82. https://doi.org/10.1080/1081602X.2021.1955723
In their article, Bělehradová and Lišková take up the important issue of climacteric and post-menopausal women and their sexual pleasure under state socialism in Czechoslovakia. This innovative article sits at the crossroads of anthropology, sociology, and medical history and traces the transnational knowledge networks that informed women’s health discourses in the mid-twentieth century. The committee was particular impressed by the way the authors used research on women’s sexuality from three Central European countries, Poland, Hungary, and Czechoslovakia, but then also documented how translations of work by American sexologists affected state socialist medical conversations. Giving a thorough background on women’s sexual and reproductive health, the authors examine four Czechoslovak medical journals to trace the developing interests of experts in aging women as a new kind of sexual being. The range of sources, the clear organization and writing, and the convincing argument about the need for more such comparative research made this article stand out as superlative.
Honorable Mention
Irina Roldugina. “Homosexuality in the Late Imperial Russian Navy: A Microhistory.” Kritika 22, no. 3 (Summer 2021), 451-78. doi:10.1353/kri.2021.0033.
Roldugina’s article on homosexuality in the Russian imperial navy uses microhistories to explore gender, sexuality, and gender presentation in the late imperial period and draws convincing connections between high and popular culture, drawing on sources from witness testimonies in court cases, personal diaries, and specialized medical journals to military documents including personnel files. Filling a gap in the historical literature, Roldugina has crafted a fascinating story that contributes to military history, history of gender and sexuality, and social and religious history. Her well-written article is very teachable and will grace the syllabi of undergraduate courses on gender and sexuality in the period for some time to come.
AWSS is pleased to announce the 2021 Heldt Award Winners
Heldt Prize for Best Book by a Woman in any area of Slavic, East European, and Eurasian Studies
Winner: Francine Hirsch. Soviet Judgment at Nuremburg: A New History of the International Military Tribunal after World War II (Oxford University Press, 2020)
This deeply researched, clearly written, and engaging history of the Nuremburg trials offers a significant reappraisal of the Soviet role in this international court. Hirsch corrects traditional historiography’s tendency to focus almost exclusively on Allied involvement in these proceedings by examining the important contribution of the USSR in the construction of the Nuremburg court and its legacy. Hirsch makes a compelling case for her new interpretation of what the Soviets did achieve, and what they did not. Probing issues of international diplomacy at the conclusion of World War II, she sheds new light on the origins of the Cold War and the establishment of key concepts and protocols regarding the definition and prosecution of war crimes. This compelling study also offers a singularly rare instance of a woman scholar making an exceptional contribution to a field that is overwhelmingly male-dominated.
Honorable Mention
Maya Nadkarni, Remains of Socialism: Memory and the Futures of the Past in Postsocialist Hungary (Cornell University Press, 2020)
Multi-layered, intimate, and insightful on many levels, this remarkable and beautifully written book sets a new standard in the field of memory studies. Nadkarni’s nuanced and compelling theorizing on the concepts of nostalgia, material culture, and lived socialism draws on a long trajectory of research which includes interviews with Hungarians dating back to the early 1990s to explore complex fluctuations in their attitudes towards the recent past. Nadkarni very ably shows how Hungarians modified their historical views as they adjusted to postsocialism and to their country’s evolving political, economic, and cultural realities. By tracking the multiple ways in which the weight given to history is continually redistributed for political ends and according to personal motivations, her book clarifies a number of moments that at first seem paradoxical and contradictory. The result is a creative and readable exploration of how the socialist past has been perceived since 1989.
Heldt Prize for best book in Slavic, East European, and Eurasian Women’s and Gender Studies
Winner: Allison Leigh, Picturing Russia’s Men: Masculinity and Modernity in 19th-Century Painting (Bloomsbury, 2020)
This revelatory book addresses the struggles of several key Russian painters to come to terms with notions of masculinity in the “short nineteenth century” that begins in 1825 with the militaristic reign and hyper-masculine ethos of Nicholas I and closes with the assassination of Alexander II in 1881. Leigh perceptively analyzes works of art, personal documents, even the history of institutions to illuminate questions relating to the construction of gender from multiple angles as each of her selected painters responds individually to the range of options that he felt he had. This astonishingly rich book is about much more than art. Its specific case studies (“microhistories”) investigate different facets of masculinity both as it evolves historically and in the lives and work of painters from the romantic and realist eras. These individual artists are presented in the artistic landscape of nineteenth-century Russia, in relation to the Army and to the Imperial Academy of Arts, and also entangled in “hidden in plain sight” non-traditional relationships. Leigh addresses with great sensitivity fluctuations in public opinion and private moods that relate to questions of gender identity in Russian society, including the rejection or avoidance of traditional models, issues of “superfluity” and homosociality, and responses to the socio-political encroachments of women in the midst of an increasingly destabilized society. Leigh’s writing is exemplary, her research stellar, and her book delightful.
Heldt Prize Book Committee
Dr. Sara Dickinson, Chair
Dr. Katya Jordan
Dr. Melissa K. Stockdale
Dr. Jelena Subotić
AWSS Heldt prize for best translation in Slavic, East European, and Eurasian Women’s and Gender Studies 2021 (biennial)Winner: Halyna Hryn, Nina Murray, Askold Melnyczuk, Marco Carynnyk, and Marta Horban, translators. Your Ad Could Go Here by Oksana Zabuzhko, edited by Nina Murray (Amazon Crossing, 2020)
These lively and readable translations bring a sampling of over two decades of superb fiction by noted Ukrainian writer Oksana Zabuzhko to English language audiences. Written in many different registers and tones, these highly original and beautifully conceived stories are captured with precision and clarity by five different translators. The topics treated range from problems of history (the Euromaidan protests, nostalgia for a disappearing Europe) and identity, to ethnic and mythic violence, to envy, desire, guilt and love. As one of Zabuzhko’s narrators explains in a story on nostalgia for the loss of the European past: “Understanding, in fact, is my job, that’s what writers are for—to try to understand everyone and everything and put this understanding into words, finished to the gossamer fineness of a rose petal, words made supple and obedient, words cut to hold the reader’s mind like a well-made glove that fits like second skin.” Her message is well-served by such sensitive and talented translators.
Honorable Mention
Katherine E. Young, trans. Look at Him by Anna Starobinets (Three String Books, 2020)
This finely tuned translation makes available to readers of English a gripping memoir by Anna Starobinets that documents the arduous experience of non-viable pregnancy, its termination, and mourning in the radically different contexts of the Russian and German healthcare systems. Starobinets’s intelligent and demanding text explores painful themes of decision-making in the context of carrying an infant known to have fatal birth defects, made all the more excruciating by the inhumane treatment she receives from Russian medical professionals, and giving birth to that infant abroad. Her deeply personal perspective on the shortcomings of women’s healthcare in Russia courageously tracks the psychological complexities of evolving maternal and family sentiments during this difficult process. The second part of the book presents the testimony of doctors, psychologists, and grieving mothers in more journalistic fashion in order to both to acknowledge these issues and initiate open discussion of them. Young’s translation will allow English speakers to participate in this international conversation.
Heldt Translation Prize Committee
Dr. Sara Dickinson, Chair
Dr. Katya Jordan
Dr. Olga Peters Hasty
Best article in Slavic, East European, and Eurasian Studies
Winner: Abby Holekamp, "Who are Vera and Tatiana?: The Female Russian Nihilist in the Fin de Siecle Imagination," Representations, 150, 1 (2020): 1-31.
In this imaginative and outstanding article, Holekamp examines the durable Russian archetype of the female nihilist and the cultural imaginary of terrorism in fin de siècle Europe. Interdisciplinary and transnational in focus, this article makes a significant contribution to the histories of terrorism, gender, and the proliferation of mass media in nineteenth and twentieth-century Europe. Seamlessly bringing together historical and literary analysis, Holekamp’s writing is lucid, precise, and compelling. In exploring the persistence, use, and impact of the imagined archetype of the Russian female nihilist, Holekamp’s conclusions reach beyond the fields of Russian history and literary studies to demonstrate the pertinence of the topic in the present day.
Honorable Mention
Chelsi West Ohueri, “On Living and Moving with Zor: Exploring Racism, Embodiment, and Health in Albania,” Medical Anthropology, 40, 3 (2021): 241-53.
West Ohueri’s impressive article examines the social and structural factors that continue to shape health inequities in Albania. Based on meticulous ethnographic research conducted with Romani and Egyptian women, West Ohueri explores how racialized and gendered marginalization intersect and are embodied by those living at the spatial and social margins of Tirana. We commend the author not only for her innovative research design and analytical framework, but for the accessibility of her writing and the important conclusions that she reaches.
Heldt Article Prize Committee
Dr. Siobhán Hearne, Chair
Dr. Barbara Allen
Dr. Katherine Bowers
Dr. Igor Fedyukin
AWSS is pleased to announce the 2020 Heldt Award Winners
Heldt Prize for Best Book by a Woman in any area of Slavic, East European, and Eurasian Studies
Winner: Jennifer Carroll, Narkomania: Drugs, HIV, and Citizenship in Ukraine (Cornell University Press, 2019)
Jennifer Carroll’s, Narkomania is an important contribution to the study of Ukrainian social and political development and a testament to the power of ethnographic research to illuminate multiple, interweaved meanings in a complicated social situation--drug addiction and its treatment in post-soviet Ukraine. Carroll’s book will become standard reading in qualitative and ethnographic methods classes.
Beginning her research in 2007 and continuing on and off over the next decade, Carroll crafted a research project which examined drug use in Ukraine, its medication-assisted treatment regime (MAT), clinics, clients, and practitioners, and how nongovernmental organizations, like the Global Fund, subverted local and governmental functions to pursue neoliberal agendas and set unrealistic expectations on the clinics and Ukraine’s Ministry of Health.
Yet, this is more than a story of addicts and their treatment. As domestic and international conflict escalated in Ukraine, Carroll adapted the study’s scope and premise to incorporate the events of the Euromaidan revolution, the illegal annexation of Crimea by Russia, and the Russian-backed separatist insurgency in Donbass to examine how Ukraine, during the 2010s, discursively excluded addicts’ presence and claim to citizenship. By linking addiction, national identity, and state building, Carroll demonstrates how “othering” addicts by the state and its citizenry developed into a shared belief, “addiction imaginary,” that the state needed to protect the nation from addicts. Especially illuminating is how Ukrainians deployed fear of addicts in the discourses around Euromaidan movement and the crises in Crimea and Donboss.
As Michele Rivkin-Fish, University of North Carolina, Chapel Hill notes, “Exposing the moralized judgments dogging drug users, Narkomania details the brutal modes of exclusion being deployed to redefine Ukraine's body politic. Jennifer J. Carroll both explains the origins and uses of this 'addiction imaginary,' and counters it with a profoundly humanizing portrait of the lives and fates of Ukrainians who use drugs."
Narkomania’s intellectual scope and breadth and engagement with the field of medical anthropology, domestic and global health policy, ethnography, international relations, and contemporary national and regional politics is why the prize committee picked it for this year’s
Heldt prize for best book by a woman in any area of Slavic, East European, Eurasian Studies.
Honorable Mention (Alphabetical)
Jelena Subotić, Yellow Star, Red Star: Holocaust Remembrance after Communism (Cornell University Press, 2019)
Yellow Star, Red Star is a unique and invaluable study of Holocaust memory (and forgetting) in post-socialist Europe. Rather than following the well-trodden paths of memory studies to focus on Poland or Russia and their “problems with memory,” Subotić offers an in-depth analysis of Serbian, Croatian, and Lithuanian discourses and policies. Her study shows how joining the European framework of memorialization primarily serves the creation of new national identities rather than indicate a true reckoning with local participation in the genocide and a recognition of its victims. Even scholars who are deeply engaged in related discussions can benefit from her detailed analysis of particular events and long-term trends, which makes a strong case for recognizing the troubling entwinement of shaping Holocaust memory according to contemporary agendas on the one hand, and the criminalization of the communist and anti-fascist past on the other.
Lenny A. Ureña Valerio, Colonial Fantasies, Imperial Realities: Race Science and the Making of Polishness on the Fringes of the German Empire, 1840–1920 (Ohio University Press, 2019)
Colonial Fantasies, Imperial Realities: Race Science and the Making of Polishness on the Fringes of the German Empire, 1840–1920 is an extraordinary and innovative exploration of the transnational and colonial history of the Prussian East and its entanglement with German imperialism in East Africa. The book is transnational in its truest sense. By drawing on sources from Germany, Poland, Brazil and Argentina, Ureña Valeria delivers a multifaceted discussion of not only German imperialism and colonialism, but the colonized Poles’ own ambitions of colonial acquisition and colonization. This original account and the expertly developed theoretical framework that fuels the analysis mark a new stage in scholars of Eastern Europe’s engagement with postcolonial studies.
Heldt Prize for best book in Slavic, East European, and Eurasian Women’s and Gender Studies
Winner: Olga Peters Hasty, How Women Must Write: Inventing the Russian Woman Poet (Northwestern University Press, 2019)
Olga Peters Hasty’s How Women Must Write: Inventing the Russian Woman Poet provides a behind the scenes look at Russia’s cultural history, focusing on the women who sought to challenge the status quo. The development of an imagined figure of a Russian female poet is presented within the social, political, and cultural contexts. Hasty examines the climate in which Russia’s women developed their own strategies as they faced both the constraints and the opportunities for poetic self-presentation in the 19th and 20th century. This engaging analysis offers a thoughtful critique of the traditional hierarchies, which affected Russia’s largely masculine literary culture, as it uncovers the cultural dynamics that are crucial for our understanding of the fact that women poets were no mere parodists but artists in their own right. This accessible volume addresses an essential topic of women poets’ engagement with the gender norms of their time, which lead them to a place where they could shape their own artistic identity.
Written by a literary scholar, this work presents its powerful arguments in a way that is accessible for a non-specialist. The transparency with which Hasty lays out the tools of literary analysis reinforces the profundity of her conclusions. Thus, the value of the work reaches beyond the field of Russian literary studies.
Best article in Slavic, East European, and Eurasian Studies
Allison Leigh, ‘Il’ia Repin in Paris: Mediating French Modernism’, Slavic Review, 78, 2 (2019): 434-55.
This outstanding article provides a vital re-examination of the relationship between Russian artists and European artistic centres in the second half of the nineteenth century. Conceptually ambitious and beautifully written, Allison Leigh’s exploration of the production and reception of Il’ia Repin’s A Parisian Café (1875) makes a significant contribution to Russian and European art history, scholarship on the development of Russian nationality identity, and cultural histories of gender and sexuality. Leigh’s combination of sophisticated visual analysis and meticulous reading of Repin’s personal correspondence offers a highly original and compelling take on Russia’s unique confrontation with ‘modernity’.
Honorable Mention
Christine Varga-Harris, ‘Between National Tradition and Western Modernisation: Soviet Woman and Representations of Socialist Gender Equality as a “Third Way” for Developing Countries, 1956-1964’, Slavic Review, 78, 3 (2019): 758-781.
Through a careful reading of the magazine Soviet Woman, Christine Varga-Harris sheds light on a neglected part of the history of women’s activism and socialist internationalism. The article expertly traces the ‘motif of global sisterhood’ in depictions of, and publications penned by, Soviet women living in non-European republics. In doing so, Varga-Harris persuasively argues that the magazine presented Soviet socialism as a ‘third way’ between traditional patriarchal modes and western conceptions of gender equality, as well as an alternative method for transitioning away from colonisation while retaining diverse national cultures.
Heldt Prize Committee
Melissa Bokovoy, Chair (University of New Mexico)
Diane Nemec Ignashev (Carleton College)
Jenny Kaminer (University of California-Davis)
Maria Popova (McGill University)
Anika Walke (Washington University in St. Louis)
AWSS is pleased to announce the 2019 Heldt Prize winners:
Best book by a woman in any area of Slavic/East European/Eurasian Studies
Winner: Hannah Pollin-Galay, Ecologies of Witnessing: Language, Place, and Holocaust Testimony (Yale University Press, 2018)
Hannah Pollin-Galay’s Ecologies of Witnessing is a boldly original and paradigm-shifting book that will be influential for scholarship in a number of fields, well beyond Slavic/E. European/Eurasian studies: Holocaust studies, memory & trauma studies, Jewish studies, and history of the Second World War. Focusing her study on the personal narratives of Lithuanian Jews who survived the Holocaust, Pollin-Galay compares the testimonies of survivors who returned or remained in Lithuania after the war to the remembrances of those who settled in Israel and the United States.
Pollin-Galay has both conducted and curated a broad array of testimonies. Her analysis is firmly grounded in the most impactful and recent approaches to the construction of memory: the role of the collective, linguistic analyses, the interpersonal dynamics between interviewee and interviewer, and, most notably, an interest in the impact of spatial relationships. Through the concept of “ecology,” she explains the intersection of these factors and how scholars must be attentive to the place where Holocaust survivors, who experienced the Holocaust in the same spot, are remembering the trauma, displacement, and violence of the Holocaust. The committee also acknowledges the author’s implicit, yet forceful reminder that Yiddish is, indeed, a (spoken) language relevant to understanding the diversity of human experience in East Europe and Eurasia.
Ecologies of Witnessing: Language, Place, and Holocaust Testimony is prodigiously and deeply researched and elegantly structured and written. The advantage of this book is that it opens potential avenues of research in other disciplines, which may start from the author’s findings and then have current implications for how memories about the Holocaust are constructed in the Baltics, Israel, and the United States.
Pollin-Galay accomplishes what the best scholarship should strive toward: The communication of profoundly complex ideas in a lucid and accessible manner.
Honorable Mention
Edyta Bojanowska, A World of Empires: The Russian Voyage of the Frigate Pallada. (Harvard University Press, 2018)
Edyta Bojanowska, A World of Empires: The Russian Voyage of the Frigate Pallada is a wonderful narrative of the nineteenth-century voyage of a Russian frigate based on Ivan Goncharov’s travelogue, The Frigate Pallada. At present, there is not yet an English translation of this 800-page travelogue.
In A World of Empires, Bojanowska has made accessible to students and scholars of European imperialism a travelogue that nineteenth-century Russians read and believed represented their imperial ambitions and attitudes about their imperial competitors, the British and French. Interweaving literary analysis, knowledge of the historiography and literary analysis of travel, and Russia’s engagement with and views of the world of empires, Bojanowska provides a window into Russia’s ambitions and reveals the cultural context of Russian administration and rule in its acquired and conquered territory. Her exploration of Goncharov’s trip through Siberia and views on Russian settlement and expansion into the region after the sea voyage provides insight into Russian thinking about how to control and rule this territory.
Bojanowska’ has written a book that addresses a significant lacuna in the scholarship of 19th century imperialism and will have broad appeal beyond the fields of Slavic and Eurasian Studies. In the Russian context of the study of Russian imperialism, it is a huge step forward toward understanding the Russian empire and moves the discussion about Russian imperialist ambitions beyond that of simply denial that Russia was similar to its 19th century imperial competitors.
Honorable Mention
Sarah Cameron, The Hungry Steppe: Famine, Violence, and the Making of Soviet Kazakhstan, (Cornell University Press, November 2018)
Sarah Cameron’s The Hungry Steppe is an elegantly written and prodigiously researched book, bringing to light knowledge of the devastating historical cataclysm that deserves much more attention than it has received-the hunger and violence inflicted upon the nomadic populations of Soviet Kazakhstan during Soviet collectivization and forced settlement drives of the early 1930s.
Especially noteworthy is the author’s pioneering use of both Russian and Kazakh language sources to tell this story. The author’s conclusions add critical dimension not only to our understanding of the history of Soviet Kazakhstan but also to that of Stalinism, of the Soviet Union’s devastating projects of modernization and their far-reaching consequences, as well as to how we contextualize other man-made famines of the USSR. Cameron’s conclusions can be applicable to the situations of other peoples in the steppe as well as the more well-known and well-documented famine in Ukraine.
Cameron’s book is written with compassion for the victims—both immediate and by legacy—of the atrocities Cameron describes. Her book lays the groundwork for more research, unearthing of survivor testimonies, and discussion of the violent, foundational event of the modern Kazakh state.
Best book in Slavic/Eastern European/Eurasian Women's and Gender Studies
Winner: Kateřina Lišková, Sexual Liberation, Socialist Style: Communist Czechoslovakia and the Science of Desire, 1945-1989 (Cambridge University Press, 2018)
Lišková’s book makes an innovative and important contribution to the study of sexuality—and by extension: gender relations—in Eastern Europe. Her study shatters the rather common notion of pre-1989 Eastern Europe as a rather prudish region in which intimacy and sexuality were confined to the bedrooms of obedient citizens
Through a clear narrative, she explains the continuity between the early communist state and interwar Czechoslovaka where ideas of sexual freedom were first posited and articulated by Czech sexologists and sexology. After the war and during the communist period, she reveals that interwar sexology and sexologists advised and informed the regime about how to think about sexual liberation. Lišková reveals and details that sexologists had much to say to the state and its citizens about sexuality and sexual relationships. Many citizens of the Czechoslovak state eagerly tried to follow advice given in public media or in counseling sessions. Fascinating is how Lišková details that the communist state sanctioned such discourse.
What is particularly striking is how she interweaves the ideology of the normalization period, which turned Czechs and Slovaks toward the private, and how the more family-centered discourse moved the state to regulated sexuality. She points out that this the opposite of what was going on in the “west:” a move toward greater sexual liberalization and freedom.
Lišková’s analysis of the interaction between state authorities and agencies on the one hand, and individuals on the other is powerful because it is so detailed and deeply grounded in sources. Her use of family court records supports a persuasive argument about how communist societies strove to simultaneously liberate and regulate sexuality. Overall, the book will be of use for many scholars in the subject area, will serve teachers of Eastern European studies, and allow scholars to think more broadly about the intimate and everyday lives of citizens in Czechoslovakia and the Eastern bloc.
Best Translation
Winner: Natalie Kononenko, Ukrainian Epic and Historical Song: Folklore in Context (University of Toronto Press, 2018).
In Ukrainian Epic and Historical Song: Folklore in Context Natalie Kononenko has combined her considerable skills as translator and extensive experience and depth of knowledge as researcher to provide English-language readers access to traditional Ukrainian dumy, epics songs based on historical events traditionally sung by kobzary (bards). As Kononenko notes in her Introduction, for many Ukrainians today dumy have come to symbolize “the source from which a true Ukrainian identity could be derived.” Increasingly dumy are being performed. And yet for many in the Diaspora who lack the knowledge of Ukrainian the dumy demand, these documents of history have remained only “talsimans.” This volume not only restores dumy for readers of Ukrainian heritage, it will prove invaluable for folklorists in general insofar as it provides access to a corpus whose ties to other traditions have been understudied owing to a lack of translations and background.
Kononenko initiated the project as a translation, and the committee has chosen to recognize it primarily as such. Gradually issues of selection and translation, the phenomena described in the dumy demanded more extensive commentary than a traditional translation might involve. Instead of the more usual route of translations and copious footnotes, Kononenko made the creative choice to set the translations within the commentaries to provide a highly readable narrative. Readers with knowledge of both Ukrainian and English will find Kononenko’s English-language renderings remarkably accurate semantically as well as “musically.”
Kononenko’s achievement with Ukrainian Epic and Historical Song: Folklore in Context reflects a growing and laudable trend of translators empowering themselves to initiate projects and to maintain greater control of the process and end product. As such, in addition to its scholarly significance, this volume stands as a model for future endeavors.
Best article in Slavic, East European, and Eurasian Studies
Winner: Siobhan Hearne, "To Denounce or Defend: Public Participation in the Policing of Prostitution in Late Imperial Russia,” Kritika: Explorations in Russian and Eurasian History 19(4): 717-744
This is a thoroughly researched article that makes a compelling argument to turn to the “elusive voices of women registered as prostitutes, their clients, and urban dwellers” for a comprehensive understanding of public views of prostitution. Drawing on a range of sources and firmly grounded in recent scholarship in labor history, feminist and gender studies and, of course, Russian history, Hearne elucidates how state institutions and individuals worked together in policing female behavior. The careful reading of various actors’ statements reveals insights into urban residents’ views of state institutions and thus contributes to analyses of social and political dynamics beyond the Russian Empire.
Honorable Mention
Colleen Lucey, “Fallen but Charming Creatures: The Demimondaine in Russian Literature and Visual Culture of the 1860s,” The Russian Review 78(1):103-121
Through a meticulous reading of Vsevolod Krestovskii’s short story, “A Fallen but Charming Creature,” and an innovative exploration of an unknown album of lithographs for which Krestovskii wrote the captions, Lucey uncovers nineteenth-century public attitudes and imaginings about a new class of St. Petersburg women, the demimondaine. Lucey juxtaposes Krestovskii’s short story which depicts these women as “fallen” with a visual culture glorifying demimondaine as women who have sexual and financial agency. The article demonstrates the necessity of reading culture not only through literary sources but also to take seriously the role of visual culture in shaping the public’s attitudes and imagination. The article makes extensive use of the lithographs making this article accessible to scholars and students alike.
Heldt Prize Committee
Melissa Bokovoy, Chair (University of New Mexico)
Diane Nemec Ignashev (Carleton College)
Jenny Kaminer (University of California-Davis)
Maria Popova (McGill University)
Anika Walke (Washington University in St. Louis)
Best book by a woman in any area of Slavic/East European/Eurasian Studies
Gould, Rebecca. Writers and Rebels: The Literature of Insurgency in the Caucasus. New Haven, CT: Yale University Press, 2016.
Rebecca Gould's meticulous study of Chechen, Dagestani, Georgian, and Russophone literature of Caucasian anticolonial insurgency is a linguistic tour-de-force in service of a nuanced analysis. Writers and Rebels explores the sacralization of rebellion and the anesthetization of violence in the prose, poetry, and oral narratives of the Caucasus region. She delves into a deep archive of local literary works and carefully unpacks differences among these geographically proximate, but profoundly diverse cultures. Gould's work offers a fresh approach that transcends literary studies, historical ethnography, and religious studies. It stands, too, as a model for the study of the borderlands, attentive to both the sub-regional specificities and liminal space the Caucasus occupied at the interface of the Russian and Ottoman empires.
Honorable Mention:
Nancy Shields Kollmann, The Russian Empire, 1450-1801. New York: Oxford University Press, 2016.
Nancy Shields Kollman demonstrates the abilities of an historian at the peak of her skills. Based on years of specialised research and an absolute mastery of the field, she offers a fresh synthesis of early imperial Russia that will compel scholars and students to rethink our most fundamental assumptions. She has produced the authoritative work in the field, a masterpiece that will serve as a key reference on early modern Russia for years to come.
Honorable Mention:
Rosalind P. Blakesley, The Russian Canvas: Painting in Imperial Russia, 1757-1881. New Haven: Yale University Press, 2016.
Rosalind Blakesley's comprehensive study sets a new standard in Russian art history and fills an enormous gap in the scholarly literature. She teases out Russia's unique path to a professionalized corps of painters, while simultaneously embedding the Russian school in the broader history of European painting. Blakesley seamlessly weaves rigorous, exhaustive archival research with an encyclopedic command of the secondary literature to provide fresh insights into Russian painting and its links to broader social, political, and cultural changes in the eighteenth and nineteenth centuries.
Best book in Slavic/Eastern European/Eurasian Women's and Gender Studies
Jusová, Iveta & Jirina Šiklová, Czech Feminisms: Perspectives on Gender in East Central Europe. Bloomington: Indiana University Press, 2016.
Jusová and Šiklová have done a tremendous service to the field of Women's and Gender Studies through the publication of this edited volume. It allows leading Czech feminist scholars to speak in their own voice to an English-language audience. Covering history, sociology, ethnography, and politics, this collection gives readers a sense of the broad range of concerns that animate Czech women's and gender studies. To students of feminism in Eastern and Central Europe and beyond, Feminisms offers a window onto the common ground and unique perspectives of our Czech sisters.
Best translation in Slavic/Eastern European/Eurasian women's and gender studies
Nemec Ignashev, Diane, trans. The Kukotsky Enigma by Ludmila Ulitskaya. Evanston, IL: Northwestern University Press, 2016.
Diane Nemec Ignashev's elegant and readable translation of The Kukotsky Enigma makes an important work by one of contemporary Russia's leading writers available for the first time to an English-speaking audience. As with all excellent works of translation, Nemec Ignashev renders the Russian into a natural English that allows the reader an immersive experience of the book. The novel centers on a male gynecologist who takes up the fight for abortion access in Stalin's USSR, a struggle that threatens to tear his family apart. The Kukotsky Enigma ruminates on the ethical questions that swirl around women's reproductive capacities. The themes at the heart of the work will engage a broad readership, which can now access the work thanks to Nemec Ignashev's able translation.
Best article in Slavic/Eastern European/Eurasian women's and gender studies
Zenovich, Jennifer A. "Willing the Property of Gender: A Feminist Autoethnography of Inheritance in Montenegro" Women's Studies in Communication 39, no. 1 (2016): 28-46. DOI: 10.1080/07491409.2015.1113217.
In her imaginative and compelling article, Jennifer Zenovich explores the linkage between property ownership, inheritance, and gender in contemporary Montenegro. Using the method of autoethnography, the article unspools the author's experience of this issue vis-à-vis her own father and brother. Zenovich puts her own story in dialogue with conversations with and observations of Montenegrin women she encounters through family ties and field work. A sophisticated feminist theoretical framing informs her analysis, which offers a fresh perspective on understudied questions at the intersection of gender and economics.
Heldt Prize Committee:
Paula A. Michaels, chair and AWSS President-Elect (Monash University)
Melissa Bokovoy (University of New Mexico)
Jenny Kaminer (University of California-Davis)
Eileen Kane (Connecticut College)
Jennifer Suchland (Ohio State University)
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I Love New Mexico Writers: Anne Hillerman talks “Lost Birds” – I Love New Mexico
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2024-04-16T01:00:00-06:00
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Episode 86– You can also listen on Apple podcasts, Spotify, Pandora, Google podcasts, and Amazon Music
About the Episode:
Bunny talks to author, Anne Hillerman about her newest book, “Lost Birds.” Get your copy of Lost Birds when is drops on April 23.
Links
Anne Hillerman Website
Anne Hillerman upcoming events
Order Lost Birds
Dark Winds Series
I Love New Mexico blog page
Bunny’s website
I Love New Mexico Instagram
I Love New Mexico Facebook
Original Music by: Kene Terry
Featuring:
Anne Hillerman
Author Anne Hillerman’s debut novel, Spider Woman’s Daughter, received the Western Writers Spur Award as best first novel. That book and the six novels that followed were all New York Times best sellers. Her eighth mystery, The Way of the Bear, will launch April 25, 2023. Her books continue the Navajo detective stories her father Tony Hillerman made popular. When she’s not working, Anne likes to read, cook, ski and travel. She lives in Santa Fe and Tucson with frequent trips to the Navajo Nation.
Episode Transcript
Bunny : (00:00)
Hi there. I’m Bunny Terry, and you’re listening to the I Love New Mexico podcast. Whether you’re a native new Mexican, who’s lived here for your entire life, or you’re just considering a visit, this episode is for you. Join us as we share a lot of New Mexico stories, talk about all things New Mexico, and include topics like what’s magical here, where you ought to visit, what’s happening, and the things you absolutely cannot miss in the land of Enchantment. We’re excited that you’re here, and we can’t wait to show you what an amazing place New Mexico is, because let’s face it, I love New Mexico Today on the I Love New Mexico podcast. I get to talk to a, an old friend who has been on the podcast before. She very graciously was on the Lifesaving Gratitude Podcast before we ended that, and then we got to talk on the I Love New Mexico podcast. Um, I think it was about, I, I might have been about a year ago, but my guest today is Anne Hillerman, who is, um, one of my favorite writers. And, um, Anne has a new book out, and we’re, today we’re celebrating that she’s coming to Santa Fe, back to Santa Fe for the summer, and also to do, um, an event at Collected Works on April 22nd. Um, so Anne, how I’m so excited to visit with you.
Anne : (01:41)
Well, thank you. Thank you for, uh, giving me this opportunity. Yeah, I’m really so happy that Lost Birds is almost, almost here, as you said, it comes out on April 23rd, and I feel like a new mom.
Bunny : (01:55)
I gotta tell you, your publicist sent me a digital copy of the book, and this has been a crazy week because as you know, I’m gonna be traveling next week, . And yesterday, while I was getting my hair cut, I said, oh, I, I have a book to read before morning. And so I want you to know that between three 15 yesterday and eight 15 this morning, I read the entire book, and partially I got it read because I couldn’t put it down. So once again, you created, um, a world that, um, I got completely sucked into. And but before we go there, I, I never want to assume that people who are listening to the podcast know everything about, um, us. So, so give folks a little bit of background. Anne, how did you come to, how did, how did you come to Lost Birds and to this life of writing about these wonderful characters?
Anne : (02:52)
Oh, that’s a, a wonderful question. I guess it started with my parents. I mean, I was fortunate enough to grow up in a home where reading was really valued, writing was valued. Um, my dad, as, as many people know, was the author Tony Hillerman, and he started his career in journalism. So when I was growing up, that’s what he did. So I, his love of that kind of writing really came through to me as a child. And then later he, uh, taught journalism at the University of New Mexico, and then segued into his own creative writing. And, uh, I loved reading his books, and I loved talking to him about writing. My mother also was a avid, avid reader and a very, she read with a very critical brain. So she would talk about what she was reading, both what she liked, and where she thought the author could have made things better. So I think growing up with that background really helped me. When I made the transition from nonfiction, uh, writing, I, I’d done maybe five or six nonfiction books. And then after my father died, I realized that besides missing my father, I also was, I loved those characters that he had created. And so it, the idea came to me that even though he wasn’t around to write the series, uh, perhaps since I was already a writer, even though I had never written fiction, perhaps I could, uh, see if I could write a novel. So that was kind of the, the origin of my continuation of the Jim Chi Jolie Porn, Bernadette Manto Mystery series. Uh, the book that’s, that’s out now, lost Birds is the ninth book in, in my re-envisioning of that series. And one thing that really helped me was, uh, a woman character whom my dad had created, but never really, uh, given the role of, uh, first rate Detective two. So after Dad died, I realized I didn’t know how to write, but I could never be Tony Hillerman. So it dawned on me that using this character, Bernadette Manto would give me a way to, um, continue to keep the series alive, to give it a little new twist, and also to not have to be Tony Hillerman.
Bunny : (05:19)
Uh, well, and that’s one of the things I love about the, these, the, the last nine books that’s, that you’ve written is that Bernie is such a strong character, and she, but she’s so human. She’s, you know, she’s, um, we’ve, we’ve, you know, she has a sister who has issues. She has a mother who’s aging. Um, she, she feels, she feels like my friend, and I’m always rooting for her. Um, so congratulations on creating a much deeper, richer female character, um, than we knew before. I mean, this, this is, um, I, I feel like, um, Lee Horn and she are old friends, but Bernie is, um, I’m, I’m, she’s, she’s my great friend, . That’s so funny that when we talk about characters, but now, I mean, with your dad’s books, how many, what’s the total now? Over 30?
Anne : (06:18)
Yeah, I can’t, the number isn’t exactly clear, but 35
Bunny : (06:21)
Or 36, something like that. Yeah,
Anne : (06:23)
Yeah, yeah. Nonfiction and, and nonfiction. Besides the Q porn series, he wrote two, uh, uh, standalone novels, one about journalism and one about basically Vietnam. And then he wrote a lot of nonfiction books.
Bunny : (06:38)
Well, so that folks who have not listened before know, give us some background on where the novels are are set, and what’s so different about them. I mean, first they’re mysteries, but, but the characters are different from other mysteries that we find, out in the fiction world, right?
Anne : (07:02)
Yeah, that’s right. My dad, um, when my, more than 50 years ago, my dad started this series, and his original idea was that he would have an archeologist as the main character and then a Navajo, uh, policeman as kind of the sidekick, because there are so many archeological sites on the Navajo Nation, I think. And I, when my dad wrote the, wrote The Blessing Way, his first book, I don’t think he was really considering that he would have a very long career writing all these books. He just, you know, wanted to know if he could write a, write a mystery. Uh, but anyway, the, the, the, uh, main protagonists are, uh, a, an active Navajo cop, Jim Chi, a retired Navajo policeman. Well, he’s retired since I’ve been taking the series.
Bunny : (07:51)
Yeah, you retired him .
Anne : (07:53)
I retired him. Yeah. Yeah, we’ve been thinking about it for a few books. Anyway, that’s Joe Horne, and then Bernadette Manto, who is another, uh, uh, person who works with, with the Navajo Police Force. And because my detectives are, uh, Navajo law enforcement people, at least some of the story has to be set on the Navajo Nation. So with, with Lost Birds, uh, part of the story is set on the near the, the Aya part of the, of the re of the reservation and the other, the other part. Well, and then the, there’s another part of the story, which is set at a Navajo school also on the reservation. And then the third part is kind of on and off the reservation. There’s a chase that happens. And anyway, that, that story’s a, is a little more complicated. But yeah, I figured I had to be true to the characters and true to the setting. So all of my stories are set, at least, I’d say 80% on the Navajo Nation.
Bunny : (08:56)
And having lived in Farmington and done and, and lived with a woman who was, um, Navajo, I recognize a lot of your, um, landscape and, and, and I love it. I would say anybody who hasn’t, um, been to the Four Corners or up in that area, or to Shiprock, you, you should go tomorrow, because it’s, it’s such a stunning, it’s a surprising and stunning and really expansive landscape that you can’t understand until you see it. But a lot of, at a lot of, of junctures in the book, I would, because I didn’t know about elephant legs and I kept thinking, did she make this up? Is this real ? I would, I would, so I would switch over. I was reading it on my phone right here, because that, I, that’s how I started it when I was getting my haircut yesterday. But, I would switch over to Google and I would look up what the, either the place that you were talking about, the trading post, um, I was determined to find all those places. So, um, I want listeners to know that this is as much, uh, when you’re talking about the Navajo Nation, and when you’re talking about these characters, they live in the, I mean, the landscape is as much a character as anything else. I mean, it is, I can’t remember what, what exactly did you say? It was 25,000 square miles that they, it seems like it’s somewhere in there, um, that these, this small police force overseas, and there’s so much, so much of that that is done alone and without cell service, and that’s still very real, obviously. Right,
Anne : (10:50)
Right, right. The Navajo Nation is making a lot of progress in terms of better cell service. And the other problems, of course, have been lack of electricity and lack of running water. All of that kind of goes together. But things are, things are changing. I mean, the Navajo Nation now is not the same Navajo nation that my dad wrote about when he started the series. And it’s a challenge for me. I mean, it’s a lot easier to bring your characters front and center if they don’t have instant access to, oh, you know, say files that will tell them everything about the person they’re chasing. So I am, I am leaving, I’m maybe stretching the boundaries of realism a tiny bit to make it seem perhaps a little more isolated than it actually is in reality, just for the, uh, benefit of storytelling. And I, after all, it is fiction. So I think, I think readers are, are cool with that.
Bunny : (11:43)
You, you can do whatever you want. But, I love that Joe Lipor is now comfortable with his cell phone. sort of, it’s, it’s, um, it’s, um, it, you just are very masterful at talking, uh, at, at conveying the culture and, and some of the, um, difficulties that go with making those transitions to an old, old way and, and to a different way. But talk about lost birds. It what I’d like for the, for our listeners to know what the term lost birds means to people in the Navajo culture.
Anne : (12:28)
Well, thank you for asking that question lot. Oh, a lost bird is the term, and it’s not only used by the Navajo culture, but really by most indigenous cultures. Okay. And it refers to a child who was removed from the, the culture of birth and adopted by, uh, a family out outside of that, outside of that cultural background. So in my book, the, the Lost Bird is a woman who’s always believed that she was Navajo, because that’s what her appearance is like. And because she has an old picture that that shows her near elephant feet, which I use in my book with a, uh, Navajo weaving that was like a traditional child’s blanket. So she’s thinking, why would my adoptive mother have saved this picture if I’m really not Navajo? But her, both of her adoptive parents are dead. She never talked to them about it much, and she was adopted in the age when the records were closed.
Anne : (13:30)
So that’s why she contacts Joe Por, Joe Por now is a private detective, and she’s thinking, maybe Joe, because he’s Navajo, because he has a lot of deep contacts on the Navajo Nation, maybe he can help her solve this puzzle. So anyway, that, that’s, that’s what the term, uh, lost birds means. And the idea came to me because when I was, um, when I was finishing up the book before this, the Way of the Bear, there was a lot of talk about the, uh, uh, the law that, uh, limits or tries to limit adoption of native children to people who are in the tribe, either, you know, relatives or distant relatives. So there’s some way that they can keep their culture. And there were some lawsuits challenging this act, saying that it was, uh, racially discriminatory against other people who wanted to adopt these children. And it’s a really interesting case. I mean, there were some kids who’d been raised by non-native foster parents, and these foster parents were very loving, but no matter how loving they were, they didn’t have the, the cultural, uh, cultural connections to help these children also understand that they were Navajo or Pueblo or whatever other, uh, indigenous tribe they may have come from. Anyway, the, the lawsuit worked its way all up to the up, all the way to the Supreme Court. And the Supreme Court ruled that yes, the Native Child Adoption Act was solid and, and could stand. So all of that was going on while I was thinking of what could my next story be. So that kind of gave me, gave me the idea for writing about somebody who was caught in this, in this problem, and how Jolie Porn could help her work her way through it.
Bunny : (15:17)
Yeah, I read a nonfiction book recently about a woman who lived in New Jersey and discovered that she was a, you know, and she was the age that I am. So she was born in nineteen sixty, nineteen sixty two, and she discovered that she was born, um, at a hospital, um, just outside the Navajo Nation in Arizona. And that she was, um, basically sold out to a family of a different, different culture. So I, it’s, it’s an interesting, um, and, and it’s a timely topic for you to write about. So it was really in, I read that case just not very long ago. I read the outcome, so I was very interested, but tell we can’t give anything away. You’re gonna have to buy the book. Um, I will say that I just wanna give a plug, and I hope that it’s okay with you. I, but one of my favorite series on TV now is Dark Wind, which I feel is I have everybody talking I have I recommend it to everybody. And, um, it is a television adaptation of the stories that you and your dad have told about these three characters. Right,
Anne : (16:37)
Right. That’s right. I’m glad you mentioned Dark Wind. I don’t know if you, uh, know, but Dark Wins is up for a big award. The last script for season two has been nominated for what’s called an Edgar Award, which is given by the Mystery Writers of America. And it’s like in the mystery world, it’s like the, the Oscar, the Emmy, whatever. Wow. And that script is one of only five nominees. So, you know, if you think of how many stories are told on television, I think just being honored is really remarkable. But the award will be given on May 1st in New York, and I have not been to New York for ages, but I’m gonna go and root for dark wins. And even if it doesn’t win, it’s just such a really, such a deep honor for the series to be, to be, uh, recognized in this way.
Bunny : (17:28)
That is so interesting. I love that. Thank you. And you, and it is wonderful television, and I will say, um, and I’ve spent less ti less time in the Navajo Nation than you have, but I do feel like it’s very true, very authentic, and I love that, um, um, the, in fact, the director lives next door to me, so I’m now you’ve inspired me to ask him to be on the podcast so that we can talk about the award. But that’s, um, they’re doing an exceptional job. And, um, I, I love the cast. I was sitting down at the Plaza Cafe the other day and Z McLaren and walked up and looked at the menu, and Toby said, don’t look, don’t look. It’s, don’t look, but it’s Joe Leaphorn . I was like, that’s so fun.
Anne : (18:17)
Yeah, they just started filming, uh, a few weeks ago, and they’re filming out at the, I don’t know if I should say this. Anyway, they’re filming in the Santa Fe area, and I think some of it’s gonna be, is also going to be on the, on the Navajo Nation. So that’s so
Bunny : (18:31)
Cool.
Anne : (18:31)
And there, yeah it’s really, really great. I think my father would, would be happy. I thought it was, uh, clever and appropriate that they sat the series back in the 1970s, which was when the Leap Horn series first began. And they’ve made a lot of interesting changes. I know I get email from people who are, uh, avid Hillerman fans, and they’re upset because something is different than it is in the books. But, you know, it’s all it’s good entertainment, and I really, I really recommend it, and I’m just delighted to be able to see these characters come to life.
Bunny : (19:10)
Me too. Because, um, of course, this is what happens when, when you have read books for years, you have those characters in your head, and then they show up on the screen, and I’m like, that’s, that’s okay. These are good, these are good choices. This is good casting. Um, but, um, tell us about the, tell us where you’re gonna be, um, as the book is released. Where can people find you?
Anne : (19:37)
Oh my goodness. Uh, I should have had my schedule in front of me after I’m doing the, after I do the, uh, book launch at Collected Works, then I’m gonna be signing some books for Opposite, and then I’m, I’m also going up to Taos to meet with them. All of this is on my, on my website, so people are really curious. It’s just ann hillerman.com real easy. But then I’m going up to Taos, they have a mystery book club up there, and they’ve invited me to come up and have lunch with them. And so I’ll be doing some signing up there. I’m doing a bunch of signings in Albuquerque. I’m going to Farmington. I’m gonna do a, a signing and event at the Farmington Public Library. Oh, I love that. Oh, let me see what else. And then I’m going, I’m going to a big mystery conference in the Washington DC area, actually right after my, my book signing and collected works. And then I’m going to New York for that, um, Edgar event. And then I’m doing a, a signing in Durango. I’m going up to, uh, Crested Butte, Colorado. They have an event called, uh, mountain of Words, and I’m gonna be part of that as is Hampton Sides, another of our wonderful Santa Fe authors. Oh, and I, when you, going back just a little bit, when you were talking about Dark Winds, the first character who played Joe Lipor was Wes Stu, and I don’t know if you remember That’s right. But they made some, they made some PBS movies, and I, Wes was a very good Joe Lipor too. Yes, I think Z is is wonderful, but Wes was good too. And, I like all, I like everybody on, on the cast of Dark Winds, but I think, I think Zan particularly just, he’s got that kind of, um, smart restrained attitude that I think was really the way, the way that readers envision Joe Lepor.
Bunny : (21:25)
Yes. And I’m just gonna give a shout out to Harry’s Roadhouse because I took some clients there for lunch the other day, and my client sat down and she, it’s, it may have been longer than a few days ago, but she sat down and she looked behind me and she said, I think that’s a movie star behind you. And I said, is it West Stuy? ’cause I see him there all the time. And it was, but , that’s part of the magic of living in Santa Fe, is that you can impress your clients with the movie Star at the next table. But, um, and,
Anne : (21:58)
And you the movie star, you don’t, you don’t have to go over and ask for their autograph.
Bunny : (22:02)
No, you can just treat them
Anne : (22:04)
Like regular people.
Bunny : (22:05)
Yeah. They’re just regular people eating their lunch. Let’s, let’s let them do that. But, um, it’s so, I, I just love that, um, your books and your dad’s books are getting this recognition. I, you know, I had Doug Preston on the podcast about four, four or five weeks ago, and he said that, um, there was a pender perhaps, hopefully a Pendergast series coming. So I love that my, um, Santa Fe writer friends are getting so much, um, recognition and some TV airtime. What, what a cool thing.
Anne : (22:44)
Yeah, it’s really wonderful. I think it, it says a lot about how Santa Fe really respects and nurtures creative, creative people and how it’s okay to be a little different in Santa Fe and not be, not, not be given some of those looks that you might get if you were in, uh, I won’t, I won’t denigrate any place else, but yeah. You know, you know what I, yeah, yeah, yeah.
Bunny : (23:07)
Yes. Yeah. So I wanna
Anne : (23:09)
Say something else about Dark Winds if you, if you could give me another minute or two.
Bunny : (23:14)
Absolutely.
Anne : (23:16)
One thing that I really loved about writing this book, the other woman character who my, well, who my dad created and never really fully explored was Louisa who is Joe LeapHorne’s housemate, good friend. Maybe more than that, at any rate, in, in, because, uh, uh, the book that I, that I’m, because Dark Winds was a Jo Lipor book, it also gave me a wonderful opportunity to, to think a little more about Louisa and about who she is and what her life is like. And it’s, I think one of the joy of doing any creative work is that you get to explore new territory with every new project. And so getting to know Louisa was another, um, another challenge for me, but also another real opportunity to go a little bit deeper into these characters and into this series. And I put Louisa at some pretty serious risk in this book. You did. But yeah. But anyway, as, as, uh, most series readers will know, if you have long-term characters, you kind of have to work ’em through it. But anyway, I hope that when readers, uh, come to lost words, they will have, have a, a new understanding of Louisa and maybe a little more affection for her. I think my dad kind of saw her as kind of a very, you know, all business kind of woman, but I’ve sort of, sort of been able to ex explore her softer side in lost Birds.
Bunny : (24:49)
I have to ask you, do these people live in your head all the time, or are you able to, um, set them aside for a, a few weeks after you meet your deadline? I mean, it seems to me like I would, like you would wake up with, um, you know, Bernie talking in your ear. I’m curious about that.
Anne : (25:07)
Yeah, they’re there all the time. Yesterday, my husband and I were going for a walk and, and he was talking about something and I interrupted him. I said, oh, wait, I just have a great idea, . I have a great, I had a great idea for how can I can add more tension in this book I’m working on. He gave me this look. I, oh, are you listening to me at all? Well, part of my brain was, but yeah, you’re right. And the, the book I’m working on now is due the middle of June, and it’s just been, it’s, I really like it now, but there were times where I could barely stand to work on it ’cause it was just such a struggle. But anyway, yeah, those, and even when I’m not actually writing, then I’m thinking of revision or I’m thinking of the next project. So yeah, they’re there. They’re, I think sometimes I feel closer to these characters than I do to sing my own grandchildren. I hate to, don’t tell them I said that, but , but they’re with me, they’re with me more, more often. I don’t get to, they’re, I don’t get to see ’em on Zoom, though. So that’s a, that’s a
Bunny : (26:06)
. And just for the, for the writers, because this is, this has always been my favorite part of conversations is do you, um, you know, I know I heard Anne Patchett in an interview, and I’ve followed her a lot, and she said, oh, those characters live in my head for months before I ever even sit down to start writing. I, and I’m curious, whether you, do you create an outline and then they fill it in, or do they live in there and talk to you and, and create the story in your head? I’m curious about that process.
Anne : (26:37)
Oh, you know I always said that I didn’t create an outline. And then somebody said to me, well, your rough, your first draft is like an outline because it’s just, it goes every way. And it’s got all of these, you know, all of these disparate parts. But I guess they do, I let the story unfold as the characters are, are in the, in the, in the process of, of having whatever adventure I’m writing about. And sometimes as it’s unfolding, it goes in a cul-de-sac, and then it’s, it’s like . They just keep going around and around, and I have to figure out how to move them, move them back onto the main thoroughfare and get them going. Uh, I really admire people who can write from outlines. I think that would be a much more efficient process. But part of the reason I love writing these stories is that then I get to know what happens at the end . And I think if I did an outline, , this sounds funny, but I think if I did an outline and I knew how the story worked out, I wouldn’t have as much incentive to really write it. So, I don’t know. It’s, that’s, that’s a really, I’m, I’m still kind of struggling with that question, and I’m trying to figure out a, um, more efficient and less, um, heart-rending way to write these books without having them take over my whole life for months on end. But maybe that’s just how it works. I mean, maybe that’s part of the, part of how creativity, uh, comes to, comes to fruition, is just giving it, giving it its its own time to let the roots go down so then the Sprout can, can come up.
Bunny : (28:11)
Well, and I will say having written, uh, a book of, having written a book myself, which was mostly from my journal, um, this is some hard work that you do. I mean, people don’t get how, what it takes, and you do this so extremely well. So I wanna, I just wanna, I want people to know, um, that you know, and not only do you write great books and keep people like up until two o’clock in the morning reading and, um, but you also, um, just speaking to you, you also are so joyous every time we get together, every time I see you. So I just wanna tell you that hats off to you for doing this so well, and, um, for having found this amazing craft that it blesses so many people in so many different ways. So thank you for doing this. Thank you for what you do.
Anne : (29:10)
Well, thank you. And I think, I think your book is wonderful. I read your book and I think you yourself are a fine writer. And, uh, anyway, I’m, I’m always honored to have a chance to talk to
Bunny : (29:22)
You. Well, I am so sorry that I’m not gonna be here for your event at Collected Works. Do you? What time in the evening is it, do you
Anne : (29:30)
It’s at 6:00 PM Oh. And I’m doing it with another Santa Fe writer, John Sanford. We’re gonna do it as an interview, so I hope everyone will come and it might be crowded ’cause it’s a small space that collected work. It is
Bunny : (29:45)
Works.
Anne : (29:46)
But John is such a wonderful writer. I’m really honored that he’s going to be joining me for that event.
Bunny : (29:52)
That will be so much fun. I’m gonna send my producer Johanna, and I can’t wait to hear how it was. So thank you so much for talking to me this morning. I can’t wait to get I’m now I’m gonna go back and read Lost Birds a little more Slowly. , not in 12 hours. , thank you for those characters. Thank you for what you do.
Anne : (30:21)
Oh, thank you. Thank you, Benny. I always enjoy talking to you.
Bunny : (30:25)
Me too, me too. Take care.
Anne : (30:27)
Thank you. Bye-Bye.
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https://georgerrmartin.com/notablog/2023/05/29/the-strike-comes-to-new-mexico/
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The Strike Comes to New Mexico
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2023-05-29T00:00:00
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https://georgerrmartin.com/notablog/2023/05/29/the-strike-comes-to-new-mexico/
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Last week the Writers Strike reached the Land of Enchantment, with picket lines in both Albuquerque and Santa Fe that shut down a couple of shoots. The biggest turnout was Friday, when we picketed the Greer Garson Studios for most of the day.
HEY HEY HO HO
CORPORATE GREED HAS TO GO
Santa Fe does not have as many WGA members as California, of course, but while we don’t have the numbers, we yield nothing to California when it comes to determination.
Some friends from distant lands joined us as well, including Neil Gaiman and Nnedi Okorafor.
Rebecca Roanhorse as also on hand, along with bestselling author Douglas Preston (from the Authors Guild), director/ producer Chris Eyre from DARK WINDS, Melinda Snodgrass of WILD CARDS and STAR TREK fame, and all sorts of other good people.
Thanks to our friends in the Teamsters and IATSE, who have been staunch allies from the start, and to all the people who HONKED to show their support as they drove by.
HEY HEY HO HO
MINI-ROOMS HAVE GOT TO GO
The strike is in its fourth week, but the Guild is more determined than ever.
A number of productions have been shut down, but so far the AMPTP won’t even come back to the table. There’s nothing to do but redouble our efforts. The issues here are too important for anything less.
I hope you’re with us. If so, HONK when you see our signs, in LA or SF or anywhere else. And never never ever cross a picket line.
We’ll be back when you least expect us.
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https://www.inquirer.com/arts/books/julia-cameron-the-listening-path-interview-20210120.html
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The key to creativity? Be a better listener, says ‘The Artist’s Way’ author Julia Cameron
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2021-01-20T05:00:00-05:00
|
Her new book, "The Listening Path," lays out a six-week method of creative and personal transformation through better listening to not just others, but the silence around you.
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en
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https://www.inquirer.com
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https://www.inquirer.com/arts/books/julia-cameron-the-listening-path-interview-20210120.html
|
For more than 25 years, people have awakened and grabbed not their phones, but paper, filling stream-of-consciousness “Morning Pages” — a creativity-boosting ritual first prescribed in author Julia Cameron’s breakthrough book, The Artist’s Way, a book that’s sold more than 5 million copies.
Now, Cameron has published The Listening Path, which lays out a six-week method of creative and personal transformation through better listening to not just others, but the silence around you.
What inspired “The Listening Path”? Was the book in the works for a long time, was it inspired by recent events, or one event in particular?
The Listening Path was a long time in the making. I moved from busy and noisy New York to calm and quiet Santa Fe, New Mexico. The change was abrupt and healing. In the quiet of my new home I began thinking about sound. When I went to lunch with my publisher, Joel Fotinos, he asked me what I was thinking about and I said, “listening.” “Oh,” he said, “I’d love to hear more on that.” So his curiosity, and my own experience, combined to be the catalyst for the book.
Why is this a good time for a book like this?
I think that our enforced solitude has caused many of us to be more introspective. The Listening Path provides a channel for our often chaotic energies to quiet and deepen. Now is a good time for a book on listening, as we are all listening — like it or not — to our tumultuous thoughts.
Do you think that people are more open to creative and personal transformation after their experiences in lockdown?
Yes. I believe that lockdown has shown us a need to be in touch and comfortable with our authentic selves. It’s “now or never,” we may catch ourselves thinking, as we turn to a spiritual tool kit.
How has the pandemic affected people’s creativity and sense of self?
Our identity has come to be seen as something separate and distinct from our previous markers. We no longer feel it is our job, or our material possessions, which define us. Instead, we are led through the long hours of the pandemic to seek spiritual grounding. I believe this is good, important, and the silver lining of difficult times.
What makes it difficult for people to really listen? Does it have anything to do with social media and the ways in which our attention is pulled in so many directions?
People find it difficult to listen because they are overwhelmed by the input coming to us from all directions — social media, the television, the constant barrage of news. All of these things make it difficult for people to focus on the root of all listening: the still, small voice that wells up from within.
Do you see this as a workbook for reentry, when we are all able to gather again? Or is it something we can use now?
I believe The Listening Path is needed in our current times and will be needed, too, in our future.
What are three things that we can do, right now, to be better listeners?
The first tool I would suggest, as I always suggest, is the practice of Morning Pages: Three pages of longhand, stream-of-consciousness writing, done “first things first.” The pages quiet our chaotic thoughts and allow us to be authentically present.
The second tool is focusing on the sounds in our environment, perhaps keeping a weekly log of the sounds, pleasant and unpleasant, that we daily encounter. This allows us to tune in, rather than tune out, on our soundscape.
The third tool involves listening to others without interruption; allowing our intimates to fully finish their thoughts, which often surprise us. These three simple tools awaken our inner listener, allowing us to be more present and fully engaged.
The sentence I most often hear is, “Julia, your book changed my life.” I tell them, “You changed your life. I offered you tools, but you used them.” Practitioners report a heightened spiritual awareness: “My perception of the world shifted from hostile and threatening to encouraging and benevolent.”
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https://lithub.com/finding-yourself-as-a-writer-in-truth-or-consequences-new-mexico/
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en
|
Finding Yourself as a Writer in Truth or Consequences, New Mexico
|
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2018-02-14T10:41:44+00:00
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When Amelia Blanquera and I became friends in 2009, we were writers who hesitated over calling ourselves writers. Our familiarity drew us to one another. We wrote in the spaces unoccupied by our da…
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https://s26162.pcdn.co/wp-content/uploads/2015/04/favicon.ico
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Literary Hub
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https://lithub.com/finding-yourself-as-a-writer-in-truth-or-consequences-new-mexico/
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When Amelia Blanquera and I became friends in 2009, we were writers who hesitated over calling ourselves writers. Our familiarity drew us to one another. We wrote in the spaces unoccupied by our day jobs, we published, and we were ambitious, wanting books and bylines. She had a law career that demanded long hours. Our families, immigrants from the Philippines, wanted us to have financially stable careers. Famous writers didn’t look like us.
Article continues after advertisement
I looked up to Amelia, her risk-taking apparent as she questioned if she was a writer who practiced law or a lawyer who wrote, whether she could be both. Even before she left the career she’d worked in for more than 15 years and enrolled in an MFA program to dedicate herself to her writing, this questioning was part of her process.
In 2012, Amelia spent two weeks at a writing residency in New Mexico. “Truth or Consequences,” the essay that emerged from that time, illustrates the beginning of her artistic self-validation with the hallmarks of her writing and personality: honesty, kindness, curiosity, and understated wit.
Reading this essay almost a year after I last heard Amelia’s voice, I’m reminded as well of her courage and fierce integrity, and the project she was working on at the time of her death: a book about the fight to save New York City’s community gardens from development, inspired in part by her own work as a community activist. Her sharp inquisitiveness is what made her such a thorough researcher and interviewer. When I read her work, I can hear her asking: Why is it like this? And then: Isn’t that interesting?
I miss her often. I crave her levelheaded advice, her big heart and laugh. How she made room for so many possibilities, in the world and within herself.
Article continues after advertisement
–Lisa Ko
Truth or Consequences
We dressed in whatever fiction each had created about the artist in the desert. There was Lauren in her spider web-like tops, handmade stone earrings, and moccasins; Vanessa in shirts and shoes with Native-American designs; and me, swathed in denim and silver jewelry. We had discovered the Starry Night Retreat in Truth Or Consequences, New Mexico, aka TorC (pronounced TEA-or-SEA by the locals) on the New York Foundation for the Arts website.
A week before I left New York, I had been to a surprise birthday party hosted by Corina, a TorC native. “Why would you want to go there?” she asked. “For an artist residency. I’m a writer,” I told her and her husband. Although I had been writing consistently for three years, I didn’t earn my living that way. “Will you be there for Labor Day? Want to go to my high school reunion?” Corina joked. After a pause, she told me, “If you get bored, you can always hang out with my parents. They are retired.”
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My decision to go to the retreat wasn’t impulsive, but I’ll admit to a hint of whimsy. The name of the town was intriguing: Truth or Consequences. I pictured a John Wayne figure policing a western outpost. My inner teenage romantic loved the name of the residency: Starry Night. I envisioned the night sky from the famous Van Gogh painting, the cosmos yielding secrets to be channeled through my pen. The ultimate factor, of course, was that my application was accepted: validation that someone took me seriously as a writer.
*
Truth or Consequences is located in the lower left-hand corner of New Mexico in Sierra County. According to the 2000 Census figures, the population of the county is about 13,000 people, with 7,300 located in TorC. The drive along Route 25 from either Albuquerque to the north or El Paso, Texas to the south offers miles of gorgeous red sand dunes. Though I arrived on an overcast night, I didn’t miss the town; the pitch black of the evening was interrupted by the ambient glow of stoplights and a giant Walmart sign.
TorC’s town center was an accessible walk from the Starry Night Retreat. Banks, a family-run grocery store, and a post office populated Main Street and Broadway. But most noticeable were the empty storefronts that beckoned entrepreneurs with “for rent” placards. Murals and other public art were scattered throughout town. I imagined Santa Fe must have had the same aura in the early 1900s when artists first traveled to New Mexico to experience “The Land of Enchantment.”
In the first half of the 20th century, the main attraction of TorC was the medicinal power of the water. In fact, the town was originally named “Hot Springs.”
Article continues after advertisement
A mineral water analysis, conducted in 1921 by the Department of Agriculture, was used to claim the water cured everything from chronic inflammation of the joints to asthma.
Hot Springs became a mecca for healing. The History of New Mexico, Sierra County published by the Sierra County Historical Society Inc. (1979) includes several testimonials:
We arrived in Hot Springs from Alexandria, Louisiana, August 3, 1938. I had come to Hot Springs with a crippled leg. I used a cane. In fact a doctor in Big Springs, had told us the mineral water here might help me. –Mattie E. Bush
However, not everyone was “cured.”
It was 1919, when my doctor in Rock Island, Illinois said, ‘Go West young man.’ He meant for the purpose of seeking my health after World War I. We started for Denver on roads that mostly led from one farmhouse to another. . . We pitched our tent about where the Geronimo Springs Museum is now. After two baths I knew they were not for me as they caused a temperature rise. –William H. Tieken
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The town was so renowned for its “healing” water that the Carrie Tingley Hospital for Crippled Children was constructed there in 1937. The facility was for all children suffering from chronic physical impairments and developmental disabilities, regardless of race or income. From 1937 to 1941, the major diseases treated using water therapy were polio, tuberculosis, spastic paralysis, and arthritis, among others.
I’m not sure when the mindset about the medicinal value of the hot springs shifted but the brochures in my Starry Night Retreat guest binder suggested the hot springs were for relaxation. Pamphlets advertised spa amenities like facials or massages. There were at least a half dozen facilities to choose from.
I picked the Riverbend Hot Springs Resort & Spa. The five open-air public tubs had a view of Turtleback Mountain. The landscape and night sky provided a visual rest from the clutter of the New York skyline; the cacophony of cars, voices, and insistent clang of city life seemed far, far away. The Milky Way didn’t beckon but there is something transcendent about floating in warm water and witnessing shooting stars.
*
From what I could tell, Hot Springs, New Mexico was a thriving town in the 1940s. It had a famous children’s hospital and steady influx of tourists who came for a dip in the hot springs. So it seems odd to me its next incarnation, predicated on the success of, of all things, a television show.
Truth or Consequences was an American game show originally hosted by Ralph Edwards on NBC Radio in 1940 and then on television from 1950 to 1988. The host asked the contestant a question, and the correct response was called the “truth.” But the contestants were destined to fail because the “truths” weren’t facts. A typical question might be, “What should you do when you wear your clothes out?” The answer: “You should wear them back home again.” The unwitting contestant would not know the punchline and therefore suffer the “consequences.” Their fate was usually a slapstick sight gag like a pie in the face or another pratfall. The banter was light, and “losing” contestants were rewarded with Bulova watches, cartons of Old Gold cigarettes, a lifetime supply of Duz laundry detergent, or other giveaways from corporate sponsors.
“Like me, Truth or Consequences is in another phase of reinvention.”
In 1949, the show ran a publicity campaign to rename a town to celebrate the show’s 10th anniversary. Edwards, who was known for his philanthropy, and his staff chose Hot Springs because “the city had the inclination and the place for recreation, and the desire and means of helping one’s fellow man.” By special election, Hot Springs officially became Truth or Consequences on March 31, 1950. The votes were 1,294 in favor to 295 against.
There is a huge room honoring Ralph Edwards in the Geronimo Springs Museum on Main Street. The 14-room museum includes artifacts from prominent Native American locals like Apache leader Geronimo, prehistoric pottery, and early farming and ranching implements (like branding tools), and other memorabilia. Edwards, who died in 2005, was a loyal town son. He visited TorC from 1950 to 2000 to participate in a huge fiesta with a parade, beauty contest, rodeo, and other activities. A chorus of “Vaya Con Dios,” closed out the events.
*
“How’s camp?” my five-year-old nephew Rocco asked when I called from TorC to check-in with my sister. The concept of an artist residency was not one he comprehended. I explained I had gone to a Chile Festival in Hatch; visited the art galleries and studios in the monthly Art Hop; and spent an evening looking for ghosts at the Old Cuchillo Bar. He was pleased I was having a good time. “But are you writing?” my sister had to ask.
Did recording my daily observations count as writing? I thought so. My creative process includes writing down my experiences. I like to record overheard conversations or learn new words and phrases that interest me. I also obsessively research.
So for material I spent some time at the TorC library. I have a theory that you can judge a person by the contents on their bookshelves: business tomes belong to someone keen on financial advancement and career success, fantasy novels for those who liked to indulge in other realities. Arbitrarily, I extrapolated the concept to a town. The books would give me a better idea of who lived here, their interests, their hobbies or pursuits. It was a peak into the townsfolk’s interior thoughts.
I touched all six Bibles available for checkout. Although some households view the Bible as the literal word of God, I thought most had a Bible as a reference book, like a dictionary. Or had one as a legacy from relatives long dead. To not own a Bible, to me, seemed decisive. Next to the Bibles on the library shelves were copies of How to Read the Bible, Systematic Theology, The Illustrated Encyclopedia of the Bible (14 books in all), The Interpreter’s Bible, and All the Women of the Bible. In fact, there were seven shelves of books for biblical stories. Was TorC concerned about damnation?
*
The Black Cat Bookstore at the end of Broadway held a poetry reading once a month. The mean age of the 20 people assembled was 60. The median age was 55. There was Dhulkti, a slight woman with a beautiful feather tattooed on her arm. She read a poem written for a transgender friend who had committed suicide. It ended with a Navajo phrase, “donadogovhi” which means, “until we meet again.” Afterwards, I told her how much I enjoyed her piece and she invited me to a woman’s drumming circle later in the week.
I shared a piece of flash fiction. “We Keep Our Distance to Manage Our Closeness,” a story about the intimacy of a father-daughter relationship. I noticed a married couple in their eighties give each other glances as I read aloud. Perhaps the estrangement I described mimicked a situation they knew.
After everyone had a chance to read, we made small talk. I learned there was a lot of self-publishing in town. I met Stan, who had put together a book of sonnets. Maya showed me her compilation of poems and photos. I’m not sure if anyone considered herself a professional wordsmith. Not that it mattered: the group assembled at the TorC bookstore, it was obvious, was a community of writers.
*
Like me, Truth or Consequences is in another phase of reinvention. After a stint as a healing mecca and the namesake of a popular television show, more recently it’s been positioned as a gateway to outer space.
Spaceport America, the headquarters for Richard Branson’s space tourism company, Virgin Galactic, is located just 20 miles from TorC. Tickets on a Virgin Galactic rocket ship sell for $200,000 a seat.
On July 17, 2013, New Mexico Governor Susana Martinez and the state board of finance voted to allow the Spaceport Authority to seek $21 million in private loans to build a 23,000 square foot visitor center near Spaceport America and a 6,000 square foot visitor center in TorC.
Whatever the changes to TorC, I hope the daily rhythm doesn’t change too much, or lose local businesses like Paws & Claws, a thrift-store with sales donated to the animal rescue facility. One afternoon, Lauren, Vanessa and I rummaged through its wares while, a bit smitten with my younger colleagues, the 80-year-old clerk told us about a dress hanging from the rafters.
“See that Mexican dress? The Craigslist ad had three lines. “(1) Wedding dress—never been used, (2) Wedding ring—never been used, and (3) Gun—used only once.” It didn’t matter if we found the story funny, he roared in the retelling. Which, of course, made us giggle too.
*
After I left New Mexico, I was reminded of a one-day class I had taught earlier in 2012. It was called, “And you do what for a day/night job?” Artists have always held jobs unrelated to their creative pursuits. My class looked beyond writers to others like composer Philip Glass who drove a cab in the daytime while he wrote his early masterpieces.
We thought about the other factors that caused an artist to keep a day job. Were the decisions made just about paying the rent? An audio clip from a radio interview conducted by Brian Lehrer with artist and author Summer Pierre (The Artist in the Office: How to Creatively Survive and Thrive Seven Days a Week), volunteered, “It’s not just about money, it’s about being connected to the world and having a community of people.” The singer Adele offered another reason. She told 60 Minutes’s Anderson Cooper that she worked sorting and labeling compact discs at a record store after appearing on the Grammy’s because she was concerned about losing touch with new music. And the author Lysley Tenorio (Monstress) in a clip from the Other People Podcast, confirmed that his job as a professor gave him structure, support, and affirmation.
In my own life, my legal day job fulfilled many criteria: it connected me to the world, gave me structure, and paid my bills. Was there another reason why I was unhappy? Perhaps philosopher Alain de Botton’s take on “snobs” is the key. In his TED talk on success, he says:
A snob is anybody who takes a small part of you and uses that to come to a complete vision of who you are. That is snobbery. The dominant kind of snobbery that exists nowadays is job snobbery.
At the Starry Night Retreat, Lauren and Vanessa treated me as an artistic contemporary. The TorC community at the Black Cat Bookstore embraced me as a writer. So who was the snob? Me. I assumed that people would treat me differently if they knew I was a lawyer; think writing was my hobby and not my passion; believe that I lacked the seriousness of purpose of my colleagues at the residency. But none of that happened.
If anything my actions in TorC revealed my “truth.” At the end of my two weeks, I worked on three essays-in-process, one application to a writing seminar, one application to an artist’s colony, and wrote 3,000 words of a brand new piece. I never finished the book. But I had proven to myself that I was dedicated to my craft.
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https://www.visitalbuquerque.org/abq365/blog/post/abq-for-the-armchair-traveler-books-about-albuquerque-and-new-mexico/
|
en
|
ABQ For the Armchair Traveler: Books About Albuquerque and New Mexico
|
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2020-04-01T21:49:38.762000+00:00
|
Now is a great time to catch up on your reading. If you’re missing Albuquerque’s big blue skies,
|
https://www.visitalbuquerque.org/abq365/blog/post/abq-for-the-armchair-traveler-books-about-albuquerque-and-new-mexico/
|
Now is a great time to catch up on your reading. If you’re missing Albuquerque’s big blue skies, pink mountains and deep-rooted culture, you’re in luck. Working with Albuquerque’s public libraries and library staff, we’ve rounded up a list of books about or set in Albuquerque and nearby locations. Bring Albuquerque to your living room with these great reads!
Find all these books and more at Albuquerque’s public libraries, and be sure to check out Treasure House Books & Gifts for more fantastic reading and uniquely-ABQ gifts.
109 East Palace by Jennet Conant
In 1943, J. Robert Oppenheimer, the brilliant, charismatic head of the Manhattan Project, recruited scientists to live as virtual prisoners of the U.S. government at Los Alamos, 35miles outside Santa Fe, New Mexico. Through the eyes of a young Santa Fe widow, one of Oppenheimer's first recruits, this book explores how, for all his flaws, he developed into an inspiring leader who motivated all those involved in the Manhattan Project to achieve the unthinkable.
Albuquerque Remembered by Howard Bryan
Albuquerque Remembered is an informative and entertaining history of the city. Howard Bryan devotes special attention to some of the colorful characters who have populated Albuquerque’'s history, and also includes business and civic leaders who helped shape the city's growth and character.
Albuquerque Then and Now by Mo Palmer
Part frontier town, part cosmopolitan city, Albuquerque has a proud heritage more than 300 years in the making. This book features a series of side-by-side then-and-now photographs showcasing local landmarks.
Albuquerque: City at the End of the World by V. B. Price
Called a complex, intelligent study of urbanization, this intimate examination of Albuquerque was updated more than 10 years after its initial publication and is more relevant than ever to Albuquerque's future.
Albuquerque Beer: Duke City History on Tap
Albuquerque's commercial brewing scene dates back to 1888, when the Southwestern Brewery & Ice Company was launched. After a long history, Marble Brewery's 2008 opening revived Albuquerque's craft beer scene. Since its opening, the city has welcomed dozens of breweries, brewpubs and taprooms. Writer Chris Jackson recounts the hoppy history of brewing in the Duke City. Read the book, and find inspiration for your next brew in ABQ here.
Alburquerque by Rudolfo Anaya (A part of the Sonny Baca novel series)
Part of the Sonny Baca novel series, Alburquerque is a suspenseful, southwestern mystery novel featuring a Chicano detective in New Mexico. The four novels are set against the lush terrain of the American Southwest, blending its Spanish, Mexican and Native American cultures.
Bless Me, Ultima by Rudolfo Anaya
Author Rudolfo Anaya is also well-known and loved for this classic bestseller. In the novel, Antonio Marez is 6 years old when Ultima comes to stay with his family in New Mexico. She is a curandera, a traditional healer who cures with herbs and magic. Under her wise wing, Tony probes the family ties that bind and rend him, and he discovers himself in the magical secrets of a mythic legacy as palpable as the Catholicism of Latin America.
The Blessingway by Tony Hillerman (A part of the Joe Leaphorn novel series)
From New York Times bestselling author Tony Hillerman, this is the first novel in his series featuring Lieutenant Joe Leaphorn & Officer Jim Chee who encounter a bizarre case that borders between the supernatural and murder.
Death Comes for the Archbishop by Willa Cather
This novel recounts the life of the Archbishop of Lamy, a French priest who was dispatched by the Catholic Church to establish a diocese in Santa Fe in the mid-1800s. From his efforts in building St. Francis Cathedral in Santa Fe to his friendship with legendary scout Kit Carson to his struggles to acclimate to the new world, the novel beautifully portrays a life lived simply in the silence of the southwestern desert.
Field Guide to the Sandia Mountains by Robert Julyan and Mary Stuever
Field Guide to the Sandia Mountains includes sections on ecology, including weather and fire, geology, flora (grasses, flowers, trees) and fauna (arthropods, reptiles and amphibians, birds, mammals), as well as recreational opportunities in the Sandia Mountains. Plant keys and fauna checklists are a few of the book’s features that make this a perfect guide to take with you as you venture into the Sandia Mountains to Albuquerque’s east.
Forgotten Albuquerque by Ty Bannerman
In 1706, Spanish colonists founded the Villa de Alburquerque on the wooded banks of the Rio Grande. t The once-quiet farming community has grown to become New Mexico’s largest city. This book explores how, over the centuries, Albuquerque's identity has metamorphosed many times.
A History Lover's Guide to Albuquerque (History & Guide) by Roger M. Zimmerman
This tour of New Mexico's largest city goes beyond the traditional guidebook to offer a historical journal through an area rich with diverse cultures and their fascinating past.
Imagine a City That Remembers: The Albuquerque Rephotography Project by Anthony Anella and Mark C. Childs
Imagine a City That Remembers grew out of a series of articles and photographs published in the Albuquerque Tribune in 1998 and 1999. The expanded and updated collection revisits Albuquerque nearly 20 years after the original articles were written.
Juniper Tree Burning by Goldberry Long
When Jennie Braverman, formerly known as Juniper Tree Burning, gets news of her brother Sunny Boy Blue's suicide, she flees her new husband and embarks upon a mad dash across the American West toward the site of Sunny's death. Forced to confront the past, Jennie must face the shame of the childhood name she has been so happy to shed.
The Last of the Menu Girls by Denise Chavez
Rocío Esquibel is a girl growing up in a southern New Mexico town with her mother and sister. She defines her neighborhood by its trees—the willow, the apricot and the one they call the marking-off tree. At night she enters a magical realm, and in her imaginary Blue Room, she can fly. At first she is a mesmerized observer of the lives of older girls and their boyfriends, but as she finds a job at the local hospital, and discovers a passion for drama and stories, Rocio begins to make her own choices in love and work.
Legendary Locals of Albuquerque by Richard Melzer
Spanish settlers founded Albuquerque in 1706, making it the third of only four villas (towns) in colonial New Mexico. Located in the Rio Abajo along a wide turn on the Rio Grande, the settlement developed from a small farming community into New Mexico's largest, most modern city. Many notable men and women participated in this remarkable growth, lending their talents and sacrificing their time, energy, and sometimes their very lives.
The Milagro Beanfield War by John Nichols
Set in northern New Mexico, the “war” in this novel’s title is a clash between land developers and local farmers over water rights. Full of unforgettable characters including politicians, real estate moguls, new-age hippies and families that have been tending the land for generations, the novel is a loving and humorous paean to life in small-town New Mexico.
New Mexico Filmmaking by Jeff Berg
The moderate climate and majestic western landscapes of New Mexico make it an enchanting locale for the motion picture industry. In this comprehensive volume, local author and film historian Jeff Berg explores the history and legacy of New Mexico on the big screen. Albuquerque has become a hub for filmmaking in recent years, with numerous A-list movies and TV shows filmed here. Learn more about recently-filmed shows and movies here.
Night at the Fiestas by Kirstin Valdez Quade
Kirstin Valdez Quade's unforgettable stories plunge us into the fierce, troubled hearts of characters defined by the desire to escape the past or else plumb its depths. This book was the winner of the 2015 National Book Critics Circle John Leonard Prize and a finalist for the New York Public Library Young Lions Award.
Only in Albuquerque by Deborah C. Slaney
Albuquerque Museum History Collection: Only in Albuquerque highlights the museum’s rich history collection, drawing examples from 35,000 artifacts, works of art, maps and photographs.
A Place to Stand: the Making of a Poet by Jimmy Santiago Baca
One of America's leading poets describes his youth in New Mexico, his troubled adolescence, his years as a drug dealer in Arizona and San Diego, and the personal redemption that occurred after he was arrested and sent to prison.
Sleepwalker’s Guide to Dancing by Mira Jacob
This novel takes the reader on a deftly plotted journey that ranges from 1970s India to suburban 1980s New Mexico to Seattle during the dot.com boom.
Sweet Nata by Gloria Zamora
Sweet Nata is a memoir about familial traditions and the joys and hardships the author experienced in her youth. Set during the 1950s and 1960s in Mora and Corrales, New Mexico, Zamora reveals her interaction with her parents, grandparents and other extended family members who had the greatest influence on her life.
The Spell of New Mexico edited by Tony Hillerman
A rich gathering of essays that evoke the unique and mysterious appeal New Mexico has had for some of the 20th century's best-known writers. Included are selections by Mary Austin, Oliver La Farge, Conrad Richter, D.H. Lawrence, C.G. Jung, Winfield Townley Scott, John DeWitt McKee, Ernie Pyle, Harvey Fergusson and Lawrence Clark Powell.
The Tale Teller by Anne Hillerman (A part of the Bernie Manuelito novel series)
Legendary Navajo policeman, Lieutenant Joe Leaphorn, takes center stage in this riveting atmospheric mystery from New York Times bestselling author Anne Hillerman. It combines crime, superstition and tradition and brings the desert Southwest vividly alive.
Visualizing Albuquerque: Art of Central New Mexico by Joseph Traugott (Author), Dawn Hall (Editor)
Visualizing Albuquerque is a comprehensive overview of 12,000 years of artistic activity in the central Rio Grande Valley. From sophisticated Paleo-Indian spear points to Pueblo pottery, from the Spanish and American Colonial periods to the city finding its true voice after World War II, this book reveals the vibrant creativity spawned by the encounter with this unique region.
The Zeon Files: Art and Design of Historic Route 66 Signs by Mark C. Childs and Ellen D. Babcock
In the mid-20th century Eddie's Inferno Cocktail Lounge, Bunny Bread, Paris Shoe Shop, and many other businesses throughout New Mexico and the Southwest displayed eye-catching roadside signs created by the Zeon Corporation of Albuquerque. These works of commercial art featured unique designs, irregular shapes, dynamic compositions and neon light. This book tells the story of how the Zeon’s artists helped give Route 66 its distinctive neon glow.
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10 Most Prominent Writers' Workshops in America
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Over the past few decades, these writing programs have produced some of America’s best-known and best-loved authors.
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The University of Iowa:
The University of Iowa is home to the most prestigious writers' workshop in the nation. A key factor in that prestige is that the program is one of the oldest, starting nearly three decades before any other writing workshop in the U.S. It was also the first program in the country to offer an MFA in English. Students in the Iowa Writers' Workshop take a small number of classes each semester, the most important of which is a weekly class where students share work and engage in roundtable discussions with teachers and peers to provide constructive criticism and feedback for the author. Having top-notch faculty certainly helps the writing process and in past years the school has boasted literary greats like Kurt Vonnegut, Philip Roth, and John Irving as faculty members. Whatever the secret of its success, the program is doing something right: alumni of the school have won seventeen Pulitzer Prizes, a handful have been Poet Laureates, and dozens more have won other prestigious awards.
Columbia University:
Columbia's creative writing program boasts some pretty impressive alumni, among them J.D. Salinger, Federico Garcia Lorca, Carson McCullers, Eudora Welty, Jack Kerouac, Langston Hughes, and Allen Ginsberg, though that's hardly a complete list. Surrounded by the sights and sounds of the city, the school is situated amid a living, breathing source of inspiration that has helped many great authors to launch successful careers. Of course, the city alone isn't what helps Columbia's students to produce high-quality work; the rigorous writing workshops it requires of MFA candidates, whether they want to become a screenwriter, novelist, or poet, are likely of greater importance. Through the workshops, students work closely with award-winning faculty and their peers to write, edit, and, hopefully, to create work that makes it into publication, a goal many a Columbia grad has achieved.
Boston University:
When it comes to poetry, few schools can compete with the impressive array of graduates produced by Boston University's writing workshops. Boston University's alumni include poetic greats like Anne Sexton, Sylvia Plath, and George Starbuck and present and past faculty members are prestigious in their own right, like Robert Pinsky, Robert Lowell, and Ha Jin. The program is notoriously intense, critical, and structured, and is designed to get students used to the harsh criticisms they'll face in the real world and help them to build the skills to produce great work. While students will take an assortment of literature courses, the crux of the program are the writing workshops, offered in fiction, poetry, or drama, where most of the writing and critiquing takes place.
Florida State University:
This Tallahassee school offers students the chance to work with Pulitzer and National Book Award-winning professors in intensive workshops. The school may not boast the same high-profile alumni as others on this list, but that's in part because the writing program has seen a near complete reinvention over the past two decades under the leadership of the programs's top-notch professors and dedicated administrators. In 1997, FSU's writer's workshops languished at 37th in the U.S. according to U.S. News and World Report rankings. Today, FSU is ranked among the best places in the nation for writers to hone their skills, and as time goes on, the program will undoubtedly produce some big names in literature as its workshops hone the skills of America's aspiring writers.
The University of Michigan, Ann Arbor:
The University of Michigan is among one of the best public universities in the United States, so it should come as no surprise that the school also boasts one of the top writing programs. The MFA program at the university takes two years to complete, much of which is spent in writing workshops and crafting a master's thesis. All students also get a $6,000 stipend for the summer semester that allows them to spend time writing and honing their skills rather than having to worry about working to pay bills and rent. The school's workshops have produced a number of notable writers, with some even winning National Book Awards. Many of Michigan's successful writers have specialized in science fiction and fantasy writing, making it an ideal place for students interested in those genres to hone their skills.
University of California, Irvine:
The UC Irvine programs have some seriously high-profile alumni among their ranks, some of whom produced successful works while students still in the school's MFA program. Michael Chabon's MFA thesis would get him a book deal and he would later go on to win a Pulitzer Prize. Alice Sebold's memoir about her rape began as a writing assignment in her Irvine courses, and would later be published after her graduation. Other notable alumni include Pulitzer winners Robert Ford and Yusef Komunyakaa, with many other grads going on to score book deals and win awards. The high profile of the program allows it to be selective, accepting just 10 to 12 writers into its programs each year, though applications can sometimes number 500 or more. Workshops at UC Irvine aren't just for grad students, however as the school also offers writers' workshops to undergrads who are interested in becoming professional writers.
New York University:
A big part of the prestige of NYU's writers' workshops comes from the professors who guide them, among them E.L. Doctorow, Yusef Komunyakaa, Sharon Olds, and Zadie Smith with elite visiting writers like Jonathan Safran Foer, Charles Simic, and Anne Carson also lending a hand. While prestigious faculty help the workshops at the school stand out, so does progressive coursework and a wide range of specializations that allow students to tailor their writing instruction to their particular goals and styles. To graduate from the program, students must take at least four creative writing workshops and use them to help to produce a creative thesis, either a novel, collection of short stories, or a group of poems. With reading, writing, and editing at the core of the program, many grads go on to produce works that make it into publication.
University of Virginia:
With a 1% acceptance rate, the University of Virginia's creative writing program is one of the most selective in the United States. Its selectiveness, as well as the high esteem both graduates and faculty are held in, have made it one of the most prestigious programs in the U.S. Alumni of the program include Char Harbach and Charles McLoed, both successful fiction writers, though UVA is most famous for its poetry writing workshops, which provide intensive instruction that has helped numerous aspiring writers get their works published. Named by Poets & Writers magazine as the third best school in the nation for getting an MFA in creative writing, UVA takes educating its students seriously, requiring 12 hours of workshopping and 24 hours of research related to the construction of a creative thesis.
University of Wisconsin, Madison:
The MFA program at UW Madison is relatively new, having been started in 2002, though the school had offered other graduate degree studies in English previously. It's unique among many other writing programs because of its alternating admissions, accepting fiction students in odd-numbered years and poets in even-numbered years. Further distinguishing it is that students can take workshops outside of their area of concentration, studying fiction, poetry, nonfiction, playwrighting, and screenwriting as it strikes their interest. This flexibility is perhaps why the school's program is held in such high regard, and has been ranked among the best in the nation for several years running. Of course, it doesn't hurt to have prize-winning faculty, generous financial aid, and a great track record of published alumni either.
University of Texas, Austin:
While not an alum, author James Michener played a major role in shaping the creative writing program at UT Austin. Michener founded the MFA program in writing at the school, which is now named after him, and left the school a generous donation that has enabled it to provide substantial fellowships to admitted students. The result has been the establishment of a prestigious program that allows students to work closely with published authors and their classmates in workshops throughout their three years at the school, focusing on either fiction, poetry, screenwriting, or playwriting with the opportunity to choose a second area of interest as well. Alumni of the school have done well, capturing elite fellowships, prizes, and awards for a wide range of work and the program is consistently ranked as one of the best in the nation for creative writing.
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Inge Morath, the daughter of a scientist, was born in Austria on 27th May 1923. The family moved to Nazi Germany and as a teenager she was sent to the force labour camp at Tempelhof for refusing to join the Hitler Youth.
Morath graduated from Berlin University in 1944. After the Second World War she worked as an interpreter for the United States Information Service before joining the RWR radio network. Morath also contributed articles to the literary magazine Der Optimist.
In 1950 Morath moved to France where she worked with the Austrian photographers Ernst Haas and Erich Lessing. This involved writing text captions for the two photographers. The following year she found work as a photojournalist with Picture Post, a magazine based in London.
Morath's first book was, Fiesta In Pamplona (1954). After the publication of an photo essay on French worker priests by Morath in 1955 Robert Capa invited her to join the Magnum Photos agency. Other books by Morath included Venice Observed (1956), Bring Forth The Children (1960), Tunisia (1961) and From Persia to Iran (1961).
Morath married Arthur Miller in 1962 and together they published the book In Russia (1969). This was followed by My Sister Life (1973) with poems by Boris Pasternak, In the Country (1977), Chinese Encounters (1979), Salesman in Beijing (1984), Portraits (1987), Shaking the Dust of Ages (1998), an autobiography, Life As A Photographer (1999), Masquerade (2000) and Border Spaces; Last Journey (2002).
Inge Morath died of lymphatic cancer on 30th January 2002.
Source: Spartacus Educational
Morath's achievements during her first decade of work as a photographer are significant. Along with Eve Arnold, she was among the first women members of Magnum Photos, which remains to this day a predominantly male organization. Many critics have written of the playful surrealism that characterizes Morath's work from this period. Morath attributed this to the long conversations she had with Cartier-Bresson during their travels in Europe and the United States. Morath's work was motivated by a fundamental humanism, shaped as much by her experience of war as by its lingering shadow over post-war Europe. In Morath's mature work, she documents the endurance of the human spirit under situations of extreme duress, as well as its manifestations of ecstasy and joy.
After relocating to the United States, during the 1960s and 1970s Morath worked closer to home, raising a family with Miller and working with him on several projects. Their first collaboration was the book In Russia (1969), which, together with Chinese Encounters (1979), described their travels and meetings in the Soviet Union and the People's Republic of China. In the Country, published in 1977, was an intimate look at their immediate surroundings. For both Miller, who had lived much of his life in New York City, and Morath, who had come to the US from Europe, the Connecticut countryside offered a fresh encounter with America.
Reflecting on the importance of Morath's linguistic gifts, Miller wrote that "travel with her was a privilege because [alone] I would never been able to penetrate that way." In their travels Morath translated for Miller, while his literary work was the entrée for Morath to encounter an international artistic elite. The Austrian photographer Kurt Kaindl, her long-time colleague, noted that "their cooperation develop[ed] without outward pressure and is solely motivated by their common interest in the people and the respective cultural sphere, a situation that corresponds to Inge Morath's working style, since she generally feels inhibited by assignments."
Morath sought out, befriended, and photographed artists and writers. During the 1950s she photographed artists for Robert Delpire's magazine L'Oeil, including Jean Arp and Alberto Giacometti. She met the artist Saul Steinberg in 1958. When she went to his home to make a portrait, Steinberg came to the door wearing a mask which he had fashioned from a paper bag. Over a period of several years, they collaborated on a series of portraits, inviting individuals and groups of people to pose for Morath wearing Steinberg's masks. Another long-term project was Morath's documentation of many of the most important productions of Arthur Miller's plays.
Some of Morath's signal achievements are in portraiture, including posed images of celebrities as well as fleeting images of anonymous passersby. Her pictures of Boris Pasternak's home, Pushkin's library, Chekhov's house, Mao Zedong's bedroom, as well as artists' studios and cemetery memorials, are permeated with the spirit of invisible people still present. The writer Philip Roth, whom Morath photographed in 1965, described her as "the most engaging, sprightly, seemingly harmless voyeur I know. If you're one of her subjects, you hardly know your guard is down and your secret recorded until it's too late. She is a tender intruder with an invisible camera."
As the scope of her projects grew, Morath prepared extensively by studying the language, art, and literature of a country to encounter its culture fully. Although photography was the primary means through which Morath found expression, it was but one of her skills. In addition to the many languages in which she was fluent, Morath was also a prolific diary and letter-writer; her dual gift for words and pictures made her unusual among her colleagues. Morath wrote extensively, and often amusingly, about her photographic subjects. Although she rarely published these texts during her lifetime, posthumous publications have focused upon this aspect of her work. They have brought together her photographs with journal writings, caption notes, and other archival materials relating to her various projects.
During the 1980s and 1990s, Morath continued to pursue both assignments and independent projects. The film Copyright by Inge Morath was made by German filmmaker Sabine Eckhard in 1992, and was one of several films selected for a presentation of Magnum Films at the Berlin International Film Festival in 2007. Eckhard filmed Morath at home and in her studio, and in New York and Paris with her colleagues, including Cartier-Bresson, Elliott Erwitt and others. In 2002, working with film director Regina Strassegger, Morath fulfilled a long-held wish to revisit the lands of her ancestors, along the borderlands of Styria and Slovenia. This mountainous region, once part of the Austro-Hungarian Empire, had become the faultline between two conflicting ideologies after World War II and until 1991, when attempts at rapprochement led to conflict on both sides of the border. The book Last Journey (2002), and Strasseger's film Grenz Räume (Border Space, 2002), document Morath's visits to her homeland during the final years of her life.
Source: Wikipedia
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[
"Susan Stamberg",
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2018-12-10T00:00:00
|
Biographer Linda Gordon chronicles Morath's escape from Nazi Germany, her boundary-breaking career and her marriage to playwright Arthur Miller.
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en
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/apple-touch-icon.png
|
WUNC
|
https://www.wunc.org/2018-12-10/biography-captures-the-charisma-and-confidence-of-photographer-inge-morath
|
"I'm fascinated by the necessity of quick decisions," Inge Morath told me more than 30 years ago, when she came to NPR for an interview. Morath was in the business of quick decisions — as a photographer and photojournalist she was the first woman to be accepted as a full member of the Magnum photo agency.
Now, her life is the subject of a new biography by Linda Gordon. It recounts Morath's escape from Nazi Germany, her boundary-breaking career, and her marriage to playwright Arthur Miller.
Morath met Miller — and his then-wife Marilyn Monroe — in 1960 while she was taking publicity stills on the set of the film The Misfits. It was Monroe's last film, and Miller had written it for his wife.
"Inge took some very, very beautiful and sympathetic photographs of Marilyn Monroe," Gordon says. "But Miller had struck her as intensely interesting — and he was quite impressed," Gordon says.
Miller and Monroe's relationship had been on the rocks for some time. He and Morath had an affair and the two married in 1962. They were together for 40 years, until Inge's death in 2002.
In our 1987 interview, I asked Morath about whether she wished she'd paid more attention to Monroe, as Miller's first wife. In a marriage, "you have to be yourself," she said. "Even if you are the first, the second, or the third wife — if you try to take over anything, or imitate anything, I think it'd be a disaster."
"She was a woman of extraordinary self-confidence," says Gordon. "One sees that throughout her life ... self-confidence as a photographer, as a person, but also as her own sexual being."
Morath had a magnetic personality — and plenty of affairs.
"She was just a person who drew you in," says Gordon.
As a young woman, Morath had a rough time in Germany during the war.
"After Allied bombs started falling heavily on Berlin — and landing very near the munitions factory where she was a forced worker — she joined columns of hundreds, probably thousands, of people on foot just leaving Berlin," Gordon explains.
The biographer says Morath walked 455 miles to her parents in Salzburg, Austria. They were Nazi sympathizers — she was not. In Paris after the war, Morath got a job at Magnum, the elite photo agency founded by the great pioneers of photojournalism, Robert Capa and Henri Cartier-Bresson.
There, she did everything from secretarial work, to working with contact sheets, to cleaning the office, Gordon says, all the while honing her skills in photography. In 1955, she became Magnum's first full female member.
With her camera, Morath followed her passion for travel. In Spain, she wangled her way into the dressing room of the great toreador Antonio Ordóñez. Her 1954 photo shows him preparing for combat: his muscled chest is bare, and he's wearing skin-tight, sequin-embroidered pants.
It took chutzpah to get into his dressing room, where women were considered bad luck. "To get into that space she half jokingly made a completely outrageous argument," Gordon says. "She said, 'I'm wearing pants when I work, therefore I'm neither man nor woman.' "
In Seville, Morath put on a flamenco outfit and climbed up onto a chair to shoot dancers, whirling to the music in their layered red and white skirts and petticoats. "You only see these people from the waist down ..." Gordon says. "She has captured the movement — but with a camera just slow enough so that some of the picture is blurred as you see the skirts whirling around."
Outside of photography circles, Morath is known more for her marriage than for her work. "I do not like the fact that many people only know her as a wife of Arthur Miller — and, of course, the wife immediately after Marilyn Monroe — but my impression is that she was pretty copacetic about it," Gordon says.
There are trade-offs to familiarity, Morath told me in 1987. For example, when working on a portrait, she said she didn't necessarily want to meet her subject first.
There is a "wonderful element to a new meeting," she explained. Being strangers, the photographer and the subject are placed into a "sparring" position. "That's interesting," she said. "You kind of show more of yourself."
Copyright 2023 NPR. To see more, visit https://www.npr.org.
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https://aperture.org/editorial/inge-morath-adventure-danube/
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en
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Inge Morath, Adventure on the Danube
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2016-04-11T21:11:15+00:00
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Inge Morath set out to document the cultures of Central and Eastern Europe. Spanning four decades, photographing the Danube was the quest of a lifetime.
|
en
|
Aperture
|
https://aperture.org/editorial/inge-morath-adventure-danube/
|
Just before the end of World War II, Inge Morath joined a long caravan of displaced people heading south from Berlin. She hitched rides and spent days and nights walking. “It’s amazing how kind of crusty you get, with dirt and probably bugs,” she recalled. “You can feel nice and ready to drown yourself, and that night there was a little river nice and ready for the purpose.” Saved by a one-legged soldier—perhaps just a phantom—who hauled her off the precipice of a bridge, she continued the slow march to her parents’ home in Salzburg, Austria. It was, perhaps, the first occasion on which a river was to play a decisive part in Morath’s life.
Back in Austria in the late 1940s, Morath made her first journalism contacts by writing for the United States Information Service in Salzburg and Vienna, and later freelanced for Radio Rot-Weiss-Rot and the satirical weekly magazine Der Optimist. In 1951, when she added Heute to her clients, she received a camera as a Christmas present. By then she had become acquainted with a fellow Austrian, Ernst Haas, who had joined Magnum Photos in Paris in 1949. Helping out in the picture agency’s office persuaded her that life was more vivid behind a camera. By 1952, she was working for Simon Guttmann’s legendary Dephot agency in London, where she was as likely to be asked to sweep the floor as to shoot a commission.
A year later, Morath was back in Paris, working as a researcher and assistant to Henri Cartier-Bresson. Considering her appetite for travel and spirit of adventure, her command of several languages, her burgeoning talent for editorial photography, and her close friendships with several Magnum members, Morath’s admission to the Magnum agency, in 1955, now seems inevitable. Yet, it was immediately clear that she was not going to be the token woman assigned to “soft stories” (animals and children); her first big story was on the worker-priests of Paris, followed by documentations of the London underworld and post-civil-war Spain. Soon her portfolio included Paris Match, Holiday, Saturday Evening Post, and Life, the most sought-after (and highest-paying) of all.
It was the very fluidity of her life—her frequent changes of location, her unbounded work across many media—that would enhance Morath’s fascination with the Danube River. According to the Austrian photographer Kurt Kaindl, Morath “bore within her an inchoate longing for the great cultural spread of Eastern Europe. From the moment she joined Magnum as a photographer, she repeatedly photographed parts of the Danube, especially in her native Austria and in neighboring Germany.” In 1958, as Morath wrote in her travel diary, the time had arrived: “The great adventure can begin.”
The second longest river in Europe, the Danube passes through communities with distinct cultures, languages, and work and life patterns, and has been a source of continuing fascination and inspiration at least since Roman times. Among the many regional inhabitants at the beginning of Morath’s work were Austrians, Bulgarians, Croats, Germans, Hungarians, Jews, Roma, Romanians, Serbs, Swabians, Ukrainians, and the Slovenians of the Morath family’s roots. On May 16, Morath opened her travel journal to write: “Departure from Paris. 21.20 sleeper train to Vienna. Orient Express. Or was it only called Orient Express after Vienna?” Trundling through Hungary to Romania, upon reaching Bucharest, Morath sharply anticipates what lies ahead as soon as she is met by her interpreter: “Roundtrip through town, visit the Village Museum. Bad lunch in Lido. Penelope not a good interpreter. … With this lady I am not going to go far. Courage. We’ll see.”
Courage, however, was an attribute Morath had in spades. Although undefeated, she was frequently frustrated. The journals, typed on an ancient Remington typewriter, are a polyglot mix of English, French, German, and the occasional Romanian, as she records her itinerary, weather reports, and personal commentary. She voyaged, as she wrote, “on foot, drove cars, hitched truck rides, rode trains, ferries, boats and steamers.” In practice it was almost entirely by train or car, the Danube being out of bounds to private travelers, with her program prescribed for her. Irritations, delays, and perplexity were endemic: “From Sinaia to Comarna, co-operative for carpet making. Up to a place called Costa. Great view. But no photos. I am driven crazy by not getting any material. Drive to Brasov, Kronstadt in German. Totally Germanic in aspect. Dinner with a Madame Thalmann. Don’t know why.”
Morath had no publication or exhibition planned when she made the Danube journey, nor any anticipated date to resume. Yet two months later, she embarked again on her quest. This time she was more assertive: “I am adamant. Finally obtain permit to sit on one of the tribunes to photograph the parade celebrating victory of Communism. Hot. I still suffer from a kind of isolation.” Exasperated by constant interruptions and requests to show her permit, Morath was a street photographer barred from photographing on the street, continuously reminded of how she was external to the events she witnessed. Hotels are so “grimy” she retires to bed without eating. Banned from accepting an invitation to a wedding party by her minder, casting a sad farewell glance at the delicious food on offer she retires to bed “to eat chocolate.”
Morath’s first voyage on the Danube followed the closing of the Iron Curtain; the last came in the wake of its opening, in 1993. The collapse of the Soviet Union coincided with a proposal from Kurt Kaindl and his wife, Brigitte Blüml, that together they retrace Morath’s tracks along the river. On the first expedition, Morath’s pictures had received their principal exposure in the form of a long photo-essay published in Paris Match in 1959. Kaindl also knew how Morath still longed to pursue her Danubian theme, her lifelong aim to create an extended photo-essay. He assembled the proposal for a book and an exhibition at the new national gallery of photography, the Fotohof, where he and his wife had formed part of a collective of curator-directors. Morath accepted with alacrity, sending a handwritten letter proposing she take a plane from her latest exhibition opening in Pamplona.
While her first trips were self-financed and made alone when she was in her early thirties, on the later trip Morath was in her seventies. Kaindl and Blüml, managing the project, took turns accompanying her on five trips over two years. They obtained funding and brought the publisher Otto Müller on board; Kaindl proposed a monograph similar to Claudio Magris’s magnum opus, Danube: A Sentimental Journey from the Source to the Black Sea (1986), and was at once accepted. The 1994 voyage, however, was marred by technical problems aboard a boat in the Danube Delta whose ignition kept cutting out as it dodged across shipping lanes, intermittently blocking the traffic and risking being mown down. Fuel shortages persisted, and whole villages banded together to supply enough for transport to the next stopping point. Kaindl’s photographs show Morath aboard yet almost indistinguishable, shrouded in borrowed hats, scarves, and fisherman’s oilskins against the penetrating cold.
Morath liked to point out how a photograph is made in a fraction of a second, yet the image may be the result of years of observation. When the Fotohof opened in Salzburg, in 2012, on the newly named Inge-Morath-Platz, an exhibition showcased Morath photographs. Behind fifty years of creative work was a lifelong yearning: “I secretly long for that stretch of land along the border,” she once said. “When someone asks me ‘Where are you from? Where do you feel at home?’ then—apart from where I’ve lived so long in America—here in these vineyards, my childhood paradise. But the land across the border, about which my mother Titti told me so much, is also a part of it. Strange that I’m rediscovering these things now.”
*This article was updated April 27, 2016.
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Found inFrom Persia to Iran, 1960.
Inge Morath, 1992: p. 6 (b. 1923 in Graz)
N.Y. times, Jan. 31, 2002 (Inge Morath; photographer; b. Inge Moräth, May 27, 1923 in Graz, Austria; worked in Berlin, Paris (Magnum), and London; married Arthur Miller in 1962; died yesterday in Manhattan, aged 78, had lived in Roxbury, Conn.)
Information from 678 converted Dec. 15, 2014 (journalist as well as a photographer)
Wikipedia, May 4, 2016 (Ingeborg Hermine "Inge" Morath; born May 27, 1923 in Graz, Austria; died January 30, 2002 New York City; photographer. In 1953, she joined the Magnum Photos Agency, founded by top photographers in Paris, and became a full photographer with them in 1955. In 1955, she published her first collection of photographs, a total of 30 monographs during her lifetime. Morath was also the third and last wife of playwright Arthur Miller; their daughter is screenwriter/director Rebecca Miller)
<https://en.wikipedia.org/wiki/Inge_Morath>
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Inge Morath / Saul Steinberg
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Please click images to view them full size. Saul Steinburg was an American artist during the 1900’s, renowned for his drawings that appeared in “The New Yorker” that spanned over six decades....
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Brighde McGahey A2 Photography
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http://brighdemcgaheya2photography.weebly.com/inge-morath--saul-steinberg.html
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Biography Captures The Charisma And Confidence Of Photographer Inge Morath
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[
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[
"Susan Stamberg",
"www.wkar.org",
"susan-stamberg"
] |
2018-12-10T00:00:00
|
Biographer Linda Gordon chronicles Morath's escape from Nazi Germany, her boundary-breaking career and her marriage to playwright Arthur Miller.
|
en
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WKAR Public Media
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https://www.wkar.org/2018-12-10/biography-captures-the-charisma-and-confidence-of-photographer-inge-morath
|
"I'm fascinated by the necessity of quick decisions," Inge Morath told me more than 30 years ago, when she came to NPR for an interview. Morath was in the business of quick decisions — as a photographer and photojournalist she was the first woman to be accepted as a full member of the Magnum photo agency.
Now, her life is the subject of a new biography by Linda Gordon. It recounts Morath's escape from Nazi Germany, her boundary-breaking career, and her marriage to playwright Arthur Miller.
Morath met Miller — and his then-wife Marilyn Monroe — in 1960 while she was taking publicity stills on the set of the film The Misfits. It was Monroe's last film, and Miller had written it for his wife.
"Inge took some very, very beautiful and sympathetic photographs of Marilyn Monroe," Gordon says. "But Miller had struck her as intensely interesting — and he was quite impressed," Gordon says.
Miller and Monroe's relationship had been on the rocks for some time. He and Morath had an affair and the two married in 1962. They were together for 40 years, until Inge's death in 2002.
In our 1987 interview, I asked Morath about whether she wished she'd paid more attention to Monroe, as Miller's first wife. In a marriage, "you have to be yourself," she said. "Even if you are the first, the second, or the third wife — if you try to take over anything, or imitate anything, I think it'd be a disaster."
"She was a woman of extraordinary self-confidence," says Gordon. "One sees that throughout her life ... self-confidence as a photographer, as a person, but also as her own sexual being."
Morath had a magnetic personality — and plenty of affairs.
"She was just a person who drew you in," says Gordon.
As a young woman, Morath had a rough time in Germany during the war.
"After Allied bombs started falling heavily on Berlin — and landing very near the munitions factory where she was a forced worker — she joined columns of hundreds, probably thousands, of people on foot just leaving Berlin," Gordon explains.
The biographer says Morath walked 455 miles to her parents in Salzburg, Austria. They were Nazi sympathizers — she was not. In Paris after the war, Morath got a job at Magnum, the elite photo agency founded by the great pioneers of photojournalism, Robert Capa and Henri Cartier-Bresson.
There, she did everything from secretarial work, to working with contact sheets, to cleaning the office, Gordon says, all the while honing her skills in photography. In 1955, she became Magnum's first full female member.
With her camera, Morath followed her passion for travel. In Spain, she wangled her way into the dressing room of the great toreador Antonio Ordóñez. Her 1954 photo shows him preparing for combat: his muscled chest is bare, and he's wearing skin-tight, sequin-embroidered pants.
It took chutzpah to get into his dressing room, where women were considered bad luck. "To get into that space she half jokingly made a completely outrageous argument," Gordon says. "She said, 'I'm wearing pants when I work, therefore I'm neither man nor woman.' "
In Seville, Morath put on a flamenco outfit and climbed up onto a chair to shoot dancers, whirling to the music in their layered red and white skirts and petticoats. "You only see these people from the waist down ..." Gordon says. "She has captured the movement — but with a camera just slow enough so that some of the picture is blurred as you see the skirts whirling around."
Outside of photography circles, Morath is known more for her marriage than for her work. "I do not like the fact that many people only know her as a wife of Arthur Miller — and, of course, the wife immediately after Marilyn Monroe — but my impression is that she was pretty copacetic about it," Gordon says.
There are trade-offs to familiarity, Morath told me in 1987. For example, when working on a portrait, she said she didn't necessarily want to meet her subject first.
There is a "wonderful element to a new meeting," she explained. Being strangers, the photographer and the subject are placed into a "sparring" position. "That's interesting," she said. "You kind of show more of yourself."
Copyright 2023 NPR. To see more, visit https://www.npr.org.
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art and cultural memory archive
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[
"Author Dr Marcus Bunyan"
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2009-03-03T12:39:36+00:00
|
Posts about inge morath award written by Dr Marcus Bunyan
|
en
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Art Blart _ art and cultural memory archive
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https://artblart.com/tag/inge-morath-award/
|
March 2009
“To take pictures had become a necessity and I did not want to forgo it for anything.”
~ Inge Morath
Inge Morath (American born Austria, 1923-2002)
From the series about Regensburg Museums
1999
Gelatin silver print
The Magnum Foundation and the Inge Morath Foundation announce the sixth annual Inge Morath Award. The annual prize of $5,000 is awarded by the Magnum Foundation to a female documentary photographer under the age of 30, to support the completion of a long-term project. One award winner and up to two finalists are selected by a jury composed of Magnum photographers.
Inge Morath was an Austrian-born photographer who was associated with Magnum Photos for nearly fifty years. After her death in 2002, the Inge Morath Foundation was established to manage Morath’s estate and facilitate the study and appreciation of her contribution to photography.
Because Morath devoted much of her enthusiasm to encouraging women photographers, her colleagues at Magnum Photos established the Inge Morath Award in her honour. The Award is now given by the Magnum Foundation as part of its mission of supporting new generations of socially-conscious documentary photographers, and is administered by the Magnum Foundation in collaboration with the Inge Morath Foundation.
Past winners of the Inge Morath Award include: Kathryn Cook (US, ’08) for Memory Denied: Turkey and the Armenian Genocide; Olivia Arthur (UK, ’07) for The Middle Distance; Jessica Dimmock (US, ’06) for The Ninth Floor; Mimi Chakarova (US, ’06) for Sex Trafficking in Eastern Europe; Claudia Guadarrama (MX, ’05) for Before the Limit; and Ami Vitale (US, ’02), for Kashmir.
Text from The Inge Morath Foundation website
Inge Morath (American born Austria, 1923-2002)
Visitor in the Metropolitan Museum
1958
Gelatin silver print
Inge Morath (American born Austria, 1923-2002)
Window washer
1958
Gelatin silver print
“I have photographed since 1952 and worked with Magnum Photos since 1953, first out of Paris, later out of New York. I am usually labeled as a photojournalist, as are all members of Magnum. I am quoting Henri Cartier-Bresson’s explanation for this: He wrote to John Szarkowski in answer to an essay in which Szarkowski stated that Cartier-Bresson labels himself as a photojournalist.
“May I tell you the reason for this label? As well as the name of its inventor? It was Robert Capa. When I had my first show in the Museum of Modern Art in New York in 1948 he warned me: ‘watch out what label they put on you. If you become known as a surrealist […] then you will be considered precious and confidential. Just go on doing what you want to do anyway but call yourself a photojournalist, which puts you into direct contact with everything that is going on in the world.'”
It is in this understanding that we have been working as a group and yet everyone following their own way of seeing. The power of photography resides no doubt partly in the tenacity with which it pushes whoever gets seriously involved with it to contribute in an immeasurable number of forms his own vision to enrich the sensibility and perception of the world around him.
[In the 1950s] the burden of the already photographed was considerably less than now. There was little of the feeling of being a latecomer who has to overwhelm the huge existing body of the photographic oeuvre – which, in photography as in painting and literature, necessarily leads first to the adoption and then rejection of an elected model, until one’s own work is felt to be equal or superior, consequently original.
Photography is a strange phenomenon. In spite of the use of that technical instrument, the camera, no two photographers, even if they were at the same place at the same time, come back with the same pictures. The personal vision is usually there from the beginning; result of a special chemistry of background and feelings, traditions and their rejection, of sensibility and voyeurism. You trust your eye and you cannot help but bare your soul. One’s vision finds of necessity the form suitable to express it.”
Inge Morath, Life as a Photographer, 1999
Text from The Inge Morath Foundation website
Inge Morath (American born Austria, 1923-2002)
Mrs. Eveleigh Nash, London, 1953
1953
Gelatin silver print
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[] |
[] |
[
"Inge Morath"
] | null |
[
"IMDb"
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Inge Morath. Camera and Electrical Department: Personal Velocity: Three Portraits. Inge Morath was born on 27 May 1923 in Graz, Austria. She is known for Personal Velocity: Three Portraits (2002), Angela und der Engel (1995) and Love, Marilyn (2012). She was married to Arthur Miller and Jack Ernest Lionel Birch. She died on 30 January 2002 in New York City, New York, USA.
|
en
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IMDb
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https://www.imdb.com/name/nm1269547/
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While photographing the making of Denen man nicht vergibt (1960), she accompanied its director, John Huston, and his friends on a duck hunt. Up the river, she noticed its star, Audie Murphy, in the water, having fallen out of his boat. She stripped to her underwear, reached Murphy, who was in the last stages of exhaustion, and hauled him ashore by her bra strap while the hunt continued uninterrupted over them.
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https://hotelviento10.es/en/art/136-fotografos-de-la-agencia-magnum-en-cordoba-2-inge-morath
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en
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Magnum agency back in Córdoba: Inge Morath.
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[
"Inge Morath",
"Magnum Photo",
"photo",
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[
"Luis Calvo"
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2018-11-29T10:53:31+00:00
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Cartier-Bresson (of whom we have already talked about in this blog) and Robert Capa were not the only souls to have taken pictures in Córdoba. The Austrian photographer Inge Morath also visited the city around the second half of the XXth century; not many pictures from this trip have seen the light, but the few that did cannot go unmentioned here.
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/templates/viento10_2017/favicon.ico
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Cartier-Bresson (of whom we have already talked about in this blog) and Robert Capa were not the only souls to have taken pictures in Córdoba. The Austrian photographer Inge Morath also visited the city around the second half of the XXth century; not many pictures from this trip have seen the light, but the few that did cannot go unmentioned here.
Inge Morath (Austria, 1923-New York, 2002) was the first woman to have worked for the Magnum Agency, back then being a photographer was exclusively a man’s job. She officially begun working for the agency in 1955, after a first period in which she worked as guest editor in the Agency at the request of Robert Capa.
She had however worked with Ernst Haas for Life magazine as editor and researcher around 1950 before joining the Magnum Agency. She was a good friend of Henri Cartier-Bresson and also traveled the world taking photographs of the common folk and the regions she visited.
After the 1960’s Inge decided to focus more on her private projects with his husband, the writer Arthur Miller, who she married after the tragic death of Marilyn Monroe and with whom she would remain until his death. Many artists and other characters would enter her camera during those years: Marilyn Monroe, Igor Stravinski, Jean Cocteau, Picasso, Pablo Neruda, Henry Moore and most of the New York intellectuals. She portrayed them all.
Also, between the 50’s and the 60’s she would be sent all over the world. One of her first jobs was Spain, a country that she would go back to afterwards. She traveled along with Cartier-Bresson in 1953 on a mission to immortalize Picasso for Holiday magazine whom she befriended. Inge researched a lot during that trip. She wanted to portray the people in their daily humanities, she wanted to be a part of it too.
Inge used to shoot most of his picture in black and white, although she always carried a camera loaded with a color film. However, those pictures were thought to be lost up until 2007 when John Jacob, curator in the Inge Morath Foundation, decided to try to solve the issue. It was all, apparently, a cataloging error by Magnum Agency, as they used to register all black and white pictures but they did not register in the same manner the color ones. That made it very difficult to find any specific color picture. Inge Morath took approximately around 15,000 color pictures.
The pictures known to have been taken in Córdoba date from 1954, or at least so they do the ones depicting the Mezquita. It would be great to have access to the archives of the Magnum Agency in order to go through the negatives that resulted from this trip to Córdoba. As of today, however, this seems not feasible since the Agency only publishes those pictures authorized by their respective photographers.
Not only did Inge visited Córdoba but she also toured around Spain: Madrid, Chinchón, Tordesillas, Zamora, Toledo, Sevilla, El Rocío, Guadix, Las Hurdes, Cáceres, Pamplona, Ávila… She portrayed the forgotten Spain with all its embedded clichés. Her first work on Spain was then published in 1955 under the title “War on Sadness” (Guerre à la Tristesse), although it never reached Spain because of the Regime. Inge Morath would keep coming back to Spain to take pictures and do more photographic features of the country for Life, Vogue or Paris Match magazines.
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https://www.liliums-compendium.co.uk/post/inge-morath-gifted-gallery
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Inge Morath - Gifted Gallery
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] |
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""
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[
"Lilium"
] |
2024-07-24T18:53:17.974000+00:00
|
Ingeborg Hermine Morath, born 27 May 1923, was an Austrian photographer. In 1953, she joined the Magnum Photos Agency, founded by top photographers in Paris, and became a full photographer with the agency in 1955.After studying languages in Berlin, she became a translator, then a journalist and the Austrian editor for Heute, an Information Service Branch publication based in Munich. All her life, Morath would remain a prolific diarist and letter-writer.She began to photograph during a visit to V
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en
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https://static.parastorage.com/client/pfavico.ico
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Liliums-compendium
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https://www.liliums-compendium.co.uk/post/inge-morath-gifted-gallery
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Ingeborg Hermine Morath, born 27 May 1923, was an Austrian photographer. In 1953, she joined the Magnum Photos Agency, founded by top photographers in Paris, and became a full photographer with the agency in 1955.
After studying languages in Berlin, she became a translator, then a journalist and the Austrian editor for Heute, an Information Service Branch publication based in Munich. All her life, Morath would remain a prolific diarist and letter-writer.
She began to photograph during a visit to Venice. "It was instantly clear to me that from now on I would be a photographer", she wrote. "As I continued to photograph I became quite joyous. I knew that I could express the things I wanted to say by giving them form through my eyes." Morath applied for an apprenticeship with Simon Guttman, who was then an editor for Picture Post and running the picture-agency Report. After Morath had spent several months working as Guttman's secretary, she had an opportunity to take photographs. She sold her first photographs - of opening nights, exhibitions, inaugurations, etc. - under the pseudonym "Egni Tharom", her name spelled backwards.
A friend of photographer Ernst Haas, she wrote articles to accompany his photographs and was invited by Robert Capa and Haas to Paris to join the newly founded Magnum agency as an editor and researcher. She began photographing in London in 1951, and joined Magnum Photos as a photographer in 1953. While working on her own first assignments, Morath also assisted Henri Cartier-Bresson during 1953-54, becoming a full member in 1955.
Robert Capa
Henri Cartier-Bresson
Ernst Haas
Photography by Ernst Haas
In the following years, Morath traveled extensively in Europe, North Africa and the Middle East. Her special interest in the arts found expression in photographic essays published by a number of leading magazines. After her marriage to playwright Arthur Miller in 1962, Morath settled in New York and Connecticut. She first visited the USSR in 1965. In 1972 she studied Mandarin and obtained a visa to China, making the first of many trips to the country in 1978.
Some of her most important work consists of portraits as well as candid street photography. She was also adept at photographing places: her pictures of Boris Pasternak’s home, Pushkin’s library, Chekhov’s house, Mao Zedong’s bedroom, artists’ studios and cemetery memorials.
Inge Morath died in New York City on 30 January 2002, aged 78. The book Last Journey (2002), and Strasseger's film Grenz Räume (Border Space, 2002), document Morath's visits to her homeland during the final years of her life.
Reading Recommendations & Content Considerations
Inge Morath Inge Morath
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4941
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dbpedia
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2
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https://www.photo.net/forums/topic/198827-inge-morath-and-leica-lenses/
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inge morath and Leica lenses
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[
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""
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[
"kim_sherman"
] |
2005-08-06T21:07:30+00:00
|
i've been reading a lot about inge morath (magnum photographer, 3rd wife of Arthur Miller, etc.), and in reading her book _Last Journey_, i was trying to determine what lenses she used when shooting these photographs. One lens definitely looks to be a 35/1.4 (pre-asph), but i can't tell if her ot...
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//content.invisioncic.com/l323473/monthly_2022_10/photonet-favicon.png
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Photo.net
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https://www.photo.net/forums/topic/198827-inge-morath-and-leica-lenses/
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https://archives.yale.edu/repositories/11/resources/941
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Collection: Inge Morath Photographs and Papers
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Photographic material in the collection includes contact sheets, color slides, and photographic prints.
Morath's documentary photographs depict people and events in a wide range of countries, including Austria, China, England, France, Germany, India, Italy, Romania, Russia, Spain, and Tunisia, as well as throughout Mexico and the United States.
The collection includes portrait studies of public figures, including Yul Brynner, Alexander Calder, Alberto Giacometti, Dustin Hoffman, Henry Moore, Anaïs Nin, Pablo Picasso, Andrei Voznesensky, and Yevgeny Yevtushenko. It also includes projects with her longtime collaborator, artist Saul Steinberg.
Papers in the collection include story lists, captions, notebooks, general files, and publicity related chiefly to her photography. The collection also includes audiovisual material, electronic files, and artifacts.
A group of printed material accompanies the collection and consists of an incomplete set of her monographs, as well as works related to travel, languages, and other subjects.
The collection also chronicles Morath's personal life, including her marriage and family with playwright Arthur Miller, and provides ancillary documentation of his work.
In this guide to the collection, library staff chiefly retained Morath's titles and spellings, while contact sheets include authorized forms of names derived from her story lists.
Chronological arrangements within the collection reflect the image creation date, not the date the photograph was printed. Notes throughout the collection include Morath's "story numbers," when easily discerned by library staff.
Series I, Photographs, includes the bulk of photographic material created by Morath and her personal and family photographs, as well as photographs she collected by other photographers.
Series II, Papers, consists of papers that document the life and work of Morath, including story captions, notebooks, correspondence, clippings, financial records, and awards.
Series III, Photographs and Papers from the Morath-Miller Home, consists of material in the home of Morath and Arthur Miller in Roxbury, Connecticut, immediately before the Beinecke Rare Book and Manuscript Library acquired the material in 2014. It includes personal and family photographs, correspondence, writings and travel notebooks, address books, visiting cards, exhibition catalogs, publicity material, art, and ephemera.
Series IV, Audio Visual Material, consists of sound recordings, videocassettes, and films by or about Morath, and includes interviews with her and documentation of her exhibitions.
Series V, Electronic Files, chiefly consists of the electronic files created by Morath, as well as by the Inge Morath Foundation, including image files and backup files, as well as operating system and utility program files used by her.
Series VI, Objects, consists of the items Morath used as a photographer, including a camera, film canisters, and rubber ink stamps used to mark her prints, as well as other personal effects, including scarves and a suitcase.
The Inge Morath Photographs and Papers is the physical property of the Beinecke Rare Book & Manuscript Library, Yale University. Ms. Rebecca Miller, her heirs and assigns retain all commercial rights in photographs and writings by Morath. Literary rights, including copyright, of others belong to the authors or their legal heirs and assigns. For further information, consult the appropriate curator.
The Beinecke Rare Book & Manuscript Library has the limited right to authorize scholars to reproduce up to five of Ms. Morath’s images in a scholarly publication.
Any exhibition or reproduction of contact sheets or work prints by Ms. Morath requires their identification as contact sheets or work prints.
The Beinecke Rare Book & Manuscript Library will not reproduce for any purpose photographs or images identified as "Family Photographs" in boxes 509-539, 612, and 701-703.
Photographs by Ms. Morath from the "Mask series" of photographs share copyright with the Saul Steinberg Foundation, and any use thereof requires the approval of the Saul Steinberg Foundation.
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4941
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dbpedia
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0
| 18
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https://longexposureimages.wordpress.com/2020/05/11/mondays-photography-inspiration-inge-morath/
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en
|
Monday’s Photography Inspiration – Inge Morath
|
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2020-05-11T00:00:00
|
"Photography is a strange phenomenon. You trust your eye and you cannot help but bare your soul. One's vision finds of necessity the form suitable to express it." - Inge Morath Inge Morath was born in Graz, Austria, in 1923. First educated in French-speaking schools, Morath relocated in the 1930s with her family to Darmstadt,…
|
en
|
Photography & Vision
|
https://longexposureimages.wordpress.com/2020/05/11/mondays-photography-inspiration-inge-morath/
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“Photography is a strange phenomenon. You trust your eye and you cannot help but bare your soul. One’s vision finds of necessity the form suitable to express it.” – Inge Morath
Inge Morath was born in Graz, Austria, in 1923. First educated in French-speaking schools, Morath relocated in the 1930s with her family to Darmstadt, a German intellectual center, and then to Berlin, where Morath’s father directed a laboratory specializing in wood chemistry. Morath was registered at the Luisenschule near Bahnhof Friedrichstraße.
Morath’s first encounter with avant-garde art was the Entartete Kunst (Degenerate Art) exhibition organized by the Nazi Party in 1937, which sought to inflame public opinion against modern art. “I found a number of these paintings exciting and fell in love with Franz Marc’s Blue Horse“, Morath later wrote. “Only negative comments were allowed, and thus began a long period of keeping silent and concealing thoughts.”
After finishing high school, Morath passed the Abitur and was obliged to complete six months of service for the Reichsarbeitsdienst (Reich Labour Service) before entering Berlin University. At university, Morath studied languages. She became fluent in French, English and Romanian in addition to her native German. To these she later added Spanish, Russian and Chinese. “I studied where I could find a quiet space, in the University and the Underground stations that served as air-raid shelters. I did not join the Studentenschaft (Student Body).”
Toward the end of World War II, Morath was drafted for factory service in Tempelhof, a neighbourhood of Berlin, alongside Ukrainian prisoners of war. During an attack on the factory by Russian bombers, she fled on foot to Austria. In later years, Morath refused to photograph war, preferring to work on stories that showed its consequences.
After studying languages in Berlin, she became a translator, then a journalist and the Austrian editor for Heute, an Information Service Branch publication based in Munich. All her life, Morath would remain a prolific diarist and letter-writer, retaining a dual gift for words and pictures that made her unusual among her colleagues.
A friend of photographer Ernst Haas, she wrote articles to accompany his photographs and was invited by Robert Capa and Haas to Paris to join the newly founded Magnum agency as an editor and researcher. She became a full member in 1955.
She began photographing in London in 1951, and joined Magnum Photos as a photographer in 1953. While working on her own first assignments, Morath also assisted Henri Cartier-Bresson during 1953-54, becoming a full member in 1955.
Like many Magnum members, Morath worked as a still photographer on numerous motion picture sets. Having met director John Huston while she was living in London, Morath worked on several of his films. Huston’s Moulin Rouge (1952) was one of Morath’s earliest assignments, and her first time working in a film studio. When Morath confessed to Huston that she had only one roll of color film to work with and asked for his help, Huston bought three more rolls for her, and occasionally waved to her to indicate the right moments to step in with her camera. Huston later wrote of Morath that she “is a high priestess of photography. She has the rare ability to penetrate beyond surfaces and reveal what makes her subject tick.”
In the following years, Morath traveled extensively in Europe, North Africa and the Middle East. Her special interest in the arts found expression in photographic essays published by a number of leading magazines. After her marriage to playwright Arthur Miller in 1962, Morath settled in New York and Connecticut. She first visited the USSR in 1965. In 1972 she studied Mandarin and obtained a visa to China, making the first of many trips to the country in 1978.
Morath was at ease anywhere. Some of her most important work consists of portraits, but of passers-by as well as celebrities. She was also adept at photographing places: her pictures of Boris Pasternak’s home, Pushkin’s library, Chekhov’s house, Mao Zedong’s bedroom, artists’ studios and cemetery memorials are permeated with the spirit of invisible people still present. Inge Morath died in New York City on 30 January 2002.
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Austrian photographer (1923-2002)
Ingeborg Hermine Morath (German: [ˈɪŋəbɔrk ˈmoːraːt] ⓘ; 27 May 1923 – 30 January 2002) was an Austrian photographer.[2] In 1953, she joined the Magnum Photos Agency, founded by top photographers in Paris, and became a full photographer with the agency in 1955. Morath was the third wife of Pulitzer Prize-winning playwright Arthur Miller; their daughter is screenwriter/director Rebecca Miller.
Early years (1923–1945)
[edit]
Morath was born in Graz, Austria, to Mathilde (Wiesler) and Edgar Morath,[3] scientists whose work took them to different laboratories and universities in Europe during her childhood. Her parents had converted from Catholicism to Protestantism.[4] First educated in French-speaking schools, Morath relocated in the 1930s with her family to Darmstadt, a German intellectual center, and then to Berlin, where Morath's father directed a laboratory specializing in wood chemistry. Morath was registered at the Luisenschule near Bahnhof Friedrichstraße.[5]
Morath's first encounter with avant-garde art was the Entartete Kunst (Degenerate Art) exhibition organized by the Nazi Party in 1937, which sought to inflame public opinion against modern art. "I found a number of these paintings exciting and fell in love with Franz Marc's Blue Horse", Morath later wrote. "Only negative comments were allowed, and thus began a long period of keeping silent and concealing thoughts."[6]
After finishing high school, Morath passed the Abitur and was obliged to complete six months of service for the Reichsarbeitsdienst (Reich Labour Service) before entering Berlin University. At university, Morath studied languages. She became fluent in French, English and Romanian in addition to her native German (to these she later added Spanish, Russian and Chinese). "I studied where I could find a quiet space, in the University and the Underground stations that served as air-raid shelters. I did not join the Studentenschaft (Student Body)."[7]
Toward the end of World War II, Morath was drafted for factory service in Tempelhof, a neighbourhood of Berlin, alongside Ukrainian prisoners of war.[8]
During an attack on the factory by Russian bombers, she fled on foot to Austria. In later years, Morath refused to photograph war, preferring to work on stories that showed its consequences.[9]
Middle years (1945–1962)
[edit]
After the war, Morath worked as a translator and journalist. In 1948, she was hired by Warren Trabant, first as Vienna Correspondent and later as the Austrian editor, for Heute, an illustrated magazine published by the Office of War Information in Munich.[10] Morath encountered photographer Ernst Haas in post-war Vienna, and brought his work to Trabant's attention.[11] Working together for Heute, Morath wrote articles to accompany Haas' pictures. In 1949, Morath and Haas were invited by Robert Capa to join the newly founded Magnum Photos in Paris, where she started as an editor. Working with contact sheets sent into the Magnum office by founding member Henri Cartier-Bresson fascinated Morath. "I think that in studying his way of photographing I learned how to photograph myself, before I ever took a camera into my hand."[12]
Morath was briefly married to the British journalist Lionel Birch and relocated to London in 1951. That same year, she began to photograph during a visit to Venice. "It was instantly clear to me that from now on I would be a photographer", she wrote. "As I continued to photograph I became quite joyous. I knew that I could express the things I wanted to say by giving them form through my eyes."[13] Morath applied for an apprenticeship with Simon Guttman, who was then an editor for Picture Post and running the picture-agency Report. When Guttman asked what Morath wanted to photograph, and why, she answered that "after the isolation of Nazism I felt I had found my language in photography."[14] After Morath had spent several months working as Guttman's secretary, she had an opportunity to take photographs. She sold her first photographs - of opening nights, exhibitions, inaugurations, etc. - under the pseudonym "Egni Tharom", her name spelled backwards.[15]
Morath divorced Birch and returned to Paris to pursue a career in photography. In 1953, after Morath presented her first large picture story, on the Worker Priests of Paris, to Capa, he invited her to join Magnum as a photographer. Her first assignments were stories that did not interest "the big boys." She went to London on an early assignment to photograph the residents of Soho and Mayfair. Morath's portrait of Mrs. Eveleigh Nash, from that assignment, is among her best-known works. At Capa's suggestion, in 1953–54, Morath worked with Cartier-Bresson as a researcher and assistant. In 1955 she was invited to become a full member of Magnum Photos. During the late 1950s, Morath traveled widely, covering stories in Europe, the Middle East, Africa, the United States, and South America, for such publications as Holiday, Paris Match, and Vogue.[16] In 1955 she published Guerre à la Tristesse, photographs of Spain, with Robert Delpire, followed by De la Perse à l'Iran, photographs of Iran, in 1958. Morath published more than thirty monographs during her lifetime.
Like many Magnum members, Morath worked as a stills photographer on numerous motion picture sets. Having met director John Huston while she was living in London, Morath worked on several of his films. Huston's Moulin Rouge (1952) was one of Morath's earliest assignments, and her first time working in a film studio. When Morath confessed to Huston that she had only one roll of color film to work with and asked for his help, Huston bought three more rolls for her, and occasionally waved to her to indicate the right moments to step in with her camera.[17] Huston later wrote of Morath that she "is a high priestess of photography. She has the rare ability to penetrate beyond surfaces and reveal what makes her subject tick."[18]
In 1959, while photographing the making of The Unforgiven, starring Audrey Hepburn, Burt Lancaster, and Audie Murphy, Morath accompanied Huston and his friends duck hunting on a mountain lake outside Durango, Mexico. Photographing the excursion, Morath saw through her telephoto lens that Murphy's companion had capsized their boat 350 yd (320 m) from shore. She could see that Murphy was stunned, and the men were struggling. A skilled swimmer, Morath swam out, stripped down and used her bra straps to haul the two men ashore .[19]
Morath worked again with Huston in 1960 on the set of The Misfits, a film featuring Marilyn Monroe, Clark Gable and Montgomery Clift, with a screenplay by Arthur Miller. Magnum Photos had been given exclusive rights to photograph the making of the movie, and Morath and Cartier-Bresson were the first of nine photographers to work on location outside Reno, Nevada during the process.[20][21] Morath met Miller while working on The Misfits.
Later years (1962–2002)
[edit]
Morath married Arthur Miller on 17 February 1962 and relocated permanently to the United States. Miller and Morath's first child, Rebecca, was born in September 1962. The couple's second child, Daniel, was born in 1966 with Down syndrome and was institutionalized shortly after his birth.[22] Rebecca Miller is a film director, actress, and writer who is married to the actor Daniel Day-Lewis.
After re-locating to the United States, during the 1960s and 1970s Morath worked closer to home, raising a family with Miller and working with him on several projects. Their first collaboration was the book In Russia (1969), which, together with Chinese Encounters (1979), described their travels and meetings in the Soviet Union and the People's Republic of China. In the Country, published in 1977, was an intimate look at their immediate surroundings. For both Miller, who had lived much of his life in New York City, and Morath, who had come to the US from Europe, the Connecticut countryside offered a fresh encounter with America.
Reflecting on the importance of Morath's linguistic gifts, Miller wrote that "travel with her was a privilege because [alone] I would never been able to penetrate that way."[23] In their travels Morath translated for Miller, while his literary work was the entrée for Morath to encounter an international artistic elite. The Austrian photographer Kurt Kaindl, her long-time colleague, noted that "their cooperation develop[ed] without outward pressure and is solely motivated by their common interest in the people and the respective cultural sphere, a situation that corresponds to Inge Morath's working style, since she generally feels inhibited by assignments."[24]
Morath sought out, befriended, and photographed artists and writers. During the 1950s she photographed artists for Robert Delpire's magazine L'Oeil, including Jean Arp and Alberto Giacometti. She met the artist Saul Steinberg in 1958. When she went to his home to make a portrait, Steinberg came to the door wearing a mask which he had fashioned from a paper bag. Over a period of several years, they collaborated on a series of portraits, inviting individuals and groups of people to pose for Morath wearing Steinberg's masks. Another long-term project was Morath's documentation of many of the most important productions of Arthur Miller's plays.
Some of Morath's signal achievements are in portraiture, including posed images of celebrities as well as fleeting images of anonymous passersby. Her pictures of Boris Pasternak's home, Pushkin's library, Chekhov's house, Mao Zedong's bedroom, as well as artists' studios and cemetery memorials, are permeated with the spirit of invisible people still present. The writer Philip Roth, whom Morath photographed in 1965, described her as "the most engaging, sprightly, seemingly harmless voyeur I know. If you're one of her subjects, you hardly know your guard is down and your secret recorded until it's too late. She is a tender intruder with an invisible camera."[18]
As the scope of her projects grew, Morath prepared extensively by studying the language, art, and literature of a country to encounter its culture fully. Although photography was the primary means through which Morath found expression, it was but one of her skills. In addition to the many languages in which she was fluent, Morath was also a prolific diary and letter-writer; her dual gift for words and pictures made her unusual among her colleagues. Morath wrote extensively, and often amusingly, about her photographic subjects. Although she rarely published these texts during her lifetime, posthumous publications have focused upon this aspect of her work. They have brought together her photographs with journal writings, caption notes, and other archival materials relating to her various projects.
During the 1980s and 1990s, Morath continued to pursue both assignments and independent projects. The film Copyright by Inge Morath was made by German filmmaker Sabine Eckhard in 1992, and was one of several films selected for a presentation of Magnum Films at the Berlin International Film Festival in 2007. Eckhard filmed Morath at home and in her studio, and in New York and Paris with her colleagues, including Cartier-Bresson, Elliott Erwitt and others. In 2002, working with film director Regina Strassegger, Morath fulfilled a long-held wish to revisit the lands of her ancestors, along the borderlands of Styria and Slovenia. This mountainous region, once part of the Austro-Hungarian Empire, had become the faultline between two conflicting ideologies after World War II and until 1991, when attempts at rapprochement led to conflict on both sides of the border. The book Last Journey (2002), and Strasseger's film Grenz Räume (Border Space, 2002), document Morath's visits to her homeland during the final years of her life.
Death
[edit]
Morath Miller died of cancer on January 30, 2002, at the age of 78.[2]
Honors and legacy
[edit]
1983 State of Michigan Senate Resolution NO 295; Tribute to Inge Morath.[citation needed]
1984 Doctor Honoris Causa Fine Arts, University of Connecticut, Hartford, US.[citation needed]
1992 Great Austrian State Prize for Photography.[citation needed]
2002, members of Magnum Photos established the Inge Morath Award in honor of their colleague as an annual award. It is administered by the Inge Morath Foundation, and is given to a woman photographer under the age of 30, to support her work towards the completion of a long-term project.[citation needed]
2003, her family established the Inge Morath Foundation to preserve and share her legacy.[citation needed]
Since 2012 Salzburg, Austria has an "Inge-Morath-Platz" in tribute to the photographer. It is also the location of the Fotohof, a photographic institution which has collaborated with her since the beginning of the 1980s [25]
Solo exhibitions
[edit]
1964 Inge Morath: Photographs, Gallery 104, Art Institute of Chicago, Illinois, US.
1979 Inge Morath: Photographs of China, Grand Rapids Art Museum, Michigan, US.
1984 Salesman in Beijing, Hong Kong Theatre Festival.
1988 Retrospective, Union of Photojournalists, Moscow, Russia; Sala del Canal Museum, Madrid, Spain; Rupertinum Museum, Salzburg, Austria.
1989 Portraits, Burden Gallery, Aperture Foundation, New York, New York, US; Norwich Cathedral, Norwich, UK; American Cultural Center, Brussels, Belgium.
1991 Portraits, Kolbe Museum Berlin, Germany; Rupertinum Museum Salzburg, Austria
1992/94 Retrospective, Neue Galerie Linz, Austria ;America House, Frankfurt, Germany; Hardenberg Gallery, Velbert, Germany; Galerie Fotogramma, Milano, Italy; Royal Photographic Society, Bath, UK; Smith Gallery and Museum, Stirling, UK; America House, Berlin, Germany; Hradcin Gallery, Prague, Czech Republic.
1994 Spain in the fifties, Spanish Institute, New York, US
1995 Spain in the fifties, Museo de Arte Contemporaneo, Madrid, Spain; Museo de Navarra, Pamplona, Spain.
1996 Inge Morath: Danube, Neues Schauspielhaus, Berlin, Germany; Leica Gallery, New York, US; Galeria Fotoforum, Bolzano, Italy.
1996 Women to Women, Takashimaya Gallery, Tokyo, Japan
1997 Photographs 1950s to 1990s, Tokyo Museum of Photography, Tokyo, Japan
1997 Inge Morath: Danube, Keczkemet Museum, Esztergom Museum, Hungary
1997 Retrospective Kunsthal, Rotterdam, Netherlands.
1998 Celebrating 75 Years Leica Gallery, New York, US.
1998 Retrospective, Edinburgh Festival, Edinburgh, UK; Museum of Photography in Charleroi, Belgium; Municipal Gallery, Pamplona, Spain.
1998 Inge Morath: Danube, Festival of Central European Culture, London, UK; Museen d. Stadt Regensburg, Regensburg, Germany.
1999 Spain in the Fifties, Museo del Cabilde, Montevideo, Uruguay.
1999 Retrospective, Kunsthalle Wien, Austria; FNAC Etoile, Paris, France; FNAC, Barcelona, Spain.
2002 Inge Morath: New York, Galerie Fotohof, Salzburg, Austria; Stadt Passau, Europäische; Wochen, Germany ESWE Forum, Wiesbaden; Esther Woerdehoff Galerie, Paris, France; Amerikahaus Tübingen, Germany.
2002 Inge Morath: Danube, City Gallery of Russe, Russe, Bulgaria.
2003 Exposition, Henri Cartier-Bresson Foundation, Paris, France.
2004 Inge Morath: Chinese Encounters, Pingyao International Photography Festival, Pingyao, China.
2004 Inge Morath: The Road to Reno, Chicago Cultural Center, Illinois, US.
2008 Well Disposed and Trying to See: Inge Morath and Arthur Miller in China, University of Michigan Museum of Art, Ann Arbor, US.[26]
2023 Where I See Color. For Her 100th Birthday, Fotohof, Salzburg, Austria[27]
Monographs
[edit]
1955 Guerre à la Tristesse. Delpire, France.
1956 Fiesta in Pamplona. Universe Books, US.
1956 Venice Observed. Reynal & Co., US.
1958 De la Perse à l'Iran. Robert Delpire, France.
1960 Bring Forth the Children: A Journey to the Forgotten People of Europe and the Middle East. McGraw-Hill, US.
1967 Le Masque (Drawings by Saul Steinberg). Maeght Editeur, France.
1969 In Russia. Viking Press, US.
1972 In Russia Penguin. ISBN 978-0-670-02028-7
1973 East West Exercises. Simon Walker & Co., US.
1975 Grosse Photographen unserer Zeit: Inge Morath. C.J. Bucher Verlag, Switzerland.
1977 In the Country. Viking Press, US.
1979 Inge Morath: Photographs of China. Grand Rapids Art Museum, US.
1979 Chinese Encounters. with Arthur Miller. Straus & Giroux, US.
1981 Bilder aus Wien: Der Liebe Augustin. Reich Verlag, Switzerland.
1984 Salesman in Beijing. with Arthur Miller. Viking Press, US. ISBN 978-0-670-61601-5
1986 Portraits. Aperture, US. ISBN 978-0-89381-244-7
1991 Russian Journal. Aperture Foundation, US. ISBN 978-1-85619-102-9
1992 Inge Morath: Photographs 1952 to 1992. Otto Müller/Verlag, Austria.
1994 Inge Morath: Spain in the Fifties. Arte con Texto, Spain.
1995 Donau. Verlag, Austria. ISBN 978-3-7013-0916-0
1996 Woman to Woman. Magnum Photos, Japan.
1999 Inge Morath: Portraits. Verlag, Austria.
1999 Arthur Miller: Photographed by Inge Morath. FNAC, Spain.
1999 Inge Morath: Life as a Photographer. Kehayoff Books, Germany. ISBN 978-3-929078-92-3
2000 Saul Steinberg Masquerade. Viking Studio, US. ISBN 978-0-670-89425-3
2002 New York. Otto Müller/Verlag, Austria. ISBN 978-3-7013-1048-7
2003 Inge Morath: Last Journey Prestel. ISBN 978-3-7913-2773-0
2006 The Road to Reno. Steidl, Germany. ISBN 978-3-86521-203-0
2009 Inge Morath: Iran. Steidl, Germany. ISBN 978-3-86521-697-7
2009 Inge Morath: First Color. Steidl, Germany. ISBN 978-3-86521-930-5
2015 History Travels Badly. London: Fishbar. ISBN 978-0-9569959-6-4
2016 Inge Morath: On Style. Abrams, US. ISBN 978-141972234-9
2018 Inge Morath: Magnum Legacy. Prestel, US. ISBN 978-3-7913-8201-2
Secondary Literature
[edit]
2023 Kurt Kaindl: After Work. In the Home of Inge Morath.. Salzburg: FOTOHOF>EDITION. ISBN 978-3-903334-59-5
See also
[edit]
List of Austrian artists and architects
List of Austrians
List of street photographers
References
[edit]
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2018-12-10T00:00:00
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Biographer Linda Gordon chronicles Morath's escape from Nazi Germany, her boundary-breaking career and her marriage to playwright Arthur Miller.
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KUNR Public Radio
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https://www.kunr.org/2018-12-10/biography-captures-the-charisma-and-confidence-of-photographer-inge-morath
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"I'm fascinated by the necessity of quick decisions," Inge Morath told me more than 30 years ago, when she came to NPR for an interview. Morath was in the business of quick decisions — as a photographer and photojournalist she was the first woman to be accepted as a full member of the Magnum photo agency.
Now, her life is the subject of a new biography by Linda Gordon. It recounts Morath's escape from Nazi Germany, her boundary-breaking career, and her marriage to playwright Arthur Miller.
Morath met Miller — and his then-wife Marilyn Monroe — in 1960 while she was taking publicity stills on the set of the film The Misfits. It was Monroe's last film, and Miller had written it for his wife.
"Inge took some very, very beautiful and sympathetic photographs of Marilyn Monroe," Gordon says. "But Miller had struck her as intensely interesting — and he was quite impressed," Gordon says.
Miller and Monroe's relationship had been on the rocks for some time. He and Morath had an affair and the two married in 1962. They were together for 40 years, until Inge's death in 2002.
In our 1987 interview, I asked Morath about whether she wished she'd paid more attention to Monroe, as Miller's first wife. In a marriage, "you have to be yourself," she said. "Even if you are the first, the second, or the third wife — if you try to take over anything, or imitate anything, I think it'd be a disaster."
"She was a woman of extraordinary self-confidence," says Gordon. "One sees that throughout her life ... self-confidence as a photographer, as a person, but also as her own sexual being."
Morath had a magnetic personality — and plenty of affairs.
"She was just a person who drew you in," says Gordon.
As a young woman, Morath had a rough time in Germany during the war.
"After Allied bombs started falling heavily on Berlin — and landing very near the munitions factory where she was a forced worker — she joined columns of hundreds, probably thousands, of people on foot just leaving Berlin," Gordon explains.
The biographer says Morath walked 455 miles to her parents in Salzburg, Austria. They were Nazi sympathizers — she was not. In Paris after the war, Morath got a job at Magnum, the elite photo agency founded by the great pioneers of photojournalism, Robert Capa and Henri Cartier-Bresson.
There, she did everything from secretarial work, to working with contact sheets, to cleaning the office, Gordon says, all the while honing her skills in photography. In 1955, she became Magnum's first full female member.
With her camera, Morath followed her passion for travel. In Spain, she wangled her way into the dressing room of the great toreador Antonio Ordóñez. Her 1954 photo shows him preparing for combat: his muscled chest is bare, and he's wearing skin-tight, sequin-embroidered pants.
It took chutzpah to get into his dressing room, where women were considered bad luck. "To get into that space she half jokingly made a completely outrageous argument," Gordon says. "She said, 'I'm wearing pants when I work, therefore I'm neither man nor woman.' "
In Seville, Morath put on a flamenco outfit and climbed up onto a chair to shoot dancers, whirling to the music in their layered red and white skirts and petticoats. "You only see these people from the waist down ..." Gordon says. "She has captured the movement — but with a camera just slow enough so that some of the picture is blurred as you see the skirts whirling around."
Outside of photography circles, Morath is known more for her marriage than for her work. "I do not like the fact that many people only know her as a wife of Arthur Miller — and, of course, the wife immediately after Marilyn Monroe — but my impression is that she was pretty copacetic about it," Gordon says.
There are trade-offs to familiarity, Morath told me in 1987. For example, when working on a portrait, she said she didn't necessarily want to meet her subject first.
There is a "wonderful element to a new meeting," she explained. Being strangers, the photographer and the subject are placed into a "sparring" position. "That's interesting," she said. "You kind of show more of yourself."
Copyright 2023 NPR. To see more, visit https://www.npr.org.
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Site Map - January 31, 2002
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All New York Times stories published on January 31, 2002.
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Inge Morath
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2002-02-01T00:10:00+00:00
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The Telegraph
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https://www.telegraph.co.uk/news/obituaries/1383341/Inge-Morath.html
|
INGE MORATH, the photographer who has died aged 78, was one of the finest photo-journalists of her generation; she worked for the international photo-agency Magnum for nearly 50 years, and was also noted for the books she produced in collaboration with her husband, the playwright Arthur Miller.
Her photographs ranged from posed portraits of celebrities to snatched images of anonymous passers-by. Often they celebrated the human capacity for pleasure - Bedouin women dancing in the desert, soldiers of the People's Liberation Army of China climbing like children over a statue of Buddha. Sometimes they would focus on some joyful absurdity, such as her Encounter on Times Square (1957), in which a llama's head protrudes from a car window.
Ingeborg Morath was born on May 27 1923 at Graz, Austria. As the daughter of the science professor Edgar Morath, "Inge" was a member of the Austrian haute bourgeoisie but, when she was a child, the family moved to Germany.
Life under the Third Reich was far from comfortable for the anti-Nazi Moraths, however, and Inge herself was to run into trouble with the authorities. While studying at the University of Berlin, she refused to join the National Socialist student organisation. Her educational privileges were consequently withdrawn, and she was forced to assemble aeroplane parts at Tempelhof airport, Berlin, at a time when it was being bombed daily. Her fellow-workers were Ukranian women, employed there because no one would miss them if they were blown up. On one occasion, after the factory had been subjected to a particularly heavy attack, Inge Morath ran through the streets of Berlin holding a bouquet of lilac above her head.
"During the war, you had to keep your mouth shut a lot of the time," she once told an interviewer. "So you learnt to observe more closely. Goethe put it wonderfully when he said that we are born seeing, but we are required to look." It was this capacity for observation that informed her photography; she believed that, when you take a picture, "you trust your eye, and cannot help but bare your soul". What she saw during the war, however, did not move her to record more such conflicts: "Everyone was dead or half dead. I walked by dead horses, women with dead babies in their arms. I can't photograph war for this reason."
Escape from Tempelhof eventually came after an air-raid blasted open the factory gate. Inge Morath took the opportunity to walk out, and made her way to Austria, where her family was living once more. Once in Salzburg, she discovered her mother ensconced in the family home and found work as a translator and journalist working for the United States Information Service. She continued her journalistic career at the end of the war, editing the literary monthly, Der Optimist, from 1945 to 1952.
The bravery and initiative which Inge Morath showed during those war years were attributes which she would demonstrate all her life. She certainly displayed them while photographing the making of the film The Unforgiven (1960), shot by John Huston in the Mexican back country and starring Audie Murphy, the Second World War hero turned movie actor.
Accompanying Huston and some friends duck shooting one afternoon, Inge Morath noticed a commotion further out in the lake. It proved to be Murphy, thrashing about in the water having apparently fallen out of a boat. She immediately removed her clothes and swam into the cold waters of the lake wearing just her underwear. Finding Murphy in the last stages of exhaustion, she calmly hauled the war hero ashore by her bra strap, while the duck shooting continued overhead.
Inge Morath was fluent in half a dozen languages and possessed a working knowledge of many others, including Romanian. Indeed, her ability so impressed the German chancellor Konrad Adenauer when she interviewed him on one occasion that he tried to hire her as his chief secretary. It was an offer she had no difficulty in refusing.
She had first turned to photography while living in London after the war with her first husband, the British journalist Lionel Birch. She studied under Simon Guttman, the eccentric art editor of Picture Post; but instead of being taught the practicalities of photography, she found herself being made to perform secretarial chores, and tasks such as heating Guttman's shaving water.
When Inge Morath finally protested, Guttman replied: "But I dictate all my letters to you. Everything I know about photography - how to approach a subject, how to build a story - is in those letters." Unorthodox as this training was, it was one which she later claimed to value.
By the mid-1950s Inge Morath was divorced and working at the offices of the photographic agency Magnum in Paris. It was the heyday of Henri Cartier-Bresson, for whom she worked as researcher and assistant; Sartre and Simone de Beauvoir were frequenting the cafes of the Left Bank. And it was in Paris that Inge Morath saw a performance of The Crucible, her first experience of the work of Arthur Miller, who would one day become her husband.
It was not until she made her first trip to New York in 1956, however, that the full significance of the play's anti-McCarthyite message struck home. Coming through American customs, Inge Morath was detained because she carrying in her baggage a book which, though about movie stars and called Stardust in Hollywood, had been published by the Left Bookshop.
After rigorous questioning about her political sympathies, she was eventually released. As she left the airport she encountered a woman handing out leaflets ordering people to report any suspicious, un-American activities to the FBI.
Inge Morath first met Miller in the Nevada desert in 1960 during the shooting of The Misfits, the film he wrote for Marilyn Monroe. She arrived with Henri Cartier-Bresson to photograph the proceedings, and her picture of Monroe from that time - caught in an unguarded moment as Monroe walked dreamily beneath some trees - was one of the few unexploitative images of the screen goddess.
Although the Miller-Monroe marriage was crumbling fast, Miller and Inge Morath did not become friendly until later, when they met again in New York. Her attitude to marriage was equivocal. Her own parents had converted from Catholicism to Protestantism to facilitate any possible divorce in the future, and she already had one failed marriage behind her; Miller, meanwhile, had two.
Her decision to marry Miller in 1962 - the year after he and Monroe were divorced - proved a sound one. Miller later described the years he spent with her as "the best" of his life; and Timebends, his autobiography published in 1987, was dedicated to her.
Inge Morath and Miller travelled extensively together, often collaborating on photographic books (with Miller supplying the text) of which In Russia, published in 1969, was the first. Their visit to China in 1978, which produced Chinese Encounters (1979), took advantage of the fact that, for the first time in more than 30 years, the Chinese felt free to talk to foreigners.
In 1991 she published Russian Journal, a 25-year record of friends and people she met before, during and after the years of the Brezhnev repression.
Inge Morath was an assiduous worker - she was on top of a tall crane taking photographs in Brooklyn Navy Yard only four hours before going into labour with her daughter.
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2017-12-12T11:01:00
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Gallery Images from Inge Morath: First Color (Steidl, 2009) BIoGRAPHY Photography is a strange phenomenon. In spite of the use of that technical instrument, the camera, no two photographers, even if they were at the same place at the same time, come back with the same pictures. The personal vision is usually there from...
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en
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ºCLAIRbyKahn
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https://clairbykahn.com/mies_portfolio/morath/
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Gallery
Images from Inge Morath: First Color (Steidl, 2009)
BIoGRAPHY
Photography is a strange phenomenon. In spite of the use of that technical instrument, the camera, no two photographers, even if they were at the same place at the same time, come back with the same pictures. The personal vision is usually there from the beginning; result of a special chemistry of background and feelings, traditions and their rejection, of sensibility and voyeurism. You trust your eye and you cannot help but bear your soul. One’s vision finds of necessity the form suitable to express it.
-Inge Morath (Inge Morath: Life as a Photographer, Kehayoff Verlag, 1999)
Inge Morath (1923–2002) was born in Graz, Austria. Her parents were scientists whose work took them to different laboratories and universities in Europe during her childhood. Educated in French-speaking schools, Morath and her family relocated to Darmstadt in the 1930s, and then to Berlin.
Morath’s first encounter with avant-garde art was at the Entartete Kunst (“Degenerate Art”) exhibition organized by the Nazi party in 1937, which sought to inflame public opinion against modern art. “I found a number of these paintings exciting and fell in love with Franz Marc’s Blue Horse,” Morath later wrote. “Only negative comments were allowed, and thus began a long period of keeping silent and concealing thoughts.”
After the Second World War, Morath worked as a translator and journalist. In 1948, she was hired by Warren Trabant for Heute, an illustrated magazine published by the US Information Agency in Munich. Morath had encountered photographer Ernst Haas in Vienna and brought his work to Trabant’s attention. Working together for Heute, Morath wrote articles to accompany Haas’ pictures. In 1949, Morath and Haas were invited by Robert Capa to join the newly-founded Magnum Photos in Paris, where she would work as an editor. Working with contact sheets by founding member Henri Cartier-Bresson fascinated Morath. She wrote, “I think that in studying his way of photographing I learned how to photograph myself before I ever took a camera into my hand.”
Morath was briefly married to the British journalist Lionel Birch and relocated to London in 1951. That same year, she began to photograph during a visit to Venice. “It was instantly clear to me that from now on I would be a photographer”, she wrote. “As I continued to photograph I became quite joyous. I knew that I could express the things I wanted to say by giving them form through my eyes.” Morath divorced Birch and returned to Paris to pursue a career in photography.
In 1955 she was invited to become a full member of Magnum Photos. During the late 1950s, she travelled widely, covering stories in Europe, the Middle East, Africa, the United States, and South America for such publications as Holiday, Paris Match, and Vogue. She published Guerre à la Tristesse, photographs of Spain, with Robert Delpire in 1955, followed by De la Perse à l’Iran, photographs of Iran, in 1958.
Like many Magnum members, Morath worked as a still photographer on numerous motion picture sets. Having met director John Huston while she was living in London, Morath worked on several of his films. In 1960 she was on the set of The Misfits, a blockbuster film featuring Marilyn Monroe, Clark Gable, and Montgomery Clift, with a screenplay by Arthur Miller. Morath met Miller while working on The Misfits, and—following Miller’s divorce from Monroe—they were married on February 17, 1962.
Morath’s achievements during her first decade of work as a photographer are significant. Along with Eve Arnold, she was among the first women members of Magnum Photos, which remains to this day a predominantly male organization. Many critics have written of the element of playful surrealism that characterizes Morath’s work from this period. It was motivated by a fundamental humanism, shaped as much by the experience of war as by its lingering shadow over post-war Europe. This motivation grows, in Morath’s mature work, into a motif as she documents the endurance of the human spirit under situations of extreme duress as well as its manifestations of ecstasy and joy.
Ingeborg Morath Miller died of cancer in 2002, at the age of 78. In honour of their colleague, the members of Magnum Photos established the Inge Morath Award in 2002. The Award is administered by the Inge Morath Foundation in cooperation with the Magnum Foundation, New York. The Inge Morath Foundation was established by Morath’s family, in 2003, to preserve and share her legacy.
sELECTED EXHIBITIONS
2023 Documenting Israel: Visions of 75 years, Museum of Tolerance Jerusalem
2022 Inge Morath Hommage, Versicherungskammer Kulturstiftung, Munich
2021 Picturing People, The National Gallery of Ireland, Dublin
2021 New Perspectives. Acquisitions 2011–2020, The National Gallery of Ireland, Dublin
2020 Inge Morath. La vita. La fotografia, Museo Diocesano, Milan
2019 Inge Morath. La vita. La fotografia, Museo di Roma in Trastevere, Rome
2020 As They See Us: A Portrait of Russia, Manege Central Exhibition Hall, St. Petersburg
2012 View York – Nine Perceptions, KSH, Freiburg
2011 View York – Nine Perceptions, DAI, Tübingen
2011 View York – Nine Perceptions, CLAIRbyKahn, Munich
2010 First Colors, Magnum Gallery, Paris; CLAIRbyKahn, Munich
2008 Well Disposed and Trying to See: Inge Morath and Arthur Miller in China, University of Michigan Art Museum, Ann Arbor
2005 The Road to Reno, Pingyao International Photography Festival, Pingyao
2004 Chinese Encounters: Photographs by Inge Morath, Pingyao International Photography Festival, Pingyao
2003 Inge Morath, Henri Cartier-Bresson Foundation, Paris
2003 The Danube, City Gallery of Ruse, Ruse
2002 New York, Galerie Fotohof, Salzburg; Europäische Wochen, Passau; ESWE Forum, Wiesbaden; Esther Woerdehoff, Paris; Amerikahaus, Tübingen
1999 Inge Morath, Kunsthalle Wien, Vienna
1999 Spain in the Fifties, Museo del Cabilde, Montevideo
1998 The Danube, Festival of Central European Culture, London, UK; Museen d. Stadt Regensburg
1998 Retrospective, Edinburgh Festival, Edinburgh, UK; Museum of Photography in Charleroi; Municipal Gallery, Pamplona
1998 Celebrating 75 Years, Leica Gallery, New York
1997 Retrospective, Kunsthal, Rotterdam
1997 The Danube, Keczkemet Museum, Esztergom Museum
1997 Photographs 1950s to 1990s, Tokyo Museum of Photography, Tokyo
1996 Women to Women, Takashimaya Gallery, Tokyo
1996 The Danube, Neues Schauspielhaus, Berlin, Germany; Leica Gallery, New York; Galeria Fotoforum, Bolzano
1995 Spain in the fifties, Museo de Arte Contemporaneo, Madrid; Museo de Navarra, Pamplona
1994 Spain in the fifties, Spanish Institute, New York
1992/94 Retrospective, Neue Galerie Linz, Austria; America House, Frankfurt; Hardenberg Gallery, Velbert; Galerie Fotogramma, Milan; Royal Photographic Society, Bath; Smith Gallery and Museum, Stirling; America House, Berlin; Hradcin Gallery, Prague
1991 Portraits, Kolbe Museum Berlin, Germany; Rupertinum Museum Salzburg
1989 Portraits, Burden Gallery, Aperture Foundation, New York
1989 Portraits, Norwich Cathedral, Norwich
1989 Portraits, American Cultural Center, Brussels
1988 Retrospective, Union of Photojournalists, Moscow, Russia; Sala del Canal Museum, Madrid; Rupertinum Museum, Salzburg
1979 Inge Morath: Photographs of China, Grand Rapids Art Museum, Michigan
1964 Inge Morath: Photographs, Gallery 104, Art Institute of Chicago, Illinois
AWARDS | Recognitions
1992 Great Austrian State Prize for Photography
1984 Doctor Honoris Causa Fine Arts, University of Connecticut, Hartford
1983 State of Michigan Senate Resolution NO 295; Tribute to Inge Morath in recognition of her outstanding accomplishment as a photographer and chronicler of human life
SELECTED PUBLICATIONS
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The National Arts Club
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The mission of The National Arts Club is to stimulate, foster and promote public interest in the arts and educate the American people in the fine arts.
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YOUR HOME FOR THE ARTS
The National Arts Club is closed for summer recess. We look forward to welcoming you back on Thursday, September 5 as we open
JAZZ GREATS Classic Photographs from the Bank of America Collection
Our website is currently undergoing a refresh, offering a more intuitive interface and updated content and imagery.
Stay tuned for the launch date being announced soon!
In the meantime please visit our Events Calendar for upcoming programs, free and open to the public.
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Biography Captures The Charisma And Confidence Of Photographer Inge Morath
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2018-12-10T00:00:00
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Biographer Linda Gordon chronicles Morath's escape from Nazi Germany, her boundary-breaking career and her marriage to playwright Arthur Miller.
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https://www.wlrn.org/npr-breaking-news/2018-12-10/biography-captures-the-charisma-and-confidence-of-photographer-inge-morath
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"I'm fascinated by the necessity of quick decisions," Inge Morath told me more than 30 years ago, when she came to NPR for an interview. Morath was in the business of quick decisions — as a photographer and photojournalist she was the first woman to be accepted as a full member of the Magnum photo agency.
Now, her life is the subject of a new biography by Linda Gordon. It recounts Morath's escape from Nazi Germany, her boundary-breaking career, and her marriage to playwright Arthur Miller.
Morath met Miller — and his then-wife Marilyn Monroe — in 1960 while she was taking publicity stills on the set of the film The Misfits. It was Monroe's last film, and Miller had written it for his wife.
"Inge took some very, very beautiful and sympathetic photographs of Marilyn Monroe," Gordon says. "But Miller had struck her as intensely interesting — and he was quite impressed," Gordon says.
Miller and Monroe's relationship had been on the rocks for some time. He and Morath had an affair and the two married in 1962. They were together for 40 years, until Inge's death in 2002.
In our 1987 interview, I asked Morath about whether she wished she'd paid more attention to Monroe, as Miller's first wife. In a marriage, "you have to be yourself," she said. "Even if you are the first, the second, or the third wife — if you try to take over anything, or imitate anything, I think it'd be a disaster."
"She was a woman of extraordinary self-confidence," says Gordon. "One sees that throughout her life ... self-confidence as a photographer, as a person, but also as her own sexual being."
Morath had a magnetic personality — and plenty of affairs.
"She was just a person who drew you in," says Gordon.
As a young woman, Morath had a rough time in Germany during the war.
"After Allied bombs started falling heavily on Berlin — and landing very near the munitions factory where she was a forced worker — she joined columns of hundreds, probably thousands, of people on foot just leaving Berlin," Gordon explains.
The biographer says Morath walked 455 miles to her parents in Salzburg, Austria. They were Nazi sympathizers — she was not. In Paris after the war, Morath got a job at Magnum, the elite photo agency founded by the great pioneers of photojournalism, Robert Capa and Henri Cartier-Bresson.
There, she did everything from secretarial work, to working with contact sheets, to cleaning the office, Gordon says, all the while honing her skills in photography. In 1955, she became Magnum's first full female member.
With her camera, Morath followed her passion for travel. In Spain, she wangled her way into the dressing room of the great toreador Antonio Ordóñez. Her 1954 photo shows him preparing for combat: his muscled chest is bare, and he's wearing skin-tight, sequin-embroidered pants.
It took chutzpah to get into his dressing room, where women were considered bad luck. "To get into that space she half jokingly made a completely outrageous argument," Gordon says. "She said, 'I'm wearing pants when I work, therefore I'm neither man nor woman.' "
In Seville, Morath put on a flamenco outfit and climbed up onto a chair to shoot dancers, whirling to the music in their layered red and white skirts and petticoats. "You only see these people from the waist down ..." Gordon says. "She has captured the movement — but with a camera just slow enough so that some of the picture is blurred as you see the skirts whirling around."
Outside of photography circles, Morath is known more for her marriage than for her work. "I do not like the fact that many people only know her as a wife of Arthur Miller — and, of course, the wife immediately after Marilyn Monroe — but my impression is that she was pretty copacetic about it," Gordon says.
There are trade-offs to familiarity, Morath told me in 1987. For example, when working on a portrait, she said she didn't necessarily want to meet her subject first.
There is a "wonderful element to a new meeting," she explained. Being strangers, the photographer and the subject are placed into a "sparring" position. "That's interesting," she said. "You kind of show more of yourself."
Copyright 2023 NPR. To see more, visit https://www.npr.org.
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Inge Morath was born in Graz, Austria. She studied languages in Berlin, and after the Second World War became a translator and journalist. She became the Austrian editor for Heute, a publication of the American Information Service Branch based in Munich. A friend of photographer Ernst Haas, Morath wrote articles to accompany his photographs. Together they were invited to Paris by Robert Capa to join the newly founded Magnum agency, where she worked as an editor. Morath began photographing in 1951, and assisted Henri Cartier-Bresson as a researcher in 1953-54. She became a member of Magnum in 1955. Morath and Eve Arnold, who became a member in 1957, were the pioneering first women to join the agency. In the following years, Morath traveled extensively in Europe, North Africa, the United States, and the Middle East. Her special interest in the arts found expression through photographic essays published by a number of leading magazines, such as Life and Holiday, as well as publication of several books including From Persia to Iran, Fiesta in Pamplona, Venice Observed with Mary McCarthy, Bring Forth the Children with Yul Brynner, and Le Masque with Saul Steinberg. After her marriage to Arthur Miller in 1962, Morath settled in New York and Connecticut. She made her first trip to the USSR in 1965, and in 1978, after studying Mandarin for five years, she made the first of many trips to the People’s Republic of China. Morath co-published several collaborations with Miller based on their travels together. In the 1980s and ‘90s, Morath continued to pursue both assignments and independent projects. As portraitist of personalities in politics and arts, she photographed a number of famous contemporaries. She photographed on the sets of several films and the stage productions of plays by Arthur Miller. She won numerous awards, including being presented with a Doctor Honoris Causa by the University of Connecticut, the Austrian State Prize for Photography, the Gold medal of the National Art Club, and the Medal of Honor in Gold of the City of Vienna. www.magnumphotos.com
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http://www.danuberevisited.com/about-inge-morath/
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Inge Morath was born in Graz, Austria. She studied languages in Berlin, and after the Second World War became a translator and journalist. She became the Austrian editor for Heute, a publication of the American Information Service Branch based in Munich. A friend of photographer Ernst Haas, Morath wrote articles to accompany his photographs. Together they were invited to Paris by Robert Capa to join the newly founded Magnum agency, where she worked as an editor.
Morath began photographing in 1951, and assisted Henri Cartier-Bresson as a researcher in 1953-54. She became a member of Magnum in 1955. Morath and Eve Arnold, who became a member in 1957, were the pioneering first women to join the agency. In the following years, Morath traveled extensively in Europe, North Africa, the United States, and the Middle East. Her special interest in the arts found expression through photographic essays published by a number of leading magazines, such as Life and Holiday, as well as publication of several books including From Persia to Iran, Fiesta in Pamplona, Venice Observed with Mary McCarthy, Bring Forth the Children with Yul Brynner, and Le Masque with Saul Steinberg.
After her marriage to Arthur Miller in 1962, Morath settled in New York and Connecticut. She made her first trip to the USSR in 1965, and in 1978, after studying Mandarin for five years, she made the first of many trips to the People’s Republic of China. Morath co-published several collaborations with Miller based on their travels together. In the 1980s and ‘90s, Morath continued to pursue both assignments and independent projects. As portraitist of personalities in politics and arts, she photographed a number of famous contemporaries. She photographed on the sets of several films and the stage productions of plays by Arthur Miller.
She won numerous awards, including being presented with a Doctor Honoris Causa by the University of Connecticut, the Austrian State Prize for Photography, the Gold medal of the National Art Club, and the Medal of Honor in Gold of the City of Vienna.
www.magnumphotos.com
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Ingeborg Hermine Morath (German: [ˈɪŋəbɔrk ˈmoːraːt]; 27 May 1923 – 30 January 2002) was an Austrian photographer. In 1953, she joined the Magnum Photos Agency, founded by top photographers in Paris, and became a full photographer with the agency in 1955. Morath was the third wife of playwright Arthur Miller; their daughter is screenwriter/director Rebecca Miller.
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Ingeborg Hermine "Inge" Morath (27 de maig de 1923 — 30 de gener de 2002) va ser una fotògrafa americana (austríaca de naixement). El 1953 va començar a treballar a l'Agència Magnum, fundada a París per fotògrafs de primera línia, i va passar a ser fotògrafa professional de l'agència el 1955. Morath va ser la tercera esposa del dramaturg Arthur Miller; la seva filla és la guionista i directora Rebecca Miller. (ca)
Inge Morath (27. března 1923 Graz, Štýrsko, Rakousko – 30. ledna 2002, New York City, USA) byla americká fotografka narozená v Rakousku. Byla představitelkou poválečné reportážní fotografie, členkou fotografické agentury Magnum Photos. Byla první ženou této fotografické agentury. Od roku 1962 byla třetí a poslední manželkou dramatika Arthura Millera, se kterým měla dceru Rebeccu. (cs)
إنجيبورغ هيرمين مورات (بالإنجليزية: Ingeborg Hermine «Inge» Morath) (27 مايو 1923 - 30 يناير 2002) مصورة نمساوية أمريكية المولد. انضمت في عام 1953، إلى وكالة ماغنوم للصور، التي أسسها كبار المصورين في باريس، وأصبحت مصورة كاملة مع الوكالة في عام 1955. وكانت مورات الزوجة الثالثة للكاتب المسرحي آرثر ميلر. ابنتهما كاتبة السيناريو/ المخرجة ريبيكا ميلر. (ar)
Ingeborg „Inge“ Morath (* 27. Mai 1923 in Graz; † 30. Jänner 2002 in New York City) war eine österreichische Fotografin. (de)
Ingeborg Morath (Graz, Austria; 27 de mayo de 1923-Nueva York, Estados Unidos; 30 de enero de 2002) fue una fotógrafa de origen austríaco nacionalizada estadounidense. (es)
Ingeborg Morath (Graz, Austria, 1923ko maiatzaren 27a - New York, Ameriketako Estatu Batuak, 2002ko urtarrilaren 30a) argazkilaria izan zen. Magnum Photos Agentzian sartzea lortu zuen lehen emakumea izan zen. (eu)
Ingeborg Hermine Morath (German: [ˈɪŋəbɔrk ˈmoːraːt]; 27 May 1923 – 30 January 2002) was an Austrian photographer. In 1953, she joined the Magnum Photos Agency, founded by top photographers in Paris, and became a full photographer with the agency in 1955. Morath was the third wife of playwright Arthur Miller; their daughter is screenwriter/director Rebecca Miller. (en)
Ingeborg Hermine "Inge" Morath adalah seorang Amerika kelahiran Austria. Pada 1953, ia bergabung dengan Agensi , yang didirikan oleh para fotografer papan atas di Parin, dan menjadi fotografer penuh dengan agensi tersebut pada 1955. Morath juga merupakan istri ketiga dan terakhir dari pengarang drama Arthur Miller; putri mereka adalah penulis latar/sutradara . (in)
Ingeborg Hermine Morath est une photo-journaliste américaine née le 27 mai 1923 à Graz en Autriche et morte le 30 janvier 2002 à New York à l'âge de 78 ans. Elle a été la première femme photographe acceptée comme membre de l'agence Magnum Photos en 1953 et ceci jusqu'à sa mort. En 2002, les membres de Magnum Photos créent en son honneur le prix Inge Morath, administré par la Fondation Inge-Morath, et qui est attribué annuellement à une photographe ayant moins de 30 ans (fr)
Inge Morath (Graz, 27 maggio 1923 – New York, 30 gennaio 2002) è stata una fotografa austriaca; è stata la prima fotogiornalista donna dell'agenzia Magnum. (it)
インゲ・モラス（Inge Morath、1923年5月27日 - 2002年1月30日）は、オーストリアの写真家。本名はインゲボルグ・モラス（Ingeborg Morath）。 グラーツで科学者の両親の元に生まれる。ウィーンやパリで通訳、ジャーナリストとして働いた後、マグナム・フォトに編集者として参加するようになる。その後ロンドンに移り、写真を学んだ。アンリ・カルティエ＝ブレッソンのアシスタントを務めた後、写真家として活動し始めた。 1960年、ジョン・ヒューストンの映画『荒馬と女』の撮影現場の記録に参加するためアメリカのネヴァダ州に滞在した。そこで出会った劇作家のアーサー・ミラー（ミラーはマリリン・モンローとは1961年に離婚していた）と1962年に結婚した。レベッカとダニエルの2人の子供をもうけた。 日本では1996年に写真家イヴ・アーノルドの作品と共に「WOMEN to WOMEN」という題名の展覧会が開かれた。中近東・中国・アフリカなどを取材し、これまで15冊以上の写真集を出版している。 マグナム・フォトでは2002年より、30代以下の写真家を目指す女性のためにを設立している。また彼女の遺志に基づき、死後が設立された。 (ja)
Ингеборг Хермина «Инге» Морат (англ. Ingeborg Hermine «Inge» Morath, нем. Inge Mörat; 27 мая 1923, Грац — 30 января 2002, Нью-Йорк) — европейский и американский фотограф; родилась в Австрии. В 1953 году она присоединилась к парижскому агентству Magnum Photos — стала полноправным членом в 1955 году. Морат была последней женой драматурга Артура Миллера: их дочь — сценарист и режиссёр Ребекка Миллер. (ru)
rdfs:comment
Ingeborg Hermine "Inge" Morath (27 de maig de 1923 — 30 de gener de 2002) va ser una fotògrafa americana (austríaca de naixement). El 1953 va començar a treballar a l'Agència Magnum, fundada a París per fotògrafs de primera línia, i va passar a ser fotògrafa professional de l'agència el 1955. Morath va ser la tercera esposa del dramaturg Arthur Miller; la seva filla és la guionista i directora Rebecca Miller. (ca)
Inge Morath (27. března 1923 Graz, Štýrsko, Rakousko – 30. ledna 2002, New York City, USA) byla americká fotografka narozená v Rakousku. Byla představitelkou poválečné reportážní fotografie, členkou fotografické agentury Magnum Photos. Byla první ženou této fotografické agentury. Od roku 1962 byla třetí a poslední manželkou dramatika Arthura Millera, se kterým měla dceru Rebeccu. (cs)
إنجيبورغ هيرمين مورات (بالإنجليزية: Ingeborg Hermine «Inge» Morath) (27 مايو 1923 - 30 يناير 2002) مصورة نمساوية أمريكية المولد. انضمت في عام 1953، إلى وكالة ماغنوم للصور، التي أسسها كبار المصورين في باريس، وأصبحت مصورة كاملة مع الوكالة في عام 1955. وكانت مورات الزوجة الثالثة للكاتب المسرحي آرثر ميلر. ابنتهما كاتبة السيناريو/ المخرجة ريبيكا ميلر. (ar)
Ingeborg „Inge“ Morath (* 27. Mai 1923 in Graz; † 30. Jänner 2002 in New York City) war eine österreichische Fotografin. (de)
Ingeborg Morath (Graz, Austria; 27 de mayo de 1923-Nueva York, Estados Unidos; 30 de enero de 2002) fue una fotógrafa de origen austríaco nacionalizada estadounidense. (es)
Ingeborg Morath (Graz, Austria, 1923ko maiatzaren 27a - New York, Ameriketako Estatu Batuak, 2002ko urtarrilaren 30a) argazkilaria izan zen. Magnum Photos Agentzian sartzea lortu zuen lehen emakumea izan zen. (eu)
Ingeborg Hermine Morath (German: [ˈɪŋəbɔrk ˈmoːraːt]; 27 May 1923 – 30 January 2002) was an Austrian photographer. In 1953, she joined the Magnum Photos Agency, founded by top photographers in Paris, and became a full photographer with the agency in 1955. Morath was the third wife of playwright Arthur Miller; their daughter is screenwriter/director Rebecca Miller. (en)
Ingeborg Hermine "Inge" Morath adalah seorang Amerika kelahiran Austria. Pada 1953, ia bergabung dengan Agensi , yang didirikan oleh para fotografer papan atas di Parin, dan menjadi fotografer penuh dengan agensi tersebut pada 1955. Morath juga merupakan istri ketiga dan terakhir dari pengarang drama Arthur Miller; putri mereka adalah penulis latar/sutradara . (in)
Ingeborg Hermine Morath est une photo-journaliste américaine née le 27 mai 1923 à Graz en Autriche et morte le 30 janvier 2002 à New York à l'âge de 78 ans. Elle a été la première femme photographe acceptée comme membre de l'agence Magnum Photos en 1953 et ceci jusqu'à sa mort. En 2002, les membres de Magnum Photos créent en son honneur le prix Inge Morath, administré par la Fondation Inge-Morath, et qui est attribué annuellement à une photographe ayant moins de 30 ans (fr)
Inge Morath (Graz, 27 maggio 1923 – New York, 30 gennaio 2002) è stata una fotografa austriaca; è stata la prima fotogiornalista donna dell'agenzia Magnum. (it)
インゲ・モラス（Inge Morath、1923年5月27日 - 2002年1月30日）は、オーストリアの写真家。本名はインゲボルグ・モラス（Ingeborg Morath）。 グラーツで科学者の両親の元に生まれる。ウィーンやパリで通訳、ジャーナリストとして働いた後、マグナム・フォトに編集者として参加するようになる。その後ロンドンに移り、写真を学んだ。アンリ・カルティエ＝ブレッソンのアシスタントを務めた後、写真家として活動し始めた。 1960年、ジョン・ヒューストンの映画『荒馬と女』の撮影現場の記録に参加するためアメリカのネヴァダ州に滞在した。そこで出会った劇作家のアーサー・ミラー（ミラーはマリリン・モンローとは1961年に離婚していた）と1962年に結婚した。レベッカとダニエルの2人の子供をもうけた。 日本では1996年に写真家イヴ・アーノルドの作品と共に「WOMEN to WOMEN」という題名の展覧会が開かれた。中近東・中国・アフリカなどを取材し、これまで15冊以上の写真集を出版している。 マグナム・フォトでは2002年より、30代以下の写真家を目指す女性のためにを設立している。また彼女の遺志に基づき、死後が設立された。 (ja)
Ингеборг Хермина «Инге» Морат (англ. Ingeborg Hermine «Inge» Morath, нем. Inge Mörat; 27 мая 1923, Грац — 30 января 2002, Нью-Йорк) — европейский и американский фотограф; родилась в Австрии. В 1953 году она присоединилась к парижскому агентству Magnum Photos — стала полноправным членом в 1955 году. Морат была последней женой драматурга Артура Миллера: их дочь — сценарист и режиссёр Ребекка Миллер. (ru)
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https://www.newyorker.com/books/under-review/are-you-an-artist
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en
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Are You an Artist?
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2024-07-31T06:00:00-04:00
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Alexandra Schwartz reviews “The Long Run,” by the writer Stacey D’Erasmo, and “The Work of Art,” by Adam Moss, both of which explore the question of what makes an artist.
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en
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https://www.newyorker.com/verso/static/the-new-yorker/assets/favicon.ico
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The New Yorker
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https://www.newyorker.com/books/under-review/are-you-an-artist
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Louise Bourgeois loved to work, and she loved to talk. She especially loved to talk about her work. In the 2008 documentary “Louise Bourgeois: The Spider, the Mistress and the Tangerine,” directed by Marion Cajori and Amei Wallach—you can watch the whole thing on YouTube, isn’t that great?—she answers questions as she chisels and draws and violently wrings scraps of material as a butcher might wring a chicken’s neck. “It is really the anger that makes me work,” she says. She has just been discussing her governess, the despised Sadie, an Englishwoman who carried on an affair with Bourgeois’s father for ten years while she lived in the family home. “All my work of the last fifty years, all my subjects, have found their inspiration in my childhood,” Bourgeois adds. She is an old woman when she says this—wrinkled, commanding, vital—and also, it seems, forever a little girl peeping through the keyhole at Sadie and Papa, shocked and betrayed. In another video, one that has found new life bopping around TikTok and Instagram, Bourgeois sits at a small table in her Chelsea town house before a blank piece of paper. “This drawing that I am going to do now obviously stems from a fear,” she says. Anger, fear—these are the powerful horses that Bourgeois harnessed to make her art, and she rode them until she died, in 2010, at the age of ninety-eight.
How do artists sustain themselves year after year, through good times and bad? What special fuel do they use to stoke their inner hearths? This is the subject of “The Long Run: A Creative Inquiry” (Graywolf), a new book by the writer Stacey D’Erasmo. Originally, D’Erasmo tells us, her approach to the project was detached, “a little academic.” She was getting older (she is now sixty-two) and thought that she would publish an anthology of interviews with veteran artists who could give a view of the road ahead. Then she had a crisis, or a series of them, both personal and professional. “Relationships broke, friendships broke, promises broke,” she writes. “Many facets of my identity shattered.” She was denied tenure at Columbia, where she had taught for a decade, and suddenly found herself out of a job. After a lifetime spent loving women and joyously enrolled in the queer world, she coupled off with a man. Worst of all, she found that, for the first time in her working life, she was totally unable to write. “How do we keep doing this—making art?” she asks in her book’s first sentence. She really wants to know.
Well, define your “we.” The one that D’Erasmo has gathered here is a cohort of eight artists who have little in common aside from living long, creatively productive lives. There is the dancer Valda Setterfield, who performed with Merce Cunningham and went on to enjoy a decades-long collaboration with her husband, the choreographer David Gordon; the writer Samuel R. Delany, who has published more than forty books and seems to write as he breathes; and also the pioneering landscape architect Darrel Morrison, who takes the natural world for his material. The actress Blair Brown has struggled, as many actresses do, with an industry that tends to see young women as the sum of their bodies’ parts and to stop seeing older ones at all, while the abstract painter Amy Sillman experienced a creative breakthrough in her late fifties. The composer and conductor Tania Léon was born in Cuba but made her career in exile, while the musician Steve Earle, a veteran of drugs, divorce, and death, seems to be on his fourth or fifth life, trucking on with his guitar.
So D’Erasmo was gutsy. She hopped among genres; she didn’t stick to what she knew, and she is up front about that. When, for example, she feels intimidated by Léon’s music, she comes right out and says so. “I am not a gardener,” she confesses in her chapter on Morrison—but, in a way, she is. Like Morrison, who pioneered the concept of “sweeps,” in which a variety of native plants are grouped “in swaths and clusters and handfuls” to create something at once organic and spectacular, D’Erasmo plants her subjects together in unexpected arrangements, throwing in some favorite seeds of her own—a reference to Colette or Roberto Bolaño here, a look at Ruth Asawa’s sculptures there—and then steps back to see what patterns emerge.
One big thing that D’Erasmo discovers her subjects have in common is their flexibility, the ability to change along with circumstances. “A vibrant long run might be sustained not by armoring oneself inside an even bigger and more expensive fixed narrative, but by morphing through a varied series of them over many years,” she writes in her chapter on Brown. “Against the monument, the mobile. Against the hammer, the leap.” She means that it’s O.K. that Brown has never become a megastar in the Marvel universe or whatever—that, although she has played many wonderful, meaty roles over the course of her career, sometimes her phone just doesn’t ring. Acting is different from painting or writing or composing. You can’t do it alone; you have to work with what you’re given. Brown is now seventy-eight, and hasn’t had a television or film role since a four-season arc on “Orange Is the New Black” ended, in 2019. Still, she seems happy. Not long ago, she turned down a yes-dear role as someone’s wife on an HBO show because it felt too limiting. She has, D’Erasmo thinks admiringly, an “inner freedom.”
In her chapter on Sillman, D’Erasmo doubles down on the flexibility point. Artistic survival, she says, is fundamentally Darwinian; long-term success requires adapting to the environment at hand. For D’Erasmo, that means the American university, where so many artists and writers today make their living. D’Erasmo reserves a righteous anger for the precarity of academia, which she experienced firsthand, and for its increasingly corporate, donor-flattering imperatives. But she also seems to genuinely like her students, as do many of her subjects. Delany, who projects a prickly, detached persona when asked to discuss his own work, tears up while speaking about teaching. Sillman does him one better; when she was on the faculty at Bard, she says, she considered not only her teaching work but indeed her job as a department co-chair as part of her actual art practice. This sounds both noble and nuts—did Wallace Stevens think of insurance law as part of his poetry? But it makes a kind of sense. You’re gonna have to serve somebody, Bob Dylan sang, and that is what D’Erasmo thinks, too. “Michelangelo had to be able to deal with the pope (which often did not go well),” she writes. “Artists and writers working now have to be able to deal with the dean (which also often does not go well).” Michelangelo may have had it worse. Imagine the dean telling you that you have to paint the ceiling.
At the same time, artists need steel at their core, some essential private self to return to after the department meetings are over and class has let out. You make your living where you can, while, in D’Erasmo’s phrase, cultivating “the deep stamina of the double agent,” working, first and last, for yourself. Doubleness intrigues her. Two of her subjects, Morrison and Delany, came out as gay after marriages to women (Delany’s wife, the wonderful poet Marilyn Hacker, came out, too), and D’Erasmo thinks that this personal liberation also liberated their work. Morrison began thinking in terms of music and color: “It was as if, freed from a certain vector of secrecy, his capacity for synesthesia opened up.” This is a Romantic idea—art as a kind of triumph of the true self over the homogenizing pressures of social convention—and it is as appealing now as it was two hundred years ago.
But what if the self doesn’t just burst shining through the clouds—what if it actually changes? When D’Erasmo was in her forties, she discovered that she was attracted to men. This led to the paradoxical shock of finding herself once again closeted, afraid that admitting her private feelings would constitute a “betrayal” of the community that had meant so much to her. But the self may be more malleable than we think, and so is community. For years, D’Erasmo belonged to a chosen family of mostly queer New York writers and performers. When she describes this time in her life, the page glows. Its dissolution was like a weather event, not attributable to any single cause, and it left a lonely void. There is a lot of writing here about breakups, both platonic and romantic. You get the sense that D’Erasmo hopes art itself can be a kind of lover to her, one that never has to leave.
The question of stamina comes up in another recent book on artists, “The Work of Art,” by Adam Moss. Like D’Erasmo, Moss wants to understand what makes artists tick, and he goes about it in a pragmatic, proudly anti-Romantic way. “My curiosity is earthbound,” he tells us. “No meaning, no magic.” His subtitle, “How Something Comes from Nothing,” announces where his emphasis is. He treats art works as a mechanically minded kid might treat a dismantled tape deck, poking and prodding at their insides to figure out how all those jangled parts make a whole.
D’Erasmo’s book is a companionable hundred and fifty-seven pages; it’s best read in a sitting or two. Moss’s runs to more than four hundred pages and is designed to be absorbed in bursts of pleasure. His sample size is bigger, too. The substance of his book is forty-three richly illustrated interviews—case studies, he calls them—that he conducted with artists of all kinds, among them the architect Elizabeth Diller, the dancer Twyla Tharp, the writers Sheila Heti, Tony Kushner, and Gay Talese, the poets Louise Glück and Marie Howe, the filmmaker Sofia Coppola, the showrunners David Mandel and David Simon, and the artists Susan Meiselas, Cheryl Pope, Kara Walker, and Amy Sillman (the only overlap with D’Erasmo), in which they each describe how a single work of theirs came to be. Moss has fun stretching his definition of art as far as it can go. A piece of meat, he thinks, can be one, when it is the centerpiece of a dish cooked by the chefs Jody Williams and Rita Sodi at their Manhattan restaurant Via Carota. So can a newspaper’s front page, like the one that the Times ran, in May, 2020, to commemorate those who died from COVID.
Moss is not known as an artist but as an editor, most recently of New York magazine. But, he admits at the start of his book, he is an artist—a painter. “I feel ridiculous saying that,” he says, and you can understand why. He has not been painting for a long time—only since leaving New York, which he did in 2019. “I got frustrated easily and gave up easily,” he tells us, of his early attempts. Nevertheless, he persisted, and it is that quality that earns him the right to the title. Of all the traits that he came to see as uniting the artists he spoke with—discipline, focus, curiosity, patience—the most important, he says, is endurance. “Each of the subjects was a dog with a bone,” he writes. Beneath that relentlessness, he sees something else: faith, “the bedrock confidence that you can actually do what you are trying to do.”
It is faith, in fact, that may be the irreducible unit of creation, the atom of the artistic self. D’Erasmo writes that when Sillman was in her thirties, her mother suggested she go to law school. “What’s the worst case scenario?” Sillman thought. “I’m not a famous artist. So what? Does that mean that they can tell me I’m not an artist? No, they cannot tell me that.” Louise Bourgeois made work for years without showing it. My favorite formulation of the condition comes from Saul Bellow, in a metaphor of profane audacity: “You pour the oil on your own head.” And then you keep pouring it, over and over again. You shampoo.
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https://www.versicherungskammer-kulturstiftung.de/en/kunstfoyer/exhibitions/inge-morath-br-homage/
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en
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Inge Morath Homage • Versicherungskammer Kulturstiftung
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] |
[] |
[] |
[
""
] | null |
[] |
2022-12-21T00:00:00
|
The Versicherungskammer Kulturstiftung is an open venue for artists and their topics. We give art and culture room for expression and critical dialogue. We encourage an exchange of ideas concerning socially relevant topics, and we are committed to cultural diversity.
We develop programs and projects of our own volition.
We support cooperative efforts with regional, national, and international partners.
|
en
|
https://www.versicherungskammer-kulturstiftung.de/favicon.ico?v=0.05
| null |
Versicherungskammer Kulturstiftung's Kunstfoyer is showing "INGE MORATH HOMAGE" to mark the 100th birthday of the famous Magnum photographer in collaboration with the Inge Morath Estate, curated by Anna-Patricia Kahn and Isabel Siben.
The retrospective and the accompanying Schirmer / Mosel book bring together the 200 most beautiful shots of her world-famous photo reportages and her legendary portraits of film stars, artist friends and literary figures.
The exhibition will open in mid-December 2022.
The photographer was born in Graz on 27 May 1923 and died in New York on 30 January 2002.
An international exhibition tour is being planned.
|
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4941
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dbpedia
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0
| 23
|
https://www.onthisday.com/date/2002/january/30
|
en
|
What Happened on January 30, 2002
|
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[
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[] |
2002-01-30T00:00:00
|
What happened on January 30, 2002. Browse historical events, famous birthdays and notable deaths from Jan 30, 2002 or search by date, day or keyword.
|
en
|
/apple-touch-icon.png
|
OnThisDay.com
|
https://www.onthisday.com/date/2002/january/30
|
Historical Events
Malone 2nd to 34,000 Points
Utah's Karl Malone becomes 2nd player in NBA history to register 34,000 career points by scoring 18 in a 90-78 win over Chicago at the Delta Center; trails only Kareem Abdul-Jabbar (38,387 points)
Famous Birthdays
Tyla [Seethal], South African musician (Water), born in Johannesburg, South Africa
Famous Deaths
Carlo Karges, German guitarist and songwriter (Nena - "99 Luftballons"), dies of liver failure at 50
Ellis Larkins, American classically trained (1st Black student at Peabody Institute) jazz pianist (Ruby Braff), and accompanist (Ella Fitzgerald; Eartha Kitt, Mildred Bailey), dies at 79
Herbert Maxwell Strong, American physicist and inventor (1st to synthesize diamonds as part of Project Superpressure), dies at 93 [1]
Ingeborg "Inge" Morath, Austrian-born Magnum photographer and wife of Arthur Miller, dies at 78
Louis Salica, American boxer (NBA World Bantamweight title 1935, 40; Olympic bronze flyweight 1932), dies at 89
Died in 2002 2002 Highlights
About January 30, 2002
Day of the Week: Wednesday
How Long Ago? 22 years, 6 months and 16 days
Leap Year: No
Generation: Generation Z
Chinese Zodiac: Snake
Star Sign: Aquarius
Music Charts
#1 Song: U Got It Bad - Usher
#1 Song: Hero - Enrique Iglesias
|
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4941
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dbpedia
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1
| 38
|
https://www.encyclopedia.com/women/dictionaries-thesauruses-pictures-and-press-releases/morath-inge-1923-2002
|
en
|
Morath, Inge (1923–2002)
|
[
"https://www.encyclopedia.com/themes/custom/trustme/images/header-logo.jpg"
] |
[] |
[] |
[
"Morath",
"Inge (1923–2002)Austrian-born photographer. Born Inge Mörath",
"May 27",
"1923",
"in Graz",
"Austria; died Jan 30",
"2002",
"in New York",
"NY; graduate of University of Berlin",
"1944; dau. of scientists; m. Arthur Miller (playwright)",
"1962; children: Rebecca Miller (b. 1962",
"filmmaker and painter)."
] | null |
[] | null |
Morath, Inge (1923–2002)Austrian-born photographer. Born Inge Mörath, May 27, 1923, in Graz, Austria; died Jan 30, 2002, in New York, NY; graduate of University of Berlin, 1944; dau. of scientists; m. Arthur Miller (playwright), 1962; children: Rebecca Miller (b. 1962, filmmaker and painter). Source for information on Morath, Inge (1923–2002): Dictionary of Women Worldwide: 25,000 Women Through the Ages dictionary.
|
en
|
/sites/default/files/favicon.ico
|
https://www.encyclopedia.com/women/dictionaries-thesauruses-pictures-and-press-releases/morath-inge-1923-2002
|
Citation styles
Encyclopedia.com gives you the ability to cite reference entries and articles according to common styles from the Modern Language Association (MLA), The Chicago Manual of Style, and the American Psychological Association (APA).
Within the “Cite this article” tool, pick a style to see how all available information looks when formatted according to that style. Then, copy and paste the text into your bibliography or works cited list.
Because each style has its own formatting nuances that evolve over time and not all information is available for every reference entry or article, Encyclopedia.com cannot guarantee each citation it generates. Therefore, it’s best to use Encyclopedia.com citations as a starting point before checking the style against your school or publication’s requirements and the most-recent information available at these sites:
Notes:
|
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4941
|
dbpedia
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0
| 8
|
https://www.geni.com/people/Ingeborg-Morath/316618804880004931
|
en
|
Ingeborg Morath
|
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] | null |
[] |
2023-05-05T20:51:57-07:00
|
Genealogy for Ingeborg Morath (1923 - 2002) family tree on Geni, with over 260 million profiles of ancestors and living relatives.
|
en
|
/touch-icon-iphone.png
|
geni_family_tree
|
https://www.geni.com/people/Ingeborg-Morath/316618804880004931
|
Also Known As: "Inge; Miller; Birch" Death: January 30, 2002 (78)
New York, New York, United States (Cancer)
|
||||
4941
|
dbpedia
|
1
| 43
|
https://www.wkar.org/2018-12-10/biography-captures-the-charisma-and-confidence-of-photographer-inge-morath
|
en
|
Biography Captures The Charisma And Confidence Of Photographer Inge Morath
|
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[
""
] | null |
[
"Susan Stamberg",
"www.wkar.org",
"susan-stamberg"
] |
2018-12-10T00:00:00
|
Biographer Linda Gordon chronicles Morath's escape from Nazi Germany, her boundary-breaking career and her marriage to playwright Arthur Miller.
|
en
|
WKAR Public Media
|
https://www.wkar.org/2018-12-10/biography-captures-the-charisma-and-confidence-of-photographer-inge-morath
|
"I'm fascinated by the necessity of quick decisions," Inge Morath told me more than 30 years ago, when she came to NPR for an interview. Morath was in the business of quick decisions — as a photographer and photojournalist she was the first woman to be accepted as a full member of the Magnum photo agency.
Now, her life is the subject of a new biography by Linda Gordon. It recounts Morath's escape from Nazi Germany, her boundary-breaking career, and her marriage to playwright Arthur Miller.
Morath met Miller — and his then-wife Marilyn Monroe — in 1960 while she was taking publicity stills on the set of the film The Misfits. It was Monroe's last film, and Miller had written it for his wife.
"Inge took some very, very beautiful and sympathetic photographs of Marilyn Monroe," Gordon says. "But Miller had struck her as intensely interesting — and he was quite impressed," Gordon says.
Miller and Monroe's relationship had been on the rocks for some time. He and Morath had an affair and the two married in 1962. They were together for 40 years, until Inge's death in 2002.
In our 1987 interview, I asked Morath about whether she wished she'd paid more attention to Monroe, as Miller's first wife. In a marriage, "you have to be yourself," she said. "Even if you are the first, the second, or the third wife — if you try to take over anything, or imitate anything, I think it'd be a disaster."
"She was a woman of extraordinary self-confidence," says Gordon. "One sees that throughout her life ... self-confidence as a photographer, as a person, but also as her own sexual being."
Morath had a magnetic personality — and plenty of affairs.
"She was just a person who drew you in," says Gordon.
As a young woman, Morath had a rough time in Germany during the war.
"After Allied bombs started falling heavily on Berlin — and landing very near the munitions factory where she was a forced worker — she joined columns of hundreds, probably thousands, of people on foot just leaving Berlin," Gordon explains.
The biographer says Morath walked 455 miles to her parents in Salzburg, Austria. They were Nazi sympathizers — she was not. In Paris after the war, Morath got a job at Magnum, the elite photo agency founded by the great pioneers of photojournalism, Robert Capa and Henri Cartier-Bresson.
There, she did everything from secretarial work, to working with contact sheets, to cleaning the office, Gordon says, all the while honing her skills in photography. In 1955, she became Magnum's first full female member.
With her camera, Morath followed her passion for travel. In Spain, she wangled her way into the dressing room of the great toreador Antonio Ordóñez. Her 1954 photo shows him preparing for combat: his muscled chest is bare, and he's wearing skin-tight, sequin-embroidered pants.
It took chutzpah to get into his dressing room, where women were considered bad luck. "To get into that space she half jokingly made a completely outrageous argument," Gordon says. "She said, 'I'm wearing pants when I work, therefore I'm neither man nor woman.' "
In Seville, Morath put on a flamenco outfit and climbed up onto a chair to shoot dancers, whirling to the music in their layered red and white skirts and petticoats. "You only see these people from the waist down ..." Gordon says. "She has captured the movement — but with a camera just slow enough so that some of the picture is blurred as you see the skirts whirling around."
Outside of photography circles, Morath is known more for her marriage than for her work. "I do not like the fact that many people only know her as a wife of Arthur Miller — and, of course, the wife immediately after Marilyn Monroe — but my impression is that she was pretty copacetic about it," Gordon says.
There are trade-offs to familiarity, Morath told me in 1987. For example, when working on a portrait, she said she didn't necessarily want to meet her subject first.
There is a "wonderful element to a new meeting," she explained. Being strangers, the photographer and the subject are placed into a "sparring" position. "That's interesting," she said. "You kind of show more of yourself."
Copyright 2023 NPR. To see more, visit https://www.npr.org.
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Inge Morath
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The Telegraph
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https://www.telegraph.co.uk/news/obituaries/1383341/Inge-Morath.html
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INGE MORATH, the photographer who has died aged 78, was one of the finest photo-journalists of her generation; she worked for the international photo-agency Magnum for nearly 50 years, and was also noted for the books she produced in collaboration with her husband, the playwright Arthur Miller.
Her photographs ranged from posed portraits of celebrities to snatched images of anonymous passers-by. Often they celebrated the human capacity for pleasure - Bedouin women dancing in the desert, soldiers of the People's Liberation Army of China climbing like children over a statue of Buddha. Sometimes they would focus on some joyful absurdity, such as her Encounter on Times Square (1957), in which a llama's head protrudes from a car window.
Ingeborg Morath was born on May 27 1923 at Graz, Austria. As the daughter of the science professor Edgar Morath, "Inge" was a member of the Austrian haute bourgeoisie but, when she was a child, the family moved to Germany.
Life under the Third Reich was far from comfortable for the anti-Nazi Moraths, however, and Inge herself was to run into trouble with the authorities. While studying at the University of Berlin, she refused to join the National Socialist student organisation. Her educational privileges were consequently withdrawn, and she was forced to assemble aeroplane parts at Tempelhof airport, Berlin, at a time when it was being bombed daily. Her fellow-workers were Ukranian women, employed there because no one would miss them if they were blown up. On one occasion, after the factory had been subjected to a particularly heavy attack, Inge Morath ran through the streets of Berlin holding a bouquet of lilac above her head.
"During the war, you had to keep your mouth shut a lot of the time," she once told an interviewer. "So you learnt to observe more closely. Goethe put it wonderfully when he said that we are born seeing, but we are required to look." It was this capacity for observation that informed her photography; she believed that, when you take a picture, "you trust your eye, and cannot help but bare your soul". What she saw during the war, however, did not move her to record more such conflicts: "Everyone was dead or half dead. I walked by dead horses, women with dead babies in their arms. I can't photograph war for this reason."
Escape from Tempelhof eventually came after an air-raid blasted open the factory gate. Inge Morath took the opportunity to walk out, and made her way to Austria, where her family was living once more. Once in Salzburg, she discovered her mother ensconced in the family home and found work as a translator and journalist working for the United States Information Service. She continued her journalistic career at the end of the war, editing the literary monthly, Der Optimist, from 1945 to 1952.
The bravery and initiative which Inge Morath showed during those war years were attributes which she would demonstrate all her life. She certainly displayed them while photographing the making of the film The Unforgiven (1960), shot by John Huston in the Mexican back country and starring Audie Murphy, the Second World War hero turned movie actor.
Accompanying Huston and some friends duck shooting one afternoon, Inge Morath noticed a commotion further out in the lake. It proved to be Murphy, thrashing about in the water having apparently fallen out of a boat. She immediately removed her clothes and swam into the cold waters of the lake wearing just her underwear. Finding Murphy in the last stages of exhaustion, she calmly hauled the war hero ashore by her bra strap, while the duck shooting continued overhead.
Inge Morath was fluent in half a dozen languages and possessed a working knowledge of many others, including Romanian. Indeed, her ability so impressed the German chancellor Konrad Adenauer when she interviewed him on one occasion that he tried to hire her as his chief secretary. It was an offer she had no difficulty in refusing.
She had first turned to photography while living in London after the war with her first husband, the British journalist Lionel Birch. She studied under Simon Guttman, the eccentric art editor of Picture Post; but instead of being taught the practicalities of photography, she found herself being made to perform secretarial chores, and tasks such as heating Guttman's shaving water.
When Inge Morath finally protested, Guttman replied: "But I dictate all my letters to you. Everything I know about photography - how to approach a subject, how to build a story - is in those letters." Unorthodox as this training was, it was one which she later claimed to value.
By the mid-1950s Inge Morath was divorced and working at the offices of the photographic agency Magnum in Paris. It was the heyday of Henri Cartier-Bresson, for whom she worked as researcher and assistant; Sartre and Simone de Beauvoir were frequenting the cafes of the Left Bank. And it was in Paris that Inge Morath saw a performance of The Crucible, her first experience of the work of Arthur Miller, who would one day become her husband.
It was not until she made her first trip to New York in 1956, however, that the full significance of the play's anti-McCarthyite message struck home. Coming through American customs, Inge Morath was detained because she carrying in her baggage a book which, though about movie stars and called Stardust in Hollywood, had been published by the Left Bookshop.
After rigorous questioning about her political sympathies, she was eventually released. As she left the airport she encountered a woman handing out leaflets ordering people to report any suspicious, un-American activities to the FBI.
Inge Morath first met Miller in the Nevada desert in 1960 during the shooting of The Misfits, the film he wrote for Marilyn Monroe. She arrived with Henri Cartier-Bresson to photograph the proceedings, and her picture of Monroe from that time - caught in an unguarded moment as Monroe walked dreamily beneath some trees - was one of the few unexploitative images of the screen goddess.
Although the Miller-Monroe marriage was crumbling fast, Miller and Inge Morath did not become friendly until later, when they met again in New York. Her attitude to marriage was equivocal. Her own parents had converted from Catholicism to Protestantism to facilitate any possible divorce in the future, and she already had one failed marriage behind her; Miller, meanwhile, had two.
Her decision to marry Miller in 1962 - the year after he and Monroe were divorced - proved a sound one. Miller later described the years he spent with her as "the best" of his life; and Timebends, his autobiography published in 1987, was dedicated to her.
Inge Morath and Miller travelled extensively together, often collaborating on photographic books (with Miller supplying the text) of which In Russia, published in 1969, was the first. Their visit to China in 1978, which produced Chinese Encounters (1979), took advantage of the fact that, for the first time in more than 30 years, the Chinese felt free to talk to foreigners.
In 1991 she published Russian Journal, a 25-year record of friends and people she met before, during and after the years of the Brezhnev repression.
Inge Morath was an assiduous worker - she was on top of a tall crane taking photographs in Brooklyn Navy Yard only four hours before going into labour with her daughter.
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Inge Morath's most important work consists of portraits, but of passers-by as well as celebrities. She was also adept at photographing places. Buy Inge Morath photos at FFOTO, the best place to buy photographs online. Collect with confidence from our selection of museum-quality historical and contemporary fine art and documentary photography.
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Inge Morath was born in Graz, Austria, in 1923. After studying languages in Berlin, she became a translator, then a journalist and the Austrian editor for Heute, an Information Service Branch publication based in Munich. All her life Morath would remain a prolific diarist and letter-writer, retaining a dual gift for words and pictures that made her unusual among her colleagues.
A friend of photographer Ernst Haas, she wrote articles to accompany his photographs and was invited by Robert Capa and Haas to Paris to join the newly founded Magnum agency as an editor and researcher. She began photographing in London in 1951, and joined Magnum Photos as a photographer in 1953. While working on her own first assignments, Morath also assisted Henri Cartier-Bresson during 1953-54, becoming a full member in 1955.
In the following years, Morath traveled extensively in Europe, North Africa and the Middle East. Her special interest in the arts found expression in photographic essays published by a number of leading magazines. After her marriage to playwright Arthur Miller in 1962, Morath settled in New York and Connecticut. She first visited the USSR in 1965. In 1972 she studied Mandarin and obtained a visa to China, making the first of many trips to the country in 1978.
Morath was at ease anywhere. Some of her most important work consists of portraits, but of passers-by as well as celebrities. She was also adept at photographing places: her pictures of Boris Pasternak's home, Pushkin's library, Chekhov's house, Mao Zedong's bedroom, artists' studios and cemetery memorials are permeated with the spirit of invisible people still present. Inge Morath died in New York City on 30 January 2002.
- Source: Magnum Photos
Read our blog post about Inge Morath HERE.
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Inge Morath: (1923 Graz - 2002 New York) Border.Areas - Last Journey
World famous photographer Inge Morath, who died at the end of January 2002, journeyed through the borderland between southern Styria and Slovenia searching for clues to her own origins and the interaction of history, daily life and culture in the border area.
Born in Graz in 1923, photographer Inge Morath embarked on a special journey through the borderland between southern Austria and Slovenia. Her project for Graz 2003 entitled "Border.Areas" became a trip through time on a number of different levels - geographical, autobiographical, historical and cultural - with the multi-faceted photographer herself as linking element.
(from left) Inge Morath (detail): Boy with an mushroom, Conductor, train Dravograd - Maribor
The photographers last project before her death in January 2002 is based on an idea by Regina Strassegger and dedicated to many features of this special border which exists since 1919. For Morath, who in her varied photographic work (including jobs with international magazines such as Magnum, Life, Paris Match and Vogue), always tried to capture human aspects and everyday life rather than spectacular events, it was also a search for her own roots.
"I have a secret longing for this stretch of land on the border - lets do something." This wish uttered by Morath in autumn 1999 during her first encounter with film-maker and journalist Regina Strassegger in Vienna has now become reality. Strassegger describes the complex outcome as a "photo-cinematic journey of discovery that follows seasons and life cycles, back and forth between here and there, rural and urban, commonplace and special. The results will be featured in a film (film script and direction: Regina Strassegger), a book (Prestel Verlag) and an exhibition of some 120 examples of Moraths photography.
For the globe-trotter Morath, this project was also a trip through her own past, to the home of her ancestors and a house in the vineyards that had been a life-long friend.
Her mothers family, Wiesler-Morath, originated from what used to be "Lower Styria", now Slovenia, and the area was full of memories for Morath: "When I was a child and walked for days through the vineyards and hillsides with my grandfather, and we found shells from a period thousands of years ago when this land was an ocean, I felt like I was on a submarine taking a trip around the world."
This, however, is also an area with historical and political implications: traumatic years during two World Wars, expulsion, fascism, communism and finally the metamorphoses of the present have all marked the area and its inhabitants.
The exhibition of Moraths borderland photography will be opened on the first anniversary of her death on 30 January 2003 in Graz (Künstlerhaus), and will then go on an international tour to New York, Budapest, Slovenj Gradec, Ljubljana and other cities.
The film will be shown on 3sat and ORF TV; German- and English-language premieres are scheduled in Graz and New York.
Idea and concept: Regina Strassegger
Realisation: Regina Strassegger (book and film); Kurt Kaindl, Brigitte Blüml (exhibition design)
A project by Graz 2003 - Cultural Capital of Europe, in cooperation with 3sat
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https://www.nytimes.com/2002/01/31/arts/inge-morath-photographer-with-a-poetic-touch-dies-at-78.html
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Inge Morath, Photographer With a Poetic Touch, Dies at 78
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2002-01-31T00:00:00
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Inge Morath, photographer who brought whimsical, lyrical touch to her images from travelogues to reportage to portraits, dies at age 78; photos (M)
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Inge Morath, a photographer who brought a whimsical, lyrical touch to her images from travelogues to reportage to portraits, died yesterday at New York Hospital in Manhattan. She was 78 and lived in Roxbury, Conn.
Arthur Miller, her husband, said the cause of death was lymphoma.
''She made poetry out of people and their places over half a century,'' Mr. Miller said.
Her work included striking portraits of both posed celebrities and fleeting images of anonymous passers-by. Her feeling for places as reflected in images of Boris Pasternak's home, Chekhov's house and Mao Zedong's bedroom was so sensitive that some viewers insisted they could see invisible people.
But many critics said the pictures spoke eloquently for themselves.
''Inge Morath possesses the priceless quality of making the world look as though it had been discovered only this morning and she was present with her lens to record its bright freshness,'' Harrison E. Salisbury wrote in The New York Times Book Review about the couple's book ''In Russia'' (Viking, 1969).
In the later phases of her long career, Ms. Morath produced books with her husband: he provided words and she the pictures. Beyond their respective artistic talents, the books were enhanced by his easy access to top figures in culture and other fields and her great facility with languages. For example, she spent years learning Chinese before the couple tackled China.
In an essay in The New York Times concerning their book ''In the Country'' (Viking, 1977), Mr. Miller suggested such collaborations allowed the two to play with notions of time. ''As always, the camera sees the past -- all it can see -- and here it speaks of a symmetry of action and thought and a revolution based on empirical common sense, when in truth these people watch the television news for the event on Wall Street, in Washington or Korea that will affect the price of fertilizer and crops,'' he wrote. ''The surreal emerges from the fragility of what camera and mind can grasp as real.''
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Biography Captures The Charisma And Confidence Of Photographer Inge Morath
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[
"Susan Stamberg",
"health.wusf.usf.edu",
"susan-stamberg"
] |
2018-12-10T00:00:00
|
Biographer Linda Gordon chronicles Morath's escape from Nazi Germany, her boundary-breaking career and her marriage to playwright Arthur Miller.
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en
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Health News Florida
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https://health.wusf.usf.edu/2018-12-10/biography-captures-the-charisma-and-confidence-of-photographer-inge-morath
|
"I'm fascinated by the necessity of quick decisions," Inge Morath told me more than 30 years ago, when she came to NPR for an interview. Morath was in the business of quick decisions — as a photographer and photojournalist she was the first woman to be accepted as a full member of the Magnum photo agency.
Now, her life is the subject of a new biography by Linda Gordon. It recounts Morath's escape from Nazi Germany, her boundary-breaking career, and her marriage to playwright Arthur Miller.
Morath met Miller — and his then-wife Marilyn Monroe — in 1960 while she was taking publicity stills on the set of the film The Misfits. It was Monroe's last film, and Miller had written it for his wife.
"Inge took some very, very beautiful and sympathetic photographs of Marilyn Monroe," Gordon says. "But Miller had struck her as intensely interesting — and he was quite impressed," Gordon says.
Miller and Monroe's relationship had been on the rocks for some time. He and Morath had an affair and the two married in 1962. They were together for 40 years, until Inge's death in 2002.
In our 1987 interview, I asked Morath about whether she wished she'd paid more attention to Monroe, as Miller's first wife. In a marriage, "you have to be yourself," she said. "Even if you are the first, the second, or the third wife — if you try to take over anything, or imitate anything, I think it'd be a disaster."
"She was a woman of extraordinary self-confidence," says Gordon. "One sees that throughout her life ... self-confidence as a photographer, as a person, but also as her own sexual being."
Morath had a magnetic personality — and plenty of affairs.
"She was just a person who drew you in," says Gordon.
As a young woman, Morath had a rough time in Germany during the war.
"After Allied bombs started falling heavily on Berlin — and landing very near the munitions factory where she was a forced worker — she joined columns of hundreds, probably thousands, of people on foot just leaving Berlin," Gordon explains.
The biographer says Morath walked 455 miles to her parents in Salzburg, Austria. They were Nazi sympathizers — she was not. In Paris after the war, Morath got a job at Magnum, the elite photo agency founded by the great pioneers of photojournalism, Robert Capa and Henri Cartier-Bresson.
There, she did everything from secretarial work, to working with contact sheets, to cleaning the office, Gordon says, all the while honing her skills in photography. In 1955, she became Magnum's first full female member.
With her camera, Morath followed her passion for travel. In Spain, she wangled her way into the dressing room of the great toreador Antonio Ordóñez. Her 1954 photo shows him preparing for combat: his muscled chest is bare, and he's wearing skin-tight, sequin-embroidered pants.
It took chutzpah to get into his dressing room, where women were considered bad luck. "To get into that space she half jokingly made a completely outrageous argument," Gordon says. "She said, 'I'm wearing pants when I work, therefore I'm neither man nor woman.' "
In Seville, Morath put on a flamenco outfit and climbed up onto a chair to shoot dancers, whirling to the music in their layered red and white skirts and petticoats. "You only see these people from the waist down ..." Gordon says. "She has captured the movement — but with a camera just slow enough so that some of the picture is blurred as you see the skirts whirling around."
Outside of photography circles, Morath is known more for her marriage than for her work. "I do not like the fact that many people only know her as a wife of Arthur Miller — and, of course, the wife immediately after Marilyn Monroe — but my impression is that she was pretty copacetic about it," Gordon says.
There are trade-offs to familiarity, Morath told me in 1987. For example, when working on a portrait, she said she didn't necessarily want to meet her subject first.
There is a "wonderful element to a new meeting," she explained. Being strangers, the photographer and the subject are placed into a "sparring" position. "That's interesting," she said. "You kind of show more of yourself."
Copyright 2023 NPR. To see more, visit https://www.npr.org.
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0
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http://www2.arnes.si/~sggaler/exhibitions/inge-morath/index-eng.htm
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en
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Inge Morath
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Inge Morath: (1923 Graz - 2002 New York) Border.Areas - Last Journey
World famous photographer Inge Morath, who died at the end of January 2002, journeyed through the borderland between southern Styria and Slovenia searching for clues to her own origins and the interaction of history, daily life and culture in the border area.
Born in Graz in 1923, photographer Inge Morath embarked on a special journey through the borderland between southern Austria and Slovenia. Her project for Graz 2003 entitled "Border.Areas" became a trip through time on a number of different levels - geographical, autobiographical, historical and cultural - with the multi-faceted photographer herself as linking element.
(from left) Inge Morath (detail): Boy with an mushroom, Conductor, train Dravograd - Maribor
The photographers last project before her death in January 2002 is based on an idea by Regina Strassegger and dedicated to many features of this special border which exists since 1919. For Morath, who in her varied photographic work (including jobs with international magazines such as Magnum, Life, Paris Match and Vogue), always tried to capture human aspects and everyday life rather than spectacular events, it was also a search for her own roots.
"I have a secret longing for this stretch of land on the border - lets do something." This wish uttered by Morath in autumn 1999 during her first encounter with film-maker and journalist Regina Strassegger in Vienna has now become reality. Strassegger describes the complex outcome as a "photo-cinematic journey of discovery that follows seasons and life cycles, back and forth between here and there, rural and urban, commonplace and special. The results will be featured in a film (film script and direction: Regina Strassegger), a book (Prestel Verlag) and an exhibition of some 120 examples of Moraths photography.
For the globe-trotter Morath, this project was also a trip through her own past, to the home of her ancestors and a house in the vineyards that had been a life-long friend.
Her mothers family, Wiesler-Morath, originated from what used to be "Lower Styria", now Slovenia, and the area was full of memories for Morath: "When I was a child and walked for days through the vineyards and hillsides with my grandfather, and we found shells from a period thousands of years ago when this land was an ocean, I felt like I was on a submarine taking a trip around the world."
This, however, is also an area with historical and political implications: traumatic years during two World Wars, expulsion, fascism, communism and finally the metamorphoses of the present have all marked the area and its inhabitants.
The exhibition of Moraths borderland photography will be opened on the first anniversary of her death on 30 January 2003 in Graz (Künstlerhaus), and will then go on an international tour to New York, Budapest, Slovenj Gradec, Ljubljana and other cities.
The film will be shown on 3sat and ORF TV; German- and English-language premieres are scheduled in Graz and New York.
Idea and concept: Regina Strassegger
Realisation: Regina Strassegger (book and film); Kurt Kaindl, Brigitte Blüml (exhibition design)
A project by Graz 2003 - Cultural Capital of Europe, in cooperation with 3sat
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https://stephanieeche.com/blog/tag/Inge%2BMorath
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Inge Morath — Studio Notes — STEPHANIE ECHE
|
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[] |
[] |
[
""
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[] |
2014-01-17T00:00:00
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en
|
https://images.squarespace-cdn.com/content/v1/546fda07e4b0df97033b8bd1/1585853407581-M1DIO31881V5DL2BDMU0/favicon.ico?format=100w
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STEPHANIE ECHE
|
https://stephanieeche.com/blog/tag/Inge+Morath
|
I love this piece by Inge Morath. You can get a signed and numbered limited edition print from the Corcoran gallery. It's from the documentary about Inge's life as a photographer by German filmmaker Sabine Eckhard.
Born in Austria in 1923 to two scientists, Morath grew up in Germany and studied language at Berlin University, speaking French, English, Romanian and German (and according to her foundation later Spanish, Italian, Russian, and Chinese) -- amazing! Towards the end of WWII, she escaped to Austria and worked as a journalist and translator. In post-war Vienna she met photographer Ernst Haas and started writing articles to accompany his photographs.
During a visit to Venice in 1951, she started taking photographs.
“It was instantly clear to me that from now on I would be a photographer,” she wrote. “As I continued to photograph I became quite joyous. I knew that I could express the things I wanted to say by giving them form through my eyes.”
Morath got an apprenticeship, used the pseudonym Egni Tharom to sell her first photographs and soon moved to Paris. She started as a photographer capturing small assignments and by 1955 was a full member of Magnum Photos Agency traveling the world.
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https://simple.wikipedia.org/wiki/Inge_Morath
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en
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Simple English Wikipedia, the free encyclopedia
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https://simple.wikipedia.org/static/favicon/wikipedia.ico
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https://simple.wikipedia.org/static/favicon/wikipedia.ico
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[
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2012-05-07T06:44:01+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://simple.wikipedia.org/wiki/Inge_Morath
|
Ingeborg Morath (May 27, 1923 – January 30, 2002) was an Austrian photographer.[1] In 1953 she joined the Magnum Photos Agency. She became a full photographer with them in 1955. In 1955 she published her first collection of photographs, of a total of 30 monographs during her lifetime.
Ingeborg Morath was born in Graz, Austria. Her parents were scientists. They went to different laboratories and universities in Europe during her childhood. She first went to French-speaking schools. In the 1930s her family moved to Darmstadt, a German intellectual center. Then they moved to Berlin.
Morath's first encounter with avant-garde art was the Degenerate Art show by the Nazi party in 1937. It was supposed to make people not like modern art. "I found a number of these paintings exciting and fell in love with Franz Marc's Blue Horse", Morath later wrote.[2]
Morath went to Berlin University. At university, Morath studied languages. She learned French, English, and Romanian. Later she added Spanish, Russian and Chinese. Toward the end of World War II, Morath worked for factory service in Tempelhof, alongside Ukrainian prisoners of war. During an attack on the factory by Russian bombers, she ran on foot to Austria. In later years, Morath would not photograph war.
After the Second World War, Morath worked as a translator and journalist. In 1948, she was hired by Warren Trabant. She worked for Heute. Morath met photographer Ernst Haas in post-war Vienna. She brought his work to Trabant's attention.[3] Working together for Heute, Morath wrote articles to go along with Haas' pictures. In 1949, Morath and Haas were invited by Robert Capa to join the newly founded Magnum Photos in Paris.
Morath was briefly married to the British journalist Lionel Birch. She moved to London in 1951. That same year, she began to photograph during a visit to Venice. Morath asked for an apprenticeship with Simon Guttman. He was then an editor for Picture Post and running the picture-agency Report.
Morath divorced Birch and returned to Paris. Her first jobs were stories that did not interest "the big boys." She went to London on an early job to photograph the residents of Soho and Mayfair. Morath's portrait of Mrs. Eveleigh Nash, from that job, is among her best-known works. During the late 1950s Morath traveled widely. She covered stories in Europe, the Middle East, Africa, the United States, and South America. She worked for such publications as Holiday, Paris Match, and Vogue. In 1955 she published Guerre à la Tristesse, photographs of Spain, with Robert Delpire. This was followed by De la Perse à l'Iran, photographs of Iran, in 1958. Morath published more than thirty monographs during her lifetime.
Like many Magnum members, Morath worked as a still photographer on numerous motion picture sets. She met director John Huston while she was living in London. Huston's Moulin Rouge (1952) was one of Morath's earliest jobs. It was her first time working in a film studio.
Morath married the playwright Arthur Miller on February 17, 1962. They moved to the United States. Miller and Morath's first child, Rebecca, was born in September 1962. The couple's second child Daniel was born in 1966 with Down syndrome. He was institutionalized shortly after his birth.[4] Today Rebecca Miller is a film director, actress, and writer.
Ingeborg Morath Miller died of cancer in New York City in 2002, at the age of 78.[1]
2003, her family established the Inge Morath Foundation.
2002, members of Magnum Photos made the Inge Morath Award in honor of their colleague as an annual award. It is administered by the Inge Morath Foundation, and is given to a woman photographer under the age of 30, to support her work towards the completion of a long-term project.
1992 Great Austrian State Prize for Photography.
1984 Doctor Honoris Causa Fine Arts, University of Connecticut, Hartford, USA.
1983 State of Michigan Senate Resolution NO 295; Tribute to Inge Morath.
2008 Well Disposed and Trying to See: Inge Morath and Arthur Miller in China, University of Michigan Art Museum, Ann Arbor, USA.
2004 Inge Morath: The Road to Reno, Chicago Cultural Center, Illinois, USA.
2004 Inge Morath: Chinese Encounters, Pingyao International Photography Festival, Pingyao, China.
2003 Exposition, Henri Cartier-Bresson Foundation, Paris, France.
2002 Inge Morath: Danube, City Gallery of Russe, Russe, Bulgaria.
2002 Inge Morath: New York, Galerie Fotohof, Salzburg, Austria; Stadt Passau, Europäische; Wochen, Germany ESWE Forum, Wiesbaden; Esther Woerdehoff Galerie, Paris, France; Amerikahaus Tübingen, Germany.
1999 Retrospective, Kunsthalle Wien, Austria; FNAC Etoile, Paris, France; FNAC, Barcelona, Spain.
1999 Spain in the Fifties, Museo del Cabilde, Montevideo, Uruguay.
1998 Inge Morath: Danube, Festival of Central European Culture, London, UK; Museen d. Stadt Regensburg, Regensburg, Germany.
1998 Retrospective, Edinburgh Festival, Edinburgh, UK; Museum of Photography in Charleroi, Belgium; Municipal Gallery, Pamplona, Spain.
1998 Celebrating 75 Years Leica Gallery, New York, USA.
1997 Retrospective Kunsthal, Rotterdam, Netherlands.
1997 Inge Morath: Danube, Keczkemet Museum, Esztergom Museum, Hungary
1997 Photographs 1950s to 1990s, Tokyo Museum of Photography, Tokyo, Japan
1996 Women to Women, Takashimaya Gallery, Tokyo, Japan
1996 Inge Morath: Danube, Neues Schauspielhaus, Berlin, Germany; Leica Gallery, New York, USA; Galeria Fotoforum, Bolzano, Italy.
1995 Spain in the fifties, Museo de Arte Contemporaneo, Madrid, Spain; Museo de Navarra,Pamplona, Spain.
1994 Spain in the fifties, Spanish Institute, New York, USA
1992/94 Retrospective, Neue Galerie Linz, Austria ;America House, Frankfurt, Germany; Hardenberg Gallery, Velbert, Germany; Galerie Fotogramma, Milano, Italy; Royal Photographic Society, Bath, UK; Smith Gallery and Museum, Stirling, UK; America House, Berlin, Germany; Hradcin Gallery, Prague, Czech Republic.
1991 Portraits, Kolbe Museum Berlin, Germany; Rupertinum Museum Salzburg, Austria
1989 Portraits, Burden Gallery, Aperture Foundation, New York, New York, USA; Norwich Cathedral, Norwich, UK; American Cultural Center, Brussels, Belgium.
1988 Retrospective, Union of Photojournalists, Moscow, Russia; Sala del Canal Museum, Madrid, Spain; Rupertinum Museum, Salzburg, Austria.
1984 Salesman in Beijing, Hong Kong Theatre Festival.
1979 Inge Morath: Photographs of China, Grand Rapids Art Museum, Michigan, USA.
1964 Inge Morath: Photographs, Gallery 104, Art Institute of Chicago, Illinois, USA.
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The pioneering legacy of Inge Morath
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2021-08-18T16:00:13+00:00
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On the 20th anniversary of the Inge Morath Award, Sumeja Tulic reflects on the photographer’s brilliance and perseverance in what remains a male-dominated industry and her influence on generations of photographers since
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1854 Photography
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https://www.1854.photography/2021/08/the-pioneering-legacy-of-inge-morath/
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In 2002, following Inge Morath’s (1923–2002) memorial service at the Lincoln Center, New York, several Magnum photographers gathered at the agency’s New York office. As when Morath had first entered Magnum Photos’ Paris office in 1949, the majority were still men. “Being one of the then rather rare women photographers was often difficult for the simple reason that nobody felt one was serious,” Morath once said. “I certainly do not think that I got the same forceful male brotherhood support the men got.” However, now things were somewhat different: the group rallied around discussing how to honour the photographer and the person she was. Eventually, the Canadian photojournalist Larry Towell suggested something everyone agreed on, and the Inge Morath Award (IMA) was born. The annual grant has been open to women and, later, also non-binary photographers under 30 to apply to every year since 2002. It sees one grantee receive $5000, supporting the completion of a long-term documentary project. “Our collective tribute to the spirit of Morath,” as the revered documentary photographer Susan Meiselas describes it.
Morath’s spirit was one of curiosity, adventure and defiance. She was born in Austria in 1923, the daughter of two research scientists who were Nazi sympathisers. When the Second World War broke out, the family was living in Berlin. The photographer laboured in an aeroplane factory after refusing to join the Hitler Youth. Following the war, she worked as a translator and journalist in Munich and Vienna (Morath was a linguistics major in college and could speak six languages fluently throughout her life). Then, in 1949, the photographer wound up at Magnum Photos in Paris, invited by Robert Capa, along with her then-colleague Austrian photojournalist Ernst Haas. In 1955, after working at the Paris office for several years, the photographer eventually became the agency’s first female member in Europe.
For Morath, photography was “essentially a personal matter – a search for inner truth,” as she described it. The photographer travelled extensively, often alone, covering stories in Europe, the Middle East, Africa, the US, and South America for publications including Vogue and Paris Match. She also worked as a photographer on motion picture sets, including The Misfits (1960), where she met her second husband, playwright Arthur Miller. A significant portion of Morath’s work is devoted to black-and-white portraiture. Her subjects were artists, writers, fashion designers, actors, celebrities, anonymous passers-by, and even a llama named Linda, famously pictured with its head extending from a car’s window in New York. “If you’re one of her subjects, you hardly know your guard is down and your secret recorded until it’s too late,” said Philip Roth, the American novelist photographed by Morath in 1965.
Morath forged a photographic career for herself. However, it was one still greatly affected by gender inequality. At Magnum Photos, for instance, women remained in the minority, with Eve Arnold (1912–2012), Marilyn Silverstone (1929–1990), Susan Meiselas (1948–), and Martine Franck (1938–2012) gradually joining Morath as the agency’s earliest female members. Meiselas fondly remembers sitting next to Morath during Magnum Photo’s annual meetings. Reluctant to speak publicly, Morath would whisper into Meiselas’ ear.
Today, although female membership of Magnum Photos has increased, including its leadership, the agency is still predominantly male. Magnum Photos is not alone: across the photojournalism industry as a whole, women are still underrepresented and experience numerous barriers to full and equitable participation. From 2015 to 2018, for instance, the annual World Press Photo Contest surveyed 5202 of its entrants from over 100 countries. The resultant report The State of News Photography (2018) discovered 69 per cent of female respondents had faced discrimination in the workplace. Meanwhile, a follow-on paper revealed just 15 per cent of photojournalists today are women, a sobering statistic given the influence of news photography on our perception of current affairs.
The experiences of many of the award’s recipients reflect this reality. “I did not become a photographer right away. I began my career as an editor,” says Ami Vitale, the first recipient of the award, who received the accolade in 2002. “I dreamt of being a photographer […] I was a young woman, and the people out taking the shots were mainly men with a few remarkable exceptions. I remember showing work to supervisors and editors with the dream of one day being a photojournalist; they dismissed my dreams.” The IMA allowed Vitale to spend a year in Kashmir developing a body of work. “After [receiving it], I had several, mostly female, editors reach out and offer me opportunities I wouldn’t have had before,” Vitale continues. Today, almost a decade on, she is a Nikon Ambassador and National Geographic magazine photographer.
The experiences of other recipients echo those of Vitale’s. “Before receiving the award, people refused and questioned my work just because it was made by a woman,” says Mexico-based documentary photographer Claudia Guadarrama. She received the award in 2004 for Before the Limit, a project describing Central American migrants’ dangerous journeys crossing the Mexico-US border. US-based documentary photographer, writer, and filmmaker Isadora Kosofsky, who received the accolade in 2012 when she was just 18, remembers how “a few months before, an editor laughed at me and said I was too young to be published in her magazine. When you begin to channel some of Inge’s spirit, you’re reminded not to worry about the assumptions, opinions, and judgements of others.”
Alongside creating their own body of work, many of the award’s recipients have established initiatives to support women in the industry and beyond, something Meiselas describes as the grant’s “ripple effect”. Six years after receiving the 2005 award, Bulgarian-American photographer and filmmaker Mimi Chakarova established a fellowship program for female filmmakers. “Understanding the importance and value of supporting women, I set [it up] in the hope that more documentary projects of social significance will get made,” she says. Similarly, the 2009 recipient Emily Schiffer co-founded We, Women, “the largest social impact photography project by women in the United States,” following the 2016 US presidential election. And, in 2017, a year after receiving the IMA, the Vietnamese-American documentary photographer Daniella Zalcman founded Women Photograph, a nonprofit working to elevate the voices of women and non-binary visual journalists.
Previous recipients have also formed a community of sorts, often collaborating on projects. Notably, eight IMA awardees, including Olivia Arthur, a member of Magnum Photos and its current president, embarked on a six-week photographic road trip, the Danube Revisited: The Inge Morath Truck Project. The photographers retraced Morath’s journeys along the banks of the Danube River, which she began in 1958 and continued periodically over many years. They travelled in a converted truck, staging exhibitions of Morath’s work while producing new projects of their own. Arthur is grateful for the community of women she met through the IMA, something “relatively unusual for awards,” she points out. “Photography can be a very lonely career, ” she continues, ” links and support are important”.
This year, Venezuelan photographer Fabiola Ferrero will receive the IMA grant to work on her project, I Can’t Hear the Birds. The work explores the grief resulting from migration through the eyes of those left behind in Venezuela, capturing desolate landscapes, empty homes, and memories of once prosperous land found in dusty family albums. “I’m in awe to look at past recipients and see my name next to them,” says Ferrero. “It is because of women like them that we now have a less painful path to walk. I’m grateful, I’m happy, and I also feel a great responsibility to keep working and opening up spaces for others.”
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https://www.howtopronounce.com/inge-morath
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How to pronounce Inge Morath
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How to say Inge Morath in English? Pronunciation of Inge Morath with 5 audio pronunciations, 1 meaning, 2 translations, 8 sentences and more for Inge Morath.
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https://www.howtopronounce.com/inge-morath
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Meanings for Inge Morath
A former Austrian photographer who is known for her unique style of photography. She worked as a photographer for Magnum Photos, which is an international photographic cooperative.
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Wiki content for Inge Morath
Inge Morath - Ingeborg Hermine Morath (listen ; May 27, 1923 – January 30, 2002) was an Austrian-born American photographer.
Inge Morath Award - The Inge Morath Award was established by Magnum Photos in tribute to Inge Morath, an Austrian-born photographer who was associated with Magnum for almost fifty years, and who died in January,
Inge Morath Foundation - The Inge Morath Foundation was a privately operating non-profit foundation headquartered in New York, New York.
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https://simple.wikipedia.org/wiki/Inge_Morath
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Simple English Wikipedia, the free encyclopedia
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https://simple.wikipedia.org/wiki/Inge_Morath
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Ingeborg Morath (May 27, 1923 – January 30, 2002) was an Austrian photographer.[1] In 1953 she joined the Magnum Photos Agency. She became a full photographer with them in 1955. In 1955 she published her first collection of photographs, of a total of 30 monographs during her lifetime.
Ingeborg Morath was born in Graz, Austria. Her parents were scientists. They went to different laboratories and universities in Europe during her childhood. She first went to French-speaking schools. In the 1930s her family moved to Darmstadt, a German intellectual center. Then they moved to Berlin.
Morath's first encounter with avant-garde art was the Degenerate Art show by the Nazi party in 1937. It was supposed to make people not like modern art. "I found a number of these paintings exciting and fell in love with Franz Marc's Blue Horse", Morath later wrote.[2]
Morath went to Berlin University. At university, Morath studied languages. She learned French, English, and Romanian. Later she added Spanish, Russian and Chinese. Toward the end of World War II, Morath worked for factory service in Tempelhof, alongside Ukrainian prisoners of war. During an attack on the factory by Russian bombers, she ran on foot to Austria. In later years, Morath would not photograph war.
After the Second World War, Morath worked as a translator and journalist. In 1948, she was hired by Warren Trabant. She worked for Heute. Morath met photographer Ernst Haas in post-war Vienna. She brought his work to Trabant's attention.[3] Working together for Heute, Morath wrote articles to go along with Haas' pictures. In 1949, Morath and Haas were invited by Robert Capa to join the newly founded Magnum Photos in Paris.
Morath was briefly married to the British journalist Lionel Birch. She moved to London in 1951. That same year, she began to photograph during a visit to Venice. Morath asked for an apprenticeship with Simon Guttman. He was then an editor for Picture Post and running the picture-agency Report.
Morath divorced Birch and returned to Paris. Her first jobs were stories that did not interest "the big boys." She went to London on an early job to photograph the residents of Soho and Mayfair. Morath's portrait of Mrs. Eveleigh Nash, from that job, is among her best-known works. During the late 1950s Morath traveled widely. She covered stories in Europe, the Middle East, Africa, the United States, and South America. She worked for such publications as Holiday, Paris Match, and Vogue. In 1955 she published Guerre à la Tristesse, photographs of Spain, with Robert Delpire. This was followed by De la Perse à l'Iran, photographs of Iran, in 1958. Morath published more than thirty monographs during her lifetime.
Like many Magnum members, Morath worked as a still photographer on numerous motion picture sets. She met director John Huston while she was living in London. Huston's Moulin Rouge (1952) was one of Morath's earliest jobs. It was her first time working in a film studio.
Morath married the playwright Arthur Miller on February 17, 1962. They moved to the United States. Miller and Morath's first child, Rebecca, was born in September 1962. The couple's second child Daniel was born in 1966 with Down syndrome. He was institutionalized shortly after his birth.[4] Today Rebecca Miller is a film director, actress, and writer.
Ingeborg Morath Miller died of cancer in New York City in 2002, at the age of 78.[1]
2003, her family established the Inge Morath Foundation.
2002, members of Magnum Photos made the Inge Morath Award in honor of their colleague as an annual award. It is administered by the Inge Morath Foundation, and is given to a woman photographer under the age of 30, to support her work towards the completion of a long-term project.
1992 Great Austrian State Prize for Photography.
1984 Doctor Honoris Causa Fine Arts, University of Connecticut, Hartford, USA.
1983 State of Michigan Senate Resolution NO 295; Tribute to Inge Morath.
2008 Well Disposed and Trying to See: Inge Morath and Arthur Miller in China, University of Michigan Art Museum, Ann Arbor, USA.
2004 Inge Morath: The Road to Reno, Chicago Cultural Center, Illinois, USA.
2004 Inge Morath: Chinese Encounters, Pingyao International Photography Festival, Pingyao, China.
2003 Exposition, Henri Cartier-Bresson Foundation, Paris, France.
2002 Inge Morath: Danube, City Gallery of Russe, Russe, Bulgaria.
2002 Inge Morath: New York, Galerie Fotohof, Salzburg, Austria; Stadt Passau, Europäische; Wochen, Germany ESWE Forum, Wiesbaden; Esther Woerdehoff Galerie, Paris, France; Amerikahaus Tübingen, Germany.
1999 Retrospective, Kunsthalle Wien, Austria; FNAC Etoile, Paris, France; FNAC, Barcelona, Spain.
1999 Spain in the Fifties, Museo del Cabilde, Montevideo, Uruguay.
1998 Inge Morath: Danube, Festival of Central European Culture, London, UK; Museen d. Stadt Regensburg, Regensburg, Germany.
1998 Retrospective, Edinburgh Festival, Edinburgh, UK; Museum of Photography in Charleroi, Belgium; Municipal Gallery, Pamplona, Spain.
1998 Celebrating 75 Years Leica Gallery, New York, USA.
1997 Retrospective Kunsthal, Rotterdam, Netherlands.
1997 Inge Morath: Danube, Keczkemet Museum, Esztergom Museum, Hungary
1997 Photographs 1950s to 1990s, Tokyo Museum of Photography, Tokyo, Japan
1996 Women to Women, Takashimaya Gallery, Tokyo, Japan
1996 Inge Morath: Danube, Neues Schauspielhaus, Berlin, Germany; Leica Gallery, New York, USA; Galeria Fotoforum, Bolzano, Italy.
1995 Spain in the fifties, Museo de Arte Contemporaneo, Madrid, Spain; Museo de Navarra,Pamplona, Spain.
1994 Spain in the fifties, Spanish Institute, New York, USA
1992/94 Retrospective, Neue Galerie Linz, Austria ;America House, Frankfurt, Germany; Hardenberg Gallery, Velbert, Germany; Galerie Fotogramma, Milano, Italy; Royal Photographic Society, Bath, UK; Smith Gallery and Museum, Stirling, UK; America House, Berlin, Germany; Hradcin Gallery, Prague, Czech Republic.
1991 Portraits, Kolbe Museum Berlin, Germany; Rupertinum Museum Salzburg, Austria
1989 Portraits, Burden Gallery, Aperture Foundation, New York, New York, USA; Norwich Cathedral, Norwich, UK; American Cultural Center, Brussels, Belgium.
1988 Retrospective, Union of Photojournalists, Moscow, Russia; Sala del Canal Museum, Madrid, Spain; Rupertinum Museum, Salzburg, Austria.
1984 Salesman in Beijing, Hong Kong Theatre Festival.
1979 Inge Morath: Photographs of China, Grand Rapids Art Museum, Michigan, USA.
1964 Inge Morath: Photographs, Gallery 104, Art Institute of Chicago, Illinois, USA.
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Inge Morath: An Illustrated Biography. Photographs by Inge Morath. Text by Linda Gordon. Foreword by Andrew Lewin. 9783791382012
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An illustrated biography of one of the 20th century's greatest photographers, this book looks at the life and work of Inge Morath. The late playwright Arthur Miller, speaking of his wife Inge Morath, said She made poetry out of people and their places over half a century. Morath's curiosity, compassion, and bravery show vividly in this biography featuring stunning images from every stage of her career. Biographer Linda Gordon presents Morath traveling across the globe, often as a woman alone, quietly but firmly defying the conventions for what was appropriate for women at the time. Her photographs show her cosmopolitanism, which arose from her love of literature, her fluency in many languages, and her revulsion against Hitler's Germany, where she spent her teenage years. Her respect for all the world's cultures, from Spain to Iran to China, made her a kind of visual ethnographer. One of the first women to join the Magnum collective, Morath was a superb portraitist, particularly drawn to artists, such as painter Saul Steinberg, sculptor Louise Bourgeois, and writer Boris Pasternak. She worked mainly in black-and-white but also used color film exquisitely, even early in her career. Through Magnum assignments to document film sets she met Arthur Miller and their subsequent marriage lasted for forty years. Despite a variety of subject matter, Morath's work is unified by an intimacy and comfort with the world's many cultures. Truly a citizen of the world, her images are simultaneously universal and personal.
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An illustrated biography of one of the 20th century's greatest photographers, this book looks at the life and work of Inge Morath.
The late playwright Arthur Miller, speaking of his wife Inge Morath, said "She made poetry out of people and their places over half a century." Morath's curiosity, compassion, and bravery show vividly in this biography featuring stunning images from every stage of her career. Biographer Linda Gordon presents Morath traveling across the globe, often as a woman alone, quietly but firmly defying the conventions for what was appropriate for women at the time. Her photographs show her cosmopolitanism, which arose from her love of literature, her fluency in many languages, and her revulsion against Hitler's Germany, where she spent her teenage years. Her respect for all the world's cultures, from Spain to Iran to China, made her a kind of visual ethnographer. One of the first women to join the Magnum collective, Morath was a superb portraitist, particularly drawn to artists, such as painter Saul Steinberg, sculptor Louise Bourgeois, and writer Boris Pasternak. She worked mainly in black-and-white but also used color film exquisitely, even early in her career. Through Magnum assignments to document film sets she met Arthur Miller and their subsequent marriage lasted for forty years. Despite a variety of subject matter, Morath's work is unified by an intimacy and comfort with the world's many cultures. Truly a citizen of the world, her images are simultaneously universal and personal.
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Inge Morath's most important work consists of portraits, but of passers-by as well as celebrities. She was also adept at photographing places. Buy Inge Morath photos at FFOTO, the best place to buy photographs online. Collect with confidence from our selection of museum-quality historical and contemporary fine art and documentary photography.
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Inge Morath was born in Graz, Austria, in 1923. After studying languages in Berlin, she became a translator, then a journalist and the Austrian editor for Heute, an Information Service Branch publication based in Munich. All her life Morath would remain a prolific diarist and letter-writer, retaining a dual gift for words and pictures that made her unusual among her colleagues.
A friend of photographer Ernst Haas, she wrote articles to accompany his photographs and was invited by Robert Capa and Haas to Paris to join the newly founded Magnum agency as an editor and researcher. She began photographing in London in 1951, and joined Magnum Photos as a photographer in 1953. While working on her own first assignments, Morath also assisted Henri Cartier-Bresson during 1953-54, becoming a full member in 1955.
In the following years, Morath traveled extensively in Europe, North Africa and the Middle East. Her special interest in the arts found expression in photographic essays published by a number of leading magazines. After her marriage to playwright Arthur Miller in 1962, Morath settled in New York and Connecticut. She first visited the USSR in 1965. In 1972 she studied Mandarin and obtained a visa to China, making the first of many trips to the country in 1978.
Morath was at ease anywhere. Some of her most important work consists of portraits, but of passers-by as well as celebrities. She was also adept at photographing places: her pictures of Boris Pasternak's home, Pushkin's library, Chekhov's house, Mao Zedong's bedroom, artists' studios and cemetery memorials are permeated with the spirit of invisible people still present. Inge Morath died in New York City on 30 January 2002.
- Source: Magnum Photos
Read our blog post about Inge Morath HERE.
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Classical photographer with the world in her lens.
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the Guardian
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https://www.theguardian.com/news/2002/feb/06/guardianobituaries.arts
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Inge Morath, who has died of lymphatic cancer aged 78, was a photographer with two of the earliest leading photo agencies, Magnum and Report. Her stunning black and white images appeared in leading magazines, and she worked as Henri Cartier-Bresson's assistant and with artists Saul Steinberg and Louise Bourgeois. In 1962, after his divorce from Marilyn Monroe, whom she had photographed, she married the playwright Arthur Miller.
Morath was a fine photographer in the classical reportage tradition. She preferred to spend extended periods living with an individual project "to let it grow". Several developed into lasting relationships with people and places she would revisit. Occasionally, she would shoot in colour, as though to lift a particularly exotic topic or as her work in films demanded, most notably on John Huston's Moulin Rouge (1953). Although published extensively in Life, Paris Match, the Saturday Evening Post and Vogue, she gained satisfaction mainly from producing travel books, nearly always backed by touring exhibitions.
Born in Austria, to liberal Protestant parents who were both research scientists, she and her family were living in Germany when the second world war broke out. Morath was punished for refusing to join the Hitler Youth by being given forced labour at Tempelhof airport; this was exhausting and dangerous work, as it was a repeated Allied target. Her wartime experiences, and the horror and poverty she witnessed in its aftermath, left her unable to photograph war.
In 1944, Morath graduated in Romance languages at Berlin University. From the end of the war, she worked as an interpreter for the United States Information Service for five years, and then for Rot-Weiss-Rot, the Austrian radio network, where she honed her writing skills. By 1949, she was a contributor to the literary magazine Der Optimist, and the Austrian editor on Heute.
She also worked with the Austrian photographer Ernst Haas, who was based in Paris and involved in the earliest days of Magnum. Morath became a writer, researcher and intermittent desk editor, writing text captions for Haas, and for fellow Austrian Erich Lessing. In 1951, she moved to London, came into contact with Picture Post magazine, started taking her own photographs, and was briefly married (for three weeks) to one of its principal journalists, Lionel Birch.
In 1952, she undertook her photographic apprenticeship with Simon Guttman - a man almost as legendary for his cantankerous perfectionism as for his photo-agency, Report - and, from 1954, was Cartier-Bresson's assistant.
Morath and her Leica made their first lengthy foray to Spain in 1954. After Franco's death in 1975, the country's rapid development as a cutprice holiday playground spurred her further into the interior. Her insistence on travel over tourism, on making new discoveries and learning the language, led even her early European stories to reveal intimate, unexpected, and often amusing, qualities.
In her own telegram style of writing, she noted how, in 1955, the "great event was Robert Capa's inviting me to join Magnum now as a photographer on the strength of my pictures and text on French worker priests, which was three months in doing." Her travels increased, always bringing her new friends - she was as interested in peasants as in intellectuals - and her obsession with literature meant that her itineraries were always produced with reference to writers whose work she read in the original language.
Morath's first book, Guerre à la Tristesse/Fiesta In Pamplona, with text by Dominique Aubier, had been published in 1954. It was followed by Venice Observed (with Mary McCarthy, 1956), Bring Forth The Children (with Yul Brynner, 1960), Tunisia (with fellow Magnum photographer Marc Riboud and texts by Claude Roy and Paul Sebag, 1961), and From Persia To Iran (with Edouard Sablier, 1961).
She first met Arthur Miller in 1960 on the set of The Misfits, while on an assignment to document Marilyn Monroe's acting. After their marriage, Morath and Miller began to travel together, mostly eastwards, and her 1969 book, In Russia, included text by him. It was followed by My Sister Life (1973), with poems by Boris Pasternak.
Morath extended her travels to Asia, pursued eastern philosophy, taught herself Mandarin, and, in 1979, accompanied Miller to China for the staging of his Death Of A Salesman, a trip that generated two further books: Chinese Encounters (1979) and Salesman In Beijing (1984). The same eye that had gently parodied the British class system sharply perceived Mao's new social order.
From the 1980s onwards, Morath stayed home for longer periods. She made little alteration to the country house in Roxbury, Vermont, where Miller and Monroe had lived, beyond turning the heart-shaped swimming pool back into a natural lake, where she swam daily. Her long-term projects included making a book of Steinberg's masks and a reportage on Bourgeois's sculptures.
As she grew older, the couturier clothes of her Paris years were discarded in favour of those more suitable to a daily life that included yoga, swimming and gardening. She maintained her ample European cuisine, preparing goulasch for her guests while quietly keeping to a vegetarian diet herself. We would eat at a table Miller had made, under posters of Chinese calligraphy and her own favourite portraits, including the large, befurred woman with her pooch and her flunkey in Pall Mall.
She reissued earlier work on Spain and undertook a massive review of the Danube, following the river from source to mouth. In 1999, after a host of retrospective exhibitions and awards, she published her Life As A Photographer. In it, Miller commented that it was "not only a process of catching the subject's soul, but of the moment seizing Morath at the same instant".
She is survived by Miller and their daughter Rebecca, a writer and director married to the actor Daniel Day-Lewis.
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Inge Morath
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Lost and Found: Inge Morath First Color
By Gemma Padley. Published in Amateur Photographer, January 27, 2010.
When you think of photojournalism from long ago, do you immediately think in colour or black & white? Perhaps Robert Capa’s heroic war images or W Eugene Smith’s photo essays spring to mind. Yet while photojournalists of the 1950s and ’60s were capturing events in black & white, they were also documenting life in colour.
Inge Morath photographed in both black & white and colour from the beginning of her career. She produced a phenomenal number of photographs, but much of her colour work lay undiscovered for many years. Most published collections of her work featured predominantly black & white images, with very little of her colour work being shown during her lifetime.
Determined to get to the bottom of the mystery surrounding Inge’s displaced colour photography, John Jacob, curator at the Inge Morath Foundation, set out to track down her ‘lost’ colour images in 2007. The result is the recently published book First Color, featuring a selection of Inge’s colour work. While not intended to be a complete record of her colour work – an almost impossible task, says John – the book sheds light on Inge’s working methods and provides a fascinating historical look at colour photojournalism.
Mammoth task
Recovering the images was a mammoth task that involved searching through thousands of colour slides from the Magnum archives. At Magnum, colour transparencies were stored in a different way to black & white negatives. While the black & white negs were carefully marked with the photographer’s name and photo story to preserve the integrity of the photographer, the colour slides were simply filed under ‘themes’ and fell into stock. Some 15,000 of Inge’s colour images were separated from their original picture stories and ‘lost’ in the system in this way.
‘When we started this project, there was no means of accessing the colour images to get this material back,’ says John. ‘No index system existed. To identify all Inge’s images stored by Magnum would require staff to remember what had been filed where and these people have moved on. We may never know the full scope of the colour archive.’
Faced with such a daunting task, John and his team limited themselves to searching only the 1950s and ’60s archives. Realising the way the colour images had been stored would make it difficult to locate and piece together the photo stories in their entirety, their aim was to retrieve as many images as they could and retrace – as far as possible – Inge’s movements as a colour photographer during this period.
‘We had to find a way to put the images together that would reflect the way Inge worked,’ says John, ‘so we decided to order the images chronologically and use the places she’d visited as the basis for the book.’
Inge’s background
Before joining Magnum in the early 1950s, Inge worked with Ernst Haas as a researcher and editor on picture stories for magazines such as Life. She assisted Henri Cartier-Bresson and travelled all over the world photographing the people and places she encountered. After the 1960s, Inge pursued more personal projects with her husband, the playwright Arthur Miller, continuing to shoot in both black & white and colour.
‘During the 1950s and ’60s, Inge was sent on many assignments’ says John. ‘One of her first assignments was in Spain, a country she returned to several times. She travelled there with Cartier-Bresson in 1953 to photograph Picasso for Holiday magazine and formed a close friendship with him. Inge did a lot of research before each trip, but looking at her work there is no agenda. She would enter the culture of a place and into the lives of the people – her subject was people.’
Jinx Rodger, widow of founding Magnum member George Rodger, knew Inge well and worked with her in Paris in the early 1950s. ‘Inge was a busy lady and travelled a lot,’ she says. ‘She was very bubbly and enthusiastic. People warmed to her. When she was an assistant, I remember her saying how she wanted to do something on her own, away from other photographers.’
Scepticism and distrust
For many photographers of that period, the advent of colour film was met with scepticism and even distrust. ‘There was a wider cultural prejudice towards colour,’ says John. ‘Colour film was new and people didn’t trust it – many photographers felt they didn’t know the film the way they knew black & white. There was a lack of confidence – not in their abilities, but in the actual film as a medium.’
Magazines may have wanted colour images, but colour was not seen as an art form, as Jinx remembers. ‘The idea of photography being “art” is a much more recent concept,’ she says. ‘The purpose of photography was to document, to show the world what the world was about. It was expensive to make a good colour print and while Inge loved using colour, like other photographers of the period she wasn’t overly concerned about making colour prints’.
Capa encouraged Magnum photographers to shoot in colour to meet the demand from magazines, but there was a sense, both within and outside of Magnum, that colour was inferior or less important than black & white. ‘It’s often the case that what’s popular is what’s scorned,’ says John. ‘But whatever prejudices may have existed, the photographers didn’t pay any less attention to colour – they were professional. They didn’t suddenly become any less competent because they were working in colour.’
Henri Cartier-Bresson
One photographer who was reluctant to embrace colour film was Henri Cartier-Bresson. As Inge knew him well, did the fact that she was working closely with him influence her opinion of colour?
‘Inge and Henri must have spoken about photography, but I don’t think they would have discussed colour film specifically,’ says John. ‘Henri’s opinions on colour photography had an impact on all the photographers at Magnum. He had a passion for surrealism, and both he and Inge were interested in the world and how art and photography fitted into it. That is most likely how they influenced each other.’
Jinx’s views echo those of John. ‘Henri didn’t like to take colour images, so I doubt they would have spoken about colour photography,’ she says. ‘He preferred working in black & white – that was his medium. Some photographers see the world in black & white and some see in colour. Occasionally, photographers see in both, but usually they feel more comfortable working with one or the other.’
Colour or black & white?
After initially using a single Leica camera, Inge switched to two cameras – one for colour and the other for black & white. ‘Like most photojournalists, she wanted to work quickly,’ says John. ‘It wasn’t practical to keep switching films every time she saw something she wanted to shoot in colour.’
Inge, also an avid writer, contemplated the two different ways of working. ‘If I had to do colour and black & white simultaneously,’ she wrote, ‘I would finish one and then do the other trying not to think of both at the same time. The thinking is so different!’
Jinx echoes these sentiments. ‘Certainly, photographers approach shooting in colour differently to black & white,’ she says. ‘But Inge had an extremely open mind towards photography. The medium she chose depended on how she saw the scene at the time. She looked at the subject and decided which would be the best way to show it.
‘Inge worked hard technically and really studied the properties of colour. If you have that sort of eye and imagination, you know whether a scene demands colour or black & white.’
John doesn’t believe Inge preferred one medium to the other. ‘The people I spoke with who knew her – for example, Jimmy Fox, who was picture editor at Magnum’s Paris office for many years – said she was just as active and enthusiastic about colour as she was about black & white,’ he says. ‘Inge was committed to photography in all its capacities.’
Great storyteller
‘When I look at her work, I see a great storyteller,’ says John. ‘Inge wrote about everything she photographed and I see a strong narrative impulse in her. I think she had a great sense of humour – she saw things in the world that were unusual, funny or contradictory, which could be pulled out and framed by photography.’
Inge may never have set out to create abstract images, but there are slight elements of surrealism in some of her work. In the image ‘Reno, Nevada, USA, 1960’ (see page 25), a woman is pictured driving, framed by another car in the foreground. This ‘frame within the frame’ technique gives the photograph a graphic appearance and causes the viewer to feel as though they are present in the scene, looking through the window as the photographer presses the shutter. Ernst Haas, with whom Inge worked closely, was known for his abstract compositions. Could he have influenced her in some way?
‘Inge was, to some extent, influenced by Ernst and his experiments in colour, but she didn’t work in an abstract way like he did,’ says Jinx. ‘I think she felt if you photographed in colour you could faithfully show how the scene looked at the time. She worked hard to make sure the colours were genuine.’
Colour and composition
Founding Magnum photographer Robert Capa is reported to have said that the first rule was ‘lots of colour where colour is’ and Inge herself believed ‘colour has to be there’ to photograph it. ‘Inge used colour very skilfully,’ says John. ‘In her early images she sought out colourful subjects in the urban landscape. By the later images – those taken on her trips to Iran, for example – colour became an intrinsic part of the scene, integrated into her entire photographic process.’
One especially striking image is ‘Market, Mexico, 1959’. In the background, brightly coloured scarves cascade over one another while silhouetted figures shuffle inconspicuously past in the foreground. These shadowy figures cut such a dramatic shape against the colourful backdrop that it is impossible not to question whether the composition would have had the same impact if it had been taken in black & white. ‘To me this picture is entirely about the colour,’ says John. ‘Many of Inge’s other pictures use colour to relay a narrative, but this picture is based so heavily on form and colour it becomes the story in itself.’
Where next?
One thing is clear: if the Foundation is to continue to piece together Inge’s photographic legacy, there is more work to be done. ‘We have only scratched the surface,’ says John. ‘There must be thousands more images we have yet to uncover. The ultimate aim is to reintegrate Inge’s colour images with the black & white to piece together how she worked on a single story using both black & white and colour film.’
John would like to see more research carried out into colour photojournalism during this period as a whole. ‘The book, I hope, takes us closer to understanding this important period of photographic history,’ he says. ‘I feel we have opened the floodgates to this discussion.’
Inge Morath: First Color
Afterword by John P. Jacob, Inge Morath Foundation.
From Inge Morath: First Color, Göttingen: Steidl, 2009.
Please also see the slideshow.
Inge Morath’s achievements, during the early years of her career as a photographer, were significant. After an apprenticeship in London with Simon Guttman, founder of the legendary Dephot Agency, followed by two years as a researcher and assistant to Henri Cartier-Bresson, in 1955 Morath was the first woman to become a full member of Magnum Photos. ((Morath came to Mangum in 1949, as a researcher and editor. She relocated to London in ‘51, and began her apprenticeship with Guttman around that time. Morath was likely introduced to Guttman by Robert Capa, who had learned photography from him in the early 1930s. It was certainly Capa who suggested that Morath train with Cartier-Bresson during her first years as a Magnum photographer. Eve Arnold was the first woman to become associated with Magnum as a photographer, in 1951, but she did not join as a full member until 1957.)) Like many of her Magnum colleagues, Morath was motivated by a fundamental humanism, shaped as much by the experience of war as by its lingering shadow over post-war Europe. This motivation grew, in Morath’s mature work, into a motif, as she documented the endurance of the human spirit under situations of duress and transformation. If a thread can be said to run through her work from beginning to end, it is the marvel of human creativity, which Morath both recorded and exemplified in her photography. Throughout her career, publishing was the primary means by which Inge Morath sought to reach her audience. In all, Morath published more than thirty monographs, as well as numerous anthologies and, in keeping with her work as a photojournalist, stories in a wide variety of picture magazines. From an historical perspective—contrasting whole bodies of pictures with their highly edited, published counterparts—the breadth of Morath’s publishing activity provides key insights into the ways that she thought about her work, both as individual images and as an oeuvre spanning fifty years. An overview of Morath’s publications is particularly revealing in relation to her work in color.
For the purposes of such an overview, Morath’s career may be divided into three periods, each coinciding with significant—and significantly different—publishing activities. Morath’s short, early period, from the mid-1950s until she relocated to the United States in 1962, coincides with the “classic” era of modern photography magazines and books, when the published image took on equal or greater importance in relation to its accompanying text. Her description of this period as “the time of big stories and far-flung trips” ((Morath, Inge, in Berlin Lecture. Undated manuscript, Archives, Inge Morath Foundation, New York, p. 26.)) is reflected in the subjects of her first two monographs, Guerre a la Tristesse (1955) and De la Perse a l’Iran (1958), edited and published by Robert Delpire, himself a pioneer of photographic publishing. ((The English language editions of Morath’s first two books were published as Fiesta in Pamplona (1956) and From Persia to Iran (1958). In 1961, together with photographers André Martin and Marc Riboud, Morath also contributed to Delpire’s anthology Tunisie: De Carthage à demain.)) Morath’s middle period, from the early ‘60s through the mid-1980s, is defined by long-term international projects, notably her three collaborations with her husband, playwright Arthur Miller, In Russia (1969), In the Country (1977), and Chinese Encounters (1979). The second of these is particularly interesting as a document of Morath’s rather cool observations of her adoptive homeland. In this period too, following a lifelong interest in portraiture, Morath published Inge Morath: Portraits (1986) with Aperture Books, and edited the anthology Paris: Magnum Photographs 1935 – 1981 (1981), also for Aperture. In her extraordinarily productive late period, from the mid-1980s until her death in 2002, Morath returned to several of her important early projects. In Donau (1995), for example, she revisited and completed a body of work begun in the late ‘50s, documenting the Danube River from source to end, while in Venezia (2003), she revisited the work done for her book Venice Observed (1956), with writer Mary McCarthy. Russian Journal (1991) greatly expanded upon Morath’s earlier book with Arthur Miller, In Russia, and Saul Steinberg Masquerade (2000), perhaps the best known of Morath’s many books, saw the long-awaited publication of her collaboration with Steinberg during the late ‘50s and early ‘60s. Morath’s late period is also notable for two important publishing partnerships. Working with the Spanish editor and curator Lola Garrido, Morath produced three books of her extensive early work in Spain: Inge Morath: España Años 50 (1994), San Fermin Años 50 (1997), and Camino de Santiago (1998). And, working with two Austrian colleagues, photographer Kurt Kaindl and editor Brigitte Blüml, Morath produced a series of books bringing together old and new work on a variety of subjects, including the aforementioned Donau and Venezia, as well as New York (2002) and Durch Österreich (2005). ((Durch Österreich, roughly translated as in, or through, Austria, was begun before Morath’s death and published posthumously.)) Morath, Kaindl, and Blüml also produced a major retrospective monograph, Inge Morath: Fotografien 1952 – 1992 (1992), and a second book of portraits in 1999. In her final book, Last Journey (2003), Morath, accompanied by the German filmmaker Regina Strassegger, returned the Austrian/Slovenian borderland of her childhood to document its historically and politically contested ground and communities. Of all her publications, Last Journey is the most explicit in its acknowledgment that Morath recognized herself as a participant in the larger historical document comprised by her photography. The project suggests that a further turning point in her career, in which Morath at last brought together her photographs with the extended texts that she so often wrote about her subjects, was cut short by her untimely death. ((Having begun at Magnum as a researcher and caption writer for other photographers, throughout her own career Morath wrote extensive texts about her subjects. From the 1950s and ‘60s these include anecdotal notes—such as her nine typed pages on obtaining an audience with the British royal family in 1954—as well as biographical, geographical, and cultural research. After the 1960s, Morath also wrote extended journals; during her first visit to China, in 1978, she typed over 200 pages. In her later years, Morath wrote a collection of biographical sketches of many of the subjects of her portraits. In an interview with the author (March 27, 1008, in New York), Morath’s friend and neighbor, Tom Cole, noted that towards the end of her career she was especially eager to find a way to successfully bring her words together with her pictures.))
Color photography, while not entirely missing from Inge Morath’s publications, appears only in a handful (eight of the twenty listed here), and then, with the notable exception of De la Perse a l’Iran, sparingly. ((The titles listed here which contain color images, and the proportion of color pages in relation to the total pages in each, are: Guerre a la Tristesse (17/148), De la Perse a l’Iran (35/69), In Russia (14/240), In the Country (8/192), Chinese Encounters (15/255), Russian Journal (21/132), Donau (30/143), and New York (19/181). This is highly unscientific, as the figures for total pages include blank, text, and picture pages, while color pages include many single-image two-page bleeds. Nevertheless, it offers a good overview of the relatively small space allotted to color in Morath’s books. De la Perse a l’Iran is the exception. One reason for this, recently discovered, is that a light leak in Morath’s camera caused significant damage to many of her black and white negatives in Iran. Also, as historian Inge Bondi has written in a letter to the author (August 3, 2009), “I dare say Delpire needed color in his books.”)) This may be partly explained by the higher cost of color printing, especially in the case of her older books. But the absence of color is even more notable in Morath’s later books than it is in the earlier. There are, for example, no color photographs in Morath’s later books of photographs of Spain with Lola Garrido, as there had been in her first with Delpire. More significantly, color is absent from Morath’s three retrospective catalogs. ((These include Inge Morath: Fotografien 1952 – 1992. Salzburg: Otto Mueller Verlag, 1992; Inge Morath: Life as a Photographer. Munich: Kehayoff Books, 1999; and Inge Morath. Pamplona: Universidad Publica de Navarra, 1998.)) Certainly this was the result of choice, whether editorial or personal, and not only of financial considerations. The relative absence of color from Morath’s key publications contradicts her practice as a photographer. Despite an apparent preference for black and white, the evidence for the importance of her color work to Morath herself is supported by both the high concentration of color images that she selected for inclusion in the preserved in her personal archive. Recognizing this contradiction as one of several conundrums complicating the study of Morath’s contribution to photography, an investigation of her color work was made a priority by the Inge Morath Foundation, which holds and cares for her estate. That investigation began in earnest in 2007, when the Inge Morath Foundation was awarded a grant by the Judith Rothschild Foundation to study, digitize, and conserve its color holdings. At the outset, these consisted of 68 binders and two standing file cabinets of largely unknown, mostly unsorted 35mm transparencies. In 2008, under the supervision of archivist Emma Winter, an additional 7,000 undocumented color originals from the 1950s and ‘60s were recovered from storage by Magnum Photos in New York and Paris. The Foundation’s investigation was greatly accelerated by the invitation of Valérie Fougeirol, director of the Magnum Photos Gallery, to exhibit a selection of the recovered work in Paris in 2009. As yet not fully inventoried, the Foundation’s current color holdings include approximately 55,000 (mostly Kodachrome) slides, and a much smaller number of 4 x 5 inch positives. It is estimated that a further 5,000 – 8,000 slides, from Morath’s later years, remain undocumented and in storage. The archival task of first recovering and then re-integrating Morath’s color with her black and white work, in order to re-construct whole stories as she shot them, has been as daunting as it was revealing. Most importantly, the investigation confirmed that Inge Morath worked with color from the very outset until the end of her career. For example, her color photographs of London, from 1953, were made during Morath’s first solo assignment as a Magnum photographer, for Holiday magazine. ((In Morath’s “story list,” the chronology of all her assignments and personal projects, “Soho and Mayfair” is listed as number three for 1953. In fact, story number one, on the worker priests of Paris, was completed before Morath joined Magnum (it was on the strength of this story that Robert Capa invited her to join as a photographer), and story two documented a road-trip across Europe with Henri Cartier-Bresson. Story three, she later noted, was of no interest to Magnum’s “big boys,” and so was assigned to her. Morath’s transparencies from her first assignment in London were recovered in the 1990s by Jimmy Fox, picture editor for Magnum’s Paris office. According to Fox, “Unlike [Ernst] Haas, who experimented with colour, many of the other [Magnum] photographers did it because it was required by the emerging markets, and Holiday and others like Look and Ladies Home Journal were gradually moving away from black and white reportage. Undoubtedly, Inge preferred to work in black and white, but she also realised that the 1950s was a period for colour. [She] was not ashamed of shooting in colour, [and] she could discuss it in detail.” Letter to the author, July 31, 2009.)) This work is unique among Morath’s pictures for its adoption of the characteristics of street photography. Unrestrained by the requirements of her assignment, these very early photographs are also unusual in the extent to which they show Morath seeking out colorful subjects in the urban landscape. Later, she would be more inclined to photograph in color only when her subject was colorful; “color has to be there” in the first place, she stated. ((Carlisle, Olga. Undated manuscript for Grosse Photographen unserer Zeit: Inge Morath (Luzern: Verlag C.J. Bucher, 1975); Archives, Inge Morath Foundation, New York, p. 18.))
At the time, Morath owned only a single camera, a second-hand Leica. “If for some reason I had to do color and black and white simultaneously,” she later wrote, “I would finish one [and] then do [the other], trying not to think of both at the same time; the thinking is so different!” ((Ibid, p. 22.)) This, presumably, was the way that Morath approached her first job where color was critical, also in 1953, on the set of John Huston’s Moulin Rouge, an assignment that she shared with Robert Capa. She wrote of the experience, “I had never been to a film studio before. An assistant gave me some advice: not to cast a shadow, not to stand on cables or get in the eye-line of the actors. Not to press the shutter when the sound is running. John Huston, who noticed my bewilderment, decided to be of some help, especially after I had confessed, to his vast amusement, that I absolutely had to bring back some good stuff but only had one roll of film. Huston promptly got me three more rolls, and occasionally waved to me when he thought I should get in there and take pictures.” ((Morath, Inge, in Berlin Lecture. Op. cit, p. 22. Morath’s friendship with Huston appears to have pre-dated her work on Moulin Rouge; it was the first of several of his films that she photographed. Her later recollection that Capa gave the Moulin Rouge assignment to her because he was unable to do it is inaccurate. A comparison of their photographs suggests that they were more likely on the film set at different times. Morath also attempted to capture the mise-en-scène of the film, photographing the set, actors preparing for their parts, and dancers relaxing between musical numbers.)) Within a few years, as she began to travel greater distances for her assignments, Morath acquired separate camera bodies for color and black and white film. ((Documents required for her working papers in Iran, in 1956, show Morath carrying three Leica M3s, a Polaroid Land Camera, and nine lenses of varying lengths and capabilities.)) Not surprisingly, Morath’s first very large bodies of color work, comprising hundreds of images, were made during extended journeys to Spain (1953 through ‘58), Iran (1956), Romania (1958), Mexico (1959 and ‘60), and Tunisia (1959 and ‘60), on assignment for various picture magazines. Morath first traveled to Spain with Cartier-Bresson in 1953, on assignment to photograph Picasso for Holiday. She returned for several further assignments; in ‘54 to photograph Lola de Vilato, Picasso’s sister, and the famed matador Antonio Ordóñez, and again in ‘55 to photograph Mercedes Formica, an attorney and activist for women’s rights. On assigning her to work there for Magnum’s Generation Women project, in 1955, Robert Capa advised Morath to “spend some time there; [Spain] will be a good country for you to work in.” ((Carlisle, Olga. Op. cit, p. 14.)) Capa was right. Spanning nearly a decade, Morath’s documentation of Spanish life and culture is an exceedingly rich body of images, and presages the intensive, long-term approach that she would adopt for her later work in Russia and China.
In seeking to understand the absence of color from her published work, it is important to acknowledge that what is true for Morath is equally true for the field of photojournalism, both within and beyond Magnum Photos. Color is the skeleton in the closet of many photojournalists of the post-war period. As Mary Panzer notes in her essay for this book, Inge Morath was one of many photographers whose early careers were shaped by the print media’s insatiable demand for images; increasingly for color images. Like many of her Magnum colleagues, Morath used her frequent magazine assignments as springboards for what she referred to as her “personal work.” After working in Spain on assignment for Holiday in 1954, for example, she published a greatly expanded selection of her Spanish photographs in Guerre a la Tristesse. Similarly, a 1956 assignment from Holiday to work in the Middle East resulted in the publication, two years later, of De la Perse a l’Iran. It is in the distinction between work for hire and personal work—and between her early career as a magazine photographer and her late career as a celebrated artist—that we may look for clues to Morath’s seemingly contradictory relationship to color photography. For, while the audience for magazine photography was vast, it was also disinterested, more concerned with a picture’s subject than with its maker. Along with this large but fickle audience, the practical limitations of magazine publishing—of control, of size, and of quality—were regarded by many ambitious photographers as obstacles to be overcome within more appropriate venues for picture viewing. Books and exhibitions, offering a greater degree of artistic control and audience commitment, were the ultimate objectives of serious photographers like Morath and her peers. And, as Panzer concludes, they were willing to conform to the prejudices of the museum and publishing communities in order to establish themselves and their work as proper subjects. Among those prejudices, a faith in the artlessness of color photography and distaste for all forms of mass production were fundamental. While cultural prejudice alone may provide a more than adequate explanation for the absence of color photojournalism from the larger history of photography, its influence on Inge Morath was complicated by a more practical, or material, problem. In both Morath’s and Magnum’s archives, black and white and color work were separately housed and differently catalogued. Black and white negatives, cut and stored as filmstrips, retain their unique numerical frame markings. These markings are used by Magnum photographers in a simple but very precise, story-based cataloging scheme: year + story number + film roll + frame number (the picture-ID “MOI-1959-01-103/36,” for example, refers to the 36th frame of 103rd film roll for the first story made in 1959 by Inge Morath). The integrity of a photographer’s black and white stories was maintained through this cataloging system, and by housing together a photographer’s negatives, contact sheets, and captions.
Color transparencies, by contrast, are cut down to individual images after processing and then enclosed in cardboard casings, which obscure the numerical markings on the film. Deprived of film’s inherent numerical sequencing, color images were catalogued by Magnum by subject rather than by story, and stored separately from a photographer’s black and white work. Catalogued differently and stored separately from their black and white counterparts, it was not at all unusual for color images to become irrevocably separated from their original stories. Color images that were separated from their stories were lost in several senses. First, as a sequence of images, showing how a photographer approached her or his subject, and second, as a body of images that, because undocumented, cannot be recalled. For, whereas the sequence of a story shot in black and white was preserved using contact sheets, no comparable method of preservation was available for transparencies. In most cases, no documentation existed that would facilitate either the restoration of a color sequence or the return of color images to a story from which they had been removed. Ultimately, Magnum’s different treatment of color and black and white pictures had the unintended effect of marginalizing the color; the black and white work retained its specificity in relation to both photographer and story, while the color was relegated to stock, the lowest echelon of the archive.
The reclassification of an image as stock is of special significance because it establishes a further degree of loss; an alienation of the picture from its source, or meaning. In 1954, for example, for one of Morath’s rare fashion assignments titled Beauty and the Beast, she photographed a group of Parisian models with large dogs. Having served their original purpose, the transparencies from the story were then filed as stock under the subject heading “Animals,” a category that has a longer and more lucrative shelf-life than fashion. In this way, in addition to being physically separated, color transparencies were also separated contextually from their stories. In general, Magnum’s system of maintaining the integrity of black and white stories was required in order to support a photographer’s artistic career through print sales, books, and exhibitions, while the relegation of color to stock supported the agency, through licensing. Over the span of her career, an estimated 15,000 of Morath’s transparencies—nearly one third of the color work known to exist—were separated from their stories and lost in this manner. Since transparencies selected for the Magnum archive were usually the best images from a story, those retained by Morath in her own archive were, in many cases, “seconds,” the remainders from a roll of film after Magnum’s and Morath’s first choice of images had been removed. It is safe to assume that, in addition to those lost in storage, many more transparencies were lost irretrievably. Jimmy Fox, who was picture editor at Magnum’s Paris office for many years and is one of the agency’s most valuable historians, has written that “[Magnum] photographers used Kodachrome at the time and, because of duping problems and urgency, in most cases the originals were sent to the clients.” Unfortunately, many of Magnum’s clients were less than reliable in returning prints and transparencies to the agency. During the 1950s and ‘60s, cultural prejudice against color outside of Magnum, and institutional practice that marginalized color within it, converged. By the late 1970s, when color photography began to find acceptance within cultural institutions, editors and curators wishing to present Morath’s color work would have found it inaccessible. Once in storage by Magnum, no finding aid existed that would indicate which photographers’ color works were filed under a particular subject heading. Without such documentation, no Magnum staff member could be expected to recall individual pictures within of such a vast, historical trove of images. ((Institutional memory within Magnum is surprisingly shallow, having been preserved primarily by three of its longest serving staff members, Inge Bondi, Jimmy Fox, and John Morris, all of whom have contributed to this book by sharing their memories of the agency and of Inge Morath’s role within it.)) Indeed, considering the significant number of her transparencies that had disappeared, it is not unreasonable to conclude that Morath herself might have forgotten about them, or—more likely—believed them lost. In the 1980s, Inge Morath entered her late period and, urged on by the editors and curators working with her, began to revisit her early stories. Even for her, it was no longer an easy task to retrieve her missing transparencies from Magnum’s archives in New York and Paris. Moreover, having followed Magnum’s cataloging system in her personal archive, Morath would have found that the task of reintegrating color with black and white—to recreate her early stories story as they had been shot—was, simply, no longer possible. In the end, since the finest color pictures were in most cases the ones gone missing, in her late career revisions and her retrospective catalogs Morath wisely preferred to showcase her best black and white work, rather than merge it with the second-tier color images that she had retained in her archive. In spite of the lopsided historical record that resulted from this preference, for Morath to choose otherwise would have been professionally untenable.
Ultimately, the conundrum of Morath’s color photography is one that cannot be perfectly resolved. Too many images, and too much information relating to them, are still missing to close the investigation of this work. Inge Morath: First Color therefore represents both an initial assessment of Morath’s color photography within a limited timeframe, and an attempt to answer the first questions raised by the recovery of her work from that period. To reiterate, in seeking to understand Morath’s relationship to color it is important to acknowledge that what was true for her individually was also true for photojournalists collectively. As Mary Panzer notes, in recovering Morath’s color and attempting to right the lopsided historical record of her work, we also throw open the door to the restoration of color photojournalism to the larger history of photography, from which it remains conspicuously absent. Here, we may establish beyond question the importance of color within Inge Morath’s career. Her role as a color photographer within the larger field of photojournalism must be assessed in relation to an expanded photographic history—one that includes color and magazine photography—which remains largely unwritten.
The Mystery in Her Own Eyes: Extracts from a Conversation with Azar Nafisi
Interview with Azar Nafisi by John P. Jacob. From Inge Morath: Iran, Göttingen: Steidl, 2009.
Please also view the slideshow.
As an Iranian born writer on literature, who is also deeply interested in the role of women within civic society, I invited Azar Nafisi to comment on Inge Morath’s photographs of Iran from a variety of perspectives; historical as well as political, personal as well as cultural. As an writer and social critic, Nafisi shares with Morath a common set of intellectual concerns. Both are motivated by the larger historical movements of the 20th century, and both approach the study of the cultures that have been transformed by such movements through their creative output, particularly their literature and poetry. In approaching Morath’s photographs, I asked Nafisi to consider, on the one hand, how Morath might have prepared for her visit to Iran, and what impact a consciousness largely shaped by its literature might have on the photographs she made there. On the other hand, I asked her to imagine a contemporary, non-Iranian viewer of Morath’s images, whose knowledge of Nafisi’s homeland has been shaped in large part through the media coverage, much of it photographic, of recent political events in Iran. Balancing these, during our conversation, in Washington, DC on October 27th, 2008, Nafisi provided both an objective context for encountering Morath’s photographs and a sincerely personal response to them.
John Jacob [hereafter JJ]: Inge Morath came to Iran in 1956. After the war, and following the coup of 1953, the late ’50s were a period of relative stability for the country.
Azar Nafisi [hereafter AN]: 1956 was a time of stabilization in Iran. The Second World War, during which Reza Shah, the late Shah’s father, was dethroned and his son put into power, in itself created a great deal of destabilization. Then, after the coup in 1953, when the government of Prime Minister Mohammed Mosaddeq was deposed by Shah Mohammad Reza Pahlavi with support from the West, it took a bit of time to heal the wounds and create a new order. From mid ’50s, we began to have a more stable situation. That is also when the government returned more vigorously to issues of modernization; to paying attention to what Reza Shah’s vision for Iran had been.
The undercurrents of traditionalism and modernism go side by side in Iran. You see it in the situation of women, for example. To think that at the turn of the 20th century the Shah would have had numerous wives, all of whom would almost never leave the inside of the palace, and when they did they had to be covered from head to toe. Then, in Inge Morath’s pictures of Queen Soraya in 1956, we see an utterly modern woman who was half German. Now, not only would the Shah be monogamous, but he would be marrying a woman who was partly foreign and so comfortably modern. The Iranian society is thus based on a paradox. On one hand, as you see in Morath’s pictures, there are women covered from head to toe who are public; you see them in public streets. And then you see the nomads, who are covered in a very different way, a much more colorful and unconventional way. Finally, side by side with these, you see the modern women who look no different from modern western women. We lived with this paradox until the 1979 Revolution, and even now we’re living it and fighting because of it.
JJ: What would the situation have been for a Western woman entering into Iran at the time?
AN: During those days there was a constant, ongoing struggle between the religious traditionalists and the modernizers. But, at the particular moment when Inge Morath visited Iran, the modernizers were politically ascendant; it was another moment of triumph for secularization. At the same time, many resisted modernization by refusing to give up the traditional ways of life. For example, for a short period between 1936 and 1941, Reza Shah made unveiling mandatory. But many women, like my own grandmother who lived in Isfahan, refused to leave their homes, until finally he had to repeal that law.
As for Morath herself, what she, as a woman, would not have been able to do two decades before her visit to Iran, she could now be free to do. It was now possible for a single Western woman to travel around the country. The government would not make trouble for her on that score, but I think that she might have had problems traveling in Iran, because most people were not accustomed to seeing a woman looking the way she did, or to seeing an active woman.
JJ: Morath herself wore the chador while in Iran, in respect for the custom.
AN: Whether she wears the chador or not, everybody knows what’s behind it. The interesting thing for me is that, despite that, all sorts of people, most of them very traditional, were open to her taking their photographs, and they appear to be quite unselfconscious in those photographs. It is obvious that she is recording a pose, but her subjects are not posing. This is what a good photographer does: she makes the subject unaware of her presence. I think that, in a strange culture, is quite an achievement.
JJ: It’s typical of Morath’s work as a photographer that she was unobtrusive; her subjects are aware of her presence but not responding to it. Her knowledge of history and her practice of immersing herself in a culture’s art and literature before embarking on a journey gave her a unique point of entry into people’s lives.
Can you describe Iran’s intellectual culture after the war and at the time of Morath’s visit?
AN: I keep remembering my own childhood, and how everything that came from “there,” from the foreign places, became so quickly part of our lives. But at the same time, it was such a feast. So Pepsi, and then later Coke, and department stores; these all came around the late ‘50s. I was a very small child when the first department store came to Tehran. There were escalators, and in the restaurant they were serving sausages and eggs. And the joy of going there! In my book, I mention that my mother would take me to a toy store that was called Iran, but the emblem of the store was a picture of father Christmas. As I was growing up, these two things were one in my mind.
Another thing that was very much part of my life was movie houses. My father, when I was a kid, would take me to see Jerry Lewis, Norman Wisdom, Alberto Sordi. Later, Fellini and Bergman and Antonioni were our mantras. All of these were, at least in modern families, names that we talked about all the time. But films were really one of the things that many modern and non-modern families had in common. And in the ’50s, Russian movies were very popular among the young Iranians who were developing a political consciousness. So Iran’s elite were as much influenced by the West as by Marxism.
I firmly believe that the radical changes that happened in Iran have not been just political. Throughout the 20th century, and as we speak, the major transformations have been as deeply cultural as they are political. And that is why the targets have always been in culture; women and minorities, and what goes by the name of imagination.
In Iran at the time, there was a continuation of the trend to bring modernism to poetry that began at the turn of the century. But the language of classical Persian poetry has always been very resistant to modernization, so it is in literature where you see real change. From the beginning of the 20th century right through the ’40s and ’50s, and even on into the ’60s, you see an effort to transform literature from a classical – very beautiful, but classical and more formal – language, into a language of the individual rather than the ideal. There was a search for the ordinary; to find the lingo of “real people.” Persian classical poetry, apart from a few poets such as Ferdowsi and Gorgani, is dominated by mysticism, and there is a negation of reality at the center of mystical poetry because it denies the actual world. But with this new modern trend, the world started to return to literature, dealing with everyday affairs. At the same time, fiction became more earthly and sensual. This was a time of experimentation when, to accommodate the new ideas and themes, the classical rhymes and rhythms were broken.
I’ve been thinking a lot about what Inge Morath might have read before traveling to Iran. The person whom we call the father of modern Persian prose was Sadegh Hedayat, who killed himself in Paris in the 1950s. His most famous novel, a classic, is called The Blind Owl. It is timeless, like Persian miniatures and Persian poetry. It happens near the ruins of the ancient city of Rey. For the angst-ridden narrator, the present is very bleak and has nothing to offer. But the past is just as bleak; it’s a past in ruins. It doesn’t come with insights; it doesn’t come tenderly. It comes as something cruel, providing no answers, no consolations. Hedayat was much influenced by Nerval, Novalis, and Kafka, and was very popular in France, so we may speculate that Morath was familiar with his writing.
In some of Morath’s photographs I felt that there was an affinity between that feeling of being overwhelmed by a past that is so huge and a present that is evasive and inaccessible. There is a sense of pessimism about the present and its intangibility. In her photographs of the village of Taft, for example, you see these small people walking by the ruined buildings; those ruins are testaments to a marvelous past, perhaps, and to a present that has not yet been acquired. It is not yet tangible; there seems to be a fear of what it will have in store for us. Again, in a photograph of Isfahan there is a bus, and in front of it a horse and buggy. I thought it rather symbolic that the horse and buggy is blocking the bus, as if reminding us that “We’re here! We are not going to go away and you have to deal with us.” But we didn’t deal with it. We allowed the different elements of our paradox to have their own parallel worlds, side by side.
Another thing about the literature that flourished during the ’40s and ’50s – again, I’m referring to Hedayat because he played such a central role – is that modernization happened partly in opposition to Islam. Many of the modernizers searched for a Persian identity that was not Islamic. Hedayat looked to the Zoroastrian past, writing plays and stories that belonged to pre-Islamic, ancient Iran. I was really struck by Morath’s work because, in the books of photography by foreigners that I have seen, not much attention has been paid to Zoroastrians. But she focuses on them, and on the idea of these layered pasts, each of them vanquished but not vanished.
JJ: Although no documentation survives to indicate how she came into contact with the Zoroastrians, it’s clear from Morath’s notes and contact sheets that her encounters with them were of particular importance to her.
AN: And it is interesting because she doesn’t just go into the temples. She goes into homes. She is making a point about the culture of these Zoroastrian women. You can see in her pictures that although the Zoroastrian women are supposed to be dressed in Zoroastrian garb, actually they don’t really look much different from those you would call Muslim. Each has been accumulating the culture of the other. In Iran, Islam has taken much of Zoroastrian and pre-Islamic culture into its architecture and poetry. Morath attempts to bring these different layers of time into the same frame; there is Zoroastrian, there is Islamic, and then there is “modern” or secular.
Morath’s attention to the nomads is also interesting. Nomads were quite important in Iran. The beginning of their demise was much accelerated during the Pahlavi period because of the centralization of the state. The nomads were against centralization because land became more and more scarce. They had territories and they had guns, but the central government, by and by, destroyed or disarmed them. The Zoroastrians, during the Shah’s time, had more freedom. Now the government feels very threatened by them because after the Revolution there was a revival of interest in Zoroastrianism by ordinary people; a lot of people were trying to convert. Officially, because they are people of the book, they are “allowed” to exist and have their temples still. We all celebrate the New Year; the Persian New Year is Zoroastrian, the festivities you see in Morath’s photographs of Nowruz belong to that tradition, which the government could not do anything against. So, again, this book shows a past that is in ruins, but it’s not going away.
JJ: In fact, the most common response to these photographs has been to the relative absence of any symbols of modernity. I remember that you also were initially struck by the lack of urban scenes, in spite of the fact that many of the photographs were made in cities like Tehran and Isfahan.
AN: The interesting thing about modernity in Morath’s photographs is that she doesn’t choose Tehran to represent it. Photographs of modern Iran usually refer to the more obvious sites: unveiled women, or the nightclubs and the cars, but Morath does not seek those obvious symbols. It is wrong to say that she doesn’t capture modernity though, because the oil industry was what made modernism possible in Iran. Morath pays attention to that; she chooses Abadan. Now, Abadan, obviously, was so much under the influence of the British. It was a place to itself, and insulated in many ways. Morath’s pictures of Abadan are interesting because of the way she sees things differently from other foreign photographers. For example, in one picture, showing foreign employees of the refinery at a British style pub, they’re so much at home, while in another, of Iranian employees at a picnic, they’re much less so. It seems as if the Iranians are the guests.
JJ: Of course, those photographs were never published. Nevertheless, one has the sense of Morath working against the grain of her assignments.
AN: But she’s very subversive. Having been told to take pictures of Persian carpets and the blue mosques, she goes on and shows us the little girls working in the carpet factories. In one of those pictures, where three girls are sitting on top and another little one below is looking at the camera, it is amazing because the carpet becomes an extension of the girls. It is a very telling picture. There is another photograph showing the girls’ hands that is so surreal, and rather frightening. The caption explains that they’re wearing henna to protect their hands but you don’t see that; that is not its purpose. The purpose is to shock, to enlighten you as to what goes on behind this beauty: this terrible, terrible labor involving such young children.
Most books of photography on Iran bring out the lush side, the colors, the obvious beauty. There is a lot of beauty in Morath’s photographs too, but it is a really understated beauty. It is a beauty that does not want you to find its secrets. There is a defensiveness in showing the country as all lush, as if we’re afraid to see anything ugly in it. That defensiveness is not there in Morath’s pictures. Although she photographs in black and white, I almost feel that earth color that is so Persian. The same with the dust, or the peelings on the walls. And the buildings, the doors; you know the beautiful old door in her photograph of Rey that is so old that it is almost there no more. It always made me melancholy, even in childhood, whenever there was something so fine and yet dying. There is a sense of melancholy here. In these crumbling buildings and patient people, I sense certain fierceness, a resistance to life’s cruelty. Such silent resistance belongs to a culture that has lived a long, long time and is suspicious of life’s promises.
There seems to be, in Iran, an awareness of two things: the past and the transience of life. The idea about the cruelty and transience of life is very much part of a nation that is so ancient and has been, time and time again, vanquished. On one level, instability has become a part of our national character. Iran is very enigmatic, even to someone like myself who was born there. As soon as you give it one definition something completely opposite emerges. For me, the essence of Iran is evasiveness and enigma. You feel this in the way that, in some of Morath’s pictures, one element undermines the other.
In the bazaar, for example, which is the most traditional of all places, you see all these objects of modernity hanging from the ceiling, the boots and the umbrellas. Everybody is roaming around and they all seem unaware of the clash. Again, in Isfahan she photographed a little boy mending a shoe, and right by him there is the photograph of a modern man looking completely unrelated to that little boy and that dingy shop. What is the relationship? Will they start talking?
Another thing that intrigued me about Morath was the way she treated her subjects, for example in her picture of a boy with brooms. Objects become extensions of the people in her pictures, or vice versa – sometimes people become extensions of objects – and there is an affinity between them. And I love her sense of movement, the way the brooms go up and down. She is portraying a very ordinary scene and yet manages to give it a surreal feeling. She brings out something of the essence. These objects all of a sudden become like fairy tale objects. I have a favorite picture of a shoemaker. There are women’s slippers in the background and there is something about his face that I just love. What is it about this man that I find so fairy taleish? I mean, he’s just sitting there mending shoes. What is magical is the man’s complete focus on his work, one that must be quite mundane and tiresome and yet he is so wholly dedicated to it.
Another example of movement is the dance. During the Nowruz, Morath has photographed young men and girls dancing. And in Persian dance, as in Arabic, there is so much eroticism in the movements. It is obviously asking you to look. It is amazing, the curve of the body. There is so much beckoning – with the eyes, the eyebrows, the hands. Every part of the body is curving in different directions, and every part is shamelessly asking you to look.
JJ: You’ve spoken about aspects of Morath’s photographs that are familiar or true to your experience of Iran. There must be others that reveal her as an outsider trying to penetrate the culture?
AN: One thing that surprised me was her photographs of the Caspian. It is the most magical place in my mind. As a child, we spent most of our vacations in the places she photographed, in Rasht, Pahlavi, and in Chalus. The Caspian is so lush, but she goes and photographs it in winter, which can be bleak. At first I couldn’t recognize it, although we had been in Chalus when it was snowing. For me, it was a strange defamiliarization process, looking at the stranger within something very familiar. I felt a deep resonance, and yet I had to adjust my eyes. Somehow the green was so strong in my memory that I didn’t think it could be this barren. That is what she seems to see in Iran: a certain barrenness.
And her mountains are different from other photographs of mountains in Iran. Most of those pictures present the mountains as majestic, and many focus on Damavand, the highest peak and a strong symbol of Iranian nationalism. But Morath photographed the mountains of southern Tehran, which are lower. When you have a landscape that is barren, when you have a mountain that is lost in the mist, when you have a Caspian scene shrouded by fog, all of this creates a sense of an absence that is as articulate as what is present and visible. It creates an air of mystery. There is a sense of mystery to her photos, as if not just the presences, but also the absences are speaking.
Maybe that’s how she saw. It could be, and this is pure speculation, that for her this place was itself a puzzle. She was photographing the mystery in her own eyes. Most people who go to Iran fall in love with it because people seem so welcoming. There is a welcome, but that doesn’t mean that people are opening to you. It means that they are treating you as a dear guest. So I thought, maybe that is how she feels, like a guest who’s trying to peek in. There is a shroud over many of the photographs, as if to say that what is there is not being wholly revealed. And if we cannot reveal everything, let’s have the idea that this place is defined as much by what it doesn’t reveal as by what it does.
Another thing that interested me is the way that some of Morath’s characters avoid looking at one another. For example, her photograph of the chibouk smoker in Tehran. There is a close proximity between the two men in the picture, and it’s obvious that they must know one another, but they are not interacting; I seldom see her characters interacting. Again in Rey, in her picture of the grandfather and young woman by the old gate. They’re not looking at one another; they’re not communicating. As in her photograph of the bus and the horse and buggy, they are parallel. It is very amazing, people living side by side and each in a world that is closed to the other; they’re strangers.
In her photographs of Nowruz though, people are very much communal, very much together. Nowruz is an ancient celebration. It is something that Iranians can genuinely say they share no matter what religion or ethnicity they come from. This is one of the few places where she shows people letting go. Another is the Zoroastrian ceremony in Chum, where the bodies are in very close proximity to one another. And these are all the more exciting because she captures a special quality of light.
I remember my Tehran and Isfahan, where there is a special quality of light. If I wanted to catch the essence of what Iran is to me, it is droplets of light, the shadows that light constantly plays. In Iran there is a sudden light, and that sudden light against the darkness is so startling, so surreal. You have it in all different places. Sometimes the light reveals and sometimes the light actually covers. Morath doesn’t always use the light to reveal. She also uses it to reveal the mystery. And the effects of the sun are what you see also in her pictures of the Nowruz celebrations. That discovery by her is what makes the difference between getting the spirit of a place and just showing a place. I have not yet found the language in words to describe what light did with our lives, how it changed us, but in photography you can do that. So if we want to be thankful to Morath for doing something about Iran, it should be for revealing something that is the essence of the country, which is light. This light can be overwhelming, and it can be joyous. It can be hiding. It can be mute and go against its own nature. All through her photographs you have these different statements about light.
JJ: I’m interested in what you said about Morath photographing the mystery in her own eyes. Looking at her photographs of Iran chronologically, the first place she went to after Tehran was the village of Vanack. The photographs that she took there rely heavily on convention, suggesting that she wasn’t sure of herself in this encounter with the unknown. But as she moved forward, her photographs become quite unconventional. The reason is not that Iran became less mysterious to her, but rather that she allowed that mystery to become a part of the story she was telling. For me, this goes back to the question of literature. Morath is more a narrative than a purely documentary photographer, and her narrative is in some part a story about herself.
AN: I have always thought of literature as a way of communicating, of connecting with the world. You connect to your topic and you connect to the unknown reader. But it was the subversive role, that no matter what you’re talking about you’re subverting it at the same time, that I loved; the idea that when you write you destabilize yourself. I feel that Morath destabilizes herself by subverting the usual way of looking at Iran.
Another thing I appreciate, and I think it’s also subversive, is that although she has traditional photographs of, for example, women in black chadors, she doesn’t exoticize them. Which is what so many, including some Iranians, do. Her photographs are not sentimental, and sometimes they can be harsh towards the subject. I mean, first of all, literature or art is always about truth, and truth has never been comforting. We reveal the harsh side of ourselves through our art, and tenderness only comes when you’re able to do that. Morath finds a way of bringing out the harshness, but also treating it tenderly. Giving it respect; that is the most important point. That is the difference between this selection and the earlier [1958] publication of these photographs in which the essayist is telling us, “This is how Iranians are.” He uses the language of authority, but with Morath there is just her own narrative: “I was there.”
In Iran’s classical literature there is an obliqueness, an oblique way of expressing things. It is so metaphoric, everything is so much by implication, and reality is presented as an expression of another world, a different sphere. I don’t know how familiar Morath was with Iranian literature, but in some of her pictures you can see that obliqueness, that muteness which also speaks. That is a very important point because the things that endure in art are the everyday things of life. There is, behind her body of work, a celebration of life, a celebration of a boy who sells brooms. That is why her objects have movements, because those objects are a statement about a life, no matter how harsh or seemingly trivial that life is. For me, the most important thing is the extraordinariness of the ordinary. That is why the writers I love are the ones who are genuinely realistic, who celebrate just us being who we are. Morath does that. The people she photographs are just people, but they are so much entwined with what they do, whether they’re nomads or shoe makers or bazaaris in their place of work. These are the things that will endure no matter how transient life is.
What she does with objects reminds me, in a very strange way, of Rumi, who was such a playful poet. He brought very ordinary objects into mystical poetry. He talks about brooms and sugar, and then he makes the brooms do magical things. In one poem, which I am paraphrasing, he says, “My beloved gave me a broom and asked me to clean the dust off the ocean.” All of a sudden the broom, dust, and ocean are displaced and separated from their original functions, gaining a magical dimension. In the best of Morath’s pictures you find a similar quality.
JJ: I wonder if it’s possible for a contemporary audience, particularly one of non-Iranian viewers, to see that quality? Monika Faber, in her article for this book, asks whether it is possible to view these photographs at all, except through the prism of Iran’s more recent political history?
AN: Of course, the interesting thing is how what we know will affect the way that we see. For example, about many of Morath’s pictures I could say, “This is not the Iran that I know.” Many of these places have vanished. But what is more interesting than that is what these pictures, taken fifty some years ago, tell us about the present. That is the test for pictures; everything dates, but how do they date? When I read our epic poet Ferdowsi, what I am amazed by is not just what he reveals about our past, but also how in a very strange way he predicts our future. What gives these pictures value is not the fact that we see something that still exists, but that they still reveal something significant, something essential that goes beyond the boundaries of time. I think that if a work of art is not particular then it cannot be universal. Universality comes out of going deeply into the moment. You need to have that particularity of the moment, and then you move beyond it. The moments she has recorded are enduring not just because they’re showing the 1950s, but because there’s a trace of 1950s in the present. That is the magic of it. That is the magic not of Inge, but of her art.
Anything that stays, that makes you, fifty years later, want to publish it, should go beyond just the artist’s views. That is why we read Aeschylus. I want to look at Morath’s pictures because I read Aeschylus. She really experienced the deepest of all cruelties during her lifetime. People who have experienced what she did understand that everything goes beyond politics. But I think that the point should be made that this book comes out not because of the Islamic Republic, not because of WMDs, not because Bush and Obama are talking about Iran, but because we need to connect as human beings.
I guess the duty of art, if there is a duty, is to restore our humanity. If you’re an artist and you look at the world through a political lens, you in fact miss the politics. I mean that politics itself needs a space, but by reducing everything to it everything is lost. That is why people are not really political right now; they’re politicized. They’re not thinking about politics the way Plato talked about it. Iran, especially, has been so categorized and politicized. Of course, people will look at these photographs and they will see the women with the chador and say, “There you are, they’ve always been like this.” But I’m hoping that those people will also look at the Nowruz dancers and say, “But who are they? Will the real Iranians stand up?”
Inge Morath: Iran
Preface by John P. Jacob, Inge Morath Foundation.
From Inge Morath: Iran, Göttingen: Steidl, 2009.
Please also view the slideshow.
The place I longed to know had no political name. Inge Morath, 1990 ((Morath, Inge, in “Preface,” Russian Journal. (New York: Aperture Foundation, 1991), p. 7.)) Inge Morath came to Paris in 1949, to join Magnum Photos as a researcher and editor. She relocated to London in 1951, and was there apprenticed to Simon Guttman, founder of the legendary Dephot Agency in Berlin, where Robert Capa began his career as a photographer. After a few years selling her pictures under the pseudonym Agni Tharom – her own name spelled backward – Morath returned to Paris, and in 1953 she presented her photographs to Capa. He invited her to join Magnum as an associate member. She worked as an assistant to Henri Cartier-Bresson in 1954, and in ‘55, the year that she became a full member of Magnum Photos, traveled extensively in Europe. Being a greenhorn, as Morath later noted, most of her early assignments were jobs that did not interest Magnum’s “big boys.” ((Morath, Inge, in Magnum Stories. Chris Boot, ed. (New York: Phaidon, 2004), p. 339.)) In 1956, Morath made two trips to the Middle East for Holiday Magazine, one of Magnum’s most important clients. The assignment was a notable professional achievement for Morath, as it was among the earliest to take her outside Europe (she had traveled to South Africa in 1955, and would also go to the US and Mexico in ‘56). During March and April of that year she traveled to Iran, the partial fulfillment of her long-held dream to travel the Silk Road from Europe, through Persia, to China. After a brief return to Paris, she traveled on to Lebanon, Jordan, Iraq, Syria, and Israel. The article that her photographs would accompany, with a text by foreign correspondent Alan Moorehead, was published in the December issue of Holiday. ((Alan McCrae Moorehead (22 July 1910 – 29 September 1983) had won an international reputation for his coverage of the Middle East during the Second World War.)) For Morath, she later wrote, it was the beginning of “the time of big stories and far-flung trips.” ((Morath, Inge, in “Berlin Lecture.” Undated manuscript, Archives, Inge Morath Foundation, New York, p. 26.))
In addition to her work for Holiday, Morath also had assignments to photograph for the Pepsi-Cola Corporation in Tehran and for Standard Oil in Abadan, and she documented the Shah’s celebration of Nowruz, the Persian New Year, at the Golestan Palace for a Magnum distribution. ((A story created for widespread media distribution rather than for a single publication.)) In total, she exposed more than one hundred rolls of black and white and approximately forty rolls of color film during her visit to Iran. ((Morath’s letters suggest that one reason for her return to Paris after five weeks in Iran, rather than traveling directly on to the other countries she had been assigned to cover, was that she had used up all her film there.)) A self-proclaimed frugal photographer who rarely devoted more than a few frames to a single subject, the range of Morath’s imagery, across more than 5,000 exposures, is extensive. In contrast to her many later journeys, Morath did not keep a personal journal in Iran, and the letters that survive, all to her family, provide few details about the places she visited and people she met along the way. Her traveling companion was Robert Delpire, who would publish Morath’s second monograph, De la Perse à l’Iran, in 1958. Recalling their journey after more than fifty years, Delpire described Morath working in Iran “without a precise idea of what we could do with the photos.” ((Interview with the author, Paris, March 5, 2008.)) Indeed, the shooting script supplied to Morath by Holiday listed only two subjects that were required for its coverage of Iran: carpets and the mosques of Isfahan. Morath’s notes and letters indicate that after a long week in Tehran spent waiting for their travel documents to arrive she and Delpire drove south to Shiraz, and from there flew to Abadan. Delpire departed there, returning to Paris with the film that Morath had exposed until that point. Morath then returned to Tehran, taking an alternate route. She spent altogether five weeks in Iran. Morath was not the first Magnum photographer to work in Iran, and as a former researcher and editor for the agency she would certainly have been familiar with the earlier reportage of Cartier-Bresson, from 1950, and fellow Austrian Erich Lessing, from 1952. But Morath’s approach to Iran was different from that of her colleagues. In contrast with Cartier-Bresson, who photographed in Iran as part of his extended work in Asia, and with Lessing, who worked there on a specific story (the 1952 locust plague), Morath was the first to focus broadly on the country itself. Seeking to report on the larger culture through encounters with its various constituencies, Morath’s photographs verge on the anthropological in their attention to common aspects of life – family, work, religious and creative expression, clothing, architecture, etc. – in each of the communities that she visited. The recurrence of these themes in Morath’s photographs would appear to contradict Delpire’s description of her unpremeditated working in Iran, and yet the seeming absence of an editorial agenda is one of the work’s notable characteristics. In fact, Morath’s attention to what Azar Nafisi has referred to as “the undercurrents of modernity and tradition” that run side by side in Iran served to underwrite the impression that she wished to convey of the richly layered history – sometimes conflicting and sometimes harmonious – of an ancient culture in transition. To achieve this, a precise idea about her subjects was not required so much as consistency in the way that she approached them. As a photographer, Morath’s approach to Iran was curiously at odds with the texts that her pictures accompanied. Although many of her photographs of Iran were reproduced by Holiday, Moorehead’s text mentions the country only in relation to the nations it borders, such as Iraq. Personally, Moorehead was repulsed by the modernity of oil rich countries such as Iran, preferring the more exotic “whiff of the lazy Arabian East.” ((Moorehead, Alan, “The Middle East,” Holiday Magazine vol. 20, no. 6 (1956), p. 59.)) Edouard Sablier, the French journalist whose text introduces De la Perse à l’Iran, expressed a similar disillusionment. “The traveler leaves for Persia, only to reach Iran,” Sablier noted in his opening paragraph. “He looks forward to nightingales and roses, to a glimpse of dark eyes beneath a deftly fastened veil, and finds for the most part very ordinary people, rather glum and shabbily dressed, in very ordinary streets.” ((Morath, Inge. De la Perse à l’Iran. (English edition, New York: Viking, 1960), unpaginated introduction.))
In Morath’s photographs, the seeming absence of any indicators of modernity serves a different motivation than orientalist nostalgia. Morath sought evidence of the endurance of tradition within new contexts, revealing both the past as a place of ongoing resistance to the present, and the present as unknowable except as it is revealed by the past. ((“What interests me,” she wrote, “is the continuity – or lack of it – between past and present. This is what […] is expressed in the title of my [book] From Persia to Iran.” Quoted in Carlisle, Olga, manuscript for Grosse Photographen unserer Zeit: Inge Morath. (Luzern: Verlag C.J. Bucher, 1975); Archives, Inge Morath Foundation, New York, p. 6.)) Only in the images produced for her assigned work for Holiday, Pepsi, and Standard Oil, is modernity unavoidably at hand. In these photographs Morath has, in each case, produced a counter-narrative to what was required by her clients. While photographing carpets for Holiday, she documented child labor; while photographing the oil refineries in Abadan, she documented the imbalances between native and foreign labor forces; and while photographing the new Pepsi bottling facility in Tehran, she documented the incursion of foreign goods and influence into the domestic economy. Thus, although the encroachment of the West was not her primary subject in Iran, neither was it one that she shied away from. In these images, Morath typifies the optimistic yet unswervingly critical style that would come to be known as “concerned photography.” ((The phrase was coined in the 1960s by Cornell Capa, Morath’s colleague at Magnum Photos, to describe photojournalists whose work demonstrated a humanitarian impulse to educate and change the world, not just record it.))
Nevertheless, as a reader of history Morath would have recognized these as contemporary political conflicts. Aware that a culture as ancient as Iran’s is densely layered, Morath was far more interested in documenting the persistence of Iran’s traditions than she was in their clash with Western values. For her, the continuity between past and present is expressed through the coming together, within a single photographic frame, of Zoroastrian, traditional Islamic, and contemporary Iranian life; in the ancient architecture of the bazaar, for example, where boots and umbrellas dangle from the ceiling and shoppers wear chadors. Such images offer a reconfiguration of the traditional understanding of “decisive moment” as a coming together of distinct historical, rather than optical, elements. In fact, Iranian modernity is not absent from Morath’s photographs, but conventional symbols of Western modernity are. A passionate interest in history, and an awareness of the difficulty in representing its complexity without falling back on convention, would remain central to Morath’s work, particularly in her later photographs of China and Russia. One of the most vexing questions about Morath’s photographs of Iran, given both the scope of the work and its great personal and professional importance, is why so few images were seen during her lifetime. ((After the publication of De la Perse à l’Iran in 1958, small selections of Morath’s photographs of the Middle East were presented in two retrospective exhibitions and their accompanying catalogs, Inge Morath: Fotografien 1952 – 1992 (exhibition: Salzburger Landssammlung Rupertinum; catalog: Salzburg: Otto Müller Verlag, 1992), and Inge Morath: Das Leben als Photographin (exhibition: Kunsthalle Wien; catalog: Munich: Gina Kehayoff Verlag, 1999). In both of these, Morath presented only her black and white photographs of Iran.)) While this question may never be answered definitively, the most likely reason, discovered during the making of this book, is that a light leak in her camera caused significant damage to many of her black and white negatives. Without access to a lab during her journey, Morath would not have known about the problem until after she had returned to Paris and examined her film. Prints made from the damaged negatives would either have to be cropped or in some way doctored to remove the black streak created by the light leak; in either case an undesirable flaw. For the young photographer, the damage to her film must have been an extraordinary disappointment.
It may also explain why Morath’s photographs published in De la Perse à l’Iran were predominantly color, in contrast to her earlier, largely black and white monograph with Delpire. ((Guerre à la Tristesse. Robert Delpire, ed. (Paris: Robert Delpire, 1955).)) Like many of her colleagues, Morath, at that time in her career, preferred black and white, producing color photographs primarily for her clients. ((Morath later worked extensively with color photography, and for some projects, particularly after the 1980s, used it exclusively.)) In Iran she worked with two cameras, one holding black and white film and the other holding color. Her second camera functioned flawlessly, and her color film came out fine. ((Morath also carried a Polaroid camera in Iran. According to Robert Delpire, she used it primarily to make portraits of nomads which were, in most cases, their first encounters with a photographic image. The making and giving of a Polaroid served as a kind of Introduction, which enabled Morath to then photograph freely within the encampments she visited (interview with the author, Paris, May 17, 2007). This is the only known professional usage of Polaroid materials by Morath. As no Polaroid prints remain in her archive, it is presumed that she gave them all away in Iran.)) Inge Morath: Iran is a reinvestigation of the black and white work from this important early assignment, something that would have been nearly impossible during Morath’s lifetime. Images were selected for inclusion by studying the markings and notations on Morath’s contact sheets for indications of personal preference. Her negatives were then scanned and digitally retouched to remove the light stain caused by her damaged camera. Finally, the photographs were sequenced in a roughly chronological order, in part for accuracy, and in part to preserve the way that Morath worked by creating a unique portrait of each community that she visited. ((The photographs are grouped geographically, then roughly chronologically, following Morath’s notes. Morath devoted the first leg of her journey, from Tehran to Abadan, to work for Magnum and for her book with Delpire, and the shorter, second leg largely to complete her assignments for Standard Oil and Pepsi-Cola.)) In addition to representing an important body of her photographs, Inge Morath: Iran also offers an opportunity for reassessment of the photographer herself. Morath’s visit to Iran provided her with the freedom to explore and develop her own vision as a photographer. Her distinct interest in the continuity between past and present in Iran, and the techniques that she deployed in order to illustrate that concept with her camera, provide key insights into Morath’s later work. Although photography was the primary means through which Morath found expression, her camera was but one of many tools in a kit to which she continued to add throughout her lifetime. In addition to the many languages in which she was fluent, Morath was also a prolific diary and letter-writer, a dual gift for words and pictures that was unusual among her colleagues. Morath was also atypical in her working practices, rejecting many of the precepts common to photojournalism of the period. Chris Boot, a former director of Magnum Photos, has written of Morath that: She did not pursue events […] and so her work lacks the drama of some of her colleagues. Nor was she given to moral rhetoric. Rather, she unsentimentally made pictures that were guided by her relationship to a place. These relationships were invariably intimate and long lasting… Similarly, her photographs of people are born of intimacy without sentimentality. It is as if the presentation of relationships takes the place of story structure, and her work is best understood as an ongoing series of observations of the life she made for herself. ((Magnum Stories, op. cit., p. 338.))
Morath’s photographs comprise a highly personal view of Iran; less a body of objective knowledge than a catalog of personal encounters. Not surprisingly for such a young artist, her images reach across photographic history, ranging from picturesque conventionality, in her photographs of the village of Vanack, to pointed commentary, in Abadan. But in her subjective and unsentimental approach, and in her free-ranging narrative structure, Morath’s work points forward to the future of photography. In this respect, as Monika Faber notes, Morath’s work in Iran is perhaps more closely allied to the contemporaneous work of Robert Frank – whose book Les Américans was published by Delpire almost simultaneously with De la Perse à l’Iran – than to the Magnum colleagues with whom she is more frequently compared. ((Morath would certainly have been familiar with Frank’s photographs through Delpire, who had published Frank’s work alongside photographs by Magnum colleagues Cartier-Bresson, in the revue NEUF, in 1952, and Werner Bischof, in the book Indiens pas Morts, in 1956. The title of Morath’s De la Perse à l’Iran is a parallel to that of the English language edition of Indiens pas Morts, Incas to Indios. Moreover, Morath’s working “without a precise idea,” that Delpire encouraged of her in Iran, is similar to the style of Frank’s photography in Peru, which he described as “[…] very free with the camera. I didn’t think of what would be the correct thing to do; I did what I felt good doing,” quoted in The Pictures Are a Necessity: Robert Frank in Rochester, NY November 1988, William S. Johnson, ed. (Rochester: International Museum of Photography at George Eastman House, 1989), p. 30.)) Above all, Morath’s work is distinguished by the fact that she approached her subjects through the same prism of intellectual history to which she also sought to contribute. She prepared for assignments by immersing herself in the history and literature of the places she intended to visit, rather than relying on visual tropes and social stereotypes. More importantly, she rejected the notion of photographic objectivity; the authoritative position of standing outside the picture looking in. “Inge Morath,” as former Magnum director John Morris has noted, “was a part of history more than she was a witness to it.” ((Interview with the author, Paris, May 17, 2007.)) She recognized herself – as a photographer, but also as a human subject – as a participant in the larger historical document comprised by her photography. Uniquely among her Magnum colleagues, Morath was a diarist who wrote with images. The thread that connects her work is time; the convergence of intellectual history and social memory within the photographic moment.
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Inge Morath
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The Graz-born photographer Inge Morath worked as a text journalist for press and radio before she started taking photographs. In 1946 she moved to Vienna, where she worked together with the photographer Ernst Haas as a »Photograph – Reporter – Team« for Heute, the magazine of the American occupation forces. In 1949 the team was called to the Magnum photo agency in Paris by Robert Capa. There she worked as an assistant to Henri Cartier-Bresson, for whom she did laboratory work. In 1951 she left Magnum and moved to London, where Morath began to take photographs herself and soon developed her talent. She studied with Simon Guttman, who is considered the father of modern photojournalism. Since 1953 she was a photographer for Magnum. In 1956 she published her first book Guerre à la tristesse. In the same year her first exhibition was opened in the Würthle Gallery in Vienna. The photo reports of her numerous travels through Europe, Africa, the Orient, the USA, the USSR, China, Japan, Thailand and Cambodia appeared in magazines such as Life, Paris Match, Holiday and the Saturday Evening Post. In 1960 she moved to the USA, where she was married to the writer Arthur Miller; she died in New York at the age of 79.
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The Road to Roxbury: On Linda Gordon’s “Inge Morath: Magnum Legacy”
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Geoff Nicholson takes stock of “Inge Morath: Magnum Legacy” by Linda Gordon.
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ACCORDING TO Linda Gordon’s biography of Inge Morath, once, when Morath was photographing presidential candidate Adlai Stevenson (I’m guessing in the early 1960s, though the book doesn’t specify), she got down on the floor to find a better, more unusual angle, at which point the other photographers, all male, literally walked all over her.
I suspect that if it had been a man who was on the floor they’d have been just as likely to walk all over him, but there does seem to be something thoroughly symbolic about this event. It’s also telling that, even while being walked on, Morath took some wonderfully intimate photographs of Stevenson.
By then Morath was used to being ignored and sidelined as a photographer. She said she was “mercilessly hit by Speed Graphics and blocked by bigger bodies working together.” Even at the Magnum photo agency for which she worked, on and off, in one capacity or another, from the late 1940s, she felt she received far less support than the male photographers gave to each other.
It says much for Morath’s fortitude and persistence, her ability to shrug off misfortune, that none of this stopped her from becoming a serious and significant photographer. She was accustomed to adversity, and consistently overcame it with a good deal of grace and style. Her whole life had been like that.
¤
No doubt every experience of war is unique, but Inge Morath’s was more singular than most. She was born in 1923, in Graz, Austria (her surname originally had an umlaut), to parents who were both scientists and, according to the biography, “Nazi enthusiasts.” She had a peripatetic childhood and by 1939 the family was living in Berlin. A photograph of Morath from that year shows her wearing a swastika broach at her collar, but for a while her life seems to have been surprisingly unaffected by Nazism and, then, by the war.
Graduating a year early from high school in 1940, she spent a compulsory spell in the Reichsarbeitsdienst (Reich Labor Service) — a kind of civilian national service — working first in a kindergarten, then on a farm in East Prussia, where the locals were less than receptive to a girl they saw (reasonably enough) as a privileged Berlin sophisticate. They made her milk cows and clean the pigsties.
She got through it, returned to Berlin, and enrolled in the University to study Romance languages, a course that included a semester in Bucharest. As a student she refused to join the Deutsche Studentenschaft, members of which had quite a taste for book burning. Whether this had any direct consequences is hard to say. She graduated in 1944, apparently without any problems, but possibly that earlier refusal led to her being drafted to work in an aircraft factory at Tempelhof where she labored alongside Ukrainian female prisoners of war. By then the Allies were repeatedly bombing Berlin, often hitting the factory, and when news spread that the Russian army was on its way, Morath managed to escape the city, along with others, and made the 450-mile trek to Salzburg to join members of her family who had already fled there. She saw some appalling sights along the way, bad enough to deter her from ever wanting to be a “war photographer.”
She was in poor health when she arrived in Salzburg: her digestion was wrecked for the rest of her life. On May 4, 1945, the US Army arrived; the war soon ended, though obviously not the privations. But again Morath didn’t do so badly. By 1946, she was working as a translator for the US Information Service.
At this point, she seems to have had no ambitions to be a photographer. If anything, she thought of herself as a writer, and in due course she found work as co-editor of the magazine Der Optimist, then as a reporter and Austrian editor for Heute, a magazine published by the US Information Service. There she worked with the photographer Ernst Haas on a story about Austrian prisoners returning from Russia: he did the pictures, she did the words. When Haas was invited to Paris to meet Robert Capa and other members of the Magnum photo agency, Morath went with him. And when he joined the agency as a full-fledged member, she worked for it too, though as a very poorly paid researcher, editor, and caption writer.
Magnum was (and I suspect still is) very much a boys’ club. If Morath resented this (and how could she not have?), she accepted it as the way things were. And if Magnum wasn’t egalitarian, it definitely sounds like fun. Capa was brilliantly charismatic. He cared about his staff. There were parties, days at the races, a lot of food and drink, some of it very fancy, much of it less so. Capa had a few very rich friends, and many very poor ones. One member of the social group, “an Egyptian painter,” specialized in cooking horse offal. There was also apparently a lot of sex. As Morath herself wrote, “through friendships, and also affairs, one got to know the new cultures and new languages,” though she said she only kissed Capa once.
She still seems to have had no interest in becoming a photographer. That only happened after she’d married a bisexual English journalist named Lionel Birch, whose books included Why They Join the Fascists and The Story of Beer. Perhaps being married to another writer was enough to make her want to give up on the pen, although, to be fair, she did continue to write and publish, generally words that ran alongside her pictures. The couple were on vacation in Venice, she had with her an old Contax camera given to her by her mother, and she took some moody pictures of the city in the rain. It was a life-changing moment. In a later account, she said, “this was the perfect way for me to express what I had within […] it totally satisfied me.” This new passion, unlike the marriage, lasted the rest of her life.
¤
She trained in London for a year with Simon Guttmann, a “merciless” teacher and one-time friend of Walter Benjamin, then she returned to Paris where Magnum gave her an associate membership. For the next 10 years she was a jobbing, working photographer, sometimes apprenticing (and sleeping) with Henri Cartier-Bresson and traveling to many parts of the world, including Iran, Spain, and South Africa. “Many of these jobs were implicitly marked female,” writes Gordon; a wedding, a funeral, Parisian boutiques, animals on TV. She did some straightforward commercial work, some portraiture. She befriended John Huston and worked as a set photographer on some of his movies, and by the late 1950s she’d started to work with Saul Steinberg on the wonderful “paper bag mask” series. Perhaps, all this time, she kept in mind Capa’s advice: “Just go on doing what you want to do anyway but call yourself a photojournalist.”
And then, in 1960, everything changed. She was invited to shoot on the set of Huston’s movie The Misfits, being filmed on location in Reno. The script was written by Arthur Miller, from one of his short stories, and the movie starred Clark Gable, Montgomery Clift, and Marilyn Monroe, who was then Miller’s wife.
Morath and Cartier-Bresson drove to Reno from New York, an 18-day road trip that seems not to have completely thrilled them. According to Gordon, “the two Parisians were most distraught about the food available on the road, their hopes raised and then dashed, for example, when a cube steak turned out to be just another hamburger.” They both took pictures along the way, sometimes of each other. Morath’s photographs from the trip appeared in book form some 46 years later, as The Road to Reno, which also included her journals.
They arrived to find the production in chaos. Huston was drunk most of the time, Monroe drugged on barbiturates and painkillers, showing up late or not at all, not knowing her lines, and attended by her acting coach, Paula Strasberg, who seems to have regarded her primary function as undermining Huston’s authority. One of the cameramen said he couldn’t film Monroe because “the eyes were gone,” and it’s interesting that the two Morath photographs of Monroe that appear in the biography both show her from the back, even though she shot plenty of others that showed the actress’s face.
Miller was suffering his own particular tortures. His marriage was in tatters, and as he dealt with that he also had to do regular rewrites of the script. He was, as one can imagine, in need of comfort, and he found it with Morath. By the time the production wrapped (not before Clark Gable had suffered a heart attack), Miller and Morath’s relationship had become serious, and they stayed together until Morath’s death in 2002.
They married in 1962, once Miller was divorced. They lived for a while in the Chelsea Hotel, then in an apartment in Manhattan, and chiefly on Miller’s 340-acre estate, a former dairy farm, in Roxbury, Connecticut, where he’d previously lived with Monroe.
Whether by choice, because of the tenor of the times, or at Miller’s insistence, Morath took on a subsidiary role in this creative cohabitation. She played the good wife, writing to Magnum that she couldn’t take on much work because “I have to take care of a husband whose superior talents often require cooking more urgently than my photography.”
She also became a mother, giving birth to two children. Her daughter, Rebecca, who went on to become a filmmaker and marry Daniel Day-Lewis, while her son, Daniel, was born with Down syndrome and was institutionalized for all of his life. None of Morath’s writings make any mention of the boy, and Miller managed the remarkable feat of writing an autobiography that completely omits mention of his son.
Whatever demands were made by Miller’s “superior talent,” Morath did continue to take photographs. She became her husband’s go-to set photographer and often photographed productions of his plays. Miller sounds like a controlling egotist, but being married to him did open some doors for Morath. When Miller was invited to interview Nelson Mandela in South Africa, Morath was there to take (what seems to me) a rather bland portrait of the great man.
As time went on, she did start to do some traveling by herself, although negotiation was still required. She said, “I cook his lunch and I can take my trips.” But whether alone or with Miller, the traveling became relentless — China, Japan, Russia, Romania, Bulgaria, Bhutan, Berlin when the wall came down. Much of it sounds incredibly grueling, though perhaps less so to somebody who had walked from Berlin to Salzburg through a war zone. And Morath’s traveling didn’t stop even after she had the diagnosis, and then the increasingly painful symptoms, of the lymphoma that killed her. There does seem to have been something obsessive about this need to be constantly in motion, though Gordon describes it simply as evidence of Morath’s “globalism.”
¤
Linda Gordon is a very generous and supportive biographer, but a good deal of special pleading is required to make Morath into the paragon Gordon evidently wants her to be. In a chapter titled “World Photographer,” she writes about the extent to which the invention of photography stoked a curiosity about, and then a further desire to photograph, the non-Western world: National Geographic magazine, established in 1888, is a synecdoche for this “ethnological” urge. Gordon naturally disapproves of this kind of thing and says, “Because the photographers were usually European, their photographs often revealed more about their imperial perspective than about their subjects, as they so often focused on the allegedly ‘primitive,’ even emphasizing what magazine readers saw as grotesque.”
This is a sustainable argument, even if claiming to know how readers “saw” those magazines seems patronizing, and it is, of course, the current wisdom. Susan Goldberg, who in 2014 became the first female and first Jewish editor of National Geographic, ran an issue on race that contained much self-flagellation about the magazine’s less than “woke” past.
There’s a more difficult and, I think, less sustainable argument, in which Gordon asserts that the work of Magnum photographers was “remarkably free of the colonialist eye, reflecting a more democratic and open-minded view of cultural differences.” I’m really not sure that Henri Cartier-Bresson’s photographs of India or China are quite so democratic and non-colonialist as this would suggest. And I’m not at all sure that Morath’s photographs taken in Iran, for example, are entirely free from the dreaded “Orientalism.”
The special pleading moves into a higher gear as Gordon describes Morath’s marriage to Miller. We’re told that when Morath moved into the Roxbury estate, “With her typical unflappability, Inge did not seem uncomfortable with any remaining Marilyn Monroe associations.” Well, unflappability might be one word for that, but I can think of others. Daughter Rebecca is quoted as saying that her mother fitted into life at Roxbury “with absolute bravery.” Gordon doesn’t question what this could possibly mean.
As for that line — “I have to take care of a husband whose superior talents often require cooking more urgently than my photography” — rarely has the phrase “Get your own damn dinner” seemed so appropriate. Clearly there’s no point in wishing that Morath was in some way a “better feminist,” but when Gordon shrugs this off and writes, “Many women lived with these contradictions, but few mastered them with so much success,” it’s hard to feel you’re getting the whole story.
But it’s Gordon’s consideration of Miller and Morath’s treatment of their son Daniel that seems simply unsupportable. It is, she says, “explained by several factors […] Most important no doubt was that in 1967 the majority of doctors advised parents to institutionalize children with Down syndrome.” No doubt? But given the couple’s wealth and connections it would surely have been possible to find doctors who took a minority view, if they’d wanted to. Things get even more difficult when we learn that Miller had a cousin, named Carl Barnett, also with Down syndrome, who had indeed been raised at home. Perhaps, and Gordon almost says this though not quite, it was the very fact of having witnessed the domestic stresses and difficulties of rearing a Down syndrome child that made Miller think he couldn’t live with such a burden. This might not be very noble, but it’s all too understandable. However, it’s the Miller-Morath’s failure even to mention the situation that’s so problematic. Were they ashamed of the boy or of themselves?
One of Morath’s assistants, according to Gordon, “surmised that Inge’s periodic unexplained absences were visits to him [Daniel] in Southbury.” Possibly so, but it’s not hard to surmise some quite different explanations. In any case, Gordon concludes, “raising Rebecca was rewarding enough to compensate for any guilt that lingered.” Spare us.
¤
These things, of course, are the stuff of biography rather than aesthetic judgment, but they do raise the question of how good the work itself was, and whether it was helped or hindered by the sacrifices Morath made and the difficulties she faced. Certain members of Magnum weren’t impressed by Morath’s photography. Gordon writes, “Some in the New York Magnum group considered her a minor photographer, producing lightweight work, a dilettante rather than a professional. Some thought her marriage to a wealthy and famous man showed that photography was not her true calling.” Gordon says this is “a recapitulation of the sexism she faced during her first years with Magnum,” and sexism is no doubt involved, but it’s more complex than that, isn’t it? Wasn’t there also envy? Having a rich spouse might in fact free you to pursue your “true calling” without having to worry about how to pay the bills. Having enough money doesn’t strike me as overwhelming evidence of dilettantism: ask William Eggleston.
Comparisons may be odious but they’re hard to avoid. In the course of that Misfits shoot, nine big-name Magnum photographers worked on the set. Personal taste obviously comes into this, and Morath’s photographs are perfectly good, but compared with those by Henri Cartier-Bresson and Eve Arnold, they seem remarkably tame. This especially applies to the photographs of Monroe. Cartier-Bresson and Arnold reveal depths that Morath doesn’t. Other views are no doubt possible.
Morath’s work, it seems to me, is very inconsistent. Her portrait of Fidel Castro is benign enough to appear in a Cuban government brochure, extolling the benefits of Cuban-style communism. The photographs of Miller’s productions just strike me as dull. On the other hand, there’s an apparently casual photograph of Louise Bourgeois with Andy Warhol at a gallery show that’s an absolute gem: capturing her intensity, his performative blankness.
In the end, the two sets of Morath’s photographs that strike me as absolutely great are, first, the photographs made in collaboration with Saul Steinberg. Subjects are elegantly posed and each has a paper bag over his or her head — a bag on which Steinberg has drawn a face that, like many masks, reveals far more than a “real” face or careful portrait ever could. The images are amusing, startling, but also strangely, perhaps surprisingly, profound. Morath’s photographs show her to be a full participant in the creations, not just the maker of a photographic record.
I’m also smitten with those pictures taken on the road to Reno. American road trip photographs are 10-a-penny, but Morath has found a way to make the subject her own. Female photographers I’ve heard talk on the subject are divided about whether there’s any such thing as a “female gaze,” still, you couldn’t mistake any of these pictures for a Robert Frank or a Garry Winogrand, and I do wonder if it was actually Morath’s discomfort with the road and with America that produced such startling results.
A passage in her journal reads:
Sirens. The turning lights of a police car. An accident. Two cars, completely battered. Out of the torn side of one of them spill the many objects a family packs for a holiday: dolls, boxing gloves, picnic tackle. Way out, remaining there senselessly and frail, a wicker baby carriage. I better go and drink some coffee. Howard Johnson, a sign says. “A landmark for hungry Americans.” I stop anyway.
I think that’s really good. Sometimes a few words are worth a thousand pictures.
¤
Geoff Nicholson is a contributing editor to the
Los Angeles Review of Books
. His latest novel,
The Miranda
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2002) – Find a Grave Gedenkstätte
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Photographer. She was involved as a writer, photographer or both in the publication of more than two dozen books. She was married for four decades to Pulitzer Prize winning playwright Arthur Miller.
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https://de.findagrave.com/memorial/6522485/inge-morath
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https://www.wmra.org/2018-12-10/biography-captures-the-charisma-and-confidence-of-photographer-inge-morath
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Biography Captures The Charisma And Confidence Of Photographer Inge Morath
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2018-12-10T00:00:00
|
Biographer Linda Gordon chronicles Morath's escape from Nazi Germany, her boundary-breaking career and her marriage to playwright Arthur Miller.
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WMRA and WEMC
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https://www.wmra.org/2018-12-10/biography-captures-the-charisma-and-confidence-of-photographer-inge-morath
|
"I'm fascinated by the necessity of quick decisions," Inge Morath told me more than 30 years ago, when she came to NPR for an interview. Morath was in the business of quick decisions — as a photographer and photojournalist she was the first woman to be accepted as a full member of the Magnum photo agency.
Now, her life is the subject of a new biography by Linda Gordon. It recounts Morath's escape from Nazi Germany, her boundary-breaking career, and her marriage to playwright Arthur Miller.
Morath met Miller — and his then-wife Marilyn Monroe — in 1960 while she was taking publicity stills on the set of the film The Misfits. It was Monroe's last film, and Miller had written it for his wife.
"Inge took some very, very beautiful and sympathetic photographs of Marilyn Monroe," Gordon says. "But Miller had struck her as intensely interesting — and he was quite impressed," Gordon says.
Miller and Monroe's relationship had been on the rocks for some time. He and Morath had an affair and the two married in 1962. They were together for 40 years, until Inge's death in 2002.
In our 1987 interview, I asked Morath about whether she wished she'd paid more attention to Monroe, as Miller's first wife. In a marriage, "you have to be yourself," she said. "Even if you are the first, the second, or the third wife — if you try to take over anything, or imitate anything, I think it'd be a disaster."
"She was a woman of extraordinary self-confidence," says Gordon. "One sees that throughout her life ... self-confidence as a photographer, as a person, but also as her own sexual being."
Morath had a magnetic personality — and plenty of affairs.
"She was just a person who drew you in," says Gordon.
As a young woman, Morath had a rough time in Germany during the war.
"After Allied bombs started falling heavily on Berlin — and landing very near the munitions factory where she was a forced worker — she joined columns of hundreds, probably thousands, of people on foot just leaving Berlin," Gordon explains.
The biographer says Morath walked 455 miles to her parents in Salzburg, Austria. They were Nazi sympathizers — she was not. In Paris after the war, Morath got a job at Magnum, the elite photo agency founded by the great pioneers of photojournalism, Robert Capa and Henri Cartier-Bresson.
There, she did everything from secretarial work, to working with contact sheets, to cleaning the office, Gordon says, all the while honing her skills in photography. In 1955, she became Magnum's first full female member.
With her camera, Morath followed her passion for travel. In Spain, she wangled her way into the dressing room of the great toreador Antonio Ordóñez. Her 1954 photo shows him preparing for combat: his muscled chest is bare, and he's wearing skin-tight, sequin-embroidered pants.
It took chutzpah to get into his dressing room, where women were considered bad luck. "To get into that space she half jokingly made a completely outrageous argument," Gordon says. "She said, 'I'm wearing pants when I work, therefore I'm neither man nor woman.' "
In Seville, Morath put on a flamenco outfit and climbed up onto a chair to shoot dancers, whirling to the music in their layered red and white skirts and petticoats. "You only see these people from the waist down ..." Gordon says. "She has captured the movement — but with a camera just slow enough so that some of the picture is blurred as you see the skirts whirling around."
Outside of photography circles, Morath is known more for her marriage than for her work. "I do not like the fact that many people only know her as a wife of Arthur Miller — and, of course, the wife immediately after Marilyn Monroe — but my impression is that she was pretty copacetic about it," Gordon says.
There are trade-offs to familiarity, Morath told me in 1987. For example, when working on a portrait, she said she didn't necessarily want to meet her subject first.
There is a "wonderful element to a new meeting," she explained. Being strangers, the photographer and the subject are placed into a "sparring" position. "That's interesting," she said. "You kind of show more of yourself."
Copyright 2023 NPR. To see more, visit https://www.npr.org.
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Gallery Images from Inge Morath: First Color (Steidl, 2009) BIoGRAPHY Photography is a strange phenomenon. In spite of the use of that technical instrument, the camera, no two photographers, even if they were at the same place at the same time, come back with the same pictures. The personal vision is usually there from...
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ºCLAIRbyKahn
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https://clairbykahn.com/mies_portfolio/morath/
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Gallery
Images from Inge Morath: First Color (Steidl, 2009)
BIoGRAPHY
Photography is a strange phenomenon. In spite of the use of that technical instrument, the camera, no two photographers, even if they were at the same place at the same time, come back with the same pictures. The personal vision is usually there from the beginning; result of a special chemistry of background and feelings, traditions and their rejection, of sensibility and voyeurism. You trust your eye and you cannot help but bear your soul. One’s vision finds of necessity the form suitable to express it.
-Inge Morath (Inge Morath: Life as a Photographer, Kehayoff Verlag, 1999)
Inge Morath (1923–2002) was born in Graz, Austria. Her parents were scientists whose work took them to different laboratories and universities in Europe during her childhood. Educated in French-speaking schools, Morath and her family relocated to Darmstadt in the 1930s, and then to Berlin.
Morath’s first encounter with avant-garde art was at the Entartete Kunst (“Degenerate Art”) exhibition organized by the Nazi party in 1937, which sought to inflame public opinion against modern art. “I found a number of these paintings exciting and fell in love with Franz Marc’s Blue Horse,” Morath later wrote. “Only negative comments were allowed, and thus began a long period of keeping silent and concealing thoughts.”
After the Second World War, Morath worked as a translator and journalist. In 1948, she was hired by Warren Trabant for Heute, an illustrated magazine published by the US Information Agency in Munich. Morath had encountered photographer Ernst Haas in Vienna and brought his work to Trabant’s attention. Working together for Heute, Morath wrote articles to accompany Haas’ pictures. In 1949, Morath and Haas were invited by Robert Capa to join the newly-founded Magnum Photos in Paris, where she would work as an editor. Working with contact sheets by founding member Henri Cartier-Bresson fascinated Morath. She wrote, “I think that in studying his way of photographing I learned how to photograph myself before I ever took a camera into my hand.”
Morath was briefly married to the British journalist Lionel Birch and relocated to London in 1951. That same year, she began to photograph during a visit to Venice. “It was instantly clear to me that from now on I would be a photographer”, she wrote. “As I continued to photograph I became quite joyous. I knew that I could express the things I wanted to say by giving them form through my eyes.” Morath divorced Birch and returned to Paris to pursue a career in photography.
In 1955 she was invited to become a full member of Magnum Photos. During the late 1950s, she travelled widely, covering stories in Europe, the Middle East, Africa, the United States, and South America for such publications as Holiday, Paris Match, and Vogue. She published Guerre à la Tristesse, photographs of Spain, with Robert Delpire in 1955, followed by De la Perse à l’Iran, photographs of Iran, in 1958.
Like many Magnum members, Morath worked as a still photographer on numerous motion picture sets. Having met director John Huston while she was living in London, Morath worked on several of his films. In 1960 she was on the set of The Misfits, a blockbuster film featuring Marilyn Monroe, Clark Gable, and Montgomery Clift, with a screenplay by Arthur Miller. Morath met Miller while working on The Misfits, and—following Miller’s divorce from Monroe—they were married on February 17, 1962.
Morath’s achievements during her first decade of work as a photographer are significant. Along with Eve Arnold, she was among the first women members of Magnum Photos, which remains to this day a predominantly male organization. Many critics have written of the element of playful surrealism that characterizes Morath’s work from this period. It was motivated by a fundamental humanism, shaped as much by the experience of war as by its lingering shadow over post-war Europe. This motivation grows, in Morath’s mature work, into a motif as she documents the endurance of the human spirit under situations of extreme duress as well as its manifestations of ecstasy and joy.
Ingeborg Morath Miller died of cancer in 2002, at the age of 78. In honour of their colleague, the members of Magnum Photos established the Inge Morath Award in 2002. The Award is administered by the Inge Morath Foundation in cooperation with the Magnum Foundation, New York. The Inge Morath Foundation was established by Morath’s family, in 2003, to preserve and share her legacy.
sELECTED EXHIBITIONS
2023 Documenting Israel: Visions of 75 years, Museum of Tolerance Jerusalem
2022 Inge Morath Hommage, Versicherungskammer Kulturstiftung, Munich
2021 Picturing People, The National Gallery of Ireland, Dublin
2021 New Perspectives. Acquisitions 2011–2020, The National Gallery of Ireland, Dublin
2020 Inge Morath. La vita. La fotografia, Museo Diocesano, Milan
2019 Inge Morath. La vita. La fotografia, Museo di Roma in Trastevere, Rome
2020 As They See Us: A Portrait of Russia, Manege Central Exhibition Hall, St. Petersburg
2012 View York – Nine Perceptions, KSH, Freiburg
2011 View York – Nine Perceptions, DAI, Tübingen
2011 View York – Nine Perceptions, CLAIRbyKahn, Munich
2010 First Colors, Magnum Gallery, Paris; CLAIRbyKahn, Munich
2008 Well Disposed and Trying to See: Inge Morath and Arthur Miller in China, University of Michigan Art Museum, Ann Arbor
2005 The Road to Reno, Pingyao International Photography Festival, Pingyao
2004 Chinese Encounters: Photographs by Inge Morath, Pingyao International Photography Festival, Pingyao
2003 Inge Morath, Henri Cartier-Bresson Foundation, Paris
2003 The Danube, City Gallery of Ruse, Ruse
2002 New York, Galerie Fotohof, Salzburg; Europäische Wochen, Passau; ESWE Forum, Wiesbaden; Esther Woerdehoff, Paris; Amerikahaus, Tübingen
1999 Inge Morath, Kunsthalle Wien, Vienna
1999 Spain in the Fifties, Museo del Cabilde, Montevideo
1998 The Danube, Festival of Central European Culture, London, UK; Museen d. Stadt Regensburg
1998 Retrospective, Edinburgh Festival, Edinburgh, UK; Museum of Photography in Charleroi; Municipal Gallery, Pamplona
1998 Celebrating 75 Years, Leica Gallery, New York
1997 Retrospective, Kunsthal, Rotterdam
1997 The Danube, Keczkemet Museum, Esztergom Museum
1997 Photographs 1950s to 1990s, Tokyo Museum of Photography, Tokyo
1996 Women to Women, Takashimaya Gallery, Tokyo
1996 The Danube, Neues Schauspielhaus, Berlin, Germany; Leica Gallery, New York; Galeria Fotoforum, Bolzano
1995 Spain in the fifties, Museo de Arte Contemporaneo, Madrid; Museo de Navarra, Pamplona
1994 Spain in the fifties, Spanish Institute, New York
1992/94 Retrospective, Neue Galerie Linz, Austria; America House, Frankfurt; Hardenberg Gallery, Velbert; Galerie Fotogramma, Milan; Royal Photographic Society, Bath; Smith Gallery and Museum, Stirling; America House, Berlin; Hradcin Gallery, Prague
1991 Portraits, Kolbe Museum Berlin, Germany; Rupertinum Museum Salzburg
1989 Portraits, Burden Gallery, Aperture Foundation, New York
1989 Portraits, Norwich Cathedral, Norwich
1989 Portraits, American Cultural Center, Brussels
1988 Retrospective, Union of Photojournalists, Moscow, Russia; Sala del Canal Museum, Madrid; Rupertinum Museum, Salzburg
1979 Inge Morath: Photographs of China, Grand Rapids Art Museum, Michigan
1964 Inge Morath: Photographs, Gallery 104, Art Institute of Chicago, Illinois
AWARDS | Recognitions
1992 Great Austrian State Prize for Photography
1984 Doctor Honoris Causa Fine Arts, University of Connecticut, Hartford
1983 State of Michigan Senate Resolution NO 295; Tribute to Inge Morath in recognition of her outstanding accomplishment as a photographer and chronicler of human life
SELECTED PUBLICATIONS
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"Inge Morath",
"Arthur Miller (Contributor)",
"Rolf Sachsse (Contributor)",
"Arthur Miller",
"Inge Morath (Photographer)",
"John P. Jacob (Editor)",
"A. Miller",
"Wolfgang Hermann",
"Regina Strassegger"
] | null |
Inge Morath was born in Graz, Austria, in 1923. After studying languages in Berlin, she became a translator, then a journalist and the Austrian editor fo...
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https://www.goodreads.com/author/show/77328.Inge_Morath
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inge morath foundation – Art Blart
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"Author Dr Marcus Bunyan"
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2009-03-03T12:39:36+00:00
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Posts about inge morath foundation written by Dr Marcus Bunyan
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Art Blart _ art and cultural memory archive
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https://artblart.com/tag/inge-morath-foundation/
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March 2009
“To take pictures had become a necessity and I did not want to forgo it for anything.”
~ Inge Morath
Inge Morath (American born Austria, 1923-2002)
From the series about Regensburg Museums
1999
Gelatin silver print
The Magnum Foundation and the Inge Morath Foundation announce the sixth annual Inge Morath Award. The annual prize of $5,000 is awarded by the Magnum Foundation to a female documentary photographer under the age of 30, to support the completion of a long-term project. One award winner and up to two finalists are selected by a jury composed of Magnum photographers.
Inge Morath was an Austrian-born photographer who was associated with Magnum Photos for nearly fifty years. After her death in 2002, the Inge Morath Foundation was established to manage Morath’s estate and facilitate the study and appreciation of her contribution to photography.
Because Morath devoted much of her enthusiasm to encouraging women photographers, her colleagues at Magnum Photos established the Inge Morath Award in her honour. The Award is now given by the Magnum Foundation as part of its mission of supporting new generations of socially-conscious documentary photographers, and is administered by the Magnum Foundation in collaboration with the Inge Morath Foundation.
Past winners of the Inge Morath Award include: Kathryn Cook (US, ’08) for Memory Denied: Turkey and the Armenian Genocide; Olivia Arthur (UK, ’07) for The Middle Distance; Jessica Dimmock (US, ’06) for The Ninth Floor; Mimi Chakarova (US, ’06) for Sex Trafficking in Eastern Europe; Claudia Guadarrama (MX, ’05) for Before the Limit; and Ami Vitale (US, ’02), for Kashmir.
Text from The Inge Morath Foundation website
Inge Morath (American born Austria, 1923-2002)
Visitor in the Metropolitan Museum
1958
Gelatin silver print
Inge Morath (American born Austria, 1923-2002)
Window washer
1958
Gelatin silver print
“I have photographed since 1952 and worked with Magnum Photos since 1953, first out of Paris, later out of New York. I am usually labeled as a photojournalist, as are all members of Magnum. I am quoting Henri Cartier-Bresson’s explanation for this: He wrote to John Szarkowski in answer to an essay in which Szarkowski stated that Cartier-Bresson labels himself as a photojournalist.
“May I tell you the reason for this label? As well as the name of its inventor? It was Robert Capa. When I had my first show in the Museum of Modern Art in New York in 1948 he warned me: ‘watch out what label they put on you. If you become known as a surrealist […] then you will be considered precious and confidential. Just go on doing what you want to do anyway but call yourself a photojournalist, which puts you into direct contact with everything that is going on in the world.'”
It is in this understanding that we have been working as a group and yet everyone following their own way of seeing. The power of photography resides no doubt partly in the tenacity with which it pushes whoever gets seriously involved with it to contribute in an immeasurable number of forms his own vision to enrich the sensibility and perception of the world around him.
[In the 1950s] the burden of the already photographed was considerably less than now. There was little of the feeling of being a latecomer who has to overwhelm the huge existing body of the photographic oeuvre – which, in photography as in painting and literature, necessarily leads first to the adoption and then rejection of an elected model, until one’s own work is felt to be equal or superior, consequently original.
Photography is a strange phenomenon. In spite of the use of that technical instrument, the camera, no two photographers, even if they were at the same place at the same time, come back with the same pictures. The personal vision is usually there from the beginning; result of a special chemistry of background and feelings, traditions and their rejection, of sensibility and voyeurism. You trust your eye and you cannot help but bare your soul. One’s vision finds of necessity the form suitable to express it.”
Inge Morath, Life as a Photographer, 1999
Text from The Inge Morath Foundation website
Inge Morath (American born Austria, 1923-2002)
Mrs. Eveleigh Nash, London, 1953
1953
Gelatin silver print
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The quiet brilliance of Magnum photographer Inge Morath
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2018-11-23T00:00:00
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From escaping Nazi Germany to marrying playwright Arthur Miller, her life was almost as extraordinary as her images
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the Guardian
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https://www.theguardian.com/artanddesign/2018/nov/23/quiet-brilliance-of-inge-morath-biography-linda-gordon
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Inge Morath arrived at the newly formed Magnum photographic co-operative in Paris on July 14, 1949, with her friend and fellow photographer Ernst Haas (known as Haasi), looking for Robert Capa. The door was opened by a man with a hangover, with an ice bag on his head. The renowned war photographer was nowhere to be seen. Morath, who had expected to be greeted by “big shots” was disappointed. “I had bought a hat and felt a touch betrayed,” she wrote later.
It was not the last time she would feel that way as she forged a path through the aggressively masculine boys’ club that the agency was at the time. When she arrived from Vienna, aged 26, she was an experienced editor and reporter, who had worked with Haasi as a photo-story team for Life and other magazines. She trained with Simon Guttmann, a picture editor with Picture Post, and later with her on-off lover Henri Cartier Bresson before becoming a full photographic member of Magnum in 1955. But she knew she would have to prove herself.
“Being one of the then rather rare women photographers… was often difficult for the simple reason that nobody felt one was serious (what does a pretty girl like you want in this profession?). Much male condescension… I certainly do not think that I got the same forceful male brotherhood support the men got.”
Inge Morath: An Illustrated Biography goes some way to righting that wrong. Written by the historian Linda Gordon, whose last book was about the great documentarist Dorothea Lange, it makes the case for Morath as a photographer of calm distinction. It also faithfully tells the story of an extraordinary life, which took Morath from a childhood under the “heavy curtain” of the Nazi regime in Austria to her marriage to Arthur Miller, world famous playwright – which was his third, and her second, and which lasted until her death in 2002 at the age of 78.
Gordon admits that she didn’t know much about her subject before she started to research the book. “But one of the things that fascinated me was the way her life intersected with so many of the events of the 20th century: she had an extremely itinerant childhood and as an adult was comfortable in every culture. She was a terrific linguist, a citizen of the world.
“The second thing that fascinated me was that her parents were very happy to live with the Nazi regime and – if I can put it in a colloquial way – what a story it is for a woman who comes from that background to end up marrying a Jewish, Brooklyn, working-class commie. I loved the idea of being able to talk about that transformation.”
Morath’s childhood, in fact, would support an entire book in itself. Her parents were scientists, who travelled around Europe for work. When war broke out, they were living in Berlin, where Morath studied languages. By 1945, however, 22-year-old Morath was living in the city on her own, working in a factory that was bombed. She fled, walking 455 miles in appalling conditions, to join her parents in Salzburg.
She never commented explicitly on Nazi ideology, but there was no doubting her exhilaration at being free. “She was just a very, very positive person,” says Gordon.
This silent ability to adapt came into play again when she met Arthur Miller, then married to Marilyn Monroe, while shooting on the set of The Misfits in 1960. As their romance developed, after his relationship with Monroe broke down irretrievably, this sophisticated, independent woman revealed herself willing to change. After their marriage in 1962, Morath gave up life in Paris, and a hard-won and dazzling career, and settled into suburban domesticity in Connecticut. She continued to take photographs, but it was only after their child, Rebecca (now a film-maker and wife of Daniel Day-Lewis), grew up that she took up her camera fully once more, notably on their joint trips to countries such as Russia. “She accommodated,” says Gordon. “That is a word I would use a lot of her life. She accommodated to get along with other people.”
Morath’s submission to Miller had one result that was only revealed after his death. She went along with his insistence that their son Daniel, who was born with Down’s syndrome, was institutionalised from birth. She visited him regularly, but remained silent about the fact of his existence even to her closest friends.
Her photographs speak for her, down the years, establishing her as an artist with a painterly eye, who never condescended to her subjects but waited patiently for the moment when they would reveal themselves to her. She was an early pioneer of colour photography, and an accomplished technician. Although she was never a photojournalist, the range of her work was vast, from the ethnographic beauty of the studies she made of Iran on a journey there in 1956, to photographs of poverty in Gaza in 1960, to her portraits and coverage of fashion shows.
Her approach was unsentimental and direct. She had no airs or graces. Gordon insisted the biography should include an anonymous photograph of Morath at work in a dusty street in Persepolis, Iran, in 1956. She’s wearing a baggy, old coat and trousers, her hair scraped back in a headscarf as she looks intently through her camera. “This was a woman who knew how to do very hard work and was quite willing to do it in very uncomfortable circumstances. She was not afraid of hardship and she just loved the process of doing photography.”
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Inge Morath
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2024-08-14T21:32:12-04:00
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Ingeborg Hermine Morath; 27 May 1923 – 30 January 2002) was an Austrian photographer.
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en
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/img/icons/apple-touch-icon-152x152.png
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https://timenote.info/en/Inge-Morath
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Ingeborg Hermine Morath; 27 May 1923 – 30 January 2002) was an Austrian photographer. In 1953, she joined the Magnum Photos Agency, founded by top photographers in Paris, and became a full photographer with the agency in 1955.
Morath was also the third wife of playwright Arthur Miller; their daughter is screenwriter/director Rebecca Miller.
Biography
Early years (1923–1945)
Morath was born in Graz, Austria, to Mathilde (Wiesler) and Edgar Morath, scientists whose work took them to different laboratories and universities in Europe during her childhood. Her parents had converted from Catholicism to Protestantism. First educated in French-speaking schools, Morath relocated in the 1930s with her family to Darmstadt, a German intellectual center, and then to Berlin, where Morath's father directed a laboratory specializing in wood chemistry. Morath was registered at the Luisenschule near Bahnhof Friedrichstraße.
Morath's first encounter with avant-garde art was the Entartete Kunst (Degenerate Art) exhibition organized by the Nazi Party in 1937, which sought to inflame public opinion against modern art. "I found a number of these paintings exciting and fell in love with Franz Marc's Blue Horse", Morath later wrote. "Only negative comments were allowed, and thus began a long period of keeping silent and concealing thoughts."
After finishing high school, Morath passed the Abitur and was obliged to complete six months of service for the Reichsarbeitsdienst (Reich Labour Service) before entering Berlin University. At university, Morath studied languages. She became fluent in French, English and Romanian in addition to her native German (to these she later added Spanish, Russian and Chinese). "I studied where I could find a quiet space, in the University and the Underground stations that served as air-raid shelters. I did not join the Studentenschaft (Student Body)."
Toward the end of World War II, Morath was drafted for factory service in Tempelhof, a neighbourhood of Berlin, alongside Ukrainian prisoners of war. During an attack on the factory by Russian bombers, she fled on foot to Austria. In later years, Morath refused to photograph war, preferring to work on stories that showed its consequences.
Middle years (1945–1962)
After the war, Morath worked as a translator and journalist. In 1948, she was hired by Warren Trabant, first as Vienna Correspondent and later as the Austrian editor, for Heute, an illustrated magazine published by the Office of War Information in Munich. Morath encountered photographer Ernst Haas in post-war Vienna, and brought his work to Trabant's attention. Working together for Heute, Morath wrote articles to accompany Haas' pictures. In 1949, Morath and Haas were invited by Robert Capa to join the newly founded Magnum Photos in Paris, where she started as an editor. Working with contact sheets sent into the Magnum office by founding member Henri Cartier-Bresson fascinated Morath. "I think that in studying his way of photographing I learned how to photograph myself, before I ever took a camera into my hand."
Morath was briefly married to the British journalist Lionel Birch and relocated to London in 1951. That same year, she began to photograph during a visit to Venice. "It was instantly clear to me that from now on I would be a photographer", she wrote. "As I continued to photograph I became quite joyous. I knew that I could express the things I wanted to say by giving them form through my eyes." Morath applied for an apprenticeship with Simon Guttman, who was then an editor for Picture Post and running the picture-agency Report. When Guttman asked what Morath wanted to photograph, and why, she answered that "after the isolation of Nazism I felt I had found my language in photography." After Morath had spent several months working as Guttman's secretary, she had an opportunity to take photographs. She sold her first photographs - of opening nights, exhibitions, inaugurations, etc. - under the pseudonym "Egni Tharom", her name spelled backwards.
Morath divorced Birch and returned to Paris to pursue a career in photography. In 1953, after Morath presented her first large picture story, on the Worker Priests of Paris, to Capa, he invited her to join Magnum as a photographer. Her first assignments were stories that did not interest "the big boys." She went to London on an early assignment to photography the residents of Soho and Mayfair. Morath's portrait of Mrs. Eveleigh Nash, from that assignment, is among her best-known works. At Capa's suggestion, in 1953–54, Morath worked with Cartier-Bresson as a researcher and assistant. In 1955 she was invited to become a full member of Magnum Photos. During the late 1950s, Morath traveled widely, covering stories in Europe, the Middle East, Africa, the United States, and South America, for such publications as Holiday, Paris Match, and Vogue. In 1955 she published Guerre à la Tristesse, photographs of Spain, with Robert Delpire, followed by De la Perse à l'Iran, photographs of Iran, in 1958. Morath published more than thirty monographs during her lifetime.
Like many Magnum members, Morath worked as a still photographer on numerous motion picture sets. Having met director John Huston while she was living in London, Morath worked on several of his films. Huston's Moulin Rouge (1952) was one of Morath's earliest assignments, and her first time working in a film studio. When Morath confessed to Huston that she had only one roll of color film to work with and asked for his help, Huston bought three more rolls for her, and occasionally waved to her to indicate the right moments to step in with her camera. Huston later wrote of Morath that she "is a high priestess of photography. She has the rare ability to penetrate beyond surfaces and reveal what makes her subject tick."
In 1959, while photographing the making of The Unforgiven, starring Audrey Hepburn, Burt Lancaster, and Audie Murphy, Morath accompanied Huston and his friends duck hunting on a mountain lake outside Durango, Mexico. Photographing the excursion, Morath saw through her telephoto lens that Murphy and his companion had capsized their boat 350 feet from shore. She could see that Murphy, stunned, was nearly drowning. A skilled swimmer, Morath stripped to her underwear and hauled the two men ashore by her bra strap while the hunt continued uninterrupted.
Morath worked again with Huston in 1960 on the set of The Misfits, a film featuring Marilyn Monroe, Clark Gable and Montgomery Clift, with a screenplay by Arthur Miller. Magnum Photos had been given exclusive rights to photograph the making of the movie, and Morath and Cartier-Bresson were the first of nine photographers to work on location outside Reno, Nevada during the process. Morath met Miller while working on The Misfits.
Marriage and family
Morath married Arthur Miller on 17 February 1962 and relocated permanently to the United States. Miller and Morath's first child, Rebecca, was born in September 1962. The couple's second child Daniel was born in 1966 with Down syndrome and was institutionalized shortly after his birth. Rebecca Miller is a film director, actress, and writer who is married to the actor Daniel Day-Lewis.
First decade
Morath's achievements during her first decade of work as a photographer are significant. Along with Eve Arnold, she was among the first women members of Magnum Photos, which remains to this day a predominantly male organization. Many critics have written of the playful surrealism that characterizes Morath's work from this period. Morath attributed this to the long conversations she had with Cartier-Bresson during their travels in Europe and the United States. Morath's work was motivated by a fundamental humanism, shaped as much by her experience of war as by its lingering shadow over post-war Europe. In Morath's mature work, she documents the endurance of the human spirit under situations of extreme duress, as well as its manifestations of ecstasy and joy.
Later years (1962–2002)
After re-locating to the United States, during the 1960s and 1970s Morath worked closer to home, raising a family with Miller and working with him on several projects. Their first collaboration was the book In Russia (1969), which, together with Chinese Encounters (1979), described their travels and meetings in the Soviet Union and the People's Republic of China. In the Country, published in 1977, was an intimate look at their immediate surroundings. For both Miller, who had lived much of his life in New York City, and Morath, who had come to the US from Europe, the Connecticut countryside offered a fresh encounter with America.
Reflecting on the importance of Morath's linguistic gifts, Miller wrote that "travel with her was a privilege because [alone] I would never been able to penetrate that way." In their travels Morath translated for Miller, while his literary work was the entrée for Morath to encounter an international artistic elite. The Austrian photographer Kurt Kaindl, her long-time colleague, noted that "their cooperation develop[ed] without outward pressure and is solely motivated by their common interest in the people and the respective cultural sphere, a situation that corresponds to Inge Morath's working style, since she generally feels inhibited by assignments."
Morath sought out, befriended, and photographed artists and writers. During the 1950s she photographed artists for Robert Delpire's magazine L'Oeil, including Jean Arp and Alberto Giacometti. She met the artist Saul Steinberg in 1958. When she went to his home to make a portrait, Steinberg came to the door wearing a mask which he had fashioned from a paper bag. Over a period of several years, they collaborated on a series of portraits, inviting individuals and groups of people to pose for Morath wearing Steinberg's masks. Another long-term project was Morath's documentation of many of the most important productions of Arthur Miller's plays.
Some of Morath's signal achievements are in portraiture, including posed images of celebrities as well as fleeting images of anonymous passersby. Her pictures of Boris Pasternak's home, Pushkin's library, Chekhov's house, Mao Zedong's bedroom, as well as artists' studios and cemetery memorials, are permeated with the spirit of invisible people still present. The writer Philip Roth, whom Morath photographed in 1965, described her as "the most engaging, sprightly, seemingly harmless voyeur I know. If you're one of her subjects, you hardly know your guard is down and your secret recorded until it's too late. She is a tender intruder with an invisible camera."
As the scope of her projects grew, Morath prepared extensively by studying the language, art, and literature of a country to encounter its culture fully. Although photography was the primary means through which Morath found expression, it was but one of her skills. In addition to the many languages in which she was fluent, Morath was also a prolific diary and letter-writer; her dual gift for words and pictures made her unusual among her colleagues. Morath wrote extensively, and often amusingly, about her photographic subjects. Although she rarely published these texts during her lifetime, posthumous publications have focused upon this aspect of her work. They have brought together her photographs with journal writings, caption notes, and other archival materials relating to her various projects.
During the 1980s and 1990s, Morath continued to pursue both assignments and independent projects. The film Copyright by Inge Morath was made by German filmmaker Sabine Eckhard in 1992, and was one of several films selected for a presentation of Magnum Films at the Berlin International Film Festival in 2007. Eckhard filmed Morath at home and in her studio, and in New York and Paris with her colleagues, including Cartier-Bresson, Elliott Erwitt and others. In 2002, working with film director Regina Strassegger, Morath fulfilled a long-held wish to revisit the lands of her ancestors, along the borderlands of Styria and Slovenia. This mountainous region, once part of the Austro-Hungarian Empire, had become the faultline between two conflicting ideologies after World War II and until 1991, when attempts at rapprochement led to conflict on both sides of the border. The book Last Journey (2002), and Strasseger's film Grenz Räume (Border Space, 2002), document Morath's visits to her homeland during the final years of her life.
Death
Morath Miller died of cancer in 2002, at the age of 78.
Honors and legacy
2003, her family established the Inge Morath Foundation to preserve and share her legacy.
2002, members of Magnum Photos established the Inge Morath Award in honor of their colleague as an annual award. It is administered by the Inge Morath Foundation, and is given to a woman photographer under the age of 30, to support her work towards the completion of a long-term project.
1992 Great Austrian State Prize for Photography.
1984 Doctor Honoris Causa Fine Arts, University of Connecticut, Hartford, US.
1983 State of Michigan Senate Resolution NO 295; Tribute to Inge Morath.
Since 2012 Salzburg, Austria has an "Inge-Morath-Platz" in tribute to the photographer. It is also the location of the Fotohof, a photographic institution which has collaborated with her since the beginning of the 1980s
Quotations
"Photography is a strange phenomenon ... You trust your eye and cannot help but bare your soul.
"Inge Morath was, above all, a traveller ... [H]er approach to a story was 'to let it grow', without any apparent concern for narrative structure, trusting in her experience and interests to shape her work rather than in an editorial formula ... She unsentimentally made pictures that were guided by her relationship to a place. These relationships were invariably intimate and long-lasting; she regularly revisited the places she chose to photograph and learned the relevant language ... Similarly, her photographs of people are born of intimacy without sentimentality. It is as if the presentation of relationships takes the place of story structure, and her work is best understood as an ongoing series of observations of the life she made for herself."[24]
Solo exhibitions
2008 Well Disposed and Trying to See: Inge Morath and Arthur Miller in China, University of Michigan Museum of Art, Ann Arbor, US.
2004 Inge Morath: The Road to Reno, Chicago Cultural Center, Illinois, US.
2004 Inge Morath: Chinese Encounters, Pingyao International Photography Festival, Pingyao, China.
2003 Exposition, Henri Cartier-Bresson Foundation, Paris, France.
2002 Inge Morath: Danube, City Gallery of Russe, Russe, Bulgaria.
2002 Inge Morath: New York, Galerie Fotohof, Salzburg, Austria; Stadt Passau, Europäische; Wochen, Germany ESWE Forum, Wiesbaden; Esther Woerdehoff Galerie, Paris, France; Amerikahaus Tübingen, Germany.
1999 Retrospective, Kunsthalle Wien, Austria; FNAC Etoile, Paris, France; FNAC, Barcelona, Spain.
1999 Spain in the Fifties, Museo del Cabilde, Montevideo, Uruguay.
1998 Inge Morath: Danube, Festival of Central European Culture, London, UK; Museen d. Stadt Regensburg, Regensburg, Germany.
1998 Retrospective, Edinburgh Festival, Edinburgh, UK; Museum of Photography in Charleroi, Belgium; Municipal Gallery, Pamplona, Spain.
1998 Celebrating 75 Years Leica Gallery, New York, US.
1997 Retrospective Kunsthal, Rotterdam, Netherlands.
1997 Inge Morath: Danube, Keczkemet Museum, Esztergom Museum, Hungary
1997 Photographs 1950s to 1990s, Tokyo Museum of Photography, Tokyo, Japan
1996 Women to Women, Takashimaya Gallery, Tokyo, Japan
1996 Inge Morath: Danube, Neues Schauspielhaus, Berlin, Germany; Leica Gallery, New York, US; Galeria Fotoforum, Bolzano, Italy.
1995 Spain in the fifties, Museo de Arte Contemporaneo, Madrid, Spain; Museo de Navarra, Pamplona, Spain.
1994 Spain in the fifties, Spanish Institute, New York, US
1992/94 Retrospective, Neue Galerie Linz, Austria ;America House, Frankfurt, Germany; Hardenberg Gallery, Velbert, Germany; Galerie Fotogramma, Milano, Italy; Royal Photographic Society, Bath, UK; Smith Gallery and Museum, Stirling, UK; America House, Berlin, Germany; Hradcin Gallery, Prague, Czech Republic.
1991 Portraits, Kolbe Museum Berlin, Germany; Rupertinum Museum Salzburg, Austria
1989 Portraits, Burden Gallery, Aperture Foundation, New York, New York, US; Norwich Cathedral, Norwich, UK; American Cultural Center, Brussels, Belgium.
1988 Retrospective, Union of Photojournalists, Moscow, Russia; Sala del Canal Museum, Madrid, Spain; Rupertinum Museum, Salzburg, Austria.
1984 Salesman in Beijing, Hong Kong Theatre Festival.
1979 Inge Morath: Photographs of China, Grand Rapids Art Museum, Michigan, US.
1964 Inge Morath: Photographs, Gallery 104, Art Institute of Chicago, Illinois, US.
Monographs
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Biography Captures The Charisma And Confidence Of Photographer Inge Morath
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] |
[] |
[] |
[
""
] | null |
[
"Susan Stamberg",
"www.wfae.org",
"susan-stamberg"
] |
2018-12-10T00:00:00
|
Biographer Linda Gordon chronicles Morath's escape from Nazi Germany, her boundary-breaking career and her marriage to playwright Arthur Miller.
|
en
|
/apple-touch-icon.png
|
WFAE 90.7 - Charlotte's NPR News Source
|
https://www.wfae.org/2018-12-10/biography-captures-the-charisma-and-confidence-of-photographer-inge-morath
|
"I'm fascinated by the necessity of quick decisions," Inge Morath told me more than 30 years ago, when she came to NPR for an interview. Morath was in the business of quick decisions — as a photographer and photojournalist she was the first woman to be accepted as a full member of the Magnum photo agency.
Now, her life is the subject of a new biography by Linda Gordon. It recounts Morath's escape from Nazi Germany, her boundary-breaking career, and her marriage to playwright Arthur Miller.
Morath met Miller — and his then-wife Marilyn Monroe — in 1960 while she was taking publicity stills on the set of the film The Misfits. It was Monroe's last film, and Miller had written it for his wife.
"Inge took some very, very beautiful and sympathetic photographs of Marilyn Monroe," Gordon says. "But Miller had struck her as intensely interesting — and he was quite impressed," Gordon says.
Miller and Monroe's relationship had been on the rocks for some time. He and Morath had an affair and the two married in 1962. They were together for 40 years, until Inge's death in 2002.
In our 1987 interview, I asked Morath about whether she wished she'd paid more attention to Monroe, as Miller's first wife. In a marriage, "you have to be yourself," she said. "Even if you are the first, the second, or the third wife — if you try to take over anything, or imitate anything, I think it'd be a disaster."
"She was a woman of extraordinary self-confidence," says Gordon. "One sees that throughout her life ... self-confidence as a photographer, as a person, but also as her own sexual being."
Morath had a magnetic personality — and plenty of affairs.
"She was just a person who drew you in," says Gordon.
As a young woman, Morath had a rough time in Germany during the war.
"After Allied bombs started falling heavily on Berlin — and landing very near the munitions factory where she was a forced worker — she joined columns of hundreds, probably thousands, of people on foot just leaving Berlin," Gordon explains.
The biographer says Morath walked 455 miles to her parents in Salzburg, Austria. They were Nazi sympathizers — she was not. In Paris after the war, Morath got a job at Magnum, the elite photo agency founded by the great pioneers of photojournalism, Robert Capa and Henri Cartier-Bresson.
There, she did everything from secretarial work, to working with contact sheets, to cleaning the office, Gordon says, all the while honing her skills in photography. In 1955, she became Magnum's first full female member.
With her camera, Morath followed her passion for travel. In Spain, she wangled her way into the dressing room of the great toreador Antonio Ordóñez. Her 1954 photo shows him preparing for combat: his muscled chest is bare, and he's wearing skin-tight, sequin-embroidered pants.
It took chutzpah to get into his dressing room, where women were considered bad luck. "To get into that space she half jokingly made a completely outrageous argument," Gordon says. "She said, 'I'm wearing pants when I work, therefore I'm neither man nor woman.' "
In Seville, Morath put on a flamenco outfit and climbed up onto a chair to shoot dancers, whirling to the music in their layered red and white skirts and petticoats. "You only see these people from the waist down ..." Gordon says. "She has captured the movement — but with a camera just slow enough so that some of the picture is blurred as you see the skirts whirling around."
Outside of photography circles, Morath is known more for her marriage than for her work. "I do not like the fact that many people only know her as a wife of Arthur Miller — and, of course, the wife immediately after Marilyn Monroe — but my impression is that she was pretty copacetic about it," Gordon says.
There are trade-offs to familiarity, Morath told me in 1987. For example, when working on a portrait, she said she didn't necessarily want to meet her subject first.
There is a "wonderful element to a new meeting," she explained. Being strangers, the photographer and the subject are placed into a "sparring" position. "That's interesting," she said. "You kind of show more of yourself."
Copyright 2023 NPR. To see more, visit https://www.npr.org.
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https://www.nytimes.com/2002/01/31/arts/inge-morath-photographer-with-a-poetic-touch-dies-at-78.html
|
en
|
Inge Morath, Photographer With a Poetic Touch, Dies at 78
|
[] |
[] |
[] |
[
""
] | null |
[
"Douglas Martin",
"www.nytimes.com",
"douglas-martin"
] |
2002-01-31T00:00:00
|
Inge Morath, photographer who brought whimsical, lyrical touch to her images from travelogues to reportage to portraits, dies at age 78; photos (M)
|
en
|
/vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico
|
https://www.nytimes.com/2002/01/31/arts/inge-morath-photographer-with-a-poetic-touch-dies-at-78.html
|
Inge Morath, a photographer who brought a whimsical, lyrical touch to her images from travelogues to reportage to portraits, died yesterday at New York Hospital in Manhattan. She was 78 and lived in Roxbury, Conn.
Arthur Miller, her husband, said the cause of death was lymphoma.
''She made poetry out of people and their places over half a century,'' Mr. Miller said.
Her work included striking portraits of both posed celebrities and fleeting images of anonymous passers-by. Her feeling for places as reflected in images of Boris Pasternak's home, Chekhov's house and Mao Zedong's bedroom was so sensitive that some viewers insisted they could see invisible people.
But many critics said the pictures spoke eloquently for themselves.
''Inge Morath possesses the priceless quality of making the world look as though it had been discovered only this morning and she was present with her lens to record its bright freshness,'' Harrison E. Salisbury wrote in The New York Times Book Review about the couple's book ''In Russia'' (Viking, 1969).
In the later phases of her long career, Ms. Morath produced books with her husband: he provided words and she the pictures. Beyond their respective artistic talents, the books were enhanced by his easy access to top figures in culture and other fields and her great facility with languages. For example, she spent years learning Chinese before the couple tackled China.
In an essay in The New York Times concerning their book ''In the Country'' (Viking, 1977), Mr. Miller suggested such collaborations allowed the two to play with notions of time. ''As always, the camera sees the past -- all it can see -- and here it speaks of a symmetry of action and thought and a revolution based on empirical common sense, when in truth these people watch the television news for the event on Wall Street, in Washington or Korea that will affect the price of fertilizer and crops,'' he wrote. ''The surreal emerges from the fragility of what camera and mind can grasp as real.''
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https://www.wamc.org/2018-12-10/biography-captures-the-charisma-and-confidence-of-photographer-inge-morath
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en
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Biography Captures The Charisma And Confidence Of Photographer Inge Morath
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] |
[] |
[] |
[
""
] | null |
[
"Susan Stamberg",
"www.wamc.org",
"susan-stamberg"
] |
2018-12-10T00:00:00
|
Biographer Linda Gordon chronicles Morath's escape from Nazi Germany, her boundary-breaking career and her marriage to playwright Arthur Miller.
|
en
|
/apple-touch-icon.png
|
WAMC
|
https://www.wamc.org/2018-12-10/biography-captures-the-charisma-and-confidence-of-photographer-inge-morath
|
"I'm fascinated by the necessity of quick decisions," Inge Morath told me more than 30 years ago, when she came to NPR for an interview. Morath was in the business of quick decisions — as a photographer and photojournalist she was the first woman to be accepted as a full member of the Magnum photo agency.
Now, her life is the subject of a new biography by Linda Gordon. It recounts Morath's escape from Nazi Germany, her boundary-breaking career, and her marriage to playwright Arthur Miller.
Morath met Miller — and his then-wife Marilyn Monroe — in 1960 while she was taking publicity stills on the set of the film The Misfits. It was Monroe's last film, and Miller had written it for his wife.
"Inge took some very, very beautiful and sympathetic photographs of Marilyn Monroe," Gordon says. "But Miller had struck her as intensely interesting — and he was quite impressed," Gordon says.
Miller and Monroe's relationship had been on the rocks for some time. He and Morath had an affair and the two married in 1962. They were together for 40 years, until Inge's death in 2002.
In our 1987 interview, I asked Morath about whether she wished she'd paid more attention to Monroe, as Miller's first wife. In a marriage, "you have to be yourself," she said. "Even if you are the first, the second, or the third wife — if you try to take over anything, or imitate anything, I think it'd be a disaster."
"She was a woman of extraordinary self-confidence," says Gordon. "One sees that throughout her life ... self-confidence as a photographer, as a person, but also as her own sexual being."
Morath had a magnetic personality — and plenty of affairs.
"She was just a person who drew you in," says Gordon.
As a young woman, Morath had a rough time in Germany during the war.
"After Allied bombs started falling heavily on Berlin — and landing very near the munitions factory where she was a forced worker — she joined columns of hundreds, probably thousands, of people on foot just leaving Berlin," Gordon explains.
The biographer says Morath walked 455 miles to her parents in Salzburg, Austria. They were Nazi sympathizers — she was not. In Paris after the war, Morath got a job at Magnum, the elite photo agency founded by the great pioneers of photojournalism, Robert Capa and Henri Cartier-Bresson.
There, she did everything from secretarial work, to working with contact sheets, to cleaning the office, Gordon says, all the while honing her skills in photography. In 1955, she became Magnum's first full female member.
With her camera, Morath followed her passion for travel. In Spain, she wangled her way into the dressing room of the great toreador Antonio Ordóñez. Her 1954 photo shows him preparing for combat: his muscled chest is bare, and he's wearing skin-tight, sequin-embroidered pants.
It took chutzpah to get into his dressing room, where women were considered bad luck. "To get into that space she half jokingly made a completely outrageous argument," Gordon says. "She said, 'I'm wearing pants when I work, therefore I'm neither man nor woman.' "
In Seville, Morath put on a flamenco outfit and climbed up onto a chair to shoot dancers, whirling to the music in their layered red and white skirts and petticoats. "You only see these people from the waist down ..." Gordon says. "She has captured the movement — but with a camera just slow enough so that some of the picture is blurred as you see the skirts whirling around."
Outside of photography circles, Morath is known more for her marriage than for her work. "I do not like the fact that many people only know her as a wife of Arthur Miller — and, of course, the wife immediately after Marilyn Monroe — but my impression is that she was pretty copacetic about it," Gordon says.
There are trade-offs to familiarity, Morath told me in 1987. For example, when working on a portrait, she said she didn't necessarily want to meet her subject first.
There is a "wonderful element to a new meeting," she explained. Being strangers, the photographer and the subject are placed into a "sparring" position. "That's interesting," she said. "You kind of show more of yourself."
Copyright 2023 NPR. To see more, visit https://www.npr.org.
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https://www.wkar.org/2018-12-10/biography-captures-the-charisma-and-confidence-of-photographer-inge-morath
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Biography Captures The Charisma And Confidence Of Photographer Inge Morath
|
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[
""
] | null |
[
"Susan Stamberg",
"www.wkar.org",
"susan-stamberg"
] |
2018-12-10T00:00:00
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Biographer Linda Gordon chronicles Morath's escape from Nazi Germany, her boundary-breaking career and her marriage to playwright Arthur Miller.
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en
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WKAR Public Media
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https://www.wkar.org/2018-12-10/biography-captures-the-charisma-and-confidence-of-photographer-inge-morath
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"I'm fascinated by the necessity of quick decisions," Inge Morath told me more than 30 years ago, when she came to NPR for an interview. Morath was in the business of quick decisions — as a photographer and photojournalist she was the first woman to be accepted as a full member of the Magnum photo agency.
Now, her life is the subject of a new biography by Linda Gordon. It recounts Morath's escape from Nazi Germany, her boundary-breaking career, and her marriage to playwright Arthur Miller.
Morath met Miller — and his then-wife Marilyn Monroe — in 1960 while she was taking publicity stills on the set of the film The Misfits. It was Monroe's last film, and Miller had written it for his wife.
"Inge took some very, very beautiful and sympathetic photographs of Marilyn Monroe," Gordon says. "But Miller had struck her as intensely interesting — and he was quite impressed," Gordon says.
Miller and Monroe's relationship had been on the rocks for some time. He and Morath had an affair and the two married in 1962. They were together for 40 years, until Inge's death in 2002.
In our 1987 interview, I asked Morath about whether she wished she'd paid more attention to Monroe, as Miller's first wife. In a marriage, "you have to be yourself," she said. "Even if you are the first, the second, or the third wife — if you try to take over anything, or imitate anything, I think it'd be a disaster."
"She was a woman of extraordinary self-confidence," says Gordon. "One sees that throughout her life ... self-confidence as a photographer, as a person, but also as her own sexual being."
Morath had a magnetic personality — and plenty of affairs.
"She was just a person who drew you in," says Gordon.
As a young woman, Morath had a rough time in Germany during the war.
"After Allied bombs started falling heavily on Berlin — and landing very near the munitions factory where she was a forced worker — she joined columns of hundreds, probably thousands, of people on foot just leaving Berlin," Gordon explains.
The biographer says Morath walked 455 miles to her parents in Salzburg, Austria. They were Nazi sympathizers — she was not. In Paris after the war, Morath got a job at Magnum, the elite photo agency founded by the great pioneers of photojournalism, Robert Capa and Henri Cartier-Bresson.
There, she did everything from secretarial work, to working with contact sheets, to cleaning the office, Gordon says, all the while honing her skills in photography. In 1955, she became Magnum's first full female member.
With her camera, Morath followed her passion for travel. In Spain, she wangled her way into the dressing room of the great toreador Antonio Ordóñez. Her 1954 photo shows him preparing for combat: his muscled chest is bare, and he's wearing skin-tight, sequin-embroidered pants.
It took chutzpah to get into his dressing room, where women were considered bad luck. "To get into that space she half jokingly made a completely outrageous argument," Gordon says. "She said, 'I'm wearing pants when I work, therefore I'm neither man nor woman.' "
In Seville, Morath put on a flamenco outfit and climbed up onto a chair to shoot dancers, whirling to the music in their layered red and white skirts and petticoats. "You only see these people from the waist down ..." Gordon says. "She has captured the movement — but with a camera just slow enough so that some of the picture is blurred as you see the skirts whirling around."
Outside of photography circles, Morath is known more for her marriage than for her work. "I do not like the fact that many people only know her as a wife of Arthur Miller — and, of course, the wife immediately after Marilyn Monroe — but my impression is that she was pretty copacetic about it," Gordon says.
There are trade-offs to familiarity, Morath told me in 1987. For example, when working on a portrait, she said she didn't necessarily want to meet her subject first.
There is a "wonderful element to a new meeting," she explained. Being strangers, the photographer and the subject are placed into a "sparring" position. "That's interesting," she said. "You kind of show more of yourself."
Copyright 2023 NPR. To see more, visit https://www.npr.org.
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