Melvin Dixon: “We Live Bravely in the Light”

Photographers Unknown, Parva Scaena (Brief Scenes): Photo Set Twenty-Four

They won’t go when I go. (Stevie Wonder)
Live bravely in the hurt of light. (C.H.R.)

The children in the life:
Another telephone call. Another man gone.
How many pages are left in my diary?
Do I have enough pencils? Enough ink?
I count on my fingers and toes the past kisses,
the incubating years, the months ahead.

Thousands. Many thousands.
Many thousands gone.

I have no use for numbers beyond this one,
one man, one face, one torso
curled into mine for the ease of sleep.
We love without mercy,
We live bravely in the light.

Thousands. Many thousands.

Chile, I knew he was funny, one of the children,
a member of the church, a friend of Dorothy’s.

He knew the Websters pretty well, too.
Girlfriend, he was real.
Remember we used to sit up in my house
pouring tea, dropping beads,
dishing this one and that one?

You got any T-cells left?
The singularity of death. The mourning thousands.
It begins with one and grows by one
and one and one and one
until there’s no one left to count.

Melvin Dixon, One by One, Love’s Instruments, 1995, Tia Chuca Press, Chicago

Born in Stanford, Conneticutt in May of 1950, Melvin Dixon was a creative writer, as a novelist, poet, translator and literary critic. He graduated from Wesleyan University in 1971 with a Bachelor of Arts in American Studies, and earned a Master of Arts in 1973 and a Doctor of Philosophy in 1975 from Boston University.

Dixon wrote poems, novels, short stories, essays, critical studies, and translated many works from French. Searching for his literary heritage, he traveled throughout the Caribbean, Africa and Europe, and researched such men as Leopold Senghor, the poet and former president of Senegal; the Haitian novelist and poet Jacques Roumain; and author Richard Nathaniel Wright, whose 1945 book “Black Boy” became an instant success and a work of historical and sociological significance.

Melvin Dixon wrote openly about his homosexuality in both his published and unpublished works. As an active spokesman for gay communities and their issues, he incorporated the complexities of gay lifestyle and identity, as well as his identity as a black man, into his work. Dixon’s first collection of poems, “Change of Territory” published in 1983, examined the involuntary journeys of African slavery and the later historical migration of African Americans from the southern United States to the north. In 1987, he wrote a critical study of African-American literature entitled “Ride Out the Wilderness”.

The influence of James Baldwin’s work upon Dixon’s writings can be seen in his two novels, the 1989 “Trouble the Water”, a novel of family reconciliation which won the Nikon Award for Excellence in Minority Fiction, and the 1991 “Vanishing Rooms”, a novel of homophobia and racism revolving around three people who are each affected by the death of a gay man in New York City. “Vanishing Rooms” was nominated for a Lambda Literary Award for Gay Men’s Fiction. Dixon’s final volume of poetry, entitled “Love’s Instruments” published posthumously in 1995, was a tribute to gay men with AIDS-related illness.

Melvin Dixon translated many works from French to English. Included in these works are his translations of Haitian poet Jacques Roumain’s poetry; Professor of American Literature at the University of Paris, Genevierve Fabre’s history of black theater since 1945, entitled “Drumbeats, Masks, and Metaphor” and  published in 1983; and “The Collected Poetry of Leopold Seder Senghor”, published in 1991. This translation of Senghor’s work contains the majority of his poetic oeuvre, including his “lost” poems.

Dixon was an Assistant Professor at Williams College from 1975 to 1980, and a Professor of English Literature at Queens College of the City University of New York from 1980 until 1992. He also taught at the Graduate Center of the City University of New York, Fordham University and Columbia University. Dixon received a number of awards and fellowships including a Fulbright lectureship in Senegal from 1985 to 1986.

Melvin Dixon was in a long-term partnership with Richard Horowitz, an openly gay man who worked from 1983 to 1987 as a program officer of the Ford Foundation in Dakar, West Africa. Upon Horowitz’s return to the United States, he worked with the Ford Foundation to finance projects for AIDS patients internationally. He died at his summer home in Provincetown, Massachusetts, from complications due to AIDS in July of 1991. He was forty-four years in age.

Melvin Dixon had been battling AIDS since an initial diagnosis in 1989. At the age of forty-two, he died from AIDS-related complications in Stanford, Conneticutt, on October 28, 1992, one year after his partner. The Melvin Dixon Papers, which contain primarily of manuscripts, correspondence, notes, and journals, are part of the Archives and Manuscripts department of the New York Public Library. They are housed at the Schomburg Center for Research in Black Culture, Manuscripts, Archives and Rare Books Division, located at 515 Malcolm X Boulevard, New York City.

Note: “this one” in the second stanza of the poem, “One by One”, refers to Dixon’s lover, Richard Horowitz

Emilio Baz Vlaud

The Artwork of Emilio Baz Vlaud

Born in Mexico City in 1918, Emilio Baz Vlaud was a painter whose work mostly included portraiture and scenes in the style of  Costumbrismo, images of local Hispanic life, customs, and mannerisms executed in  both artistic Realism and Romanticism.  Influenced by the Magical Realism movement that spread through the art and literary worlds after the first World War, Vlaud was known for his meticulous brushwork and his trompe-d’oeil technique. 

Emilio Baz Vlaud, at a very early age, had great skill in the arts. He would often watch his older gay brother, Ben-Hur Baz Vlaud, a 1926 graduate of the Academy de San Carlos and twelve years his senior, working on his own precisionist drawings and paintings. At the age of seventeen, Emilio Vlaud executed his first self-portrait, the 1935 “Self Portrait as a Teenager”, a highly refined work that is closely related to a self-portrait painted by his brother in the same year. In his self-portrait, Emilio shows himself with perfectly combed hair and dressed in a white shirt. He is  holding a green pencil at an angle, a position which visually divides the canvas in two,  and is shown gripping his elbow with his left hand. 

Emilio Baz Vlaud entered the Academia de San Carlos in 1938 where he initially studied architecture before changing his vocation to painting. He later took courses at the Escuela Nacional de Artes Plásticas, where he studied under the strict training of painter Manuel Rodríguez Lozano, an openly gay artist whose work is often linked to the works of metaphysical painter Giorgio de Chirico. Vlaud made several visits over the years to his older brother who had moved to New York City and was working as a successful commercial illustrator for magazines, such as Newsweek and Time. 

In 1950, Emilio Vlaud relocated to San Miguel Allende, situated in the far eastern part of Guanajuato. He exhibited his work in several collective exhibitions, where he showed his work alongside such prominent artists as painters and muralists Diego Rivera and David Alfaro Siqueiros. In 1951, Vlaud had his first solo exhibition; his flamenco-inspired technique of applying dry oil paints to surfaces by means of small strokes of a short brush were praised by critics and his fellow artists. During his eight year stay in San Miguel Allende, he received a gold medal for artistic merit from the University of Guanajuato. 

In 1962, Emilio Baz Vlaud entered the Monastery of Santa María de la Resurrecion for the purpose of studying psychoanalysis. After several years, he abandoned these studies to return to his vocation as a painter. Although Vlaud is mostly know for his portraiture and scenes done before 1955, he also went through an intense period of abstraction during the 1970s. In 1984, his work was presented at a collective exhibition entitled “Siete Pintores (Seven Painters)” at the Palacio de Bellas Artes in Mexico City. Emilio Baz Vlaud died in 1991. 

Insert Images:

Emilio Baz Viaud, “Self Portrait as a Teenager”, 1925, Watercolor, Pencil and Dry Brush on Board, 60 x 39.7 cm, Private Collection

Emilio Baz Vlaud, “El Coco”, circa 1955, Oil on Masonite, 50 x 40 cm, Blaisten Collection

Emilio Baz Vlaud, “Self Portrait in Blue Shirt”, 1941, Watercolor, Pencil and Dry Brush on Board, 100 x 65.5 cm, Blaisten Collection, Mexico City

 

Digby Mackworth Dolben: “For Should He Ever Pass. . .”

Photographers Unknown, For Should He Ever Pass

My sister Death! I pray thee come to me
 Of thy sweet charity,
And be my nurse but for a little while;
 I will indeed lie still,
And not detain thee long, when once is spread,
 Beneath the yew, my bed:
I will not ask for lilies or for roses;
 But when the evening closes,
Just take from any brook a single knot
 Of pale Forget-me-not,
And lay them in my hand, until I wake,
 For his dear sake;
(For should he ever pass and by me stand,
 He yet might understand—)
Then heal the passion and the fever
 With one cool kiss, for ever.

Digby Macworth Dolben, Sister Death

Born in Guernsey in February of 1848, Digby Augustus Stewart Mackworth Dolben was an English poet. His father, William Harcourt Isham Mackworth, was the younger son of the Third Baronet, Sir Digby Mackworth, and his mother Frances Dolben was the daughter and heiress of Sir John English Dolben, the Fourth Baronet. Digby Dolben was raised, under a strict and uncompromising Protestant discipline, at Finedon Hall, his mother’s family estate in Northamptonshire, England.

Digby Mackworth Dolben was educated at Cheam School, a mixed preparatory school in Hampshire, and, starting in 1862, at Eaton College, where he studied under Headmaster and poet William Johnson Cory. William Cory’s method of teaching and his collection of verses, “Ionica” were sources of inspiration for Dolben in his own poetic writings. While at Eaton in the early 1860s, Dolben met his distant older cousin, Robert Bridges, who became his mentor and introduced him to his circle of high church friends. During his school years, Dolben seemed abstracted and other-worldly to his college friends; by his activities, he appeared to his headmaster as an agitator who was dangerously misguided.

In 1863, Dolben started to cause considerable scandal at Eaton College with his eccentric and exhibitionist behavior. Defying his strict Protestant upbringing, he became a novice in the English Order of Saint Benedict and began to sign his letters ‘Dominic’. By associating with the new ritualistic, religious revival of that time and wearing a monk’s habit, Dolben would cause scandal by walking, often barefoot, through the streets of the city. He also began to mark his romantic attachment to fellow student Martin Le Merchant Gosselin, a year senior, with written love poems. It was during this period that Dolben destroyed by fire all his previous written poetic work.

In July of 1863, Robert Bridges left Eaton to attend Oxford College. Several weeks later on July 30th, Digby Dolben was dismissed from Eaton after engaging in secret meetings with Jesuit priests. He maintained his communication with Bridges through letters sent to Oxford; however, there is no evidence of any poems being written since the destruction of his earlier work. It was not until the Lenten season of 1864 that Dolben resumed his poetry writing. At the age of sixteen, he wrote his first mature poem “Homo Factus Est” and had six poems published in the Union Review.

On his seventeenth birthday in 1865, Digby Dolben was introduced by his cousin Robert Bridges to Gerald Manley Hopkins, a fellow poet who was attending Oxford’s Balliol College. In accounts to his biographer, Hopkins stated that meeting Dolben, who was four years his junior, was the most emotional event of his undergraduate years, and probably his entire life. After Hopkins was forbidden by his High Anglican confessor to have any contact with Dolben, Hopkins and Dolben maintained their communication through letters; Hopkins wrote, during this time, two poems about his love for Dolben, “Where Art Thou Friend” and “The Beginning of the End’.

In 1865, Dolben’s work began to mature as he turned from writing Christian themed poetry to poems portraying a more Greco or pagan ideal of beauty. By 1866, he had moved to the Welsh village of Boughrood and studied there under tutor Henry de Winton for his Oxford entrance exams. Dolben took his entrance exams on May 2nd of 1867; however, he fainted during the exams and received a failing score. Thirteen days later on June 28th, Digby Mackworth Dolben, at the age of nineteen, drowned in the River Welland.

In 1865, Dolben’s work began to mature as he turned from writing Christian themed poetry to poems portraying a more Greco or pagan ideal of beauty. By 1866, he had moved to the Welsh village of Boughrood and studied there under tutor Henry de Winton for his Oxford entrance exams. Dolben took his entrance exams on May 2nd of 1867; however, he fainted during the exams and received a failing score. Thirteen days later on June 28th, Digby Dolben, at the age of nineteen, drowned in the River Welland.

Digby Dolben had taken Walter, the ten year old son of his tutor, Reverend C. E. Pritchard, on his back across the deep river. Upon the return swim, Dolben sank within several yards of the shoreline. Walter Pritchard, only able to float on his back, made it to shore with the assistance of men who came to the rescue. Dolben’s body was found several hours later when it surfaced further down the river. He was buried under the altar at Finedon Estate on July 6th of 1867.

In 1911, Robert Bridges, who would become poet laureate of England two years later, published the poetry of his cousin Digby Dolben, all of which had been written in the last three years of Dolben’s life. Approached by Gerald Manley Hopkins as to whether the Dolben family would publish Dolben’s work, the independently wealthy Bridges decided he would finance the publishing of both Dolben’s and Hopkins’s collectibe poetry. Published in a single volume entitled “Poems”, Digby Dolben’s work is considered to be among the best poetry of the Oxford Movement.

In 1981, “The Poems and Letters of Digby Mackworth Dolben, 1848-1867”, compiled by Martin Cohen, was published by the Avebury press. In 2017, author Simon Edge published his historical fiction novel “The Hopkins Conundrum”, a story about Gerald Hopkins’s infatuation with Dolben.

Note: A journal article on the life of Digby Mackworth Dolben, written by Liam Brophy, can be found at the JSTOR site located at: https://www.jstor.org/stable/20513622

An online copy of Robert Bridges’s 1911 “Poems of Digby Mackworth Dolben”, published by Oxford University Press, can be found on The Internet Archive located at: https://archive.org/details/poemsofdigbymack00dolb_0/page/n3/mode/2up

Carl Phillips: “How They Woke, Finally, in a Bed of Ferns”

Photographers Unknown, Twelve Men Seated

How they woke, finally, in a bed of ferns — horsetail ferns.
How they died singing. All night, meanwhile, as if somehow
the fox’s mouth that so much of this life has amounted to had
briefly unshut itself — and the moth that’s trapped there,
unharmed, gone free — a snow fell; the snow-filled street
seemed a toppled column, like the one in the mind called
doubt, or that other one,
                                              persuasion, the broken one, in three
clean pieces …Well, it’s morning, now. Out back, the bamboo
bows and stiffens. Thoughts in a wind. Thoughts like (but
nobody saying it): Nobody, I think, knows me better by
now than you do. Or like: The bamboo, bowing, stiffening,
seems like nothing so much as, in this light, competing forms
of betrayal that, given time, must surely cancel each other
out, close your eyes; patience; wait. Maybe less the foliage
than the promise of it. Less that shame exists, maybe, than that
the world keeps saying it does, know it, hold on tight to it, as if
the world were rumor, how every rumor
                                                                           rings true, lately.
When I’m ashamed, I make a point of reminding myself what
is shame but to have shown — to have let it show — that variety
of love that goes hand in hand with having wished to please
and, in pleasing, for a while belong. So shame can, like love, be
an eventual way through? There’s a minor chord sparrows make
with doves that’s not the usual business — it’s not sad at all, any of it:
this always waiting for what I’ve always waited for; this not being
able to assign to what’s missing some shape, a name; this body
neither antlered nor hooved — brave too, this body, unapologetic…

Carl Phillips, Blow It Back

Born in Everett, Washington in 1959, Carl Phillips is an American writer and poet. As a child of a military family, he moved frequently around the United States in his formative years until his family settled in Cape Cod, Massachusetts. Phillips earned his Bachelor of Arts from Harvard University and Master of Arts in Teaching from the University of Massachusetts. He continued his education at Boston University, where he earned a Master of Arts in Creative Writing.

Along with other black poets such as John Keene, Natasha Trethewey, and Major Jackson, Carl Phillips was a member of the Dark Room Collective. Founded after the funeral of James Baldwin in 1987, this collective began as an intergenerational reading series which hosted and cultivated the work of black poets of various aesthetic movements. Many of the current leading figures in the poetic movement had their beginnings with the Dark Room Collective.

Beginning as a teenager, Phillips wrote poetry until his entry into Harvard University on a scholarship, where he began to study Latin and Greek. It was not until 1990, while coming to terms with his gay identity, that he resumed his poetic writing. A classicist by training, Phillips often uses classical forms in his work and often references classical art, music, and literature. He received critical acclaim early in his career with the publication of his debut collection, “In the Blood”, which won the Samuel Morse Poetry Prize in 1992.

Carl Phillips’s second collection, “Cortège”, was nominated in 1995 for the National Book Critics Circle Award. Six years later, his collections, “Pastoral” in 2000 and “The Tether” in 2001, were both well received, with “Pastoral” winning the 2001 Lambda Literary Award for Best Poetry. Two of Phillips’s works, the 2009 “Speak Low” and the 2011 “Double Shadow”, winner of the Los Angeles Times Book Prize for Poetry, were finalists for the National Book Award.

In addition to over a dozen volumes of poetry, Carl Phillips has published works of criticism and translation. Two collections of essays, “Coin of the Realm: Essays on Life and the Art of Poetry” and “The Art of Daring: Risk, Restlessness, Imagination”, were published by Graywolf Press in 2004 and 2014, respectively. Phillips’s translation of Sophocles’s “Philoctetes” was published in 2003 by the Oxford University Press.

Before teaching English at the university level, Phillips taught Latin at several high schools in Massachusetts. He is currently a Professor of English at Saint Louis’s Washington University, where he also teaches Creative Writing. Phillips was elected a chancellor of the Academy of American Poets in 2006 and, since 2011, has served as a judge for the Yale Series of Younger Poets.

Carl Phillips’s honors include fellowships from the Guggenheim Foundation and the Library of Congress. He is the recipient of the Academy of American Poets Fellowship, an Award in Literature from the American Academy of Arts and Letters, the Academy of American Poets Prize, and a Pushcart Prize, and he has been inducted into the American Academy of Arts and Sciences.

Mati Gelman

Mati Gelman, “Joel”, Date Unknown, Trending Deities Series, Photograph, Computer Graphics

Born in Hungary, Mati Gelman is a commercial and fine art photographer who spent his early years living in Israel. Interested in the processes of nature and humans’ interaction with them, he initially pursued a vocation in the field of science and earned a Bachelors of Science in Biochemistry from the Israel Institute of Technology in Haifa and a Masters of Science in Chemistry from the Bar Han University in Tel Aviv. Upon moving to New York City in 2015, Gelman decided to enhance his self-taught photographic skills with technical courses at the International Center for Photography and the Pratt Institute, both located in Manhattan.

Gelman’s work aesthetic focuses on the connections between the forces of nature and the human body. His images explore the issues of human integration with nature, sexuality, and queerness; they are heavily influenced by legends and fairytales, which have had a lasting impact on human society. Gelman tends to create scenes which provoke an ominous sensation in order to induce a sense of the unknown. As human beings are pattern recognizers and often prescribe meaning to unaccustomed phenomena, the elements of Gelman’s works are intentionally left open to the viewers’ interpretations.

Mati Gelman creates stories and shapes his characters through both his imagination and his life experiences. His work is a blend of photography and computer graphics. Using a Sony a7R11 with a 24-70 lens, Gelman photographs his posed subjects and continues his work with Lightroom for minor adjustments and Photoshop for the basic effects. Gelman won the ViewPoint Gallery International Photography competition for his work entitled “Flight”, an image of a figure mid-air surrounded by billowing cloth in the light of a sunset. His “Entangled”, a figure seemingly suspended by strips of white cloth, won first place in the 2018 Chromatic Awards. Gelman has also won awards at the Annual Fine Art Photography Awards, FAPA, in 2019 and 2020.

Besides his fine art photography, Gelman has executed photo shoots for off-Broadway theater productions. He shot the promotional images for playwright and director Asher Gelman’s 2018 theater production, “Afterglow”, a character study which explored the dynamics of an open gay relationship involving three personality archetypes. Mati Gelman’s work also includes photo shoots for the following plays: “Diaspora”, “Safeword”, “Eco Village”, “Counting Sheep”, “We Are the Tigers”, and “Medusa”.

The title image “Joel” and the middle insert image, title unknown, are from Mati Gelman’s “Trending Deities” series which explores the parallels between ritual and worship in both religion and social media. Using both modern and traditional references throughout the series, Gelman’s work uses cinematic proportions as a reference to smartphone screens and, by multiplying the characters and placing them in ritualistic activities, depicts the virtual cult-like following that is adherent on social media platforms. The color palettes and compositions were inspired by Renaissance, Greco-Roman, and Medieval art.

The work of Mati Gelman can be found at the artist’s sites: https://www.matigelman.com and Instagram @matigelman .

John Giorno

 

Photographers Unknown, Thirteen Men Who Traveled Here

An unemployed
machinist
An unemployed machinist
who travelled
here
who travelled here
from Georgia
from Georgia 10 days ago
10 days ago
and could not find
a job
and could not find a job
walked
into a police station
walking into a police station
yesterday and said
yesterday
and said:

“I’m tired
of being scared
I’m tired of being scared.”

—John Giorno, An Unemployed Machinist, Balling Buddha, 1970

Born in New York City in December of 1936, John Giorno was a poet and performance artist. Raised in both Brooklyn and Roslyn Heights, Long Island, he graduated from New York’s Columbia University in 1958. In his early life, Giorno was a muse to and entered into romantic relationships with other artists, among them Robert Rauschenberg and Andy Warhol, whom he met in 1963 during Warhol’s first solo exhibition at the Stable Gallery in New York City. Giorno starred in Warhol’s 1963 four-minute film entitled “John Washing” and also appeared in Warhol’s eight-hour 1964 silent film, “Sleep”, the plot of which entailed Giorno sleeping on camera.

Inspired by his associations with Rauschenberg, Warhol, and Jasper Johns, Giorno began to appropriate found textual imagery to his poetry. An example of this can be found in the1964 poem “The American Book of the Dead”. Portions of this poem were used in works contained in Giorno’s first full collection “Poems”, published in 1967. Later meetings with sound poet and performance artist Brion Gysin and writer William S. Burroughs led to Giorno applying cut-up and montage techniques to found texts, and, influenced by the work of Gysin, the recording of his first audio poem pieces.

Established as an active presence in New York’s art scene, John Giorno collaborated with Brion Gysin on “Subway Sound” in 1965, and with Robert Rauschenberg in 1966 on “Nine Evenings of Theater and Engineering”. From 1967 to 1969, John Giorno presented his “Electronic Sensory Poetry Environments”, a series produced in collaboration with synthesizer creator Robert Moog and other artists. These psychedelic happenings and poetry installations were shown at St. Marks Church in Manhattan. In 1965, Giorno founded Giorno Poetry Systems, a non-profit production company that connected new audiences to poetry by the use of new technologies, engaged in political organizing, and created new artworks.

Giorno organized the first Dial-A-Poem event in 1968 at the non-profit Architectural League of New York. This poetic event was repeated at the Museum of Modern Art from 1969 to 1970, and resulted in a series of long-playing records issued by Giorno Poetry Systems. Poets who participated in these events included Patti Smith, William Burroughs, Eldridge Cleaver, and Bobby Seale. John Giorno was unapologetic in his use of politically-charged and sexually salacious content; he used his work to draw attention to his own status as a gay man, police violence in America, and the countless deaths caused by the war in Vietnam.

In the late 1960s, John Giorno’s work evolved to include the appropriation of entire texts from newspapers, the development of double-column poems, montages of diverse and often radically different texts, and the extensive use of repetition both across and down the page.This use of repetitive words and phrases reproduced textually the echos and distortions which occurred in Giorno’s vocal performances. Several of these poems were included in his 1970 “Balling Buddha”.

After traveling to India in 1971 and meeting His Holiness Dudjom Rinpoche, Giorno became one of the early Western students of Tibetan Buddhism, a practice in which he participated for several decades. His early poetic works occasionally reflect Asian religious themes; but those after the 1970 collection, “Cancer in My Left Ball”, are a mixture of Buddhist and Western practices and poetic techniques seen through Giorno’s original interpretation. For instance in his 1970-72 poem “Guru Rinpoche”, Giorno mixed pop imagery with sacred sutras and portrayed gay eroticism as a form of spiritual devotion.

In 1972, John Giorno began releasing compilation records under the newly incorporated Giorno Poetry Systems media label. Presented through cassettes, long-playing records and compact discs, these audio works included new wave and punk music, and an assortment of vocal artists, musicians, and poets. Giorno Poetry Systems expanded in 1984 with the establishment of the AIDS Treatment Project, an emergency response to the impacts of the epidemic on artists’ lives. This project provided funds for artists living with AIDS through the early 2000s, when it was officially transformed into the Poets and Artists Fund.

Retired from performing in 2017, Giorno spent the last two years of his life in meditation, composing his poetry, and editing his memoir “Great Demon Kings”. John Giorno died of a heart attack at age eighty-two in October of 2019 at his home in Lower Manhattan. At the time of his death, he was married to Swiss-born Ugo Rondinone, a mixed-media artist known for his paintings and large-scale land-art sculptures.

Notes:
The john Giorno Foundation can be found at: https://www.giornofoundation.org/the-foundation
There are two interesting reads for those interested in John Giorno and his work. The first is an interview between journalist and essayist Marcus Boon and John Giorno, which is presented by Bomb Magazine, It can be found at: https://bombmagazine.org/articles/john-giorno-1/

The second is an article, written in 1994, by journalist and author Robert Coe and entitled “Becoming Buddha: John Giorno”. This more extensive biographical piece can be found at The Buddhist Review, Tricycle, located at: https://tricycle.org/magazine/becoming-buddha/

Küçük İskender: “You Should Have a Macedonian Name: Nicola”

Photographers Unknown, Parva Scaena (Brief Scenes): Photo Set Twenty-Four

you decerebrate the rose, don’t do this
verses, cannot find the poems they deserted
you become a humiliated evening
your hair wet to your waist
your eyes
turned away and fixed on a couple of cracked glasses
left on a claret, velvet coverlet
almost exploded. Soon to blow
before the storm
closely shielding your face, poor and lonely child
storyless, bashful and amicable
you should have a macedonian name: nicola
I sat on your balcony, drank Choπcko beer,
over the way were
grand men wounded by the earth
grand women are sleeping
grand women wounded on account of grand men
turned into tramps by grand men
a pen knife, holds its blade inside like a secret
the pen knife I put on the table on leaving
a perfect portrayal
if it were nicola what would appear
somehow, not far away
was a beautiful graveyard where songs are laid

Küçük İskender, Nicola, Ascaracus Journal of Gay Poetry, February 2016, Translation by Caroline Stockford

Born Derman İskender Över in Istanbul in May of 1964, Küçük İskender was a Turkish critic, actor, and one of Turkey’s few openly gay poets. He studied at Istanbul University’s Cerrahpaşa Faculty of Medicine, where he left in his last year. İskender later studied for three years at the university’s Department of Sociology. After leaving, he pursued his passions: cinema, theater and poetry.

Starting from the 1980s, İskender published poems, essays, and criticisms in various literary magazines, including the National Young Art Magazine where they appeared under the name Alexander Över. His first poem, “Milliyet Genç Sanat (National Young Art)”, was published under the name İskender Över. His poetry began to be published professionally in 1985 when Adam Sanat Magazine accepted his work.

Küçük İskender was one of the top ten poets in Italy’s 2000 European Young Poets Competition, and in the same year, was awarded at the annual poetry, film, and photography competition held in honor of Turkish poet Orhon Murat Ariburnu. Between 2001 and 2002, he was a speaker at poetry performances in Germany and the Netherlands, and at Berlin’s 2003 First Gay Turkish Congress. In 2004,  İskender lectured and read poetry at universities in New York and North Carolina; he also joined panels and workshops at various educational facilities in Turkey.

Reminiscent of the poems of García Lorca and Arthur Rimbaud in their urgency, İskender’s work is close to the clarity of expression found in the works of Spanish poet Luis Cernuda. His poems contain many sensual affirmations of gay life, but they also contain political and cultural commentaries. Many of his poems, written outside the traditional style of Turkish poetry, were polemic and abrasive in their language and spoke of injustice, the arrogance of those who plunder others, and intolerance in regard to sexual identity.

In additional to his poems and poetry collections, İskender wrote three novels: the 1998 “Flu’es”, “Cehenneme Gitmo Yöntemleri (Gitmo: Methods in Hell)” published in 1999, and the 2000 “Zatülcenp”. He also acted in two of director Mustafa Altioklar’s movies, the 1997 “Agir Roman” and the 2002 “O Simdi Asker”. 

Küçük İskender was diagnosed with cancer in June of 2018. His last year was spent in the intensive care unit of the state hospital in Istanbul. He died on July 2nd in 2019 and is buried in Zincirlikuyu Cemetery in Istanbul.

Enrique Toribio

Enrique Toribio, Red Series, Limited Edition Series, Model Unknown

Enrique Toribio is a Spanish photographer who currently lives and works in Madrid. He studied Design at Madrid’s School of Arts and Crafts and later earned a degree in Industrial Pattern Design. Since the mid-1980s, Toribio has been involved in couture costume design for theatrical productions of work by Chekhov, Ibsen, and Tennessee Williams. He has also designed costumes for cabaret and dance productions, both Spanish and classical. 

Beginning in 2003, Toribio has concentrated on his photography with an emphasis in figurative and portraiture work. Particularly interested in the aesthetic treatment of body and facial expressions and textures, he endeavors to recreate the appearance of mid-twentieth century photography with the use of digital technology.

Enrique Toribio has participated in several international photography exhibitions, including the Second Great LGBT Photo Show at Leslie & Lohman in New York City, and multiple exhibitions in Spain, including “ABRAZOS” at the Museum of Contemporary Art Conde Duque in Madrid. He has received recognition for his work at Argentina’s FotoRevista competitions in both 2017 and 2018, and received Third Prize at FotoRevista in February of 2018. Toribio’s work has also appeared in several digital photographic magazines and has been included in Joris Buiks’ 2011 phtotographic anthology “Turnon: Tattos”, published by Bruno Gmunder.

Enrique Toribio’s photographic work is available through Saatchi Art: https://www.saatchiart.com/etoribio

The artist’s website is located at:  https://etoribio.com

 

Christoper Soden: “Dionysus”

Photographers Unknown, Dionysus

i am wielder of chaos
bearer of cozy poison
hidden son of jupiter
gestated from his thigh
supple strapping boy
follow the crooked
steps of spontaneous
capering i will soothe
your terrified gaze
summon frantic defiant
nymphs to slake
your thumping skull
with tender anarchy
my fierce priestesses
in robes of moonlight
diaphanous cobweb
will sing lilting implacable
spells to wreck
planets in their courses
wine and feral milk spouting
from tap of hyssop branch
i will swaddle you
in mother night caress
you with snake tongue
drizzle silky
secret language
of the rapacious
in your ear nudge
succulent fissure
yearning for arc
of scalding bliss
sap of brief
delectable death

Christopher Soden, Dionysus

Born in Texas, Christopher Soden is a poet, playwright, and a critic of film, literature and theater. He attended the Vermont College of Fine Arts where he received in January of 2005 his Masters of Fine Art in Poetry. Soden has taught classes on the craft and theory of poetry, English literature, and the process of publication; he currently teaches literature in the Continuing Education Program at the Dallas College Richland Campus.

Soden’s first full-length poetry collection, “Closer” was published by Rebel Satori Press in June of 2011. While realizing that one can get only so close to another being, the works in this collection, written mostly in free verse, display the persistent sense of longing that one has for another. Soden’s collection of confessional narratives present an honest look at same-gender sexuality, maleness, loss and regret, and the complexity of the human condition.

Christopher Soden’s “Queer Anarchy”, a collection of short plays, monologues and performance pieces, dealt with gay and lesbian life in America; it received the Best Stage Performance award from The Dallas Voice, the first newspaper to represent Dallas’ LBGTQ community. Two of his plays, “Water” and “A Christmas Wish” were staged at Dallas’ Bishop Arts Theater Center. Other plays written by Soden include “All That Glitters Ain’t Goldie”, “Lizards Need Love Too”, and “Space Cowboy, Aunt Velma and the Macaroon”.

Soden received a Full Fellowship to Lambda Literary’s Retreat for Emerging LBGT Voices. He is a member of the Distinguished Poets of Dallas, the Poetry Society of America’s Poetry in Motion Series, and is a Founding Member and President Emeritus of the Dallas Poets Community. Soden’s poetry has appeared in many print and online magazines, including G&L Review and Chelsea Station; he currently writes for the Dallas Art Beat, the Examiner.com, and the online theater review, sharpcritic.com.

“I remember the first time I heard Sylvia Plath’s ‘Lady Lazarus’ in a writer’s workshop I was taking. Our teacher, Jack, read it aloud, and I was unacquainted with Plath and her poetry. Didn’t even know she was dead. As anyone who knows the poem can tell you, it gathers steam and just continues to escalate by way of rage and audacity. Plath just keeps pushing and pushing until you think she couldn’t possibly go any further, and yet she does. By the time Jack finished with those three lines, ‘Herr God, Herr Lucifer, Beware. Beware. / Out of the ash I rise with my red hair, / and I eat men, like air,’ I could feel deep shudders traveling up my back. My scalp was ablaze. Until that moment I didn’t even know such poetry was possible. That was when I knew I wanted to be a poet.”

– Christopher Soden

Herbert List

Photography by Herbert List

Herbert List was a classically educated artist who combined his fascination with  Surrealism and Classicism with his love for photography. His austere, classically posed black and white compositions, particularly his Greek and Italian homoerotic nudes, became a prominent influence on both fashion and contemporary photography. 

Born in Hamburg, Germany, in October of 1903 to a wealthy business family, Herbert List  studied art and literature between 1921 and 1923 at the University of Heidelberg. In 1923, he began to travel for the family’s coffee business, Kaffee-Import Firma List & Heineken. List made contacts and visited plantations in Costa Rica, Guatemala, Brazil and El Salvador; during this four year period, he began to record his travels photographically.  

Through his connections to the European avant-garde, List became associated with  American photographer Andreas Bernhard, known for his dynamic black and white city scenes and natural structures. Bernhard  introduced him to the Rolleiflex camera which allowed for more sophisticated compositions. Beginning in 1930, influenced by the Bauhaus artists and  the emerging surrealist movement, List began photographing still life and portraits of friends, often employing draped fabrics, masks, and double exposures. 

Once the National Socialist Party was in control of Germany, the Gestapo began to pay attention to Herbert List’s openly gay lifestyle and Jewish heritage. In 1936, he left Germany for Paris and decided to begin a professional career as a photographer. During 1937 List maintained a studio in London and held his first solo show at Galerie du Chasseur d’Images, the first Paris gallery dedicated to photography.  Starting in 1936 with a reference from fashion photographer George Hoyningen-Huene to Harper’s Bazaar magazine, List began a three year period working as a fashion photographer for various magazines, including Verve, Vogue, and Life.

Dissatisfied  with fashion photography, List returned to his still life and portraiture  work. He traveled throughout Greece from 1937 to 1939 where he took photographs of ancient temples, sculptures and landscapes; two hundred of these photographs would be published in his 1953 “Licht Über Hellas: Eine Symphonie in Bildern”. During this time, List supported himself with work for magazines and the press, and by doing portraiture work. 

Working in Athens, Herbert List hoped to escape World War II; however, when troops invaded Greece, he was forced in 1941 to return to Germany, where, due to a grandparent’s Jewish heritage, he was denied the ability to work or publish professionally. Near the end of the war in 1944, despite his Jewish heritage, he was drafted into the German military and served in Norway as a map designer. A trip to Paris during his military service allowed him the opportunity to photograph images of Jean Cocteau, Pablo Picasso, Georges Braque, Jean Arp, Joan Miró, and other artists.

After the war, List continued to live in Munich until 1960, where he photographed its ruins and produced freelance photo essays for newspapers and magazines such as Look, Picture Post, Heute, and Harper’s Bazaar. List was made art editor in 1948 for the Swiss-German language, daily free newspaper Heute, which was published by the Allied Forces. In 1951 through an invitation by photojournalist Robert Capa, he started contributing photographs to Magnum, an international photographic cooperative. 

Through the next decade Herbert List focused his interest on photographing life in Italy. where he shot photo essays, street scenes, architectural views, and portraits using a 35 mm camera and a telephoto lens. His work became more spontaneous and was influenced by the Italian neorealist film movement and the work of his Magnum colleague Henri Cartier-Bresson. List ’s travels for his photographic work was extensive, including trips to Spain, France, Mexico, and the Caribbean. 

List’s publications include “Rom”, a collection of his work in Rome, published in Munich in 1950:“Caribia”, his Caribbean Island series published in 1958: “Nigeria”, published in 1963; and “Napoli”,  a 1962  collaboration with Italian director Vittorio de Sica. List is best known for his  1988 book “Junge Männer”, a collection of seventy images of young men lounging in the sun, wrestling, or gazing at the camera. The introduction of the book was written by English novelist Stephen Spender, who fictionalized List as Joachim Lenz in his novel “The Temple”. 

Herbert List passed away in Munich on the 4th of April in 1975. His archive of photographs, originally part of the Ratjen Collection, is now housed in the National Gallery in Washington DC. His work is held in many private and public collections, including New York’s Metropolitan Museum of Art, Boston’s Museum of Fine Art, Kunsthaus Zürich, Cologne’s Museum Ludwig, Munich;s Stadtmaueum, and the Musée Picasso in Paris.

Insert Images:

Herbert List, “Self Portrait, Herrsching”, 1947, Silver Gelatin Print

Herbert List, “Man and Dog”, 1939, Gelatin Silver Print

Photographer Unknown, “Herbert List and Max Scheler, Venice”, 1952, Silver Gelatin Print, Mas Scheler Estate

Herbert List, “Young Man Under Reed Roof, Torremolinos”, 1951, Gelatin Silver Print

Sjohnna McCray: “We’re Mostly Made of Water”

Photographers Unknown, We’re Mostly Made of Water

Driving the highway from Atlanta to Phoenix
means swapping one type of heat for another.
A bead of sweat rolls over my chest,
around my belly and evaporates
so quickly I forget I’m sweating.
Body chemistry changes like the color
of my skin: from yellow to sienna.
My sisiter says, it’s a dry heat.
At dusk, lightning storms over the mesas.
Violets and grays lie down together.
Mountains are the color of father’s hands,
layers of dark–then light.
People move west to die, retire in a life
of dust, trade the pollen of the south
for a thin coat of grit, the Arizona desert–
promesas, promesas.
We stop on the outskirts of town
and think about being reborn.
When he places his mouth near my mouth
because he’s so obviously thirsty,
when he moves to the well
where my tongue spouts out
because we’re mostly made of water
two-thirds of me is certain:
este infierno vale la pena.

Sjohnna McCray, I Do, 1972

Born on March 7, 1972 in Cincinnati, Ohio, Sjohnna McCray is an American author and poet. He earned a Bachelor of Science degree from Ohio University and his Master of Fine Art from the University of Virginia, where he was a recipient of the Henry Hoyns Fellowship. McCray also received his Master of Arts in English Education from the Teachers College at Columbia University.

Growing up in the diverse working-class neighborhoods of Cincinnati, McCray was raised by his mother and his father, a Vietnam War veteran. Influences on his work include contemporary poets James Wright and Sharon Olds; Lucille Clifton, a finalist twice for the Pulitzer Prize for Poetry; Robert Hass, Poet Laureate from 1995 to 1997; and Robert Hayden, the first African-American to serve as Consultant to Poetry to the Library of Congress, a post now known as Poet Laureate.

Sjohnna McCray’s poetry collection “Rapture”, a chronological poetic narrative published in 2016 by Graywolf Press, was selected by Poet Laureate of the United States, Tracy K. Smith, as the winner of the 2015 Walt Whitman Award of the Academy of American Poets. The poems in the latter half of the collection portray some of the intimate and middle-age aspects of gay life. McCray has also be honored with the Intro Journal Award from the Association of Writers and Writing Programs, Ohio University’s Emerson Poetry Prize, and a Pushcart Prize nomination.

McCray’s poetry is interwoven with family memories, history, and the issues of race and desire. In addition to his poetry, he has published essays on race, mental illness, and homosexuality in numerous journals. His poems and essays have appeared in Tin House Online, The Southern Review, The Tahoma Literary Review, StorySouth, The Columbia Daily Tribune, and Harpur Palate.

Sjohnna McCray has taught in Chicago, Phoenix, and New York City. He and his partner currently live in Savannah, Georgia, where he teaches in the English department of the Savannah State University.

“My partner and I have been together for seventeen years and in retrospect, before gay marriage was legal, our commitment was sealed when we decided to mover across the country- to the desert. The poem (“I Do”) attempts to address how external shifts in landscape can transform and reflect on what’s going on internally.”- Sjohnna McCray, 2021

John Kingsley Orton

Photographers Unknown, Parts and Pieces Making a Whole: Set Thirteen

Sir — As a playgoer of forty years standing, may I say that I heartily agree with Peter Pinnell in his condemnation of ‘Entertaining Mr Sloane’. I myself was nauseated by this endless parade of mental and physical perversion. And to be told that such a disgusting piece of filth now passes for humor! Today’s young playwrights take it upon themselves to flaunt their contempt for ordinary decent people. I hope that the ordinary decent people of this country will shortly strike back! Yours truly, Edna Welthorpe (Mrs)

—John Kingsley Orton, Letter Sent for Publication under the Alias of Edna Welthorpe

Born in Leicester, England in January of 1933, John Kingsley Orton, known under the pen name of Joe Orton, was a working-class, gay playwright whose outrageous black comedies shocked, outraged, and amused theatre audiences in the 1960s. 

After attending secretarial classes at Clark’s College in Leicester from 1945 to 1947, Joe Orton worked as a junior clerk for three pounds a week. He began performing in theater productions beginning in 1949 and joined several groups, including the Leicester Dramatic Society. Orton was accepted for a scholarship at London’s Royal Academy of Dramatic Art in November of 1950; however, due to appendicitis, his entrance was delayed until May of 1951. It was at the Royal Academy that Orton met the seven-year older Kenneth Leith Halliwell, who also was a struggling actor and writer. After moving into a West Hampstead flat, they quickly formed a strong relationship and became lovers.

After graduation, Orton and Halliwell collaborated on writing several novels, which were unsuccessful at  publishing. Due to a lack of serious work, they began to amuse themselves with pranks and hoaxes. From January 1959 to May of 1962, Orton and Halliwell removed books from several local public libraries and began to modify the blurbs and cover art. One volume of poetry by writer and broadcaster John Betjeman was found with a new dust jacket featuring a photograph of a nearly naked, tattooed middle-aged man. Discovered by the authorities in May of 1962 and later found guilty of five counts of theft and malicious damage to seventy books, the two men served six months in prison. A collection of these altered book covers are now housed in the Islington Local History Center.

In 1959, Joe Orton wrote his only novel, which was  posthumously published as “Head to Toe”, and soon began to have success in his plays’ productions. His first play “Fred and Madge” was written in 1959; and “The Visitors” followed two years later. In 1963 the BBC purchased Orton’s radio play “The Ruffian on the Stair”, which was broadcast on August 31st of 1964 and, later in 1966, adapted as a stage play. 

By the end of August, Orton had also completed his play “Entertaining Mr. Sloane”, which premiered on May 6th of 1964 to reviews which ranged from praise to outrage. Although it lost money on its short run, the play tied for first in the Variety Critics’ Poll for Best New Play, and Orton came second in the category for Most Promising Playwright. By 1965, “Entertaining Mr. Sloane” was being performed in Spain, Israel, Australia, and New York, as well as being adapted into both a film and television play.

Written between June and October of 1964, Joe Orton’s next play was “Loot”, a wild parody of detective fiction, which added the blackest farce and jabs at established ideas on death, the police, religion, and justice. It underwent sweeping rewrites before it was judged fit for the West End. “Loot” was first staged in London on September 27th of 1966 to rave reviews. In November the play moved to the Criterion Theater where it ran for three hundred forty-two performances, won several awards and firmly established Orton’s fame.

Orton, over the next ten months, revised his “The Ruffian on the Stair” and his “The Erpngham Camp” for the stage as a double play entitled “Crimes of Passion”. He also wrote his television play “Funeral Games”, the screenplay entitled “Up Against It” for the Beatles music group, and his final full-length play “What the Butler Saw”, a play of seduction, blackmail, and cross-dressing, which came to the West End stage in 1969, eighteen months after Orton’s death.

On the 9th of August of 1967, John Kingsley Orton was bludgeoned to death by Kenneth Halliwell at their home in Islington, London, killed by nine hammer blows to the head. Halliwell then committed suicide with an overdose of Nembutal. Later evidence showed that Orton had earlier confided to a friend that he wanted to end his relationship with Halliwell; and it also showed that Halliwell had spoken to his psychiatrist three times on the day of the murder. Halliwell had felt increasingly threatened and isolated by Orton’s success, and had come to rely on barbiturates and antidepressants. The bodies, along with Halliwell’s suicide note, were found on the morning of August 10th by a chauffeur who had arrived to transport Orton for a meeting in London. 

The body of Joe Orton was brought into the chapel of London’s Golders Green Crematorium to a recording of the Beatles’ song “A Day in the Life”. Playwright and director Harold Pinter read the eulogy. After Orton’s cremation, his ashes and Halliwell’s ashes were mixed together and scattered in a section of the Garden of Remembrance at Golders Green; no marking memorial stone is erected there. A statue of Joe Orton was later installed in the city of Leicester and, in 1987, a film adaption of John Lahr’s 1978 biography of Orton was released under the title “Prick Up Your Ears”.

Note: For those interested in theater and gay history, an interesting article is Greg Buzwell’s 2019 “Homosexuality, Censorship, and British Drama During the 1950s and 1960s” located at the British Library site: https://www.bl.uk/20th-century-literature/articles/homosexuality-censorship-and-british-drama-during-the-1950s-and-1960s

Fabrian Cháirez

The Artwork of Fabrian Cháirez

Born in Chiapas in 1987, Fabrian Cháirez is a Mexican artist whose work questions the predominate idea of masculinity and provides alternate representations of the male image. Already showing an artistic aptitude at an early age, he studied from 2007 to 2012 at the Faculty of Arts in the University of Sciences and Arts of Chiapas, where he graduated with a BFA in Visual Arts.

Cháirez is a figurative and traditional academically trained painter whose work emphasizes both composition and color. The body of his work has a neoclassical style and is influenced by symbolism and the Art Nouveau. Major art influences in his paintings have come from the works of Mexican Neo-Expressionist painter Julio Gálan: Spanish portrait and landscape painter Joaquin Sorolla, known for his sunlit canvases;  Mexican painter Saturnino Herrán, renowned for his majestic paintings of indigenous people; and Spanish portrait painter Dîego Velásquez, whose work became the model for the early realist and impressionist painters. 

Cháirez’s work, in response to the hostilities against the concept of sexual diversity, revolves around the image of the male body and the LBGTQ world. In his discussion of the stereotypes of Mexican virility, he uses the traditional Mexican archetypes, such as wrestlers, charros or horsemen, and the Mara Salvatrucha or criminal gangs, for his central figures. Cháirez places these generic images in suggestive and erotic scenarios in direct contrast to the existing social norm regarding the male image.

In 2015, Fabrian Cháirez had a solo exhibition entitled “The Garden of Delights” at the José María Velasco Gallery where he presented thirty pieces, including graphic work, illustrations, and oil paintings. In this body of work, he showed typical male figures with feminine features. In 2019, Cháirez exhibited his most controversial work, “The Revolution” at the Palacio de Belles Artes, a prominent cultural center located in central Mexico City. 

“The Revolution” is a thirty by twenty centimeter oil painting on canvas that represents the revolutionary general Emiliano Zapata, a stereotype of Mexican masculinity, who is shown seated naked, wearing a pink hat, tricolor sash, and high-heeled shoes, on a horse. Created in 2014, Cháirez produced this image as a example of other types of masculine representation. After the Mexican Ministry of Culture selected this work to be part of, and the poster image for, the 2019  exhibition entitled “Emiliano: Zapata After Zapata”, a controversy developed in the social media. Zapata’s relatives and supporters threatened to sue Cháirez and the National Institute of Fine Arts for denigrating the figure of the revolutionary leader. 

On December 11, 2019, a demonstration occurred within the Palacio de Belles Arts in which demands for the removal of “The Revolution” were made. A counter demonstration by LBGTQ activists defended the inclusion of the painting in the exhibition. A message from the Minister of Culture defended the painting’s inclusion and rejected any violence or censorship. On December 13th, a note, containing the personal opinion of the Zapata family,  was added next to the painting as a compromise, despite objections by Cháirez and his supporters. In January of 2020, “The Revolution” became part of the Tatxo Benet Censored Art Collection, a collection of all art banned for political, religious or moral reasons, soon to be permanently housed in Barcelona. 

Fabrian Cháirez’s website is located at: https://www.fabianchairez.com

Manuel Puig: “The Most Beautiful Thing”

 

Photographers Unknown, The Most Beautiful Thing

“—What is being a man for you? —It’s many things, but for me… well, the most beautiful thing about a man is that, being pretty, strong, but without making a fuss of strength, and that he is advancing safely. That he walks safely, like my waiter, that he speaks without fear, that he knows what he wants, where he is going, without fear of anything. “It’s an idealization, a guy like that doesn’t exist.” “Yes, he exists, he is like that.” —Well, it will give that impression, but inside, in this society, without power, no one can advance safely, as you say.—Being a man is much more than that, it means not putting anyone down, with an order, with a tip. Moreover, it is… not allowing anyone next to you to feel less, that no one next to you feel bad.”

Manuel Puig, The Kiss of the Spider Woman

Born in December of 1932 in General Villegas, Argentina, Manuel Puig was a novelist and a screenwriter. As there was no secondary school in his hometown, his parents sent him to Buenos Aires in 1946 where he attended College Ward, an educational institute with intercultural bilingual education at all levels. During his time at College Ward, Puig began to systematically read books. Starting with the Nobel Prize winners, he read works by such writers as André Gide, Hermann Hesse, Aldous Huxley, Thomas Mann, and Jean-Paul Sartre.

After seeing Henri-Georges Clouzot’s 1947 police drama film, “Quai des Orfèvres”, Puig decided on a film career as a director. For this profession, he learned three languages: Italian, French, and German. In 1950, Puig enrolled at the University of Buenos Aires Faculty of Architecture; but, in 1951, he switched to its School of Philosophy. He was already working, upon graduation, as a film archivist and editor in Buenos Aires; and later, after  winning a scholarship from the Italian Institute of Buenos Aires, he continued that employment in Italy.

Returning to Argentina, Manuel Puig started his obligatory military service in 1953 where he served as a translator in the Aeronautics section. Living in Buenos Aires in the 1968, Puig wrote his first major novel, “La Traición de Rita Hayworth (Betrayed by Rita Hayworth)”, a novel told in multiple voices to create a portrayal of ordinary Argentinian lives in the1930s and 1940s. In 1969, he wrote his second novel “Boquitas Pintadas (Heartbreak Tango)”, a story about the contrast between mediocre reality and fantastical dreams; the novel also raised questions about machismo and the damage it causes. The narrative is told through confessions, letters, diaries, newspaper clippings, eyewitness accounts, and rememberances of life.

Holding leftist political tendencies and seeing the instability of the Argentinian government, Puig relocated to Mexico in 1973, a place where he would live in exile throughout rest of his life. He wrote his third novel “The Buenos Aires Affair” in 1973, and three years later, wote possibly his best known work, the 1976 “El Beso de la Mujer Araña (The Kiss of the Spider Woman)”. Unusual in that it has no traditional narrative voice, the novel is told in large part through dialogue, without any indication of who is speaking, except the insertion of a dash to show change of speaker. 

“Kiss of the Spider Woman” depicts the daily conversations between two Argentinian prison cellmates, one a political prisoner who was part of a group attempting the overthrow of the government and the other a transgender woman in jail for corruption of a minor. The two characters, seemingly opposites, form an intimate bond in their cell and become lovers, albeit briefly, and they are both changed by that relationship.   

Manuel Puig’s novel was initially published only in Spain; however, upon its publication, it was included on a list of novels banned to the population of Buenos Aires. Despite having been entered into the Frankfurt Book Fair in Germany, it remained banned in Argentina until Raúl Alfonsin’s government took control in 1976. Puig adapted “Kiss of the Spider Woman” into a stage play in 1983. The novel was later adapted in 1985 into an Academy Award-winning film of the same name, starring William Hurt and Raul Julia. Hurt’s winning the 1986 Oscar for Best Actor marked the first time an Academy Award went to an actor in an openly gay role. 

In 1989, Puig moved from Mexico City to Cuernavaca, Mexico. Following doctor’s orders to stop smoking, he took daily walks, but the high altitude of the area labored his breathing. He had access to higher quality medical care than most and received care at a clinic near his home. Experiencing pain for several days, he was admitted to the Las Palmas Surgical Center on July 21, 1990, for risk of peritonitis. 

An emergency operation removed Manuel Puig’s inflamed gall bladder; however, his lungs filled with fluid and he became delirious. He died from an acute heart attack, on July 22, 1990.  After funeral rites, attended by only six people including his mother, Manuel Puig’s body was sent to Argentina and placed in the Puig family tomb in the La Plata Cemetery.

James Huctwith

 

Figurative Paintings by James Huctwith

Born in rural southern Ontario, Canada in 1967, James Huctwith is a painter in the realist tradition. From 1986 to 1989, he studied fine art at the University of Guelph’s College of Art in Ontario, primarily in architecture and art history and theory. Huctwith started painting and exhibiting in the early 1990s in Vancouver. Relocating to Toronto in 1995, he was represented by the O’Connor Gallery where he regularly exhibited his emotionally and physically explicit work for a decade.

After a period of personal disruption and change, Huctwith joined Vancouver’s Gallery Jones in the spring of 2005. He stayed with the gallery for two years, during which time he exhibited  a series of non-figurative works. Beginning in 2006, Huctwith was also represented for two years by Montreal’s Galerie Harwood, where the work he exhibited consisted primarily of interpretations of the still life genre. In 2007, he ended his relationship with the O’Connor Gallery.

Feeling a need to recapture his connection with his work, James Huctwith returned to the province of Ontario, placed his previous work with Toronto’s Antonio Arch Fine Arts, and signed up with Ottawa’s Galeria La Petite Mort. His first solo show of figurative work at the Petite Mort gallery in the fall of 2009 was a success. Huctwith’s work, now published and regularly reviewed, is collected internationally with many works in private collections..

Huctwith’s current realist work, both figurative and portraiture, is done with an emphasis on historical techniques. His canvases of male figures are moody, masculine, and mysterious. While a sense of calmness is presented in Huctwith’s scenes, there is often a lurking undercurrent of uncertainty and conflict.

The artist’s website can be found at: http://daintybastard.blogspot.com

Franz Szony

Photographic Work by Franz Szony

Raised in Reno, Nevada, Franz Szony is a writer and photographic artist whose main body of work, both in its fine art and commercial forms, embraces conceptual portraiture. 

After finishing his primary education in 2014, which included art classes at an early age, Szony relocated to San Francisco where he attended the Academy of Art. At the academy, he initially studied fashion and illustration, and, later. focused on photography. After learning the technical aspects of photography, Szony returned to his hometown of Reno where, as a freelance artist, he photographed different advertisement campaigns for newspapers, theaters, and several casinos. He exhibited his own work in a small gallery he created and hosted monthly nude drawing workshops in that space. 

Szony moved to Los Angeles in 2012 and settled in the Brewery Artist Loft complex, an industrially zoned area where artists rent living and working space. Inspired by the area’s creative energy, he photographed campaigns for perfume and fashion brands, created album covers, and did creative photographic work for companies, including Disney and Warner Brothers. 

Influenced by illustrators such as Marc Davis and Erte, and, at an early age, by the extravagant stage shows of Reno’s casinos, Franz Szony’s conceptual portraiture work is lush both in its color and settings. His images are presented ambiguously in time and place, and androgynously in character. Szony’s photographs often contain symbolic or mythological elements and convey psychological, political, and sexual identity messages to the viewers.  

Franz Szony is also a songwriter who has produced several music videos in which he has incorporated his poetry and visual art. Shot over a period of three days, his music video, “Petunia”, based on several of his photographic pieces, was released in 2018. Other music videos by Szony include “La Petite Mort”, “Antibeige”, and “Pansy”, also released in 2018; and “What You Seek” and “Surrender Dorothy”, both released in 2020. 

Szony had solo exhibitions at Reno’s Sierra Arts Foundation in 2015 and at Hollywood’s World of Wonder Gallery in 2019. His work is included in many private collections. Franz Szony’s website is located at http://www.franzszony.com

Maurice Sendak: “Where the Wild Things Are”

Photographers Unknown,  Where the Wild Things Are

Max stepped into his private boat
and waved goodbye
and sailed back over a year
and in and out of weeks
and through a day
and into the night of his very own room
where he found his supper waiting for him
and it was still hot”

—Maurice Sendak, Where the Wild Things Are

Born to Polish Jewish immigrant parents in Brooklyn, New York, in June of 1928, Maurice Bernard Sendak was an American writer and illustrator of children’s books. He was affected in his childhood by the deaths of many of his extended family who perished in the Holocaust. An early reader of books, Sendak decided at the age of twelve to become an illustrator after seeing Walt Disney’s film “Fantasia”.

Sendak started his professional career with the creation of window displays, one of which was in the toy store FAO Schwarz located on Fifth Avenue in Manhattan. His first published illustrations, a series of figures explaining the atom and its energy, were in the 1947 textbook “Atomics for the Millions” written by Maxwell Leigh Eidinoff. In the 1950s, Sendak illustrated children’s books written by other authors, including two books written by his older brother, author Jack Sendak, and the “Little Bear” series of books written by Danish-American author Else Holmelund Minarik.

In 1956 Maurice Sendak published his first authored book, “Kenny’s Window”. and soon started working on second effort, for which he was inspired to use the Yiddish expression ‘vilde chaya”, or wild animals, to indicate overexcited children. Sendak’s authored and illustrated 1963 children’s book “Where the Wild Things Are” received international acclaim. Initially banned for two years by libraries and critiqued negatively, the book won the annual Caldecott Medal in 1964 for recognition as the most distinguished American illustrated book for children. Since its publication, it has sold over nineteen million copies worldwide.

Sendak illustrated Isaac Bashevis Singer’s first children’s book “Zlateh the Goat and Other Stories, which was published in 1966 and received the Newbery Honor for children’s literature. He authored and illustrated the 1970 “In the Night Kitchen”, a young boy’s dream journey through a surreal baker’s kitchen, one of a trilogy of books which contains “Where the Wild Things Are” and the 1981 “Outside Over There”. Illustrated in a different style from his previous works, the book is mainly pictorial with few captions. “In the Night Kitchen”, with its depiction of the young protagonist’s nudity, was controversial upon its release and is still ranked as one of the most frequently challenged books. 

Maurice Sendak’s works included many in the fields of television and stage. He was active in the development of the “Sesame Street” series, and wrote and designed four stories for the series, including an adaption of his book “Bumble Ardy” into an animated film. Sendak adapted his “Where the Wild Things Are’ into a stage production in 1979, and also designed sets for many operas and ballets, including Tchaikovsky’s “The Nutcracker:, Mozart’s “The Magic Flute”,  and Prokofiev’s “The Love for Three Oranges”.

In 1957, Maurice Sendak met his partner, psychoanalyst Eugene Glynn, with whom he remained for fifty years until Glynn’s death in May of 2007. After his partner’s death, he donated one million dollars to the Jewish Board of Family and Children’s Services in memory of Glynn, who had treated children and young adults there. While his sexuality was known among his friends, Sendak kept his sexuality from public view for almost his entire life. When the social climate regarding homosexuality began to change, he  came out, at the age of eighty years old, during a 2008 interview with the New York Times.

Considered one of the most important children’s book artists of the twentieth century, Maurice Sendak died on May 8th of 2012 at the Danbury Hospital in Conneticutt from stroke complications. His body was cremated and his ashes scattered at an unconfirmed location. Under an agreement with, and supported by a grant from, the Maurice Sendak Foundation, his original artwork, sketches, books, and other materials, totaling close to ten thousand items, are housed at the University of Conneticutt’s Archives and Special Collections in the Thomas J Dodd Research Center.

Hubert Julian Stowitts

The Photographs and Artwork of Hubert Julian Stowitts

Born in Rushville, Nebraska, in June of 1892, Hubert Julian (Jay) Stowitts was an American painter and ballet dancer. Raised in the Lakota Souix area of South Dakota, he moved with his family to Los Angeles in 1911. Upon his arrival, Stowitts enrolled at the University of California, Berkeley, where, as a gay student, he became a successful college athlete, captained the university’s track team, and acted in several student theater productions. 

Captivated by a ballet performance seen in San Francisco, Stowitts decided to begin private dance lessons. He became an accomplished dancer and performed both on the public stage and at private parties for  San Francisco’s upper class residents. Stowitts kept his dancing secret from his parents for much of his college years; he graduated from the University of California in 1915 with a degree in Commerce. 

In the summer of 1915, while dancing at the Greek Theatre, a large amphitheater owned by the University of California, Julian Stowitts impressed Russian ballerina Anna Pavlova who was in attendance. He accepted an invitation to join her dance company and dropped plans to attend graduate school at Harvard. Stowitts, the first American to star with a Russian ballet troupe, traveled as a successful dancer for six years throughout Europe and the Americas. Leaving Pavlova’s company, he moved to Paris and started a solo career with performances throughout Europe, including a starring role with the Folies Bèrgere in 1924.

During his solo career, Stowitts executed choreographies for other dance companies, designed sets and costumes, and continued  his painting. In 1925 at the age of thirty-three, he retired from dancing and pursued a new career as a painter and occasional film actor. Stowitts traveled through the Far East in the late 1920s, where he lived and painted  in Java for a year. After a stay in Indonesia, he lived in the southern part of Asia for several years and, during this stay, created a series of one hundred and fifty-five canvases entitled “Vanishing India”. After his return to Europe in 1931, Stowitts’s  painted depictions and scholarly studies of traditional Indonesian and Indian dance and costume enjoyed wide popularity in the 1930s.

For the art exhibition at the 1936 Berlin Olympics, Julian Stowitts presented a series of fifty-five paintings depicting American male athletes in the nude, which caused a sensation among the attendees. While in Berlin, he assisted German film director Leni Reifenstahl on her “Olympia”, released in 1938 as the first feature film documentary of an Olympic Games, later used by the Nazis as a propaganda film. Due to her fame and influence, Riefenstahl was able to protect Stowitts from persecution for being gay; but his exhibition was closed by the Nazi regime because of their objection to the manner in which Stowitts depicted Jewish and African-American athletes. 

Returning to California in 1937, Stowitts struggled financially as his artwork began to lose public interest. He found, with the assistance of friends, some security with employment as a house caretaker in the Los Angeles area. Stowitts continued to lecture on Indian and Javanese culture and to paint privately for the remainder of his life. The last of his painting series, uncompleted due to illness, was “The Labors of Hercules”, in which actor and body builder Steve Reeves served as the model. Hubert Julian Stowitts died in San Marino, California on February 8, 1953.

The papers of American dancer and painter Hubert Julian Stowitts, including biographical materials, correspondence, and exhibition and performance related materials are available for research at the Bancroft Library of the University of California, Berkeley. 

Francisco Brines: “The Cause of Love”

Photographers Unknown, The Cause of Love

When they have asked me the cause of my love
I have never answered: You already know its great bearuty.
(And there are still more beautiful faces.)
Nor have I described the certain qualities of his spirit
that he always showed me in his customs,
or in readiness for silence or smile
as required by my secret.
They were things of the soul, and I said nothing about her.
(And I should still add that I have met higher souls.)
The fruit of my love now I know:
man’s imperfections overcome his presence,
it is atrocious to think
that bodies do not correspond to souls in us,
and so the grace of the spirit blinds bodies,
its clarity, the aching flower of experience,
goodness itself.
important events that we never discovered,
or we find out late.
The bodies lie, other times, an airy heat,
moved light, honda freshness;
and the damage reveals its dry falsehood to us.
Know the truth of my love now:
matter and breath joined in his life
like the light that falls on the mirror
(it was a small light, a tiny mirror);
It was a perfect random creation.
A being in order grew next to me,
and my disorder was serene.
I loved its limited perfection.

–Francisco Brines, Cause of Love

Born in Oliva, Valencia, in January of 1932, Francisco Brines Bañó was a Spanish poet and essayist. He was a prominent member of the Generation of “50, a Spanish literary movement whose new literary language incorporated metaphysical and philosophical techniques to undermine the strict censorship of the Franco government.

After studying at the Jesuits of Valencia, Francisco Brines attended the University of Madrid, where he studied Philosophy and Letters, and also the Universities of Valencia, Deusto and Salamanca, where he earned a degree in Law. He became a reader of Spanish literature at the University of Cambridge and a Professor of Spanish at the University of Oxford.

Described as a metaphysical poet, Brines was highly influenced by the work of Luis Cernuda, an openly gay poet of the Generation of ’27; inspired by these works, many of Brines’s poems also convey the theme of homosexual love. His poetry is characterized by the intimate tone of his verses, the constant reflection on the passage of time and decay of the living, and observations on the condition of a human being subjected to his own limitations. Memory also plays a fundamental role in Brines’s writing; although, his poems reveal the belief that neither poetry nor memory can endure the passage of time or save the moments of the past.

Francisco Brines’s first collection of poems, entitled “Las Brasas (Embers)”, was published in 1959 and won the 1960 Adonais Poetry Prize. In 1966, Francisco Brines published “Words in the Dark”, which earned him the National Critics Award in 1967. In the same year, he also won the Valencian Literature Award. “The Autumn of Roses’, a collection of sixty poems written over a ten year period, was published in 1986 and won the National Prize for Literature. This book, in which elegies of lamentation and exaltation merge, was his most critically acclaimed work.

Entering the world of theater, Brines revised and adapted playwright Pedro Calderón de la Barca’s 1636 drama“El Alcalde de Zalamea (The Mayor of Zalamea)”. Directed by José Luis Alonso, the play was performed by the Classical Theater Company in 1988. Told in three acts, it explored the power of a self-made man against political authority in seventeenth-century Spain,

Brines was recognized for his work by the Royal Spanish Academy in 1998 with the Fastenrath Prize and, later, received the 1999 National Prize for Spanish Letters for his poetic oeuvre. Elected a member of the Royal Spanish Academy of the Language in April of 2000, Brines gave his institutional speech on the poetry of Luis Cernuda, one of the poets who influenced his work. In 2020, he won the Premio Cervantes, the most important literary award of the Spanish language world.

Francisco Brines Bañó was taken to Gandía Hospital shortly after King Felipe VI and Queen Letizia presented him with the 2020 Cervantes Prize at his family estate in Oliva, Valencia, as he was unable to attend the official ceremony due to his delicate state of health. He died on the 20th of May in 2021, at the age of eighty-one, at Gandía Hospital, after a hernia operation.

Note: An interesting article on the homoeroticism of Francisco Brines’s poetry, long regarded as an open secret but rarely acknowledged in critical studies, entitled “Francisco Brines and the Humanist Closet” by Jonathan Mathew of the University of Kansas, can be found at: https://kuscholarworks.ku.edu/bitstream/handle/1808/7478/Mayhew_Francisco%20Brines.pdf?sequence=1&isAllowed=y

Virgilio Pinera: “The Waves of Music We Made”

Photographers Unknown, The Waves of Music We Made

Can it be they are going to kill?
Will they pierce the heart with a huge knife?
And with the sharpest scalpel empty the eyes?
And with the steeliest chisel break the skull?
And with the most hammer of hammers crush the bones?

Can it be that on the exotic table
–table of sex, table of love–
my love, you and I,
being startled one night
your heart spoke
when you were under my blood?
Can it be the same as it was
when it was an oath, and even more so,
your work, your word bled,
soaked by the soft perfume of kisses,
so as not to deny, to be one indivisible?
And can it be so blindly believed,
so blindly, that all the suns go dark forever
while the soul travels in darkness?
Can it be there never was a soul despite the waves of music
we made?
Soul that never was though you might be for an instant?

Renenber that instant when you were a soul and adored
me,
and then your own monster came suddenly
to take you to the place where being you were?

Can it be that after you are no longer,
when not being is merely a mound of dried out kisses,
you wil be by not being, instead of being love?

Virgilio Pinera, Poem to be Said in the Midst of a Great Silence, The Weight of the Island, 1967

Born in Cárdenas, Matanzas, Cuba in 1912, Virgilio Piñera was an author, playwright, poet, and essayist known for his avant-garde work, caustic wit, acid tongue, and bohemian lifestyle. He lived under the dual repression of the Catholic church and reactionary government leaders such as Argentina’s Juan Perón and Cuba’s Fulgencio Batista. Piñera’s homosexuality and non-conformism led to his marginalization during a well-documented period of Cuban history when homophobia and petty bureaucracy stifled creative freedom

An avid reader from an early age, which included works by Marcel Proust and Herman Melville, Piñera drew his inspiration from different genres, a foundation which became fundamental to his distinctive work with its combination of Cuban vernacular and more refined language.At the age of thirteen, Piñera’s family moved to Camagüey, a municipality located in central Cuba, where he earned his high school diploma. After settling in Havana in 1938,  he received his Doctoral Degree in philosophy from the University of Havana in 1949. 

Piñera published in his poems in Havana’s literary magazine “Espuela de Plata” and, in 1941. wrote his first poetry collection, “Las Furias (The Furies)” and  his most famous play “Electra Garrigó”, which featured the choral structure of a Greek tragedy alongside distinctive Cuban elements. Staged both before and after the revolution of Castro and Guevara, this play later became a powerful symbol of the Revolution and was consciously performed before foreign and  notable public figures as  being emblematic of the transformed nation.

Following his founding of the magazine “Poeta” in 1942, Piñera wrote his collection of poems entitled “La Isla en Peso (The Weight of the Island)”. Drawing upon episodes in his personal life as well as the social interactions occurring inside Cuba, he explored the nebulous regions between sadness and beauty, and disillusion and reality. Published posthumously after Piñera’ death in 1979, “The Weight of the Island” was initially scorned by some poets and critics; however, the collection is now regarded as one of the classics of Cuban literature.

In 1944, Virgilio Piñera, along with writer José Lezama Lima and editor and critic José Rodríguez Feo, founded the prestigious literary and arts review “Origenes”, which provided a focal point for promising poets and critics in Cuba during the 1940s and 1950s. The journal published short stories, poetry, and critical essays on art, literature, music and philosophy. Among Piñera’s contributions were several poems, an essay on Argentinian literature, and an 1945 essay entitled “El Secreto de Kafka”, a work in which Piñera developed his theory on the creation of images into a literary surprise. 

Piñera lived in Buenos Aires, Argentina, for a twelve year period from 1946 to 1958; it was  during this stay that he developed his voice as a writer. He worked as a translator and proofreader at the Cuban Embassy and became friends with writers Jorge Luis Borges and essayist José Bianco, who would write the forward to Piñera’s collection of short stories “El que Vina a Salvarme (The One Who Came to Save Me)”. Along with other writers, Piñera worked on the translation of Polish author Witold Gombrowicz’s 1937 controversial novel “Ferdydurke” into Spanish. 

Virgilio Piñera wrote two plays in Buenos Aires,  “Jesús” and “Falsa Alarma”, a fast paced, absurdist play of humor and anguish, to which he lengthened with dialogue for a later 1957 staging. His first novel, entitled “La Carne de René (René’s Flesh)”, was published in 1952 and told the dark story of a twenty-year old protagonist forced into a merciless life. After the closure of his literary review “Origenes” and the founding of his final magazine “Ciclón (Cyclone)”, Piñera left Argentina in 1958 to settle permanently in Cuba, where he arrived shortly before the Revolution. His work appeared in the newspaper “Revolución” and other numerous journals. In 1962, with the Cuban revolution in full motion, Piñera’s  most autobiographical play, “Airo Frio (Cold Air)”, a very personal celebratory work supporting the ouster of dictator Batista’s police and army, opened in Havana. 

Shortly after the opening of “Airo Frio”, Fidel Castro’s government made the decision that there was no room for any views other than those completely sympathetic to the Revolution. Intellectuals and other luminaries, as well as the religious and those youths not conforming to the revolution, were to face persecution. Virgilio Piñera, although never public about his homosexuality, was arrested under the revolutionary government’s clampdown on the prostitutes, pimps and homosexuals. By 1971, he was ostracized by the Cuban government and the literary establishment. As his career declined into obscurity. Piñera continued to write at n increased rate; however, his plays were no longer performed. 

In 1968, Piñera received Latin America’s most prestigious literary prize, the Premio Casa de las Américas, for his play “Dos Viejos Pánicos (Two Old Panics)”. Despite the award and acclaim, the play would not have its first performance in Cuba until the 1990s.  Leaving behind more than twenty plays, three novels, volumes of short stories and a vast number of poems, Virgilio Piñera, who lived the last years of his life in poverty, died of a cardiac arrest on the 18th of August in 1979, without any official recognition of his death. He is buried in his native town of Cárdenas.

As a way to redress some of the wrongs committed against Piñera in the past, Cuba declared the year 2012 as “El Añ0 Virgiliano”. In the month of June, a group of thirty researchers from countries, such as the United Kingdom, Mexico, Spain and the United States, came together in Havana to discuss the life, work and legacy of Virgilio Pañera, one of Latin America’s prominent writers. His two best known plays, “Airo Frio” and “Dos Viejos Pánicos”, were performed and a new ballet by choreographer Iván Tenorio, entitled “Virgiliando”, had its premiere. 

Note: The University of Miami Libraries contains the digital Cuban Heritage Collection which includes material on Virgilio Piñera. Included in the material are correspondence exchanged between Piñera and Adolfo de Obieta during the 1940s and 1950s, as well as a typescript of Piñera’s play “Una Caja de Zapatos Vacía” that he sent to his friend Luis F. González-Cruz, who published it in Miami in 1986. This material can be found at: https://merrick.library.miami.edu/cdm/search?collection=chc5278