Tuesday, September 29, 2009

sometimes I lie



I have vilified autumn on these pages in a futile attempt to magically preempt the end of summer.  I have failed, but that's alright.  There is truly nothing like a beautiful early fall day, clean and crisp like the sound fine crystal makes when tapped.  An intense clarity so different than that of spring, which comes full of promise.  Fall days don't promise anything, they are self-assuredly present. Their warmth mellow like a good wine. Today was a good day to be.

...and to look for sunny spots in all the right



and all the wrong



places

Saturday, September 26, 2009

One of the many reasons I hate America



A most unoriginal reason: unsolicited fucking phone calls.  


It is Saturday and my phone has been ringing since 9 am.  I don't even pay attention to the damned thing anymore. As luck (or lack thereof) would have it, a good friend called from London; and I did not even get up to listen to the answering machine because the phone had been ringing all morning for no real reason.  When I noticed her voice emanating from the cabinet where I keep the phone, I ran to pick it up only to drop it and retrieve it as she clicked off.  I took the phone to my office in case she tried again.  Sometime later, the phone rang once more.  This time I picked it up without waiting for my "electronic secretary" (as they call it in Brazil) to answer; it was some poor schlemiel asking for Curtis Simmons.   I could have told him, truthfully, that there was no one by that name here, since my husband's name is Simon.  Instead I lied sweetly and bold-facedly told him that Curtis was not here at the moment and could I take a message(?).  He said he would try later.  


It all just makes me angry and sad.  I hate lying. I hate being disturbed. I hate thinking some poor person needs to do this for a living.  And most of all, I hate making my friends talk to my answering machine when I am right there standing next to the phone, because if I pick up, and it is not a friend, I will have to lie and feel badly all over again.  So, like I said, there are a lot of reasons I hate America some days; but having to make my friends talk to an inanimate object, because laws that promote the kind of lazy capitalism that is the mainstay of this here big nation have hijacked my communication streams, is Numero Uno.   


....yeah yeah, The Ranting Economist will get on my case for using such a meaningless phrase as "lazy capitalism"... I suppose I could call it "laws passed by a congress paid for by big business in order to fuck consumers more efficiently"... to use part of a Frank Zappa lyric: "Bend over and spread 'em baby".




Wednesday, September 23, 2009

there is just something about this country...

I don't often love this country, but when I do it is because of the essence that explains this (listen to the broadcast).

Tuesday, September 22, 2009

a sad day indeed


It's finally here: the fall equinox.
It had been raining for a week and a half after a month and a half of drought and temperatures reaching the 100's (oh heavenly heat).  Today, for the autumnal straight up and down of the earth's axis, the sun finally came back out....
But it is not a happy sun.

Monday, September 21, 2009

quote of the day


I can't; now it's in my head.                           
                                         -Lewis-



Tuesday, September 15, 2009

Coda for Raymond's Life




This a is revised version of an email I sent to Katarina; she who indulges me in my propensity to spend too much time on this computer telling stories and sending them to her full of typos:

Some time ago you asked for pictures of me and my dad. I include a few--- had to pull them out of albums and scan them on my not so good scanner; forgive the quality. One could not know my dad and not like, or even love, him--- I sure miss the hell out of him, as you must yours...

Every year when we go to Switzerland, Curtis and I make “a pilgrimage” to visit my dad’s tomb. The Jewish cemetery in which he is buried is in the middle of farm fields on the outskirts of the city of Lausanne. We don’t have a car there, so we take a tram to the closest stop, Cery, and then walk the rest of the way.


The walk ritualizes the visit and further solidifies any meaning that the viewing of a piece of granite with his name on it might have. Coincidentally, and redolent of personal historical meaning, Cery is also where one gets off to go visit the mental hospital my mother was interned in when she was non-functional when she was mis-diagnosed with depression. In fact, to access the cemetery, Curtis and I have to walk through its grounds before taking the beautiful path pictured above. It is indeed a trek fraught with significance.


When visiting tombs in Jewish cemeteries, one does not bring flowers but puts small stones on them. We are a harsh people. I am sure it signifies something interesting that the atheist despiser of organized religion that I am knows nothing about. Also, as Atheist Despiser of Organized Religion That I Am, I annually break the rules of “no graven image” by using the pebbles to write out the year of our visit on dad’s tomb before clicking a picture. Somebody always scatters the stones, for no vestige of my doodling is ever there when I return the next year...


The following story happened on our annual visit last March. I’ve been meaning to tell it to you since then, but have been lazy about sitting here and doing it justice. It’s nothing earth shattering; but life always throws me for a loop with all its coincidences. Your blog entry about sharing my dad’s story with Christopher was impetus for me to sit down here and try to tell it as coda to his life.

Notes from March 2009:
Today: one more visit to dad’s tomb. Bad day: morning: annual bank visit to see my mom’s situation: hers much better than ours, thank god! That was not bad; lunch was bad. I got caught in the middle of a battle of wills between my mother and my husband over what restaurant to eat in. We ended up eating bad food (her choice). Mother was happy; Curtis turned into the taciturn impossible self that he becomes when he eats bad food; and I just got pissed off at the food, at my mom, and at my husband. In that state of mind, Curtis and I took the tram to Cery to go to the cemetery and say hi to my father.

After getting out at the tram stop, we walked through the grounds of the psychiatric hospital of Cery where a patient was screaming. Everyone else was acting as if nothing were happening, so we did too. We then took the not so traveled road that leads to the cemetery and that cuts through the dairy farm where a border Collie looked at us in confusion.



Europe is wonderful this way, public paths run through private properties and pedestrians always have the right of way. We said hi to the farmer and to his cows, and kept walking down what is one of the most beautiful and peaceful tree-lined ways I have ever been on.











We arrived at the cemetery where, for the first time, we met a caretaker. Usually the place is deserted. Taking advantage of the fact that someone with keys to the bathroom was actually on the premises, Curtis asked if he could use it. In all our past visits, the bathroom has been locked, forcing Curtis and I to occasionally urinate on a plant or two around the property; action for which I am sure the bible decrees we should be smited. Given that I have a propensity to talk to “deus e todo mundo” (god and everybody), I started talking to the caretaker who proceeded to tell me the history of the cemetery. He told me that this new Jewish cemetery was built because the old one is running out of space, and the Jewish community needed to start planning for the future of its dead. This I already knew since my grandparents are buried in the old one and there was no more real estate available for my dad to buy when he was dying.



I guess that because Curtis had asked to use the restroom, the caretaker started telling me the story of his life together with that of the man who founded the cemetery by bringing up a disagreement they had had over whether or not to leave the bathroom open for visitors. The caretaker had argued for leaving the bathroom unlocked. But the bathroom stays locked because Theodore Guissman, the man who founded the cemetery, wanted it that way to ensure against vandals and to keep drug addicts from shooting up in there; a common occurrence in Europe where drug laws are more rational than in America. I can’t see heroin addicts being industrious enough to walk all the way to this place in order to shoot up; but vandals in a Jewish cemetery, that’s not so hard to imagine.



The caretaker proceeded to tell me about his respect and love for Theodore Guissman (recently deceased and, ironically, not buried in the new cemetery). Theo was in finance and real estate. He moved in the upper echelons of society and politics, and worked very hard to establish this cemetery in which my dad finds himself now buried. It took him five years of wheeling and dealing to find a piece of land in the Canton de Vaud where to build it. Switzerland is divided into Cantons; and perhaps the closest we have to those are States, but Cantons seem to be fully sovereign. After all these years of visiting, Switzerland is still a mystery... I digress.

It took Theo so long to find a piece of land for this project because no one wanted a Jewish cemetery situated anywhere near them. When those words came out of the caretaker’s mouth, to my surprise, I actually felt physically pained. Eventually, Theo took his plea to the state, which ceded some of its farmland for the “dirty deed”. 

It was here where I found out that all the farmland in Switzerland is state owned and that farmers lease it for long periods of time, such as 25 to 50 years. The state then, by plebiscite, decides whether the land should or not be maintained as such or developed for other uses. As I said, a mystery...



The state ceded the land for the cemetery with the stipulation that Theo himself would be responsible for establishing all the infrastructure necessary for the construction of this sacred place in the middle of nowhere. The Caretaker, such a nice man whose name I should have asked, told me that Theo put two million francs of his own money, plus whatever other donations from the Jewish community, into the project simply to bring water and electricity to this place that, at the time, was off the grid.

While Curtis visited the tomb to no doubt tell my dad about the terrible lunch we had had, The Caretaker kept on telling me stories about the place. He told me it was built on top of fill dirt removed from the area where a highway now runs adjacent to the farmland. The cemetery had been a pasture once; but because of the fill dirt, the soil is now heavy and never drains properly, flooding every time it rains or snows. I now imagine winters with putrefying soggy flesh...

After telling me about the trials and tribulations Theo had to go through to get the place completed, The Caretaker proceeded to tell me about the people buried in the place and their funerals. He regaled me with the story of one grand funeral of a “florist from Christian Dior”, saying that this florist was the most important man ever buried in the cemetery at Cery. For no rational reason, I felt elated to hear this, for as it turns out, my dad had also worked for Dior, and I, pathetically, thought of him having company. I excitedly told the Caretaker about my father also working for Dior, not as florist but as a representative in Brazil, and pointed to his tomb. The Caretaker looked at me and said, “Alors c’est de votre père que je parle!” (Then it is of your father that I speak). “Ou lá lá,” he said, “There were 250 people here; two policemen to direct traffic; many speeches were given. Your father was well-loved; and there were enormous arrangements of flowers which I threw away when they were no longer alive!”

He then asked me if I had been there. How does one explain to a stranger one’s family dynamics and the fact that my mother had asked me not to come.... I told him I lived in America, and that seemed to be as good an explanation as any. We talked some more, and he told me he was from France and not a citizen of Switzerland. We talked politics and about the bureaucratic rigmaroles of becoming a citizen anywhere; and then I excused myself to go say hi to dad.

I smiled my way to my father’s tomb. I used the pebbles to draw out the ‘O9 date, clicked a picture, and felt so happy that my father had had such an incredible send-off; and that my mom had been able to be Queen that day; and that there is somebody other than me that thinks my father is the most important man buried at the new Jewish cemetery at the Bois de Cery! Knowing what I know about who we are, I had to laugh, not cynically but mirthfully. It turned out not to be such a bad day after all.

Monday, September 14, 2009

A Pesky Question of Demographics

...and proof of how boring I am, for this is how I like to spend my Sunday nights.

Good buy Western Civ; it's been real.

http://www.q-and-a.org/Video/?ProgramID=1249

and then there are the reviews; and in the interest of fairness...

quote of the day

There is no drug scene like the Ivy League drug scene. Kids can't just get high, they have to seek epiphanies.
-Walter Kirn-

Saturday, September 12, 2009

Another Night of Wild Sex

it's MAGIC every time it happens
...even if I am too lazy to get out the ol' tripod to better record it...

I wish you could smell it when it's peaking.




morning after



Monday, September 7, 2009

a slew of really boring criticism but one


Summer is almost over. The Venice Biennial has come and not yet gone. The art season is resuming. And like the fall harvest, art rags are coming off the presses once more containing reviews of Venice, this time, ‘09.

As it does every two years, Art Forum has enlisted contributors to review this latest version of the Grand Damme of biennials. This current slew of sedate and rather boring articles will certainly not engender the venomous, if fun to read from the boonies, exchange between critics of the last V biennial, some of which are art directors and curators with their own agenda, and its director Robert Storr. See original reviews of that biennial in the September 2007 issue and the letters (!) going back and forth between director and critics in the January and February issues of that same year. You’ll need to go to a library; interestingly enough, for a left leaning operation, Art Forum is rather proprietary and yanks their old articles from the net as soon as the month expires. I digress.

The exception to the rule of sedate writings about this year's Venice Biennial seems to be the review by Diedrich Diedrechsen. He actually gives those of us non-visitors who can’t afford to fly to Venice every two years an overview, and what’s more, an over-arching opinion of Making Worlds (a shortened version of the name of this year's extravaganza). In the process, he also evaluates key pieces in order to illustrate his more general points about the exhibit. Ma foi, honest to goodness criticism! Unlike Diedrechsen, most the other reviewers seem to concentrate on describing some of the works without giving us a feel for the whole.

What follows is one of my favorite paragraphs. You can link to some of the other reviews through http://artforum.com/inprint/; however, DD’s is not posted. To read his opinion, one has go to the library once more ...let’s hear it for the physical world of locomotion and of printing presses; maybe keeping us modern is ArtForum’s agenda after all...

Here goes:

Another dominant strategy that art shares with the culture industry is that of pseudoparticipation. This encompasses the so-called prosumer, or professional consumer, and partakes of the permanent animation of audiences on the Internet and in other consumer-culture contexts under the neoliberal regime of unfocused attention. With its remaindered Situationist vocabulary, pseudoparticipation often even considers itself the present-day continuation of radicality. What artists who make this kind of work completely fail to notice is that the apparently permanent collapse of the validity of forms is possibly the most important challenge facing contemporary art—the trick is knowing what doesn’t work anymore because it doesn’t mean the same thing or have the same effect it once did. In “Making Worlds”, the palest vestige of the pseudoparticipatory model is surely Miranda July’s outdoor installation Eleven Heavy Things 2009—nightmare of smirking cuteness; purgatory of putative lightness; apotheosis of harmlessness—which invites the audience to pose and to be photographed on top of pedestals with funny inscriptions. As someone near me astutely said, "Erwin Wurm for the even poorer.” But this same work was extolled by the press, evidentially because it successfully liquidates any difference between an artistic demand and the general program of entertainment. (ArtForum, September 2009, p.243)

God I love this guy!

Thursday, September 3, 2009

part and parcel

Woke up this morning, got on my bike; and for the first time in months, it was cold. Well, most people would call it “lovely”: a dry cool sunny morning. But to me, it is just one of the many harbingers of winter, like the tired green color that the leaves acquire at this time of the year. That dark and leathery green reminiscent of so much tattooed skin one sees these days. I HATE WINTER. There, I’ve said it.

Another thing I hate is when people insist on telling me how nice it is to have season changes. They say it in a moralistic way that implies that those of us who would like nothing better than to live in an eternal summer are somehow lacking in moral fiber. I could give a fuck about season changes. Well, from an ecological point of view, I understand that life on earth would not be possible if there were no season changes, they’re part and parcel of how this planet functions; but that “don’t” mean I have to like it.

If I could move my life (not my “body”, my “life”) to the Tropics, I would do it in a New York minute. Unfortunately, my life also seems to be part and parcel of this so called “moderate climate” environment. ...Time to find my fucking sweaters and start wearing pants... ugh

same old same old

President Obama meets John Roos (left), U.S. ambassador to Japan, in the Oval Office at the White House on Aug. 6. Roos is a Silicon Valley lawyer who had not been to Japan before his appointment — and who raised money for Obama's presidential campaign.

Surprise surprise: Obama is a big fat liar.

Worse, I fear he really is much more of a nothing: he promised a bunch of cool stuff to get elected to an office where he thought he could just sit back and tell people what to do. He figured others would do the dirty work while he continued to bask in the limelight of adoration. I guess that's what community organizing is all about....

Well, other than hackling the congress into coming up with a health care plan that is even worse than the system we currently have (though now he seems to have come up with some bad ideas of his own to hackle them with); he has not done much of what he promised: no move on gay issues, and no move on not kissing the asses of big donors -> Hey, it's whoring (gay and straight) as usual in Washington...

Tuesday, September 1, 2009

what else? tattoos again


I know I’ve waxed "poetic" about tattoos tw ice already on these “pages”. This time: again tattoos, but no more poetry. I’m sick and tired of looking at way too many, what looks like, green ink smudges on people: ugly people, pretty people, little people, tall people, big ol’ fat fucking people. When something becomes this ubiquitous it starts losing any and all meaning.

Although it received an average of only a 2 to 3 star rating on internet reviews, I thought John Irving’s Until I Find You was a beautiful book using the obliteration of a person through tattooing as the centerpiece of its narrative. Yeah, the end, as with most of his novels, is indeed weak; but one does not read John Irving for his endings. The book was art and imbued each tattoo etched on the skin of one of the central figures with meaning. What I see out there is just a lot of ugly crap.

That’s what bugs me the most; the undifferentiated horror vacui of it all. The complete lack of breathing space; and when there is space, the complete disregard for composition, placement, or beauty. The whole thing is starting to offend me from an aesthetic, as well as, from a symbolic point of view. I am feeling claustrophobic, drowning in sea of "green" ink on flesh, with none of it looking any different from the rest. It’s just too easy to get tattoos these days; and obviously too easy to become a tattoo “arteest”.

I wonder if in the future (assuming there is such an animal) some archeologist, excavating the earth looking for signs of early 21st century Homo (certainly not) Sapiens Westernensis, won't find us by searching for heavy metals in the soil where our bodies were buried. At least all this ugly crap will have a purpose, if only as subject matter for some kid's PHD thesis on soil analysis.