EthicalDative

Calling All Cat Ladies

Posted on August 18, 2024 by JMN

What My Cat Teaches Me

Crouch.
Then
Pounce.

In
That
Order.

Posted in Anthology | Tagged doggerel, language, miscellaneous | 12 Comments

A Carton of French Fries Walks Into a Bar

Posted on August 16, 2024 by JMN

This is the latest specimen in The New Yorker’s cartoon caption contest that has run for centuries. I’ve never come close to inventing a caption for an entry in this feature, but it fascinates me for what it often shows of how much of a good cartoon’s payload is packed into the drawing itself. Adding words can feel like gilding the lily. Not that I discourage the contest. The winning caption is always witty and apt. I often wonder if the cartoonist has a caption in mind in the course of drawing?

I’ve looked at the above cartoon multiple times and have kept laughing. What I see is a cranky French fry carton laden with cargo — a working stiff — who has ducked into his neighborhood watering hole to be poured a pick-me-up shot of Heinz ketchup in a condiment cup by the barkeep. Hitting the sauce is a common failing in his line of work. He’s on his way to… well, being emptied out unceremoniously and discarded. That’s the job. Even though I’m someone who tries to put diffuse, anomalous things into words, I haven’t the foggiest idea for a good caption.

Posted in Commentary | Tagged art, cartooning, drawing, humor | 3 Comments

‘I Said Hello. Then You Said You Said Hello’

Posted on August 13, 2024 by JMN

“Ojo de puta cabra,” colored marker on paper (JMN 2024).

I’m guessing you think there’s a typo in my heading. I know! The use of repetition in “The Renaissance,” a poem by Trey Moody (Poetry, May 2024), was a hook for me. The thirteen-line poem starts here:

I said hello. Then you said you said
hello. In this way, we were touching touching
clouds. […]

The doing of an act turns into a report of its doing or having been done — sort of. Actions are limned through an after-thoughtful lens — sort of. (I call this the “sort of” technique for understanding a poem.) A self-referential quality in the saying of saying partakes of mannerism in a winning way.

“Touching clouds” touches me. The thing I most wanted to paint as a kid on the hot flat Gulf of Mexi-Coast was clouds. The shrimp boats were picturesque, the curvaceous dunes aroused me, but the clouds drew me — so suffused with ineffable light I despaired of brushing them.

Rhetorically, note the canny enjambment of the repetitions in the poem. It lends the device both latency — postponing the complement — and the call-to-attention that comes with end of line. The maneuver is carried through to the very end:

[…] Usual, you map the passing time
in the shape of a cumulonimbus. I say how quiet quiet
can be when your face is this close to the painting.

“I say how quiet quiet can be” prepares a delicious reveal: The speaker and spoken-to are in intercourse with painting! That adjective “Usual” is inscrutable to me. What does it modify?

Perversely, I’ve quoted the beginning and the end of the poem. There’s enough going on in the middle to make your head spin. The poem makes enigmatic statements that are striking, abrupt and sort of intelligible, as poetry does.

[…clouds.] Such mannerisms endured throughout
the sixteenth century, when bread was scarce, words
for clouds scarcer. Of course we were younger
then, when all the lakes we wanted belonged
to the aristocracy, so we swam in nothing
but our suffering. As they do, centuries passed.
We kept thinking there were only so many ways
to light a fire. Now, it’s just as likely you’ll call
after a Sunday dip. [Usual …]

Posted in Anthology | Tagged language, painting, poetry, reading | 2 Comments

‘Just About Everyone Needed Therapy’

Posted on August 11, 2024 by JMN

Hospital staff members, children and patients during a day trip near the Saint-Alban Psychiatric Hospital, circa 1950. Credit… Baldran Collection, Saint-Alban-sur-Limagnole. [New York Times caption and illustration]

“Gathering, touching, connecting — these are Tosquelles’s methods.”

This article highlights an exhibition at the American Folk Art Museum in Manhattan that will end on August 18, 2024:

Francesc Tosquelles: Avant-Garde Psychiatry and the Birth of Art Brut.

The Catalan doctor Francesc Tosquelles was “a psychiatrist who spent decades dismantling the hard bars between illness and health, pathology and normalcy, artists and everyone else. He drew on Freud and Marx, and also on his experience as a refugee, in exile from Franco’s fascist Spain.”

Auguste Forestier’s sculpture “Untitled (Boat),” 1935-1949, opens the exhibition at the American Folk Art Museum. Credit… CNAC/MNAM, via RMN-Grand Palais/Art Resource, NY. [New York Times caption and illustration]

Against the historical trauma of fascism, war and displacement, Tosquelles built radical psychiatric practices around non-hierarchical relations between patients, doctors and their neighbors… He also encouraged his patients’ creativity, which put him at the confluence of Modernist avant-gardes and Art Brut. All these ideas converged at a psychiatric hospital in Saint-Alban, a small village in southern France, where Tosquelles worked from 1940 to 1962.

Marguerite Sirvins, “Landscape With Boats, Hunters, and Animals,” circa 1944-1955, rayon thread embroidered on fabric. Credit… Musée LaM. [New York Times caption and illustration]

Tosquelles also instructed his colleagues in psychoanalytic concepts and trained local people in basic psychiatry. With fascists on the march and decades of unthinkably brutal war, it seemed clear to Tosquelles that just about everyone needed therapy. If the affliction is social, he reasoned, the treatment must be too. [My emphasis — JMN]

”Untitled (Known as ‘Myrllen’s Coat’),” circa 1948-1955, a cloak covered in pale blue curls, heart-shaped groups of figures and illegible letters, made by a woman named Myrllen. Credit… Tennessee State Museum, Nashville. [New York Times caption and illustration]

The story behind “Myrllen’s Coat” is poignant:

Its maker, a woman named Myrllen, reportedly experienced symptoms of schizophrenia, and was one of the first Americans prescribed Thorazine. Her harrowing hallucinations subsided, but so did her desire to sew.

(Travis Diehl, “The Avant-Garde Psychiatrist Who Built an Artistic Refuge,” New York Times, 7-22-24)

Posted in Commentary, Quotations | Tagged art, neurodivergence, society | 5 Comments

Break Out the Tiny Fiddle, But Have Some Heart, Too

Posted on August 9, 2024 by JMN

The IOTD (illustration of the day) is by Ben Wiseman of the New York Times.

She had the effrontery to burden the critics with her good looks. I speak of Yvonne Furneaux.

In a review of a 1955 production of Jean Giraudoux’s “Ondine,” the august British theater critic Kenneth Tynan wrote Ms. Furneaux off as a “buxom temptress” who was “more impressive in silhouette than in action.”

The Daily News of New York described her in a 1958 headline as an “English peach.”

The Australian writer and film critic John Baxter noted her “considerable ability to cringe, flinch and moan.”

Furneaux found at length two Italian “lions of cinema,” Fellini and Antonioni, who allowed her acting prowess to blow past the testicular japes triggered by her allure. She’d taken an Oxford degree in modern languages, and spoke five of them. Studied acting at the Royal Academy. Earned roles in Italian, French, West German and Spanish films. Was married to cinematographer Jacques Natteau for 45 years until his death in 2007. Is survived by a son, Nicholas.

Is living well and long the best revenge? Yvonne Elizabeth Scatcherd was born into privilege saddled with looks and talent. But the blessings of beauty and longevity aren’t necessarily without cost. She seems to have shouldered her condition gracefully: Asked later in life which country had the biggest impact on her, Ms. Furneaux responded: “Italy. Because England taught me everything, but Italy gave me everything.”

(Alex Williams, “Yvonne Furneaux, Cosmopolitan Actress in ‘La Dolce Vita,’ Dies at 98,” 8-2-24)

Posted in Commentary, Quotations | Tagged film, language, screen | Leave a comment

‘More Than 90 Percent of Them Were Loaded’

Posted on August 6, 2024 by JMN

“Last year the [U.S.] Transportation Security Administration intercepted a record number [of firearms] at airport security checkpoints: 6,737. More than 90 percent of them were loaded when they were discovered.”

(Andrew Keh, “An Olympian’s Awkward Packing List: Toothbrush? Check. Rifle? Check.” New York Times, 7-23-24)

Posted in Quotations | Tagged miscellaneous | 3 Comments

Survival of the Fiercest

Posted on August 4, 2024 by JMN

In “Marcos and His Cronies,” 1985–95, Pacita Abad depicts the former Philippine president and dictator Ferdinand Marcos and his cabinet members as fearsome, fanged demon masks. Credit… Kris Graves/MoMA PS1. [New York Times caption and illustration, from Andrew Russeth, “Stitch by Stitch, Pacita Abad Crossed Continents and Cultures,” New York Times, 8-1-24]

Various scriptural matter I read has the theme of the “test” through adversity. Failing the test consigns a person to The Fire — agony until the end of time. Flood, drought, pestilence, persecution, war, Vance, all manner of affliction are to be met with fierce resignation, fierce resolve, fierce piety.

The theme cuts across too many competing revelations for it to be shrugged off as scaremongering. Where there’s smoke there’s Vance. It goes with the requirement that certain beliefs be believed, contingent on knowing certain knowledge conveyed in certain writings via certain spokespersons deputized by an omniscient.

The thesis that belief comes through right knowledge is potent, but what about wrong knowledge? It, too, can foster belief. Is there “true” versus “false” belief? Which is which, and says who? One man’s heresy is another man’s gospel. What, truly, is “ignorance” anyway? Absence of truth? Presence of Vance?

There’s usually an evil angel known as Whore of Babylon on hand, but don’t listen to him (remember The Fire). Whore’s job is to sow seed of Vance in the vineyard, and he’s damned good at it. I dunno. Maybe Louisiana’s law to display the Ten Commandments in public schools can keep that Whore at bay.

Posted in Anthology | Tagged art, language, miscellaneous | 4 Comments

Foggy escalator.

Posted on August 4, 2024 by JMN

This is my photo of the day (POTD), and my favorite title ever of a photograph!
Foggy escalator.

Posted in Commentary | Tagged language, photography | 5 Comments

The Few, the LOUD

Posted on August 1, 2024 by JMN

“Forms Arranged Against a Wall,” oil on watercolor paper, 21 x 27 in. (JMN 2024).

The elbow room in ivied halls of bard rapture
Has the vastness of atomic space.
Let ring lute! — Recorder, mandolin and dulcimer.
Let move your lips with mine while reading silently.
Let BE our noise! Be louder than it sounds!

A sub-segment of an elite reads literature; a subset of the sub-segment reads poetry. It’s a fit state of affairs for proud stragglers, fringe element, crowd-shy obsessives — the ones who weather linear monsoons, whom verse can bother.

Posted in Anthology | Tagged doggerel, painting, poetry, reading | Leave a comment

‘Plastic Is This Zombie Medium’

Posted on July 30, 2024 by JMN

Darling’s “March of the Valedictorians,” on display in the Arsenale during the 2019 Venice Bienale. Credit… Laura Chiesa/Pacific Press, via Alamy. [New York Times caption and illustration]

Verse can have visual ramifications as well as verbal ones. Text commandeers white space on the page in one-off patterns reflecting a close collaboration between author and typographer. The ensemble is larger than the words which are its literal medium. The reader-viewer is granted leeway to court speculation and draw bespoke conclusions as to what they mean.

I’m emboldened to invert the analogy and call Jesse Darling’s lofty chairs a visual poem. I get a kick out of the Turner Prize laureate’s “March of the Valedictorians,” not least for its title, but also for its send-up of the hard-charging achiever class by a salutatorian wit.

[Darling] learned how to weld and began creating his found-object installations, guided by associations he made between the materials and their historical and economic contexts… “Plastic is this zombie medium,” he said, because it does not decompose and is made from fossil fuels derived of dead organic matter. “Steel is a technology of empire that enabled guns, the colonial project.”

(Thomas Rogers, “He Won the Turner Prize. But Does He Still Want to Be an Artist?” New York Times, 6-6-24)

Posted in Commentary, Quotations | Tagged art, language, poetry | 7 Comments