Dear Korrektiv: I’m grateful you took
Me onboard. Soft! — One last, longing look….
If I have a successor,
God bless him or bless her!
(Now I’m just one more everyday schnook.)
Archives for April 2012
Dear Korrektiv: I’m grateful you took
Whether you pray the Rosary frequently, occasionally, seldom, or never, I cannot recommend this link highly enough.
Whether you find the Rosary powerful, soothing, meritless, or counterproductive, I cannot recommend this link highly enough.
With 31 short pieces — one for each day of October, the Month of the Rosary — you’re almost certain to find something practical — or at least, interesting. Some present venerable traditions; others are inventions or observations by the author. Many of them are suggestions about how to think through the Mysteries in greater depth — imagining what a specific person involved in the mystery would have experienced, say; or comparing two or more mysteries (e.g., Christ’s crowning with thorns and Mary’s crowning as Queen of Heaven and Earth); or seeing how a given mystery exemplifies a given virtue.
Our coreligionist Dana Gioia — ex-General Foods executive, ex-NEA chairman, really good essayist/critic, pretty good poet — has a book due out next Tuesday, the 8th of May: Pity the Beautiful. Here’s one of the poems, which, though not one of his very best, takes a feeling I’ve felt while browsing through liturgical art in museums, and gives it an extra twist. I bet at least one or two of you out there can sympathize:
I am the Angel with the Broken Wing,
The one large statue in this quiet room.
The staff finds me too fierce, and so they shut
Faith’s ardor in this air-conditioned tomb.
The docents praise my elegant design
Above the chatter of the gallery.
Perhaps I am a masterpiece of sorts—
The perfect emblem of futility.
Mendoza carved me for a country church.
(His name’s forgotten now except by me.)
I stood beside a gilded altar where
The hopeless offered God their misery.
I heard their women whispering at my feet—
Prayers for the lost, the dying, and the dead.
Their candles stretched my shadows up the wall,
And I became the hunger that they fed.
I broke my left wing in the Revolution
(Even a saint can savor irony)
When troops were sent to vandalize the chapel.
They hit me once—almost apologetically.
For even the godless feel something in a church,
A twinge of hope, fear? Who knows what it is?
A trembling unaccounted by their laws,
An ancient memory they can’t dismiss.
There are so many things I must tell God!
The howling of the dammed can’t reach so high.
But I stand like a dead thing nailed to a perch,
A crippled saint against a painted sky.
Gioia’s also done a double-triolet, if you can believe that.
His interviews are always worth reading, and the ideas he expresses seem quite kongenial to Korrektiv. He knows a thing or two about trying to arrange marriages between money and art, and about cultivating patronage. He is a member of two groups — believing/practicing Catholics, and cultural Catholics (he’s of Sicilian and Mexican descent), and envisions a Catholic presence in American arts and letters that includes both groups. We might say he is interested not only in Catholic writers, but in Catholicish writers. JOB’s writing on Seamus Heaney has a similar spirit.
Here’s a short and pointed poem to punctuate this rambling post.
So much of what we live goes on inside–
The diaries of grief, the tongue-tied aches
Of unacknowledged love are no less real
For having passed unsaid. What we conceal
Is always more than what we dare confide.
Think of the letters that we write our dead.
Well, now, this bodes well indeed…
But Angelico, you left out the best part:
“Probably the press were the only people to be taken in by Bruno Hat. Certainly, everyone at the private view knew what was happening; Bryan Guinness remembers: ‘it seemed to me a charade rather than a hoax since everyone appeared to be in the secret. Nobody betrayed it: to some extent the hoaxers were perhaps hoaxed in thinking anyone deceived.”
On one side of my family: Huguenot refugees, who settled in America to escape the power of Catholic France.
On the other side: Minh Mang, aka the ‘Nero of Indochina’, scourge of Vietnamese Catholic converts and missionaries.
Gives a certain frisson to the singing of ‘Faith of Our Fathers’, let me tell you.
When pranksters create internet hoaxes for fun – or for profit – it becomes difficult to trust what we read or see online.
Jokers and for-profit marketing companies are now devising elaborate online hoaxes, taking advantage of the in-built desire among consumers and media outlets to believe what they really know is unbelievable.
Hacking giant video monitors in New York’s Times Square? Kanye West launching a web startup? Fakes like these are just about believable enough.
Fakes that are just believable enough? Sounds familiar….
In the accompanying video, one of the kids behind the ‘Kanye West web startup’ hoax explains why he dragged Kanye West’s name into his little personal prank: ‘We realized this would probably only be funny to us and our friends, and so we need a name bigger attached to it’ — which sounds very familiar… very VERY familiar. Am I right, friends?
But the Korrektiv Konnektions don’t stop there. About halfway through the video, a professor type mentions that Evelyn Waugh and friends staged a fake art exhibit in London in 1929! Did everyone else know that already? I didn’t know that.
This celebrated hoax involved all the leading social figures of the time, and was the brainchild of Brian Howard, the effete socialite dilettante, upon whom Evelyn Waugh modelled the languid Anthony Blanche of Brideshead Revisited. Flushed with the success of his twenty-fourth birthday party, a ‘Great Urban Dionysia’ with Greek mythology as its theme, Howard then dreamed up a project that would not only be a good prank, but might also serve the dual purpose of launching him as an artist.
With his great friend Bryan Guinness, who was at that time married to Diana Mitford later to become the wife of Oswald Mosely, he carefully planned an exhibition of paintings by an imaginary artist. The show opened on July 23 1929 at Bryan Guinness’ house at 10 Buckingham Street, London SW1, advance information having been leaked to the press. Lady Eleanor Smith was suitably duped when she reported in the Sunday Despatch: ‘BRUNO HAT. What will be almost a cocktail party, is the private view of the exhibition of paintings by Bruno Hat to be held in London next week. Bruno Hat is a painter of German extraction, and his work is mainly of the abstract type, seemingly derivative from Picasso and De Chirico….’
This natural, intuitive modern artist was in fact Tom Mitford, Bryan Guinness’ brother-in-law in heavy disguise and with a very affected German accent, who sat in a wheelchair and answered questions during the packed private view.
And Waugh himself even wrote an introduction to the exhibition catalogue, called ‘Approach to Hat’:
Now everyone is aware that what has come to be termed “abstract” painting has only just begun to be “taken seriously” in England. Some years ago Mr. Roberts and Mr. Wyndham Lewis achieved a certain success in that direction, but the acknowledged masters, such as Picasso, Gris and, perhaps, Marcoussis, have only recently found a market in this country. Artistically, we are incurably unpunctual.
The painting of Bruno Hat presents a problem of very real importance. He is no Cezanne agonisedly tussling to reconcile the visual appearance of form with his own intuitional perception of it. Like Picasso, he creates it. Though the experienced eye can see at a glance that his work is entirely free of Picasso’s influence, it is to that artist that we go so far as to compare him. Picasso is the greatest painter of our time for one reason: this reason is that he is the most inspired of all the creators of abstract pictures. Those experts who have seen Bruno Hat’s work definitely accredit him with a similar power, developed, because of his youth only, to a less degree. The significance of this cannot be sufficiently stressed. It means, among other things, that Bruno Hat may lead the way in this century’s European painting from Discovery to Tradition. Uninfluenced, virtually untaught, he is the first natural, lonely, spontaneous flower of the one considerable movement in painting to-day.
Hitherto, good abstract painting has been the close preserve of its Hispano-Parisian discoverers. Bruno Hat is the first signal of the coming world movement towards the creation of Pure Form.
And that got me thinking… and thinking… and thinking…
GET THEE BEHIND ME, SATAN!