Arts & Culture
February 3, 2015 | by Eileen Townsend
Auctioning off the Elvis memorabilia at Graceland Too.
The Absolute Auction of Graceland Too was over in one fell swoop. This past Saturday morning, about a hundred warmly dressed bidders, journalists, and rubberneckers had assembled on East Gholson Avenue in Holly Springs, Mississippi. The auctioneer informed us that the sale was over not even a minute after it began. Everything available—some six hundred items of variously worthwhile Elvis memorabilia—had sold to an unnamed online buyer for the sum of $54,500.
The crowd was visibly distressed at the news. There were groans, shouts of false advertising. The auctioneer, Greg Kinard, an immaculately dressed man of considerable stature, apologized and explained: this was the way it had to be. This was how Paul MacLeod would have wanted it. Kinard thanked everyone for coming out, assured us that there had been no false advertising, and reminded us to pick up one of the pink or blue T-shirts for sale: GRACELAND TOO FOREVER!
Stripped of its lurid speculative detail and Southern Gothic charm, the story of Graceland Too and its ill-fated proprietor, Paul MacLeod, is a sad and simple one. MacLeod was seventy-one when he died suddenly this past July, a victim of undiagnosed and untreated paranoid obsession. He’d spent the last years of his life poor and without family, in a rotting house without running water. His neighbors, for the most part, disliked him, and though he had multiple visitors nearly every night, he died alone and friendless. Read More »
February 2, 2015 | by Evan Kindley
Vanessa Davis is a cartoonist and illustrator living in Los Angeles, the author of the collections Spaniel Rage and Make Me a Woman. Her father was the photojournalist Gerald Davis—last year came Strange Stories, a book commemorating his photography. Selected by the designer Todd Oldham, the images in Strange Stories make a strong case for Gerald Davis as a unique and under-recognized talent, a keen observer of mid to late twentieth-century American life with a wry, playful sensibility that falls somewhere between William Eggleston and John Waters. Late last year, in a busy, light-filled café on Sunset Boulevard, I talked with Vanessa about the book and her father’s life and work.
Your dad was born in New York City. Was he always into art?
He was born in 1940, in Brooklyn, but he grew up in the Bronx. When I was a kid, he would tell stories about growing up and it sounded like a classic 1940s Bronx-Jewish childhood. He played stickball, people called him Slim, he had a girlfriend named Cookie.
I know he went to Baruch College to study petroleum distribution—whatever that is—but at the same time he was hanging around at the New York Times photo library, where my Uncle Danny worked. And after that he took a class at The New School with the photographer Lisette Model. He went to museums all the time, but it just seemed like something that was sort of organic, part of his New York experience. He didn’t live in the world of fine art—being an artist wasn’t part of his identity in a really self-conscious way. But he was very art-minded. Like, he loved the painter Morris Louis, and he used to talk about this one time when he just sat in the Museum of Modern Art and looked at Picasso’s Guernica for an hour. Read More »
January 28, 2015 | by Dan Piepenbring
Two letters from Colette, who was born on this day in 1873, to her friend Marguerite Moreno.
Rozven, mid-September 1924
… I should like to talk earnestly to you about your copy for Les Annales. You still do not have quite the right touch. You lack the seeming carelessness which gives the “diary” effect. For the most part you have approached your gentlemen as though they were so many subjects assigned in class … For one portrait which works—Jarry—there are two others—Proust and Iturri, say—who don’t. They are just not sufficiently alive!
January 26, 2015 | by Dan Piepenbring
Archeologists in Spain have excavated a casket with Miguel de Cervantes’s initials on it, the Associated Press reported earlier today, which may mean that a long search for the author’s remains is finally over.
When Cervantes died, in 1616, he was buried in the Trinitarias convent in Madrid. This arrangement required a special dispensation: Years earlier, when Cervantes was a soldier, his ship had been captured by pirates, and he was held captive for five years. The Trinitarias’s religious order had helped arrange for his safe release, so he asked to be buried there. Read More »
January 21, 2015 | by Terese Svoboda
The budding South Sudanese community in Omaha, Nebraska.
More than a hundred years ago, my relatives emigrated from Czechoslovakia to Nebraska, thus escaping the privilege of becoming fodder for the aristocracy’s canons. Why Nebraska? The railroad advertising pictured illustrations of the thick loam of the prairie, calculated to resemble their homeland’s. The land was theirs for free if they worked extremely hard on it for five years, and many did, and prospered.
This century, the Nuer from South Sudan have immigrated to the same region, but they aren’t so fortunate. Having escaped one of the world’s worst war zones, endured extremely harsh conditions in refugee camps, and traveled eight thousand miles to resettle, the Nuer face poor Nebraska neighborhoods policed by gangs like the Bloods and the Crips.
The Nuer fled fighting in a very remote area in South Sudan, much of it accessible only by boat or on foot. I know. I walked into the region thirty-five years ago, lugging in heavy sound equipment to make a sequel to The Nuer, the highest grossing ethnographic film of the time. The original, from 1971, was extremely beautiful, shot by Hilary Harris, Robert Gardner, and George Breidenbach. It documented the traditional Nuer lifestyle as depicted by E. E. Evans-Pritchard, the British academic who founded the discipline of social anthropology on a study of their culture. The sequel to it was never finished, but I translated and published Cleaned the Crocodile’s Teeth, a selection of their songs, their most complex art form.
Never would I have imagined that people from so far away would move within a hundred miles of my birthplace in Ogallala, Nebraska. So many resettled in the state that it now has the world’s largest population of Nuer outside South Sudan. Had I impressed them with talk of a landscape similar to their own, the way the broadsides had lured my relatives? It couldn’t be—all I’d had to do was mention snow to the Africans and their enthusiasm waned. Originally, resettlement agencies sent the Nuer to rural Minnesota, Virginia, Arizona, California, and upstate New York. They had to establish themselves quickly: all our government gave them was a loan for the plane ticket from Africa, less than three hundred dollars cash, and food stamps. They had to start paying back the loans within six months—a tall order when you’re traumatized by war, not yet fluent in English, and largely unaware of American customs. Through informal cell phone networking, the Nuer converged on Nebraska. Cheap housing attracted them—and openings in the meatpacking industry, that mainstay of immigrant labor. In many Nuer families, both spouses work two shifts. The slaughterhouse was a psychologically difficult workplace, as they had just fled a war that had more civilian casualties than World War II. The slaughterhouse worker I spoke to was bothered by the screams of the half-dead cattle while their hides were ripped off with hooks. You are supposed to wait until the eyes tell you what to do, he said. Read More »
January 19, 2015 | by Dan Piepenbring
A letter from William James to his publisher Henry Holt, sent from Cambridge, Massachusetts, on January 19, 1896.
MY DEAR HOLT,—At the risk of displeasing you, I think I won’t have my photograph taken, even at no cost to myself. I abhor this hawking about of everybody’s phiz which is growing on every hand, and don’t see why having written a book should expose one to it. I am sorry that you should have succumbed to the supposed trade necessity. In any case, I will stand on my rights as a free man. You may kill me, but you shan’t publish my photograph. Put a blank “thumbnail” in its place. Very very sorry to displease a man whom I love so much. Always lovingly yours,