Scary Night

A Great Ruckus on
Grand Concourse

I was called again to the precinct. It’s the second time this month. I’ve already told Willem that whenever he puts up that sort of stunt, not just me but everyone is affected. I don’t mind it myself, but after all, it’s 3 am and I’ve got patients to see tomorrow morning. But as usual, once out, he’ll likely walk away without listening to anybody.
I can’t bring myself to call his brother, because I know that he and his wife are going through a rough patch, and I don’t need to tell who’s the culprit for that. Their relationship took a hit from Williem’s behavior, showing up at all times, usually drunk, and asking for another loan.
No marriage can withstand that kind of interference. In our talks, I always try to drive home this point. At the end of the day, Theodorus is his only relative to not just care about him but also support him financially. Not so much for that, but without his brother, Willem would be done, couldn’t last another crisis.
As for crisis, well, there were so many that after all these years, I’d need to go over my notes to find out how many. On the other hand, I feel sympathy – not pity – for his plight, the demons he faces daily, the horrors that frighten him and prevent him from getting any sleep. This nightmare-induced insomnia only aggravates his state.
And then, of course, there’s his creative genius, his fury which cuts him off from everyone. To tell you the truth, he scares people away, especially when brandishing threateningly his brushes against the canvas. It’s his armory, to avoid getting hurt but go tell this to those he insulted and yelled at. They’re quite a bunch.

In the end, few get him. To them, his work is offensive, almost pornographic in its distorted colors and shapes. I understand; it’s not easy to appreciate his paintings for what they are, peasants, flowers, landscapes, and stars, but depicted through fouled traces and exacerbated emotions. They’d rather have romance, reassurance in art. Just between us, folks can be boring, but that’s just my opinion.

II

When we talk, his solitude always comes up. That’s when I truly feel sorry for him. Compassion, even, for no young gal, on her right mind, would put up with such a caustic personality, without being crushed. That’s why, despite the obvious risks to his health, I pretend I don’t mind his habit of sleeping with prostitutes.

For only angels like them can offer comfort and company to such an afflicted soul. At the same time, he’s always getting into trouble, fistfights and drunken stupors, let alone that he spends what he doesn’t have in those sinful nights. Willem has no sense of restraint and is absolutely oblivious to the concept of saving money to pay rent, or even food the following day.
Anyway, I’m here, waiting for Inspector Rolland, who at this point is an old ally. He’s been extremely patient but every time I come, I’m afraid that it’s the moment of rupture when he’ll finally throw the book at Willem. No wonder. He’s been through so much with his superiors, as he always lets such a ‘rowdy dopey,’ as they call him, walk without bail.
A few moments and Rolland brings him over. Disheveled, bloated, covered with the dirty blanket cops who arrested him had given him. This time, he was naked near the Reservoir, doing heaven knows what. I know he’s harmless, incapable of hurting a fly but would believe it?
That is, as long as you don’t pick a fight with him when he’s under the weather. But usually, he’s the kind that directs his anger against himself, which is sad. I’m always afraid of the worst. Thankfully, coming from him, I’m used to be prepared, sort of, and brought him a change of clothes; this is neither the first nor will be the last time that he strips in public.
To him, it’s not even ‘public,’ as in exposing himself. It’s more like an attempt to get himself rid of the chains he imagines (more)
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Stanley Cubic

Kubrick, Who’d Have Been 90 & the   
Odyssey to a Future That Never Was

A New Yorker who spent most of his life in the U.K., Stanley Kubrick had been an accomplished photojournalist before his movie career as a director took off. His 1946 series for Look magazine, Life and Love on the New York City Subway, displays the same keen eye and compositional style that would mark his filmography later on.
In just a few years, the man who would say at one point that ‘the most terrifying fact about the universe is not that it is hostile, but that it is indifferent.’ went on to become anything but, with a string of now classics, such as Path of Glory, Spartacus, Lolita, Dr. Strangelove, 2001, A Space Odyssey, and A Clockwork Orange, to name a few.
Today, when he would’ve become 90, Stanley Kubrick is intrinsically connected with the future that he realized with his movies, more than anything he’s ever envisioned. And that’s no small feat for such an overachiever. Even as he just missed the dawn of the iconographic year that named his sci-fi masterpiece, much of what he and Arthur C. Clarke anticipated is finally rising on the horizon of our times.
Not that we should feel too nostalgic about the future that could’ve been, with its interstellar travel, and dreams of finally understanding our evolutionary connection with the ‘indifferent’ universe surrounding us. We’re actually lucky that another one of his disturbing dystopias of what may lay ahead, A Clockwork Orange, based on an Anthony Burgess book, hasn’t quite materialized. Yet.
Before going back to those pictures of a post-war Manhattan, and to a few interesting audio and visual tchotchkes about Kubrick we’ve found on the Internet, let’s do him some justice. For even at the heart of his enormously challenging techno-futuristic visual parables, there was his deeply humanistic option for a different construct of our own fate.
From his anti-war trilogy of sorts, Paths of Glory, Dr. Strangelove, and Full Metal Jacket, to his portraits of individuals at odds with an all too powerful system, either stoically like Spartacus, or as a crook, like Barry Lyndon, or even one succumbing to his own creeping madness, as in Stephen King’s The Shinning, Kubrick remained faithful to his non-religious but highly moral Jewish working class roots.

RIDING THE UNDERGROUND
The Museum of the City of New York has some 40 thousand negatives that the young photographer took of Manhattan in the 1940s. Some of his pictures are so cleared eye they could’ve been taken now. Subway riders fast asleep, hanging from the overhead bars, or with their faces buried in newspapers. Yes, you could make that iPhones, but the underlying content would be the same.
Calling him Stan Kubrick, the Camera Quiz Kid, Mildred Stagg wrote in 1948 about ‘the boy who said that had turned nineteen a week ago, and has been a staff photographer for Look magazines since age seventeen.’ And registered the kid’s own impressions about (more)
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* Checking In
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