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Arts & Life
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- Written by: Kwame Dawes
Kimberly Blaeser’s creed “What I Believe,” unfurls as a series of loaded riddle-like koans that lend themselves to meditative practice.
For her, the cost of faith and belief is a commitment to personal reflection and not the giving of “indulgences.”
At the heart of these reflections is a productive relationship between the human body and nature, and yet, in the end, there is a wonderful expression of the connections that exist between the living and the dead, and the spirits that populate our seen and unseen worlds: “…and that eyes we see in water are never our own.”
Sometimes a poem, like a prayer, rewards the ritual of repetition. This is such a poem.
What I Believe
By Kimberly Blaeser
after Michael Blumenthal
I believe the weave of cotton
will support my father's knees,
but no indulgences will change hands.
I believe nothing folds easily,
but that time will crease—
retrain the mind.
I believe in the arrowheads of words
and I believe in silence.
I believe the rattle of birch leaves
can shake sorrow from my bones,
but that we all become bare at our own pace.
I believe the songs of childhood
follow us into the kettles of age,
but the echoes will not disturb the land.
I believe the reach of the kayak paddle
can part the blue corridor of aloneness,
and that eyes we see in water are never our own.
American Life in Poetry does not accept unsolicited manuscripts. It is made possible by The Poetry Foundation, publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska-Lincoln. Poem copyright ©2019 by Kimberly Blaeser, “What I Believe” from Copper Yearning, (Holy Cow! Press, 2019.) Poem reprinted by permission of the author and the publisher. Introduction copyright ©2022 by The Poetry Foundation. The introduction’s author, Kwame Dawes, is George W. Holmes Professor of English and Glenna Luschei Editor of Prairie Schooner at the University of Nebraska.
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- Written by: Tim Riley
‘THE BAD GUYS’ Rated PG
Animated films have mostly lost their luster and appeal, at least from my perspective in recent years. For instance, Disney’s animated films too often appear to be a variation of the same style and themes.
This, of course, is just a matter of opinion which you may discuss among yourselves. My recent general avoidance of animation may be skewed by perception of missing innovation.
That’s why it’s so refreshing and original that DreamWorks Animation has delivered a true family-friendly entertainment with “The Bad Guys” that everyone on the age spectrum is able to enjoy.
The bad guys are dashing pickpocket Mr. Wolf (Sam Rockwell); slithering safecracker Mr. Snake (Marc Maron); master-of-disguise Mr. Shark (Craig Robinson); short-fused “muscle” Mr. Piranha (Anthony Ramos); and Ms. Tarantula (Awkwafina), the sharp-tongued expert hacker.
This quintet of crackerjack criminals has a deserved reputation as irredeemable animal outlaws that have managed to strike fear in the citizenry and exasperate law enforcement, particularly excitable police chief Misty Luggins (Alex Borstein).
Things take a turn when after the gang is caught, the dapper, ultra-smooth Mr. Wolf brokers a deal with the foxy Governor Diane Foxington (Zazie Beetz) to avoid prison with the most-wanted villains putatively deciding to go straight.
Mr. Wolf’s deal doesn’t sit very well with the crew, but now under the tutelage of Professor Marmalade (Richard Ayoade), an arrogant guinea pig with a British accent, the bad guys will have to pretend at least to mend their ways.
How will it be possible for these hardened criminals who have terrorized the city for so long be able to reform their behavior? Will these dastardly criminals avoid a potential recidivism?
Complicating matters is the tension that arises between Mr. Wolf’s wanting to do good while his pals remain subversively tied to planning heists as if they were the lead characters in “Ocean’s Eleven.”
The fun in “The Bad Guys” comes from the wise-cracking animals who take so much pleasure in their capers and how they torment the police chief, as well as the high-speed chases in Mr. Wolf’s vintage muscle car.
The fast pace of “The Bad Guys” is exhilarating and the gags are funny. Tune in to experience the joy and find out if the bad guys finally redeem themselves.
TCM CLASSIC FILM FESTIVAL REPORT
For the TCM Classic Film Festival, movies of the 1940s and 1950s on display may not necessarily be classics in the mold of “Casablanca” or “Giant,” but in the case of “Queen Bee” and “The Letter,” they offer an insight to the draw of iconic actors.
In an introduction to “Queen Bee,” writer and filmmaker William Joyce noted the checkered career of star Joan Crawford went from being the “high priestess of glamor” to “box office poison” before reinventing herself for the classic “Mildred Pierce.”
Though it received mixed reviews in 1955, “Queen Bee” is a gem for showing Joan Crawford at her best and her worst in this lurid melodrama as she deliciously flaunts her wiles with an amusingly vicious streak.
As a Southern matriarch out to keep her former lover Jud Prentiss (John Ireland) from marrying her sister-in-law (Betsy Palmer), Crawford’s Eva Phillips is evil personified.
Eva thrashes one rival’s bedroom and uses the engagement party to reveal her past affair. Does her ruthless skewering actually lead one of the leading characters to suicide?
Joan Crawford’s manic energy as the noxious shrew leads her to dominate every scene, and as William Joyce so aptly observed, her character “descends to devour everyone in the movie.”
Arguably, Joan Crawford takes a serious approach to her character’s mean traits that drove her husband to alcoholism and bitterness. From a contemporary viewpoint, her performance looks like a generous helping of delightful “camp.”
Bette Davis was another strong actress with a stellar career who made several films directed by William Wyler, with whom she had a romantic and professional relationship according to Kathryn Sermak, the cofounder of the Bette Davis Foundation.
In an introduction to 1940’s “The Letter,” Sermak observed that star Bette Davis was an actor from the old school who created her character from within her persona. Fittingly, Davis was known to have respected Joan Crawford.
An emotionally potent film, “The Letter” showcases Davis in a stellar performance as Leslie Crosbie, an upper-class woman who pumps six bullets into a lover and then spends the rest of the film lying to cover her real motive.
Though claiming self-defense, Leslie is arrested for murder and her husband Robert (Herbert Marshall) hires attorney Howard Joyce (James Stephenson) to defend her.
Predictably enough, blackmail and intrigue beset the trial. The lawyer uncovers an incriminating letter that casts serious doubt on the veracity of Leslie’s story of victimhood.
“The Letter” may not rise to the level of vintage film noir, but a dark tale of murder and adultery is about as good as it gets when stirring the pot with a heavy dose of duplicity and conspiracy. An icon of that era, Bette Davis delivers the goods.
Tim Riley writes film and television reviews for Lake County News.
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The Art of Collecting: New Additions to the Grace Hudson Museum explores the variety of items collected by the museum and provides context for how it curates them.
The show, which began in February, runs through Sunday, May 8.
Supporting a rich and often complex story about both Grace Hudson and the region’s Pomo peoples — the original inhabitants of southern Mendocino County — the museum’s holdings include an array of Hudson’s artwork, Pomo basketry and material culture, and an archive of historic photographs, letters, and documents tied to the Carpenter-Hudson family.
“This new exhibit will strengthen and further highlight the significance of our city’s beloved museum, while shining light on Grace Hudson’s artistic achievements, and the history and culture of Pomo peoples,” said Ukiah Mayor Jim Brown. “I’m certain our residents, and visitors from around the country and world, will greatly appreciate and enjoy it.
A cornerstone of the exhibition are 16 Hudson paintings that were gifted late last year by the Palm Springs Art Museum in Southern California, where the paintings previously resided for decades.
“We believe Hudson, as an artist and a woman, to be a significant figure in the history of art in California and beyond,” said Adam Lerner, the JoAnn McGrath executive director/CEO at the Palm Springs institution. “With our gift, we are able to better serve her legacy, while at the same time continuing to appropriately represent her work in our own collection.”
Costs of transferring the paintings to Ukiah were secured by the Grace Hudson Museum via a generous grant from the Miner Anderson Family Foundation in San Francisco, which believed in bringing the works back to the place where they were originally created.
“We were surprised and thrilled when Palm Springs first approached us about gifting us the paintings,” said David Burton, director of the Grace Hudson Museum. “We are enormously grateful to Adam, the staff, and the trustees at Palm Springs Art Museum, and also to the Miner Anderson Family Foundation. In addition to the gift, Palms Springs is also providing two other Hudson paintings to us on long-term loan. We are very excited to share them with the public, along with our recent acquisitions.”
Visit the museum online at https://www.gracehudsonmuseum.org/.
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- Written by: Kwame Dawes
Eric Pankey, in his poem, “In Such a Way That,” participates in one of the rituals practiced by poets the world over — the marking of the changing seasons.
The transitions from winter to spring, from rainy-season to dry-season, from monsoon to autumn and from harmattan to spring, are announced with poems rich with intimations of beginnings and endings.
This poem borrows, with subtlety, from the biblical canticles and psalms associated with the vespers, invoking gratitude and confession in a space where contradictions and “double assignments” (entanglements and lodgings, shelters and staging grounds) abound. In the end, there is some comfort, for Pankey, in the changing seasons and in these remembered prayers.
In Such a Way That
By Eric Pankey
Winter ends with a miscellany’s logic: a leaden horizon,
A narrow but unbridgeable distance.
Stolen moments are exchanged for isolated hours,
Elaborate entanglements, a lodging.
One’s suitable room fulfills a double assignment
As a stage and shelter. The heady pollen of stargazer lilies
Covers the bureaus, the desktop, and end tables.
Beyond the window, the sacred mountain
Is depleted of snow. On a frequency
At the far end of the dial, one can hear
Vespers, and recall the little Latin one learned long ago,
Knowing even then it would come in handy
American Life in Poetry does not accept unsolicited manuscripts. It is made possible by The Poetry Foundation, publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska-Lincoln. Poem copyright ©2020 by Eric Pankey, “In Such a Way That” from The Georgia Review, Winter 2020. Poem reprinted by permission of the author and the publisher. Introduction copyright ©2022 by The Poetry Foundation. The introduction’s author, Kwame Dawes, is George W. Holmes Professor of English and Glenna Luschei Editor of Prairie Schooner at the University of Nebraska.