Tag: America

TIFFANY?

~ Jnana Hodson ~ 1 Comment

From the pews in the sanctuary, the five stained-glass windows over the altar appear curiously bland in contrast to the two vast arrays to the left or the rear. Only if you cross into the chancel and catch a glint of sunlight might you sense something quite different is at hand before you.

That’s how I first noticed that unlike traditional stained glass, none of this set had been enhanced by paint. All of the color was in the glass itself, yet there were no muddy patches where colors overlapped, as might be expected while mixing pigments. Some of these resembled Impressionist painting or bookmaker marbling. Moreover, when direct sunlight hit some of the pieces, the color blazed with gold or copper or fine jewels.

Look at that gold blazing.
Look at that gold blazing.

 

A little context.
A little context.

Could it be? I’d heard that one reason Louis Comfort Tiffany obtained such incredible effects in his work was that he used such materials in his glass. For starters, the only way to get a gold color is to use gold.

As I started to seek documentation, some fascinating connections appear.

As it turns out, the Tiffany Glass Company and its successor, Tiffany Glass and Decorating Company, created thousands of ecclesiastical church windows. Many of these were designed and executed by his studio, rather than Tiffany himself, but they would nonetheless bear his stamp and influence.

Tiffany’s 1890 Hay Memorial at Emmanuel Episcopal in Pittsburgh presents some striking similarity to the set at the 1895 St. John’s Methodist in Watertown, Massachusetts.

A simple design.
A simple design.
Such a range of colors, shifting with the light.
Such a range of colors, shifting with the light.

Both are narrow arched windows with greenish bottom panels ringed in copper tones. The central cross resembles the crosses at Watertown. And the mention of Tiffany’s love of exotic Oriental painting and his travels in northern Africa might explain the two Watertown windows dominated by palm trees.

The Watertown congregation originated in 1836 in the Whitney family home, and they remained active supporters at the time the 1895 stone building was erected. Their David Whitney Jr. relocated to Detroit as a young man, quickly became that city’s wealthiest resident, and built an 1894 mansion that still features its elaborate Tiffany windows.

Finally, I run into the pastor as he’s leaving his office. I pose the question, “Tiffany?”

“Technically, no.”

“His studio, then?”

“Yes.”

Regardless of the creator’s name, these five windows are marvelous, especially when struck by sunlight. Unfortunately, their placement on the west side of the building means the Sunday morning worshipers would not get to view them at their best.

Vespers, anyone?

Three of the five windows around the chancel in late-afternoon sunlight.
Three of the five windows around the chancel in late-afternoon sunlight.

CHURCH WINDOWS

~ Jnana Hodson ~ 5 Comments

I’ve long joked that our Quaker meetinghouse has the prettiest stained-glass windows in town. That’s because they’re clear, looking out to the hardwood trees surrounding the grounds and all of the seasonal changes. The colors are those of snow and ice, spring greening, fog, mist, rainfall, autumn foliage. Admittedly, the new synagogue, with its view over a hillside to forest beyond, and the Methodists, at the edge of a millpond, can make rival cases. I’ll plead to being partial.

Crucially, though, transparent windows remind us of the world beyond the house where we sit in worship, a reflection of our awareness that our faith is a constant part of our various daily life activities. They remind us as well of the powerful rhythms of nature and God’s creation.

On the other hand, most congregations – including the Evangelical United Brethren of my childhood – gather within rooms of filtered light cast by stained-glass designs. I was puzzled by it then, and remain so today. Yes, I know the colored windows of the great medieval cathedrals were illustrated storybooks for the illiterate populace, but what I encountered always felt second-rate and often mildewed. Few individuals, I suspect, could say much of anything about the event being depicted or express any understanding of the decorative filling. Pointedly, the translucent windows cut off any view beyond the room. Perhaps the intention is to create a holy space – one set apart from normal life; perhaps, too, this hints at eternity as a departure from the landscape we know. But a shady or even creepy quality always seemed to lurk in the shadows. This is, I will note, quite different from the icon-based frescoes of Eastern Orthodox custom.

Apart from a few December afternoons at the National Cathedral in Washington, when I finally experienced the dazzling sunlight through the windows and recognized how Rose windows earned their esteem, my encounters with stained glass were few and fleeting. That is, until late one afternoon last year when I arrived early for our weekly chorus session and stepped from the room where we rehearse, crossing into the sanctuary on the other side of the sliding shutters. The square vaulted room is dominated by two imposing displays in traditional style – painting, essentially on pieces of colored glass that are then leaded together. Something about these, though, suggests quality sustained by wealthy donors. The impressive room has demanded closer investigation.

If the late 19th century brought about a flowering of stained glass in America, it was also a time before the spread of public art museums. Windows like these, then, would have been art made available to all for their wonderment.

The south wall of the sanctuary is dominated by this traditional design, which includes a row of named angels along the bottom.
The south wall of the sanctuary is dominated by this traditional design, which includes a row of named angels along the bottom.
A detail of one of the angels.
A detail of one of the south windows.
Traditional stained-glass style using cut pieces painted with enamel.
Traditional stained-glass style using cut pieces painted with enamel.
A decorative window in a social hall where our chorus rehearses.
A decorative window in a social hall where our chorus rehearses.

ART GLASS PIECES

~ Jnana Hodson ~ Leave a comment

When it comes to art museums, I head straight for the paintings. The other displays, including art glass, come later.

Actually, glassworks as art rather than craft came to my attention largely through the glass-blowing compatriots of my now ex-wife (we’d save clear bottles for her circle to melt down and reform as fine-art creations) and her grandmother, a knowledgeable antiques dealer who specialized in glass collecting, which was quite appropriate considering our location in a former glassmaking mecca that included Toledo, Tiffin, and Fostoria, Ohio. (At the end of the 19th century, an oil boom meant plenty of cheap natural gas, allowing affordable conversion of sand into glass.)

These days the Henry Melville Fuller Paperweight Collection at the Currier Art Museum in Manchester has expanding my regard for glass artifacts, even if I do head first to the paintings.

My favorite paperweight has a cobalt-colored core enveloped by clear glass. How they ever produced the swirls of bubbles remains mystifying.
My favorite paperweight has a cobalt-colored core enveloped by clear glass. How they ever produced the swirls of bubbles remains mystifying.
A blown-glass vase created by an art student. We saved clear beer bottles for the cause.
A blown-glass vase created by an art student. We saved clear beer bottles for the cause.

 

MOSTLY FROM A LAST TRIP TO ENFIELD, MAINE

~ Jnana Hodson ~ 1 Comment

I was on my way to  the Metzlers’ farewell reception in the Grange hall as they wrapped up 19 years’ service in a rural community. As I often do driving solo, I slipped into a meditation and jotted down random thoughts and observations on the five-hour drive. Here they are.

31 May 2009, unexpectedly staying over and returning Monday, before an evening shift at the office:

Wells, Maine, en route – so long since I’ve gotten AWAY! (Excepting Ohio.) The commute … toll … York … driving a lot, same old loops for starters. And then beyond the usual fringe.

A pilgrimage. Saturday night major revisions to “On the Broad Penobscot,” which I would read at the reception – and see at that time it’s as much about marriage as kayaking.

Summer in New England:
When the air temperature
finally reads higher
than the open-roadway
speedometer.

 Driving the Maine Tpk. same time as Meeting for Worship: a driving meditation.

Tide way out, Fore River and Casco Bay – mud flats.

Seems so natural now.

No CHECK ENGINE light on for the past month or two, and then, sometime around Brunswick, on a tank of Mobil rather than Irving, on it comes again – and stays on.

Losing another Friend: Heather Moir. (Morning e-mail.)

Just before Bangor: What the hell am I doing? This long, gust-torn drive? So many emotions and memories stirred up! So I’ve been here almost 22 years now – NH from Balto – and they’ve been part of it most of that time. The one lover’s wounds still fresh and intense, then another.

Their efforts to establish a medical practice and to be ordained. The kids. So much time, so many lost years! The barn they took down, the crowded kitchen, the introduction to homebrewing, the treehouse. The trip taking Megan to China Lake and then R and I continuing to an overnight in Orono – and Carolyn’s “She’s a keeper.” (Our canoeing across the lake and, on our drive home, the long loop up through Rangely and down through Berlin.) Much sadness here, this transition.

I find myself running way ahead of schedule. Stop at the Weathervane in Waterville, and find the contrast between their fish and chips and those at the Shanty in Dover a revelation; the later doing everything right, the former cutting every corner. At the next rest area, I phone R and tell her she’s spoiled my appreciation of food – it’s like discovering great champagne, I tell her.

I skirt a serious thunderstorm, get only sprinkles, and then it’s sunny again.

Stop at Borders in Bangor, find a collection of Andre Dubus stories and Henry Miller’s Tropic of Cancer, as well as a Keith Jarrett trio CD.

In Enfield, I kill time along the Penobscot, where the sky has turned gray and the wind is kicking up whitecaps.

Clouds reflecting
in the pollen-covered
Penobscot current

(the river a mile wide in places?)

Passadumkeag
water striders
and sedge (reeds)

 – the public access landing

 river mussels

(A few days earlier, Sherry told of attending Andre Dubus’ funeral: he had insisted on being buried in the backyard, which created a controversy in the town. The coffin had a copper plate on top, which all of those present at the graveside service were to sign before the burial. It was all quite strange, she said, but there was lots of food.)

In the Grange hall, their motto: Unity in essentials, liberty in non-essentials, charity in all things – the Pilgram Marpeck!

In one conversation, a man was telling about his three-year-old grandnephew’s first reaction to the paper mill in Lincoln: Who farted! (How accurate! Who am I to complain, writer – user of paper?)

Only a portion of paper mill production is newsprint, office paper, or book/magazine stock. So much cardboard, tissue, etc. instead. Just for perspective.

Before entering the Grange hall, I drove down to Cold Spring Pond, looked across. R and I canoed that far? Amazing. With all of its clarity that day and the big boulders 20 feet down.

Their Jesse was in Budapest, but Margaret was quite present. As were Bill and Barbara – both after all these years. Other than that, I knew no one.

Was surprised D wasn’t present. Didn’t get a chance to inquire, either.

Good thing I went. Sense of closure. The poem went quite well.

Carolyn’s sister, Marsha: “You’re a deep thinker.” She should see what happens with Carolyn.

Raining during the gathering and through the night.

But next morning clear and bright.

A perfect day for driving – after the rain.

How dramatically the drive changes from Portland south – no more of the same rural quality.

~*~

How vivid all this, these years later! And how precious the friendships and memories!

CANDY COLLECTORS

~ Jnana Hodson ~ 3 Comments

Getting ready for the trick-or-treaters tonight means bringing the box of decorations down from the loft of the barn, perhaps carving a jack o’ lantern or two, putting up some spooky lights, and making sure we have bags of candy ready for the kids who come knocking on our door between 5 and 8 p.m. (Dover’s officially sanctioned window).

For readers in other countries, I should perhaps explain America’s Halloween tradition of allowing children to go door to door, knocking or ringing the doorbell, and then calling out “trick or treat” and receiving a sweet morsel in return. In the old days, there was the veiled threat, “or else,” which often led to a prank like having your windows soaped – or worse. These days, it’s often a matter of having any pumpkins left out being smashed in the middle of the night, regardless of your good acts.

Over the years, though, the event’s lost a lot of its edge.

For one thing, as a result of tales about razorblades being found in apples and other urban myths, only commercially prepared and sealed products are acceptable as handouts – no more apples, little bags of homemade caramelized popcorn or cookies, or (my favorite) Rice Crispies squares. It’s almost universally little candy bars, door after door. Gone’s the wide variety you’d compare at the end of the evening. Of course, most kids get candy throughout the year, so it’s no longer the Other Christmas when it came to rare sweets.

For another, concerns about safety mean it’s rarer to allow children to roam on their own. In our neighborhood, at least, almost everyone’s accompanied by a parent – and many of them have better costumes than the kids. For that matter, they often seem to be enjoying it more, too.

The safety issue has led to some weird twists of its own. Manchester, for instance, moved the event to Sunday afternoon – broad daylight. As one neighbor kid at the time observed, how lame! There’s nothing spooky in that! And then there’s the going store to store in the malls. Even lamer.

The one vexing situation is the car that cruises slowly while their children go door to door. Get out and walk, please! You’re being asocial. Usually, these are people who don’t even live in the neighborhood but have chosen to live out in the country, “away from neighbors.” And now they want what they don’t offer in return.

I remember, especially, living in a neighborhood of modest townhouse rentals and seeing the BMWs and Mercedes cruising through. Nobody in the neighborhood could afford vehicles like those, and now we were expected to give their kids little gifts?

I had the urge for a little tricking on my own in return. If I only had a plan …

COMPOSING A REQUIEM

~ Jnana Hodson ~ Leave a comment

When I first drafted this novel three decades ago, little did I expect it to be a requiem for a profession I’ve loved and served all my life. Now, though, as the history has unfolded, I’m left hoping against hope it’s not a requiem for community after community across America as well. Read it and weep – yet laughing along the way. We are, after all, still a resourceful people

 ~*~

Hometown_NewsTo find out more about Hometown News or to obtain your own copy, go to my page at Smashwords.com.

 

 

LEGALIZING POT

~ Jnana Hodson ~ 10 Comments

Another of the festering wounds of the ’60s and ’70s is the matter of illicit drug use. It wasn’t just hippies, actually, not once the troops in Vietnam turned to it, too.

It’s a troubling legacy on many fronts. For one thing, the United States has the highest incarceration rate in the world – much of it regarding drug traffic. In other words, there’s a demand for the product, and if you believe in a free market, maybe you need to listen.

I won’t go into the history of banning many of the substances that are now verboten, even if it suggests a political tradeoff in repealing the Prohibition. But the basis of declaring the substances illegal appears to have been made on reasons other than the ones officially proclaimed. Let’s be honest about tobacco and alcohol, including their ability to be taxed, in contrast anything you might be able to grow on your own. (This, let me add, is coming from a former homebrewer.)

On the other hand, the widespread, frequent use of mind-altering substances among the young – and I’m including tobacco, alcohol, and activity-inhibiting legal prescriptions – leaves me deeply concerned.

That extends to the parents who give their kids pot … or even allow them to sell it at school.

That, in turn, points to a divergence between hippies and stoners.

Faced with a decision on the legalization of marijuana, I’m not entirely sure how I’d vote. But I do know the current policy isn’t working – and is doomed to continuing failure.

Why can’t we have a frank discussion on the issue … without all the hubris?

NEWSPRINT, PAPERBACKS, AND HARDBOUND VOLUMES

~ Jnana Hodson ~ 3 Comments

My entire life I’ve harbored a bias regarding quality in the world of writing. Even though I’ve long been a front-line journalist, I’ve believed the text in a hardbound, academic or commercially published book must somehow be superior to what’s presented in a newspaper.

For that matter, magazines were, in that measure, a degree above newspapers, but a step or two below either paperback or hardbound volumes.

In the past few years, though, that misconception has been shattered, in part because of conversations I have with one of America’s top literary voices and in part because of encounters with a host of other living authors of more mundane accomplishments.

Yes, we have every right to expect a work that requires a year or two to draft to be superior to reports written on the fly, but in some ways, that long work often turns out to be little more than a series of daily reports strung together. What turns up can be as formulaic as any pyramid-style news dispatch, and filled with more cliche and unchallenged bombast. Read carefully and you might notice a higher standard of editing in your daily paper.

What I now realize is that I had expected the books to be eternal monuments that would sit forever on public and private library shelves. I never expected them to be commodities with their own precariously short shelf life, with rare exceptions. Even public collections have only so much space and so much patience. Rarely do I find there a recommended piece I desire.

What this all comes down to is that reality that good writing is good writing, no matter the place it appears. That, in itself, is cause for celebration.

Now, for more on the newspaper dimension, there’s my Hometown News novel. Adding a further twist to this plot, though, is the fact it’s available only as an ebook.

Hometown News

WHERE’S THE BUSINESS MODEL?

~ Jnana Hodson ~ 3 Comments

Newspapers have long run on a peculiar business model.

People buy the paper mostly for the news, but what they pay for the product covers only a fraction of the actual cost. Traditionally, advertising generated the other 80 to 90 percent.

That imbalance always resulted in an inherent tension in the executive offices, where any expenditure for news coverage was viewed with suspicion, especially when few of the publishers – the top local executive – came from the news-gathering side.

The rest of the operation included the composing room and related departments that manufactured the actual pages that then went to the presses, plus the “mail room” where supplements were inserted and the bundles were arranged for distribution, the circulation department, and then the ad sales reps, accounting, community services/promotion, and human resources. Especially accounting. In more recent decades, the computer techs assumed their own role.

For a bit of perspective, go to a store and buy an artist’s newsprint sketchpad and then compare its cost and the amount of paper against what the typical paper carries. You’ll see what a bargain the daily paper has been. What you pay for the news essentially covers the cost of getting it from the end of the press to the place you read it.

So this is how things ran until the Internet came along. And then, for a host of reasons, publishers began putting websites up and readers began getting the news without having to view any of the surrounding advertisements that were paying the bills. That, in itself, was a recipe for disaster.

Curiously, long before the arrival of the Internet, I’d noticed that what the readers paid for a paper would be sufficient to staff a newsroom and its supporting services. Leap ahead, and you can see that if users would pay for their local news online, you could create journalism that would not have the advertisers lurking in the corners. Unfortunately, online users have become spoiled and rarely pay for anything. Attempts at firewalls, as we’ve seen, have also failed.

At the moment, the future of American journalism looks grim. And that’s bad news for our political structure and the lives of our communities themselves.

~*~

Hometown News

To find out more about Hometown News or to obtain your own copy, go to my page at Smashwords.com.

 

MAX RUDOLF (AND JAMES LEVINE)

~ Jnana Hodson ~ 1 Comment

The cult of celebrity continues to baffle me. The mass-media fascination with people who are famous for being famous draws none of my interest except, maybe, for a few who are simply breathtakingly gorgeous – the ones, I should add, whose words and actions aren’t completely repugnant. As you might guess, the photos are worth far more than any accompanying text.

OK, I’ll push the blame away from mass media and on to the audience that prefers celebrities to real reality. (Not to be confused with “reality television.”)

To see this outlook at work, we can extend the People magazine and supermarket tabloid spotlight beyond the realms of Hollywood and Nashville, high-level fashion models and designers, professional athletes, monarchy, and rock stars.

In the publishing industry, for instance, we have “bestselling author.” At least there’s an accomplishment to back up the fame, regardless of quality. The recognition level, let’s be honest, will be lower than in the aforesaid big-money glamor fields. But my guess is that these aren’t the writers who are high up on your own list of favorites, either. For that matter, few who make it to the bestseller list ever gain that widespread recognition. No, we are far from the days of Hemingway, Faulkner, Steinbeck, Thomas Wolfe, Mitchner, Sandberg, or Frost in the eyes of the general public.

Likewise, in classical music or opera, where fame is a crucial component of box-office appeal, we’re far from the era when having “Sol Hurok presents” as part of an artist’s credentials spelled a degree of celebrity. Hurok was an artist manager who handled all of the big names, or so he made the world believe. But the cult of celebrity still plays a role, as Yo-Yo Ma, Renee Fleming, and Lang Lang demonstrate. (Note, though, that by now we need both first and last names.) And, we should acknowledge, you don’t get there without talent.

All of this, though, is by way of introducing my favorite conductor ever: Max Rudolf (1902-1995).

As another former Metropolitan Opera conductor once told me, “Rudolf could have been as famous as Leonard Bernstein, if he had wanted it.” Obviously, he didn’t.

What impressed me – and continues to impress – is that what he really wanted was to make music of the very highest level and to nurture that tradition. This could follow a much different route than mere celebrity, even in the arts.

At the time, Rudolf was music director of the Cincinnati Symphony, which he headed for 13 years.

To be honest, the first time I heard the ensemble, I was not impressed. It was on a road trip to Dayton, and Rudolf was pushing for rhythmic precision at a time when I wanted plush sonic, well, uprisings of bombast. Only later did I comprehend what he was instilling – a unity of perfection of structure and meaning.

He offered his players precise, expressive, often restrained gestures and obtained “maximum results with minimal effort,” as I think one critic observed. Unlike the over-the-top dramatic Bernstein, I should add. What I now see is that the gravity of playing was somewhere back in the orchestra, rather than focused on the podium. In other words, despite all of his Germanic authoritarian roots, something organic was happening. And, as I would see, they played as one – more than some of the famed soloists I’ve heard.

His lineage runs back to the opera at Prague, where he worked under George Szell, and ran to the Metropolitan Opera, where he wound up as administrative assistant to Rudolf Bing. (Two abrasive personalities, from all we’ve heard.)

When he accepted the Cincinnati post, others had cautioned him not to go. “You’re making a name for yourself here in New York. You’ll give that up if you leave.”

Thankfully, he followed his heart, and classical music has been all the richer.

One of the things I remember is the amber sound he developed, not just in Cincinnati but in some of his other recordings as well – the Metropolitan Opera and even Italy.

As one of this first-chair players once told me, his mantra was, “First it must be in time.” And then the rest could follow. The trills, for example, as miniature roller coasters rather than flutters.

The former first cellist told me he received eight coaching sessions a week as a young player. How remarkable!

Even in the recordings, I still marvel at the entire ensemble playing with more unity than some soloists I’ve heard. If the Cleveland Orchestra was the Rolls-Royce, then Cincinnati was a Ferrari … fast, tight cornering.

He once lamented to a reporter that, at the time, the Cincinnati audience did not appreciate Mozart. He was one of the greatest Mozart conductors, ever.

And then there were his discoveries, beginning with Erich Kunzel and James Levine, who achieves some of the sound I associate with Rudolf.

There is, after all, a theory that your ideal orchestral sound is the one of the first great orchestra you heard. For me – and I believe, Levine – that’s Cincinnati.

Unfortunately, Rudolf came down with hepatitis, blamed on seafood during his summer in Maine, and that cut short one season and more. In his place came the Michigan native Thomas Schippers, assuming his first and, lamentably, only orchestral leadership post. As Time magazine lamented, the operatic master Schippers could not take over the Metropolitan Opera when the opening occurred because he was tied down in Cincinnati. And then, all too early, both Schippers (an addicted smoker) and his wife died of cancer. He was 47.

I can only assume Rudolf had been somewhere in the background pushing for Schippers’ appointment, and no doubt did the same in getting the young James Levine a position in Cleveland under Szell.

Rudolf went on, in part at his friend Rudolf Serkin’s urging, to create an opera program at the Curtis Institute in Philadelphia, and then a conductor’s program there. Among his prodigies on the podium are Robert Spano, Michael Stern, and Paavo Jarvi, who later spent a decade at the helm in Cincinnati.

~*~

Back now to James Levine, who went on to the top of the conducting world. The story I want to hear is what role Rudolf had behind the scenes. In Levine’s music-making, I hear Rudolf as well – the sound of the musicians making music together (a center of gravity back in the band, not simply at the podium). And the warmth, that amber sound in the strings I so admire.

Levine more or less moved into Rudolf’s earlier role at the Met, but then he expanded it all into his own. Aficionados can argue all they want, but both Rudolf and Levine will probably wind up in the top two dozen opera conductors ever.

Just as Rudolf did in Cincinnati, Levine later restored the Boston Symphony to its glory. Its sister band, the Boston Pops, had its own Rudolf legacy – Keith Lockhart, who came by way of Kunzel, that former Rudolf assistant.

I hate to think what might have been lost if Rudolf had followed the advice not to go to Ohio. Could he have exerted the same influence in Manhattan? I doubt anyone could.