Archives for category: Artist

The Domestic Arrangements South Of The Border

Haresh Shah

aztecqueen

I met Pepe Morales during a Playmate promotional jaunt in Acapulco. Our publishers have hired Pepe to cover the event – a young Mexican photographer and socialite of some renown . He seems to know everyone we run into and is greeted with the warmest abrazoz and pats on the back, while he bumbles around following the Playmates and documenting the weekend, with me taking additional photos whenever I am able to sneak some shots without neglecting my duties that of the Playboy executive on site.

Pepe and I hit it off right away. When back in Mexico City, we meet one evening for dinner. We have fat juicy steak dinners at Barbas Negras during which we drown three bottles of Los Reyes. Feeling absolutely no pain, Pepe asks:

‘What would you like to do now?’

‘I don’t know. This is your town. Maybe go cunt chasing?’

‘Why not? Let’s just get out of here and together we’ll paint the town red,’ he proclaims.

So we get into his fire red Mach 1 and end up at the cozy Las Nueves. Unfortunately for us, since Pepe’s last visit there, it has now turned into a trendy gay hangout. We have a drink or two there and then make our exit.

‘I know where we can go. To your casa amarilla.’ So we end up at the lobby bar of Camino Real. This gives us time to simmer. As in Acapulco, Pepe seems to know everyone and everyone seems to know him. People would stop by, couples, men, women – especially women and they go through their Mexican tango of hugging, patting the back and then parting with promises to meet up soon again. At the end of which, two of his female acquaintances walk up with exuberant Hola Pepito. He invites them to join us. Introduces me and builds me up as el hombre de Playboy. Curiously, it’s a pair of a blonde and a brunette. Both good looking. Gives me a feeling of being society girls about town. Quite friendly. But they speak only perfunctory English. We have a couple of drinks with them and then Pepe proposes.

‘How if we go to my place and party?’

The girls try a bit hard to get, but then after some prodding from Pepe, seconded by me, we all pile into his compact sports car, somehow managing to squeeze ourselves in. Pepe and Lucia in the front and me and Tere  in the back.

●●●

On that Saturday, Pepe has invited me to his place for breakfast. He feels it’s unpardonable that as long as I have been coming to Mexico, nobody has yet gotten around to take me to the Pyramids. Why don’t you come over to my place on Saturday, we’ll have a nice breakfast and then drive out to the Pyramids?

Pepe’s is a spacious penthouse apartment near the Chapultepec Park in the center of Mexico City. Cascades of light pours in through the skylights illuminating dozens of artworks and the blown up photographs that adore the walls. Some of the photographs with blurred images of the billowing skirts of the folk dancers remind me of Holi festival in India. He’s not only a photographer but also a serious artist and all that hangs on the walls is his own work. The place looks larger than I remember it from a couple of nights ago. I think it contains three, if not four bedrooms. Large kitchen and the dining room. Even though some of the furnishings has that colorful feeling of Mexico, most of it is the modern functional. It feels warm and comfortable.

When I arrive, I am greeted by a tall, angular faced, as if lifted from a cubist art, long necked and sharp penetrating dark eyed woman standing on the other side of the threshold. She doesn’t say anything, but silently welcomes me with a toss of her head. Her long and curly hair following the motion of her neck.

‘Hola Haresh. Bien venido mi amigo a tu casa en Mexico.’  Pepe rushes towards me, suddenly throwing the woman in the background with a fuerte abrazo, and the pat on the back he takes me by the arm and leads me to the table. Such exuberance! But this is Mexico and I am getting used to it.

The table is laid out just so. The plates glowing with vibrant colors are nestled into the larger shiny copper plates that serve as placemats. The clothes napkins are bright burgundy. A jar sweating of freshly squeezed orange juice awaits. The pungent aroma of strong Mexican coffee permeates the air. Engulfed in Pepe’s exuberance and displayed hospitality, for a moment I even forget about the pretty young woman.

I am treated to a sumptuous Mexican breakfast consisting of fresh papayas and mangoes, huevos rancheros with home made red and green salsas, frijoles, chorizzo, piping hot tortillas and even chiles toreados – the pan fried hot jalapeño peppers with fresh scallions. The relish my Latin Valentine Patricia had introduced me to and Pepe remembered me telling him how very much I loved it. And of course the strong café Mexicano served so attentively and gracefully by his maid Clarissa. For every gracias I utter, she rewards me with de nada and with the sweetest little smile and a sparkle in her eyes. At every compliment, I feel that extra hump in her short walk between the kitchen and the dining room as I watch her long curly hair tossing up above small of her back and caressing her shoulders. She looks very young, like in her late teens the most. But even in her innocence, I sense a certain worldliness on her face and in her eyes. Would certainly qualify to be a Playmate. Even in her homely dress covered with an overall, her figure and her beauty excel.

Seeing that I am eying her, should we take her along? Asks Pepe.

‘Sure. Why not?’

‘Let’s do it. It would do her good to get out of the house. Why don’t you ask her?’

‘Me?’

Si. Then she wouldn’t feel pressured!’

‘No quires ir con nosotros?’ I ask

A donde?’        

A los Pirámides.’

‘Puess…,’ she says and then hesitates a bit and turns her face to Pepe.

Puedes, si quires, Venn!’ She turns around to face me.

Entonces si. Me gustaria mucho. Gracias.’

When we’re done and she has cleared the table, Pepe tells her to leave the dishes alone and go and change.

Transformed, a gorgeous young woman emerges from the back room. She is dressed in a simple long white cotton dress. It’s trimmed with wide bands of light grey lace around the neck and the waist and the hem, practically touching the floor, a wide white sash tied in a bow at her back billowing in the air. A simple silver hoop choker with a dangling little ball adores her neck. Her sculpted face with high cheek bones and the shoulders pointed proudly upwards, she stands tall on her plain white platform shoes. Her slightly slanted eyes enhanced with the kohl outline, she wears only a light touch of red lipstick on her pert lips quivering under her dainty little nose.

It seems Pepe too is in awe of her sudden transformation from a simple maid serving us humbly a while ago into a femme fatal. Something he probably haven’t yet had a chance to see. And when placed in front of the Pyramids, neither Pepe, nor I could ignore her. Between us two, we turn Clarissa into the most sought after photo model. She doesn’t say much, except swirl and move as we request, flash shy smiles as if to herself and in her face I see her savoring what must have been a unique moment of her young life. To be appreciated for her own natural beauty and in an environment which undoubtedly is hers. She doesn’t look Spanish and or Indian or a mulatta, the mixture of the two. Her face wears the looks and the pride of an Aztec Princess reincarnate, standing comfortably in front of the Pyramids and the ruins of the ancient Aztec built city of Tenochtitlan, as if she owns them.

●●●

On our way back, Pepe drops off Clarissa before taking me back to my hotel. We are in contemplative mood. We avoid the bustles of the lobby bar and settle ourselves over beers in their by now subdued cantina.

‘She is pretty!’ I say reflexively.

‘Who, Clarissa?’

‘Who else?’

‘You’re right. She is prettier than I ever thought she was.’ And then we are quiet. I see a certain smile cross his face, as if trying to contain a private joke.

‘What?’

‘I guess, I picked her right.’

‘Did you interview many of them?’

‘No, that’s not how we do things around here in Mexico. One weekend, I just drove out to the country bazar, she was standing there up above on cliff under the tree with others, and I picked her.’

‘You mean like from a line up?’

‘Not exactly. But sort of. They are offered for the domestic work, mostly by their parents.’

‘You mean like slaves?’

‘Noooooo mi amigo. Just that they are poor in the backlands and one way for them to make some money is to work in the city. You negotiate with their parents and agree upon the monthly salary and other conditions. But she is free to leave whenever she wants to.’

Having grown up in India in a relatively affluent family, domestic help is not that unusual to me. But all our servants came from little villages to Bombay on their own, looking for jobs. They may have known someone else from their village in the city and then its just a word of mouth. What Pepe tells me is a bit different. Seeing me lost in my unspoken thoughts, he continues.

‘I pay all her expenses. She has every Sunday off and has her own living quarters in the back of my apartment.’

‘How does that work? A young pretty woman living under the same roof?’

‘You’re right. There is always that possibility. And the temptation. As you see, she is very pretty, you know?’ I give him a sideway look.

‘Okay. I could take advantage of her if I wanted to, and get away with it without even risking losing her. But your friend here is a romantic type. I had to pursue her, and pursue her long.’

I don’t interrupt.

‘She always resisted my advances. And I respected her for that. And then one evening, without any warning, she just opened up to me, like a flower. Like an orchid!!’ I can see on Pepe’s face what he must be seeing, something I could just imagine.

‘Doesn’t that put a damper on your social life with other women?’

‘Not at all. At the end of the day, she realizes, and I make sure she knows that the first and the foremost she is my maid.’

‘Yes, but we’re now talking matters of the heart. How does she feel about when we showed up in the middle of the night with the two women a couple of days go? Or was she off that night?’

‘No she was very much there, and she didn’t like it. In fact she is quite crossed with me. Thanks for being so kind to her and making her feel special. I think she is now softened a bit and I’m sure we’ll make up.’

Just a few hours drive from Santa Barbara and you’re in Mexico. What a different world? I think.

© Haresh Shah 2014

Illustration: Celia Rose Marks

SISTER SITE

http://www.downdivision.com

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TABLE OF CONTENTS

Next Friday, February 28, 2014

UNDETERMINED

Both you and I will have to wait and see which entry in works makes its way up to the top. Whichever it turns out to be, promises to be good. Stay tuned.

 

Haresh Shah

Tempting Eve To Tempt Adam

boa2

It’s the early spring weekend in 1989. I get a hurried phone call either from our German editor-in-chief Andreas Odenwald or most likely at his direction, from Christian Seidel, his PR person. German edition has just published the cover and the nude pictorial of Michael Jackson’s baby sister La Toya Jackson, originated in the US, (March 1989). Her rock video Stop the Madness is just released and she is making waves in the media for having posed for Playboy. The TV channel SAT 1 has approached our German editors, telling them that they have a slot available that weekend on their super popular Saturday night talk show, Nase vorn (literary Nose up Front/ Way up Front) hosted by Frank Elstner, and they would like to offer it to Playboy if they could get La Toya Jackson to appear on the show.

We are in luck, because just recently Jack Gordon, La Toya’s husband and the manager had stopped by in my office to talk with me about just such a possibility overseas. So I get on the line and call Jack. A series of frantic phone calls ensue across Chicago, New York and Munich. They want first class passage, adjoining executive suites in a five star hotel. Limousine pick up. The usual celebrity stuff. All arranged with the lightening speed by our German team. They are picked up by Christian in his BMW 735 and brought to the hotel in Saarbrücken, from where the show is broadcasted. The live transmission is to go on air within hours when La Toya drops the bomb. She had to have a live boa constrictor to accompany her on the show!!! An eleventh hour curve ball. But nothing our Playboy team in Germany couldn’t handle. A call to the Frankfurt Zoo, and voila.

La Toya makes her dramatic entrance bursting out from behind the oversized split Playboy cover featuring her close up, holding in her hands the giant reptile snuggly stretched out under her ample bosom. She is seated across from the host Elstner at a small round café table with the bubbles in the champagne flutes rising and the Boa resting peacefully across her lap all through the interview, like a baby at its best behavior . The show goes on without a hitch. Post show, she poses with the guests, the Olympic Gold Medalist Figure Skater,  Katarina Witt and the rock star Udo Lindberg and Oscar Lafontaine – the Minister President of the state of Saarland and the Playboy editor Ulrike Blass. Everyone endures the presence of her bosom buddy. But from what I heard from the German editors on Monday morning, that even so, the crew and the host were all in awe of their disquieting guest. If a  bit scared, they managed a brave face and safe distance from it – just in case. The show went on the records as being one of the most watched with 19.5   million viewers. Ulrike said later that for an international celebrity such as La Toya, she didn’t put out any airs and before parting, she told her that she had really enjoyed her trip and the experience and asked politely if she might be invited again sometime in the future.

Her pictorial contained a full page shot of her with her holding the boa, his body squeezed between her legs and his head winding down and resting on her hip. She is holding him with both of her hands, her eyes closed, lips slightly parted as if having an orgasm. The caption accompanying that shot said: I love snakes. I had hoped to do a shot all covered with snakes; I was kind of disappointed there was only one.  

Two and a half years later, (November 1991), she poses again for Playboy to coincide with her memoire La Toya: Growing Up in the Jackson Family. This time around, the pictorial includes two page spread of boa constrictor, one slithering all over her body, between her legs, winding its way up to skirt her breasts and raise its head between them. Reminiscent of the famous Nastassja Kinski billboard, shot in 1981 by America’s master photographer, Richard Avedon. In another one, she is sticking out her tongue at him almost licking him on the mouth with teasingly playful expressions on her face.

That reminded me of the time some years earlier when my secretary Teresa (Velázquez), all wound-up, reported that they had brought in a couple of boa constrictors to the Playboy studio, waiting to be photographed with the Playmate Ruth Guerri (July 1983) as a part of an erotic fantasy pictorial.  It was an eerie feeling to think that slithering around merely two floors above were deadly, slinking and sliding, coiling and un-coiling creatures. As it turns out, there was only one of them. But still. This is how the photography director  Gary Cole remembers the shoot: Steve Wayda did the shot for a photographer’s erotic portfolio pictorial. I was in the studio and I can tell you that Ruth really got into the shoot, so much that both Steve and I were scratching our heads. I don’t think it was a coincidence that God chose a snake to tempt Eve .Upon further inquiry, Gary elaborates: There was only one snake and yes, it was boa constrictor. I kept it in my pants. (Only joking.) The snake owner brought it in a ventilated box. It had been fed just to discourage any idea it might have about taking a bite out of Ruthie. I believe the snake enjoyed the shoot as much as Ruth did. I believe Steve had similar experience with La Toya and the snake. Naked women and snakes seem to get along. I guess so. And about the snake being fed, the first time around posing with one, the question La Toya asked was: when it had been last fed? Once they told her that a couple of days earlier, so I wasn’t worried. Boas aren’t dangerous unless they’re hungry.

And then comes Britney Spears with her 2001 MTV performance of I’m A Slave 4 U with the snake, perched atop her neck and dangling form her extended arms. And considering that there are whole slew of other women and models enamored with snakes of all kinds and shapes, I can’t  help but wonder – what’s it with the beautiful women stretched out naked in all their glory and frolicking with the slithering beasts that scare me even to look at  and even when they are doing their swarming and swishing behind the safe glass walls in an aquarium. The simple answer comes from Dr. Freud himself – the phallic symbol.

But there’s got to be more to it.  This is Gary’s Biblical explanation: According to Christian scripture, the forbidden apple was God’s way of testing Adam, to insure that he would be obedient to God’s commands. The snake was the incarnate devil, the ultimate symbol of evil. And he worked his magic through a woman…since we all know that women are the ultimate downfall of men. The phallic implication  is too strong to ignore.

And still it nags at me. Why did God choose a snake? I mean he could have sent a cuddly rabbit or a little kitty cat, even a sad faced puppy to make Eve go gaga over it and still do her magic. Like among other things; femme fatal in India is often called Nagin – the she cobra. Within Indian mythology, when God found himself in the similar predicament, he would send down from heaven one of this top apsaras. Those celestial beauties are gorgeous, irresistibly sensual and  exceptionally talented in the art of seductive dancing.  And when they dance, their heads and their bodies sway in fluid and languid motion just like that of the cobra charmed by the snake charmer. Both of them in the process of mesmerize and be mesmerized.  A definite downfall of the mere mortal male of the species. And guaranteed to break the deepest samadhi of even the most devout Yogi. Why go through an intermediary?

© Haresh Shah 2013

Illustration: Celia Rose Marks

SISTER SITE

http://www.downdivision.com

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Next Friday, June 28, 2013

ALL ABOUT THE WILD PARTIES AT PLAYBOY

You will hate me for shattering your image of the wild parties you have seen on the TV and featured on the pages of Playboy magazine. May even begin to see some virtue in the saying: the ignorance is indeed a bliss.

.

Haresh Shah

The Bad Boy Of Holland And The “Future Husband” Of Jayne Mansfield

jan_jump4

For those of you who have no clue who is  the bad boy of Holland, here is essential Jan Cremer in his own words. I am the best painter, I am the best writer.  I am for sure the best journalist of the Dutch language, and  certainly one of the best writers in the world’. He said to the writer and ex Playboy Holland editor, Guus Luijters for his book, Jan Cremer in Beeld.

He once famously said: ‘Rembrandt? I never heard of him. I’m not interested in sport.’

You have to be brilliant to utter such arrogant and provocative words. Sounds more like something coming out of the big mouth of  Cassius Clay a.k.a. Muhammad Ali, who said in his October 1964 Playboy interview: ‘I’m the greatest, I’m so pretty. People can’t stand a blowhard, but they’ll always listen to them,’, than from the mouth of a gentle Dutch writer and artist.  Jan Cremer too must have realized the shock value of his utterances spewed out in sound bites the way before there was a sound bites. Or could it be that he was just reading off  the script laid out by Cassius Clay?

And get this: He dedicated his book Ik Jan Cremer thus: For Jan Cremer and Jayne Mansfield. About which he said to Jules Farber, in Holland Herald, It was the era when Jayne, Marilyn Monroe and Jane Russell were the big American sex symbols. For me, Mansfield was it – the voluptuous contemporary. Rubens woman.’ To coincide with the publication of I Jan Cremer in America, his New York agent arranged a meeting between Jayne and Jan for a publicity photo. ‘And wham! We went to South America for six months…and then we lived in Hollywood for another half year. Jayne introduced me to everyone as her future husband.’ And this isn’t  hype or a boast.

●●●

My first awareness of Jan Cremer came on the very second day of my first arrival in Holland in the summer of 1965. I was offered a summer internship by Drukerij Bosch in Utrecht. The printing plant specialized in producing paperbacks. I come from a family of pioneers in paperback publishing in India. And I loved books. To see all those many books piled high on their pallets all across the plant was for me like the kid let loose in a candy store. Among the piles, the biggest one was what looked like an unassuming book titled Ik Jan Cremer. A very simple black and white cover with the image of a menacing looking young man dressed in an all out denim outfit, perched atop a motorbike, his gloves clad hands gripping the wide handlebars, his head covered also with the denim version of the Dutch fisherman’s hat, complete with biker’s goggles, looking tough in the image of James Dean, the bike moving  dangerously towards you, as if to run you over.

What I realized over a period of time was that Bosch had devoted one printing press exclusively to printing nothing but Ik Jan Cremer, day in and day out. Published just a year earlier, the book was now in its fourth printing and there was no end in sight, because they couldn’t print and bind them fast enough to fill the shelves from where they immediately flew off. A month later, I was assigned a statistical project to track the sales of the paperbacks published and sold in various markets . When I returned to resume my internship during the Christmas break, Ik Jan Cremer, as months earlier, hadn’t budged from its # 1 spot on the Dutch bestseller list.  The same press still devoted to printing those same pages. The only difference was an appearance on the cover of a wide red band across the upper left hand corner screaming BESTSELLER and a bit lower, a round, larger than a postal stamp like image saying 300,000 copies sold, 350,000 copies sold, the numbers climbing with every subsequent printings.  When I ran into him quite by an accident in the summer of 1983, the book was translated into thirty some languages and it was still going strong in Holland after almost twenty years of its publication, with forty plus printings and sales of more than 800,000 copies in Dutch only.

It was the most controversial book of the time, and everybody – everybody was talking about it. And I also remembered how I wished I could read Dutch. But I had to make do with merely touching and feeling the bound volumes every time I passed by the pallets piling higher and higher.  As if touching it would make its contents instantly understandable to me.

It came out in its English translation only a year later, but  once back in England and buried into my studies and figuring out my future, I never got around to reading it until the summer of 1978, when quite by an accident, I ran into I Jan Cremer while browsing the used bookstore in the shopping mall near my home in Goleta, California. By then, there was also Jan Cremer Writes Again. I bought both and devoured them like a famished  dog.

I was taken by his vivid descriptions of growing up during the second world war, the raw sex and the harshness of the post-war European life and the angry forcefulness of his narration had me spellbound and had left an everlasting impression on me.

●●●

I was having dinner at the restaurant de Warsteiner in Amsterdam, with Jan Heemskerk and Dirk De Moei, the editor-in-chief and the art director designates of soon to be launched Dutch edition of Playboy.  Accompanying us were Gemmy, Jan’s wife and Ans, Dirk’s live-in lady. With us all settled, Dirk noticed Jan Cremer sitting at the bar with his girlfriend Babette.

‘Look who is here. Jan Cremer and Babette.’ I hear Dirk whispering to Jan.

I expressed the desire to go and say hello to the Dutch Legend.  Instead, Dirk invited him and Babette to join us. Jan pulled up a chair next to me and Babette sat at the other end of the table.  Cremer wore burgundy red short-sleeved shirt and a pair of blue jeans. At forty two, he didn’t look anything like my image of the young and rebellious biker, married to his fast and furious motorbike and the connoisseur of female of the species from all across the European continent. He looked and behaved no different from any other respectable Dutch man his age and like them spoke fluent but accented English.

Jan Cremer impressed me as being very down to earth, charismatic, self-confident and a friendly sort of guy. He seemed to feel very comfortable with his success, and very natural with the freedom it offered him with homes in New York, Switzerland and Amsterdam. Had replaced fast motorbikes with the fast cars. All this on just two major books and I would later find out, his art, which sold for large sums. Except for one of them, his 1960 painting of the Japanese War, on which he put the price tag of one million guilders – which at the time would have been quarter of a million dollars. Jan Heemskerk tells me that he is still holding out, for one of these days some sucker just might roll out the dough.

We talked about his books and how much of what is contained in them is true and how much is the product of his “depraved mind”.  At the time he was working on a travel book, his third major effort and supposedly the best he had written so far. But he seemed not in a hurry to finish it.

The conversation switched to Playboy and the kind of women it ran in its pages, especially the Playmates. To put it more or less in his own words: The girls you run in Playboy are too young, too beautiful, too glamorized and too perfect. I like women who have stretch marks on their stomachs, the breasts that sag and asses big and fat. I like to see wrinkles on their faces, feel roughness on their skins and be able to touch the flaws in their bodies.

I could tell that Jan was serious. At the same time, I couldn’t help glancing across the table at  gorgeous Babette, and appraise her in the light of what Jan was telling me about the kind of women he prefers. Babette looked anything but the description of his favored women full of flaws.  She looked to be in her mid-twenties, with beautiful blonde hair tied back neatly in a pony, with very proportionate pointed nose, softly darting eyes and from what I could tell, she possessed a delightful figure, a pretty face, she could have easily been a Playmate.  Ironically, he was working on a photographic collection of nudes and just a couple of months after our meeting, those of Babette’s appeared in the premier issues of Playboy’s Dutch edition. I certainly couldn’t find any flaws in her young and flawless beauty. Much as I would have liked to, I didn’t get to talk much to Babette. But from what I understood, she was an ex-model and was now living and traveling with Jan, they gave me a feeling of a very loving couple, with her assuming a lower profile, which perhaps was also a part of her natural personality.

●●●

Up until now, I hadn’t  thought about that night again. Perhaps when I saw something by Jan Cremer appear in the Dutch Playboy, such as when he did the cover for the edition’s fifteenth anniversary in 1998 and prior to that when his portfolio of erotic paintings of no other than Babette appeared in the pages of Playboy in all her carnal glory. And when I read about the publication of what is hailed as his masterpiece, 2000 page opus The Huns. Beyond that he seemed to have faded  into  the backdrop of my consciousness. That is, until very recently, when I was scanning the spines of the art books in my collection, I came upon a volume of what basically is a complete catalogue of his life and works spanning from 1957 to 1988, published  to coincide with the opening of his retrospective art exhibition at the Rijksmuseum in his home town of Enschede, from where it was scheduled to go to France, Germany, Switzerland and finally to the National Museum in Budapest.

There were mentions of his life as a fine artist in his Cremer books, but it never quite recorded in my memory. The catalogue is dedicated to me with the inscription: October 11, 1988 to Haresh Shah in Friendship, Jan Cremer. I have absolutely no recollection of ever having seen him again or been in touch with in any other way since our one and the only encounter in Amsterdam. Could it be that Mick Boskamp, the service editor of the Dutch edition who was spending a few days in Chicago around the same time brought it along? Mick too has absolutely no such recollection.  How did it then get to me? On the facing page to the dedication is a New York City address, written also in the same handwriting,  is the name and address of Sterling Lord Literistic – probably of his agent in the USA. Could it be that he was in New York that day and thought of me? Bit of a mystery to me, but it still pleases me to know that I could have left a positive impression with one of my favorite authors. Who as it turns out is as big an artist as he is an author. And in retrospect, it would be fair to say that he is a bigger artist than he ever became a writer.

I am not a good judge of art by any dint of imagination, but the only way I can describe his paintings in the catalogue is that they are abstracts with broad strokes of pleasing colors splashed across huge canvases. And it impresses and overwhelms to think how incredible it is for a single human being to be all that. His writing has often been compared with my all time favorite, Henry Miller, and now when I see his art, not the style and the objects he paints, but the idea of a writer also being an artist also puts him next to the old master, because Miller too picked up the brush in his sunset years and produced some beautiful watercolors.

Even though Cremer is an entire generation younger than Henry Miller, his I Jan Cremer would have never been allowed to be published in the United States if not for the battles fought over the publication of Miller’s Tropic of Cancer in 1961, which wasn’t allowed to be distributed freely in his own country up until 1964, more than thirty years after it was originally published in France. The very year when Ik Jan Cremer came out in Holland and in 1965 in its English translation in the United States.

© Haresh Shah 2013

Illustration: Celia Rose Marks

SISTER SITE

http://www.downdivision.com

Next Friday, April 19, 2013

SEX EDUCATION À LA JAPONAISE

As excited  as I was when my boss assigned me to work in tandem with the Japanese editorial team, I also knew that Japanese were unlike any other people I had ever worked with and that I needed to know about them beyond the books I read. So before meeting with them, I embarked upon a weeklong journey of the country on their famed Shinkansan bullet trains. Crisscrossing the country, meeting people, visiting places, a university and pachinko parlors, staying only at the inns and eating only Japanese food, and yes, spend an afternoon watching  striptease.