Archives for posts with tag: Dirk De Moei

Sweet, Silky And Slippery

Haresh Shah

silkscarf

I flash my room registration card at the receptionist who is busy talking to a young man and a sort of pretty, short dark haired young woman in white, both of whom stood on the other side of the counter. ‘Room 416’, I tell him. He hands me my key. I throw a quick glance at the girl, making perfunctory eye contact and walk to the elevator. As I press the floor button, I notice the girl waving at me as if to wish me bon voyage. But the sliding doors have already closed and I am on my way up. I see her smiling face through the transparent glass door and wave back at her.

I am staying at the hip Hotel Americain in Amsterdam. I am not too impressed with the place, but built in 1900, it’s listed as one of Amsterdam’s landmarks with its turn of the century art deco and the roaring twenties atmosphere and because of its proximity to the theatre DeLaMar, it has an illustrious history – something I am often attracted to. And it’s frequented by the actors, directors and other art types of the city.

The window of my room looks down on the most popular town square, Leidseplein, which is filled with hoards of people engaged in multitude of activities. Rock & Roll band blaring out the sounds from their portable amplifiers, a group playing African drums, the flute players, a magician, the lone guitarist strumming in the early morning rain and an audience as attentive as it is appreciative. It feels like a multi-ring circus, a happy carnival. The grinding of the gears and the screeching of the trams somehow blend in harmoniously with the sounds of the street side shows. Wafting in through my room windows is the sad soothing sound of a violin. The lukewarm breeze carries-in with it a mild fragrance of the pink roses that Playboy Netherland’s editor designate Jan (Heemskerk) has so kindly delivered to my room to welcome me to Holland, as I eventually doze off for a while.

Dirk (de Moei), the art director designate and his live-in lady Ans pick me up at nine. We drive a few blocks to the restaurant de Warstein where Jan and his wife Gemmy join us for dinner.  Towards the tail end of the evening, we run into the bad boy of the Dutch literature, Jan Cremer of Ik Jan Cremer fame and his girlfriend Babette. Him and Babette join our table and Cremer treats  us to a couple of after dinner drinks. It is after three in the morning by the time Dirk and Ans drop me off at the hotel.

The elevator moves upward. I wonder about the girl’s sweet smile as I get off on the fourth floor. Those last two Remy Martins and the entire evening has put me into a very pleasant, if not euphemistic mood and I don’t even feel tired in the least. As I walk towards my room, the key in my hand at ready, I hear a female voice coming out of nowhere

‘Hello,’ it says.

I don’t see anybody around. The entire hallway is deserted. I look around and respond to the voice.

‘Yes!’

A smooth sentence floats in the air like a streamer, which I don’t understand a word of. It sounds very much like French, and now there is a face to the voice. It’s the girl from behind the reception. I am amazed at how she made it up to the floor so fast. She must have jumped right away into one of the two idle elevators waiting across from the receptionist. I stop briefly and turn around to took at her.

‘I thought you might like some company. ‘ I hear her say, with that certain sexy and seductive smile on her face.

I am tempted for a second. But the answer that rolls out of my mouth on its own is:  ‘Thanks lady but not tonight! I am just too tired.’ I lie.

‘Maybe tomorrow?’ She persists.

‘Maybe! I don’t know.’ To which she throws a sugary goodnight at me, turns around to go back to her post downstairs.

●●●

Even before I have had a chance to sit down, Luis (Moretti), Playboy partners Editorial Perfil’s corporate counselor hands me a piece of paper. Crudely torn from a notepad, it’s crumpled. I smooth it out on the table and read the scribbles. It says, Rosario, and underneath is what looks like a phone number.

‘What is it?’ I ask.

‘She wants you to call her.’

‘Who is Rosario?’

‘The girl on the other set of the studio where you were photographed.’

I am in Buenos Aires during my routine South American trip. One of Perfil’s weeklies, La Semana  wants to do a profile of me as a part of their in-house cross promotional efforts. They are photographing me with another girl, the skin on whose bare butt I am scrutinizing with a large magnifying glass. On my way out, I notice a buxom blonde with big head of bleached blonde hair fanned out on a pink pillow, scantily dressed in Victoria’s Secret like sexy lingerie, she is curled up seductively on the bed, her voluptuous figure spilling out of her small frame.  I don’t remember even having made as much as a quick eye contact with her.

‘What does she want?’

‘I guess she has taken liking for you. You will make her very happy if you called. She said she will be up and around late in the night.’ Answers Luis with a sly smile on his face, a bit envious perhaps?

I have landed in Buenos Aires that morning after an all night flight from Miami and have put in the whole day. I meet Luis for dinner at Las Nazarenas, my favorite steak house in the city. All I want to do is to have an early dinner, walk across the street to the Sheraton, where I am staying and hit the sack. That’s precisely what I do. When in the room, I empty my pockets and out comes the crumpled piece of the paper with the phone number. I look at the phone on the bedside table. Temptations, temptations.. But do the right thing and soon I am snoozing. On that trip, I spend several days in Buenos Aires, and yet never call her. She just wasn’t my type.

Or could it be that my encounter the night after had her pushed back in the obscurity?

The lights are dim. The music is slow and soothing. The dance floor is well-attended, but not crowded. Dancing close to me is Dulce. She is sweet, just like her name. We are dancing close but not too close. I can feel the contours of her female form and then feel her head gently drooping on my shoulder. I pull her closer ever so lightly. She allows herself to be nudged into a slight squeeze. Her perfume is pleasant – not overbearing. She is dressed modestly in a pair of well fitting pastel peach slacks and a black low necked top. Nothing glittery like most other girls in the crowd. She is down home pretty with shoulder length dusty blonde hair that smell of a faint whiff of shampoo. She fits snugly under my arms. It feels good to hold and feel so close her female form. It’s been a while.

The night is young. It’s little after midnight. That’s early for the disco world. The place, if not as crowded as earlier, is still buzzing. It’s Playboy Argentina’s anniversary that we are celebrating at Hippo – the “in most” night spot in Buenos Aires. As we dance to the whatever soft melody they’re playing, I am wondering. Perhaps I get to take her back to my hotel. That would be nice. With every dance and every whisper, I’m liking her more and more. Even falling for her tender, almost motherly ways. When the music stops for a minute, she lifts her face to look at me and I feel a sudden melting of my reflection into her honey brown eyes. When the disc jockey finally decides to take a short break and when I walk her back to the table where she sat with some friends, the booth is empty. I look around for some Playboy people still around. I don’t see anyone I recognize. For a moment we stand there, wondering.

‘I guess our friends have abandoned us.’

‘I think so too. One of them was going to give me ride back home.’

‘I can drop you off by cab on my way back to the hotel.’ I offer.

‘That would be nice. Thanks.’ And then there is bit of hesitation. ‘Don’t you just want to take me to your hotel room instead?’ I see a pleading mellowness in her eyes. Almost heartbreaking somehow. Not up until that very moment does it cross my mind that she could be anything but a young society woman out on the town with her friends.

‘Let’s sit down for a while and have a drink.’

Bueno!’ She says and snuggles next to me.

Dulce is a single mother who works in a small boutique on Calle Florida, the city’s most popular pedestrian shopping zone. The job barely pays for her living expenses. She doesn’t walk the streets to make ends meet, instead frequents high end places like Hippopotamus in the ritzy and popular tourist district of Ricoleta as well as five star hotel bars. I like it that she is in no hurry and we’re able to talk. I appreciate what I perceive to be her honesty.

But taking her back to my hotel room is no longer an option for me. Not that I have never been out with one of them, but a couple of times that I did was at the end of the long nights of eating and drinking and with a friend or two having wandered out kind. I don’t regret those outings, mainly because those women and the experiences were pleasant. But as a matter of not even some moral principal – but the sheer fact that I am very romantic at heart, I just wouldn’t/couldn’t bring myself to forge such a liaison.

I am being honest and I tell her how very much I like her and was even falling for her charms and the sincerity, but taking home a profi wasn’t something I did.

Pero soy buena!’ She urges. ‘But I am good!’ Even sounding like a saleswoman in a boutique.

Lo siento!’ ‘I am sorry!’ She doesn’t say anything to it, just scoots closer to me, takes my hand in hers and lets her head fall on my shoulder. It feels good that she feels at ease doing that. That perhaps in my small way I am a comfort to her as she is to me.

‘But I can still drop you off if you want?’

I get out of the cab in front of her home to see her off and press into her fist a $50.- bill.

‘It’s not much, but…Gracias!’

Gracias.’ She echoes, and gives me a quick hug. I watch her opening the front door and disappear inside her building.

© Haresh Shah

Illustration: Celia Rose Marks

SISTER SITE

http://www.downdivision.com

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Next Friday, March 14, 2014

IN THE DEPTH OF HIS EYES

Up until my first trip to Spain in the fall of 1978, I only had a vague knowledge of the Spanish Civil War and how Franco ruled the country for almost forty years with his ruthless iron fist. In fact it was the dictator’s death that would make possible even to think of bringing any western publication in to the country, let alone a local edition of Playboy. A poignant personal account.

Haresh Shah

Happiness Is A Piping Hot Croquette

automat

Art directors are a breed unto themselves. Crazy as they come. Crazy as in creative crazy, in positive sense. They are normally temperamental, egocentric and a proud clan. Starting with the Godfathers of them all, Art Paul and Tom Staebler of the U.S., Rainer Wörtmann of Germany, to Milan Hlaviček of Czech Republic and Andrzej Pągoski of Poland – these masters of the visual communication  are also the purveyors of good taste, dressed in their own individual style, be it the beat up pair of blue jeans, or wrinkled khakis and equally as wrinkled shirts and jackets. Or the designer suits and long fancy rain coats. The category in which, the first Dutch art director, Dirk de Moei falls.

Always impeccably dressed in his light crème suit and his longish off white trench coat, his trademark tortoise shell red framed glasses with inquisitive and confusing looking set of smoky green eyes peering through tinted lenses, Dirk is flamboyant, no taller that 5’9”(175 cms), his rusty brown hair isn’t too long, nor short, his round face makes him look no different than Mr. middle of the road from the planet earth.  The man of good taste in clothes and food and he carries the most expensive Smythson of Bond Street, thick as a paperback address book, he is the man about town. To the editor-in-chief Jan’s (Heemskerk’s) somber personality, he is the fleshy one of the duo that arrived in my Chicago office in early 1983, to learn the ropes.

As opposed to the editors with whom I discussed and disagreed on the ideas of the overall  content, I often butted heads with the art directors. Lucky for the editors that in most of the cases their texts were in a language I couldn’t read or understand. But I could see clearer the graphic ideas of the art directors and have an opinion of my own. And I would have ideas of my own to contribute. Art directors also being an emotional bunch and extremely possessive of their talents  would resist the most. When Dirk came up with the re-designed front of the book pages, splitting two or more rubrics on the same page instead of devoting a page each to Music, Books, Films and other sections, he was up against resistance from me. That’s altering the basic design and the format of the classic Playboy.  My job it was to preserve and guard them.

‘We neither have as much material, nor space and ads like the US Playboy to afford that kind of luxury. While the U.S. Playboy has an average of 230 + pages every month, we would l have about 130.’ Dirk throws a bewildered look in my direction.

That logic of his did it for me. Those pages looked nice, if a bit cluttered like a small Dutch house, where every single centimeter has to be judiciously utilized. The steep stairs with an incline only a slightly more than a stepladder against the wall, every nook and corner had to be used in the most productive way. Furthermore, his improvised design gave more editorial flexibility. Made imminent sense. In the end we would agree on a compromise, and from all our disagreements, the magazine benefitted the most. I thought of Dirk a couple of weeks ago when I saw the grand old dame The New Yorker’s, front of the book pages similarly split after 83 years of publication. Dirk did it with their issue # 0.

There was rarely animosity between us and we got along famously at and outside of the work.  Dirk was also the man about town and would be often consulted as to where we should go out for dinner.

So it is no wonder that Dirk wants to introduce me to the best of what Holland has to offer in terms of the culinary excellence. One evening, he picks me up from the hotel with his live-in squeeze Ans and we drive into the Dutch countryside to the restaurant de Hoefslag in Bosch en Duin. It is awarded no less than two Michelin Stars and its cuisine is known to stack up to any

I am flattered and I am curious. Really looking forward to it as Dirk builds it up how exquisite and exclusive the place is – not to mention how expensive! Soon as we walk in, Dirk and Ans are fussed over by the co-owner, chef Gerard Fagel who ran the restaurant with his brother Martin. We are given a prime table in the middle of the restaurant that allows us the generous panoramic view of the ample space that the dining room occupies. A bottle of champagne appears without being ordered and while the chef and Dirk are babbling away excitedly in Dutch, catching up, Ans and I look at each other like Alice and Alex in the Wonderland.

The dining room is spacious and airy. It’s lit just right with enhancing and highlighting plants and other inanimate objects. I am presuming that this is Ans’ first time also, from the way she surveys the place, as if in awe.

Now my memory is a bit fuzzy on the exact details of the meal we consumed over the next two or so hours. What I remember clearly still is that the appetizer contained of a diminutive quail egg topped with a spot of glistening Beluga caviar, resting on the bed of exotic looking mix of lettuce, and somewhere along the meal, no bigger than a Kennedy silver dollar in diameter and about two inches (5 cm) thick Filet Mignon crowned on the mound of various accoutrement and revolving bottles of champagne all through the meal. All served on shiny white plates, a smaller one nestled into a large service plate. Every course visually enhanced by the chef’s artistic skills.

It was a multi course meal and I am sure there were wine pairings. None of which I remember. But just to give you an idea, I have had my son-in-law Carlo Lamagna, who is currently the executive chef at one of Chicago’s top, Benny’s Steak House and was sous chef  at the elite, known for its  earth to table cuisine, North Pond, frequented by likes of Ricardo Mutti and Gérard Depardieu, make up the following sample menu of that night now thirty years later.

MENU

Amuse – trio of melon with balsamic and basil

1st course – vichyssoise, black truffle, chive baton

2nd course – quail egg, beluga caviar, frisee, garlic vinaigrette

3rd course – foie gras torchon, sauterne Gelee, brioche crouton

4th course – lobster poached in vanilla butter, celeriac puree, wilted spinach, sauce américaine

5th course – petite filet mignon, pomme puree, roasted chantrelles, marchand di vin

intermezzo – beet granite

6th course – vanilla creme brulee, mascerated raspberries

Yum! Or like the Dutch would say: lekker! We are properly wined and dined and are buzzing pleasantly with the champagne circulating through our veins like the chemicals scurrying in slow motion roller-coasters through the test tubes in a science lab, with bubbles and all. The only way I can describe it is: we’re feeling no pain as we say our thanks and goodbyes to the chef and the restaurant.

As we’re driving back in near silence, Dirk’s Alfa Romeo Sports is gliding along the tree covered roads and snaking towards Amsterdam, I hear Ans shuffling in her back seat and leaning forward.

‘So, did you like the meal?’

‘Of course. It was exquisite. Nothing like I have ever tasted before.’ And then I turn my face sideways to look at Dirk. He’s wearing a smile of satisfaction. Then I turn around and face Ans.

‘But you know? I’m still a bit hungry!’

‘You are?’ She doesn’t come out and say what I read on her face.

‘Aren’t you?’

‘To tell you the truth, yes, I am a bit too.’ I hear a not very happy grunt coming out of Dirk’s throat.

Just having vocalized what my stomach is telling me, gurgling, I come out and say what I am thinking.

‘You know what?’

‘What”?’

‘A fresh hot chicken croquette with mustard would taste really good right now!’

‘I think so too,’

‘Let’s stop for one. My treat!!’

What I see clearly on Dirk’s face is utter disgust at us two ungrateful creatures. And yet, he suddenly exists the dark avenue we have been traveling on and within minutes is pulling up at an all night automat. At the  first bite of the piping hot croquette, both Ans and I feel we died and went to heaven. Dirk refrains from having any.

He has just plunked down hundreds of guilders on wining and dining us.

© Haresh Shah

Illustration: Celia Rose Marks

SISTER SITE

http://www.downdivision.com

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Next Friday, October 18, 2013

MY FATHER’S SECRET STASH

When my father died, he left behind a trunk full of personal stuff containing of things that were near and dear to him, mainly several watches that he wore through his lifetime, gold cufflinks and shirt buttons, several bottles of partly or barely used men’s fragrances, among them a bottle of Playboy fragrance, several little bottles of herbal attars, fancy pocket handkerchiefs and such, which my mother wanted us four brothers to have. Since I was coming home soon, my brothers decided to wait to open it when all four of us would be together. But they had gone ahead and taken a quick peek…

 

 

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.