Download pdf - VL54 - Coming of Age in the Rocky Neck Art Scene of the 1950s …€¦ · Coming of Age in the Rocky Neck Art Scene of the 1950s – VL54 – page 4 7:01 I remember once when the

COMINGOFAGEINTHEROCKYNECKARTSCENEOFTHE1950S

LECTURETRANSCRIPT

Speaker: PeterAnastas

Date: 7/13/2013

Runtime: 0:59:01

Identification: VL54;VideoLecture#54

Citation: Anastas,Peter.“ComingofAgeintheRockyNeckArtSceneofthe1950s”.CAMVideoLectureSeries,7/13/2013.VL54,CapeAnnMuseumLibrary&Archives,Gloucester,MA.

Copyright: RequestsforpermissiontopublishmaterialfromthiscollectionshouldbeaddressedtotheLibrarian/Archivist.

Language: English

Transcription: KarlaKaneb,4/29/2020

VideoDescriptionFrom2013PressRelease:WriterandGloucesternativePeterAnastaswillgiveanillustratedtalk,“ComingofAgeintheEastGloucesterArtWorldofthe1950s"attheCapeAnnMuseumonJuly13at3p.m.ThetalkwillfocusontheartistsandwritersAnastasknewinandaroundRockyNeck.Hewilldescribehisjourneytowardanunderstandingoftherelationshipbetweenvisualandliteraryartandtheplacesinwhichitiscreated.

HewilldetailhisexperienceasayoungmanwhoreportedontheCapeAnnartscommunityfortheGloucesterDailyTimes’CapeAnnSummerSun.

ComingofAgeintheRockyNeckArtSceneofthe1950s–VL54–page2

Thisprogramisofferedinconjunctionwiththespecialexhibition“FourWinds:theArtsandLettersofRockyNeckduringthe1950s.”

TranscriptionCourtneyRichardson0:13Welcome.FullHouse!I’mCourtneyRichardson,DirectorofEducationandPublicProgramshereattheCapeAnnMuseumandIjustwanttowelcomeyouall.Thankyousomuchforcoming.AllthankstoPeter.Iwanttothankourmembersbecauseyoumakeprogramslikethispossibleandhelpusdoallthethingsthatwedoforthecommunity,sothankyou.Ialsojustwanttoletyouknowthat,forthoseofyouwhodon'tknow,wewillbeclosingourdoorsinOctobertodosomemajorrenovations.Socomeoftenthissummer,enjoyourspecialexhibitions.OntheThirdFloorwehaveHopperRedux,PhotographsbyGailAlbertHalaban,andalsoFourWinds—thiswonderfulcatalogisupstairsforsaleinourMuseumshopandPeter’sessayisamazing.Andhejusttoldmethatthistalktodayisnotarepeatofwhat'sinthecatalog,ittakesustoanewplace.Sothisisdefinitelyakeeperbecauseyouwon’tbeabletohear—won’tbeabletoknowwhat'sinhere,fromtoday.Thankyou,Peter!SoIjustwanttowelcomePeter,IwanttothankhimforalltheworkhedoesfortheCapeAnnMuseum.AsIsaidhewroteanamazingessayforthisspecialexhibition,lastsummerheupdatedhisessayfortheMarsdenHartley:SoliloquyinDogtownexhibitioncatalog.He'sdonenumerousprogramswithus,he’scomingbackinSeptembertodoagallerytalkwithDavidRichaboutFerrini’spoems.Somakesureifyouthinkyouwanttocometothat,thatyousignupandregisterforitbecausespaceislimited.Sowewanttobeabletogetyouallinthere.He'swrittennumerousnovelsandothercollectionslikethis,hismostrecent,AWalkerintheCity:ElegyforGloucester.AndI'veseenpeoplerunninguptohimalreadyaskinghimtosignthis.SoI'msurehewouldn'tmindifyouwantedtodothatlater.That’sall;thankyousomuchforcoming.PeterAnastas2:38Thankyousomuch.Ifatanytime,youcan'thearwhatI'msaying,please,raiseyourhand,pleasetellme.Canyouhearmenow?I'dliketotakeyouonajourneybacktoGloucesterinthe1950sandthroughmy,notnecessarilymychildhood,butthatperiodafterchildhood.Andit’scalled“ComingofAgeintheRockyNeckartsceneofthe1950s.”EverytimeIlookatthispaintingofBickford’sLanding,whichwassent62yearsagotomyparents,byEmileandDorothyGruppe,asawelcominggiftontheoccasionoftheopeningofPeter’s,myfather'sluncheonetteandS.S.PiercegrocerystoreatoneWonsonStreet,nowSailorStans.Andit’sframedshortlythereafterbypoetandframemakerVincentFerrini.EverytimeIlookatthispainting,I'mcarriedbacktotheRockyNeckofthosepost-waryears,duringwhichIcameofageamongartistsandwriters,whoseinfluenceandinspirationhaveremainedwithme.


3:55OneofthereasonsIwantedtoshowyouthisisthattheframeisverymuchofitstime,isn'tit?ThisiswhenVincentfirstbeganmakingthosereallyextraordinarypictureframesthatmanypeoplethoughtwereasfineas,ifnotfiner,thantheart.[CrowdLaughter]MyexperiencewithartdidnotbeginwhenwemovedtoRockyNeckinJuneof1951.ThoughtheRockyNeckartcolonyconstitutedanewworldformyyoungerbrother,Tomandme.IwasactuallyintroducedtoartinthefirstgradeatHoveyschoolbytheschooldepartment'sremarkableartsupervisorandteacherHaleAnthony,laterknowntousafterhermarriageasMrs.Johnson.WhenwefirstgradersinitiallyencounteredHaleAnthony,whocameonceaweektoteachushowtodrawandpaintandintroduceustoarthistory,especiallytotheartbeingcreatedaroundCapeAnn,5:00itwas1943andIwassixyearsold.IrememberHaleAnthonyashavinganolivecomplexionandglossydarkhair.Shedressedbeautifully,“veryartistic”,asourenviousmothersputit.Incolorfulclothingmuchofwhichshedesignedandmadeherself.Let'stakealookatthesecondimage.CourtneyRichardson5:26Ijusthadaminortechnicalproblem.PeterAnastas5:30Okay,IwillshowyouapicturethatIfoundofHaleAnthony,itwasafewyearsaftershe'dbeenmyartteacherandIfoundapictureintheGloucesterTimesofherwithtwootherartists,proudtobeamongthem,andthey'redeliveringpaintingstotheCapeAnnFestivalfortheArts.6:00Theresheis,theresheinthemiddle.Anextraordinary,shewasanextraordinarypersonandshewasourfirstartteacher.WewerealwaysexcitedwhenourteachersannouncedthattodaywouldbethedayMrs.Johnsonwascomingtodoartwithusbecauseshewasalivelyteacher,wholedusinaseriesofprojectssuchascreatingtigerswallowtailandmonarchbutterflies,whosewingswe’dcutoutofplywoodorthinpine,6:24paintwithbrightcolors,rustbrownsandblacksandgluetogetherat90degreeangles,theirantennamadeofblack-stainedpipecleaners,tomakethemlookasiftheywereactuallyinflight.Oncethepaintwasdried,weproudlytookourbutterflieshome,wheretheyremainedobjectsofprideanddelight.AtCentralGrammarourartteacherswereJeanNugentinseventhgradeandEdnaHodgkinsineighthgrade.Bothwereartiststhemselves,excellentpaintersanddesigners,whoseclassrooms,hungwithourdrawingsandpaintings,alwayslooklikemorelikeartgalleries.


7:01IrememberoncewhentheschoolwasdoingaplayaboutGeorgeWashington'slife,Ms.Nugentaskedmetoposeinfrontofourartclassincolonialcostume,withawigandwhitestockingssothattheclasscoulddrawme.Theboyspredictivelymadefunofmylegsinthosestockings.7:24ButMs.Nugent,eversensitivetothemortificationofourpre-adolescentdaysremindedtheclassthattheoverallfigurewasparamount,notthestockingsthemodelwaswearing.7:36SoitwasnotwithoutsomebackgroundinartthatIarrivedonRockyNeckinJuneof1951.OrasI'vesaid,thisstoriedislandthatbecameapeninsulawasstillanewworldformybrotherandme.JustimaginetwoboysfromalargelyworkingclassPerkinsRoaddownbyBlynmanBridge,whoseonlyexcitementwashighschoolfootballinNewellStadium,8:00FourthofJulyfireworksatStageFortPark,andFiesta,assoonasthewarhadended,beingsetdowninwhatseemedtoustheveryexoticworldofwomenartistswithstunninglonghairandsandalslaceduptojustbelowtheknee,andthemen,whopaintedoutdoorswearingswordfishcapswithlongbillsandsmokedcurvedpipes,allspeakinginalanguageaboutwhattheyweredoing,thinkinganddreamingofthatIbarelyunderstood,butwantedsomehowtoknowandtoemulate.Thatwouldcomelater,whenIbeganneedingtotalkwithartistslikeGruppehimselfatthecounterofmyfather'sstore,whenhecameinseveraltimesadayforblackcoffeeduringbreaksfrompainting.GruppespokeinaroughEuropeaninflectedEnglish.Itwassaidthathe’doncebeenadrinker,buthiswife,Dot,hadconvincedhimtostop,9:00lengtheninghislifeandenhancinghisart.AsI'vewritteninmycatalogforFourWinds,thefirstartistsIbegantomeetthatislandsummerweremembersoftheRockyNeckartgroup,inparticularTomO’Hara.Let'stakealookatthenextimage.TomO’Hara,anextraordinaryartistwhotaughtatMassPublicArt,andalwaysseemedtohavetimeforaninquisitiveboy.Tom'sworkhadaqualitytoitthatwasamazing,particularlytomeatthetime,becausetherewassomuchaboutcolorandmovementandthewaythathedealtwithshapes.AndBobBradshaw.Let'stakealookatthenextpage.ThisistheDorisHallGallery,thebuildingsstillexistsonRockyNeck.10:00BobwasaprofessorofartatRutgersandbothTomandBobwereyoungartistswithgrowingfamilieswhosechildrenmingledwiththekidsontheNeck.There'sonemorewonderfulwatercolorhere,ifwecanseethenextimage,andit’sgotamarveloussenseofmovement.BothwereyoungwithgrowingfamilieswhosechildrenmingledwiththekidsontheNeck.It


wasasquietinwinterasitwasfranticinsummer.MaxandFayeSchwartz,artteachersattheCambridgeMasspublicschools,becamelifelongfriends,wereamongthatgroup.10:34IlovedMax’siconichumor.Let’stakealookatthatinawonderfuldrawingofMax’s.ThisisintheFourWindsshow,it’sadrawingofanartistdemonstrationatRockyNeck.MaxandFayevisitedmeinFlorence,yearslater,whenIwasstudyingattheuniversity.WhileIconductedthemtotheUffiziGalleryoneafternoon,wegossipedamongtheGiottosandpianos,notaboutItalianArt,butaboutRockyNeck.11:07Also,whileIdidnotmeetthemuntillater,duringtheyearsofwhichIamspeaking,artistsGordonGoetemannandhiswifeJudithwerestudyingwithextraordinaryartistandteacherUmbertoRomanoattheGalleryoftheMoorsonLedgeRoad.Theyremainamongtoday'sprominentartistsonRockyNeckatthegalleryof37RockyNeckAvenue.TheartistwhoinspiredmemostbeforeImetAlbertAlcalaywasVirginiaWhittingham,ayoungwomanwhohadjustgraduatedfromartschoolinNewYorkandwasspendingherfirstsummeronRockyNeck.Ginnie,asthegrownupscalledher—IalwayscalledherMs.Whittingham—livedinasmalloneroomstudioatWestWharf.Withherblueeyes,longblondehair,andhertanlegs,shereceivedalotofattentionfrommen.12:04Sheworewhitetennisshortswithablueworkshirtthatwasusuallystippledwithpaint.ShepaintedinthemorningandspentherafternoonsreadinginthesunatNilesBeach.Onthewaybackfromthebeach,shealwaysstoppedinatthestoreforalimerickey,whichourcustomersinsistedbemadebymyfather,whileIstoodbyshyly.Ihadterriblecrushonher.SheattemptedtodrawmeoutbyaskingwhatIwasreading.WhenImentionedthatsinceseventhgrade,Ireadmostlybooksaboutscienceandsciencefiction,novelslikeRayBradbury'sTheMartianChronicles,L.SpraguedeCamp’sGenusHomo,andofcourse,JulesVerne,sheaskedmehadIeverheardofDostoyevskyorThomasWolfe.WhenIsaidIhadn’t,shetoreasheetofpaperfromhernotebookandbeganinherverydistinctivehandwriting,acombinationofprintandcursive,tolistsomenovelsbythosetwowritersandothersbyTheodoreDreiser,JohnDosPassos,andSherwoodAnderson,whichsherecommended.13:13EventhoughIwasabouttoenterhighschoolinSeptember,Ifeltthatsuchwritersmightbebeyondmycomprehension.Thatwasactuallymymother’sever-vigilantopinion.ItookthebustoSawyerFreeLibrarythenextdayandsignedoutDostoevsky’sTheIdiot.Readingthatnovel,andseveralothersonMs.Whittingham’slist,especiallyThomasWolf'sOfTimeandtheRiver,anovelyoucanprobablyonlyreadwhenyou’reanadolescent,changedmylife.


13:45Naturally,Ididn'tunderstandeverythingIreadinTheIdiot.ButIluggedthebooktothebeach.Ireadit,IgropedmywaythroughDostoyevsky'sspiderysentences.NorcanIclaimtohavecaughtwhatlaidbehindthecontoursofeventsIwasabletoperceive,orthemotivationsofthenovel’slargerthanlifecharacters.WhatIabsorbedmostfullythenwasnotthestory,scarcelythelineofanintricateplot.WhatIabsorbed,literallybreathedin,wastheatmosphereofthenovel,andthepossibilityofthecreationofjustsuchatmospheresthatwouldbecometheprovenance,theverythrustoftheactofwritingforme.14:35Thenextbook,Iborrowed,wasOfTimeandtheRiver.JustasI'dbeentransfixedbythelonelyfate,thefigureoftheloneasthete,misunderstoodandultimatelyreviledPrinceMyshkininTheIdiot,thedescriptionoftheyoungThomasWolfehimselfatHarvardburneditswayintomymemory,especiallythesceneatWidenerLibrarywheninhishungerforwhattheycontain,heispullingbooksdownfromtheirshelves,asthoughhewishestodevournotonlytheircontents,buttheirbindingsaswell.IwentonthatsummertoreadsomechaptersfromWinesburg,Ohio,whichdeeplyinfluencedmyfuturewriting.15:18AndItookapeekatJohnDosPassos’U.S.A.,whichIwouldn'tactuallyreaduntilcollege,whenithitmelikeabombshell.AllthemythsIhadbeentaughttobelieveaboutAmerica,fallinglikescalesfrommyeyes.ThoseinitialreadingsinDostoevskyandThomasWolfeweretheincisiveones.AftermyencounterswiththesolitarymessianicRussianandthegiganticcravingAmericanfromthesmallNorthCarolinatownofAsheville,Iwouldneverbethesame.Norwouldmylife,onlyIwouldn’tknowthatyet.15:57Ms.WhittinghamneverreturnedtoGloucester,butthatonesummerduringwhichwetalkedaboutartandliteraturealmostdaily,andIwatchedherworkevolvefromfigurativepaintingtoexperimentsandabstractionwasanimportantpartofmyeducation.Duringthefollowingsummer,IbecamemoreintimatewithandknowledgeableabouttheRockyNeckartscene.WhenasaresultofwritingfortheGloucesterhighschoolnewspaper,whichprintedasasinglepageeverySaturdaynightintheGloucesterDailyTimes,IwasaskedbyeditorPaulKenyontobecometheRockyNeckcorrespondentforthetown.Thusattheageof14,myformalwritingcareer,writingforpublicationandgettingpaid,began.16:49Thesummerof1952wasthefirstsummerthattheSunwaspublishedwiththeTimes,whichhadbeennewlyacquiredbyveterannewsmanPhilWeldwithfinancialassistancefromGloucester-borneconomistandphilanthropist,RogerBabson.WeldsubsequentlyboughttheBeverlyTimes,Danvers,andNewburyportnewspapers,creatingaconglomerate,whichofferedtopnotchreportinginanewlydesignedformatthatfeaturedsuperbphotographsand


thoughtfuleditorials,manyintheGloucesterTimesghostwrittenbyE.HydeCox,aHarvardgraduatelikeWeldwhohadtaughtEnglishatExeterduringthewaryearsandwaslatertobecomepresidentoftheCapeAnnMuseum.17:38CoxwasalsoanearlypatronofartistAndrewWyethandaclosefriendofpoetRobertFrost,aboutwhichIwillhavemoretosay.MyeditorattheSunwasJohnT.Bethell,amemberoftheHarvardclassin1954,whichincludednovelistsJohnUpdikeandLouisBegley,andEssex’sEdwardHoagland.JohnaspiredtowriteforTheNewYorker,whichforhimandhiscontemporarieswasthepinnacleofjournalism,coupledwithexquisiteprose.Johnhadshaggyblondhair,andhisuniformconsistedofwrinkledBrooksBrothersbluebuttonoxfordclothshirtandkhakiswithraggedcuffs.Hewalkedaroundtheofficebarefootwhenhewasn'tsittingonhisdeskwithhislegsfoldedunderhim.18:36JohnnevermadeittoTheNewYorker.Aftergraduationheworkedonan[?]untilhereturnedtoHarvardaseditorofthemagazine.Johnalwaysseemedtoaddressthis14yearoldwithacroakandbroadGlostaaccentfromacertainheight,althoughheacceptedmeasaneophytereporter.Myfirstcolumn,datedJune27,1952,begins—let'stakealookatthecolumn,nextslideplease.That’smyfirstmoment.Quote,“AverycharmingvisitortoRockyNeckisMrs.WalsworthBellofHampton,England,motherofMrs.WilliamSibley.19:20Mrs.WalsworthBellarrivedMay13ontheQueenMary,andafterastayofnineweeks,willreturnontheQueenElizabeth.BothmotheranddaughterservedEnglandduringthewarandnowthetwosonshaveserved.Themainreasonforthevisitistoawaitthebirthofathirdgrandchild.”Gatheringwriter’sinformation,gettingthespellingofthenamesright,andthefactsstraightwasthebeginningofmyeducationasareporter.Buttherewasalearningcurvestartingwiththatfirstcolumn.Forexample,inthatsamecolumn,Iwrote,quote,“Thelastfewmonthswehavewatchedwithinterestas‘Gerry’HillreadiedtheBickfordFleet,ofharborcruiseandsportfishingboats,forsummerduty.TheDorothy,memberofthefleet,is75yearsoldandisrememberedbymanyoftheoldtimersontheNeck.”20:17Innocuousenoughitwouldseem,theminutetheSunhitthestreet,Jerrywasonthephone,“Areyououtofyourmind,reportingthattheDorothyis75yearsold?Noonewouldwanttoboardher,she’llsink!”SoIhadmyfirstlessoninjournalism,thatnotineverycasedoyoureportjustthefacts,somejudgmentisrequired,aswhenfoursummerslaterIbecameeditoroftheSun,andwasalsoreportingfortheTimes.PaulKenyonhadmecalltheparkinglotattendantatGoodHarbortoaskhimaboutbeachtraffic.IswearthatIheardhimsay,“Theparkinglotwasfullbuttherewasroomformorecars.”SoIreportedit.Withhisnameattached.


21:17ThenextdayhecallsPaul,furiousthatwemadeafoolofhim.“Whatdoyoumean‘thelotwasfullbuttherewasroomformorecars?’Howcouldthatbe?Yourreportmademeouttobeanidiot.”Lookingthroughthemicrofilms,othertimesduringthatfirstsummer,I’mamazedatthehistoryIinadvertentlyrecorded.SmeltfishingfromBickford’sLanding,forexample.Baseballmightbethenationalpastimeelsewhere,butitisdefinitelynotinRockyNeck.Apastimeofyoungandoldalikeissmeltfishing.GeorgeMcClinton,ReggieJackson,RobertGruppeandSallyAndersonexhibitgreatskillastheylandmanyasteaker,asteakerwasatermatthattimetoforawellfleshedfish.22:09InmycolumnforJuly111952—wecantakealittlepeakatthatinasecond,nextimage—Iwrote,quote,that“Mrs.WilliamBradfordGreenarrivedlastweekfromherConnecticuthomeinafinenewcar.Mrs.GreenconvertedtheGilesChapelonWonsonStreet—somethinktopronounceitGiles—intoagalleryofpaintingsbyherlatehusband.”HadIbeenamoreconscientiousreporter,ImighthavetoldwhatmakeofcarMrs.GreenwasdrivingandwhereinConnecticutshelivedinthewinter,indeedwhatherhusband'snamewasandwhatsortofpaintingshedid,butthatwouldcomewithtimeandexperience.GileschapelisnowtheRockyNeckCulturalCenter.22:58Ialsorememberbutdidnotwriteabout,thatMrs.Greenwasafinepianist,itwassaidthatshehadoncesungprofessionally.EachmorningonewouldhearherplayingthemagnificentSteinwaygrandpianothatsatinthefrontoftheChapel.AnotherpieceofhistorythatIrecorded,quote,“Mr.AndMrs.GordonGrantarrivedfromNewYorktospendtheseasonattheRockawayHotel.GordonGrantisawell-knownpainterandillustrator.”NoBohemianstudiofortheaffluentGrants,rathertheRockawaywithitsfading[?],grandandcontinentalcuisine.23:40MybrotherandIwouldplayforteadancesatthehotelintheyearstocome.Meonpiano,Tomonsaxophoneandclarinet,whichhe’dbeentaughttoplaybypainterandmusicianDorothyPrimmfromBickfordWay,andondrums,BobShores,whosefatherownedShoresWharfonEastMainStreet.OurperformancesalwaysbeginningandendingwiththeElizabethWaltz,saidtohavebeencomposedinhonorofMrs.Publicover,theowner'swife.NorcanIforgettheRockawayRockerthatalwaysgottheolderguestsoutoftheirrockingchairsandupontothedancefloorforabriskFoxtrot.24:28Iworkedonotherthingsduringthefirstsummerasayoungreporterandcolumnist.AsI'vewritteninmycatalogessayforFourWinds,IhadbecomearegularvisitortotheCapeAnnSocietyofModernArtists,CASMA.ItwasgatheringintheoldballroomoftheHawthorneInnCasino,wasoneofmydailyroutestoNilesBeach.Itwasatthatgallery—theyhadasecondone


atRedMen’sHallinRockport,andDorisHall’sGalleryandcoffeehouseonRockyNeck—thatIgotmyintroductiontocontemporaryartofamodernistandexperimentalnature,anditgrippedmyimaginationbystimulatingdesireinmetoknowmoreaboutthisnewartandthepeoplewhocreatedit.25:13Alongwithexperimentalisminthevisualartscamenewexpressioninwriting.TwosummersinarowVincentFerrini,whohadmovedtoGloucesterfromLynnin1948leavingbehindworkasabenchhandatGEtoopenhisownpictureframeshopat126EastMainStreet,nowthehomeoftheGloucesterWriter’sCenter,gaveareadingatCASMA.ThatsummeralsoFerrini,andhiswifeMargaret,DavidandIlmiMeddaugh,andMaryShorelaunchedFourWinds,alocalliterarymagazinewithinternationaloutreach.Inanunsignedarticle,theCapeAnnSummerSunwelcomedwhatthepapercalledthefirstnativemagazineintheheadlineofalong,informative,andpositivearticle.Let'stakeapeek—next.That'sthearticlethatwelcomedthisfirstissueofthelocalGloucestermagazine.Idonotrecallreadingthatarticle,butIdorememberthatIfoundacopyofthemagazinecover.It’squiteattractive.26:30And,whatamazesmesomuchisthisistheactualmagazinefrom1952thatIbought.Lookattheconditionthatit’sin,wonderfulpaper,wonderfulstock,itjustshowsyouhowthesethingsstoodout.IfoundacopyofthemagazineonthebookandmagazinetableattheDorisHallGalleryandboughtitfor75cents,rushinghometospendtherestofthedayandnightpouringoverit.26:59I’vewrittenatlengthaboutthissingularencounterinmyessayfortheexhibition.ThoughmyreadingandDostoevskyhadpreparedmeforliteraturethatwasmoredemandingthanthesciencefictionnovelsI’dbeendevouring,IwasnotpreparedforthepoetryofCharlesOlson,RobertCreeley,DeniseLevertov,thegreatGermanpoetandphysicianGottfriedBenn,orFerrinihimselfthatIfoundinFourWinds,norfortheexperimentalfictionthatmagazinealsoprinted.Thereisamomentinayoungperson’slife—butremember,Ididnotknowyet,mymajorinterestuntilthenwerethesciences—whenheorshecomesuponsomethingentirelyunexpected.Abook,apainting,asong,apoemthatexcitesyouunaccountablyandchangesthewayyouseeyourselfandtheworld.27:58It'sanexperiencethatyou'renotevenawareyou'vebeenseeking,andyetallyourlifeyouhavebeenpreparingforit.ThisiswhathappenedtomewhenIfirstreadFourWinds.Ican’tsaythatIunderstoodallthepoetryorthefictioninthemagazine.WhatIcanrecallisthatimmersingmyselfinsuchlinesasthesefromDeniseLevertov’s“OnlytheHeavyGroves.”“Nothingmovesunderstareofthesun.Thebonesoftimearewhite,strewnonburntturf,theshoresurface.”Readingsuchlinesasthat,orreadingphrasesoutofapoemwithinthemagazine,


28:46IfeltIhadfoundwhatIhadbeenwaitingforallmylife.ThisisabriefFerrinipoem,whichisinthemagazine.“Ipassbydayandnight,noonehasseenme.Ifyoueverwanttofindmeandknowme,leavebehindyourselfandenterthecavesofotherpeople,thereyouwillfindmewhoisyourself.”Itwasacall,readingthismagazine,myinvitationtobeme,eventhoughIbarelyknewwhoIwasorwhatIwouldbecome.Suchistheimpact,thevalue,ofartandliterature,whichhasbeensosadlysidelinedtodayinpubliceducation,suchistheimpactandvalueofartandliterature.AndI'dbeengiventhatgiftnotonlyinthecitywhereIwasbornbutinmyownRockyNeckneighborhood.Thatsummerattheageof14IdidnotyetknoworimaginethatIwouldbecomeawriter.30:01NowIwasalreadywritingandgettingpaidforit,buttheseedsweresown,seedsthatwouldtakememany,manymoreyearstomatureandgerminate.AfewmonthslaterIwouldmeetFerrini,formingalifelongfriendship.FourWindswouldleadtomeotherfriendships,withpainterMaryShore,withAlbertAlcalay,whoseworkisthecentralfocusofthe“FourWinds”exhibition,andwithCharlesOlson,who'swritingandwho'smentoringhadthemostprofoundimpactonmeofanyoneIhadeverknown.TherewassomethingelsetobewrittenthatsummerwhenIwas14,anditalsohadtodowithFourWindsandtheCapeAnnSummerSun.30:42HavingwelcomedthemagazineonJuly18,aweeklatertheSunpublishedahighlycriticalreviewsignedbyeditorBethellchargingthat,ofthepoetryandprose,quote,“Almostallfollowthesamelineofpreciousavantgardeaffectedwriting,andafew,afewareinarticulatetothepointofabsurdity.”Bethell,whojustcompletedhissecondyearofcollege,advisesthepoets,threeofwhom,Olson,Creeley,andLevertov,wouldbecomeamongthecountry'smostdistinguishedpoets,towrite,quote,“inalesslimitingformthanfreeverse,”andhedismisseseditorFerrini’spoemthatIjustreadtoyou,quote,“asareflectionofsomeconfusioninthepoet’smind.”31:45Concluding,quote,“FourWindsisinmaintrivialandunpleasant.“Someofitswritingispoor,someinexcusable.“Thereisapointin“Sophie”—that’sastorybyDanCurley,anewprofessoratSyracuseDanwas,whohadalreadypublishedinTheAtlanticMonthly.Thereviewsays,“There’sapointinthestorywhentheyoungmedicalstudentcomesfacetofacewithafemaleandissickoutofthewindowintohergarden.AfterreadingFourWinds,”Bethellwrote,“youshouldseemine.”WhileinretrospectBethell’sreviewcanbecharitablydescribedassophomoric,therewasadarkdimensiontoit.32:34Myownreactiontohisreviewwas,howcanwritingthathasmovedandexcitedmebejudgedsonegativelyanddisparaginglybysomeone,especiallyaHarvardstudentwhoisolderthanI


amandmustknowmorethanIdo?Ifthisisso,whatiswrongwithme?DoesthismeanthatIlackedjudgmentorIwasstupid?ItwasasituationIwouldfacemanytimesintheyearstocomewhenmytasteinartorliterature,divergingfromthemainstream,wouldcomeundersuchcriticism.33:11AsIgrewolder,Iwouldgainalargerunderstandingoftheforcesthatcreatedtasteandhowcriticalacademicandpoliticalestablishmentspolicetheirculture.WhatIdidnotknoworunderstandat14wasthatbehindBethell’scriticismlaynotonlyaculturalbutapoliticalagenda.Bethell’sessaycanbereadinitsentiretyasanexerciseinanti-avantgardismthatmaskstheauthor’sandthenewspaper’santi-communism.Hisreview,receivedfromanunderstandingwithintheneweditorialhierarchyofthenewspaperthatatleasttwooftheeditorsofFourWinds,inthiscasetheFerrinis,whosenameshadsurfacedduringrecentgovernmentinvestigationsintoradicalpoliticalactivity,werebelievedtohavetiestotheAmericanCommunistParty,andthemagazine'smissiontopromoteinternationalunderstandingandfriendshipthroughthedisseminationofdiverseideasandpointsofviewwasaSovietstrategythatmustbeexposedandcountered.34:28SuchanassumptionlayattheheartoftheColdWarandbecameamotivatingfactorinSenatorJosephMcCarthy'santi-communistcrusade.Iunderstoodnothingofthisatthetime.ButwheninafewyearsIwentawaytocollege,IfoundmyselfabsorbingthesameColdWarvaluesthatunderlayBethell’sessayandmuchoftheeditorialpolicy,notonlyoftheGloucesterTimes,butoftheAmericanpressingeneral.Coupledwiththatanti-communismwasaliteraryconservatism—Bethell’sessayisaprimeexample—proceedingfromwhatwasthencalledanewcriticism,whosedefiningprinciplesweweretaughttoacceptinourcollegeEnglishandliteratureclassesduringthe50s,i.e.,thepoemorthenovelunderscrutinywasnottobelookedatthroughthelensofhistory,biography,psychology,politics,oreconomics.Aworkofartisaself-containedsystemofimages,symbols,andmythstobedecodedusingprinciplesarticulatedbythenewcritics.Foremostamongthem,thesouthernagrarianpro-fascists,JohnCroweRansom,DonaldDavidson,andAllenTate.35:51Inotherwords,everythingrelevanttoliteratureintherealworldwasreadoutofthepoem,therebyneuteringandde-politicizingit.CanyoupicturetheimpacttheBeatshadwhentheirworkexplodedinthemid50sintoaliteraryculture,largelydominatedbythenewcriticism?WhenwestartedreadingAllenGinsberg’sHowl,JackKerouac’sOntheRoad,ourteachersbecameabsolutelyapoplecticinoppositiontothisviolentnewwriting.36:26BeforeIconclude,withsomestoriesaboutmyowneditorshipoftheSummerSun,andthewritersandartistsImetwhileworkingfortheTimes,I'dliketosayaverybriefwordabouttwoimportantfriendshipsofthoseyears.Duringmyjunioryearinhighschool,Imetthesculptor


WalkerHancockthroughhighschoolclassmate,whowasposingforoneofHancock'smonumentalpieces.Walkeroftenuselocalmenandwomenasmodels.We’dswimatWalker’squarryforabit,alongwiththeneighborhoodkids.Andafteraswim,we’djoinWalkerinhisLanesvillestudiowherewewatchedhimwork.Walkerlikedcompanywhilehewasmodelingclay,andhewouldexplainhisprocessasheworked,oftenwithreferencetomanybooksofarthistorycontainedinhislargeandvariedlibrary.VisitingWalkerwaslikeenteringtheworkshopofaRenaissancemaster.Ihadlittleexperienceinsculptureatthetime,butafteryearsofwatchingWalkerworkandlisteningtohisstoriesoftheartistshe’dmetinEuropewhenhewasArtistinResidenceattheAmericanAcademyinRome,wasanimportantpreparationformyownencounterswithpaintingandsculptureinItaly.Fascinatingaswell,wereWalker’sstoriesoftheimmediatepost-warwhenhewasamemberofaMonumentsMen,aninternationalcommissionofartists,arthistorians,diplomatsandmilitarypersonnelthattraveledthroughwar-tornnorthernEuropefindingandrepatriatingsomeofthegreatworksofartthathadbeenstolenbytheNazis.38:17AtWalker'swemethisfriendHydeCox,wholikeWalkerhadaremarkablepersonallibrarycontainingsuchtreasuresasfirsteditionsofUlyssesandFinnegansWake,andeverybookthatRobertFrosthadpublishedincludingBroadsidesandChristmascards.Hyde,whohaddonescholarlyworkonthepoet,EmilyDickinson,hadmetFrostwhenFrosttaughtatHarvard,andtheyremainedfriendsuntilFrost’sdeath.HydewasinstrumentalinbringingFrosttoGloucestertoreadattheCapeAnnFestivaloftheArtsduringthesummerof1954,andlatertoBowdoinwhenIwasanundergraduate.38:56ImetatFrostduringhis1954readingattheGloucesterHighSchoolauditoriumandayearlater,onDecember28,1955,whenHydeinvitedmeandtwoofmyclassmates,highschoolclassmatesRonAtwoodandTonyLovasco,tohishouseonCrowIslandinManchesterfordinnerwiththepoet.Bythattime,FrostwasnolongertheearlymodernistwhoPound,EzraPound,hadadmiredandhelpedlaunch,theauthorofsuchenigmaticpoemsas“NeitherOutFarNorInDeep.”39:32Hehadbecomethenation'smostpopularandbelovedpoet,aroleheplayedtothehilt,laterreadingatJohnF.Kennedy'sinaugurationandgoingonagoodwilltriptotheSovietUnion,whereheattemptedtolectureNikitaKhrushchevonworldpeace,embarrassingKennedyandnearlycreatinganinternationalincident.Whileenthralledbyhiscraggyfaceandgravellyvoice,weweresaddenedtofindtheoctogenarianpoetrepetitive.40:05Bythattime,onehadheardenoughofhisdictum,thatwritingfreeversewaslikeplayingtenniswiththenetdown.WewereequallyoffendedbyhisoffhandremarksaboutwritersweadmiredlikeHemingwayandWallaceStevens,whomFrosthadcometoknowduringwintersin


KeyWestinthe1930s.Here'sapictureofmewithWalkerHancockandHydeCox,allthreeofusonthe1955FestivalofArtssteeringcommittee.Iofcoursewasajuniormember.40:45Ithadbeenthecustomatthetime,whichwasreallyamazingforoureducation,torecruitstudentstoservewithadultsoncommittees,givingusanopportunitytoparticipateandtolearnaboutorganizingsuchevents.Duringthesummerof1956andmyfirstandsecondyearincollege,IwasaskedtoedittheCapeAnnSummerSun.EditingtheTimes’SummerSun,asidefromgivingmethekindofhands-oneducationandwritinginjournalismnoschoolcanoffer,alsothrewmedirectlyintotheartworldofCapeAnn.41:26ThisiswhenImetAlbertAlcalayastheresultofastory.Thisisthenextone.Myassociate,AndyLeaf,sonofMonroe,theauthor,thestoryfor—andtheylivedonRockyNeck,theyhadasummerhouseonRockyNeck.AndAndywasmyco-authoronCapeAnnSummerSun.“AlbertAlcalay’sAmericaShownInColorandDesign,”thefirststorywrittenaboutAlbertinGloucester.Andywroteit,andthroughAlbert,IwasintroducedtoothermodernistorAvant-gardeartistswhoseworkIencounteredwhenIreviewedtheshowsoftheCapeAnnSocietyofModernArtistsandthefestivalitself.42:07OneespeciallywasNathanielDirk,culturalchairmanofCASMAandanotedNewYorkartistwhosummeredinRockportfordecades.ImetDirkwhenIwrotemyfirstreviewofCASMA’sopeningshowatRedMen’sHallinRockport.Nextimageplease.Myreview,“ProbingPaintingsDepictVitalAspectsofLifeatModernArtistsShow.”Iwrotethatheadlinemyself.Iwasdrawntohismarine-likewatercolorsoflocalmarinelife.Let'slookatthesecondone.Iwasdrawntohismarine-likewatercolorsoflocalmarinelife,butitwasalsodrawntoDirkhimself—nextimage—forhisopenandforthrightespousalofmodernistprinciplesThat'saWPAphotograph.HewasamemberoftheWPAartistgroupfortheWPAinNewYork.Andthat'sanexampleofthekindofpaintingthathewasdoingatthetimeinthe30s,andevenintotheearly40satthetimeoftheWPA.43:26AfterreadingmyfirstreviewofCASMA,Dirktookmeaside.HesaidinathickNewYorkaccent,“I’vegotacoupleofbooksforyoutoread,”andhesentmeHerbertRead’sThePhilosophyofModernArtandCliveBell’sArt.Thosetwobooksgavemenotonlythemeanstounderstandtheartthatwasbeingcreatedaroundme,butthetoolstowriteaboutit.In1957,IwasbackattheSunformysecondsummeraseditor.OncemoremysidekickwasAndyLeaf,bright-eyedandbushy-tailedafterhisfirstyearatHarvard,welcomingAlbertAlcalayandhisfamilybacktotheNeckfortheirsecondyear,let’shavethenextimage,“AlbertAlcalayBackonRockyNeck;StressesTeachingStudenttoLook.”


44:22WelcomingAlbertandhisfamilybacktotheNeckfortheirsecondyear,AndysetthesceneforwhatwastobeourcriticalpushforthesummeraswecoveredthevariousgalleryopeningsandCapeAnnFestivaloftheArts,describingnowinthisquote,“Oneoftheveryfewartistswhoexhibitedreallyseriousmodernworkinthefaceofalotofconventionalfeelingandtraditionalpainting,”Andylaiddownthegauntlet.Afterasummerofreviewingexhibitionsatlocalgalleriesandartassociations,wehadhadourfillofschoonersunderfullsail,fishingvesselsmakingintoporttrailedbyseagulls,flowerarrangements,andpetdogs.45:11Wewerebothyearningtoexperienceanartbeyondthetraditional,whichwefeltonefoundamplyatCapeAnnSocietyofModernArtistsandwehopedtofindattheupcomingCapeAnnFestivaloftheArts.ItfellonmetoreviewthevisualartsexhibitionattheFestival.Imustconfess,I,too,hadmyJohnBethellmoment.Except,whileJohnupheldthepapersofaestheticconservatism,mytendencywastowardtheabsenttraditional.Iattendedtheopeningshow,founditspreponderanceofmainstreamworkdisappointing,andwroteagainstdeadlineareview,whichTimeseditorPaulKenyon,borrowingfromaphraseinmypiece,headlined,“LongLinesofDrear,”—thereitis—whilewarningthattherewouldberepercussions.46:21Amonganumberofdisparagingcomments,Iwrotethattheshowcontained,quote,“Someofthemostunimaginative,poorlyhung,andIngeneralsloppilyexecutedpaintingsthathaveevergraced,orratherdisgracedthewallsoftheCapeAnnFestivaloftheArts.”Tobringhomemypointandtoprobablytauntthetraditionalists,IillustratedmyreviewwiththereproductionofmodernistTomO’Hara’ssatiricalimpressionofafestivalvisitor.Tomdidthis,anditsatirizesthekindsofpeoplethatweregoingtotheFestival.Itdidn’tsitwell.Youcanimaginethereaction.47:14CallsandletterspouredintotheTimestakingissuewithmyreviewandcallingintoquestionmycredentials.Thereweresomeresponsesinmyfavor,buttheconsensuswasthatinhighlightingthemoreexperimentalwork,IhadslightedsomeofCapeAnn’smostaugustartists.ItgotsonastythatagroupoftheRockyNeckartistsincludingElizabethVeek[?]andArthurStratton[?],whoseworkIhadneglectedtomention,threatenedtoboycottmyfather'sbusiness.JustasFerrini’sFourWindshadelicitedColdWaranti-modernism,sowasnon-objectiveartaccompaniedbyaccusationsthatitwascommunistinspired.ManytimesIheardsomeoftheexperimentalpaintersImostadmiredreferredtoas“thosedamnCommies.”48:11Ironically,whileAmericancoldwarriorsclaimedthatabstractartwasquote,“communistinspired,”theSovietbureaucracyreferredtoitas“bourgeoisdecadence.”Damagecontrolwasneeded.SoPhilWeldandPaulKenyoncalledinHydeCoxtohelpmecraftaresponsetotheattacksandtomollifytheartistswhofeltleftoutorinsulted.HydeandIspentthebetterpart


ofahotsummerafternoondraftingalongsecondparttomyreview,inwhichIarticulatedmyownprincipleswithoutgivingground,andmovedontowriteabouttherestoftheFestival.48:58Itsmartedtohavemywristsslappedbymybosses.AndtheyhadmyfriendHyderecruitedasmyinstructorintheapology,butitwasalearningexperienceI'veneverforgotten.Thatboldreviewofminewasnotwithoutitsdefenders.OneofthemturnedouttobeanartistwhocalledhimselfPicoMiran.Hehadanothername,hisrealnamewasactuallyArthurWinslowWilson.Let'stakealookatthenextimage.ThisisaportraitofWinslowWilsonbyRockportartistEleanorHill.Wilson,anativeofTexas,wherehisfatherwassaidtohave[?],hadbeenthepoetE.E.Cummings’classmateatHarvardwhereeachservedaseditoroftheHarvardMonthly.Aftercollegeinthewar.WilsonservedintheAirForce,Cummingsdroveanambulance,theymovedtoParisin1923topaint.Theysharedastudio,backtoNewYork,wheretheyagainsharedastudiointhevillage.50:04Cummings,whohasbeensadlyneglected,wasoneofourfinestearlymodernistpoets.ThelateStephenScottisaidsomeofhispoemsarethemostextraordinaryhe’sseen.Cummingswasalsoaconsiderablepainterwhoshowedinmajorgalleries.Wilson,whoretainedstudioatCarnegieHallinNewYork,andanotheronCapeAnnbeginninginthe1940s,taughtportraitandlandscapepaintingclassesattheRockportArtAssociationandshowedportraitsandseascapesfromRockport.Buthealsodidanotherkindofpainting,whichinacatalogfora1951exhibitionofhisworkattheAmericanArtGalleryinNewYork,hecalledpostmodernart,employingthetermwhichthepoetCharlesOlsonbroughtintocurrencyatthesametime.51:00First,let'stakealookatthenotethatthatWinslowWilsonwrotetohimself.HementionsthecriticLawrenceDame.LawrenceDamewasaverywellknowncriticatthattime.HewrotefortheBostonHeraldandlaterfortheNewYorkHeraldTribune.ButwhatWinslowWilson,aliasPicoMiran,wrotehereisthatifDamedidnotwriteaboutmodernistpaintingthatsummer,hewouldhavetotakeituponitselftotakehisworktoNewYork.And,let'stakealookatthenextimage.51:48Andhedidexactlywhathesaidhewasgoingtodo.Thisisthecoverofthecatalog,1951,ManifestoforPost-ModernArt,thefirstexhibitionofpost-modernart,andit’sdatedNovember27throughDecemberof1951.Inhiscatalogfortheexhibition,Wilsonwrote,“ThenewartwillbeGothicAmericaninthesensethatitwillbrushasideallsoftprecedentinthewholelifespanofart,andtreatforbiddentruth,andbemoltenlyductiletotheshapeofrealitiesneverbeforeconsideredproperforpainting.”That’saveryinteresting,bravestatement.WilsonalsoshowedhishighlyexperimentalnewworkatCASMA,wherehewas


knownasPicoMiran,anamehederivedfromtheFlorentineRenaissancehumanistphilosopherandpoet,PicodellaMirandola.52:52Atfirstglance—let'stakealook.ThesearefourpaintingsthatWilsonwasexhibitinginNewYork.Atfirstglance,onemightconsiderthepaintingsinspiredbysurrealism.ButWilsoneschewedtheterm.“Mydrawingisstraightclassicalnaturalism,”hewroteinalettertotheeditorfromthatsummer,“theverykindthesurrealistsetviolentlyrejected.MyarthasnorelationtothatSalvadorDali,whomIknewinParis,”endquote.53:31AndIrespondedtoWilson’slettertotheeditor,andweexchangedseveralcommunicationsthatsummerbeforeheinvitedmetohisstudiointheBradfordBuildingonMainStreet.WhatIdiscoveredwasaconventionallydressedoldermanwiththinninghair,brownberet.HeusheredmeintohissparselyfurnishedtworoomapartmentinanoldGloucesterredbrickdowntownbuildingthatwouldsadlybedemolishedafterafireintheearly1960s,aconflagrationinwhichWilsonlosttheonlycopyofanautobiographyhehadbeenworkingon.Wesatinthefrontroom,therewerenopaintingsinevidence.Hegesturedatthedoortowardstheotherroomwherehesaidhepainted.54:15AtthetimeIdidnotknowthatWinslowWilsonandPicoMiranwerethesameperson.Wesatandtalkedinaroomthatsmelledfaintlyofturpentineandlinseedoil.HetoldmeabouthisfriendshipwithCummingswithwhomhewasstillintouch.CummingshadbeenapoetIdiscoveredandreadprincipallyduringmyfirstyearincollege.HeaskedmeifIhadreadanythingbySamuelBeckett.ItoldhimIhadreadWaitingforGodotandBeckett’strilogyofnovels,includingMolloyandMaloneDies,whichhadbeenrecommendedtometheprevioussummerbyAlbertAlcalay.54:52Hetoldme,WilsontoldmethatlivingintheBradfordBuildingamongsingleoldmenwaslikeinhabitingaBeckettnovel.HealsotoldmethathehadbeencorrespondingforalongtimewiththeAmericanphilosopherandcriticKennethBurke.Wilson'sconversationwasasliterateandknowledgeableashisletters.Heexplainedtomethatoneofthethemesthatplayedbehindhispaintingswasthefearofanuclearholocaustanditssubsequentannihilationofallformsoflife.Hesaidit’swhatdrovehimawayfromfigurativepainting,fromthemorekindsofpictorialpainting,tothekindofpaintinghewasdoing,calledpost-modern.55:37Hesaiditwasthereigninganxietyofourage,thatBeckett’snovelswritteninFrenchduringandafterthewarweretheprimaryartofourpost-warpost-atomicbombworlds.Here'sanotherofhispaintings.Thisbeliefwasreflectedinthetitleofthebottomleftpainting,“Apocalyptic


GalaxywiththeLittleDoorstoNowhere.”Eachoneofthesepaintingshasthemostextraordinary—thetitlesareasinterestingasthepaintingsthemselves.56:17MymeetingsandtalkswithWilsonMiranbroughttoaclosethesummerof1957,afterwhichIreturnedtocollege.WilsonandIcorrespondedoverthenextseveralyears.HesentmetwobooksbyKennethBurke,PermanenceandChangeandPhilosophytheLiteraryForm,whichhadasignificantimpactonmythinkingaboutliterature.56:39Duringsubsequentsummers,IworkedontheGloucesterwaterfront,whilecontinuingtospendtimeontheNeckmeetingnewartistsincludingLeonardCreo,theBrooklyn-bornandinMexicoCityeducatedpainterandgraphicartistwhospenthiswintersinRome.duringthesummerof1959afterIgraduatedfromcollege,ImettheItalianmasterprintmakerEmilianoSorrini,aclosefriendoftheAlcalayswhohadrelocatedtoAmericaandwasworkingthatsummeratastudioonRockyNeckbeforemovingtoNewYork.EmilianoandIexchangedlessonsinEnglishandItalian,alanguageIfirststartedspeakingwithVeraandAlbertAlcalay.ItwasatAlbert’sstudioduringthesummerof1959thatIfinallymetCharlesandBettyOlsonontheeveofmydepartureforItaly,whereIwouldbestudyingmedievalliteratureattheUniversityofFlorence.IwriteinthecatalogessayaboutthefirstnightofmeetingCharlesandBetty.57:38IhadbeenpreparingforItaly,bothlanguageandarthistory,inGloucesterandonRockyNeckinparticular,throughtheartistsImetandknewthroughWalterHancockandAlbertAlcalay,conversationsweengaged,andbooksthathadbeenrecommendedtome.MovingtotheNeckwithmyfamilyin1951hadbeenalife-enhancing,life-changingexperience.IwasexcitedaboutleavingforItaly.Lastimage.IwasexcitedaboutleavingforItalyonmyfirsttripabroad.58:12ButevenasIpreparedtoembarkforFlorence,RockyNeckandmyhometownwerepoisedtodrawmeback.BycarryingtheseplacesandthepeopleIhadmetandlearnedfrominmyheartandmindduringmytravelsinEurope,afterIreturnedhomeinthesummerof1962,itwasonlywithgreatreluctancethatIeverleftagain.