In memory of P.J.S. on her fifty-ninth birthday.
Summer of ’94…
Posted with Edel Sokol, German-born proprietress of the Ann Starrett Mansion, in mind.
“When he came out of the house the last intense light of the winter day was pouring over the town below him, and the bushy tree-tops and the church steeples gleamed like copper…
…he would never go away from Haverford; he had been through too much here ever to quit the place for good. What was a man’s ‘home town’ anyway, but the place where he had had disappointments and had learned to bear them?”
— Willa Cather, from Lucy Gayheart, 1935
open, to Spring
“Arbus’s work is a good instance of a leading tendency of high art in capitalist countries: to suppress (or at least reduce) moral and sensory queasiness. Much of modern art is devoted to lowering the threshold of what is terrible. By getting us used to what, formerly, we could not bear to see or hear, because it was too shocking, painful, or embarrassing, art changes morals—that body of psychic custom and public sanctions that draws a vague boundary between what is emotionally and spontaneously intolerable and what is not. The gradual suppression of queasiness does bring us closer to a rather formal truth—that of the arbitrariness of the taboos constructed by art and morals. But our ability to stomach this rising grotesqueness in images (moving and still) and in print has a stiff price. In the long run, it works out not as a liberation of but as a subtraction from the self ; a pseudo-familiarity with the horrible reinforces alienation, making one less able to react in real life. What happens to people’s feelings on first exposure to today’s neighborhood pornographic film or to tonight’s televised atrocity is not so different from what happens when they first look at Arbus’s photographs.”
—Susan Sontag, from “America, Seen Through Photographs, Darkly”