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Charles Douthat at the Poetry Institute

We, at New Haven Review, like the Poetry Institute, which holds an open mike reading every third Thursday at the Institute Library in downtown New Haven at 847 Chapel Street. This Thursday, December 16, at 6:30 p.m., they are featuring our personal favorite—because he’s one of our authors-- New Haven’s own Charles Douthat.

From the website:

New Haven celebrates the publication of Charles Douthat’s first collection, Blue for Oceans forthcoming from NHR Books.

Born in California, Charles graduated from Stanford University, raised a son and daughter in New Haven, Connecticut where he practices law. Charles began to read and write poetry during a long mid-life illness and today writes about the usual predicaments: family, love, time and memory.  Since then, his poems have been published in many journals and magazines.  A few have won prizes.  We’ve enjoyed his work at our open mic; Please join us to support Charles’ new venture: www.charlesdouthat.com.

About the potluck: Please feel free to bring an a small [room temperature] appetizer or dessert snack to share!

Art in Westville: Frank Bruckmann and Susan Clinard

Hey, we owe these guys!  Kehler Liddell Gallery was more than kind enough to play host to our book party on Tuesday, December 7.  At the party, attendees were actually privy to the art exhibit mentioned below prior to its official opening by about five days.  (See, there really are benefits to subscribing!) We're happy to return the favor!  Come see the show and get some of that culture thingey that Sarah Palin is sooo lacking in.

Bruckmann and Susan Clinard

December 9 – January 16, 2010

Kehler Liddell Gallery 873 Whalley Avenue New Haven, CT 06515 tel: (203) 389.9555 www.kehlerliddell.com

Gallery Hours: Thursday, 11-8pm; Friday, 11-4pm; Saturday and Sunday, 10-4pm; or by appointment.

Kehler Liddell Gallery is pleased to present a two-person exhibition of new paintings by Frank Bruckmann and new sculpture by Susan Clinard that revel in the spirit of antitechnology art to communicate emotion and allegory.

Before moving to New Haven, Frank Bruckmann studied at École des Beaux-Arts in Paris, where he spent nearly a decade in France and Spain coping the masters in the great museums and painting landscapes in the cities and countryside. These years of intense study inform his rich palette and humanist depictions of contemporary America, which provide him with endless sources of inspiration. Both a plein air and studio painter, Bruckmann paints that which surrounds him. Past series depict local merchants in their shops, cityscapes of downtown New Haven, sublime views of West Rock, and landscapes of Monhegan Island, Maine, where he frequently travels.

For this show, Bruckmann will present new small and medium sized paintings of the volcanic Gabbro rocks in Monhegan that are more detailed and abstract than anything he has done before. The paintings investigate the mysterious surfaces and orifices of the purple-black rocks, delicately cut by white lines (quartz) and speckled with orange clusters (fungi). The paintings investigate new textures, shadows, colors, and reveal secret biological world that fights to live in places the human eye cannot see.

Susan Clinard is one of those rare artists who can work in wood, clay, bronze, stone and metal. Real people, experiences, and stories inspire and inform her work, which confront issues of inequality, fear, compassion and courage. Since giving birth to her first son in 2004, motherhood and life cycles have become major semi-autobiographical themes.

For this show, Clinard has treaded on radical new ground, and will present a series of mixed media wunderkammers, (“cabinets of curiosities”). Wunderkammers were popular toys of nobles in the late 1500ʼs, before the advent of public museums. These cabinets, ranging from small boxes to library-sized rooms included collections of oddities that belonged to a specific natural history—precious minerals, strange organisms, indigenous crafts, collected from civilizations and placed in a microcosmic memory theatre. Clinardʼs wunderkammers incorporate this idea of the biological unknown, and organize the various found elements in compartments that suggest an internal, psychological narrative. Each cabinet shelters its own landscapes, precious moments, and measurements of darkness and clarity.

Clinard will also present a new major installation titled “Procession,” which incorporates figurative elements that she is known for. Unlike her traditional clay busts, the line of male figures is roughly cut, minimal and distorted. Positioned on a wheeled platform, the men move in a unified direction with a clear purpose, lending to a strong compositional impact. The work responds to the ceremonial weight and cultural significance of processions in contemporary and ancient history-- their association with life, death and strength in unity.

We Like Parties...and So Do Our Writers

From the New Haven Independent:

Westville’s Kehler Liddell Gallery has long established itself as a place to view masterful paintings, prints and sculptures, but its use as a space for a variety of cultural and community events continues to evolve. Tuesday night the gallery was host to a book launch party by New Haven Review Books—“the world’s latest small press for high-quality fiction, nonfiction, and poetry” according to Review co-founder Mark Oppenheimer.

...The press celebrated Tuesday night the release of its first three trade paperbacks, featuring the work of Brooklyn-based novelist Rudolph Delson, New Haven area poet Charles Douthat, and Hamden novella master Gregory Feeley. Douthat and Feeley were on hand to sign their books, read selections and mingle with well-wishers, as guitar and fiddle musicians Craig Edwards and New Haven Review co-founder Brian Slattery (of The Root Farmers), provided musical accompaniment.

Platters of exotic cookies dotted the gallery space, comfortable among new artworks of painter Frank Bruckmann and sculptor Susan Clinard, whose opening reception will be held Sunday, Dec.12 from 3 to 6 p.m. The powerful two and three-dimensional works created a haunting synergy while the authors read from the pages of their newly published books.

And there's more.  Read the whole article here.

Oh, and thanks to David Sepulveda, journalist extraordinaire.

Poetry a la Yale UP

We don't write often about Yale University Press.  Hey, it has its own publicity department so it doesn't really need our help. But then again when a personal request comes our way and the event is local, we do now and again feel the obligation.

The occasion for this obligation is a reading by acclaimed French writer, Hédi Kaddour, whose poetry collection Treason, translated by Marilyn Hacker, was issued by Yale University Press in spring 2010.

Ah, but you ask: who is this Monsieur Kaddour? We quote the omniscient Wikipedia:

Il est né d'un père tunisien et d'une mère française. Agrégé de lettres modernes, il est traducteur de l'anglais, l'allemand et l'arabe. Il a enseigné la littérature française et la dramaturgie à l'École normale supérieure de Fontenay/Saint-Cloud/Lyon et l'écriture journalistique au Centre de formation des journalistes (CFJ). Il est aujourd'hui professeur de littérature française à la New York University in France et à l'Ecole des métiers de l'information (EMI-CFD) où il est responsable de l'atelier d'écriture.

What?  You don't read French.  OK, we'll take a feeble stab at it.

Born of a Tunisian father and French mother.  An editor of contemporary literature, he is a translator of English, German and Arabic.  He has taught French literature and drama at the Ecole Normale Superieure (etc.) and journalism at the Centre de formation des journalistes (CFJ). He is presently a professor of French literature at NYU in France and at l'Ecole des métiers de l'information (EMI-CFD) where he is responsible for the writing workshop.

Mr. Kaddour will be reading (in English) at the Whitney Humanities Center here at Yale, located at 53 Wall Street, New Haven, on Wednesday, October 27th from from 4:30 p.m. to 5:30 p.m.  Check it out.

Who Thought Murder in Westville Could Be So Much Fun?

EXTRA! EXTRA! A BROKEN UMBRELLA THEATRE PRESENTS THE ALMOST ENTIRELY TRUE STORY OF A  WESTVILLE MURDER!

(New Haven, CT – October 5, 2010) Cops and criminals. Headlines and handcuffs. Villains and vaudeville. Extra! Extra! From the team that transformed the tunnel in Edgewood Park into a pirate’s lair with their sold out 2009 spectacle Thunderbolt, comes A Broken Umbrella Theatre’s newest creation VaudeVillain. This fall, the line between fact and fiction thins to a blur when the audience is lead on a “who done it?” psychological, Halloween adventure traveling through every room in Lyric Hall Antiques & Conservation, 827 Whalley Avenue, on October 23, 24, 30 and 31.

Ripped from the actual New Haven newspaper headlines of 1913, mystery and mayhem abound as we follow the trail of a suspected murderer, William Allen, from song to scene to sensational dream. The past meets the present during a surreal finale in the beautifully restored and ghostly West Rock Vaudeville Theatre, newly renamed The Showroom at Lyric Hall. An eerie and festive Halloween experience awaits you!

Performances of VaudeVillain will be on Saturday, October 23 at 7pm and 9pm and Sunday, October 24 at 2pm and 6pm. During Halloween Weekend, performances will be on Saturday, October 30 and Sunday, October 31 at 2pm, 6pm and 8pm. Limited reservations are available for $15 per ticket at www.facebook.com/brokenumbrella, on sale starting Friday, October 8. Day-of-show ticket distribution is available one hour prior to the start of each performance on a first come, first serve basis at the box office located at Lyric Hall Antiques & Conservation, 827 Whalley Avenue, New Haven. Day-of-show tickets are Pay-What-You-Can. Not recommended for ages 10 and below. On street parking is available in the Westville neighborhood of New Haven as well as the lot in Edgewood Park off of West Rock Avenue. For more information about additional Halloween activities for all ages in the vibrant Westville neighborhood, please visit www.westvillect.org.

Conceived and developed by A Broken Umbrella Theatre, VaudeVillain features a cast and crew of local New Haven artists as well as additional professionals hailing from New York, New Jersey and Hawaii.  Words: Ken Baldino. Script: The Ensemble. Music and Lyrics: Rob Shapiro. Direction: Ian Alderman. Historian: Colin Caplan. Production Team: Jes Mack, Brandon Fuller, Jen McClure, Denise Santisteban, Ryan Gardner, Jason Wells, Ian Alderman, Rachel Alderman and John Caveliere. Choreography: Robin Levine. Musical Director: Dana Astmann. Graphic design by Vaxa Creative. A Broken Umbrella Theatre is supported by a Mayor’s Arts Grant from the Department of Cultural Affairs, City of New Haven.

A Broken Umbrella Theatre aspires to enhance the vitality of our community through compelling storytelling, mined from history, with a commitment to aesthetic rigor. For more information please visit www.facebook.com/brokenumbrella

For more information on VaudeVillain or to learn more about A Broken Umbrella Theatre contact:

Rachel Alderman at rachel @ abrokenumbrella.org

Listen Here, Fall 2010 Season

The Arts Council of Greater New Haven, New Haven Review, and New Haven Theater Company are pleased to announce the return of Listen Here, the weekly short story reading series in which actors from the New Haven Theater Collective read short stories chosen by New Haven Review editors. The Fall 2010 season of Listen Here will take place on Thursday evenings, from 7:00 to 8:00 p.m., with reading occurring on a rotating basis at Book Trade Café (1140 Chapel Street), Lulu: A European Coffee House (49 Cottage Street), and Manjares Fine Pastries (838 Whalley Avenue, on the corner of West Rock Avenue). September 23: Hardly Boiled at Book Trader Café, 1140 Chapel Street, off York St. Woody Allen's "The Whore of Mensa," read by Steve Scarpa Ethan Coen's "The Russian," read by Jeremy Funke

September 30: Short Shorts at Lulu, A European Coffeehouse, 49 Cottage Street, off Orange St. Yukio Mishima's "Swaddling Clothes" Katherine Anne Porter's "Magic," read by Shola Cole Leo Tolstoy's "Alyosha the Pot," read by Bennett Lovett-Graff William Carlos Williams' "The Use of Force," read by George Kulp

October 7: Homesick at Manjares Fine Pastries, 838 Whalley Avenue, on West Rock Ave! Ernest Hemingway's "Soldier's Home," read by Peter Chenot Betsy Boyd's "Scarecrow," read by Hilary Brown October 14: Crossroads at Book Trader Café, 1140 Chapel Street, off York St. J.D. Salinger's "For Esme - With Love and Squalor," read by Steve Scarpa

October 21: Fathers, Sons, Mothers, Daughters at Lulu, A European Coffeehouse, 49 Cottage Street, off Orange St. Steve Stern's "The Tale of a Kite," TBD Tillie Olsen's "I Stand Here Ironing," read by Shola Cole

October 28: Halloween Special at Manjares Fine Pastries, 838 Whalley Avenue, on West Rock Ave! Joyce Carol Oates' "Where is Here?," read by Jeremy Funke Charles Lambert's "The Scent of Cinnamon," read by Erich Greene

November 4: Hello, Goodbye at Book Trader Café, 1140 Chapel Street, off York St. James Joyce's "Eveline," TBD David Schickler's "The Smoker," read by Steve Scarpa

November 11: Strangers in a Strange Land at Lulu, A European Coffeehouse, 49 Cottage Street, off Orange St. Anton Chekhov's "The Bet," read by Ian Alderman Naomi Williams' "Rickshaw Runner," TBD

November 18: Food & Drink at Manjares Fine Pastries, 838 Whalley Avenue, on West Rock Ave! Beena Kamlani's " Zanzibar," TBD Paul Beckman's "Another One of His Punishments," TBD November 25 Thanksgiving — no readings

December 2: Mere Children at Book Trader Café, 1140 Chapel Street, off York St. Sarah Orne Jewett's "A White Heron," read by Shola Cole Amy Hempel's "The Most Girl Part of You," read by Hilary Brown December 9: Close Calls at Lulu, A European Coffeehouse, 49 Cottage Street, off Orange St. Ernest Hemingway's "The Killers," read by Steve Scarpa Roald Dahl's "Man from the South," read by Jeremy Funke

December 16: Tall Tales at Manjares Fine Pastries, 838 Whalley Avenue, on West Rock Ave! Mark Twain's "The Celebrated Jumping Frog of Calaveras County," read by Peter Chenot Stephen Vincent Benét's "The Devil and Daniel Webster," read by George Kulp

Working (for) the Man!

We're always happy at New Haven Review when one of our own takes to the printed page and places his or her authorial stamp upon something that a publisher has enough confidence in to put some financial muscle behind it. Such is the case for business writer and management consultant Bruce Tulgan, who has served as a trustee and guiding spirit to the New Haven Review since its founding. Bruce is the author of Managing Generation X (2000), Winning the Talent Wars (2002), It's Okay to Be the Boss (2007), and Not Everyone Gets a Trophy (2009). If it was okay to be the boss and not everyone got a trophy, apparently it is also okay to manage your boss: the argument Bruce makes in his latest work It's Okay to Manage Your Boss: The Step-by-Step Program for Making the Best of Your Most Important Relationship at Work (Jossey-Bass, 2010). The subtitle says it all, but just in case that wasn't enough, let's let the publicists in and do their share:

If you are like most employees, you answer to multiple bosses -- some directly, and others indirectly. You are often pulled in different directions by these competing authority figures with competing interests and agendas. All of them have the ability to improve or worsen your daily work conditions, your chances of getting rewards, and your long term career prospects. And all of them are different.

Under these circumstances, you are the only one you can control. You can control your role and conduct in each of these relationships. You can control how you manage and how you get what you need from these relationships. You have no choice: If you want to survive, succeed, and prosper, you have to get really good at managing your bosses.

Why? The boss—at every level—is the most important person in the workplace today. On this there is widespread consensus: Study after study show that the relationship employees have with their bosses is the number one factor in the ability of employees to produce high quality work consistently, to feel good about work, to earn credit and flexible work conditions and greater rewards.

If you are looking for guidance on how to manage your boss, there are zillions of so-called experts out there who will be happy to provide it. The problem is that so much of the advice about "managing up" or "managing your boss" out there doesn't tell the whole story. This book is written for people who want to be high-performers. In order to be a high performer in today's workplace, you need to create high-engaged relationships with every boss - whether that boss is great, awful, or somewhere in between.

I've read several of Bruce's books and they're always good fun if solid business advice is what you're looking for. Since I've worked for nearly two decades in publishing—many of those years in fact in the corporate business settings Bruce describes—the advice is well placed, based as it is on hundreds (if not thousands) of interviews Bruce has held with corporate employers and employees trying to manage those seemingly indefinable human elements in the business relationship. Congratulations, Bruce!

—Bennett Lovett-Graff, Publisher, New Haven Review

Writers Artists Collaborative

Whenever a writing contest comes along that we believe in, we feel happy to post about. We reproduce the announcement from the Westport Arts Center below.

 

……..

 

The Westport Arts Center, in partnership with Ina Chadwick's MouseMuse Productions, is seeking well-crafted memoirs of up to 1500 words for its upcoming writing competition.

As a multi-disciplinary arts organization, WAC is committed to integrating the literary and visual arts within its regular programming. Building on the success of our two previous writing initiatives, the Writers Artists Collaborative will rely on the Arts Center's visual arts exhibitions as a starting point for literary exploration.

This writing contest will culminate with professional actors reading the winning works at a festive reception and award ceremony in the WAC gallery on Sunday, October 17, 2010.

Top winners will also receive:

 

1. $175 from the WAC Writer's Endowment

 

2. Online publication on the WAC web literary archive

 

3. Memoir read live on radio

 

4. Publication in Weston Magazine and its affiliate magazines

 

Entries are due September 7, 2010. Download the entry form here.

Listen Here! on the Radio

If you were curious about how the Listen Here! Short Story Reading series evolved and how it's been going, then you'll want to hear this interview.

Our interviewer was Binnie Klein, author (Blows to the Head, check it out here) and subscriber!

The interviewees were New Haven Review publisher, Bennett Lovett-Graff, who picks the stories for the series, and actor and casting director Brooks Appelbaum.

The Long Read Coming to a Town Near You!

What is The Long Read?

Following in the wake of our season of weekly readings for Listen Here!, the New Haven Review, the New Haven Theater Company, and the Arts Council of Greater New Haven have dutifully organized a six-hour reading marathon in which we revisit the best stories of the last year, as selected by our voters. So if you missed them the first time, come see them now! If you liked them the first, see them again!

How does The Long Read work?

The Long Read! is a simple idea: buy one ticket, stay for as long as you like. Come to the first hour or the last hour, or every other hour. Do what you will and take your downtime in Bar, where we'll be reading our tales of joy and woe, pleasure and passion, heartbreak and healing. To get your tickets, visit . No box office pick up needed. Just print them off from your computer!!

So when is it?

Sunday, June 6, 2:00 p.m. to 8:00 p.m., with stories paired for reading each hour.

And where is it?

At Bar, located at 254 Crown Street in New Haven!

Did you say Bar?!

Yeah, we did.

But, like, isn't that a bar…and a restaurant…and, well, noisy?

Sure. But Bar has a back room ideal for performance. We know because the New Haven Theater Company has performed there in the past already. So no worries on that front!

And what are you reading again…and when?

Oh, yeah…that. Here it is:

From 2:00 p.m. to 3:00 p.m.,

    J.D. Salinger's "The Laughing Man," read by Steve Scarpa

    John Cheever's "The Pot of Gold," read by Brooks Appelbaum

From 3:00 p.m. to 4:00 p.m.,

    Jim Shepard's "Courtesy for Beginners," read byT.Paul Lowry

    Steve Almond's "The Soul Molecule," read by Sharen McKay

From 4:00 p.m. to 5:00 p.m.,

    Jamaica Kincaid's "Girl," read by Shola Cole

    Eudora Welty's "Why I Live at the P.O.," read by Brooks Appelbaum

    Dave Eggers' "After I Was Thrown in the River and Before I Was Drowned," read by T.Paul Lowry

From 5:00 p.m. to 6:00 p.m.,

    Tobias Wolff's "Hunters in the Snow," read by Eric Nyquist

    James Farrell's "My Grandmother Goes to Comiskey Park," Steve Scarpa

From 6:00 p.m. to 7:00 p.m.,

    James Thurber's "You Could Look it Up," read by T. Paul Lowry

    Marisa Silver's "What I Saw from Where I Stood," read by Eric Nyquist

From 7:00 p.m. to 8:00 p.m.,

    Kurt Vonnegut's "Miss Temptation," read by Steve Scarpa

    David Sedaris' "You Can't Kill the Rooster," read by Jeremy Funke

Listen Here Thanks You!

We at the New Haven Review wanted to thank all of those who participated in the spring 2010 season of Listen Here! Among those to whom we are grateful:

The staff of the New Haven Review and its trustees: You helped pick the stories, you attended the readings, you cheered the series along. Thank you!

The staff of the New Haven Theater Company: T. Paul Lowry, director of the New Haven Theater Company, and Brooks Appelbaum, who cast and directed this series, you have been indefatigable in your efforts and support for this project. Thank you!

The Arts Council of Greater New Haven: Director of Communications, David Brensilver, and his colleagues at the Arts Council, you have been with us from the beginning, lending moral and marketing support to this project. Thank you!

Our Actors: There are too many to thank by name, but, we'll give it the college try: T.Paul and Brooks, Eric Nyquist, Jeremy Funke, Hilary Brown, Sharen McKay, Ian Alderman, Rachel Alderman, Steve Scarpa, George Kulp, Rebecka Jones and others, you stepped up to the plate to read on our behalf. Thank you!

Our Coffee House sponsors: Owners and staff of Koffee, Blue State Coffee, Manjares Fine Pastries, Willoughby's, Lulu, and Bru, you have been great hosts to this event. We raise a cup…of coffee…to you. Thank you!

Our Audience: Without you, there would be no Listen Here! We do this because all of the participating organizations believe in the value of performance, of literature, of community. We are grateful to have had you as our guests. We hope you'll continue to attend. Thank you!

For the next season, fall 2010, we continue to experiment with the idea of the "public reading." You can look forward to our exploring readings paired with musical interludes or background effects; ensemble readings of a single story; side-by-side readings in English and a foreign language; readings against slide show or video backgrounds; and whatever else our brains can cook up for the next season!

 

 

 

 

New Haven Author Chandra Prasad Reads

We're big fans of Chandra Prasad at New Haven Review. She's an accomplished novelist and greater New Haven resident. What more could one ask?

When Chandra published Breathe the Sky: A Novel Inspired by the Life of Amelia Earhart, we were all quite excited! There's even a part in the novel when Amelia comes to New Haven!

So take advantage of seeing, listening, and breathing the same air as Ms. Prasad at Cheshire Public Library (104 Main Street, Cheshire, CT 06410-2406) this Thursday, May 13 at 7:00 p.m., where she'll be reading.

The program is free and open to the public. For more information about Chandra, check her out at www.chandraprasad.com.

Come All Writers and Would-Be Writers

Two upcoming conferences in the Nutmeg State drew our attention recently. The first is the in Stratford, Connecticut. If you don't know writing, you should. It's a bit of a , and the Unicorn Writer's Conference, now in its second season, takes full advantage of that fact.

The conference is organized by , a literary agent with a long, long career in publishing.  The conference is a fascinating peek into the ins and outs of getting on board the writing train, with workshops on everything from to , an art as old as Walt Whitman's ebullient and anonymous review of his own poetry.

This conference runs from 8:00 a.m. to 9:30 p.m. at the Oronoque Country Club, 385 Oronoque Lane, Stratford, CT 06614 (203-375-4293, Fax: 203-375-1443).  You can register .  The cost is $165.

The list of presenters is long and impressive.  It includes Gene Wilder as a keynoter and presentations by author Jodee Blanco, filmmaker Anthony Artis, Hearst Books publisher Jacqueline Deval, literary agent Gina Maccoby.  It is an ideal venue to meet those in the business and schmooze, one hopes, your way to new deals and success.

Now on to our next event: did you know that there is a (CTRWA)?  Who knew we had so many writers in the genre?

But the CTRWA does more than just handle romance writing.  To find out what that more is, you'd need to check out its , which will be held on April 24 at the Four Points Sheraton in Meriden, Connecticut. is a relatively modest at $95 ($75 for CTRWA members) for a program that will run from 8:00 a.m. to 6:00 p.m.

The focus of this conference seems to be on "pitching."  Since literary agents will be in attendance, it's an opportunity both to learn the trade and, hopefully, make a connection.  Workshops here include "Length Really Does Matter: Tips for a One-Page Pitch/Synopsis" and "How to Sell Your Book Fast," with presenters including fantasy romance novelist to Emily Beth Rappaport of .

So if the itch you need to scratch is a book looking for a publisher, this might be the conference for you.

Listen Here, Spring 2010 Season

The Arts Council of Greater New Haven, New Haven Review, and New Haven Theater Company are pleased to announce the return of Listen Here, the weekly short story reading series in which actors from the New Haven Theater Company read short stories chosen by New Haven Review editors. The spring Listen Here series will take place on Tuesday evenings, from 7:00 to 8:00 p.m., with reading occurring on a rotating basis at Willoughby's Coffee & Tea (194 York Street), Lulu: A European Coffee House (49 Cottage Street), Bru Cafe (141 Orange Street), and Manjares Fine Pastries (838 Whalley Avenue, on the corner of West Rock Avenue).

Willoughby's Coffee & Tea March 9: What Did She See in Him? Raymond Carver, “Fat” F. Scott Fitzgerald, “The Jelly-Bean”

Lulu: A European Coffee House March 16: Short Cuts I.B. Singer, “Why the Geese Shrieked” Jamaica Kincaid, “Girl” John Cheever, “Reunion” Annie Proulx, “The Blood Bay”

Bru Cafe March 23: Breaking Up is Hard to Do Bobbie Ann Mason, “Shiloh” Bernard Malamud, “The Jewbird”

Manjares Fine Pastries March 30: Straight Shooters Stephen Crane, “The Bride Comes to Yellow Sky” Tobias Wolff, “Hunters in the Snow”

Willoughby's Coffee & Tea April 6: Take Me Out to the Ball Game James Thurber, “You Could Look it Up” James Farrell, “My Grandmother Goes to Comiskey Park”

Lulu: A European Coffee House April 13: Something’s Not Right T.C. Boyle, “Bloodfall” Shirley Jackson, “The Lottery”

Bru Cafe April 20: L’Etranger Isidoro Blaistein, “Uncle Facundo” John Cheever, “The Swimmer”

Manjares Fine Pastries April 27: For Shame Lorrie Moore, “Control Group” Toni Cade Bambera, “The Lesson”

Willoughby's Coffee & Tea May 4: Lovesick Jhumpa Lahiri, “A Temporary Matter” Lydia Peele, “Reasons for and Advantages of Breathing”

Lulu: A European Coffee House May 11: Animal Crackers Edgar Allan Poe, “The Black Cat” Annie Proulx, “The Half-Skinned Steer”

Bru Cafe May 18: Brothers Louise Erdrich, “The Red Convertible” David Sedaris, “You Can’t Kill the Rooster”

Manjares Fine Pastries May 25: Romeos & Juliets Louise Erdrich, “The Plague of Doves” Wiliam Faulkner, “A Rose for Emily”

The Publisher New Haven Review

Weasel Coffee Lovers

Followers of this site will have no doubt come across the occasional wonderful article we have had from New Haven journalist and writer . Every so often Robert heads off with his wife to Vietnam, their sojourn to which he chronicle at . We like Robert, and his blog postings on Vietnam are thoughtful disquisitions on the daily life in this region of far East Asia where so much American treasure and blood was consumed. To that end, we think it more than worthwhile for our readers to take the trip over there and see, from the perspective of a New Haven writer, this remarkable region of the world.

The Publisher New Haven Review

Herbert Hoover

By William E. Leuchtenburg (Times Books, 2009)

As the United States and rest of the world stare the possibility of global depression in the face, it has become common to compare the present day to the late 1920s and early 1930s. But , an intense new biography by New Deal historian William E. Leuchtenburg, draws parallels that can take your breath away.

In 1932, the country was facing a credit crisis the likes of which had never been seen. Americans were losing their jobs, their houses, and their life savings as the stock market crashed and banks collapsed. To stymie a plunge that could last years, Hoover OK’d the renewal of the Reconstruction Finance Corporation to recapitalize the financial sector, infusing $2 billion—a “staggering amount” at that time, Leuchtenburg reminds us—into banks, insurance firms, railroad companies, and other finance institutions. Will Rogers wrote that the bankers had “the honor of bring the first group to go on the ‘dole’ in America.”

But efforts to save the banks and stimulate the economy from the top down backfired. Banks were still closing, though at a slower rate, and instead of loosening up credit markets, as the bailout was intended to do, banks found a way to use the millions to shore up their own holdings.

New York Senator Robert Wagner, a progressive critic of the Hoover administration, responded to this blank-check strategy by zeroing in on the fatal flaw of Hoover’s economic ideology: Even in extraordinary times, even in the face of starvation, Hoover believed welfare would impair the character of the needy and rob benefactors of the opportunity to exercise voluntarism and civic duty. Wagner, like many others, was stunned by Hoover’s decision to bail out banks. “We did not preach to them rugged individualism,” he said;

We did not sanctimoniously roll out sentences rich with synonyms of self-reliance. We were not carried away with apprehension over what would happen to their independence if we extended them a helping hand.… Must [the individual] alone carry the cross of individual responsibility?

I don’t think Leuchtenburg intended his biography to reflect so acutely our current hardships. His aim was to paint a not unsympathetic portrait of a hard man to have sympathy for. But as I zipped through this lucid book, I kept trying to think of a good word to describe the feeling of my frequently being taken aback. History repeats itself, sure, but how often does it do so with such vengeance?

* * *

No president had ever fallen from such a great height, Leuchtenburg writes. Hoover was a hero after World War I for feeding millions of Europeans as a food administrator. He organized the recovery of the American Midwest after a devastating flood along the Mississippi River. But his name came to be attached to the shantytowns—the Hoovervilles—where millions of poor and out of work ended up. Millions more lived in empty freight cars derisively called Pullman Hoovers. A couple who had named their son Herbert Hoover Jones eventually changed his name to Franklin D. Roosevelt Jones in order to save him future “chagrin and mortification.”

When he lost a bid for a second term to FDR, Hoover lost badly. In 1928, he won forty (of 48) states. In 1932, he won six. “Not for eighty years had there been such avalanche of Democratic ballots,” Leuchtenburg writes; “1932 marked the worst defeat in the history of the GOP.” These superlatives suggest Hoover’s defeat was more than a referendum on his policies. It was a wholesale rebuke of ideologies that had given Republicans a popular majority since 1853 and that calcified under the reign of Big Bert.

These ideologies concerned the role of government.

Though authoritarian and eager to use executive power to bulldoze legislation, or bypass political debate entirely, Hoover was unwilling to expand government’s role in society. The president believed, Leuchtenburg says, “that one should rely not on government but on civic-minded individuals ‘imbued with the spirit of self-sacrifice in full measure.’” Governor Bobby Jindal of Louisiana cited this position last week in his rebuttal to President Obama’s feux State of the Union address. Jindal said the best thing for post-Katrina New Orleans wasn’t government intervention. It was the spirit of community volunteerism.

Before his presidency, Hoover had even written a widely read book called, appropriately enough, American Individualism, in which he warned against the “tyranny” and “timorous mediocrities” of trade unions. But American Individualism, “a jejune screed” that was “little more than pamphlet,” Leuchtenburg says, showed another side of Hoover that was not ideological but pragmatic, a quality likely rooted in his time as food czar during World War I. Private underwriting of America’s effort to feed war refugees, he said, was of an “uncertain quality.” As philanthropy could only go so far, “we must obtain a regular government subsidy.” Pragmatism returned when he wrote that government regulation of capitalism was necessary because “we have learned that the foremost [i.e., the rich] are not always the best and the hindmost [the poor] are not always the worst.… Fair division [of capital] can only be obtained by certain restrictions on the strong and the dominant.”

This Herbert Hoover, however, didn’t show up for the Great Depression. In the end, ideology won out. At the time when something could have been done, Hoover left almost all responsibility to corporations who suggested consumers add sun porches to their houses to stimulate the economy. Then he gave banks millions. Later, as Americans were losing their savings and queueing up in bread lines, Hoover said they were suffering from “frozen confidence” more than “frozen securities.”

If that doesn’t remind you of Phil Gramm, John McCain’s former economics adviser who callously said we were in the middle of a “mental recession,” you haven’t been paying attention. But you’re not alone. Gramm led the 1999 charge against the Glass-Steagall Act, a law put in place during the Roosevelt administration that kept banks from investing on Wall Street. He also won legislation to deregulate derivatives, the financial instruments that brought down AIG and cost us $150 billion. Apparently, all of us keep forgetting our history. And our money, too.

John Stoehr is the arts editor at the .

All-American Poem

By Matthew Dickman (American Poetry Review, 2008)

I first encountered Matthew Dickman’s “Trouble” in a recent issue of The New Yorker. It’s a litany of the many ways famous people killed themselves. Marilyn Monroe took sleeping pills. Marlon Brando’s daughter hanged herself. Bing Crosby’s sons “shot themselves out of the music industry forever.” The list’s utilitarian feeling only makes the horror more horrible, especially when it includes the suicide of Dickman’s brother: He “opened thirteen patches,” Dickman tells us, “and stuck them on his body until it wasn’t his body anymore.”

But there’s a sense of humor too, even whiffs of whimsy, which make the tenor of , in which “Trouble” appears, feel genuine without being sappy. The poems are lucid and coy, rambling and drunk, playful and gregarious, a tapestry of emotion with a notable thread missing: There’s little in the way of satire or irony, by which I mean meanness of spirit. Written amid the anxieties and neuroses of the Bush era, Dickman’s poems are conspicuous for their lack of bitterness. After learning about his brother’s fate, we learn: “I sometimes wonder about the inner lives of polar bears.” How random. How charming.

And how frightening, too. For “Trouble” also recalls Auden’s in which suffering consumes those experiencing it while the rest of us appear cruel without meaning to. For the tortured, nothing else matters but the torturer, even as his “horse scratches its innocent behind on a tree.” Life goes on despite that tiny shudder that comes from knowing that as you read this sentence, someone somewhere is in pain.

But where Auden seems intent on forcing on us the aloofness of the cosmos, Dickman’s “Trouble” levels a cool eye while making a little room by the fire. His might be called gallows humor, but somehow it’s never macabre. It’s intimate and warm, friendly and firm. A tragic view of the world, but maybe also optimism in disguise.

In the introduction to All-American Poem, Tony Hoagland rightly calls the book the “epitome of the pleasure principle,” and there are lusty, earthy poems contained within, stuffed with images, metaphors, and jokes that delight more than instruct. But they also affirm an old-fashioned sentiment that right now seems to be much in need in America right now. I’m talking about the human spirit.

There’s a line in Richard Greenberg’s 2003 play, The Violet Hour, in which a flamboyant clerk riffs on the word “gay.” It’s 1919, way before the word took on its present meaning, so “to be gay is not to be frivolous,” he says proudly. “To be gay is to be light-hearted in the face of every kind of darkness.”

Toughness with a smile. But Dickman isn’t afraid of darkness. In “V,” the world’s “been talking sleazy to all of us and there’s nothing about the hydrogen bomb that makes me want to wear a cock ring in the kitchen while a pot of water boils.” The speaker wants to flirt with a girl, but reconsiders. Maybe she wants to be treated as a human being, not an animal at the meat market: “And maybe this is not a giant leap into the science of compassion, but it’s something.”

Happiness can be an act of will as much as an accident of fate. It’d be natural to let the light die behind your eyes in the wake of losing a brother, or your house. But to be “gay”—and in Dickman’s case, to be funny and charming and witty—is almost an act of rebellion. To be “gay” in the world of All-American Poem is be totally punk rock.

Though there’s no sign Dickman sees it that way: He breathes the air of Whitman, Kerouac, O’Hara, and Koch, each of whom pushed against the grain of what poetry and writing was supposed to be in their times. Especially Koch, who saw no reason why poetry couldn’t be fun. The first line of Dickman’s “Chick Corea Is Alive and Well!” is “Which makes the elegy I wrote for him seem a little distasteful.” And the last line isn’t afraid to flirt with sentimentality, because it’s a sensibility rooted in the here and now, and it feels right: The jazz pianist is like “a man whose been raised from the dead, looking down at a woman’s knees after years in the dirt, singing yeaahh! yeaahh! This is what I’m talking about, yeaahh! This good, sweet life!

John Stoehr is the arts editor at the .