Assembling a collection

It’s been five years since I started putting together the ideas for my first book. That book became a series of five. I haven’t completely ruled out the idea of continuing the series, but for now I want to concentrate on other projects, including my long delayed historical fiction set partly during World War One. [Does that sound familiar? This time I mean it!]

Besides novel writing, over the years, I’ve written a number of short stories. I’m at the point where I think I have enough for a collection. Although, there are no hard and fast rules anymore –you can publish works of any length through Amazon– 40,000 words seems to be the magic number for a collection of short stories. With that in mind, I plan on revisiting my older stories with an eye for revision and expansion. As I work them out, I will likely post them here, so for those of you who’ve been following for a while, some of them might sound familiar.

If the short stories come together, I might do the same thing with my poetry. Since the poems, by nature, are much shorter and the volume would be slim, I thought about pairing them with my own illustrations, photos or other artwork. The idea for these projects arose from the ‘housecleaning’ I’m doing for the move: organizing things to keep and things to discard. The same can be applied to my writing: some of it is ready to go with just a little cleaning up, some of it needs major repairs, and some of it can be trashed. [Not really trashed… I keep everything, even if it’s just to spark a new idea. But you know what I mean]. With polishing, I hope these pieces will shine with new life.

In the coming weeks, my offline world is about to get a little crazy, so I hope you will enjoy these older stories and posts. Interspersed of course, with my adventures in Ireland as I look for a new home.

Father to Daughter

I was feeling off the last couple of weeks and I didn’t know why. Yes, there is a massive change on the horizon of my life, but I am processing that methodically. This was something else… Then it hit me when I posted the photo of me with my father for Cee’s Black and White Challenge last week —it’s been ten years since I lost him. It was February of 2009.  

I was blessed to be a beloved daughter, and Papa was my first hero. I called him Papa instead of Dad or Daddy —his choice, he wanted to be different. He was a story-teller, too. I marvel at what a vivid imagination he had.  He made up a whole series of adventures involving our neighbor’s cat:  Mopsy, and another one with a little old man and a cuckoo clock that always saved the day. And most of the time, he made them up on demand: “Tell me a story, Papa!” I remember traveling in Scotland with my parents when I was about six years old and passing a desolate stretch of land with these strange formations: bigger than mounds, smaller than hills. As we drove along, Papa made up a story about how it was a “Giant’s Graveyard” and the events that led to all the giants dying. Alright, that’s pretty morbid, I suppose, but I remember being completely engrossed in the story and begging for more. Oh, how I wish I’d recorded some of those wonderful tales he created for me when I was little.

He didn’t live long enough to see me become a writer. He would have loved knowing that he passed that ‘gift’ on to me. It’s just one of the many ways that I am my father’s daughter.

Research Notes – The Great War (23) Max Beckmann, Artist

“My heart beats more for a rougher, more vulgar art… one that offers access to the terrible, the crude, the magnificent, the ordinary, the grotesque, and the banal in life. Art that can always be right there for us, in the realest things of life.” Max Beckmann

Max Beckmann was born on February 12, 1884 in Leipzig, The Kingdom of Saxony, part of the newly established German Empire. He began painting as a youth, attempting to emulate the old masters, resulting in his early work following the classic, academic style. At the outbreak of war in 1914, Beckmann enlisted as a medical orderly and his experiences as such would forever change his art. Rather than continuing to paint traditional and realistic depictions, he began to distort figures and space —a demonstration of his altered view of the world and humanity within it.

In letters home, he wrote of his experiences as a medical officer, bringing the wounded to the hospitals for treatment: “…the sick lie naked on the table, often four or five of them. … With no sign of emotion, the doctors courteously show me the most horrible wounds. The sharp smell of putrefaction was hovering over everything, despite good ventilation and well-lit rooms. I was able to take it for about an hour and a half then I had to go out into the open landscape.”

Beckmann recreated this vision in his etching: The Large Operation, (1914):

Grosse Operation, Max Beckmann 1914 (courtesy MoMa)

After his discharge from the military, he transformed his art to reflect the horrors of war. Even those works not explicitly about the war are informed by it. Now his works —crowded with figures and details— were all jagged lines, broken planes and angular forms. The effect was unsettling and claustrophobic.

An example of this style can be seen in Playing Children (1918) in which the figures of the children are compressed into a tight circle. Adding to the sense of menace, most of the children wield weapons and engage in a violent mock battle.

Spielende Kinder; Max Beckmann, 1918 (courtesy MoMa)

Beckmann became quite successful in the years after the war. Many of his paintings portrayed the cabaret culture of post war Germany and the decadence that arose during the time of the Weimar Republic.

Dancing Bar In Baden-Baden; Max Beckmann, 1923

However, things changed with the rise of the Nazis. Adolf Hitler disliked Modern Art to the extent that it was suppressed by the state. Beckmann was labeled a “cultural Bolshevik” and his work declared degenerate. In 1937, Beckmann left Germany for the Netherlands and never returned.

In 1948, he moved to the United States but his tenure as an American was to be short lived. Only months after obtaining a professorship at the Art School of New York’s Brooklyn Museum, he suffered a heart attack and died at the corner of 69th and Central Park West, not far from the apartment he shared with his wife.

Header image: Self Portrait in a Tuxedo; Max Beckmann