this week in literature

LICK ME: HOW I BECAME CHERRY VANILLA

Borders, 2 Penn Plaza
Tuesday, December 7, free, 2 5:00
www.borders.com
www.cherry-vanilla.com

Poet, actress, songwriter, publicist, Mad woman, and all-around good-time girl Cherry Vanilla holds nothing back in her free-wheeling memoir, LICK ME: HOW I BECAME CHERRY VANILLA (Chicago Review Press, November 2010, $24.95). Born Kathleen Anne Dorritie in 1943 and raised in Queens, Vanilla tells of a life filled with lots of sex, lots of drugs, and lots of rock & roll. A chronic bedwetter as a child, she later developed OCD, picking at cuts and blemishes all over her body. She dreamed of being in show business, first working at Madison Ave. advertising firms before getting involved in the burgeoning downtown arts scene, hanging out at the hottest clubs and enjoying a never-ending stream of lovers. She starred in Warhol’s off-Broadway show PORK and went from groupie to music publicist to poet and performer; her stories about working with David Bowie just as he was trying to break through in the States are intimate and revealing — and might come as quite a surprise for longtime Bowie fans. She talks in-depth about her desire to bed such men as Kris Kristofferson, Warren Beatty, Leon Russell, and Bowie — but you’ll have to read the book to find out which attempts were successful. Among the many celebrities she meets in her ever-evolving career, some who became close friends, others just passing through her wild life, are Mick Jagger, Patti Smith, Joel Schumacher, Debbie Harry, Helmut Newton, Joni Mitchell, Don Johnson, Melanie Griffith, Sting, Candy Darling, Ringo Starr, Angie Bowie, Rudolf Nureyev, and Mick Ronson, and she shares some very interesting details about many of them. But Vanilla never comes off as needlessly gossipy or self-aggrandizing; instead, LICK ME is an honest portrait of a woman who knew what she wanted and went after it. The book also includes excerpts from her 1970s diaries and a sixteen-page black-and-white insert that features several shots of her in two of her favorite positions, either partially or fully unclothed. Cherry Vanilla will be at the Penn Plaza Borders on December 7, discussing her outrageous life and signing copies of the book, joined by special guest May Pang, who figures in a story in the book about Cherry trying to give John Lennon a special birthday present from Ringo.

WALT (CLYDE) FRAZIER: ROCKIN’ STEADY

Tuesday, December 7, NBA Store, 666 Fifth Ave. at 52nd St., 3:30
Tuesday, December 14, Borders, 2 Penn Plaza, 6:00
Thursday, December 16, Books & Greetings, New Jersey, 7:00
www.triumphbooks.com

One of the best guards in NBA history and the all-time greatest Knickerbocker, Walt (Clyde) Frazier was the definition of cool during the 1970s, high-stylin’ on and off the court then as well as now, currently serving as the team’s longtime color analyst. Back in 1974, following the second Knicks championship in four years, Clyde wrote ROCKIN’ STEADY: A GUIDE TO BASKETBALL & COOL with New York Times sportswriter Ira Berkow, covering such topics as “Offense,” “Defense,” “Cool,” and “A General Guide to Looking Good, and Other Matters.” The book was out of print for many years, but Triumph has finally brought it back in all its original glory, along with a new preface by Berkow and a new afterword from Frazier, called “Leave Your Own Footprint,” in which he discusses, among other things, his shocking trade to Cleveland in 1977 and the difficulties of the move from the city that he virtually owned: “Didn’t want to get that canary-yellow suit soiled, for one thing, and for another, it wasn’t easy packing those Clyde hats without getting them mashed. But I managed.” Frazier will be dishing and swishing, wheeling and dealing, and believing and achieving at the NBA Store in Midtown on December 7 at 3:30, the Borders at Penn Plaza on December 14 at 6:00, and Books & Greetings in Northvale, New Jersey, on December 16 at 7:00.

BROOKLYN COMICS AND GRAPHICS FESTIVAL

Art and music collective Uninhabitable Mansions will be among the more than fifty exhibitors at Brooklyn festival

Our Lady of Mt. Carmel Church
275 North Eighth St.
Saturday, December 4, free, 12 noon – 9:00 pm
www.comicsandgraphicsfest.com

A mere month after KingCon II, Brooklyn continues its growing love affair with comic books and graphic novels at the second annual Brooklyn Comics and Graphics Festival, which will take place on December 4 at Our Lady of Mt. Carmel Church in Williamsburg, an all-day free event featuring an exciting lineup of exhibitors, panels, and more. Organized and curated by Desert Island, PictureBox, and Bill Kartalopolous, the festival includes such guests as Kate Beaton, Jordan Crane, Jillian Tamaki, Adrian Tomine, and Gabrielle Bell and such exhibitors as Drawn & Quarterly, Uninhabited Mansions, the Jack Kirby Museum, Koyama Press, Doug Allen, and Rabid Rabbit, among many others. The festival has a great lineup of programs, beginning at 1:00 with “Lynda Barry and Charles Burns in Conversation,” followed by “The Art of Editing” with Françoise Mouly and Sammy Harkham (2:00), “Taking Inventory: The Story of Things” with Renée French, James McShane, Jungyeon Roh, and Leanne Shapton (3:00), “Irwin Hasen: When Comic Books Were New” with Irwin Hasen, Evan Dorkin, and Paul Pope (4:00), a Q&A with the great Anders Nilsen (5:00), “How Nancy Is: The Semiotics of the Gag” with Bill Griffith, Mark Newgarden, and Johnny Ryan (6:00), and “Chaos and Pattern” with Brian Chippendale, Jordan Crane, Keith Jones, and Mark Alan Stamaty (7:00). Festival cofounder Kartalopolous will moderate all discussions except for the Irwin Hasen panel, which will be moderated by Dan Nadel.

TAKEMITSU: WOMAN IN THE DUNES

Hiroshi Teshigahara drama, featuring score by Tōru Takemitsu, is an existential masterpiece

WOMAN IN THE DUNES (SUNNA NO ONNA) (Hiroshi Teshigahara, 1964)
Film Forum
209 West Houston St.
Friday, December 3, 1:00, 3:45, 6:30, 9:15
Saturday, December 4, 1:00, 3:45, 9:30
Series runs December 3-16
212-727-8110
www.filmforum.org

Hiroshi Teshigahara’s Sisyphean tale, based on Kobo Abe’s marvelous novel, tells the story of an entomologist (Eiji Okada) out in the desert looking for insects when he comes upon a village of people living in the sand dunes — and he is unknowingly sucked into their world. Kyōko Kishida stars as the title character. See the movie — just wait till you get to the psychedelic head trip scene — but be sure to read the book as well; the scenes of the man trying to escape by climbing up the sand will feel oddly familiar to anyone who has ever been trapped in a seemingly inescapable situation. Teshigahara, who died in April 2001, adds surreal visual elements that make the film an unusually compelling though basically simple story. Abe also collaborated with Teshigahara on PITFALL (OTOSHIANA), THE FACE OF ANOTHER (TANIN NO KAO), and THE MAN WITHOUT A MAP (MOETSUKITA CHIZU).

Japanese composer Tōru Takemitsu will be celebrated in film and music in New York City this month

WOMAN IN THE DUNES is screening as part of Film Forum’s two-week salute to composer Tōru Takemitsu (1930-96), who scored WOMAN IN THE DUNES and more than one hundred other films, including such diverse works as Teshigahara’s ANTONIO GAUDI, PITFALL, and THE FACE OF ANOTHER, Nagisa Oshima’s THE CEREMONY, Masahiro Shinoda’s CHINMOKU and PALE FLOWER, Mitsuo Yanagimachi’s HIMATSURI, Kon Ichikawa’s ALONE ON THE PACIFIC, Masaki Kobayashi’s KWAIDAN, YOUTH OF JAPAN, HARAKIRI, and SAMURAI REBELLION, and Akira Kurosawa’s RAN and DODES’KA-DEN, all of which are part of the series. The music of Takemitsu will also be celebrated this month at the JapanNYC Festival, with Seiji Ozawa conducting the Saito Kinen Orchestra in a presentation of Takemitsu’s “November Steps,” with Yukio Tanaka on biwa and Kifu Mitsuhashi on shakuhachi, at Carnegie Hall on December 15 (in addition to Berlioz’s Symphonie fantastique), a concert featuring traditional hōgaku instruments at the Institute for Medieval Japanese Studies at Columbia University on December 16, and a tribute concert at Zankel Hall on December 17 curated by his daughter, Maki Takemitsu, with jazz performances of his film scores performed by guitarists Kazumi Watanabe and Daisuke Suzuki, accordionist coba, and percussionist Tomohiro Yahiro.

THE ART OF THE GRAPHIC NOVEL

Lynda Barry will be part of Sunday afternoon panel discussing the graphic novel at the Philoctetes Center

The Philoctetes Center
247 East 82nd St.
Sunday, December 5, free, 2:30
646-422-0544
www.philoctetes.org

The Philoctetes Center for the Multidisciplinary Study of the Imagination has brought together quite a panel of experts for its free December 5 round table looking at the past, present, and future of the graphic novel. Innovative cartoonists Lynda Barry (ERNIE POOK’S COMEEK; THE GOOD TIMES ARE KILLING ME) and Ben Katchor (JULIUS KNIPFL, REAL ESTATE PHOTOGRAPHER; THE JEW OF NEW YORK) will be joined by University of Chicago English professor Hillary Chute, art historian N. C. Christopher Couch, and RAW publisher Françoise Mouly to talk about this constantly changing and emerging field.

FIRST SATURDAYS: LADIES’ NIGHT

Salma Hayek stars as artist Frida Kahlo in Julie Taymor’s biopic, screening as part of the free First Saturdays program at the Brooklyn Museum on December 4

Brooklyn Museum
200 Eastern Parkway
Saturday, December 4, free, 5:00 – 11:00 (some events require free tickets distributed at the Visitor Center)
212-864-5400
www.brooklynmuseum.org
In conjunction with its “Seductive Subversion: Women Pop Artists, 1958-1968” exhibit, the Brooklyn Museum is handing over its monthly First Saturdays program to the ladies on December 4. Canadian singer Carole Pope will perform, Julie Taymor’s 2002 biopic, FRIDA, will screen at 5:30, performance artist Shelly Mars will present THE HOMO BONOBO PROJECT, the Hands-On Art workshop will take on the sculpture of Joyce Wieland, DJ Laylo will keep things moving at the always hopping dance party, Misako Rocks will talk about her DETECTIVE JERMAIN manga series, and CHERYL will give a multimedia performance.

FRIDA (Julie Taymor, 2002)
Saturday, December 4, 5:30
Free tickets available at Visitor Center beginning at 5:00
www.miramax.com/frida
Salma Hayek is terrific as Mexican artist Frida Kahlo in this uniquely creative biopic from Julie Taymor. Kahlo’s tumultuous twenty-five-year relationship with muralist and communist Diego Rivera (Alfred Molina) is the centerpiece of the film, which comes alive with bright colors, Elliot Goldenthal’s Oscar-winning score, splendidly bizarre animation from the Brothers Quay, and a fun group of supporting actors that includes Antonio Banderas, Ashley Judd, Valeria Golino, Edward Norton, and Geoffrey Rush as Leon Trotsky. Kahlo documented her difficult life on canvas, and Taymor uses those paintings in engaging and dramatic ways.

BAM NEXT WAVE FESTIVAL: METAMORPHOSIS

Iceland’s Vesterport Theatre returns to the Next Wave Festival with the U.S. premiere of METAMORPHOSIS (photo by Eddi Jonsson)

Brooklyn Academy of Music
BAM Harvey Theater
651 Fulton St. between Ashland & Rockwell Pl.
November 30 – December 5, $25-$65 (November 30 performance reviewed)
718-636-4100
www.bam.org

In October 2008, Gísli Örn Gardarsson led the Iceland-based Vesturport Theatre in a visually stunning yet ultimately disappointing version of George Büchner’s WOYZECK at BAM, relying too heavily on flashy acrobatics by the former gymnast. Gardarsson has returned to BAM’s Next Wave Festival with a solid, more subdued production, adapting Franz Kafka’s creepy 1915 novella, THE METAMORPHOSIS. This time around, Gardarsson has collaborated with David Farr, former artistic director of the Lyric Hammersmith and currently associate director of the Royal Shakespeare Company. The two cowrote and codirected the production, with Farr concentrating primarily on the words and Gardarsson, who stars as Gregor Samsa, focusing on the play’s physicality. Börkur Jónsson’s superb set design features a bilevel stage consisting of the Samsa family’s living area and a staircase leading up to Gregor’s room, which is arranged perpendicular to the lower floor and is centered by a vertical white bed surrounded by a chair, a plant, a lamp, and a series of hand grips, all of which allow Gardarsson to creep and crawl around the space like an imprisoned animal. As the play opens, Lucy (Kelly Hunter) and Herman Samsa (Ingvar E. Sigurdsson) are at the breakfast table with their daughter, Greta (Nina Dögg Filippusdóttir, Gardarsson’s real-life wife), a violin prodigy. Their movements are all strictly regimented, a model of Eastern European efficiency, until they realize that Gregor has not yet left for work and doesn’t appear to be in his room. Startled by this disruption in their lives, they panic until they discover that Gregor, a traveling salesman who is the family’s sole source of economic support, has transformed into a hideous insect. However, Gregor does not realize anything is wrong; he speaks normally, but his family hears only awful, unintelligible screeches. While his parents see him as a monster, Greta still considers him to be her brother and decides to take care of him, at least for a while. The family is interrupted twice by Jonathan McGuinness, who plays Fischer, a man from Gregor’s company, and Stietl, a coworker of Greta’s interested in renting a room in the Samsa household, since they now need money because Gregor is no longer working.

Gregor Samsa (Gísli Örn Gardarsson) transforms into an insect in theatrical adaptation of Kafka classic (photo by Eddi Jonsson)

Gardarsson uses no costuming or lighting tricks in turning himself into a giant bug crawling around his room and down the stairs, relying on his agility and not overdoing it. He and Farr have created well-defined characters, so the play includes several powerful, emotional moments as the relationships among the family members change. The production succeeds in capturing the essence of Kafka’s existential story, which deals with individuality, responsibility, and personal identity in a rigid, totalitarian state. Nick Cave and longtime Bad Seed Warren Ellis, who also composed the music for WOYZECK, contribute a bittersweet, spare, melancholy score rooted in acoustic instrumentation. Gardarsson and other members of the cast and crew will participate in an artist talk following the December 2 performance.