this week in literature

FIRST SATURDAYS: TO LIVE FOREVER

“Anthropoid Coffin of the Servant of the Great Place, Teti,” Egypt, from Thebes, circa 1339-1307 BCE, wood, painted box with lid in place

“Anthropoid Coffin of the Servant of the Great Place, Teti,” Egypt, from Thebes, wood, painted box with lid in place, circa 1339-1307 BCE

Brooklyn Museum
200 Eastern Parkway
Saturday, April 3, free, 5:00 – 11:00 (some events require free tickets distributed at the Visitor Center)
212-864-5400
www.brooklynmuseum.org

In conjunction with the exhibition “To Live Forever: Art and the Afterlife in Ancient Egypt,” the Brooklyn Museum’s free monthly First Saturdays program on April 6 will feature such special events as a discussion with curators Edward Bleiberg and Lisa Bruno, live music by Arab group Zikrayat, a Hands-On Art workshop in which you can create an Egyptian-style amulet, a book talk with Joshua Cohen about his novel A HEAVEN OF OTHERS, a dance party hosted by DJ Nickodemus and the Spy from Cairo, and a screening of the Oscar-winning Japanese film DEPARTURES. In addition, all of the museum’s exhibitions will be open late, including “Kiki Smith: Sojourn,” “Healing the Wounds of War: The Brooklyn Sanitary Fair of 1864,” “Body Parts: Ancient Egyptian Fragments and Amulets,” and the aforementioned “To Live Forever.”

Japanese Oscar winner takes unusual look at death

Japanese Oscar winner takes unusual look at death

DEPARTURES (Yojiro Takita, 2008)
Brooklyn Museum
200 Eastern Parkway
Saturday, April 3, free, 6:30 (free tickets distributed at the Visitor Center at 5:00)
212-864-5400
www.departures-themovie.com

After the orchestra in which he plays cello is dissolved, Daigo Kobayashi (Masahiro Motoki) and his wife, Mika (Ryoko Hirosue) leave Tokyo and head back to his hometown in Yamagata. Seeing a classified ad in the local paper listing a job in “departures,” Daigo schedules an interview, thinking it is a travel agent position. But as it turns out, the boss, Sasaki (Tsutomu Yamazaki), claims it was a typo — it should have read “the departed” — and immediately hires Daigo as his assistant encoffinor. Daigo quickly learns that he and Sasaki attend to the newly dead, picking them up for funeral directors and then preparing the bodies, in front of grieving friends and family, for the coffins and cremation through an elaborate, detailed ceremony. Daigo takes the job out of financial desperation — Sasaki throws money at him to come on board — but doesn’t tell anyone, including Mika, what he is doing, since people who work in businesses involving corpses are shunned in Japan, considered dirty. But as Daigo grows to appreciate the importance of what Sasaki does, everything he has built threatens to fall apart when his secret starts getting out. Winner of the 2008 Oscar for Best Foreign Language Film (As well as ten Japan Academy Prizes), DEPARTURES is a moving portrait of life and death, told beautifully by director Yojiro Takita (WHENT THE LAST SWORD IS DRAWN, ONMYOJI) and screenwriter Kundo Koyama. Motoki, who had the original idea for the film, gives a wonderfully subtle performance as a Daigo, while Yamazaki is a riot as the stern boss with a sly sense of humor. Despite an embarrassingly unnecessary montage scene and sappy music by Joe Hisaishi (who’s never met an emotion he couldn’t overexploit), DEPARTURES is a moving portrait of a man searching for his place in the world — and meeting personal and professional obstacles when he thinks he might have found it.

MoCCA ART FESTIVAL: JIRÔ TANIGUCHI

taniguchi

69th Regiment Armory
68 Lexington Ave. between 25th & 26th Sts.
April 10-11, $10/day, $15-$20/both days
212-254-3511
www.moccany.org
www.ponentmon.com

No, Japanese sensation Jirô Taniguchi will not be at this year’s MoCCA Art Festival, but it’s the best place to find his latest books. For forty years, Taniguchi has been creating some of the most beloved manga series and novels. Now sixty-two, he has been discovered by America, piling up awards as his works get translated into English. We first found out about him a few years ago at the festival and have been devouring his remarkable books ever since. In THE QUEST FOR THE MISSING GIRL, Taniguchi tells the inspiring tale of a man who is determined to find his late friend’s fifteen-year-old daughter, who has suddenly disappeared. The narrative takes readers from the stunning Himalayas to the seedy back alleys of the big city. Taniguchi returns to the Himalayas in THE SUMMIT OF THE GODS, illustrating Yumemakura Baku’s two-part story of photographer Makoto Fukamachi’s search for the body of mountaineer George Mallory, who went up Mount Everest in 1924 and was never seen again. The book opens with a beautiful six-page color spread by Taniguchi. In the two-part A DISTANT NEIGHBORHOOD, written and illustrated by Taniguchi, forty-eight-year-old businessman Hiroshi Nakahara wakes up to find that he’s fourteen again, back home the summer his father mysteriously left the family and was never heard from again. Taniguchi, who seems to have a thing for lost people, has also released such books as THE WALKING MAN and THE ICE WANDERER and, with writer Natsuo Sekikawa, is in the midst of a multivolume retelling of Natsume Soseki’s classic 1904 Japanese novel BOTCHAN. We can’t wait to see what gems Taniguchi’s English-language publisher, Fanfare / Ponent Mon, will be bringing to this year’s MoCCA Art Festival.

mocca art festival 2010

This year’s MoCCA Art Festival runs April 10-11 at the 69th Regiment Armoy, featuring such participants as Kim Deitch, Emily Flake, Jaime Hernandez. Neil Kleid, Peter Kuper, Hope Larson, Frank Miller, Paul Pope, Dash Shaw, Gahan Wilson, and Klein Award recipient David Mazzucchelli. Single tickets are $10 in advance, $12 day of show, with weekend tickets available for $15 in advance and $20 at the door.

TWI-NY TALK: JON STEWART AND STEPHEN COLBERT

Jon Stewart will get out from behind his desk to star in summer Shakespeare production with Stephen Colbert

Jon Stewart will get out from behind his desk to star in summer Shakespeare production with Stephen Colbert

THE TWO GENTLEMEN OF VERONA
The Daily Show Studios
733 Eleventh Ave. between 51st & 52nd Sts.
July 9-31, free, 8:00
www.thedailyshow.com
www.colbertnation.com

Every Monday through Thursday, Jon Stewart and Stephen Colbert go back to back, taking on politics and more in their hugely successful Comedy Central programs THE DAILY SHOW and THE COLBERT REPORT. They usually have weekends off, but this summer they will turn Stewart’s Hell’s Kitchen studio into the Globe Theatre as they team up for what promises to be a very different kind of Shakespeare experience.

On Friday and Saturday nights from July 9 through July 31, Emmy winners Stewart and Colbert will star in THE TWO GENTLEMEN OF VERONA, rotating in the lead roles of Valentine and Proteus. They will be joined by Samantha Bee as Silvia, Kristen Schaal as Julia, Jason Jones as the Duke of Milan, John Hodgman as Antonio, Wyatt Cenac as Thurio, Lewis Black as Speed, Aasif Mandvi as Eglamour, and John Oliver as Lucetta. It is a bold undertaking for the close-knit team, who are as friendly off camera as they are on.

Stewart and Colbert recently sat down with twi-ny in our Murray Hill offices to discuss just what makes them think they can pull this off.

twi-ny: Of all the Shakespeare plays you could have chosen, why do THE TWO GENTLEMEN OF VERONA?

Stephen Colbert: It was really my idea. It’s one of Willie’s earliest plays, maybe his first, and it’s not very good. This way if we suck, we can blame him.

Jon Stewart: I think it’s actually a cry from Stephen that he’s always wanted the eleven o’clock spot ahead of me. By switching roles with me, he gets to pretend it’s like we’re switching our time slots.

Stephen Colbert will show his acting chops this summer in Bard play

Stephen Colbert will show his acting chops this summer in Bard play

twi-ny: Only a few members of the cast have had any acting roles, primarily small parts in modern-day lowbrow comedies. Do you think that could be a problem?

SC: Did anyone know Kevin Kline, Meryl Streep, Al Pacino, or any of those other “Hollywood types” when they first did Shakespeare in the Park? I think the only thing on Pacino’s resume was playing the old guy in those Pepperidge Farm commercials.

JS: Actually, Stephen, they were all pretty famous already, and had done a lot of Broadway and movies.

SC: I rest my case.

twi-ny: What do you hope to gain by this experience?

SC: Well, I’ve won a Grammy, an Emmy, and a Peabody, so I’m going for a Tony this time.

JS: Um, Stephen, we won’t be eligible for the Tonys.

SC: [pauses] Oh, then, money.

JS: We’re not charging admission, Stephen.

SC: It’s free?

JS: Yes, it’s free. Don’t you remember we discussed this?

SC: Yeah, but I didn’t think you were serious. [looks around] Can someone get my agent on the phone?

In addition to continuing their television series and appearing in THE TWO GENTLEMEN OF VERONA, Stephen Colbert and Jon Stewart are currently preparing for the big-screen remake of the 1969 film THE APRIL FOOLS, playing the roles of Jack Lemmon and Catherine Deneuve, respectively.

TWI-NY TALK: DANNY PEARY

roger maris

ROGER MARIS: BASEBALL’S RELUCTANT HERO by Tom Clavin and Danny Peary (Touchstone, March 2010, $26.99)
Wednesday, March 24, Borders, Time Warner Center, 10 Columbus Circle, free, 7:00
Tuesday, April 13, Mickey Mantle’s Restaurant and Sports Bar, 42 Central Park South, free, 4:00
www.borders.com
www.mickeymantles.com
www.books.simonandschuster.com

In seeking to publish the definitive biography of Roger Maris, coauthors Tom Clavin and Danny Peary had a very specific goal in mind as they spent two years speaking with Maris’s family and friends as well as such Hall of Famers as Yogi Berra, Al Kaline, Ferguson Jenkins, Stan Musial, Tom Seaver, Ralph Kiner, and dozens of other baseball players, broadcasters, and executives.

“Like us,” the two writers point out in the acknowledgments at the end of the just-released ROGER MARIS: BASEBALL’S RELUCTANT HERO, “they passionately believed that Roger Maris never received proper recognition from fans and the media for his talent and achievements, his fine character, and his pivotal role in the emerging war between the press and uncooperative celebrities.”

The chapter titles alone reveal that this is not just some feel-good biography: “Family Turmoil,” “Defiance,” “The Villain,” “The Betrayal,” and “Rock Bottom.”

Peary, who has written some twenty books, recently took some time away from his hectic schedule to answer some questions about asterisks, steroids, and home run champs.

What was the most surprising thing you learned about Maris while researching the book?

In the book we document Roger’s war with reporters who were frustrated in their attempts to get him to exchange good quotes for friendly coverage. I knew before doing the research that Roger had a hard time dealing with celebrity and simply attributed that to his being shy and another midwesterner who cherished privacy. What I didn’t know was that he was so unwilling to answer personal questions because, also, there was a history of secrecy in his family dating back to before he was born (including much dysfunction, feuds, and grudges) and that Roger had always kept quiet about his parents hating each other, and his mother’s disreputable behavior.

An even bigger reason Roger was uneasy talking about himself and his on-field heroics was because he idolized his older brother, Rudy Jr., who was considered the better athlete until he got polio. Roger always felt guilty that he went on to have the baseball career that was intended for his brother, so he never felt comfortable tooting his own horn. Rudy Jr.’s polio affected him in profound ways, particularly in regard to the press as he broke Ruth’s record. The sad part is that Roger most definitely became a better athlete than his brother ever would have, but he never admitted it.

Do you think Maris should be in the Hall of Fame?

One reason I wanted to write this book, with Tom Clavin, is that I was there when Maris played and believe Roger’s history as written by sportswriters who didn’t like Roger personally is a distortion of the truth, which was he was a great player who is worthy of Hall of Fame consideration. That he was the guy who broke Babe Ruth’s record — no one else can make that claim — might be enough, as Hank Greenberg asserted, to qualify him for the Hall. But he accomplished a lot more, including two MVPs and All-Star appearances, matching an in-his-prime Mickey Mantle in stats in their seven years together, being the top left-handed batter in the league during his time in the AL, and being an exceptional clutch hitter even when his average was low.

What really qualifies him, I believe, is that he led his era in World Series appearances — seven in nine years — and the only two years his teams didn’t make it were when he was injured. He came to the Yankees when they were a third-place team and they won five straight pennants; he came to the Cardinals when they were a third-place team and they won titles both years he was with them (he was the only major addition to the team), and they stopped winning when he retired. I value greatness and accomplishments over stats, and Maris was great and was the most “winning” ballplayer of his time. (His teams in the minors also improved dramatically when he joined them, so he had a history of making moribund teams into contenders and champions.) Unfortunately, there is no stat for being a great all-around player and there is no stat for never making a mistake, which is how his managers described him. I agree with his teammates who played with him after 1962 who believe he should be in the Hall of Fame.

Maris initially had an asterisk next to his home run record, and now there are many people calling for asterisks to go next to the names Barry Bonds, Sammy Sosa, and Mark McGwire, who all hit more than sixty-one homers presumably while taking steroids. Who do you think is the current home run champion, in your mind and the mind of the public?

No asterisk was ever implemented for Maris, contrary to popular belief, but it didn’t matter because Babe Ruth’s name remained in the record books along with Roger’s as the home run champion for 154 games — no other category had such a thing. In 1991, commissioner Fay Vincent got rid of Ruth’s name. McGwire, while on steroids, erased Maris’s name from the record book, getting rid of his identity for the younger generation, a real travesty. Maris was the only one of the four players who bettered Babe Ruth’s record to do it without performance-enhancing drugs and of course should be regarded as the home run champion.

Many of his fans call him the Natural Home Run Champion, and that seems like an appropriate title. Unfortunately, we can never get rid of the other guys from the record books unless they admit they all took illegal substances — and unfortunately steroids weren’t officially illegal in those days. It would be great if the more than one hundred players in the Mitchell Report admitted what they did and we could put asterisks by all of their numbers, but that won’t happen. And remember, it’s not just home runs but singles, doubles, and triples in the record books that are suspect as well. All of the steroid users committed a grave crime against Maris and Ruth but also against the rest of us because the record book can never be fixed.

Tom Clavin and Danny Peary will be reading from and signing copies of ROGER MARIS: BASEBALL’S RELUCTANT HERO on March 24 at 7:00 in the Time Warner Center Borders and on April 13 at Mickey Mantle’s at 4:00, right after the Yankees’ home opener.

WILLIAM KENTRIDGE: SHEETS OF EVIDENCE

William Kentridge, page six of SHEETS OF EVIDENCE, watermarked cotton, 2009 (photo by twi-ny/mdr)

William Kentridge, page six of SHEETS OF EVIDENCE, watermarked cotton, 2009 (photo by twi-ny/mdr)

Dieu Donné
315 West 36th St. between Eighth & Ninth Aves.
Monday-Saturday through April 24
212-226-0573
www.dieudonne.org

One of the myriad delights about South African visual artist William Kentridge is that he follows no conventions; he does things his own way, resulting in engaging and unique films, drawing, operas, one-man performances, and stereoscopic installations. For the past several years, he has been collaborating with Dieu Donné on an ambitious series of limited-edition books. Through March 27, SHEETS OF EVIDENCE, his latest such work consisting of unusual watermarked images on special handmade paper, is on view, offering an exciting glimpse into the mind and working process of the ingenious creator. The small gallery has laid out all eighteen sheets of images and text, each one propped against a lightbox so they can be more easily seen; the sparse scenes primarily depict a man and a woman experiencing love, eroticism, and death. Some of Kentridge’s studio materials can be examined at the front desk; be sure to ask the person there to explain how it’s all done, as the procedures are fascinating. Dieu Donné is also displaying THINKING IN WATER, a three-piece suite made by using copper wire and watermarks, and RECEIVER, a book consisting of twenty-three Kentridge etchings that accompany poems he selected by Nobel Laureate Wislawa Szymborska; it’s so fragile that you have to wear white gloves in order to page through it. Whether you know anything about Kentridge or not, this show is a must-see.

TENNESSEE WILLIAMS IN NEW YORK

New York City is celebrating Tennessee Williams’s ninety-ninth birthday with numerous special events

New York City is celebrating Tennessee Williams’s ninety-ninth birthday with numerous special events

Tennessee Williams, who died under questionable circumstances in New York in 1983, would have turned ninety-nine this month. In advance of his centennial, there is a multitude of Williams-related events going on in the city, celebrating the storied career of the award-winning Mississippi-born playwright. The LAByrinth Theater Company is hosting “TENN 99” at the Cherry Lane Theater’s Cherry Pit, three days of nonstop readings, including plays, essays, letters, interviews, even notes on a napkin if Williams wrote on it; among the remarkable all-star participants are Ellen Burstyn, Philip Seymour Hoffman, Sam Rockwell, Michael Stuhlbarg, Eli Wallach, Judith Ivey, Kyra Sedgwick, and dozens more, beginning March 26 at 6:00 and continuing through March 28 at midnight (free). The Target Margin Theater is in the third week of its Unknown Williams festival at the Bushwick Starr, featuring productions of NOW THE CATS WITH JEWELLED CLAWS, THE PRONOUN “I,” GREEN EYES, and THE REMARKABLE ROOMING-HOUSE OF MME. LE MONDE ($12, March 24-28). TMT will follow that with the world premiere of THE REALLY BIG ONCE, about the collaboration between Williams and Elia Kazan, with previews beginning April 13 at the Ontological at St. Marks. Meanwhile, the Roundabout is staging a revival of THE GLASS MENAGERIE at the Laura Pels Theatre, set for a March 24 opening ($70-$80).

SABOR! OUR ABUELAS LEGACY

Carlos Irrizary’s “Andy Warhol” is part of “Voces y Visiones” exhibit

Carlos Irrizary’s “Andy Warhol” is part of “Voces y Visiones” exhibit

SUPER SABADO
El Museo del Barrio
1230 Fifth Ave. at 104th St.
Saturday, March 20, free, 11:00 am – 8:30 pm
212-831-7272
www.elmuseo.org

On the third Saturday of every month, the recently renovated El Museo del Barrio opens its doors for free, hosting a full day of special programming. On March 20, the schedule includes an art workshop in which kids can create a self-portrait using food and spices, storytelling with Carmen Peláez, a photo station, a screening of WHAT’S ON YOUR PLATE? (Catherine Gund, 2009), a spoken-word workshop with the Peace Poets, tortilla making, and a “Rainbow Racionality” performance. Although it’s in between temporary exhibitions right now (“Phantom Sightings: Art After the Chicano Movement” opens on March 24, though if you’re good they’ll let you have an advance sneak peek), there will be gallery tours of the permanent display “Voces y Visiones: Four Decades Through El Museo del Barrio’s Permanent Collection,” which gives a terrific capsule history of the museum and its mission, with works going back to the Taíno Legacy through graphics and politics, traditional and devotional objects, abstraction, migration and language. And the café features some fine fare, homemade Latino plates (all under ten dollars) with an ever-changing menu; we highly recommend the spicy pulpo if it’s available.