Ormond museum features art from the war in France and the war at home

(Continued from Jan. 13)

I spend a lot of time at Malcolm Fraser’s “The Soul Escaping Death” painting flanked by a framed spread of many medals earned in World War 1. He served in the French Blue Devils unit and was wounded five times. He also was an officer with the Red Cross on the frontlines.

Chris wanders off. She knows that I may be awhile. 

That’s what you do at a museum, right? Wander. Or roll, depending on your mobility.

If you look up Fraser at New York City’s Salmagundi Club web site, you find that Fraser was a member. I had to search for him and the screen listed 56 items in the file. But the link does not go to the artwork but you can see some in person at the Ormond Memorial Art Museum & Gardens, 78 E. Granada, Blvd. The Salmagundi club is dedicated to representational art so it’s natural that it drew Fraser who painted portraits of the living and the dead, angels, soldiers, and John the Baptist among them.

“The Soul Escaping Death” shows a dead soldier on the ground in front of blasted battlements. He is wrapped in a U.S. flag that he apparently was carrying on the staff he grips in his dead hands. An angel has one hand on the body and another on a robe stripped from what’s supposed to be the soldier’s soul rising into the gilded heavens. The spirit looks free and happy, the vestments looking as if they are morphing into angel’s wings. The soul’s naked body looks female with long curly hair and the possibility of breasts and any genitals hidden under a triangle of pubic hair. It could be that this is Fraser’s vision of the angelic form, one that is human but intersexual, one that represents a brand-new being that we become after death. The exposed flesh of the dead soldier and the angel is rough and brown as if they were connected to the ground like old oak trees. The soul’s flesh is the pink of life, a representation of new life in the soul.

I looked at this painting a long time. I couldn’t decide if it was a work of hope in the face of death or a memoir of an artist who has witnessed slaughter on a grand scale. He was awarded both the Croix de Guerre and the Verdun Medal. “Verdun” was symbolic of the war for the French, a battle cry and also a memory of defeat. Verdun was the longest battle of the war, lasting 11 months. Casualties were enormous for the French and Germans, with 700,000 dead, missing, and wounded. The site’s towering Douaumont Ossuary contains the bones of more than 100,000 soldiers never identified, French and German dead intermingled. You can view them through little windows.

Fraser was an accomplished artist. Not sure he took many risks. The 20^th century was about to explode and the explosion was captured by poets and writers. The so-called “Lost Generation” gave us exciting and troubling masterpieces.

Charles Humes Jr. is a living artist from Miami who has much in common with this creative breed. Humes lives in the present and creates in the present. As an African-American, he has an endless array of subjects, many taken from daily newspapers. Lest we miss his messages, he uses newspaper clippings in his mixed media work.  The museum’s handout for the new year shows Humes’ “Gentrified” on the cover.

“Gentrified” is a loaded word in the black community. It often means that a black neighborhood is being turned over to developers and the mostly-white gentry who will inhabit the condos/townhouses that will replace independent businesses. Artists figure in this, too. They often are the first to occupy rundown urban neighborhoods because they can afford them. Then the city (I’m looking at you, Denver) becomes known as an arts hub and young people swarm in and then smart developers who saw this coming and bought rundown buildings kick out the artists and renovate them into condos and before long you have ranks of techies wandering the streets looking for art for their walls by artists who once lived in their building but now can only afford the prairie exurbs or some quaint rural village in the foothills that soon will swarm with newcomers seeking real estate in artsy quaint rural villages.

It's not the fault of artists. Hey, I just wanted a place to paint! It’s life in America. Not sure what it’s going to look like in Trumplandia.

Oh yes I do. I truly do.

Humes’ work will be on exhibit through Feb. 9. Next up are Colombian sculptor Felipe Lopez and collage artist Staci Swider. Accord to the handout: “Her [Swinder’s] work is a meditation on aging, memory, and the unseen forces that guide us.” Sounds intriguing and timely. Opening reception at the museum gallery is Feb. 20, 6-8 p.m.

Malcolm Fraser flies with the angels at Ormond Memorial Art Museum & Gardens

What makes a 49-year-old artist abandon his paints and go to war?

That’s the question I pondered when visiting the Ormond Memorial Art Museum & Gardens.

Malcolm Fraser was a Canada-born professional painter and illustrator who had graduated from the Sorbonne and attended Heidelberg University. In 1917, he left the U.S., steamed to Europe, and joined, after some intense training, the French “Blue Devils” unit at the Front. He was wounded five times and received France’s Croix de Guerre for his heroics. Later, he joined the A.E.F., was promoted to captain, and served with the American Red Cross on the front lines.

Fraser ended up spending most of his time in Ormond Beach. Toward the end of his life, he looked for a place to feature his artwork and one that was dedicated to veterans. A $10,000 endowment by Fraser in 1946 got the ball rolling and led to this impressive place.

Its priorities are clear when you leave handicapped parking and roll through the jungle. As Credence sang:

Better run through the jungle, 

Better run through the jungle, 

Better run through the jungle, 

Whoa, don’t look back and see.

I roll on my electric scooter and Chris walks. A beautiful space, and peaceful. I can barely hear the traffic zooming by on one of Ormond's busiest intersections. We pass the sheltered labyrinth and follow the lines on its painted multicolored surface decorated with butterflies and hummingbirds. It was designed by by Joan Baliker and the late Carol Bertrand and refreshed by Mack Sutton (artists must be named). This one is within a big gazebo and is a great play place for kids. I think about the outdoor stone labyrinth at my hometown Cheyenne Botanic Gardens, now covered with snow. 

Along the walkway is a monument by Mark Chew to veterans of the Korean War. Its streamlined sliver surface reaches for the trees and beyond. It's the shape of a flame but cold as the Chosin Reservoir. Around the next turn is a bronze for Vietnam veterans by Gregory Johnson. On what looks like an old kitchen chair sits a helmet and canteen. Dog tags and a uniform shirt hang from the chair back. Its legs straddle beat-up combat boots.

I linger. This was my generation’s war, not mine physically, but it drifts in the memories of any guy of draft age from that time (December 1969 Selective Service Draft Lottery #128, Navy ROTC midshipman 1969-71, two months served on USS John F. Kennedy as midshipman, summer 1970, released from the Draft on Jan. 1, 1972). It’s homey, I think, the things a grunt might leave behind when he changes into civvies. Or it could be a family's reminders of a GI whose psyche never made it back home. Think of war stories: Krebs in Hemingway’s “Soldier’s Home” or Ron Kovic in “Born on the Fourth of July” or Billy Lynn in Ben Fountain’s “Billy Lynn’s Long Halftime Walk” (whatever happened to Ang Lee’s 2016 movie based on the book?).

We emerge from the jungle and the sun shines on a colorful "Can Do" sculpture by the late Seward Johnson, part of the public art display on Grenada by the Ormond Beach Arts District. Also on the ground is the "Embracing Peace" sculpture celebrating the famous Times Square kiss on VJ Day. Inside the museum, a bronze plaque lists more than 200 residents who served in WW2 (updated in 1999 to list African-American veterans) and one dedicated to WW1 veterans. A WW1 Doughboy helmet rests in a glass case by Malcolm Fraser’s photo and bio that greet visitors. This is a decorated soldier, and we are here to see his artwork.

(To be continued)

President Biden signs the "Jackie Robinson Ballpark National Commemorative Act"

President Biden signed the "Jackie Robinson Ballpark National Commemorative Act" on Saturday. It designates Daytona Beach's 110-year-old Jackie Robinson Ballpark as a commemorative site and "makes it a part of the African American Civil Rights Network," according to a story in Monday morning's Daytona Beach News-Journal.

The article caught my eye because it was headed by a big photo of the ballpark's statue of Jackie Robinson handing a baseball to two young fans. Robinson's jersey said "Royals." This isn't news to locals as Robinson first played here for the Triple-A Montreal Royals on March 17, 1946. That was more than a year before his April 15, 1947, MLB debut with the Brooklyn Dodgers.

Robinson is celebrated every April 15 on his namesake day at every MLB park. He is in the Baseball Hall of Fame. He broke every record worth breaking. He died way too young in 1972. He's idolized by millions.

But the 1940s were no picnic for a black big-league ballplayer. He was all alone in Daytona and Brooklyn and every ballpark he played in. He got death threats and hate mail. He was yelled at by hateful whites. Some players refused to play with him. 

It was hell playing in Brooklyn, Cleveland, and Chicago. Imagine how hard it was to play in Deep South Daytona. Some will say that a beach town in Florida was different, say, than Selma or Little Rock. There was prejudice but it was a more laid-back wastin'-away-in-Margaritaville kind of racism. But it was in the air and on the ground. And in some dark hearts.

When my family moved to Daytona in 1964, blacks were not permitted on the beachside after dark. They had their own beach named for the Bethune family of educators, a family so esteemed there is a college named in their honor and Mary McCloud Bethune's statue was installed in 2022 in the Florida display in Statuary Hall in the U.S. Capitol Building, the first statue of an African-American in that hall. Many whites in Daytona called Bethune Beach "N-words Beach." The first black surfer I surfed with appeared at our beach in 1969. Coaches at my Catholic high school recruited black players for our football and basketball teams which made us the only integrated high school among the four in Daytona (the rest weren't integrated until the 1970s).

But worse things happened in this part of Florida:

From a "Freedom Never Dies" special on WUCF, a PBS station at University of Central Florida in Orlando: 

By 1930, four thousand blacks had been lynched nationwide by white mobs, vigilantes, or the Klan. Most of these occurred in the Deep South, many with law enforcement complicity. And while Alabama and Mississippi had more total lynchings, it was Florida, surprisingly, that had the highest per capita rate of lynching from 1900-1930.

"Freedom Never Dies: The Legacy of Harry T. Moore" documentary debuted on PBS stations nationwide 24 years ago Jan. 12. Ossie Davis and Ruby Dee narrated. Sweet Honey In The Rock and Toshi Reagon performed original music. Here's some background information from the WUCF web site:

Combining Murder Mystery, Incisive Biography and an Eye-Opening Portrait of Jim Crow Florida, "Freedom Never Dies" Sheds New Light on one of America's Earliest and Most Fearless Fighters for Civil Rights.

In 1951 after celebrating Christmas Day, civil rights activist Harry T. Moore and his wife Harriette retired to bed in their white frame house tucked inside a small orange grove in Mims, Florida [Mims is in north Brevard County, a 45-minute drive from Jackie Robinson Ballpark]. Ten minutes later, a bomb shattered their house, their lives and any notions that the south's post-war transition to racial equality would be a smooth one. Harry Moore died on the way to the hospital; his wife died nine days later.

"Freedom Never Dies: The Legacy of Harry T. Moore" explores the life and times of this enigmatic leader, a distinguished school teacher whose passionate crusade for equal rights could not be discouraged by either the white power structure or the more cautious factions of his own movement. Although Moore's assassination was an international cause celebre in 1951, it was overshadowed by following events and eventually almost forgotten.

"Freedom Never Dies: The Legacy of Harry T. Moore"  produced by The Documentary Institute, restores Moore to his rightful place in the Civil Rights saga.

Our daughter Annie begins the new year by getting "washed in the ocean"

A fine day for a baptism. 

Our daughter Annie arrived with Chris and I for the Salty Church’s annual New Year’s Day full-immersion baptism. Annie was joined by 51 others who all wore the same black T-shirt with this inscribed on it in white letters: “Washed in the ocean freed from my past today I am new” (see photos). Annie, Chris, and I were joined by family members and friends and we trudged through the soft sand to the water. 

Some of us walked, I trudged. But I was prepared. I used my high-performance rollator walker to blaze a trail through the sand. The rollator was equipped with big knobby tires which, I surmised, would be a better machine for the beach than my tiny-tire-and-tennis-ball-equipped walker. I pushed it forward and then walked to it, pushed again, walked, so on and so forth. The idea was that if I pushed it as I did across our living room, too much weight would dig-in the wheels. Now I’m not saying I am too much weight but I am and my ploy worked for a time. That’s when Joe the Biker arrived to assist. Dressed in black Boot Hill Saloon T-shirt, jeans, and big boots, he was equipped for riding his Harley and to assist a handicapped old guy through the sand. He stomped down the pesky sand granules to make a runway that paved the way to water’s edge wherein dwelt the hard-packed sand. Joe said he liked baptisms and while he was not one of the baptizees, he was happy to be here and considered it a blessing that he was sober and alive and well in ’25 and praised Jesus and I said Amen.

I was mobile via my legs the last time I was on this stretch of beach 10-plus years ago for my brother Dan’s funeral or send-off is a better term. I joined a long line of mourners that had walked from the Salty Church to the Grenada approach and onto Ormond Beach. Surfers paddled out for the appropriately-named Paddle Out and airplanes piloted by Dan’s friends flew over in the missing man formation.

But today was for the living and a fine day it was. Blue skies, gentle breeze, modest waves. Annie donned her T-shirt and joined the crowd. The Salty Church preacher greeted us, said a prayer, and issued the day’s instructions. I could tell Annie was a bit nervous but also giddy with possibilities. She is the Evangelical of the family, attendee of conservative Christian churches and one who dwells within the web of True Believers. This is the last cynical thing this fallen-away Catholic will say on this post. For this day, I am not a sarcastic liberal. I have written here about my recent experiences in a Seventh-Day Adventist Hospital where doctors and nurses and CNAs and therapists worked for 25 days to save my life. I am indebted to them and to an organized religion that would build a healing place and hire healers to manage it. While in a coma, I dreamed of reaching out and touching the hand of God or someone very much like him or her. I listened to the twice-daily prayers over the loudspeaker and said some of my own prayers. I allowed others to pray for me and took communion from a lay communicant from St. Brendan the Navigator Catholic Church. I absorbed departing greetings such as “Have a blessed day.” I often repeated their blessings.

I have much to learn from the congregation of human beings.

One of those things is that my daughter, whose struggles with mental health issues have caused her much pain, will now be baptized. I watched as two church members said a prayer, lowered her into the water, and how she sputtered and smiled when she emerged. She was touched by the spirit and the fact that her aunts and uncles and nieces and family friends came out to see it happen. And then we convened at our house for cake and tea. Annie opened gifts which included earrings and necklace crosses and a giant conch shell my brother brought from Palm Bay. The cake was delicious and a chocolate phantasmagoria.

All told, a glorious day.

Happy New Year: Fear and Loathing in 2025 America

A friend once asked me to name my favorite writers. It's a long, long list, but I gave him the top five: Joseph Heller, Kurt Vonnegut, Gabriel Garcia Marquez, Flannery O'Connor, and Hunter S. Thompson. Fine writers all.

My friend who shall remain nameless made an astute observation: "But you don't write like any of those authors." 

A fair point. I don't write like any of them. But how could I? These writers had their own styles that are much admired and frequently copied. That's what beginning writers do: imitate their maestros. But you eventually move on to find your own voice if you stick with it. I've stuck with it and crafted my own style and it apparently has few fans in the publishing world but that's life in the fast lane. 

I haven't given up and I'm called to write for a number of reasons that make up my 74 years. My parents read to me and I gobbled up Yertle the Turtle and Winnie-the-Pooh. I read cereal boxes at the breakfast table and billboards as I peered out those big windows in post-war automobiles. I wrote stories for my third-grade teacher Jean Sylling and she put one up on the bulletin board. It was about aliens in a flying saucer landing in my Denver backyard. I was embarrassed but also thought it a bit grand, a story I wrote put up for all my classmates to see. 

My father the accountant had a big library and I read through many of them without really understanding what was going on. My mother usually had a baby in one arm and a book in the other. That's who introduced me to "Catch-22." She read and laughed and I was curious but was only 11 and not interested enough until I was in high school and close to draft age and Heller's novel haunted me and made me laugh. I turned on my chums to the book and its hilarity resonated with them but we rarely talked about the war part. 

Strange happenings were all around and I soaked them in but did not write about them. My parents and eight brothers and sisters were all distinctive entities and I inherited their nuances. My forebears visited my dreams. I attended Catholic School and irony and metaphors surrounded me but I was not aware of it until later, much later. I watched "Get Smart," "The Monkees," and the evening news and they all kind of blended together. Sex was a puzzle that we Catholic teens were left to figure out on our own and it's still a work-in-progress. 

My childhood and teenhood were all precursors to hard lessons to come. I really thought I had it made at 18 and the world was my oyster although I'd never eaten an Atlantic Ocean oyster as I surfed in that salty sea whenever I didn't have to take care of my siblings or go to school or go to work to afford that school. I dated the most beautiful creatures on Planet Earth but they might as well have been the imaginary aliens that landed in my yard in my third-grade story. 

Speaking of alien life forms: I am no closer to understanding the human condition than I was in the third grade. I refer to recent happenings in the U.S. of A. It is past time to revisit Thompson's Fear & Loathing chronicles and Yossarian's naked self and Billy Pilgrim's time jumps and the residents of Macondo and O'Connor's Misfit. I may not fully understand them but they live inside me every second of every day.

How does the fog come in on the day after Christmas?

The fog comes/on little cat feet

Thought of this Carl Sandburg poem as I sat watching the ocean as fog crept in. Cats weren't on my mind as much as the view from Tom Renick Park in Ormond-by-the-Sea. My visiting daughter stood beside me. Waves rolled through the fog and crunked on the shore. The surf wasn't bad. Rollers breaking outside but you could ride them out of the fog like a vampire surfer. Three young surfers appeared suddenly, boards under arms, walking north on the beach. No wetsuits. Gotta admire those guys. Two days ago there was sun and a bit of wind and all the surfers wore wetsuits. Must be the wind. The fog today traveled on a light north breeze. We were shielded by the adjacent condo high-rise. Still, tiny mist dabs fell on my exposed legs and dotted my windbreaker. I kept expecting a cat to appear but the only sound was traffic along A1A and kids on winter break cavorting in the playground. No way to hear little cat's feet. I imagined it just the same.

My first winter solstice on the Florida coast

This solstice I awoke to lawnmowers, just one, the riding mower Brian pilots as he mows my yard and the ones adjacent and across the street. It’s winter solstice and in Wyoming I didn’t wake up to lawnmowers. Snowblowers sound similar but the pitch is different, closer to a screech than a roar. And the mowers move quickly as they crisscross the salt-air-resistant St. Augustine grass that is like a weaving rather than the upright bluegrass or fine fescue of Wyoming. Yes, bluegrass, a lawn type suited more for the green of Kentucky racehorse pastures than the brown of the high prairie. When bluegrass matures, it feels fine on bare feet. Not so the Florida varietal; its runners poke feet. It keeps growing after summer and Brian is here every other week in December instead of every week in June. The Florida rains arrive and you can almost watch the grass grow.

Winter solstice announces the rough part of winter and the beginning of longer bouts of sun although we barely notice it day by day. Summer solstice announces the glorious days of summer and the slow passage of the sun across the sky or so it seems when you live in the Sunshine State and you work mowing lawns or pounding nails or laying down roofing shingles. Brian finishes the big front law and moves to the back. He makes three passes in my tiny yard and then he’s on to Number  70 or Number 66 or motors across the street to Number 67. I hear him most of the morning and it’s odd is what it is, this summer sound at Christmastime. Soon the leafblower erupts and it’s more akin to snowblowers and I wish I found comfort in it but don’t.

In Florida and Wyoming, the sounds of December 21 mean one thing: summer is coming. In Wyoming, it takes its own sweet time. In Florida, well, it’s already here.