Showing posts with label Book Review. Show all posts
Showing posts with label Book Review. Show all posts

Wednesday, October 6, 2021

5-Star Book Review: STICKS and STONES by MLHolton



Thrilled by this first formal book review by the former CEO of the Art Gallery of Burlington of my new short story collection, STICKS and STONES, published in The Bay Observer in Hamilton, a former print and now fully on-line news resource for the Greater Hamilton Area. 

STICKS and STONES will be available as an ebook on Oct 16th via Amazon and non-Amazon platforms. A paperback is coming in the Spring of 2022. 

Here are Mr. Steven's choice words: 

Sticks and Stones, the new collection of previously unpublished short stories by prominent Burlington-born artist/writer/filmmaker Margaret Lindsay Holton, is surprisingly unsettling.

That it would be unsettling is no surprise: the author clearly articulates in the introduction her objective to entice readers away from their settled beliefs and ideological certainties into unfamiliar cognitive spaces in the hope that more empathetic and fluid communication might develop across today’s social and political divides.

The surprise is in just how many different and unexpected ways Holton finds to destabilize the inherent cognitive bias of the reader. Poetic word choices, plot twists, and shifts in perspective are to be expected in the short story format, but Holton combines and recombines these with familiar settings and seemingly familiar characters to the point that even the most ordinary scenes can become hallucinatory experiences.

Holton’s sensibility as a visual artist is evident in the extraordinary number of indelible images that these stories evoke. However, I feel I must refrain from describing in too much detail any of these striking moments lest their impact within the reading be diluted.

The collection includes ten stories, mostly set in the Golden Horseshoe region. Some are simple and touching sketches, some involve fantasy and romance, and some are disturbingly puzzling, while others are puzzlingly disturbing. To reveal more would just spoil the fun.

Although these stories are all newly completed, Holton explains in the introduction how their original drafts were written at various stages over the past forty years, and how the experience of the 2020/21 pandemic inspired her to revisit these works. These reworked stories resonate deeply in this period of isolation and uncertainty. They evolve with a kind of organic accuracy that amplifies an on-going contemplation of the grandeur and significance of the passage of time. (Worth noting, this ability to ‘mark time’ parallels her deft handling of multiple generations throughout her 2019 award-winning novel, TRILLIUM, a 250-year epic saga set in the Niagara Peninsula.)

Sticks and Stones offers the reader an insightful glimpse of the aesthetic voice of Margaret Lindsay Holton. It rewards the reader with several enduring images and provokes profound questions as it subtly reflects on the beauty, horror, heroism, and hubris of our shared experience, especially during this unprecedented pandemic. It is a good read. I highly recommend it.

Ebook, 107 pgs. - Paperback, 126pgs, - via Acorn Press Canada.

Pre-order e-book on Amazon – https://www.amazon.ca/Sticks-Stones-Canadian-Short-Stories-ebook/dp/B09DTRYCGZ   - Paperback coming January, 2022.

--

Robert Steven is former President and CEO of the Art Gallery of Burlington, and the former Executive Director and Curator of the Art Gallery of Grande Prairie.

 

Wednesday, September 11, 2019

Another 4-Star Book Review & An Author Interview!

Pinot Noir - Veraison - Beamsville, Ontario, Canada
The summer winds down and sun-loving grapes mature through #veraison ... 

I was delighted by a recent 4**** STAR review of TRILLIUM by Canadian novelist Marian Thorpe that appeared on Goodreads and the American Amazon book site - all the more because Marian is currently roaming around the backwaters of Asia Minor in search of snow leopards. She managed to post the review before she disappeared into the hinterland without WIFI access. We pray for her safe return!

I am always intrigued by what an author 'takes away' from reading TRILLIUM - especially when aware of the critic's background.  - "Marian Thorpe is a writer currently living and working in Guelph, [Ontario, Canada.] Originally from Southern Ontario in Essex County, Marian was born to British-immigrant parents and grew up thinking of the United Kingdom as a second home. Her father instilled an early love of British history and Roman-British history informed much of the fictional work of Marian's series."  So, Marian is second-gen Canadian. This fact does seem to shape her interest and interpretation of TRILLIUM.  

Excerpts from her critique follow:  
‘A sweeping, multi-generational, multi-family saga, TRILLIUM tells the story of the European settlement and development of the Canadian lands bordering #LakeOntario, the Niagara peninsula in particular. ...
For readers interested in the details of this area, from the names of personalities behind towns such as #Beamsville, or the vagaries of technological advances that left #Ancaster and #Dundas as sleepy towns compared to #Hamilton’s industrial bustle ..., Trillium is a wealth of detail and research framing the fortunes of three fictional families. ... Characters are to some extent place-holders establishing the foci and purpose of the three families. .... the same could be said of other sweeping tales, such as London and Sarum by Edward Rutherford. ..  As TRILLIUM approaches the modern day ... the three families entwine ... and focus shifts to personalities. The tone of the narrative changes ...The themes become more adult ... with the author reflecting .. on the increasing freedom and changing behavior of the post WWII years.
It is obvious that the author knows the #geography and #history of the #Niagara peninsula well. ... Her deeply appreciative eye shines through. Recommend for anyone wishing to better understand the long European settlement history of this area ... 4****STAR - Marian Thorpe
---
John Howard's Vineyard of Distinction
As a counter-balance to her somewhat distanced review, I am adding a slightly different tangent to this post of a recently released 'author interview' conducted by Vincent Lowry.  
In it, I explain how the idea of TRILLIUM came to be and what, generally, I hoped to accomplish through this new literary work. 
Yes, I did intend to focus on local history and farming life. But more importantly, I wanted to get at some inalienable facts about Family. 
I hoped to demonstrate, through fiction, how blood, genes, and general familial temperament are passed on through basic biology. I wanted to convincingly show how certain familial - and biological - characteristics manifest through generations ... 
When people say, "oh, you are just like your distant Aunt Marge and/or Uncle Bob", there's very good scientific reason for those pronouncements. It is basic science. We are a composite of what came before us. We all carry the genetic DNA of our ancestors. Farmers who breed livestock and graft vineyards understand these fundamentals very well.  The author interview can be found here : - https://eauthorresource.wordpress.com/2019/09/11/interview-with-ml-holton-author-of-trillium/

TRILLIUM by M.L.Holton 
(available as an ebook or trade paperback) 
via Amazon's Canadian & American sites. 


Helicopter buzzes over bucolic vineyard, Beamsville, Ontario  - Photo by MLHolton 

Tuesday, January 8, 2019

Another Great Book Review for TRILLIUM by M.L.Holton

Reviewer writes: "I cannot recommend this book enough!" 

Yes! Thrilled by another excellent '4 out of 5 star review' for TRILLIUM. Set in the beautiful Niagara peninsula over a timeframe of 250 years from 1750s to 2000s, three very distinct families make a go of it.

The e-book of TRILLIUM is now available on Amazon.CA or on Books2Read (for alternate e-book formats). NB: US exchange rate in effect for US-based purchases.

Also, happy to report that the 'Artist 1st Edition' is no longer available. Updated print editions can be found on Amazon as a trade paperback, with 340 pages and the same cover design.

Finally, very pleased to be reviewed by fellow readers on GOODREADS

 I'm also working on an author's page over there, so please be sure to connect and/or follow along!

On & UP!

Monday, January 16, 2017

Frida Kahlo at Home - Book Review by M.L.Holton

Review pre-amble: Recently, I was invited to review a book about artist, Frida Kahlo. The book itself, the production of it, was splendid. But the more I considered the content, the more I found it was raising more questions about the artist and her work then it settled ... To wit:

Artist Frida Kahlo's Blood Bath at Casa Azul -
Book Review by M.L.Holton 

Review of 'Frida Kahlo At Home, by Suzanne Barbezat' - by M.L.Holton 
Published by Frances Lincoln Limited. 160pp, illustrated, 8.9" x 10.2", hard-cover. 
All images reproduced from the publication.  ISBN: 9780711237322   US $35 / CDN $45



Little known beyond the art circles of her own lifetime, Mexican artist, Frida Kahlo's ghoulish self-portraits throw a very long shadow today. This is surprising, given that Kahlo painted only 200 artworks during her entire life. One third of those works were her broody, introspective self-portraits, often depicting herself in a state of physical or psychological suffering, with the majority of them amplifying mutilated blood-gushing body parts.

Most contemporary international art critics and collectors are aware of these disturbing blood-soaked self-portraits. Yet, for all her notoriety of today, (with her equally uncompromising full-frontal uni-brow stare-downs), it is intriguing to note that there was only one exhibition of her art work, ever, while she was alive, in her home and native land of Mexico.

So, how did the current 'Cult of Frida' develop?

Travel writer and anthropologist, Suzanne Barbezat, provides substantial clues in her heavily illustrated coffee-table book, entitled, "Frida Kahlo at Home'. It is a well-documented treasure trove of Kahlo ephemera: with striking interior and exterior photographs of Kahlo's primary residence, La Casa Azul, aka The Blue House. The book also contains intriguing snippets of personal letters and memorabilia between herself and her husband, Diego Rivera - as well as her assorted lovers, including Russian communist revolutionary leader, Leon Troksky, and the American-Japanese sculptor, Isamu Noguchi. Many chronological reproductions of Kahlo's work flush out this tribute.

As the book press release states: "La Casa Azul, now one of the most visited museums in Mexico City, was the birthplace of the artist, Frida Khalo. It was the home where she grew up, where she lived with her husband, Diego Rivera, and where she died. She also spent significant periods of time in the house convalescing: first, when she contracted polio as a small child and again at the age of 18, after the trolley accident, which left her critically injured. Confined to her bed in casts and orthopedic devices and in constant pain, the bedroom at La Casa Azul is where Frida began to paint the vibrant and unflinching portraits and self-portraits that would make her name'".

But, Who Was She? Frida Kahlo, christened Magdalena Carmen Frieda Kahlo y Calderon, was born in Mexico to a German father, Carl Wilhelm Kahlo, (who changed his name to Guillermo Kahlo when he emigrated), and a Spanish-Mexican mother, Matilde, (his second wife.).  She was raised with certain privileges, attending a private German prep school, and receiving a pious Catholic indoctrination via her very devout mother.

Photo of Frida, taken by her father, 1926.
Frida only went 'native' after she began her lifelong association with famed Mexican artist and self-proclaimed atheist, Diego Rivera. First, as his student, then later, as his wife. They were married in 1929. She was 22, he was 42.

Diego had already built a substantial artistic persona as a 'Mexican nationalist'. He was very vocal about the class struggle and revolutionary war that defined his nation. Magnetic, and a polarizing provocateur of the labour movement, his public mural work amplified his knowledge of Mayan traditions and mythologies, pre-and-post colonial-revolutionary atrocities, and his abiding interest in the political struggles of the working-class.

It was he who assembled the pre-Colombian art collection that now resides in Anahuacalli, their 'country house'. (This house was completed, after they both died, by architect Juan O'Gorman and Diego's daughter, from a previous marriage.) It was he who was "intent on ensuring his and Frida's legacy." This, even after he married his long-time mistress, Emma Hurtrado, a year after Kahlo's death. "He created at trust through the Bank of Mexico, leaving The Blue House and Anahuacalli, as well as their contents, to the people of Mexico." He appointed another long time female friend, wealthy arts patron, Dolores Olmedo, (and one of his earliest models), as director of that trust.

Dolores and Frida were child-hood rivals. Dolores often bought Rivera's work, and only bought Frida's work at Diego's request. "She openly did not care for Frida or her work." Nonetheless, the trust was established, and after a modest re-staging, the Frida Kahlo House/Museum, aka The Casa Azul or Blue House, opened to the public in 1958. 

Twelve years after her death, a low-budget documentary, entitled, 'The Life and Death of Frida Kahlo as Told to Karen and David Crommie' made its debut at the San Francisco Film Festival. In 1983, a weighty biography was written by art historian, Hayden Herrera. In 2002, famed Mexican actress, Salma Hayek, co-produced, and starred in, the Oscar-winning feature film, 'Frida'. 

Today, Frida Kahlo has been whole-heartedly 'adopted' by a fervently nationalistic Mexican government and citizenry. They now claim her as their own. Kahlo's distinctive self-portrait, dressed as she invariably was, in the traditional Tehuana costume of an indigenous maiden, has even appeared on Mexican currency. She has achieved iconic, near 'saintly', national status.

Who, then, was Frida's husband, Diego Rivera? Diego was born to two middle-class teachers in 1886 in Guanajuato. His mother was a devoted Catholic mestiza (part European, part Indian) and his father, a criollo (Mexican of European descent). When he was six, his liberal-minded family moved from Guanajuato to Mexico City. Rivera became a Marxist, and a member of  the Mexican Communist Party.

In 1907, (the year Frida was born), Diego Rivera was continuing his arts and political studies in Europe. He met and became friends with several famous artists of the day, including Pablo Picasso, Marc Chagall and Piet Mondrian. He studied Cubism in Spain and toured Italian frescos. He developed associations with European and Russian 'social justice' revolutionaries active in the Soviet Union. He met and befriended Leon Trotsky.

Rivera's first serious government commission, in 1923, was for a series of murals for the Secretaria de Educacion Publica in Mexico City. This work soon established his prominence in what would become known as the Mexican Mural Renaissance. Painting in a style deeply indebted to pre-Colombian culture, he created large complex panoramic images of Mexican daily life. As he wrote, "When art is true, it is one with nature. This is the secret of primitive art and also of the art of the masters—Michelangelo, Cézanne, Seurat, and Renoir. The secret of my best work is that it is Mexican." Raised radically, he soon became 'Mexican' to the core - and Frida adored him.
 

Detail from 'Freida & Diego' (1931). She called herself Freida, not Frida then.
Their love story was tempestuous from the start. Kahlo, younger by two decades, also joined the Mexican Communist Party, and, though petite and frail in comparison, she soon became an enamored disciple of this, as she wrote, "Pot-Bellied Genius". She courted him when he was still married to his second wife, and he, impressed by her seduction and burgeoning artistic sensibilities, succumbed. Their subsequent marriage was rift with upsets, break-downs, philandering (on both sides), divorce and a re-marriage.

Over time though, they did hold on to each other. When Rivera died he wanted his cremated ashes blended with hers. This never happened. But, in keeping with both of their passionate and rather narcissistic personalities, it remained a 'romantic ideal'. .... Some could say that Rivera understood the necessity of 'roots' far better then she did. 

He undoubtedly understood her dual-identity crisis. He had struggled with this himself, experimenting with European styles of painting, before embracing, whole-hog, his Mexican lineage. Frida, on the other hand, struggled, played the role well enough, but suffered. Always suffering. Diego would, as example, have her pose, dressed in peasant garb, for his murals. She, educated, erudite and well-traveled, would pose.

Detail from Rivera's 1940 mural,  'Pan American Unity', showing Frida in native dress.

Clearly though, she was no peasant.

Truth be told, fabricating and mythologizing their lives was not beyond either of them. Frida re-invented her birth date to coincide with the National Revolution. Rivera laid claim to fighting with Zapata. Both stories are untrue.
  
The sole exhibition of Kahlo's painted works in Mexico City was organized near the end of her life at the National Arts Institute by an old family friend and school mate of Frida's. Not to miss the occasion, Kahlo arrived in an ambulance. She was wheeled into the exhibit on a bed.

She died several years later, in July of 1954, aged 47: some suspect of suicide. It is common knowledge that during the last years of her life she lived on pain-killers. Her deteriorating condition, including the amputation of her leg, severely diminished her focus to produce much new work. Instead, she wrote and drew in journals. Many are now preserved in the Blue House.

Kahlo's art constantly shows the struggles she endured through various stages of 'identity'. After the Revolution, in 1922, when she was fifteen, she was one of only thirty-five girls admitted to the newly formed National Preparatory School. She studied the natural sciences there in the hope of advancing into medicine. However, after her childhood bout of polio, (that shortened and damaged her leg), and the later bus crash, (that battered her body, leaving her spine, pelvis and collar bone broken), she was often sickly and bed-ridden. It was during the latter recovery, while convalescing, that she began to experiment with paints.

Her self-portraits display the conflicting realities of two opposing world views. Euro-petticoats and hand-plucked lace versus Mexican-peasant garb and hand-woven cotton. Quite often there is gushing blood everywhere.

Here's one horrific example:

A Few Small Nips', (1935) by Frida Kahlo. Now in the collection of the Dolores Olemedo Museum, the original Trustee of Rivera's Estate. Note Frida's euro-style shoe.
Looking at the reproductions of her paintings in this book, it is apparent that Kahlo created a kind of hybrid and, to my eye, pseudo, folk-art. Some art historians and personal friends, like French founder of the Surrealist movement, Andre Breton, tried to place her 'style' into the Surrealist camp. (He arranged her first exhibition in France.) But it is a label that she herself vehemently rejected. Mostly, her work was private and obsessively autobiographical.

Detail, 'Love Embrace of the Universe' by Frida Kahlo (1949).

Now, in 2017, from the vantage point of Canada's current cultural perspective, (especially in the wake of the recent Joseph Boyden 'native ancestry' imbroglio), Frida Kahlo could undoubtedly be dragged over hot coals for so openly impersonating, expropriating and interpreting the indigenous culture within the boundaries of the country where she was born and raised. Rather then revered as a national cultural icon, she could just as easily be vilified as a 'Settler Expropriator'.

Many post-colonialists would unequivocally agree: both she and Diego were expropriating Settlers. But, within the ever-spinning politics of the 'Greater Good of Nationalism', most Mexican nationalists - evolving within their own young democracy - would argue that, no, she - and he - were not expropriating anything. As artists of their day, they represented the new and emerging Mexico, freed from the shackles of early colonialism and class servitude.

Putting aside the topsy-turvy push-and-pull politics of contemporary nationalism, Frida was very clearly her own woman with a unique, albeit exceedingly eccentric, outlook on life. Hailed by some as a feminist, for her fearless autobiographical and brutal depictions of personal pain, there is no question that the rich European and Mezo-American cultures in which she lived and breathed, shaped and informed her wider world vision.

Barbezat's book is full of well-researched trivia that adds yet another layer of historic sediment to this now very identifiable 'Mexican' artist. Semi-deified now within the lexicon of Mexican history, Kahlo's cremated remains lay at rest, entombed in the Blue House Museum. Frida Kahlo, artist - and forever the wife of Mexican artist, Diego Rivera - could never have emerged from anywhere else.


Frida, at home, in the Blue House, dressed in traditional Tehuana garb, circa 1940. 
 This story is now published  Raise the Hammer, January 16th, 2017.