I’d been warned that the exhibit at the Metropolitan Museum, The Steins Collect, was vast and, not only that, but also full of explanatory text. “You can spend all your time,” said my artist-friend Barbara, “just reading the text.”
Exhibition Poster, from Illustrated Legends of Kitano Tenjin Shrine
And when he came to the place where the wild things are/
They roared their terrible roars and gnashed their terrible teeth
—Maurice Sendak
An eight-headed, nine-tailed monster greeted us at the door of the exhibition. Fortunately for us, the monster was preoccupied with other business, for he guards the gate to hell.
Balmy, it was. Last winter, New York City was snowbound. We had to pick our way across the slushy streets. This holiday season, though, we could step out when and where we liked.
“Even if we returned skillfully and victoriously to those wondrous paintings of Tamerlane's time . . . in the final analysis, all of it'll be forgotten,”I said mercilessly, “because everybody will want to paint like the Europeans."
“My Enishte believed the same,”Black confessed meekly, “yet it filled him with hope.”
—Orhan Pamuk, My Name Is Red
We had two hours to cover the ground. Even before we stepped into the Metropolitan Museum of Art’s exhibit Wonder of the Age: Master Painters of India 1100-1900, we knew all was lost. In the fond hope I’d mistaken the closing date, I braved the gift shop attendant’s dour demeanor and inquired.
After a far-too-early blast of winter here and a power outage that wouldn’t quit, it’s not surprising that the re-dawn of electrical power might call to mind the beginning of the world.
In autumn, Innisfree Garden, so lush with blooms in spring and summer, begins to reveal its bones. The stands of yellow flag have been cut down, the bed from which peonies once spilled out has been returned to bare ground.