
From the Edward Hopper’s New York exhibit at the Whitney Museum of American Art















Drawings




Self Portraits



From the Edward Hopper’s New York exhibit at the Whitney Museum of American Art





















Narrative features from the 2023 Sundance Film Festival
Shayda is at once a mother/daughter love story and a story of the struggles of the women of Iran. It’s also the best movie I saw at the festival.
Shayda is an Iranian woman living with her young daughter Mona in a women’s shelter in Australia. She and her husband were in Australia studying. Her scholarship was canceled by the regime while he is pursuing a medical degree. After he abuses and rapes her she sought refuge in the shelter and is suing him for divorce and custody of her daughter.
He wants her to go back to Iran with him. She knows that if she goes back and divorces him she will lose custody of Mona and will be scorned for leaving her husband.
The tenderness of the mother/daughter relationship is brilliantly acted by Zar Amir Ebrahimi as Shayda and Selina Zahednia as Mona. Interspersed with the tenderness and joyous scenes of Sayda and Mona is the tension of their encounters with an unpredictable and volatile husband/father.
Not only is this based on a true story, but it is the story of the director Noora Niasari. She was the young Iranian girl whose mother brought her to Australia.
This movie couldn’t be more timely as women in Iran risk their lives demonstrating for their freedom. It is a brilliant movie that deserves to be widely distributed and seen.
(Shayda won the Audience Award in the Sundance World Cinema Dramatic Competition)
A somber affair. Noelia has cancer and it has metastasized. She is determined to not be limited by her condition. She is also determined to not be treated.
The movie centers on a visit by Noelia to her mother in Vieques, where she was born. Vieques is today a beautiful resort area, an island just off the Puerto Rican mainland. But its history is as a bomb testing site for the U.S. Navy. So the backdrop to Noelia’s suffering is the search for contamination, for bombs and other remnants of the Navy’s war machine.
La Pecara is magnificently filmed. There are underwater scenes, landscapes and seascapes, brilliant colors and moody greyness. In the background is soft melancholic music and an almost constant barking of dogs and neighing of horses. On the horizon is a hurricane.
A cinematic, not a narrative, masterpiece. It is a picture of pain that is both sad and occasionally cringe worthy. But above all else, it’s a work of art.
Mystical and mysterious. Itto is a young, very pregnant Moroccan woman from humble origins but married into a wealthy family. An unspecified threat has sent her countrymen scurrying to mosques to pray for order.
With her husband away, Itto sets out on a journey that takes her through small villages, bustling towns and stark landscapes. She meets men who cheat her, she meets men who help her. Along the way she is filled with doubts, doubts about her religion, about the very reality before her eyes. From young and innocent, she becomes mature and unsure.
True to the movie title, there are lots of animals. One town seems to have literally gone to the dogs. Sheep prevail in the countryside. Ants are all around. And the birds seem to follow Itto throughout her journey.
Oumaima Barid is brilliant in the lead role. The cinematography creates the mood of wonder and uncertainty. There are a lot of questions. Not too many answers.
Manacruz is a grandma. She lives with her husband Eduardo, aka Chubby. They are caring for their granddaughter while their daughter is away auditioning for a dance recital role. She spends her days in the church where, being a seamstress, she dresses and decorates the statues and figurines of Jesus, Mary, et al.
With a young girl in the house, there’s a tablet, and there’s an internet connection. Clicking some buttons on her own one night Mamacruz gets a dodgy-looking pop up, clicks on it and boom….a screen full of porn. Shocked, Mamacruz shoves the tablet under a pillow. But it doesn’t end there.
Before you know it, our heroine is joining a masturbation therapy group where the leader offers advice like how to use ben-wa balls. And this group of older women start channeling their teenage selves, smoking dope and pouring down shots. Chubby is slow on the take, having snored through most of the first half of the movie, but eventually even he figures out something is a bit off here.
With that description, you might expect a fast-paced laugh out loud kind of movie. This is anything but. It is slow with a score that seems to weigh down the screen.
There are some serious themes at play. Not the least of which is the never too old aspect of an older woman rediscovering her sensuality. There’s the church as a denier of all things sexual. And in Mamacruz’s daughter the theme of how motherhood impacts a woman’ career and dreams.
I didn’t find the movie terribly effective as either comedy or social commentary. At best it’s a curiosity.
Documentaries from the 2023 Sundance Film Festival
The fantastic machine is the camera. This is a documentary about images and they come at you so fast and furious that you can’t look away.
There is some history: the invention of the camera, the advent of moving pictures, television and digital images. With the first cameras, the narrator comments that “from now on, every picture is part of world history.” To prove the point we see the blue marble photo of earth taken from space. There’s chilling images of a German concentration camp from 1945. I don’t imagine too many have seen bloopers from the filming of an ISIS propaganda piece.
There is an interview with Leni Reifenstahl who directed Nazi propaganda films but who also has been lauded for her boundary-breaking cinematic techniques.
Television brings other perspectives on the value of images. In an interview with Ted Turner, he comments that TV “helps you forget your miserable life.” At the time he was hyping The Beverly Hillbillies. That was some time before he created CNN.
Digital images are described as globalizing face-to-face communication. We see a range of YouTube videos, from one woman who provides an instructional video on how to defrost your freezer, to another who talks about her porn videos on Only Fans.
In introducing the movie the directors said their goal was to both inform and entertain. They nailed it!
The smoke sauna is a tradition in Southern Estonia. There is a cabin in what seems to be a very remote area. There’s a fire, it’s dark and smoky. Inside are four or five naked women, washing themselves and each other, washing and sweating out their fear and pain.
What do they talk about in a smoke sauna? Their mothers, body image, childbirth, abortion, dic picks, periods, discovering sexual preference. The women are likely from very traditional families but they are modern. The conversation is reflective, pensive, honest and heartfelt. There is little joy. The most powerful part of the movie is one woman’s emotional description of how she lost her virginity to a rapist.
The challenge of making this film is mind-numbing. For one thing it is dark. You see body parts and some faces but rarely a whole person. While four or five women are in the sauna at a time, the director said in a post screening session that 50 women took part in some 70 shooting sessions. The director herself is part of this sisterhood.
As a man watching this movie it felt a little like eavesdropping. How would the conversation have changed with a male presence? Maybe they’d talk about the weather? Over 70 sessions are these the most poignant things said? Or is the smoke sauna experience always like this?
The movie is more interesting than entertaining. It inspires empathy and is emotional. It certainly feels liberating.
(Director Anna Hints won the Sundance Directing Award for World Cinema Documentary)
SMOKE SAUNA SISTERHOOD teaser from Alexandra Film on Vimeo.
This isn’t just a film. It’s news. It’s history. In his pre-screening comments the director said it is hard to watch. It sure is. Sometimes I had to turn my head. Sometimes I wanted to cry. Sometimes I was red with rage.
Mariupol, a port city, was an initial target of Russia’s invasion of the Ukraine. The footage was taken by a group of Ukrainian journalists working for the AP who stayed in the city for the first 20 days of the attack. They were able to send their footage out and it was used by news stations around the world. Perhaps the most recognizable is the photo of a pregnant woman being removed by stretcher after a Russian bombing of a Mariupol hospital. Neither the 30-year old woman nor her baby survived.
The movie puts to bed the question of whether Russia targeted civilians. They bombed hospitals, they bombed schools, they bombed apartment buildings and homes. What kind of inhuman prick makes the decision to bomb a maternity ward? The Russians also knocked out the city’s infrastructure so there was no electricity, no water, no phone or internet. And they surrounded Mariupol so no one could escape.
Some of the most poignant and most heartbreaking scenes are from the hospitals. There’s one in which doctors are treating a four-year-old and the head doctor tells the journalists: “Film this. Let Putin see this child’s eyes.” Other doctors around the table had tears in their eyes. There aren’t enough words to describe the bravery and heroism of the doctors, nurses and hospital workers in Mariupol.
I’d love to think that this documentary would get so widely circulated that some of the people who are questioning our support of the Ukraine (especially those in Congress), would see it. My fondest wish would be for this movie to end up as evidence in a court that would convict Putin of war crimes.
(20 Days in Mariupol won the Sundance Audience Award for World Cinema Documentary)
Lina is the filmmaker. She’s the narrator. It’s her story. She has a different name in Homs. And another one in Aleppo. She has a journalist name. And an activist name. Confused? Well, watching this documentary, I was too.
Syria is a repressive country ruled by a brutal dictator. Lina and a small group of young friends try to make a difference. They film and report on what’s going on around them. They protest and sneak their way through various checkpoints. Most get detained at some point and some are beaten and even tortured. They question their tactics and whether what they are doing works. One ends up dead. Most of the others end up leaving the country.
The film does highlight the role and importance of citizen journalists. How else would we know what goes in in a country like Syria? Or Iran? Or China?
Much of the film takes place in the city of Homs. This is where some regime troops defected and formed the Free Syrian Army. This brought a wave of brutal repression, including killing the children of FSA fighters.
While reporting on what’s going on in her country, Lina is also telling a very personal story about a small group of friends and a period in their lives. It feels like reading someone’s Instagram feed. But it gives us an inside look at a country that’s out of the headlines and that we don’t get a whole lot of information about.
This is both a history of South Africa and a visual autobiography of Milisuthando Bongela, the director and narrator. You could divide the documentary into two parts. The first is the history, put together with family photos, home movies and archival footage of interviews. The second part consists of interviews with contemporaries talking about race and how they are influenced by the past.
For the history, Milisuthando introduces us to the words and thoughts of her ancestors. She was born in Transkei, a short lived country that was created by South Africa in the 1970’s. Transkei was an independent black country which was part of South Africa’s plan to maintain apartheid through a separation of the races. While rejected by most of the Western world that saw it for what it was, there is in Milisuthando’s family history some sense of celebration, at least at first, of the freedom of a separate black country.
The most moving of the historical scenes are the interviews with children. A few days before Nelson Mandela was released from prison, interviews were filmed at a school in Johannesburg during which boys of about 10 were asked what Mandela meant to them and to black people. There could be no more meaningful an answer that what came from these kids. There are other interviews with black children who are about to become the first of their race to enter white schools. They seem remarkably eager, optimistic and free of fear.
Every part of this movie is about race, but at no point do we see virulent racism, violence or vitriol from either side. But the weight of history is clear as Milisuthando interviews her friends and associates who worked with her on the film. One comment by the narrator stands out: “Pray for the history that cannot be changed.”
At times this movie feels like a digital scrapbook. At others a beautiful poem. No matter how open-minded and experienced you are, you will learn something, not just about South Africa, but the issue of race that lives with us.

















The New Jersey Arts Annual exhibit at the New Jersey State Museum features works by New Jersey based artists from 2020-2022. Like everything else, the yearly event was interrupted by COVID. The theme of this year’s exhibit is Reemergence, a rebirth from the lockdowns and sickness and isolation. Each of the pieces is displayed alongside a statement by the artist. Many of those statements talk about the pandemic and how it affected their life and work. Excerpts from some of the artists’ stories are included below with the images of their work.




















The first hockey game at Hobey Baker Memorial Rink, on the campus of Princeton University, took place on this day in 1923. Princeton beat St. Nick’s Hockey club in that game by a score of 3-2. St. Nick’s was the team Hobey Baker played for after he graduated from Princeton.
Baker Rink is the second oldest arena currently in use by an NCAA Division I hockey team. It has 2,092 seats and some space for standing room. Baker Rink was built after what today we would call a crowdfunding campaign. 1,537 individuals from 39 different colleges contributed. The arena underwent significant renovation in the 1980’s including new lighting, roof and gutters, additional locker rooms and rest rooms and additional spectator stands.


Hobart Amory Hare Baker, attended Princeton from 1910 to 1914. He graduated with a major in history, politics and economics.. Baker was considered the greatest amateur hockey player of his generation. He was also an all-American halfback on the football team. While at Princeton he won a national championship in football and two in hockey.
During World War I, Baker served as a fighter squadron commander in France. He died in December 1918 when a repaired plane he was testing crashed. He had orders to return home in his pocket when the accident happened.
In 1946 he was one of the first nine inductees into the Hockey Hall of Fame. He is the only person to be in both the hockey and college football halls of fame. The award given annually to the top college hockey player in the U.S. is named after him.







Usually when you pick up a long novel it takes two or three chapters, maybe 50 or 100 pages to get into it. With Franzen it takes about a page and a half. He writes of the ordinary life of ordinary people, but in his prose they are anything but.
Crossroads is about the Hildebrandt family. They live in a parsonage in suburban Illinois. Russ, the father, is an assistant minister. He lives with his wife and four children, one in college, two in high school and one younger. Russ and Marion do not have a happy marriage (but really who writes 500+ page novels about happy marriages). It’s 1971, so the oldest, Clem, is thinking about his student deferment and his draft status number. (At the time we were all subjected to a lottery drawing which determined what our chances were of ending up in Vietnam.)
Each member of this family is on the verge of making some bad choices, in some cases life-changing bad choices. And when they’re not contemplating these self-destructive moves they’re bemoaning the bad choices they’ve made in the past.
Crossroads is the name of a church sponsored youth social group where most of the consequential scenes in Franzen’s story take place. There’s not too much religion there but some drugs, some sex, and even a little rock and roll.
The strength of Franzen’s writing is not just the depth of his characters but his descriptive powers. Here’s one example. If you ever had this electronic NFL game as a child, you’ll enjoy this. “The sheet-metal playing field vibrated electrically, with a sound like a Norelco shaver’s, beneath two teams of tiny plastic gridders with oblongs of plastic turf glued to their feet, the quarterbacks eternally frozen in he-man forward-passing posture, the halfbacks carrying a ‘ball’ that was more like a pellet of pocket lint and frequently fumbling it, or becoming so disoriented in the buzzy scrum that they speeded toward their own end zone…”
You take a look at a Franzen book and it seems to promise a significant investment in time. It won’t be. Like the two previous Franzen novels I read, I ripped right through it. Not sure I could name a better contemporary novelist.

One might think that everything that could possibly be said about arguably America’s most consequential athlete has already been said. If you read True, you’ll find that’s not the case.
Kostya Kennedy’s bio covers four ‘seasons’ in Jackie Robinson’s life. 1946 when he played his first year of professional baseball with the Montreal Royals, the Brooklyn Dodgers AAA farm team. 1949, his third year of major league baseball, a time when he shed the “turn the other cheek” Jackie and became the fiery competitor that he truly was. 1956, his final year of baseball, when, according to Kennedy “Robinson might, from his locker room stall reflect on civil rights, segregation, the implications of say, Brown vs. Board of Education. just as soon as he might remark on the Dodgers hotel accommodations in the South.” And 1972, the year he passed. The last chapter is really all about life after baseball when Robinson encountered personal tragedy and deteriorating health.
Kennedy does not dwell on the racist crap that Robinson had to put up with. But he does point out a few that were new to me. Like the ignorant comments of Ben Chapman, unsuccessful manager of the lowly Philadelphia Phillies, who suggested in 1947 that what Robinson was after was sex with his teammates wives. And there are the charming folks from Greenwich, Conn., who many years later sold their homes because Jackie and his wife Rachel moved into the neighborhood.
Not all is venom and vile however. There were the people of Montreal, baseball fans or not, who greeted the Robinsons with a smile on their faces. And Kennedy says of the Dodgers Brooklyn home “was there in 1949 another public accommodation in America so naturally desegregated as Ebbets Field?”
This is a really well written book. One of the things that Kennedy does so well is capture the feel of the time and place. So when Robinson in appearing in the 1949 all-star game, the author doesn’t just rattle off the stats from Robinson’s at bats, he takes us to the corner of E 95th Street and Church Avenue in East Flatbush where Dodger fans, likely not TV owners, are watching the game on a black and white screen in the window of a TV shop. Others are listening on big wooden console radios in their living rooms.
I think this book comes as close as you can come to feeling what it was like to be Jackie Robinson, especially in the latter part of the 1940’s when he was breaking through the color barrier. It is a little piece of American history as much as it is a biography of a sports hero.

This is a story about health care heroes, and about the people, agencies and companies that blocked them from saving us from the pandemic.
One of those heroes is Joe DeRisi. He ran a lab at the University of California -San Francisco where he invented a tool that would identify previously unknown viruses. When the pandemic started, he set up a test facility that would provide quick turnaround on COVID test results for free. It was underutilized as hospitals and public health agencies were committed to the paid company labs like Quest
despite their too slow to be useful processing.
Another of those heroes is Carter Mecher. A doctor at a VA hospital in Atlanta, Mecher would eventually write the first pandemic plan while working for the Bush administration. He used what Lewis calls ‘redneck epidemiology,’ an extensive study of the 1918 flu pandemic and a model created by a 15-year old girl for her science project. His Targeted Layered Containment plan involved telework, social distancing, banning large gatherings and closing schools. When the COVID outbreak started, neither Carter, his plan, nor anyone he worked with were in the conversation at the Trump White House where they were busy denying the existence of a pandemic.
Maybe the most interesting of Lewis’ health care heroes is Charity Dean. A young woman raised with no advantages, she got herself to college and then through medical school. Eschewing the big bucks of private practice she instead took up a county health officer position, partly because of her fascination with communicable disease. Fast forward a few years and she was the L6 in California. The concept of an L6 is based on the thought that in any organization there is someone who knows his or her stuff and knows what to do. But that person is never one of the heads of the organization. The L6 is that person and is likely six layers down the org chart.
After reading this I’m not sure I’ll ever think of the CDC the same way again. After one failed attempt to get their help Dean said, “I was mad they were such pansies. I was mad that the man behind the curtain ended up being so disappointing.”
Why were they not involved in working on Mecher’s plan? “They’d be constrained by their sense that they already knew everything worth knowing about disease control, and would be threatened by the possibility that in fact they did not.”
Lewis describes an incident shortly after the pandemic broke out in China. Fifty-seven persons traveling from Wuhan were quarantined for two weeks in Omaha. When the nearby Global Center for Health Security wanted to test them, CDC director Robert Redford refused permission claiming it would be ‘doing research on imprisoned persons.’ This despite the fact that the travelers wanted to be tested.
Ultimately what this book does is explain how it came to pass that more Americans died from COVID than any other group. Lewis writes this public health story in the same fast-paced play-by-play style that he used writing about football (The Blind Side). I know next to nothing about medical biology but everything here is clearly explained and presented. It makes for not just a very timely, but a very readable story.

The bank teller is anxious. The bank robber is anxious. The hostages are anxious. The police are anxious. Hence the title.
But this is not solely a tale of anxiety. The author tells us on page one “this is a story about a lot of things, but mostly about idiots.” Much of what follows corroborates that statement.
The basic plot involves an attempted bank robbery of a small-town institution in Sweden. It is a cashless bank. So the bank robber comes up empty handed, flees into a nearby apartment building and walks in on a viewing of a for-sale apartment. The viewers, as well as the realtor, become the hostages.
The story revolves around this odd collection of hostages, as well as a marginally functional father-son police team. There’s a bickering lesbian couple expecting a child. An older couple with a bruised ego husband. A bank exec who has made apartment viewing her hobby and a heavy drinking, reminiscing older woman. The author connects this disparate group of characters like a jigsaw puzzle, the connecting piece being a 10-year old suicide.
There is no violence and no one gets hurt. These hostages, as well as the perpetrator, need a battery of psychologists more than they need a law enforcement intervention. The story offers some suspense and some mystery. Buy mostly what it offers is humor, which occasionally hits a laugh out loud level. If there’s a moral it’s that there’s a little bit of wisdom in every idiot.

It’s a story you’ve heard before. This one’s about Mexico, Maine, and it’s a paper mill. But it could be a Massachusetts town with a textile factory, a Pennsylvania town with a steel mill, or a New Jersey town with a chemical plant. A whole town is built around a manufacturing facility that provides good jobs and supports a middle-class lifestyle for a generation or two or three. Then somebody starts to figure out how to do the same thing cheaper. They figure out that they don’t need so many people and they decide they can’t afford to pay a living wage.
The younger generation begins to disappear. The movie theater closes, as does the other stores that are named after a local family, not a national chain. Homes lose their value and are abandoned or foreclosed. And to top it off, we begin to realize that the stench that hovers over the town, what they used to say was “the smell of money” instead seems to be the smell of cancer.
Kerri Arsenault’s story is, however, much more personal than that. She traces her Acadian ancestry back to the Canadian Maritime Provinces and even further back to France. She grew up in Mexico (Maine), goes back to visit her parents and old friends and remembers the sense of community nostalgically. She even connects with some community activists trying to stop neighboring Rumford from contracting with Nestle to tap into the town water supply. (If you read this book, you’ll never buy Poland Spring again.) She describes the environment in which she grew up: “We lived in a Shrinky Dink world where everything we needed was there, just smaller.” But she also realizes that she, her family, her neighbors didn’t realize that “all of what was before us was not as bright as what had passed.”
For all of the pride and backward-looking fondness Arsenault shows for the community she grew up in, she can’t look back without remembering her grandfather and father, both of whom spent most of their adult lives in that paper mill and both of whom died of cancer. “When my father retired from the mill after forty-three years, he received a toolbox (which he used), a Bulova watch (which he never wore) and asbestosis of the lungs.”
After being sold by its founder and town benefactor, the mill was sold several more times. Over the years it spewed out asbestos, mercury and dioxin. It’s toxic legacy is in the soil, in the water and in the air. One can make the case that America’s industrial polluters didn’t understand the consequences of what they were doing. But that rings hollow when you see the efforts made to not find or understand those consequences. And that’s not just from the mill owners but from the local, state and national agencies that are supposed to be looking after such things. Arsenault talks to everyone who’ll talk to her, plows through every document she can find. She can identify the poisons, she can identify the diseases, but a clear, irrefutable line between the two remains evasive, in spite of what common sense tells you.
The New Jersey State Museum was founded by an act of the state legislature in 1895. Initially it was a natural history museum. It later added archaeology, ethnography, cultural history and fine arts to its collections. It moved into its current facility as part of the state’s cultural complex in 1965 and it became a division of the N.J. Department of State in 1983. It has a surprisingly diverse and interesting collection of works by 20th century American artists. Here are some samples.















To be honest, I didn’t open this book with an open mind. As far as I’m concerned, Trump is a lying scoundrel suffocating in his own narcissism. Nothing in the book suggests otherwise.
Confidence Man is not a biography. It’s a detailed chronicle of Trump’s professional life, starting with some real estate deals he did with his father, going through his emergence as a widely-known public figure in New York, something between a superstar builder and a con artist, and ending with the conclusion of his single term presidency. Taken as a whole there is little in the way of consistent ideology or commitment to any particular issues (unless it personally affects him). But there is a consistency throughout his career of personality and behavioral traits. Here’s a few examples:
– He doesn’t pay his bills.
“Trump left only scattered impressions on classmates (during his time at Fordham University). One recalled Trump somehow managing to avoid paying the Triborough Bridge twenty-five-cent toll and leaving it to a friend with considerably less economic means to pay each time.”
– He’s a serial attention hound
“When the director Chris Columbus was filming a sequel to Home Alone and went to the Plaza’s lobby, Trump forced his way into the film. ‘The only way you can use the Plaza is if I’m in the movie.’”
– He’s self-absorbed
Shortly after 9/11 and the attacks on the World Trade Center, he was interviewed on a local TV station. Was he thinking about those who were killed? Their families? First responders? Nope. He said, “Forty Wall Street (which he owned) was the second tallest building in downtown Manhattan and it was before the World Trade Center was the tallest, and then when they built the World Trade Center it became known as the second tallest, and now it’s the tallest.” (That, of course, wasn’t true.)

– He’s crude
While discussing the issue of transgender bathroom use during a practice session for upcoming debates during his initial presidential campaign, he commented, “‘well I think it matters a lot.’ What if a girl was in the bathroom and someone came in, lifted up her skirt, and ‘a schlong’ was hanging out.”
– He’s a sore loser
After losing the Iowa caucuses at the start of the 2015 primary season: “‘It was stolen from me,’ he told his advisors. For days thereafter, he called Iowa’s Republican chairman daily with an order to redo the vote, threatening to sue over what he called ‘fraud.’’

– He’s a bully
While describing a meeting with military leaders and cabinet members, Haberman observed: “Those who did not know Trump well and who sat through that meeting in the Tank with him failed to consider something that people who have dealt with him over years had experienced: Trump knew that he was being told something he did not fully comprehend, and instead of acknowledging that, he shouted down the teachers.”
– He’s irrational
After news reports about how Trump hid in an underground White House bunker during the Black Lives Matter demonstrations, “Trump felt humiliated by a disclosure that he thought made him appear incapacitated by street protests. In another meeting with aides Trump demanded to know ‘Who leaked that story?’ He proposed that the person responsible be ‘executed.’
– He’s a liar
Okay, there’s an example of that on virtually ever one of the 500+ pages.
And speaking of consistent bad behavior there’s this gem about Rudy Giuliani:
In 1992 after Giuliani lost the mayoral election to David Dinkins, he declared “They stole that election from me. They stole votes in the Black parts of Brooklyn and in Washington Heights.” City investigators found nothing to substantiate claims of fraud.
Haberman is a veteran journalist who has won a Pulitzer. Having worked for the New York Post and New York Daily News before her current position at the New York Times, she’s probably spent more time around Trump than most of his wives. Her writing reflects her professionalism. This is a book full of factual information with all sources clearly identified. The title and subtitle pretty much tells you the conclusion that it leads to, but Haberman doesn’t beat you over the head with it and lets the reader come to the obvious conclusion on his or her own.

I acquired this book when Haberman made an appearance at the Montclair Public Library. During the Q&A that followed the interview, someone asked, “Is Trump evil?” She refrained from answering.
Five hundred pages is a lot of Trump. Perhaps too much. As I mentioned in the beginning, it didn’t change my perception of the man, but even I was surprised at how grossly unfit for office he was (and is).
I couldn’t help musing about how this is a guy who doesn’t read, but who desperately needs to know what people say and think of him. So what does he do? I imagined this scenario. He commissions an aide at Mar-a-Lago to read the book and tell him what it says. The aid reads the book then comes in walking on eggshells knowing the boss’ famous temper. Maybe he starts by discrediting Haberman but eventually gets around to noting “Mr. President, she seems to think you’re a little dishonest and maybe a bit unethical.” Trump then goes off, fires the guy and refuses to pay him.
(Images used here were downloaded from Unsplash and Pixabay and are not from the book.)
Night Forms, Infinite Wave, is a collaboration of the Grounds for Sculpture and Klip Collective, a Philadelphia-based art shop that produces video projection experiences. This is the second year that GFS has presented this after-hours light and sound exhibit. It is designed to fit with the sculptures and horticulture of the park. Night Forms will be at Grounds for Sculpture through April. Having seen a number of light shows at various gardens over the years, this one is the best I’ve ever seen.





Seward Johnson was the founder of the Grounds for Sculpture and he was a fixture in the park until his death in March of 2020 at the age of 89. He used to lead sing-a-longs with park guests. His painted life-like sculptures are prominently displayed throughout the park. You can see more of his work here and here. Below are a few Seward Johnson sculptures lit up for Night Forms.




