“David Bowie was a voracious reader and made a list, three years before he died, of the 100 books that had changed his life. These had fuelled his creativity, shaped who he was, and they provide a new way of understanding him. For each book, John O’Connell provides a short, insightful essay and pairs it with a Bowie song. Perhaps surprisingly, only eight books are concerned directly with musical subjects, while 12 relate to various aspects of the visual arts. Some are about mental illness; his half-brother Terry had schizophrenia and died by suicide and Bowie battled depression. There are some interesting poetry choices such as Dante’s Inferno and Homer’s Iliad. Of the eclectic novel collection, some are predictable but many are certainly not, and black people’s and outsiders’ experiences characterise the non-fiction.” [. . .] —Brian Maye, The Irish Times, March 7, 2020.
Charles Sykes, “The Agony of the Anti-Anti-Trumpers” (2020)
“They are destined to be forgotten. ‘The world will let no fame of theirs endure,’ Virgil explains. ‘Let us not talk of them, but look and pass.’ Dante describes the vast horde who chase after the elusive banner that “raced on so quick that any respite seemed unsuited to it.” Behind the banner, he writes, ‘trailed so long a file/ of people—I should never have believed/ that death could have unmade so many souls.’
“This, of course, got me thinking about the anti-anti-Trumpers and their season of agita.
“A cry went up this week from the precinct of the anti-anti-Trumpers suggesting that the selection of Kamala Harris was the moment for their decisive break into formal indecisiveness. As much as they loathed Donald Trump, they insisted, there was no way that they could support a Biden-Harris ticket.
“But the choice of Harris wasn’t really a tipping point, because the anti-antis were never going to support a viable opponent to Trump. The essence of anti-anti-Trumpism is the full recognition of the awfulness of Trump and all of his works, but a firm resolve not to actually do anything to confront them.” [. . .] —Charles Sykes, The Bulwark, August 14, 2020
Rauschenberg’s Dante in the Time of Pandemic
“Dante’s three-part epic poem portrays the journey souls take after death. Essentially a socio-economic commentary on Florentine life, with strong moral undertones and focus on the human condition, its themes can be adapted to any time. Today, in the face of Covid-19, the 700-year-old Commedia resonates strongly. Now is a perfect time to reflect on the work through its visual depictions. Although countless artists have illustrated the work since its medieval publication – Sandro Botticelli, Gustave Doré, and John Flaxman, to name a few – modern artists have shown how its relevance lives on to this day. Perhaps the most progressive modern rendering of Dante’s epic to date is seen through the work of artist Robert Rauschenberg (1925-2008).
“Dante is ambiguous in his writing on the Sodomites, reflecting the reticence surrounding the subject of homosexuality in his day. Rauschenberg mirrors this ambiguity in his illustration with an empty speech bubble beneath a red outline of his own traced foot. The tracing inserts Rauschenberg into the narrative just as Dante the Poet occasionally appears in the text, separate from Dante the Pilgrim, a personal touch that is seldom seen in Commedia illustrations.” [. . .] —Flora Igoe, The Art Story Blog, 2020
See Rauschenberg’s full Inferno series here.
Matt Kish’s Inferno Illustrations (2020)
“I have always been fascinated by the crude and vulgar spectacle of Inferno. Perhaps some of what follows is more personal than validated by scholarship, but despite his clear devotion to Christianity and deep and abiding belief in dogma, Dante seems to relish in his bizarre portrayal of the torments of Hell. I think I remember the poem was originally written in low, or street, Italian rather than formal language, because Dante wanted the tone to match the content and for the work to be something everyone could read. My experience growing up with comic books in particular was that they too were a kind of low, vulgar entertainment. Designed to titillate and provoke, but in no way were they deemed serious or valid art. There was a sort of dirty appeal to the comics I saw on the shelf in the grocery store, especially the pulpy black and white horror comic magazines like Creepy, Eerie, and Vampirella. For my approach to Inferno, I wanted to borrow heavily from this lurid, brightly colored, sickly appealing visual style as well as the connotations of what comics seemed to be to my young mind. So this is mirrored in my painting style, which is very bright and graphic and employs linework over tone and value (essentially, I paint like one should draw, I don’t paint like one should paint) as well as in my collaging bits of text and image from comics into the illustrations.” —Matt Kish (personal email communication, September 28, 2020)
You can check out the full series and Kish’s other works on his website.
Riccardo Muti’s “Concert for Dante” in Rome (2020)
“As part of ongoing programs that commemorate the 700th anniversary of the death of celebrated Italian poet Dante Alighieri this year, Riccardo Muti leads a special “Concert for Dante” in Rome on Oct. 3…
“The program features several works and composers inspired by Dante’s masterwork The Divine Comedy, which portrays the poet’s journey through the afterlife traveling through the Inferno, Purgatory and ultimately arriving in Paradise. The Te Deum, which is recognized as one of the earliest surviving Christian hymns, is heard by the poet as he enters Purgatory. Verdi’s Laudi alla Vergine Maria, an a cappella choral work for female voices, incorporates text from a short prayer in Canto XXXIII of Paradise, the third part of The Divine Comedy. Composer Franz Liszt, who is represented on this program with his symphonic poem Les préludes, was a great admirer of Dante’s work and was also inspired to write the Dante Symphony, which Muti, Zell Music Director of the CSO, led in performance in 2017, and offers a glimpse into the theological and emotional world portrayed in The Divine Comedy.
The celebrations to honor Dante, whom many recognize as the “Father of the Italian Language,” started several weeks ago on Sept. 5 when President Mattarella participated in a special ceremony at the poet’s tomb in Ravenna, Italy, where the Dante died in 1321.” […] —CSO Sounds & Stories, October 2, 2020
See more information on special Dante anniversary programs at Dante2021.