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Busy, busy, busy. So much to do, so many traitors to be shot. You’d think a victorious tyrant would have his hands plenty full in the aftermath of Spain’s murderous 1936-39 civil war. It turns out, though, that Generalissimo Francisco Franco had long nursed a secret desire, one he was uniquely in a position to satisfy at the outset of his nearly four decades in power. But where in the world did he find the time to write the screenplay for a feature-length film? Never mind that the end product is as artistically shoddy and morally repugnant as anything that ever defiled celluloid, it still gives a fascinating peek through the thick velvet curtains that lead to the lobby of a dictator’s mind.

Film-buff Franco didn’t often go to the movies. The movies came to him. On engagement-free Saturday evenings a projectionist would be admitted to the head of state’s residence on the outskirts of Madrid where a screening room had been installed. Ministers on urgent business would be roped into attendance. It went on like that until old age began gnawing at his attention span, decades down the road. Hitler, too, was acutely conscious of the cinema’s potential for manipulating the masses, but left the hands-on part to his deputy, Goebbels. And Mussolini certainly praised the carbon-arc projector as “the world’s most effective weapon.” But his movie producer son, Vittorio, revealed that Il Duce could scarcely make it through 15 minutes of virtually any film you could think of without dozing off. More… “General Franco Jumps the Shark”

Robert Latona is a journalist based in Madrid, Spain.

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A. David Moody recently completed his magisterial three-volume biography of Ezra Pound, and after roughly 2000 pages, it’s perhaps understandable that Stockholm syndrome might be playing a part in his judgements. It’s the most charitable explanation for the sheer persistent drumbeat of exculpatory lies he tells about his subject all throughout the 600 pages of Ezra Pound: Poet — Volume III: The Tragic Years 1939-1972. There is, for example, no entry in the index to this third volume for “treason” — only “alleged treason.” And of Pound’s actions while living in Mussolini’s Italy, Moody grudgingly admits only that they “led inevitably to his being perceived as a traitor and a Fascist, when it truth he was neither.” More… “Still a Monster”

Steve Donoghue is a reader, editor, and writer living in Boston surrounded by books and dogs. He’s one of the founding editors of the literary journal Open Letters Monthly and the author of one of its book­blogs, Stevereads. HIs work has appeared in The National, the Washington Post, the Christian Science Monitor, and The Quarterly Conversation, among others. He tweets as @stdonoghue.

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My wife, the over-observant Shuffy, noticed a group of children playing with geometric shapes cut from pieces of black paper. The children were arranging these shapes on larger sheets of construction paper. The construction paper was lying on the floor of the Guggenheim Museum and the Guggenheim Museum was in the midst of its exhibit of Italian Futurism.

“Italian Futurism, 1909–1944: Reconstructing the Universe.” Through September 1. Solomon R. Guggenheim Museum, New York. 

One wonders what Filippo Tommaso Marinetti would have thought about these children. Marinetti (1876-1944) was the founder of Futurism. In 1909, he wrote a document that has since become the most famous testament of Futurism. It is known as The Futurist Manifesto. The fourth “principle” of Futurism states, infamously: “We declare that the splendor of the world has been enriched by a new beauty: the… More…

So 271 “new” Picassos have been discovered. They were living with a former electrician of Picasso’s, who claimed that, near the end of his life, the artist gave the works to him as gifts and as payment. Picasso’s heirs, of course, are suing and charging the man with theft.

Lost Lives, Lost Art: Jewish Collectors, Nazi Art Theft, and the Quest for Justice by Melissa Müller and Monika Tatzkow. 256 pages. Vendome Press. $40. The Hare with Amber Eyes: A Family’s Century of Art and Loss by Edmund de Waal. 368 pages. Farrar, Straus and Giroux. $26.

Two hundred seventy-one new works by Pablo Picasso, ranging from 1900 to 1932. New works from his blue period, a new portrait of his first wife, Olga. You can hear the auction houses warming up their gavels, can’t you? Scholars lining up… More…