Saturday, September 15, 2001

Jay McInerney / Brightness falls

 



Brightness falls

Jay McInerney, author of the definitive modern New York novel, witnessed the destruction of the World Trade Centre from his apartment window. He describes the week that changed his city for ever

Jay McInerney
Saturday 15 September 2001


There was a hole in the skyline, the morning after. I pulled the chain on the shade of my bedroom window with a certain mournful sense of ceremony. A plume of pearl-grey smoke rose into the sky, marking the spot where the twin towers used to stand - my view, and everything else, forever altered. It's just steel and concrete, of course - but the dead and the injured were still largely invisible and uncounted. And the ruined towers were also a symbol, to those who targeted them as well as to those of us who lived, often unconsciously, beneath them.

Now I am angry. I'm depressed. I'm weepy. I can't control my emotions at all. I want to hug strangers. I want to hurt other strangers, anyone who had anything to do with this, those fucking people in the Middle East who have been dancing in the street. With maximum prejudice. It's not just me. Everyone I have spoken to is feeling indiscriminately compassionate. And furiously vengeful.

It's always dangerous to generalise about this heterogenous and contentious mass of humanity, but I think it's safe to say that New Yorkers have finally come up against a phenomenon larger than their collective capacity for jaded equanimity. We are famous for not looking up at our signature skyscrapers. We took them for granted, just as we took our own pre-eminence, our own importance, for granted. Public displays of surprise and wonder are banned by city ordinance. But we are visibly stunned by the disappearance of one of those monuments to our own magnificence. We will probably feel the absence of those towers far more acutely than we did their presence at the apex of our skyline.

We will never forget where we were on Tuesday when we first heard the news, when we first saw two 100-storey buildings collapse. Me, I woke at 8.15, and lay in bed till 8.40, at which point I got up and struggled with my bedroom shade, the chain of which had somehow become jammed. As I tinkered with the chain, trying to get it back on its track, I briefly noted the fact that, after four or five months in this apartment, I was already starting to take the view for granted. It had been days, maybe weeks, since I'd really looked out at the vista of the river to the right and the World Trade Centre rising above the apartment buildings of the West Village. I went out to the kitchen to turn on the coffee maker.

When I returned to the bedroom a few minutes later I noticed smoke coming out of the north tower of the Trade Centre. It was hard to tell but there seemed to be a jagged hole up around the 80th floor. I looked at the clock; it was 8.50. The phone rang - my girlfriend Jeanine, sounding breathless, told me to turn on the TV. (Actually my ex-girlfriend, but in light of the events of the day the distinction seemed to blur.) CNN was showing a similar, slightly better view of the World Trade Centre, the north tower smoking away, although no one was sure what had happened. I kept turning between the window and the television, a 90-degree angle, verifying what I was seeing on television. Just before nine, CNN got an eyewitness on the phone who said he had seen a plane crash into the tower. I realised I had missed seeing this incredible event by a matter of seconds - like the lumpish ploughman who fails to witness the fall of Icarus in Auden's Musee des Beaux Arts. It didn't seem to occur to me or the commentators on CNN that this extraordinary event could be anything but an accident.

I went out to get the papers, although never had they seemed less relevant. The towers weren't visible from the street. In the deli two scruffy old codgers were arguing about the merits of John Ford and Alfred Hitchcock. I asked them if they'd heard about the plane that had crashed into the World Trade Centre. They looked at me, the way one looks at fellow New Yorkers who are ranting incoherently, before turning away. "You can't compare Rear Window to Stagecoach," said the skinny one, resuming the argument.

Out on the street, a young woman walking her pug stopped me to ask me if I had heard about the crash, restoring my confidence in my own sanity. Incredibly, the New York Post had a picture of Paul McCartney playing piano for a smiling Hillary Clinton. I'm not quite sure whether I was looking at the TV screen or at the window when the second plane hit a few minutes after I'd returned to my bedroom.

I've seen the replay so many times now. The plane approached from the south so that I couldn't see it from my south-facing window. And over the course of the next 40 minutes I kept turning between the TV and the window. I remember that I was looking out of the window when I first noticed that the south tower seemed to be tilting; a minute later it collapsed. From the window I just saw it disappear into the smoke, sinking beneath the rooflines of the West Village. About 10 minutes later, the north tower did the same. Jeanine called again; she'd been out on Sixth Avenue and watched the tower go down. She told me that people were crying after the collapse of the second tower. A policeman with tears in his eyes had suggested that she stock up on food. It seemed like a good idea - like the kind of thing that people in this kind of situation should do. By this time we realised that we were an island in the strictest sense - all bridges and tunnels were closed. Anyway it was a response - a course of action in the face of a sense of paralysis.

I walked one floor down to check on Lora, my downstairs neighbour, and suggested a grocery run. "Can you believe this?" she asked repeatedly. We discovered that we weren't the only ones who'd decided to stock up - the aisles were jammed with shopping carts. Lora got into line behind 20 people while I went around stocking up - eggs, milk, pasta... I couldn't really focus. Everyone grim but strangely polite. A strange silence prevailed. Curiously, no one was really talking now, two hours into the crisis.

Back at the apartment, I tried once again to reach my ex-wife in Tennessee. I wanted to let her know that I was alive and check on my kids. I felt aggrieved that once again there was no answer. I wanted to share the news of my survival, to let the mother of my children know that they still had a father. I wanted to report from the front. After hanging up I called Jeanine, who was 12 blocks closer to the front, but her line rang busy.

I decided to venture out. Walking down Eighth Avenue toward the West Village I was going against the flow. A long column of pedestrians was marching uptown, away from the smoke. The procession was grim but orderly. Refugees from Wall Street - women in high heels, men with suit jackets slung over their shoulders. A low-grade state of shock seemed to prevail. The sense of order started to fracture as I approached St Vincent's hospital on 11th Street, next door to Jeanine's apartment. Dozens of cops were directing traffic away from the hospital as ambulances screamed in from all directions. Hundreds of people were lined up on the street to give blood, hundreds more were standing around watching the ambulances come in. Dozens of orderlies and nurses stood at the door, waiting. The strangest sight of all was of a fleet of wheeled office chairs draped with sheets, awaiting the wounded.

Jeanine was frantic. She was producing a commercial, which was supposed to shoot out on Long Island, a half-million-dollar shoot. Half the crew was out in Montauk waiting, half trapped in New York. The director refused to work until his kids were evacuated from the city. And the phones were barely working. The word came through that a van was leaving from Great Jones street, some 10 blocks from her apartment. Apparently cars could leave Manhattan via certain routes. Maybe. Nobody really knew but Jeanine's company, she had just discovered, had no insurance for terrorist acts and if they didn't get out there to shoot the ad they would be liable for the entire amount. We ran half a mile with her bags.

Sixth Avenue also had its parade of refugees, some of them covered head to foot with white dust, strange walking ghosts among the living. We arrived at the rendezvous breathless, my back thrown out. Her cellphone rang: the van had gone to pick up the director's kids. There was no way to get 30 blocks to the rendezvous. Jeanine started cursing. Then she started crying.

We walked across the street to Time Café, a once fashionable dining spot. It seemed incredible that they were open for business as usual and that they could seat us for lunch. The TV over the bar was tuned to CNN, replaying the collapse of one of the towers. The actress Jennifer Beals walked in behind us, a camera around her neck, looking slightly dazed. We sat down next to a couple covered in white dust. They met an hour before; they had both been caught in the collapse of the second tower when they evacuated their building on lower Broadway and had both found refuge inside a store.

The man's name was Jeffrey Grimm. He was a liability analyst. It sounded like a useful thing to be at this particular moment in history. His eyes were red and watering; tears streaked the mask of white dust on his face; the waiter brought him a little bottle of eye drops. He told us his office was three blocks from the WTC. After the second plane crashed they were ordered to evacuate. He was on the street when the tower collapsed. "There was a rumble, a kind of thunderous sound, and then we were engulfed in a cloud of dust and debris. I couldn't see a thing. People were grabbing at me, screaming. People were saying they didn't want to die. It was pitch black. I was blind. I heard a voice shouting, 'Over here.' Somebody pulled me inside the door of an office building. He probably saved my life."

Jeffrey lived in Jersey, and had no way to get home; he was going to look for a hotel room since all transit, all bridges and tunnels were closed. I told him to call me if he couldn't find shelter, and Jeanine gave him my name and number. He looked at my name and asked me if I was the author of Bright Lights, Big City.

"I just realised something," he said. "Wasn't the World Trade Centre on the cover of your book?" "My God," I said, "I hadn't thought of that." The cover of the US edition of the book shows a figure standing in the street, looking downtown, the twin towers looming beyond. It had become something of an iconic image. Now it would have a grim new significance.

We managed to get our friend Bret Ellis on the phone; he lived nearby and had sounded, Jeanine said after she called him earlier, as if he was having a serious breakdown. Now we were in his neighbourhood. Jeanine told him we would bring him a burger. We walked up to Bret's building in the East Village. By this time another phase had set in among the pedestrians, who seemed to be realising that they had survived a catastrophe. People were smiling again, although the smiles and gestures were somewhat exaggerated in the manner of restaurant patrons who are in the presence of a celebrity and are eager to mask their interest and assert their own vivacity.

At Bret's apartment we watched CNN for half an hour. We kept telling each other we couldn't believe this. I noticed an invitation to a book party on Bret's kitchen counter. "I'm glad I don't have a book coming out this month," I said - a selfish and trivial response to the disaster, but one I thought he would understand. Nobody was going to be talking about fiction this week. "I was just thinking that same thing," he said, with obvious relief.

"I don't know how I'm going to be able to go back to this novel I'm writing," I said. The novel is set in New York, of course. The very New York which has just been altered for ever. "I know exactly what you mean," he said. After half an hour he walked out with us to see what was happening on the street. When we said goodbye he lost his composure. He turned away when he started to cry.

Jeanine and I walked back to my apartment, with her luggage, my back almost ruined after lugging the shit for five miles. When we finally put her bags down in my living room she started to cry. I held out for another three hours before I fell apart. When I checked my email I found a couple of dozen messages from people who had been trying to reach me, including Helen, my ex-wife. Apparently the phones were barely working. I finally raised her on the phone. She seemed genuinely relieved to find that she still had an ex-husband.

The kids had been told. They seemed to be relatively cool about the whole thing, although later my son called me back. He had a question. "Dad, why don't you just leave New York?" It was, under most circumstances, a difficult question. He'd asked it many times before. For once I had an easy answer. "I can't," I said. Before she said goodbye, Helen reported that she had it on good authority - a friend in the military - that the plane that went down near Pittsburgh had been shot down.

A friend in Brooklyn said it was raining paper in her neighbourhood - shreds of résumés, files, letters, tax returns, sales receipts, invoices and possibly even billets doux were falling from the sky. Jeanine got a call from a friend who had managed to escape from the north tower and had run 30 blocks before she realised her leg was broken.

Lora, my downstairs neighbour, invited us down. She'd cooked a leg of lamb. I brought down a bottle of 85 Lynch Bages, the first of several bottles. For 20 minutes I found myself unable to speak without crying. In the middle of the meal Lora got a call telling her a friend had died in the plane that went down near Pittsburgh.

After dinner we ventured out to visit a friend, an investment banker who had escaped from the north tower. He was shaken up; and besides, we weren't remotely sleepy. At 14th Street a policeman from Camden, New Jersey demanded proof that we lived below 14th. I was reminded of a joke in my first book about a character from the upper East Side who felt he needed a visa to travel south of 14th street. Today he would. 14th street has always been a kind of unofficial border. Today it's official. Policemen are posted along the street, blocking access to anyone without proper identification. Jeanine didn't know how to prove that she lived in the area. We all have driver's licences from other states - in Jeanine's case, from South Africa. We want to live here, but we don't want to deal with the city bureaucracy.

I was indignant. What a concept. Prove our residence? Jeanine finally came up with a prescription bottle for sedatives that had her address. "We have our orders," said the cop. "They just shot a guy with a bomb a few blocks down." In the absence of any hard facts, this kind of thing sounded plausible to us.

We finally reached Hayden's apartment. He had a gash on his face. "We heard the first crash," he said. "The building shook. But nobody said anything. There was no announcement, nothing. Finally, when the second plane hit, I just decided to leave. When I got out on the plaza a body hit the pavement 20 yards away from me. I looked up and saw two people jumping, falling 90 floors through the air. I saw 10, 12 people hit the ground." He sounded tentative, as if he were trying to convince himself of the reality of what he'd seen, or just trying to think of a way to tell it. He has the rest of his life. Even those of us who didn't see the bodies falling are dazed, repeating our own war stories, trying to connect ourselves to a catastrophe larger than any we have ever experienced.

On Wednesday morning, we seemed to have regained much of our composure. Here in West Chelsea there was an almost festive atmosphere - an impression that was only reinforced by the lack of traffic and the presence of police officers at major intersections. At lunchtime, those restaurants that were open were jammed with patrons who seemed almost giddy with relief.

At that point, so far as I could tell, after 24 hours of speaking about nothing but the disaster, people here, a mile and a half from the epicentre, were speaking of anything but. The sense of survivor's relief was compounded with a certain pride. We, the unsurprisable, were surprised at how well we were handling ourselves. Even our notoriously cantankerous mayor was showing himself to be more human and inclusive and wounded than we ever imagined he could be. Beyond the immediate scene of the disaster, there seemed to be order and calm. London during the blitz came to mind.

By Wednesday night, the mood seemed to have changed yet again. Two more huge buildings collapsed. The Empire State Building and Penn Station were evacuated because of bomb threats. The wind shifted uptown and we were overwhelmed with an acrid burning smell which seemed to be affecting people's moods. Or maybe it was exhaustion; I saw couples fighting on the street, people bursting into tirades. Another eerie development was the proliferation of homemade posters with pictures of the missing and pleas for help. Suddenly these appeared everywhere, taped to lampposts and fences and the sides of buildings. Missing... last seen... beloved son... please call...

By Thursday, nobody knew what to do with themselves. I told Lora I was heading to the gym at Chelsea Piers. "Don't do that," she said. "They set up the morgue over there."

There are, I suspect, many more mood swings in store. I have a feeling that everything will be "before" and "after" now. As I walked through the streets at midnight, I thought of Frank O'Connor's line at the end of Guests Of The Nation: "And anything that ever happened me after I never felt the same about again."

© Jay McInerney 2001.

THE GUARDIAN




Sunday, July 15, 2001

Hugh Hefner and Richard Burton / You've got males


Hugh Hefner

You've got males

Testosterone was everywhere with Richard Burton denying his inner luvvie, Hugh Hefner defying time and Jeremy Clarkson caressing aeroplanes
Hot Wax BBC1
Reputations: Richard Burton BBC2
Speed BBC1
Table 12 BBC2
Kathryn Flett
Sunday 15 July 2001 23.54 BST

'In many ways, these September years are the happiest time of my life. I truly mean that. It's the combination of a tremendous sense of satisfaction at a life well lived, looking back at the childhood, loving the boy who dreamed the dreams and recognising that the dreams came true beyond anything I could have imagined... and sharing in a wonderful way with Kimberley and the children.'
This was Hugh Hefner, speaking to me at the Playboy Mansion in late April 1997, when he was still married, the garden was littered with kiddie detritus, the Grotto smelled fusty from neglect and the signs on the driveway read 'warning: children at play'. The interview was eventually scheduled to run in The Observer on the first Sunday in September and I was halfway through writing it when a princess died in a car crash and Hef was put on the backburner.
A few months later my then editor suggested we update the story: Hef's marriage was now over and he was quite his old self again, clubbing with a new generation of hip young acolytes, including Leonardo DiCaprio, and getting frisky with the first clutch of the now infamous live-in 'girlfriends'. The signs in the driveway had been switched to 'warning: playmates at play'.
I spoke to him on the phone and he was, to say the least, giggly about the shift in his lifestyle. If I had been speaking to any other 72-year-old, he would have said 'well, hey, if an old guy like me can still pull half-a-dozen blondes, why the hell shouldn't I die smiling?'. Hef didn't go quite that far - he is the Playboy of the Western World, after all - but the inference was there.
I kicked myself that I hadn't picked up on the signs the previous year. At one point Hef had let slip that Kimberley spent most of her time with the kids in another house over the fence because the mansion was less of a family home than an office. I didn't blame her: the place crawls with staff, the kitchen is the size of a works canteen and the decor is timewarped, so if Kimberley had managed to stamp any of her own personality on her husband's home then it was hidden well away from the eyes of a journalist.

I was, then, keen to watch Ruby Wax's encounter with Hef, partly to see if he had changed (which I doubted - aside from a conveyor belt of blondes, Hef doesn't much like change) and partly because, to my surprise (and, I'll fess up, pleasure) we had hit it off big time. Still, I suspected he was like that with all the girls.
And so he is. This being Ruby, Hef barely got a word in edgeways, but whenever he did he seemed to be enjoying himself ('What's my best opening line? "Hi, my name's Hugh Hefner"') and Ruby patently adored him. She also achieved something I'd not had the nerve to manage (and regretted just as soon as the taxi was heading back down the drive): she got into his bedroom. Aside from the three bottles of baby oil strategically placed next to the bed, it turned out to be very unsexy and cluttered with videos (far less likely to be blue than they are to be Billy Wilder).
Of the 'girlfriends', Ruby spent most of her time with the brightest one, Kathy, who was funny and smart, as opposed to, say, Regina ('this has been my dream since I was, like, six'), who looked like Faye from Steps and couldn't manage too much joined-up talking. They all live an absurd life, of course, but (sorry, Hef) I don't think as many demands are made on their favours as the boss might like us to think, so it's probably as good a finishing school as any other for an animated Barbie with predictably blond ambitions.
'Are they using you for fame?' Ruby wondered. 'To some extent,' he replied mildly. 'And you don't mind?' 'I don't mind at all!'
Well, why on earth would he? Hef told me he'd never had therapy but, if he hasn't done it already, I'd dearly love Anthony Clare to get him On The Psychiatrist's Couch. Therapy by media he enjoys, I think, because if, out here in the real world, we're all happy to believe that Hef is happy, then that makes Hef - the cartoon posterboy for Having It All - pretty damn happy too.
Richard Burton had it all but, unlike Hef, he didn't enjoy it because he felt guilty. BBC2's Reputations didn't add much to the widely held perception that the man squandered his talent and sold his soul to keep Liz in diamonds as big as the Ritz, but it was entertaining and showed us that Burton's biggest problem, aside from the missus and the drink, was the fact that he just wouldn't give in to his talent and allow himself be a full-blown luvvie: 'After all, the fundamental basis of being an actor is to make money,' he'd admitted in an interview of the kind publicists won't allow stars to give any more. 'I do it because I rather like being famous, I rather like the best seats in the plane and the best seats in the restaurant.'

I was, then, keen to watch Ruby Wax's encounter with Hef, partly to see if he had changed (which I doubted - aside from a conveyor belt of blondes, Hef doesn't much like change) and partly because, to my surprise (and, I'll fess up, pleasure) we had hit it off big time. Still, I suspected he was like that with all the girls.
What with Hef and Burton (and that glorious Wimbledon final - the best since 1981 in my book), it was a mighty good week for testosterone TV. And nestling neatly alongside all the other big boys and their pneumatic toys came the biggest, most swingingest Richard of them all: Jeremy Clarkson. The glib, smug chat shows I would gladly leave the country to avoid watching, but give the man something penis-shaped in burnished metal and he almost quivers with emotion. Like Hef's unfettered obsession with his inner child, I find Clarkson's own fetish oddly touching. And more terrifying than even that admission, sometimes I feel the same way. I once spun a Formula Ford 360 off a track while taking a bend and sat on the verge, gurning with joy and adrenaline, steaming at the ears and vowing to get a race licence - if not in this life, then the next.
And - I'm out and proud! - I also have an abiding passion for very small, very fast, very dangerous, politically incorrect fighter planes (I've even made Airfix models. And I'm sure I shouldn't have shared that with you.) Thus I have enjoyed every nanosecond of every episode of Clarkson's Speed while, obviously, fully intending not to review it under any circumstances. But then last week's edition was a corker, from Clarkson driving, at 215mph, what looked like an oversized coffin on the Utah salt flats to his loving appraisal of the Lockheed SR71, the fastest plane in history - NY to London in 114 minutes. Oh, yes, please! Inside a hangar, Jezza gently caressed a retired Lockheed: 'As you watch it creaking and bleeding you get the impression that it's alive, that it's organic. And when you touch it, it doesn't feel like it's made of metal, it feels sort of vulnerable, like you could hurt it...' Well, I was practically in tears.
The best drama of the week was perfectly pitched for the average summer viewer's distracted attention span, successfully compressing the arc of an entire relationship into a mere 10 minutes - and I doubt Hef can manage that, even on Viagra and autopilot. Table 12 is a series of short films set, unsurprisingly, at the same restaurant table (the delightful Observer local, Moro, in Exmouth Market, for the record) and the first, Settling Up, starred Daniela Nardini as a journalist interviewing and flirting with a fledgling pop star, played by Paul Nicholls. Five minutes into the action and they were already living together and arguing. Three minutes later they had long since split, he was about to marry someone else and Nardini was revealing she was pregnant with his baby.
Another 10 minutes and we'd have covered the child's wedding, his early onset of Alzheimer's and the publication of her memoirs. I loved it. The acting and direction were perfectly pitched and paced and the result was a proper story, far more engaging than whatever Stephen Poliakoff might achieve over several hours.






Monday, July 2, 2001

Bruno Schulz / Murals illuminate Holocaust legacy row

Bruno Schulz


Murals illuminate Holocaust legacy row

Israel has taken the last work of a young Polish Jew from a town now in Ukraine 
Ian Traynor in Drogobych
Mon 2 Jul 2001 09.45 BST

When the Nazis massacred 230 Polish Jews in the ghetto of Drogobych on a cold November day in 1942 the Gestapo agent Karl Günter gained particular notoriety.
His victims that day included two young women and the writer Bruno Schulz, whose slim literary output evokes a magical, grotesque place and era which vanished in the Holocaust.
The Polish reporter Ryszard Kapuscinski describes Schulz's murder in Imperium, his travelogue of the disappearing Soviet Union, published in 1998.
"Pilgrimages are made to Drogobych because this is where the writer Bruno Schulz lived, created, and died," Kapuscinski wrote. "On the street Karl Günter, a Gestapo agent, shot Bruno Schulz. Günter had a small woman's pistol."
Almost 60 years after what became known locally as "Black Thursday", Schulz and his madcap depictions of Drogobych life have come back to haunt this pretty, provincial town. It was in Poland between the wars, and is now in Ukraine, and has a vibrant history of central European Jewish culture and its counterpoint of visceral anti-semitism.
When he died Schulz, who taught drawing at the local boys' high school was painting fairytale scenes on the walls of the bedroom occupied by the five-year-old son of the town's Gestapo chief.Long sought and then forgotten, the murals were found in February under the peeling pink emulsion in the pantry of a flat belonging to a retired Russian communist party apparatchik.
Within months they were gone: lifted from the walls and taken to Israel. Their removal caused an outcry and an anguished debate about ownership patrimony of the legacy of Jews lost in the Holocaust.
"The Israelis say the paintings belong in Israel. The Poles say they should be in Poland. But the authentic place for these paintings is Drogobych," Benjamin Geissler, the Hamburg film-maker who found them, said.
Alfred Schreyer, an elderly Holocaust survivor, retired violinist and former pupil of Schulz pupil, agrees.
"Schulz was born here, he worked here, he lived here, he died here. These paintings should remain here," he said.
Mr Schreyer's father was gassed by the Nazis at Belzec in Poland, his mother was shot in the forest outside Drogobych, and he himself ended the war in Buchenwald concentration camp.
Alerted to Geissler's discovery, experts from Yad Vashem, Israel's central Holocaust memorial and museum, arrived quietly in Drogobych in March to examine them, aided by Mark Shraberman, a Ukrainian Jewish archivist who worked in the regional capital, Lviv, before emigrating to Israel in the 90s.
They returned in May, got access to the pantry, painstakingly prised the murals from the wall, and spirited them away to Israel.
"It must be emphasised that Yad Vashem worked openly and with the full coordination of the local authorities," Yad Vashem said in a statement.
The Poles, who regard Schulz as a great Polish writer, are livid.
The Ukrainian secret police are investigating. The Ukrainian government has lodged protests with the Israeli government, which has not replied.
Schulz's reputation as a pioneer of Polish modernism rests on two small volumes of short stories published in the 30s: The Street of Crocodiles, also known as Cinnamon Shops, and The Sanatorium Under the Sign of the Hourglass.
He was also a prolific caricaturist and painter: more than 300 of his works are on display in a Warsaw museum.

The Kaluzhny family, the present occuopants of the flat, merely shrug at the fuss about what they regard as the sub-adolescent scrawls of an unknown writer and painter.

"This flat was privatised, it's our property, we can do what we want," Nadezhda Kaluzhnaya said
"No one told us these paintings were valuable. They're not even paintings, just smears on the wall.
"It would be different if they were frescoes, Italian, Michelangelo or something."
The five fragments of mural depict a princess, two dwarves, a horse and carriage: scenes from Grimms' fairytales painted on the orders of Felix Landau, the Austrian Nazi and war criminal who oversaw the murder or deportation of 15,000 Drogobych Jews under the Third Reich.
"The coachman in the carriage has the face of Schulz himself," Mr Schreyer said. "That's characteristic. He often puts himself in his paintings."
Landau, a junior SS officer, was a notorious sadist with a penchant for the fine arts.
He was convicted as a war criminal in post-war Germany and released after serving 15 years of a life sentence. He died in 1983 in his native Vienna.
The 100-year-old villa where the Kaluzhnys live was the police headquarters when Warsaw ruled here between the wars. It became Landau's home when the Nazis took over in 1941.
Some say a famous scene from Steven Spielberg's Schindler's List is based on Landau's bestiality in Drogobych: from the villa balcony, he would amuse himself by taking pot shots at Jewish slave labourers working in the orangerie across the street.
And when the Nazi looting of Drogobych was in full swing, he needed a local Jew "with perfect written and spoken German" to catalogue the art works and valuables being plundered.
Schulz fitted the bill. He survived a little longer by being given a German pass enabling him to move in and out of the ghetto.
When Landau learned that he was also a painter, he commissioned Schulz to decorate the walls of the nursery of his son Wolf-Dieter.
But Landau's subordinate Günter nursed a grudge against his boss for shooting a Jewish man Günter employed as his private dentist. Günter took his revenge by killing his boss's painter.
The former nursery is now a tiny storage room off the Kaluzhnys' kitchen, where Mrs Kaluzhnaya keeps her pickles and garlic, and fruit and vegetables from the garden.

On May 19 the team from Yad Vashem arrived in the pantry and spent three days chiselling the murals carefully from the walls.

"I got a phone call from Kaluzhny on May 23," Mr Schreyer said. "It was an idiotic conversation.
"Kaluzhny said: 'I've given them the frescoes.' I said: 'How could you do that?'
"If he'd called me a day earlier, I would have made sure they wouldn't have got across the Ukraine border with them.
"I said: 'They probably paid you a lot of money.' He said: 'Not a kopeck.'"
According to the Kaluzhny family, the Israelis originally offered $3,000 (£2,140) for the Schulz works. Local rumour has it that they got $100.
But Larisa Artemchenkova, their daughter, insists that they gave away the murals for nothing.
"We just wanted to be left in peace. There was talk of making a Schulz museum here, and where would my elderly parents go then?"
She then offered an inspection of the pantry walls. For a price.
"What do you think Jews would charge?" she smirked.
Yad Vashem insists that Jerusalem is the appropriate place to exhibit works of art left behind by the Nazis' Jewish victims, particularly given the anti-semitic history of places like Drogobych.
"Who cares about them in Drogobych?" the Jewish Holocaust historian Yehuda Bauer, said to the Warsaw newspaper Gazeta Wyborcza.
Indeed, there is little in Drogobych to recall its Jewish past, or its most famous son, apart from the big pre-war synagogue, a powerfully eloquent monument to neglect, amnesia, and anti-semitism: the building is an abandoned, foul-smelling wreck of rubble, broken glass and rotting timber used by down-and-outs for shelter and others as a public toilet.
"It's right that the paintings have gone," said Lyubov Vasilkin, a researcher at the Drogobych history museum.
"Bruno Schulz suffered under the Germans and it's right that he should be immortalised in Israel."
But it is the manner of the paintings' leaving that distresses many people. And despite the Ukrainian government's protests, it is assumed here that government officials were complicit in their removal: an illegal act, since no pre-1945 work of art may be taken out of the country without a licence.
"The removal of the 'fragments' of sketches was conducted with the full cooperation of the Drogobych municipality, and it was and still is clear to Yad Vashem that the Drogobych municipality was aware of the laws in its own country," the Yad Vashem statement said.
The Israelis plan to restore the murals and exhibit them in a new Holocaust museum opening in 2004.
"I was actually in Israel when the paintings were taken," Geissler said.
"I was talking to people at Yad Vashem about establishing a Schulz museum in Drogobych. They said nothing."
Except for this statement: "Yad Vashem has the moral right to the remnants of those fragments sketched by Bruno Schulz ... The correct and most suitable place to house the drawings he sketched during the Holocaust is Yad Vashem."

Thursday, June 7, 2001

The underclass finds a voice in Sheffield

 


The underclass finds a voice in Sheffield

The Arbor
Sheffield Crucible
Rating *
Lyn Gardner
Thursday 7 June 2001

A

ndrea Dunbar told it straight from the heart. She told it how it was. How it was was pretty awful if you were 17, pregnant, battered and living on the Buttershaw Estate near Bradford. Her autobiographical slice of life, The Arbor, produced at the Royal Court in 1980, has never been seen outside London; 11 years after Dunbar's death at the age of 28, Sheffield Theatres are righting that wrong.

This is not a sophisticated piece of theatre, but 20 years on Dunbar's voice still rings out clear and true. She recounts the violence of family life, her two teenage pregnancies and escape from the boyfriend who used her as a punchbag; the last scene of the play shows The Girl (also referred to as Andrea) sitting on her bed in a battered-women's refuge and opening a notebook to start to write.

This is much more than a northern slice of EastEnders. Its presence in Sheffield in election week is a reminder of the forgotten Britain that Tony Blair himself has referred to as the "underclass", which New Labour fails to give voice to. It is a reminder that Britain has the highest teenage pregnancy rate in Europe. On Tuesday night it also provided a reminder that some things haven't changed: as characters on stage poured racial abuse on "Pakis", race riots were taking place in Leeds, 40 miles away. That is how relevant this play is - a play written 20 years ago by a teenager and penned not with bitterness but exuberance.

Hayden Griffin's design relocates the play to a block of flats, which lends a useful spatial dimension to the drama, and Anna Mackmin's production cleverly evokes all the bustle of a large estate, from barking dogs to gymslip mums pushing buggies. And there is a cracking central performance of unselfconscious feisty charm from Kate Crossley.

Mackmin's attempts to push at the play's naturalistic boundaries don't always work, particularly in the big fight scene between estate residents and police. It is too chaotic and not sufficiently comic-aggressive. But the final choreographed sequence poignantly points up the impossibility of estate life both for Andrea and all the latterday Andreas.

This is 80 minutes that sings off the stage, curiously upbeat rather than depressing and funny-sad rather than tragic. At its heart is Dunbar herself - bright, lippy, desperate and full of untapped potential.

THE GUARDIAN


Thursday, April 19, 2001

Hugh Hefner / Leonardo DiCaprio, Jim Carrey and Cameron Diaz have replaced the rat pack of Frank Sinatra and Dean Martin


Hugh Hefner

Leonardo DiCaprio, Jim Carrey and Cameron Diaz have replaced the rat pack of Frank Sinatra and Dean Martin

Monday 9 April 2001 

The Playboy bloke? The porn king? 
I'll have you know Playboy is full of serious features and interviews.

No one reads it for those. 
On the contrary. Thousands of blind readers peruse the Braille edition every month.
To learn about beauty queens? 
No, for in-depth pieces about top personalities such as Fidel Castro, John Lennon and Jesse Jackson.
But there are dirty pictures, aren't there? 
A few tasteful photos, or so we're told. Marilyn Monroe was the first centrefold in 1953 - a shoot that launched her on a megabucks career and hedonistic lifestyle. Brigitte Bardot, Vanessa Redgrave and Cindy Crawford have all followed as pin-ups.
Isn't he famous for sleeping with his centrefolds? 
None of the above, but does claim to have slept with more than 1,000 women - with a little help of late from Viagra.
So what's the old dog up to now? 
It's his 75th birthday today, and he's coming to London to celebrate it.
Wearing pyjamas? 
That's his business wear. This is relaxation. He'll be shopping, eating and partying his way round town.
Who does he hang out with? 
He has plenty of bunnies to choose from. Plus the parties at his LA mansion are back in fashion. Leonardo DiCaprio, Jim Carrey and Cameron Diaz have replaced the rat pack of Frank Sinatra and Dean Martin. It's all part of retro cool - cigars, martinis and Playboy.
Has no one got any morals? 
Al Gore declined an invite - but look what happened to him.
But the rabbit is just ridiculous, isn't it? 
Hugh thought it gave Playboy a frisky, playful, yet sophisticated image. He drew it in half an hour, but it became so well known that a reader's letter once reached him with just the bunny's head for an address. He even had a rare rabbit named after him - Sylvilagus palustris hefneri .
Most likely to say: "I'll pay you $100,000 to take your clothes off."
Not to be confused with: Richard Desmond, Peter Stringfellow, Larry Flynt.



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