Sunday, December 7, 2014

John Greenleaf Whitter: Thoughts as December is With Us

In grammar school, we had to memorize poetry and, standing before the class, recite what we had committed to heart. As I was not a particularly good student, but did have a certain facility for memorization, I would memorize many more poems than my teachers required and eagerly ask to recite them all. This, of course, endeared me to my teachers. It also, quite naturally, infuriated my classmates.

Today, because of this early experience with memorizing poetry, I can still remember whole pages of Coleridge's "The Rime of the Ancient Mariner," among many other poems no one seems to pay much attention to anymore. Memorizing poems as a kid and, moreover, reciting them, instilled in me a love of language. It also trained my ear. Although my powers of memorization have now declined, I still like to test myself from time to time. At a recent public reading of Whittier's "Snow-Bound" I closed the text before me and simply recited the last six minutes of the poem from memory as a dare to myself. I am as proud of those six minutes as I am of anything else I have done in my life.

John Greenleaf Whittier is still with us, and we should rejoice. For Whittier's work, taken as a whole, is the finest body of poetical work by any 19th century American poet. Some might argue that Whittier is the finest poet the American experience has produced. No one would get any argument from me. His stature seems, to me, to be beyond questioning.  His influence subtlely pervades our collective consciousness even today…at a time when his name is on signage all over Massachusetts Route 495, but too few of us actually still read his work.

Whittier's work is filled with a New England sensibility, but a special sensibility all his own. He transcends the “Fireside Poet” label we’ve slapped on him in the past one hundred years or so. It is easy to use comfortable labels for poets. In Whittier’s case he quickly wriggles out of any label we place on him. He lived at the same time as the great Transcendentalist spirits; he was, however, not much of a joiner, and it is easy to see, when one examines Whittier's life and work, why he didn't have much to do with Emerson and his followers – fellow New Englanders who lived just a few miles down the road. However, Whittier was enough of a universal poetical genius that he could write the kind of poetry he wanted to, and he could and did write incomparable Transcendentalist poetry of the kind that Emerson, for example, for all his greatness, could only hope to have written.  “Hampton Beach” defines transcendentalism more clearly than any philosophical discursion I have ever read on that subject.  When I read the work of Robert Frost or, more recently, the work of Stanley Kunitz, I hear Whittier's voice, and I realize that Whittier's spiritual and poetic legacy, even in the 21st century, perhaps runs deeper inside us than we can know.

I devoted more than two years of my life to the study and to the recording of Whittier's poetry. This is not nearly enough time. During this time, I began to understand that among the many poems in Whittier’s vast output are a number that, arguably, are less than first rate. Among these are works that Professor Elaine Apthorp, formerly of San Jose State University, rightly calls "topical poems."  Whittier was, like the composer Franz Schubert, someone who could take the most mundane consideration and amplify it into something so outside itself that it could take on a meaning far beyond the apparent. Even so, in a number of these topical poems, Whittier seems to be uninspired by his subject matter. Some of these attempts, as a result, simply do not and probably should not speak to our modern sensibilities. Among these poems of lesser importance are ones about the birthdays of people now long forgotten, public library openings, and similar commemorative events. Whittier was a famous man and took pride in being a public poet…a concept with which you and I have no familiarity in 2014. When he was asked for a poem, he conscientiously did his best to commemorate the event, and his best is still pretty good; but the results are, for the most part, not the work for which he is and will be remembered. Whittier's work can also sound very old-fashioned to us; this is not surprising, but for a different reason than we might imagine: good poetry demands a patient reading, and Whittier's occasional quaintness of voice requires more patience than we may be capable of – for at the beginning of the 21st century we have become an impatient lot.

But Whittier was also a poet of genius. He wrote many poems in which his heart and mind are fully engaged, and where he catches us up, enfolds us, and takes us along with him almost before we have had a chance to object. Whittier’s language can be very seductive. We can find ourselves walking quietly beside him in some leafy glade, or, as with the painter Turner, find ourselves strapped to the mast, facing the teeth of the gale right alongside the half-crazed artist. Whittier wrote poems among which are masterpieces of the first order. Some of this work is so fine that it simply has no equal in the work of any other American poet.


















In 2005, 217 Records released my reading of Whittier's "Snow-Bound," as Volume One of the Whittier Bicentennial Recording Project. This recording features a wonderful essay by the estimable Brenda Wineapple and employs sections of Charles Ives's Piano Sonata No. 2 "The Concord Sonata." In Volume Two “Barbara Frietchie & Other Poems” we use music as well. I have chosen music that, I hope, adds something to the story and feeling each poem conveys without diluting Whittier’s intent. Speaking of works of genius, there are at least three masterpieces among the poems collected on this recording: "Hampton Beach," "Maud Muller," and "Burning Driftwood." I have chosen these and the other poems in this collection carefully…I might also say, painfully...as there were many more poems that I wanted to share with you than would fit on one CD. 

Whittier was a complex creative personality and his poems are not easy to read well aloud. I’ve heard many people read Whittier’s poems, over the years, and many times these readings have all but ignored Whittier’s passion…even his anger.  His work draws from all of his varied life experiences, all of which seem infused – whether youthful experiences or those of old age – with a passionate intensity. Whittier was a man of intense and burning passion, and we must never forget this. It is one of his more attractive contradictions that, along side this intensity of feeling, he was also a devout Quaker. He was an ardent abolitionist long before it became chic to be one in New England intellectual circles, and he damn near lost his life for his beliefs. As a young man he was, of all things, a cobbler…and also a schoolteacher. He was one of the founders of the Liberal Party, which became, over time, the Republican Party; and, of course, he was a poet of the very first rank.

Whittier's feelings for his sister Elizabeth, who died in 1864, seem to have been as loving and at least as intense, from a creative standpoint, as those that Wordsworth felt for his sister Dorothy – but, in Whittier’s case, without the unfortunate perversion and mental breakdown that was the result of Wordsworth's obsession. "The Pressed Gentian" is all about the quiet, secret side of Elizabeth Whittier that she showed only to her brother. It is a poem of revealing passion. Elizabeth's love for her brother and he for her inspired a number of other poems as well. The poem "Sweet Fern" (which I recorded for this CD but reluctantly cut to save space) is yet another example. Unlike Wordsworth – who wrote some fairly silly stuff in his old age – Whittier's work just got better and more heartfelt as his hair turned white. The poem "Burning Driftwood" attests to this. Whittier, in the stern photographs taken in his old age, looks likes someone we might not like to know. The irony is, of course, that he was exactly who we needed to know then…and, God knows, need to know now.

"Hampton Beach" is about the ineluctable oneness of things: for it seems clear that on a trip to the short New Hampshire seacoast, Whittier experienced the same melding of body and spirit with the quiet forces of Nature that Rousseau reported in his Confessions a century earlier. The poem "Isabel," an early work, is a fine example of Whittier's understanding of matters of the heart. (So, John, who was this woman who spurned your youthful intensity of feeling?) "Maud Muller," a personal favorite of mine (I grew up near "where the cool spring bubbled up"), is the best kind of sentimental story – its hoped-for happy ending depending upon the beneficence of Providence and an ardent belief in life after death. "In School Days" shows Whittier at his most powerfully reminiscent and quietly evocative. It is a sweet gem of a poem. I still cannot read it, after many months of living with it, without tears in my eyes.

Yes, John Greenleaf Whittier was a so-called "Fireside Poet." But, he was also a poet of rebellion and call to action. His abolitionist poetry pushed intolerance and injustice right back in the faces of his readers; he shames us, even today, and, I suspect, would be entirely unapologetic about it. If Whittier were alive today, I fully expect that the murder of Eric Garner at the hands of the police on Staten Island would have resulted in a poem by Whittier that would have contained all of the fury he could muster in the face of such inhumanity. In "What the Birds Said" he weighs our spirits down with a vision of corpses littering the southern Civil War battlefields, while ending the poem by suggesting to us that the flight of these birds northward is a symbol and embodiment of the renewal of Spring and that season's inherent optimism and refreshment of the spirit. Whittier always points his finger at the evil; but, while we watch, just above his sightline, the evil is slowly dissipating in the newly-lit horizon he creates for us… for it cannot abide the face of the dawn which appears in every poem, in one form or another, by this great American master. With this dawn comes hope, and we must remember that Whittier is the most hopeful of poets. He knows that we are capable, as human beings, of being much better than we are. That he likes to remind us of this, in his best work, is perhaps why in 2014 some of us may feel uncomfortable with him.

In the disturbing poem "How the Woman Went From Dover" it is no holds barred, as Quaker women accused of witchcraft are carted down the New Hampshire seacoast and, by order of the Crown, whipped at each village along the way…the madness stopped by the intervention of an enlightened magistrate in the village of Salisbury. This poem, too, is unapologetic in its intensity of feeling and deep sense of outrage. It was intended to make Whittier's readers angry at such injustice. I hope it makes you just as angry today.  (My producer, Terri Templeton, and my engineer, Alex Kosiorek, have created a masterful recording of this work, and theirs is the prize for its success as a fine example of recording art.)

Whittier lived a full span of 85 years. In his early years he lived a dramatic and eventful life; in middle age he established his reputation by selling 20,000 copies of the poem "Snow-Bound" within a few weeks of its printing. (Just imagine a poet selling 20,000 of anything, in any time frame, today.) When anyone wrote Whittier a letter – and many strangers did – he would answer each letter himself. These letters are filled with his own special brand of generosity and fullness of spirit. I own two of these letters he wrote to fans who had written to him, and reading them fills me with a quiet joy.

In his old age, he was revered, all the while continuing to produce work that was increasingly metaphorical, sometimes abstract – always passionate. Schools closed to honor his birthday. Children memorized his poems and recited them to their parents with pride. As he aged, his work became more profoundly felt and masterful. There are many examples of this blossoming of artistic powers in old age in the canon of western artistic experience. It is no accident that I chose to end my performance of "Burning Driftwood" on this recording with the music of another defiant, surprising, and celebrated octogenarian, the English composer Ralph Vaughan Williams. These men had much in common: not the least of which was that even in their 80’s they still could not get enough of life.

At this 207th anniversary of Whittier's birth, let us take time to read his best work again; yes, perhaps, even memorize some of it. Perhaps we would discover, by doing this, the things that are surely ever-present in ourselves, but, alas, which now may be a source of self-consciousness in the stark world we have inherited. Reading the work of Whittier, especially reading it aloud, can reaffirm life. Some of his poems will arouse our innate and natural sense of indignation and anger at any and all injustice. Others will astound us with their simple beauty, and, in doing so, perhaps remind us that there is no reason for the unjust neglect of our finest poet.  For while we have named hospitals, streets, and even towns in memory of Whittier (and this is as it should be), the best memorial to him is the private one that once resided in the hearts of the people who had read his work, and can, I believe, reside in modern hearts just as easily. For once we permit the old Quaker to speak to us, the beauty of his imagery and language can win us over. We can marvel at this bachelor poet’s deep and inexplicable understanding of love. We will, without doubt, gain inspiration from his passionate commitment to all that is good and all that is true.

~   Michael Maglaras
     217 Records
     Ashford, CT
     December, 2014

To purchase Michael Maglaras’s performance of Whittier’s “Snow-Bound” click here

To purchase Michael Maglaras’s performance of Whittier’s “Barbara Frietchie & Other Poems” 

Wednesday, December 3, 2014

1913 Armory Show Film - Peoria - One Day Only


One Day Only!

Sat. Dec 13  |  5 pm

222 SW Washington Street
Peoria, Illinois

In 1913, the International Exhibition of Modern Art, which became known simply as the “Armory Show,” changed the face of art in America. At this groundbreaking show, many Americans had their first taste of a new, revolutionary kind of art. By entering the doors of an armory located between 25th and 26th Streets in New York City, they entered the modern era.

Filmmaker Michael Maglaras of 217 Films will introduce the new documentary at the Giant Screen Theater before the showing.

$5 members, $7 adults, $6 seniors (age 60+), $5 children (ages 3-17)  Click here to buy tickets.

More on the film:  “The more we dug deeply into the history of the Armory Show,” said the film’s director, Michael Maglaras, who also wrote the film and narrates it, “the more it became clear to us that, with this exhibition focused on ‘the new,’ we had truly entered the American century: the century of our greatest achievements as a nation and the beginning of our preeminence on the world stage.”

From February 17 until March 15, 1913, Americans by the thousands pushed their way through the doors of the 69th Regiment Armory to experience “Modern Art” for the first time. What they saw annoyed and infuriated some, and captivated, delighted, and inspired many.

President Theodore Roosevelt, upon visiting the exhibition, called the most modern of these works “repellent”. That was just the beginning of the controversy surrounding this historic exhibition.
What resulted from these four weeks of mass exposure to European artists such as C├ęzanne, Renoir, Van Gogh, and the upstart Marcel Duchamp with his “Nude Descending a Staircase”—as well as such Americans as Marsden Hartley, John Marin, and Charles Sheeler—changed how Americans came to understand their own times.

The Great Confusion: The 1913 Armory Show” features works by more than 60 American and European painters and sculptors. The film probes deeply into the history of how the show was organized; examines the critical efforts of American artists such as Arthur B. Davies, Walter Pach, and Walt Kuhn; and explores the impact that the show had on collectors of art as well as ordinary citizens.

A recent review in The Dartmouth said of “The Great Confusion” that “Michael Maglaras...brought the drama of the original show back to life.” Mike Holtzclaw said in the Daily Press, “For anyone who enjoys art, this is an eye opening film.”


Excerpts from “The Great Confusion: The 1913 Armory Show” can be viewed here.

Tuesday, November 18, 2014

Emerge Film Festival Features Marsden Harley Film









Lewiston, Maine's dynamic Emerge Film Festival will take place Thursday, April 9 to Sunday, April 12.

This second annual event will kick off with a special 10th anniversary screening of 217 Films' 2005 film "Cleophas and His Own."

This film is based on Lewiston-native Marsden Hartley's epic poem of the same name and made its world premiere in Lewiston in 2005.  It was shot entirely in Maine, including scenes at Washburn Norlands Living History Center in Livermore Falls, just outside Lewiston.

This film screening will be held as a fundraiser for Emerge.  More detail will be posted soon on the festival website.

Read Daniel Hartill's Lewiston Sun Journal story at this link.


Marsden Hartley, ca. 1941.  Photo by Louise Young.  
Printed by permission of 217 Films. 




















More about the film:

Cleophas and His Own:  A North Atlantic Tragedy
Written by Marsden Hartley
A Film by Michael Maglaras

Just a few days after the death of the great American Expressionist master Marsden Hartley, the typescript of his private, unpuplished narrative, Cleophas and His Own, was discovered among his belongings. Sixty-two years later, film maker Michael Maglaras turned this epic narrative into a feature-length film using more than 24 of Hartley’s paintings and drawings. This film presents Hartley (played by Maglaras) seated in his makeshift studio, where he recounts the tragic story of the fate that befell the Francis Mason family with whom he lived in Nova Scotia. The last seven years of Hartley’s life were devoted to reliving this experience, resulting in a body of work as a painter which is second to none in the American experience.  2005.  Not rated. 147 minutes. 

Thursday, November 13, 2014

The Great Confusion Comes to Peoria


One month from today, 217 Films will screen "The Great Confusion:  The 1913 Armory Show" in Peoria, Illinois.   This film will be shown on December 13 at 5:00pm at the Peoria Riverfront Museum.  Director Michael Maglaras will be in attendance to introduce the film.  

For a full list of screening dates, times and locations, follow this link.  

This film has been showing to standing room only audiences since it premiered in September 2013.  A recent review in The Dartmouth said of “The Great Confusion” that “Michael Maglaras...brought the drama of the original show back to life.”

To purchase the DVD, follow this link.  

Wednesday, October 8, 2014

Peoria Riverfront Museum to Screen "The Great Confusion: The 1913 Armory Show"

217 Films just added a new screening date for "The Great Confusion:  The 1913 Armory Show." This film will screen on December 13 at 5:00pm at the Peoria Riverfront Museum in Peoria, Illinois.  Director Michael Maglaras will be in attendance to introduce the film.  

The next chance to see this film is October 26 in Falmouth, Virginia at Gari Melchers Home & Studio at Belmont.  Executive Producer Terri Templeton will introduce this screening.

For a full list of screening dates, times and locations, follow this link.  

This film has been showing to standing room only audiences since it premiered in September 2013.  A recent review in The Dartmouth said of “The Great Confusion” that “Michael Maglaras...brought the drama of the original show back to life.”

To purchase the DVD, follow this link.  

Wednesday, October 1, 2014

Modernism and the American Idiom: A Conversation with Film-maker, Michael Maglaras

A Fine Arts Magazine: Passionate for Fine Art, Architecture & Design

Modernism and the American Idiom: A Conversation with Film-maker, Michael Maglaras
September 29, 2014 

Seymour Fogel (1911 – 1984), The Wealth of the Nation, 1938. 
Mural. Social Security Building, Washington, DC (installed 1942).














...I sought out a conversation with Michael Maglaras, documentary film maker, who, along with his wife, Terri Templeton, have produced a number of “essays in film” under the banner, 217 Films. Maglaras and Templeton have taken an interest in these vital, yet tumultuous years of the early 20th century, with particular focus on American artists from the early modern period. He points out that, “Early American Modernism comes as an antithesis of what you’d expect. We were at the height of social, economic and imperialist growth. We were swaggering across the world stage at that time. Right in the middle of that expansionistic period in our history comes a group of artists engaged in what I would call a period of superb self-examination. Just as we were gaining an understanding of who we were as a nation, a handful of painters, musicians and writers ‘whack’ us with a new truth!”

Continue reading at this link.  

View 217 Films' library of work at this link.  

Monday, September 22, 2014

The Arts of the WPA

Shooting is nearly complete and rough editing has begun for our new film "Enough to Live On: The Arts of the WPA."  This photo is from our shoot this summer in Portland, Maine.  Read all about the remarkable man we interviewed at this link.

"Enough to Live On: The Arts of the WPA" will premiere in 2015 and dates are filling up fast for screenings.

We will show this film at the New Britain Museum of American Art on May 14, 2015 and at the Smithsonian American Art Museum on June 17, 2015.  Keep your eye on our screening schedule at this link.  New dates will be added frequently.  

Don't miss your chance to see our current film "The Great Confusion: The 1913 Armory Show" in Falmouth, Virginia next month.  Full details at this link.












For those who have been watching "The Roosevelts" on PBS, you'll particularly enjoy the cameo of Teddy Roosevelt in this film.  You can catch Teddy in this excerpt from "The Great Confusion" at this link.


A recent review in The Dartmouth said of “The Great Confusion” that “Michael Maglaras...brought the drama of the original show back to life.” Mike Holtzclaw said in the Daily Press, “For anyone who enjoys art, this is an eye opening film.”