Showing posts with label Salisbury. Show all posts
Showing posts with label Salisbury. Show all posts

Thursday, May 2, 2019

The Cruelest Miles

The Cruelest Miles: The Heroic Story of Dogs and Men in a Race Against an Epidemic

By Gay Salisbury and Lainey Salisbury

When a deadly diphtheria epidemic swept through Nome, Alaska, in 1925, the local doctor knew that without a fresh batch of antitoxin, his patients would die. The lifesaving serum was a thousand miles away, the port was icebound, and planes couldn't fly in blizzard conditions—only the dogs could make it. The heroic dash of dog teams across the Alaskan wilderness to Nome inspired the annual Iditarod Trail Sled Dog Race and immortalized Balto, the lead dog of the last team whose bronze statue still stands in New York City's Central Park. This is the greatest dog story, never fully told until now.

I was actually set to read something else for this prompt (Overnight Float, if you must know) but as the Iditarod rolled around and I found myself reading the Wikipedia page about the original Serum Run and sobbing, I thought, well, why not just completely wallow in it?  What better than to really immerse yourself in the shared terror of small choking children slowly dying without life saving medicine which is only available through gale force winds, 60 degree below zero chills, and the luck of some dogs' noses?

Actually, the Iditarod truly is a phenomenal feat of athleticism, by both dog and man.  It is also one of those things which, avoiding excessive commercialism and set in some of the country's wildest territory, manages to still feel pure in the sense that watching the World Series definitely does not. The Cruelest Miles manages to take the story and bog it down with facts and history and reality, which all distracts from the feel-good sports win mentality of the thing.

That can be a difficult thing with books about specific historical events: you want to get more detail and background than you can with, for example, a deep dive through Wikipedia, but you also want to keep things zippy, or else you're going to lose readers.  Killers of the Flower Moon kind of runs into the same problems: it's an incredibly interesting situation and events, but in an effort to make it novel-length, the pacing can get dragged out and lose suspense.  Which I know is a ridiculous thing to say about a non fiction account of a historical event that you can definitely just look up and see how it ended.  But still!  One I read last year, Destiny of the Republic, manages to straddle this line well, I think partially because it really did take that long for Garfield to die (spoiler alert!), but it too got draggy there towards the end.

Anyway, if you want to know all about turn of the century and 1920s Nome, this is the place to start.  Honestly, nothing about how it is described sounds appealing.  Not only are you encased in snow for seven or eight months months and cut off from outside contact, contagious diseases also run rife through town.  

Once we skip past the introductory information and get to the dogsled race against death, it does pick up the pace, pun very much intended.  What's interesting is that, because the authors were working with whatever historical materials were available after the race, you can kind of see how some of racers get overlooked for the "celebrity" ones.  I have to assume that some of this was probably because of the native heritage of the non-celebrity dogsledders.  (I know that there is a better term for that but I already returned the book to the library, so we're sticking with "dogsledders").  There were twenty plus racers on the route, but only a few are highlighted.  Maybe the Salisburys had more they didn't want to include for fear of bogging it down, but I would read all twenty racers' recollections and not be satisfied.  From the accounts included, a lot of them also felt that it was simply a necessary task, and perhaps didn't know at the time just how much publicity it was getting in the lower 48, but stoicism is the bane of the historical record.  You gotta get out there and get those memories down, because everyone dies. 

The dogs get their proper dues in the book as well.  Due to the kerfuffle between Balto and Togo (and Seppala and Kaasen), the authors definitely have to explore that aspect of it, but since they don't really come down on one side or the other, I think in an effort not to tarnish anyone's efforts or memories, it doesn't really add much to the story.  The authors do discuss the second batch of serum, but don't really go into that relay at all.  There's definitely also a sense that they spent a lot of time on airplanes for nothing, since they were never used in the Serum Run, and I can see that they were trying to foreshadow the Serum Run as the last hurrah of the sleddog era, but it's an unnecessarily long detour away from the real action.

Anytime you have sleddogs and unforgiving nature, you want to spend as much time as you can on that story.  You have only to look at this year's race, where the front-running team decided to go on strike to realize that the dogs, loyal, clever, and brave, are the real heroes.  Which is what Seppala was arguing about all along - without them, would Nome still be on the map? Or would it be another ghost town, a cautionary tale about living beyond the edge of the world?


Cancer Ward and The Cruelest Miles have been, well, not depressing, exactly, but definitely not as light and frothy as some of my other selections (ahem, My Lady's Choosing) have been.  As a preemptive strike against gloominess, I'm now reading two very silly books: a YA crime mystery and a chick lit epistolary novel.

21: A Book By Two Female Authors

Thursday, April 4, 2019

Provenance

Provenance: How a Con Man and a Forger Rewrote the History of  Modern Art

By Laney Salisbury and Aly Sujo

It is the astonishing narrative of one of the most far-reaching and elaborate cons in the history of art forgery. Stretching from London to Paris to New York, investigative reporters Laney Salisbury and Aly Sujo recount the tale of infamous con man and unforgettable villain John Drewe and his accomplice, the affable artist John Myatt. Together they exploited the archives of British art institutions to irrevocably legitimize the hundreds of pieces they forged, many of which are still considered genuine and hang in prominent museums and private collections today.

I really enjoyed this book.  I have a semi-jaundiced eye towards art collecting to begin with, and this only proves my point: if the value of art is no longer based on the piece itself but some other extrinsic factor, then it is no longer art, but commodity.  The artist/forger Myatt makes the point (as do several others): the painting has not changed, only the name of the producer.  Why then does the price drop by the order of several hundred thousand?  Apparently the answer to Shakespeare's famous question is: no, a rose would not smell as sweet by any other name. Nor would a Giacometti.

Provenance is a really interesting book about a very specific fraud on the art world, but also about greater questions in personal responsibility, confidence, and the many cracks and seams that are available to be exploited by people without care for collateral damage, both in general terms in our modern society and also very specifically in the fine art forum.

Just this week as I'm reading it, the New York Times had two articles about long lost or newly discovered art pieces of great artists, an unearthed Caravaggio, found in an attic, and some purported Rembrandts, discovered in a collection held for six generations.  Honestly, both made me barking mad, since it seems like each loses sight of the forest for the trees. Look, all of this rush to decide whether this painting or that is painted by a "master" - authorship is more fluid than that (at least in paintings).  Stop attaching such importance to an unimportant feature.  In Provenance, they kinda wrap up the whole escapade by talking about art fraud via a broader lens, and mention that Picasso (and possibly other artists as well) would sign works done by other artists.

I've also been watching Fake or Fortune on Netflix, which is a fascinating look as the show people take paintings and try to authenticate them. It shows some of the avenues that people would use to support the provenance. It all seems to me like a giant guessing game, but there are definitely people out there who dedicate their lives to art, and in some cases, specific artists, so closely that they "know" immediately if something is off or not.  That sixth sense there is almost like a superpower.  What's interesting about this fraud perpetrated here is that it was able to succeed despite multiple people finding the forgeries lacking, because the provenance allayed all doubts.  That was the true con (obviously, otherwise they wouldn't have called the book Provenance). 

All of my aggravation about provenance aside, I am absolutely appalled at the utter gall of Drewe to callously upend historical archives for his own personal agenda and pleasure.  I am definitely a black and white seer, a rules follower, and no matter how silly I think it is to search for value in a trail of owners, I am utterly disgusted at his behavior.  Obviously, not only in this regard, but also in his refusal to acknowledge what it is. Just admit you did it for personal gain!  You're a piece of shit, John Drewe, have the self awareness to admit it.

48: Two Books That Share The Same Title