Henry Tonks and the Faceless Boys

Mar30

I have wrote in the past about how plastic surgery was originally born during the Great War as reconstructive surgery. If a soldier missing an arm or a leg was indeed a familiar figure, the introduction of new weapons during the world conflict led to the appearance of a kind of wounds precedently almost unheard of: the gueules cassées, “disfigured faces”.
Helmets were able to protect the head from granade splinters, but not the face; therefore field hospitals began to receive an unimaginable number of soldier whose faces had been blown away in large portions by the explosions.
It was an injury rarely discussed in the press, where the more iconic and patriotic image of the veteran amputee was considered more suitable, but the numbers speak for themselves: within English troops alone, 41.000 amputations were carried out, as opposed to the 60.500 men who suffered head or eye injury.
One had a higher probability of finding himself without a face rather than without legs.

Practically on every front, experimental procedures were adopted to reconstruct faces destroyed by shrapnel or burned by mustard gas.
In January 1916, at the military hospital in Aldershot, England, pioneer surgeon Harold Gillies encountered doctor Henry Tonks, who was serving as a temporary lieutenant in the Royal Army Medical Corps.

Henry Tonks was a doctor and an artist: besides being part of the Royal College of Surgeons, he also taught drawing and anatomy at the Slade Academy.

Soldiers were sent back from the front in desperate conditions, and Tonks had the feeling that he could not handle, from a professional and humane point of view, such a catastrophe. As he himself confessed in a letter: “I have decided that I am not any use as a doctor“. And in another letter he recounted: “the wounds are horrible, and I for one will be against wars in the future, you have no right to ask men to endure such suffering. It would not matter if the wounds did well but they are practically all septic“.
And as the war progressed, things did not improve. After the Somme offensive, on July the 1^st1916, more than 2.000 patients flooded the hospital: “men without half their faces; men burned and maimed to the condition of animal“.

Thus, when Gillies asked Tonks to document his reconstructive operations by portraying the patients’ faces before and after surgery, Tonks happily accepted, as he was certainly more at ease in the artistic dimension.
To draw portraits could seem redundant, as photographs of the disfigured soldiers were already being taken, but both doctors were convinced that the cold-hearted objectiveness of film could be misleading in respect to the tactile and expressive qualities of a painting.

Thanks to his collaboration with Gillies, Henry Tonks produced a seried of facial wound portraits which still today stands unsurpassed for its emotional impact, scientific interest and subtlety of representation.
Sure, these pastel portraits had first of all a didactic intent, and the author himself did not wish them to be seen by the general public. And yet these works show a complexity that transcends their function of medical illustrations.

To understand how Tonks worked on his subjects, we have an extraordinary fortune: in some cases, the archives still have both his pastel portraits and the medical photographs. We can therefore watch, side by side, two images of the same patient, one recorded on film and the other one composed by the charcoal and colors of the artist.

Comparing Tonks’ drawings with the photographic shots, what emerges is the abstraction operated by the artist, which is meant to remove any hint at the patient’s suffering or interiority. These are accurate works, detached and at the same time compassionate, focusing mainly on the open wound, depicted with an almost “tactile” precision through the stratification of color (a consequence of the artist’s surgical training).
And yet the uncanny quality of these drawings lies in their absolutely modern ambiguity.
What could by all means be a portrait of a normal male face — ordinary traits, well-groomed hair, a knotted tie — becomes somehow “sabotaged” by the presence of the wound. It is as if our gaze, wondering over the painting’s surface, could register all these common details, just to be short-circuited the moment it meets the scandal of the injury. An inconceivable monstrosity, which appears impossible to integrate with the rest of the image.
It is then inevitable for us to fall back to the eyes of the portrayed subject, to his gaze fixed upon us, and to wonder about its impenetrable meaning.

Another peculiarity is the use of pastel, a medium considered “feminine” in respect to more virile, lively oil color or tempera; a choice that in this case allows for the lacerations of the flesh to be rendered in a softer and more tolerable way. What’s more, thanks to the lighter tone of these colors, Tonks provides his subjects with a delicate beauty and tenderness that no photograph could have ever captured.
These portraits seem as vulnerable as the mutilated youth they represent.

Suzannah Biernoff, in her wonderful essay Flesh Poems: Henry Tonks and the Art of Surgery (from which I stole most of the information for this post — you can read it in Visual Culture in Britain, n. 11, 2010) defines Henry Tonks’ works as “anti-portraits, in the sense that they stage the fragility and mutability of subjectivity rather than consolidating the self portrayed“.

Henry Tonks’ studies are set apart from classic medical illustration by virtue of this research of a particular beauty. They do not recoil from the horror they intend to portray, but cover it with a veil of elusive sensuality, in which a face becomes the sign of the uncertainty of existence, and a symbol of the cruelty Man inflicts upon himself.

Visitors From The Future

Mar21

This article was originally published on #ILLUSTRATI n. 42, Visitors.

If we had the opportunity to communicate through time with humans of year 8113, would we be able to understand each other?
Supposing that every trace of our current civilisation had been erased, how could we explain our present to these remote descendants, these true aliens?

In 1936 this question arose in the mind of Dr. Thornwell Jacobs, the then director of the Oglethorpe University in Georgia, and lead to his decision to create a compendium of the human knowledge acquired by that time. What’s more, he thought it would have been better to show to the future men and women a wide range of significant objects that could convey a clear idea of the customs and traditions of the XX century.
It wasn’t an easy matter. Let’s think about it: what object would you include in your virtual museum if you had to summarise the entire history of the human race?

With the help of Thomas K. Peters, photographer, film producer and inventor, Dr Jacobs spent three years building his collection. As time passed by, the list of objects got more and more impressive and it included some unexpected items, which clearly the two curators reckoned that the humans of the Ninth millennium needed to see.

Among others, the collection contained 600.000 pages of text on microfilm, 200 narrative books, drawings of the greatest human inventions, a list of sports and hobbies which were fashionable during the past century, film showing historical events and audio recordings of the speeches of Hitler, Mussolini, Roosevelt and Stalin. And again: air shots of the main cities of the world, eyeglasses, dental plates, artificial limbs, navigation instruments, flower and plant seeds, clothes, typewriters… up to Budweiser beers, aluminium foil, Vaseline, nylons and plastic toys.

The two men then patiently sealed that huge pile of objects in hermetic recipients made of steel and glass, filling some capsules with nitrogen, in order to prevent the material oxidation. At last, they collocated the “museum”, exhibiting six millenniums of human knowledge, in a crypt under the Phoebe Hearst Memorial Hall. They did not forget to place a machinery called Language Integrator in front of the entrance: a tool that can teach how to speak English to the future historians, in case the Shakespeare language would not be at its bests any more.

The chamber was officially sealed on the 25^th of May 1940. The plate affixed to the enormous stainless door specified that its insides did not contain any gold or jewelleries. Better safe than sorry.

This strange and restricted museum is still present and, if everything goes as planned, will remain untouched until year 8113, as indicated on the inscription. Yes, but why this specific year?
Dr. Jacobs considered the year 1936 as the bookmark on a hypothetical timeline, then added 6.177 years, corresponding to the amount of time passed from the establishment of the Egyptian Calendar (4241 B.C.).

The Oglethorpe University experience was regarded as the first “time capsule” of human history. The idea obtained a huge resonance and was followed by many other attempts of preserving the human knowledge and identity for future generations, by burying similar collections of memories and information.

Will the homo sapiens be still around in 8113? What will he look like? Would he be interested in discovering how we lived during the 40s of the XX century?
Beside the sci-fi (utopic or dystopic) visions of the future evoked by the time capsules, their charm resides in what they can tell about the past. An optimistic time, permeated by a blind trust in the human progress and still unscratched by the Second world war disaster, the holocausts and the nuclear horrors, an era unaware of the countless tragedies to come. A time when it was still possible to fiercely believe that future generations would have looked up to us with respect and curiosity.

Nowadays it is impossible to conceive in human terms such a distant future. The technology in our hands is already transforming us, our species, in ways that were unthinkable just a few decades ago. Our impact on the ecological and social system has already reached unprecedented levels.
Therefore, should we picture a “visitor” from year 8113 anyway… it is reasonable to presume that looking at us, his long-lost ancestors, he would shiver in disgust.

(Thanks, Masdeca!)

Neapolitan Ritual Food

Mar16

by Michelangelo Pascali

Everybody knows Italian cuisine, but few are aware that several traditional dishes hold a symbolic meaning. Guestblogger Michelangelo Pascali uncovers the metaphorical value of some Neapolitan recipes.

Neapolitan culture shows a dense symbology that accompanies the preparation and consumption of certain dishes, mostly for propitiatory purposes, during heartfelt ritual holidays. These very ancient holidays, some of which were later converted to Christian holidays, are linked to the passage of time and to the seasons of life.
The symbolic meaning of ritual food can sometimes refer to the cyclic nature of life, or to some exceptional social circumstances.

One of the most well-known “devotional courses” is certainly the white and crunchy torrone, which is eaten during the festivities for the Dead, between the end of October and the beginning of November. The almonds on the inside represent the bones of the departed which are to be absorbed in an vaguely cannibal perspective (as with Mexican sugar skeletons). The so-called torrone dei morti (“torrone of the Dead”) can also traditionally be squared-shaped, its white paste covered with dark chocolate to mimick the outline of a tavùto (“casket”).

The rhombus-shaped decorations on the pastiera, an Easter cake, together with the wheat forming its base, are meant to evoke the plowed fields and the coming of the mild season, more favorable for life.

The rebirth of springtime, after the “death” of winter, finds another representation in the casatiello, the traditional Easter Monday savory pie, that has to be left to rise for an entire night from dusk till dawn. Its ring-like shape is a reminder of the circular nature of time, as seen by the ancient agricultural, earthbound society (and therefore quite distant, in many ways, from the linear message of Christian religion); the inside cheese and sausages once again represent the dead, buried in the ground. But the real peculiarity, here, is the emerging of some eggs from the pie, protected by a “cross” made of crust: a bizarre element, which would have no reason to be there were it not an allegory of birth — in fact, the eggs are placed that way to suggest a movement that goes “from the underground to the surface“, or “from the Earth to the Sky“.

In the Neapolitan Christmas Eve menu, “mandatory courses are still called ‘devotions’, just like in ancient Greek sacred banquets”, and “the obligation of lean days is turned into its very opposite” (M. Niola, Il sacrificio del capitone, in Repubblica, 15/12/2013).
The traditional Christmas dinner is carried out along the lines of ancient funerary dinners (with the unavoidable presence of dried fruit and seafood), and it also has the function of consuming the leftovers before the arrival of a new year, as for example in the menestra maretata (‘married soup’).

But the main protagonist is the capitone, the huge female eel. This fish has a peculiar reproduction cycle (on the account of its migratory habits) and is symbolically linked to the Ouroboros. The capitone‘s affinity with the snake, an animal associated with the concept of time in many cultures, is coupled with its being a water animal, therefore providing a link to the most vital element.
The capitone is first bred and raised within the family, only to be killed by the family members themselves (in a ritual that even allows for the animal to “escape”, if it manages to do so): an explicit ritual sacrifice carried out inside the community.

While still alive, the capitone is cut into pieces and thrown in boiling oil to be fried, as each segment still frantically writhes and squirms: in this preparation, it is as if the infinite moving cycle was broken apart and then absorbed. The snake as a metaphor of Evil seems to be a more recent symbology, juxtaposed to the ancient one.

Then there are the struffoli, spherical pastries covered in honey — a precious ingredient, so much so that the body of Baby Jesus is said to be a “honey-dripping rock” — candied fruit and diavulilli (multi-colored confetti); we suppose that in their aspect they might symbolize a connection with the stars. These pastries are indeed offered to the guests during Christmas season, an important cosmological moment: Macrobius called the winter solstice “the door of the Gods“, as under the Capricorn it becomes possible for men to communicate with divinities. It is the moment in which many Solar deities were born, like the Persian god Mitra, the Irish demigod Cú Chulainn, or the Greek Apollo — a pre-Christian protector of Naples, whose temple was found where the Cathedral now is. And the Saint patron Januarius, whose blood is collected right inside the Cathedral, is symbolically close to Apollo himself.
Of course the Church established the commemoration of Christ’s birth in the proximity of the solstice, whereas it was first set on January 6: the Earth reaches its maximum distance from the Sunon the 21st of December, and begins to get closer to it after three days.

The sfogliatella riccia, on the other hand, is an allusion to the shape of the female reproductive organ, the ‘valley of fire’ (this is the translation of its Neapolitan common nickname, which has a Greek etymology). It is said to date back to the time when orgiastic rites were performed in Naples, where they were widespread for over a millennium and a half after the coming of the Christian Era, carried out in several peculiar places such as the caves of the Chiatamone. This pastry was perhaps invented to provide high energetic intake to the orgy participants.

Lastly, an exquistely mundane motivation is behind the pairing of chiacchiere and sanguinaccio.
Chiacchiere look like tongues, or like those strings of paper where, in paintings and bas-relief, the words of the speaking characters were inscribed; and their name literally means “chit-chat”. The sanguinaccio is a sort of chocolate black pudding which was originally prepared with pig’s blood (but not any more).
During the Carnival, the only real profane holiday that is left, the association between these two desserts sounds like a code of silence: it warns and cautions not to contaminate with ordinary logic the subversive charge of this secular rite, which is completely egalitarian (Carnival masks hide our individual identity, making us both unrecognizable and also indistinguishable from each other).
What happens during Carnival must stay confined within the realm of Carnival — on penalty of “tongues being drowned in blood“.

Links, curiosities & mixed wonders – 6

Mar9

Step right up! A new batch of weird news from around the world, amazing stories and curious facts to get wise with your friends! Guaranteed to break the ice at parties!

Have you seen those adorable and lovely fruit bats? How would you like to own a pet bat, making all those funny expressions as you feed him a piece of watermelon or banana?
In this eye-opening article a bat expert explains all the reasons why keeping these mammals as domestic pets is actually a terrible idea.
There are not just ethical reasons (you would practically ruin their existence) or economic reasons (keeping them healthy would cost you way more than you can imagine); the big surprise here is that, despite those charming OMG-it’s-so-cuuute little faces, bats — how should I put it — are not exactly good-mannered.
As they hang upside down, they rub their own urine all over their body, in order to stink appropriately. They defecate constantly. And most of all, they engage in sex all the time — straight, homosexual, vaginal, oral and anal sex, you name it. If you keep them alone, males will engage in stubborn auto-fellatio. They will try and hump you, too.
And if you still think ‘Well, now, how bad can that be’, let me remind you that we’re talking about this.
Next time your friend posts a video of cuddly bats, go ahead and link this pic. You’re welcome.

Sex + animals, always good fun. Take for example the spider Latrodectus: after mating, the male voluntarily offers himself in sacrifice to be eaten by his female partner, to benefit their offspring. And he’s not the only animal to understand the evolutionary advantages of cannibalism.

From cannibals to zombies: the man picture below is Clairvius Narcisse. He is sitting on his own grave, from which he rose transformed into a real living dead.
You can find his story on Wikipedia, in a famous Haitian etnology book, in the fantasy horror film Wes Craven adapted from it, and in this in-depth article.
Since we’re talking books, have you already invested your $3 for The Illustrati Archives 2012-2016? Thirty Bizzarro Bazar articles in kindle format, and the satisfaction of supporting this blog, keeping it free as it is and always will be. Ok, end of the commercial break.

Under a monastery in Rennes, France, more than 1.380 bodies have been found, dating from 14th to 18th Century. One of them belonged to noblewoman Louise de Quengo, Lady of Brefeillac; along with her corpse, in the casket, was found her husband’s heart, sealed in a lead lock box. The research on these burials, recently published, could revolutionize all we know about mummification during the Renaissance.
While we’re on the subject, here’s a great article on some of the least known mummies in Italy: the Mosampolo mummies (Italian language).
Regarding a part of the Italian patrimony that seldom comes under the spotlight, BBC Culture issued a good post on the Catacombs of Saint Gaudiosus in Naples, where frescoes show a sort of danse macabre but with an unsettling ‘twist’: the holes that can be seen where a figure’s face should be, originally harbored essicated heads and real skulls.
Now for a change of scenario. Imagine a sort of Blade Runner future: a huge billboard, the incredible size of 1 km², is orbiting around the Earth, brightening the night with its eletric colored lights, like a second moon, advertising some carbonated drink or the last shampoo. We managed to avoid all this for the time being, but that isn’t to say that someone hasn’t already thought of doing it. Here’s the Wiki page on space advertising.

Since we are talking about space, a wonderful piece The Coming Amnesia speculates about a future in which the galaxies will be so far from each other that they will no longer be visible through any kind of telescope. This means that the inhabitants of the future will think the only existing galaxy is their own, and will never come to theorize something like the Big Bang. But wait a second: what if something like that had already happened? What if some fundamental detail, essential to the understanding of the nature of cosmos, had already, forever disappeared, preventing us from seeing the whole picture?

To intuitively teach what counterpoint is, Berkeley programmer Stephen Malinowski creates graphics where distinct melodic lines have different colors. And even without knowing anything about music, the astounding complexity of a Bach organ fugue becomes suddenly clear:

In closing, I advise you to take 10 minutes off to immerse yourself in the fantastic and poetic atmosphere of Goutte d’Or, a French-Danish stop-motion short directed by Christophe Peladan. The director of this ironic story of undead pirates, well aware he cannot compete with Caribbean blockbusters, makes a virtue of necessity and allows himself some very French, risqué malice.

Tiny Tim, Outcast Troubadour

Mar1

Remember, it’s better to be a has-been than a never-was.
(Tiny Tim)

That an outsider like Tiny Tim could reach success, albeit briefly, can be ascribed to the typical appetite for oddities of the Sixties, the decade of the freak-out ethic/aesthetic, when everybody was constantly looking for out-of-line pop music of liberating and subversive madness.
And yet, in regard to many other weird acts of the time, this bizarre character embodied an innocence and purity the Love Generation was eager to embrace.

Born Herbert Khaury in New York, 1932, Tiny Tim was a big and tall man, sporting long shabby hair. Even if in reality he was obsessed with cleansing and never skipped his daily shower during his entire life, he always gave the impression of a certain gresiness. He would come up onstage looking almost embarassed, his face sometimes covered with white makeup, and pull his trusty ukulele out of a paper bag; his eyes kept rolling in ambiguous winks, conveying a melodramatic and out-of-place emphasis. And when he started singing, there came the ultimate shock. From that vaguely creepy face came an incredible, trembling falsetto voice like that of a little girl. It was as if Shirley Temple was held prisoner inside the body of a giant.

If anything, the choice of songs played by Tiny Tim on his ukulele tended to increase the whole surreal effect by adding some ancient flavor: the setlist mainly consisted of obscure melodies from the 20s or the 30s, re-interpreted in his typical ironic, overblown style.

https://www.youtube.com/watch?v=c71RCAyLS1M

It was hard not to suspect that such a striking persona might have been carefully planned and engineered, with the purpose of unsettling the audience while making them laugh at the same time. And laughter certainly didn’t seem to bother Tiny Tim. But the real secret of this eccentric artist is that he wasn’t wearing any mask.
Tiny Tim had always remained a child.

Justin Martell, author of the artist’s most complete biography (Eternal Troubadour: The Improbable Life of Tiny Tim, with A. Wray Mcdonald), had the chance to decypher some of Tiny’s diaries, sometimes compiled boustrophedonically: and it turned out he actually came within an inch of being committed to a psychiatric hospital.
Whether his personality’s peculiar traits had to do with some autistic spectrum disorder or not, his childish behaviour was surely not a pose. Capable of remembering the name of every person he met, he showed an old-fashioned respect for any interlocutor – to the extent of always referring to his three wives as “Misses”: Miss Vicki, Miss Jan, Miss Sue. His first two marriages failed also because of his declared disgust for sex, a temptation he strenuously fought being a fervent Christian. In fact another sensational element for the time was the candor and openness with which he publicly spoke of his sexual life, or lack thereof. “I thank God for giving me the ability of looking at naked ladies and think pure thoughts“, he would say.
If we are to believe his words, it was Jesus himself who revealed upon him the possibilities of a high-pitched falsetto, as opposed to his natural baritone timbre (which he often used as an “alternate voice” to his higher range). “I was trying to find an original style that didn’t sound like Tony Bennett or anyone else. So I prayed about it, woke up with this high voice, and by 1954, I was going to amateur nights and winning.”

Being on a stage meant everything for him, and it did not really matter whether the public just found him funny or actually appreciated his singing qualities: Tiny Tim was only interested in bringing joy to the audience. This was his naive idea of show business – it all came down to being loved, and giving some cheerfulness in return.

Tiny avidly scoured library archives for American music from the beginning of the century, of which he had an encyclopedic knwoledge. He idolized classic crooners like Rudy Vallee, Bing Crosby and Russ Columbo: and in a sense he was mocking his own heroes when he sang standards like Livin’ In The Sunlight, Lovin’ In The Moonlight or My Way. But his cartoonesque humor never ceased to be respectful and reverential.

Tiny Tim reached a big unexpected success in 1968 with his single Tiptoe Through The Tulips, which charted #17 that year; it was featured in his debut album, God Bless Tiny Tim, which enjoyed similar critic and public acclaim.
Projected all of a sudden towards an improbable stardom, he accepted the following year to marry his fiancée Victoria Budinger on live TV at Johnny Carson’s Tonight Show, before 40 million viewers.

In 1970 he performed at the Isle of Wight rock festival, after Joan Baez and before Miles Davis; according to the press, with his version of There’ll Always Be An England he managed to steal the scene “without a single electric instrument”.

But this triumph was short-lived: after a couple of years, Tiny Tim returned to a relative obscurity which would last for the rest of his career. He lived through alternate fortunes during the 80s and 90s, between broken marriages and financial difficulties, sporadically appearing on TV and radio shows, and recording albums where his beloved songs from the past mixed with modern pop hits cover versions (from AC/DC to Bee Gees, from Joan Jett to The Doors).

According to one rumor, any time he made a phone call he would ask: “do you have the tape recorder going?”
And indeed, in every interview Tiny always seemed focused on building a personal mythology, on developing his romantic ideal of an artist who was a “master of confusion“, baffling and elusive, escaping all categorization. Some believe he remained a “lonely outcast intoxicated by fame“; even when fame had long departed. The man who once befriended the Beatles and Bob Dylan, who was a guest at every star’s birthday party, little by little was forgotten and ended up singing in small venues, even performing with the circus. “As long as my voice is here, and there is a Holiday Inn waiting for me, then everything’s just swell.”

But he never stopped performing, in relentelss and exhausting tours throughout the States, which eventually took their toll: in spite of a heart condition, and against his physician’s advice, Tiny Tim decided to go on singing before his ever decreasing number of fans. The second, fatal heart stroke came on November 30, 1996, while he was onstage at a charity evening singing his most famous hit, Tiptoe Through The Tulips.

And just like that, on tiptoes, this eternally romantic and idealistic human being of rare kindness quietly left this world, and the stage.
The audience had already left, and the hall was half-empty.