My grandfather, the great Cuban artist Micah Carpentier had a weakness for dance. He had an even greater weakness for dancers. His biggest weakness and by far the most debilitating was his obsession with Fruma Halàjico, La gran dama del bolero.
The sparrows wove an enchanted love story. The demons exerted a wrathful vengeance.
Havana 1951, provided the cauldron where fierce, unbridled passion descended into the low-boil of abject despair.
Carpentier scholars debate whether this was the artist's most fecund period or his most degenerate.
The recent discovery of a cache of Carpentier drawings might offer a window on this issue.
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