There’ll always be an England, and we have a piece of it

We bow in awe before Scatter friend Paul Duchene’s annointment as a fellow of England’s venerable Royal Society for the Encouragement of Arts, Manufactures and Commerce, or RSA.

God save out gracious Queen Victoria. Portrait by Sir George Hayter (1792-1871). Wikimedia Commons“No kissing of ring necessary,” his partner, Sherry Lamoreaux, insists. But we can scarce restrain ourselves.

Apparently as a lad way back in 1968 Paul took the RSA test while at college and did smashingly. But the membership fee was 25 quid (about $35 now; three weeks’ pay then) and so he slunk into the cesspool of journalism and embarked for the colonies instead. A while ago his mum found the original paperwork and Paul wrote the RSA, asking if he could join the club he was invited to 41 years ago if he paid up. Why yes, the RSA replied.

What’s it mean? As Lamoreaux puts it:

“Duchene can now use the honorific ‘Fellow of the Royal Academy of the Arts (FRSA)’ in his correspondence. When he does, his friends will snort with derision.”

We suppose now he’ll be hanging around the pub piano with Sir Elton and Sir Paul, belting out pop tunes as he downs another black and white.

We can only say: Hail, Fellow. Well met.

Taking it to the Web: Charles Deemer’s new micro-movie

Art Scatter is on the road, but some things you can appreciate long-distance. Such as Scatter friend Charles Deemer‘s new micro-movie Deconstructing Sally, which the Portland playwright/novelist/essayist/teacher finished a few days ago, shooting it on a Flip minicam and spicing it up with a terrific soundtrack of mostly ’60s songs.

Charles Deemer and museIt’s 30 minutes long, and you can watch it here, in three parts. Charles subtitles it Reflections on Memory and Hallucination, and calls it “a fictional memoir about sex and identity in the 1960s.”

Deemer has long played around with the fuzzy border between fiction and reality. Most writers do; he’s just more open than most about it. And this, he insists, is fiction: Some of the things in the movie really happened, some of them didn’t. Which is which isn’t all that important.

Deconstructing Sally is about his (or the narrator’s) long relationship with the woman he thought was the love of his life, until she came out as a lesbian. However much of her is “real,” she’s been a fruitful muse: She also shows up in Deemer’s play The Half-Life Conspiracy and his novel Kerouac’s Scroll.

The idea of short, relatively inexpensive-to-make films online (but longer and more narrative than the stuff on YouTube) is surely going to explode, even if it’s tough at this point to see how you make money doing it. Sort of like blogging. There are stories everywhere, and people are itching to tell them. Sure, a lot of the stories are inarticulate. But many others are well-told — professional in every sense but economics. And a format like this encourages smart, original thinking, which in Deemer’s case is coupled with long experience in the practical skills of storytelling. Deconstructing Sally has voice: It’s is a good example of how skillful and individualistic democratic filmmaking can be.

This isn’t the first time Deemer’s tackled a new way of doing traditional things. He’s a pioneer of hyperdrama, a kind of exploded form of theater: Think of it as a two-dimensional drawing transformed into a popup book. His hyperdrama version of Chekhov’s The Seagull expands the story by imagining what happens when the characters move offstage and into the wings. That process takes up three-fourths of Deemer’s version; the other quarter is the play as Chekhov wrote it.

There is passion in Deconstructing Sally (Deemer self-administers an R rating) but with an attempt at a long vision. The film, which is tightly edited visually, is carried by the narration, which looks back after many years, trying to put into perspective something that was extremely intense.

This is very much a visual short story, told by a “hero” (I use quotes because the storyteller speaks ruefully of himself and his own missteps in life) with a distinct point of view and a desire to bring the clarity of understanding to the muddle of emotion. At the film’s beginning Charles quotes T.S. Eliot from Tradition and the Individual Talent:

“Poetry is not a turning loose of emotion, but an escape from emotion; it is not the expression of personality, but an escape from personality. But, of course, only those who have personality and emotions know what it means to want to escape from these things.”

Does Deemer escape? There’s a flareup or two of possibly still raw emotion here. We learn a lot about the narrator and a little about the mythic Sally and a little more about the difficulties in ever truly knowing another person, let alone ourselves.

But it’s time to look back on the 1960s with a clear observant eye, shucking the myth and trying to figure out what the times meant personally, politically, and culturally. A made-up 1960s gets in the way: newly minted AARP members revel in thir rearranged memories of high times; right-wing demagogues exploit the period for its fear factor: This is where America went wrong. Somewhere between is an amazing variety of actualities, waiting to be reconsidered. Deconstructing Sally is one of those reconsiderations. Give it a look.

De Gaulle was a rock. But probably not a wolf eel.

Wolf eel, Alaska Fisheries Science Center/Wikimedia Commons

Mrs. Scatter is feeling a little high on the Google Glue. Hence, the third person. She did a search for “Large Smelly Boys” to find art for her last post and the bra story came up as the No. 1 hit. The Alvin and the Chipmunks post was a close second.

WWII portrait of General Charles de Gaulle, about 1942/Wikimedia CommonsJust imagine, if you will, bras and Alvin and the Chipmunks.

I thought as much.

So back to our regularly scheduled mis-programming …

Today we leave behind the bay where we come for a week every summer. We rent a small condo and visit with family who live close by.

Crab pots scuttle back and forth on butt-busting boats at the changing of the tide. Fruit flies are thick on the bananas on the counter. The small gratuity hair-cleaning products say “Hello Hydration.”

Most nights, Mr. Scatter and I pour a little wine and traipse out to sit on logs to watch the sunset. On the last night, it was just cloud cover. Little boats bobbed on the water. I picked up rocks that were flat on one side and lined them up next to me on the log. I imagined how they.d look in mosaics.

Mr. Scatter picked up a rock …

Mr. Scatter: It looks like Charles de Gaulle.

Mrs. Scatter: How’s that?

Mr. Scatter (pointing to pin-dot holes): See. Here are the eyes. And here’s the long nose.

Mrs. Scatter: It looks like a wolf eel to me.

Mr. Scatter: Well, De Gaulle sort of looked like a wolf eel.

If the man can lead the Free French Forces during World War II and have an airport named after him, he can look any way he wants.

Whadya think? Separated at birth?

Weekend scatter: taiko, missiles and OBT’s arts fair

Korekara, copyright Rich Iwasaki/2007

The Monday trifecta: Portland Taiko, a new CD, and sake. Photo: copyright Rich Iwasaki, 2007

The trouble with traveling is that you miss things at home. The trouble with home is that you miss things in other places, but that’s another story.

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During our August wanderings we’re missing a lot of stuff in Portland, including Portland Taiko‘s big-bash Rhythms of Change CD release party at Sake One. It’s been reskedded from Friday to Monday, Aug. 31, because of weather, but by that time we’ll have spent our 36 hours in Portland and be on the road again. Still, you might be able to make it. Check the details here. The CD is good! (I speak, mind you, as a Taiko board member. But I really do like this CD.)

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jpeg

We’re missing Jerry Mouawad’s newest play, The Cuban Missile Tango, at Imago Theatre, which looks like a one-weekend shot, at least for now. Jerry’s been blogging about the process of putting this play together, and he gives some fascinating insights into how a creative person brings a vague idea into specific reality. It’s worth reading, here. The play looks at the Cuban Missile Crisis of October 1962, a “collision of two worlds” that came who knows how close to sparking World War III. But it looks at it through the lens of a Halloween party. Jerry wrote this in June, early in the process of assembling the play:

“I have an idea of a noisy swinging kitchen door inspired by Jacques Tati’s Monsieur Hulot’s Holiday. So with a big idea, the danger of World War III, I start with a couple of waiters and a swinging door.”

Looks like one show left at 2 this (Saturday) afternoon. Ten bucks at the door, 17 S.E. Eighth Ave.

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We’re very sorry to be missing Saturday’s free all-day arts fair, Fall.ART.Live, in the studio and parking lot of Oregon Ballet Theatre at 818 S.E. Sixth Ave. across the Morrison Bridge from downtown.

home_fall-art-live_770pxThe intrepid Mighty Toy Cannon has the story at Culture Shock; check it out. From Josie Mosley Dance and Northwest Dance Project to Portland Opera, Do Jump! and Portland Actors Conservatory, a lot of good-sounding stuff’s hitting the stages and the booths. Plus, fancy sandwiches and beer!

It’s a good thing for OBT to be doing now, after Portland and the national dance community stepped up in June to stave off its financial crisis. If the ballet has a newfound sense of being a vital part of Portland’s arts community, that’s terrific: Certainly the company’s dancers and artistic director Christopher Stowell did their part to help Conduit contemporary dance center in its more recent money crisis.

Mighty Toy Cannon points out that Portland Mercury writer Stephen Marc Baudoin took a more snippy view of the whole thing. We think he misses the point. On the other hand, maybe he’s just bucking for membership in the exclusive League of Tough-Guy Arts Observers.

Ludicrous Stinkin’ Bottom-fill: A call for help!

The Smellovision machine!

The Large Smelly Boys hit the road again, this time with technological diversion.

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Someone told us in all seriousness (hard to believe, we know) that word games are good for Large Smelly Boys and their ilk. We know all about ilk. We go through gallons (many plurals) of it every week.

So as a little surprise for the Large Smelly Boys and their many gallons of ilk, we have a new word game. Tired of them yet? Sorry if you are, but the truth is we need another cargo hold game. We’ll be on the road again tomorrow.

We’ll be the Scatter/Condiment Family Plus One. No, the Plus One won’t be an Extra Large Smelly Boy, part of our warped parenting mentality to keep the peace in the backseat. It’ll be a Doting Aunt who’s a veteran at traveling with us: Her iPod is always just an earbud away.

We’ll also have a new weapon this time: A working car stereo system. Ours conked out years ago, and I told Mr. Scatter that I wasn’t going one more mile with the bickering boys without an audio salve. We made sure to squeeze in a trip to the cartoy store last week between pickle preparations. Audio books are da bomb! We’re finally making our way through Lloyd Alexander‘s Prydain Chronicles.

But before we click on the dial, cue up the cargo hold game …

Oh, but wait! The game has a new twist this time. I’ve written only the top of the post. I need help with the bottom-fill.

Could you please? We need words that start with … LSB!

Lucky Sons a Britches
Luxurious Slimy Bananas
Laughing Silly Belches

Get the picture? C’mon and surprise the Large Smelly Boys. Provide some bottom-fill.

Lloyd Alexander's Chronicles of Prydain

— Laura Grimes, without the LSBs

Escaping to reality: Chick flicks and the comic spirit

Margaret Sullavan and James Stewart in The Shop Around the Corner. Wikimedia Commons.

Margaret Sullavan and James Stewart in “The Shop Around the Corner”: heart-to-heart, but not eye-to-eye. MGM, 1940/Wikimedia Commons

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In a world of reality television and cheesy stadium-pop music, finding good, intelligent escapist entertainment is a lot harder than it ought to be. The idea is to tickle your brain, not insult it, and tickling takes a certain deftness with the feather that far too many entertainers lack.

I turn to certain writers. Jasper Fforde and the outrageous wordplay of his Thursday Next and Nursery Crime novels. John Mortimer and his Rumpole stories. Ellis Peters and her Brother Cadfael medieval mysteries. Thurber and Wodehouse and Christopher Buckley, whose Little Green Men and Thank You for Smoking so audaciously straddle the line between cynicism and glee. I listen to good musicians performing Cole Porter. I watch Gene Kelly or Ann Miller or Gregory Hines dance. I revisit the raw brilliance of John Belushi in Blues Brothers or Animal House, or his comic soulmate Jack Black in School of Rock.

shopcoverAnd I watch chick flicks. Not just any chick flick, but the well-written, well-performed ones that tend to fall into the folds of screwball or romantic comedy. Yes, I like the movies of Nora Ephron, and if that drums me out of the league of tough-guy arts observers, so be it.

What exactly is a chick flick? The term’s a mild put-down that means something like, “inconsequential fluff that panders to womanly emotions,” but that’s a short-sighted way of looking at things. Isn’t the supposedly feminine point of view — that pursuing happiness is better than winning through intimidation — the crux of the civilizing process? Better Katharine Hepburn leading Cary Grant on a wild goose chase than Dirty Harry making his day with a gun in your face, although Harry has his lower-cortex satisfactions, too.

inthegoodoldsummertimevhscoverThe best chick flicks exude optimism, which of course makes them immediately suspect in intellectual circles. (Then again, a lot of intellectuals miss the point that Waiting for Godot is as much a vaudeville comedy as it is an existential outcry: Even Beckett enjoyed a good giggle.)

But in a good chick flick, the optimism isn’t blind. It’s based on a belief that personal fulfillment is a matter of finding the right fit in life. That fit most likely involves finding the right romantic mate (although it could also be the right profession or cause or community), which in a larger sense means discovering the truth about yourself and putting yourself in a position where you don’t have to pretend.

And while the consummation might be a juicy kiss or an “I do” and is certainly about sexual attraction, it is more deeply about finding the person whose quirks and foibles you can put up with for a lifetime, because the underlying connection is profound.

youve_got_mailIt’s a coupling of equals built on compromise and respect, and it typically involves wriggling out of a bad potential match and shedding several layers of self-delusion so you can see the simple beauty of what ought to be. That often requires eating a few slices of humble pie and taking some practical steps. In that sense, Jane Austen is the mother of all chick flicks. And Shakespeare, with his comic creations of Kate and Petruchio in The Taming of the Shrew and Beatrice and Benedick in Much Ado About Nothing, might be their grandpa.

In a good chick flick, you know the ending right off the bat. That bugs a lot of critics, who complain that the show is predictable and formulaic. So it is. But so what? Sure, you know where the story’s taking you, but how you get there is most of the fun. The ride can be as raunchy as Bull Durham or as raucous as Working Girl or as delicate as 84 Charing Cross Road. The variety that lives inside familiarity is astonishing, and becoming comfortable with the little surprises of the familiar is one of the pleasures of life.

If the critical challenge of the chick-flick hero and heroine is to bring a split personality into harmony — the “false” personality of social striving and mistaken assumptions giving way to the “true” personality of inner self-awareness, even as it steels romantic idealism in the crucible of practicality — then Miklos Laszlo‘s 1937 Hungarian play Parfumerie is an almost perfect example of the form. Set in Budapest, it’s about a pair of shop clerks who bicker through their everyday lives but who also indulge in an idealized, platonic affair with an unknown pen pal, eagerly awaiting the next heartfelt letter of devotion. Continue reading Escaping to reality: Chick flicks and the comic spirit

Venti Smelly Boys go wild: Mysterious Unruly Whinings

Circus Parade, Albany, NY, ca. 1910

The Scatter Family hits the road, Mostly Unaware of Wrinkles.

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The Scatter/Condiment Family is on the move again. The pickles have been stacked in the pantry and the beach toys have been packed in the cargo hold.

This week: Points North.

Next week: Points South.

To get from here to there: Get on I-5, go south, drive 10 hours, turn right.

Special instructions: Time trip to drive through Seattle at 3 a.m.

Special aside: When driving through Seattle, Large Smelly Boys mysteriously morph into Venti Smelly Boys.

Parenting tips: Remove sharp implements from cargo hold. Soundproof. Stock with water, snacks and car games. Toss in Large Smelly Boys. Toss in tree air freshener. Lock tight.

Tell Large/Venti Smelly Boys the cargo hold will be unlocked if they produce a blog post. Not surprisingly, they obligingly spill the bounty from their latest car game (cargo hold game?) … coming up with words that start with MUW. They take over the keyboard …

Mystery Under Wear
Mighty Underpants Woman
Merry Uppity Weasel

muw-2Mousy Undulating Waves
Mini Upstanding Wafer
Minor Unthinking Whuppass

Masterfully Uppity Women
Mayonnaise Usually Withers
Most Unusual Week

muw-1Missing Ugly Whale
Misanthropic Unruly Witch
Morbid Urpish Whittler

Malicious Uneasy Win
Men’s Underwear Weekly
Making Urban Weirdness

muw-3Malevolent Ugly Wench
Magnificent Ursine Whiskers
Making Ursula Whimper

Morticians Usually Win
Mainly Upsetting Wigs
Masticating Uncooperative Worms

Martha’s Uncle Whistles
Mighty Uncouth World
Munching Unusual Weed

Merry Urologists of Windsor
Making Unlikely Whoopie
Mighty Useless Winnebago

They typed nearly letter-perfect! I made only one change: I added the “S” in “Ursine.”

— Laura Grimes and the Venti Smelly Boys

Spreading the love of pickles, one jar at a time

The raw materials: Cukes to the people. Photo: Laura Grimes

Move over, blogsters. Clear the counters. It’s pickle time!

I had planned to tear down a fence this week, in part to keep the Large Smelly Boys busy because it’s the one week all summer when THEY’RE BOTH HOME. But then I realized it was the only few days I’d be in town during pickle season.

So, please, don’t bother to call. We’re too busy with mustard seeds, canning salt and – oh yeah – cukes!

We make bread and butters, dills and sweets. Other times we make jam, apple chutney, pesto and mustard. So you might think we’re the Scatter Family, but really we’re the Condiment Family.

Why pickles? Well, we like to eat ’em, we like to make ’em, we like to give ’em away.

But there’s a deeper level, and it’s a sweet and sad little story. I first “published” it somewhere else on the internets, so forgive me if you’ve read it before. It’s slightly adapted for this audience. I originally wrote it as part of a series of stories about the author Henry James.

Why pickles make the perfect present
OR
Changing the literary landscape, one jar of pickles at a time

As in many Henry James novels, often the smallest gesture has the biggest import, backed by layers of meaning, history, implication and nuance. It can be a short, shared experience between two people, seemingly commonplace, but it immediately accelerates to a potent moment when given just a little backstory. James knew all about backstory, the bigger picture, the stuff rich stories are made of.

1963 Heritage Press edition of "The Ambassadors" by Henry James. Photo: Laura GrimesMartha Ullman West, Art Scatter’s favorite dance correspondent, emailed me soon after my story about trying to read James appeared in the O! books section of The Oregonian on Jan. 4 of this year.

I had notified most people that I was including their comments in my story, but I didn’t say a thing to Martha. I left it all as a surprise.

She didn’t know that the fine edition of The Ambassadors that had belonged to her late husband, Frank West, would be featured so prominently.

She generously gave me that book after I told my woeful tale of my sad little copy from the library. I gave her a quart jar of my best dill pickles in return.

Soon after, Martha wrote: “Unbeknownst to you, I think the pickles were a completely appropriate gift, because Frank made pickles every summer until the last year of his life. Kosher dills were his specialty.”

My dad made pickles. Once.

It was just a few weeks after my mom had surgery to remove a large tumor from the middle of her brain when my aunt showed up at the house with a box full of pickling cukes.

Before my mom had surgery my family didn’t know how or if she would recover. We weren’t given any expectations. We didn’t know whether she’d be able to walk or talk. We were told the recovery process could take up to a year.

But only a few weeks after surgery my mom was up and about a bit. Oddly, the memory embedded most in my mind is my mom sitting on the front stoop of the house, a large bandage wrapped around her head, carefully trying to control her hand movements as she put smelly mothballs into pantyhose, tied them, and then buried them in the planters next to the stoop as a ruse to keep out the pesky squirrels that dug there all the time. It never worked. The squirrels just scratched aside the mothballs, one tied pantyhose after another, leaving the porch to smell like a nasty attic. My mom did all this while sitting rigidly straight and not bending over, because she risked her brain collapsing in and then the outside of it hemorrhaging. Which would have been bad. It could have killed her.

My dad, who was always antsy in the best of circumstances, carefully attended my mom and was determined to keep everything as normal as possible. He never stopped moving. He did all the things my mom had always done. He cooked. He cleaned. He couldn’t keep himself busy enough.

And then my aunt showed up with cucumbers. When my dad asked what he was supposed to do with them, my aunt replied that my mom always made pickles.

And so she had. Every summer. Along with canned peaches and pears.

First off the assemby line: bread and butters. Photo: Laura GrimesBread-and-butter pickles were her specialty. They’re the ones with sliced cucumbers and soft streamers of onions and a bunch of mustard seeds and peppercorns that look like confetti. Those pickles were always in our pantry and in the fridge. They were always in fancy dishes on holiday tables. I had never known them not to be there.

And I had never known my dad to command the mottled black enamel canner until that summer. He made batch after batch of bread-and-butter pickles. The jars started lining up on the counter and they started to pop as they sealed. My dad would say, “Did you hear that? They go ‘pop, pop, pop.'” I would laugh and say, “How was that again?” He would repeat it: “They go ‘pop, pop, pop!‘”

After a day or two he had stacks of jars, each labeled with his tidy uppercase printing.

After a few months he started to have headaches. When he finally went to the doctor, he was immediately given prescriptions and an appointment with a neurosurgeon. He had a brain tumor.

We could tell the rhythm was completely different this time from when my mom had surgery. With her, doctors weren’t hurried about setting dates, taking plenty of time to carefully map her brain to figure out the least invasive path. They knew her tumor was most likely benign and slow-growing. With my dad, appointments were scheduled right away.

His surgery, just days after his diagnosis, confirmed what we had suspected: The tumor was malignant. He had one of the most aggressive types of brain cancer. We were told he would probably have a year.

My dad, who had so attentively taken care of my mom, not just after her surgery but for all the months and years before it when her behavior was so goofy and we didn’t know why, now had to be taken care of. And my mom, just months out of surgery and still recovering herself, suddenly had to take care of my dad.

By the time pickling cukes were in their prime again my dad was wobbly and sleeping more. He never made pickles again.

So you see, Martha, pickles were a perfectly appropriate gift. Unbeknownst to you, my dad made pickles. Just once. Near the last year of his life. Bread-and-butters were his specialty.

Don't sweat it, just heat it. Photo: Bob Hicks

The Decemberists in August: The day the music died

Jem Baggs (The Wandering Minstrel), Punch, 1892/Project Gutenberg

Jem Baggs (“The Wandering Minstel”), from Punch, 1892. The Gutenberg Project

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Tim Brown of Oregon Live has this brief
but fascinating report of the Decemberists‘ recent troubles in the great state of Michigan.

The Portland band’s crime? Busking on a street corner. The shock! The horror! The upgrade in the quality of buskers!

Musicians have long resorted to singing for their supper (and, if they manage to get on American Idol, the silver and the dining chairs, too). And the tradition of the wandering minstrel is long and storied: Remember the golden-voiced Alan a Dale, the lovelorn troubadour of Robin Hood’s Merry Men? Of course, considering his known associates, the Sherwood strummer probably would have been not just ticketed but also hanged from the neck if he’d unloosed his lute on the streets of Michigan.

For shame, Decemberists. Know ye not that the keeping of the peace is the primary of American freedoms? Know ye not that the rabble of America must not sit or lie on sidewalks, or assault the uncovered ears of decent burghers with the sweetness of unbidden sound?

Besides, you only pulled in two bucks before you were collared. And in America, the failure to turn a handsome profit is the chiefest of crimes.

The Culture Wars, version 2009: It’s beginning to look a lot like infighting

Winslow Homer, Bayonet Charge, Harper's Weekly, 1862/Wikimedia Commons

Rocco Landesman has barely been confirmed as new leader of the National Endowment for the Arts, and already it’s beginning to look like Bull Run.

To be fair, Landesman fired first.

We’re going to get away from this democracy-for-the-sake-of-democracy idea, he told the New York Times, and back to setting some good old-fashioned standards. No more spreading cash around just to be geographically correct. Money’s going to flow to quality — and that’s much more likely to be found in a big mainstream operation like Chicago’s Steppenwolf Theatre than in some little theater in Peoria.

Now the <100K Project (motto: “Bringing the Arts Back Home”) has fired back, branding Landesman as an anti-democratic elitist who equates art with money and power and who fundamentally misunderstands that art belongs to everyone. The post is worth reading, complete with comments.

It’s important to understand that these combatants, while they may be equally committed to the idea of art, are coming from very different places. The <100K Project is concerned with nurturing art in communities with less than 100,000 population: It believes that culture is everywhere, and has an intensely local base. Landesman is an urban high-roller, a big-deal Broadway producer who believes (and I hope I’m not putting false words in his mouth) that the best art and artists tend to accrue in large population centers — our New Yorks and Chicagos and the like — and are therefore the art and artists that must be kept flourishing. If “lesser” art sources in “lesser” places die in the process … well, that’s the price of ensuring quality.

It’s an old question, and always prone to pendulum swings. Who is art for? Is it participatory or inspirational? Do we travel to where it is, or bring it to where we are? There’s a history here: Too bad if you’re a Peoria or Portland and can’t afford the best. If you’re a Pendleton or Prineville, you’re not even in the discussion. The wealthy and otherwise privileged can travel to world cultural centers to experience the best. For the rest, well, there’s always TV. The abandonment of small towns and even medium-sized cities in the new economics is a social and cultural issue of real and under-discussed importance.

Yet quality IS an issue. We DO want to recognize that some things are better than others, and we do believe that those things should survive. So where are we: In a sectarian battle between big and small? Worrying about an issue that doesn’t exist? Jumping the gun on our ideas of who Landesman is and what he’ll do?

Oregon has consistently been treated as a colonial outpost in the national cultural game, as it has been in politics and economics. Even in the recent share-the-wealth days of NEA chairmen Bill Ivey and Dana Gioia, Oregon has had less NEA money returned to it than strictly statistical disbursement based on its share of the national population would dictate. One explanation (a pretty weak one) for that has been that money allotted to larger states can also be beneficial to smaller ones: Radio broadcasts of the Metroplitan Opera, for instance, that go to stations across the country.

Who’s right in this argument? Which way should the NEA go? Is it possible that both quality and geography can be served? Let’s hear your ideas.