Jazz

Early reviews of the book released on December 6th. You can pre-order it still.

La Revancha/Revenge Review
by Henry Eric Hernandez

#1 PCH Press Best Book

by KRISS PERRAS RUNNING WATERS
PCH Press
November 14, 2006 7:00 PM PDT

La Revancha/Revenge by Henry Eric Hernandez is a truthful account of the history of the previously unknown. The lives of those documented in this eloquent statement of episodic accounts are not of the wealthy or the text book elevated leaders of Cuba's past. Those included in this book are individuals who contributed to Cuba's deep, cross-rooted culture.

The backdrop of the story is the 1950's overthrow of the Batista regime by the 26th of July Movement and the establishment of Fidel Castro's new Cuban government. Each story Hernandez etches into the historical record draws from the patchwork quilt of Cuba's oppression and wealth. Photos and text create an episodic written documentary. Notes From A Ferry is Episode 8 of the 16.

Notes From A Ferry is the story of Conchita Mas Mederos who listened to the rogue radio station: Rebel Radio (Radio Rebelde). The station broadcast the messages of Castro and his forces from within enemy territory. Carlos Franqui, Castro's previous acquaintance and a Cuban exile living in Puerto Rico at that time because of his involvement with the 26th of July Movement which resulted later in his torture and imprisonment, was the reason the radio station could broadcast. Franqui, also a journalist, was smack in the middle of several literary and artistic movements where he made deep-rooted connections with Cuban artists which included writer Guillermo Cabrera Infante and painter Wifredo Lam.

Conchita lived during the time when the United States Congress sought to prevent the sale of sugar to the socialist West. Hernandez documents how in February of 1958, Conchita heard such broadcast slogans as, "This is Rebel Radio. . .We are against the intervention of the United States in our national affairs!"

Hernandez weaves the story of how at the age of fourteen Conchita finished sixth grade and began work as a domestic for a wealthy family so she could help support her family. And she also joined the "clandestine fight to collect funds to expedite the invasion of the rebel army." Hernandez states, "Many adolescents had done more than offer a prayer for its victory."

Conchita was literally working herself into the grave, Kevin powers writes in his introduction. Completely dedicated to the revolution, in 1963 Conchita's name had been given to the Circulo Infantil for her merit, Powers states. But as Episode 16 documents, Hernandez confirms that at the age of 19, Conchita took her life shooting herself on July 19, 1964.

"The causes that drive a person to suicide are difficult to assess, but the State as an institution-wherever its zone of action and whatever its ideology-has a long and dark record of pushing people to extremes. All of us have breaking points: when they are known, we break; when we are unaware of them, we break even faster; sometimes we break irrevocably," Powers writes of Conchita in his introduction.

However, Hernandez does more than just document works of lives not yet known but nonetheless who contributed on personal levels. Hernandez' art is unique in that he completes "interventions." His works include such interventions as the repair of three girls' bathrooms at the Ruben Bravo School. Hernandez replaced the washbasins, toilets, tiles, pipes and did the electrical and carpentry work. The tile motifs include photos the artist took of the bathroom in the condition in which he first found the buildings, Powers writes.

With regard to Conchita, Hernandez held a collective birthday celebration for the children in need who attended a daycare center that used to be the home of the owner of the Cienfuegos electrical plant in the 1940's. In 1961, the daycare center was renamed after Conchita, about four years prior to her suicide.

"In one symbolic sweep the individual owner had been changed into a state collective and a rich person's house into a social services center-in short wealth had been redistributed," Powers writes.

Hernandez combination of good works and art delineate the truth from the documented untruths of the continual rewriting of history. The book is an intellectual read and far surpasses the text of any previous release from Perceval Press-even considering the most outstanding works from this indie publisher.


Forget You Forever Review
by Viggo Mortensen

#2 PCH Press Best Book
by KRISS PERRAS RUNNING WATERS

November 16, 2006 7:19 PM PDT

Leaves. A simple opening word that could take the reader in so many directions. But when bookended by a father's words, "Today you left home as a young man, moving over a threshold and across the country to begin a new life. We will continue to see each other, and I'll continue to have interests that distract me from your naturally less frequent requests for sharing time.

Hopefully, though, I'll remember that our play days are limited, and to say 'yes' for as long as we have us," the mind goes to how many times you as a parent did not say yes or as child you were told no, not now, later, honey I'm working three jobs, or I'm completely exhausted.

At times intimate and others distant. A walk through memories of regret, pride, pain and growth as a person. A reminiscing on death, a death yesterday and one that will come tomorrow. A life dictated to by plane trips, call sheets, premiere sets and the next character, if there is one.

The vague word love is detailed and made clear then fades to a drink on a plane and the relentless scrawl of a pencil. A cowboy hat reflection mirrors a psychedelic blur of red and sky. The vague connectedness of life is depicted through haunting text and images.

Yet there are images of past thoughts from books with shimmering and naked pool photos that seem to appear again for the author. Only this time the image is more complete: an antler shard or perhaps a shell - both of the same meaning - beside a bare foot with a red background. All three appear in one shot versus the prior publication where the three elements were individual distinct yet connected shots.

Images of the youthful exuberance of children have also been a theme in the author's previous work that is again in this publication. But so too, the images seem more complete, unfolded and understood.

Grey photos of broken sidewalks continue the idea of a life sharding back together. Flip a few more pages to a shot of only a cracked sidewalk - at that moment life was not as broken as at other points in time. A half picked-over carcass furthers feelings of inadequacy and a broken heart. Flip over a few more pages and a conqueror-wanderer silhouette on a mountaintop was a brighter day.

Further than a moody look back on life, or look ahead. Rather deep ingrained memories of tarnished ideas of self are imparted into the reader's memory. I Forget You Forever felt an emotional look into a person's image of self - at times distorted and others honest - ending with white out images of unsure exposition juxtaposed next to green, sunlight and forest friends.

The motif of the work seems someone understanding decisions and consequences of life - and not being entirely satisfied with either. Mortensen's work has matured, and maybe the author seems slightly embarrassed by it. Perhaps the most open and feeling work yet released by Mortensen, I Forget You Forever is a more sophisticated accomplishment than prior works. The words are full with subtext and clarity. The images flow without words. Male strength is unabashedly juxtaposed next to softer male perceptions. Meaningful qualities of life found root in exposition of character.