Norman Rockwell Gay

AMERICAN MIRROR: THE LIFE AND ART OF NORMAN ROCKWELL
CITY OF NIGHT
HAPPINESS: A VERY SHORT INTRODUCTION

AMERICAN MIRROR: THE LIFE AND ART OF NORMAN ROCKWELL
BY DEBORAH SOLOMON
$28; Farrar, Straus and Giroux

This significant examination of illustrator Norman Rockwell's work offers a thoughtful, serious, and sobering analysis of this influential artist and the impact of his life upon his art. However, a book review needn't always adhere to such lofty standards. When asked about my reading, I would typically respond with "a biography of Norman Rockwell", quickly adding, "Supposedly, he was likely gay, even if Rockwell himself lacked such self-awareness." Did that piqué their interest?

Author and critic Deborah Solomon's book neither dwells on this possibility nor sensationalizes it, refraining from transforming it into mere gossip. Similar to my own perspective, she neither finds the concept alarming nor dismisses its potential implications. Yet, the man who embodies idealized American values, frequently sought therapeutic counsel and rarely attended religious services? He also experienced three marriages of striking brevity? (Rockwell's unions were more convenient than conventional.) At least two of these were decidedly unhappy, and the third, occurring at a later age, focused mainly on companionship, if the others were anything more than that as well.

Suddenly, a multitude of details emerge. A close scrutinization of Rockwell's oeuvre uncovers a latent homoerotic subtext. His intimate male relationships and personal writings bolster this proposition. His recurring depictions of adolescent boys in his paintings, often abruptly discarded once their models aged beyond his interest, further reinforces this observation.

Does this matter? Certainly, it matters, much as an artist's gender or race matters. It is essential to understanding their personal identity and shaping their artistic expressions on multiple levels, whether or not the artist directly addresses gender, race, or sexuality in their work. Of course, this information is not always central to the interpretation but when writing a biography, it is crucial to acknowledge such potential, even if the subject remained oblivious to it. Did Rockwell ever act upon what appears to be his inherent inclination? There exists no definitive proof, and it seems improbable; his adolescence was arrested, enamored of boyhood, and reflected in his dietary preferences: Rockwell loathed vegetables and reveled in a scoop of Breyer's vanilla ice cream as dessert. Nevertheless, the possibility of a suppressed nature adds a poignant layer to his life, casting his somewhat melancholic private existence in a new light.

Rockwell is often perceived as the embodiment of the American family, yet, as Solomon notes, the American family unit is rarely featured in his work. Instead, community and civic ideals are dominant themes. Rockwell demonstrated a desire not to mindlessly conform, as frequently assumed during his time, but to belong, participate, fit in, and attain normalcy. This nuanced desire is more profoundly moving if one believes that Rockwell himself was not fully comfortable within his own skin. Remarkably, any suppressed yearnings did not manifest as improper behavior with the numerous boys he engaged with over the years - a potential concern whenever anyone represses an instinctive urge, such as sexual desire. Sadly, Rockwell himself would probably find my casual speculations both surprising and perplexing, possibly even embarrassing. His era and mindset made such notions unimaginable.

Solomon's work transcends these specific passages, presenting a comprehensive and empathetic portrait, beginning with the artistic inclinations of his ancestors and exploring a childhood overshadowed by a handsome, athletic older sibling. His prime occurred during an era when illustrators flourished in creating compelling artwork for publications, magazines, and advertising, before photography became ubiquitous.

And now, I'm veering off track, and the most remarkable aspect of American Mirror is Rockwell's youth. He was only twenty-two when he created his first cover for the Saturday Evening Post and had already gained recognition in exhibitions and critical acclaim before his association with the Leyendeckers. His commercial success persisted throughout his lifetime. Though facing the usual life challenges - death, divorce, and distanced relationships with some children - his life is fundamentally the story of a successful professional, a man who dedicated decades of his life to his craft, enjoying significant public appreciation and, seemingly, unfazed by a lack of critical acclaim.

Despite this trajectory of smooth professional success, Solomon crafts a compelling narrative out of a life that might appear rather unassuming. She accomplishes this by focusing on his artwork, its creation process, his development as an artist, and his artistic output, which is far more profound than superficial interpretations of his one-panel narratives. Her detailed accounts of how he employed props and meticulously rendered details to construct evocative scenes on his covers are highly fascinating. Rockwell's method was to take live models, have them posed, and then photograph them so he could subsequently recreate them in his paintings at his own pace, achieving precision. This approach was sometimes viewed as questionable—shouldn't true artists rely solely on their own vision? But of course, we now understand that such mirroring and use of photographic references were common practices employed by masters to refine their craft.

His broad appeal, firmly rooted in conventional tastes, may require a generation or two for the fervent debate surrounding Rockwell to subside, allowing his work to be judged objectively on its artistic merit. The most detrimental aspect is the apparent loss of much of his work. As mere illustrations in magazines, Rockwell's covers were often discarded after their initial use. Few recognized their artistic value and took measures to safeguard the originals. Thanks to Solomon's insightful analysis, we gain a deeper understanding and begin to appreciate the intrigue, complexity, and layers of meaning in this art, messages about America that even Rockwell may not have fully understood at the time.

CITY OF NIGHT 50TH ANNIVERSARY EDITION
BY JOHN RECHY
$16; Grove Press

In the early 1960s, following his marriage to his third wife, Norman Rockwell was engaged in creating his notable Civil Rights masterpiece, The Problem We All Live With. I doubt he was aware of John Rechy's City of Night, published in 1963. A novel chronicling the journey of a "young man," a male hustler traversing the country, the stream-of-consciousness style, which disparaged middle-class values and embraced poetic license with equal abandon? This world, portrayed by Rechy, is remarkably different from Rockwell's experience and the gritty, desperate world portrayed by Rechy was both shocking and compelling to the media. He continued his lifestyle, even after gaining recognition as an author.

Rechy authored further books exploring hustlers and the impending societal transformation, including the AIDS epidemic, but it is his memoir/novel focusing on sex workers that has left an enduring legacy. While not directly inspired by the Beat Generation, it is a remarkable complement to On the Road, and today is appreciated as a novel, not a practical manual for navigating big city life on a low budget.

Previously praised by Gore Vidal and James Baldwin, it continues to garner acclaim from Michael Cunningham, Edmund White, and others. This work appeals to readers who appreciate the bleak realism found in books like Last Exit to Brooklyn and Naked Lunch. This new edition includes a letter from Baldwin praising the book, a 1984 introduction by the author, a new afterword, facsimiles of galley proofs, and an interview from Vice magazine with Steve Lafreniere. Perhaps a Rockwell illustration would have enhanced the cover art.

HAPPINESS: A VERY SHORT INTRODUCTION
BY DANIEL M. HAYBRON
$11.95; Oxford University Press

One can readily envision John Rechy or Norman Rockwell finding value and insight in Happiness: A Very Short Introduction. This latest addition to the esteemed "Very Short Introduction" series is penned by Daniel M. Haybron, a philosophy professor at St. Louis University. In this compact, easily portable volume, comprising a mere 147 pages, Haybron explores the concept of happiness, arguing that we, as a species, are arguably the most fortunate generation in history (owing to longer lifespans, better health, greater wealth, superior education, wider world access, and so forth, etc.) and then delves into the reasons why this apparent prosperity has not translated into widespread happiness.

This exploration proceeds at a measured pace, guiding the reader towards some engaging philosophical inquiries through concrete and comprehensible examples, explained clearly even for those, such as myself, lacking a profound knowledge of philosophers like Schopenhauer or Spinoza. Undoubtedly, Rockwell would have promptly returned to his work, and Rechy to his pursuits, but at least they would have a greater understanding. You too will benefit from this work.

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