Posts tagged ‘patricia ketola’
December 10, 2018
Dirty Pictures by Patricia Ketola reviewed by Paul Burke in NB Magazine
This novel is extremely well-written, it reads like a page-turner and the story is fascinating, but it won’t be for everyone, it might even be described as niche. Here’s why I think it might not appeal to some: If you want a straightforward thriller or a straightforward romance you might not get this, it’s a bit of a genre-bender. Dirty Pictures is a love story and it’s a story of murder, it has elements of the family saga, twentieth century politics, art history and a definite erotic tinge. More than anything, it’s Martel’s story, she narrates a beguiling tale, this is her life, her world – it goes where it goes, unapologetically. As a love story it is unsentimental, as a thriller it’s intriguing. If the fact that it doesn’t fit nicely into a specific box puts you off you will miss out.
Ketola has her own ways of seeing things, she makes leaps and connections in ways that more conformist linear storytellers wouldn’t. Dirty Pictures isn’t surreal but it tips way over the edge of orthodox behaviour. That’s not a bad thing. Parts of the story you might expect to be followed up are abandoned; it’s unsettling, but also very true to life. Experience is a series of events that we weave a path in and out of, we don’t have perfect knowledge, we move on. Where the narrative drive appears to divert from expectation, and we are directed to a new theme, the novel becomes more exciting. One thing leads to another, and then the story moves on, plot lines are discarded, and it’s invigorating to read. You will have no idea where it will all end up, but you won’t be disappointed.
Elizabeth Martel, known as Martel, has her bottle of tequila and her mother’s Percocet to hand, oblivion here we come, but then Terry rings. Normally she would rush over to her disabled friend’s house (he was hurt in a bike accident), but she’s already pissed, she is mourning her mother, Carlene, so he will have to wait. So the next morning Terry sympathises over Clara’s death (he grew with Martel but he still can’t get her mother’s name right). Then he offers her a job – and she’d be doing him a favour. It’s worth $10,000 just to check it out, and she could use the money.
Agri-business billionaire Preston Greylander has a Rembrandt, Martel is an expert on Dutch and Flemish art. The painting needs cleaning and he needs advice on how. Greylander is a detestable man, a typical WASP, he is also a destroyer of countries and continents in the pursuit of profit. Martel advises Greylander to have to painting restored by Van der Saar in Amsterdam. She doesn’t mention that she first learned art on Hendrik van der Saar’s knee, literally and figuratively. After her meeting with Greylander, Martel insists on knowing why Terry also had her invite him to a cocktail party. Terry has had enough of life and in a grand gesture he wants to take Greylander with him: murder-suicide.
“I’m through with this life.’ he said. ‘I have a need to get it over with, and while I’m doing it I might as well take that rotten bastard with me.”
Martel agrees to take the painting to the restorer in Holland, it will be the first time she has seen her former lover in twenty years. For the privilege, she gets $25,000 and expenses. While the firm of Van der Saar clean the painting, Martel and Hendrik rekindle their love affair. When she is back in the US, Martel brings Greylander to the cocktail party and to his death. The crime is instantly covered up, Martel’s contract is cancelled, but paid in full. The painting is still in Amsterdam. Pookie Greylander, now 102, although she lies about her age, is part of the Swiss branch of the family, she wants the Rembrandt. The family lawyer wants the restorer to “find” a signature on the canvas ($1M).
Hendrik has a confession to make (more than one, actually quite a few!). Martel also has confessions to make, if the two are to become permanent lovers and trustful friends again. Martel thinks she is being followed: maybe the family of Preston Greylander have connected her to the crime and want revenge? Hendrik says Pookie Greylander has the Rembrandt painting now, but does she? Is it an original or a fake? Did Hendrik add a signature to increase the value and “authenticate” the work per the lawyers “request”? The story will diverge in ways you won’t see coming – just go with the flow.
So why would Martel so easily agree to the murder of a man she doesn’t know? Well, there’s history here. Her family lost their farm in Dakota and became miners in Colorado because of the Greylanders. Her family has a radical tradition from the Wobblies to the present day. Terry has his own fascinating story. So does Hendrik, but the politics of the past generations of his family and Martel’s don’t align.
There is a leap of faith or two here, but Dirty Pictures is fun. If you are in the mood for something different this may be it. The world isn’t always neat and tidy, neither is Ketola’s vision.
Original review here: https://nbmagazine.co.uk/dirty-pictures-by-patricia-ketola/
November 27, 2017
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List of Titles
- The Painter’s Women
- Permanent Fatal Error
- The Red-Handed League
- The Death of Tarpons
- La Frontera
- The Last Island
- Central Park West Trilogy
- Dirty Pictures
- Silk for the Feed Dogs
- The Insider’s Guide to Betrayal
- Borderland Noir
- The Angel of the Streetlamps
- Killarney Blues
- The Starved Lover Sings
- Reach the Shining River
- In Love with Paris
- One True Sentence
- Forever’s Just Pretend
- Toros & Torsos
- The Great Pretender
- Roll the Credits
- The Running Kind
- Head Games
- Print the Legend
- Death in the Face
- Three Chords & the Truth
February 8, 2017
Patricia Ketola‘s novel Dirty Pictures is about artistic daredevilry. It is a cultural romp, peopled by musicians, painters and performance artists, and it conceptualizes a world in which the older artistic traditions manage to embrace the younger, more conceptual definitions of art. From stolen Rembrandts, to gypsy jazz, to free-climbing, Dirty Pictures celebrates all forms of self-expression and the will of the artist to, quite literally, take a leap into the unknown.
Below is an extract celebrating the exhilaration and the beauty of free-climbing.
“Willem was in a meeting when we got to the studio, and we decided to wait until he got out. We went in his office and Venessa sat down at his computer: ‘I found a video of the boys on YouTube, but I don’t know if we should show it to Willem. He’s not too steady on his feet since the head injury, the shock might give him a stroke,’ she brought up a video: ‘Take a look, Martel, what do you think?’
The video showed Dries and the Viper sneaking into a building site and climbing the skeleton of an unfinished skyscraper. The building was tall, and when they got to the top they had a superb view that stretched all the way to Siberia. The boys worked in bare feet and without ropes or tools. The climb had been jaw-droppingly difficult, but when they reached the summit they did not rest on their laurels, instead they began to crawl out on the exposed beams. Acting in unison they lowered themselves off the beams and into the air. At first they hung from the beams by both hands like trapeze artists, but then they took one hand off the beam and hung by one arm as their bodies dangled out into empty space. It was a frightening performance, and one that I did not think Willem would be able to tolerate.
‘Let’s just show him the picture,’ I said.
‘Pretty scary, isn’t it?’ Venessa smiled. She seemed intensely proud of her cousin and his friend.
‘Yes, but it’s also frighteningly beautiful,’ I said.
‘This is real performance art!’ Venessa was enthusiastic. ‘I wish I could write my dissertation on this mode of expression, but those old frumps at school wouldn’t stand for it.’
Just then Willem walked in followed by his secretary, Irene. He was giving dictation and she was trailing behind taking notes on an old-fashioned steno pad. Willem stopped dictating and noticed us: ‘Oh, hello you two, what brings you to my lair?’
‘We’ve got a big surprise for you. Wait till you see it!’ Venessa gushed.
‘I hope it’s not another Rembrandt.’ Willem smiled at Venessa and then turned to Irene: ‘Get that typed up and I’ll sign it this afternoon.’
After Irene left Venessa jumped up from the computer and ran to Willem with the print in her hand: ‘Look at this Uncle Willem. Dries and the Viper have surfaced. They’re living it up at a nightclub in Moscow.’
Willem took the print and studied it. ‘I wonder who made those T-shirts?’ he mused. ‘They show a great sense of design and the portrait of Stalin is authentic 1930s propaganda art. It’s a nice piece of work, but I’m surprised the boys are running around with a picture of that tyrant on their chests. ’
‘They’re just kids, Willem. It probably wasn’t a political choice,’ I said.
‘I don’t care a damn about their fucking T-shirts,’ Venessa wailed, ‘look at them, Uncle Willem, they’re with girls, and they’re smiling. Dries never used to smile. He always kept a tight lip, and now it looks like he’s happy.’
‘I can see that, Venessa, and I am deeply touched.’
I looked at Venessa: ‘Maybe we should leave, darling. I’m sure Willem is terribly busy.’
‘Yes, of course,’ she said. We started for the door.
‘No, stick around. I want to talk to you about Dries,’ Willem said. He sat down at the computer. The screen was black and he hit a key: ‘I’ll be with you in a minute; I just have to get some dates for Irene.’
Venessa’s face got very pale and she ran towards Willem’s desk, but it was too late. In her haste to show Willem the picture of Dries and the Viper she had forgotten to sign out of YouTube, and now Willem was sitting in front of a video that was labeled Dutch Daredevils Go Wild in Moscow.’
‘You weren’t supposed to see that,’ I said.
‘Then why is it on my screen?’ He clicked on the video.
‘It’s up there because you didn’t turn off your computer when you went to the meeting.’ I was trying to deflect the blame from Venessa, but I knew what I said was pretty lame.
‘I’m sorry, Uncle Willem, I just wanted to show the video to Martel,’ Venessa chimed in. She looked scared and sounded contrite.
Willem paid no attention to our excuses because he was caught up in the action on the screen. When the boys finally climbed back down to safety and were greeted by a gaggle of cops he relaxed: ‘Is Hendrik around? I want him to see this.’
‘I’ll call his office,’ I said. I got Hendrik on the first ring and told him to meet us in the studio. He said he’d be right down.
After I hung up my focus was back on Willem. ‘What did you think of the climb?’ I asked.
‘I think they’re thrill-seeking morons, but aside from that it was an exciting piece of work. I didn’t think those two little bastards had it in them.’ He paused for a moment and then said: ‘The cops took them away. Do you think they’re in jail?’
‘I doubt it,’ Venessa said, ‘the photo was posted after the climb. They seem to be celebrating their success.’
‘I hope you’re right because I don’t feel like engaging with a bunch of Moscow cops. The bribes would be outrageous.’
The door opened and Hendrik walked in. When he saw his family members gathered around the computer he gave us a wary look: ‘I hope you haven’t called me here to have a conference about my illness.’
Willem smiled, ‘No, Hendrik, it’s much more serious. Take a look at this video and tell me what you think.’
The video played through again. It was the third time I’d seen it, but it remained eminently fascinating and I couldn’t help but hold my breath when the boys started dangling in space.
‘It’s fucking brilliant,’ Hendrik exclaimed. ‘I don’t understand how those two puny little shits developed the skills to perform this kind of stunt.’‘They probably trained day and night,’ Venessa said. ‘Also, it helps to be in an environment where your hopes and dreams are encouraged by a peer group of like-minded people.’
‘What’s that supposed to mean?’ Willem asked. He was taking her comment as a slight on his parenting.
Venessa backtracked, ‘I just meant he was with people who could give him the skills and support to meet his goals.’
‘That’s enough,’ Hendrik commanded, ‘let’s not get off track here. Willem, what are you going to do about this? Frankly, I don’t like the idea of Dries and the Viper continuing in this suicidal activity. They are going to fall to their deaths if they continue.’
‘You don’t know that, Daddy.’ Venessa was really hot on free climbing. If she liked it so much, maybe she should take a trip to Moscow and get trained in the art.
‘You’re right, shatje, I don’t know, but you have to admit it does seem possible. Think about it, we don’t want to lose Dries or the Viper. We have to stop them.’
‘I’m going to Moscow and bring them back,’ Willem said. He looked at Hendrik: ‘Will you come with me brother?’
‘Of course, Willem, you know I’ve got your back. Although I do wonder if that’s the right approach. These kids are flushed with triumph after their great ascent, and I doubt if they’d welcome two middle-aged relatives busting in and trying to bust their balloon.’
‘You may be right,’ Willem said.
‘Maybe Bobby could help,’ I said. ‘I know he has a lot of influence on Dries. The kid adores him.’
Venessa had been sitting quietly at the corner of Willem’s desk. She seemed to have taken her father’s words to heart. I understood her enthusiasm for the art; you had to be a fool not to see the brilliance. These kids were the ultimate in nihilism, and you could write a whole paper on their existential activities. Venessa was a scholar and she was taking free climbing from a philosophical point of view, but now that Hendrik had forced her to see that two young lives might be dashed to pieces after a long, hard, fall, she was giving it a different take:
‘I’ll call Bobby,’ she said.”
October 27, 2016
When New York art dealer Elizabeth Martel’s mother falls ill, she returns to her hometown in the Midwest. After her mother’s death she is seriously short of funds, and a friend suggests she take a job as art adviser to billionaire grain merchant, Preston Greylander.
When Greylander is killed in a mysterious murder-suicide, Martel is left in possession of a Rembrandt that needs restoration. She takes the painting to Amsterdam where she deposits it with the prestigious firm of Van der Saar Fine Arts.
The Van der Saar family has been in the art business since the seventeenth century and the current generation is represented by two brothers: Hendrik, suave and charismatic, is the perfect front man, while the deceptively low key Willem is a master of restoration. Hendrik and Martel enthusiastically resume an old love affair, and she discovers that the brothers’ personal lives are in chaos, and the family is haunted by guilt and swathed in deception.
As doubts arise about the authenticity of the Rembrandt, other actors arrive in Amsterdam determined to recover the picture.