Author: Edwin Roman

A New York based artist shares his thoughts on art, culture, food and politics.

A New Yorker in New Mexico: Seeing Red, A Photo Essay

The first time I ever saw red rocks was in 2006 when I traveled to Las Vegas and visited Red Rock Canyon. I was in Vegas to see the Star Trek Experience at the Hilton, commemorating the 40th anniversary.  Other than the Experience, I found Vegas to be largely tasteless and mind-numbing. Red Rock Canyon and Hoover Dam provided a relief from the smoke-filled overstimulated atmosphere. Red Rock Canyon really made an impression as did the areas outside of the city. It was the first time I had ever experienced the desert and the kind of silence and stillness it offers.

The following year, in 2007, was when I first visited New Mexico. I immediately fell in love! I can recall driving from the Albuquerque Sunport to my hotel in Bernalillo with my eye constantly being drawn to the Sandia Mountains (which still happens). On the third day of that trip, I explored the Jemez Mountain trail and it was here that I first saw New Mexican red rocks. They are nothing short of spectacular. The color is shockingly beautiful. On my third trip in 2018, I saw even more New Mexican red rocks, most notably on my drive to the Ghost Ranch. As I noted in my previous blog entry, the desert varies around the state. I found this to be also true, visually, of the New Mexican red rocks. I did a little research to find out why.

A disclaimer: I am an artist and not a scientist. However, I have a layperson’s interest in science and have done my best to preset reliable information in this blog entry. What I am doing here is trying to get answers to my own observations while presenting artistic photographs. Art and science can co-exist. If you don’t think so, please read this article on Santiago Ramón y Cajal.

Back to the New Mexican red rocks!

According to the Earth Science Club of the New Mexico Institute of Mining and Technology the Earth is made mainly of rocks arranged in three concentric layers. The Earth’s crust contains the rocks we see at the surface. Most rocks are a collection of one or more minerals, but some contain noncrystalline inorganic material (like obsidian) or organic material (such as coal). The ultimate origin of all rocks in the Earth’s crust is the mantle (magma or lava), space (meteorites), or organisms such as plants and animals (organic matter).

According this publication by the NMT Earth Science Club, it notes that the red rocks I saw on the Jemez Trail / Route 4, are rhyolite, an igneous-volcanic type of rock. Interestingly, rhyolite will commonly scratch a knife or hammer. While the red rocks I saw around Abiquiú are sandstone a clastic sedimentary rock composed primarily of quartz grains that may be stained red, brown, pink, or yellow from iron oxides.

I love red rocks and seeing them on a grand scale is an experience I recommend.  I think, in part, I love New Mexican red rocks because they remind me of classic New York red bricks. I hope my pictures properly capture these gorgeous colors of nature.

Kitchen Mesa. Edwin Roman 2018. As seen from The Ghost Ranch.

Kitchen Mesa. Edwin Roman 2018. As seen from The Ghost Ranch.

Red Rocks on 84. Edwin Roman 2018.

Red Rocks on 84. Edwin Roman 2018.

Red Rock Portal. Edwin Roman 2018. As seen on Route 4 in Jemez, New Mexico.

Red Rock Portal. Edwin Roman 2018. As seen on Route 4 in Jemez, New Mexico.

Route 84 Red Rocks. Edwin Roman 2018.

Route 84 Red Rocks. Edwin Roman 2018.

Red and Green, Inspired by Peppers. Edwin Roman 2018. As seen along Route 4 in Jemez, New Mexico.

Red and Green, Inspired by Peppers. Edwin Roman 2018. As seen along Route 4 in Jemez, New Mexico.

Canon San Diego. Edwin Roman 2018. As seen along the Jemez Trail.

Canon San Diego. Edwin Roman 2018. As seen along the Jemez Trail.

The First Red Rocks of 2018. Edwin Roman 2018. As seen en route to the Ghost Ranch.

The First Red Rocks of 2018. Edwin Roman 2018. As seen en route to the Ghost Ranch.

Stopping for Red Rocks. Edwin Roman 2018. While driving to Ghost Ranch in New Mexico along US 84, I had to stop and capture this.

Stopping for Red Rocks. Edwin Roman 2018. While driving to Ghost Ranch in New Mexico along US 84, I had to stop and capture this.

Kitchen Mesa South. Edwin Roman 2018.

Kitchen Mesa South. Edwin Roman 2018.

Sandia Sunset. Edwin Roman 2018. Another example of red in New Mexico.

Sandia Sunset. Edwin Roman 2018. Another example of red in New Mexico.

Whenever I visit New Mexico, I always bring back red rocks. Each rock in my hand is from each trip to New Mexico. I keep several at home and in my office.

Whenever I visit New Mexico, I always bring back red rocks. Each rock in my hand is from each trip to New Mexico. I keep several at home and in my office.

edwinroman.com

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A New Yorker in New Mexico: A Photo Essay

New Mexico. Those who know me well have heard me endlessly rave lovingly about this magical place. New Mexicans refer to their state as, “the land of enchantment” — and it is exactly that! It has culture, diverse landscapes, friendly people and excellent food. July 2018 marked my third visit, but it was my first trip with the intention to create. I have always been inspired by New Mexico and thought that I should properly incorporate it into my art. On this trip, I also discovered something else that fosters this inspiration.

On the evening I arrived in Santa Fe, I noticed a storm brewing in the distance. I watched this marvelous lightning show, with great awe, for about twenty minutes. Later, when I returned to my room, I received an alert via the Weather Channel app about a storm in Bernalillo, located fifty miles away. I couldn’t believe that I could see that very storm from such a distance. I then realized that this is the other way New Mexico inspires me: it expands my sight.

Growing up and living in New York City, in a way, has limited my sight. Yes, New York City is interesting (though becoming less so because of the rampant gentrification), but my eyes work in a very focused way. On the ground level, buildings (and even upstate with the trees) force your vision to work in a much narrower way. In New Mexico, my eyes have to adjust and go into the rarely used wide-angle mode. Before visiting New Mexico, I have never been able to see such distances on land before. I found that it is a great way to open your mind: via an expansion of the senses.

On this trip, I visited places like Taos, Abiquiú, Ponderosa, Cuba, Jemez, White Rock and Bernalillo. I found that the desert in Abiquiú is different from the desert in White Rock. I approached this creative trip taking inspiration from two websites I visit regularly: Wandering New York and New Mexico Nomad. Think of this blog entry as, “Edwin Wanders New Mexico!” I hope you enjoy these photos.

Blue Entryways. Edwin Roman, 2018.

Blue Entryways. Edwin Roman, 2018. As seen at Taos Pueblo.

Abiquiú Red Rocks, Edwin Roman 2018.

Abiquiú Red Rocks, Edwin Roman 2018.

Bandelier Cave Dwelling. Edwin Roman 2018.

Bandelier Cave Dwelling. Edwin Roman 2018.

Cliffside Cacti. Edwin Roman 2018. As seen at Bandelier National Monument.

Cliffside Cacti. Edwin Roman 2018. As seen at Bandelier National Monument.

Forever by Allan Houser. Photographed by Edwin Roman 2018. As seen at the Museum of Contemporary Native Arts in Santa Fe.

Forever by Allan Houser. Photographed by Edwin Roman 2018. As seen at the Museum of Contemporary Native Arts in Santa Fe.

Grazers. Edwin Roman 2018. As seen in Taos Pueblo.

Grazers. Edwin Roman 2018. As seen in Taos Pueblo.

The Ascent. Edwin Roman 2018. As seen at the Bottom of the Sandia Peak Tram.

The Ascent. Edwin Roman 2018. As seen at the Bottom of the Sandia Peak Tram.

Adobe Americana. Edwin Roman 2018. As seen in the Taos Pueblo.

Adobe Americana. Edwin Roman 2018. As seen in the Taos Pueblo.

Green and Red. Edwin Roman 2018. As seen along Route 4.

Green and Red. Edwin Roman 2018. As seen along Route 4.

San Geronimo Chapel. Edwin Roman 2018.

San Geronimo Chapel. Edwin Roman 2018.

San Geronimo Chapel Detail. Edwin Roman 2018.

San Geronimo Chapel Detail. Edwin Roman 2018.

Kokopelli Plays! Edwin Roman 2018. As seen in Santa Fe.

Kokopelli Plays! Edwin Roman 2018. As seen in Santa Fe.

A View of Taos Pueblo. Edwin Roman 2018.

A View of Taos Pueblo. Edwin Roman 2018.

Art of Life Gallery. Edwin Roman 2018. As seen in Taos.

Art of Life Gallery. Edwin Roman 2018. As seen in Taos.

Vintage Cars in Ponderosa. Edwin Roman 2018.

Vintage Cars in Ponderosa. Edwin Roman 2018.

On Washington and East Palace. Edwin Roman 2018. As seen in Santa Fe.

On Washington and East Palace. Edwin Roman 2018. As seen in Santa Fe.

In the Distance on Route 550. Edwin Roman 2018

In the Distance on Route 550. Edwin Roman 2018

Climb into The Cave Dwelling. Edwin Roman 2018. As seen at Bandelier National Monument.

Climb into The Cave Dwelling. Edwin Roman 2018. As seen at Bandelier National Monument.

Santa Fe Windows. Edwin Roman 2018.

Santa Fe Windows. Edwin Roman 2018.

Ponderosa Color Splash. Edwin Roman 2018.

Ponderosa Color Splash. Edwin Roman 2018.

Hey, Buds Below! Up is Where to Grow! Edwin Roman 2018. As seen at Bandelier National Monument.

Hey, Buds Below! Up is Where to Grow! Edwin Roman 2018. As seen at Bandelier National Monument.

Sandia Sunset. Edwin Roman 2018. As seen from the top of the Sandia Mountains.

Sandia Sunset. Edwin Roman 2018. As seen from the top of the Sandia Mountains.

Adios. Edwin Roman 2018. As seen while leaving The Ghost Ranch.

Adios. Edwin Roman 2018. As seen while leaving The Ghost Ranch.

 

I will be posting more pictures in the coming weeks on my Flickr page.

 

edwinroman.com

Horses and The Narrative in Ancient Greek Art

Camille Paglia, in her book, Sexual Personae, presents an interesting theory on the relationship between cats and ancient Egyptians. Cats, which have a sense of narcissistic personality and ceremony, were the model for Egyptian culture. According to Paglia, Egyptians invented concepts of beauty and femininity from their observations of cats 1. I found this theory thought provoking and would, for years after first reading Sexual Personae, look for other examples of how animals can impact a culture. A favorite example are the Aztecs, who according to legend, founded the city of Tenochtitlan when their god Huitzilopochtli had commanded them to find an eagle perched atop a cactus, devouring a snake.

Bronze man and centaur, mid-8th century B.C.E.

Bronze man and centaur, mid-8th century B.C.E.

Paglia makes an interesting contrast between Egypt and Greece: In Egypt, the cat; in Greece, the horse. Another way to view it is, in Egypt, the Sphinx; in Greece, the Centaur. Paglia hypothesizes that cats were “too feminine for the male loving Greeks” who preferred to depict the more muscular horse in art 2.  Paglia’s theory appears to be realized on an Archaic helmet from the late 7th century B.C.E. where a horse and two lions (one on each cheek piece) are portrayed in repoussé; the horse is about three times larger than the lions.  Conversely, Egyptian depictions of horses appear to be more feminine than Greek muscular / masculine forms (figure III).

One of Two bronze helmets, late 7th century B.C.E.

One of Two bronze helmets, late 7th century B.C.E.

Egyptian Horse, 1391–1353 B.C.E.

Egyptian Horse, 1391–1353 B.C.E.

The ancient Greeks rarely depicted contemporary or historical events in art.  However, horses were consistently present in mythical and historical depictions alike.  This blog entry will examine the presence of the horse in narratives depicted on various Greek works.

Death and War

Ancient Egyptians venerated cats and mummified them. The practice of interring horses was not uncommon in Greece 3 (a pair of horses were discovered buried at the outer end of a Stholos tomb at Marathon (The Mycenaean tholos tomb consists of a circular, subterranean burial chamber, sometimes referred to as the thalamos, roofed by a corbelled vault and approached by an entrance passage that narrows abruptly at the doorway actually opening into the tomb chamber. The chamber or thalamos is built of stone.  Tholoi of this kind are usually set into slopes or hillsides. Burials were either laid out on the floor of the tomb chamber or were placed in pits, cists, or shafts cut into this floor.); a human skeleton was discovered with a horse skeleton in a grave near Nauplia). Like the cat in Egypt, Horses were also featured prominently in works connected to funerary traditions. A Geometric krater, (740 B.C.E.) from the Dipylon Cemetery,

Terracotta krater, 750–735 B.C.E.

Terracotta krater, 750–735 B.C.E.

that functioned as a grave marker, depicts scenes of mourning for a man; the horses are pulling a chariot in his honor 4.  One theory suggests that the horse with chariot was a transporter to the afterlife 5.  The practice of depicting horses on grave markers continued to be common into the late classical period.  Several loutrophoros vessels, which were used as grave markers for soldiers, depict young men on horseback 6.  Ancient Greek citizens were required to perform a number of duties to help serve their community in the best way possible; soldiers saw the act of war as an act of patriotism.  The depictions may be viewed as a commemoration of the solider and horse.  The horse is as proud as a soldier, but unlike donkeys, cows, or bulls, is decidedly trainable and will, with no hesitation, ride into battle.  Horses are in line with the concept of unselfish Greek citizenship (unlike cats, which are self-serving animals).

Depictions of horses were not solely limited to krater or loutrophoro vessels.  A black figure terracotta amphora (Figure V) depicts a departing warrior on a four-horse chariot bidding his parents farewell.  Interestingly, one of the four horses are not depicted in black figure, actually matching the color of the charioteer, also not in black figure.  It is also curious that the charioteer was in the foreground while the solider and his family was in the background and behind the chariot.  Could this have also been a commemoration of charioteer and horse for their contributions to the cause?

Terracotta neck-amphora, 540 B.C.E

Terracotta neck-amphora, 540 B.C.E

 

Mythology and Reality

Rhyton in form of mounted Amazon, 5th century B.C.E
.

Rhyton in form of mounted Amazon, 5th century B.C.E
.

The horse, featured prominently in pottery narratives depicting combat and death, is also a fixture in mythology. One of the most remarkable works of a mythological subject prominently featuring a horse may be found at the Boston Museum of Fine Arts, which I had the opportunity to visit earlier this year.  The museum identifies the work as a  rhyton in the form of a mounted Amazon.  Another source identifies this same work as a  plastic vase 7.  The mounted figure wears a crested plume helmet with large appendages on the sides. The red figure vessel behind the Amazonian warrior depicts four figures, Persians and Greek, in combat.  A Persian figure is mounted on a horse and appears to be overtaking a Greek warrior with a spear.  Conveniently, the Amazon’s plume is bellowing on to the scene.  However, it is interesting to note the striking difference between the Persian and Greek horses; the Greek horse that the Amazon is riding is muscular, while the Persian horse appears to be almost Rubenesque and not proportionate.  The Greek horse also has a gait / gallop similar to the horses depicted on the Parthenon frieze, which is a somewhat curious because the Amazonian rhyton was found in Egypt.

Details of the Panathenaic Festival procession frieze

Details of the Panathenaic Festival procession frieze, 447-438 B.C.E.

 

Kylix,
 540–530 B.C.E.

Kylix,
 540–530 B.C.E.

The frieze on the Parthenon is thought to represent the Panathenaic procession, a religious festival held on 28 Hekatombaion, the first month of the Athenian calendar 8 .  The presence of the horse on the frieze of the Parthenon clearly demonstrates their importance in Greek society, real and mythological.  According to mythology, Poseidon desired Demeter and to put him off, Demeter asked Poseidon to make the most beautiful animal the world had ever seen.  Poseidon created the horse.  The horses represented on the frieze are based on the Greek ideal perfect proportions.  Beauty and proportion are bedfellows in ancient Greece.

North frieze, 447-438 B. C. E.

North frieze, 447-438 B. C. E.

One part of west frieze of the Parthenon depicts horsemen preparing their horses.  The care that the horsemen appear to be giving their horses recalls one of the first manuals on riding the horse titled The Art of Horsemanship written by a Greek named Xenophon.  Xenophon, who was a pupil of Socrates, was an equestrian for his entire life, first as a cavalryman and then as a country gentleman on an estate given to him by the King of Sparta 9.  Xenophon, in the same manual, encourages a mutual respect between man and horse: “There are, indeed, other methods of teaching these arts.  Some do so by touching the horse with a switch under the gaskins.  For ourselves, however, far the best method of instruction, as we keep repeating, is to let the horse feel that whatever he does in obedience to the rider’s wishes will be followed by some rest and relaxation.”

Xenophon’s approach to horse care and training appears to be realized on a kylix in the Met attributed to Amasis painter.  The reverse depicts an atmosphere of excitement in Poseidon’s stables, while four grooms attempt to soothe four high-strung horses.  The obverse depicts Poseidon among Greek warriors.  The subjects are drawn from book 13 of Homer’s Iliad: Poseidon, seeing the Greek soldiers hard pressed, decides to renew their spirit.  Prior to viewing this work, I happened to view a Terracotta pykster (figure IX) that depicted soldiers mounted on dolphins.  I found it curious that the scene on the pykster depicting the dolphins was not a work connected to the god of the sea, Poseidon.  Instead, the pyskster chose to depict Poseidon’s most beautiful creature, the horse.

Conclusion

Horses were an integral part of ancient Greek culture. Horses resemble the Greek ideal human form in terms of proportion and musculature.  “Coming to the thighs below the shoulder blades, or arms, these if thick and muscular present a stronger and handsomer appearance, just as in the case of the human being” 10.

Horses are also in line with Greek concepts of citizenship.  “Such an animal, we venture to predict, will give the greatest security to his rider in the circumstances of war.”10

 

 “The majesty of men themselves is best discovered in the graceful handling of such animals.  The man who knows how to manage such a creature gracefully himself at once appears magnificent.  A horse so prancing is indeed a thing of beauty, a wonder and a marvel; riveting the gaze of all who see him, young alike and graybeards.  They will never turn their back, I venture to predict, or weary of their gazing so long as he continues to display his splendid action.  Such are the horses on which gods and heroes ride, as represented by the artist.”

– Xenophon, The Art of Horsemanship

 

1 Camille Paglia, Sexual Personae (New York: Vintage Books, 1990), Page 64

2 Paglia, Page 65

3 Jack Leonard Benson, Horse, Bird & Man; The Origins of Greek Paintings (Amherst, University of Massachusetts Press, 1970), Page 20

4 Fred S. Kleiner and Christin J. Mamiya, Gardner’s Art through the Ages, The Western Perspective (Belmont, CA: Thomson Learning, 2005), Page 94

5 Benson, Page 24

6 Andrew Clark, Understanding Greek vases: a guide to terms, styles, and techniques (Los Angeles: J. Paul Getty Museum, 2002), Page 115

7 Clark, Page 129

Columbia University Department of Art History and Archeology Visual Media: Center http://www.mcah.columbia.edu/parthenon/flash/main.htm

9  Xenophon, with notes, by Morris H. Morgan, The Art of Horsemanship (Imprint Boston, Little, Brown, and company, 1893), Page 70

10 Xenophon, Page 5

11 Xenophon, Page 5

edwinroman.com

Scenes from The Jazz Age Lawn Party

Two weeks ago, I hit the streets of New York City looking to foster some inspiration. With my camera, I traveled to Governors Island, thinking I was going to get some interesting landscape shots. Instead, I stumbled upon a most festive event: The Jazz Age Lawn Party! And it was exactly that— a gathering of many people celebrating the 1920s! What fun! It was almost as much fun as Comic Con. Here are some of the pictures I took. I did my best to not include any pictures with 21st century details taken with a 21st century camera. Enjoy!

Speakeasy Sal

Speakeasy Sal

The Orange Parasol

The Orange Parasol

Suspenders

Suspenders

Millinery Product

Millinery Product

Bands

Bands

21st Century Photographer, 20th Century Camera

21st Century Photographer, 20th Century Camera

Camera Ready

Camera Ready

Enjoyment

Enjoyment

Dancing Smiles

Dancing Smiles

American Made

American Made

A Toast

A Toast

 

edwinroman.com

 

The Perfect Playlist: E’s Spanish Jazz 3

Not too long ago my best friend from college sent me a picture of a mix tape that I made for her in 1988 which she remarkably still has. I titled it “Past Tense” after a poem I had written back then. I lost the notebook where I had written that poem, but remembered some of the lines. I also remembered some of the songs on that tape, most notably on all of side a.

vader tape

Social media humor.

The playlist is the descendant of the mix tape. And like my mix tapes, I make a significant effort to make sure they are right. What I mean by right is that there is a certain cohesion and shared texture; it takes me on a journey and inspires. What I love about digital versus tape is flexibility for experimentation. Though, sometimes I do miss walking around Manhattan with my old yellow cassette Sports Walkman.

Interestingly, I made some mix tapes that I thought were so good, that I remembered them and they now exist as playlists on my iPhone / iPod. I thought I would share some of my favorite playlists on my blog. Here is my first one called “E’s Spanish Jazz 3.” It mixes several Spanish language genres. It is also the third and my favorite version of the “Spanish Jazz” playlists. I have included links to YouTube so you can hear the songs for yourself and maybe add it to your own device.

  1. La Pluma by Bloque
  2. La nave del olvido by Buika
  3. Remedios by Gertrudis
  4. Sultanas de Merkaillo by Ojos de Brjuo
  5. Sabor a Mi by Bebo Valdes
  6. Lo Siento Mi Amor by Rocio Jurado
  7. Un Mundo Raro by Lila Downs and Diego El Cigala
  8. Awakeing by The Souljazz Orchestra
  9. Che Che Cole by Antibalas
  10. La Media Vuelta by Falete
  11. Romance de la Luna Tucumana by Diego El Cigala
  12. Tangos De Pepico by Estrella Moraente
  13. Sabor a Mi by El Chicano
  14. Quiereme Mucho by Linda Ronstadt
  15. Querido Emigrante by Milly Quezada
  16. Idiilio by Willie Colon
  17. Bajo La Tormenta by Sergio George’s Salsa Giants
  18. Perfume de Gardenias by Miguel Zenon

P.S. I have about ten versions of “Sabor a Mi”—it is amazing song that many recording artists have covered and I have yet to hear one I have not liked!

P.S. II La nave del olvido by Buika is in my top ten all-time favorite songs!

 

edwinroman.com

Book Review: I Hope You Fall In Love

The well-known quote of not judging a book by its cover unequivocally applies to I Hope You Fall in Love. A collection of poetry and prose written by R YS Pérez, this book is not the lovey-dovey schmaltz that the cover would initially lead you to believe.

Pérez dedicates the book to “those who love hard and those who are afraid to.” In her introduction, she notes that she has a problem when it comes to writing: “I only seem to write when I am falling in love or falling apart.” She then brilliantly notes that, “…writing is all about divergent thinking colliding with a hurricane of emotions.” She makes another analogy to love as weather when she writes, “Love no longer becomes a feeling – it becomes a storm.” Love is as unpredictable and powerful as the weather. We try to make sense of the weather, why not try to make sense of love— and that is what Pérez is doing in I Hope You Fall in Love.

Throughout the book there are brief, but notable, one paragraph diary entries. The most outstanding was dated 6 October 2016 (Pérez writes the date as it would appear in Spanish, where the day is written first and not the month as in American English):

“My sister asked me “Do you love someone all the time?”’ And it was one of those moments when I realized I could say something profound. So, I took a deep breath, thought about it. No, I said, sometimes you’ll want to strangle them more than you love them. But then it passes, and you’ll love them even more.”

Absolute truth! When you truly love someone, they can drive you mad. As Olympia Dukakis’ Rose said to Cher’s Loretta in the classic film, Moonstruck, “When you love ’em, they drive you crazy. ‘Cause they know they can.”

Pérez’s exploration of love is not just limited to romantic love. She explores the love of family (even writing to an unborn, future daughter), connecting with your roots as well as love of country.

“My family is like America; we are blend of melanin and uncertain borders.”

“My family is like America; a country of tolerance, and so many other things all at once. A beautiful mess of so many complexities. My family is like America; or at least the America I would like to be in.”

Pérez also bravely bears out her insecurities in the section of prose titled “The Color Brown.”

“I wanted to embody what I loved about my favorite colors, to be bright and lovely.”

Later in the poem titled, “My Skin: Take Pride in It”, Pérez takes on whitewashing via self-exploration:

“The color of the surface of my skin

tinted like windows,

mocking the sun,

creating artificial nightfall creeping across

my skin.”

“You dread because you want to rid yourself of the ancestral bond…”

Ultimately, in spite of what she detailed in “The Color Brown”, Pérez accepts who she is in “My Skin: Take Pride in It”,

“But I could never find myself

to be ashamed

of my beautiful cinnamon brown

skin.”

I Hope You Fall in Love is Pérez’s first book (she is one to watch). At times, it feels a bit all of the place while concurrently feeling cohesive—and that is its genius! It brilliantly captures the wide-ranging feelings love can provoke in a very personal, but relatable way. I Hope You Fall in Love really stayed with me in that it got me to thinking about past romantic relationships, my relationships with friends, family and deceased loved ones for several days after I completed it.

Going back to my initial feelings on the cover, I was absolutely wrong about its simplicity. Like the book, there is a great deal of complexity in the cover. Love, like the web-like suspension cables of the Brooklyn Bridge, can be confusing, but when properly anchored, can hold you up.

 

Ms. Pérez’s web site is https://www.rebeccaysperez.com/ .

Ms. Pérez can also be found on Good Reads at https://www.goodreads.com/Becks-TheStoryBookGirl

 

I hope you fall in love cover e

Posing with my copy.

 

edwinroman.com

 

 

Coney Island Winter: A Photo Essay

Earlier this month, I made a long-overdue pilgrimage back to Coney Island. It was the first time I had visited during the off-season in about twenty years. It was also my first time ever visiting during the off-season with my camera. The ambiance during the off season is, of course, quite different. The amusement parks are empty and there not many people around. My eye was drawn to the beach and the ocean—I forgot how much I love that crisp, winter sea air! I hope this collection of photographs conveys that wonderfully peaceful feeling.

Brooklyn Eiffel Tower

Brooklyn Eiffel Tower

Underneath with the Tides

Underneath with the Tides

Pier Noir

Pier Noir

thunderbolt

Thunderbolt

Tidal Walk

A Tidal Walk

Seashell by the Brooklyn Shore

Brooklyn Seashell

Wavy Wood

Wavy Wood

Friend of the Gulls

Friend of the Gulls

Winter Pier

Winter Pier

Juan

One of the great things about living in New York City is that you get to meet people from all of the world—even on a cold, crisp day in Coney Island. I met Juan, who was a visitor from Argentina who agreed to pose for me.

Juan-scarf

Juan’s Scarf

Juan black and white 2

Juan views the Atlantic

Juan black and white front

One Last Picture

 

 

edwinroman.com