James Van Der Zee's Dreamlike Images of the Departed
Briefly

James Van Der Zee's Dreamlike Images of the Departed
"You could tell that he was getting back to work when the drinking stopped and the parties stopped. Sitting in uneasy silence-he hated being alone, but, spiritually, he was always alone-he'd put a pad of lined yellow paper on his clipboard and, in his strong, decorous hand, he'd start jotting down a world that honored his imagination, and his dead."
"That was long before I met Dodson, in the early nineteen-seventies, when I was fourteen. We were introduced by a woman he'd known since elementary school, in Brooklyn-now a schoolteacher who worked with my mother and who, like my mother, believed that I had a future as a writer. Soon after that, Dodson invited me over to his place to pick up some books he wanted to give away; eventually, our relationship changed, and my casual benefactor became my complicated mentor."
"I spent a great deal of time after school in his beautifully furnished apartment on West Fifty-first Street and learned so much there. I saw things I had hitherto seen only in books or in my imagination: beautiful Cocteau drawings, Victorian sofas, free-standing candelabras straight out of a nineteenth-century play. Dodson also had an extensive collection of art and photography books, including a first edition of Henri Cartier-Bresson's " The Decisive Moment,""
The Harlem Book of the Dead reissue presents funerary portraits that narrate Harlem lives, grief, and remembrance through photography, poetry, and visual art. The collaboration combines a photographer's images, a poet's voice, and an artist's visual framing to honor the deceased and communal memory. Owen Dodson's presence and creative life link theatre, mentorship, and a deep engagement with Black cultural forms, including directing James Baldwin's The Amen Corner. Personal recollections recall Dodson's richly furnished apartment and his collection of art and photography books, including a first edition of Henri Cartier-Bresson's The Decisive Moment and work by James Van Der Zee.
Read at The New Yorker
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