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Notes From the Underbelly
Ridiculous to the Sublime
By Eric A. Carlson
--Jack London, 'The Call of the Wild'
WITHIN THE BLUE CONFINES of Sara's Kitchen, over a watery and sullen plate of Eggs Benedict, Mr. L and I mapped out a course through the dark bowels of Santa Clara. Treasures there be: buried bandits and governors, barefoot Carmelite nuns, a bona fida Benny Bufano rocket ship statue, a yard decorated with discarded railway equipment, and more.
Walking through the older neighborhoods, I marveled at the logistical disdain employed in planting bungalows next to Victorians next to Craftsmen next to 1960s cookie-cutters. And lawns exhibiting personalities of all stripe: classic pink flamingo lawns, a yard crowned with a painted bathtub (yellow) and ceramic chickens, another consisting entirely of lavender--no grass, English garden motifs, yards of cactus and cacti. This quaint jumble style is only surpassed in Alviso and the unincorporated area of Burbank--in decidedly rawer form.
Mr. L and I arrived at the combination Carmelite Monastery-Bond Ranch, a sanctuary of arbors, olive groves, pristine garden shrines and a world-class terra-cotta chapel. A careful observer might be rewarded with a glimpse of one of the cloistered discalced (barefoot) Carmelite nuns. I observed a cheater wearing sandals, but surmised she had special dispensation on account of her age. The Monastery, consecrated in 1917, is situated on the old Bond Ranch (1895-1906). Here, Jack London visited Marshall Bond, stole his dog and used the locale to open the first chapter of his novel The Call of the Wild--good old Buck.
Crossing El Camino, I could just make out the tippy-top of the Benny Bufano rocket statue, thrusting above the treetops beyond the Civic Center. Heart pounding, I crashed through the underbrush and made my way to the front of the colossus. What had appeared to be an otherworldly ICBM, apparently designed to frighten away nonterrestrials, is actually a 60-foot-tall stainless steel statue titled Universal Child. Ceramic round-eyed children are glued to the bottom portion, representing "all the world's children." A larger, extra-wide-eyed child is glued close to the top--probably the leader. And it occurred to me that this might indeed be the ultimate weapon: hyperactive, howling children hurled at those foolish enough to challenge our way of life. Aside from a De Kooning (Standing Figure) stinking up the Cantor Arts Center at Stanford University this is the most ludicrous public statue to see light of day in California--and possibly anywhere.
The following week, I returned to the Benny Bufano rocket to take its photograph. On a whim, I crossed the street to the Triton Museum of Art, plopped a couple of bucks into the "donations" Plexiglas box and started looking around. Mark Robinson, the Sunday docent, deserves more money. Mark gave me an impassioned tour of the current exhibit--a photographic tour of Vietnam by Jim Gensheimer, titled Pain and Grace. After looking at one photograph, I was hooked. It was spectacular--in subject matter, composition, color, you name it. In short: beautiful. Next photo, same thing. The walls were filled with beautiful photographs--with stories embedded like gold nuggets. The exhibit runs through February 20, but you can always buy the book in the gift shop--I did. These are transcendent photographs. Jim was gracious enough to hook up with me so I could take his picture by the fine Morgan horse in front of the Triton. As a photographer, he knew to have patience and let me snap away like a madman.
There is wonder and weirdness in Santa Clara. More expeditions will be necessary to root out the "volcano priest"--Father Hubbard, the Lick Mansion, the Berryessa adobe--oldest house in Santa Clara, the Harris-Lass house museum, a mosque, the insane asylum converted into a computer company, as well as a thorough cataloging of lawn ornamentation.
Final Note--my top Gensheimer photo picks: Elder at Wedding Party, War Remnants Museum, Soda Vendor, Bar Girl at Vascos, Koi Pond, Tet Flower Vendor.
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