Word: hooch
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...little experience but lots of enthusiasm. Despite warnings of "considerable danger," toward 12 midnight on a moonless night, the men piled into a swift boat and headed for Thanh Phong. Darkness gave cover but heightened the confusion. As the men crept toward the village, they bumped into an outlying hooch they thought was a warning outpost. Kerrey says his men, wielding knives, told him they would "take care" of the people inside to prevent them from alerting the village. But Kerrey says he did not join in the killings or examine the victims...
...criminal violation of the laws of war. Yet one member of Kerrey's squad says that is what the SEALs did that night. Gerhard Klann, the veteran among Kerrey's green tyros, told the Times Magazine and 60 Minutes II that the five villagers knifed in the first hooch were, in fact, an old man, his wife, two young girls and a boy. He said Kerrey ordered the killing and personally helped him cut the old man's throat...
...Until De Hooch goes to Amsterdam, the work is all plain, in surface, substance and gesture. There's scarcely a hint of theatricality in the way his Delft models look. The figures in A Woman Drinking with Two Men, and a Serving Woman, circa 1658, are circumspect and static. True, the man on the left seems to be mimicking a violin player with two clay pipes, but it would be hard to imagine a more decorous drinking party, and the glass of wine the woman raises is more like a chalice than an attribute of Bacchus, let alone Venus. Their...
...much of a realist was he? In De Hooch's world every brick is in place--he was, as a matter of fact, the son of a master bricklayer--but that place may not have been in a real structure. The show contains two paintings of the "same" scene, a courtyard in Delft, from 1658, featuring a brick archway with an inscribed tablet and a round window above it, and a little arbor to the right. Except that in the second version the arbor isn't an arbor but a shed; and the slice of street seen through the archway...
...Hooch's painting changed after his move to Amsterdam. He was working for a richer and posher clientele--not that they made him rich. The plain stuff of his interiors gives way to more sumptuous surfaces: marble, Turkish carpets and gilded walls of embossed leather, all of which he painted with virtuosity. The people are dressed to the nines. The idea that De Hooch sold out to them, and to their way of life, thus sending his art into decadence, was widespread once. It isn't borne out by the pictures themselves. A strangely moody image from...