Justice Kennedy asks: Where is civil discourse?

Justice Anthony M. Kennedy with Kate Meeks at the Aspen Institute, Washington, D.C., Oct. 21, 2025/By Patricia Leslie

At the Aspen Institute Washington's office Tuesday night, retired U.S. Supreme Court Justice Anthony M. Kennedy looked out at the audience and said he was “astonished" by public leaders who "use filthy words" and the lack of "respectful discourse" heard on public airways.

(Aren't we all, Justice Kennedy? The name of the chief bad mouth was never uttered in the session nor were any other names, not associated with cases.)

Justice Anthony M. Kennedy at the Aspen Institute, Washington, D.C., Oct. 21, 2025/By Patricia Leslie

Appearing before a "sold out" crowd at the Klein Book Series sponsored by Susan and John Klein, both in attendance, Justice Kennedy came to promote his new book, Life, Law & Liberty, which contains, upon first hearing, more humor than one might suspect.

The interviewer, his former law clerk and Fox News Media's General Counsel, Kate Meeks threw him softball questions, mostly about his growing up years allowing Justice Kennedy to tell about some funny parts.

Just before he took a tax exam he and a buddy took their tax books to a baseball game (the last one Ted Williams played!) to study... (to what?) and lo and behold, the sound of a familiar voice, that of their tax professor, piped up behind them. For years, this professor (who later became the U.S. Solicitor General) kidded Mr. Kennedy about the encounter.

Justice Anthony M. Kennedy with Kate Meeks at the Aspen Institute, Washington, D.C., Oct. 21, 2025/By Patricia Leslie

In these forums, the best always comes last and Tuesday evening's session was no exception, with questions from the audience. (Written questions were accepted beforehand.)  

Nothing but polite questions came from the genteel group, most questions devoted to past Supreme Court decisions with no justice names included. (Sigh)

And if you ever wondered if the justices are affected by public opinion, wonder no more since Justice Kennedy cited public opinion at least twice in the hourlong session. 

When asked about Citizens v. United, Justice Kennedy said (paraphrasing) if you don't like it, then change it!  It's up to the voters to get down and effect change at the ballot box!  Please!

Vote for the other candidate who's not receiving Big Money, he said.

That decision was 5-4 and he wrote the majority opinion, that Congress cannot prohibit corporations from giving money to campaigns.  

But, vast amounts of money going into campaigns is very troubling, he said. Billionaires who don't even live in the state pour money into campaigns (omitting the name of Elon Musk and his disastrous results in the Wisconsin Supreme Court race).

Kennedy went on: If we say corporations can't give money, the New York Times is a corporation.  Are they to be limited?  What about a chamber of commerce in a small town?  A bakery shop?

Are we going to have limits on big corporations v. small ones?  

Voters can demand disclosure.  If voters are unhappy with money going to one candidate, they can vote for the other candidate, he said.

About the 1989 flag burning case when the Court ruled 5-4 in favor of freedom of speech by the flag burner, it was a decision, Justice Kennedy said, which the public quickly grew to accept, after initial criticism and rebukes from 80 U.S. Senators. (Editor's note: One can hazard a guess on the case outcome by today's Supreme Court.) 

In Bush v. Gore: "We had 48 hours, I think to write the opinion," and seven justices agreed to take the case. He was unsure a couple of times whether it was seven or six justices, but they agreed there was a Constitutional violation.

"The question was:  What should be the remedy?"

Gore wanted a recount of the votes only in the districts that he lost and "we said, no you can't do that. He wanted to extend the time for more argument and we said no.

"It seems to me, the opinion was quite right," citing surveys that Bush "would have won, but I'm not sure those were correct." 

He said the framers of the U.S. promised (in the Preamble to the U.S. Declaration of Independence) that "'all men are created equal'" with "certain unalienable Rights" which include "the pursuit of life, liberty and the pursuit of happiness" but "judges cannot enforce happiness." 

He holds a "fundamental concern about human dignity," not found in the Constitution. "Freedom means respect for each person," he said.

Kennedy frequently referenced President Ronald Reagan who nominated him to the Ninth Circuit for the U.S. Court of Appeals and later, the U.S. Supreme Court, Kennedy, quite adept at mimicking his old boss.

Kennedy got to know Reagan when Reagan was California's governor, and Kennedy performed legal work for him.

As for moving back to the East Coast for the Supreme Court,

"aw, shucks," Kennedy seemed to say: He and Mrs. Kennedy were not so fond of moving back East from California and they didn't really know anyone, he told Reagan.

"'Well, you know me,'" Kennedy quoted Reagan in his drawl.

"What?" said Kennedy to audience laughter: "Was I supposed to go and have lunch with him every day?" 

Reagan "would be most concerned about the state of our civic discourse, and he would be a wonderful person to try to restore civility that we need so badly." (Since Reagan speaks from the grave about tariffs, will someone bring up his remarks, please, about civility?)

Kennedy's guidance for new members of the Supreme Court:  "The cases are much harder and much more difficult than you think when you sit down to write them."

One questioner asked if it's become "a meaningless ritual when you take the oath of office and the words don't mean anything?"

Kennedy praised the questioner's wording framing the question and answered that every public official has the duty to ensure that what he or she is doing is consistent with the Constitution.

The most important qualities for a judge are "you must be honest with yourself. You must ask yourself every day what is it that is making me do this? Is there some hidden motive, some bias that I have that I can't see?  

"All of us have to ask this in our lives every day. Judges have a sworn duty to ask this question."

Kennedy's "greatest job in the world is a U.S. District Judge.  He or she is all by himself or herself.  That single judge gets to see real people, jurors, witnesses." 

He emphasized that the Constitution doesn't just apply to cases that come before the Supreme Court: It applies even more importantly to those that don't come to the Court.  

"The Constitution requires equal treatment for all."

He said, if our democracy is going to survive, we must have an informed electorate. Our citizens must take an interest in current affairs, they must participate, and if they don't like what they see, they can show it at the ballot box. 

Internet usage is mostly only communicating with those who agree with you, he said.

Answering another question from the audience, he said, the Supreme Court encounters "difficulties" with so many emergency decisions. 

"We would get phone calls in the middle of the night - death cases - these are quite complex and it does seem to me that we have to find ways so the courts have more time.

"The district courts sometimes have just a couple of hours.  We usually just stay it. In some instances, some ongoing wrongs continue."

A reception followed.

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Book review: Who was Perle Mesta?

The author of The Woman Who Knew Everyone:  The Power of Perle Mesta, Washington's Most Famous Hostess, Meryl Gordon, has compiled an exhaustive account of Perle Mesta's life, written well and a "fast read."

It's unlikely that the book will attract many who don't recall Ms. Mesta's name, a woman who enjoyed her heyday in the 1940s and 1950s, and the cover and title certainly don't help.

The title does little to attract readers. For those who remember her, Ms. Mesta's name should be front and center.

The cover makes no sense since it appears Ms. Mesta was a friend of Jacqueline Kennedy of whom she was not, having greatly offended the Kennedys when Jack was a presidential candidate in 1960 and Ms. Mesta went overboard in her support of LBJ.

So much for White House invitations which ceased after JFK took office in January, 1961, darkening Ms. Mesta's lights in Washington where she had been non-stop socialite and party hostess, a Washington institution about and around town during most of her adult life.

Wikipedia says Perle Mesta (1882-1975) inherited what would be today approximately $1.4 billion from her husband, George, a steel industrialist who preceded her in death by 50 years. 

Ms. Mesta used the money to fundraise for the Democratic party and entertain politicians, spouses, Washingtonians, and celebrities.  

Often, her parties were attended by thousands.  She was an early supporter of the Equal Rights Amendment and worked hard with elected officials to gain support for it.

Until JFK's ascent to the presidency, Mesta had been a constant visitor to the White House during Presidents Truman's and Eisenhower's terms, she being close friends with both Mr. and Mrs. Truman and Mamie Eisenhower, however, Eisenhower did not re-appoint her to the Luxembourg ministry like Truman had initially, Truman never naming Ms. Mesta "ambassador" for some unsaid reason, but "minister."

In Luxembourg, the State Department staff ridiculed her, jealous, I suspect, but the Luxembourgers loved her. 

At the first of every first month after they had been paid and could afford to get to the embassy, Ms. Mesta hosted at her expense, parties for U.S. soldiers stationed in Europe.

After Luxembourg, Ms. Mesta toured the world as a "diplomat “ and wrote a newspaper series, lecturing to large audiences who loved her, chronicling her months-long 1953 visit to Russia which welcomed her and permitted her to often visit forbidden places.  

She did not shy from describing Russian life as she saw it, writing about, for instance, women performing heavy labor.

On her trip, she stopped in Ukraine and noted that Ukrainians were highly offended if someone called them "Russian." 

"Their reaction sheds some light on why the Kremlin continues to be troubled about the Ukraine, the second largest republic in the Soviet Union and the source of much of its food, coal and iron ore." (P. 214)

The public and catty comments found throughout the book and attributed to social competitor Gwen Cafritz about Ms. Mesta's physical appearance, her lack of education, and social niceties are astonishing to read. 

Yet Ms. Mesta never seemed to go negative in response (at least, in the book), always maintaining a positive outlook and wide smile. 

"The hostest with the mostes" was a title borne in a Broadway musical about her by Howard Lindsay with music by Irving Berlin, and starring Ethel Merman. It was Call Me Madam.

Ms. Gordon includes all things good and bad about Ms. Mesta, her money, travels, mobility. Ms. Mesta's schedule and energy, even during latter years, left me envious.

Overall, a good read for Washingtonians and others interested in social life in our nation's capital, including those nasty State Department snobs. (Almost 400 pages.)

Who fills her shoes now? Nobody.

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The masterpiece 'Julius X' at Folger Theatre

Yunyi Dai was the designer for the playbill cover for Julius X now on stage at  Folger Theatre

This is Harlem! This is Rome!

It is not necessary to be a Shakespeare scholar or a follower of Malcolm X to enjoy terrific theatre now on stage at the Folger Theatre. 

Julius X: A Re-envisioning of The Tragedy of Julius Caesar by William Shakespeare is one of the best shows I’ve seen in Washington D.C. this year, thought-provoking and certain to appeal to all those who love the writings of the master wordsmith.  

The timing with today's political chaos is remarkable.

Brandon Carter, left, is Julius X and Greg Alverez Reid is Brutus in Folger Theatre's Julius X: A Re-envisioning of The Tragedy of Julius Caesar by William Shakespeare on stage through Oct. 26, 2025/By Erika Nizborski 

It's an excellent staging in a lively, edge-of-your seat presentation, engaging even to a laywoman, a non-Shakespearean scholar like me, initially intimidated by the seeming complexities of the subject matter.

Using text from the speeches of Malcolm X and William Shakespeare's Julius Caesar, Al Letson, poet and hip hop artist has amplified the tales of the two men with his own brand to produce a marvelous, intertwined script.

Letson draws comparisons between the ending of their lives and their assassinations by associates and others worried by threats the men posed to their group's leadership. 

Brandon Carter plays the lead role and must have spent hours studying film of Malcolm X to deliver his stunning performance. 

Indeed, after the murder of Julius, Carter enters a scene in an abbreviated role, this time, a humorous portrayal of an old man bent on trying to solve conflict, waving his cane to audience delight. 

The cast of Folger Theatre's Julius X: A Re-envisioning of The Tragedy of Julius Caesar by William Shakespeare on stage through Oct. 26, 2025/By Erika Nizborski 

The actors were powerful, but none overbearing, including the hated Brutus (Greg Alverez Reid) and his sidekick, Cassius (Jay Frisby) who succeeded in their quests to produce animosity and energize the crowd, the audience which joined the cast at the invitation of director Nicole Brewer who asked at the start of the show for our participation when needed.

We were only too happy to oblige, clap, and shout for Julius and boo and hiss the conniving Brutus.

More than the original playwright, Letson incorporates extra speaking parts for Calpurnia, Malcolm X's wife (Nikkole Salter) and Portia, Brutus's wife (Renee Elizabeth Wilson) who handled their roles with conviction and passion.

Abandoning his earlier weakness when he was overshadowed by Julius, Jonathan Del Palmer became a strong Marc Anthony who speaks vigorously when he commands the stage alone to say:

The evil that men do lives after them;
 
The good is oft interred with their bones;
Hath told you Julius was ambitious:
If it were so, it was a grievous fault;
And grievously hath Julius answer'd it.
Here, under leave of Brutus and the rest, —
For Brutus is an honorable man;
So are they all, all honorable men, —
Come I to speak in Julius's funeral.
He was my friend, faithful and just to me:
But Brutus says he was ambitious;
And Brutus is an honorable man.

Letson worked on his script for years, beginning when, as a youth, he was denied a role as Marc Anthony because of his skin color. He developed a love of Shakespeare and earlier, in the 7th grade, after reading The Autobiography of Malcolm X, those words remained, too.

Creative team members added immensely to the enjoyment of the show, like choreographer Shawn Short who wove fine dance design into the story.

Costumer Danielle Preston dresses the actors in mostly contemporary styling with Julius wearing the straight, dull apparel associated with memories of Malcolm X.

Porsche McGovern's lighting and Andrés Poch's projections  were outstanding, the projections often suggesting  mental turmoil and ... stormy weather.

In a pre-play interview posted at the Folger, director Brewer points to the play’s “medicinal value” which invites us to pause and reflect on where our communities, our cities, our country are headed, how our connections have been weakened and our divides strengthened, and she asks:
“Where have we been reticent in taking action, only to find ourselves facing more extreme outcomes later? Where have we lost trust and faith in each other?”

Other cast members are: Lilli Hokama, Gaelyn D. Smith, Shawn Sebastian Naar, and Dwayne Alistair Thomas.

Also on the creative team: Thom J. Woodward, sound; Isabel Simoes deCarvalho, props; and John “Ray” Proctor, dramaturg and voice and text coach.

What: Julius X: A Re-envisioning of The Tragedy of Julius Caesar by William Shakespeare by Al Letson

When: Now through October 26, 2025 with a masked performance, Oct. 5 at 7:30 p.m.; relaxed performances, Oct. 12, 7:30 p.m. and Oct. 22, 2 p.m.; post-show discussion with the cast, Oct. 16 at 7:30 p.m.; audio-described, Oct. 18, 2 p.m.; and open-captioned, Oct. 26, 2 p.m. and 7:30 p.m.

Where: Folger Theatre, 201 East Capitol Street, S. E. Washington, D.C. 20003. Enter at Third and East Capitol streets.

Tickets: Buy online, phone (202-544-7077), or at the box office. Tickets start at $20 with discounts for groups, persons under age 35, students, seniors, educators, members and family of the military. Those under age 4 are not permitted. 

Federal Employees: Buy and reserve up to two tickets for only $20 each through Oct. 5 using the code FEDERAL. Please bring proof of current or recent employment to Will Call.

Metro stops: Capitol South or Union Station

For more information: 202-544-4600 or info@folger.edu

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This 'Hou$e' has got Herndon talking

From left, Jule Nelson-Duac, Cristina Sanchez and Ixchel Hernandez star in NextStop Theatre's Dream Hou$e/by NextStop

Rather than a "dream house," this becomes a horror house (with some laughs thrown in). 

Dream Hou$e by Eliana Pipes is presented by NextStop Theatre, all about two Latina sisters, Patricia and Julia (Cristina Sanchez and Ixchel Hernandez) who grapple with how to sell their deceased mother's house.

Should they? Will they?

They argue, they embrace, adjust to new family dynamics, and show growing respect and love for each another. 

Into the house steps the glamourous and smiling-between clinched teeth, Tessa (Jule Nelson-Duac), a stereotypical real estate television personality who enthusiastically tells the ladies that she can sell their house for ... are you ready?

Much more than they ever dreamed about!

Millions more than they could ever imagine!

The sisters gasp! They hug! Can this be true?

And Tessa shows them how, in this deepening strange and weird tale.

In the room the silent female movers go (Leela Aviles Dawson, Carianmax Benitez, and Sadie Koopman)  wasting no time "staging" the house for Tessa's television show, while the TV host morphs into a scary, sci-fi character who deliciously coaxes the sisters into...

My! What big teeth she has! The better to gobble you up!

Rather than focusing on the sisters, the script has Tessa increasingly taking center stage and she has no trouble meeting demands nor do the homeowners who, under the direction of Helen Hayes Award winner, Dylan Arredondo, all deliver solid, creditable performances.

Grisele Gonzalez has designed a full set of a home's living area, a warm environment which gradually loses its character and becomes a sterile room, as the movers go about their duties. Rather like Tessa transitions to a monster.

NextStop's values include "encouraging the exploration of new ideas, creative risks, and pushing boundaries to keep theater vibrant and relevant."

And to that, amen, sister: Dream Hou$e achieves its goals and more. 

The creative team includes Ilyana Rose-Davila, costumes; Alberto Segarra, lighting; Jason Dearing, props; Madeline “Mo” Oslejsek, sound; Zavier Taylor, multimedia design.

Also, Katie Ciszek, dramaturg; Sam Rollin, stage manager; Andres Jovel, assistant stage manager.

What:  Dream Hou$e

When: Thursday - Saturday, 8 p.m.; Saturday and Sunday matinees, 2 p.m. Through Oct. 5, 2025

Where: NextStop Theatre Company, 269 Sunset Park Drive, Herndon, VA 20170 in the back right corner of Sunset Business Park, near the intersection of Spring Street/Sunset Hills Road. Right off the Fairfax County Parkway. 

Parking: Park for free in the business park at NextStop's location.

Metro Station: Walk 15 minutes from the Herndon Metro Stop.

Tickets:  $48 (with fee included)

For more information:  703-481-5930 x1; info@nextstoptheatre.org

Duration: 90 mins., no intermission

Ages:  Adult themes and some adult language

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Shakespeare's 'Merry Wives' will show you a good time

From left, Shakespeare Theatre Company's Merry Wives are Mrs. Ford (Felicia Curry, left,) and Mrs. Page (Oneika Phillips) separated by the conniving Falstaff (Jacob Ming-Trent)/by Teresa Castracane

It's a comedy tonight!

And the wildest, funniest contemporary Shakespeare version I have seen, and the crowd roared with me. 

Shakespeare Theatre Company presents the adaptation, Merry Wives by Jocelyn Bioh which she wrote for NYC's 2021 Shakespeare in the Park, all about West African immigrants and cultures in present-day Harlem.

And a boisterous, rowdy lot they are, indeed! 

 

Mr. and Mrs. Ford (Nick Rashad Burroughs and Felicia Curry) own a laundromat while their friends, the Pages (JaBen Early and Oneika Phillips) have a hair salon.

Amidst an elegant setting of a three-story building at a subway stop, the haughty and laughable Falstaff (Jacob Ming-Trent) is hungry for all kinds of treasures and sets his sights on two wealthy women whose possessions he is in need. 

Like many lovers who screw up when more than one is involved, Falstaff is a prime contender. 

"Setting the attractions of my good parts aside, I have no other charms," he says, most assuredly with high confidence he'll succeed in his quests.

Alas, if you can imagine a mixup in Shakespeare: Falstaff sends both of his targets the same love letter!

But, being the savvy sisters they are, Ms. Page and Ms. Ford soon grasp what Falstaff is all about and they plan revenge. Saith Madam Page:  "Wives may be merry, and yet honest too."

Time and again, the wives play tricks on the slobbery, wobbly Falstaff from the laundry room to the hair salon to the woods amidst spectacular sets by Lawrence E. Moten III.

The ladies lean, they twist their bodies and a few words.

Their husbands soon join the party, Mr. Page who says: "I do despise a liar as I do despise one that is false, or as I despise one that is not true" while the jealous Mr. Ford (Mrs. Ford will learn 'em!) claims it is "better three hours too soon than a minute too late." 

Meanwhile, several suitors chase the Pages' daughter, Anne (Peyton Rowe), none more entertaining than the good Dr. Caius (Jordan Barbour) whose exaggerated antics made me laugh often. 

Others in pursuit of the young lass are Fenton and Slender (Latoya Edwards in both roles).

Anne has her favorite, and so did I who could have watched Shaka Zu, an ensemble member, dance the night away. 

Taylor Reynolds directs. Other cast members are Bru Aju, Kelli Blackwell, Rebecca Celeste, Sekou Laidlaw, Craig Wallace, and Tyrone Stanley. 

The artistic team included Ivania Stack, costumes; Jeanette Oi-Suk Yew, lighting; Mikaal Sulaiman, sound; Nikiya Mathis, wigs and hair; Ashleigh King, choreographer; Nadia Guevara, associate director; Laura Smith, production stage manager; 
Jazzy Davis and Stephen Bubniak, assistant stage managers.

Scholars say Shakespeare wrote the Merry Wives of Windsor to answer Queen Elizabeth's request for more of Falstaff, this time in love.  Ms. Bioh's rendition keeps almost all of the original script first published 400 years ago. (Classics last!)

STC will have a special evening on Friday, Sept. 26 at 7:30 pm for guests to "mix, mingle, and be merry" at Harman Hall for Akwaaba Night with the show, cast and cultures.

What: Merry Wives

When:  Through Oct. 5, 2025 at 7:30 p.m. with weekend matinees at 2 p.m.

Where: Harman Hall, Shakespeare Theatre Company, 610 F Street NW. Washington, DC 20004

Tickets: Start at $35

Audience: For adults and mature children 

For more information: Call the Box Office at 202-547-1122, seven days a week, 12 – 6pm. The Box Office windows remain open until curtain time.

Duration:  Almost two hours without intermission 

Metro Stations: Gallery Place, Archives, Metro Center

patricialesli@gmail.com 

GALA's 'Spider Woman' spins a knockout

From left, Rodrigo Pedreira is Valentin and Martin Ruiz is Molina in GALA's Kiss of the Spider Woman/by Daniel Martinez

Spiders can entrap, they can protect, they are patient, and they wait to entrap their snares.

That GALA Hispanic Theatre has brought back its 1994 Kiss of the Spider Woman when its co-founder, Hugh Medrano (1943-2023) earned a Helen Hayes Award for Lead Actor, the first for a Spanish performance in D.C., is no surprise for success realized then certainly means success today.

And outstanding acting by Rodrigo Pedreira and Martin Ruiz, two prisoners who share an Argentine cell in the 1970s, prove it with the 1976 novel by Manuel Puig of the  same title brought to life.

With haunting original music and sound (by Koki Lortkipanidze), Valentin has been imprisoned for revolutionary practices and protests against Argentine’s political regime while Molina is in jail for child abuse.

Their togetherness in the solitary cell creates recognition of common goals and fears while their warming embrace of differences broadens their perspectives and outlooks.

Adding more stress to his dilemma is Molina's desire for Valentin and the undercover spy operation conducted by the government, effectively presented by phone calls and eerie directions echoing in the chamber to Molina, unheard by Valentin.

The setting (by Tony Cisek) is naturally stark and gray - it's a concrete cell, after all -  the environment intensified by Hailey LaRoe's lighting.

At GALA, theatregoers can see this version of Kiss of the Spider Woman in person, in advance of next month's movie premiere with Jennifer Lopez and Diego Luna.

On two screens at either end of the stage GALA presents its version in Spanish with English surtitles.

Jose Luis Arellano directs with assistance from Luz Nicolas. 

Other production team members are Cidney Forkpah, costumes; Tessa Grippaudo, properties; Anson Stevie, technicals; Ilyana Rose-Davila, production manager; Andre Hopfer, makeup and hair; David Peralto, vocals; and Brian Martinez, stage manager.

On September 21, join a talk-back session with Jesse Garcia, public relations manager at Amazon, and Jose Gutierrez, psychologist, both active in human rights and LGBTQ associations.

Through September 26, enjoy Friday night socials in the lobby at Afters at GALA with Latina musicians and karaoke.

What: Kiss of the Spider Woman

When: Thursday through Saturday nights at 8 p.m.; Sunday matinees at 2 p.m. Now through Sept. 28, 2025.

Where: GALA Theatre, 3333 14th St NW, Washington, DC 20010.

Tickets: Start at $25 with discounts available.

Duration: About two hours with a ten-minute intermission.

Ages: For 14 and up, adult themes.

Handicapped accessibility: GALA has four wheelchair accessible spaces and an elevator from the entrance to the lobby and the house.

Metro stations: Columbia Heights is one block from GALA on the Green and Yellow lines. Or, get off Metro at McPherson Square, take a bus up 14th, or, walk two miles from McPherson Square and save money and expend calories! Many places to eat along the way.

Parking: Discounted parking for $4 at Giant's garage around the corner on Park Road with ticket validation in GALA's lobby, and more parking on the street and at the Target's garage also on Park Road NW, between 14th and 16th streets NW.

For more information: Call (202) 234-7174 and/or email info@galatheatre.org

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Book review: Blake Gopnik exposes Albert Barnes

In The Maverick's Museum: Albert Barnes and His American Dream, art critic Blake Gopnik tells us, in his well-documented tome, all about Philadelphia's modern art collector and philanthropist (1872-1951) who established the Barnes Foundation, who grew up in an impoverished childhood, leaving him keenly aware, sensitive to and devoted to those less well-off than he became.

From the lower socio-economic classes like he had known, he hired many who worked for him for years. He appointed them to various positions on his board, providing mortgages, higher education, medical bills, scholarships.

Years ahead of race-consciousness and sensitivity to people of different color, Barnes was a keen and sincere (for the most part) practitioner of equal opportunity.

His goal was to have art enthusiasts look at art the way that he did and improve society (?).  No free thinking allowed, s'il vous plait!

It was not to be, but for some, it endured...for a while.

That Barnes carried a chip on his shoulder seems obvious, and a possible inferiority complex, too, like his one-time friend, philosopher Bertrand Russell, claimed. 

When Russell was “down and out,” Barnes hired him to teach at his foundation, but later grew disgruntled after Barnes deemed Russell’s wife too haughty. By lawyering, Barnes found a way to sue Russell for breach of contract, but Russell countersued and won more than Barnes owed him.

It was an outstanding example of the typical adverse relationship Barnes seemed to enjoy, many fights he had with notables and others he encountered, who he thought denigrated him in some way (the Philadelphia Museum of Art was one institution), insulting them with horrible words (a la Trump but with a much broader vocabulary).

Barnes made his money early in life by the invention of the drug, Argyrol, he developed with a German scientist, Hermann Hille, which was used to treat infant eye infections. 

For a while, he searched for ways to spend his accumulating wealth and voila! With the help of schoolmate and artist, William Glackens, Barnes found it in art.

His collection grew to include more Renoirs than found anywhere else in the world (181; Barnes particularly enjoyed the artist's female flesh works), 69 Cezannes (more than found in France), 59 Matisses, plus works by Manet, Degas, Seurat, Prendergast, Titian, Picasso and Van Gogh.  (Alas, Barnes turned down Van Gogh's Starry Night, now hanging at the Museum of Modern Art in New York.)

There was a Mrs. Barnes, but she occupies a small portion of the book, notably towards the end, a horticulturalist who received awards for her interest. Her general absence from the book leaves the impression that she was merely another piece of art hanging on the wall, but one of less value.

The couple had no children.

The book is slow to begin but picks up speed after a few pages and is an excellent read for art lovers, for Philly residents, for visitors to the Barnes, and others who follow eccentric personalities which I guess most of us are. 

You can't visit the Barnes Collection the same way again, and I can’t wait to get back, equipped with this background.  

Note: For the second edition, may I suggest an inversion of the title: The Museum's Maverick.

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