The Multimedia Launch of Velvet Totalitarianism (Intre Doua Lumi) in Romania
I’m happy to report that my first novel, Velvet Totalitarianism, was launched in Romanian translation (by Mihnea Gafita) under the title Intre Doua Lumi (Curtea Veche Publishing, 2011). The presentation will include my talk about the book as well as a book trailer produced by Claudiu Ciprian Popa and a music video produced by Andy (Soundland) Platon (see the below). This was the first multimedia launch, in which a book trailer and music video accompanied the presentations of the novel.
The political commentator Adrian Cioroianu, the literary critic Alex Stefanescu and the film producer Stere Gulea introduced my novel in light of their respective fields. The book launch took place at the Romanian Cultural Institute in Bucharest (ICR Bucuresti) on September 21, 2011 at 18:00 p.m. (Aleea Alexandru nr. 38, sector 1, 011824, Bucuresti, România).
This novel is being made into a movie by the Romanian-American cinematographer Bernard Salzman (http://bernardsalzman.com/)
I’m pasting below the Advance Praise for my novel as well as Diana Evantia Barca‘s article about it in Catchy.ro and Anca Lapusneanu‘s article about it (and intellectual freedom) in Revista VIP.
Advance Praise for Velvet Totalitarianism/Intre Doua Lumi
A deeply felt, deftly rendered novel of the utmost importance to any reader interested in understanding totalitarianism and its terrible human cost. Urgent, evocative, and utterly convincing, Velvet Totalitarianism is a book to treasure, and Claudia Moscovici is indeed a writer to watch, now and into the future.
–Travis Holland, author of the critically acclaimed novel, The Archivist’s Story, a Barnes & Noble Discover Great New Writers selection.
Claudia Moscovici’s first novel, Velvet Totalitarianism, triumphs on several levels: as a taut political thriller, as a meditation on totalitarianism, as an expose of the Ceausescu regime, and as a moving fictionalized memoir of one family’s quest for freedom.
–Ken Kalfus, author of the novel A Disorder Peculiar to the Country
(2006 National Book Award nominee), of The Commissariat of Enlightenment (2003) and of PU-239 and Other Russian Fantasies (1999).
Western intellectuals have often blurred the fundamental differences between the imperfect free world they have been fortunate to enjoy and the totalitarian world of communism they never had the misfortune to endure. Claudia Moscovici’s Velvet Totalitarianism is a powerful corrective to that ivory tower distortion of reality. Moscovici makes her readers viscerally feel the corrosive psychological demoralization and numbing fear totalitarian regimes impose on those who live under them. At the same time, with style and wit, and informed by her experiences as a child in communist Romania and then as an immigrant in the United States, she tells a story of resilience and hope. Velvet Totalitarianism is a novel well worth reading, both for its compelling narrative and for its important message.
–Michael Kort, Professor of Social Science at Boston University and author of the best-selling textbook, The Soviet Colossus: History and Aftermath
This vivid novel by Claudia Moscovici, historian of ideas and wide-ranging literary critic, traces a family of Jewish-Romanian refugees from the stifling communist dictatorship of their homeland through their settling in the United States during the 1980’s. This fascinating and compelling story is at once historically accurate, exciting, sexy and a real page-turner. Ms. Moscovici is as sensitive to the emotions of her characters as to their political entanglements.
–Edward K. Kaplan, Kevy and Hortense Kaiserman Professor in the Humanities at Brandeis University and author of Spiritual Radical: Abraham Joshua Heschel in America, 1940-1972, winner of the National Jewish Book Award
Moving between extraordinary and ordinary lives, between Romania and the United States, velvet totalitarianism and relative freedom, dire need and consumerism, evoking her Romanian experience in the seventies, the emigration to the U.S. of her family in the eighties, and the 1989 uprising in Timisoara and Bucharest that marked the end of Ceausescu’s regime, Claudia Moscovici offers her readers a multifaceted book—Velvet Totalitarianism—that is at once a love story, a political novel and a mystery. Love is the last resort left to people in order to counter totalitarianism under Ceausescu’s rule. It keeps families united, allowing them to resist indoctrination and hardship and to make sure their children enjoy the carefree beautiful years that are their due. Love gives the protagonist of the novel the strength to overcome cultural differences between Romania and the U.S. and to invent in turn a form of personal happiness in a context that, while far from being as harsh as her initial one, does not lack its own problems.
– Sanda Golopentia, Professor of French, Brown University
Cold historical facts and figures tend to leave us emotionally indifferent. The impact of a nation’s tragic events on one single person or family is much better understood and more profoundly felt. This is what makes Claudia Moscovici’s book, Velvet Totalitarianism, so very special. Her novel is prefaced by a well-researched history of Romania under communism. Depending on one’s point of view, Moscovici’s work could be considered as the fictionalized story of a real Jewish-Romanian family under communism, based on her own recollections and that of her family and supported by true historical facts; or a brief history supported by the fictionalized story of a real family. It’s a book well worth reading. The novel is a page-turner, witty and well written.
–Nicolae Klepper, author of the best-selling book, Romania: An Illustrated History.
Bernard Salzman’s Mihaella: Chekhovian Fiction Meets Kabbalah
When one thinks of Eastern European fiction that tackles the big ontological questions—what is divinity, what is the nature and purpose of existence—as well as difficult metaphysical questions—such as the problem of theodicy, or why suffering exists in a God-created world—one thinks of writers like Dostoievsky and Tolstoy. However, often these questions seem too big for human beings to handle. Even a philosophical character like Ivan Karamzov seemed to give up on finding any satisfactory answers to such questions and, along with that, he also gave up on individual human love. In a famous quote from The Brothers Karamazov, Ivan states: “But it always happened that the more I detest men individually the more ardent becomes my love for humanity.” For Chekhov, on the other hand, the balance seems to be tipped in favor of depicting with compassion individual human beings. In the Russian literary tradition it is Chekhov, I believe, who brings large metaphysical questions down to Earth. His short stories and plays stage moral dilemmas in all-too-human characters, which he portrays with some irony and a lot of tender-hearted indulgence.
This is the tone of Bernard Salzman’s newest screenplay, Mihaella, currently in development by his film company, Eye Opener Films. This screenplay centers around the character of Mihaella, a young girl who lost her mother and is being taken care of by her uncle, Noah, and his wife Elizabeth. They live in a small town, reminiscent of Russian and Romanian villages where people go through difficult lives and pray to be spared some of their suffering by a divine miracle. Yet when faced with a being as miraculous as Mihaella–a hybrid of girl and angel—how will they react?
The answer isn’t simple, as nothing that crosses the boundaries of the explicable ever is. Neither religious dogma, epitomized at times by Father Gregory and some of his followers, nor empirical science can explain Mihaella’s mixture of special powers and human vulnerability. She’s not able to answer all of the villagers’ prayers to heal their ailments, as angels are supposed to do. Yet she grows angels’ wings, learns how to fly, and seems a mixed blessing for her new friend, Wright, a handicapped young man. Moreover, when pursued by a group of thugs, Mihaella manages to escape from harm thanks to her angelic demeanor and superhuman powers. But she can’t save Wright from being beaten by them, nor his father, Dean, from having his house burned to the ground. The best this human-angel can do is help people save themselves.
Like human knowledge of divine mysteries itself, Mihaella’s powers are only partial. And that seems to be why the villagers, including the local priest, regard her with ambivalence. They can accept the supposed certainties of religious dogma or the apparent truths of empirical reality much more readily than Mihaella’s hybrid nature and limited–yet clearly extraordinary–powers. When I asked Bernard about the religious and philosophical overtones of his screenplay, he replied that “The script is actually based on a short story I wrote many years ago. There are many universal questions I struggle with and I have spent many years studying Kabbalah in an attempt to understand.”
By depicting our human fear of the limits of our knowledge, this screenplay confronts one of the biggest metaphysical questions facing humanity: why does the suffering of innocents exist if the world ruled by an omnipotent and omniscient God? Why does Mihaella’s young mother have to die? Why does the sweet and innocent boy, Wright, have to endure so much humiliation and pain at the hands of others? Mihaella offers no easy answers about the nature of divinity and God’s ability to answer our prayers. In the Kabbalah, God is, like angels, a liminal being: neither matter nor spirit; the creator of both. God is unknowable to human beings, yet there is a revealed aspect of divinity that human beings can come to know and interact with. In the screeplay by the same name, Mihaella represents this aspect of divinity: one which the villagers must learn to embrace in order to learn the biggest lesson of this upcoming movie: “I think it’s not how much you pray, it’s how much you love,” Mihaella tells Father Gregory. But will he and the villagers get the angel-child’s message or chase her away, in their simultaneous longing for the unknowable and fear of the unknown? Watch and see for yourselves when Bernard Salzman’s new movie–filled with wisdom and hope–is released.
Claudia Moscovici, literaturesalon
Celebrity Dialogue Interview with Cinematographer Bernard Salzman
Please find below a CELEBRITY DIALOGUE INTERVIEW with the award winning writer / director / producer / cinematographer and artist BERNARD SALZMAN, with whom I’m collaborating on a screenplay and movie of my first novel, VELVET TOTALITARIANISM.
BERNARD SALZMAN has collaborated on over one hundred and sixty projects, including documentaries, features, TV Movies and reality TV world wide, for such clients as: BBC, PARAMOUNT, UNIVERSAL, FOX, ABC, CBS, HBO, SHOWTIME and many others. His companies INNER CIRCLE FILMS and EYE OPENER FILMS, are full service production companies, able to provide production and post production services. Bernard had the honor of being nominated for the Emmy award for a TV movie he made for CBS.
CelebrityDialogue: Did you have formal education in cinematography and production or did you learn by doing?
Bernard: I attended film school where, since I had previously majored in Art, I concentrated in Cinematography.
CelebrityDialogue: How did you enter the entertainment industry?
Bernard: Because of my art training, after graduation I was offered to shoot and direct a series of documentaries about prominent artist – ended up doing 35 films in that series. One of them received a special critics award at a film festival in Stockholm.
CelebrityDialogue: When and how did you establish Eye Opener Films?
Bernard: Eye Opener Films was established in 2007, as a secondary production company dealing mainly with the development and production of feature films. My other company Inner Circle Films, produces mainly commercials, documentaries and reality TV.
CelebrityDialogue: Tell us about your documentaries that you produced and shot?
Bernard: I started my career as a filmmaker, doing documentaries. As I mentioned, I did the series abut artists and following that was hired to collaborate on documentaries dealing with various subjects – archeology, social and political subjects, religion and many others. It became increasingly difficult to fund and market documentaries in the 80’s and 90’s, therefore my work concentrated more on features, TV movies and commercials. But I always had a soft spot for documentaries and when the opportunity presented itself, I was able to do one of my favorite documentaries – Vegas Striped. It documents the rise and fall of a young man who, after overcoming a traumatic childhood, is able to become a very successful business man, only to loose it all to his gambling addiction.
CelebrityDialogue: Which major commercials have you done? Which corporate clients have you worked for?
Bernard: I have done numerous commercials in Europe and the US. Clients included: Nike, Sony, Pepsi, Kodak, Allstate, M&Ms, BMW, Porsche, Rocawear, and so many others.
CelebrityDialogue: What about your work in features? Which major production houses have you worked with?
Bernard: I had the opportunity to work for major studios and independents alike. Disney, HBO, Showtime, CBS, PBS, Fox, Paramount, MGM.
CelebrityDialogue: Which reality TV shows have you been involved with?
Bernard: I have developed several reality TV shows starting with a show called Man vs Vegas for CMT. Other shows were Raising the bar, The prodigy and recently, At the Pawn Shop.
CelebrityDialogue: Which project got you nominated for the Emmy award?
Bernard: It was a TV movie called My past is my own for CBS – it was about the civil rights movement.
CelebrityDialogue: Which other awards have you won?
Bernard: I received two Best Cinematography awards, a Gold Telly award and a Shine media award.
CelebrityDialogue: Tell us about Love, Blood and Tears.
Bernard: Love Blood and Tears is a project about the Lincoln brigades and their involvement in the Spanish Civil War. These volunteers from all walks of life went to Spain to fight against and prevent the rise of Fascism. Many famous artists have taken part in this, including George Orwell, Hemingway and many others.
CelebrityDialogue: Which other projects are you working on currently?
Bernard: I am trying to raise funds for a feature film that is very dear to me, based on a script and short story I wrote called Mihaella. I have also developed a web based show called Divorce Rehab – I am currently in production with it.
You can find out more information about Bernard Salzman–his movies, commercials, documentaries, shows and art–as well as about my novel, Velvet Totalitarianism, which we’re currently collaborating on, on the links below:
http://bernardsalzman.com/ http://fineartebooks.wordpress.com/2011/01/18/the-art-of-bernard-salzman/ http://www.youtube.com/user/ClaudiaMoscovici?feature=mhum#p/u/9/2Db3FI_kv0Y http://www.litkicks.com/ClaudiaMoscovici
About the Author
Claudia Moscovici is a Romanian-American novelist and art/literary critic. She’s the author of Velvet Totalitarianism (Rowman and Littlefield Publishing, 2009) a critically acclaimed novel about a Romanian family’s survival in an oppressive communist regime due to the strength of their love. This novel was republished in translation in her native country, Romania, under the title Intre Doua Lumi (Curtea Veche Publishing, 2011).
In 2002, she co-founded with Mexican sculptor Leonardo Pereznieto the international aesthetic movement called “postromanticism” (see http://postromanticism.com/), devoted to celebrating beauty, passion and sensuality in contemporary art. She wrote a book on Romanticism and its postromantic survival called Romanticism and Postromanticism, (Lexington Books, 2007) and taught philosophy, literature and arts and ideas at Boston University and at the University of Michigan. Most recently, she published a nonfiction book on psychopathic seduction, called Dangerous Liaisons (Hamilton Books, 2011) and a psychological thriller called The Seducer (forthcoming in March, 2012), which tells the story of a woman lured by a dangerous psychopathic predator.
My work – Fineartebooks blog- Frédéric Jousset and Bruno Julliard: From the Beaux-Arts tradition to the innovation of Art Explora
- The Dynamic Abstraction of Nicolas Longo
- Darida Paints Brancusi
- Paola Minekov’s Undercurrents: The cover for Holocaust Memories
- The Impressionist movement and the artwork of Chris van Dijk
- Rodin’s Muses: Camille Claudel and Rose Beuret
- Art and Emotion
- Auguste Rodin and the Physicality of Emotion
- Classical Sculpture
- The Classic Style of Patrick Demarchelier
- My work – Romantic love poetry blog
- Stars orchard
- the ideal cat is one that purrs at the state’s expense, by Paul Vinicius
- the blue birds
- one of those days
- and still brancusi
- sometimes
- a story of (still) winter
- the first moment of insanity expired on an April first
- a night like a counterfeit Picasso, by Paul Vinicius
- “Poems for sick butterflies” by Lia Faur
Claudia Moscovici 