Tales With a Twist: A Collection of Short Stories

By Mark Huenemann

This collection contains seventeen short stories intended to entertain, intrigue, and often bemuse the reader. They include a variety of settings, periods, personalities, and plots, often with unexpected endings.

• Language: English
• Publisher: Mark W Huenemann
• Release date: Mar 19, 2024
• ISBN: 9780999696217

Mark Huenemann

Mark Huenemann has been a teacher, trainer, writer, businessman, and consultant. He holds graduate degrees in Business, Education, and History.

Book preview

1

The Artist

If you are not involved in the world of modern art, it is possible you may be unfamiliar with the work of the painter known as Chudzik. In fact, if you are beyond even the periphery of the modern art world, it is conceivable you do not even recognize the name. However, be assured that among those knowledgeable in the field of the visual arts, Rudolph Chudzik is among the most recognized and admired of any contemporary artist. His work is diverse and original, and critics and collectors alike describe his paintings in a continuous outpouring of highly laudatory terms. One could, in fact, assert that no living artist has a higher standing among connoisseurs of non-representational art.

Chudzik’s ascension to the pinnacle of the art world followed an unusual path. He was born in England shortly after World War II of parents who had left Poland in 1938. His father became a highly successful businessman with an interest in politics and served two terms in the House of Commons. At an early age, Rudolph demonstrated talent in music, art, and maths. He showed exceptional promise in art and in mathematics and, at an appropriate age, through a combination of intellect and his father’s influence, obtained admittance to Oxford as a mathematics major. However, it was soon evident that he preferred the elective courses in art to those in his primary field of study.

During his second year at university, an incident involving one of Rudolph’s math professors changed the trajectory of his education. Students in the professor’s class were required to keep notebooks containing detailed calculations and formulas, and to periodically submit them to the professor for his review. Once, when the professor had finished reviewing Rudolph’s work, he called the young man to his office. Unsure of the reason for their visit, Rudolph approached the professor’s office feeling apprehensive. He knocked, a voice called for him to enter, and he was soon seated opposite the professor.

The professor began the conversation. Chudzik, the man said, the calculations in your book are, as usual, quite correct. Your ability in mathematics is more than adequate to earn your degree. Rudolph, feeling relieved, replied, Thank you, sir. The professor nodded and continued. However, he said, I am intending to recommend to the dean that you be removed from the role of Oxford students in applied mathematics. In fact, my suggestion is that you be advised to cease your study of mathematics. Rudolph felt his mouth open, but no words came out. He was in a complete state of shock and disbelief.

Before the young student could collect his thoughts, the professor continued. After I reviewed the calculations in the forepart of your notebook, he said, I noticed the rest of the book appeared to have been used, as well. Rudolph, still in a fog of disbelief, remembered that he often used the rear portion of the book for sketches and drawings. Mr. Chudzik, the professor said, as I am not an expert in art, I took the liberty of showing your work to one of the senior members of the art faculty. It is on his advice that I suggest you give up mathematics in favor of the study of art, and I have taken the liberty of arranging an appointment for you with Professor Fossbaum. He will be expecting you at his office within the hour. I look forward to hearing of your decision. The math professor stood, shook Rudolph’s hand, and ushered him out of his office.

It took Rudolph several minutes to digest the information he had just been given. He walked slowly across the quadrangle, his mind filled with questions. Why had he used his maths notebook to practice drawing? Why had his professor snooped in the notebook? What made the professor think it was within his purview to interfere with Rudolph’s academic plans? How would his father react if told that Rudolph had spent two years studying maths at Oxford only to change to the study of art? What was the purpose of his appointment with Professor Fossbaum?

The name Fossbaum was not unknown to Rudolph Chudzik. Some of his elective courses in art were attended by art majors who talked about Professor Fossbaum and his reputation as a perfectionist and a hard taskmaster. He reportedly was harshly critical of his students’ work and almost universally disliked by them. When out of his hearing, his students often referred to the man as Professor Fussy Bomb. Understandably, it was with some trepidation that Rudolph found his way across the campus to the art faculty offices. He entered the building, consulted a directory, and climbed the stairs to the third floor. He found office number 312, took a deep breath, and knocked softly on the door. A strong male voice barked out, Come!

Rudolph opened the door and stepped into the office. Behind the desk stood a tall, thin man with long arms and large hands. He had black hair combed straight back, dark bushy eyebrows, and a prominent nose slightly angled to the left. He extended his right hand toward Rudolph and asked loudly, Chudzik the amateur artist, I take it? Rudolph nodded and felt his hand disappear into the professor’s. Sit! the professor commanded, motioning to a chair in front of the desk. Rudolph did as he was told; the professor remained standing.

Rudolph had scarcely taken his seat when Professor Fossbaum turned to look out the window of his office. So, the professor said, You’ve been across there studying mathematics and dabbling in art, and your maths professor sends you to me. Why? The man turned back toward Rudolph. He was not smiling. Rudolph cleared his throat and said, Well, sir, he apparently sees some potential in my drawings. And I believe he said you do, also. The art professor’s face wore a deep frown, which Rudolph began to think might be the man’s normal expression. The man sat down behind the desk. A full minute passed as he looked intently at Rudolph, saying nothing, and stroking his chin with an outsized hand.

The professor suddenly turned back toward the window, and as if speaking to it rather than to Rudolph, said, Potential, yes. Preparation, no. Study art? Definitely. Here at Oxford? No. Then the man paused. Rudolph, uncertain whether he was expected to say anything, waited. The professor, still speaking to the window, said, Your potential must be developed. But you are not Oxford material. Rudolph was confused. He sat up straighter in his chair and said, But I am already Oxford … material. The professor nodded. In maths, yes, he said. In art, no. Oxford’s art program is not only top rated – I say nearly the same level as the Royal College of Art – but also oversubscribed. Rudolph had no idea where the conversation was headed. The professor finally sat down and faced the student. When he spoke, his tone was less strident than it had been.

Chin up, Chudzik, he said. Once each term I choose a student who is lacking adequate training. I’m choosing you. I will personally work with you thrice weekly throughout the next term. At the end of that time, you will apply to – and due to my tutelage, be accepted by -- the University of the Arts in London. You will complete your studies there, then I will arrange for you to study in Paris. You will apply yourself with the utmost diligence, and we will see a capable artist emerge from that boring shell of a maths student.

Rudolph could scarcely believe what he was hearing. First, his mathematics professor had suggested he terminate his study of that subject. Then, Professor Fossbaum told him he was not good enough to study art at Oxford. Now, Fossbaum offered to accept him as a private art student, then arrange his admission to the largest art school in the nation, followed by further study in Paris. Rudolph’s thoughts were interrupted by the professor, who was again standing and looking out the window. Best go see the registrar, he said. Get things settled. See you first Monday of the new term. And remember, the utmost diligence! Rudolph, still in a daze, stood up, mumbled a thank you to the professor, and left the office.

It took several days for Rudolph to fully accept the reality of what had happened. It was not until Professor Fossbaum delivered the shocking news of an opportunity to study art full-time that he realized he really did want to do just that. However, elated as he was at the prospect of studying art, he was apprehensive about informing his father of the change in career. He delayed the conversation with his father until the beginning of the next term. Not only did doing so allow Rudolph time to think through how he would tell his father, but waiting until he had started his tutelage under Professor Fossbaum bolstered his own commitment to this new direction.

Although he dreaded doing so, Rudolph knew he must have a conversation with his father about giving up the study of mathematics. He expected his father would at the least be disappointed, and very possibly quite upset. He owed his entrance to Oxford at least partially to his father’s influence, and his father had invested a fair sum of money in Rudolph’s study there. At the worst, he imagined his father might refuse him further financial support. Since he would almost certainly receive no scholarship monies at the University of the Arts, this would crush Rudolph’s hopes of studying there. But there was no avoiding the inevitable. The second weekend following the start of the new term, Rudolph took the train home to see his father.

The visit home went better than expected. On the return trip back to Oxford, Rudolph realized that he had misjudged how his father would react to his change of plans. Rather than oppose the idea or attempt to persuade his son to continue to study maths, the elder Chudzik had patiently listened to his son explain everything that occurred. He sat quietly as he heard about the mathematics professor snooping in his son’s notebook and the impersonal art professor’s assessment of Rudolph’s abilities and proposed career path. Then in a calm, level voice, he said, This reminds me of when I was about your age. My father wanted me to stay in Poland and become a dentist. At first, I agreed. But then things in Poland got difficult. I decided to come to England, and at the same time decided to go into business. You are also deciding to leave one place and go to another, and to leave one plan behind and begin a new one. You are doing just what I did.

His father’s approval helped resolve any lingering doubts Rudolph may have felt about the decision he had made. He worked extremely hard at his new course of study, and he simultaneously endured and appreciated his private sessions with Professor Fossbaum. The professor was highly critical, sharply pointing out the smallest of flaws in his student’s work and allowing only infrequent compliments on work well done. But he also occasionally showed great patience in demonstrating and helping his students learn and perfect a new technique. When the professor was particularly critical, Rudolph reminded himself that he was the beneficiary of a rare opportunity and suppressed any temptation to protest.

Despite Professor Fossbaum’s critical demeanor (the more he worked under the man, the more Rudolph understood why other students called him Professor Fuss Bomb), it was clear to both teacher and student that considerable progress was being made. When he looked at his own work, Rudolph recognized that he had made rapid strides which would have been impossible except for the excellent guidance received from the art professor. He also knew that few other students worked as hard as he did to learn the intricacies of drawing and painting.

About a month prior to the end of term, during one of the private lessons, an unexpected outburst from Professor Fossbaum completely startled Rudolph and nearly made him wonder if his teacher was going mental. Rudolph was intently working on an oil painting of a country scene. The professor was looking over his shoulder when he suddenly shouted, No, no! This will not do! Stop at once! Rudolph turned around and looked at the professor. The man was in a state of considerable agitation. The shouting continued, Creativity! You must have creativity! Rudolph sat still, completely perplexed.

After a couple of moments, the professor seemed a bit less distressed. He paced up and down, muttering to himself, sometimes glancing at Rudolph’s painting. Then he stopped. No more today, he said, only slightly louder than usual. You will stay away the rest of the week. Next week, you come with new work from which I want only two things! Rudoph waited for more instruction. The professor continued, First, nothing must look like anything real. Nothing! Second, use no ordinary colors. None! Professor Fossbaum turned on his heel and left the room, leaving his student perplexed but determined to follow his teacher’s instruction.

The professor’s tantrum and demands to forsake real images and ordinary colors proved to be a turning point in Rudolph’s art education. At first frustrated by his teacher’s challenge, he soon embraced these new parameters. His work was admittedly unusual, but also creative and fresh. Professor Fossbaum encouraged him to stretch the limits of form and color even farther, and his paintings began to assume a distinctive style. Fellow art students expressed admiration for Rudolph’s work, and he began to demonstrate heightened confidence by signing his paintings in large script, Chudzik. Although the art professor remained critical, it was apparent that his critiques of Rudolph’s paintings were more like those directed toward a colleague than toward a young student.

One week prior to the end of the term, Rudolph entered the studio for another lesson with Professor Fossbaum. On his easel he saw an envelope with his name neatly printed on it. He opened it, took out a half-sheet of paper and read, Chudzik, no lesson today. It is not needed. Word came that your application to the University of the Arts has been accepted. Well done. Fossbaum. Then he noticed something written on the back side of the paper. He turned in over, read it, and burst out laughing. It read, p.s. Lobbing a few fuss bombs in your direction was not such a bad idea, eh?

The faculty at University of the Arts quickly recognized the artistic talent of Rudolph Chudzik. He worked extremely hard, progressed rapidly, and within eighteen months saw his works included in several public exhibitions. His name was known among both students and faculty, some of whom predicted it would someday be widely known among contemporary artists, likely well beyond Britain. After graduating with honors, Rudolph moved to Paris, where he studied with acquaintances of Professor Fossbaum. There, he further refined his style of non-representational painting. Within fewer than five years, the name Chudzik was frequently heard in the galleries of Paris and other cities on the continent.

By the time he reached the age of 35, Rudolph Chuznik was one of the most renowned contemporary artists in Europe. Thanks to the creativity and abstract symbolism shown in his work, his paintings were displayed in elite galleries. When auctioned, they consistently brought top prices. He continued to push the limits of form and color, and expanded his themes to include what critics termed his periode sombre (dark period). When displayed for public viewing, his periode sombre pieces always included detailed descriptions of the symbolism and ultimate meaning of each work. Rudolph declined to write them himself, and art critics and academics vied for the opportunity to compose these descriptions.

As a highly successful artist, Rudolph enjoyed an income commensurate with his popularity. His paintings, especially his periode sombre works, often sold for impressive sums. He accepted few commissions, but it was rumored that those that were accepted entailed prices in the six figures. One would be hard pressed to name any benefit of a successful art career that was not enjoyed by Rudolph