Review by Gerhard Clausing •
One error in judgment, a lifetime of suffering … In this book, the courageous Hannah Kozak allows us to share her struggles with her mother who left her first husband and five children, including Hannah, for an abusive drinker who in a final blow caused her permanent injury, including brain damage. You cannot imagine the lifetime of suffering that resulted, for Hannah’s mother and for Hannah. As witnesses, we stand in awe of the barriers that were surmounted.
Hannah Kozak is not only an admirable person, but also a superb photographer and an excellent storyteller. Absorbing wisdom from a multitude of experiences, starting with a childhood in which she experienced abandonment, she knew that she would have to be tough and compassionate at the same time. Her goal was to develop fortitude and courage; she overcame anxieties and fears to work as a stuntwoman for 25 years, and over time overcame additional barriers to reach her mother through the vehicle of love, where formerly there had been totally understandable sadness and anger. And to top it all off, she was able to present this development – with its constructive outcome full of redemption, caring, and sharing – to us, as we can see in this gripping and detailed photobook.
The parallel lives presented here are a testament to reasonable outcomes to what may at first seem an insurmountable situation. The book traces both women’s lives from past to present. We see album pages of times before the abuse, such as the mother’s carefree youth in Guatemala, and bonding between the children. We see danger signals such as unreasonable idealized fantasies, especially on the part of the eventual abuser. Most gripping are the black-and-white photographs that show suffering and pain (injury, loneliness, sadness, vulnerabilities) as well solutions and moments of joy (reaching out, celebrating holidays), both in Hannah Kozaks’s self-portraits as well as those showing her mother. This successful crowd-funded photobook project reaches our inner core in many ways; it is a wonderful example of making the best of a nearly impossible situation. The essay by Aline Smithson adds important perspectives; Hannah Kozak’s extensive description and analysis add many important details about what went on in her family and in herself. The editing, layout, and printing support a stimulating viewing experience throughout. The project was recognized as a Finalist for the Inaugural 2019 FotoEvidence W Award.
This photobook is another important milestone in demonstrating the tremendous value that art plays as a therapeutic tool, and how one’s own development can help deal with major obstacles. I discussed this previously at some length in connection with Cat Gwynn’s impressive Ten-Mile Radius. Needless to say, fine art photography not only facilitates development for its creators, but also for the viewers. Which allows me to also include another important thought: if you know of cases of abusive relationships, please make those involved aware that help can be found by contacting the National Domestic Violence Hotline or the National Coalition against Domestic Violence, or similar organizations in other countries. You may be able to prevent injury or save lives (for instance, a model from one of the workshops I participated in was recently thrown off a balcony to her death in Hollywood by a stalking former boyfriend).
I highly recommend this book as an exemplary presentation that demonstrates constructive approaches to the psychological and physical violence that is all around us.
Hannah Kozak – He Threw the Last Punch Too Hard
Photographer: Hannah Kozak (born in Hollywood, California; lives in Los Angeles)
Publisher: FotoEvidence, Brooklyn, NY; © 2020
Editors: Régina Monfort, David Stuart
Essay: Hannah Kozak and Hope Edelman
Commentary: Aline Smithson
Quotes: Hope Edelman, Roger Ballen
Hardcover, illustrated, sewn binding; 128 numbered pages; 21.3 x 26.3 cm (8.4 x 10.3 inches); printed in Turkey by Ofset Yapımevi, Istanbul
Photobook Designer: Melike Taşcıoğlu
Articles and photographs published in the PhotoBook Journal may not be reproduced without the permission of the PhotoBook Journal staff and the photographer(s).