Me and Marie
you for your article regarding Marie Laurencin and her relationship with Gertrude Stein and Pablo Picasso. I truly believe she is an artistic force that has been virtually ignored.
Why? I do not know. I have spent years researching her and have gotten used to the blank stares that greet me when her name is mentioned. She designed costumes for the Ballet
Russe, collaborated with both Andre Grolt and Pierre Poiret producing home decor and had an entire museum in Japan dedicated to her work. Coco Chanel commissioned a portrait, but
hated it Was she shunned because she was a lesbian? Hmmm. I prefer to believe she is a diamond, hidden from view. Your article has cracked the door into her life and I say thank
Kerrie White Loya
Karren Alenier's article: The Muse
For All Seasons - A Book
Your reverence for the printed word is inspiring and the instance with the Thai reader is not only touching but as you say: "There was nothing embarrassing about this
personal moment." Yet, I don't know why, but your conclusion about "holographic?" books in the future scares me. Digital has destroyed so much of the deep
treasure and pleasure of reading on paper with ink that I fear this new possibility will just finish the dumbing-down and vaporizing of the reading experience.
Arthur Danin Adler's column: For All Seasons - A Book
Philip Gerstein's Exhibit at AMP gallery
Very much enjoyed seeing your work and reading your statement. You are right: these glass bead paintings need to be seen in person. The texturing in the trio with the gray
blue is stunning. It adds so much to see them as they contrast internally and dialogue with each other. Your words about knowing when to stop, when a painting becomes
"self-sufficient," how I wish I had thought of those words, a perfect description and answer to those who say they never know when to stop. Bravo! I'm glad I made the
Philip Gerstein's article: Sometimes There Is Bliss
The Span of Black Ladders
Although I personally know Brian George, I want to make this letter to him public, in celebration of his skill as Essayist and of the pleasure this essay has given me.
My very dear Brian!
I seem to learn a lot from you -- or perhaps more accurately, my reading of your work opens up the deeper reservoirs that have been waiting for a long
span, desiring of just such an opening... . I had postponed reading your de Chirico "channeling". I liked the beginning so much, I knew I could not do justice to the
whole until I came to it with a clearer head and better formed desire. It had to happen at the right time. And tonight was finally one of those chances, and I took it, gratefully!
"Though the signs were mixed, your naked mothers once threw caution to the wind", to quote just one paradoxically pungent line of your Essay. I just truly and unabashedly
enjoyed it, the thought behind each segment, the 'cloak' in which it was wrapped, the rapture of which it was but a reverberation... . Both you and de Chirico came alive,
became fiction -- yes, there was this awareness of both, often at the same time -- one looking for the other, the other having found more than he had looked for... . I thank
you for this chance, as I have for several of your other essays I had the privilege to read and re-read.
Brian George's article: The Span of Black Ladders
Many thanks for your enthusiastic and big-hearted response! This is exactly the type of feedback I hope to get.
Positive feedback of any type is good, of course, but it means much more when someone is clearly connecting with the work on an intuitive level and a piece "opens up deeper
reservoirs," as you say.
You've resurrected me with your lovely memoir or rather a collection of memories. I, too, have a long immigrant history and it's importance to me and to
this country is priceless. Thank you for taking us on this journey into the past with your beautiful writing. I look forward with tears and joy for the next journey.
How America has changed. Everyone here is an immigrant or the descendant of an immigrant yet the grief at our
borders and on our streets ignores that as the dominant group fights to keep its claim as to who and what is an American. Thank you for reminding us who we are and who we were.
Carla Maria Verdino-Süllwold's article: Whispered Footsteps Part One
Howard Beale et al
Les Marcott writes with perception and gusto. His quick portayal of the decline of professional news journalism is disturbing and disheartening. As he says: "But the
problem is that when everyone's a journalist, no one's a journalist." Very reminiscent of Aaron Sorkin's The Newsroom where they go round and round fighting so-called
citizen-jounalism. Mr. Marcott, Chayefsky and Lumet not only created a prophet they gave us a portrait of the future which is now, today.
Les Marcott's column: That's The Way It Is
Vladimir and Estragon
With machine guns instead of Pozzo and Lucky. Altenir Silva is having fun with classics again. Well done!
Altenir Silva's play: The War
Reviews of poetry by poets are essential. Alenier's commentaries are energetic
understandings of a poet's texts and intent. This is a dimension we value in Karren's writing.
I enjoyed Karren Alenier's review of this new book of poetry. I like how she uses both the Trinidadian poet's words and the words he doesn't use to convey his heartfelt
regard for human life.
Karren Alenier's column: News Of The Living
excellent review by Scene4's exceptional M. D. Moore. As Arthur always says: it's the writing. In this case, add perception. But I have to take a bit of umbrage with Mr. Moore for
leaving out of his profile of Frank the 10-hour film (mini-series), Godless. For me, it is Scott Frank's most brilliant writer-director stint of his current brilliant career
as a writer and director.
Miles David Moore's review: Orphans of the Storm
Those Moments of Magic
There are moments, when the essence of an object
Is captured perfectly and with grace.
There are moments, when a highlighted shape formed by nature is
Then there are moments of magic when a trained eye
Such as Jon Rendell's when the next level of beauty
Is reached through the juxtaposition of several seperate
Shots to create a Moment of Magical association. Bravo.
Anne McGravie Wright
Jon Rendell's photography: Nature vs Man-Made
The extensive use of heroin in jazz
during the 1940's-50's has been analyzed by many people, to no reader's great satisfaction–and least not to this reader. In this piece, Brian George offers a
truly creative point of entry from which to consider the phenomenon. I'm very grateful for his effort.
Brian George's article: Itutu
Tempus Edax Rerum
That's all that art is isn't it, impressions? And those impressions remain, if the art remains or is an
irreducible memory. I concur: step into the painting, dive into the music, forget about time and place and all the biographical philandering that scholars never seem to get enough
of. Absorb the impression. I love Monet and Debussy and so many sensitives from the time. Nice thoughts.
Arthur Danin Adler's column: A Brief Toast For This New Year's Eve
The Road to Freedom
This is a fine article and Ms Verdino-Süllwold's
writing is excellent as always. My only complaint is not with the author, rather with the magazine. This important subject warrants a complete issue devoted to it
from South to North. But I'm grateful for this issue.
Carla Maria Verdino-Süllwold's article: The Road to Freedom
By The Shores Of The Potomac
A splendid review, especially made rich by poems and visuals. Anytime we have a poet writing journalism, we are all the better for it!
Karren Alenier's column: By Broad Potomac's Shore
Babe Ruth Is Not Just a Candy Bar
Now you got me, Mr. Silva. This second play in your trilogy is wonderful (and I don't use that word very often, PR maven that I am). Its humor is straight out of Camus
right into Robin Williams. I'd love to watch you write, it must be fun. I can't wait for the third one!
Altenir Silva's play: 2. Babe Ruth & Jack
I have to admit that I knew little about Kandinsky other than his paintings and their influence on other
painters. Obviously there was so much more about him. Though he attained an international reputation from his art work, the rest of his amazing life and achievements seems to have
been suppressed because of the times he lived in, other than scholars and academics who followed him and honored him. He was an unsung genius! I truly appreciate what Ms Renaud has
done with her Kandinsky Anew series, especially this latest article which is so relevant today, so contemporary. I can understand why she has liked him so much for the past 30
years. I'm "woke" to him. Thank you for that.
Lissa Tyler Renaud's article: Towards International Unity:
Kandinsky's Inclusive Arts Aesthetic
wonder what happens if you marry one, or your boss is one, or you find out that all the time it's your mother under the bed. Mr. Marcott asks: "Did you really think the
Boogeyman would get you if you didn't eat your breakfast cereal?" I did, and that's why I skip breakfast for brunch.
Les Marcott's column: The Boogeyman
His work looks beautiful especially the beautiful way it is presented on the pages. I especially love
the portrait of the King's back with the sweat marks. I don't think his work is too "provincial", too Thai. Good paintings and good sculpture are universal in
Janine Yasovant's article: Everything is an Illusion
Kandinsky and de Hartmann
How wonderful to read this article, from Renaud's meaningful introduction, to 'touching' the real Kandinsky via his own feelings and words! It is – or
should be – really amazing that Kandinsky's complete letters have not been published, or it seems even contemplated!... while so many have had that coverage... . In a
way, we really do not know him, this private Kandinsky. I'm sure he put effort and thoroughness into his correspondence, as he did with all he had put his name to, so even a
good-size selection of his letters would be revelatory, judging by this sample here! Kudos to the author and the two collaborators!... and please do not stop there...
Jelena Hahl-Fontaine's and Lissa Tyler Renaud's article:
Kandinsky and His Closest Friend, Thomas de Hartmann
Summers in Saratoga
Ah, such a lovely
reminiscence. Born and raised nearby and spent many a season at the Springs. Many happy memories: the weather, the scenery, the people and of course -- the racing. Something
ethereal about the racing, unlike any other in the country. Thank you Ms Verdino-Süllwold, you are a merchant of dreams.
Carla Maria Verdino-Süllwold's Article: Summers at the "Spa"
Calling All Builders
This Gerstein painting is an "architectural" work. Can you imagine an entire wall with this painting stretching across it.
Or the side of a windowless building. His colors alone are that constructionist. He never ceases to amaze me.
Philip Gerstein's painting: The Glorious Union
of Greenland with Iceland
Jack Kerouac Trilogy
Kerouac, Clarise Lispector, Edward Hopper all in one play! Silva is
an ingenious playwright with a wicked sense of humor. This is the kernel of a future film or maybe as a trilogy, a tasty mini- series. As the Orange Cuckoo says: We'll wait and
Jack Kerouac? Clarise Lispector?
Edward Hopper? What kind of mind would put these three people in the same play, a Jack Kerouac trilogy? Altenir Silva's mind. He's Brazilian, like Lispector, and
he's a NY Yankees fan, so he knows his Americana. Imagine what he might do in a longer form. Nós estamos esperando.
Altenir Silva's play: 1. Clarice & Jack
How To Poem
Nicely stated. I'd only add: there are no rules, only good and bad choices, and if after all this, you find yourself unhappily having to force yourself to
write poetry, quit! There's no shame in not writing poetry though the Creative Writing Industry would have you believe otherwise. However, becoming a sensitive and perceptive
reader of poetry is a noble and worthwhile endeavor.
Delightful. It reads as if Dorothy Parker and Robert Benchley had put
their heads together at the request of Harold Ross. And yes, poeming while driving or operating heavy machinery can be hazardous to your health!
Miles David Moore
I love what Greg Luce is doing in How to Poem. We need poetry now more
than ever. So many good suggestions.
Gregory Luce's column: How To Poem
The Fire Next Time
Many thanks to Michael Bettencourt
for reminding us that James Baldwin was a "trumpet on the mountain" of his time and still today as Frederick Douglass was in his time, and still today. Their voices
can't be drowned out, as Mr. Bettencourt says: "Not at all ".
Michael Bettencourt's column: The Fire Next Time
Faeries et al
Here, dear Arthur, are a few thoughts from better minds
than mine and I'm sure part of your Faeries' creed:
There are no facts, only interpretations.
There are no answers, only choices.
We are predetermined to repeat the past.
It took me a while and several read-throughs to realize that this essay is an undisguised sub-text with many interesting metaphors and
shadowed similes. Clever, a trifle insidious, blandly provocative. It's a good read.
Sadly, I don't think there are
any faeries left in the Americas. They were driven out by the Scots-Irish-British-German-Spanish invasions which replaced them with goblins, trolls and social medianiks. And that
includes my ancestors who couldn't even spell the word correctly, uh... who couldn't even spell.
Arthur Danin Adler's column: The Last of My Faeries
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