We have some new poetry on tap from Sheema Kalbasi, Alessio Zanelli and Tony Jones. Sheema also tipped me off to a very good short film and hopes our readers will view the movie here.
The filmmaker in question, Hossein Martin Fazeli, is also a poet. One I hope to publish here soon.
If I had another life to live, I think I would be a filmmaker. The ability to make art that way, to combine prose, poetry, music, soundscapes, landscapes, paintings, photography, motion. It has it all. And I don’t think that “all” has been fully exploited. One could do a life of a poet, a musician, a novelist, a painter, a philosopher. . . . Read more. “New Poetry and a Short Film”
On the edge of her lip, like a car
balanced on the brink of a precipice,
the shriek has halted, swaying.
Just one spasm, and all of her anger
would gush down noisily, sweeping
sighs and placid thoughts away.
We could try to rescue those inside
the shaky car before it plunges
to the bottom of the crag, but nothing
curable is in that mouthful of vibrations.
And the force of a thousand hurricanes
locked in a chest then suddenly released
would not suffice to wash such evil.
In the end what is unavoidable befalls,
and the tenacity of her facial muscles
is not worth the trouble. Ineffectual,
however long she strives, to hold her breath.
Recent events have me thinking yet again about ecstasy, mind, spirit and the power of suggestion and belief. The laying on of hands by Pentecostals. The ecstatic motions of Sufis. The chanting OMs of Hindus and Buddhists. The trance-states of shamans, west, east, south and north.
The universal appearance of X proves that X is not uniquely the province of any one region, culture, or religion. By definition. As in, if there are instances of peanut butter all over the world, then no one religion can claim ownership of peanut butter or its source. No one religion can logically claim they hold the only key to the peanut butter cabinet, when members of dozens of religions have access. . . . Read more. “Practical Ecstasy”
Perhaps the first post-modernist painting, well before the period assigned to that name. Pespective. Multiple perspectives. Meta. About painting. About the act of painting. Velasquez paints Velasquez. This is not a pipe. This is not Velasquez. Are we, the audience, looking at the painter painting us? Or, does our vanity blind us and prevent us from seeing that it is the king and queen of Spain in that mirror, not you? Or eye. Too easy, that one.
Mirrors. Pictures within pictures, plays within plays within plays. Rubens on the wall. Hamlet stages Shakespeare. Velasquez stages Nietzsche. Velasquez stages Barth and Coover and Barthelme and McElroy. . . . Read more. “Las Meninas”
Took a drive then a walk then a climb then more walking. The walk became a discussion with a park ranger about an accident and a bike. She blocked all cars. No one could pass except the ambulance. Bike hits car or car hits bike. Too fast. All too fast. The Blue Ridge Parkway should be to dwell, not die. To dwell inside the blue, to derive the flesh of the blue air from the sky as it is, as it was hundreds of thousands of years ago. This ridge is that old. This sky is older.
In some ways it is unfortunate that I saw the film first. Having finished the reread of the novel, I now see the book as suffering, at least in translation, from the mouthpiece syndrome at times, and in need of some editing. As in, at several points in the novel, characters engage in extended dialogue that seem out of place, given the circumstances. That extended dialogue strikes me as more about Pasternak and his views than something organic, growing out from the lives of the characters themselves. While I love the novel, I think it would have been much stronger with some solid editing to remove such passages. . . . Read more. “Doctor Zhivago: From White to Silver”