Why the pout Edward Hopper? Your many self portraits interchangeable Turned down mouth Empty eyes Stoic Sour Brooding Not a hint of a punch line But always impeccably dressed What lies beneath?
Your marriage to Josephine, Jo Reads rather contentious, tumultuous Yet she was your subject Diminutive Combative muse Bedraggled nude Expressionless Perhaps eating from tin cans Transformed you both to granite
Brushstrokes of simplicity Your artistic gifts portrayed loneliness Dark shadows Deep thoughts Solitude Isolation Until you created coastal scenes Where you found light essence And release
Musings on “Little Goose Girl” by Millet
What have you seen Simple thatched house Generations of simple folk Who patched your humble walls
The geese at your doorstep Years of harvest and famine Like the seasons And phases of the moon
Within, the acrid smells of your hearth Beside you the giant tree Your sentinel Why does this interest me, you ask Oh, I feel your heartbeat
(Poetry Workshop at Boston Museum of Fine Arts, French Pastels, with Regie Gibson)
Tis a strange month, March. Both Winter and Spring, cold and temperate, it transitions us from Death to Life, fallow to green. Depending upon the region, depending upon one’s position on this earth, by design or chance, this month will bring us all great changes.
For Spinozablue, March brings us poetry by Virginie Colline, and fiction by Donal Mahoney. For this editor, March takes me closer to the lighthouse, and another rereading of the masterful, brilliant goddess of prose, Virginia Woolf. She brought us closer to lighthouses — metaphorical, fictional and in real time — because she brought us closer to the mind in search of.… |To be Continued “March: On the Cusp”
Wong Kar-wai’s My Blueberry Nights sparks a multitude of thoughts for me. Already an admirer of his previous work, I came to the film with some minor discomfort in need of assuaging. Funny thing about that discomfort. I didn’t even realize I had it until I was well into the film. And some of that realization made me uncomfortable with the discomfort itself.
Part of it was because the film is so beautiful on the surface. Wong Kar-wai has always been a master of color, hue, saturation, framing and time. He has always been able to make the passage of time a visual event, visceral, sometimes wistful, often a character within the story itself.… |To be Continued “My Blueberry Nights”