From the “living film serial” Chang In A Void Moon performed at the Pyramid Club, 1982–84, to his most recent production, Red House, at La MaMa, 1984, John Jesurun has employed a number of devices heretofore known as cinematic: jump cuts, pans, visual and verbal double tracks, and editing crosscuts of time and place to create multiple time frames.
A tree that falls / on facts, on women, whatever is in the way.
YOU CAN’T BE A JERK & WRITE GREAT POETRY
you can’t be a jerk & write great poetry
The walls of Ms. Madeleine’s contemporary Lascaux would afford the casual anthropologist no prehistoric lineament of bison, mammoth or spearsman; rather, brash shadings of self-help, fashion, cuisine.
It had rained all night and into the morning, a spring downpour, and now, in the middle of the afternoon, it looked like rain again, the sky a solid grey with dark clouds moving in from the south.
The year I was born, 1949, the North Atlantic Treaty was signed, the Dutch were ousted from Indonesia, and the first Russian nuclear bomb was exploded. So what. It didn’t happen in America, so who cared?
On January 10, 1980, Bob Metzger, the doctor who had been treating my brother Joshua for several years, called me on the phone and announced, “It’s the end of the road for Joshua.”
MURILLO’S LESSON. 358. Ils. Music: Alto by S.M. Denson.
Grandfather’s house creaks with ghosts at night.
The seam was gray as a recollection— / I mean, as that recollection / (even in my motel room)
He was at a crowded airport, in July of the year 1970.
Short story by Marguerite Feitlowitz. Excerpted from Rosalie.
The following Interview took place in the Kitchen House—Mr. Adams’s restaurant in Memphis, Tenn. Vegetables are chopped and neatly laid cut on the counter—huge works line the wall behind him. He sings.
Pretty Convincing
Talking to my friend Emily, whose drinking
patterns and extravagance of personal
Painting by Sylvia Plimack Mangold.
Black and white photographs by Wendel A. White.
Oil paint on canvas, titled Western Sky, by Yolanda Shashaty.
