

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.
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.
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.