“I see these objects that I produce as existing in a very impure world, fraught with entropy and dirt.”
“My clothes are like anybody else’s. If you’re confident, if you know what you’re about, nothing falls wrong—you always look great.”
“I found it extraordinarily enlightening, and I’m not as afraid of death. I’m fascinated by death. It’s an equal part of our life; it’s the other end—cover on the book.”
“Some writers are definitely from a particular place. Others reside most comfortably in their language.”
“People will always recognize themselves, no matter what you write. You could write a complete fantasy and people would think you were writing about them. It’s always the case. I’m not too concerned about that, unless somebody sues me.”
“You can’t be great when you value greatness, when greatness, rather than the fulfillment of your talent, is your aspiration.”
“If somebody does a portrait, how do you get the aura or the feeling of the face? You don’t do every eyelash, right? That kind of attention to detail doesn’t really do it.”
“I don’t like to think of myself as a photojournalist. I’m a documentary photographer. I photograph reality.”
“I’ve finally gotten to the point where I’m consciously unselfconscious, which is where you want to be. Once you get there, as an actor, you’re right no matter what you do, because you’ve got the character inside of you.”
“Poetry is a part of daily life there. The life of a soldier, a policeman, a pilot, a farmer, a banker.”
“People are dealing with their relationships in the face of the phenomenal swirl of change going on in this world. And it’s what we’re all doing, all of the world. And it’s very confusing and scary and hard for the center to hold, and hard to know where you belong and what’s going to last.”
“When I started writing I ran through the genres. I never wrote autobiographically. First of all I wrote detective stories. After that I wrote a science fiction novel. Then, finally, a Gothic novel, and felt at once at home.”
Kunyenyeza Ezikhotheni
(Voices in The Wilderness)
A Poem For Martyrs’ Day
The first vowel of pain
For Alter, the funeral had been tranquil almost to the point of vacuousness.
I sing songs to homelands / to foreign airs / and watch the eyes / that never settle
as purple shades
usher in the night
Daily the city became more difficult to imagine.
We were out in the blue air and it was very late for me, later than I’d ever been up at the lake.
Appearance-1
They came—the Strange Ones in the night.
Determination
Missiles fly wild
A painting of ink and spray paint, cut and glued to ink on paper, titled Sculptured Activites, by American sculptor Barry Le Va.
Two photographs, No Room For Squares and I Feel the Goodness Going Out of Me, by Elliott Schwartz.
Two sculptures, titled Scientific America, and Reel, by Berlin Artist Heide Fasnacht, photographs by Lisa Kahane.
A painting of oil pastel on paper, titled Page of Signs, by Marilyn Lerner.
Installation view and Mountain Series III drawing, by Mia Westerlund Roosen.
A poem, titled “Blackbird Bye Bye,” by April Bernard.
Two installations, Dniee and Lucifer Landing (Reel Snake In Imaginary Garden), by Richard Nonas.
