MAIN EVENT. A Good Place to Get Started --- a.k.a "Table of Contents"
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MAIN EVENT. A Good Place to Get Started --- a.k.a "Table of Contents" |
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THE MAIN EVENT DON'T READ ME FIRST! THE PREVIOUS EDITION THE NEXT EDITION |
Kudos, brickbats, spam, you'll find it all right here. We publish everything that comes to our mailbox.
This is where our readers and writers get to talk to each other.
Enjoy!
From Pat Moran, Tallahassee, FL, USA:
"I really impressed Jugok with my rapidly advancing language skills during our first visit to the longhouse:"Jugok: Welcome to my home, Moira.
"Me: Thank you, Mr. Jugok. My, isn't that a lovely dysentery you have over there.
"Jugok (scratching his head, looking befuddled): Please, I invite you and Hamish to spend the night.
"Me: Thank you, Mr. Jugok, but I never eat shrimp..."
Regarding the newly-acquired skills in Malay. . .GREAT ARTICLE. GREAT HUMOR.
Viva.
Pat Moran, FSU student and adjunct instructor of English at TSUFL
From G. Tod S., Concord, MA USA:
Ron,
I thought I'd explain why I wanted my name off your mailing list. Too many bullshit emails! Too much hype! Too much marketing childishness! What's the point? To become another Salon.com of crap? Money, money, money in the long run? Famous writers with not much to say? You said you can not subsidize writers. I suppose at the rate you're going you will be able to do that... I think you're fooling yourself. You can not be a dissident, a critical, unique voice, while at the same time seeking fame, dollars, recognition, and mass acceptance. The two can not coincide. Something has begun to ring falsely at Generator 21. Fast, faster, hype, hyper, hypest. Welcome to New York. Welcome to LA. Welcome to America. Print this as a letter to the editor. I'm sure it will meet with a lot of hatred, denial, rationalizing argumentation and the usual USA refusal to see the Emersonian rude truth. "Stand upright and speak the rude truth." This is what I do and this is why I am unemployed and probably unemployable. This is what my review, The American Dissident, is. This is why it will never have a large circulation... Clearly the rude truth will soon, if it hasn't already, run against the grain of the current or future Generator 21. Also, literature, since you're now involved in that, must be engaged politically and socially, or it is essentially crap. For the most part, it is not in this country. Whereas in some countries dictators feare and hate poets (e.g., Nigeria... let's not forget Saro-Wiwa), in America they, that is the oligarchs and plutocrats, seek to dine with poets dressed in tuxedos. This is called the prevention of literature in Orwell's words or the destruction of literature by capitalism. By the way, I am not full of hatred. I am simply angry, confrontational and opinionated, fineable and incarcerable offenses in the USA.
G. Tod
ROD RESPONDS: Thanks for writing. Your letter, as all letters to the magazine do, will appear on our Vox Populi page when it is next updated.
My personal response? Do we mean to be Salon? Not likely, we don't have the millions of dollars supplied them by Hambrecht and Quist to promote ourselves in the same way.
Do we want to build a larger audience and be read? Most definitely. I don't think you would have submitted to G21 or have even *heard* of us if we didn't try to attract an audience. Writers don't work in a vacuum of self-righteousness or the gem-like quality of their souls: writers write to be *read*.
As to the rude truth, we've never been accused of avoiding it --- but we also take pride in our reputation for being balanced. Balance is a good thing, as the Buddha often pointed out. And we certainly don't see the virtue of being offensive for the sake of offense.
From Yustas K-G, New York, NY, USA:
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Drunken Santa is a work that creates a miracle of equilibrium. What seemed like a clash of an opposite spectrum's colors became the unlikely harmony in this painting. Jaisini's artistic vision here is formed from two components of physical and emotional states of being. Freezing and heating serve as a symbol to a human need for warming up from the chill of solitude by means known to people at all times. The artist pursues his art philosophical quest for worldly knowledge that had left its traces in many of his works. A line of composition literally ignites the painting's surface with the movement. The color of this work is "phosphorescent," and it create the different planes if the subtle color nature. The warm color of purple supports the hot color of Santa's figure and an exotic fish above Santa. This hot color may represent the so-called material universe, the world of the gross senses that can be observed in a sober state. The cold, arctic blue color represents the unknown, the world of a deep state of drunkenness where real is unreal and otherwise. The only hard reality is the self, which never changes in any state. And maybe that is why Jaisini favors the painting's main hero, Santa, to possess the vivacious color of fire. Jaisini choos! es this color of fire to manifest the self and the cold cerulean, cobalt and ultramarine to renounce self as a mortal entity surrounded by the eternal unknown.
While Santa drinks his feelings of frigid loneliness vanish. And so, he gets a company of some almost hallucinatory nature. A shark, a ghostly image, a profile of another prototypical drunk who is not accidentally situated in a horizontal position. An amalgam of the several female figures that consists of a woman in stockings, a nun, a big-breasted silhouette that create a shadow between. A heat can be sensed around the hot colored Santa who has lost his beard and is holding a glass of red wine. He shows his thumb that may be just a polite substitution for the middle finger sign. The colors of the work are balanced by a virtuoso composition of a cubist character. The picture's space is divided endlessly. More images start to appear. The world of "Drunken Santa" vitalizes to almost chaotic state. The work is a treasure. It depicts and witnesses the intangible mechanism of reality transformation. In the state of intoxication, what happens to the solid world of sober state? Everything disappears. It is just like the dream-world, that we call unreal, because when we are awaken it is not there. Just so the solid world must be unreal because it also vanishes in the drunk or deep-sleep states. Then what is reality? In "Drunken Santa," this problem is elaborated to the triumphant conclusion. The simplicity of symbolism of the warm and cold colors. The dazzling composition of figuration superimposed to abstraction. And besides the beauty of artistic logic, Jaisini's works are marked with the rich, magnetic colors, as in "Drunken Santa" and others, strik! ingly attractive pictures in their intricate game of light and shadow, in their absolute congruence of visual and conceptual.
Review of oil painting "Drunken Santa" by Paul Jaisini Text copyrights by Yustas Kotz-Gottlieb
All rights reserved
New York, 1999
send private comments to author Yustas61@aol.com
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