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Current Letters
All Hope Is Lost
Dear Les
Marcott, you've
dashed my last
bubble of hope.
You've squelched the
laughter in my
throat and the smile
on my lips. I know
that bubbles of hope
are bursting
everywhere yet one
has stayed with me,
played with me, my
last hero: Santa
Claus. He (or She)
and their elves
always bring joy as
I wait for them to
come down my
chiminey on Xmas
eve. Even though I
never see them come
(I don't have a
fireplace!), I know
they're thinking
about me. Why are
you trying to
squelch my fun?
Actually, your Santa
Claus Monologues are
wonderful and full
of fun. I'll take
that as a substitute.
Ricki (Roberta) Cohen
Les Marcott's column: Santa Claus Monolgues
The Banshees of Inisherin
It's
obvious that Ms
Alenier doesn't
like this film and
in my opinion
doesn't
understand it
either. The
brilliant
performances by
Colin Farrell and
Brendan Gleeson echo
their hand-in-hand
brilliance in In Bruges (which was honored by BAFTA for its screenplay and many other accolades). Banshees creator is Michael McDonagh who is revered as a playwright and makes few films among which is Three Billboards Outside Ebbing, Missouri (which was honered with a trove of Oscars, BAFTAs.) As with those films, it is the writing that drives Banshees, along with the depth of McDonagh's direction and the coherent ensemble of actors. The nuances and entendres of this film are woven into a visual fabric that covers the eyes of the viewer and their mind. Some are subtle, some are not. They are all within grasp. Ms Alenier's effort to draw a moral comparison with Gertrude Stein is not only misguided, she misses the heart of the film. She says she is disturbed by the film and concludes that she "would never cut off a body part to convince a bothersome friend." Please. that's not what Banshees is about. I can only urge her to look and listen again.
Leslie Potteral
Karren Alenier's review: The Artists Who Ignore Their Own Banshees
Let's Get Out of California
Silva is
obviously in
trouble. This is a
whoopee-cushion of a
story and he writes
it with a
razor-sharp pen as
if he's rolling
around in the USA
and not in whoopee
Brazil. I suspect he
is is indeed in
Brazil. I'd love
to read something
like: Let's Get
Out of Brazil!
Lou Laird
Altenir Silva's story: Let's Get Out of California
Literary Landmarks
Thank you
for an historical
glimpse of writers
with Maine roots.
Appreciate the
significance and
contributions of
these writers and
your view of them.
Jim Saindon
Carla Maria Verdino-Sullwold's series: Part 3: Literary Landmarks
Racism and Greed
The MLB is
and ain't what
it used to be. The
diversity of players
is wonderful. Their
salaries are
preposterous and the
clubs' profits
are like everything
else today, unreal.
You said it all!
Thanks.
Ben Livick
Patrick Walsh's column: A Legacy of Racism, A Stratagem of Greed
A Radical Man
Another
imaginative and
stinging kernel for
a film. I hope
you're working
on the screenplay.
It would make a
doozy of a story.
Lou Laird
Altenir Silva's script: Man With A Shoe In His Hand
Fading Away
Edward Hopper and
Donald Justice are
part of an America
that is now fading
away into chaos and
disorientation. It
is important to
visit with them to
understand the
meaning of
"Americana" which is
a word that can no
longer be applied to
the dream and hope
of this country.
Luce serves us well
by focusing on them.
Miriam Donoghue
Gregory Luce's column: Edward Hopper and the Tourist From Syracuse
"Immersive Frida Kahlo" in San Francisco
Renate
Stendhal's
informed critique of
the most recent in
an increasingly long
lineage of lucrative
immersive artist
phenomena was a
refreshing breath of
air. She astutely
describes and
deconstructs the
presentation,
confirming my
suspicions and
allowing me to
resolutely stay
home. Many thanks,
Renate!
Jim Van Buskirk
Absolutely agree.
Her review is point
blank and point on.
That's because she
is an elegant
writer and, as you
say, an asute one.
Lou Laird
Renate Stendhal's Article: "Immersive Frida Kahlo" in San Francisco
Mid-Century Modern
I have to agree with Mr. Moore's preference for Goulding's Nightmare Alley.
Though I admire
Guillermo del Toro
very much, his
version misses the
scathing film noir
of Goulding's
1947 film. Bradley
Cooper is a fine
actor but he
isn't Tyrone
Power, who was one
of the most
beautiful men in
Hollywood. It is
that beauty laced
with noir that makes
Goulding's film
so powerfully
haunting. As for
Sorkin's Being the Ricardos,
it is terribly
miscast. Bardem
completely misses
the portrayal of
Desi and Kidman is
not Lucy! Sorkin
needs to focus on
his writing. He is a
one-pony director
and not a filmmaker J.F. Sindler
Miles David Moore's review: Mid-Century Modern
Delight and Deep Thinking
Every time I
read an article by
Karren Alenier I am
transported -
another world opens
up to me. Delight
draws me - there is
nothing like good
writing! And it
inspires. I enter
the world of her
stories - and then
ask: What are my
values? How do I
see? What filters am
I peering through?
It is delight and
deep thinking which
calls me deeper.
Ursula Daniels
Karren Alenier's column: The Stories We Tell About Slavery & Racism
West Side Story
The problem
is that Spielberg is
so mundane. Yes, he
became a respected
craftsman of
money-making movies
for the masses and
yes, he is a
successful/extremely
profitable
producer/director
and yes, he gave us
"woke"
entertainment in his
version of West Side Story.
What he didn't
give us was
Bernstein and
Robbins. Either he
doesn't
understand what
Bernstien/Robbins
were creating
(forget Sondheim, he
was irrelevant to
the beauty of this
work), or Steven was
listening to and
chasing the
box-office bucks. As
a director, he is
without vision and
adverse to taking
risks. Mundane, yes,
a Hollywood power
broker, yes, a
master filmmaker,
no!
Lou Laird
Carla Maria Verdino-Süllwold's comparison-review of the two film versions of West Side Story is a marvel. Verdino-Süllwold not only knows her theater and film; she also knows the neighborhoods where the two films were shot, and this gives her evaluation of the films an authenticity lacking in other reviews. Verdino-Süllwold's articles are a prime example of why Scene4 is one of the best arts magazines today.
Miles David Moore
Carla Maria Verdino-Süllwold's review: A Tale of Two West Side Stories
Me and Marie
Thank you for
your article
regarding Marie
Laurencin and her
relationship with
Gertrude Stein and
Pablo Picasso. I
truly believe she is
an artistic force
that has been
virtually ignored.
Why? I do not know.
I have spent years
researching her and
have gotten used to
the blank stares
that greet me when
her name is
mentioned. She
designed costumes
for the Ballet
Russe, collaborated
with both Andre
Grolt and Pierre
Poiret producing
home decor and had
an entire museum in
Japan dedicated to
her work. Coco
Chanel commissioned
a portrait, but
hated it Was she
shunned because she
was a lesbian? Hmmm.
I prefer to believe
she is a diamond,
hidden from view.
Your article has
cracked the door
into her life and I
say thank you!
Kerrie White Loya
Karren Alenier's article: The Muse
For All Seasons - A Book
Your
reverence for the
printed word is
inspiring and the
instance with the
Thai reader is not
only touching but as
you say: "There
was nothing
embarrassing about
this personal
moment." Yet, I
don't know why,
but your conclusion
about
"holographic?"
books in the future
scares me. Digital
has destroyed so
much of the deep
treasure and
pleasure of reading
on paper with ink
that I fear this new
possibility will
just finish the
dumbing-down and
vaporizing of the
reading experience.
Tori Blenheim
Arthur Danin Adler's column: For All Seasons - A Book
Philip Gerstein's Exhibit at AMP gallery
Very much
enjoyed seeing your
work and reading
your statement. You
are right: these
glass bead paintings
need to be seen in
person. The
texturing in the
trio with the gray
blue is stunning. It
adds so much to see
them as they
contrast internally
and dialogue with
each other. Your
words about knowing
when to stop, when a
painting becomes
"self-sufficient,"
how I wish I had
thought of those
words, a perfect
description and
answer to those who
say they never know
when to stop. Bravo!
I'm glad I made
the trip.
Karen Klein
Philip Gerstein's article: Sometimes There Is Bliss
The Span of Black Ladders
Although I
personally know
Brian George, I want
to make this letter
to him public, in
celebration of his
skill as Essayist
and of the pleasure
this essay has given
me.
My very dear Brian!
I seem to learn
a lot from you -- or
perhaps more
accurately, my
reading of your work
opens up the deeper
reservoirs that have
been waiting for a
long span, desiring
of just such an
opening... . I
had postponed
reading your de
Chirico
"channeling".
I liked the
beginning so much, I
knew I could not do
justice to the whole
until I came to it
with a clearer head
and better formed
desire. It had to
happen at the right
time. And tonight
was finally one of
those chances, and I
took it, gratefully!
"Though the
signs were mixed,
your naked mothers
once threw caution
to the wind",
to quote just one
paradoxically
pungent line of your
Essay. I just truly
and unabashedly
enjoyed it, the
thought behind each
segment, the
'cloak' in
which it was
wrapped, the rapture
of which it was but
a reverberation... .
Both you and de
Chirico came alive,
became fiction --
yes, there was this
awareness of both,
often at the same
time -- one looking
for the other, the
other having found
more than he had
looked for...
. I thank you
for this chance, as
I have for several
of your other essays
I had the privilege
to read and re-read.
Philip Gerstein
Brian George's article: The Span of Black Ladders
Many
thanks for your
enthusiastic and
big-hearted
response! This is
exactly the type of
feedback I hope to
get. Positive
feedback of any
type is good, of
course, but it
means much more
when someone is
clearly connecting
with the work on an
intuitive level and
a piece "opens up
deeper reservoirs,"
as you say.
Brian George
Whispered Footsteps
You've
resurrected me with
your lovely memoir
or rather a
collection of
memories. I, too,
have a long
immigrant history
and it's importance
to me and to this
country is
priceless. Thank you
for taking us on
this journey into
the past with your
beautiful writing. I
look forward with
tears and joy for
the next journey.
Thelma Martinet
How America
has changed.
Everyone here is an
immigrant or the
descendant of an
immigrant yet the
grief at our borders
and on our streets
ignores that as the
dominant group
fights to keep its
claim as to who and
what is an American.
Thank you for
reminding us who we
are and who we were.
Margo Schnee
Carla Maria Verdino-Süllwold's article: Whispered Footsteps Part One
Howard Beale et al
Les Marcott
writes with
perception and
gusto. His quick
portayal of the
decline of
professional news
journalism is
disturbing and
disheartening. As he
says: "But the
problem is that when
everyone's a
journalist, no
one's a
journalist." Very
reminiscent of Aaron
Sorkin's The
Newsroom where they
go round and round
fighting so-called
citizen-jounalism.
Mr.
Marcott, Chayefsky
and Lumet not only
created a prophet
they gave us a
portrait of the
future which is now,
today.
Ben Arksley
Les Marcott's column: That's The Way It Is
Vladimir and Estragon
With machine guns instead of Pozzo and Lucky. Altenir Silva is having fun with classics again. Well done!
George Vecsey
Altenir Silva's play: The War
Mervyn Taylor
Reviews
of poetry by poets
are essential.
Alenier's
commentaries are
energetic
understandings of a
poet's texts and
intent. This is a
dimension we value
in Karren's
writing.
Grace Cavalieri
I enjoyed Karren
Alenier's review
of this new book of
poetry. I like how
she uses both the
Trinidadian
poet's words and
the words he doesn't
use to convey his
heartfelt regard for
human life.
Susan Absher
Karren Alenier's column: News Of The Living
Orphans Indeed
Another
excellent review by
Scene4's exceptional
M. D. Moore. As
Arthur always says:
it's the writing. In
this case, add
perception. But I
have to take a bit
of umbrage with Mr.
Moore for leaving
out of his profile
of Frank the 10-hour
film (mini-series), Godless.
For me, it is Scott
Frank's most
brilliant
writer-director
stint of his current
brilliant career as
a writer and
director.
Lou Laird
Miles David Moore's review: Orphans of the Storm
Those Moments of Magic
There are moments, when the essence of an object
Is captured perfectly and with grace.
There are moments, when a highlighted shape formed by nature is
elegantly held
by light.
Then there are moments of magic when a trained eye
Such as Jon Rendell's when the next level of beauty
Is reached through the juxtaposition of several seperate
Shots to create a Moment of Magical association. Bravo.
Anne McGravie Wright
Jon Rendell's photography: Nature vs Man-Made
Itutu
The
extensive use of
heroin in jazz
during the
1940's-50's
has been analyzed by
many people, to no
reader's great
satisfaction–and
least not to this
reader. In this
piece, Brian George
offers a truly
creative point of
entry from which to
consider the
phenomenon. I'm
very grateful for
his effort.
Stephen Provizer
Brian George's article: Itutu
Tempus Edax Rerum
That's
all that art is
isn't it,
impressions? And
those impressions
remain, if the art
remains or is an
irreducible memory.
I concur: step into
the painting, dive
into the music,
forget about time
and place and all
the biographical
philandering that
scholars never seem
to get enough of.
Absorb the
impression. I love
Monet and Debussy
and so many
sensitives from the
time. Nice thoughts.
Betel
Arthur Danin Adler's column: A Brief Toast For This New Year's Eve
The Road to Freedom
This
is a fine article
and Ms
Verdino-Süllwold's
writing is excellent
as always. My only
complaint is not
with the author,
rather with the
magazine. This
important subject
warrants a complete
issue devoted to it
from South to North.
But I'm grateful for
this issue.
Roald Gary
Carla Maria Verdino-Süllwold's article: The Road to Freedom
By The Shores Of The Potomac
A splendid review, especially made rich by poems and visuals. Anytime we have a poet writing journalism, we are all the better for it!
Grace Cavalieri
Karren Alenier's column: By Broad Potomac's Shore
Babe Ruth Is Not Just a Candy Bar
Now you got
me, Mr. Silva. This
second play in your
trilogy is wonderful
(and I don't use
that word very
often, PR maven that
I am). Its humor is
straight out of
Camus right into
Robin Williams.
I'd love to
watch you write, it
must be fun. I
can't wait for
the third one!
Lou Laird
Altenir Silva's play: 2. Babe Ruth & Jack
Kandinsky
I have to
admit that I knew
little about
Kandinsky other than
his paintings and
their influence on
other painters.
Obviously there was
so much more about
him. Though he
attained an
international
reputation from his
art work, the rest
of his amazing life
and achievements
seems to have been
suppressed because
of the times he
lived in, other than
scholars and
academics who
followed him and
honored him. He was
an unsung genius! I
truly appreciate
what Ms Renaud has
done with her
Kandinsky Anew
series, especially
this latest article
which is so relevant
today, so
contemporary. I can
understand why she
has liked him so
much for the past 30
years. I'm
"woke" to
him. Thank you for
that.
Robert Gittelmann
Lissa Tyler Renaud's article: Towards International Unity:
Kandinsky's Inclusive Arts Aesthetic
The Boogeyman
I
only wonder what
happens if you marry
one, or your boss is
one, or you find out
that all the time
it's your mother
under the bed. Mr.
Marcott asks:
"Did you really
think the Boogeyman
would get you if you
didn't eat your
breakfast
cereal?" I did,
and that's why I
skip breakfast for
brunch.
Andy Clayton
Les Marcott's column: The Boogeyman
Widsanupong Noonan
His
work looks beautiful
especially the
beautiful way it is
presented on the
pages. I especially
love the portrait of
the King's back
with the sweat
marks. I don't
think his work is
too
"provincial",
too Thai. Good
paintings and good
sculpture are
universal in their
appeal.
Somchai Thanarat
Janine Yasovant's article: Everything is an Illusion
Prior Letters
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