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"Stein & 'N' Word . . . "
I wrote about Stein, race and language in my early book Reading Race.
The issues extend far
beyond the one instance in Tender Buttons.
Aldon Nielsen
Karren Alenier's column: From the Belly: Poets Respond
Gatsby On Steroids
Moore's review of the end (finally) of Succession is another one of his incisive, and thought-provoking reviews. Reads like a fable. He sums it all up beautifully with Roman's last words: "It's all bullshit. We're bullshit."
Lou Laird
Miles David Moore's review: Gatsby On Steroids
Tuna For All
I too am a tuna
devotee and I was
certainly a
"Charlie" fan.
Les Marcott describes that
devotion poignantly. The
worry, of course, is that
with the pollution and
over-fishing of our
oceans, we may see it all
disappear. I wonder if
they can breed this fish
in captivity like they do
the salmon?
Marian Demroth
Les Marcott's column: Tuna
Beautiful Photographs
This month's
Scene4 knocked me over. I
was blown away by the
beautiful photographs by
photojournalist, Jon
Rendell. I loved all of
the photos. The articles
in this issue were also
amazing. Thank you for
making me smile
today.
Mikael
This Issue
Sophie Sings
Bless
you for the memory of the
"Outrageous
Sophie". She was
considered one of the
greatest entertainers of
her time. And it's
fascinating how you used
that as a background for
the man-to-man
conversation, a brave
depiction in this time of
Political Correctness. I
must admit that the brief
story is somewhat of a
mystery. I had to read it
a couple of times to
decipher it.
Philip Goldmeyer
Arthur Danin Adler's column: Some of These Days
The Rooks at Tara
An enthralling
piece of prose.
Patrick's
juxtaposition of
Tara's legendary lore
with the eerie nothingness
of modern day Meath County
makes for a truly
arresting read. I am
reminded of my first
encounter with
Ozymandias--and, of
course, of Hendrix. It
makes me want to visit
this historic site one
day.
I highly recommend a read.
Kyle Strouse
Patrick Walsh's column: The Rooks at Tara
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 Monologues
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
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