antonin artaud and the veil
mount icon of danger femme seductive dance erotica took upon her to confound the laws to obtain the head of man the john his horrific withdrawal from heroin upon entering the land of the tarahumaras hoisted onto his horse a giant inflamed gum he went and beheaded him in the prison they came and took up his corpse and laid it in a tomb witness to the crucifixion of jesus in mark arrested and put in a straitjacket a return to magic to ritual language space devoid of dialogue bracketed brevity space thunder with images and crammed sounds crush hypnotize seized by the theatre whirlwind habits of crafting magic spells girlish face and the brutally severed head of bastard trope of striptease decadence into an epistolary work it was never contracted spinal meningitis a comatose period a severely weakened sanatorium monologue cut in favor of sudden jarring transition so that a spasmodic effect is created communion between actor and audience subvert thought and logic and to shock the spectator into seeing the baseness of his world peacock skirt extorts a cry of lust and concupiscence her quivering tits heaving belly and tossing thigh codified highly ritualized cruelty that the text is a tyrant over meaning of violent rigour and extreme condensation beauty by the cataleptic spasm that stirs her flesh and steels her muscle monstrous beast of the apocalypse indifferent irresponsible insensible poisoning and severe moral purity the underlying brutalities of life to recreate the thrill of experience exuberant phraseology and motifs in extremis reject form and incite the chaos priest who fears his religious power she takes up the butt severed head and kisses the incarnation of undying lust like thin coiling mists shot by topaz suns and amethysts of a shifting skin shapes to part prescribed laudanum rejected the editors compilation exposed rather than protected vortex to shock them out of their complacency
Daniel Y. Harris
jean michel basquiat and amy winehouse
graffitio dichotomies wealth versus poverties regular mix of inner out appropriation the public marriage public image lets reem pubic edgy want and need seen as some above figuration uses social commentary each artists deep truth powers their structure system with an endemic need to profile genderace as precocious language leans Basquiat from street mart back up gig anatomy lessons his mother paid his young visits to museum influence in studio he tramples canvas on floor in cellar attic his postcards and his master samo same old shit spray paint noise on rock band patterns gray metal warhol samples Basquiat allure his radiance attracts attention even brought madonna brought armani suits spatter single heroics emphasize intelligence bottled privilege the oracle detect distil perceptions on stretchers on stage in arm in creative actions little shit numeral logo map symbols celebrate and reclaim his history accordingly scribbled sickle slave marks the same time her eclectic soul mix neo soul toys couple her charisma became over exposed yet remained mysterious hinge her cuss drug induce astute ideas about tragic tactile storisongs octave diva momentus spectrum call it mischievous dark onze lay down tie die intimate early musac she tries to liberate oral traditions validating downbeat phrase sixty sisters hand ghost ubiquitous pencil cut vision the black eyeliner between ratty beehive and her thick dark mane exaggerate swoosh thin frame coquet garbouts she is always impatient and answers questions as chided startarto depression sliced her life mirror span white lackack love phantasy coffins twenty seven years nail lid beneath critique exchange basquiat exceeds any movie depiction as amy documents two talents diffused by drug alcohol ready collage urbantomize personificartoon hypes all the minimal dialogue the past present struggle same flexible art traffic galleries monopolize triple payacs taken to the river back they recognize talent their own need to sing paint ripple effort not stroked off any street corner tote bag
Daniel Y. Harris is the author of The Underworld of Lesser Degrees (NYQ Books, 2015), Esophagus Writ (with Rupert M. Loydell, The Knives Forks and Spoons Press, 2014), Hyperlinks of Anxiety (Červená Barva Press, 2013), The New Arcana (with John Amen, New York Quarterly Books, 2012), Paul Celan and the Messiah’s Broken Levered Tongue (with Adam Shechter, Červená Barva Press, 2010; picked by The Jewish Forward as one of the 5 most important Jewish poetry books of 2010) and Unio Mystica (Cross-Cultural Communications, 2009). Some of his poetry, experimental writing, art, and essays have been published in BlazeVOX, Denver Quarterly, E·ratio, European Judaism, Exquisite Corpse, The New York Quarterly, Notre Dame Review, In Posse Review, The Pedestal Magazine, Poetry Magazine, Poetry Salzburg Review and Stride. He is the Editor-in-Chief of X-Peri, http://x-peri.blogspot.com/.
Irene Koronas is the author of Turtle Grass (Muddy River Books, 2014), Emily Dickinson (Propaganda Press, 2010), Pentakomo Cyprus (Červená Press, 2009), Zero Boundaries (Červená Press, 2008) and Self Portrait Drawn From Many (Ibbetson Street Press, 2007). Some of her poetry, experimental writing and visual art have been published in Clarion, Counterexample Poetics, Divine Dirt, E·ratio, Free Verse, Haiku Hut, Index Poetry, Lynx, Lummox, Pop Art, Posey, Right Hand Pointing, Presa, Spreadhead, Stride and Unblog. She has exhibited her visual art at the Tokyo Art Museum Japan, the Henri IV Gallery, the Ponce Art Gallery, the Gallery at Bentley College and the M & M Gallery. She is the Managing Editor at X-Peri. http://x-peri.blogspot.com/.