Z e t e o
Reading, Looking, Listening, . . . Questioning
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You may be an ambassador to England or France You may like to gamble, you might like to dance You may be the heavyweight champion of the world You may be a socialite with a long string of pearls But you’re gonna have to serve somebody, yes indeed You’re gonna have to serve somebody Well, […]

ZiLL
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Portrait of Marie-Olympe de Gouges, painted by Alexander Kucharsky (1741-1819), private collection

The French Revolution, the Declaration, and Olympe de Gouges’s Rights of Woman By Emily Sosolik   Homme, es-tu capable d’être juste ? C’est une femme qui t’en fait la question ; tu ne lui ôteras pas moins ce droit. Dis-moi ? Qui t’a donné le souverain empire d’opprimer mon sexe ? Ta force ? Tes […]

Article
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Philip Guston, Untitled, 1971, Ink on paper, 26.7 x 35.2 cm = 10 1/2 x 13 7/8 in, Private Collection. © The Estate of Philip Guston, Courtesy Hauser & Wirth [GUSTO77446]

In a number of Philip Guston’s more than 100 cartoon-style drawings of Richard Nixon, which are currently on view at the Hauser & Wirth gallery in New York City, the former President’s nose and jowls are transformed into a cock and balls (or scrotum).[1] We recognize the long-standing association of the nose and the penis, and […]

ZiLL
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Gian Lorenzo Bernini, Anima dannata, 1619, white marble. Embassy of Spain in Vatican City, Holy See, Rome

Review of H.L. Hix, American Anger: An Evidentiary (Etruscan Press, 2016).   “I’ve got a family to feed, a neighborhood to defend.” “I’ve got a family to feed, a principle to defend.” “I’ve got a family to feed, my honor to defend.” — H.L. Hix, American Anger   These lines taken from separate poems in […]

Review
eiffel tower flashing at night, blue with white lights

Le monde s’étire s’allonge et se retire comme un accordéon qu’une main sadique tourmente The earth stretches elongated and snaps back like an accordion tortured by a sadic hand Dans les déchirures du ciel, les locomotives en furie In the rips in the sky insane locomotives S’enfuient Take flight Et dans les trous, In the […]

ZiR
Categories: Ed Mooney, ZiLL | 2 Comments

Mr. Trump hangs scapegoats like piñatas and invites people to take a swing. — Arizona Republic, September 28, 2016, lead editorial   A friend is watching the PBS series, The Roosevelts. She’s taken in by the first episodes. I find myself pushed back in time, reliving the powerful impact of the series when I first […]

ZiLL
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By您好, yangyang Geng   Memory heals the scars of time. Photography documents the wounds. — Michael Ignatieff[1] It requires constant vigilance to see people as they are. — Olive Pierce    The Portraits of the Jefferson Park Housing Project in Cambridge and No Easy Roses Olive Pierce was born in Chicago, Illinois in 1925 and […]

Article
Categories: William Eaton, ZiLL | 3 Comments
view of Alberto Burri’s Cretto di Gibellina, Sicily

Beauty is a form of genius—is higher, indeed, than genius, as it needs no explanation. — Oscar Wilde, The Picture of Dorian Gray   I Robert Smithson’s Mirrors and Shelly Sand (images above) is a long, low, floor-lying crest of sand (approximately 30 feet by 5 feet), which is divided in equal parts by 50 […]

ZiLL
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Kamel Daoud, Algerian novelist and journalist

Well just look at all the other Musas in this dive, one by one, and imagine—as I do—how they could have survived a shot fired in bright sunlight or how they managed never to cross paths with that writer of yours or, in a word, how they’ve managed to not be dead yet. — The […]

ZiR
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Stanching the Flow   By Martin Green   The emergence of immigration as a major issue worldwide and especially in the presidential campaign—thanks to Donald Trump’s vociferous attack on alleged rapists, drug dealers, and other criminals sneaking across the southern border, to say nothing of the threat posed by terrorists hiding among Moslem refugees—is not, […]

Article
Categories: William Eaton | 1 Comment
Philip Guston, "Aggressor," 1978, private collection

Why do we think Guston made paintings like these? This becomes a question, too, about how we are compelled, how we respond.   By William Eaton   I think every good painter here in New York really paints a self-portrait. I think a painter has two choices: he paints the world or himself. And I […]

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Categories: Review | 1 Comment
Arabian Red Fox, photograph by Jem Babbington, appears on Birds of Saudi Arabia website

Why do we think Guston made paintings like these? This becomes a question, too, about how we are compelled, how we respond.   By William Eaton   I think every good painter here in New York really paints a self-portrait. I think a painter has two choices: he paints the world or himself. And I […]

Review

July 25, 2017

[…] Gun. Pour ses explorations des traductions, vers le français, de la poésie, voir, par example, Translating Dickinson, Poetry as Conversation, et Dylan, Nobel, Paris, Chimes Flashing. Some readers may also find of […]

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Categories: Review | 1 Comment
Arabian Red Fox, photograph by Jem Babbington, appears on Birds of Saudi Arabia website

Why do we think Guston made paintings like these? This becomes a question, too, about how we are compelled, how we respond.   By William Eaton   I think every good painter here in New York really paints a self-portrait. I think a painter has two choices: he paints the world or himself. And I […]

Review

July 25, 2017

[…] Sex, Politics—is due out in 2017. His previous, Emily-Dickinson-related, multilingual writing: Translating Dickinson (into French) and Dickinson — Sex, Spanish, Stew. Some readers might also be interested in Beyond […]

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Categories: Essay | 1 Comment

Why do we think Guston made paintings like these? This becomes a question, too, about how we are compelled, how we respond.   By William Eaton   I think every good painter here in New York really paints a self-portrait. I think a painter has two choices: he paints the world or himself. And I […]

Essay

July 23, 2017

[…] my proposition that a life so lived, so noticing, is a fuller life, a life more zoomed in—see On Savoring, Zeteo, December […]

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