if she repudiates the tango

Author: Josh  |  Category: Uncategorized

I will speak to her in Catalan

I will order exotic foods in languages appropriate to their request

I will watch her as she turns, swiftly, taking with her a smartly trained regiment of closely guarded smiles

I will discuss in her conspicuous absence, the nature of painting that the Ampurdan plain requires

I will mention knowingly her hungry demands for harshness in shadow and the likewise conspicuous absence of cadmium red, the cardiotoxin

I will be compelled to tell her dance instructor that the tango is beyond reproach, even from above (an attack far more common than most suppose)

If her mother is mentioned, I will quickly change the subject to the hereditary nature of madness and offer my theories (and welcome those of others) on the tension between the schools of nature and nurture

I will demonstrate, over mayonade and crepes, the fluid machinations taught by economists in the raucous 1930’s (Prague)

Black and Scholes will accompany me to the bar, where we will, as a single being, fill our glasses from decanters crafted from the dismantled spectacles of criminals executed at the Venetian Glassworks.

I have purchased human teeth in gross on the black market.

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attentive, heavily mascaraed pleasure droids

Author: Josh  |  Category: Uncategorized

I recently acquired, through means both delicious and forbidden under Geneva convention letter, several pieces of anti-fauvist sculpture from Carten’s, an art and antiquities treasure house in St. Vincent, Tx. Each of the works interested me separately, and would fetch a comfortable sum if presented for individual sale in the freelance auction circuit. I find myself unable to separate them, however, as I have discovered they are part of a larger collection. Funded by an eccentric collector/architect of Uncertain European Descent, Wilhelm Arden Knokker (pronounced k-nocker), the pieces were originally considered a “collection because of their collective theme –objects unified by measures of relative lethality.

An entire Aesthetic movement erupted from the study of this collection. Called “The School” by its founder, Samuel Trace, this scene/movement/armed anti-artistic resistance held one precept above all others: Any artistic object may be judged by a single criterion– If I struck a grown man on the head with this piece, would it kill him? As with any notion of artistic measure, this question contains a series of subtextual inquiries. The School believed that if one answered this web of internal, tacit, prenatal, and hypnogogic under-questions, the artistic merit of the piece was completely discerned.
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