I give to red-topped toy machine back a decal as I want
something else, better, what you have: rubber replica
of reptile, shock-purple and sinister. The small business
of setting out to do a day that started evening last
with soup and summer boredom ended up here, asleep
once more, clutch of fear in the sand. Concession calls
to wake us and we are two among the hunched, invisible
to the well oiled grotesque. Four-ticket ride for retribution,
eyes spun from upside-down, from bite and cannot scream.
Next whiskey has at a boardwalk bar, a watered down
one of my own. I could now dance like this strange pair
by the jukebox: resolved, fat and furrowed. But I am not
ugly yet or cheered. I want a room to keep a home.
I want a bed. (Lemonade. Sand again. Subway.)
Let me sleep on your lap. No tracks to cross bridges;
we are going underwater. Whatever we have done,
intending, had sun-marked a line flat to my flash. It hurts
like want hurts: that sweet. The rare side of no.
LYNN MELNICK'S poems have appeared recently in the Boston Review. She lives in Manhattan.
Sticker ShockBy Paul Mattick
FEB 2022 | Field Notes
For 10 years, economists wondered: why is inflation so low? Suddenly, in the last few months, they wonder: why so high? In the words of the Los Angeles Times, Economists are getting a dose of humility on forecasting inflation as prices rise well beyond the expectations of Wall Street and policymakers.
Stefan Bondell: Dark MarksBy Alfred Mac Adam
MARCH 2023 | ArtSeen
Stefan Bondell inhabits a unique niche in the herky-jerky continuum of figurative painting in the United States. To find his antecedents, we must jump back many generations and sweep the dust-off names like Reginald Marsh (1898-1904) and Paul Cadmus (1904-1999). Paintings such as Marshs rendition of a Coney Island Sideshow (1930) or his 1929 frieze-like etching of a breadline, or Cadmuss 1936 Public Dock all rise to mind when viewing Bondells pictures. To those names we would add German Expressionists like George Grosz and Max Beckmann who lived here, and Mexican muralists like Diego Rivera and David Alfaro Siqueiros whose presence in the United States brought socially critical art on a grand scale into American culture.
59. (Coney Island, 42nd Street, the Meatpacking District, among other locations)By Raphael Rubinstein
JUNE 2021 | The Miraculous
Deserted by his parents at a young age, subjected to abuse by his supposed caregivers, a New Jersey teenager finally has no option but to drop out of school and run away to New York City where he survives, barely and dangerously, as a street hustler. Now in his mid-20s and trying to make his way as an artist he embarks on a project that takes him back to many of the locations where he used to sell his body for sex: the places I had hung out in as a kid, he later explains, the places I starved in or haunted.
Luca Guadagnino’s Bones and All (2022)By Nolan Kelly
DEC 22–JAN 23 | Film
Bones and All manages to balance the chaste intimacy of a typical YA novel with an appetite for the shock and gore of a body horror flick. But it is Guadagninos vision of 1980s Americana that arises as particularly potent for a film making a statement about the relationship between queer desire and social exclusion.