Dear Kazamir Malevich,
I SUPER love the way you play with perspective—Cow and Fiddle? RIGHT ON. Englishman in Moscow? You have so brought on the sexy there. This self portrait? Yes, PLEASE, I’ll take two. But later on in your life, right about the time you started doing all this Red Square: Painterly Realism of a Peasant Woman in Two Dimensions thing, you kinda lost me. I am sure this grieves you deeply.
Love, Philistiney McPhilistine
It’s because of narrative. My unholy love of narrative. Hard to see the story in cubes, no matter how big and red they may be, no matter what their flat big redness may or may not be saying about peasant women.
I LOVE visual arts, but I am drawn in by scenes of living things and places, people and architecture and animals and bones, and of course religious art and art that is a response to mythology or folk tales.
I tend to look at still life and say, Why yes, that IS fruit. Maybe it is fruit by Cezanne, an artist who can take my breath away, but the man liked fruit an inordinate amount.
Look, I get that Cezanne’s fruit is more than FRUIT. It says all kinds of things, mostly about geometry and planes and angles and their relationship with LIGHT. The Fruit sits on all these folds of draped sheet and curves of bowl and light relates all over it.
I like to look at Cezanne’s fruit. I intellectually appreciate it. Briefly, because I need time to linger on his portraiture, his dancers, his villages, his skulls, his card players. I don’t get het up over fruit and light. Call me when Light drinks poison in a tomb, and Fruit wakes up and stabs itself in agony over Light’s passing.
I especially like it when art relates to an existing narrative. Best Beloveds who have been around have seen this in all my Fic-Facts. Remember, I hired my brother to sculpt the Fox Doll from BETWEEN, GEORGIA? I hired Pamela the Amazing Art Quilter to make the Bride Quilt from THE GIRL WHO STOPPED SWIMMING? I like it both when art is pulled from narrative, AND when narrative inspires art. Anytime Visual Art and Narrative are in conversation, I want to be eavesdropping.
In Someone Else’s Love Story, birds matter. Real birds matter, cardinals in particular, but also Origami Cranes. Early on, a paper bird saves about half a dozen lives. Yes, in this book, destiny can hinge on something as flimsy and whimsical as a flappy bit of foldy paper.
At an art fest we visited 2 years ago, when I was writing SOMEONE ELSE’S LOVE STORY., we met Helen
Rule of 2 Rules Fine Art, who had made some Origami Crane earrings. Scott had the BEST idea. He sent Helen paper made out of the SOMEONE ELSE’S LOVE STORY’s cover and commissioned these:
Yep, you guessed it, these are some of the prizes for THE VIRTUAL BOOK TOUR (click this link if you have no idea what the virtual book tour is).
You order your signed, first edition, first printing SOMEONE ELSE’S LOVE STORY from The Alabama Booksmith. I will sign them the DAY the book releases, November 19th, so they will be among the very first copies signed. As a bonus—as a THANK YOU—your name goes in the drawing to win a pair of these one of a kind earrings. (Well, there are three pairs. Three of a kind earrings.)
Beloveds, I think you will like this book. I love the story, and the book itself is a beautiful object with an amazing cover on this rich satiny paper with a dekkel edge. I think you would be proud to give it as a gift.
And this right here — buying the book from an Indie in the first week of release—is a huge deal. Ask any novelist. The first weeks MATTER. Yes, any time you buy a book of mine, it’s amazing, and you are my favorite, the end. But the first two weeks of sales—a single copy in that key time matters more than ten a couple months from now.
If my books and blog have been meaningful to you and you want your support for my career to have the gtreatest possible positive impact… Well. This is how.
And these birds? They are the first of several small ways I am finding to say Thank you, Thank you, Thank you, Thank You, Thank You to the Beloved Bests of you who have already pushed that button.