Nobody’s Blues

Reading from The Last Furies (La Matadora Gallery, Joshua Tree, CA, 2/14/26)

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Nocturne for Another World

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Literary Yard

Dianne Reeves Angel’s review now live on Literary Yard, an “e-journal that aims at widening literary horizons by identifying and featuring the best literary works awaiting publication.”

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Gray Matter

Thank you to Dianne Reeves Angel for her advance review of No One Dreams in Color. The full review will be published in an upcoming edition of The Literary Yard. Excerpt below:

“This is not a novel driven by plot in the conventional sense. It is a book about sensation, perception, and the lingering afterimages of experience. Biscello invites readers to slow down and inhabit the spaces between events — the thresholds where memory, art, and longing converge. The result is a work that feels intimate and expansive at once.
No One Dreams in Color is a beautifully rendered exploration of how we carry loss, how we pursue the echoes of beauty, and how stories shape the contours of our lives. It is a novel to savor, to reread, and to linger long after the final page.”

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Audio Waves

Recording process is underway for an audio-book edition of The Last Furies, in which I get to read and present my work. Excited for the opportunity to contribute my voice to the novel and narrative, and to offer a more homespun, in-the-raw, imperfectly idiosyncratic and sincerely human rendering (not an AI-generated or “wrinkle-free” sanitized voice) to this edition, which will be released by Lost Telegram Press.

Here is a teaser video and excerpt:

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Two Events

Upcoming events for The Last Furies on the Left Coast:

* Reverie Bookstand (1519 W. Sunset Boulevard, Los Angeles), January 17th at 7pm
* Lucky 13 Gallery (391 Coronado Avenue, Long Beach), 2pm

I will be reading excerpts from the novel, copies will be available for purchase and signing, and I will be joined by the cover artist of the Furies, Heather Ross, who will be exhibiting her artwork, and joining me for freeform interactive discussions about the world of literature, art and the crossroads at which they meet and mate and make friends with other creative elements and soul-feed.

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Bela Tarr

A nod and farewell to master Hungarian auteur, Bela Tarr (July 21st 1955 to January 6th 2026) who brought the barbiturate art of “slow cinema” to a whole other level of gravity and existential molasses. His seven-and-a-half hour magnum opus Satantango is a textural tapestry of meditatively long takes, gallows humor, moral dubiousness and desperation implicating an all-too-human cast of characters, and an uncompromising invitation into a somnambulistic realm of folly, futility and grace. And his filming of rain and mud were like eloquent tributes to the weather gods themselves. Tarr, with iconoclastic vision and singularity, extended the language of cinema and broadened the context of what it means to witness and immerse oneself in film as guest and audience.

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After Hours

   Lenny Bruce, seated on a rickety stool, cigarette dangling from his lips, slumping forward, shoulders slack. His mouth puckers, jumping his cigarette to attention, as he draws in fiercely, then exhales a series of bluish halos that float and dissolve. Time on his hands, balled into leaden fists, the gravity shackles of lost hours—Bruce had gotten good at blowing perfectly formed halos. That he perceives them as halos and not rings says something.

   Cinderblock walls and a stone floor slowbreathing bonechew cold.

   Who put me here used to torment Bruce, but not anymore. Now it is the negotiation of smoke and halos, unreflected.

   A sudden rush of air from the far upper corner of the room.

   What the fuck—

   Bruce saw a pigeon, a Surrealist gag of a pigeon—its snub beak fitted sideways, tiny red eyes misaligned, mangy iridescent feathers, body plumped to the point of near-busting, tri-pronged feet of pale pink banded in thick ropey veins. The pigeon flapped its wings wildly, yet remained in the corner, as if magnetized there. Bruce, less impressed that a pigeon had appeared out of nowhere than he was grateful for fugitive motion, watched the bird struggle in its invisible cage. Eventually the pigeon worked its way free from the corner, its frenzy slowed to a seductive blur, and it descended toward Bruce.

   In a trance, Bruce zeroed in on the white slip of paper wound tightly around the pigeon’s left foot. Bruce raised his hand, pinching the paper between thumb and forefinger, and slid it down and off the pigeon’s foot. The pigeon continued its bobbing levitation, as Bruce unrolled the paper and read what was written on it:

   Dear Leonard Alfred Schneider,

   …………………

   When he was done reading, he flicked his cigarette to the floor, and cursed loudly.

   Several seconds later, the pigeon exploded. An airtight pop followed by a whirling siege of feathers. Feathers got into Bruce’s hair, his eyes, grazed his lips and cheeks and chin.

   What a stupid fucking pigeon, Bruce deadpanned, and brushed feathers from his hair and face. Then he unleashed a stream of expletives, the barbed invective of a man haunted by a man visited by a godforsaken pigeon delivering a message which informed him that he had been pardoned from obscenity charges, thirty-nine years after his death, by the governor of New York, the first posthumous pardon in the state’s history.

   Bruce lit another cigarette, inhaled with a vengeance, considered smashing his fists against cinderblock, but instead decided to do what he hadn’t done in a long time: deliver a stand-up bit. His response to the pardon, tit for tat, halos be damned.

   Just so the fuckers knew, dead or not, Lenny Bruce had something left to say.

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A Brief History of Love

Here, her mother said, pressing something into her palm.

   A phantom tack. A concentrated pinch. Something sharp breaking skin and spreading heat.

   She looked down. Her palm now tattooed with a tangle of dark glyphs, a concert of spirals, curlicues and arabesques. The glyphs pulsated, a beating that nearly set them in relief against the skin.

   She raised her eyes and asked—Mother, what have you given me?

   Mother held daughter’s gaze, as she responded—I gave you my history. It’s a small thing but I wanted to pass it onto you. Pass it into you.

   The daughter stared at the secret alphabet monopolizing her palm, and tried to imagine how much history her hand now held. A future recalled, a past foretold.

   She closed her fingers, screening history, and opened them, a revelation. Again and again—opening, closing, hiding, revealing, keeping time to wounds. The rapid fanning of joy and sorrow made her dizzy.

   Are you okay, her mother asked, brushing strands of hair away from her face.

   Yes, I am. Thank you. Thank you for this gift. Are you…

   The daughter’s throat seized up. She stared down at her remade hand.

   The mother nodded and kissed her daughter’s forehead, a cool imprint of lips, a fugitive echo, before she faded, a trick of the light expired.

   The daughter dug glassy nails into her palm, testing the reality of the history she had inherited, and as the pinch, sprouting thorns, moved from her palm to her hand, she recalled vividly how the water had risen so quickly, and how the dark, intrepid and weightless, had risen with it.

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Zuzu’s Petals

A father’s pocket,
containing secret petals—
the meaning of love.

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