Review of Virtuoso

“But I see my mind’s asleep.
Were it to remain wide awake from this point on, we should quickly arrive at the truth, which may well be all around us now (its angels weeping)!” — Arthur Rimbaud, A Season in Hell
And so, let us start by imagining those angels, weeping. Their tears, tiny silver scalpels. Their wings, mangled. Their faces, featureless and orphaned to pools of light. They are everywhere, traceless repositories for unheard screams and unheld children who grow fitfully into adults (housing mutated unheld children in the attics of their guts, the sacral basements of their anuses). Everywhere, innocents locked in metaphysical orphanages, everywhere, angels slashing at air with turquoise tears. 
This is what needs to be imagined, conjured, arrived at. This is how gauzy scrim calls to the curious and brave and dream-blooded to sneak intimate peeks, like the tenderest of spiritual peepshows. Here, I return to Rimbaud, or rather how he was compared to Paul Verlaine in Arthur Rimbaud: Presence of an Engima, by Jean-Luc Steinmetz: “Where Verlaine describes, Rimbaud hallucinates, and creates an epic.  It is not the recreation of a décor that matters to him, but the shaping of one from the starting point of a few elements bestowed by reality. Authentic magic, a spellcasting gesture.” It is this sort of spellcasting and sorcery, this strain of numinous lyricism, which forges strange angels from silhouettes in Yelena Moskovich’s Virtuoso.
Read the full review at Riot Material.

Virtuoso

About John Biscello

Originally from Brooklyn, NY, writer, poet, performer, and playwright, John Biscello, has lived in the high-desert grunge-wonderland of Taos, New Mexico since 2001. He is the author of four novels, Broken Land, a Brooklyn Tale, Raking the Dust, Nocturne Variations, and No Man’s Brooklyn; a collection of stories, Freeze Tag, two poetry collections, Arclight and Moonglow on Mercy Street; and a fable, The Jackdaw and the Doll, illustrated by Izumi Yokoyama. He also adapted classic fables, which were paired with the vintage illustrations of artist, Paul Bransom, for the collection: Once Upon a Time, Classic Fables Reimagined. His produced, full-length plays include: LOBSTERS ON ICE, ADAGIO FOR STRAYS, THE BEST MEDICINE, ZEITGEIST, U.S.A., and WEREWOLVES DON’T WALTZ.
This entry was posted in Books, Press, Prose, Publications, Uncategorized and tagged , , , , , , . Bookmark the permalink.

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s