Andrea Doria

Itchy navels, persecutions, manias, projections, snot-rimmed abysses, it’s been a mixed bag of plenty and none, and here I sit with the day’s teeth growing long and chopping down with razor-edged intensity … the stringent air of day after days passing … I, like the others, unspecified yet very much there, so it’s fair to say that we, we are passengers on this creaking wooden behemoth of a ship (some have called us the Ship of Fools, some have called the ship by different names—Titanic, Lusitania, Andrea Doria), I pass the days talking to myself while imagining the others listening, the process is vintage and varied, sometimes I diddle myself, sometimes I crib footnotes from old texts, and there’s always the fondling, fondling being one of the choicest diversions on this voyage, where I am going, where we are going, the ship of fools, the Titanic, the Lusitania, the Andrea Doria, I gulp depleted air from ingoing sky without ever looking up.

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Cinema, the Sequel

In the cinema, hypnotized, I died a drugged and stupefied death, again and again, crucified by the diminished returns of flickering images. I die, tranquilized, a sweetly solemn refugee from reality. This is the escapist way, its creed. Why pretend otherwise? Why justify? It has always been about escape. Escape from long withheld screams inflating black balloons in one’s stomach, escape from silence and jargon that says nothing and says it loudly and does nothing relentlessly, escape from so-called advances and progressions, escape from stories and shows that never quit. Reruns are all there is. If you see yourself playing yourself again and again and again, it is because you are the prey and primary chess-piece of syndication.

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Cinema

If cinema is a tomb, then let us die watching. The angel over my shoulder is hunched, opaque, morphing.

None of us ever leave behind the darkened theater. We are here, always. Sanctuary, haven, enclave, respite, sitting tight and homey with reels of flickering filmstrips to keep us warm hazy company. We remain here, happy slaves and obedient imps to the dance between light and shadow. We don’t care what films are pimped out to us. Every genre becomes our appetite.

Cinemanesthasized. That is us, what we have become. A bewitching trance in which we fondle and romance our tethered wrecks and deepest secret selves.

Note: It is no coincidence that tomb and womb are so close to one another, phonetic cousins kissing in the dark.  

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How Tomorrow Moves

Or, Brooklyn Boys Shit-Talkin on Street-Corners Back in the Day.

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Monkeys and Barrels

Kinked reflections on the writing life, New York states of mind, Babe Ruth’s prodigious appetite, Einsteinian time-blips, desert blues, and the Aqua Net generation.

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Debut Screening

Some snaps from the world premiere screening of our short film The Bride.

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Beyond the Veil

From isolated fragments to alchemizing makeover, see THE BRIDE’S metamorphic journey on the big screen at the TCA: one night only, Thursday, May 30th @ 6pm.

Film screening will be preceded by a live musical performance by singer and multi-instrumentalist, Diatom Deli.

Advance tix can be ordered at tcataos.org

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The Bride film screening

Coming to the Taos Center for the Arts this May.

Prior to the debut screening of the film, there will be a live musical performance by vocalist and multi-instrumentalist, Diatom Deli, whose songs are featured in the film.

THE BRIDE
In the shadowy, cryptic and solitary world of The Bride, a woman, garbed in a wedding dress and veil, directly engages the mirror and its ghostly witnesses, as she confronts internal pressures— rooted in family, self-image and societal expectations—while undergoing a stark and dramatic metamorphosis.

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The Bride

We are excited to announce that our short film THE BRIDE will have its debut screening next month.

The twin-bill evening will begin with a live musical performance by Diatom Deli , a vocalist and multi-instrumentalist from Nashville, whose songs are featured in the film.

ABOUT
What began as an exploratory conversation between Egypt-based writer, poet and cinefile, Jaylan Salman, and John Biscello, revolving around a story concept Salman envisioned being made into a film, quickly morphed into a cinematic labor of love shot and produced in Taos. From the compelling and claustrophobic “solo” performance of Izumi Yokoyama, to the cinematographic savvy and expertise of Troy Paff, to the haunting and sublime soundscapes of New York composer, Anthong Distefano, THE BRIDE fuses a harmonious blend of talents and aptitudes in realizing its gothic subversion.

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Here Today…

People who vanish,

where exactly do they go?

Thin air holds secrets.

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