1 September 2020
Vol. X, No. 10

1 September 2020

“Drifting,” by Odd Nerdrum.

“Drifting,” by Odd Nerdrum.

It may be that when we no longer know what to do/we have come our real work,/and that when we no longer know which way to go/we have come to our real journey./The mind that is not baffled is not employed./The impeded stream is the one that sings.

—“The Real Work,” by Wendell Berry

“The Embrace,” by Odd Nerdrum.

“The Embrace,” by Odd Nerdrum.

Our September issue opens with a short post-political essay on the subject of memorials by Publishing-Editor Elizabeth Boleman-Herring. Next, poet Claire Bateman introduces poet Roy Bentley. Poet-Essayist Don Schofield, of Americas West Coast, and Greece, north and south, writes of San Franciscos racial turbulence in the mid-1960s. Dr. Diane Fortenberry, from London, reviews Helen Morales Antigone Rising: The Subversive Power of the Ancient Myths. The Rev. Robin White addresses the perseverance of the Canaanite woman. Gear-head F. Theresa Gillard remembers going very, very, very fast, indeed. Fellow gear-head and Assistant Editor Tim Bayer gives us a little canine something to chew on. Mark Addison Kershaw contributes single-panel cartoonery (never to be conflated with tomfoolery). And Dr. Guy McPherson, as ever, writes of and to our dying ecosystem.

About the artist featured on our September 2020 Home Page: Odd Nerdrum, a Norwegian figurative painter and founder of the Kitsch Movement, has long been controversial. Since early in his career, Nerdrum has positioned himself as an outsider, his interest in the tradition and craftsmanship of Old Masters such as Rembrandt and Caravaggio running counter to the dominant trends of Conceptual and Abstract art. Born in Sweden in 1944, Nerdrum began his artistic education at the National Academy of the Arts in Oslo, but quickly found himself at odds with the establishment. Instead, Nerdrum taught himself to paint in a Neo-Baroque style, later studying studied at the Kunstakademie Düsseldorf under leading German conceptual and performance artist Joseph Beuys. Early on, Nerdrum dealt with contemporary social issues: his most famous painting from this period is The Murder of Andreas Baader (1977-1978). In the 1980s, Nerdrum changed direction, concentrating on portraying the primal human experience. His figures are now most often situated in apocalyptic environments influenced by his studies of Icelandic landscapes. Nerdrum acts as both teacher and mentor in a project called The Nerdrum School, where he works to advance the teaching of traditional painting methods, including mixing and grinding pigments, stretching canvases, and drawing from life models. (Read more about Nerdrum here.)

Designer May Lin’s masterpiece.

Designer Maya Lin’s masterpiece.

Weekly Hubris

“America’s Wailing Wall,” By Elizabeth Boleman-Herring

PENDLETON South Carolina—(Weekly Hubris)—1 September 2020—Over the past four years, I have been compelled, of necessity, to contemplate walls and, more specifically, the wall on the United States’ southern border, that chimera of smoke, mirrors, and grift erected in the disordered mind of Donald Trump to keep out his bogeymen and bamboozle his fearful base. The border between the United States and Mexico stretches some 1,954 miles, or 3,145 kilometers. (Read more . . .)

Poet Roy Bentley.

Poet Roy Bentley.

Speculative Friction

“The Poetry of Roy Bentley,” By Claire Bateman

GREENVILLE South Carolina—(Weekly Hubris)—1 September 2020—Roy Bentley, a finalist for the Miller Williams prize for Walking with Eve in the Loved City, has published eight books; including American Loneliness from Lost Horse Press, which is bringing out a “new & selected.” He is the recipient of a Creative Writing Fellowship from the National Endowment for the Arts and from the Florida Division of Cultural Affairs and Ohio Arts Council. His poems have appeared in New Ohio Review, Rattle, The Southern Review, Crazyhorse, and Shenandoah, among others. Hillbilly Guilt, his latest, won the Hidden River Arts/Willow Run Poetry Book Award. (Read more . . .)

Women fleeing the violence during the San Francisco riots (1966).

Women fleeing the violence during the San Francisco riots (1966).

Imagination’s Favors

“Fury & The Fillmore,” By Don Schofield

THESSALONIKI Greece—(Weekly Hubris)—1 September 2020—In the aftermath of the brutal killing of George Floyd this past May, much of the world has been jolted awake. In virtually every major city across the country, for more than three months now, African Americans have been spilling into the streets by the thousands, decrying police brutality, demanding justice and an end to systemic racism. Those chanting and raising their fists, though, are not just Blacks. Latinos, Asians and whites—young and old—have taken to the streets, most peaceful and determined, a few filled with the urge to destroy. (Read more . . .)

Antigone Rising: The Subversive Power of the Ancient Myths

Antigone Rising: The Subversive Power of the Ancient Myths.

Outside of a Dog

“Antigone Rising: The Subversive Power of the Ancient Myths, by Helen Morales,” By Dr. Diane Fortenberry

LONDON England—(Weekly Hubris)—1 September 2020—Procne was a young woman recently married to Tereus, king of Thrace. She longed for a visit from her sister, Philomena, and Tereus agreed to accompany his sister-in-law from her home to the palace. On the journey, the king took what he considered his right, and brutally raped his charge. When she threatened to tell Procne what had happened, he cut out her tongue, imprisoned her in a remote hut, and told his wife that she had died. Philomena refused to be silenced, however, and, while the queen mourned, she began to weave. (Read more . . .)

Shyamala Gopalan with her daughter, Kamala Harris.

Shyamala Gopalan with her daughter, Kamala Harris.

Wing + Prayer

“Nevertheless, She Persisted: Matthew 15: 21-28,” By The Reverend Robin White

ANDERSON South Carolina—(Weekly Hubris)—1 September 2020—Eddie Snopes* ate six pollywogs. We were in the fourth grade and that was the news that quickly spread throughout the school. Eddie was the biggest kid in our class—he was both tall and wide. He wore thick, horn rimmed glasses, which were always dirty and always broken so that they were taped together with adhesive tape. His hair was carrot-orange, dirty, and looked as though it had been combed with an eggbeater. (Read more . . .)

F. Theresa and her sister’s excellent NASCAR Racing Experience.

F. Theresa and her sister’s excellent NASCAR Racing Experience.

Status Quo Minus Amplified

“F. Theresa’s Excellent NASCAR Experience,” By F. Theresa Gillard

BOSTON Massachusetts—(Weekly Hubris)—1 September 2020—To quote Eric B. & Rakim’s I Know You Got Soul, “It’s been a long time I shouldn’t have left you without a strong rhyme to step to.” Well, well now. I am back, but did I ever really leave? Let’s get started . . .  Who would ever think that my Black-self would be anywhere near NASCAR and the Charlotte Motor Speedway? Absolutely no one. Niemand. OK, one person did. My brother, JC, Jr. So, he thought the perfect gift for me would be the NASCAR Racing Experience. I mean, it was a gift. Hence, my response, “Thank you.” (Read more . . .)

Bayer-A new chew toy.

Where are my teeth?

Won Over By Reality

“A New Chew Toy (With Bite!)” By Tim Bayer

BRIGHTON New York(Weekly Hubris)—1 September 2020—Wanting to bring some mirth to my post this month, I did some hunting and found a 26-second-long video that fit the bill. Here is a toothy little dog smile that made his owner laugh. (Read more . . .)

Addison slide.


“I Miss Facts, Too,” By Mark Addison Kershaw

ATLANTA Georgia—(Weekly Hubris)—1 September 2020—Editor’s Note: Mark Addison Kershaw, aka The Artist Known as Addison, is usually to be found out in left field. This month, some 63 days before the United States’ presidential election, he’s also sequestered in the Deep South, pen in hand, riffing on Meisje met de parel (look it up), and imagining himself escaping from home confinement, bird-watching with penguins, and/or social distancing in the duds made popular by our early astronauts. He admits to missing facts; I admit to missing him. (Read more . . .)

Enso Zen Buddhist calligraphy on rice paper by Thich Nhat Hanh.

Enso Zen Buddhist calligraphy by Thich Nhat Hanh.

Going Dark

“Planetary Hospice, Redux,” By Dr. Guy McPherson

MAITLAND Florida—(Weekly Hubris)—1 September 2020— For many years, I had a small sign on the bulletin board adjacent to my office door on the campus of a major university: “Keep Expectations High.” I encouraged my students to take on tasks that, to me, seemed impossible. Of course, I did not tell the students the tasks were impossible. Occasionally, I was surprised to discover that the tasks believed impossible were accomplished by my students. Even when they failed, as they often did, I encouraged and rewarded them for their efforts. (Read more . . .)

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