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Twitter: @DF_Lewis
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GESTALT REAL-TIME REVIEWING
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Träumerei: Co-Vivid Dreaming
DFS LEWIS: Reading Aloud
Available DFL books: HERE
The Three Ages of D.F. Lewis
0. 1948-1985 — Poems / Zeroist Group (1960s), The Visitor (Novel) 1973, Agra Aska (novella) 1983.
1. 1986-2000 – Over 1000 fiction publications in magazines and anthologies, some selected for the Prime Books D.F. Lewis collection ‘Weirdmonger’ (2003). Work once in Stand, Iron, Panurge, Orbis, London Magazine….
I was awarded the BFS Karl Edward Wagner Award.
2. 2001-2010 – Publishing multi-authored ‘Nemonymous’.
3. 2008-
GESTALT REAL-TIME REVIEWING (www.nemonymous.com),
Plus one novel NEMONYMOUS NIGHT (Chômu Press), a story collection and two novellas entitled THE LAST BALCONY (InkerMen Press), and a novella entitled Weirdtongue (InkerMen Press), and my reprint of Agra Aska that was originally published in 1998 by Scorpion Press,
Plus three originally created multi-authored anthologies that I published,
Plus two books from Mount Abraxas Press, and an Eibonvale chapbook called The Big Headed People. And a book collection from Eibonvale: DABBLING WITH DIABELLI,
Plus, in July 2020, a past story selected for THE BIG BOOK OF MODERN FANTASY edited by Ann and Jeff VanderMeer.
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THE LAST BALCONY: HERE
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After many satisfying years of gestalt real-time reviewing, it now feels really special to see one of my own old stories showcased here!
My detailed review of this Big Book: HERE
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MASK
The Ha of Ha above.
Late Labelling:
“, all became so as death and art wove its tapestry upon them.”
…being words written near the start of this novella. Meanwhile, I guess this work depicts an alternate real world renaissance of a future past Avignon after some pandemic or worse where art is the breaking of what went before, as it has always been, of releasing figures from stone blocks, and it also depicts a long uni-streamed family called Laronde towards a destiny of twins, the first non-onlychild inheritor of the family’s singular artpower, repercussions of which effectively killing both their parents amid the tumultuous birth-pangs in emerging from the womb, for them at that point to soon become brother-and-sister rivals in what they started creating for the family’s architectural zenith of sculptures and paintings in the domed La Ronde chamber — yes, rivals in art, but also rivals in elaborate but often fast-enthusiastic love with beautiful people in the city outside. This is a plot steeped in a blended texture of the literary version of rococo and classical, demonstrating a hypersensual, yet studiously carved, prose. I have long spoken of a riskily overweening passion of the moment when real-time reviewing books rather than when normal reviewers conduct a studied backward look with considered analytical reactions. As well as praising this novella’s characterisation and style, this my review represents one such passion of the moment, a gestalt real-time moment, a momentous moment, one that lasts as long as I physically write these words that you are reading now, particularly when I deep-shudder at this book’s reference to Art’s ‘verity of the moment’ in perhaps ironic contrast to the impulses represented by each of the twins at the cataclysmic climax of their rivalries — and, in many ways, the earlier mention by this book of a potential brother-and-sister ‘collaboration‘, here, now, is represented by an unspeakable selves-destructive co-mutual co-vivid optimum of a new world’s renaissance in art-creativity.