Oreto and Power

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Two of today’s review entries…

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The Perceptual Inconstancy of Enid Wozniak
Frank Oreto

“We feel awe or dread, but the reason why is too complex to understand. We just know it’s important.”

I found this most inspiring to my cause of ‘gestalt real-time reviewing’ and my own perhaps pretentious avant garde past — and life-affirming, too, for me at a difficult time. 

But that is a rather self-centred reason for relishing this reading experience, and the work has indeed value in its own literary terms as well as in those of this book’s overall context and ethos…

This is the strikingly couched story of Finn who is an agent for outsider artists. Olfactory mosaics, for example, perhaps ideal for the character in the Christina Ladd story? 

And now the installations of Enid Wozniak, involving ant farms and other props, gearing to numerology as well as dark and light. Helping the spectator become part of the art, as well as the art co-opting the universe itself, almost paradoxically through devices of the artist’s self-centred pain in extremis!

As if we, almost without intention, help create the art itself. The book itself. 

The term “peceptual inconstancy” has become my wheelhouse, too… 

“Revealing not just a pattern but meaning.”

Context to above here: https://dflewisreviews.wordpress.com/2021/08/05/vastarien-literary-journal-vol-4-no-1/

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Sanatorium at Chakhirshirincelo
Albert Power

I now withdraw my assistance to the new reader for fear of spoilers. For fear, also, that any more assistance I should now proffer will be even more misleading than it may have been for past pages. Suffice to say, that I recall the writer’s name of Murad Pavelovsky from earlier in this novella, in connection with the papers Yevgeny hides under his blotter. And now some account that goes alongside a reference to Clark Ashton Smith who had died seven years earlier. Even a nod to Lovecraft, which as a word in itself rather than a person may be germane?
An account of four characters beyond mere troilism (characters including Tahira and Pavelovsky, but excluding Yevgeny and Lyudmila) who I have learnt to be crucial to this story now entering past events in 1968 of more symbolic Kish-like diggings? … no, not really, but more the once tentatively proffered Marabarness of Pirembel caves? Upon a new contiguous annexe with the Caspian and thus the fruit fields of Turkmenistan?
Caves, the entering of which is now Power-evoked at outset of entry, as accompanied by a fifth character in the shape of the caves’ curator, but also not without a reference to a Soviet woman composer, as one of these four characters (a woman I mentioned earlier above in contiguity with Tahira and my use of the word ‘Sapphic’?), a composer not unlike one of my favourites: Sofia Gubaidulina?

My previous review of the works of Clark Ashton Smith: https://dflewisreviews.wordpress.com/2014/08/30/the-dark-eidolon-and-other-fantasies-clark-ashton-smith/

Context to above: https://dflewisreviews.wordpress.com/2021/07/23/azerbaijan-tales-by-albert-power/

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