Contributed by Elizabeth Coggeshall
Dante’s Inferno Razor
“This is a job from a couple months ago. This was one of the most intense themes I have done. Tons of details in very small places. The theme was Dante’s Inferno and the images are based on Dore’s illustrations for the book. The toughest part was that I had to alter the images to make them fit the format of the windows. I had to make the altered images still recognizable as the classic Dore illustrations.
The ‘frames’ are sculpted and the images are bulino engraved. The scenes on the hidden panels were also bulino engraved. The knife was made by Joe Kious of Kerrville, TX.” —Straight Razor Place, December 14, 2011
Contributed by David Israel
NY Times Review: “The Book of Books: What Literature Owes the Bible”
“The Bible is the model for and subject of more art and thought than those of us who live within its influence, consciously or unconsciously, will ever know. Literatures are self-referential by nature, and even when references to Scripture in contemporary fiction and poetry are no more than ornamental or rhetorical — indeed, even when they are unintentional — they are still a natural consequence of the persistence of a powerful literary tradition. . . Dante created his great image of divine intent, justice and grace as the architecture of time and being. Milton explored the ancient, and Calvinist, teaching that the first sin was a felix culpa, a fortunate fall, and providential because it prepared the way for the world’s ultimate reconciliation to God” [. . .] –Marilynne Robinson, The New York Times, December 22, 2011
Merce Cunningham Dance Company
“…The music critic Charles Rosen, observing that difficulty in the arts has characterized most great music and literature for centuries (Dante and Beethoven as well as Schoenberg and Stravinsky), wrote, in 1998, ‘A work that 10 people love passionately is more important than one that 10,000 do not mind hearing.’ Cunningham’s career exemplified that. And among the first 10 people to follow his work passionately were the artists Robert Rauschenberg and Jasper Johns.” [. . .] –Alastair Macaulay, The New York Times, December 22, 2011
A Review of Steven Boyett’s “Morality Bridge” (2011)
“. . . Boyett’s Hell is steeped in mysticism and antiquity, borrowing freely from the Greeks, and Dante, and Bosch. Each turn in the underworld gives Boyett a fresh excuse to unlimber new grotesque phrases, stomach-churning descriptions of tortures too horrific to contemplate (though Boyett forcefully insists upon it).
Meanwhile, Niko’s race through Hell is one of the greatest supernatural adventure stories of recent memory, surpassing Niven and Pournelle’s classic Inferno (itself a very good novel on a similar premise, even if it does turn on the power of Hell to redeem one of history’s great monsters). It is not a mere allegory about sin and redemption, cowardice and nobility: it’s also a damned good story, which sets it apart from almost all existential allegories.” [. . .] –Cory Doctorow, Boing Boing, November 8, 2011
Contributed by Patrick Molloy
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