Five Stories for Philip Guston
by Philip Guston (Editor), Emmie Francis (Editor), Mark Godfrey (Editor), Christopher Alessandrini (Contributor), Thessaly La Force (Contributor), Ben Okri (Contributor), Lou Stoppard (Contributor), Audrey Wollen (Contributor)
In the short story collection Five Stories for Philip Guston, edited by Emmie Francis and Mark Godfrey, contemporary writers Christopher Alessandrini, Ben Okri, Thessaly La Force, Lou Stoppard and Audrey Wollen have created new fiction in conversation with Philip Guston (1913–80) and his painting.
Christopher Alessandrini’s queer, drily witty “Maverick Road” brings us to the contemporary environs of Guston’s upstate haven. Ben Okri’s “Bloodymindedness” is a stark portrait of violence and subversion. In “Looking,” Thessaly La Force writes of the lingering power of painting and reputation with a tribute to Guston’s exhibition in Venice’s Gallerie dell’Accademia. Lou Stoppard’s courtroom crucible “A Verdict” is a study in Kafkaesque atmosphere. Audrey Wollen works deftly with a kind of Oulipo constraint exercise―Giotto is there, but is Guston himself in “The Line”? Look for him, and he is everywhere.
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by Philip Guston (Editor), Emmie Francis (Editor), Mark Godfrey (Editor), Christopher Alessandrini (Contributor), Thessaly La Force (Contributor), Ben Okri (Contributor), Lou Stoppard (Contributor), Audrey Wollen (Contributor)
In the short story collection Five Stories for Philip Guston, edited by Emmie Francis and Mark Godfrey, contemporary writers Christopher Alessandrini, Ben Okri, Thessaly La Force, Lou Stoppard and Audrey Wollen have created new fiction in conversation with Philip Guston (1913–80) and his painting.
Christopher Alessandrini’s queer, drily witty “Maverick Road” brings us to the contemporary environs of Guston’s upstate haven. Ben Okri’s “Bloodymindedness” is a stark portrait of violence and subversion. In “Looking,” Thessaly La Force writes of the lingering power of painting and reputation with a tribute to Guston’s exhibition in Venice’s Gallerie dell’Accademia. Lou Stoppard’s courtroom crucible “A Verdict” is a study in Kafkaesque atmosphere. Audrey Wollen works deftly with a kind of Oulipo constraint exercise―Giotto is there, but is Guston himself in “The Line”? Look for him, and he is everywhere.
