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“There is an urge and rage in people to destroy, to kill, to murder, and until all mankind, without exception, undergoes a great change, wars will be waged; everything that has been built up, cultivated and grown, will be destroyed and disfigured, after which mankind will have to begin all over again.”
The standard line against painter John Singer Sargent goes like this: a very good painter of incredible technique, but little substance who flattered the rich and famous with decadently beautiful portraiture — a Victorian Andrea del Sarto of sorts whose reach rarely exceeded his considerable artistic grasp. A new exhibition of Sargent’s work and the accompanying catalogues argue that he was much more than a painter of pretty faces. Instead, the exhibition Sargent: Portraits of Artists and Friends and catalogues challenge us to see Sargent’s omnivorous mind, which swallowed up nascent modernist movements not just in painting, but also in literature, music, and theater. Sargent the omnivore’s dilemma thus lies in being too many things at once and tasking us to multitask with him.
If Flannery O’Connor somehow birthed the love child of Sid Vicious, she might end up sounding like novelist Nell Zink. Equal parts Southern Gothic’s grotesquely twisted charm and punk and alternative music’s insiderish anti-establishmentism, Zink’s second novel Mislaid will disorient you until you let it delight you. Zink’s mix — which I’ll call Southern Gothic Punk — might be an acquired taste, but a taste well worth experiencing if only to break out of the contemporary rut of MFA-programed, sound-alike fiction that’s become the bubblegum pop of today’s literature.