My Third Poetry Book By A Frightened Man

Brando "Good Life News" Interview Joe: ..."The Master Painter" describe the book tell us what it's about. Brando: It's actually a novel that contains Villains, Cowboys, and Indians and takes place out here in Arizona. Joe: Excellent Brando: My Grandfather he was kind of the inspiration for that, he was an artistic man and he lived here in a small town in Arizona for 100 years, he just died this past February. He was the inspiration for my novel and for the title "The Master Painter". The Master Painter was actually an Apache trained painter and they deal with some spiritual arts, not everything that you see meets the eye. Joe: Right. Brando: So there is some intrigue there in the book, a young boy becomes his apprentice and it's taking place during 1931 which was the year of the Great Depression and a lot of businesses were closing people were losing their homes and the nation was in an economic crisis. In the book the Master Painter paints a magical painting which the young boy the apprentice can reach into and take out as much wealth as he needs whenever he needs it he describes it as taking a cold drink of water from a mountain stream that's never ending. Joe: Excellent Brando: There are of course the cunning villains who are trying to steal the painting. There's a comedy duo team which I attribute to Laurel and Hardy or Abbott and Costello which try to help the apprentice locate the Master Painters painting after he mysteriously disappears. Joe: Excellent, excellent. Brando: There are also a few science fiction parts thrown in there with some creatures that call themselves, "The Watchers of Prisoners" so there are a lot of elements in this book which people might find interesting Joe.

The previous two volumes of this acclaimed anthology set forth a globally decentered revision of twentieth-century poetry from the perspective of its many avant-gardes. Now editors Jerome Rothenberg and Jeffrey C. Robinson bring a radically new interpretation to the poetry of the preceding century, viewing the work of the romantic and post-romantic poets as an international, collective, often utopian enterprise that became the foundation of experimental modernism. Global in its range, volume three gathers selections from the poetry and manifestos of canonical poets, as well as the work of lesser-known but equally radical poets. Defining romanticism as experimental and visionary, Rothenberg and Robinson feature prose poetry, verbal-visual experiments, and sound poetry, along with more familiar forms seen here as if for the first time. The anthology also explores romanticism outside the European orbit and includes ethnopoetic and archaeological works outside the literary mainstream. The range of volume three and its skewing of the traditional canon illuminate the process by which romantics and post- romantics challenged nineteenth-century orthodoxies and propelled poetry to the experiments of a later modernism and avant-gardism.