Saturday, 2 September 2017

Les Activistes de la Cause Anti-Brexit : Banalistes Monumentales revisited . . .

My devoted correspondent, Johanna Behrendt, informs me that my mild rant decrying the trend towards the monumental kitsch of the ‘. . . Banalistes Monumentales, whose facile artefacts are no more than consumer commodities fatuously scaled up with a pantograph . . .’  has demonstrated once again how Life (in this case contemporary political grandstanding) is imitated by ‘Art’.

I’m told by Hanni that, according to a recent Parisian news report, the New Banalism of the Supersize School of Art is to profane the Champs-Élysées with a Brobdingnagian monument to Defeated Brexit, gleefully proposed by the assembleur-installationistePatrice Robeaud, to discountenance the emissaries from La Perfide Angleterre with a snarl-up of impenetrable red tape.

Catherine Eisner believes passionately in plot-driven suspense fiction, a devotion to literary craft that draws on studies in psychoanalytical criminology and psychoactive pharmacology to explore the dark side of motivation, and ignite plot twists with unexpected outcomes. Within these disciplines Eisner’s fictions seek to explore variant literary forms derived from psychotherapy and criminology to trace the traumas of characters in extremis. Compulsive recurring sub-themes in her narratives examine sibling rivalry, rivalrous cousinhood, pathological imposture, financial chicanery, and the effects of non-familial male pheromones on pubescence, 
see Eisner’s Sister Morphine (2008)
and Listen Close to Me (2011)

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