Literature In Los Angeles

Author Archive

AMSTERDAM

In POETRY on November 8, 2010 at 6:56 pm

Photo by Peter Lindbergh

Se nel tuo respiro
c’e` ancora un silenzio
per la nostra luna

se fra le pieghe del vestito
c’e` ancora spazio
per il suo primo raggio di sole

se nell’ombra dei tuoi pensieri
risplende ancora l’attimo
per i nostri passi fra le onde

non spegnere l’attesa sul mio sorriso
non lasciare la mano del nostro destino
non abbandonare le fila della nostra canzone.

Poem by Liliana Isella.

MISS JUNK

In LITERARY FICTION on November 1, 2010 at 7:23 pm

Natja Brunckhorst

God, take my will and my life.
Guide me in my recovery.
Show me how to live.
Amen.
3rd Step Prayer

From Miss Junk’s fb chat:

♠: Hello beautiful, how r u?

: Hello doll… how are you?

♠: I’m ok… u?

: Kind of….

♠: …so, Rich Rod wanna fuck you, huh?

: I… don’t know….

♠: He DOES.

: He only asked for my phone number….

♠: I know he wants to fuck you.

: he just texted me last wed to ask if I was the one who told him of a video where there’s nothing but someone walking.

♠: what an excuse.

: no. it’s not. friday at dinner after the meeting I told him about Wrong, the new Depeche Mode video… it’s amazing. He remembered that and thought the other video was my suggestion as well, I guess….

♠: men in DAA are horny bastards.

: …?!?…

♠: You’re a hottie. Everybody in DAA wants to fuck you.

: …are u sure he wants to fuck me?

♠: he said so. when you left dinner he said in front of everybody “I know you all saw me asking the number to a newcomer and that’s TOTALLY NOT OK BUT she is so smart and funny….”

: …well, he is not my type and I have someone else in mind anyways….

♠: do you like someone in Drug Addicts Anonymous?

: kind of :)….

♠: who?

: The Prophet….

♠: oh, the prophet would definitely fuck you.

: really?!?

♠: yes

: how do you know that?!?

♠: we are good friends.

: …oh, so he told you he likes me :)?!?

♠: No. but I won’t tell him. don’t worry.

: …I’m not worried… just curious… how do you know he likes me :), then?

♠: I know ‘cause he tried to fuck me too.

: …

♠: for two years.

: …

♠: …but I have a little obsession on The Tortured Brain instead.

: …and… he wants to fuck you too….

♠: no. we are friends.

: well, you were friend with the prophet too and….

♠: The Tortured Brain is different. he’s so intellectual. so machiavellian.

he just went through a tough break up.

: so, maybe he’ll try to fuck you soon, right?

♠: hey, they are not all like that. he’s not. we used to chat a lot and then I gave him my number and he backed off.

: good for you. you picked a good one.

♠: The Prophet is good too.

: well, it’s hard to believe so, after what you told me….

♠: hey, he stopped asking me to fuck.

     he’s good now.

: …did you tell your sponsor about the prophet?

♠: no way! they are good friends. they’ve been in DAA together for like 15 years or so.

they got clean at the same time I think.

: I cannot believe your sponsor has 15 years under her belt… she’s always crying over the smallest shit… what a drama acidhead… is she any good?

♠: at fucking for sure.

: ….excuse me?!?

♠: she shares about it at meetings sometimes. she slept with a lot of fellows in DAA before marrying The Emperor.

she says she had to fuck no matter what. it was kind of compulsive, you know….

We’re addicts. that’s it. that’s all.

: you’re not even 19 yet – the prophet tried to fuck you when? when you were 17?

♠: 17 and loaded.

: did he know that you were still using?

♠: yup

: …and, what did he say?

♠: he said being loaded was ok.
  as long as we could have sex.

Story by Liliana Isella.

LADY LILIANA

In LA LADIES on October 6, 2010 at 11:05 pm

First Interview for LA Ladies.

By Liliana Isella.

ULYANA

In LITERARY FICTION on September 27, 2010 at 3:46 pm

Right before the 10 merges into the 405, she’s nowhere to be seen.

I hope the 405 will become the 101 to Hollywood.
It won’t. It just becomes a dead exit two bikers take.
From a helicopter, I follow the ferocity of their competition and I wonder why.
Why the helicopter, if I was driving.

I land on the sidewalk of the amaranth field.
Shades of giants play hockey on the sand and a miniature couple ice-skates in between.
I wonder if concrete wouldn’t be better and concrete becomes the road under my feet,
at the same ruleless speed of the bikes’ run.

Over the next scene, everything slows down in the middle of nothing.
The wild ride slithers into the motionlessness of a palm, a red land and a cold lake.
The dream, the truth and in between.

Now I can see the final place visitors have to discover, here in Los Angeles.
A shimmering shoreline of shivering divers, white Range Rovers and forest trees.
Nothing really match around the waters within I still look for what I don’t.

Unexpectedly, I catch her again.
I spot her innocence through the bicycle on the verge of the lake.
The handlebar reclined toward the sun, the wheels waiting for her sandals, the saddle afraid to slide down into the water.

She glides out of the waves and the carelessness she abandoned her paternal gift with
fades into the green headband above her blonde eyes.
Sixteen candles, elusive thin skin and pale long legs.

I follow her.
She walks into the other room; into her country bedroom.
The pink, the wood and the dolls.

She tries to call the city theatre.
A thousand difficulties pick up the phone.
A southern childhood tries to sell her something. Something she never wanted to buy; something from someone who produces porn in the Valley.

She hangs up and a white Range Rovers parks under her window.
She runs and hides under the bed.

The two dogs find her.
Freddy walks in behind and asks why she has just denied him, on the phone.
She looks down and says she didn’t know about the porn.
When she looks back up, he’s vanished.

Bella and Rottweiler start fighting.
Bella and Rottweiler.
Two heroes in her teenage years of dreaming misery.

She pushes the silver door and the black veil garden discloses its latest enchants to her red petal lips. She turns them to her faithful companions and invite their devotion into the perpetual relief of all their runs and fights….

~

An intrusive noise of blades slowly reconnects my lungs to an unusual pic of what I use to call sky. A blue uniform is holding my head up and starts screaming …she’s back!! Come on guys she’s back!!! Let’s take off!! Come on come on come on!!

My right hand tries to reach down to this afternoon of fire sinking in a pool of blood between my thighs. I want to sweetly dip it into the cold waters of the lake. But, the path to it is burst into a million little rocks by the blue uniform’s imploration: Do – not – leave!! Stay – with – me!! Girl, can you hear me?!? Ok, listen… my name is John…. what is your name??? Tell me – your – name….

His crisis waltz distracts me for a second. But, the next I’m back to the black veil garden.
Bella and Rottweiler are still fighting and, from the silver door, I invite them to follow me. One step down and the three of us will be together – once again.
I try to explain that to John but, my words have no sound.

Nevertheless, he hears them.
He hears us. Bella, Rottweiler and me.
The summers, the dreams and the screams.
The rides, the bike and the lake.
The runaway, the valley and the shame.
He hears the years, the lies and the memories.
His hand grabs mine and her voice of black flowers finds a way through my garden’s cage of silence: U-lya-na….

Ulyana.
Sixteen candles, elusive thin skin and pale long legs.
No matter what happened later, something’s never changed.

Good job Ulyana… great job!! Now, Ulyana, keep listening to me….
I try, John… but, the deaf noise of these helicopter blades mixed with what I can envision only as a thousand cars stuck in an endless line takes over…. And, suddenly, I remember it all: the 10, the bridge and the 405.
Driving to Freddy. To the Valley.
The heat. The tears. The courage. I need it.
The I-Phone.  The video. Bella. Rottweiler. And me.
The pics. That last summer.  And our song, playing forever in my car :
Wish I knew what you were looking for
Might have known what you would find….
*

And then… what?
John, here, now, again.
His blue uniform.
The Ray-Bans in his pocket.

The dream, the truth and in between.
That’s where John, Bella, Rottweiler and I stand, in this cloudless moment.
The lake disappears, the silver door to the black veil garden slowly closes and the helicopter takes off from the bridge’s highest point of our four lives hanging on. Together.

Story by Liliana Isella.

Photo by Peter Lindbergh.

_________________________________________________________________________________________________________

*Under the Milky Way by Church

SHANNON

In INTER-REVIEWS on August 29, 2010 at 12:39 pm

LILA presents Hollywood painter Shannon Crawford.

Shannon Crawford, If I Just Smile Dot Dot Dot, 2008

He’s tall. He’s blonde. He’s Hollywood.
He looks like a middle 90s rockstar and so is he. He’s the former frontman of Cellophane and Monster In The Machine, this last one produced by James “Munky” Shaffer of Korn.

He’ll welcome you to his hills home of light, cigarettes and wood with a smile of armed youth. And, without really listening to anything you’ll say, he’ll make you dance through the pieces of his talent.


Ladies and Gentlemen, here he comes:  Mr. Shannon Crawford.
I bet you’ll enjoy him. I did.

Shannon Crawford, Untitled, 2010 ~ oil on canvas 36″ x 72″

Shannon Crawford, Untitled, 2010 ~ oil on canvas 42″ x 66″

Shannon Crawford, We Know What’s Best For You, 2010 ~ oil on canvas 26″ x 60″

Shannon Crawford, Spiders From Mars, 2010 ~ oil on canvas “48 x 68”

Atomic Age Heroine, 2008 ~ Purchased by Johnny Depp

Story by Liliana Isella.

BALLERINA

In INTER-REVIEWS on July 30, 2010 at 10:25 pm

Interview with photographer Dane Shitagi, creator of the Ballerina Project.

Violeta Angelova - Williamsburg Bridge

The Ballerina Project is a beautiful assemblé of photographs with a single theme: Ballerina.
While admiring them, I can’t stop wondering how an artist alone could create so many images with the same focus without wearing its lyricism out. Was Degas that good?
I’ve decided to go and find out the roots of the vivid inspiration behind every single picture of Dane Shitagi’s Ballerina Project.

Drew Jacoby - Riverside Park

LILA: Dane, your Ballerina Project highly captures the spirit of “being a ballerina” and its universal inner underlying. Ballerinas themselves can hardly explain it in words or show it on stage. How did you do that? 

DANE: I tried to take pictures of the ballerinas – not of their dancing. I tried to stay focused on the dancers – not on their poses. I tried to portray their souls – not their steps.
Ballerina Project is more about the dancer than the dancing.
As photographers we often try to capture “momentums” of the dancing without really acknowledging the obvious: the camera is not exactly the best instrument to do it. The camera can only take stills of something that is in its essence a flow. 

Megan - Brooklyn

LILA: How do you know ballerinas? What do you know about ballet? 

DANE: I’m not a dancer. I’m not an expert of ballet either. Though, I’ve been working on the Ballerina Project for eight years now and, in a way, I became a student of it; I developed sensitivity for it. I befriended dancers and learnt from them just by being around them. 

Brittney - Upper West Side

Kate - Chinatown

LILA: How did you pick up this muse called Ballerina? From your portfolio I saw that you take fashion pictures like any other “normal” photographer in NYC. Why did you decide to dedicate such an amount of energy to the Ballerina Project, at some point?

DANE: I picked it up for simple reasons: its grace and beauty.
I’m also an admirer of the life commitment of ballet. You can pick up a camera and become a photographer later in your life, but you cannot do the same for ballet; you cannot become a ballerina “at some point.” It just takes a stronger and longer commitment. 

Alex - Astor Place

Kate - Williamsburg

LILA: No studios and no stages in the Ballerina Project. Everything’s been shooting in New York City, from its streets to its parks, from its rivers to its tiny apartments or larger lofts, from its most hidden corners to its major crossroads. You definitely have a connection to The City, don’t you? 

DANE: We don’t live in a studio or on a stage; we live and fully display who we are in various environments – ballerinas included.
In our environment there’s so much beauty and depth intrinsically connected to our personal depth and beauty.
The ballerinas have been portrayed in their city just to capture the beauty they reciprocally give each other – a connection that is not always visible, if we think in terms of separation. 

Andrea - Central Park

Elina -- Chinatown

LILA: How can I get one of these images? Are they purchasable?

DANE: Yes, I can print and send you the pictures in different sizes. For any order, my email address is listed under Info at the Ballerina Project.

Katie -- Hudson River

Violeta Angelova - Manhattan Bridge

LILA: I will! The selection process just takes some time though, in such a huge collection. It’s even hard to decide which photo is in and which one is out for this interview. By the way, any “all inclusive” book coming out soon with all the pictures?

DANE: Maybe by the end of the year I’ll find a major publisher for a second book of the Ballerina Project. 

LILA: Nice, so I can have them all at once! Thanks for your beautiful work, Dane!

Anna - Tribeca

Violeta - Westside Highway

Interview by Liliana Isella.
All images by Dane Shitagi at Ballerina Project.

ANNE

In PICK OF THE WEEK on July 25, 2010 at 9:00 pm
Anne Sexton

Anne Sexton

I was wrapped in black
fur and white fur and
you undid me and then
you placed me in gold light
and then you crowned me,
while snow fell outside
the door in diagonal darts.
While a ten-inch snow
came down like stars
in small calcium fragments,
we were in our own bodies
(that room that will bury us)
and you were in my body
(that room that will outlive us)
and at first I rubbed your
feet dry with a towel
because I was your slave
and then you called me princess.
Princess!

Oh then
I stood up in my gold skin
and I beat down the psalms
and I beat down the clothes
and you undid the bridle
and you undid the reins
and I undid the buttons,
the bones, the confusions,
the New England postcards,
the January ten o’clock night,
and we rose up like wheat,
acre after acre of gold,
and we harvested,
we harvested.

US, a poem by Anne Sexton.

CRISTINA

In INTER-REVIEWS on June 15, 2010 at 2:22 pm

Interview with Los Angeles artist Cristina Vericella.  

Adrift by Cristina Vericella

LILA: Beverly Hills is the place you grew up. Though, your paintings feature feminine characters submerged in a very deep, emotional and dreamy world. Not very Beverly Hills, I would say….    

CRISTINA: Beverly Hills has always been home to me. My parents created a world within a world for my siblings and I. Italy also holds a very special sense of home for me as well. I really feel that these two places: Italy and Beverly Hills, creates a strong foundation for my work and inspiration.    

Julia's Dream by Cristina Vericella

LILA: You’re an extremely young painter. You just finished your third year at college but you already produced a lot of work….    

CRISTINA: My parents and my family have always supported me with pursuing art. My first art show was at 18 and I think that after that I really wanted to continue with my dream.    

Rebecca's Dream by Cristina Vericella

LILA: Someone’s home you’d like to see your art in….    

CRISTINA: I would love to see my art in another artist’s home. That would really be wonderful.    

Red Night by Cristina Vericella

LILA: Some other place you’d like to call home….    

CRISTINA: Italy!    

Poppy by Cristina Vericella

 Interview by Liliana Isella.

Il Cielo Beverly Hills Advertisement

BRET’S RAIN

In INTER-REVIEWS on June 7, 2010 at 10:33 pm

Imperial Bedrooms by Bret Easton Ellis reviewed by Liliana Isella.

BEE by Jeff Burton (right) and Imperial Bedrooms cover (left).

Clay, Blair and Julian of Less Than Zero raised writer Bret Easton Ellis to stardom in 1985. Twenty-five years later they’re back in its sequel, Imperial Bedrooms.

It’s almost 2010 and Clay lands at the LAX to let Ellis hijack and fictionalize his Christmas time once again, but not without complaints about how he was portrayed in Less Than Zero (“…because the writer resented that she had turned to me I became the handsome and dazed narrator, incapable of love or kindness”) and in the subsequent movie (“…the book was blunt and had an honesty about it, whereas the movie was just a beautiful lie.”)

If he didn’t notice yet, Clay has excellent reasons to criticize his author also this time: in the first fifteen pages of Imperial Bedrooms he is nothing but a mere instrument in Ellis’s hands to convince Robert Downey Jr. to play Julian in the sequel movie too.

As soon as Ellis is done with his attempts to manipulate Hollywood, Clay can finally start his own. In fact, the excuse for him to be back in Los Angeles is to work on the casting of the last film he wrote, The Listeners.
But, as Raymond Chandler states in the foreword of Imperial Bedrooms, “there is no trap so deadly as the one you set for yourself”—and, Clay is just one party away from setting his own.

The fall comes through a dramatically gorgeous aspiring actress he meets at Blair and Trent’s home; very soon Clay’s stumbling ego gives her anonymous beauty the power to enforce the delusional fantasy he has of himself.
He identifies her neediness (she wants to be an actress and she wants a part in his movie; she wants to be an actress and she wants a part in his movie; she wants to be an actress and she wants a part in his movie and this is “superimportant,” ok?!) and he forces his way into it with cheap lies and childish threatens—all to control her feelings.
As a result, he just ends up controlled by her and by the people around them in an improbable twist of murderous events.

Her name is Rain Turner (well, not really, because even her name is fake) and she’s the key to open every Imperial Bedrooms’ secret door.
Her nothingness is everyone’s lust and the pale and unframed canvas on which Ellis performs his impeccable talent, his Pisces empathy and his amusing wittiness.

If Clay doesn’t know anything about Rain (“except how she makes you feel”) because he’s too self-absorbed to even ask her, Ellis doesn’t miss one single shade of the ambition that crucifies her soul and deforms her prettiness.
Rain’s sunless femininity turned into bleeding dust under the golden Hollywood light is so real to be scary.

Rain is the song Bret Easton Ellis dedicates to us, LA-shaped ladies.
To our not very bright brains (“studies have been done”); to our beauty humiliated by the stigma of its expiration date; to our ageless fear of not making it; to our anxious chase of unachievable perfection and to our desperate expectations on empty treasure cases. To us, too afraid of anything to ever trust anyone.

She is the deserted beach all our runaways end at, the mirror to our ultimate slavery and Ellis’s gentle way to suggest that alternative chances to gain self-acceptance and good luck might be around, if we look for them.

To ask our writer what these chances are or to simply bitch about the way he portrayed us (just as Clay did earlier), we can always go and meet him in person on his imminent Imperial Bedrooms tour.

Bret Easton Ellis’s warm kindness and genuine humor are usually the real treat of his lectures.
So, as Rain would hysterically text from her iPhone: “Hey Crazy, let’s hang. See ya there. Xo.”

Review by Liliana Isella.
__________________________________________________________
The title Imperial Bedrooms comes from the song Imperial Bedroom by Elvis Costello.

GARY

In LITERARY FICTION on May 26, 2010 at 9:46 pm

Problem is, Gary was meant to be a girl.
At least, this is what his mother-to-be wished for.

She wanted a girl just to call her Gabry.

Of all her addictions, Brad’s Gabry had always been the most dangerous one.

She was sixteen and she had a plan.
One night, she ran away from home to go see him in Hollywood.
To meet him for the first time. To chain him for life.

Actually, she didn’t really need to run away from home:  the only person in that van in a Long Beach parking lot was her mother and, she wasn’t exactly in the mood for prohibitions.

She was lying on the old couch in front of the fuzzy TV, trying to smoke a cigarette that she was too knocked out to bring to her mouth.
She just looked somewhere else, somewhere really far away, somewhere Gary’s mother-to-be tried to reach when she went down on her knees, took the cigarette away from her incendiary fingers and whispered “…Mom, I’m leaving.

The blind throaty sound she got as a response was not even close to something that can lead to a runaway.

She slowly stepped out of their van, lit a cigarette in the loneliest of her nights and, as her golden hills were impatiently beating on the mud, her mouth was blowing to the dark sky her crave for a change.

The red car of her girlfriend finally appeared through that industrial jungle.

The freeways sped them up to the hills of fame and their fake IDs opened the doors of the entertainment boulevard.

By the time she made her way through the crowd to the front row, Brad was already on stage.

Brad.
He was rock.
He was punk.
He was God.

Somehow, Brad saw her too.
Somehow, she snuck from her private hell to his heavenly body.
Somehow, her hot, damned, undone fragility pierced his heart of lights.
Somehow, their rendezvous broke through the locked up gates of history like any other love story had done before.

He could never say no to her.
He couldn’t say no to the grip she had on his skin, to the mark she left on his lips and to all her desperate attempts to prove that, for once in her life, someone, someone like him, someone still able to experience life, really belonged to her.

Here Gary comes.
A boy was born.
But, Gabry was the name for a girl.
Gabry was the name of her song. Not really her song, as Brad wrote it before meeting her and never revealed for whom but, still, her song.

Gary is Gabry without the middle b, after all,” she thought.
That’s how she picked it as the name for her son and she seemed satisfied enough.

Brad, instead, seemed nothing but gone and… he actually was.
By the time he held Gary in his arms for the first time, he had been sent on a tour bus for his first world tour.

As time went by, Brad’s tour bus became a private jet and their home became a real home.
Not a crumbling van parked in a corner of hell but a brand new mansion in the Pacific Palisades.

But, Brad was never there; he was always far, on a rock ‘n’ roll stage somewhere.
He was being sent on another world tour and she was being sent home.
She was sent out of his way.
She was sent to the side, and she always felt alone.
Unfortunately, she was not completely alone:  she was with herself.

When Gary turned three, Brad had already toured Europe, Asia and America for the third time in a row.

Brad.
Something had mysteriously changed him.
Now, even when he was in LA, he felt more comfortable in a room at the Chateau Marmont rather than at home with his family.
God only knows why.

She went back to that first night she ran away from home to see him in that Hollywood club.
She became that girl again.
Difference is, now she had no hope.

She was spending her days under the sun, on the deck of their Palisades home.
She was waiting.
She didn’t know for what; she was just waiting.

She waited until her biggest trouble found her.
One day, he knocked on her door.
Unfortunately, Gary was behind that door too.

This unexpected loser, this unannounced wannabe, this inconsistent nothing, this solid nature’s failure was looking for a revenge on Brad through Gary’s mother’s loneliness’ door and he found it wide open.

She fell for him right away.
Not enough, she was also persuaded that he was the only love of her life and Brad had been only a passage to him: she started saying she had probably been attracted to Brad only by the similarities they obviously had, since they were brothers.

In order to boost her new wannabe’s self-esteem, which was clearly a bit down, she never refrain to express her new feelings for him in front of the audience in the house, that was always and only her little Gary.

Very soon, this wannabe felt like his time to make it big had come.
But, to make what, exactly?  To even come close to the fame of his brother in the music business was impossible.
So, he tried first painting, then surfing and, at last, acting.
The only positive feedback came from the closing credits he got for being interviewed in one of the many videos about his rockstar brother.

Until, one day, it came to his mind that he could succeed in the only thing Brad had failed: to give Gary’s mother the baby girl of her dreams, Gabry.

One night, as he was watching her asleep, he felt the right moment had come. 
By the time she came back from her hangover, she would find her dream come true.
By the time she came back from her hangover, his performance would be done irreversibly.

He took his thing out.
He made it hard.
He made it sharp.
Then, he undressed Gary and began the surgery.

Widow by Michael Hussar

“That was probably the work of someone who accidentally drank a little.
This is all Gary’s not-anymore-mother was able to tell the police, the social workers, the judges, the journalists and whomever showed up at her door with the same horrifying pictures and questions: “Could you please explain us who did this to your son?!”

“That was probably the work of someone who accidentally drank a little.”
She never had anything else to say.
To Gary, she never said anything at all.

Then, one day, she just hid all of her words under a grave of pills.

The wannabe instead, on his side, had a lot to say to the doctors who studied his chemical induced psychosis.
He was telling them that, if it was not for a few unlucky accidents (he was probably referring to the multiple and severe infections and traumas his attempt of sex change surgery on Gary caused him), that would have been the greatest art work of his life.
Though, he was blaming himself for the two beef steaks he took from the fridge as Gabry-to-be’s breast implants: they were not round-shaped enough.

At the time, Gary was six years old.
At the orphanage he was taken to, he was given a picture of his dad Brad, holding him in his arms in the bathtub of a hotel room.
His mother had taken that picture.

Gary.
The more he looks at that picture, the more he feels his mother is still there; holding that camera behind him, holding Brad’s heart, holding their family together.

The more he looks at that picture, the more illusions of compassion replace the torment of the carmine cuts on his white chest.

The more he looks at that picture, the more he turns his enormous girly eyes to you and says:
“Just call me Gabry. That’s the name my dad wrote on my destiny with a song a long long time ago….”

Story by Liliana Isella.

Il Cielo Beverly Hills Advertisement

Design a site like this with WordPress.com
Get started