Fourteen Ninety Two, Copyright Doug Stuber, 2013

Fourteen Ninety Two


She wants three times more than she gets, but does

not know how to get it. They laugh when he tells

of performance art beyond the capacity for most to

understand.  She glitters her face in accordance to

artistic norms. He comes in sneakers carrying twenty

new paintings rolled up, a heavy load strapped underneath

nap sack, twisting lumbars out of place. Broken toes, at

least a sprained knee and a crushed ego do not slow him

down in his quest to make a great art show. She uses him

like a pawn in a death-match with her best friend. He was

called to rescue her from beer, but when he stayed a friend

long enough to witness the war, he was his own sword

slicing away by trying to stay friends with both. They love

to point out how great it all could have been if he had stuck to

the plan, been more plyable, more relaxed, more able to pick

one, drop the other. But he doesn’t drop friends just because

they treat each other miserably. He laughs at the next comparison,

that Yoko Ono is the “Picasso of Japan,” is she even the Yoko Ono

of performance art? We get to sit and talk about what happens

continents away. “What if Europeans never discovered America?”


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