While eating my first-breakfast-after-Burning Man in the little diner in Gerlach, the door opened and in came the guy from New York with the fur coat, who had been in line behind me in the bus shelter.
He took a seat at the counter near me, and while he waited to order, we struck up a conversation.
He turned out to be a quite an interesting guy. He was in the line of business of shipping high end art pieces, the kind of stuff that cost millions of dollars and had to go across oceans with ease.
Before this line of work, he had done a number of other things, around New York, bouncing from one interesting job to another. He had decided to go into art shipping and had "googled" his way into it, as he put it.
His clients were wealthy or famous, or both wealthy and famous.
"I get to yell at ----- ------," he said, mentioning the name of a world famous British artist of my age cohort, one that even I've heard of.
He gave me his card before I got back on the bus. When I got back home I brought up the home page. Quite exquisite. The kind of thing you'd want to see, if you googled high end art shipping.
Bonus link with video of White Ocean dance club.
1 comment:
Friends I want share with you some A dialogue is a conversation. Writing is a conversation between the writer and the reader. In our case, between the poet and the poetry readers. If you’re publishing your work, don’t pretend you don’t care what other people think of it if they don't seem to understand or like it. Of course you do! You're not going to please everybody all the time, so don't worry about the odd negative comment, but if people aren't responding as you'd like them to, try to see it as an opportunity. Take feedback on board, rewrite and perhaps even send a message to ask someone who has commented to comment again on your latest draft. One of the mistakes it's easy to make is writing about something with implications that seem obvious to you, but are not contained in the poem itself and so are unclear to someone who doesn't know you. Imagine reading it as someone who has no idea whether you’re old or young, male or female, American or Australian, a pupil or a teacher… is it as obvious now? If you want the dialogue you are having with unknown readers to improve, you have to learn to read your own poems from a stranger’s perspective. That is one of the most useful skills in improving your poetry. You can try it with something you’ve written now. Go through line by line from the beginning and try to write down what a stranger would interpret from what you’ve said. The picture will build up through the poem, but it may be that you can identify a place where you’ve assumed they will understand something that is obvious to you, but wouldn’t make sense without some piece of knowledge that you have about your life which is separate from the poem.
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