The Opposite of Art: A Novel
Autor Athol Dicksonen Limba Engleză Paperback – 12 sep 2011
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Specificații
ISBN-13: 9781416583486
ISBN-10: 1416583483
Pagini: 384
Dimensiuni: 140 x 214 x 25 mm
Greutate: 0.32 kg
Ediția:Original
Editura: Howard Books
Colecția Howard Books
ISBN-10: 1416583483
Pagini: 384
Dimensiuni: 140 x 214 x 25 mm
Greutate: 0.32 kg
Ediția:Original
Editura: Howard Books
Colecția Howard Books
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Extras
Excerpt from The Opposite of Art, Chapter 14:
As he had beneath the Sistine ceiling, Ridler paced the sidewalk. Back and forth beside the looming ramparts, he paced. All the years swirled through his mind, the cost of jungles, beaches, filthy alleys and bazaars, tortured and exploded, hungry, parched, lonely and alone, and of course Suzanna. Suzanna lost forever. He had surrendered everything to paint the Glory, trying it a thousand times, a thousand ways, miles of paint, gallons of it flowing across canvas by the acre. What were these imposters’ feeble efforts compared to sacrifice like his?
“I’ll show them,” he muttered, dropping to his knees and opening his backpack. “I’ll show them.”
Removing his kit he spilled his pastels out onto the sidewalk. Still muttering, he selected a piece of chalk and began to sketch. His arm swung broadly over the pavement, a giant motion from the shoulder. Line after sweeping, monumental line arched across the slates around him. He was no mere artist. He was an athlete, a zealot and a warrior. He was no propagandist. He was a partisan, a dogmatist in possession of all truth. He alone could show the Glory to the world, and he alone would do it.
Driven by his rage and his disdain, Ridler lost all consciousness of his surroundings. He did not see the crowd gathering about him as his colors rose from the pavement to the ancient ramparts of the Holy See. He did not hear their whispers, nor their gasps and exclamations as the image swelled and spread. He climbed the wall with only fingertips and the narrow edges of his boots, clinging to the bricks stacked earthy and steadfast for generations. Halfway up he released his hold and drifted. Gripping colored chalk in both of his hands, he drew with unerring beauty and precision on his left and right at once, a whirlwind of pristine intention, filling empty voids as if he was a witch conjuring a portal to a future or a past. He almost had it now. This time he would hold it fast. He would draw back the veil. He would reveal the Glory. He would not let it go. He would master everything.
Ridler drew among a cloud of witnesses. No carabinieri stepped forward from that growing crowd to protest on behalf of public property. On the contrary, the police in their white belts and chest straps stood entranced along with bankers and tourists, priests and beggars. Dozens of them turned to hundreds; hundreds turned to thousands. From the street and sidewalk, from the windows, balconies, and rooftops, all of Rome observed in breathless silence.
It never crossed the artist’s mind that he might run out of colors. Again and again he pulled more pastels from his pack, never realizing it had become a cornucopia, endlessly fertile, providing everything required. Nothing was withheld. The sun itself beyond the angry clouds did not betray him. On the contrary, it remained aloft long past the normal hour, granting the suspension of time. Even gravity and space surrendered, all created things in all directions bowing in submission to his genius.
In the end it seemed the only limit was himself, for when he stopped it was his own decision. Hands and arms and clothing choked with color, Ridler sat back on his haunches. At that very moment the sun began to move again above the clouds, but it took a while to regain its usual velocity. And like the fading of the day, Ridler’s own return was gradual, a slow recognition of the image spread out all around him. Shadows gathering, he gazed upon the work.
It covered half a block along the sidewalk. It climbed forty feet up the wall. It was of course his grandest effort, superior to anything that Rome had ever seen. Thousands knelt around the fringes, hands clasped at their chins, palms turned up toward heaven. Their whispered prayers combined and interlaced in midair, flowing hot across his face. Their adoration of the image plucked him to his feet as if he were a puppet pulled by strings. He disappeared into them, staggering with painful joints, fleeing yet another failure, for he was well aware that this was merely one more flawed beginning. As he had so many times before, he had reached the end of Ridler without capturing the Glory.
As he had beneath the Sistine ceiling, Ridler paced the sidewalk. Back and forth beside the looming ramparts, he paced. All the years swirled through his mind, the cost of jungles, beaches, filthy alleys and bazaars, tortured and exploded, hungry, parched, lonely and alone, and of course Suzanna. Suzanna lost forever. He had surrendered everything to paint the Glory, trying it a thousand times, a thousand ways, miles of paint, gallons of it flowing across canvas by the acre. What were these imposters’ feeble efforts compared to sacrifice like his?
“I’ll show them,” he muttered, dropping to his knees and opening his backpack. “I’ll show them.”
Removing his kit he spilled his pastels out onto the sidewalk. Still muttering, he selected a piece of chalk and began to sketch. His arm swung broadly over the pavement, a giant motion from the shoulder. Line after sweeping, monumental line arched across the slates around him. He was no mere artist. He was an athlete, a zealot and a warrior. He was no propagandist. He was a partisan, a dogmatist in possession of all truth. He alone could show the Glory to the world, and he alone would do it.
Driven by his rage and his disdain, Ridler lost all consciousness of his surroundings. He did not see the crowd gathering about him as his colors rose from the pavement to the ancient ramparts of the Holy See. He did not hear their whispers, nor their gasps and exclamations as the image swelled and spread. He climbed the wall with only fingertips and the narrow edges of his boots, clinging to the bricks stacked earthy and steadfast for generations. Halfway up he released his hold and drifted. Gripping colored chalk in both of his hands, he drew with unerring beauty and precision on his left and right at once, a whirlwind of pristine intention, filling empty voids as if he was a witch conjuring a portal to a future or a past. He almost had it now. This time he would hold it fast. He would draw back the veil. He would reveal the Glory. He would not let it go. He would master everything.
Ridler drew among a cloud of witnesses. No carabinieri stepped forward from that growing crowd to protest on behalf of public property. On the contrary, the police in their white belts and chest straps stood entranced along with bankers and tourists, priests and beggars. Dozens of them turned to hundreds; hundreds turned to thousands. From the street and sidewalk, from the windows, balconies, and rooftops, all of Rome observed in breathless silence.
It never crossed the artist’s mind that he might run out of colors. Again and again he pulled more pastels from his pack, never realizing it had become a cornucopia, endlessly fertile, providing everything required. Nothing was withheld. The sun itself beyond the angry clouds did not betray him. On the contrary, it remained aloft long past the normal hour, granting the suspension of time. Even gravity and space surrendered, all created things in all directions bowing in submission to his genius.
In the end it seemed the only limit was himself, for when he stopped it was his own decision. Hands and arms and clothing choked with color, Ridler sat back on his haunches. At that very moment the sun began to move again above the clouds, but it took a while to regain its usual velocity. And like the fading of the day, Ridler’s own return was gradual, a slow recognition of the image spread out all around him. Shadows gathering, he gazed upon the work.
It covered half a block along the sidewalk. It climbed forty feet up the wall. It was of course his grandest effort, superior to anything that Rome had ever seen. Thousands knelt around the fringes, hands clasped at their chins, palms turned up toward heaven. Their whispered prayers combined and interlaced in midair, flowing hot across his face. Their adoration of the image plucked him to his feet as if he were a puppet pulled by strings. He disappeared into them, staggering with painful joints, fleeing yet another failure, for he was well aware that this was merely one more flawed beginning. As he had so many times before, he had reached the end of Ridler without capturing the Glory.
Recenzii
"Dickson's writing paints glorious pictures of each exotic locale, while weaving a most compelling story that includes elements of religion, art, murder, and redemption. Highly recommended read to lovers of art and suspense. Completely enjoyable."
“Exquisitely written, meticulously researched, and richly detailed, Athol Dickson's The Opposite of Art is a fascinating and magical journey into the worlds of art and faith, murder and intrigue.”
“After reading the first chapter, I felt an overwhelming need to know what happened next. Forget the ringing phone, never mind dinner, tell the children to pipe down—I had to keep reading. And I discovered that powerful opening was followed by a fully-developed story satisfying in every way. The Opposite of Art is a beautiful novel.”
“The Opposite of Art draws the reader in a way seldom accomplished in a novel. A powerful, moving story of reconciliation and redemption. Dickson has written another page-turner.”
“Masterful imagery, unforgettable characters, and a compelling journey in search of answers to the fundamental questions of life. A book to be savored, themes to be discussed with friends, and a story to treasure for years to come.”
“The Opposite of Art is classic Athol Dickson: a powerful, well-crafted story with thoughtful symbolism and deep resonance. A masterpiece! Dickson had better clear a shelf for all the awards this book will win.”
“Dickson’s novel shimmers on the page like a work of art itself, inviting readers to step beyond the evocative prose into the deeper truths within its pages. At once suspenseful and captivating, The Opposite of Art is impossible to put down and impossible to forget."
“The Opposite of Art is mesmerizing, intriguing, and inspiring; a story that stays with you long after the last page."
“Athol's passionate, lyrical storytelling reminds me a bit of Salman Rushdie's Shalimar the Clown. Sheridan Ridler's artistic search for Glory is a journey into hope, and I'm profoundly grateful for the privilege of going along.”
“The Opposite of Art pulled me in from the first page and held me captive. Characters that are richly drawn, a plot that twists and turns. What a stunning read!”
“Athol Dickson has created an elegant and gritty masterpiece, nuanced by allegory and delivered in resplendent prose. This lyrical novel can’t be rushed; it must be sipped, savored, and pondered to attain the lasting afterglow.”
"Athol Dickson truly is one of the most gifted storytellers of our day. His imagination is exquisite and his word choices artistic. The Opposite of Art will live within me for a very long time."
“Dickson's latest work is breathtaking, sad and terrible, ugly and glorious, and shocking all at once, as full of grace as it is of truth. Unforgettable.”
“Once again Athol Dickson proves his skill as a writer as he takes his readers on a pilgrimage. The story spins through continents and characters but never leaves the reader behind. This is more than a novel. It is an experience. Once again, Dickson triumphs.”
“Athol Dickson pens an honest, gritty story of an artist tormented by love. He takes the reader into the world of art, greed, murder, and mystery. If you value art, mysteries, a wild ride across time, and around the globe, you’ll enjoy The Opposite of Art!”
“Exquisitely written, meticulously researched, and richly detailed, Athol Dickson's The Opposite of Art is a fascinating and magical journey into the worlds of art and faith, murder and intrigue.”
“After reading the first chapter, I felt an overwhelming need to know what happened next. Forget the ringing phone, never mind dinner, tell the children to pipe down—I had to keep reading. And I discovered that powerful opening was followed by a fully-developed story satisfying in every way. The Opposite of Art is a beautiful novel.”
“The Opposite of Art draws the reader in a way seldom accomplished in a novel. A powerful, moving story of reconciliation and redemption. Dickson has written another page-turner.”
“Masterful imagery, unforgettable characters, and a compelling journey in search of answers to the fundamental questions of life. A book to be savored, themes to be discussed with friends, and a story to treasure for years to come.”
“The Opposite of Art is classic Athol Dickson: a powerful, well-crafted story with thoughtful symbolism and deep resonance. A masterpiece! Dickson had better clear a shelf for all the awards this book will win.”
“Dickson’s novel shimmers on the page like a work of art itself, inviting readers to step beyond the evocative prose into the deeper truths within its pages. At once suspenseful and captivating, The Opposite of Art is impossible to put down and impossible to forget."
“The Opposite of Art is mesmerizing, intriguing, and inspiring; a story that stays with you long after the last page."
“Athol's passionate, lyrical storytelling reminds me a bit of Salman Rushdie's Shalimar the Clown. Sheridan Ridler's artistic search for Glory is a journey into hope, and I'm profoundly grateful for the privilege of going along.”
“The Opposite of Art pulled me in from the first page and held me captive. Characters that are richly drawn, a plot that twists and turns. What a stunning read!”
“Athol Dickson has created an elegant and gritty masterpiece, nuanced by allegory and delivered in resplendent prose. This lyrical novel can’t be rushed; it must be sipped, savored, and pondered to attain the lasting afterglow.”
"Athol Dickson truly is one of the most gifted storytellers of our day. His imagination is exquisite and his word choices artistic. The Opposite of Art will live within me for a very long time."
“Dickson's latest work is breathtaking, sad and terrible, ugly and glorious, and shocking all at once, as full of grace as it is of truth. Unforgettable.”
“Once again Athol Dickson proves his skill as a writer as he takes his readers on a pilgrimage. The story spins through continents and characters but never leaves the reader behind. This is more than a novel. It is an experience. Once again, Dickson triumphs.”
“Athol Dickson pens an honest, gritty story of an artist tormented by love. He takes the reader into the world of art, greed, murder, and mystery. If you value art, mysteries, a wild ride across time, and around the globe, you’ll enjoy The Opposite of Art!”
Notă biografică
Athol Dickson is the publisher of the popular news website, DailyCristo.com, and the author of seven novels and the bestselling memoir, The Gospel according to Moses. His novels of suspense and magical realism have been honored with three Christy Awards and an Audie Award, and compared to the work of Octavia Butler (by Publisher’s Weekly) and Flannery O’Connor (by The New York Times). He and his wife live in Southern California.