dennis scharnberg

[At their best], descriptions of modernism possess greater value than the art they characterize.

Crispin Trove, The Viewer as Pest.

“Try to remember, Jack, that they will never forgive you for being right.”

Will Bestwyck, Letters From Mr. Palindrome.

“Just tell me what it is not, please. That’s all I care to know.”

Endicott Campbell, An Accidental Likeness.

“He is gone,” exclaimed Eleanor, with the slightest shudder. “Perfectly gone.”

Trenton Childe, Rob Riddle and His Friends. (1792)

…and it was claimed that she would evaluate a film script in terms of how many opportunities for smiling it afforded her character.

Jeremy Breedlove, A Sardonic View of the Movies.

“I shall scream if you do not compose yourself, Mr. Vickery,” stated Lady Miriam, in a whisper. “I warrant you, sir!”

Trevor Walpole, The Imperfect Stranger. (1784)

In his still unpublished Treatise on Gambling Havers devoted five chapters to the task of “reducing the rate at which one loses.”

Palmer Dove, The Edwardian Moment.

“Well, it’s just too bad that God does exist,” said Mr. Lockwood, softly. “But, yes, I think I do see your problem.”

Thaddeus Crewes, The Seven Long Years.

“As I have told you repeatedly, Jerry, I am always suspicious of those who pay me compliments. Suspicious to the point of despising them.”

Myrtle Mawby, Cabinets and Drawers, a Novel.

That a Rothko looks handsome on an otherwise blank wall—that it can hold the wall—is exactly what the artist did not want. It is exactly what modernism desired to surpass.

Anton Melnikas, Warhol and the Anti-Image.