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TRISH (EXPANDED EDITION)

TRISH (EXPANDED EDITION)

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Published by Adam Fieled
This edition of "Trish," by American poet Adam Fieled, features a new '13 Preface, photographs and paintings pertinent to the text.
This edition of "Trish," by American poet Adam Fieled, features a new '13 Preface, photographs and paintings pertinent to the text.

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Published by: Adam Fieled on Apr 09, 2013
Copyright:Attribution Non-commercial

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04/09/2013

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Trish (expandededition)Adam Fieled
 
 
PREFACE
A major Recession, transpiring in a country ruled by mercantile interests, can and has
pushed the word “love”
 
out of many people’s minds. The importance of “Trish,” and the
paintings and photographs herein included, is to demonstrate to those watching that love,carnal and emotional, is still possible even when material prosperity seems unlikely. Mary and Iwere poor; we had exercised our right to be downwardly mobile to become artists, from thecomfort and safety of middle-class backgrounds. The life we made together in AughtsPhiladelphia was materially poor but spiritually and artistically rich
nothing new, by worldstandards, but perhaps new in America, where Bohemia has always been a scandal andseemingly Bohemian lives are usually frauds on one level or another. Mary and I were raw-nerved with each other; our gestures back and for
th weren’t postures. The levels of emotional
attachment between us were complex
and we were too young to see them all clearly. Thatlack of clarity added a sense of mystery to the romance and its vagaries. Characters in
television and movies aren’t allowe
d to be as complex as we were
 
a film like “Last Night,”
part of which was clearly based on us (Alex and Johanna), takes the sexual steam, magnifies it,and loses all the delicate subtleties of our interactions.Americans need to be given the right to be complex
and, though the reach of serious
art into the American populace has never been that extensive, I’d like to do my part to
attempt to liberate the national psyche away from butcher-shop mentalities and the fakerythey impose, and hope that our art can begin to be socially (and sexually) relevant. Periods of Recession usually dovetail with periods of sexual inactivity in nations
a populace without
material resources can’t relax, and are generally forced to be more inward; and, for normal
people, if 
children can’t be supported, they aren’t conceived. Yet 2013 in America is a
uniquely situated context
material entropy actually has several constituent factors balancingit; the creative freedoms engendered by the Internet, including a novel sense of decentralization where information dissemination is concerned; a sense that, because thepopulation has thinned out, the remainder of the populace has more space to maneuver; andthat Americans are demonstrably losing interest in professional athletics and the entertainmentbusiness. What PFS has to offer as an antidote is depth, on every level
and if (not to bedisingenuous) our looks help, for once in America looks serve to promote a higher purpose
thecultivation both of intellect and emotional sensitivity. What brand name in America eversignified (even obliquely) that?PFS became a brand name after the fact, and our signage was constructed from theinside out
in other words, we lived through the PFS years in an uncalculated way. The guywho assembled PFS later packaged it
and I did so without significantly altering the truth of what happened and was created. Everything in the PFS package, including the Adam/Mary
narrative of “Trish,” is demonstrably the truth. PFS, to make a simple point which is actua
llycomplex, is not a fraud. Intelligent, thoughtful people can believe in us without eventuallyfeeling duped; including (for the first time) Europeans.Adam Fieled, 2013
 
 
MARY HARJU IN THE MONTREAL BOTANICAL GARDENS (ADAM FIELED)

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