The Dream


All these strange black crystals lost in the night

the fallen fragments of worlds far, of worlds massive, of worlds far, far away.

There are monstrous ones like corpses of the drowned.

Some go under the moon, along the tides.

There are soft and fine ones like diseases.

There are some velvety and poisonous.

The still dreams. Deserted, immense, lunar.

To the nostalgic grasslands that cradle

and the supple lilac dreams that cling, the ecstasy.

The warm virgins go to the terraces

and the people of the great spheres, tall towards the golden domes,

(always that great dark weight in the sky)

love the ultramarine vegetation love the ultramarine vegetation.

Râaaaaaaaaaaaaga blancâ

The dusty velvet orchestras

watch the strange parade of pierrot’s of camellia below the closed balcony.

Silent fireworks shoot and big diaphanous fish

love the strange black crystals lost in the night,

the complex and decadent flowers loaded with the East,

and the black bouquets in the passionate souls.

Nostalgia of white of white – Algiers at midday – of white of white.

The fresh wood of lilac sins and the spirals the spirals.

There are monstrous and mushy ones, corpses of the drowned.

The hot vines and the warm herbs to the arid nomad.

Others to groups – masses of ivory sheep on the purple hills.

Nostalgia of white of white             nostalgia of white

The golden cities far from the minarets                                  the golden sky

travels towards the great still machines on the day of celebration.

(always that great dark weight in the sky)



George Condo – “Lamentation of the Drinker”


The plastic narration found in this work from 1994 by George Condo represents a reassertion of a type of compositional structure not found since the late works of Cézanne. Like the French master, and his concern with the structuring of advances made by the more formal impressionists, for example, the de-materialization of subject matter and broken surface tension, Condo reformulates and codifies similar concerns, a type of metaphysical space that one is allowed to access, a place of possible dramatic interpretation similarly found in the work of De’Chirico, Magritte and more recently Guston.


Just as Cézanne’s bathers push space around in tightly knit compositional formats, Condo, in the painting “Lamentation of the Drinker,” allows a grouping of faceless humanoid’s to control and manipulate the residual of geometric and architectural space, while acting out odd histrionic episodes.

Approximately thirty figures occupy this canvas where great tragedy has just taken place, or is about to. The size of the canvas (65 x 81 inches) and the overall composition used represents the format of an eyeball shaped oval. This cycloptic orifice stares out toward the viewer. Dead center, figuratively and literally is the main group of figures witnessing the last (?) moments of “The Drinker.”

Imaginatively thought out, these groups of figures, three “beings”: hovering in space, seven others in severe panic and dressed in black observe or are reacting to the unfolding drama. Unlike Christian exegesis, where Christ, descending from the cross, his mother weeping uncontrollably or even losing consciousness is the main focus of meditation, Condo’s lamentation is a situation suspended between certainty and doubt, where many possibly scenarios could happen. Unless Condo’s main protagonist is experiencing rigor mortis (his arm being outstretched), or dead drunk, he could be alive. A strange group of robed figures look on in wonder and disbelief, others gesture in misunderstanding. If this work is not seen as an elaborately concealed study of certainty and doubt, or the ambiguous nature of perception and belief itself, how else can we decipher the gestures, groupings and interaction between these faceless figures?

Kenneth Rexroth, in a short essay about the artist Morris Graves mentions “deliberate formal mysteriousness…analogous to that found in primitive cult objects,” there is much of that found in this painting, a visually complex riddle. It could be seen as a strange cinematic reflection projected on our memory, always needing to be re-deciphered, its meaning re-established. Therefore, it should not be so strange that the figures that occupy Condo’s “Lamination of the Drinker” have no distinguishing facial features.

Like Cézanne’s bathers they exist within themselves, purely in the space of painting.

Mark Dagley

A Sapphic Ode

A Sapphic Ode

Why should vain mortals tremble at the sight
Of death and destruction in the field of battle,
Where blood and carnage clothe the ground in crimson,
Sounding with death-groans?

Death will invade us by the means appointed,
And we must all bow to the king of terrors;
Nor am I anxious, if I am prepared,
What shape he comes in.

Infinite Goodness teaches us submission,
Bids us be quiet under all his dealings;
Never repining, but forever praising
God, our Creator.

Well may we praise him: all his ways are perfect:
Though a resplendence, infinitely glowing,
Dazzles in glory on the sight of mortals,
Struck blind by lustre.

Good is Jehovah in bestowing sunshine,
Nor less his goodness in the storm and thunder.
Mercies and judgment both proceed from kindness,
Infinite kindness.

O, then, exult that God forever reigneth;
Clouds which, around him, hinder our perception,
Bind us the stronger to exalt his name, and
Shout louder praises.

Then to the wisdom of my Lord and Master
I will commit all that I have or wish for,
Sweetly as babes’ sleep will I give my life up,
When call’d to yield it.

Now, Mars, I dare thee, clad in smoky pillars,
Bursting from bomb-shells, roaring from the cannon,
Rattling in grape-shot like a storm of hailstones,
Torturing ether.

Up the bleak heavens let the spreading flames rise,
Breaking, like Ætna, through the smoky columns,
Lowering, like Egypt, o’er the falling city,
Wantonly burn’d down.

Let oceans waft on all your fleeting castles,
Fraught with destruction, horrible to nature;
Then, with your sails fill’d by a storm of vengeance,
Bear down to battle.

From the dire caverns, made by ghostly miners,
Let the explosion, dreadful as volcanoes,
Heave the broad town, with all its wealth and people,
Quick to destruction.

Still shall the banner of the King of Heaven
Never advance where I am afraid to follow:
While that precedes me, with an open bosom,
War, I defy thee.

Fame and dear freedom lure me on to battle,
While a fell despot, grimmer than a death-head,
Stings me with serpents, fiercer than Medusa’s,
To the encounter.

Life, for my country and the cause of freedom,
Is but a trifle for a worm to part with;
And, if preserved in so great a contest,
Life is redoubled.

The American Hero
By Nathaniel Niles (1741–1828)





Want to make $$$$?

Find these early works of mine. 2 Claude Monet copies, probably signed on back,
approximately, 14″ x 16 ” (?) oil on canvas, late 70s. Washington D.C. area.



email me:

Julia Stoyanova Krasteva

————————————————– ————————————

P ORDER No 2-1258 / 27.03.2018

The Commission for Disclosure of Documents and Announcement of Affiliation of Bulgarian Citizens to the State Security and the Intelligence Services of the Bulgarian People’s Army on the grounds of Art. 26, para. 1, item 2 of the Law on Access and Disclosure of Documents and for Announcement of Affiliation of Bulgarian Citizens to State Security and the Intelligence Services of the Bulgarian People’s Army, carried out an inspection of persons under Art. 3, para. 2, item 1 – the owners, directors, directors, deputy directors, chief editors, deputy chief editors, editorial board members, political commentators, leading columns in printed publications – newspaper “Literaturen Journal” (after 1995). 32 persons have been inspected. For one person (Annex 1) the body under Art. 21, para. 2 (Editor-in-Chief of the newspaper “Literary Journal” – Amelia Licheva) did not provide all the necessary data and for it the verification continues

After examining and discussing the available materials the Commission for the Disclosure of Documents and Announcement of Affiliation of Bulgarian Citizens to the State Security and the Intelligence Services of the Bulgarian People’s Army

P R E W A:

Establishes and declares membership of the bodies under Art. 1 of the Law of:

Three names Julia Stoyanova Krasteva
Date of birth 24.06.1941
Place of birth Sliven
A servant was registered with him, registered on 19.06.1971.
He was led by an employee, Mr. Smith. Ivan Dimitrov Bozhikov
Structures in which the cooperation was implemented, SGS-IV, UGS-III
The quality in which the co-operation is a secret assistant agent; secret associate
Sabina alias
Documents, on the basis of which the membership of the bodies under Art. 1 Documents from the employees in the personal file – 2 volumes and in the work file Ф1, ae. 2683; journal journal; cardboard – 1 – 4 pcs. and 3.
Removal from current operating statement
Public office or public activity Member of Editorial Board

Application 1
persons who have not been screened

Lidia Galabova – a leader of the “We Hear Their Voices” section from 1997 to 1998.

Evtim Kostadinov Kostadinov / p / is not readable

Deal. chairman:
Airash Ibrahim Hadji / p / does not read

Mariana Ivanova Darakchieva / p / does not read

1. Ekaterina Petkova Boncheva / p / does not read

2. Ivanka Zhekova Vitanova / p / does not read





Р Е Ш Е Н И Е № 2-1258/ 27.03.2018 г.


Комисията за разкриване на документите и за обявяване на принадлежност на български граждани към Държавна сигурност и разузнавателните служби на Българската народна армия на основание чл. 26, ал. 1, т. 2 от Закона за достъп и разкриване на документите и за обявяване на принадлежност на български граждани към Държавна сигурност и разузнавателните служби на Българската народна армия извърши проверка на лица по чл. 3, ал. 2, т. 1 – собствениците, управителите, директорите, заместник-директорите, главните редактори, заместник главните редактори, членовете на редакционните съвети, политическите коментатори, водещите на рубрики в печатни издания – вестник “Литературен вестник” (след 1995 г.). Проверени са 32 лица. За 1 лице (Приложение 1) органът по чл. 21, ал. 2 (главният редактор на в-к “Литературен вестник” – Амелия Личева) не предостави всички необходими данни и за него проверката продължава

След като проучи и обсъди наличните материали Комисията за разкриване на документите и за обявяване на принадлежност на български граждани към Държавна сигурност и разузнавателните служби на Българската народна армия

Р Е Ш И :


Установява и обявява принадлежност към органите по чл. 1 от Закона на:

Три имена Юлия Стоянова Кръстева
Дата на раждане 24.06.1941 г.
Място на раждане гр. Сливен
Вербувал го служител регистрирана на 19.06.1971 г.
Ръководил го служител ст. лейт. Иван Димитров Божиков
Структури, в които е осъществявано сътрудничеството ДС, ПГУ-ІV, ПГУ-ІІІ
Качеството, в което е осъществявано сътрудничеството-секретен сътрудник агент; секретен сътрудник
Псевдоними Сабина
Документи, въз основа на които е установена принадлежността към органите по чл. 1 Документи от щатни служители, съдържащи се в лично дело – 2 тома и в работно дело Ф1, а.е. 2683; рег. дневник; картони – обр. 1 – 4 бр. и обр. 3.
Снемане от действащия оперативен отчет
Публична длъжност или публична дейност Член на редакционен съвет

Приложение 1
лица, за които не е извършена проверка

Лидия Гълъбова – водещ на рубрика „Гласовете им чуваме“ от 1997 г. до 1998 г.
Евтим Костадинов Костадинов /п/ не се чете

Зам. председател:
Айруш Ибрахим Хаджи /п/ не се чете

Мариана Иванова Даракчиева /п/ не се чете

1. Екатерина Петкова Бончева /п/ не се чете

2. Иванка Жекова Витанова /п/ не се чете