It has been a year since our first post-9/11 issue in which we reprinted Edvard
Munch’s prophetic commentary behind his infamous “Scream”
painting. Paraphrased, it is: I stopped, and leaned against the railing,
deathly tired — looking out across the flaming clouds that hung like
blood and a sword over the blue-black fjord and town. My friends walked
on — I stood there, trembling with fear. And I sensed a great, infinite
scream pass through nature. Thirteen new moons have passed and we seem
to be no closer to an understanding of just how fragile is humanity’s
foothold on this planet. We need not look in fear over our shoulders; guard
dogs, fences, and locks on our doors and windows are useless. We only have
to look within to see the demon. Our greatest threat and enemy is ourselves.
For that reason alone, we need to embrace the beauty of Art to grace our
lives and hope that the fruit of the Muses will prevail.
Within these “pages” is just such bounty. Each contributor lives and breathes every detail of what it took to produce the painting, photograph, words on a
once-stark page — now alive with emotions, humor, and revealed secrets — not the least of which is our “Coming Age” poetry from 18 poets
around the world. Please partake the many gifts herein; they are yours to enjoy. As Demeter, goddess grain crops, would say, “Lettuce begin....”
ART
The styles and traditions set forth by such Masters as Velasquez, Titian, and Mantegna are embodied in the exquisite paintings of New Mexico artist Dan Griggs.
•
PHOTOGRAPHY
In 1937 Horace Bristol began
shooting images of California’s Central Valley which led to his collaboration
with John Steinbeck. See the photographs that were the impetus for The Grapes of Wrath.
Before film, as we know it, photographic negatives consisted of a light-sensitive
emulsion on glass. See ten images, circa 1917, from Glass
Plate Negatives discovered in an old farm house in North Washington State.
View our new Photo Gallery featuring images submitted by our own writers and artists.
•
MUSIC
LA Weekly columnist Allan Rich puts to bed the lament that “serious”
music is dead in A Sad Symphony with a Happy Ending.
•
NONFICTION
We abuse and neglect it, we despise it, yet we wish we had more of it. Robert
Grudin’s Time and the Art of Living
brilliantly analyzes our love/hate relationship with Time and shows us that
we each need to understand and appreciate, at every step of the way, our own
“position between the entrance and exit of life.”
Film and televison composer David Bell (Murder, She Wrote; Star Trek: Voyager) suffered through a painfull divorce that
cost $250,000, only to end up with a legal settlement that is exactly what
he and his wife initially, and amicably, agreed upon. His Divorce:
Making the Break is an invaluable guide to avoiding the pitfalls of this
all-too-common tragedy, with special focus on the ultimate victims, the children.
•
EDITORIAL
The uglier side of humanity: a rant against the unforgiveable actions of Madelyne
Toogood, the child beater caught on tape and charged with felony battery.
•
COMMENTARY
Doug Fulcher's Flecting and Reflecting
deals with symbology and how our fascination with symbols has much to do creating the world as we
know it today.
Rob Woutat analyzes the raison d’être of “My
Serial Killer” (of the feline disorder) and contemplates acting one’s age in “Thoughts from a Late-in-the-Week Guy.”
Eat your hearts out, Art Buchwald and Andy Rooney.
In keeping with the “Time” theme (see Robert Grudin, above) the editor proposes that we all are given the same amount of time each day: 24 hours. Each person, however, has a finite
and ever-diminishing number of Heartbeats left. How do you plan to use yours?
•
POETRY
The much-anticipated Coming of Age poetry anthology
is finally here. Eighteen poets from around the world have written about boy-meets-girl,
the fire below, that age of in-between when the security of childhood is forever
gone and the alternative is both terrifying and wonderful, though for many
of us it is still an on-going process.
View the Poet Index for access to all poets in every issue.
•
QUOTATIONS
A compendium of some our favorite quips (from Woody Allen
to Henny Youngman). This feature will grow with each new issue.
•
EPIPHANIES
Read how any one of four Close Encounters
could have claimed the author’s life—but didn’t.
•
HUMOR
Aerobics (da Vinci style), The Lone Arranger, PC tech help, can you copyright silence?,
Beethoven wants his paycheck, and more music humor.
•
THE STRANGE & BIZARRE
Two men from Detroit have turned pushing-a-wheelbarrow into either an art form
or a new Olympic sport—don’t miss WheelbarrowFreeStyle.
Sexy caskets, anyone? Those Italians figured out how to be buried in style.
When in Rome....
•
TECHNOLOGY
History of the Apple Computer
highlights some of the more revolutionary models from 1976 (Apple I) to the
present (flat-panel iMac). Obviously, this article and website are pro-Mac,
so in the spirit of “equal time,” we present iToilet
(comes in all the Mac colors) from Stephen Murray of Electric Chicken.
BOOKS
FAVORITE LINKS
View our favorite places for photography, film,
poetry, e-zines, web design, and Internet resources.
This link has been a hit, so we'll leave it up for
awhile. See how to convert your extra rubles, pesetas, and lire into your
own currency (click on the thumbnail).
Download
the latest version of Netscape, Internet Explorer, Quicktime, Flash, Real
Player, Shockwave, Ipix, Acrobat Reader.
SPLASH PAGE GALLERY
Each new issue of TheScreamOnline brings a splash page—the page you first see when
entering the site. We have received so many compliments about artwork
that we decided to createa “Splash
Page Gallery” of past issues.
| No
artist is ahead of his time. He is his time; it is just that others are behind the times. —Martha Graham |
|
Politicians
and diapers have one thing in common. They should both be changed regularly, and for the same reason. —Anon |
Type your address here:
The Fine Print
Publisher/Editor-in-Chief:
Stuart Vail
Contributors:
Adriana de Barros, David Bell, Horace
Bristol, Lewis Bruser,
Homer Christensen, Helen Degen Cohen, David Feela,
Charles Fishman, Doug Fulcher, Danusha V. Goska, Dan Griggs,
Robert Grudin, Bruce Guernsey, John Guzlowski, John Kilgore,
Edward King, Michael Knisely, Rocky Maffit, Shirley Dunn Perry,
Alan Porter, Alan Rich, M. J. Rychlewski, Stuart Vail,
Joanne Warfield, Ellen Doré Watson, Rob Woutat
Correspondence:
stuart*AT*thescreamonline.com
(replace the *AT* with @)
PHOTO
CREDITS: "Mailboxes" ©2001 Mary N. Balcomb
Splash
page art: "The Great L.A. Flood of Aught-Two" © 2002 Joanne
Warfield
"Seattle
Land Sharks" (top of this page) © 2002 Stuart Vail
Art
Direction & Site Design: Vail Graphics
Creative
Consultant: Joanne Warfield
The ScreamOnline
logo, images, and written material are
©2001, 2002 Stuart Vail unless stated otherwise.
All artists and writers retain their own copyrights.
The copying or distribution of any material for commercial gain
is strictly prohibited unless authorized by the webmaster.
• All Rights Reserved
•
Disclaimer: While we applaud innovative ideas and concepts, opinions expressed by articles in TheScreamOnline do not necessarily reflect those of the editor/publisher, staff, or anyone connected with the magazine. We fully respect those who have an opposing point-of-view and welcome any feedback by concerned readers who wish to communicate accordingly. Vive le difference!
TheScreamOnline
regretfully cannot accept
unsolicited submissions of any kind.
•
T
H
E
S
C
R
E
A
M
O
N
L
I
N
E
•
V
O
L
U
M
E
2
•
I
S
S
U
E
4
•
O
C
T
O
B
E
R
2
0
0
2
•
T
H
E
S
C
R
E
A
M
O
N
L
I
N
E
•
V
O
L
U
M
E
2
•
I
S
S
U
E
4
•
O
C
T
O
B
E
R
2
0
0
2
•
T
H
E
S
C
R
E
A
M
O
N
L
I
N
E
•
V
O
L
U
M
E
2
•
I
S
S
U
E
4
•
O
C
T
O
B
E
R
2
0
0
2
•
T
H
E
S
C
R
E
A
M
O
N
L
I
N
E
•
V
O
L
U
M
E
2
•
I
S
S
U
E
4
•
O
C
T
O
B
E
R
2
0
0
2
•
T
H
E
S
C
R
E
A
M
O
N
L
I
N
E
•
V
O
L
U
M
E
2
•
I
S
S
U
E
4
•
O
C
T
O
B
E
R
2
0
0
2
•
•
A
R
T
•
E
D
I
T
O
R
I
A
L
S
•
C
U
R
R
E
N
T
I
S
S
U
E
S
•
F
I
C
T
I
O
N
•
T
H
E
S
T
R
A
N
G
E
A
N
D
B
I
Z
A
R
R
E
•
P
H
O
T
O
G
R
A
P
H
Y
•
E
S
S
A
Y
S
•
A
R
T
•
E
D
I
T
O
R
I
A
L
S
•
C
U
R
R
E
N
T
I
S
S
U
E
S
•
F
I
C
T
I
O
N
•
T
H
E
S
T
R
A
N
G
E
A
N
D
B
I
Z
A
R
R
E
•
P
H
O
T
O
G
R
A
P
H
Y
•
E
S
S
A
Y
S
•
A
R
T
•
E
D
I
T
O
R
I
A
L
S
•
C
U
R
R
E
N
T
I
S
S
U
E
S
•
F
I
C
T
I
O
N
•
T
H
E
S
T
R
A
N
G
E
A
N
D
B
I
Z
A
R
R
E
•
P
H
O
T
O
G
R
A
P
H
Y
•
E
S
S
A
Y
S
•
A
R
T
•
E
D
I
T
O
R
I
A
L
S
•
C
U
R
R
E
N
T
I
S
S
U
E
S
•
F
I
C
T
I
O
N
•
T
H
E
S
T
R
A
N
G
E
A
N
D
B
I
Z
A
R
R
E
•
P
H
O
T
O
G
R
A
P
H
Y
•
E
S
S
A
Y
S
•
C
U
R
R
E
N
T
I
S
S
U
E
S
•
F
I
C
T
I
O
N
•
T
H
E
S
T
R
A
N
G
E
A
N
D
B
I
Z
A
R
R
E
•
•
P
H
O
T
O
G
R
A
P
H
Y
•
E
S
S
A
Y
S
•
A
R
T
•
E
D
I
T
O
R
I
A
L
S
•
C
U
R
R
E
N
T
I
S
S
U
E
S
•
F
I
C
T
I
O
N
•
T
H
E
S
T
R
A
N
G
E
A
N
D
B
I
Z
A
R
R
E
•
P
H
O
T
O
G
R
A
P
H
Y
•
E
S
S
A
Y
S
•
T
H
E
S
T
R
A
N
G
E
A
N
D
B
I
Z
A
R
R
E
•
P
H
O
T
O
G
R
A
P
H
Y
•
E
S
S
A
Y
S
•
A
R
T
•
E
D
I
T
O
R
I
A
L
S
•
