So interesting, in order to be interested in something -- for if we are not, that is surely accepting the end of much if not everything -- so here it is. Just about what happens in the mind when 1) you are afraid of the gusts of wind 2) afraid of escalators going down, because once in Japan you were caught or stuck or whatever the term is for momentary panic that seems to turn into longer spates of it 3) really caught up in what you are writing (some think, some write, some read, and I can't seem to do any two of those things at once, and have to be seated to do any of them, unlike Virginia Woolf who wrote standing up!!!)...
I LOVED being in San Francisco, apart from concern about that cruise ship about to dock right there, and apart from everything closing like the restaurant, "Sam's" where we were three BECAUSE we had reserved so they sort of HAD to let us in, and the sign outside said CLOSED, and so on...The talks, in the Weinstein Gallery,  on surrealist women painters, were fun, and I greatly enjoyed seeing Guccioni, a painter I had never heard of, so I got to take a fresh view of things and paintings. And could say: hey, all those eyes, look at the rays coming out of it, and look at the whirlwinds spiraling about, and think of futurism and how that persists... and so on.
I still firmly believe DADA is as strong as surrealism, so I will hold on to that belief, and am dealing right now with Arthur Cravan because of writing on Mina Loy, oh how Dada can you get?
best wishes and uncontaminating hugs right now from right here in New York...

In Japan now, gave talk on violence out and in: the explosive erotics of Dada and  Surrealism, mostly showing images from both, including Japanese, and wonderful audience and group
about eroticism veiled and the dance of the surrealist encounter and all that, today am being taken to Kyoto, which I loved before, and tomorrow to Hamammatsu to talk in a professor's class, whose thesis I directed
then back to ny to teach my film class the next day
spoke in New London, Ct., on Robert Motherwell, on panel with the Dedalus Foundation representative and a master printmaker, with both of whom we had panels before
then at Penn, with friends I had known, like Eric Sellin, and the brilliant and beautiful and alltogether delightful Wendy Steiner
and this week I teach, well, share about Jean Cocteau and next week also, then Derek Jarman, and Caravaggio via Glenn Gould and Bernhard's The Loser
so they are both dessert
off to Kyoto now