Unpatrolled

Non-patrolled Area (2023). Watercolor on paper. From my book, Holograms and Long Tweeds, available on Amazon Books.

Excerpt: The kids went out there anyway. How could they not? The warning signs were like invites, gilded and promising all a pleasant diversion. Under the yellow lights, the words “Non-Patrolled Area” were an official designation for badlands, lawless prairie, go at your own risk. Signs were placed to remind the locals that the authorities did not venture into the void unless summoned in an emergency. There were not enough peace officers to cast a wide web, and besides, the town had never incorporated the empty spaces beside it. The hamlet was close to the openness of the undeveloped side of the county, and for years the places outside of town were frolicked in daylight, shunned in darkness. That said, rogues and mischievous teenagers gathered out there at night, and on Halloween kids would run through the long grasses looking for goblins. This was all before the real trouble began.

Sometimes you can hear things coming, but this all started with a silent flash of light. The sound came later, a strange hum, like an old green fridge on a crooked floor and it seemed incessant until it suddenly stopped for moment, and then started up again. The sound is was brought authorities, and others, to the unpatrolled area – at first nobody believed those who were out at night looking west at nothing who then reported the flash.

The authorities and many other sleuths, including amateurs from the town, blanketed the area with searches, moving way, way out; in time, almost to the end of the county, 7 miles away, in search of the producer of the sound. Their searches provided no clues. The sound never got louder, or more muted, never peaked or fell in pitch, and never modulated. It was all around, enveloping, and its locus was untraceable. Returning searchers reported finding nothing, and seemed unchanged until a local doctor noted strange elongations in the fingers of some of the scouts. There seemed no other physiological changes in any of the subjects, and as the years passed without any pestilence or psychosis attributed to the sound, the town got used to the strange mutation. The Doc called it piano finger syndrome, because of the sound, and the newfound ability of the deformed to play the notes of two octaves with one hand. Town elders held a meeting to decide whether to inform outside authorities, the army, the federal civil service, of the relevant events. After a little discussion, it was decided that the townspeople did not want to be exposed as freaks, or invalids, or even non-conformists, any of which might turn the town into one big circus tent, and invite outsiders to venture in to humiliate the innocents affected. It was also decided that the physiological anomaly would be ignored by the townspeople and the elongation of fingers would forevermore be treated as the normal and proper proportion of digital extremity. The townspeople, relieved that they would not become media curiosities, agreed to the stricture.

A generation has passed since those events. The signs are still posted on the edge of town. The sound is still everywhere. There is more music emanating from parlor windows now, as the townspeople are especially proficient jazz pianists. The mystery of it all abides, and sometimes chills those that think too much about it. Life is about accepting new normalities. Halloween brings scary stories and horror films to a town with an unknown force teeming at its edge. The day also finds young people frolicking, in costume, all over the unpatrolled area.

There is ample to be afraid of in their modern world, and yet the kids still go out there. How could they not?

–Danny Grosso

My Amazon author’s page: amazon.com/author/dannygrosso

Instagram @artispolitics

Artwork and text copyright Danny Grosso

Out in the Street IV

21CC5C52-B0F9-4E86-8E06-413143DE5CB2
LaSalle County 1 (2006). Oil on canvas. Artwork and text copyright Danny Grosso. From my book, Out in the Street, available at Amazon Books.

Is a street still a street when you’re way out there? Doesn’t look like it, there are no brick facades, no traffic, and they mostly call them roads. As the scenery goes whipping by, the colors bleed, green in summer, beautiful; and the distant focal points gain a profound poignancy, staid as they are set within the kinetic scene. A red barn can be exotic if you only see it once, and to a city kid, once may be all the chance you get. You might only be 40 miles outside of Chicago, but you think it’s Montana, and you understand why they refer to the “big sky” out there. Pressing the gas, turning up the CD player, song and the name of the county is the only thing that changes. No strip malls or apartment blocks, no reference point for you to navigate by landmark, just a rolling farmland, color, uncanny patchworks of green until the sunset colors it pink, then blue and purple, the color of neon lights of the city. Time to turn back.

-Danny Grosso

Instagram @artispolitics

Buy Books! My amazon author’s page: amazon.com/author/dannygrosso

Another Political Bestiary, Ep. XXXIII

FEA47872-C488-4DA4-85E6-B1D860887BDB
The Rollout (2020). Acrylic and ink on paper. From my book, Another Political Bestiary, available at Amazon Books. Artwork and text copyright Danny Grosso.

Continuing the expeditions of Jeff MacNelly, James Kilpatrick, and Eugene McCarthy, with apologies.

The Rollout

Wide but severely contained; prone to colorful language, but lacking intellectual depth, the Rollout is often conceived in fertile seasons when policy wonks become aroused by blooms of receptive political polling data. It is often presented to society with much fanfare – a savior baby befitting visitation by rich men, mostly lobbyists. Its uncoiling during its lifetime provides the illusion of length, but the Rollout is finite, short lived and stunted, a pale impression of what is to come. Indeed, this first blush of impression is often so misleading that Rollouts are mocked with the passing of time: think healthcare in 1993, or infrastructure week in some recent years.

-Danny Grosso

Instagram @artispolitics

My Amazon author’s page: amazon.com/author/dannygrosso

The Neon and the Setting Sun – Out in the Street III

3280C16F-B0C6-41B3-82BB-C8391F13013F
Spanish Avenue (2020).  Acrylic on board. From my book Out in the Street, available at Amazon Books. Artwork and text copyright Danny Grosso.

Latin lovers flash in and out of the doorways in open shirts and Cuban heels. The place reeks of food and bad-girl perfume and when the sun sets everything just gets more pungent. The subtle messages here now resound against the colors of the neon and the setting sun. Love and hate, the staccato stutter of the signage, and the glint of stiletto metal. Someone calls across the gangway in a stifled moan. Not a victim of violence, it is the ache of longing, across the ages. The Italians and Puerto Ricans that live here understand it without regard to language. It is the lament of existence borne of the choices we all make and the ones we don’t. You love who you love. Can’t stop that. Love and hate beckon from opposite sides of the avenue and yet we ride up the middle, in the danger zone, where we’ll likely be run over.

At night the windows open and the moaning continues,  in chorus now – those who chose to deny their love, and those who chose not to. A concert choir’s nightly rendition of dissonant voices, finding harmony, somehow, in the space between love and hate.

-Danny Grosso

Instagram @artispolitics

Buy books! My amazon author’s page: amazon.com/author/dannygrosso

Paris

Paris (2021). Acrylic on mounted photographic print. From my book Holograms and Long Tweeds, available at Amazon Books.

Excerpt: The technology introduced itself, unannounced, and soon everyone was floating above the city. In time, the tech was outlawed among civilians, but the authorities kept it and refined it, and there were cops and federal agents flying about like pigeons.

The company that had perfected the anti-gravity implant that had enabled the floaters was rumored to be Chinese, but there was no way for civilians to know that for sure. The corporations that made the stuff that makes the world had gotten so big over the first half of the 21st century that the influence that all garnered bought them a lot of secrecy, and government complicity. They really had to pose a danger to order, not safety, but order, to generate adverse regulation. The floaters peering into the windows of the ivory towers accomplished the fear of disorder, and besides, governments would become the biggest consumers of this technology anyway, so the regulation, or the deal, was implemented.

But for a few weeks in between, the life above the rooftops was wonderful.

From my story Paris, from my book Holograms and Long Tweeds.

My amazon author’s page: amazon.com/author/dannygrosso

Instagram @artispolitics

And More Sci-Fi Adventures

Koni (2022). Acrylic on wood. From my book, Holograms and Long Tweeds, available at Amazon Books. Artwork and text copyright Danny Grosso.

Excerpt: Blink. That’s what the light did, blink, the one that was supposed to remain steady. Also, it was red, not green, which meant that this alternate powered vehicle was not starting up again any time soon.

They called this the neon district, because a century and a half ago it had gas-illuminated tubes announcing the identities of shopkeepers. Now the lights were new energy, and blanketed the night streets with color. As he exited the vehicle, the pallor changed from violet to orange. The chip in his hand had signaled is favorite color. The mist in the air from the passing showers gave the district some extra humidity, and the cafeteria to his left seeped its cold moisture onto the window panes. It had been doing so for a while, it seemed – some of the sludge had greened.

He crept out slowly. Modern vehicles didn’t give out meekly, and this could be a trap. His reinforced collar was up to protect against a neck attack. and he had some jacket plates, but he knew how many vulnerable targets he presented on his person, especially to some of the new micro weaponry. At least he wouldn’t feel it – they say the jab was so small, the victims are unaware of the wounding.

Around him swam the iridescent babyflies and vapor gauzes, products of climate-driven rapid evolution. His grandfather, negotiating these same streets, would never have known these beings. He’d turned and scanned enough now, and stepping forward, he heard a crash. From his quick-held crouch, he saw that the noise was one the old man might have recognized. And old metal can crashing onto the pavement. Most of those receptacles had been long ago confiscated for upselling. He rose and stepped out, into the wet, into the steam, into the colored lights that went tangerine as he passed.

So much had changed since the old man’s days here, yet, like the geezer, he still carried a hand-held weapon. He grabbed it from its holster at the small of his back, and ducked into a dark alley. At the end of it was a door the color of a verdant meadow, like the natural spaces that once thrived outside of the city. It was lit by a single light cell, so that the base of the door was obscured, but he could make out a figure laying low on the landing. Now his weapon pulled him along. Making his way forward against a black painted wall, stepping and re-setting, one foot forward and then the other pulled even, he made a slow approach. Perhaps a bit too slow.

When he reached the doorway, the figure had disappeared, as often happened in this time of disappearances, holographic, and otherwise. He only hoped that the men that now appeared in the darkness behind him would have the same unsatisfactory visual experience.

–Danny Grosso

Excerpted from my story, Blink, from my book, Holograms and Long Tweeds.

My Amazon author’s page: amazon.com/author/dannygrosso

Instagram @artispolitics

Do Sci-Fi Characters Need to Dream?

From the Dream (2014). Oil on canvas. Artwork and text copyright Danny Grosso. From my book, Holograms and Long Tweeds, available at Amazon Books.

Excerpt: We passed through some thing, or just were dragged into this low altitude somehow. Either way, everything changed, perspective-wise, meaning the way we saw things, or what we saw. I still can’t tell. We went in low across a flat beach, where three identical beings, humanoid, I think, were running beneath us. Coats, hair, trot, everything matched. I made me wonder whether I had seen only one of them, and that the atmosphere had done the rest, faceting and kaleidoscoping the one into three, or more, really, I couldn’t see what was coming up behind them. The light was Vegas bright, and it was really quite beautiful for a moment, but then…

I couldn’t tell if they were running from or to something. Also, they were running close to the speed of our craft, which was impossible for any being we’ve ever encountered. Beneath our craft, where our shadow should have enveloped the turquoise shimmer in darkness, the shadow instead, almost transparent, portrayed a huge humanoid being, long and skinny, winged and gliding along behind the runners. There was a curved bank up ahead crowned by some greenery, and we determined to head out for that but the target never got any nearer, while the same scene below played out as if in a loop. “Punch it Freddy, ” I said to my crewmate, and he said he did, but nothing changed, though suddenly he sang out the lyrics to an ancient song about all reality emanating from some guy’s dreams. I was looking around for another reference point in the distance, and finding none, I let my gaze sink to the winged shadow beneath us. Its pinions were moving now, but instead of proceeding ahead of us the shadow seemed to be moving higher, growing as it got closer to us. I hit the synthporter and was placed for a few safe seconds in the app, down among the runners. They were really moving, the wind in my face was g-force. I looked up to see that there was nothing between our triangular vessel and the beach. And then I was back up there again. In my seat the vista ahead was tranquil, even as a golden light enveloped the scene. It turned white after a moment, and erased everything before us. We were suspended for a few seconds, like an old time bomber among the clouds.

A second later we were back in orbit outside of the rock’s atmosphere. I couldn’t tell if I had been asleep, Fred didn’t know either, regarding either of us. I was left bewildered, but with the inexplicable desire to head for darkness, in one of the inner chambers, to ruminate. I remembered Fred’s singing, “From the dream… comes the vision…”. Perhaps something must come from this moment.

–Danny Grosso

Instagram @artispolitics

Buy books! My Amazon author’s page: amazon.com/author/dannygrosso

Book News

Now available at Amazon Books. Holograms and Long Tweeds. Sci-fi, alternate histories, and thrillers derived from and including my paintings. This collection is a departure from my previous releases, and the stories and pictures may transport the reader to places on earth and elsewhere that lie beyond quotidian concerns. Among the plot lines of these eleven stories: a Halloween tradition evolves from a troubling mystery; a 22nd century cop encounters his father’s legacy in a rain-drenched city; a nascent technology allows two lovers to float above Paris; acts of treachery delay the reckonings of the American Civil War. Filled with poignant painted images, this book holds strong appeal for both the reader and the art lover.

Order a copy!

My Amazon author’s page: amazon.com/author/dannygrosso

Instagram @artispolitics

Club Kids VII

Untitled (2010). Charcoal on Board. From my book Club Kids. Available at Amazon Books. Artwork and text copyright Danny Grosso.

The pros, they would make it look like ballet; all about the line, you know. Each time you stole a glance over there it would look like a Skrebneski photo – the arabesques and flourishes completely in balance, the look so classic it seemed to be rendered in black and white. Under the gaze of amateurs they moved confidently, measured even in facial expression, dressed professionally, pure poise. They generally were partners in life in some other way, this kind of symbiosis develops only through shared experienced and some affection, and they came and left together, often in mystery. One might reasonably think that, in the morning, they gathered their things and went to the museum, searching for Bernini sculptures upon which to model their movements. Gazing upon the marble they’d posit their ultimate destiny. Perhaps their memorials would be carved in stone and, if they’d deliberated in the mirror and chosen the right pose, the piece would be celebratory.  The hard thump of  House Music might be piped into the mausoleum, a perfect Skrebneski-esque counterbalance to the soft touch and beautiful line of their time together.

-Danny Grosso

Instagram @artispolitics

Buy books! My Amazon author’s page: amazon.com/author/dannygrosso