The Boy Who Listened To Paintings: A Memoir


Product Details

$18.00  $16.56
Spuyten Duyvil
Publish Date
5.24 X 0.61 X 7.99 inches | 0.69 pounds
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About the Author

Dean Kostos recently edited the anthology Pomegranate Seeds: An Anthology of Greek-American Poetry (Somerset Hall, 2008); its debut reading was held at the UN. He is also the author of LAST SUPPER OF THE SENSES (Spuyten Duyvil, 2005); The Sentence That Ends with a Comma (Painted Leaf, 1999), which was required reading at Duke University; and the chapbook CELESTIAL RUST (Red Dust, 1994). He co-edited the anthology Mama's Boy: Gay Men Write About Their Mothers (Painted Leaf, 2000), a Lambda Book Award finalist. His poems have appeared in over 200 publications. Some of the literary journals and web sites that have published his poems, translations, and personal essays include the following: Barrow Street, Big City Lit, Boulevard, Chelsea, The Chiron Review, Cimarron Review, Cincinnati Review, Confrontation, THE DIRTY GOAT, The Dos Passos Review, Ekphrasis, Euphony, Ginosko, The Griffin, Hubbub, Minnetonka Review, Poetry in Performance, Porcupine, Rattapallax, Red Rock Review, Southwest Review, Stand Magazine (UK), Stranger at Home, TALISMAN, VANITAS, The Wallace Stevens Journal, Western Humanities Review, ZONE 3, on Oprah Winfrey's Web site, and in the anthology Reading Brokeback Mountain. A Pushcart Prize nominee, he has taught poetry writing at the Gallatin School of NYU, The Columbia Scholastic Press Association, Gotham Writers' Workshop, Wesleyan, Pratt University, Teachers & Writers Collaborative, CUNY, and Berkeley College. Recipient of a Yaddo fellowship, he has served as literary judge for Columbia University's Gold Crown and Gold Circle Awards.


"Dean Kostos's harrowing and redemptive memoir, The Boy Who Listened to Paintings, is a lucid portrait of the artist as an adolescent mental patient, whose self-destructive despair is overcome by therapy,
connections with other patients, painting, and poetry ('even if the poem was about despair and suicide, it wasn't depressing'); and at the last by the kindly intervention of influential arts patrons. We experience his nightmare through the filter of his adult survival and recovery. One of the loveliest characters is Peggy, a lobotomized teacher, who speaks lines of oblique poetry--seemingly cryptic, but also inspired. In an epilogue, he sums up: 'I've done my best to reconstruct the patients' hurts, voices, and beautiful audacity.' His 14-16 year old Kostos has the vulnerability of Holden Caufield
combined with the anguished visions of, say, van Gogh, William Burroughs, Robert Lowell, or Richard Yates."

--DeWitt Henry, author of Sweet Marjoram, founding editor of Ploughshares

A child with a vision is discovering his talent--but does he have to be absolutely insane to follow his gift? Dean Kostos's memoir, The Boy Who Listened to Paintings, tells the incredible story of a young, middle-class, gay boy of Greek heritage who catches his beloved, imaginative mother's "crazy germs." Ostracized in the wake of her breakdown, this son from a prominent family (his father is the town mayor) spends two years in a mental hospital. All alone, he has to reckon with his gun-toting brother, the fierce prejudices of mental health professionals, the intense bullying in schools, and the drug culture peer pressure in the "Toot," as he calls the hospital where he manages to survive. All that is thanks to a slow realization that art itself is health. Riveting--and outraging now--The Boy Who Listened to Paintings is a warmly brilliant memoir of adolescence and mental health to inspire all of us."
Molly Peacock, author of Paradise, Piece by Piece

This harrowing account of a boy's (mis)treatment in a mental institution, where he narrowly missed becoming one more suicide statistic, offers much to ponder concerning highly topical issues like family dysfunction, bullying, homophobia, sexual harassment, and the failure of our society to support its young people. Tragedy here has a good outcome, though, when the victim finds his way out of the infernal maze with the assistance of art, Asian spirituality, and Christianity. Inevitably the memoir calls to mind the old narrative of Christ's harrowing of Hell, and we greet the escapee with sighs of relief and cheers for his will to regain his health and to transform suffering into a work of art.
Alfred Corn, author of Contradictions and Unions

Previous praise for Dean Kostos's poetry:

The grace of Dean Kostos's texts (I would call it unconscious grace, for that is the adjective which permits all heaven as much as all hell to explode, to let fly) is the result of another effort, not even the effort to please, but merely--merely!--the will to tell the truth, to tell what happened, what didn't. ...
Richard Howard