Romoland (Hardback)
ROMOLAND, a postmodern event conjoining feminist artist Judith Palmer and novelist Ben Stoltzfus, uses twenty-five art works as generative surfaces for a series of dialogues between a man and a woman.
The images and the text explore the historical subjection of women by men, their deliverance through art, and the dismantling of cultural codes. Both texts foreground the voice of the Other as it manifests itself in the traces, lines, and cracks of speech--be they visual or verbal.
The arabesques of the woman's sensibilities oppose the squares of man's authority. Her art speaks and his text sees. Together, they unveil another space between the pictures and the text--the body of bliss and equality--in a way that is ironic, comic, and playful.
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Romoland's "originality lies ... in its gendered, multilayered, culturally allusive presentation of the compelling and complex encounter within and between picture and word." -Roch C. Smith, Professor Emeritus, French, UNC-Greensboro, American Book Review
"Romoland is an amazing collaboration between two artists: a woman and a man, a wife and a husband. The woman's visual strategy, in conjunction with the man's witty "ecofeminist" text, plots the liberation of women--persistently and playfully." -Ai Ogasawara, Associate Professor, Kwansei Gakuin University, Japan
"In this delightful work, received ideas about the separate domains of masculine and feminine, inner and outer, line and mass, visual and narrative art, ruler and ruled, master and servant are playfully and seriously inverted to reveal that our unconscious sexual coding of space, time and form is coming undone." -Juliet Flower MacCannell, author of The Hysteric's Guide to the Future Female Subject
"Echoes in Romoland can be traced to Surrealism's use of dreams and the unconscious to create art, to the playful disruptions of Dada, and to the Situationists' conception of art as pollitical performances of revolt. [It] appeal[s] to ... those interested in the relations between ... fiction and critical reflection on the nature and purposes of the arts." -Lynn A. Higgins, Edward Tuck Professor of French, Dartmouth College, The Comparatist
