Metaphysical Poetry, Art, Smutpunk | Snap, Crackle, Cosmic Debris by MJ

To His Coy Mistress

Had we but world enough, and time,

This coyness, Lady, were no crime

We would sit down and think which way

To walk and pass our long love’s day.

Thou by the Indian Ganges’ side

Shouldst rubies find: I by the tide

Of Humber would complain. I would

Love you ten years before the Flood,

And you should, if you please, refuse

Till the conversion of the Jews.

My vegetable love should grow

Vaster than empires, and more slow;

A hundred years should go to praise

Thine eyes and on thy forehead gaze;

Two hundred to adore each breast,

But thirty thousand to the rest;

An age at least to every part,

And the last age should show your heart.

For, Lady, you deserve this state,

Nor would I love at lower rate.

But at my back I always hear

Time’s wingèd chariot hurrying near;

And yonder all before us lie

Deserts of vast eternity.

Thy beauty shall no more be found,

Nor, in thy marble vault, shall sound

My echoing song; then worms shall try

That long preserved virginity,

And your quaint honour turn to dust,

And into ashes all my lust:

The grave’s a fine and private place,

But none, I think, do there embrace.

Now therefore, while the youthful hue

Sits on thy skin like morning dew,

And while thy willing soul transpires

At every pore with instant fires,

Now let us sport us while we may,

And now, like amorous birds of prey,

Rather at once our time devour

Than languish in his slow-chapped power.

Let us roll all our strength and all

Our sweetness up into one ball,

And tear our pleasures with rough strife

Through the iron gates of life:

Thus, though we cannot make our sun

Stand still, yet we will make him run.

–Andrew Marvell

Giogio De Chirico’s Style (from Wikipedia, please click Wikipedia for his full biography)

In the paintings of his metaphysical period, De Chirico developed a repertoire of motifs—empty arcades, towers, elongated shadows, mannequins, and trains among others—that he arranged to create “images of forlornness and emptiness” that paradoxically also convey a feeling of “power and freedom”. According to Sanford Schwartz, De Chirico—whose father was a railroad engineer—painted images that suggest “the way you take in buildings and vistas from the perspective of a train window. His towers, walls, and plazas seem to flash by, and you are made to feel the power that comes from seeing things that way: you feel you know them more intimately than the people do who live with them day by day.”

In 1982, Robert Hughes wrote that De Chirico

could condense voluminous feeling through metaphor and association … In The Joy of Return, 1915, de Chirico’s train has once more entered the city … a bright ball of vapor hovers directly above its smokestack. Perhaps it comes from the train and is near us. Or possibly it is a cloud on the horizon, lit by the sun that never penetrates the buildings, in the last electric blue silence of dusk. It contracts the near and the far, enchanting one’s sense of space. Early de Chiricos are full of such effects. Et quid amabo nisi quod aenigma est? (“What shall I love if not the enigma?”)—this question, inscribed by the young artist on his self-portrait in 1911, is their subtext.

In this, he resembles his more representational American contemporary, Edward Hopper: their pictures’ low sunlight, their deep and often irrational shadows, their empty walkways and portentous silences creating an enigmatic visual poetry.



So what’s the connection?

Can you see and hear the link between the metaphysical poets and metaphysical art? Giorgio DeChirico ended up locked away in an insane asylum. So if you find yourself writing or painting about long shadows, I’d cut that shit out before it’s too late.

In all seriousness, “To His Coy Mistress” is just a fancy way to say “I want to get laid, baby!” I don’t know about metaphysical poetry for this one. It’s more of cockstroking poetry. Perhaps, it would be more apt to call it the Metaphysical Smutpunk. Anyways, De Chirico, to me, captures much of the mystery and sense of space and peace that Dali captures. He’s almost like Dali without the paranoid-schizophrenia. Funny, that De Chirico is the one who went mad.

Let me know what you think about metaphysical art.

See previous weeks of Snap, Crackle, Art. 

#SnapCrackleArtByMJ #DeChirico #MetaphysicalArt #MetaphysicalPoet #AndrewMarvell

Week 8 – Snap, Crackle, Strip! | This week we look at Comic Strips in art and poetry | #NRRTG #LPRTG #PopArt


Week 8 – Snap, Crackle, Strip!

Comic Strip Style Pop Art by Roy Lichtenstein with accompanying Comic Strip Style Poetry. 

Click the Image to Enlarge (and read)

Most of you will know “Drowning Girl” by Lichtenstein best. You may have seen me use it with a mock-caption of my own in Week One of this Snap, Crackle, Art by MJ stuff for the Too Pedantics, err, Blue Semantics, oops, Stew Gigantics, err sorry, I meant Necromatics, blah blah…Nu Romantics. That’s the one.

Lichtenstein’s paintings have sold for millions of dollars but they may be blatant rip-offs of some other artists toiling away for DC Comics and other locations.

Indie authors may not be the only ones guilty of copycatting. Perhaps a Sarchasmo character cockslapping fools ( & was needed to mete out justice for some of those who penned comic strips. I’m only half-kidding. Lichtenstein’s relationship to criticism was complex at best. 

Anyway, I digress.

Most of Lichtenstein’s best-known works are relatively close, but not exact, copies of comic book panels, a subject he largely abandoned in 1965, though he would occasionally incorporate comics into his work in different ways in later decades. These panels were originally drawn by such comics artists as Jack Kirby and DC Comics artists Russ Heath, Tony Abruzzo, Irv Novick, and Jerry Grandenetti, who rarely received any credit. Jack Cowart, executive director of the Lichtenstein Foundation, contests the notion that Lichtenstein was a copyist, saying: “Roy’s work was a wonderment of the graphic formulae and the codification of sentiment that had been worked out by others. The panels were changed in scale, color, treatment, and in their implications. There is no exact copy.” However, some have been critical of Lichtenstein’s use of comic-book imagery and art pieces, especially insofar as that use has been seen as endorsement of a patronizing view of comics by the art mainstream cartoonist Art Spiegelman commented that “Lichtenstein did no more or less for comics than Andy Warhol did for soup.”

Like I said, I digress.

What I want to get to is the idea of comic strips as poems. See some from ‘The Poetry’ and ‘The Poetry Foundation’. These little comic strips are poems. They have rhythm. They show the history of an emotion. Some of them even rhyme. I think they are a lot of fun. Check a few out. Click the Images to Enlarge. 



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Biography of Lichtenstein From Wikipedia:

Roy Fox Lichtenstein (pronounced Funkenstein, just kidding, it’s lɪktənˌstaɪn/; October 27, 1923 – September 29, 1997) was an American pop artist. During the 1960s, along with Andy Warhol, Jasper Johns, and James Rosenquist among others, he became a leading figure in the new art movement. His work defined the premise of pop art through parody. Inspired by the comic strip, Lichtenstein produced precise compositions that documented while they parodied, often in a tongue-in-cheek manner. His work was influenced by popular advertising and the comic book style. He described pop art as “not ‘American’ painting but actually industrial painting”. His paintings were exhibited at the Leo Castelli Gallery in New York City. His patron was Gunter Sachs.

Whaam! and Drowning Girl are generally regarded as Lichtenstein’s most famous works, with Oh, Jeff…I Love You, Too…But… arguably third. Drowning Girl, Whaam! and Look Mickey are regarded as his most influential works. His most expensive piece is Masterpiece, which was sold for $165 million in January 2017.


Snap, Crackle, Art by MJ (week 5 and 6 post)


Snap, Crackle, Art by MJ (for Nu Romantics)


Salvador Dali

Week Five (5) of #SnapCrackleArtByMJ has to veer off the kitschy poparttramdressedas-train and get on a proper Dali locomotive for a moment. While at the Dali Theater-Museum in Figueres, Catalonia, Spain, I took a photo through a looking glass of the Mae West room. A few weeks ago I posted that Mae West photo. That was a photo I took from the internet. This time it’s my photo with my own hands. I think you’ll enjoy it. If you click the above hashtag and scroll back on the Nu Romantics site, you will see Mae’s lips (and other lips). Here is Dali’s rendition of her, built with furniture and two paintings for eyes. To see the exhibit in Figueres, Catalonia, Spain I traveled by AVE (Alta Velocidad Espanol) to the sleepy little hometown of Dali. It’s a lovely town that was a pleasure to visit even if there wasn’t the amazing artist’s museum. The pre-museum cortado was delicious and afterwards my wife and enjoyed one of the best gazpachos I ever had. Unfortunately, salmorejo seems scarce in Catalunya (I adore that spelling of the word). If you’re like me, Spain is worth visiting just for the food (much as France is). However, Spain has Dali. Dali was a fierce nationalist, so much so that he openly supported the Franco dictatorship. Most journalists don’t dwell on this fact because they like to make art seem always made by liberals. Dali was a complex man, one who wasn’t even allowed access to his wife and muse Gala. By the end of their relationship, he bought her a house in the countryside, one which she had always wanted, and was only allowed visitation rights rarely and set up by formal request and acceptance via post. All of this Dali tension makes sense as you approach the red museum with eggs on the roof and a great big glass dome in the middle. His tomb is inside the museum and the whole place reeks of surrealism. To see the Mae West exhibit which I’d like to talk about as it links to a past post, I went into a dark room and then walked up a small staircase and stood under an elephant. I looked through a viewfinder between the super long legs of an elephant sculpture. The viewfinder fish-eyed the room to reveal a beautiful Mae West. See the photo below.

Joan Miro

I also had the pleasure of visiting the Miro Museum in Barcelona. Among many amazing features of Miro’s work, I was struck by one particular phase of his work were he burned the canvas that he painted. He didn’t burn it to smithereens, he just set it ablaze enough to poke a hole in it, and blacken certain edges, and char some of the colors. As I stood in awe of his work, I thought how that would translate into writing. I thought about [amazon text=If on a Winter’s Night a Traveler&asin=B00ALJH63O] by the incomparable Italo Calvino (by far my favorite writer ever) and thought that his book about a manuscript gone wrong at the printer is about as close as anyone has come to simulating the burnt canvas of Joan Miro. In today’s ePublishing ecosystem, I think it can be done pretty well. I mean the digital file is certainly corruptable. What possible permutations are there? In Choose Your Own Kink SEXcapade, I tackle some of those possibilities, but a book I’ve been taking notes for before writing (Tentatively Titles If on a Mid-Summer’s Early-Evening a Prostitute) has more of a possibility of doing some justice to Miro’s vision. He made some incredible art that really stretched the boundary of what is art. Smutpunk owes Miro and incredible debt of gratitude. See photos below.


  • Whose work do you enjoy more, Dali or Miro?
  • What do you like about each artist?

Find more photos from my museum excursion in Catalunya and

Archives of 

‘Snap, Crackle, Art’ by MJ 

on Nu Romantics

Week 1 at Nu Romantics – Mirror Post Hosted Online at

Week 2 at Nu Romantics – Mirror Post Hosted Online at

Week 3 at Nu Romantics – Mirror Post Hosted Online at

Week 4 at Nu Romantics – Mirror Post Hosted Online at

Week 5 at Nu Romantics (featuring photos from the Dali Theatre-Museum in Figueres, Spain) – Mirror Post Hosted Online at

Week 6 at Nu Romantics (waiting for the Nu Romantic Folks *avg wait time so far = 12 hours) – Mirror Post Hosted Online at

List of All Snap, Crackle, Art by MJ posts on Nu Romantics



Click the Tongue to Get YOUR Tasty Treat!



Joan Miro


Salvador Dali


Week No. 3 – Snap, Crackle, Art [mirror of FB post on Nu Romantics]

I’m doing a weekly feature on Pop Art for the Nu Romantics. Click to see past posts. This week is week no. 3 – Snap, Crackle, Art featuring the work of Sir Eduardo Paolozzi
Yeah, it is the Fourth of July but since America certainly doesn’t deserve a Birthday this year I thought I’d keep the pop art cumming, spewing, frothing at the mouth even though it’s a holiday on paper for Americans which many Nu Romantics are although I’d dare them to explain basic US law to me. Anyways, I mean, what’s life without routine? What’s an MJ post without digression and misdirection. So last week was lips, I’ll include some $th (stet) of July lips for shits and giggles. Then, I’ll get into the murky alligator infested waters of Week Three featuring Eduardo Paolozzo (because why not feature a Brit who was born in Scotland of Italian parents on American Blow-Your-Fingers-Off-Your-Hand and Believe-some-BS-stories-about-Flagmaking Day).

Now personally, I find these Eduardo Paolozzi pieces eerily prophetic about the mess we are in right now in 2017 kind of at a halfway purgatory between cave paintings and technology. I mean, we have iPhones and NASA yet most people use their phones to read fake news and get their fifteen minutes of fame cut into 7 second bites they accrue daily and poor NASA just this week had to debunk an Alien Child Slave Colony on Mars. So, the more we’ve progressed, the more we are grunting and stenciling our names into the rock while not able to decipher shadow from corporeal reality.

Check out the artwork below and answer the three questions, if you feel daring, sexy, and a little lonely on the side:
  1. What do these pop art pieces speak to? Did Eduardo predict the world being owned and controlled by Amazon and other algorithms? Did he foresee our inability to discern truth from bullshit? As you know, the motto of 2017 is “Bullshit is Truth, Truth Bullshit”
  2. Do you like the art? What does it remind you of?
  3. Are these pieces romantic? sarcastic? or something else?
  4. Do you believe there’s a Child Slave Colony on Mars
PERSONAL SIDE NOTE: I get a kick out of indie authors bitching that Amazon didn’t approve a cover or something as if Amazon is a bunch of old ladies knitting around a campfire. The indie authors invariably get angry that “amazon didn’t even respond.” Like in the artwork of Paolozzi, the whole machine is run by algorithms and computers and patterns and patterns and patterns. If you ask me, wrestling with an algorithm is an exercise in futility.
FUN FACT: Like many Italians in English-speaking countries during WWII, Paolozzi was held at an internment camp.
Artwork Credit:
Each piece is by Eduardo Paolozzi except the lips (unknown artist)
#PopArt #SnapCrackleArtbyMJ #smutpunk | Week No. 3 – Snap, Crackle, Art


See more Pop Art from my Pinterest


Snap, Crackle, Spunk! – Pop Art and Smutpunk



Pop Art and Smutpunk

by Moctezuma Johnson

Okay, it has come to my attention that people would like to see a little more pop art. I am far from an expert on pop art, but I will try to impart a little bit of what draws me to it time and again when writing, and pinning on pinterest. Surely you’ve seen Andy Warhol’s Campbell Soup cans, Charles Demuth’s Figure No. 5 [pictured right (down on a mobile device)] and very similar to the ‘one two three four five’ Sesame Street Song, or Roy Lichenstein’s deperate women with dots. Although you’ve seen these images, or marketing’s copies of these images, you may not know how the Pop Art movement started or why. The reasons are very similar to what I’m doing with smutpunk now and I’d like you to know a little more so you can enjoy both Pop Art and Smutpunk to the fullest. I want to share some of the artwork with you. However, if I’m going to share some bits of what I find to be the essentials of Pop Art, I think we need to discuss a bit about what it is, how it started, and who made it famous.


What is Pop Art?

“Pop art is an art movement that emerged in the mid-1950s in Britain and the late 1950s in the United States.[1] The movement presented a challenge to traditions of fine art by including imagery from popular and mass culture, such as advertisingcomic books and mundane cultural objects. One of its aims is to use images of popular (as opposed to elitist) culture in art, emphasizing the banal or kitschy elements of any culture, most often through the use of irony.[2] It is also associated with the artists’ use of mechanical means of reproduction or rendering techniques. In pop art, material is sometimes visually removed from its known context, isolated, and/or combined with unrelated material.[1][2] (from Wikipedia).

What does Smutpunk have to do with Pop Art?

Smutpunk isn’t so different but it’s a modernized indie form of the same elements. Pop artists often used mechanical means to render their work. Now, in 2017 you can use digital forms. There are millions of apps and programs to ‘photoshop’ any image, there’s a catalog of images with no copyrights attached, there the collage technique to mix forms, and then there’s the rise of indie publishing which lets artists and writers morph many elements from magic realism to cthulhu into one pop art, pulpy mesh of awesome sauce slathered smoothie. I like to think of my writing as a steroid-laced smoothie, as you know.


How did Pop Art Begin?

Pop art seems like an American phenomenon thanks to the use of cultural items from the US (like Coca-Cola and Campbells Soup cans) but actually pop art started in Great Britain as a means of digesting the mass cultural imperialism of the USA from afar. Eduardo Paolozzi was the first artist who used the expression ‘pop art’ to explain his work and is most likely the grandfather of the genre. PAOLOZZI_I_Was_a_Rich_Mans_Plaything_500_700_80After the movement started in the UK, pop art took on another wave from American artists like Andy Warhol and Jasper Johns. The artwork that came out of New York in this era may be the most well-known. Pop art was less academic in the US. The artists in Britain focused on the paradoxical imagery of American pop culture as manipulative symbolic devices that were causing the deterioration of whole patterns of life while seemingly improving the prosperity of a society. Looking at this from 2017, it seems fair to say that pop culture has accelerated the decline of the civilization.

Pop art owes thanks to Dada, but lacks the destructive, satirical, and anarchic impulses of the Dada movement.

Personally, I’m not sure if smutpunk owes its allegiance more to Dada or Pop Art. Perhaps both and neither. I mean, it’s 2017, what’s allegiance anyway?


Who made Pop Art Famous?

Eduardo Paolozzi, Andy Warhol, Jasper Johns, Roy Lichentein, Keith Haring, and many many more (see a great list of famous pop artists) contributed to the success and popularity of pop art. And don’t think it was all happening in the English-speaking world. Spain, Japan, Italy, Belgium, the Netherlands, and Russia all had major movements associated with pop art. You can see Japan’s subway with eyes on it or the infinity rooms by Yayoi Kusama.



Snap, Crackle, Art by MJ


Here was a little taste of pop art. I will continue to post pulp and pop art on Pinterest and Facebook for you to enjoy. In fact, I now have a weekly spot on Nu Romantics called Snap, Crackle, Art by MJ to share this with you and get your feedback on how it contributes to smutpunk and other writing/art. I will post three images every Tuesday and ask a question or guide a little discussion about what you see. Well, that’s the idea. We will see what actually transpires.

Archives of ‘Snap, Crackle, Art’ by MJ on Nu Romantics

Week 1 at Nu Romantics – Mirror Post Hosted Online at smutpunk.mesnap-crackle-art-smutpunk-moctezuma-johnson-promo4-pop-art

Week 2 at Nu Romantics – Mirror Post Hosted Online at

Week 3 at Nu Romantics – Mirror Post Hosted Online at

Week 4 at Nu Romantics – Mirror Post Hosted Online at

Week 5 at Nu Romantics (featuring photos from the Dali Theatre-Museum in Figueres, Spain) – Mirror Post Hosted Online at

Week 6 at Nu Romantics (waiting for the Nu Romantic Folks *avg wait time so far = 12 hours) – Mirror Post Hosted Online at

Week 7 at Nu Romantics

Week 8 online here

Week 9 online here

List of All Snap, Crackle, Art by MJ posts on Nu Romantics