"History Now"

"Spoken Word"

"Learn To Draw"

"77 Beasts"

cover "Mirage"

Warp Spasm cover

chapbooks

Grey cover

portraits cover

Miniatures

wild cards book

"In The Field Where Daffodils Grow"

Twin Towers cover

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Mother of pearl, there is an Olmec head
In my back yard and it doesn't stop talking
It says if your mother loves you
Does this mean
Before we began to walk
Out of Africa
There was solitude
Mark your forehead
Your torso erects
The structure
Before we began to walk
Out of Africa
There was no language
There was solitude

From "Red Square," page 64, in History Now, Marsh Hawk Press, 2017

The father woke up, he was holding the Green Man in his arms. He was telling the Green Man I know we do not have the same father but we are brothers. And dear brother like my son you have become part of me. You told Grunewald and Soutine not to be afraid of distortion. Sit in this chair cross your legs and perpetuate your foliage, Green is an ancient color. TheGreen Man takes off his Green hat and his Green hair falls onto his Green shoulders, he smiles and I ask myself, "Do we have our own Green Man a space that isn't me."

From "Looking for the Green Man," page 66, in The Spoken Word/The Painted Hand, Marsh Hawk Press, 2014

On my wife's ass we see the beauty of God's universe turning milk to butter The blue box defeats the monster who wants nature for himself.

From “William Blake: Two Watercolors,” page 58, in 77 Beasts: Basil King's Beastiary, March Hawk Press, 2007

About Basil King Writing

A Galatea overview of eight Basil King publications

King’s writing is deeply knowing—both in the sense of art historical knowledge and of the wisdom of a painter who has had a life-long love affair with art—and deeply felt, personal, intelligent, and at times painfully.
—Burt Kimmelman. more


On History Now

A wonderful book. It is natural and straightforward in form and supernaturally brilliant in content. The voice is just right throughout. Thank you for getting it all down.
—Raymond Foye

King doesn’t just see everything (in his field of vision) but he wants to see everything. Surely what King has accomplished in this book (as well as his other accomplishments as both writer and a visual artist) would not have been possible without such an immense desire.
One of my favorite passages from the book is “Autobiography has more than one ambiguity.” The line keys up the reader for what will be, as they say, a killer ending. I won’t share the ending but I will share its hard-earned last sentence. One hundred fifty-seven pages led to this sentence and by reading this sentence, I hope you will be encouraged to seek out this recommended book: Why do people go to war
—Eileen Tabios, in Galatea Resurrects


On The Spoken Word/The Painted Hand ...


…King takes us along to examine how widely variant strains of data reverberate and pummel, as Lana Turner weeping, out of control, hurtling through a colossal rainstorm in Beverly Hills, crashes through the formal jigsaw of Vincente Minnelli’s The Bad and the Beautiful and wakes us to life.
—Kevin Killian


In his essay on why the miniature is as important as the mural King insists that light abstracts the smallest thing. …The impact is cumulative and thoughtful, allowing a larger picture and frame of reference to emerge and yet still allowing for the smallest of details to have impact.
—David Caddy, Tears in the Fence


This artist’s word ‘perspective’ is what King brings to his vivid, hybrid writing. It is the perspective of someone who has been trained not just to look but to SEE, and not miss anything in his field of vision. Full of jump cuts and precise depiction, King’s work here always yields what his old now departed friend Amiri Baraka called emotional validity.
—Ammiel Alcalay

On 77 Beasts: Basil King's Beastiary

Its rich detail doesn’t stale on rereading but underlines King’s skill as a writer in matching technique to what he has to convey, or with local detail dovetailing connections between one painter and another. It’s a book too immediately attractive to deserve having its strength and subtleties explained in advance.
—Andrew Crozier, from his Introduction to 77 Beasts

On Learning to Draw: A History

What enchanted me was the fact that the work was such a free-flowing & compendious meditation on aesthetics & history, moving as the mind does, from Stieglitz to Leonardo to Pound to Black Mountain to Kline to Lindbergh to Breughel to Whitman to Gertrude Stein to Walker Evans and so on.
—Colin Still, filmmaker and principal of Optic Nerve.

On Mirage: a poem in 22 sections

As a long poem, Basil King’s Mirage never flags… [He] recounts amazing stories contained in prose passages that break into the poetry like bedrock beneath a mountain stream. The title, Mirage, perhaps refers to the elusiveness of truth as time overwhelms our personal and public histories. Any reader with an interest in recent American literature and painting will be especially enamored with this work.
—M. L. Weber, American Book Review

Essential symmetry of experience which has gone against both the metronome and arrhythmia and beyond the ornamentation of inessentials in so much present writing. It helps to have had one’s hands covered with paint. Someone, after a long life, is standing at the door of some facet of wisdom.
—Nathaniel Tarn


I’m awed by the simplicity and strength. [Basil King] does write like a painter, not simply with colors, but strong strokes here and refrains of blue there.
—Lucia Berlin

On Warp Spasm

How to describe Basil King’s life’s work? Poetry? Fiction? History? Autobiography? And what of the intersections with his fascinating drawings? Warp Spasm continues this unprejudiced investigation — a weave of signs in a field, ever flexing to accommodate observations drawn from many times, voices & lives variously lived. In an era of rabid imperialism & cultural banality, this is the work of a man whose appetite for the fabulous life of the arts remains ablaze.
—Michael Hrebeniak, editor Radical Poetics, U.K.