…mentioned in a review of Monsaingeon’s book by Edward Rothstein, the former culture critic-at-large for The New York Times, “Allegro con Plastic Lobster(:)”

“Richter was enslaved by obsessions. He was tormented by a ‘terrifying, nonselective memory’: he could recall the name of every person he ever met and lost sleep when one escaped him. He was driven nearly mad by a droning melody in his head, which he finally traced back to his childhood love of Rachmaninoff’s ‘Vocalise.’ During one period of chronic depression, he recalled, ‘it was impossible for me to live without a plastic lobster that I took with me everywhere.’

Doesn’t that plastic lobster cry out for some explanation?” Indeed. The question remains: Why the lobster?

All of above TAKEN DIRECTLY from New York Times article on RICHTER.

Lobsters – this is an image I had up back at beginning of site. Also references Beckett and Wallace.

Lobster Hands digging through Sands. Its important for me to see and know that there is beauty in it or you can loose it, directly, and fall like ball at wall (with Cal), there is such a thing as drowned by a wall, insidiously buggered out by the blasted images.

Mapping ideology helps me to keep mmm shall we say TRACK of each animal as are hunger and carnivore but – where operation itself (through ensemble as passion play) can find a separation – its a plant, a resource of hidden gods –

Lobsters have an aesthetic value for me personally. For walking over bridges in the dark with claws for hands. Quite young first saw a lobster walk across a breezeway bridge in dark of night – stood and stared at it, it was pretty ugly out of water, clink clink slink slink with claws as paws. Its sudden appearance & determination to get across (did not walk that easily on land) felt oddly serendipitous and a bit uncanny.

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