Soutine’s Still Life with Rayfish He started with Chardin’s The Ray, losing the cat, startled guilty-fierce by someone we’ll never see who caught it pussy-footing among the shucked oysters. That leaves nothing animate in Soutine’s painting: a wing, a wedge of dead fish spilling its guts, a bottle shaped like a woman’s butt, a creepy-crawly face formed by the ray’s nostrils and mouth. All flesh is meat, Soutine reminds us, essentially impermanent, offal and incarnadine jumble of vegetables alike. He held no truck with Chardin’s measured, mellow-murky palette, reworking his own ferocious pigments to snare the world’s furious, fluid turbulence. Aaron Fischer Aaron Fischer worked for 30+ years as a print and online editor in technology publishing and public policy. His poems have appeared or are forthcoming in After Happy Hour, Briar Cliff Review, Crosswinds Poetry Journal, Five Points, Hamilton Stone Review, Hudson Review, Nervous Ghost, Sow’s Ear, and elsewhere. His chapbook, Black Stars of Blood: The Weegee Poems, was published in 2018. He has been nominated for five Pushcart Prizes and won the 2020 Prime Number magazine poetry contest.
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The Ekphrastic Review
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June 2025
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