by Lisa Peet
From Keats’s “Ode on a Grecian Urn” to Nat King Cole’s “Mona Lisa,” the best art about art is born out of passion for the original. But what happens when the work in question is too wonderful for words? How might a writer go about describing the indescribable—a painting, for instance—so moving, so sexy, so game-changing as to defy the vocabulary of formal analysis?
Maybe he doesn’t.