So I don't have to cover the basics, the premises of why this standing room only experience was such a draw, so I don't have to expand on its massive popularity and why 1000's of people couldn't even get inside to see the conversation, here are a few links:
In the San Jose Mercury News: http://www.mercurynews.com/mld/mercurynews/news/local/states/california/northern_california/16574216.htm
In the Berkeley Daily Planet: http://www.berkeleydaily.org/text/article.cfm?issue=01-26-07&storyID=26178
In the SF Chronicle: http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2007/01/22/EDGC7N728U1.DTL
Botero's conversation with Hass has its lowlights. At the end of the evening the second "question from the audience" began as an acid induced rant by a character cut from One Flew Over the Cuckoo's Nest for being a loose cannon, and the question went down hill from there. But tolerance of the stuck-in-68 16 year old or 48 year old as the case may have it with their bumper-sticker-on-the forehead craziness was required.
Botero's and Hass' conversation was too meaningful and too important for me to get bogged down in the distractions of anti-intellectual, anti-rational leftist-by-color-my-clothing folk.
Botero calls art an "accusation." A claim one would supsect carried more humor than fire if one were to look at only his "popular" work: the rotund nearly comic figures he has found acclaim for. But when you hear him talk about how enraged he was by the reports and pictures of Abu Ghraib, a new meaning emerges.
He speaks of the United States as the one place on earth where torture would not only be not
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