Leroy Neiman Island Hole at Sawgrass painting

Leroy Neiman Island Hole at Sawgrass paintingLeroy Neiman International Horse Show New York paintingLeroy Neiman International Cuisine painting
incompatible with his passionate desire to re--establish the seditious, deconstructive imagery of television could deflect him. What he was rejecting was a portrait of himself and Gibreel as _monstrous_. Monstrous, indeed: the most absurd of ideas. There were real monsters in the world -- mass--murdering dictators, child rapists. The Granny Ripper. (Here he was forced to admit that in spite of his old, high estimate of the Metropolitan Police, the arrest of Uhuru Simba was just too darned neat.) You only had to open the tabloids any day of the week to find crazed homosexual Irishmen stuffing babies' mouths with earth. Pamela, naturally, had been of the view that "monster" was too -- what? -- _judgmental_ a term for such persons; compassion, she said, required that we see them as casualties of the age. Compassion, he replied, demanded that we see their victims as the casualties. "There's nothing to be done with you," she had said in her most patrician voice. "You actually do think in cheap debating points."
And other monsters, too, no less real than the tabloid fiends: money