A short story from the collection The Dominant Animal.
On the individuality of grief, demystifying the creative process, and the right time to tell a story.
On a visit to the New Mexico Museum of Art, two poets grapple with questions of performed authenticity and settler poetics, while analyzing depictions of the American West.
Much silence fills the exquisite visual tableaus in German filmmaker Angela Schanelec’s I Was at Home, But…
The Irish playwright on grief, adaptation, and the possibilities of form.
We’re walking through the centered skylight spaces of the mall. I drop back on the cloud-white floor tiles, holding my phone up to record a video. Beautiful in its own way to watch in reality, but when I replay the video, following Alice into a store selling soap, the video doesn’t show Alice, only oval shaped air heat-trembling at the edges. I replay it three times, shocked each time when I’m unable to see her.
The artist talks about the genesis, composition, and execution of a recently completed work.
Kristen Radtke is the managing editor of Sarabande Books and the film and video editor of TriQuarterly magazine. She lives in New York. Imagine Wanting Only This is her debut book, out in mid-April from Pantheon.
The woman is in Iowa now, I hear. She moved there with her husband shortly after, and now she sees.
Kenya (Robinson) reflects on the end of her MFA program and becoming a professional artist.
The doctor wears his pink shirt with the sleeves rolled up.
“The reason I am writing fiction is so that I can tell the truth from a vantage point that allows me some space.”
“You can renovate your soul and change your behavior and lie to yourself, but maybe the face is the last frontier of truth. There’s only so much that plastic surgery can do for you.”
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Ralph Lemon’s How Can You Stay in the House All Day and Not Go Anywhere is as uncontainable as it is elusive. How can a dance that pretty much denies its existence as dance, a “no dance” of “no style,” be written about?
Loss of any kind can feel, to the bereaved, as much an “act of God” as large-scale catastrophe.
Poet and essayist Kristin Prevallet talks to artists caraballo-farman about their series The Heirloom Plates, part of the exhibition Iran Inside Out at the Chelsea Art Museum through September 4th.
This First Proof contains four poems titled “An Intersection of Leaves not Likeness” and “An Intersection of Leaves not Loss.”
Ay, the smell was swept up, stirred, and scrambled into the air when your father slammed the door; I had barely noticed it until he appeared in the doorway and raised his hand over his nose, covering his mouth.