Acceptance Speech by Julio Cortázar

BOMB 9 Spring 1984
009 Spring Summer 1984
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Susan Meiselas, Nicaragua, Wall Painting. Courtesy ASTC and Ventana, New York.

Revolutionary culture to me resembles a flock of birds flying under the open sky; the flock is always the same, but at each instant its pattern, the order of its components, the rhythm of its flight changes, the flock ascends and descends, traces curves in space, continually invents a marvelous image, erases it and commences another, and it is always the same band and in this band are the same birds, and this in a way is the culture of birds, their jubilant freedom of creation, their continual feast. l am convinced, because it is something I feel more strongly each time I visit Nicaragua, that this will be the culture of its people in the future, firm in what is its own and at the same time open to all the winds of creation and the liberties of planetary man.

Julio Cortázar accepting the order of Ruben Dario.

To Roosevelt by Rubén Darío
​Tom Otterness 01
From This Side and from That Side by Gabriela Wiener
Wiener This Side Banner

We are street people. Nomadic by nature. We are the grandchildren of poor, adventurous strangers. Our living radicalizes their legacy.

Valeria Luiselli by Jennifer Kabat
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Cities haunted by ghosts, ghosts that are a metaphor for language in their haunting doubling and mistranslations, language that’s full of holes, while the holes themselves are suggestive of abandoned places and writing that fails to describe anything accurately enough—this is Valeria Luiselli’s terrain.

Revolting Russians by Chris Cumming
Palace Revolution

The revolutionary strategies of It’s No Good by poet Kirill Medvedev and the 2012 documentary Winter, Go Away

Originally published in

BOMB 9, Spring 1984

Nicolas Echevarria, Pam Yates, art by James Nares and Tom Otterness, writing by Daisy Zamora, Kathy Acker, Glenn O’Brien, and more.

Read the issue
009 Spring Summer 1984