As artists, we have to find the antidote to this darkness right now, to how everything feels so compressed rather than expanded.
—
Meredith Monk
Three Poems from Heck Land: The Resorted Text by Annelyse Gelman
- Tauba Auerbach and Sam Hillmer by
- Chris Martin and Cy Gavin
- Amy Jenkins by David Shapiro
- John Akomfrah by Shezad Dawood
- Florian Meisenberg by Peter Rostovsky
- Simone Forti by Tashi Wada
- Ottessa Moshfegh by Benjamin Nugent
- Anna Moschovakis by Jennifer Kabat
Interview
- The Trees of Sawtooth Park by Ben Marcus
- Yesterday’s Papers, an excerpt from Poso Wells by Gabriela Alemán
- Stories from The Conservation of Mass by Ronaldo V. Wilson
- Three Poems from Heck Land: The Resorted Text by Annelyse Gelman
- My Feeling’s Pyramidal by Julian Talamantez Brolaski
- My Favorite Regular by Devon Marinac
- Portfolio: Tuning by Torkwase Dyson
- Tilden by Geoffrey G. O’Brien
First Proof
- Otobong Nkanga’s To Dig a Hole That Collapses Again by Jason Foumberg
- The Films of Emile de Antonio by Michael Blair
- Gunnhild Øyehaug’s Wait, Blink by Ryan Chapman
- Arturo Ruiz del Pozo’s Composiciones Nativas and Miguel Flores’s Primitivo by Renato Gómez
- Roque Larraquy’s Comemadre by J.W. McCormack
- Sesshu Foster’s City of the Future by Ammiel Alcalay
- Shezad Dawood’s Kalimpong by Sabine Russ
Editor's Choice
- Variation on 1.00056 by Paul Chan
End Page
These poems are excerpted from Annelyse Gelman’s Heck Land: The Resorted Text, a lyrical reworking of the definitive edition of William S. Burroughs’s seminal anti-novel Naked Lunch: The Restored Text. There are twenty-five in all—one for each chapter of Naked Lunch—each a scalpeled, reappropriated cut-up tape-mounted to projector transparency, then photographed recto and verso, along with dust, fingerprints, squashed bugs, and other process artifacts.
Annelyse Gelman’s work has appeared in the New Yorker, Landfall, the PEN Poetry Series, and elsewhere. She is the author of Everyone I Love is a Stranger to Someone (Write Bloody, 2014).
Related
From Andrei Tarkovsky to Lucrecia Martel, Peter Hutton to Nathaniel Dorsky, entire aesthetic philosophies, genres, and approaches to filmmaking have been rooted in the elements.
Devon Marinac is a visual artist whose practice includes painting, drawing, collage, and zine making, often in combination. Devon was born in British Columbia, raised in Mississauga, and currently resides in Toronto.
This piece consists entirely of first sentences from 268 short stories published in The New Yorker over the past 20 years, from 1997 to 2017.
Originally published in
BOMB 144,
Summer 2018
Featuring interviews with Chris Martin, Cy Gavin, Tauba Auerbach, Sam Hillmer, Amy Jenkins, Florian Meisenberg, John Akomfrah, Simone Forti, Ottessa Moshfegh, and Anna Moschovakis
