BOMB 103 Spring 2008

Issue 103 103 Cover
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Interviews

Harmony Korine by Richard Bishop

“I want the movie to be a living thing. I like the mistakes. I encourage the actors to go off and improvise and improve upon their characters. I like it when it’s a bit chaotic.”

Jonathan Lethem and Lydia Millet
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“It always appears that I am on the verge of knocking out the last few extracurricular assignments—reviews, essays, stories for anthologies (or written interviews…)—and becoming what I idealize, the ‘pure novelist.’ I never am pure.”

Steve DiBenedetto by David Humphrey
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“I want to convey the feeling that the ground can slip out from under you at any time, where the ferris wheels or octopi or helicopters are no longer recognizably depicted.”

Zachary Lazar by Christopher Sorrentino
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Philip Seymour Hoffman by June Stein
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“It’s all risk! Living a life is basically about you entering one situation after another that you may or may not want to enter. Everything has stakes, everything has meaning, everything has consequences.” Philip Seymour Hoffman

Raja Alem by Tom McDonough
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“What does ‘exile’ mean in a globalized world? To feel you’re an exile, you have to have a country you belong to.”

Joseph Bartscherer by James Welling
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“I try to make my pictures read as plausible stares.”

Tav Falco by Erik Morse
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“After being dragged off stage I awoke with the hysterical screams and cries of a shocked, bewildered, and titillated audience jumping out of their seats. This was my first event as a so-called musical performer.”

Indran Amirthanayagam and Adam Zameenzad
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“Writing a novel requires a lot of digging out, chucking away, selecting, molding, shaping, and reshaping of all the above; and then hoping for the best.”

First Proof

Fiction for Driving Across America: Herb and Rosalie Swanson at the Cocoanut Grove by Peter Orner

In the first installment in BOMB’s Fiction for Driving Across America series, Peter Orner reads his short story “Herb and Rosalie Swanson at the Cocoanut Grove,” published in BOMB 103’s literary supplement, First Proof.

Two Poems by Bradford Gray Telford

Kate Moss Queries Her Counselor on The Nature of Love

in that the “Green Group” is facility shorthand for the sex addicts whom everyone feels

Trauma by Patrick McGrath

The narrator is Charlie Weir, a New York psychiatrist. The year is 1979.

Two Poems by Elena Georgiou

Immigrant #8: Under a Public Skin

On the corner of 33rd and 5th,

Two Stories by Paul Maliszewski

A Prayer for Some of What was Lost

One hundred fourteen ballpoint pens, 97 pencils, 35 felt-tips, and at least six special pens, the expensive kind, sold as gifts from behind locked counters.

And It’s Hard for Her to Imagine It Now by Hannah Pittard

In the car she says, “I have a ticket to Chicago.” 

Yes (For Liz) by Linda Bamber

Yes, I had fun in New York.

Afterword to the play Alice Invents a Little Game and Alice Always Wins by Nick Flynn

When asked what his plays were about, Harold Pinter once famously and facetiously replied that they were all about “the weasel under the cocktail cabinet.”

Artists On Artists

Chris Martin by James Siena

James Siena on how painter Chris Martin’s long, difficult career is finally paying off.

Paulina Ołowska: Between the titles, in some third language by Elka Krajewska
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Elka Krajewska on Paulina Ołowska’s rebellious videos and installations.

Rachel Foullon by Betsy Sussler
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Rachel Foullon builds what she calls fluid hosts, decklike staircases that hold, in juxtaposition, her paper and pulp sculptures.

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Editor's Choice

Pere Portabella’s The Silence Before Bach by Alex Waterman

The Silence Before Bach opens with a white screen, as if signaling a departure from the darkness of cinema into the light and divinely inspired world of Johann Sebastian Bach. 

Hans Fjellestad’s Snails R Sexy by Sean Griffin
​Hans Fjellestad

The way a musician moves is part of the musician’s voice. 

Chicha is Coming by Renato Gómez
​The Roots of Chicha

More than a Peruvian musical genre, Chicha (from the Spanish word for a style of homemade fermented beverage) is a peculiar hybrid culture centered in Lima—the clash of jungle, Andean, and coastal idiosyncrasies resulting from waves of coastal emigration to the city that began in the ’50s. 

Nico Muhly’s Speaks Volumes by Craig Lucas
​Nico Muhly

If you stripped radiant joy of all associations to sentimentality, you might hear the work of composer Nico Muhly on speaks volumes, his first CD. 

Suzy Shaw & Mick Farren’s BOMP! Saving the World One Record at A Time by Alan Licht

This article is only available in print.

Steve Katz’s Kisss & Alexandra Chasin’s Kissed
Alexandra Chasin

The short story collections Kissed By by Alexandra Chasin and KISSSSS: A Miscellany by Steve Katz share more than a title word.

The PoPedology of an Ambient Language by Urayoán Noel
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Torres broke out of the downtown poetry scene in the early nineties, just as NEA’s chairman Dana Gioia’s jeremiad “Can Poetry Matter?” (1991) lamented poetry’s vanishing “as a cultural force.” 

Paul Graham’s a shimmer of possibility by Todd Papageorge
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Robert Lyons’s Intimate Enemy by Kristin Prevallet
Robert Lyons

Intimate Enemy brings together photographs by Robert Lyons and interviews by Scott Straus to represent the local dimension of the Rwandan genocide. 

Second Life’s Ars Virtua by Penelope Umbrico
​Still from Looks Very Tidy

Joining the online virtual world Second Life requires choosing an avatar, which can be customized if you know what you’re doing. I didn’t, so my choice of the default “girl next door” was more a choice not to be “cybergoth” or “Harajuku.” 

Ugo Rondinone: Big Mind Sky by Saul Ostrow
​Ugo Rondinone

For his most recent venture “Big Mind Sky”, the Swiss-born artist Ugo Rondinone packed 12 gargantuan and grotesquely grinning busts—each named after a month—into the cavernous space of Matthew Marks Gallery in New York.

El Anatsui: Zebra Crossing by Patricia Spears Jones
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The growing importance of African artists involved in contemporary artistic practices is exemplified by the career and work of El Anatsui, a Ghanaian sculptor who teaches in Nigeria.