BOMB 106 Winter 2009
Though we share acquaintances, Smiljan Radic and I have never met in person, nor spoken over the phone. This interview is the result of a series of email exchanges between Smiljan in Santiago and myself in Mexico City during October of 2008.
“tradition is one thing and conservatism is another. You conserve something that is not alive, something that no longer functions, that is rotten. If something is alive there is no need to conserve it. Nobody conserves a garden.”
The most radical living nonagenarian, Chilean Nicanor Parra has been practicing antipoetry for over half a century. In this essay poet Raúl Zurita releases the detonating force of Parra’s classic text/image artifacts.
“You feel so guilty about copying yourself, about using yourself as a reference, that at times it’s easier to swipe things from others.”
“As I see it, the crisis of Minimalism—its implicit puritanism—isn’t unique to Chile or to Latin America, but, rather, is global.”
César Aira’s body of work is a perfect machine for invention—he writes without necessity or any apparent forebears, always as if for the first time.
Crazy people tend to have lots of talent. It must be a sort of compensation.
“Venice, a great sewer of traditionalism”
Héctor Figueroa Watching the Stars
I go to work like a lonely man
From La máquina de hacer paraguayitas (The machine for making little Paraguayans)
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.
Only a few days are left before another birthday, and if I’ve decided to begin this way it’s because two friends, through their books, have made me realize that these days can be a cause to reflect, to make excuses, or to justify the years lived.
The carousel, the roundabout, the what-
Brazil was a giant torpedo, green,
and several World War II soldiers at its feet.
Andrew Moszynski on why optimism is at the heart of the socioeconomic statements Fernanda Laguna makes with her paintings, drawings, poems and plays.
Sebastián Patané Masuelli once answered an asinine question of mine about his influences with the quip, “If we had planned to arrive in this country we would have done certain things in advance, like learn the language.”