BOMB 107 Spring 2009
I thought I had discovered Eric Kraft when reading Taking Off, the first in a series about his alterego Peter Leroy.
As architects we work for many different clients on a wide variety of projects, from private residences to laboratories, swimming pools, libraries, and museums.
Adam Bartos is a complex and reserved observer, a laid-back official from an agency that never was, The Discerning Eyes of the Arts.
The first thing of Mary Gaitskill’s I ever read was a short statement she made at the back of The Best American Short Stories, 1993 about her story “The Girl on the Plane,” in which a man tells a woman in the airplane seat next to his that he once participated in a gang rape.
For more than 50 years Pauline Oliveros, a pioneering American composer, has been at the forefront of composition, improvisation, education, and meditation.
This First Proof contains the short story “Traveling Fools.”
This First Proof contains four poems titled “An Intersection of Leaves not Likeness” and “An Intersection of Leaves not Loss.”
This First Proof contains the short story “You Are Your Own Very Unique Snowflake”.
This First Proof contains the poems “The Birds,” “Babysittin’ Boogie,” and “Windows,” which comprised the winning entry in BOMB’s 2008 poetry prize.
Several historical moments, technological stages of development, and political agendas converge at Mount Livermore, which is located 50 miles from the US–Mexico border in far West Texas.
In the fourth installment in BOMB’s Fiction for Driving Across America series, Ben Ehrenreich reads his story “Everything You See Is Real,” published in BOMB 107’s literary supplement, First Proof.
This First Proof contains the poems “Ghost Mist (Pacific Coast Highway),” “With,” and “Glitch.”
I first met Johnson when we both exhibited in Thelma Golden’s now legendary Freestyle show at the Studio Museum in Harlem in 2001. We became fast friends over a bottle of Jack Daniel’s in a basement bar in Manhattan.
From Earth, Mars is a planet of photographs. Artists will find art in these images, and scientists science—certain truths will be revealed to each. It is a place that can only be explored by viewing oddly unfolding pictures—whether NASA’s, Hollywood’s, or those unexpectedly encountered in BOMB.
If you want to get acquainted with the paradox of ambient music, you could do worse than setting a Buddha Machine on your desk, flipping the switch, and going about your business.
Regency Arts Press, Ltd., 2008
Marfa is arguably the most enigmatic small town in America.
I didn’t grow up going to the theater, so plays for me were instructions for imagining (or also, I gathered, enacting) bizarre performance events, and curious printing practices had arisen to reproduce this unwieldy information.
The soothing Andean panpipe and the plaintive folk tune “El Condor Pasa”—these are the stereotypes associated with Peruvian music culture—stereotypes that the Lima–based ensemble Serpentina Satélite crushes with a weighty psychedelic attack.
“Vocal Executive Chides Critics of Detroit” reads a recent New York Times headline, confirming a synecdoche firmly engrained in the American imagination substituting industry for place.
Since Victor Frankenstein first conjured the monster that assumed his surname in Mary Shelley’s novel Frankenstein, his harrowing creation has assumed countless incarnations.
Los Angeles is distinctive for its magic hour; that time of day when the sun is teasing the horizon.
Tunneling to the Center of the Earth, a debut collection of stories by Kevin Wilson, turns the genre of Southern fiction on its head.