BOMB 153 Fall 2020
by Steffani Jemison
by Kevin Brockmeier
Some Thoughts on Diaspora and Hybridity
by Lorraine O’Grady
by Malcolm Peacock
Decade of Fire is a remarkable tale of the Bronx’s rise from ash, standing to set the record straight about the fires that ravaged the borough in the late ’60s and ’70s.
Tilda Swinton once said in an interview, referring to her collaborator Derek Jarman, director of Wittgenstein (1993): “He was the material of his own work.”
Lafawndah extends outward, drawing on the emotionally charged myths of N.K. Jemisin’s Broken Earth trilogy to guide her.
In mid-March, a still from the reality show Big Brother in Germany circulated on the Internet. It showed the contestants, who had been locked in a house together since early February, relaxing in a hot tub, blissfully unaware of the pandemic surging across the globe.
“With my straight razor, I unmask the lie,” Rainald Goetz read at a literary prize competition in 1983. Then, Goetz picked up a blade and sliced open his forehead, nonchalant.
Wainwright talks about his tenth studio album, the “anemic” state of pop lyrics, and why Leonard Cohen—not Bob Dylan—should have won the Nobel Prize.
As an Indigenous poet, Belcourt is creating space for himself and his community in “a world we did not want, a world that we did not build for ourselves.”
Baum’s work unearths and explores the incidental poetry of UFO sightings, dog-eared paperbacks, and obsolete artifacts like card catalogs.
The archivist and writer’s recently translated triptych fuses autofiction, essay, and criticism to study the complex lives of three female artists in the public eye.
At thirteen, I felt my body slopping. Though I sat in the middle of the nurse’s height-weight chart, though I’d memorized the textbook diagram with its cake-like cross-section of flesh (epidermis, dermis, hypodermis stippled yellow with fat), my problem went deeper than biology.
Yi Sang (1910–1937) was a poet and a short story writer during the Japanese occupation of Korea. Despite his brief literary career, he left behind perhaps the most influential body of work in modern Korean literature.