

BOMB 154 Winter 2021

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Editor's Choice
Alex Balgiu and Mónica de la Torre’s Women in Concrete Poetry: 1959–1979
by Ted Dodson
by Charity Coleman
Caroline Catz’s Delia Derbyshire: The Myths and the Legendary Tapes
by Max Pearl
by Nicholas Elliott
by Matthew Rivera
André Breton and Philippe Soupault’s The Magnetic Fields
by Marko Gluhaich
Douglas Crimp’s Dance Dance Film Essays
by Rosalyn Deutsche
Interviews
ART: Mary Lovelace O’Neal
by Suzanne Jackson
ART: Walton Ford
by Andrés Reséndez
LITERATURE: Mattilda Bernstein Sycamore
MUSIC: Tashi Dorji and
Aaron Turner
ART: Guadalupe Maravilla
FILM: The Ross Brothers
LITERATURE: Danielle Evans
by Jamel Brinkley
Fiction
I Fall Asleep Watching Home Videos and Dream
by Langston Cotman
Sundown at the Eternal Staircase
by GennaRose Nethercott
Three Boyfriends
by Brontez Purnell
Poetry
Two Poems
by Rae Armantrout
by Allison Parrish
by Imani Elizabeth Jackson
Comic
Chess
by Michael DeForge
Project
by Dindga McCannon and LeonRaymond Mitchell
Journal
by Steve Mumford
Alex Balgiu and Mónica de la Torre’s Women in Concrete Poetry: 1959–1979 by Ted Dodson
In the series of images, de Barros licks a typewriter’s keys, then its typebars, before becoming increasingly ensnared by the typewriter.

A sleek but sensitive compendium of cultural production and politics three years in the making and spanning more than two decades.

TV shows and films about alternate dimensions or alien planets are only convincing when paired with sounds that also seem otherworldly.

Artavazd Pelechian’s Nature is not about the end of the world, but you could be forgiven for thinking otherwise.

Reissued for the first time after fifty years, the Black Unity Trio’s rare and explosive free jazz album Al-Fatihah still resonates with the sounds of solidarity amid a scene of intense political struggle.

In 1919, André Breton and Philippe Soupault were coming of age in the wake of World War I and the Spanish influenza pandemic.
The Ross Brothers by RaMell Ross
The filmmakers question the conventions of documentation with work that seeks transparency and authenticity outside of the fiction–nonfiction dichotomy.

By embracing the rituals of healing, Maravilla’s sculptures have taken on new meaning—and dimensions—in response to the pandemic.
Compass Poems by Allison Parrish
To create her compass poems, poet and programmer Allison Parrish trained a machine learning model with two parts: one spells words based on how they sound, and the other sounds out words based on how they’re spelled.
