BOMB 59 Spring 1997
Gilles Peress, one of the most perspicacious and intrepid eyes in photography, covers the ongoing troubles in Northern Ireland, and the civil wars in Bosnia and Rwanda.
Artist Matthew Ritchie’s “project”—his paintings, sculptures and website—fuses myth, science and a host of funny-headed characters into a brave, new interactive world.
Fellow actors Tim Roth and Steve Buscemi get together over beers to catch up. Way before Tarantino let him loose in Reservoir Dogs, Roth already had a string of electrifying performances in some of England’s most daring films.
Amy Hempel, one of our most respected experimental writers, mixes grief and humor to redefine the “story.” In her story collection Tumble Home, Hempel writes about people who have overcome and found everything they need.
Civil rights theorist and law professor Kendall Thomas talks to novelist Lynne Tillman about the legal history of racism, violence and the right to privacy in the United States. This article is part of the Bohen Series on critical discourse.
Avant-garde composer Christian Wolff speaks to ex-Galaxie 500 drummer Damon Krukowski about John Cage, indeterminacy, and the body politic of music and its audience.
Country girls Emmylou Harris and Lucinda Williams talk about song writing, guitar playing and “Y’all-ternative.”
Stephen Haff has directed the American premieres of Canada’s most respected playwright, George Walker. Often compared to Sam Shepard, Walker creates working-class characters who walk the edge of comedy and despair.
This First Proof contains an excerpt from the novel “Bruiser.”
This First Proof contains the poem “Untimely Meditations.”
This First Proof contains the poem “Brothers Keep Me Up.”
This First Proof contains the poems “God Conscience the Build and Destroy Lesson,” and “Why Eye Stare at You So Much.”
This First Proof contains flower images, Memory of Loss by Amanda Means.
This First Proof contains the poem “Wolf Soup.”
This First Proof contains a written reflection on featured Brooklyn Moon Cafe Poets by Zoë Anglesey.
This First Proof contains the poems “Frankenstein,” and “American Avalon.”
This First Proof contains the poem “Nosotros Necesitamos Zapatos Para Zapatistas.”
This First Proof contains the first chapter from the novel Van Gogh’s Bad Café.
This First Proof contains the poem “The Sweetest Revolutionary.”
This First Proof contains an excerpt from the novel Kill Kill Faster Faster.
Scene I. This could be a room in any corporate office. Dark red couches, strewn here and there like the small rugs below them, light up the grey of the walls.
This First Proof contains an excerpt from the novel The Keepsake.
Vikram Chandra’s Bombay shimmies with contradiction, seduction, and trouble.
Paris, like New York, is suffering irrevocable change under the rousing banner of real estate development.
Patrick McGrath is a master at thrusting his reader headlong into the minds of seemingly cogent and sane narrators who describe the bizarre and often mad passions of others.
Addiction, to drugs, food, love, TV, alcohol, sex, gambling, is the American narrative theme of the late-20th century.
Purple America has the acid overtones of Hendrix’s “Purple Rain” coupled with the rollicking control of a writer who knows exactly what he’s about.
Ogden Nash, in his Civilization Is Constant Vexation, disputed this anecdote, “ … America is the only country in history that has passed directly from barbarism to decadence without passing through civilization at all … “;
One part quinine; another obeah magic; finally, scissors.
Yannick Murphy’s first novel Sea of Trees describes, with an eye for both beauty and irony, the effects of imperialism on a young girl named Tian and her family.
A friend of mine once conjectured, What if the ’60s weren’t an era, but a place one could still visit?
Jazz pianist Brad Mehldau has joined a Los Angeles group called Escape From New York with Ralph Moore, Robert Hurst, and Marvin “Smitty” Smith of The Tonight Show Band for a weekly club gig. The recent move by this 26-year-old Hartford native to the City of Angels seems to nurture recondite ways.
Thinking is not an incorporeal process. The mind is a muscle.
When I stand before Judith Belzer’s leaf-lavish canvases, I find my mind’s eye crawling hands and knees through thick underbrush, looking for what—my lost baseball, ripe berries, a childhood sanctum?
Sometimes it’s fun to listen to the sounds abstract paintings make in your imagination.
Twenty-three years and multiple producers later, Gast finally edited his 300,000 feet of film into a taut and stirring 90 minutes, attesting as much to his own tenacity and perseverance as his star’s.
It’s pretty exciting when a filmmaker’s work takes a giant leap—way beyond anything he’s done before—and just blows you away with its strength, horror, and sorrowful beauty.
In “The Choice,” a sly, characteristically disconcerting poem in his latest collection, Valentine Place, David Lehman quotes a coolly conflicted lover: “‘War and peace may be great themes,‘ He said, ’but adultery is greater’.”
Roger Newton practices the photography of the unseen and indefinable by dispensing with the preformed materials of a craft and by a mastery of the archaic theories of silver and light. He’s entered a personal Lascaux and discovered the meaning of the passage of light through honey.
Calligraphy drawn from the age of satellites beaming and technology blaring, Keith Sonnier’s sculptures, urban neon and country trash, fuse the detritus of popular western culture with the suggestiveness of eastern imagery.
Gary Hill’s installations combine video, sound, and text into highly visceral experiences that incorporate the body and the viewer’s sense of place and being.