BOMB 59 Spring 1997

Issue 59 059  Spring 1997
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Gilles Peress by Carole Kismaric

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.

Matthew Ritchie by Jenifer Berman
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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.

Tim Roth by Gary M. Kramer & Steve Buscemi
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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 by Suzan Sherman
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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.

Kendall Thomas by Lynne Tillman
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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.

Christian Wolff by Damon Krukowski
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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.

Emmylou Harris by Lucinda Williams
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Country girls Emmylou Harris and Lucinda Williams talk about song writing, guitar playing and “Y’all-ternative.”

George Walker by Stephen Haff
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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.

Wallace Shawn by Patrick McGrath
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A revival of Wallace Shawn’s Marie and Bruce directed by Scott Elliot is now in previews at the Acorn theater. Back in BOMB 59 he does lunch with novelist Patrick McGrath.

Artists on Artists
Remembering: Wolf Kahn by Stanley Moss
Wolf Kahn 02

A singular presence in American painting for the past four decades, Kahn is famously obscure.

First Proof
Bruiser by Richard House

This First Proof contains an excerpt from the novel “Bruiser.”

Untimely Meditations by Saul Williams

This First Proof contains the poem “Untimely Meditations.”

Brothers Keep Me Up by Suheir Hammad

This First Proof contains the poem “Brothers Keep Me Up.”

Jupiter by T'Kalla

This First Proof contains the poem “Jupiter.”

Two Poems by Tai Allen

This First Proof contains the poems “God Conscience the Build and Destroy Lesson,” and “Why Eye Stare at You So Much.”

Memory of Loss by Amanda Means
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This First Proof contains flower images, Memory of Loss by Amanda Means.

Wolf Soup by Vijay Seshadri

This First Proof contains the poem “Wolf Soup.”

Brooklyn Moon Cafe Poets by Zoë Anglesey

This First Proof contains a written reflection on featured Brooklyn Moon Cafe Poets by Zoë Anglesey.

Two Poems by Connie Deanovich

This First Proof contains the poems “Frankenstein,” and “American Avalon.”

Nosotros Necesitamos Zapatos Para Zapatistas by Federico Perez

This First Proof contains the poem “Nosotros Necesitamos Zapatos Para Zapatistas.”

Van Gogh’s Bad Café by Frederic Tuten

This First Proof contains the first chapter from the novel Van Gogh’s Bad Café.

Sid by Jah'ni

This First Proof contains the poem “Sid.”

Jazz by Jasiri

This First Proof contains the poem “Jazz.”

The Sweetest Revolutionary by Jessica Care Moore

This First Proof contains the poem “The Sweetest Revolutionary.”

Kill Kill Faster Faster by Joel Rose

This First Proof contains an excerpt from the novel Kill Kill Faster Faster.

Requiem by Kathy Acker

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.

The Keepsake by Kirsty Gunn

This First Proof contains an excerpt from the novel The Keepsake.

Two Poems by Mariahadessa Ekere Tallie

This First Proof contains the poems “Raindrop Women,” and “Lineage.”

Editor's Choice
Vikram Chandra’s Love and Longing in Bombay by Betsy Sussler
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Vikram Chandra’s Bombay shimmies with contradiction, seduction, and trouble.

Cédric Klapisch’s When the Cat’s Away by Liza Béar
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Paris, like New York, is suffering irrevocable change under the rousing banner of real estate development.

Patrick McGrath’s Asylum by Betsy Sussler
​Patrick McGrath

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.

Linda Yablonsky’s The Story of Junk by Lynne Tillman
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Addiction, to drugs, food, love, TV, alcohol, sex, gambling, is the American narrative theme of the late-20th century.

Rick Moody’s Purple America by Betsy Sussler
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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.

Fernanda Eberstadt’s When the Sons of Heaven Meet the Daughters of Earth by Anney Bonney
​Fernanda Eberstadt

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 … “;

Robert Antoni’s Blessed is the Fruit by Jenifer Berman
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One part quinine; another obeah magic; finally, scissors.

Yannick Murphy’s Sea of Trees by Suzan Sherman
​Yannick Murphy

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.

Kula Shaker: Retroculture by Lynn Geller
​Kula Shaker

A friend of mine once conjectured, What if the ’60s weren’t an era, but a place one could still visit?

Brad Mehldau by Zoë Anglesey
​Brad Mehldau

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.

Carolee Schneemann: Like a Cat on a Fish by Darryl Turner
Schneemann Up to and Including

Thinking is not an incorporeal process. The mind is a muscle.

Judith Belzer by Jack Stephens
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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?

Ingrid Calame by David Pagel
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Sometimes it’s fun to listen to the sounds abstract paintings make in your imagination.

Don Gast’s When We Were Kings by Jenifer Berman
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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.

John Singleton’s Rosewood by Susan Shacter
​Ving Rhames in John Singleton's Rosewood

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.

David Lehman’s Valentine Place by Robert Polito
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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’.”

Bradford Morrow’s Giovanni’s Gift by Jim Lewis
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Giovanni’s Gift is Bradford Morrow’s fourth novel, his second in two years, and it brings his corpus around an interesting bend.

Roger Newton by Adam Fuss
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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.

Remembering: Keith Sonnier by Betsy Sussler
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In loving memory of our friend and one of America’s great artists. 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.

Vincent, A Delirium by Eric Fischl
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Three Works by Gary Hill
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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.

Letter from the Editor by Betsy Sussler
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