BOMB 69 Fall 1999

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Edward Said by Phillip Lopate
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Edward Said talks with writer Phillip Lopate about his book, Out of Place, a memoir of his childhood and formation into the itinerate conscience of the intelligentsia and figurehead of postcolonial politics that we know him as today.

Margaret Cezair-Thompson by Randall Kenan
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Jamaica, a truly post-lapsarian paradise, is the subject of Margaret Cezair-Thompson’s The True History of Paradise. Fellow writer Randall Kenan dives into the scenery, the intent and the influences that gave birth to this epic first novel.

Laurie Anderson by Clifford Ross
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In 1999, Laurie Anderson mounted her operatic take, Stories and Songs from Moby-Dick, on Melville’s classic at the Brooklyn Academy of Music. Clifford Ross joined her for tea and conversation over Melville’s very own bible—marginalia included.

Peggy Shaw by Craig Lucas

Legendary cross-dresser and co-founder of the theater troupe Split Britches joins playwright Craig Lucas for non-stop laughter and revelations about alternative theater, life, drugs, and the busting of conventions in general.

Judy Pfaff by Mimi Thompson
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In a time when science and art refuse to behave categorically, Judy Pfaff’s work moves even farther beyond, bending the rows that keep things in line.

Carlo Ginzburg by Archie Rand
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Renowned for his work on the witchcraft trials of the Inquisition, Italian historian Carlo Ginzburg shifted centuries to document a trajectory of crime, repentance and conspiracy that extends back 30 years.

 Raymond Pettibon by Grady T. Turner
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Raymond Pettibon found his calling as an artist at about the same time punk hit Los Angeles in 1978.

Errol Morris by Margot Livesey
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Sometime in the mid-1970s Errol Morris read a headline in the San Fransisco Chronicle—“450 Dead Pets To Go To Napa”— and decided to make a film about pet cemeteries. 

Artists on Artists
Erwin Pfrang by Carroll Dunham
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Erwin Pfrang must have an itch that he can only reach by drawing. He fiddles around in some toxic waste site of the mind, pulling pictures out of cavities where anything could lurk. 

Mala Iqbal: Figure Becomes Landscape by Roberto Juarez
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The quality of Mala Iqbal’s action figures and the fluid relationship to their environment was what sucked me into her animated world.

Melissa Marks by Betsy Sussler
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Melissa Marks’s character Volitia cavorts through her drawings with the impudence of Nabokov’s Lolita and the sly pleasure of a cherub. 

David Seidner (1957–1999) by Betsy Sussler
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I’m not sure when I first met David, at some point when we were both new to New York, I think.

First Proof
Field Trips by Stuart Dybek

We took two field trips in grade school. The first was a tour of the Bridewell House of Corrections and the Cook County Jail.

Untitled by José Guadalupe Posada
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Writing Class, Inpatient Psychiatry, Adolescent Unit by Belle Waring
Women’s Pantomime by Ben Marcus

The first obstacle to excellence in women’s pantomime is the surplus of small bones in the face, feet, hands, and body. 

Fragments and Poems From the Ancient Greek by Brooks Haxton
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The Right to Rave by Eduardo Galeano
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The new millennium is already upon us, though the matter shouldn’t be taken too seriously.

The Duration of Hell by Jorge Luis Borges

Hell has become, over the years, a wearisome speculatio

Thirteen Poems by Lydia Davis

This article is only available in print.

Firefly by Rebecca Wolff
Editor's Choice
Macy Gray’s On How Life Is by Rone Shavers
​Macy Gray

Singer Macy Gray’s smoky, scratchy, full-bodied voice is paradoxical. Let it be said that she can belt it like Aretha, growl it like Tina, and is as unmistakable as Dinah, Eartha, or Nina in her range, tone, and delivery.

Television’s The Blow-Up by David Krasnow

The live double album: an icon, a period piece. Its bombast is still with us, but not its excess (double CDs crimp sales), certainly not its raw aesthetics.

Mike Marqusee’s Redemption Song by Lawrence Chua
 Muhammad Ali and Malcolm X

The man the world knows as Champion came into being on February 26, 1964. Cassius Clay had just defeated Sonny Liston and taken the heavyweight title and he announced his involvement with the Nation of Islam to the press. 

Lucy Ellman’s Man or Mango? by Minna Proctor

My mother got to it before I did. An insatiable reader of anything remotely constituting serious literature, she rescued it from my tirelessly proliferating pile of “I’ve been meaning to…”

Maggie Estep’s Soft Maniacs by Suzan Sheman
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These stories, unlike typical, neatly plotted and contained narratives, are overflowing with crass and sometimes crude encounters, initially shocking, refreshing, and also incredibly funny. 

Melissa Monroe’s Machine Language by Thomas Bolt

Melissa Monroe’s extraordinary first book of poems captures not only the pleasures but the revelations of language.

Mark Jude Poirier’s Naked Pueblo by Jenifer Berman

Mark Jude Poirier arrives, kicking up the desert dirt like a pickup spinning donuts on a dehydrated lawn. 

Mayra Montero’s The Messenger by Betsy Sussler
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In June 1920 a bomb exploded at the Teatro Naçional in Havana. 

Spike Jonze’s Being John Malkovich by Nic Roman
Being John Malkovich

Fantasies of escape—from the doldrums, inadequacies, disappointments, alarm clocks, from the inevitability of the daily—take myriad form, most frequently geographical. To the seaside, to the mountains, to the suburbs, to Paris!

Mark Illseley’s Happy, Texas by Lynn Geller
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The aptly named Happy, Texas makes a case for rehabilitation when two escaped prisoners steal an RV and gain humanity by taking on the personae of a gay couple on their way to direct a “little miss” beauty pageant. 

Romance by Liza Béar
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Part sexual farce, part gender revenge fantasy, Romance is the first of Catherine Breillat’s six resolutely irreverent films, made over a 20 year period, to get a US theatrical release.

The Acid House by Joshua Wolf Shenk
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Lyle Starr by Nicole Burdette
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The first step into a gallery is often the most telling and for some artists a blessing—this is true for Lyle Starr. 

Bruce Altshuler’s The Avant-Garde in Exhibition: New Art in the 20th Century by Saul Ostrow
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Though anecdotal in form, the book’s message is that the conceptual schema dominating our perception of modernism is not the whole story. The past represented is interesting not only for its historical value, but also for the alternative models and traditions.