Discover MFA Programs in Art and Writing

BOMB 78 Winter 2002

Bombcover 78 1024X1024
issues-c-f All Issues Buy Issue
Interviews
Roberto Bolaño by Carmen Boullosa
Roberto Bolaño 01

The late Chilean writer Roberto Bolaño (1953–2003) belonged to the most select group of Latin American novelists. He speaks with Carmen Boullosa in this interview.

Laura Restrepo by Jaime Manrique
Restrepo 01 Body

I had never conducted an interview via e-mail before my conversation with the Colombian author Laura Restrepo; therefore, I wasn’t prepared to get answers that had the quality of polished writing. 

Miguel León-Portilla by Jean Meyer
Article 2458  Portilla 01

Miguel León-Portilla is a man smiled upon by the gods, or the muses—Clio, in particular. 

Nancy Morejón by Sapphire
Nancy Morejón 01

Nancy Morejón is one of Cuba’s most preeminent poets, and the most internationally successful and widely translated woman writer of the post-revolutionary period. Her work speaks of African Cubans, of women, and of the people of her local Havana.

Graciela Sacco by Marguerite Feitlowitz
Sacco 01 Body

Born in Rosario, Argentina, in 1956, Graciela Sacco is both a distinguished professor of theoretical issues in 20th century Latin-American art and an artist who has literally worked in the streets. 

Tunga by Simon Lane
Tunga 01 Body

The magician never gives away his secrets. Tunga is content to explain his, yet the sum of these secrets remains a mystery.

Los Carpinteros by Trinie Dalton
Carpinteros 01 Body

Los Carpinteros are a Cuban trio who create sculptures and large-scale public works all around the world. They have established their reputation as itinerant artists who juggle cultural assumptions by making architectural forms and structures that reflect upon our constructed cityscapes. 

Artists on Artists
Beatriz Milhazes by Adriano Pedrosa

Beatriz Milhazes’s paintings are executed in a small studio next to Rio de Janeiro’s luscious botanical gardens.

Cabelo by RoseLee Goldberg
Cabelo 01

Last November, I visited Brazil for the first the, and only then did I begin to understand the work of artists who had been familiar to me at a distance.

Gustavo Artigas by Euridice Arriata
Gustavo Artigas 01

The audience for Gustavo Artigas’s performance The Rules of the Game at inSITE2000, a Tijuana/San Diego binational arts project, could hardly have guessed what lay in store for them.

First Proof
Two Stories  by Claudia Hernández

This First Proof contains the stories “Highway Without an Ox” and “Sewer Fauna,” translated by Mary Ann Newman.

Meaning to Eat by Antonio José Ponte

This First Proof contains Chapter 6 from Meaning to Eat translated by Mark Schafer.

Lunatic Tertulia by Julio Herrera y Reissig

This First Proof contains the poem “Lunatic Tertulia” translated by Forrest Gander.

Two Poems by David Huerta

This First Proof contains the poems “Prayer for August 21” and “The Cauldron,” translated by Mark Schafer.

Final Spells of Vertigo in the Vestibule by Francisco Proaño Arandi

This First Proof contains the story “Final Spells of Vertigo in the Vestibule” translated by Harry Morales.

Black Ball by Mario Bellatin

This First Proof contains the story “Black Ball.”

A Morning Made for Happiness by Liliana Heker

This First Proof contains the story “A Morning Made for Happiness.”

Hypertension by Horacio Castellanos Moya

This First Proof contains the short story “Hypertension,” translated by Beatriz Cortez.

Two Poems by Osvaldo Sauma

This First Proof contains the poems “Needless Immersion” and “Mission,” translated by Zoë Anglesy.

Five Poems by Luis Alberto Crespo

This First Proof contains five poems, “Otra,” “I Learned To Bow” and “Seven,” translated by Esther Allen, with a reflection on the poet by Matilde Daviu.

More
No Justice, No Peace by Jeremy Gilbert-Rolfe

I was up early in the morning and saw and heard the television reports as it happened. I was shocked but not surprised.

Notes from the Editors: September 11 by Glenn O'Brien, Leslie Dick, Jeremy Gilbert-Rolfe, Craig Lucas, Deborah Eisenberg, Betsy Sussler, Silvana Paternostro, Mary Morris, Alison Summers & Jack Stephens

Everyone in New York has cried a wall of tears since it happened.

From an E-mail to a Close Friend from High School: September 16, 2001 by Jack Stephens

Every time I see a construction worker, Red Cross worker, Salvation Army captain, policeman, fireman, Sanitation Department broom pusher walk by my Greenwich Street window, I want to cheer and weep—this brave parade to the pit of doom.

September 11 by Betsy Sussler

Everyone in New York has cried a wall of tears since it happened. 

Vocabulary fades, ghostlike … by Leslie Dick

What do we call what happened? 

From a Letter to Russell Banks on September 16, 2001 by Mary Morris

For the past year I have watched the bloodshed unfold in Israel, the West Bank, and Gaza.

October 1, 2001 by Craig Lucas

Throughout the Cold War, the American people were successfully talked into conflating our constitutionally guaranteed freedoms with “free-market capitalism.” These are two different things. There is nothing in the Constitution about profits or markets or capitalism. It’s time to put an end to profiteering as the primary goal behind our foreign policy.

Where Is the Danger? by Silvana Paternostro

On Tuesday Morning, the definition of danger that I had lived with was destroyed. Up until that moment, when I saw images that I will never forget, the answer was simple: danger was in Colombia.

September 26, 2001 by Deborah Eisenberg

Everyone is so tired—everyone I speak to—so forgetful; it’s so difficult to concentrate, everyone says. 

New York Cut Up by Glenn O'Brien

And that’s when it happened. The fucking enemy shows up.

From a Transcript Written for the London Times, September 12, 2001 by Alison Summers