BOMB 81 Fall 2002
Collaboration between poets and their peers in poetry and painting is a crucial element of modernism and of avant-garde art in general, and it’s a prized feature of the New York School.
Even though—or perhaps because—it’s such a small country, Lebanon has been swept up in a number of major geopolitical encounters over the past 200 years.
I should begin by saying I am always looking for films that support the notion that there is, as has been said by more than one influential writer on the documentary, the possibility of a creative use of actuality.
Mahmoud Darwish was the 2001 winner of the Lannan Prize for Cultural Freedom. He is considered one of the foremost poets of the Arab world.
I’ve known Jeffrey Eugenides for several years and in several contexts—first as one of his readers, then as a student of his at Princeton, and now as a friend
One stormy night this summer in New York, I trekked over to Steve Reich and Beryl Korot’s place to see and hear their new video opera, Three Tales
Peter Elley on how the artist Caio Fonseca and his paintings transcend business-as-usual in the art world.
Betsy Sussler on the wide-ranging sexual innuendo of Emily Eveleth’s paintings.
Janet Olmsted Cross on the bold, tough building designs of the Orchard Group.
This First Proof contains an excerpt from Caramelo.
This First Proof contains the poems “Jerusalem,” “The Sirens,” and “Greetings from Angelus (Paul Klee Angelus Novus).” Translated by Richard Sieburth.
from L’eau étrangère (1993)
This First Proof contains an excerpt from “The Chinese Sun.” Translated by Evgeny Pavlov.
Hear me, Lord, please contain me.
I was in flames the time you poured
the wind down through the cradlesof my blue ears, when you rattled
the brittle palms lovely in my ears.
This First Proof contains the poems “57th X-ing,” “58th X-ing,” “59th X-ing,” and “60th X-ing.”
This First Proof contains the story “Midday.” Translated by Margaret Carson.
This First Proof contains an excerpt from “The Book of John.”
Artist Josh Müller uses a variety of methods to draw into question how audiences interpret film, from resetting and rephotographing travel magazine models to taping a rescreening of a popular television series.
Chie Fueki’s paintings are both shimmeringly beautiful and richly meaningful, offering many layers of interpretation and allusion and drawing on roots as disparate as Jasper Johns and Japanese bijinga painting.
Personal Velocity, starring Kyra Sedwick, Parker Posey, and Fairuza Balk, is director/screenwriter Rebecca Miller’s depiction of three adult women trying to regain their lost selves.
Reviewer and DJ Eric David Johnson recommends Múm’s latest CD Finally We Are No Onefor painters and others looking for an album that perfectly combines musical absence and presence, like a music box in a dream.
Holly Block’s survey of contemporary Cuban art highlights artists, such as González, Álvarez, and Suarez, who neither explicitly support Castro’s reign nor obviously oppose it, but find a middle ground of artistic expression.
Penberthy’s collection of the poetry of Lorine Niedecker draws reviewer Matthea Harvey’s attention to the discourses these poems establish with poetic movements, such as the Objectivists, and particular historical figures, such as Emaneul Swedenborg.
In A Body, John Coplans confronts his readers with black-and-white self-portraits of his own 82-year-old frame.
Frederic Tuten’s novel The Green Hour portrays protagonist Dominique’s twin obsessions: with the painter Poussin and with her sometimes-lover Rex.
Employing intrigue and depth, Francine Prose examines both the artistic partnerships and the personal lives of nine female artistic inspirations, from Rossetti’s Elizabeth Siddel to Balanchine’s Suzanne Farrell.
A decade ago, with the 500th anniversary of Columbus’s voyage to the New World, a lively academic debate centered on whether the date should be celebrated, or, for all that the New World’s native inhabitants had suffered, remembered in mourning.