BOMB 99 Spring 2007

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Bill Jensen by John Yau

“The concepts and illusions people set up to believe in are developed for psychological and physical reasons to let us function within a society. As soon as we are born, these illusions are being programmed within us.”

Cristina García by Chris Abani
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“I’m constantly sending tap roots into all sorts of unsavory places. That’s an essential part of the mystery and discovery for me. I expect to be disturbed. I hope to be discomfited.”

Mary Jordan by Nayland Blake
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“The more I learned about him the more addicted I became, the more I wanted to meet absolutely anybody who had met him.”

Reinhold Friedl by Elliott Sharp
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“It’s difficult to see the relationship between your own thinking and your composing.”

Sarah Ruhl by Paula Vogel
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“I come into the theater wanting to feel and think at the same time… That is the pinnacle of a great night at the theater.”

Robert Polidori by Michèle Gerber Klein
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“What we are looking at in these museum restorations is the society’s superego, what a society thinks of itself, and how it thinks it should be seen by itself. This is what individuals do to a room. Again this same theme. It’s the exteriorization of the soul life or of personal values.”

John Turturro by June Stein
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“The older I get, the more I realize that it’s a team effort. I don’t want to be right or wrong. I don’t care who’s right and who’s wrong. Whatever works best.”

Lore Segal by Han Ong
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“The one thing you can rely on in any situation is that the feelings you’re going to have are not the ones you think you’re supposed to have.”

First Proof

Portfolio by Gerald Slota

The Portrait by Mary Morris

This First Proof contains The Portrait, an excerpt from The River Queen.

Three Poems by Amanda Auchter

This First Proof contains the poems “Restoration of the Delphic Sibyl,” “Limbo for the Miscarry,” and “Beatitude 2” by 2006 Poetry Prize winner Amanda Auchter.

A Certain Time by Ali Bujnowski

My brother and sisters sit out on the back porch. They stagger themselves on the wooden steps, leaning their backs against the railings, their knees facing each other.

I’Jaam: An Iraqi Rhapsody by Sinan Antoon

This First Proof contains a passage from I’Jaam: An Iraqi Rhapsody.

The Great Lawn by Iris Smyles

This First Proof contains the story The Great Lawn.

Belisario by Virgilio Piñera

This First Proof contains the story Belisario, translated by Mark Schafer.

Love (ii) by Ben Ehrenreich
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This First Proof contains the story “Love (ii).”

Like Son by Felicia Luna Lemus

This First Proof contains an excerpt from Like Son.

Three Poems by Patricia Carlin

This First Proof contains the poems “Light, Tall, Very Upright,” “2.,” and “(untitled).”

Artists On Artists

Jessica Craig-Martin by Bob Holman

Bob Holman on the work of Jessica Craig-Martin.

Camille Rose Garcia by Ryan Nole
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An artists on artists text on Painter Camille Rose Garcia by Ryan Nole, accompanied by four paintings by Camille Rose Garcia, the first titled Antarctic Suburban Outpost.

Joe Fyfe by Marjorie Welish
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Marjorie Welish on the work of Joe Fyfe.

Doug Ashford by Steve Kurtz
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An artists on artists text on Painter Doug Ashford by Steve Kurtz, accompanied by several paintings by Doug Ashford, the first titled War Is Over.

Editor's Choice

Dori Hadar’s Mingering Mike: The Amazing Career of an Imaginary Soul Superstar by Steven Villereal & Steven Villereal

Mingering Mike is a fantastical recording artist whose “author” crafted dozens of albums in the 1960s and ’70s.

Marc Joseph’s New and Used by Lori Waxman
​Marc Joseph

Allow me to admit up front that I have never been much into music. 

Ann Hamilton: An Inventory of Objects
Ann Hamilton

Just as the culture is poised to relegate the book and its readers to a lost era, there comes into our presence Ann Hamilton: An Inventory of Objects to arouse our most intense desire to curl up by a winter fire with a book—this book—in our hands.

Blake Stimson and Gregory Sholette’s Collectivism After Modernism: The Art of Social Imagination After 1945 by Philip Glahn
Stimson And Sholette

Contrary to some strains of popular belief, collectivism is artmaking not only with many but for many.

Who Cares by Alexander Seth Cameron
Creative Time

In 1846 Edgar Allan Poe composed an essay titled “The Philosophy of Composition” in which he describes writing “The Raven” as though it were an entirely rational, top-down exercise, involving no nebulous inspirational moment.

Positions Series by Cary Levine

Proxemics, a collection of writings by installation artist Liam Gillick, is a departure from the previous four volumes in the Positions series: by John Miller, Thomas Lawson, Mike Kelley, and David Robbins.

Mónica de la Torre’s Talk Shows by Kristin Prevallet
Monica De La Torre

Talk shows: at once a parade of exploited traumas and a public forum for social issues.

Anthony Tognazzi’s I Carry a Hammer in My Pocket for Occasions Such as These by Nicole Steinberg

Wending my way through the stories in Anthony Tognazzini’s debut collection, I felt as if I were in an old cartoon, where zippers in thin air open compact universes, each with its own atmosphere. 

Roberto Ransom’s A Tale of Two Lions by Carmen Boullosa
A Tale of Two Lions

In Latin American literature there is a splendid tiger, the most precious wild cat in all our literature. 

Lionel Shriver’s The Post-Birthday World by Radhika Jones
​Lionel Shriver

Forty-two-year-old Irina McGovern, a children’s book illustrator in a stable relationship with a nice man, spends an evening dining out with a snooker-playing acquaintance and, brought to the brink of unexpected attraction, she kisses him.

Stephen Burt’s Parallel Play by Thomas Rayfiel

Two books titled Parallel Play were recently released by different publishers to the complete surprise of both authors. 

Wallace Shawn’s The Fever
​Wallace Shawn

Wallace Shawn’s Traveler is sick with fever, wedged between the sink and the toilet in an unnamed hotel located in an undisclosed country after a civil war. Borges’s time labyrinth imbues the atmosphere;

Brent Green by Chris Chang
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“Like holding hands with a stranger—for kind of a long time.”