BOMB 99 Spring 2007
“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.”
“The more I learned about him the more addicted I became, the more I wanted to meet absolutely anybody who had met him.”
“It’s difficult to see the relationship between your own thinking and your composing.”
“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.”
“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.”
“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.”
This First Proof contains The Portrait, an excerpt from The River Queen.
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.
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.
This First Proof contains a passage from I’Jaam: An Iraqi Rhapsody.
This First Proof contains the story The Great Lawn.
This First Proof contains the story Belisario, translated by Mark Schafer.
This First Proof contains the story “Love (ii).”
This First Proof contains an excerpt from Like Son.
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.
Marjorie Welish on the work of Joe Fyfe.
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.
Allow me to admit up front that I have never been much into music.
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.
Contrary to some strains of popular belief, collectivism is artmaking not only with many but for many.
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.
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.
Talk shows: at once a parade of exploited traumas and a public forum for social issues.
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.
In Latin American literature there is a splendid tiger, the most precious wild cat in all our literature.
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.
Two books titled Parallel Play were recently released by different publishers to the complete surprise of both authors.
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;