A globe-hopping novel ruminates on drift and disaster.
Earthquakes, rain of blood, and other fun things in Jean Echenoz’s We Three
On the second anniversary of the day Hurricane Sandy made landfall in New York, Klaus Biesenbach, the director of MoMA PS1, posted an image of the Statue of Liberty overrun by a tidal wave from the disaster movie The Day After Tomorrow to his Instagram, writing: “2 years ago #Sandy hit making clear how vulnerable the city is.”
“If this is what this material does now, just treat it as a positive thing.“
The title of Claire Vaye Watkins’s first novel, Gold Fame Citrus, names just three of California’s historic exports. It’s a list to which, just for fun, we might add surfing, In-N-Out Burger, health fads, The Doors, cults, and—at least lately—post-apocalyptic novels.
Transcripts, technical language, and airline disasters.
Rebecca Keith speaks with author Jesmyn Ward about her National Book Award-winning novel Salvage the Bones.
Nick Stillman points to Christopher Saucedo’s September 11, 2001 (Please Stop Saying 9/11) as an example of artistic retrospective through portraiture and branding.
Sabine Russ maps Wolfgang Staehle’s 2001 onto 2011, tracing the painful and cathartic implications of its memory.
In the ambitious stories in Shepard’s latest collection, You Think That’s Bad, psychological insight is derived from the characters’ exposure to extreme duress. Shepard discusses his short stories with fiction writer Christie Hodgen.
This First Proof contains an excerpt from The Color of Night, by Madison Smartt Bell.
Hirschhorn’s site-specific, hyper-saturated installations enjoy what he calls “wastefulness as a tool or weapon.”
Listen to Madison Smartt Bell reading from his novel The Color of Night in the eleventh installment in BOMB’s literary podcast series, originally published in BOMB 115.
Filmmaker Taylor delves into Solnit’s book, A Paradise Built in Hell: The Extraordinary Communities that Arise in Disaster, where the preconceptions of human nature are exposed and the triumphs of civil society are extolled.
In the first installment in BOMB’s Fiction for Driving Across America series, Peter Orner reads his short story “Herb and Rosalie Swanson at the Cocoanut Grove,” published in BOMB 103’s literary supplement, First Proof.
When asked what his plays were about, Harold Pinter once famously and facetiously replied that they were all about “the weasel under the cocktail cabinet.”
Two decades after it happened Herb Swanson began to tell it at dinner parties.
Here’s what it’s like to bear up under the burden of so much guilt: everywhere you drag yourself you leave a trail. Late at night, you gaze back and view an upsetting record of where you’ve been.
“All I want is to see where I’m going next.”
—Amy Hempel, Tumble Home