Mythology

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Dispatches from Proje Su by Aidan Koch & Margaret Ross Tolbert
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For the past five years, artist Margaret Ross Tolbert has been traveling to southern Turkey to the site of ancient Lycia, an autochthonous culture with roots in the Bronze Age, later Hellenized, and eventually controlled by the Romans.

Inhabiting Realities: An Interview with Novelist Akwaeke Emezi by Sasha Bonét
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The Freshwater author on the ogbanje, Igbo, rejecting gender binaries, and using private journals as creative archives.

Ecofeminism: Faith Wilding Interviewed by Heidi Norton
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Investigating the interface between humans, nature, and technology.

Portfolio by Cy Gavin
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“How does it feel to be a problem? they say, I know an excellent colored man in my town; or, I fought at Mechanicsville; or, Do not these Southern outrages make your blood boil? To the real question, How does it feel to be a problem? I answer seldom a word.

Dante’s Inferno, Canto XXXIV by Mary Jo Bang
Henrik Drescher.

“The banners of the King of Hell come forth,”
My teacher said, “and straight at us.
Look ahead and see if you can see him.”

The Chameleon Couch by Levi Rubeck
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“I say your name, & another dies in my mouth because I know how / to plead / till a breeze erases the devil’s footprints.” Levi Rubeck reviews Yusef Komunyakaa’s book of poetry The Chameleon Couch.

Epistolary Review: The Evolutionary Revolution by Jackie Wang

Wait a minute Mr. Postman! Is there are review in your bag for me? BOMB contributor Jackie Wang kicks off her Epistolary Review series with Lily Hoang’s The Evolutionary Revolution.

Michael Ballou by William Corwin
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Michael Ballou distrusts traditional art world classifications. His work is practical art; it follows his frank, literal, and can-do attitude of the Midwest, though often at the core of that onion is an idea so fleeting and spontaneous that a long contorted story involving a cast of dozens is the only explanation.

Giant by Josiah Bancroft
Josiah Bancroft

Giant

The giant is dead; died of natural causes

Borges’s Dagger by Rolando Hinojosa-Smith

In Norman Thomas de Giovanni’s fine translation of Borges’s poem regarding a dagger resting in a desk drawer, a dagger, by the way, given Borges by his good friend and fellow Argentinian writer, Evaristo Carriego, Borges muses on the dagger’s lack of violent use. 

Two Poems by Donald Platt

Elegy in the Rainbow Season

Wilson Harris by Fred D'Aguiar
Laurie Sheck by Susan Wheeler
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I first met Laurie Sheck in the summer of 1995, at another poet’s, Julie Agoos’s place in Princeton. Laurie lived in Princeton too, and taught at Rutgers, and I was there visiting friends for the day. 

José Bedia by Grady T. Turner
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José Bedia’s art is as fresh as wet graffiti and as ancient as cave paintings. 

Achmat Dangor’s Kafka’s Curse by Betsy Sussler
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Like the gods and mortals in Ovid’s Metamorphoses, the characters in Achmat Dangor’s novel Kafka’s Curse transform—from Muslim to Jew, woman to hawk, man to tree; they seek revenge or love in horrible and wonderful ways; they betray or are betrayed. 

Gregory Crewdson by Bradford Morrow
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Gregory Crewdson’s photographs of expansive dioramas recall Duchamp, Emerson, and the American suburbs. The documentary Gregory Crewdson: Brief Encounters is in limited release now.

Wolf Soup by Vijay Seshadri

This First Proof contains the poem “Wolf Soup.”

Matthew Ritchie by Jenifer Berman
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Artist Matthew Ritchie’s “project”—his paintings, sculptures and website—fuses myth, science and a host of funny-headed characters into a brave, new interactive world.

Mac Wellman by Linda Yablonsky
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Mac Wellman has written forty plays in twenty years. He speaks with Linda Yablonsky about his past work (“Bad Penny was the best thing I ever did”) and his adaptation of Ovid’s Metamorphosis, set in Florida.

Carroll Dunham by Betsy Sussler
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“That’s why coming back to dreams, I know what people mean when they say that but dreams are not abstract. In my dreams I use images from the world to make stories. I don’t think of my work in terms of storytelling. Perhaps as instantaneous potential for a story, you could look at one of my paints and say, something’s happening. But not in the sense of a plot line.”

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