Despite the economic climate and whatever bleak circumstances could engender movies like this, Milano Chow and Megan Plunkett, recent graduates from Barnard and Pratt, respectively, have been running their own independent printing presses.

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We’ve got eight weeks to go until all our interviews are archived…Whether be it a poet writing a novel in three nights, men painted blue making music with Cap’n Crunch cereal, or a painter using the floor as her canvas, something unites the artists in BOMB’s interviews. Plucking through the archives over the past few weeks, it seems that several artists allude to a similar phenomenon in their work: an acknowledgement of the unknown.

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Eight years ago, September 11th transformed New York City into a crowded hive of anxiety. Since then, there have been innumerable changes in our lives.

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Often the most theoretically interesting music is more exciting on paper than as real sound, but this is not the case for Glenn Branca’s work. Accompanying his tendency for formal experiment—he adamantly rejects the idea that all music has become pastiche is the engaging intensity that made his short-lived no wave band Theoretical Girls so well thought of.

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Suzanne Fiol, the founder and artistic director of Issue Project Room as well as a prominent figure in the New York art world for over twenty years, died on Monday, October 5th, in Manhattan. She was 49 years old.

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BOMBlog’s Word Choice features original works of poetry, fiction, and art. This edition of Word Choice, selected by Peter Moysaenko, features poetry by Howard Altmann and art by Kry Bastian.

Peter Moysaenko In the preface to your first book of poems, Who Collects the Days, you quote Stanley Kunitz as proposing “that the most poignant of all lyric tensions stems from the awareness that we are living and dying at once.” How might you say that repetition functions within your verse? Do you suppose that lyrical reiteration serves as an incantatory and liberating measure—transforming meaning, transcending the quotidian routine—or does the gesture of return, of refrain, rather hammer home a sense of exasperation with, and futility within, the world?

Howard Altmann With the disclaimer that I am a deficient and reluctant interpreter of my poems, I’d say the refrain serves as an echo to our subconscious yearnings and our conscious realignments—the soul wants, the days do. If there is any reverberating note to Stanley Kunitz’s “we are living and dying at once” it might be “we are hoping and despairing at once.” Though there is an elegiac tone in the poem that cannot be denied, the lyric repetition is less about the futility in the world, than it is about the human spirit’s desire to trump it—to live, to live, to live. To paint our rooms, if we must.

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Kadar Brock is focused on the abstract presentation of a fantastical world and creating an analogy for art making and viewing. The stripped down and simple patterning struck me with its rhythmical geometry.

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Tina Schula and Nicola Kast are both artists who deal with the lingering presence of Nazism in their work. They got together to discuss Quentin Tarantino’s recent movie Inglorious Basterds and tried to relate some of the questions that came up to their own photography.

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Maggie Nelson’s most recent book Bluets (Wave Books, 2009) is a poetic nonfiction meditation on the color blue. She starts with “Suppose I were to begin by saying that I had fallen in love with a color,” and goes on to illuminate several factual, historical, and sometimes personal experiences with the color blue.

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In his book The Films In My Life, Francois Truffaut boldly pinned the blame for the nascence of the Nouvelle Vague movement on one man—the fiercely transcendent critic-cum-auteur Jacques Rivette.

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