BOMB 118/Winter 2012
Critics were spinning their wheels about Australian photographer Tracey Moffatt’s work because she hadn’t been talking. Coco Fusco leads Moffatt through a discussion of the madness in the method.
Few fiction writers have captured the painful realities of the Holocaust as well as Israeli writer Aharon Appelfeld. He speaks here of the power of memory, the power of the spirit, and the place of religion and homeland as he has come to know it.
Novelist Frederic Tuten draws out the two Eric Krafts: the writer of The Personal History, Adventures, Experiences & Observations of Peter Leroy, and his alter ego, Peter LeRoy.
Maurice Berger and Patricia Williams are old friends from very different backgrounds who have been dialoging on race for years. This time we were lucky enough to sit in as they take on the widening gap in America’s race relations.
With his novel Gain, Richard Powers turns again to his millennial concerns: the velocity of progress, the intricate correspondence of the private and the historical, the search for the ground of ethics.
Stellan Skarsgård is everywhere, from Breaking the Waves to Good Will Hunting and a tour de force performance in the thriller, Insomnia. Screenwriter Larry Gross charts the course from regional theater in Sweden to the big screen in Hollywood.
Cuban musician Jesús “Chucho” Valdés grew up listening to the legends: his father Ramon “Bebo” Valdés played with Nat King Cole and Erroll Garner at the famed Tropicana; the pioneers of Afro-Cuban jazz assembled and jammed in their home.
This veteran rocker still has a trick or two up his sleeve. He talks about his Live album, as well as a documentary by Timothy Greenfield-Sanders on his career.
Ann Lauterbach responds to three of Charles Hagen’s photographs, creating a poetic counterpoint to Hagen’s emphatic images.
This First Proof contains the poem “70’s (slight return)” from the book Pink Instrument. For copyright reasons this content is available in print only.
This First Proof contains art by Amy Adler and Linda Yablonsky’s reflections on it. For copyright reasons this content is available in print only.
This First Proof contains “Days and Nights in Manila,” an excerpt from the book Eye of the Fish: Uneasy Views of an Archipelago. For copyright reasons this content is available in print only.
This First Proof contains “Ghost Writing,” an excerpt from the novel Park Diary (Black Berries). For copyright reasons this content is available in print only.
This First Proof contains art from the book Pink Instrument, written by Max Blagg with photographs by Ralph Gibson. For copyright reasons this content is available in print only.
This First Proof contains “The Bear,” excerpts from the novel Where the Sea Used to Be. For copyright reasons this content is available in print only.
This First Proof contains the story “Two Flowers: An Inca Tale.” For copyright reasons this content is available in print only.
This First Proof contains the poems “Apocalypse in August” and “Appelation in April.” For copyright reasons this content is available in print only.
This First Proof contains the poems “Four of Clubs” and “Four of Spades.” For copyright reasons this content is available in print only.
This First Proof contains art by Wes Mills and Bomb Editor in Chief Betsy Sussler’s reflections on it. For copyright reasons this content is available in print only.
This First Proof contains art by Yayoi Kusama and Mimi Thompson’s reflections on it. For copyright reasons this content is available in print only.
