BOMB 118/Winter 2012
Painter Jane Hammond speaks with poet David Lehman about her artistic friendship with the evocative and accomplished John Ashbery. Working from titles that Ashbery faxed to her, Hammond has created paintings for the John Ashbery Collaboration, 1993–2001.
The heterogeneous work of Beirut- and Brooklyn-based artist Walid Ra’ad and his imaginary foundation, the Atlas Group, attempts to document the troubled contemporary history of Lebanon (focusing on the nation’s 15 years of civil war).
Novelist Jeffrey Eugenides’s latest book, Middlesex, is part third-person epic, part coming-of-age fairy tale, traversing the Greco-Turkish War, Detroit during Prohibition, and the genetic and sexologic concerns of its hermaphroditic narrator.
Mahmoud Darwish (1941– 2008) was this era’s preeminent Palestinian poet. The near-constant curfew in Ramallah, the home of both Darwish and fellow writer and civil rights lawyer Raja Shehadeh, dictated the terms of their meeting in 2002.
Documentary filmmaker Martina Kudláček has just completed the definitive biographical film on legendary avant-garde filmmaker Maya Deren, In the Mirror of Maya Deren.
The epic Three Tales, a digital-documentary-video opera by renowned composer Steve Reich and video artist Beryl Korot, uses three seminal technological and dramatic events from the 20th century.
Christopher Shinn’s play Four received rare praise when it opened last year in New York. Fellow playwright David Greenspan speaks with Shinn about the flawed characters that people his plays and his upcoming tragedy, What Didn’t Happen.
Peter Elley on how the artist Caio Fonseca and his paintings transcend business-as-usual in the art world.
Betsy Sussler on the wide-ranging sexual innuendo of Emily Eveleth’s paintings.
Story of a haunted, wounded lover by Jonathan Ames with photographic work by Lenore Malen. This article is only available in print.
Janet Olmsted Cross on the bold, tough building designs of the Orchard Group.
Detail of a photograph by Lenore Malen, 2000–2001, digital iris print. This content is only available in print.
This First Proof contains the poem “A Lake Sequence.” For copyright reasons this content is available in print only.
This First Proof contains an excerpt from Caramelo. For copyright reasons this content is available in print only.
This First Proof contains the poems “Back when Roberta was the same age as Lucille,” “Valentine’s Day, 2001,” “Sea Serpent,” and “Comfort and Joy.” For copyright reasons this content is available in print only.
This First Proof contains the poems “57th X-ing,” “58th X-ing,” “59th X-ing,” and “60th X-ing.” For copyright reasons this content is available in print only.
Photograph by Lenore Malen, 2002, digital iris print. This content is only available in print.
This First Proof contains an excerpt from L’eau étrangère. Translated by Jason Weiss. For copyright reasons this content is available in print only.
This First Proof contains the story “Midday.” Translated by Margaret Carson. For copyright reasons this content is available in print only.
Peter Cole’s Jersualem-based Ibis Press publishes a collection of literature that evokes the peaceful religious coexistence imagined by historical and cartographical labels such as Andalusia, la Convivencia, and the Levant.
Detail of painting by Emily Eveleth, 2001, graphite and oil on Mylar, eight by six inches. This content is only available in print.
This First Proof contains an excerpt from “The Book of John.” For copyright reasons this content is available in print only.
This First Proof contains an excerpt from “The Chinese Sun.” Translated by Evgeny Pavlov. For copyright reasons this content is available in print only.
This First Proof contains the poems “Jerusalem,” “The Sirens,” and “Greetings from Angelus (Paul Klee Angelus Novus).” Translated by Richard Sieburth. For copyright reasons this content is available in print only.
Photograph by Lenore Malen, 2000–2001, digital iris print. This content is only available in print.
