Category Archives: Word Choice

Word Choice is BOMBlog’s weekly poetry installment selected by staff or interns.

“No Science” by Weston Cutter

Peter Hildebrand; WARP AND WEFT; Gouache on paper; 22 x 30 inches. Courtesy of the artist and Pierogi Flat Files.
Weston Cutter turns his regard to the rare enigma of the quotidian: shunning any suggestion of pretension in favor of an Ammonsian phrasing, “No Science” mulls over clues pulled from their contexts, tapping into questions of exclusion and intrusion, the thin distinction between durability and stability.

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“Midday” by Yael Shinar

R.D. Gluibizzi; ROOT COUPLE; Ink on paper; 12 x 9 inches. Courtesy of the artist and Pierogi Flat Files.
Yael Shinar plots the fleeting moment of one life’s unraveling with a plaintive reverence for the often forgotten detail of qualia, the dull madness of life unto death and vice versa. Not exactly elegiac, by its meditative clinic “Midday” nonetheless gives the reader pause.

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“At the Savoy” by Joseph Chapman

Makoto Take, UNTITLED FROM SUBCULTURE SERIES; Gelatin silver print; 20 x 16 inches. Courtesy of the artist and Pierogi Flat Files.
There’s an argument to be made for poetry speaking spirit in terms of form and form in terms of spirit. With grace and restraint, Joseph Chapman’s “At the Savoy” channels ghosts and taps into a music of longing, offering up a penumbral portrait of human frailty and endurance.

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“Balloons the Shape of Manhattan” by John Randolph Carter

Mark Miller, RISING SON (FLAG#6); Gouache, glitter, collage; 9 x 11 inches. Courtesy of the artist and Pierogi Flat Files.
John Randolph Carter’s taut but rangy take on Americana merges familiar subjects and settings to a satisfyingly bizarre effect. His verse strikes a difficult balance between originality and appeal, luring in the audience with its tidy structure, friendly diction, and tasteful embellishment, only in the end to reveal its surprise as omen.

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“THE PAINTED ROOM” BY HOWARD ALTMANN

Kry Bastian, STANDING WATER SERIES #8; Oil pastel on paper; 11 x 8.5 inches. Courtesy of the artist and PIerogi Flat Files.
“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.”

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“FACTICITIES, ETC.” by Renée Ashley

Simona Frillici, SALUTI AFFETUOSI; Sewing thread, photocopy, colored tracing paper; 15.75 x 15.75 inches.

Refusing sentimentality and Byzantine turns of phrase, Renée Ashley’s “Facticities, Etc.” approaches the submerged body of the past not as a volume to be mined for final answers but as a load to take for granted.

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“Prayer, 6/13/08″ by Jamie Quatro

Helen Brough, Cataclysmic Hypotheses #1; Pencil on tracing paper; 4 x 6 inches. Courtesy Pierogi Flat Files.
Loss of any kind can feel, to the bereaved, as much an ‘act of God’ as large-scale catastrophe.

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“And, here and there, a kiss” by Paula Brancato

Rebecca Loyche, Childhood Pool; Archival Digital pigment print; 16 x 20 inches. Courtesy Pierogi Flat Files.

“Even the fireflies linger” in Paula Brancato’s poem, “And, Here and There, A Kiss,” and don’t we all wish that the summer months would linger on as well?

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“DON’T” by Rebecca Foust

Drew Leshko, It Seems Alright For Now; Digital C-print, Edition 1/8; 10 x 7.5 inches.
BOMB intern Jordan DeBor asks award-winning poet Rebecca Foust about the theme of fragility in her work. Featuring her poem “Don’t.”

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While Michael Lays Dying by Rosemarie Castoro

David Goodman
Before I was aware of the news, I just had a good friend for tea, and he helped me bring some pictures out in the light. Little did we know, an unveiling of another kind was happening in California.

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“Letter” by Andrew Naymark

Mary Murphy, Self Portrait B AP; digital print; 11 x 14"; courtesy of Pierogi Flat Files.
Writing a letter these days seems to be a tribute to nostalgia rather than an efficient means of communication.

“The Little Prison” by Idra Novey

Laurie Halsey Brown, "Looking outward to see inward"; digital print; 8.5 x 11 inches. Courtesy Pierogi Flat Files

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“To Cross Safely Over Thin Ice” by Melissa Monroe

Melissa Monroe’s chillingly didactic “To Cross Safely Over Thin Ice” reads like a cross between ex-soldier recounting a particularly horrific war memory and an instruction manual.

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The Alchemist’s Prima Treatise by Joseph P. Wood

925
Mid-phrase line and stanza breaks are just one way that Joseph Wood creates a feeling of moving through archaic symbols toward new life.

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