In several instances, Gay drops a spare but searing existential paradox: “I do not know why I turned to food. “Those boys treated me like nothing so I became nothing.”And yet there is not a single moment throughout the book when this statement rings irrefutably true, which is to say Gay’s mighty strength of character, sapient insights, deep and abiding love from and for her family (“We’re always tied together with our eyes and our lips and our blood and our bloody hearts”) are, to my mind the very opposite of nothingness.īut that’s what is also remarkable about this book, and which also serves as an ongoing theme from chapter to chapter: It is, and it isn’t. Her candor and self-awareness are necessary and reliable guides for the poignantly afflicted journey from a happy, pretty girl in a loving family to “a thing, flesh and girl bones” used, broken and discarded by a teenage boy and his friends. The critical beauty of “Hunger” is that Gay is so much smarter than everyone who has judged her based on her appearance, which she manages to convey without airs or ever actually stating this as fact. Roxane Gay appears in Los Angeles on Monday June 26 tickets are $32 - $55. “This is a book,” she writes, “about living in the world when you are three or four hundred pounds overweight, when you are not obese or morbidly obese but super morbidly obese.” What evolves from there is a bracingly vivid account of how intellect, emotion and physicality speak to each other and work in tireless tandem to not just survive unspeakable hurt, but to create a life worth living and celebrating. Gay, who rose to literary stardom in 2014 with her cheeky, brilliant bestselling collection of essays, “Bad Feminist,” has written powerfully and often for various publications about gender, race, identity, pop culture and personal politics, but “Hunger” is the first book-length piece of writing that focuses explicitly on her weight. Such is the case for Roxane Gay, whose latest work, “Hunger,” is a memoir of her body and how she has lived in and with it since surviving a horrible act of violence.
If you are a woman, of any race, it’s nearly impossible not to internalize this mainstream mantra of emaciation as the end goal, but if preempted and perpetuated by sexual assault, a woman’s body can become the towering embodiment of exquisite pain. Because apart from money, thinness is the country’s most valued and desired currency.
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The Oral History Project is a series of interviews that collects, documents, and preserves the life stories of New York City based visual artists of the African Diaspora.Like the majority of women in America, I think about nearly every piece of food that I put into my mouth. Mellon Foundation, BOMB has made all of its content-over 7,500 primary cultural documents from the past 37 years-available for free.
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The BOMB Archive is a fully searchable and relational online library that provides access to the ongoing history of dialogue generated by BOMB since 1981. Subscribe today.īOMB Daily publishes exchanges on artistic practice including interviews, literature, portfolios, and essays. BOMB includes a quarterly print magazine, a daily online publication, and a digital archive of its previously published content from 1981 onward.īOMB Magazine is a print quarterly publishing in-depth interviews between artists alongside artists’ essays, literature, and portfolios.
Today, BOMB is a multi-media publishing house that creates, disseminates, and preserves artist-generated content from interviews to artists’ essays to new literature.
BOMB’s founders-New York City-based artists and writers-created BOMB because they saw a disparity between the way artists talked about their work among themselves and the way critics described it. BOMB Magazine, has been publishing conversations between artists of all disciplines since 1981.