By Penguin Press, Jonathan Safran Foer
Jonathan Safran Foer has lengthy had a fondness for the paintings of the twentieth-century American assemblage artist Joseph Cornell. encouraged via Cornell's avian-themed packing containers, and suspecting that they might be equally inspiring to others, Foer started to write letters. The responses he got from luminaries of yank writing have been not anything in need of stunning. Twenty writers generously contributed items of prose and poetry which are as eclectic as they're ingenious, and the result's a distinct collaborative undertaking and some of the most major engagements of literature with paintings for a few years.
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Extra info for A CONVERGENCE OF BIRDS Original Fiction and Poetry Inspired by the Work of Joseph Cornell
5 in. Glass-paned, stained wood box with drawer, chromolithographic cutout, mirrors, postage stamp, plastic ball, and steel rod and string. RESPONSE AND CALL LETTERS WERE WRITTEN. Stamps were licked, envelopes addressed, mailboxes fed like starving animals. ” It was to be his first museum show dedicated to children, and the last show of his life. Hundreds went that spring, 1972. Many were entranced by Cornell’s works (which were displayed only a few feet off of the ground), and many by the chocolate cake that was passed about on plastic platters.
Dear Mr. ), since the whole issue seems to be a question of getting contributions, for nothing, from various well-known people to suit your own ends (vague as they are), and since for some reason you seem to think I’d be “as excited about this project as [you] are,” how can I say yes, even with the very best of wills? This was one of the first responses I received. , rather than my college address in New Jersey, thinking I could skirt at least the most obvious challenge to my legitimacy. I shook with excitement as he began the reading, and disgrace by the time he had finished.
A clatter of trolleys, automobiles, and trucks and the heat haze stirred by the wind into a glowing phosphorescence of dust and grit. At El Centro and Cupertino, a building marked the LOS ANGELES ORPHANS HOME SOCIETY. Weatherworn red brick set back in a large, mostly grassless lot surrounded by an eight-foot mesh-wire fence. What the eye first notices about this building is that there are few windows, especially on the uppermost third floor. These windows are tall and oddly narrow, like squinting eyes; on the first floor, the lower halves are crudely barred.