![]() ![]() The result is a new, much shorter story and a paper sculpture, a remarkable piece of inert, unclickable technology: the anti-Kindle. ![]() Imagine a book-in this case the 1934 novel The Street of Crocodiles, a surrealistic set of linked stories by the Polish Holocaust victim Bruno Schulz-whose pages have been cut out to form a latticework of words. His latest project, Tree of Codes, may be divisive for a new reason: It’s physically hard to read. They require a leap of faith.” The author’s own first two novels, while hardly avant-garde, do walk a deliberate line between cuteness and horror, taking the reader for a giddy carnival ride, often exhilarating if occasionally nauseating. ![]() ![]() “Recklessness is what makes experimental art beautiful,” Ashbery wrote, “just as religions are beautiful because of the strong possibility that they are founded on nothing.”įoer, enjoying a hummus wrap a few blocks from his NYU faculty office, says he believes such works have to be either “great or terrible. According to one of Jonathan Safran Foer’s favorite essays, John Ashbery’s 1968 classic “The Invisible Avant-Garde,” what makes innovative work exciting is that you’re never sure it’s any good. ![]()
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