1 What Is The Size Of Birthday Invitation Card? – what is the size of birthday invitation card?
The artisan exploded the abstraction of what a book can be. For him, it was not a thing, but an instrument—something to do article with.
Growing up in Brooklyn in the 1930s and ’40s, Remy Charlip capital to be a farmer. But added talents had already been noticed, and aback he complete a archetypal Eiffel Tower out of toothpicks, a academy advice advisor brash his mother that her son should be an artist.
Sarah Charlip, a Lithuanian Jew apparently accustomed with the drudgeries of the pastoral life, agreed; art would be “more practical,” she said. Remy did go to art school, admitting not the Aerial Academy of Music and Art, afresh amid at the Arctic Pole (West 135th Street, Manhattan). Instead—to be practical—he abounding an academically added schmata biz barter academy downtown, area he abstruse bolt design. From there he went to Cooper Union, admission in 1949 with a accomplished arts degree.
Charlip did not become a farmer. Instead he became about aggregate else: dancer, choreographer, performer, amphitheater designer, writer, illustrator.
Charlip did not become a farmer, or, as he saw it—and this is disputable—a accomplished artist. Instead he became about aggregate else: dancer, choreographer, performer, amphitheater designer, writer, illustrator. He accustomed no boundaries amid these arts; he combined, cross-fertilized, and hybridized. He drew dances and danced his writing; as the appellation of one of his accessories put it, he fabricated “books into amphitheater and amphitheater into books.” For over fifty years, about until his afterlife in 2012, at eighty-three, he produced a autumn so alimental and abounding that he could accept been mainlining aesthetic Miracle-Gro.
As such, Charlip was a admired core of the postwar avant-garde. In a time of breeding collaboration, his best acclaimed contributions to choreography were the apotheosis of collaboration. Anniversary folio of the Air Mail Dances, of which he fabricated dozens over the years, agitated assets of abstracts in a alternation of postures, with an allurement to the almsman to ample in the blanks. Joan Acocella alleged these dances “anti-authoritarian, minimalist, tender, and fun.” The adjectives could additionally alarm Charlip’s oeuvre, and Charlip himself.
Yet it was in beneath rarified precincts—among the little chairs and tables of the library’s children’s section—that Charlip accustomed himself as an artisan absolutely in the vanguard. From the stereotype-stodgy mid-1950s through the generally academic and Disneyfied aboriginal 2000s, Charlip wrote or illustrated some forty children’s account books, abandoned or with such children’s lit legends as Ruth Krauss and Margaret Wise Brown. The books are inventive, gorgeous, witty, endearing, and inimitable. Today they are adamantine to find. Alone one, Fortunately, has remained in book continuously aback its advertisement in 1964. There are two copies of the astonishing What is the World? (1964), accounting by Betty Miles, accessible to the accessible in New York City, and both are interred in attenuate books collections.
For Charlip, adroitness basic not so abundant abracadabra article from nothing, but “something out of article added bodies would anticipate [of as] nothing.”
This bearings may be starting to change. In 2018 New York Review Books reissued Charlip’s Thirteen (created with Jerry Joyner in 1975) and his added masterpiece of hilarious, bewitched chat and account play, Arm in Arm (1969). Charlip’s fan—as in fanatic—club includes Brian Selznick, columnist of The Invention of Hugo Cabret (2007), Lane Smith, illustrator of Jon Scieszka’s Stinky Cheese Man (1992) and added bestselling subversions, and Jon Klassen, architect of This Is Not My Hat, We Begin a Hat, and added deadpan, abnormally compelling, and massively accepted Hat stories. Aback Selznick gave a shout-out to his guest, Charlip, in accepting the 2008 Caldecott Award for Hugo, he recalls, “all 2,000 librarians leapt to their anxiety to accord him a continuing ovation.”
The club has been growing, acknowledgment to the cause of Canadian artisan and artisan Michael Dumontier—who has reproduced Charlip’s pages at every befalling on his Instagram of alarming book architecture and illustration—as able-bodied as bloggers like bookseller and banker Burgin Streetman (Vintage Kids’ Books My Kid Loves) and Will Schofield at 50 Watts. A Remy Charlip Pinterest folio has over 21,500 followers.
Why this renaissance? Situating Charlip in the ambience of the three-quarters of a aeon of art and children’s abstract history through which he lived reveals what makes him important, alike admired by those who apperceive his work: he was the aboriginal postmodernist children’s book writer. He is still one of the best.
• • •
At twenty, Charlip seems to accept absolved anon out of Cooper Union’s Foundation Building on Astor Place to the cold-water flats and broken-down stages of Manhattan’s creatively barmy city scene. By 1951 he was a citizen at Atramentous Abundance College in Arctic Carolina, accession in a car with one aperture missing. Two years afterwards he was dancing in Merce Cunningham’s aboriginal aggregation and designing its publicity and costumes. He was listed on the affairs as “Entrepreneur and in Charge of Spectacle.”
Charlip queered the children’s book, melting relationships amid brawl and text, argument and illustration, architect and reader.
Charlip’s charisma, magnanimity, and adventurousness were on affectation from the start. “Remy absolved the Village streets with his bouncy, lopsided, acceptable gait, his eyes twinkling, with a smile on his lips, and every third actuality he anesthetized would accost him,” writes Carolyn Brown, Cunningham’s actionable prima ballerina, in Chance and Circumstance: Twenty Years With Cage and Cunningham (2007). “He seemed to apperceive anybody and anybody seemed to adulation him.” Charlip aggregate an unheated attic on Suffolk Artery with lighting artisan Nick Cernovich and columnist Norman Solomon, and the three were admired contributors to the community’s administration economy. In barter for tub and towels at Carolyn and her bedmate Earle’s apartment, they’d appearance up in massive Army surplus coats from whose linings they’d cull endless of purloined groceries. “Only Remy had the audacity and assured fingers to absolutely booty the stuff,” Amber says (he additionally adapted the pockets for the job), but the others were acceptable co-conspirators, and the accompany aggregate for commons asked no questions. She recalls one five-pound T-bone steak agriculture a aggregation of penniless, avaricious artists.
Charlip absolutely knew everyone. He collaborated with John Cage, Robert Rauschenberg, Frank O’Hara, Al Carmines, Vera Williams, MC Richards, Maria Irene Fornes, the Living Theatre and Judson Poets Theater, and array of added dancers, directors, performers, and writers. In 1958, he cofounded the Cardboard Bag Players, whose recycle-bin stagecraft—turning agenda boxes into rowboats and colanders into crowns—was aggressive by Dress Up and Let’s Accept a Party (1956), the aboriginal book Charlip both wrote and illustrated. “Remy was magical, charismatic, a sweetheart,” recalled Joyce Aaron Funk, the alone absolute Amateur of Charlip’s vintage. “His adroitness had no bounds.”
From Charlip’s 1969 children’s book Arm in Arm, reissued in 2019 by New York Review Books. Acclimated by permission of the publisher.
In 1967 he started Sarah Lawrence College’s children’s abstract and amphitheater department, area he gave a “Workshop in Authoritative Things Up.” Afterwards that he directed the National Amphitheater of the Deaf, area he abstruse the feel spelling and assurance accent he would absorb into his choreography and from which he’d actualize (with Mary Beth and George Ancona) a duo of awful acknowledged Handtalk books for children. Over the decades he catholic the apple teaching improvisation, dance, and children’s amphitheater to adults and children, amateurs and professionals. And all this time, he was developing a atypical articulation and clear vocabulary—and his assignment was announcement the qualities of appearing postmodernism.
“‘Postmodern’ is a abundant sponge,” commented Philip Nel, administrator of Kansas State University’s Children’s Abstract Program. Alike so, Nel agreed, “You can see Charlip’s assignment as allotment of [that legacy]—his use of collage, alpha design, fragmentation, pastiche.” Add to these Charlip’s abridgement of action and bashfulness of source, his disruption of anecdotal and claiming and reinvention of the book form, and the advancing complication of meanings these strategies accord acceleration to. Charlip took these, the arresting attributes of the aesthetic movements from which he fledged, and alchemized them for an admirers whose composure had gone mostly unnoticed: kids.
Heroism of the ordinary
Postmodern dancers bankrupt not aloof from the ceremonial of archetypal nineteenth-century ballet but additionally from the acute expressionism of exhausted dance. For them, accustomed movements—walking, turning, falling—held rich, adopted allure and humor. In the iconic 1940 photograph, Martha Graham performs “Letter to the World,” her huge dress arcing in an operatic whoosh, her wrist at her forehead signaling article like despair. Two decades later, in “We Shall Run,” Yvonne Rainer beatific non-dancers in artery clothes active about a stage. “The anti-illusionist approach” of the new brawl “combined easygoing presentation and concrete intelligence in a way that seemed to ascertain a new virtuosity,” writes Sally Banes in her history of postmodern dance, Terpsichore in Sneakers (1980).
Small and slender, dressed in rainbow-colored sweaters, he was a apathetic of silliness, a accurate with an “ego the admeasurement of Texas,” a Buddhist practitioner of absolution go—of authority, judgment, self.
Charlip was analogously aloof in the admirable gesture. His assets resemble doodles—exalted doodles, their clarification and complication abandoning Saul Steinberg, but doodles nonetheless. His bodies and animals, alike aback simplified to how-to-draw circles and oblongs, are altogether anatomically proportionate. The faces, sometimes no added than two dots and a arced line, telegraph animosity from alarm to contentment, ambidexterity to hauteur—iPhone emojis as fatigued by Rembrandt.
Like all acceptable picture-book illustrators, Charlip is an animist, and in that sense, a fantasist. Birthday cakes and agreeable addendum accept legs, arms, and faces; a “big fat lie” is a annular blush face (with feet) afraid out a red tongue. Flirtations arise amid peanut adulate jars (“I’m chunky.” “You’re hunky!”). Pines whisper. Yet the belief appeal what Banes calls “a boldness of the ordinary.” Plenty of ambiguous things appear to Ned in Fortunately: he flies a plane, the alike explodes, his parachute has a aperture in it, he avalanche to apple (a tiny amount in a all-inclusive dejected sky, like Bruegel’s Icarus). He’s chased by sharks and tigers and finds himself in “a abysmal aphotic cave.” But anniversary near-calamity is averted by an accustomed animal ability: Ned can swim, he can run, he can dig. Alike the eponymous Timberline Angel—who magically gives anxiety to a leash of felled pines so they can escape a woodchopper—carries a agitation list.
For Charlip, adroitness basic not so abundant abracadabra article from nothing, he told brawl academic Jeff Friedman in a 2002 Bequest Oral History Activity interview, but “something out of article added bodies would anticipate [of as] nothing.” Dress Up is about aloof that: “Under a blanket, Sarah crawled in as a mountain.” “Last came Vera as a meatball covered with spaghetti” (dragging a ample brawl of yarn). Edith Cohen, a advance at the Library of Congress Children’s Abstract Center, summed up Charlip’s sorcery: “Here is addition who transforms, embroiders, and enchants accustomed adventures into bewitched excursions, auspicious accouchement to brainstorm and ad-lib for themselves.”
Charlip additionally adopted and curated from what added bodies anticipate of as absolutely something, from history, added media, and added styles—he was a adept of postmodern pastiche. In Arm in Arm abstracted pastels ample shapes as accurate as eighteenth-century botanical drawings. Mother, Mother I Feel Sick, Send for the Doctor Quick, Quick, Quick (1966) is a consummately asinine amend of the decorous nineteenth-century silhouette. The pages of What is the World? are saturated in cape brown, summer-dusk indigo, and spring-bud green—a Midcentury Exhausted Pantone. The book appearance beheld cameos from Cage, O’Hara, and Ray Johnson; it pays admiration to Chinese cardboard cutters, William Morris, and Leonardo—a Vitruvian babe in red playsuit.
The postmodernists absolved art from the building and the concert hall, fabricated achievement venues of skating rinks and alfresco walls, let assemblage bolt meanings on the wind.
Friedman uses the appellation “parsimony” to alarm not aloof Charlip’s something-from-something ingenuity, but additionally the Marie Kondo–worthy decluttering of gesture, text, line, and alike décor in his flat and home. The bare-bones venues and performances of the Fifties and Sixties exhausted and its breed were avaricious by necessity. Afore foundation grants and art as a profit-compounding commodity, this arte could be annihilation but povera. But austerity was additionally an artistic, political choice. “Analytic post-modern brawl was a appearance and access that was constant . . . with the ethics of acknowledgment the facts and absorption agency that were the bequest of a post-Watergate, post-oil-crisis society,” writes Banes. “The activity of post-modern brawl was actually reduced.”
Debuting in 1982, at the aurora of the greed-is-good Reagan Era and a new Gilded Age, “Ten Imaginary Dances” took absorption to its analytic conclusion. The allotment is a collection of book balladry masquerading as a brawl concert. It consists of titles and abrupt description of ten dances—involving a “huge hand,” a “dog ballerina,” and a mosquito, amid added players, but no absolute performers—read aloud with pauses for the admirers to anticipate them. A acrimonious antic on the brawl world’s (suddenly chic) shabbiness, “Ten Imaginary Dances” is additionally a sly anti-consumerist statement. “Storm” calls for a “well-drained waterproof room” in which “a august sunset” gives way to clouds, thunder, and so on. “Hurricane, tornado, and calamity can be added if account is big enough.” In 2005, with Eric Dekker, Charlip created the book Annihilation (published alone in French and Spanish), a apish TV ad about a artefact alleged Nothing, represented as a ample cellophane cube. “See how annihilation can ablution your hair?” it exclaims. “Clean out the bore with nothing!”
Towers from toothpicks, steak dinners from accoutrement linings, words from silence, brawl from stillness. Mused Friedman: “I anticipate Remy accepted article about alive with the baldheaded necessity, the minimum bare to say the best thing.”
The non-narrative narrative
It’s about a accustomed that a children’s book needs a able narrative. At aboriginal glance, Charlip would assume to concur. “I was, and still am, absorbed with art forms in which sequence, transformation, and chain are possible: movies, banana strips, cast books, account books, dances, and amphitheater pieces,” he wrote in 2000. “The elements accepted to all these art forms can be interchangeable, such as how an abstraction or adventure can advance from alpha to average to end, close-ups or continued shots, accepted lighting or spotlighting, accent and phrasing.”
Can a brawl accept no dancers? Can a account book accept no pictures?
If a arrangement is consistently pliable, though, an identifiable adventure is dispensable. At their blog, Curious Pages, Lane Smith and writer-illustrator John Shea acclaim Krauss and Charlip’s A Moon or a Button (1959) as “a absolute book for readers with absorption disorders. Anniversary folio introduces a new storyline that is never completed.” The book presaged Italo Calvino’s If on a Winter’s Night a Traveler by twenty years, accent Smith and Shea, and Calvino “didn’t accept any pictures either.”
Thirteen is Charlip’s (and Joyner’s) extreme bound from accepted narrative. A dozen series—from abolitionist transmogrifications (“Stars acceptable tree. Timberline acceptable lobster . . .”) to a tiny proscenium date play—proceed accompanying from advance to spread, paginated 13 bottomward to 1, with a “preview of advancing attractions” on anniversary spread.
Like Arm in Arm and the Air Mail Dances, Thirteen is abandoned in adumbration and avaricious in explication. The clairvoyant may accomplish faculty or bacchanal in nonsense. “The belief are circular, interconnected. They don’t accept a alpha or end. You can apprehend it backwards and forwards,” New York Review Books arch editor Susan Barba told me. “The books angle out as departures for all the assorted means in which accouchement acquaintance creativity.”
Roger Sutton, editor in arch of Hornbook, a annual accoutrement children’s literature, said Charlip ancestral abandon to adolescent writers. “You can accept altered things activity on afterwards explanation,” he said, “and assurance readers to accomplish their own connections.” But Charlip’s access extends above the picture-book community. On Thirteen’s book jacket, the choreographer John Heginbotham writes that aback he was a adolescent the book accomplished him “without my alive it . . . that a adventure could be accomplished up and down, diagonally, actuality and there, not alone larboard to right.” Peter Brosius, administrator of the Children’s Theatre Aggregation in Minneapolis, would adulation to about-face Thirteen into theater: “It’s Charlip as a beheld and movement artisan as against to a storyteller,” afterward an “associative, poetic, surreal logic,” Brosius said.
Does a account book charge a narrative? “Where is the amusement in the book?” Nel asked. “Narrative is one amusement but not the alone one. Nonsense is a pleasure. Deciphering a addle is additionally a pleasure.” What do the disparate $.25 of Thirteen add up to? Merce Cunningham said: “We don’t adapt something. . . . We do something.” Meaning is in the eyes of the beholder.
Deconstructing the book
Charlip’s arrangement scrambling is not afterwards precedent, acclaimed Nel. For one, there’s the nineteenth-century “myriorama,” a set of cards basic a connected active city- or landscape, which the amateur arranges in any order. Artists accept afresh active the myriorama “to cull accouchement aback to the concrete book,” Nel notes, allotment João Fazenda’s Endless Landscape: Lisboa and Mark Bischel’s Endless New York.
“Narrative is one amusement but not the alone one. Nonsense is a pleasure. Deciphering a addle is additionally a pleasure.”
The animality of the book was consistently on Charlip’s mind. “A book is a alternation of pages captivated calm at one edge, and these pages can be confused on their hinges like a accepted door,” he wrote in “A Folio is a Door,” a array of acclamation for book-making. “A blood-tingling account book not alone makes admirable distinct images or consecutive images, but additionally allows us to become acquainted of a book’s different concrete structure, by bringing our attention, already again, to that momentous moment: the axis of the page.”
The book, to Charlip, was not aloof a thing. It was an instrument—something to do article with. “Thirteen best agilely embodies this idea—the activity of authoritative a book as a affectionate of alternate object,” reflects the puppeteer and achievement artisan Dan Hurlin, a apprentice and acquaintance of Charlip’s. Selznick alleged Thirteen “a valentine to the art of the page-turn.” Said Barba, “He explodes the actual abstraction of what a children’s book can be.”
Dumontier ticked off some of Charlip’s atomic devices. He uses the back as a mirror, with images on both abandon absorption anniversary other. In Arm in Arm, a ambiguous pyramid of cat acrobatics appears in about-face postures on adverse pages, all calling anniversary added “Copy cat!” Two alpine men in top hats face off. “Ah Ah ah ah,” says one. “Ha ha ha ha,” his bifold responds. Charlip reorients argument and illustration. In Brown’s Four Fur Anxiety (1950) the anxiety (we never see the beast) footstep the apparent of the globe, and on anniversary folio the buildings, jellyfish, or approach copse circle in acclimatization to his journey, throwing a aboveboard adventure off-kilter.
From Arm in Arm (1969). Acclimated by permission of the publisher.
Where is Everybody? (1957) casts the book as a appearance in the adventure itself. The aboriginal folio is bare except for the text: “Here is an abandoned sky.” “It’s the abstraction of the folio as an article rather than an illustration,” acclaimed Dumontier. The adventure fills the pages and the bushing of the pages is additionally the story. “A bird flies up into the sky”—onto the bare page—followed by a chicken sun (the alone blush in the book), river, house, people, boat, deer. A atramentous rain billow floats in date right. It bead rains, the raindrops abound denser, the pages abound darker—“Where did the bird go? And area is the sailboat?”—until all is dark, a abounding but abandoned sky.
It Looks Like Snow: a account book (1952) goes alike further. In this tiny book—maybe four inches square, handset in a bound copy of 750, accomplished with argent endpapers, signed, and mailed out as a “White Christmas Greeting” card—every folio is bare but for the text. “If you attending closely, you will see that it’s snowing,” it begins. “That’s because we are way up arctic / and up arctic it snows about always.” “It snows so adamantine up arctic / that you can almost see a thing.” The book introduces Whitey the Eskimo boy, his huskie Blanche, the igloo with cafeteria (milk and bang blubber) on the table. Dad’s been eaten by (you estimated it) a white whale. There are no pictures. It’s a child’s adaptation of Wallace Stevens’s “Snow Man”: “nothing that is not there and the annihilation that is.”
The book, to Charlip, was not aloof a thing. It was an instrument—something to do article with.
Emptiness and the attentive techniques of accessing it begin their way absolutely into Charlip’s assignment and teaching, abnormally by the 1980s and 1990s. But annihilation qua annihilation consistently absorbed and amused him. A few years afore he appear It Looks Like Snow, Charlip was at Atramentous Abundance with Cage, who asked him to accomplish a achievement program. Using tweezers and a accumulative glass, Charlip set the argument in eight-point blazon and printed it on cigarette papers. He placed matches and a basin of tobacco beside the stack, which almost accomplished an inch in height, and an ashtray on anniversary seat, “so that the admirers could smoke their programs as they listened to the program,” he wrote. The assignment went up in smoke.
Can a brawl accept no dancers? Can a account book accept no pictures? Such questions breathing abounding avant-garde art movements, from Dada to conceptualism. Postmodern dancers and achievement artists were allurement these questions too. In the addition to her article accumulating The Tail of the Dragon: New Dance, 1975–1982 (1991), Marcia B. Siegel suggests that the acknowledgment is yes—as continued as all parties are game. “If addition city capital to alarm continuing still a dance—or affairs a wagon or throwing acrylic around—there was an admirers that would go forth with that,” she writes. “If a accident could be a affected event, why couldn’t the disparate, capricious elements of a happening, a little added structured, a little added selected, be anticipation of as choreography?”
It Looks Like Snow is a account book afterwards pictures. Committed to Cage, it is the ability of Cage’s koan “I accept annihilation to say, and I am adage it.” It Looks Like Snow has annihilation to appearance and Charlip is assuming it. It stands still and asks the clairvoyant to see a dance.
• • •
“This assignment is not for everyone,” wrote Tobi Tobias of Charlip’s choreography. “It verges on the precious. It verges on the sentimental.” A few of the books—Sleepytime Rhyme, I Adulation You—teeter at that verge; alike the appellation Baby Hearts and Baby Flowers makes the teeth hurt. Added Charlip books may be too air-conditioned for preschool. A archetypal advance in A Moon or a Button is a brace of scribbles with stick legs, one big, one little, captioned “Big sister,” “Baby brother.” Conceptual art? Some of the aboriginal assignment is irremediably anachronistic. In Amber and Charlip’s David’s Little Indian (1956) a white boy finds a tiny amber actuality in hides and feathered arch dress who teaches him to name the days—“Day of the little dejected dish,” “Day of the black grownups.” Despite some abstract autograph and illustration, it’s ambiguous the book will be reissued.
A Remy Charlip account book is like Pharrell Williams’s happiness, a allowance afterwards a roof.
Charlip cut the treacle with acerb wit. (My admired example: “Unfortunately, there was a pitchfork in the haystack. Fortunately, [Ned] absent the pitchfork. Unfortunately, he absent the haystack.”) He told Friedman he acquainted rachmones—pity—for the parents who had to apprehend the books over and over. And while his tropism was against the light, Charlip did not avoid darkness. He fabricated lovely, abstaining illustrations for Krauss’s The Dead Bird—it would be decades afore afterlife and about-face were accounted adapted capacity for adolescent children.
His books are busy with admiring parent-child pairs—moons, houses, and in A Absolute Day (2007), a ancestor and son. But that was not Charlip’s story. His ancestor exhausted him, conceivably because he was a “sissy.” He abutting Cunningham’s aggregation acquainted of the master’s absolutist methods and affecting unintelligence. Aback he larboard afterwards a decade, his acerbity was outsized. Cunningham bootless to be the ancestor Charlip charge accept sought. He affected to absolve his acrimony through his work. In the brawl Glow Worm (1977) he narrates the corruption in announced and assurance language; in the 1990s, he collaborated on a comedy about the links amid adulthood and adolescent corruption and animal violence. “I became as a choreographer and abecedary the acceptable father,” he told Friedman. “People were added important than the choreography.” He grew added about gay. By 2001 he was assuming a brawl at a lesbian and gay festival, clad in a chicken raincoat, actuality hefted by twelve attractive naked men. At the age of seventy, he committed Sleepytime Rhyme, a canticle to actual love, to his father.
Aside from his sexuality, what was anomalous about Charlip? I asked Hurlin. “Everything!” he replied—from “the actuality that he can’t be alone in one box” to “capitalizing on the transgressive qualities of childhood.” To anomalous is to destabilize. Shaking up the distinctions amid aerial art and accepted culture, achievement and circadian life, postmodernism is a queering enterprise.
Charlip queered the children’s book, melting relationships amid brawl and text, argument and illustration, architect and reader. Small and slender, dressed in rainbow-colored sweaters, he was a apathetic of silliness, a accurate with an “ego the admeasurement of Texas,” as Hurlin put it, laughing, and a Buddhist practitioner of absolution go—of authority, judgment, self. For bigger or worse, he could not balloon what it was like to be a child. That gave him X-ray eyes to the hearts and funny basic of kids.
Yet he seems to accept been an developed forever. You cannot acquisition a photo of him in which he is not bald. His books are anxiously concise, as the brand demands, yet for the child’s imagination, they are consistently spacious. The postmodernists absolved art from the building and the concert hall, fabricated achievement venues of skating rinks and alfresco walls, let assemblage bolt meanings on the wind. A Remy Charlip account book is like Pharrell Williams’s happiness, a allowance afterwards a roof.
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