Word: foer
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Dates: during 2000-2009
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...agenda, for now, seems to involve some deceptively risky experiments with form, as well as a complete rejection of realism in favor of that empathy and emotion he wants so badly to convey. Foer doesn’t care what it takes to get to the reader, he says, and he doesn’t care how unrealistic his scenarios and characters...
Beneath the frills, Foer says, lies an almost archetypal tale—one that draws less from postmodern literary theory and more from the traditional fable. Although the narrative foreground is colored and clouded over by Foer’s insistence on side-stories and his obsession with the past, it really is a pretty simple tale. Oskar searches the five boroughs of New York City for information about a mysterious key he has discovered in his father’s closet. Along the way, he makes some new friends, learns some lessons, and follows secret clues. Foer tells...
...zero interest in creating something that was realistic,” Foer said in our interview. “I just wanted to create something that a reader could really invest him or herself in, something the reader could, I don’t know...trust...
Asked last week about his experimental style, Foer said that “I hadn’t seen it anywhere before but neither would I assume it’s original. That wasn’t really the point. The singular purpose was to make the book as forceful as I could, to express as efficiently and as strongly as I could the things I wanted...
...Anyhow, Foer says he isn’t aiming for public acclaim. “I wrote the book in these incredibly intimate settings—on my laptop propped up while I’m in bed, or at a desk, or in a room where I’m alone,” he says. “And then people read the book in their own intimate settings—in bed, in the bathtub, in the easy chair at home. Connecting these two intimate experiences is what publishing a book is all about...