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New York City and the effect was astounding to me. Like my “accidental” meeting
with Andy Warhol and Pierre Alechinsky's work and New York City graffiti
:::
”
(Haring
1996
).
The Nova Convention being “three days and nights of readings, panel discus-
sions, film showings and various sorts of performances that sought to grapple with
some of the implications of the writing of William S. Burroughs” that “
drew
an interesting cross-section of people, and one suspected that only Mr. Burroughs
could have brought them together. There were more or less conventional poets,
novelists, performing artists, composers as diverse as John Cage and Philip Glass,
rock musicians, serious students of American literature, street types and others”
(Palmer
1978
).
In 1988 William S. Burroughs was asked by the publisher George Mulder Fine
Arts to write text to accompany a series of 10 silk screen images by his, by
then, friend Keith Haring which juxtaposed borrowed images with Haring's graffiti
inspired curving lines (see Fig.
18.1
for an example of Haring's visual style) titled
“Apocalypse”. (The copyrighted images are available online at the Keith Haring
Foundation's website
http://www.haring.com/!/keyword/apocalypse
)
. Unlike their
later 1989 collaboration “The Valley” which consisted of a story by Burroughs with
illustrations by Haring (Burroughs and Haring
1989
), “Apocalypse” contained an
essay that was only thematically connected to the content of the specific images
it was paired with. While it referenced New York City, graffiti, and some visual
:::
