Phaeton, 2020 by Nicola Verlato (b. 1965)
The Annunciation, 1932 by Alberto Savinio (1891–1952)
Flux Capacitor, 2020 by Taylor Schultek (b. 1990)
Study for Night Reading, 2020 by Aron Wiesenfeld (b. 1972)
Commotion in the Cattle Ring, 1935 by James Bateman (1893–1959)
Perkus Tooth Still Life (Chronic City), 2016 by by Tom Sanford (b. 1975)
MMXX, 2020 by Martin Wittfooth (b. 1981)
Black Hole, 2016 by Ian Cumberland (b. 1983)
The above is an unsigned New York Times article published on 8 Nov. 1998.
Cormac’s Trash was released in 1999.
In a 2001 interview, producer Mylène Moreno suggests that the short film did not violate McCarthy’s privacy:
AC: You’re also showing the short “Cormac’s Trash,” that you produced and your husband Rafe Greenlee wrote and directed, about how the obsessed fans of the elusive, reclusive El Paso resident/writer Cormac McCarthy try to smoke him out, one even going so far as to go through his trash. How did that project come about?
MM: From the moment we arrived, Cormac’s presence loomed very large. There was always a lot of buzz about him. We lived near him and were always aware of his presence in the neighborhood, though we never saw him. He was Rafe’s favorite author. The film explores Cormac’s relationship to El Paso’s artists and its literary community. As a lawyer, Rafe was interested in privacy issues, and he takes the position in the film that he’s not going to cross the line — even though the film reveals that others probably have. He was careful about revealing the sorts of things found in Cormac’s trash. He didn’t show all of what was in there.
I think we should leave Cormac’s trash alone.
Midas, 2020 by Adam Miller (b. 1979)
October 18, 1971, 1971 by Stanislaw Fijalkowski (b. 1922)
Love and the Anti-Void, 2020 by Jean-Pierre Roy (b. 1974)
Atlas, 2020 by Dragan Bibin (b. 1984)
Eluhim, 1960 by Leonora Carrington (1917–2011)
Mammon,1885 by George Frederic Watts (1817-1904)
Girl at a Window, 1957 by Balthus (1908–2001)
Biblioklept 