Individual Author Record
Name: David FriendPen Name: None Genre: Non-Fiction Poetry Born: 1955 in Chicago, Illinois
-- David Friend on WorldCat -- http://www.worldcat.org/search?q=david+friend
Illinois ConnectionHe was born in Chicago, Illinois and graduated from Amherst College. He attended Highland Park High School in Illinois and is a lifelong Chicago Cubs fan.
Biographical and Professional InformationFriend is a publishing executive, correspondent, curator, writer, editor, and poet. He is Vanity Fair's editor of creative development and lives in New Rochelle, New York. As a correspondent, he has covered conflicts in many parts of the world like Afghanistan and Lebanon. As an editor, Friend broke the “Deep Throat” story in 2005, revealing that Mark Felt was Bob Woodward and Carl Bernstein’s secret Watergate source. As a writer, he has contributed frequently to ''Vanity Fair'', ''American Photo'', and The Digital Journalist Web site. His humorous articles and cartoons have appeared in ''The Washington Post'', ''Discover'', ''The Common Review'' and ''Salon.com''. His poetry has appeared in ''The New Yorker''. He has edited ''The Meaning of Life'' and ''More Reflections on the Meaning of Life''. With Graydon Carter, Friend edited Vanity Fair's ''Hollywood'', ''Oscar Night'' and ''Vanity Fair, The Portraits''. As a curator, he has mounted exhibitions for the International Center of Photography, the United Nations and the Newseum as well as other venues. Friend created the Alfred Eisenstaedt Awards for Magazine Photography under the auspices of Columbia University's Graduate School of Journalism, coordinators of the Pulitzer Prizes.
Selected Titles At Your Library
Baseball, football, Daddy, and me /
ISBN: 0140509143. OCLC Number: 24319673 Puffin Books,. . A little boy and his father enjoy a full assortment of sporting events together.
Watching the world change :
ISBN: 0312426763. OCLC Number: 148294262 Picador ;. . Tells the stories behind the photographs of 9/11, discusses the controversy over whether the images are exploitative or redemptive, and shows how photographs help us witness, grieve, and understand the unimaginable.