Works
He came onto the literary scene with essays in quarterlies like Partisan Review and The Hudson Review, then profiles of older artists, musicians and writers for The New York Times Magazine; these profiles were collected in Master Minds" (1969)'.
Not one to shy away from controversy, he turned on his literary elders with The End of Intelligent Writing: Literary Politics in America (1974). SoHo: The Rise and Fall of an Artists' Colony (2003) evinces not the Latest but the Last. In 1967, he signed the “Writers and Editors War Tax Protest,” vowing to refuse to pay taxes raised to fund the Vietnam War.
Books of his radically alternative fiction include "In the Beginning" (1971) (the alphabet arranged in single and double letter combinations), "Short Fictions' (1974), "More Short Fictions" (1980, and Furtherest Fictions (2007)); of his mostly visual poetry, "Visual Language" (1970), "I Articulations" (1974), "Wordworks" (1993), and "More Wordworks" (2006).
Among the anthologies he has edited are "On Contemporary Literature" (1964, 1969), "Beyond Left & Right" (1968), "John Cage" (1970, 1991), "Moholy-Nagy" (1970), Breakthrough Fictioneers (1973), Scenarios (1980), and The Literature of SoHo (1981).
A political anarchist-libertarian, he authored "Political Essays" (1999) and "Toward Secession: More Political Essays" (2008) and has since 1987 been a contributing editor for Liberty Magazine. in 1973 he was one of the signers of the Humanist Manifesto II.
Read more about this topic: Richard Kostelanetz
Famous quotes containing the word works:
“Night and Day ‘ve been tampered with,
Every quality and pith
Surcharged and sultry with a power
That works its will on age and hour.”
—Ralph Waldo Emerson (1803–1882)
“We do not fear censorship for we have no wish to offend with improprieties or obscenities, but we do demand, as a right, the liberty to show the dark side of wrong, that we may illuminate the bright side of virtue—the same liberty that is conceded to the art of the written word, that art to which we owe the Bible and the works of Shakespeare.”
—D.W. (David Wark)
“Was it an intellectual consequence of this ‘rebirth,’ of this new dignity and rigor, that, at about the same time, his sense of beauty was observed to undergo an almost excessive resurgence, that his style took on the noble purity, simplicity and symmetry that were to set upon all his subsequent works that so evident and evidently intentional stamp of the classical master.”
—Thomas Mann (1875–1955)