Scope and Contents

Ruth and Marvin Sackner contributed an essay about Kostelanetz dealing with his first visit to their house in Miami Beach. This book was edited by Harry Polinhorn, Joshua Carr, and Douglas Puchowski. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This manuscript summarizes books and essays published by Kostelanetz over the years dealing with the subject of the title. He has dedicated the book to Ruth & Marvin Sackner. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Stored in Wally Depew box. This correspondence deals minly with Kostelanetz's book published by Wally Depew in 1973. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Shelley traces the poetic, musical, theatrical, and artistic history of "downtown NYC" over the 20th Century. On the recto of this print, several artists and poets provide short narratives on what it was like to live "downtown in NYC during the 1970's and early 1980's. On Shelley's WEB site, he comments: Downtown Body is a portrait of New York's avant garde cultural landscape. I choose to use the word portrait because I think it conveys a kind of subjective selectivity that my work brings to any subject I work with. I entered into this project with a raucous enthusiasm, but I am exiting the room on tip toes. Downtown-ness touches on the lives of nearly everyone I know and care about. Everyone's sense of who they are is wrapped up in what Downtown means. And what should Downtown mean? Downtown is the success story of New York's art world, both critical and commercial. It's valuable, so it's hyped. It's Downtown Story: the Movie. It's a nostalgic myth, but it is a self-fulfilling...

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This book is a collection of reviews by others of Kostelanetz's writings. These reviews are printed in varied (original?) typefaces. -- Source of annotation: Marvin or Ruth Sackner.

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This book depicts examples from a number theory developed by Kostelanetz. -- Source of annotation: Marvin or Ruth Sackner.

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This book includes several interviews of Cage by Kostelanetz. -- Source of annotation: Marvin or Ruth Sackner.

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Kostelanetz's correspondence with Depew considers their mutual work on publications and distribution of their works. Two Kostelanetz Year End Report from 1985 and1991 are included in this correspondence collection. -- Source of annotation: Marvin or Ruth Sackner.

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This is a four voice reading of the Gospels by ministers edited by Kostelanetz. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Publishers Weekly: "In 1967, when critic Kostelanetz began publishing his own visual poetry, he was one of the most accessible practitioners of the form. A poem composed of the single word "lollypop" travels vertically down the page, the first O huge so the whole looks like a lollipop. A five-page tribute to Henry Ford is composed entirely of the letters A and T. Later work pulls apart words and places them back together, as in "relationship," the central I and O forming the knot of a bowtie-like shape formed by the other letters. "I seem to have . . . characteristic ways of handling language that extend from print into other media," Kostelanetz says as he moves from visual to aural poetry, then on to film and video poems. Short, conversational prefaces to each of this book's 15 sections help pave the way for uninitiated readers (though as the work becomes more difficult to appreciate on the page, his introductions become more technical and complex). These commentaries threaten to...

Scope and Contents Publishers Weekly: "In 1967, when critic Kostelanetz began publishing his own visual poetry, he was one of the most accessible practitioners of the form. A poem composed of the single word "lollypop" travels vertically down the page, the first O huge so the whole looks like a lollipop. A five-page tribute to Henry Ford is composed entirely of the letters A and T. Later work pulls apart words and places them back together, as in "relationship," the central I and O forming the knot of a bowtie-like shape formed by the other letters. "I seem to have . . . characteristic ways of handling language that extend from print into other media," Kostelanetz says as he moves from visual to aural poetry, then on to film and video poems. Short, conversational prefaces to each of this book's 15 sections help pave the way for uninitiated readers (though as the work becomes more difficult to appreciate on the page, his introductions become more technical and complex). These commentaries threaten to...