Richard Kostelanetz
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- › The Fall and Rise of the Rockaways
- › Home & Away: Travel Essays
- » American Composers in Their Own Words
- › The Art of Literary Demolition
- › Possibilities of Longer Poetry
- › Alternative American Autobiographies
- › The American Tradition in Poetry
- › John Cage's Poetry
- › Foster Damon's Uncollected Writings
- › Libertarian Tradition: American Anarchist Thought
- › E.E. Cummings ReConSidered
- › Conceptual Dance: Choreographic Comedies
- › An Emma Goldman Reader
- › American Composers as Writers
- › AnOther Ogden Nash
- › Classic Essays on Rock
- › New American Radio Plays
- › Second Anthology of Merce Criticism
Proposal for a series of books: American Composers in Their Own Words
May I propose a series of books, uniform in design and size (256 or 320 pages),
selecting the best previously uncollected writings (mostly published, but
also unpublished) of prominent American composers. These would include not
only essays and reviews but letters and interviews, where relevant; it could
also include imaginative writings, such as poetry. These books should open
with an appropriate introductions, which can be a general biography or a more
focused appreciation of the subject’s writing, and conclude with complete
bibliographies of the subjectts writings. For a publisher that initiated this
series but was unable to produce it, I edited Virgil Thomson and Dick Higgins
edited Henry Cowell, both of which appeared with other presses. I later did
a comparable volume on Aaron Copland. Among those major American figures worth
publishing in this series would be Peter Schickele, Lou Harrison, Edgar Varese,
Pauline Oliveros, Anthony Braxton, Earle Brown, Ned Rorem, Christian Wolff,
Stephen Sondheim, Milton Babbitt, Leonard Bernstein, Steve Reich, Ruth Crawford
(Seeger), and Charles Wuorinen. Once the series becomes established, we might
consider reprinting other American composers’ comparable books that are no
longer in print or not previously in paperback. One overarching theme is that
the best American composers articulate proficiently. Consider publishing the
books in groups of two, perhaps every six months, for at least two years,
when we can measure whether it succeeded or failed. Sales would gain from
the books appearing in a series and from the reputation of the publisher’s
music list. I’d happily edit some of these myself (recalling my work with
John Cage, Nicolas Slonimsky, Gertrude Stein, L. Moholy-Nagy, and E. E. Cummings,
among others) and find others to do what they could do better than I.