Richard (Cory) Kostelanetz Criticism
Richard (Cory) Kostelanetz is a notable American poet, essayist, literary critic, editor, short story writer, and novelist, primarily known for his significant contributions to avant-garde literature. His body of work spans various literary genres, marked by a commitment to nontraditional and experimental forms. Kostelanetz is a vigorous advocate for young experimental artists, whom he terms "fictioneers," and has compiled anthologies such as The Young American Writers: Fiction, Poetry, Drama, and Criticism and Breakthrough Fictioneers to showcase their innovative work. His efforts, as noted in Breakthrough Fictioneers, explore the evolving boundaries of fiction and challenge conventional definitions.
Kostelanetz is renowned for his "visual poetry," a fusion of poetry and visual art, as seen in collections like Visual Language and I Articulations. His artistic endeavors are praised for their inventive use of language as a visual medium, as highlighted by Michael Joseph Phillips.
While his work is celebrated in small press circles, Kostelanetz's relationship with the mainstream literary establishment is more contentious, primarily due to his provocative book, The End of Intelligent Writing: Literary Politics in America. In this work, Kostelanetz critiques the literary establishment's resistance to experimental literature, a stance that has been scrutinized by critics like John W. Aldridge, who argues that Kostelanetz's views overlook historical literary dynamics, and Charles Molesworth, who critiques his understanding of publishing economics.
Contents
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Obsolete at Thirty
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In the following essay, Granville Hicks critiques Richard Kostelanetz's volume Young American Writers for its emphasis on generational distinction and its focus on discontinuity in literature, questioning whether rapid change equates to betterment and expressing skepticism about the enduring value of the works included.
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The Theatre of Mixed Means: An Introduction to Happenings, Kinetic Environments and Other Mixed Means Performances
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In the following essay, Marquerite McAneny examines Richard Kostelanetz's concept of "mixed means" in theater, arguing that his work challenges traditional perceptions of theatre by incorporating diverse sensory elements and questioning the role of plot in engaging modern audiences.
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Two Novels, an Anthology and an Alphabet
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In the following essay, L. J. Davis critiques Richard Kostelanetz's anthology "Breakthrough Fictioneers" for its pretentious claim of defining innovative fiction, while finding the selected works unimpressive and lacking in literary impact.
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A Conspiracy of Good Taste
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In the following essay, Thomas Powers critiques Richard Kostelanetz's book for its argument against the New York literary establishment, acknowledging Kostelanetz's passion for experimental literature while questioning the validity of his claims regarding conspiratorial suppression, ultimately suggesting that Kostelanetz fails to convincingly address why experimental authors should be prioritized over established literary figures.
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The End of Intelligent Writing: Literary Politics in America
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In the following essay, Roger Sale critiques Richard Kostelanetz's "The End of Intelligent Writing" for its failure to intelligently engage its subject, noting that while Kostelanetz accurately identifies influential literary figures and champions marginalized young writers, his approach is marred by rudeness and a lack of nuanced understanding of both the literary establishment and the value of "conservative" works.
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Recyclings: A Literary Autobiography Volume One 1959–67
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In the following essay, Welch D. Everman explores Richard Kostelanetz's Recyclings as a groundbreaking literary work where the absence of traditional narrative elements invites readers to engage with words in their purest form, enabling endless interpretative possibilities.
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Unmaking It: The Politics of Literary Failure
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In the following essay, John W. Aldridge critiques Richard Kostelanetz's view in The End of Intelligent Writing, arguing that Kostelanetz's lament over literary group exclusion overlooks the historical norm of literary cabals and mocks his desire for power and prestige, ultimately undermined by Kostelanetz's championing of derivative literary works.
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Literary Politics in America
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In the following essay, Charles Molesworth critiques Richard Kostelanetz's The End of Intelligent Writing for its misunderstandings of audience, historical context, and economics, arguing that its utopian vision of alternative publishing fails to recognize the entrenched structures of capitalism that inherently challenge the survival of innovative literature.
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Innovative
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In the following essay, Michael Joseph Phillips praises Richard Kostelanetz as a multifaceted modern Renaissance figure, highlighting his work as a visual poet in Visual Language, where innovative and visually engaging poems, like "Disintegration," showcase his artistic talent and provoke thoughtful engagement with art and social issues.
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One Night Stood: A Minimal Fiction
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In the following essay, Val Moorehouse analyzes Richard Kostelanetz's One Night Stood: A Minimal Fiction, discussing how its unique format and minimal text parody the traditional "rise and fall" narrative of a one-night stand, highlighting the interplay between design and meaning.
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Twenties in the Sixties: Previously Uncollected Critical Essays
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In the following essay, Edward Butscher critiques Richard Kostelanetz's Twenties in the Sixties, characterizing his literary judgments as a mix of insightful and dismissive, while praising his ongoing resistance to literary conformity despite occasional arrogance and unconventional presentation.
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Small Press Review
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The essay examines Richard Kostelanetz's dual books, "The End" Appendix and "The End" Essentials, highlighting his critique of the literary establishment, where he argues the decline of "intelligent writing" stems from obstructed communication between writers and readers, rather than a lack of production or readership.
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The Old Poetries and the New
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In the following essay, John Martone critiques Richard Kostelanetz's dichotomous view on contemporary poetry, arguing that while Kostelanetz effectively conveys the excitement of new poetic strategies, his polemical tone and lack of exploration into the relationship between new poetries and technology hinder a deeper understanding.
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Breakthrough Fictioneers
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In the following essay, Peter Frank analyzes Richard Kostelanetz's anthology Breakthrough Fictioneers as a compelling exploration of fiction's evolving boundaries by integrating diverse art forms, arguing that this innovative collection challenges traditional definitions and highlights Kostelanetz's adventurous editorial approach.