- All Along the Edge
- Choice Bits
- Las Vegas Performance
- Book of Kostis
- Contemporary American Literacy
- Modern Polyartistry
- End of Intelligent Writing, reprint
- More On Innovative Music(ian)s
- Autobiogaphies at 50 & 60
- Book-Art & Alternative Publishing
- A Literary Life in America
- Animated Music
- Artists in America
- Arts & Artists in America
- Master Minds, rev. ed.
- The Maturity of American Thought
- Great American Comedians
- Continuing Tradition of the New
- Charles Ives and the American Imagination
- Special Sounds: The Art of Radio in North America
- Great Jewish Cemetery of Berlin
- Sports & Sportsmen
- Elizabeth Streb
- More Crimes of Culture
- 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 the acquisition of RICHARD KOSTELANETZ'S Complete Archive
1) Papers relating to the production to over one hundred books and chapbooks, including works of poetry, collections of essays, criticism, fiction, anthologies of art and literature, exhibition catalogues, a dozen issues of the annual Assembling, issues of Precisely, a special issue of American PEN, etc. For some of these books, chapters get individual files.
2) Drafts of essays, with shorter texts customarily sorted annually while extended essays have individual files.
3) Worktapes, scores, and mastercopies of audio-art compositions that are in sum roughly thirty hours in length.
4) Scores, worktapes, and mastercopies of video-art that is roughly twenty hours in sum.
5) Copies of several holograms.
6) Prints and working notes of 16 mm. films, including such early works as Constructivist Fictions and Openings & Closings (1975), and then all six versions of the 21-minute film about the Great Jewish Cemetery of Berlin and the four-hour Epiphanies (1981â€”93). (Remember that it would cost at least $20,000 to make 16 mm. archival prints of these films.)
7) Copies of visual art, including limited editions, prints, and drawings not currently exhibited.
8)Professional correspondence, customarily sorted biannually in alphabetical files. Starting in the mid-1980s, some correspondence with, and clippings from, individuals has been kept apart from these biannual compilations.
9) All records and correspondence relating to Assembling, Assembling Press, Future Press, and Archae (formerly RK) Editions.
10) The second copies of hundreds of books and periodicals in which work has appeared. (I've traditionally requested at least two copies of all works, thinking of the second as what could have been lent.)
11) Copies of the handwritten notes customarily inserted in every book read and owned by me.
None of this archive has been sold before. (The Fales Collection of NYU Library received my father's collections of third copies that had come to me.) The files alone probably run close to one hundred feet in length, though I've not been one to accumulate excessively within each project. Copies of my books and periodicals run at least ninety feet. Since I'm reluctant to disperse my papers, it should be assumed that the people acquiring this archive now will arrange to have future papers and productions. Ideally, this archive belongs in an institution that can handle audio, video, holograms, and film along with paper. What is desired is a sum of money that would keep me solvently independent (away from deleterious employments) for the rest of my life.