Proposal for a second anthology of critical essays on Merce Cunningham

This will extend the selection edited by me, Dancing in Space and Time, published in 1992 by A Cappela, initially drawing upon selections that were cut (often against my wishes, even though reprint permission had been obtained) from the earlier book, but also adding new considerations. Like its predecessor, this intends to be an anthology of considered criticism, rather than reviews; and while initially a supplement to the other book, it could, with effective distribution, also be competitive. It would include, listed here in no particular order:

Roger Copeland, “The Politics of Perception,” in Roger Copeland & Marshall Cohen, eds., What Is Dance? (Oxford Univ., 1983)

Carolyn Brown, “On Chance,” Ballet Review (Summer 1968)

Noel Carroll and Sally Banes, “Cunningnam and Duchamp,” Ballet Review (Summer 1983)

Selma Jeanne Cohen, ed., “Time To Walk in Space: Essays, Stories, and Remarks,” with contributions by Carolyn Brown, John Cage, Arlene Croce, Merce Cunningham, Edwin Denby, Jill Johnston, David Vaughan, Dance Perspectives, 3/4 (Summer 1968)

Merce Cunningham, “The Impermanent Art,” Seven Arts (1955); “Choreography and the Dancer,” in The Creative Experience (Grossman, 1970)

Richard Kostelanetz, “Twenty Years of Cunningham Dance,” On Innovative Performance(s) (McFarland, 1991); “Cunningham/Cage,” On Innovative Music(ian)s (Limelight, 1989)

Croce, Arlene. “Notes on a Natural Man,” The New Yorker (7 February 1977); “Crises,” The New Yorker (3 Apr11 1989)

Jill Johnston, “Jips, Japes, and Joyce,” Art in America (January 1987)

Richard Lorber, “From Cimabue to Cunningham,” Millennium Film Journal (1981-82)

Alastair Macaulay, “On the Clouds,” Dancing Times (August 1985); “Found in Space,” Dancing Times (Septemoer 1987); “Happy Hooligan,” The New Yorker (27 April 1992)

Robert Greskovic, “Cunningham as Sculptor,” Ballet Review (Winter 1984), revised & updated

Bruce Fleming, “Thoroughly Modernist Merce,” Washington Dance View (Autumn 1989)

Anita Finkel, “Christy’s Red Hair,” The New Dance Review (July/August 1989)

Michael Snell (pseud.), “Cunningham and His Critics,” Ballet Review (1971)

Marcia B. Siegel, “Summerspace and Winterbranch,” “Septet,” The Shapes of Change:Images of American Dance (1980)

“Repertory in Spite of Itself,” Hudson Review (Summer 1985)

David Vaughan, “Cunningham, Cage and Joyce: ‘This long awaited mesh of roaratorios,” Choreography & Dance (1992)

Nancy Goldner, “Cunningham Diary,” Bennington Review (September 1978)

Joan Acocella, “Cunningham in the 80s: Expressionism and Antiexpressionism,” previously unpublished

Stefan Brecht, “Merce Cunningham in the Spring of 1973,” previously unpublished

Howard Moss, “Street Moves,” (1986) New York Review

George Biswanger,

Octavio Paz, “* water writes always in * plural,” Museum of Modern Art (1973)

The book should be 100,000 words in length. It has been my custom to devote two-thirds of the advance to permissions, which will be distributed evenly on a per-page basis. Once this principle is explained to invited contributors, they nearly always agree.