Richard Kostelanetz
- Preambles
- 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: Tavel Essays
- Conceptual Scripts
- 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
Conceptual Scripts
For many years now, I’ve tried to establish the presence of a genre, probably unrecognized before, of Conceptual Scripts. If Conceptual Art consists of statements meant to induce heightened esthetic experience, so Conceptual Scripts are meant to suggest performance experience. Among the precursors are L. Moholy-Nagy’s script for a film that was never realized, “Dynamik der Großstadt,†which appeared in his book Painting Photography Film (1924), and the literary ballets that I collected a decade ago for Conceptual Dance, an anthology that still hasn’t appeared.
  Within this general genre, I’ve tried to distinguish my own ballets from my opera librettos and my scenarios for silent films from those containing sound, though admitting that some of my scripts classified under one rubric might finally belong under another.