A Literary Collage is a collection of short stories. Some of them are fiction (like "The Way It Was"); others relate experiences of the writer himself (for example "New York City or Bust"). Some are more or less expository writing (like "In Llama Land, There Are One-Man Bands").
Subversion and Conformity of Literary Collage: Between Cut and Glue fills a gap in the current scholarship on literary collage, by addressing how different the interpretations of the concept are, depending on the author who uses the concept and the material and writers surveyed. The book studies writers who employed literary collage during the twentieth and twenty-first centuries, some whose works have been intensely analyzed from this perspective (William S. Burroughs and Walter Benjamin), but also some whose collage-writing style has recently been investigated by writers, being usually placed under the umbrella term of artist books (Stelio Maria Martini).
Seminar paper from the year 2012 in the subject Didactics for the subject German - Miscellaneous, grade: 1,0, University of Kent (School of German), course: German Literature and Fiilm, language: English, abstract: This essay tries to give evidence for watching Harald Berkmann ́s "Brinkmanns Zorn" as a literary adaptation. Based on this approach, the essay examines the adaptation of Brinkmann ́s first person perspective in many of his texts and his collage-like style in with cinematic techniques.
Collage in Twenty-First-Century Literature in English: Art of Crisis considers the phenomenon of the continued relevance of collage, a form established over a hundred years ago, to contemporary literature. It argues that collage is a perfect artistic vehicle to represent the crisis-ridden reality of the twenty-first-century. Being a mixture of fragmentary incompatible voices, collage embodies the chaos of the media-dominated world. Examining the artistic, sociopolitical and personal crises addressed in contemporary collage literature, the book argues that the 21st Century has brought a revival of collage-like novels and essays.
Emphasizing the diversity of twentieth-century collage practices, Rona Cran's book explores the role that it played in the work of Joseph Cornell, William Burroughs, Frank O'Hara, and Bob Dylan. For all four, collage was an important creative catalyst, employed cathartically, aggressively, and experimentally. Collage's catalytic effect, Cran argues, enabled each to overcome a potentially destabilizing crisis in representation. Cornell, convinced that he was an artist and yet hampered by his inability to draw or paint, used collage to gain access to the art world and to show what he was capable of given the right medium. Burroughs' formal problems with linear composition were turned to his advantage by collage, which enabled him to move beyond narrative and chronological requirement. O'Hara used collage to navigate an effective path between plastic art and literature, and to choose the facets of each which best suited his compositional style. Bob Dylan's self-conscious application of collage techniques elevated his brand of rock-and-roll to a level of heightened aestheticism. Throughout her book, Cran shows that to delineate collage stringently as one thing or another is to severely limit our understanding of the work of the artists and writers who came to use it in non-traditional ways.
Edgar W. Conrad focuses on the prophetic books as composite collections and shows that (1) prophets are characters in the text, depicted as figures of the past whose words are significant for a later time; (2) reading and writing play a central role in the depiction of prophets; (3) prophetic books are presented as written words available to later generations through reading; (4) that read as a whole, the latter prophets depict the end of prophecy and the emergence of messengers of the Lord. Reading the Latter Prophets is an important contribution to the problems of both the formation and function of the prophetic literature.
Beginning with a subtle and persuasive analysis of the cultural context, Farebrother examines collage in modernist and Harlem Renaissance figurative art and unearths the collage sensibility attendant in Franz Boas's anthropology. This strategy makes explicit the formal choices of Harlem Renaissance writers by examining them in light of African American vernacular culture and early twentieth-century discourses of anthropology, cultural nationalism and international modernism. At the same time, attention to the politics of form in such texts as Toomer's Cane, Locke's The New Negro and selected works by Hurston reveals that the production of analogies, juxtapositions, frictions and distinctions on the page has aesthetic, historical and political implications. Why did these African American writers adopt collage form during the Harlem Renaissance? What did it allow them to articulate? These are among the questions Farebrother poses as she strives for a middle ground between critics who view the Harlem Renaissance as a distinctive, and necessarily subversive, kind of modernism and those who foreground the cooperative nature of interracial creative work during the period. A key feature of her project is her exploration of neglected connections between Euro-American modernism and the Harlem Renaissance, a journey she negotiates while never losing sight of the particularity of African American experience. Ambitious and wide-ranging, Rachel Farebrother's book offers us a fresh lens through which to view this crucial moment in American culture.
Finding Nothing explores the eruption of avant-garde writing in Vancouver that re-invented the culture of the city in the second half of the twentieth century.
Collage of Myself presents a groundbreaking account of the creative story behind America's most celebrated collection of poems. In the first book length study of Walt Whitman's journals and manuscripts, Matt Miller demonstrates that until approximately 1854 (only a single year before the first publication of Leaves of Grass), Whitman---who once speculated that Leaves would be a novel or a play---was unaware that his ambitions would assume the form of poetry at all. Collage of Myself details Whitman's discovery of a remarkable new creative process that allowed him to transform a diverse array of texts into poems such as "Song of Myself" and "The Sleepers." Whitman embraced an art of fragments that encouraged him to "cut and paste" his lines into ever evolving forms based on what he called "spinal ideas." This approach to language, Miller argues, represents the first major use in the Western arts of the technique later know as collage, an observation with significant ramifications for our reception of subsequent artists and writers. Long before the modernists, Whitman integrated found text and ready made language into a revolutionary formulation of artistic production that anticipates much of what is exciting about modern and postmodern art. Using the Walt Whitman Archive's collection of digital images to study what were previously scattered and inaccessible manuscript pages, Miller provides a breakthrough in our understanding of the great American literary icon.
Designed to mentor writers at all levels, from beginning to quite advanced, The Writer’s Portable Mentor offers a wealth of insight and crafting models from the author’s twenty-plus years of teaching and creative thought. The book provides tools for structuring a book, story, or essay. It trains writers in observation and in developing a poet’s ear for sound in prose. It scrutinizes the sentence strategies of the masters and offers advice on how to publish. This second edition is updated to account for changes in the publishing industry and provides hundreds of new craft models to inspire, guide, and develop every writer’s work.