A small publisher himself, Ted Pelton reinforces Bernstein’s argument for the necessity of noncommerical literary publishing in his report on &Now, A Festival of Innovative Writing and Art. A small publisher himself, Ted Pelton reinforces Bernstein’s argument for the necessity of noncommerical literary publishing in his report on &Now, A Festival of Innovative Writing and Art.

In his essay “An Inside and an Outside” on Creeley’s final publications Life & Death and If I Were Writing This, Douglas Manson also points to Creeley’s beguilingly precise writing. In his essay “An Inside and an Outside” on Creeley’s final publications Life & Death and If I Were Writing This, Douglas Manson also points to Creeley’s beguilingly precise writing.

Ted Pelton reflects on another Creeley keyword, “dig,” in his 2005 essay on In Company, a collection of image/text collaborations. Ted Pelton reflects on another Creeley keyword, “dig,” in his 2005 essay on In Company, a collection of image/text collaborations.

It was McKenzie Wark, who brought the dub transformation into cultural criticism (if not the cultural mainstream). As Wark wrote, with numerous variations, in Virtual Geographies (1994): “We no longer have roots, we have aerials..” It was McKenzie Wark, who brought the dub transformation into cultural criticism (if not the cultural mainstream). As Wark wrote, with numerous variations, in Virtual Geographies (1994): “We no longer have roots, we have aerials..”

William Gibson in Neuromancer (1985), by naming his interplanetary ship the Marcus Garvey, formalized the connection between an established Rastafarian and an emerging Cyberpunk culture, helping to mainstream technological and musical countercultures. William Gibson in Neuromancer (1985), by naming his interplanetary ship the Marcus Garvey, formalized the connection between an established Rastafarian and an emerging Cyberpunk culture, helping to mainstream technological and musical countercultures.