More Minimal Fictions
Richard Kostelanetz, P.O. Box 444, Prince St., New York, NY USA 10012-0008, firstname.lastname@example.org PROPOSAL for a book of More Minimal Fictions Having successfully published a book of my Minimal Fictions (Asylum Arts, 1993) to only glowing reviews, I¹d like now to do a sequel. Where most of the pages of the first book mixed stories that were no more than three words in length, this will be divided into sections exploring various extreme constraints. The sections entitled "One-Word Stories," "Two-Word Stories," and "Three-Word Stories" are what their titles say. "Skeletal Stories" likewise have three words, but they are physically separate from one another and syntactically discontinuous within a single horizontal line. "Two-Element Stories" suggest a narrative between them with neither word necessarily opening the story; the same multivalent principle applies to "Three-Element Stories." "Shorters" classifies syntactically conventional sentences that either complete or suggest a narrative wholly within themselves, as no sentence intentionally compliments any of the others in the collection, except in form. Whereas the stories in Minimal Fictions were imaginatively designed on a computer, the manuscript of More Minimal Fiction is for now standard in appearance. Its innovations notwithstanding, my fiction is acknowledged in such compendia as the Columbia Literary History of the United States, Contemporary Novelists (St. James), The Merriam-Webster Encyclopedia of Literature, Webster Dictionary of American Literature, Postmodern Fiction (Greenwood), and A Reader¹s Guide to 20th Century Writers (Oxford), where my name is featured among a thousand authors living and dead, the anonymous commentator writing that Kostelanetz "represents the farthest extreme of the formalist approach within the broader field of experimental writing.¹ He goes much farther along the route more popularly associated with Georges Perec." The writer continues, "His output in visual poetry,¹ a medium between poetry and painting which differs from most concrete poetry by being non-linear and non-syntactic, is among his most significant work." Publishers wishing to consider More Minimal Fictions or the poetry companion More Wordworks should contact the author at the address at the top of this page.