All index entries shown here correspond to the page numbers within the printed edition only. Within this digital format these page numbers allow for cross referencing only.
‘A Hard Rain’s A-Gonna Fall’, 188–90, 196
A Parrot for Juan Gris, 44
‘A Step Away from Them’, 30, 159
absent origin, absence, 1, 4, 7–11, 25, 48, 54, 61, 71, 73, 93, 96, 104, 121, 131, 137, 142, 176–7, 204, 206, 208–9, 218
Abstract Expressionism, 6, 8, 44, 137–8, 141, 148, 213, 218
addiction, 94, 96, 98, 104–5, 107, 109, 124
Allegory of Innocence, 77
Altieri, Charles, 172, 175, 177
And The Hippos Were Boiled In Their Tanks, 86
Andersen, Hans Christian, 12, 75, 80, 86, 197
Anthology of American Folk Music, 191
anthropology, 33, 38, 41, 45, 87, 95
Antin, David, 20, 33, 35, 129, 146
anxiety, 137, 144–5, 148, 152, 161–2, 176, 197
Apollinaire, Guillaume, 1, 19, 21, 77, 143, 145, 153, 206
Aragon, Louis, 1, 3, 11, 29, 61
Le paysan de Paris, 29
Armitage, Simon, 202, 204, 207
art exhibitions, 3, 17, 21–2, 27, 29, 33, 49, 52–3, 59, 72, 81, 142, 144–5, 216–17
Art of This Century exhibition, 27
art-life divide, 4–5, 14, 16, 19, 27, 29, 47–8, 51, 59, 65, 124, 153, 157, 159, 162–72, 180, 184, 201, 206, 208, 216–17
Ashbery, John, 8, 26, 36, 40, 43, 62, 81, 93, 111, 136–8, 152–4, 156–8, 160, 166, 170–72, 176–7, 180, 182–3, 213–23
Double Dream of Spring, The, 221
Houseboat Days, 36
Mail in Norway, The, 222
Reported Sightings, 43, 62, 81, 219
autobiographical impulse, 10, 28, 62, 80, 94, 154, 166, 177, 194
‘Ballad of a Thin Man’, 206
Banash, David, 34–5
Barthes, Roland, 32–3, 92, 131, 175, 199
Basement Tapes, The, 187, 19–91, 205
Baudelaire, Charles, 21, 35, 53, 221
Beats, the, 10, 20, 87, 107, 114–15, 194, 196, 220
Bébé Marie, 78–80
Belgrad, Daniel, 3, 24, 34, 49–50
Bellow, Saul, 136
‘Berdie’, 161
Blasing, Mutlu Konuk, 36, 155–6, 170
Blonde on Blonde, 187, 193, 206–8, 201
Blood on the Tracks, 187, 189–90, 201–2
Blue Sand Box, 44
‘Bob Dylan’s 115th Dream’, 206
Bosch, Hieronymus, 85, 97, 106, 108, 137
Bourdon, David, 83
Brady, Andrea, 147–8
Brainard, Joe, 40, 183, 214–17
I Remember, 183
Brancusi, Constantin, 52
Braque, Georges, 1, 5–9, 11–12, 14–16, 18–19, 27–8, 33, 53, 82, 93, 121
Breslin, James, 143, 155, 163, 177
bricoleur/bricolage, 40, 139–46
Bringing It All Back Home, 187, 196, 200, 205–6, 208
Brockelman, Thomas, 5, 34, 93, 141
Brown, Richard, 198
Browning, Robert, 196
Brownstein, Carrie, 202
Bürger, Peter, 138
Burgess, Anthony, 89–90
Cage, John, 20, 93, 126, 136, 188, 214
Caravaggio Boy Dovecote, 75
Carrà, Carlo, 3–4, 19–20, 49–50, 125–6, 136, 172
Interventionist Manifesto, 19–20, 125
Carroll, Paul, 168
catalysing effects of collage, 1, 8–9, 33, 38–9, 106, 119, 148, 183–4, 189, 204
Chalk, Martyn, 4
chaos, 18–19, 97, 103, 110, 118, 125, 129, 155, 192, 202, 208, 210
‘Chez Jane’, 138
children and childhood, 12, 17, 22–3, 41–83, 98–10, 109, 143, 151, 156, 216, 220
Christgau, Robert, 192
cinematic, the, 18, 39, 93, 109, 138, 148, 157
Clearfield, Andrew, 24, 34, 138, 168–9, 175, 209
collage as theoretical concept, 3, 8, 11, 18, 37, 196, 205
‘collage of experience’, 9, 39, 187, 190, 202, 210
collage principles, 17–18, 39, 44, 82, 107, 150, 172
Collected Poems of Frank O’Hara, The, 143–4, 165, 215
collecting, collection, 43, 51–2, 71, 88, 92, 106, 138–9, 156, 169, 177, 208–9, 216–19, 221, 224
commodity culture, 136, 156, 170
compositional techniques, 36, 39, 85–9, 92, 106, 112, 124, 135, 140, 156, 164, 191, 201, 223
confessional writing, 10, 131, 147, 162, 166, 173, 177–84
Coolidge, Clark, 169
Corcoran, Neil, 198
Cornell, Robert, 51, 54, 63, 71
correspondence, 10, 80, 86, 88, 94, 102–12, 124, 135
Cortázar, Julio, 214
coteries, 36, 39, 136, 179, 181, 196–7, 199
creative processes, 9, 18, 39, 65, 131, 157, 178, 181, 215–16, 221
Crystal Cage (for Berenice), 72
Cubism, 8, 15, 17–18, 20, 28, 33, 44, 113, 208
cultural junk, 29, 31, 50–51, 62, 143, 187
cut-and-paste, 3, 10, 34, 146, 223
cutting and surgery, 39, 115–20, 143
Dada, 6, 8, 16–18, 20, 22, 24–5, 33, 113, 122–4, 129, 138, 143, 150–51, 188, 192, 201, 207, 218, 221
Dalí, Salvador, 23–4, 52, 59, 112, 123, 143, 207
Day, Aidan, 36, 190, 192, 202, 207
portrait of O’Hara, 165
De Kooning, Willem, 27, 136–7, 140, 164, 180, 213, 217–18
Dead Fingers Talk, 129
democracy of collage, 6, 10, 71, 203, 216
desire to escape, 118, 130–33, 163
‘Desolation Row’, 188, 190, 195–200, 202, 206, 208
diaries, 24, 29, 31, 43, 47, 50, 63–5, 78, 80, 82–3, 94, 104
Digby, John and Joan, 12, 21–2, 33, 50, 121, 129
Dimakopolou, Stamatina, 23–4, 78
discontinuous composition, 24, 113, 188, 198, 221
dismemberment, 78, 117–26, 150, 204
Duchamp, Marcel, 25–6, 52, 59, 61, 91, 112, 123, 142, 171, 206, 218
L.H.O.O.Q., 206
Nude Descending a Staircase, 142
‘Early on Sunday’, 154
‘Easter’, 39, 137–9, 142, 146, 152–3, 156
Electronic Revolution, The, 121
Eliot, T.S., 10, 24, 34, 46, 109, 112–13, 145–6, 149, 179–83, 191–2, 195, 198–200, 209, 221
Preludes, 209
The Waste Land, 24, 109, 149, 179–80, 198–200
‘Tradition and the Individual Talent’, 145–6
Emerson, Ralph Waldo, 40, 139, 156, 206, 213, 218, 224
Epstein, Andrew, 36, 155–6, 173–5, 218–20
Ernst, Max, 1, 3, 20–27, 41–2, 47–8, 52–5, 59, 61, 65–78, 80, 85, 88, 112–13, 121–2, 132, 143, 151, 153, 160, 167, 175, 202, 215–17
European avant-garde, 41–2, 46, 52–3, 61, 88, 136, 138, 219
Exhibition of Collage, 27
exploration of selfhood, 34, 39, 79, 136, 155, 165, 191, 194
Faithfull, Marianne, 205
Fantastic Art Dada Surrealism, 22
Feldman, Morton, 136, 183, 188, 214
‘Female Torso’, 142
Ferguson, Russell, 36, 157, 179
Ferlinghetti, Lawrence, 37, 191
First World War, 5, 7, 15–16, 18–19, 56, 129
flatness, 6, 16, 18, 28, 148, 171
‘For the Chinese New Year & For Bill Berkson’, 179
formal assault, 87–8, 115, 152, 223
found objects, 33, 39, 93, 139, 157, 191, 200, 218
fragmentation, 24, 113, 129, 155–6, 167, 188, 203, 206, 210, 213
Freeman, Walter, 115
Freewheelin’ Bob Dylan, The, 187
Freilicher, Jane, 172, 174, 217
French cultural influence, 44, 49, 53, 143–5, 191, 195–6
Futurism, 3, 6, 8, 17–20, 24–5, 33, 43–4, 113, 125–6, 163, 171–2, 188
gifts and giving, 41, 49–50, 55, 83, 167, 200
Gilot, Françoise, 7, 15, 140, 201
Ginsberg, Allen, 10, 24, 26, 37, 40, 86–7, 91, 97–8, 100–115, 119, 122, 124, 130, 132, 141, 161, 178–9, 187, 191–2, 195–6, 213–15, 220
‘A Supermarket in California’, 161
The Fall of America: Poems of These States, 214
‘Wichita Vortex Sutra’, 215, 220
Goodman, Paul, 173–5
Gray, Michael, 36, 188, 191–2, 196, 198, 207–8
Greatest Hits Vol. II, 206
Greenberg, Clement, 5–7, 18, 24, 27–8, 33–4, 124
Greenwich Village, 37, 72, 187
Guggenheim, Peggy, 27
Guilbaut, Serge, 26–7
Gysin, Brion, 37–8, 86–7, 89, 103, 107, 110, 112–15, 119–20, 126, 132–3
hallucination, 22, 73, 98, 107, 111, 132, 155
Harris, Oliver, 35–6, 87, 94–5, 98, 101, 103–5, 111, 113, 115
Hartigan, Lynda Roscoe, 35, 53–4, 71
Hartman, Anne, 178
Hassan, Ihab, 110
‘Hatred’, 39, 137–9, 142, 146, 149–52, 153, 156
Hauptman, Jodi, 35, 51, 59, 62, 65, 79–80, 82
Hausmann, Raoul, 14, 16–17, 151
‘Having a Coke With You’, 142, 154, 171
Heartfield, John, 17–18, 50, 151
Heylin, Clinton, 192, 196, 202, 205
hierarchy, 6, 14, 96, 172, 189, 195–6
high and low culture, 23, 49, 62, 179, 181–2, 197–8, 216
Highway 61 Revisited, 192–3, 196, 199, 205–6, 208
history of collage, 1–24
Höch, Hannah, 17, 85, 88, 123, 151
‘Homage to Rrose Sélavy’, 142
Huelsenbeck, Richard, 16
Hughes, Robert, 23, 25, 47, 50–51, 54, 59, 65, 67
‘I do this, I do that’ poems, 39, 138–9, 158–9, 168, 182
I Grew this Mustache, 183
iconoclasm, 9, 86, 90, 109, 137, 188, 200, 207
‘Idiot Wind’, 206
imitation, 26, 47, 54–5, 59, 96, 132, 155, 157
‘In Memory of My Feelings’, 137, 139, 155, 182
‘In the Name of Picasso’, 1, 7, 10, 32, 35, 48, 206
intellectual and emotional relationship with aesthetic environment, 3, 188
interdisciplinarity, 4, 17, 34, 37, 121, 223
‘Joe’s Jacket’, 175–7
Johns, Jasper, 27, 176, 183, 191, 213, 218
Jones, Thomas, 194
Joris, Pierre, 34, 40, 132, 213
Julien Levy Gallery, 41, 52, 60
Junky, 36, 39, 85–7, 94–8, 101–6, 111, 131
‘Just Like Tom Thumb’s Blues’, 196
Kahnweiler, Daniel-Henry, 14
Kane, Daniel, 4, 9, 36, 163–4, 183, 222
Kerouac, Jack, 10, 86, 90, 95, 101–2, 105, 108, 191, 196
Desolation Angels, 196
Klaver, Elizabeth, 118
Koch, Kenneth, 159, 163–5, 171, 176, 182–3
KQED-TV, 164
Krauss, Rosalind, 1, 7, 10, 32, 35, 48, 121, 206
La femme 100 têtes, 41, 53–5, 73–6, 88
La Révolution surréaliste, 21, 23
language as art, art as language, 1, 4, 16, 19, 23, 34, 48, 81, 121, 131, 140, 143, 150, 159, 167, 192, 207
Lautréamont, Comte de, 21, 37, 56, 150
Leefmans, Bert, 4, 16, 31, 112, 122, 127
Lehman, David, 36, 121, 136, 218
Leibowitz, Herbert, 143
Leighten, Patricia, 6
LeSueur, Joe, 38, 154, 157, 164, 169, 176
‘Letter from a Master Addict to Dangerous Drugs’, 107
Levertov, Denise, 182
Lévi-Strauss, Claude, 139, 184
Levy, Julien, 41–2, 52–3, 55, 59–60, 81
‘Like a Rolling Stone’, 206
liner notes, 39, 187, 190, 192, 196, 205
literary tradition, 9, 36, 109, 111, 137, 189
Losch, Tilly, 80
Love and Theft, 135
‘Love Minus Zero / No Limit’, 200, 206
‘Eye and Tooth’, 177–8
‘Mr Edwards and the Spider’, 180
‘Skunk Hour’, 177
Loy, Joella, 52
Lucie-Smith, Edward, 157, 179, 182
Lydenberg, Robin, 14, 18, 23, 34–5, 88, 91, 93, 104, 166–7, 121, 124–6, 131
Magritte, René, 21, 23–4, 61, 112, 207–8
The Rape, 61
Malevich, Kazimir, 4, 19, 49–50, 136
Mallarmé, Stéphane, 46, 53, 81, 196
Manhattan, 9, 31, 41–2, 49, 51–2, 56, 73, 81–2, 167
manifestos, 19–20, 22, 25, 44, 47, 55, 62, 113, 125, 143, 146, 174
Marinetti, Filippo, 19–20, 125
Marqusee, Mike, 192, 195, 201, 207–8
The Blood of Birds, 77
McLuhan, Marshall, 204
Meditations in an Emergency, 159
‘Meditations in an Emergency’, 170
‘Memorial Day 1950’, 142–3
Mengham, Rod, 144–5
Michaux, Henri, 219
Miles, Barry, 35, 97, 110–13, 115, 120, 131
Minutes to Go, 93, 113–15, 119
Mississippi, the, 109
Modernism, 6, 8, 33, 35, 93, 145, 182, 198
Montessori, Maria, 12
Moore, Marianne, 80
mosaic, 11, 30, 35, 92, 102, 124
Motherwell, Robert, 4, 26–8, 49–50, 131, 136, 145, 191–2
Mottram, Eric, 95, 97, 103, 124
Moutarde Dijon, 65
multiple perspectives, 79, 86, 141, 149, 159, 177, 189, 195, 202, 204, 219–20
Museum of Modern Art (MoMA), 27–9, 37, 141–2, 144–5, 201
‘My Life in a Stolen Moment’, 195
Naked Lunch, 10, 30, 36, 39, 85, 87–90, 93–123, 126, 129, 133, 192, 204
nauseated critical response to Burroughs, 39, 85, 87–93
New Criticism, the, 148, 177, 179–81
New York art scene, 25–33, 43, 136, 213–14
New York School, the, 20, 156–7
nostalgia, 9, 42, 49, 59, 63, 65, 68, 71, 81, 107, 129, 161, 165, 170, 176
‘Notes on “Second Avenue”’, 181
Nova Express, 85, 93, 97, 109, 130–31, 192
Observations of a Satellite I, 77
O’Doherty, Brian, 43, 47, 59, 61, 71, 79
Olson, Charles, 182
Oppenheim, Meret, 22
‘Oranges: 12 Pastorals’, 142, 144, 147, 152, 157–8
painters in New York, 136–7, 141, 182
Pantry Ballet (for Jacques Offenbach), 62
Paris, 3, 23, 25–6, 29, 52–3, 85, 100, 107, 112, 132, 144–5, 146, 162
performance, 39, 98, 103, 117, 147, 164, 168, 187, 200, 207
Perloff, Marjorie, 3, 15, 19–20, 34, 112, 127, 129, 138, 167, 217
physical act of pasting, 1–8, 10–11, 14, 27, 34, 38, 44, 61–2, 75, 77, 119, 138–9, 144, 146, 164, 166, 223
Picabia, Francis, 25, 53, 143, 167
Picasso, Pablo, 1–2, 5–19, 15, 27–8, 33, 35, 47, 49, 53, 59, 72, 78, 85, 88, 93, 112, 121, 132, 138, 140, 143, 182, 191, 195, 200–201, 216, 223
and Bob Dylan, 200–201
Guitar, Sheet Music and Glass, 15
Still Life with Chair Caning, 1–2, 15, 28, 88, 121, 201
Pinacotheca Gallery, 27
Plottel, Jeanine Parisier, 34
‘Poem (Instant coffee with slightly sour cream)’, 165
‘Poem (Lana Turner has collapsed!)’, 171–2, 153
‘Poem Read at Joan Mitchell’s’, 159, 172, 182
poet as thief of fire, 135, 157, 163–4, 166, 170
politics and collage, 6–7, 15, 17, 23, 25–7, 42, 56, 71, 95, 118, 144–5, 151, 156, 189–90, 193, 207–8, 210, 214–15
Pollock, Jackson, 26–8, 85, 112, 136–7, 158, 181, 200, 204, 206
post-1960s collage artists, 8, 214
Pound, Ezra, 1, 24, 34, 113, 143, 179, 181–3, 189, 191–2, 198, 210, 214
Pro Eto (That’s What), 19
proper nouns and the practice of naming, 166, 169–77, 197
Prose, Francine, 86
protest songs, 189–90
provocation, 7, 15–16, 49, 63, 73, 81, 90–91, 216, 222
Queer, 36, 85, 87, 94, 98–111, 117–19, 131
Raeben, Norman, 201–2
Rauschenberg, Robert, 14, 26–8, 112, 137, 213, 218
Bed, 28
Black Paintings, 27
Ray, Man, 25, 42, 44, 52, 59, 112, 123, 142
reader, role of, 4–5, 35, 39–40, 91–3, 103, 107, 118, 126, 131, 136, 140, 146–50, 158, 165, 175, 181, 215, 218–21
reassessing the rules of reading, 85, 87–8, 103, 107, 118, 120–25
Red Night Trilogy, The, 90, 119
Rejlander, Oscar Gustave, 12
relationship between visual art and writing, 4, 35, 88, 92–3, 112, 121–2, 140, 151, 189–90, 197, 206, 208, 215
Rembrandt, 117
representation, 4–6, 8, 14–16, 19, 23, 34, 42, 112, 124, 126, 138, 151, 175, 183, 201, 210, 220, 223
Revell, Donald, 218
revolutionary nature of collage, 4, 17, 19, 87, 125, 170, 200, 213
Reynolds, George, 12
Ricks, Christopher, 36, 188, 194–5
Rimbaud, Arthur, 21, 53, 112, 119, 135, 145, 157, 164, 170–71, 189, 196
Robbins, Paul, 9, 39, 187, 190, 195, 205
Robinson, Henry Peach, 12
Rodchenko, Aleksandr, 19
Rosand, David, 34, 120–22, 166
Rosenbaum, Susan, 170–72
Rosenberg, Harold, 34, 80, 158
Russian Constructivism, 6
Savage Mind, The, 139
Schrödinger’s Cat, 82
Schuyler, James, 136
Schwitters, Kurt, 18, 27, 50, 56, 82, 129, 153, 216–17
Scobie, Stephen, 36, 190–91, 201, 205
science, 15, 17, 20–21, 46–7, 54, 65, 103, 109–10, 112, 116–17, 122, 174, 180, 184
‘Second Avenue’, 39, 137–42, 146–9, 152–3, 156, 161, 178, 181
Second World War, 18, 28, 129, 145, 174
sexuality, 9, 22, 25, 44, 54, 63, 72, 78, 80, 115–16, 122, 124, 129, 140, 184
shock, 7, 15, 17–18, 25, 28, 55, 71–3, 100, 140, 168, 174, 201
skyscrapers, 30, 81–2, 144, 161
‘Sleeping on the Wing’, 163
Smith, Hazel, 152
Soft Machine, The, 89, 91, 93, 97, 109, 113–14, 117, 120, 122–4, 126, 129–30
Solataroff, Theodore, 111
Solomon, Deborah, 42–3, 52, 54, 72, 79–80
‘Song’, 178
‘Song (is it dirty)’, 178
Spender, Stephen, 187, 194, 198
Standing Still and Walking in New York, 139, 141, 143, 157, 159, 162, 177, 179, 182
‘Statement for the New American Poetry’, 159, 162
Steinberg, Saul, 165
Stella, Joseph, 20
‘Stuck Inside of Mobile with the Memphis Blues Again’, 206
subjectivity, 5–6, 23, 40, 85, 117, 131, 162, 165–6, 173, 177, 191, 197, 223
‘Subterranean Homesick Blues’, 187, 196, 206
surfaces, 3–7, 14, 18, 34, 49, 136, 138–43, 146–9, 158, 167–72, 175–78, 181
Surrealism, 6, 8, 18, 20–23, 25–6, 29, 33, 41, 43–4, 46–8, 52–83, 96, 122–3, 137–8, 141, 143–4, 148, 150–53, 156–7, 188, 192, 218–21
Sweet, David, 219
Symbolism, 39, 42, 59, 61, 81, 196
Taglioni’s Jewel Casket, 62
‘Tangled Up in Blue’, 188, 200–204, 220
Tarantula, 36, 187, 190, 192–3
Taylor, Brandon, 3, 11, 18, 33, 213
Tchelitchew, Pavel, 80
Tempest, The, 130
Tennis Court Oath, The, 138, 217–21
‘The Day Lady Died’, 30, 159–60, 162–69, 173, 204
‘They Dream Only of America’, 219–21
Ticket That Exploded, The, 89, 91, 93, 97, 114, 118, 120, 123–4, 126, 130
Times Literary Supplement (TLS), The, 88–90, 122
‘To The Film Industry In Crisis’, 137
‘To the Mountains in New York’, 160, 165
‘Tombstone Blues’, 192
transference of cultural power from Europe to America, 25, 27, 136, 145
Trotter, David, 90
Two Children Are Threatened By A Nightingale, 22, 73, 78
Tzara, Tristan, 14, 17, 112–14, 153
Ulmer, Gregory, 4, 14, 129, 135, 213
Une semaine de bonté, 65–6, 69–70, 73
Untitled (Children with Carnival Carts and Suitcases), 73, 75
Untitled (Encrusted Clown) (Souvenirs for Singleton), 51
Untitled (First Collage in a Long Time), 61
Untitled (Man with Portable Motion Picture Camera and Musical Score), 69
Untitled (Penny Arcade Portrait of Lauren Bacall), 52
Untitled (Penny Arcade with Horse), 52
Untitled (Seated Figure with Suspended Plates and Bottles), 73, 77
Untitled (Ship with Nude), 61
Untitled (Woman and Sewing Machine), 56–7
urban environment, 10, 25–33, 39, 41, 43, 47, 49, 50–52, 81, 95, 97, 159–60, 163, 169–70, 179, 197, 203, 208
USA Poetry: Frank O’Hara, 164
Variétés Apollinaris (for Guillaume Apollinaire), 77
velocity, 20, 116, 125, 146, 148, 162–3, 165, 170, 172
verbal collage, 10, 16, 20, 24, 34, 39, 92, 118, 137, 146, 149, 179, 183, 193, 218
Victorian era, 9, 22, 43, 48–9, 53–6, 65–6, 129, 151
viewer, role of, 4–7, 15–16, 28–9, 32, 35, 40, 48, 52, 80, 148, 158, 166, 191, 201, 214–17, 222–3
violence, 23, 42, 56, 68, 78, 115–22, 146, 151
‘Visions of Johanna’, 188, 199, 204–10
visual imagery, 189
Waldman, Anne, 141
Ward, Geoff, 172
Warne’s Picture Puzzle Album, 48
‘When I Paint My Masterpiece’, 206
Whitman, Walt, 143, 145–6, 161, 165, 196, 217
Williams, William Carlos, 24, 143, 214
Yage Letters, The, 36, 87, 94, 97, 101
Zang Tumb Tuuum, 19
Zervos, Christian, 4