Writings through James Joyce's Finnegan's Wake, Norman O. Brown, and The Future of Music. Foreword
Preface to “Lecture on the Weather”
How the Piano Came to be Prepared
Empty Words
Where Are We Eating? and What Are We Eating?
Series re Morris Graves
Sixty-One Mesostics Re and Not Re Norman O. Brown
Writing for the Second Time through Finnegans Wake
The Future of Music
MESOSTICS
Many Happy Returns
A Long Letter
Song
For S. Fort, Dancer
For William McN, who studied with Ezra Pound
Wright’s Oberlin House Restored by E. Johnson
“I’m the happiest person I know (S.W.)
“John Cage is one of those few contemporaries who do important work in more than one art…a master of several arts, a slave to none.”—Richard Kostelanetz,The New York Times Book Review
“For those who’ve savored Cage’s previous books, Silence (1961), A Year From Monday (1967), and M (1973), no further introduction is necessary. Whether sharing with us details of meals he’s enjoyed on tour, transforming texts from Thoreau’s Journal by I Ching operations, or digging ‘mesostics’ on James Joyce’s name out of Finnegans Wake, he’ll keep you fascinated, exasperated, or amused, depending on your reaction to this sort of thing. There are only two essays on ‘music’ in the book—but then, to Cage, everything is music. Recommended for freewheeling art/music/poetry collections.”—Library Journal
His teacher, Arnold Schoenberg, said JOHN CAGE was “not a composer but an inventor of genius.” Composer, author, and philosopher, John Cage was born in Los Angles in 1912 and by the age of 37 he had been recognized by the American Academy of Arts and Letters for having extended the boundaries of music. He was elected to the American Academy of Arts and Sciences in 1978, and in 1982, tlóG
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