Books by Wayne Koestenbaum
My 1980s and Other Essays
Wayne Koestenbaum returns with a zesty and hyper-literate collection of personal and critical essays on the 1980s, including essays on major cultural figures such as Andy Warhol and Brigitte Bardot.
Wayne Koestenbaum has been described as "an impossible lovechild from a late-night, drunken three-way between Joan Didion, Roland Barthes, and Susan Sontag" (Bidoun). In My 1980s and Other Essays, a collection of extravagant range and style, he rises to the challenge of that improbable description.
My 1980s and Other Essays opens with a series of manifestos―or, perhaps more appropriately, a series of impassioned disclosures, intellectual and personal. It then proceeds to wrestle with a series of major cultural figures, the author's own lodestars and lodestones: literary (John Ashbery, Roberto Bolaño, James Schuyler), artistic (Diane Arbus, Cindy Sherman, Andy Warhol), and simply iconic (Brigitte Bardot, Cary Grant, Lana Turner). And then there is the personal―the voice, the style, the flair―that is unquestionably Koestenbaum. It amounts to a kind of intellectual autobiography that culminates in a string of passionate calls to creativity; arguments in favor of detail and nuance, and attention; a defense of pleasure, hunger, and desire in culture and experience.
Koestenbaum is perched on the cusp of being a true public intellectual―his venues are more mainstream than academic, his style is eye-catching, his prose unfailingly witty and passionate, his interests profoundly wide-ranging and popular. My 1980s should be the book that pushes Koestenbaum off that cusp and truly into the public eye.
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Circus: or, Moira Orfei in Aigues-Mortes: A Novel
A new edition of a “dazzlingly seductive” fever dream written in “brilliant poetic vernacular” (Bookforum) by a beloved poet and cultural critic, now with an introduction by Rachel Kushner.
For five years, concert pianist Theo Mangrove has been living at his family’s home in East Kill, New York, recovering from a nervous breakdown that derailed his career, and attempting to relieve his relentless polysexual appetite in the company of male hustlers, random strangers, music students, his aunt, and occasionally his wife. As he prepares for a comeback recital in Aigues-Mortes, a walled medieval town in southern France, he becomes obsessed with the idea that the Italian circus star Moira Orfei must join him there to perform alongside him.
Extravagantly (and tragicomically) describing his hallucinatory plans in a series of twenty-five notebooks, he assembles an incantatory meditation on performance, failure, fame, decay, and delusion.
"If Debussy and Robert Walser had collaborated on an opera, it would sound like this. --John Ashbery
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Open City #23: Prose by Poets
by Jim Harrison, Nick Flynn, Jill Bialosky, Wayne Koestenbaum, Glyn Maxwell, Deborah Garrison, Open City Magazine, Rebecca Wolff
Open City continues to present new writing with a daring edge and a youthful glow, appealing to readers who want to know what’s next in contemporary literature. This special issue features fiction, essays, and artworkall by poets. Each piece of prose will be accompanied by a selection of the writer’s poems. Contributors include: Deborah Garrison, Nick Tosches, Honor Moore, Rodney Jack, David Lehman, Jim Harrison, Thurston Moore, David Berman, and Catherine Bowman, Alfred Star Hamilton, and Jerome Badanes.
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Camp Marmalade
Camp Marmalade takes the freedoms of trance utterance--unfettered verbal association, explicit auto-ethnography, erotic bricolage--and applies a more stringent sense of time-as-emergency to this liberation-oriented poetic method. Part diary, part collage, part textbook for a new School of Impulse, Camp Marmalade assembles a perverse and giddy cultural archive, a Ferris wheel of aphorisms, depicting a queer body amidst a dizzying flow of sensations, dreams, and sex-and-death distillations--whether sugary, fruity, bitter, expired, or freshly jarred.
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Humiliation (BIG IDEAS//small books)
Wayne Koestenbaum considers the meaning of humiliation in this eloquent work of cultural critique and personal reflection.
The lives of people both famous and obscure are filled with scarlet-letter moments when their dirty laundry sees daylight. In these moments we not only witness the reversibility of "success," of prominence, but also come to visceral terms with our own vulnerable selves. We can't stop watching the scene of shame, identifying with it and absorbing its nearness, and relishing our imagined immunity from its stain, even as we acknowledge the universal, embarrassing predicament of living in our own bodies. With an unusual, disarming blend of autobiography and cultural commentary, noted poet and critic Wayne Koestenbaum takes us through a spectrum of mortifying circumstances―in history, literature, art, current events, music, film, and his own life. His generous disclosures and brilliant observations go beyond prurience to create a poetics of abasement. Inventive, poignant, erudite, and playful, Humiliation plunges into one of the most disquieting of human experiences, with reflections at once emboldening and humane.
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Queen's Throat Opera, Homosexuality And The Mystery Of Desire
This passionate love letter to opera, lavishly praised and nominated for a National Book Critics Circle Award when it was first published, is now firmly established as a cult classic. In a learned, moving, and sparklingly witty melange of criticism, subversion, and homage, Wayne Koestenbaum illuminates mysteries of fandom and obsession, and has created an exuberant work of personal meditation and cultural history.
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The Pink Trance Notebooks
The Pink Trance Notebooks is the product of the year Wayne Koestenbaum stopped keeping the traditional journal he had maintained for three decades and began a series of “trance notebooks” as a way to reflect an intensified, unmoored consciousness. The resulting sequence of 34 assemblages reflects Koestenbaum’s unfettered musings, findings, and obsessions. Freed from the conventions of prose, this concatenation of the author’s intimate observations and desires lets loose a poetics of ecstatic praxis―voiced with aplomb and always on point. “Wayne Koestenbaum is one of the most original and relentlessly obsessed cultural spies writing today. His alarmingly focused attention to detail goes beyond lunacy into hilarious and brilliant clarity.” ―John Waters
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The Anatomy of Harpo Marx
The Anatomy of Harpo Marx is a luxuriant, detailed play-by-play account of Harpo Marx’s physical movements as captured on screen. Wayne Koestenbaum guides us through the thirteen Marx Brothers films, from The Cocoanuts in 1929 to Love Happy in 1950, to focus on Harpo’s chief and yet heretofore unexplored attribute―his profound and contradictory corporeality. Koestenbaum celebrates the astonishing range of Harpo’s body―its kinks, sexual multiplicities, somnolence, Jewishness, “cute” pathos, and more. In a virtuosic performance, Koestenbaum’s text moves gracefully from insightful analysis to cultural critique to autobiographical musing, and provides Harpo with a host of odd bedfellows, including Walter Benjamin and Barbra Streisand.
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Blue Stranger With Mosaic Background
Fast, obsessive, jumpy, tender, and joyful, the poems in Wayne Koestenbaum's Blue Stranger With Mosaic Background take his signature themesstardom, scapegoating, aestheticism, nudism, exaltationand cut them into serial strips: tidbits that employ techniques of pointillism, mosaic, grid, aphorism, litany, and philosophical investigation.
The luminaries in this memory-theater range from Yvonne de Carlo to Hannah Arendt. A trip to Venice and an invocation to an eschatological ice-cream man are the two longest trysts in a book exquisitely composed of "bits" that betoken a new brutalism in a writer known for svelte cadences and artful dodges.
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Moira Orfei in Aigues-Mortes A Novel
Five years of breakdown separate pianist Theo Mangrove’s last recital in Europe from his planned comeback in Aigues-Mortes, "the town of dead water." At home in tiny East Kills, NY, Theo begins jotting in 25 notebooks, purchased all at once and addressed to his mother. Theo’s wife, aside from servicing two of Theo’s twenty daily erections, will have nothing to do with him. The other eighteen—taken care of by male hustlers, random strangers in YMCA locker-rooms and naked piano students—contribute to Theo’s sense of dissolution as his "comeback" approaches. Overcome with the belief that Moira Orfei, queen of the Italian circus during the 1960’s, must perform with him, Theo begins to write to her and to pen what may or may not be her cryptic replies into his notebooks. In a fugue of notes and troubling memories, Theo prepares for Aigues-Mortes, struggling with Moira’s guidance towards one final, full celebration of "the partial, the flawed, the almost, the not quite." Peopled by piano playing relatives, prostitutes, muses and manipulators; poet and cultural critic Wayne Koestenbaum’s first novel shines a hot light on the treacherous crossroads of sex, death, family and popular culture.
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My Lover, the Rabbi A Novel
A psychosexual relationship between a rabbi and the man devoted to him goes off the rails in this explosive novel.
The rabbi is, to the untrained eye, far from desirable. Lofty and disorderly, aging and constantly losing members of his flock, he is nonetheless the singular object of obsession for the self-abjecting narrator of My Lover, the Rabbi. From the start of their psychosexual affair, the two men torment, pleasure, and manipulate each other with ardor. When they’re apart, the narrator manically contemplates every element of the rabbi’s being: his alluring adopted son, his false erudition, his patrilineage, his broken-down Pontiac, his out-of-state husband (who the narrator has also slept with), and, maybe most of all, the universe between the rabbi’s legs. Spending time together in the narrator's bed, in a tiny town near Hoboken, New Jersey, that our narrator is “devastated to admit is my personal address,” a tender, volatile intimacy brews and curdles. To sustain it, the narrator continues on an unrelenting, increasingly urgent quest to understand the mercurial, ardent rabbi's mysterious past—that is, until he begins to question reality itself. In the process, conflicting truths about the rabbi emerge, with drastic consequences for both men and those around them.
The first novel in nearly twenty years from one of our most acclaimed stylists, Wayne Koestenbaum’s My Lover, the Rabbi is a sui generis spiral of lascivious thrills and uncanny hilarity, exposing in delirious detail the dangers—and spoils—of true love.
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At Home: Alice Neel in the Queer World
by Wayne Koestenbaum, Hilton Als, Alice Neel, Alex Fialho, Evan Garza
Alice Neel's unstinting, visionary engagement with the lives of those around her resulted in an inclusive oeuvre. This aspect of queer representation in her work is explored for the first time in this new catalogue.
Curated by Hilton Als and organized in collaboration with the Estate of Alice Neel, At Home: Alice Neel in the Queer World highlights the artist’s vibrant involvement with the human condition. Within a lifetime of work, Neel painted many people from many walks of life––this catalogue is the first to focus on queer communities, those who were part of their circle, as well as allies and others with whom the artist was in broader conversation—together forming a collective portrait that both embodies and complicates an understanding of the queer world of Neel’s moment and the artist’s place within it.
This collection of paintings includes rarely seen works depicting individuals including Frank O’Hara, Allen Ginsberg, and Adrienne Rich, as well as writers, artists, friends, and advocates. As Als notes, this book includes “not just portraits of gay people but those of theorists, activists, politicians, and so on who would qualify as queer by virtue of their different take in their given field and thus the world. So doing, they reflect Alice’s own interest in and commitment to difference.”
The catalogue accompanies Neel’s first significant exhibition in Los Angeles, at David Zwirner in 2024. Edited and with a text by Als, the volume includes newly commissioned contributions by Alex Fialho, Evan Garza, and Wayne Koestenbaum.
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