Title:  Not-Knowing  The Essays and Interviews Printing:  First Year of publication:  1997 Publisher:  Random House City:  New York Number of Pages:  332 Cover:  hard cover Library of Congress Catalog Card Number:  97-9170 ISBN:  0-0-679-40983-1 Introduction:  John Barth
	Table of contents Preface by Kim Herzinger Introduction by John Barth On Writing After Joyce Not Knowing from Here in the Village Introduction Walking around the village... I have lately noticed... A fable... After spending an exciting eight or nine days... I like to think of myself... I went last week... In the morning post... There is something... Letter to a literary critic... Worrying about women... Because the government isn't very good... Spring in the Village! Reviews, Comments, and Observations Acceptance Speech: National Book Award for Children's Literature On Paraguay A symposium on Fiction (with William Gass, Grace Paley, and Walker Percy) Mr. Hunt's Wooly Utopia The Tired Terror of Graham Greene The Elegance Is Under Control Amphigorey Also: A Review The Most Wonderful Trick A Note on Elia Kazan The Earth as an Overturned Bowl Parachutes in the Trees Special Devotions Dead Men Comin' Through Three Festivals Peculiar Influences Earth Angel Culture, Etc. The Case of the Vanishing Product Synergy President Nixon's Announcement... My ten-year-old daughter... As Grace Paley Faces Jail with Three Other Writers Not Long Ago... There's Alleged... Rome Diary On Art Architectural Graphics: An Introduction The Emerging Figure Robert Morris: An Introduction Nudes: An Introduction to Exquisite Creatures Being Bad Reifications On the Level of Desire Interviews with Donald Barthelme Interview with Jerome Klinkowitz, 1971-72 Interview with Charles Ruas andJudith Sherman, 1975 Interview with Larry McCaffery, 1980 Interview with J.D. O'Hara, 1981 Interview with Jo Brans: "Embracing the World", 1981 Interview with Billie Fitzpatrick, 1987 Interview with Bobbie Roe, 1988
	beginning: Writing about revolutionary art in an early essay titled "The Calling of the Tune," Kenneth Burke says: For the great the dissociation and discontinuity developed by the artist in an otherwordly art that leaves the things of Caesar to take care of themselves, the greater becomes the artist's dependence upon some ruler who will accept teh responsibility for doing the world's "dirty work." This description of the artist turning his back on the community to pursue his "otherwordly" projects (whereupon the community promptly falls apart) is a familiar one, accepted even by some artists.
photo credit:  Bill Wittliff