Proceedings of the Harvard Celtic Colloquium, 24 includes “The Celticity of Galicia and the Arrival of the Insular Celts,” by Manuel Alberro; “Reading Aislinge Óenguso as a Christian-Platonist Parable,” by Brenda Gray; “Celtic Legends in Irish Opera, 1900–1930,” by Axel Klein; “‘I wonder what the king is doing tonight’—Looking for Arthur in All the Wrong Places,” by Laurance J. Maney†; “What Future for the Irish Gaeltacht Communities in the Twenty-First Century?” by Nollaig Ó Gadhra†; “Acallam Na Senórach as Prosimetrum,” by Geraldine Parsons; “Traditional and Courtly Themes in a Medieval Welsh Elegy to a ‘Góann Wargann Wery’ (‘A Fair Virgin, Meek and Mild’),” by Laura Radiker; and “Welsh Prophetic Poetry in the Age of the Princes,” by Elizabeth Schoales.

Proceedings of the Harvard Celtic Colloquium, 25 includes “Keltoi, Galatai, Galli: Were They All One People?” by Timothy P. Bridgman; “On Verbal Nouns in Celtic Languages,” by Chao Li; “Cross-Linguistic Discourse Markers in Manx Gaelic and English,” by Marie Clague; “The Acallam na Senórach: A Medieval Instruction Manual,” by Annie Donahue; “Gendered Postcolonial Discourse in the Mabinogi,” by Morgan Kay; “Language Death and Resurrection in the Isle of Man: The Continuity of Manx Gaelic Exemplified by the Use of Inflected Verb Tenses,” by Jennifer Kewley Draskau; “High Kings and Pipe Dreams: Revisiting John Vincent Kelleher’s Theory of Revision to the Early Irish Annals,” by Laurance J. Maney†; and “The Rise of Christian Nomenclature in Medieval Scotland,” by David Morris.

“We got to talking”—so David Antin begins the introduction to Radical Coherency, embarking on the pursuit that has marked much of his breathless, brilliantly conversational work. For the past forty years, whether spoken under the guise of performance artist or poet, cultural explorer or literary critic, Antin’s innovative observations have helped us to better understand everything from Pop to Postmodernism. 

Intimately wedded to the worlds of conceptual art and poetics, Radical Coherency collects Antin’s influential critical essays and spontaneous, performed lectures (or “talk pieces”) for the very first time, capturing one of the most distinctive perspectives in contemporary literature. The essays presented here range from the first serious assessment of Andy Warhol published in a major art journal, as well as Antin’s provocative take on Clement Greenberg’s theory of Modernism, to frontline interventions in present debates on poetics and fugitive pieces from the ’60s and ’70s that still sparkle today—and represent a gold mine for art historians of the period. From John Cage to Allan Kaprow, Mark Rothko to Ludwig Wittgenstein, Antin takes the reader on an idiosyncratic, personal journey through twentieth-century culture with his trademark antiformalist panache—one thatwill be welcomed by any fan of this consummate trailblazer.