Robert Smithson (1938-1973), one of the most important artists of his generation, produced sculpture, drawings, photographs, films, and paintings in addition to the writings collected here.

An examination of how nonprofessional archivists, especially media fans, practice cultural preservation on the Internet and how “digital cultural memory” differs radically from print-era archiving. The task of archiving was once entrusted only to museums, libraries, and other institutions that acted as repositories of culture in material form. But with the rise of digital networked media, a multitude of self-designated archivists—fans, pirates, hackers—have become practitioners of cultural preservation on the Internet. These nonprofessional archivists have democratized cultural memory, building freely accessible online archives of whatever content they consider suitable for digital preservation. In Rogue Archives, Abigail De Kosnik examines the practice of archiving in the transition from print to digital media, looking in particular at Internet fan fiction archives. De Kosnik explains that media users today regard all of mass culture as an archive, from which they can redeploy content for their own creations. Hence, “remix culture” and fan fiction are core genres of digital cultural production. De Kosnik explores, among other things, the anticanonical archiving styles of Internet preservationists; the volunteer labor of online archiving; how fan archives serve women and queer users as cultural resources; archivists' efforts to attract racially and sexually diverse content; and how digital archives adhere to the logics of performance more than the logics of print. She also considers the similarities and differences among free culture, free software, and fan communities, and uses digital humanities tools to quantify and visualize the size, user base, and rate of growth of several online fan archives.

True tales (or so it was claimed) of subterranean journeys* King Herla in the cavern of the dwarfs* Enkidu and his descent into Sheol* Orpheus and Aeneas in Hades* Sir Owen in Purgatory* Cuchulain in Tir-nan-Og* Reuben and the mikvah stairway* Reverend Kirk and his abduction* Richard Shaver and the Deros* Saint-Yves d'Alveydre in Agharta* Thomas the Rhymer in Fairyland* Olaf Jansen and the polar opening* Apollonius of Tyana in the Abode of the Wise Men* Lobsang Rampa beneath the Himalayas* Doreal and the mysteries of Mount Shasta* Guy Ballard and the Ascended Masters* Captain Seaborn and his voyage to Symzonia* Walter Siegmeister and the Atlantean tunnels* Dianne Robbins and the Library of PorthologosAnd other visitors to the hidden depths of the earth.

T. S. Eliot was not only one of the greatest poets of the twentieth century—he was also one of the most acute writers on his craft. In On Poetry and Poets, which was first published in 1957, Eliot explores the different forms and purposes of poetry in essays such as "The Three Voices of Poetry," "Poetry and Drama," and "What Is Minor Poetry?" as well as the works of individual poets, including Virgil, Milton, Byron, Goethe, and Yeats. As he writes in "The Music of Poetry," "We must expect a time to come when poetry will have again to be recalled to speech. The same problems arise, and always in new forms; and poetry has always before it . . . an ‘endless adventure.'"