Wayne Koestenbaum

[5] In Boston Review, Stefania Heim wrote that Koestenbaum's work —across genre— "obliterates any vestigial divide we might hold on to between play and thought.

"[14] Writing in the San Francisco Chronicle, Saul Austerlitz suggested that Koestenbaum "sexualizes Harpo beyond all recognition, creating a figure about whom the author can say, in all seriousness, that 'courtesy of the anus, we can imagine, Marxist-style, a path away from family and state.

'"[15] Joe Queenan wrote that Koestenbaum "peppers his story with just enough tidbits of fascinating information that readers may fleetingly overlook the fact that his theories are barmy.

[17] Koestenbaum's first book, Ode to Anna Moffo and Other Poems, was composed largely in syllabic verse and other fixed forms.

Ben Shields described trance writing in The Paris Review as an approach that "allows language to move freely" and "does not often adhere to expected thematic, syntactic, or logical patterns.

"[21] Koestenbaum began to paint in 2005 after he finished writing an essay for a group exhibition called "Contemporary Erotic Drawing" at the Aldrich Museum.

[25] In a 2016 Art News article, Ella Coon wrote that "his early work was figurative, and influenced by Warhol.