本书着眼于文学在弗兰克•斯特拉（Frank Stella，1936年生）的艺术实践发展中的关键作用，探讨了1984年至1999年之间创作的四个具有革命性意义的版画系列。这些系列作品均以文学作品命名——包括Had Gadya（传统上在逾越节Seder末尾演唱的俏皮歌曲），Italo Calvino编写的Italian Folktales，Herman Melville的Moby-Dick以及Alberto Manguel和Gianni Guadalupi的《虚构地方词典》。这项调查提供了一个关于斯特拉的批判性的新观点：对他的跨学科过程，文学方法以及对艺术史课程的兴趣的考察，这些都是他作为版画家的艺术发展的关键因素。 Mitra Abbaspour，Calvin Brown和Erica Cooke探讨了斯特拉对文学的动态参与如何将这位艺术家对非常规版画技术的尝试并行进行，并提出了代表空间深度的新方法，以释放抽象形式的叙事潜力。

Focusing on the vital role of literature in the development of the artistic practice of Frank Stella (b. 1936), this insightful book looks at four transformative series of prints made between 1984 and 1999. Each of these series is named after a literary work—the Had Gadya (a playful song traditionally sung at the end of the Passover Seder), Italian Folktales, compiled by Italo Calvino, Moby-Dick by Herman Melville, and The Dictionary of Imaginary Places by Alberto Manguel and Gianni Guadalupi. This investigation offers a critical new perspective on Stella: an examination of his interdisciplinary process, literary approach, and interest in the lessons of art history as crucial factors for his artistic development as a printmaker. Mitra Abbaspour, Calvin Brown, and Erica Cooke examine how Stella’s dynamic engagement with literature paralleled the artist’s experimentation with unconventional printmaking techniques and engendered new ways of representing spatial depth to unleash the narrative potential of abstract forms.