ROBERT LEVIN is the author of When Pacino’s Hot, I’m Hot: A Miscellany of Stories and Commentary, The Drill Press and Against Mental Health: Short Stories, Cyberwit. He is also the coauthor and coeditor, respectively, of two collections of essays about jazz and rock in the ’60s: Music & Politics (with John Sinclair), World Publishing, and Giants of Black Music (with Pauline Rivelli), Da Capo Press. A former contributor to the Village Voice, Rolling Stone and Cavalier, his fiction and more recent essays have, among numerous other places, appeared in or on the websites of Absinthe Literary Review, Across the Margin, All About Jazz, Best of Nuvein Fiction, Cosmoetica, Eyeshot, Facsimilation, Konch Magazine, New Cross-Fucked Musings on a Manic Reality, New York Daily News, New York Review, Sweet Fancy Moses, The New York Times, Underground Voices, Unlikely Stories of the Third Kind, Woodstock Times and the Word Riot 2003 Anthology.

Maintained by Eleanor Brietel. Contact:

Writings & Miscellaneous

Books by Robert Levin

When Pacino’s Hot, I’m Hot
The Drill Press LLC

Against Mental Health: Short Stories


“A writer of talent and intelligence.” — Irving Louis Horowitz

“Distinguished quality…profound emotion.” —Dr. Karunesh Kumar Agrawal

“Some real gold in here.”—B.D. Charles


Music & Politics
by John Sinclair and Robert Levin
World Publishing

“Robert Levin’s articles…make up the second half of Music and Politics, and they’re something else again. He’s a quietly briliant writer (not flashy but subtly dazzling) who knows jazz extremely well and who knows how to let us know what he knows. His piece on Sunny Murray says more about the birth of the New Jazz than most writers could say in a volume; the Anthony Braxton interview is one of the freshest, most reassuring articles on the future of music (of the arts in general) that I’ve read; his ‘found critique’ of ‘Space’ by the MJQ, which contrasts Murray’s thoughts on music at the White House with President Nixon’s introduction of the MJQ in that very place, is brilliant; his piece on the unfortunate evolution of Willis Jackson…is a minor masterpiece; and he’s lucid and painful and thoroughly correct when he writes that ‘What is meant by ‘every man has his price’ is that every man has his uncertainty about the validity and sanity of his perception of the truth. To ‘sell out’ is to capitulate to that uncertainty.'”
—Colman Andrews, Creem

Giants of Black Music
Edited by Pauline Rivelli and Robert Levin, with a foreword by Nat Hentoff
Da Capo Press