Recorded Poetry and Poetic Reception from Edna Millay to the Circle of Robert Lowell

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  • Format: Hardcover
  • Copyright: 2010-06-15
  • Publisher: Palgrave Macmillan
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Listening to poets read their work focuses critical attention on the craft of the poem, while raising questions about the relationship between social history, technology, and the poet's "voice."Recorded Poetry and Poetic Reception from Edna Millay to the Circle of Robert Lowelloffers an analysis of a wide range of recordings, from commercial and amateur, to official studio sessions, to ephemeral events captured on reel-to-reel tape. Through the mid-century performances of poets such as Elizabeth Bishop, Dylan Thomas and Anne Sexton, Derek Furr draws penetrating new conclusions about how and why poetry was recorded in the U.S. from the 1930s to the 1970s.

Author Biography

Derek Furr is a faculty member in literature in the Master of Arts in Teaching Program at Bard College.

Table of Contents

Acknowledgmentsp. vii
Introduction: Listening to Recorded Poetryp. 1
In the Studio, On the Stage
Making Poetry Records, Remaking Poetic Voices: Caedmon and the Library of Congressp. 27
Poets and Critics Live at the Forum: The Occasional Recording and Elizabeth Bishopp. 53
In First Person, In Another's Voice
Authenticity and Audience: Millay, Sexton, and Vocal Connectionsp. 83
Impersonations: Poets, Preachers, Teachers, and the Remaking of God's Trombonesp. 115
Afterword: Out of the Audio Archivep. 145
Learning to Listen: Poetry Recordings in the Classroomp. 151
Selected List of Modernist Audio Archivesp. 167
Notesp. 169
Bibliographyp. 181
Indexp. 193
Table of Contents provided by Ingram. All Rights Reserved.

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