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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 鈥渧oice.鈥?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.
目录
Acknowledgments p. vii
Introduction: Listening to Recorded Poetry p. 1
In the Studio, On the Stage
Making Poetry Records, Remaking Poetic Voices: Caedmon and the Library of Congress p. 27
Poets and Critics Live at the Forum: The Occasional Recording and Elizabeth Bishop p. 53
In First Person, In Another's Voice
Authenticity and Audience: Millay, Sexton, and Vocal Connections p. 83
Impersonations: Poets, Preachers, Teachers, and the Remaking of God's Trombones p. 115
Afterword: Out of the Audio Archive p. 145
Learning to Listen: Poetry Recordings in the Classroom p. 151
Selected List of Modernist Audio Archives p. 167
Notes p. 169
Bibliography p. 181
Index p. 193
Introduction: Listening to Recorded Poetry p. 1
In the Studio, On the Stage
Making Poetry Records, Remaking Poetic Voices: Caedmon and the Library of Congress p. 27
Poets and Critics Live at the Forum: The Occasional Recording and Elizabeth Bishop p. 53
In First Person, In Another's Voice
Authenticity and Audience: Millay, Sexton, and Vocal Connections p. 83
Impersonations: Poets, Preachers, Teachers, and the Remaking of God's Trombones p. 115
Afterword: Out of the Audio Archive p. 145
Learning to Listen: Poetry Recordings in the Classroom p. 151
Selected List of Modernist Audio Archives p. 167
Notes p. 169
Bibliography p. 181
Index p. 193
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