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

Hardcover | June 15, 2010

byDerek Furr

not yet rated|write a review

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 Lowell offers 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.

Pricing and Purchase Info

$130.00

In stock online
Ships free on orders over $25

From the Publisher

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 Lowell offers an analysis of a wide range of recordings, from co...

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

other books by Derek Furr

Suite for Three Voices
Suite for Three Voices

Kobo ebook|Nov 30 2013

$10.41

Format:HardcoverDimensions:206 pages, 8.5 × 5.5 × 0.5 inPublished:June 15, 2010Publisher:Palgrave MacmillanLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:0230103774

ISBN - 13:9780230103771

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

Reviews

Extra Content

Editorial Reviews

“Furr has produced a clearly written, well researched, and useful extension of our grasp of American poetry between the 1930s and 1970s. His work not only opens for analysis a significant array of audio materials, but provides a series of models for addressing those materials historically, critically, and pedagogically.  The book provides an exhilarating demonstration of the ways in which ‘poetry’ is much more vast and various than critical techniques developed for textual criticism have allowed us to perceive, much less describe. This is an important contribution to the current drive to widen the definitions and purchase of the event we call ‘the poem.’ ”—Adalaide Morris, John C. Gerber Professor of English, The University of Iowa“This book vastly enriches our understanding of an underappreciated resource: the audio archive of modernist and mid-century poetry. Poetry’s persistent appeal to the ear requires one to ponder not only how poets voice their work but how and why we preserve those voicings. Furr’s lively study provides answers through, for example, Robert Lowell’s canon-forming efforts to build an audio archive at the Library of Congress, the ethnographic field recordings of James Weldon Johnson, and the ‘aesthetic of the beautiful throat’ in performances by Edna St. Vincent Millay and Anne Sexton. Furr’s timely intervention teaches us how to think about the event of recording and the experience of listening—and no other book on the market moves so knowledgeably, fluently, and usefully between recording technology and its implications for poetry as an art of the page, the studio, and the stage.”—Lesley Wheeler, Professor of English, Washington and Lee University and author of Voicing American Poetry: Sound and Performance from the 1920s to the Present