Through an analysis of a wide range of commercial and amateur recordings, this book describes how and why poetry was recorded in the U.S., from the 1930's through the mid-century performances of poets such as Dylan Thomas and Anne Sexton.

Autorentext
DEREK FURR is a Faculty Member in the Literature Department at the Master of Arts in Teaching Program at Bard College, USA.

Inhalt
Introduction: Listening to Recorded Poetry PART I: IN THE STUDIO, ON THE STAGE Making Poetry Records, Remaking Poetic Voices: Caedmon and the Library of Congress Poets and Critics Live at the Forum: The Occasional Recording and Elizabeth Bishop PART II: IN FIRST PERSON, IN ANOTHER'S VOICE Authenticity and Audience: Millay, Sexton, and Vocal Connections Impersonations: Poets, Preachers, Teachers, and the Remaking of God's Trombones Afterword: Out of the Audio Archive Appendix A: Learning to Listen: Poetry Recordings in the Classroom Appendix B: Selected List of Modernist Audio Archives