Titlebook: Notational Experiments in North American Long Poems, 1961-2011; Stave Sightings A. J. Carruthers Book 2017 The Editor(s) (if applicable) an

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e to the Dzanag La Pass in the Tanghla Shan Mountains, on the NE rim of the great Tibetan Plateau (Fig. 1). Along its 4200 km course, it flows through or along the borders of six countries: China, Burma, Lao PDR Thailand, Kampuchea and Viet Nam, before emptying into the South China Sea. In terms of

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2634-6052 ew readings of a range of North American authors both modern.This book is a critical experiment that tracks the literary and poetic uses of musical notation and notational methods in North American long poems from the middle of last century to the contemporary moment. Poets have readily referred to

conformity

,The Notational Template: Langston Hughes’ , and the “Hesitation Blues”,al notation of the blues before the poem, both as a guide for reading and performance. Each of the poem’s twelve parts corresponds to a “mood,” as an . for the musical “bar.” By reading the “Hesitation Blues” as a commodity recirculated in or by the poem, musically analogous form is shown to be harnessed for cultural critique.

SPASM

Book 2017rom the middle of last century to the contemporary moment. Poets have readily referred to their poems as “scores.” Yet, in this study., .Carruthers argues that the integration of musical scores in expansive works of this period does more work than previously thought, offering both resolution and esc

ASSAY

,Joan Retallack’s , and Register Reading,thority of patrilineal, “Western-Civ” philosophical thinking. Reading the registers at work in this sequence becomes an act of listening to the silence between the lines of an “invisible” literary stave.

insurgent

,Long Poem Including Music: Reading the Score in Armand Schwerner’s “Tablet XII”,es in relation to poetic form. Appearing roughly in the middle of the work, the score, in effect, divides the question of the “musical” and the “l(fā)yrical” at the point of its appearance, marking a subjective and critical crux in the structure of the long poem.

Pelvic-Floor

,“, tation”: The Scored Allegorical in BpNichol’s ,,Howard Gerhard. Hence notational work in . moves from the tiniest sonic layers and audial contours toward a full-blown choral poetics. The argument is that . as a whole cannot be understood without consideration of this final, choral book.

BALK

acquisition

Book 2017 offer approaches to reading literary scores in what might be described as a critical stave or a critical “fugue” of instances. In differing ways, musical notation and notational methods impact the form, time and sometimes the ethical and political stances of these respective long poems..

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