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In the summer of 2009, two friends embarked on a road trip through a narrative history of American music. They visited cities of the dead, sold their souls at the Crossroads, dipped their feet in the Mississippi, and made memories with preachers, police, and teachers. Musicians, hippies, and gatekeepers. And when the dust settled, they discovered more than just music. They found the Blues.
In this thinker's guide to rock and roll, Robert Pattison contends that rock music mirrors the tradition of 19th-century Romanticism. The music is vulgar, he notes, and vulgarity is something that high culture has long despised but rarely bothered to define. This book is the first effort since John Ruskin and Aldous Huxley to describe in depth what vulgarity is, and how, with the help of ideas inherent in Romanticism, it has slipped the constraints imposed on it by refined culture and established its own loud arts.
Here is the eagerly awaited new edition of The Oxford Book of American Poetry brought completely up to date and dramatically expanded by poet David Lehman. It is a rich, capacious volume, featuring the work of more than 200 poets-almost three times as many as the 1976 edition. With a succinct and often witty head note introducing each author, it is certain to become the definitive anthology of American poetry for our time. Lehman has gathered together all the works one would expect to find in a landmark collection of American poetry, from Whitman's Crossing Brooklyn Ferry to Stevens's The Idea of Order at Key West, and from Eliot's The Waste Land to Ashbery's Self-Portrait in a Convex Mirror. But equally important, the editor has significantly expanded the range of the anthology. The book includes not only writers born since the previous edition, but also many fine poets overlooked in earlier editions or little known in the past but highly deserving of attention. The anthology confers legitimacy on the Objectivist poets; the so-called Proletariat poets of the 1930s; famous poets who fell into neglect or were the victims of critical backlash (Edna St. Vincent Millay); poets whose true worth has only become clear with the passing of time (Weldon Kees). Among poets missing from Richard Ellmann's 1976 volume but published here are W. H. Auden, Charles Bukowski, Donald Justice, Carolyn Kizer, Kenneth Koch, Stanley Kunitz, Emma Lazarus, Mina Loy, Howard Moss, Lorine Niedecker, George Oppen, James Schuyler, Elinor Wylie, and Louis Zukosky. Many more women are represented: outstanding poets such as Josephine Jacobsen, Josephine Miles, May Swenson. Numerous African-American poets receive their due, and unexpected figures such as the musicians Bob Dylan, Patti Smith and Robert Johnson have a place in this important work. This stunning collection redefines the great canon of American poetry from its origins in the 17th century right up to the present. It is a must-have anthology for anyone interested in American literature and a book that is sure to be consulted, debated, and treasured for years to come.
Poet, critic, and hybrid-genre artist Johnson tracks the use of trouble in word, concept, and practice in this debut of brief, elliptical, lyric essays. He moves through a wide swath of 20th- and 21st-century music, always alert to a sense of melancholy shared among songwriters, their songs, and their listeners in the ever-growing web of popular music. "When we say 'trouble,' we refer to the history of trouble whether or not we have it in mind. When we sing trouble, we sing (with) history," Johnson writes. "A Trouble Song is a complaint, a grievance, an aside, a come-on, a confession, an admission, a resignation, a plea. It's an invitation-to sorrow." The effect of all this trouble is dizzying. Highly annotated-often to personal, humorous, and hidden effects-the book weaves among genres, chronologies, and various forms of trouble to ask "Where are we in song? Who are we in song?" Johnson suggests that an answer lies somewhere in the locus of singer, song, and listener-the "essential relations in the Trouble Song." Detouring into philosophy, cultural theory, and verse, Johnson works multilaterally to explore what trouble in popular music does to connect listeners, embolden them, and open a space from which trouble can be addressed across time.
The story of one man’s efforts to authenticate a photograph of the influential King of the Delta Blues amid pushback from others. After Zeke Schein purchased the lost photograph of Robert Johnson online, he knew he held something important in his hands. But would anyone else see what he saw? One of only three or four known photos of the legendary blues guitarist, the photograph was certainly an exceptional artifact of music history. Despite official recognition of its authenticity by the estate of Robert Johnson, music historians have continued to dispute the photograph’s legitimacy. The story of Johnson’s lost photograph is also the story of Schein’s crusade to prove he’s holding a bona fide piece of music history. Much like a modern-day Don Quixote in a felt fedora, Schein is on a mission to convince others to see the truth as only he can. “When you love the music and the person behind the music, you want to know more about him. That’s what this book is all about.”—from the foreword by Dion DiMucci, Rock and Roll Hall of Fame inductee and author of Dion: The Wanderer Talks Truth “Magic and mystery meld with humility and history. Portrait of a Phantom is a tale told by a true acolyte and seeker of the source of the blues.”—Patti Smith, Rock and Roll Hall of Fame inductee and author of the National Book Award–winner Just Kids “A fascinating trip into the world of blues history . . . The details and anecdotes herein give a great perspective to “the Phantom.””—John Hammond, blues singer and musician
An electrifying collection of the most entertaining and illuminating writing on and from the rock-and-roll scene. "Rock and Roll Is Here to Stay" assembles the writing of those who played the music and pushed it to new limits, as well as those who were there to witness and celebrate its power. 20 photos.
Among the many mysteries of life is a curious one which some people come to sense in themselves: an odd but compelling feeling of relationship to someone from another time, place and maybe another sex. This peculiar feeling, as reported by those who experience it, makes us wonder about the basic nature of any assumed relationship which traverses space and time. Is it real? Can relationships traverse time and space? Or are such intimations simply odd reflections or symbols of convergent personal interests which animate us to act in patterned ways? Or do they verge on being like actual Doppelgngers; repeated embodiments of energy which are transformed into so many patterns through time that inevitably repetitions occur which draw persons together? The novel Alexandre and Simone, The Two Musketeers makes no attempt to answer these unanswerable questions, but chips away at the fundaments of the idea that shared human patterns and values can and do transverse time and geography to be repeatedly embodied. Every life, no matter how simple, has drama; and sometimes the drama resembles a replay of previous lives, whether this idea is recognized and accepted or not. Those of like interests are drawn to one another across time. The two main characters of the novel include: Alexandre Dumas, the famous writer and passionate rake who lived in late revolutionary France, and Simone Dahlgren, a passionate young California scholar, dedicated collector and dealer in fine antiquarian books, artists books and manuscripts. These two characters share parallel interests, flaws and compelling obsessions which are expressed differently, but which also converge, seem similar, conflict and ultimately cause pain as well as great joy. Alexandre, a prodigious word-master and extravagant lover of the arts, food and women, stalks through his life like a Titan of verbal expression and flaming erotic passions. Simone, whose passions include art and words in literature, shares many of Alexandres peculiar obsessions and, yes, some of the same flaws. Both are extravagant, intelligent but generally non-reflective about themselves, and thus lack personal insight. They are profligate with money, but generous and basically loving, even when stubbornly foolish. But most of all they love words, often reducing and deflecting life-experiences and problems into mere words and aesthetic satisfactions. Words, in one form or another, occupy their days and shape their struggles and relationships. Alexandres compulsive writing is fed by two linked drives: the need to earn money, and his intrinsic obsession to spill words into tales and romantic dramas about acts of derring-do and erotic passion. Simones compulsive word-orientation provides escape from personal chaos through aesthetic and intellectual satisfaction, and feeds her depleted finances at the same time. She becomes a fine art and antiquarian book dealer/collector. The sum of these ingredients creates curious emotional joys and quandries as they both fall on the sword of frustrated love, tragedy, failure and even success. Alexandre rushes through life, writing and loving day and night, and acting in ways which require exile to escape political censure. But he finds that his travels are shadowed by murders, even in that haven for political refugees, Switzerland. He cannot escape his obsessions which entrap him in plots of eruptive social and political change wherever he travels. Indeed, in spite of his fertile imagination in creating and resolving plots, he is only able to discover the murderer of his best friends at the point of a pistol aimed at him. Alexandres travels, love affairs, his wild imagination and political dedications are reflected in his written dramas and novels which continue to thrill readers with their romantic escapades long after his death. Oddly, most of his problems and their solutions emanated from his passionate dedication to written or spoken words. As such, his legacy
To most Americans, Mississippi is not a state but a scar, the place where segregation took its ugliest form and struck most savagely at its challengers. But to many Americans, Mississippi is also home. And it is this paradox, with all its overtones of history and heartache, that Anthony Walton—whose parents escaped Mississippi for the relative civility of the Midwest—explores in this resonant and disquieting work of travel writing, history, and memoir. Traveling from the Natchez Trace to the yawning cotton fields of the Delta and from plantation houses to air-conditioned shopping malls, Walton challenged us to see Mississippi's memories of comfort alongside its legacies of slavery and the Klan. He weaves in the stories of his family, as well as those of patricians and sharecroppers, redneck demagogues and martyred civil rights workers, novelists and bluesmen, black and white. Mississippi is a national saga in brilliant microcosm, splendidly written and profoundly moving.
"A signal event in the history of the music." — Ted Gioia, author of The Delta Blues Musicologist and writer Samuel Charters (1929–2015) considered blues lyrics a profound cultural expression that could connect all people who love poetry. A pioneer in the exploration of world music, Charters conducted research that brought obscure musicians of the American South and Appalachia into the mainstream. In this landmark volume, the noted blues historian and folklorist presents a rich exploration of blues songs as folk poetry, quoting lyrics by such legends as Son House and Lightnin' Hopkins at length to reveal the depth of feeling and complex literary forms at work within a unique art form. Originally published in 1963, The Poetry of the Blues raised interest in many previously unrecognized aspects of African-American music and made a significant contribution to the blues revival of the 1960s. This volume features now-vintage black-and-white photographs by Ann Charters from the original edition.