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Epistrophies: Jazz and the Literary Imagination

by Brent Edwards Harvard University Press
Pub Date:
06/2017
ISBN:
9780674055438
Format:
Hbk 336 pages
Price:
AU$79.00 NZ$83.48
Product Status: In Stock Now
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In 1941 Thelonious Monk and Kenny Clarke copyrighted “Epistrophy,” one of the best-known compositions of the bebop era. The song’s title refers to a literary device—the repetition of a word or phrase at the end of successive clauses—that is echoed in the construction of the melody. Written two decades later, Amiri Baraka’s poem “Epistrophe” alludes slyly to Monk’s tune. Whether it is composers finding formal inspiration in verse or a poet invoking the sound of music, hearing across media is the source of innovation in black art.


Epistrophies explores this fertile interface through case studies in jazz literature—both writings informed by music and the surprisingly large body of writing by jazz musicians themselves. From James Weldon Johnson’s vernacular transcriptions to Sun Ra’s liner note poems, from Henry Threadgill’s arresting song titles to Nathaniel Mackey’s “Song of the Andoumboulou,” there is an unending back-and-forth between music that hovers at the edge of language and writing that strives for the propulsive energy and melodic contours of music.


At times this results in art that gravitates into multiple media. In Duke Ellington’s “social significance” suites, or in the striking parallels between Louis Armstrong’s inventiveness as a singer and trumpeter on the one hand and his idiosyncratic creativity as a letter writer and collagist on the other, one encounters an aesthetic that takes up both literature and music as components of a unique—and uniquely African American—sphere of art-making and performance.


 

Introduction: "I Thought I Heard": The Origins of Jazz and the Ends of Jazz Writing 1. Louis Armstrong and the Syntax of Scat 2. Toward a Poetics of Transcription: James Weldon Johnson's Prefaces 3. The Literary Ellington 4. The Race for Space: Sun Ra's Poetry 5. Zoning Mary Lou Williams Zoning 6. Let's Call This: Henry Threadgill and the Micropoetics of the Song Title 7. Notes on Poetics Regarding Mackey's Song 8. Come Out Afterword: Hearing across Media Notes Acknowledgments Index


 

This is an excellent book on an enduring theme of African-American culture, the intimate relationship of music—particularly jazz—and literary practice. Brent Edwards sees this as a two-way relation with many different manifestations rather than as a one-way subordination of black literature to jazz, as is often suggested. No author to my mind has approached this issue as thoroughly and in as nuanced a way as Edwards in what is the culmination of a decade-long project.
Brent Hayes Edwards is Professor in the Department of English and Comparative Literature at Columbia University.