2026· Jazz & Culture· Vol 9, pp. 99-111· 0 citations· 6 references
Abstract
Geri Allen once told an interviewer that music is like water, meaning that it was as essential as a life-giving force. Thus, what can we make of the life-giving character of music? It is something that is not easily discernible from a chart, a transcription, or even a recording. Tammy Kernodle's question of “Where do you go?”—posed metaphorically to the pianist—made me curious about Allen's ideas of space and time. In this article, I pay attention to how her ideas challenge conventions of time in jazz and how they contribute to ongoing liberation struggles in the United States.
This volume is a bold and original meditation on how we interpret art, music, and culture—and what it means to listen, see, and feel differently from others. Drawing on Czech history and aesthetics, the book moves from filmmaker Hugo Haas’s coded tributes to his murdered brother, to the haunting ex libris designs of Jo...
James Merrill's work—whether poem or narrative or oeuvre—springs from the intuition that its subjects, ranging from the physical phenomena involved to the language expressing them, are intimately connected. His worldview and his poetics share a reticulated holism. His writing implies A. R. Ammons's insight that “real...
Stephen Yenser· Twentieth Century Literature· 0 citations
This review article takes the form of a dialogue to illustrate what a conversation across differences about differences could look and sound like and what happens when we allow memories, books, music, food and language to intertwine as a form of texture rather than a text. In doing so, we shift the stylistic exercise o...
Shi-Ne Choi, Abdourahmane Seck· Pluriversal International Re...· 0 citations
While considering three poems by James Merrill, I reflect on the relationship between prosodic tradition and innovation, and the degree to which that relationship can be a way to consider, as well, interiority and public presentation, privilege and the lack of it. This is also a way for me to reflect on influence, as...
Carl Phillips· Twentieth Century Literature· 0 citations
This article examines musical meaning through the lens of Lacanian psychoanalysis. While music and language are often treated as fundamentally different forms of communication, both are shaped by structures of meaning that resist complete articulation. Drawing on Lacan's theory of the signifier, the Real, and the non-a...
William John Healey· Psychoanalytic Review· 0 citations
Abstract:What is the question of autofiction: Is it true, or is it a good story? Does it matter? Or do we not, in fact, find the speculation to be its own bloodsport? Perhaps the collapse between the two is what interests us most. Autofiction is a widely misunderstood genre: work that typically employs an avatar of the...
Grace Byron· Dissent (New York)· 0 citations
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