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With ambitious manipulations of poetic forms, Jess presents the sweat and story behind America's blues, worksongs and church hymns.
Decoded is a book like no other: a collection of lyrics and their meanings that together tell the story of a culture, an art form, a moment in history, and one of the most provocative and successful artists of our time. Praise for Decoded “Compelling . . . provocative, evocative . . . Part autobiography, part lavishly illustrated commentary on the author’s own work, Decoded gives the reader a harrowing portrait of the rough worlds Jay-Z navigated in his youth, while at the same time deconstructing his lyrics.”—Michiko Kakutani, The New York Times “One of a handful of books that just about any hip hop fan should own.”—The New Yorker “Elegantly designed, incisively written . . . an impressive leap by a man who has never been known for small steps.”—Los Angeles Times “A riveting exploration of Jay-Z’s journey . . . So thoroughly engrossing, it reads like a good piece of cultural journalism.”—The Boston Globe “Shawn Carter’s most honest airing of the experiences he drew on to create the mythic figure of Jay-Z . . . The scenes he recounts along the way are fascinating.”—Entertainment Weekly “Hip-hop’s renaissance man drops a classic. . . . Heartfelt, passionate and slick.”—Kirkus Reviews (starred review)
"First published in a slight different form in Great Britain in 2019 by Profile Books Ltd."--Title page verso.
WINNER OF THE INTERNATIONAL GRIFFIN PRIZE A NEW YORK TIMES BEST POETRY BOOK OF 2020 Music for the Dead and Resurrected captures the complexity of living in the shadows of imperial force, of the vulnerability of bodies, of seeing with more than the eyes. Valzhyna Mort's work is characterised by a memorial sensibility that honours those lost to the violences of nation states. In Music for the Dead and Resurrected the poet offers us a body of work which balances political import with serious play. There are few poets writing with such an intuitive sense of the balance between arcane and contemporary currents in poetry. Mort's lines are timeless, finely honed to last beyond a single lifetime.
From the poems of Anne Bradstreet, Phillis Wheatley, and Emily Dickinson emerges what the author calls FemPoetiks, a discourse of female empowerment. Situating the work of these poets in their historical eras, Linda Nicole Blair considers a sampling of their poems side-by-side with a number of song lyrics by singer-songwriters Brandi Carlile, Rhiannon Giddens, and Lucinda Williams, having found commonalities of theme, motif, and language between them. Blair argues that while FemPoetiks has continued to develop in various ways in American poetry by women, the fact that this discourse finds expression in songs by Americana female artists indicates a matrilineal line of influence from the 1630s to today. In order to show the omnipresence of this powerful feminist discourse, she closes this book with eleven interviews she conducted with female singer-songwriters from around the United States. The phenomenon of FemPoetiks is not limited to the arts but extends into all areas of American life, from the domestic to the political. FemPoetiks is a woman’s truth.
OF WHAT FUTURE ARE THESE THE WILD, EARLY DAYS? An exploration of the role that artists play in resisting authoritarianism with a sci-fi twist. In poetry, dialogue and visual art the book follows two wandering poets as they make their way from village to village, across a prison colony moon full of exiled rebels, robots, and storytellers. Part post-apocalyptic road journal, part alternate universe history of Hip Hop, and part “Letters to a Young Poet”-style toolkit for emerging poets and aspiring movement-builders, it's also a one-of-a-kind practitioners' take on poetry, power, and possibility. NOT A LOT OF REASONS TO SING is a: -post-apocalyptic road journal -alternate universe history of Hip Hop -“Letters to a Young Poet” -toolkit for emerging poets and aspiring movement-builders it's also a one-of-a-kind practitioners' take on poetry, power, and possibility.
A collection of rhythmic poems with such varied themes as pain, love, and the experience of jazz.
This book shows how the model of singing poets becomes then an organizing principle for a system of national popular music. It responds to the growing call for the teaching of the textual networks of popular music within the domains of literary and cultural studies.
Poetic Song Verse: Blues-Based Popular Music and Poetry invokes and critiques the relationship between blues-based popular music and poetry in the twentieth and twenty-first centuries. The volume is anchored in music from the 1960s, when a concentration of artists transformed modes of popular music from entertainment to art-that-entertains. Musician Mike Mattison and literary historian Ernest Suarez synthesize a wide range of writing about blues and rock—biographies, histories, articles in popular magazines, personal reminiscences, and a selective smattering of academic studies—to examine the development of a relatively new literary genre dubbed by the authors as “poetic song verse.” They argue that poetic song verse was nurtured in the fifties and early sixties by the blues and in Beat coffee houses, and matured in the mid-to-late sixties in the art of Bob Dylan, the Beatles, the Rolling Stones, the Doors, Jimi Hendrix, Joni Mitchell, Leonard Cohen, Gil Scott-Heron, Van Morrison, and others who used voice, instrumentation, arrangement, and production to foreground semantically textured, often allusive, and evocative lyrics that resembled and engaged poetry. Among the questions asked in Poetic Song Verse are: What, exactly, is this new genre? What were its origins? And how has it developed? How do we study and assess it? To answer these questions, Mattison and Suarez engage in an extended discussion of the roots of the relationship between blues-based music and poetry and address how it developed into a distinct literary genre. Unlocking the combination of richly textured lyrics wedded to recorded music reveals a dynamism at the core of poetic song verse that can often go unrealized in what often has been considered merely popular entertainment. This volume balances historical details and analysis of particular songs with accessibility to create a lively, intelligent, and cohesive narrative that provides scholars, teachers, students, music influencers, and devoted fans with an overarching perspective on the poetic power and blues roots of this new literary genre.