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This essay uses two poetic works from the 1950s—Langston Hughes’s 1951 sequence Montage of a Dream Deferred and the poetry and poetics of Black Mountain pioneer Charles Olson—to articulate a theory of racially engaged, nonmimetic poetic musicality deriving from the engagement both poets...
In the late 1940s and early 1950s, large-scale population shifts, urban-development projects, and new media transformed New York City in ways that were heard as much as seen. In this context, Langston Hughes and sound documentarian Tony Schwartz each experimented with techniques of montage to...
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