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Avant-Folk is the first comprehensive study of a loose collective
of important British and American poets, publishers, and artists
(including Lorine Niedecker, Ian Hamilton Finlay, and Jonathan
Williams) and the intersection of folk and modernist, concrete and
lyric poetics within the small press poetry networks that developed
around these figures from the 1950s up to the present day.
Avant-Folk argues that the merging of the demotic with the
avant-garde is but one of the many consequences of a particularly
vibrant period of creative exchange when this network of poets,
publishers, and artists expanded considerably the possibilities of
small press publishing. Avant-Folk explores how, from this still
largely unexplored body of work, emerge new critical relations to
place, space, and locale. Paying close attention to the
transmission of demotic cultural expressions, this study of small
press poetry networks also revises current assessments regarding
the relationship between the cosmopolitan and the regional and
between avant-garde and vernacular, folk aesthetics. Readers of
Avant-Folk will gain an understanding of how small press publishing
practices have revised these familiar terms and how they reconceive
the broader field of twentieth-century British and American poetry.
Released in 1952, The Anthology of American Folk Music was the
singular vision of the enigmatic artist, musicologist, and
collector Harry Smith (1923-1991). A collection of eighty-four
commercial recordings of American vernacular and folk music
originally issued between 1927 and 1932, the Anthology featured an
eclectic and idiosyncratic mixture of blues and hillbilly songs,
ballads old and new, dance music, gospel, and numerous other
performances less easy to classify. Where previous collections of
folk music, both printed and recorded, had privileged field
recordings and oral transmission, Smith purposefully shaped his
collection from previously released commercial records, pointedly
blurring established racial boundaries in his selection and
organisation of performances. Indeed, more than just a
ground-breaking collection of old recordings, the Anthology was
itself a kind of performance on the part of its creator. Over the
six decades of its existence, however, it has continued to exert
considerable influence on generations of musicians, artists, and
writers. It has been credited with inspiring the North American
folk revival-"The Anthology was our bible", asserted Dave Van Ronk
in 1991, "We all knew every word of every song on it"-and with
profoundly influencing Bob Dylan. After its 1997 release on CD by
Smithsonian Folkways, it came to be closely associated with the
so-called Americana and Alt-Country movements of the late 1990s and
early 2000s. Following its sixtieth birthday, and now available as
a digital download and rereleased on vinyl, it is once again a
prominent icon in numerous musical currents and popular culture
more generally. This is the first book devoted to such a vital
piece of the large and complex story of American music and its
enduring value in American life. Reflecting the intrinsic
interdisciplinarity of Smith's original project, this collection
contains a variety of new perspectives on all aspects of the
Anthology.
Released in 1952, the Anthology of American Folk Music was the
singular vision of the enigmatic artist, musicologist, and
collector Harry Smith (1923-1991). A collection of eighty-four
commercial recordings of American vernacular and folk music
originally issued between 1927 and 1932, the Anthology featured an
eclectic and idiosyncratic mixture of blues and hillbilly songs,
ballads old and new, dance music, gospel, and numerous other
performances less easy to classify. Where previous collections of
folk music, both printed and recorded, had privileged field
recordings and oral transmission, Smith purposefully shaped his
collection from previously released commercial records, pointedly
blurring established racial boundaries in his selection and
organisation of performances. Indeed, more than just a
ground-breaking collection of old recordings, the Anthology was
itself a kind of performance on the part of its creator. Over the
six decades of its existence, however, it has continued to exert
considerable influence on generations of musicians, artists, and
writers. It has been credited with inspiring the North American
folk revival-"The Anthology was our bible", asserted Dave Van Ronk
in 1991, "We all knew every word of every song on it"-and with
profoundly influencing Bob Dylan. After its 1997 release on CD by
Smithsonian Folkways, it came to be closely associated with the
so-called Americana and Alt-Country movements of the late 1990s and
early 2000s. Following its sixtieth birthday, and now available as
a digital download and rereleased on vinyl, it is once again a
prominent icon in numerous musical currents and popular culture
more generally. This is the first book devoted to such a vital
piece of the large and complex story of American music and its
enduring value in American life. Reflecting the intrinsic
interdisciplinarity of Smith's original project, this collection
contains a variety of new perspectives on all aspects of the
Anthology.
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