B. J. Leggett - Larkins Blues: Jazz, Popular Music, and Poetry
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Larkin, Philip--Knowledge--Music, Popular music--England--History and criticism, Blues (Music) in literature, Music and literature, Jazz in literature.
publication date
:
1999
lcc
:
PR6023.A66Z748 1999eb
ddc
:
821/.914
subject
:
Larkin, Philip--Knowledge--Music, Popular music--England--History and criticism, Blues (Music) in literature, Music and literature, Jazz in literature.
Page iii
Larkin's Blues
Jazz Popular Music and Poetry
B. J. Leggett
@@
Page iv
Copyright 1999 by Louisiana State University Press
All rights reserved
Manufactured in the United States of America
First printing
08 07 06 05 04 03 02 01 00 99 5 4 3 2 1
Designer: Amanda McDonald Scallan
Typeface: Minion
Typesetter: Crane Composition
Printer and binder: Edward Brothers
Library of Congress Cataloging-in-Publication Data: Leggett, B..J. (Bobby Joe), 1938 Larkin's blues : jazz, popular music, and poetry / B.J. Leggett. p. cm. Includes bibliographical references (p. ) and index. ISBN 0-8071-2342-0 (cloth : alk. paper) 1. Larkin, PhilipKnowledgeMusic. 2. Popular musicEngland History and criticism. 3. Blues (Music) in literature. 4. Music and literature. 5. Jazz in literature. I. Title. PR6023.A66Z748 1999 821'.914dc21 98-43704 CIP
The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources
Page v
Contents
Acknowledgments
vii
Abbreviations
ix
1. Introduction
1
2. Jazz and Modernism
23
3. Jazz Poems
44
4. Good Mornin', Blues
85
5. The Real World and the Cole Porter Song
117
6. The Clich and the Popular Song
144
7. The Clich and the Common Reader
172
Bibliography
207
Index
215
Page vii
Acknowledgments
Earlier readers of Larkin to whom I am indebted are apparent in my citations and notes, but I want to call attention to several works to which my debt is especially great. Anthony Thwaite's edition of Larkin's letters and Andrew Motion's A Writer's Life, both at the heart of the recent controversy about Larkin's status as a national monument, were invaluable sources in charting what Larkin called his jazz life. These two works have, for better or worse, altered our sense of Larkin as a poet and public figure, and this study, in its present shape, would not have been possible without them. I have referred frequently to two collections of essays, Anthony Thwaite's edition of Larkin at Sixty and Dale Salwak's Philip Larkin: The Man and His Work. Readers will also find numerous references to recent works by Janice Rossen, A. T. Tolley, and Andrew Swarbrick. Barbara Everett's essays have also influenced my view of Larkin's poetry, and Blake Morrison's The Movement has helped me to see it in a larger perspective.
Of the scores of volumes on jazz and blues I consulted, those that I found most helpful in writing about the confluence of poetry and music were Ted Gioia's The Imperfect Art, Eric Hobsbawm's classic The Jazz Scene (first published under the pseudonym Francis Newton), Albert Murray's revisionist Stomping the Blues, a host of blues studies by Paul Oliver, and a recent collection of essays edited by Krin Gabbard, Representing Jazz. Its companion volume, Jazz Among the Discourses, is not
Page viii
cited here, but it was also helpful in exhibiting the manner of contemporary academic writing on jazz.
Among the many commentaries on popular music now available, I found the work of Simon Frith the most useful for my own project, especially the essays of his collection Music for Pleasure. I have also profited from Dave Laing's The Sound of Our Time; Philip Furia's The Poets of Tin Pan Alley; two works by Richard Middleton, Pop Music and the Blues and Studying Popular Music; and almost everything by Greil Marcus. Christopher Ricks appears here in several roles, as a Larkin critic, a Bob Dylan enthusiast, and a commentator on the state of the clich. The theorist to whom this study is most indebted is Michael Riffaterre, as will be evident, although he would no doubt disavow my loose version of his more rigorously theoretical intertextuality.
I wish to thank Twentieth Century Literature for permission to reprint, with slight alteration, the material that makes up chapter 2. I am grateful to the John C. Hodges Fund of the English Department of the University of Tennessee and to Allen Carroll for providing the time to complete a portion of the book. I also wish to express my gratitude to LSU Press's sharp-eyed anonymous reader for many valuable suggestions. Quotations from Larkin's
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