tion: Sound, Radio, and the Avant-Garde, ed. Douglas Kahn and Gregory Whitehead
(Cambridge, MA: MIT Press, 1992), 35.
- Archives of Silence, 1997: Q3, 4’33” The Box Set, http://w w w.newalbion.com/
artists/cagej/silence/html/1997q3/0117.h tml, 20 July 1997. - See Katharine Worth, “Words and Music Perhaps,” in Samuel Beckett and
Music, ed. Mary Bryden (New York: Clarendon Press, 1998), 9–20. I have not heard
the Searle score, but Worth’s discussion suggests that it was much more mimetic than
Feldman’s in its treatment of the Beckett text. - For the background of the relationship, see Everett Frost, “The Note Man on
the Word Man: Morton Feldman on Composing the Music for Samuel Beckett’s
Words and Music in The Beckett Festival of Radio Plays,” in Bryden, Samuel Beckett
and Music, 47–55. The bulk of this article is an interview with Feldman, most of
which is reproduced on the cassette tape itself. See also Knowlson, Damned to Fame,
557–58. Cf. the Apmonia Web site compiled and written by Tim Conley and A. Ruch,
http://w w w.themodernword.com/beckett/beckett feldman.html. This site contains
key biographical information about Feldman as well as analyses of each of the “Beck-
ett” pieces. - Katharine Worth implies the same thing throughout “Words and Music Per-
haps.” Humphrey Searle is praised for underscoring Beckett’s meanings; his position
is assumed to be secondary. - Gregory Whitehead, “Out of the Dark; Notes on the Nobodies of Radio Art,”
in Kahn and Whitehead, ed., Wireless Imagination, 253–63, see 254. - See, for example, Fletcher and Spurling, Beckett: A Study of His Plays, 99–100;
Eugene Webb, The Plays of Samuel Beckett (Seattle: University of Washington Press,
1972), 102; Vivian Mercier, Beckett/Beckett: The Classic Study of a Modern Genius
(London: Souvenir Press, 1993), 155. - See “Words and Music,” Beckett, Collected Short Plays, 127–134, 132.
- Herbert Lindenberger, Opera, The Extravagant Art (Ithaca, NY: Cornell Uni-
versity Press, 1984), 108–09, and see chapter 3 passim.
Chapter 7
- See, for example, Maggie O’Sullivan’s antholog y, Out of Everywhere: Linguis-
tically Innovative Poetry by Women in North America and the UK (London: Reality
Street Editions, 1996). - Ron Silliman, “Language, Realism, Poetry,” Preface to In the American Tree,
ed. Ron Silliman (1986; Orono, ME: National Poetry Foundation, 2001), xv, xix. - Charles Bernstein, “An Interview with Tom Beckett,” The Dif¤culties 2, no. 1
(1982); rpt. in Content’s Dream: Essays, 1975–1984 (Los Angeles: Sun & Moon), 408. - Charles Bernstein, “Stray Straws and Straw Men,” Content’s Dream, 41.
- Compare the Beckett interview (Bernstein, “An Interview with Tom Beckett,”
407, 408), where Bernstein remarks, “Vo i c e... is inextricably tied up with the orga-
nizing of the poem along psychological parameters,” “a self-constituting project.”
284 Notes to Pages 119–130