Forming / Else Where
N. H. Pritchard by Sight and Sound
Bibliographic Data
| ID | 7554381 |
|---|---|
| Authors | David Grundy (0000-0003-3974-7390, corresponding author) |
| Year | 2024 |
| Volume | 57 |
| Issue | 1 |
| Pages | 15-42 |
| Publication date | 2024-03-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | African American Review (JOURNAL) |
| Journal identifiers | ISSN: 1062-4783 • E-ISSN: 1945-6182 |
| Publisher | Project MUSE (PUBLISHER • US) |
| DOI | 10.1353/afa.2024.a939987 |
| OpenAlex | W4403493550 |
| Language | EN |
In 1967, Wilmer Lucas wrote that N. H. Pritchard’s poems “decompose the reader by sight and sound.” This essay follows Lucas’s prompt in several ways. It examines Pritchard’s early poetry in the context of the New York art scene and the Umbra Poets Workshop, outlining his development of the concept of “transrealism” and the subsequent visual reorganization of his work, before focusing on the sonic dimensions of his poetry, and suggesting that his approach ultimately led him toward silence. The conclusion emphasizes Pritchard’s legacy in the work of new generations of experimental musicians and poets and its continuing relevance today
Acoustics · Art · Astronomy · Physics · Sight · Poetry Analysis and Criticism
| Highly cited | No |
|---|