Lit-Rock: Literary Capital in Popular Music

Half Title\nTitle Page\nCopyright Page\nDedication\nContents\nIntroduction: Conspicuous Listening: Literature, Rock, and the Pop Omnivore\nPart I: Authorship and Authenticity\n	Chapter 1: David Bowie’s Diamond Dogs, the Cut-Up, and Rock’s Unfinished Revolution\n	Chapter 2: Kurt, Kathleen ‘n’ Kathy: Cut-and-Paste and the Art of Being for Real\nPart II: Craft and Confession\n	Chapter 3: Joni Mitchell and the Literature of Confession\n	Chapter 4: Pop Star vs. Harvard Professor: The “Amateur” Poetry of Taylor Swift\n	Chapter 5: Personae Non Grata: Dramatic Monologue and Social Pathology in Select Randy Newman Songs\nPart III: Aesthetics, Movements, Technology\n	Chapter 6: New Wave, European Avant-Gardes, and the Unmaking of Rock Music\n	Chapter 7: Cycling on Acid: The Literariness of Altered Experiences in Psychedelic Rock\nPart IV: Signs and Mediations\n	Chapter 8: A Portrait of the Artist in a Pop Song: Images of James Joyce in Popular Music\n	Chapter 9: “Hand in Glove”: Punk, Post-punk, and Poetry\nPart V: Nation and Narrative\n	Chapter 10: Under an American Spell: U2’s The Joshua Tree in the Shadow of Flannery O’Connor\n	Chapter 11: Rock, Hard-Boiled: The Mekons and American Crime Fiction\n	Chapter 12: When Poetry Meets Popular Music: The Case of Polish Rock Artists in the Late Twentieth Century\nPart VI: Identity and Discourse\n	Chapter 13: “It’s Our Version of Almost Famous”: Toward a Reimagined Canon of Rock Criticism\n	Chapter 14: Limits of the Literary: Rethinking Allusions in Pop Music\nAcknowledgments\nContributors\nIndex