From a more comprehensive perspective, it is equally tempting to submit here that few artifacts--save, perhaps, Invisible Man itself--could better exemplify the commitment to cultural syncretism that would form the foundation for Ellison's fictional and critical efforts in the coming years: his vision of the mutual inseparability and interdependence between the African American cultural "periphery" and the white "center"; his vision of the structural fluidities between the so-called "literary" and the so-called "vernacular"; his vision even of true democracy as a jazzlike
project of open interracial discourse, both on and off the page.
It is needed to break down ingredients to create a jazzlike
harmony of taste.
Deliberately or not, tyro writer-helmer Hawkins has fallen into a curious shorthand form of storytelling that largely dispenses with conventional narrative flow, yet the many jazzlike
, improvisatory tap numbers nicely combine looseness with genuine professionalism.
If these poems had been published then, Dickinson's jazzlike
angular rhythms, her dissonant off-rhymes, her gnarled syntax, her oblique metaphors, and her subversive relation to Christian pieties would have shown a poet as radical in a small space as Walt Whitman had been in a large space.
The first full collection of Yurkievich's poems in English, these forty-four texts, some from 1969 but for the most part from the 1980s on, combine long and short pieces of jazzlike
improvisation and baroque elaborations, associations, both aural and intellectual, that fairly dart and dodge among the most basic relationship of sound to sense, often with a revolutionary intent and a dark demeanor.
In a 1995 talk titled "Blues to Be Constitutional," Stanley Crouch takes a similar approach, seeing jazzlike
creativity as the (pan-)American way of life since the time Hernando Cortes improvised his conquest of the Aztec empire.
improvisational reform, of jazzlike
public action," for which American citizens have demonstrated a genius in the past.
And like Lobo, a frequent collaborator to whom she is often compared, she dresses her art in enchanting, jazzlike
arrangements and rhythms that range from the soft-edged bossa nova to such pungent, folk-rooted styles from Brazil's hinterland as the spicy baiao.
Once jazz gets "structured on paper" it may be jazzlike
but it is not really jazz.
There is an open, jazzlike
improvisation of form in this continuation: each new tablet modifies all the rest, perhaps even undercutting them.
Their African origins are clearly visible and the jazzlike
improvisational language on display is highly developed.