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Grains of the Voice
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Christina Pugh’s Grains of the Voice exhibits a pervasive fascination with sound in all its manifestations. The hu­man voice, musical instruments, the sounds produced by the natural and man-made worlds—all serve at one time or another as both the framework of poems and the occa­sion for their lightning-quick changes of direction, of tone, of point of reference. The poems are eclectic in their al­lusiveness, filled with echoes—and sometimes the words themselves—of other poets, but just as often of songs both popular and obscure, of the noise of pop culture, and of philosophers’ writings. But Pugh always wears her learn­ing lightly. Beneath the jewellike surfaces of her poems is a strenuous investigation of the nature of and need for communication and a celebration of the endless variety of its forms. 

Table of Contents

  1. Cover
  2. pp. 1-1
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  1. Frontmatter
  2. pp. 2-7
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  1. Contents
  2. pp. 8-11
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  1. Acknowledgments
  2. pp. xi-xii
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  1. I.
  2. pp. 1-1
  1. Profit Margin
  2. pp. 3-3
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  1. Persistent Tune
  2. pp. 4-4
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  1. Water Music
  2. pp. 5-5
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  1. Unsung
  2. pp. 6-6
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  1. Inflection
  2. pp. 7-7
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  1. I and Thou
  2. pp. 8-8
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  1. Singer
  2. pp. 9-9
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  1. First Philosophy
  2. pp. 10-10
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  1. The Grain of the Voice
  2. pp. 11-11
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  1. Poem
  2. pp. 12-12
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  1. iPod
  2. pp. 13-13
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  1. Will Never Die
  2. pp. 14-14
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  1. They Are Provident Instead
  2. pp. 15-15
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  1. Fear of Marriage
  2. pp. 16-16
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  1. Glass Houses
  2. pp. 17-17
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  1. Green World II
  2. pp. 18-18
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  1. Volta
  2. pp. 19-19
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  1. Spotless Minds
  2. pp. 20-20
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  1. Operatic
  2. pp. 21-21
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  1. Rotund, Orotund
  2. pp. 22-22
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  1. Rhapsodes
  2. pp. 23-23
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  1. Civics
  2. pp. 24-24
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  1. Good-bye, Good-bye
  2. pp. 25-25
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  1. Your Name Was There
  2. pp. 26-26
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  1. II. Interlude: Recto and Verso
  2. pp. 27-27
  1. Harrow
  2. pp. 29-29
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  1. Verso (Homunculus)
  2. pp. 30-30
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  1. One Body
  2. pp. 31-31
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  1. Verso
  2. pp. 32-32
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  1. Infection
  2. pp. 33-33
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  1. Verso
  2. pp. 34-34
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  1. Mountain Time
  2. pp. 35-35
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  1. Verso
  2. pp. 36-36
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  1. Lilac Garden
  2. pp. 37-37
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  1. Verso
  2. pp. 38-38
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  1. How My Light Is Spent
  2. pp. 39-39
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  1. Verso
  2. pp. 40-40
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  1. Tell Me
  2. pp. 41-41
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  1. Verso
  2. pp. 42-42
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  1. Ornature
  2. pp. 43-43
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  1. Verso
  2. pp. 44-44
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  1. Shore Drive
  2. pp. 45-45
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  1. Verso
  2. pp. 46-46
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  1. Punctum
  2. pp. 47-47
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  1. Verso
  2. pp. 48-48
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  1. III.
  2. pp. 49-49
  1. Heideggerian
  2. pp. 51-51
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  1. Eidolon
  2. pp. 52-52
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  1. Imagined Corners
  2. pp. 53-53
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  1. On Slenderness
  2. pp. 54-54
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  1. Bright Rays of Material
  2. pp. 55-55
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  1. Ut Pictura Poesis:
  2. pp. 56-56
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  1. John from Cincinnati
  2. pp. 57-57
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  1. Battery
  2. pp. 58-58
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  1. Civics II
  2. pp. 59-59
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  1. Lotus Cross-Dress
  2. pp. 60-60
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  1. Filmic
  2. pp. 61-61
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  1. Stain
  2. pp. 62-62
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  1. Cool and Empirical,
  2. pp. 63-63
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  1. The Sans of the Pure Cut
  2. pp. 64-64
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  1. Techno Blue Lobelia
  2. pp. 65-65
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  1. As Tears
  2. pp. 66-66
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  1. Sere World
  2. pp. 67-67
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  1. Taxonomy
  2. pp. 68-68
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  1. Little Man
  2. pp. 69-69
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  1. I Am Are You
  2. pp. 70-70
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  1. Limnology
  2. pp. 71-71
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  1. August
  2. pp. 72-72
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  1. The Voice, Midsummer
  2. pp. 73-73
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  1. Mute
  2. pp. 74-74
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  1. A Note on Italics
  2. pp. 75-75
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