Vaughn Anderson graduated in 2015 with a dissertation titled “Disappearing Acts: Octavio Paz, John Cage, Haroldo De Campos, and the Silent Turn in Contemporary Poetry.”
Since I lugged my last suitcase of books back to Alexander Library almost a year ago (my final act of closure), I’ve spent a lot of time writing and thinking about graphic musical notation. This so-called “eye music” was a brief fad in the 60s and early 70s. Composers, painters, and poets created scores where any act of musical interpretation first demands formal analysis of visual elements and close reading of text, often in several languages. Performance requires multiple competencies. And what I quickly discovered, when I sat down to piece together a critical bibliography about these works, is that almost nobody has written about them. Everyone seems to assume that this is someone else’s area of specialty.
This is what’s made my formation as a scholar unique: not that I’m more widely competent, but that I’m more comfortable venturing outside and between my areas of concentration. Throughout my time in Comp Lit, I was allowed and encouraged to change. I started as a scholar of urban studies, and then moved to science fiction. At various points my passions included eco-criticism, literary translation, graphic novels, intermedia, and avant-garde poetics. I took grad courses in Spanish, Portuguese, Art History, and any number of other cross-listed disciplines. Eventually I wrote a dissertation that focused on hemispheric American poetic networks during the Cold War, but it drew life and inspiration from all these other areas. I take pride in trying to wear my entire hat collection all at once, and I’m glad I surrounded myself with people who thought this was a good look for me.
[Cover image: a score from Cornelius Cardew’s Treatise Handbook, 1967]