The album, 26 poems set to music, came out last week and is a delight to listen to. But that’s not why I’m writing about it.
When Merchant performed at TED, she spoke of the joy of taking the poems and setting them to music.
Unfortunately, as Carolyn Kellogg, the smart and talented writer at the LA Times pointed out, Merchant wasn’t all that delicate.
“What I’ve really enjoyed about this project is reviving these people’s words, taking them off the dead flat pages, bringing them to life,” Merchant said.
“What poet sees his or her work as being written for “dead flat pages’?” Kellogg responded. “Most poems are written for the page, and many poems use the page layout as part of their expression. That would include the work of e.e. cummings, one of the poets whose work Merchant has set to music.
“Seems to me that poems set to music are a nice novelty, but that doesn’t make them new and improved. It transmutes them as lyrics, but it would be a mistake to think this improves on their original form.
“Flat pages? Sure. Dead pages? Maybe not.”
Kellogg is dead on in that regard.
Where I think she is a little off is in her sort of dismissive “seems to me that poems set to music are a nice novelty.”
Without a doubt, setting a poem to be music — no matter how beautiful the result may be — doesn’t mean it’s better.
At the same time, there’s always the chance that the adaptation — which is really what Merchant’s come up with — is quite good in its own right.
Merchant maybe came across as a little full of herself, maybe a little less than elegant. But the thought of adapting a work of art to another medium, adding a little of yourself and exposing a new audience to the original work (and Merchant is selling her album with a 74-page book with the poems and essays on the poets) is an admirable one.
Certainly a little more than a “nice novelty.”