Blue_JJ Order_NN1 :_: Wallace_NP1 Stevens_NP1 's_GE Jazz_NN1 Experiments_NN2 In_II 1900_MC ,_, a_AT1 degree_NN1 from_II Harvard_NP1 in_II hand_NN1 ,_, Wallace_NP1 Stevens_NP1 lived_VVD in_II Lower_JJR Manhattan_NP1 and_CC worked_VVD the_AT graveyard_NN1 shift_VV0 at_II the_AT New_NP1 York_NP1 Tribune_NN1 ._. 
He_PPHS1 enrolled_VVD in_II New_NP1 York_NP1 Law_NN1 School_NN1 in_II 1901_MC ,_, graduated_VVN in_II 1903_MC ,_, joined_VVD the_AT New_NP1 York_NP1 bar_NN1 in_II 1904_MC ,_, and_CC traded_JJ law_NN1 for_IF the_AT insurance_NN1 business_NN1 in_II 1908_MC (_( Kermode_NP1 and_CC Richard-son_NP1 960-61_MCMC )_) ._. 
Despite_II his_APPGE formal_JJ education_NN1 and_CC employment_NN1 ,_, Stevens_NP1 lived_VVD like_II a_AT1 bohemian_JJ during_II these_DD2 years_NNT2 ._. 
He_PPHS1 attended_VVD and_CC wrote_VVD plays_NN2 ,_, immersed_VVD himself_PPX1 in_II politics_NN1 ,_, and_CC drank_VVD a_RR31 good_RR32 deal_RR33 ._. 
In_II the_AT 1910s_MC2 ,_, he_PPHS1 established_VVD friendships_NN2 with_IW modernist_JJ artists_NN2 and_CC critics_NN2 including_II William_NP1 Carlos_NP1 Williams_NP1 ,_, Marcel_NP1 Duchamp_NP1 ,_, Carl_NP1 Van_NP1 Vechten_NP1 ,_, and_CC Walter_NP1 Conrad_NP1 Arensberg_NP1 ._. 
These_DD2 and_CC other_JJ individuals_NN2 first_MD exposed_VVD Stevens_NP1 to_II cubism_NN1 and_CC surrealism_NN1 ,_, movements_NN2 which_DDQ Glen_NP1 MacLeod_NP1 claims_VVZ profoundly_RR impacted_VVD Stevens_NP1 's_GE development_NN1 as_II a_AT1 poet_NN1 (_( 58_MC )_) .1_MC Thus_RR began_VVD one_MC1 of_IO twentieth-century_JJ literature_NN1 's_GE double_JJ lives_NN2 :_: Wallace_NP1 Stevens_NP1 --_JJ insurance_NN1 company_NN1 man_NN1 and_CC inventive_JJ modernist_JJ poet_NN1 ._. 
Ironically_RR ,_, when_CS he_PPHS1 was_VBDZ in_II his_APPGE twenties_MC2 ,_, Stevens_NP1 wrote_VVD little_DA1 of_IO anything_PN1 and_CC published_VVD no_AT poetry_NN1 ._. 
He_PPHS1 did_VDD ,_, however_RR ,_, develop_VVI an_AT1 affinity_NN1 for_IF one_MC1 of_IO the_AT early_JJ twentieth_MD century_NNT1 's_GE most_RGT popular_JJ musical_JJ styles_NN2 ._. 
According_II21 to_II22 Linda_NP1 DuRose_NP1 ,_, after_II leaving_VVG Harvard_NP1 ''the_VV0 young_JJ Stevens_NP1 ....._... was_VBDZ struck_VVN by_II the_AT playful_JJ tempos_NN2 and_CC irregular_JJ rhythms_NN2 of_IO a_AT1 new_JJ style_NN1 of_IO music_NN1 played_VVN by_II African_JJ Americans''_NP1 (_( 7_MC )_) ._. 
DuRose_NN1 refers_VVZ to_II ragtime_NNT1 ,_, the_AT immediate_JJ predecessor_NN1 of_IO jazz_NN1 ,_, which_DDQ is_VBZ perhaps_RR the_AT quintessential_JJ American_NN1 (_( and_CC modernist_JJ )_) art_NN1 form_NN1 ._. 
Living_NN1 and_CC working_VVG in_II New_NP1 York_NP1 City_NN1 provided_VVD Stevens_NP1 with_IW several_DA2 opportunities_NN2 to_TO listen_VVI to_II ragtime_NNT1 and_CC early_JJ jazz_NN1 ,_, and_CC to_TO establish_VVI connections_NN2 with_IW musicians_NN2 and_CC other_JJ artists_NN2 ._. 
Indeed_RR ,_, both_RR ragtime_NNT1 and_CC jazz_NN1 would_VM have_VHI a_AT1 definite_JJ effect_NN1 on_II Stevens_NP1 's_GE poetry_NN1 ._. 
It_PPH1 must_VM be_VBI said_VVN ,_, though_CS ,_, that_DD1 associating_VVG Stevens_NP1 and_CC his_APPGE work_NN1 with_IW ragtime_NNT1 ,_, jazz_NN1 ,_, or_CC any_DD facet_NN1 of_IO African_JJ American_JJ culture_NN1 presents_VVZ certain_JJ problems_NN2 ._. 
Even_CS21 though_CS22 his_APPGE first_MD collection_NN1 ,_, Harmonium_NP1 ,_, appeared_VVD in_II 1923_MC --_NN1 the_AT same_DA year_NNT1 as_CSA Jean_NP1 Toomer_NP1 's_GE Cane_NN1 unofficially_RR initiated_VVD the_AT Harlem_NP1 Renaissance_NN1 --_JJ little_JJ evidence_NN1 exists_VVZ that_CST Stevens_NP1 felt_VVD any_DD interest_NN1 in_II or_CC camaraderie_NN1 with_IW young_JJ African_JJ American_JJ artists_NN2 ._. 
C._NP1 Barry_NP1 Chabot_NP1 wonders_VVZ how_RRQ Stevens_NP1 could_VM remain_VVI detached_VVN from_II authors_NN2 and_CC socio-aesthetic_JJ movements_NN2 that_CST resided_VVD in_II such_DA close_JJ proximity_NN1 to_II him_PPHO1 (_( 142_MC )_) ._. 
Rachel_NP1 Blau_NP1 DuPlessis_NP1 echoes_VVZ Chabot_NP1 's_GE sentiment_NN1 ,_, noting_VVG that_CST in_II his_APPGE personal_JJ and_CC public_JJ writings_NN2 Stevens_NP1 rarely_RR contemplated_VVN contemporary_JJ artistic_JJ ,_, social_JJ ,_, and_CC political_JJ movements_NN2 involving_VVG African_JJ Americans_NN2 (_( 195_MC n._NNU 12_MC )_) ._. 
Nevertheless_RR ,_, references_NN2 to_TO race_VVI and_CC jazz_NN1 occur_VV0 in_II Stevens_NP1 's_GE poetry_NN1 ._. 
A_AT1 consideration_NN1 of_IO Stevens_NP1 's_GE uses_NN2 of_IO African_JJ American_JJ music_NN1 affords_VVZ a_AT1 unique_JJ opportunity_NN1 to_TO reassess_VVI his_APPGE work_NN1 ._. 
Stevens_NP1 's_GE name_NN1 does_VDZ not_XX often_RR arise_VVI during_II discussions_NN2 about_II jazz_NN1 poetry_NN1 ._. 
Given_VVN his_APPGE personal_JJ taste_NN1 in_II music_NN1 ,_, this_DD1 seems_VVZ understandable_JJ ._. 
He_PPHS1 was_VBDZ not_XX a_AT1 professionally-trained_JJ musician_NN1 ,_, but_CCB Stevens_NP1 sang_VVD and_CC played_VVD piano_NN1 ,_, harmonium_NN1 ,_, and_CC guitar_NN1 ._. 
Stevens_NP1 also_RR cultivated_VVN a_AT1 refined_JJ musical_JJ ear_NN1 ._. 
He_PPHS1 admired_VVD classical_JJ European_JJ com-posers_NN2 ,_, often_RR attending_VVG recitals_NN2 and_CC symphonies_NN2 and_CC ,_, according_II21 to_II22 Michael_NP1 Hertz_NNU ,_, sometimes_RT altering_VVG his_APPGE business_NN1 itineraries_NN2 to_TO do_VDI so_RR (_( 231_MC )_) .2_MC He_PPHS1 also_RR accumulated_VVN a_AT1 music_NN1 library_NN1 of_IO works_NN by_II notable_JJ nineteenth-century_JJ composers_NN2 ,_, supplemented_VVN by_II only_RR a_AT1 few_DA2 twentieth-century_JJ musicians_NN2 (_( Stegman_NP1 79_MC -_- 80_MC )_) ._. 
Avant-garde_JJ music_NN1 and_CC especially_RR jazz_NN1 are_VBR conspicuously_RR absent_JJ from_II Stevens_NP1 's_GE record_NN1 collection_NN1 ._. 
We_PPIS2 can_VM safely_RR assume_VVI that_CST Stevens_NP1 knew_VVD of_IO jazz_NN1 ,_, especially_RR if_CS ,_, as_CSA DuRose_NP1 mentions_VVZ ,_, he_PPHS1 listened_VVD to_II ragtime_NNT1 ._. 
Stevens_NP1 's_GE concertgoing_JJ schedule_NN1 and_CC record_NN1 collection_NN1 help_NN1 explain_VVI jazz_NN1 's_VBZ understated_VVN ,_, yet_RR vital_JJ ,_, presence_NN1 in_II his_APPGE poetry_NN1 ._. 
He_PPHS1 listened_VVD to_II classical_JJ music_NN1 ,_, but_CCB acknowledged_VVD the_AT import_NN1 of_IO ragtime_NNT1 without_IW ever_RR overtly_RR saying_VVG so_RR ;_; indeed_RR ,_, it_PPH1 is_VBZ not_XX difficult_JJ to_TO imagine_VVI Stevens_NP1 listening_NN1 to_II Scott_NP1 Joplin_NP1 or_CC W._NP1 C._NP1 Handy_JJ in_II social_JJ settings_NN2 ,_, even_CS21 if_CS22 he_PPHS1 owned_VVD none_PN of_IO their_APPGE records_NN2 and_CC attended_VVD none_PN of_IO their_APPGE concerts_NN2 ._. 
His_APPGE predilection_NN1 for_IF classical_JJ music_NN1 aside_RL ,_, Stevens_NP1 exhibited_VVD what_DDQ Barbara_NP1 Holmes_NP1 calls_VVZ ''an_JJ aesthetic_JJ based_VVN at_RR21 once_RR22 on_II mobility_NN1 ,_, changefulness_NN1 ,_, and_CC apposition_NN1 ,_, ''_JJ and_CC ''an_JJ improvisatory_JJ and_CC generally_RR varying_JJ attitude''_NN1 (_( 16_MC )_) ._. 
Stevens_NP1 's_GE approach_NN1 to_II poetry_NN1 allowed_VVD him_PPHO1 to_TO incorporate_VVI elements_NN2 of_IO ragtime_NNT1 and_CC jazz_NN1 ._. 
By_RR31 and_RR32 large_RR33 ,_, in_II the_AT 1920s_MC2 jazz_NN1 was_VBDZ considered_VVN a_AT1 ''low''_JJ style_NN1 of_IO music_NN1 that_CST connoted_VVD decadence_NN1 and_CC depravity_NN1 ;_; not_XX until_CS the_AT advent_NN1 of_IO bebop_NN1 in_II the_AT middle_NN1 of_IO the_AT twentieth_MD century_NNT1 was_VBDZ it_PPH1 considered_VVN a_AT1 serious_JJ (_( ''high''_NN1 )_) art_NN1 form_NN1 ,_, as_CSA classical_JJ music_NN1 once_RR was_VBDZ ._. 
During_II the_AT modernist_JJ era_NN1 ,_, some_DD composers_NN2 defended_VVD jazz_NN1 against_II spurious_JJ charges_NN2 ,_, including_II James_NP1 Weldon_NP1 Johnson_NP1 and_CC Antonin_NP1 Dvorak_NP1 ._. 
Similarly_RR ,_, Igor_NP1 Stravinsky_NP1 and_CC George_NP1 Gershwin_NP1 caused_VVD outrage_NN1 when_CS they_PPHS2 incorporated_VVD jazz_NN1 elements_NN2 in_II their_APPGE symphonic_JJ works.3_FO Improvisation_NN1 ,_, variation_NN1 ,_, and_CC repetition_NN1 --_NN1 all_DB hall-marks_NN2 of_IO jazz_NN1 --_NN1 occupy_VV0 central_JJ positions_NN2 in_II Stevens_NP1 's_GE musical_JJ taste_NN1 and_CC are_VBR keys_NN2 to_II understanding_VVG his_APPGE jazz_NN1 experiments_NN2 ._. 
Recent_JJ criticism_NN1 has_VHZ emphasized_VVN the_AT influence_NN1 of_IO African_JJ American_JJ music_NN1 and_CC culture_NN1 on_II Stevens_NP1 's_GE work_NN1 ,_, but_CCB stops_VVZ short_JJ of_IO naming_VVG him_PPHO1 a_AT1 jazz_NN1 poet_NN1 ._. 
Michael_NP1 Soto_NP1 ,_, for_REX21 instance_REX22 ,_, counts_VVZ Stevens_NP1 among_II the_AT modernist_JJ authors_NN2 who_PNQS worked_VVD in_II a_AT1 jazz_NN1 idiom_NN1 ,_, alongside_II contemporaries_NN2 ranging_VVG from_II Gertrude_NP1 Stein_NP1 and_CC Richard_NP1 Wright_NP1 (_( 176_MC )_) ._. 
He_PPHS1 also_RR acknowledges_VVZ the_AT difficulty_NN1 faced_VVN by_II Stevens_NP1 and_CC other_JJ modernists_NN2 in_II treating_VVG jazz_NN1 music_NN1 ,_, culture_NN1 ,_, and_CC performers_NN2 without_IW making_VVG dubious_JJ assumptions_NN2 ._. 
Jazz_NN1 ,_, Soto_NP1 claims_VVZ ,_, ''provides_VVZ U.S._NP1 writers_NN2 with_IW an_AT1 illustration_NN1 of_IO what_DDQ is_VBZ assumed_VVN to_TO be_VBI a_AT1 racial_JJ connection_NN1 between_II American_JJ identity_NN1 and_CC American_JJ cultural_JJ expression''_NN1 (_( 167_MC )_) ._. 
Stevens_NP1 's_GE oblique_JJ references_NN2 to_II and_CC employment_NN1 of_IO jazz_NN1 can_VM be_VBI read_VVN as_CSA establishing_VVG a_AT1 genuinely_RR American_JJ type_NN1 of_IO poetic_JJ expression_NN1 ,_, as_CSA Dvorak_NP1 wanted_VVD to_TO do_VDI with_IW slave_NN1 spirituals_NN2 and_CC American_JJ music_NN1 (_( Horowitz_NP1 B18_FO )_) ._. 
But_CCB what_DDQ of_IO the_AT racial_JJ implications_NN2 of_IO such_DA an_AT1 establishment_NN1 ?_? 
DuPlessis_NN1 explores_VVZ a_AT1 similar_JJ question_NN1 ,_, finding_VVG Stevens_NP1 's_GE use_NN1 of_IO black_JJ cultural_JJ forms_NN2 ambivalent_JJ at_RR21 best_RR22 ._. 
In_II letters_NN2 ,_, Stevens_NP1 both_RR identified_VVN himself_PPX1 with_IW and_CC used_JJ racial_JJ epithets_NN2 against_II African_JJ Americans_NN2 ;_; in_II poems_NN2 such_II21 as_II22 ''Two_NN1 Figures_NN2 in_II Dense_JJ Violet_JJ Night_NNT1 ,_, ''_VV0 Stevens_NP1 created_VVD vivid_JJ ,_, earthy_JJ ,_, and_CC mystical_JJ African_JJ American_JJ characters_NN2 that_CST provide_VV0 poetic_JJ inspiration_NN1 ,_, even_RR as_CSA his_APPGE poetry_NN1 contains_VVZ problematic_JJ instances_NN2 of_IO racial_JJ language_NN1 (_( DuPlessis_NP1 3_MC ,_, 119_MC )_) ._. 
Stevens_NP1 ,_, like_II several_DA2 of_IO his_APPGE con-temporaries_NN2 ,_, proved_VVD incapable_JJ of_IO establishing_VVG a_AT1 poetic_JJ jazz_NN1 discourse_NN1 that_CST did_VDD not_XX rely_VVI somewhat_RR on_II primitivist_NN1 ,_, animalistic_JJ ,_, or_CC even_RR racist_JJ vocabulary.4_FO Nevertheless_RR ,_, readers_NN2 can_VM not_XX ignore_VVI his_APPGE subtle_JJ adaptations_NN2 of_IO African_JJ American_JJ music_NN1 ._. 
We_PPIS2 are_VBR thus_RR left_VVN with_IW a_AT1 vexing_JJ situation_NN1 when_CS analyzing_VVG Stevens_NP1 's_GE jazz_NN1 experiments_NN2 :_: On_II the_AT one_MC1 hand_NN1 ,_, readers_NN2 can_VM hear_VVI jazz_NN1 in_II his_APPGE poetry_NN1 ;_; on_II the_AT other_JJ ,_, racial_JJ insensitivity_NN1 and_CC an_AT1 ostensible_JJ favoring_NN1 of_IO classical_JJ music_NN1 also_RR crop_VV0 up_RP consistently_RR ._. 
How_RRQ ,_, then_RT ,_, can_VM we_PPIS2 take_VVI seriously_RR the_AT presence_NN1 of_IO jazz_NN1 in_II Stevens_NP1 ?_? 
What_DDQ does_VDZ this_DD1 paradox_NN1 do_VDI to_II our_APPGE conception_NN1 of_IO Stevens_NP1 as_II a_AT1 ''high''_JJ modernist_JJ poet_NN1 ?_? 
Answers_NN2 to_II these_DD2 questions_NN2 may_VM be_VBI found_VVN through_II a_AT1 cursory_JJ examination_NN1 of_IO Stevens_NP1 's_GE conception_NN1 of_IO a_AT1 ''modern''_JJ poet_NN1 ._. 
When_CS he_PPHS1 won_VVD the_AT 1951_MC National_JJ Book_NN1 Award_NN1 for_IF The_AT Auroras_NP2 of_IO Autumn_NNT1 (_( 1950_MC )_) ,_, Stevens_NP1 announced_VVD that_CST Sir_NNB Walter_NP1 Scott_NP1 was_VBDZ no_RR21 longer_RR22 relevant_JJ to_II the_AT mid-twentieth_MD century_NNT1 ._. 
Scott_NP1 's_GE work_NN1 resembles_VVZ ''the_NN1 scenery_NN1 of_IO a_AT1 play_NN1 that_CST has_VHZ come_VVN to_II an_AT1 end_NN1 ._. 
....._... In_RR21 short_RR22 ,_, the_AT world_NN1 of_IO Sir_NNB Walter_NP1 Scott_NP1 no_RR21 longer_RR22 exists_VVZ ._. 
It_PPH1 means_VVZ nothing_PN1 to_TO compare_VVI a_AT1 modern_JJ poet_NN1 with_IW the_AT poet_NN1 of_IO a_AT1 century_NNT1 ago_RA ._. 
It_PPH1 is_VBZ not_XX a_AT1 question_NN1 of_IO comparative_JJ goodness''_NN1 (_( Collected_JJ Poetry_NN1 and_CC Prose_NN1 835_MC )_) .5_MC While_CS the_AT speech_NN1 seemingly_RR endorses_VVZ modernism_NN1 ,_, Stevens_NP1 deflates_VVZ modernism_NN1 's_GE importance_NN1 shortly_RR thereafter_RT ._. 
He_PPHS1 defines_VVZ a_AT1 ''modern_NN1 poet''_NN1 as_CSA ''nothing_VVG more_DAR than_CSN a_AT1 poet_NN1 of_IO the_AT present_JJ time_NNT1 ,_, ''_JJ and_CC argues_VVZ that_CST a_AT1 modern_JJ poet_NN1 must_VM ''find_VVI ,_, by_II31 means_II32 of_II33 his_APPGE own_DA thought_NN1 and_CC feeling_NN1 ,_, what_DDQ seems_VVZ to_TO be_VBI to_II him_PPHO1 the_AT poetry_NN1 of_IO his_APPGE time_NNT1 as_CSA differentiated_VVN from_II the_AT poetry_NN1 of_IO the_AT time_NNT1 of_IO Sir_NNB Walter_NP1 Scott_NP1 ,_, or_CC the_AT poetry_NN1 of_IO any_DD other_JJ time_NNT1 ,_, and_CC to_TO state_VVI it_PPH1 in_II a_AT1 manner_NN1 that_CST effectively_RR discloses_VVZ it_PPH1 to_II his_APPGE readers''_NN1 (_( CPP_NP1 835_MC )_) ._. 
Stevens_NP1 acknowledges_VVZ modern_JJ poets_NN2 ,_, and_CC yet_RR delineates_VVZ their_APPGE function_NN1 in_II a_AT1 simple_JJ manner_NN1 ._. 
He_PPHS1 also_RR succinctly_RR defines_VVZ the_AT task_NN1 of_IO modern_JJ poets_NN2 in_II ''Mozart_NN1 ,_, 1935''_FO :_: ''Poet_VV0 ,_, be_VBI seated_VVN at_II the_AT piano_NN1 ._. 
/_FO Play_VV0 the_AT present''_NN1 (_( CPP_NP1 107_MC )_) ._. 
He_PPHS1 does_VDZ so_RR again_RT in_II ''Of_NN1 Modern_JJ Poetry_NN1 ,_, ''_VV0 referring_VVG to_II the_AT poet_NN1 as_CSA ''A_NN1 metaphysician_NN1 in_II the_AT dark_NN1 ,_, twanging_VVG /_FO An_AT1 instrument_NN1 ,_, twanging_VVG a_AT1 wiry_JJ string''_NN1 (_( CPP_NP1 219_MC )_) ._. 
Both_DB2 of_IO these_DD2 passages_NN2 contain_VV0 musical_JJ references_NN2 that_CST allude_VV0 to_II both_DB2 classical_JJ and_CC jazz_NN1 ,_, and_CC perhaps_RR even_RR the_AT blues_NN2 (_( ''the_VV0 piano_NN1 ,_, ''_VV0 ''twanging_VVG a_AT1 wiry_JJ string''_NN1 )_) ._. 
The_AT exclusions_NN2 from_II Stevens_NP1 's_GE definition_NN1 of_IO ''modern_NN1 poetry''_VV0 --_JJ fragmentation_NN1 ,_, disillusionment_NN1 ,_, and_CC jazz_NN1 ,_, among_II other_JJ things_NN2 --_NN1 prove_VV0 just_RR as_RG telling_JJ as_CSA his_APPGE inclusions_NN2 ._. 
Stevens_NP1 's_GE comments_NN2 and_CC elisions_NN2 demonstrate_VV0 his_APPGE distance_NN1 from_II traditional_JJ modernist_JJ devices_NN2 ,_, and_CC that_CST he_PPHS1 fashioned_VVD himself_PPX1 peripheral_JJ to_II modernism_NN1 as_II an_AT1 overall_JJ movement_NN1 ._. 
Stevens_NP1 remained_VVD content_JJ to_TO write_VVI and_CC publish_VVI poetry_NN1 without_IW joining_VVG political_JJ parties_NN2 or_CC aesthetic_JJ movements_NN2 (_( Chabot_NP1 193_MC )_) ._. 
He_PPHS1 conferred_VVD in_II person_NN1 with_IW and_CC wrote_VVD letters_NN2 to_II radical_JJ modernists_NN2 ,_, he_PPHS1 knew_VVD of_IO and_CC employed_VVD modernist_JJ artistic_JJ practices_NN2 ,_, but_CCB Lee_NP1 Margaret_NP1 Jenkins_NP1 points_VVZ out_RP that_CST Stevens_NP1 himself_PPX1 was_VBDZ never_RR an_AT1 avant-garde_NN1 in_II31 terms_II32 of_II33 politics_NN1 or_CC art_NN1 (_( 18_MC )_) ._. 
He_PPHS1 borrowed_VVD ,_, too_RR ,_, from_II jazz_NN1 musicians_NN2 ,_, just_RR as_CSA he_PPHS1 did_VDD from_II the_AT painters_NN2 he_PPHS1 met_VVD through_II the_AT Arensberg_NP1 Circle_NN1 ._. 
Stevens_NP1 's_GE simultaneous_JJ engagement_NN1 with_IW and_CC distance_NN1 from_II modernist_JJ practices_NN2 helps_NN2 explain_VVI why_RRQ African_JJ American_JJ music_NN1 in_II his_APPGE work_NN1 remains_VVZ largely_RR unnoticed_JJ ._. 
Hence_RR the_AT phrase_NN1 ''jazz_NN1 experiments_NN2 ,_, ''_VV0 as_CS21 if_CS22 Stevens_NP1 were_VBDR unsure_JJ of_IO how_RRQ to_TO approach_VVI jazz_NN1 poetically_RR ._. 
The_AT aloof_JJ Stevens_NP1 produced_VVD poetry_NN1 without_IW an_AT1 obvious_JJ larger_JJR context_NN1 ._. 
Generally_RR ,_, when_CS his_APPGE poems_NN2 utilize_VV0 jazz_NN1 techniques_NN2 ,_, they_PPHS2 do_VD0 so_RR surreptitiously_RR ;_; when_CS his_APPGE poems_NN2 tackle_VV0 larger_JJR issues_NN2 ,_, they_PPHS2 do_VD0 so_RR abstractly_RR ._. 
As_II such_DA ,_, he_PPHS1 cultivated_VVD an_AT1 indirect_JJ relationship_NN1 with_IW African_JJ Americans_NN2 and_CC with_IW the_AT poetic_JJ use_NN1 of_IO African_JJ American_JJ materials_NN2 ._. 
The_AT presence_NN1 of_IO jazz_NN1 techniques_NN2 in_II Stevens_NP1 's_GE work_NN1 also_RR speaks_VVZ to_II the_AT matter_NN1 of_IO cultural_JJ ownership_NN1 ._. 
Stevens_NP1 was_VBDZ not_XX the_AT first_MD or_CC only_JJ white_JJ author_NN1 to_TO employ_VVI African_JJ American_JJ music_NN1 ,_, or_CC to_TO rely_VVI on_II primitivist_NN1 discourse_NN1 ._. 
Critical_JJ interpretations_NN2 of_IO Stevens_NP1 's_GE references_NN2 to_TO race_VVI run_NN1 from_II DuRose_NP1 's_GE claim_NN1 that_CST his_APPGE poems_NN2 show_VV0 him_PPHO1 ''applying_VVG blackface''_NN1 in_II the_AT guise_NN1 of_IO a_AT1 minstrel_NN1 (_( 8_MC )_) ,_, to_II Michael_NP1 North_ND1 's_GE assessment_NN1 that_CST Stevens_NP1 performed_VVD ''rebellion_NN1 through_II racial_JJ ventriloquism''_NN1 (_( 9_MC )_) ._. 
These_DD2 terms_NN2 and_CC their_APPGE connotations_NN2 are_VBR borne_VVN out_RP in_II several_DA2 poems_NN2 ._. 
Moreover_RR ,_, poems_NN2 in_II which_DDQ Stevens_NP1 uses_VVZ racial_JJ slurs_NN2 could_VM be_VBI criticized_VVN in_II much_RR harsher_JJR terms_NN2 ._. 
It_PPH1 is_VBZ too_RG simple_JJ ,_, though_CS ,_, to_TO dismiss_VVI Stevens_NP1 as_II a_AT1 minstrel_NN1 ,_, a_AT1 puppeteer_NN1 ,_, or_CC a_AT1 racist_NN1 ._. 
Racial_JJ ambiguities_NN2 and_CC poor_JJ word_NN1 choice_NN1 should_VM not_XX be_VBI ignored_VVN ,_, but_CCB more_RGR often_RR than_CSN not_XX ,_, Stevens_NP1 pays_VVZ homage_NN1 to_II black_JJ music_NN1 when_CS he_PPHS1 rags_NN2 or_CC jazzes_NN2 his_PPGE lines.6_FO Stevens_NP1 's_GE partial_JJ alignment_NN1 with_IW modernism_NN1 allowed_VVD him_PPHO1 to_TO adopt_VVI an_AT1 improvisatory_JJ stance_NN1 ,_, commingling_VVG contradictory_JJ musical_JJ elements_NN2 in_II his_APPGE poetry_NN1 to_TO create_VVI something_PN1 new_JJ and_CC different_JJ ._. 
Throughout_II his_APPGE poetic_JJ career_NN1 ,_, Stevens_NP1 relied_VVD on_II linguistic_JJ repetitions_NN2 ,_, thematic_JJ variations_NN2 ,_, improvisational_JJ flourishes_NN2 ,_, allusions_NN2 ,_, and_CC wording_NN1 that_CST indicate_VV0 jazz_NN1 's_GE presence_NN1 ,_, even_CS21 if_CS22 it_PPH1 is_VBZ not_XX explicitly_RR named_VVN ._. 
Furthermore_RR ,_, Stevens_NP1 's_GE jazz_NN1 experiments_NN2 suggest_VV0 --_NN1 in_II modernist_JJ fashion_NN1 --_NN1 an_AT1 alternative_JJ ordering_NN1 principle_NN1 ,_, a_AT1 means_NN by_II which_DDQ people_NN can_VM make_VVI sense_NN1 of_IO the_AT tumultuous_JJ world_NN1 ._. 
I_PPIS1 call_VV0 Stevens_NP1 's_GE principle_NN1 a_AT1 ''blue_NN1 order_NN1 ,_, ''_VV0 with_IW a_AT1 nod_NN1 to_II the_AT African_JJ American_JJ musical_JJ techniques_NN2 with_IW which_DDQ he_PPHS1 experiments_VVZ ._. 
Jazz_NN1 ,_, concurrently_RR flaunted_VVD and_CC obscured_VVD ,_, functions_NN2 as_II a_AT1 philosophical_JJ (_( rather_II21 than_II22 a_AT1 social_JJ or_CC a_AT1 political_JJ )_) ordering_VVG principle_NN1 ,_, meaning_VVG that_DD1 music_NN1 can_VM fundamentally_RR change_VVI how_RRQ people_NN engage_VV0 with_IW ''reality._NNU ''_NN1 When_CS Stevens_NP1 employs_VVZ repetition_NN1 ,_, variation_NN1 ,_, and_CC other_JJ techniques_NN2 ,_, he_PPHS1 indicates_VVZ jazz_NN1 's_GE ability_NN1 to_TO provide_VVI listeners_NN2 with_IW a_AT1 means_NN to_TO understand_VVI their_APPGE existence_NN1 ._. 
In_II the_AT following_JJ discussion_NN1 ,_, I_PPIS1 will_VM explore_VVI seven_MC poems_NN2 that_CST demonstrate_VV0 Stevens_NP1 's_GE unique_JJ jazz_NN1 poetry_NN1 ._. 
Two_MC are_VBR taken_VVN from_II Harmonium_NP1 ,_, three_MC come_VV0 from_II Ideas_NN2 of_IO Order_NN1 ,_, and_CC the_AT two_MC final_JJ examples_NN2 are_VBR little-known_JJ poems_NN2 ,_, ''Banjo_NN1 Boomer''_NP1 and_CC ''The_VV0 Sick_JJ Man_NN1 ._. ''_VV0 While_CS these_DD2 are_VBR not_XX the_AT only_JJ jazz_NN1 poems_NN2 in_II Stevens_NP1 's_GE canon_NN1 ,_, I_PPIS1 choose_VV0 to_TO discuss_VVI them_PPHO2 because_CS they_PPHS2 seem_VV0 to_TO best_RRT demonstrate_VVI jazz_NN1 's_GE pervasiveness_NN1 in_II his_APPGE poetry_NN1 as_II a_AT1 whole_NN1 ._. 
In_II Harmonium_NP1 ,_, Stevens_NP1 plays_VVZ with_IW musical_JJ ideas_NN2 and_CC themes_NN2 that_CST would_VM recur_VVI in_II his_APPGE work_NN1 ._. 
His_APPGE musical_JJ poetry_NN1 ,_, which_DDQ includes_VVZ poems_NN2 that_CST sound_VV0 musical_JJ and_CC poems_NN2 that_CST concern_NN1 music_NN1 ,_, constitute_VV0 a_AT1 series_NN of_IO variations_NN2 on_II a_AT1 theme_NN1 ,_, lending_VVG his_APPGE poetic_JJ output_NN1 a_AT1 jazz_NN1 shape_NN1 ._. 
The_AT expanded_JJ editions_NN2 of_IO Harmonium_NP1 (_( 1931_MC and_CC 1936_MC )_) underscore_VV0 the_AT prevalence_NN1 of_IO repetition_NN1 and_CC variation_NN1 ,_, as_CSA do_VD0 his_APPGE rejected_JJ suggestions_NN2 that_CST Harmonium_NP1 be_VBI called_VVN The_AT Grand_JJ Poem_NN1 :_: Preliminary_JJ Minutiae_NN2 and_CC that_CST his_APPGE Collected_JJ Poems_NN2 be_VBI called_VVN The_AT Whole_NN1 of_IO ''Harmonium''_NN1 (_( Blessing_VVG 3_MC )_) ._. 
Even_RR the_AT title_NN1 suggests_VVZ his_APPGE overarching_JJ poetic_JJ and_CC musical_JJ intentions_NN2 ._. 
As_CSA Anca_NP1 Rosu_NP1 writes_VVZ ,_, Stevens_NP1 's_GE title_NN1 carries_VVZ a_AT1 dual_JJ meaning_NN1 ,_, ''through_NN1 its_APPGE reference_NN1 ,_, on_II the_AT one_MC1 hand_NN1 ,_, and_CC through_II its_APPGE sound_NN1 ,_, on_II the_AT other_JJ ,_, and_CC the_AT difficulty_NN1 is_VBZ that_CST the_AT two_MC are_VBR inextricable''_JJ (_( ix_MC )_) ._. 
