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Around ten years ago, at a small dinner party thrown by my friend and mentor, Edie Eustace, I had the pleasure of meeting Sweet Sue Terry, a composer and Jazz saxophonist, who does a rather remarkable thing with poems: she sets them word for word, actually, often syllable for syllable to note values. The word “value” is important here. Sue has both a composer’s sense of structure, and a jazz improviser’s sense of immediate invention, so we are getting a professional composer with major league chops doing a close reading of a poem. In this case, it was “Hurt Hawks” by Robinson Jeffers (A poem you ought to know, and if you don’t shame on you). Sue Terry also reads poetry, writes it occasionally, and came at the poem in a fresh way, unsullied by pretensions as to its purity. She had made copies of Hurt Hawks and handed them [...]