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Beyond the entirely admirable and necessary work of correcting previous understandings and misunderstandings of the relation between jazz and literature, Barnhart ventures into territory that very few others have even begun to explore by raising the question of a certain tension that must exist when jazz is understood as both episteme and form. He deploys theoretically sophisticated social and historical analysis in order to reopen fundamental ontological questions about jazz, the novel, and time. Barnhart has made a very important contribution to the field of 20th Century American and Afro-American literary and cultural studies. Anyone interested in those fields will have to, and should want to, study his work. Frederick C. Moten, author ofIn the Break: The Aesthetics of the Black Radical Tradition

Beyond the entirely admirable and necessary work of correcting previous understandings and misunderstandings of the relation between jazz and literature, Barnhart ventures into territory that very few others have even begun to explore by raising the question of a certain tension that must exist when jazz is understood as both episteme and form. He deploys theoretically sophisticated social and historical analysis in order to reopen fundamental ontological questions about jazz, the novel, and time. Barnhart has made a very important contribution to the field of 20th Century American and Afro-American literary and cultural studies. Anyone interested in those fields will have to, and should want to, study his work. --Frederick C. Moten, author of In the Break: The Aesthetics of the Black Radical Tradition

Bruce Barnhart's Jazz in the Time of the Novel offers insightful readings of literary works by James Weldon Johnson, F. Scott Fitzgerald, Ernest Hemingway, Gertrude Stein, Carl Van Vechten, Nella Larsen, Wallace Thurman, and Langston Hughes, as well as analyses of musical works by Bessie Smith and Louis Armstrong, Ethel Waters, James P. Johnson, and Duke Ellington. Drawing on theoretical models culled from African American studies, western Marxism, sociology, histories of modernism, anthropology, etc., Barnhart lays out a provocative argument about the interdependence of jazz, the novel form, temporality, rhythm, and American modernism. --Alexander G. Weheliye, author of Phonographies: Grooves in Sonic Afro-Modernity.

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Bruce Barnhart is the author of articles on race, music, and American literature that have appeared in the journals Callaloo, Novel, African American Review, American Literature, and American Quarterly.

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