List of Permissions Preface Acknowledgments Introduction Ruth Charnock, University of Lincoln, UK Section I. The breadth of extremities: Voice, Instrument, Feeling Chapter 1. The Hexagram of the Heavens, The Strings of My Guitar: Joni Mitchell's Crip Virtuosity Matthew L. Jones, University of Georgia, USA Chapter 2. Oh Borderline: Joni Mitchell's Aging Voice As a Site of Queer Resistance Emily Baker, University of Liverpool, UK Chapter 3. Both Sides, Now: Voice, Affect, and Thirdness Joanne Winning, Birkbeck College, UK Chapter 4. Dreams and False Alarms: Melancholy in the Work of Joni Mitchell Anne Hilker, Bard Graduate Center, USA Section II. The only [black] man in the room?: Mitchell's Milieu Chapter 5. In Search of Lost Chords: Joni Mitchell, The Last Waltz, and the Refuge of the Road Gustavus Stadler, Haverford College, USA Chapter 6. Tar Baby and the Great White Wonder: Joni Mitchell's Pimp Game Eric Lott, Graduate Center of the City University of New York, USA Chapter 7. Tangled Up in Blue: The Shadow of Dylan and Stylistic Swerves in Early Seventies Joni Mitchell Howard Wilde, University of Hull, UK Section III. Busy being free: Love, Time, Feminism Chapter 8. Here's a man and a woman sitting on a rock: Joni Mitchell, Margaret Atwood, and Irritable Feminism Pamela Thurschwell, Sussex University, UK Chapter 9. Hollow: Cactus Tree and the Signs of Freedom Peter Coviello, University of Illinois at Chicago, USA Chapter 10. The only thing that's never going away: Still Listening to Blue Ruth Charnock, University of Lincoln, UK List of Contributors Index
