The very fact that audio recordings of poetry are now readily available to the classroom can be turned to a great advantage and can at least temporarily change the relationship between teacher and student. It is surely the case that when my students and I in class together listen to sound files instead of reading poem-texts, our vocabularies tend to be on the same plane. I might have a subtler response to what we’re hearing, and certainly I know far more than they about the sound in literary-historical context, but they are never struck dumb by the terminology I bring to bear on the point I seek to make about the specific sound of the words, the poetics of it. The students notice this difference – between their talk about the poem on the page and their talk about the sounded or recorded poems – and their discussion of poetics generally becomes charged with it. If it is true of those who perform spoken poetry that (as David Antin has put it) ‘it was my habit to record my talks / to find out what i[’]d said’ then similarly, the disorienting and terminologically disruptive mode I am describing is the means by which we might find out what we are teaching.
See an earlier post: "Classroom as Kiva."