I'd like to share with you some of the reasons why I invoke the
discourse of jazz music to teach English composition courses at
the University of Florida.
To do so I will point to the fact that JAZZ and WRITING have no
privileged relationship to one another.
By this I mean to say that I can easily imagine how another
vocabulary might be deployed in a similar fashion.
In fact, it is precisely this sort economy of exchangeable terms
that marks what is, for me, the significance of working in this
metaphorical way, what I am calling the
electronic way.