Problems arise in compromising the inherent and necessary difficulties of certain complex, opaque poetries in efforts to make such poetry more accessible to readers. Such poetry, which I will term contemporary American experimental poetry, is in reality a wide group of work which hardly fits under a single umbrella of categorization, but shares in common an unavoidable inaccessibility. Refusing populist compromises, I believe such poetry could, however, be more engaging to more readers through collaborations with other artistic media which a wider community already enjoys on a regular basis, including, namely, music. I intend to use the experimental poetry in my Directed Reading as a starting point, from which I will define the thematic concerns, complexities and aesthetics of my creative work within the vein of contemporary American experimentalists. From there, I hope to marry the inevitable difficulty of this poetry with my own populist ideals through musical collaboration. I am not a jazz musician, and have no qualms with setting experimental poetry to pop music in hopes of expanding readership. Essentially, the goal is to piggyback my poetry on the more widely accessible medium of music. This does not mean the music cannot interact critically with the poetry or move the poetry forward, but simply that the primary purpose of the music is to increase accessibility. The final product will consist of roughly 20 pages of poetry, a critical introduction, and a full album of the entire collection set to music through collaborations with local musicians, myself included.