of music and the other arts.' It does please; or when it doesn't, it stirs things up, which is just as good." Several reviewers were intrigued by Albright's discussion of surrealism in music, and his identification of Francis Poulenc as a key figure. "Before the recent publication of ... Untwisting the Serpent," writes Jonathan Kramer in his book Postmodern Music, Postmodern Listening (2016), "there was little serious discussion of surrealism in music (although informally calling certain music surreal is certainly common enough). Music has been assumed not to have gone through much of a surrealist stage." Kramer admires Albright's cross-disciplinary consideration of surrealism in musical theater, but believes Untwisting is "most useful....is in [its] discussions of Poulenc’s specifically musical surrealism." He quotes these words of Albright's from Untwisting: I understand Poulenc’s manner of quotation -- and he was a music thief of amazing flagrancy -- not as a technique for making pointed semantic allusions, but as a technique for disabling the normal semantic procedures of music. … Poulenc is a composer of surrealizing misquotations. Oliver Charles Edward Smith's essay on Poulenc in Cogent quotes liberally from Untwisting as a "comprehensive study of surrealism in music" (while noting that Theodor W. Adorno was the first to apply the "ism" musically). Both Smith and Kramer favorably cite Albright's explanation of the apparent (incongruous) conservatism of surrealism in music, compared to its wilder embodiments in the other arts, noting these passages from Untwisting [Kramer's ellipses]: Surrealism is a phenomenon of semantic dislocation and fissure. It is impossible to disorient unless some principle of orientation has been established in the first place. … In other words, you can’t provide music that means wrong unless you provide music that means something. … The surrealism of Poulenc and his fellows didn’t try to create a new language of music -- it simply tilted the semantic planes of the old language of music. Just as surrealist paintings often have a horizon line and a highly developed sense of perspective, in order that the falseness of the space and the errors of scale among the painted entities can register their various outrages to normal decorum, so surrealist music provides an intelligible context of familiar sounds in order to develop a system of meanings that can assault or discredit other systems of meanings. Multi-Disciplinarian Untwisting the Serpent limited its cross-disciplinary analysis to specific examples where musicians, artists, and writers