[{"id":"1284","cataloger_name":["Bindu,Reddy"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Robert Creeley at Sir George Williams University, The Poetry Series, 1 January 1970"],"item_title_source":["Cataloguer"],"item_title_note":["\"ROBERT CREELEY Recorded March 6, 1970 3.75 ips, 1/2 track on 1 mil. tape\" written on sticker on the back of the tape's box. \"ROBERT CREELEY I006/SR89.2\" written on sticker on the spine of the tape's box. \"I006-11-089.2\" written on sticker on the reel\n"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 5"],"item_identifiers":["[]"],"creator_names":["Creeley, Robert"],"creator_names_search":["Creeley, Robert"],"creators":["[{\"url\":\"http://viaf.org/viaf/109562114\",\"name\":\"Creeley, Robert\",\"dates\":\"1926-2005\",\"notes\":\"American poet and essayist Robert Creeley was born in 1926 in Arlington, Massachusetts. His early life was marred by tragedy, as he lost his left eye in an accident and suffered the death of his father when he was four years old. Creeley then grew up on a farm, and felt repressed by his traditional Puritanical New England upbringing. After a year of Harvard University, Creeley joined the US Field Service in India and Burma. Returning again to Harvard, he married his first wife Ann MacKinnon, with whom he had three children, only to leave Harvard in his final semester. From 1948 to 1950, Creeley and his family moved to several locations including Provincetown, New Hampshire; Provenance, France; and Mallorca, Spain. Once in Mallorca, he set up The Divers Press with poet Denise Levertov. Creeley thus began correspondence with Charles Olson, and Olson offered Creeley a teaching position at the Black Mountain College in North Carolina, as well as a Bachelor’s degree in 1954. During his short time at Black Mountain, Creely edited Black Mountain Review, a journal known for its experimental writing. As well as many publications in poetry magazines, he published his first collection of short stories in The Gold Diggers in 1954 (Divers Press). After his marriage dissolved, Creeley headed West to San Francisco, meeting with Allen Ginsberg, Gary Snyder, and Kenneth Rexroth, as well as other Beat poets during the San Francisco Poetry Renaissance. Creeley then moved to Albuquerque, New Mexico, completed his M.A., and then took a position as professor of English. There, he met and married Bobbie Louise Hall, with whom he had two daughters and for whom he wrote most of his love poetry. His first major collection of poetry was For Love: Poems 1950-1960, published in 1962 (Scribner Press). Creeley subsequently published his novel, The Island (Scribner Press, 1963), and other poetry collections including Words (Scribner), The Charm: Early and Uncollected Poems (Perishable Press, 1967), and Pieces (Scribner, 1969). His essays and prose publications include A Quick Graph: Collected Notes and Essays (Four Seasons Foundation, 1970), A Sense of Measure (Calder and Boyars, 1973), and Was That a Real Poem and Other Essays (Four Seasons Foundation, 1979). His marriage with Bobbie ended in the late 70’s, and he married his third wife, Penelope Highton.  Creeley continued to publish his poetry in collections such as Later (New Directions, 1979), Mirrors (New Directions, 1983), Windows (New Directions, 1990), Echoes (New Directions, 1994), Life and Death (New Directions, 1998), and If I Were Writing This (New Directions, 2003). He has won a number of awards and honors, including the New York State Poet Laureate from 1989-91. He was elected a Chancellor of the Academy of American Poets in 1999, received the Lannan Lifetime Achievement Award, the Bollingen Prize, the Shelley Memorial Award, a Rockefeller Grant and two Guggenheim Fellowships. Robert Creeley died in 2005, but his poetry has been published posthumously in On Earth: Last Poems and an Essay (University of California Press, 2009), The Collected Poems of Robert Creeley, 1975-2005 (University of California Press, 2006) and Robert Creeley: Selected Poems, 1945-2005 (University of California Press, 2008).\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1970 3 6\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the back of the tape's box (March 6, 1970)\\n\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["Robert Creeley reads from Pieces (Scribner, 1969), In London (Angel Hair Books, 1970), and  from other unknown sources."],"contents":["robert_creeley_i006-11-089-2_1970.mp3\n\nUnknown\n00:00:00.00\n...thing which is regularly said when introducing Robert Creeley [https://www.wikidata.org/wiki/Q918620] would be that he is a, a Black Mountain Poet [https://www.wikidata.org/wiki/Q2905420], and a colleague of Robert Duncan's [https://www.wikidata.org/wiki/Q57421163], and the late Charles Olson's [https://www.wikidata.org/wiki/Q922978]. What has really introduced Robert Creeley to me however, was something I heard him say back in 1963, to the effect that when a man begins to love himself, love himself, to be in the world as he is in it, then things begin to happen to him that are interesting. Now, this is a statement, which is enigmatic in its syntax and yet still spells out what I think you will find interesting about Robert Creeley tonight, that is that he's a man whose poems are close to the process of living. He will be able to give you information in his poems about this process. His poems are about someone who, no matter how difficult this process has become, has loved that particular moment of it. Now that Robert is supplied with cigarettes for the evening, he may as well begin.\n \nAudience\n00:01:43\nApplause [cut off].\n\nRobert Creeley\n00:01:48\nLet me. \"On Vacation\".\n \nRobert Creeley\n00:02:35\nReads \"On Vacation\".\n \nRobert Creeley\n00:02:55\nI'll read one more poem, I made it up all by myself, that's the only thing... \"Do You Think\".\n \nRobert Creeley\n00:03:03\nReads \"Do You Think...\" [published later in A Day Book].\n \nRobert Creeley\n00:04:51\nIt's like a Latter Day [https://www.wikidata.org/wiki/Q42504]quote, no it's like a--I've got a noun [unintelligible].\n\nAudience \n00:05:01\nLaughter. \n\nRobert Creeley\n00:05:03\nThis has nothing in the glasses, nothing in the glass, that's the problem. I want to read, frankly an old and dear friend Robin Blaser [https://www.wikidata.org/wiki/Q2115003], an old and dear friend, a man I much respect and care for just happens to be in the room, I haven't seen him since, like, almost, it feels like 20 minutes ago. But I want therefore to read a few poems that are more recent in composition. \"The Act of Love\".\n\nRobert Creeley\n00:05:50\nReads \"The Act of Love\".\n \nRobert Creeley\n00:07:55\nThen I'd like to read another poem because frankly Robin is a very particular friend, and not will know simply the information I'm trying to get clear, but will know the, you know, you like to read for people, shit, you know. \"The Birds\".\n \nRobert Creeley\n00:08:19\nReads \"The Birds\".\n \nRobert Creeley\n00:09:58\nThen that--\"things seem empty on vacation, if the labors have not been physical, then, some awful grating sound as if some monstrous nose were being blown...\" [begins to read “On Vacation”]--no I've read that once, I won't read it again. But I wanted to read the most recent--I used to have, not an ambition, but I had a lovely sense of Allen Ginsberg's [https://www.wikidata.org/wiki/Q6711] freedom in writing, happily, he's been here not too long ago. And I mean, Allen is a true contemporary, simply that we were born within say, what he's born--his birthday is June 3rd and mine's May 23rd of 1926 and we're, you know, we're very close in time and space. I used to have a sense of not Allen's permission in writing, I mean that permission doesn't exist. I mean, you write what you are given thus to write, nobody designs this occasion, nobody has the authority of it, and I did in a weird way, I envied Allen's ability to be where that situation might occur, you know. Like he could really write any moment, any place, anywhere, and so recently flying. In fact, last week, flying out to Los Angeles, not to Los Angeles, to San Francisco, I'd been awfully harassed in particular dilemmas of responsibility and suddenly sitting on the plane. There was this delicious space, you know, made peace with the plane by drinking everything they would give you instantly and having entered with some. I remember watching Warren, an old, dear friend get on a plane with like, four double vodkas. You know, I said \"Warren, you're going to get drunk\". He said, “No I'm flying back to Vancouver”. Like you mistaked the occasion, you know. And so, I get on the plane, and I thought, “well I can do this too”. And I wrote, my Bobbie who is a friend indeed of Robin's and myself. I'm literally her husband and Robin is a friend in that, what am I? I'm not going to propose that we're--no, but I think it's true. It has nothing to do with fucking. It has to do with the ambiance and reality of another human being. I think we share that reality in her. And she had gotten ill, unhappily and in some unexpected manner and then happily is now okay, but it was a crazy moment of dilemma. \"An Illness\".\n \nRobert Creeley\n00:12:52\nReads \"An Illness\". \n \nRobert Creeley\n00:15:55\nAnd I'm going to read a few more for Robin, and then, \"The Problem\".\n \nRobert Creeley\n00:16:06\nReads \"The Problem\".\n \nRobert Creeley\n00:16:44\nReads \"The Tiger\".\n \nRobert Creeley\n00:17:09\nWhat is reality--this is crossed out--[Reads excerpted material from “The Tiger”]. “What is reality we thought, who is here, we could smell the freshness of the jungle growth and would have been eaten by the tiger were it hungry” [audience laughter]. It's all crossed out. I'll read, this is--\n \nRobert Creeley\n00:17:38\nReads unnamed poem.\n \nRobert Creeley\n00:18:33\n\"Not Being Dumb\"--this is, these are three things together.\n \nRobert Creeley\n00:18:36\nReads \"Not Being Dumb”.\n \nRobert Creeley\n00:19:38\nReads [\"Harry\"].\n \nRobert Creeley\n00:19:46\nLet me just, may I just read around, because these are, like, poems of like the last few months. This was a poem that is variously titled \"Sweet Dreams, Good Harbor Beach\". This is a place in Gloucester [https://www.wikidata.org/wiki/Q49156]. It therefore has a physical location.\n \nRobert Creeley\n00:20:04\nReads \"Sweet Dreams, Good Harbor Beach\".\n \nRobert Creeley\n00:21:15\nI want to read one sequence of, a cluster of particular writing, I won't even have the arrogance to say these are necessarily poems. But the, because I don't in that sense, these are a sequence called \"In London\". And I had, I'll tell you, physically, the circumstance was that I was in London [https://www.wikidata.org/wiki/Q84?wprov=srpw1_0] for five days last summer for a particular activity and I have happily a number of friends in London. Therefore, generously and, actually my time is really filled with seeing particular friends or else having particular business to conduct, and that's one, frankly, one of the satisfactions of one sense of what my life has to do with its own occasion, to have use and to have place. Not to say, “Gee, you're back again. We've kept the table. We've kept the seat for you”. But to have an occasion that actually gives you place in the world is always a delight. And so therefore, I was there briefly and this particular morning, there was to have been a, actually, a recording and it turned out the circumstances of the recording hadn't worked out. So the people involved did not come and so there was a space of three hours in which I was staying at this friend's apartment in London on Wimpole Street, 76 Wimpole Street, just around Oxford Street. You know the neighborhood possibly. And it's a dazzling part of London for an American. Particularly, I mean, it's like Barrets and Wimpole Street and the whole bit, Paul McCartney [https://www.wikidata.org/wiki/Q2599?wprov=srpw1_0] had a place, like two blocks--did have a place two blocks--and the whole bit. You know, and it's very dazzling, and I was in this apartment and I was sleeping actually on the couch of this particular friend, and there were other beds available, but I did not manage. I was not aggressive, so therefore I slept on the couch. It was a heavy time for everybody, and I was thinking of Jim dying, you know whose “A Retrospective of the Whitney” has just opened. And I was staying, actually, with the wife of a publisher who happily I have in London, John Calder [https://www.wikidata.org/wiki/Q6224786] and Marion Boyars [https://www.wikidata.org/wiki/Q18674153]. I was thinking of John Calder's apartment and John and his wife unhappily were having a, I mean, it's ridiculous, I'm not going to rehearse the whole situation of their lives, man. Like we've got enough to enter my own in that way, but the point is that I was sleeping on their couch, right? Everybody had left for their various activities and I was to meet these people to come in and set up this recording equipment and have this scene, and they didn't show up. And I had literally like two or three hours just in that apartment. I was padding around the place in my jammies, feeling beautifully luxurious and relaxed in London, you know, like digging out the window. I'd been the night previous reading at an International Festival of Poetry on a beautiful occasion, and I'd gone over. Jim Dine [https://www.wikidata.org/wiki/Q531234] is frankly a friend from the States and I'd called him up, he's living in, where the hell does he live, Grosvenor square [https://www.wikidata.org/wiki/Q932992], he's like in that district. He's living next to the Uruguay Embassy, like it's a very- he's running a house that somebody is trying to sell, but they can't find an appropriate buyer. Mick Jagger [https://www.wikidata.org/wiki/Q128121] wanted to buy the house, but they didn't want a rock singer, and then the Nigerian Embassy wanted to buy the house but they didn't want to sell, you know. It was a whole trip. So Jim Dine has maintained the premises. So I go there and say \"Terrific\" and \"Wow\". We do the whole American bit, which is frankly to get over excited instantly, and to eat, drink, and be merry with an absolute insistence. And we're now driving over to make the Royal Festival Arts blah, blah, blah scene. And for an American it's a heady trip. I'm going to read now in company with the company of four other people, as part of the International Festival of Poetry and they're having this scene at a place, those of you who know London, they're having a scene at the Queen Elizabeth Hall [https://www.wikidata.org/wiki/Q1622428], that's part of the festival, you know like, complexes across the Thames [https://www.wikidata.org/wiki/Q19686] from the Parliamentary buildings, Tower of London [https://www.wikidata.org/wiki/Q62378], all that. So we're driving  through late London afternoon in July, delicious, I mean, the sun is fading in over those buildings the whole, oh wow, you know, just blow your mind. It's just fantastically tender and real, and that's where Raleigh [https://www.wikidata.org/wiki/Q189144] was imprisoned in the Tower, and that's you know, fantastic. We arrive in absolutely pristine condition, and it took about two minutes to 'x' it all out. So the first two poems--it says “Festival Hall London”, like a note to myself on the side, and the first two poems--like the unrelieved tedium of the evening was just fantastic. I talked to a reporter of like a red rag, a socialist paper in London later. He said, “I don't see any reason why you should show up, Mr. Creeley, before you're required, your presence is literally required”. You know, so I said, “Do you really think that's possible? Do you think I really could do that?”. He said “I don't see any reason why your condition and duty doesn't permit that kind of occasion”, and I said “The hardest thing man is to sit there for like, it isn't the tedium of the people, it's the tedium of the occasion, it's like all these people. I have to have a rock in my pants that I thought it was hashish but it's actually three million, billion years old, it's a worm. We've got time, right?”. So he said “You don't have to”--what was your experience--he's trying to get some, you know he's trying to get some sense of the work as we're not permitted into the reading or something [audience laughter] and I quote the work as we're like generously absent from the reading, like you don't have to do that too, there's going to be a condition of that experience. \"In London\"\n \nRobert Creeley\n00:28:30\nReads \"In London\" [from In London]. \n\nRobert Creeley\n00:28:39\nThis was, like in this absolutely [unintelligible] environment you suddenly look around and see this exit, exit, exit sign red, exit, exit, exit, exit. There was a titter that ran through the audience and then there was nothing more. \"Cards\". This is now back in the apartment.\n \nRobert Creeley\n00:28:58\nResumes reading \"In London\" [from In London]. \n \nRobert Creeley\n00:30:03\nNow, I'll read the crossed out portions. \"There are people in the sky, now you see them, now you don't, won't you take me to my home, and let me play among the stars. The final fears of all the years are met in you tonight.\" This is, this flows out on vague rhythms. “12:30” written as Arabic numerals, read as 12:30 words.\n \nRobert Creeley \n00:30:30.\nResumes reading \"In London” [from In London].\n \nRobert Creeley\n00:30:36\n[Interrupts reading]. You know that scene when you're in a city and know one or two people, keep calling up, \"Well, Ted is sober\", [unintelligible] [audience laughter] and I said \"Man, I was there, I know how tired he is, I'm awake\".\n \nRobert Creeley\n00:30:50\nResumes reading \"In London” [from In London].\n \nRobert Creeley\n00:30:59\n[Interrupts reading]. This was a girl who played the lead in The Beard, actually, in the initial San Francisco [https://www.wikidata.org/wiki/Q62] production who was now working in London playing the same part. Lovely young woman, Billy, trying to remember her last name, very soft and pleasant...\n \nRobert Creeley\n00:31:15\nResumes reading \"In London” [from In London].\n \nRobert Creeley\n00:31:20\n[Interrupts reading]. Let me interpolate, Chamberlain [https://www.wikidata.org/wiki/Q468760] at one point had a weird erotic scene where they were making love by telephone. Have you ever tried that number? So John was was making things like sperm omelet, like he really, somehow it arrived in his madness of mid age, and decided that he was really going to go for broke in terms of sexual possibility. You ever see a man from Indiana take off on the possibilities of sexual endeavor? It's like- so John, Ultra Violet was the perfect foil for this condition. Ultra Violet [https://www.wikidata.org/wiki/Q272994], if you've seen, you must have seen her on the Merv Griffin Show [https://www.wikidata.org/wiki/Q3404046], Ultra Violet like is like the most humorless, John had a tape of her singing \"The Fool on the Hill'' [https://www.wikidata.org/wiki/Q1920202] that went on for weeks. It was like years would pass by. “Ze fool on ze hill”, you know. With this incredibly corny french accent. \"Ze fool on ze hill\" I remember, and he had a scene where they would make love like- I remember one time, the only, the first time I met- oh christ, I'm suddenly flipped out in my own mind, oh hell. It's ridiculous. Well, see, John had a studio on 13th Street and First Avenue, and Larry Rubens had a studio also, and a Japanese girl had a studio, and upstairs was like, directly over John's studio was, oh hell, who's the obvious sculpture, someone supply me with a name, it's ridiculous, the greatest imagination in the arts today in terms of this environment, [audience suggests name] Pardon? No, not Segal [https://www.wikidata.org/wiki/Q703624]. Like Oldenburg [https://www.wikidata.org/wiki/Q156731], Claes Oldenburg. Claes Oldenburg lived upstairs and then he was still with his wife, his crazy factory, the industry, like making the ghosts, I mean they were making the mock-ups of the particular sculptures he was involved in and John, for example, would like wake up, you'd hear like- I spent nights in John's place and you'd hear the radio would turn on, in the morning, like to station k-whatever it was and then you'd hear them moving around getting breakfast and then hear the sewing machine start and the day would begin and Claes Oldenburg has a crazy serious humorous, like the peculiar to my- I was talking to someone about being, you know, coming from Nova Scotia [https://www.wikidata.org/wiki/Q1952], or New Brunswick [https://www.wikidata.org/wiki/Q1965] or St. John's [https://www.wikidata.org/wiki/Q2082] I mean like the [unintelligible] scene is very displaced by that Scandinavian economy, you know, of experience. So John was- do things like one night for an example, he and Ultra Violet had this thing going with the telephone and she called him and he happened to be out and she just let the phone ring. The phone rang from 11:00 to 7 in the morning [laughter.] Like it just keeps ringing. I remember I met Claes Oldenburg that morning, he said \"John, someone was trying to call you last night\" [laughter] and John says \"Yeah, I know.\" It was lovely, yeah. “I got the message”. And that was all either one of them said.\n \nRobert Creeley\n00:35:21\nResumes reading \"In London” [from In London].\n \nRobert Creeley\n00:37:41\n[Interrupts reading]. Then in the actual text there's a point that it's been in print actually for fifteen years in paperback. Somehow, nobody, the friends that we had didn't curiously notice. His reminiscences of Tolstoy [https://www.wikidata.org/wiki/Q7243] in London [https://www.wikidata.org/wiki/Q84], for example. Have you ever read Gorky's [https://www.wikidata.org/wiki/Q12706] Reminiscences of Tolstoy? Fantastic book. \"Wish I were home\"...doesn't just turn you on informationally, it turns you on to conditions of experience, I hope.\n \nRobert Creeley\n00:38:08\nResumes reading “In London” [from In London].\n \nRobert Creeley\n00:39:30\nI wonder what this is, \"Aside, aside\", [unintelligible], February, Spring day, it's from California [https://www.wikidata.org/wiki/Q99].\n \nRobert Creeley\n00:39:46\nReads [“That Day” from In London].\n \nRobert Creeley\n00:39:51\n[Interrupts reading]. See, I love that \"And that day, in an oak tree, falls way, comes here\", I love that “interup-tions”.\n\nRobert Creeley\n00:40:00\nResumes reading [“That  Day” from In London].\n \nRobert Creeley\n00:40:04\n[Interrupts reading]. I love that play of language.\n \nRobert Creeley\n00:40:07\nResumes reading [“That  Day” from In London].\n \nRobert Creeley\n00:40:54\nThat I, this was a--one time back in the earlier part of the 60's, Ginsberg [https://www.wikidata.org/wiki/Q6711] was given a tape recorder by Bob Dylan [https://www.wikidata.org/wiki/Q392] and when they were both in San Francisco [https://www.wikidata.org/wiki/Q62]. Dylan gave Allen a Uher tape recorder and they had been in San Francisco, now Allen went down to Los Angeles [https://www.wikidata.org/wiki/Q65] and he talked to people like Gerald Heard [https://www.wikidata.org/wiki/Q1606714], he had long conversations with Lenny Bruce [https://www.wikidata.org/wiki/Q460876], and he also went to see Maria Huxley, and he was particularly interested as to what were Huxley's, not merely, he knew what Huxley died of, Huxley died of cancer in a factual and actual manner. But he was very interested into what was Huxley's not state, like he didn't want to hear his last words in some awful sense, but he wanted to know what kind of experience of death Huxley had had. And if this particular experience of death had been in any way informed by the circumstance of experience that Huxley had begun to be more and more involved with as he grew older, namely acid and the transformation, not the transformation but the particularization of experience that he found in the psychedelic so-called drugs. And so he asked Maria Huxley the very obvious question, “was Huxley on acid when he died? Did he take acid previous to his death?” And she said, “well, he had asked that when he was thus conscious. I mean he did go into a coma. He did have a float, physically, and he asked that he have acid available. I mean that the cap of acid be place conveniently by the bed, and that he would obviously determine when and as and if he wanted to take it. It would be there. It would be like an aspirin, like a glass of water,” and she said that roughly half an hour previous to his physical death, he took acid. And then Allen asked the other obvious question, did he say anything? Did he say anything of the experience of the circumstance? She said, no he didn't, he said nothing. But this is a woman who'd lived obviously with this man for a particular length of time and had information specifically, she said no, but there was this beatific smile, he was attending his own, you know, like he was attending, not the apocalypse, but the phenomenality of his own dispersion into you know other states of being, with the agency that's created.\n \nRobert Creeley\n00:43:49\nReads [section of “Little Time--And Place” from In London]. \n \nRobert Creeley\n00:44:05\nI want to read one last poem from this text, and then I'll go back to books you may know. \"A Wall\".\n \nRobert Creeley\n00:44:15\nReads \"A Wall\".\n \nUnknown\n00:45:20\n[Cut or edit made in tape. Unknown amount of  time elapsed].\n\nRobert Creeley\n00:45:22\n..simply identifies the title of the book that you're referring to and the name of the man who wrote it. \n\nUnknown\n00:45:25\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nRobert Creeley\n00:45:26\n...he didn't want to make it hard for anybody, certainly didn't want to make it thus easy. But, particular information was always of that nature, you couldn't describe it, you certainly couldn't make it a convenience, so that the actuation of it for you always had to be the particular resource and fact of your own--I mean, it had to be that you did know it. It wasn't like one-upping, \"Gee, you don't know the name of the capital of Madagascar\" [https://www.wikidata.org/wiki/Q1019?wprov=srpw1_0], like I don't know the name of the capital of Madagascar, is there a capital of Madagascar? I guess, you couldn't. That wasn't the condition, but if something was there to be known, that was of some particular interest to him, he gave you the fact of that interest and the substance of that interest, but he didn't give you the convenience of that interest, you had not merely to track his experience into it, but you had to get there, like you had to get there by your own agency. But I think I could--someone said, like man, like the dots in this particular book, pieces, and there's a lovely remark by Ed Dorn [https://www.wikidata.org/wiki/Q5334756] whom I dearly love, he said you know, that sense of the pieces of the definition, [unintelligible] of the parts of some of the imagined whole, which these pieces are then the fragments or the parts of, then he says, he effectually suggests, think of a situation where the pieces do not compose that possible containment, the parts that do not necessarily relate and or have the substance of the whole thus to inform them. Like now, you're really in a hole, dig. And his definition of tradition: that which someone comes carrying the information of, literally, he got there, with the news. So the dots in this book, the three dots, those of you who are interested in these explications of text, these three dots simply indicate the intervals of a particular sitting, or a particular, you know literally, you see how this is written, it's like in a notebook, well what was written on a particular day would be separated in this text by three dots, you know, like usually the particular things written would be separated by one dot then when another day occurred there'd be three dots, I mean it's a very rudimentary division.\n \nRobert Creeley\n00:47:53\nReads \"The which it was\" [from Pieces].\n \nRobert Creeley\n00:49:15\n\"Re Bob's Film (CUT)\", this was a movie done, friend--this is not even interesting, this is an 8 mm film called \"Cut\".\n \nRobert Creeley\n00:49:23\nReads \"Re Bob's Film (CUT)\" [from Pieces].\n \nRobert Creeley\n00:51:53\nI want to skip, like I want to skip to the end of this book and read frankly, if I may for a close, let me read a sequence called \"Mazatlan: Sea\" which comes together as a close to this particular book and is writing of the same order.\n \nRobert Creeley\n00:52:15\nReads \"Mazatlan: Sea\" [from Pieces].\n \nEND\n01:07:47\n"],"Note":["[{\"note\":\"Year-Specific Information: \\n\\nRobert Creeley tenured as a full professor at SUNY Buffalo in 1967, edited The New Writing in the USA with Don Allen, and published Words and The Charm: Early and Uncollected Poems.  Creeley attended the London International Poetry Festival in July of 1967\",\"type\":\"General\"},{\"note\":\"Local Connections: \\n\\nCreeley had ties with Irving Layton through the Black Mountain Review in the 50’s. Creeley moved to Vancouver to work at the University of British Columbia in 1960-61. He had contacts with Phyllis Webb and Irving Layton. Creeley was George Bowering’s Master's thesis advisor at University of British Columbia until 1963, and wrote introductions for Bowering’s poetry. He came to visit Montreal and Sir George Williams University the same year Layton was poet in residence, after years of correspondence.\",\"type\":\"General\"},{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Sarah McDonnell and Ali Barillaro\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/collected-poems-of-robert-creeley/oclc/1151730303&referer=brief_results\",\"citation\":\"Creeley, Robert, and Penelope Creeley. The Collected Poems of Robert Creeley: 1945-1975. University of California Press, 2006. \"},{\"url\":\"https://www.worldcat.org/title/was-that-a-real-poem-other-essays/oclc/247870873&referer=brief_results#reviews\",\"citation\":\"Creeley, Robert; Allen, Donald; Novik, Mary. Was That a Real Poem and Other Essays. Four Seasons Foundation, 1979.\"},{\"url\":\"https://www.worldcat.org/title/in-london/oclc/970961442?referer=di&ht=edition\",\"citation\":\"Creeley Robert. In London. Bolinas: Angel Hair Books, 1970.\"},{\"url\":\"https://www.worldcat.org/title/words-poems/oclc/421895361?referer=di&ht=edition\",\"citation\":\"Creeley, Robert. Words: poems. New York: Scribner, 1967. \"},{\"url\":\"https://www.worldcat.org/title/sense-of-measure/oclc/718716260&referer=brief_results\",\"citation\":\"Creeley, Robert. A Sense of Measure. Calder and Boyars, 1973. \"},{\"url\":\"https://www.worldcat.org/title/some-echoes/oclc/1167543687&referer=brief_results\",\"citation\":\"Creeley, Robert. Echoes. New Directions, 1994.\"},{\"url\":\"https://www.worldcat.org/title/for-love-poems-1950-1960/oclc/268031?referer=di&ht=edition\",\"citation\":\"Creeley, Robert. For Love: Poems Poems 1950-1960. New York: Scribner, 1962. \"},{\"url\":\"https://www.worldcat.org/title/if-i-were-writing-this/oclc/181140062&referer=brief_results\",\"citation\":\"Creeley, Robert. If I Were Writing This. New Directions, 2008. \"},{\"url\":\"https://www.worldcat.org/title/later/oclc/470953767&referer=brief_results\",\"citation\":\"Creeley, Robert. Later. New Directions, 1980.\"},{\"url\":\"https://www.worldcat.org/title/life-death/oclc/694895837&referer=brief_results\",\"citation\":\"Creeley, Robert. Life and Death. New Directions, 2000. \"},{\"url\":\"https://www.worldcat.org/title/mirrors/oclc/239774564&referer=brief_results\",\"citation\":\"Creeley, Robert. Mirrors. New Directions, 1983.\"},{\"url\":\"https://www.worldcat.org/title/on-earth-last-poems-and-an-essay/oclc/264039622&referer=brief_results\",\"citation\":\"Creeley, Robert. On Earth: Last Poems and an Essay. University of California Press, 2009. \"},{\"url\":\"https://www.worldcat.org/title/pieces/oclc/729928833&referer=brief_results\",\"citation\":\"Creeley, Robert. Pieces. New York: Scribner, 1969. \"},{\"url\":\"https://www.worldcat.org/title/charm/oclc/9997283&referer=brief_results\",\"citation\":\"Creeley, Robert. The Charm: Early and Uncollected Poems. Book People & Mudra, 1971. \"},{\"url\":\"https://www.worldcat.org/title/gold-diggers-and-other-stories/oclc/10263594&referer=brief_results\",\"citation\":\"Creeley, Robert. The Gold Diggers. Divers Press, 1954. \"},{\"url\":\"https://www.worldcat.org/title/island/oclc/6464917&referer=brief_results\",\"citation\":\"Creeley, Robert. The Island. New York: Scribner, 1970. \"},{\"url\":\"https://www.worldcat.org/title/windows/oclc/797857141&referer=brief_results\",\"citation\":\"Creeley, Robert. Windows. Boyars, 1991.\"},{\"url\":\"https://www.worldcat.org/title/robert-creeley-a-biography/oclc/951202214&referer=brief_results\",\"citation\":\"Fass, Ekbert. Robert Creeley: A Biography. Montreal: McGill-Queen’s University Press, 2001.\"},{\"url\":\"http://news.google.com/newspapers?id=O5UtAAAAIBAJ&sjid=4p8FAAAAIBAJ&pg=3951,6182119&dq=sir+george+williams+poetry&hl=en\",\"citation\":\"“Poetry Series Coming Up At University”. Montreal: The Gazette. 31 December 1966, page 39. \\n\"},{\"url\":\"\",\"citation\":\"O’Reilly, Elizabeth. “Creeley, Robert, 1926-”. Literature Online Biography. Proquest, 2008. \"}]"],"_version_":1853670548903559168,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0089-2_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0089-2_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Robert Creeley Tape Box 2 - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0089-2_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0089-2_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Robert Creeley Tape Box 2 - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0089-2_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0089-2_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Robert Creeley Tape Box 2 - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0089-2_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0089-2_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Robert Creeley Tape Box 2 - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/robert_creeley_i006-11-089-2_1970.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"robert_creeley_i006-11-089-2_1970.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:07:47\",\"precision\":\"\",\"size\":\"162.7 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Unknown\\n00:00:00.00\\n...thing which is regularly said when introducing Robert Creeley [https://www.wikidata.org/wiki/Q918620] would be that he is a, a Black Mountain Poet [https://www.wikidata.org/wiki/Q2905420], and a colleague of Robert Duncan's [https://www.wikidata.org/wiki/Q57421163], and the late Charles Olson's [https://www.wikidata.org/wiki/Q922978]. What has really introduced Robert Creeley to me however, was something I heard him say back in 1963, to the effect that when a man begins to love himself, love himself, to be in the world as he is in it, then things begin to happen to him that are interesting. Now, this is a statement, which is enigmatic in its syntax and yet still spells out what I think you will find interesting about Robert Creeley tonight, that is that he's a man whose poems are close to the process of living. He will be able to give you information in his poems about this process. His poems are about someone who, no matter how difficult this process has become, has loved that particular moment of it. Now that Robert is supplied with cigarettes for the evening, he may as well begin.\\n \\nAudience\\n00:01:43\\nApplause [cut off].\\n\\nRobert Creeley\\n00:01:48\\nLet me. \\\"On Vacation\\\".\\n \\nRobert Creeley\\n00:02:35\\nReads \\\"On Vacation\\\".\\n \\nRobert Creeley\\n00:02:55\\nI'll read one more poem, I made it up all by myself, that's the only thing... \\\"Do You Think\\\".\\n \\nRobert Creeley\\n00:03:03\\nReads \\\"Do You Think...\\\" [published later in A Day Book].\\n \\nRobert Creeley\\n00:04:51\\nIt's like a Latter Day [https://www.wikidata.org/wiki/Q42504]quote, no it's like a--I've got a noun [unintelligible].\\n\\nAudience \\n00:05:01\\nLaughter. \\n\\nRobert Creeley\\n00:05:03\\nThis has nothing in the glasses, nothing in the glass, that's the problem. I want to read, frankly an old and dear friend Robin Blaser [https://www.wikidata.org/wiki/Q2115003], an old and dear friend, a man I much respect and care for just happens to be in the room, I haven't seen him since, like, almost, it feels like 20 minutes ago. But I want therefore to read a few poems that are more recent in composition. \\\"The Act of Love\\\".\\n\\nRobert Creeley\\n00:05:50\\nReads \\\"The Act of Love\\\".\\n \\nRobert Creeley\\n00:07:55\\nThen I'd like to read another poem because frankly Robin is a very particular friend, and not will know simply the information I'm trying to get clear, but will know the, you know, you like to read for people, shit, you know. \\\"The Birds\\\".\\n \\nRobert Creeley\\n00:08:19\\nReads \\\"The Birds\\\".\\n \\nRobert Creeley\\n00:09:58\\nThen that--\\\"things seem empty on vacation, if the labors have not been physical, then, some awful grating sound as if some monstrous nose were being blown...\\\" [begins to read “On Vacation”]--no I've read that once, I won't read it again. But I wanted to read the most recent--I used to have, not an ambition, but I had a lovely sense of Allen Ginsberg's [https://www.wikidata.org/wiki/Q6711] freedom in writing, happily, he's been here not too long ago. And I mean, Allen is a true contemporary, simply that we were born within say, what he's born--his birthday is June 3rd and mine's May 23rd of 1926 and we're, you know, we're very close in time and space. I used to have a sense of not Allen's permission in writing, I mean that permission doesn't exist. I mean, you write what you are given thus to write, nobody designs this occasion, nobody has the authority of it, and I did in a weird way, I envied Allen's ability to be where that situation might occur, you know. Like he could really write any moment, any place, anywhere, and so recently flying. In fact, last week, flying out to Los Angeles, not to Los Angeles, to San Francisco, I'd been awfully harassed in particular dilemmas of responsibility and suddenly sitting on the plane. There was this delicious space, you know, made peace with the plane by drinking everything they would give you instantly and having entered with some. I remember watching Warren, an old, dear friend get on a plane with like, four double vodkas. You know, I said \\\"Warren, you're going to get drunk\\\". He said, “No I'm flying back to Vancouver”. Like you mistaked the occasion, you know. And so, I get on the plane, and I thought, “well I can do this too”. And I wrote, my Bobbie who is a friend indeed of Robin's and myself. I'm literally her husband and Robin is a friend in that, what am I? I'm not going to propose that we're--no, but I think it's true. It has nothing to do with fucking. It has to do with the ambiance and reality of another human being. I think we share that reality in her. And she had gotten ill, unhappily and in some unexpected manner and then happily is now okay, but it was a crazy moment of dilemma. \\\"An Illness\\\".\\n \\nRobert Creeley\\n00:12:52\\nReads \\\"An Illness\\\". \\n \\nRobert Creeley\\n00:15:55\\nAnd I'm going to read a few more for Robin, and then, \\\"The Problem\\\".\\n \\nRobert Creeley\\n00:16:06\\nReads \\\"The Problem\\\".\\n \\nRobert Creeley\\n00:16:44\\nReads \\\"The Tiger\\\".\\n \\nRobert Creeley\\n00:17:09\\nWhat is reality--this is crossed out--[Reads excerpted material from “The Tiger”]. “What is reality we thought, who is here, we could smell the freshness of the jungle growth and would have been eaten by the tiger were it hungry” [audience laughter]. It's all crossed out. I'll read, this is--\\n \\nRobert Creeley\\n00:17:38\\nReads unnamed poem.\\n \\nRobert Creeley\\n00:18:33\\n\\\"Not Being Dumb\\\"--this is, these are three things together.\\n \\nRobert Creeley\\n00:18:36\\nReads \\\"Not Being Dumb”.\\n \\nRobert Creeley\\n00:19:38\\nReads [\\\"Harry\\\"].\\n \\nRobert Creeley\\n00:19:46\\nLet me just, may I just read around, because these are, like, poems of like the last few months. This was a poem that is variously titled \\\"Sweet Dreams, Good Harbor Beach\\\". This is a place in Gloucester [https://www.wikidata.org/wiki/Q49156]. It therefore has a physical location.\\n \\nRobert Creeley\\n00:20:04\\nReads \\\"Sweet Dreams, Good Harbor Beach\\\".\\n \\nRobert Creeley\\n00:21:15\\nI want to read one sequence of, a cluster of particular writing, I won't even have the arrogance to say these are necessarily poems. But the, because I don't in that sense, these are a sequence called \\\"In London\\\". And I had, I'll tell you, physically, the circumstance was that I was in London [https://www.wikidata.org/wiki/Q84?wprov=srpw1_0] for five days last summer for a particular activity and I have happily a number of friends in London. Therefore, generously and, actually my time is really filled with seeing particular friends or else having particular business to conduct, and that's one, frankly, one of the satisfactions of one sense of what my life has to do with its own occasion, to have use and to have place. Not to say, “Gee, you're back again. We've kept the table. We've kept the seat for you”. But to have an occasion that actually gives you place in the world is always a delight. And so therefore, I was there briefly and this particular morning, there was to have been a, actually, a recording and it turned out the circumstances of the recording hadn't worked out. So the people involved did not come and so there was a space of three hours in which I was staying at this friend's apartment in London on Wimpole Street, 76 Wimpole Street, just around Oxford Street. You know the neighborhood possibly. And it's a dazzling part of London for an American. Particularly, I mean, it's like Barrets and Wimpole Street and the whole bit, Paul McCartney [https://www.wikidata.org/wiki/Q2599?wprov=srpw1_0] had a place, like two blocks--did have a place two blocks--and the whole bit. You know, and it's very dazzling, and I was in this apartment and I was sleeping actually on the couch of this particular friend, and there were other beds available, but I did not manage. I was not aggressive, so therefore I slept on the couch. It was a heavy time for everybody, and I was thinking of Jim dying, you know whose “A Retrospective of the Whitney” has just opened. And I was staying, actually, with the wife of a publisher who happily I have in London, John Calder [https://www.wikidata.org/wiki/Q6224786] and Marion Boyars [https://www.wikidata.org/wiki/Q18674153]. I was thinking of John Calder's apartment and John and his wife unhappily were having a, I mean, it's ridiculous, I'm not going to rehearse the whole situation of their lives, man. Like we've got enough to enter my own in that way, but the point is that I was sleeping on their couch, right? Everybody had left for their various activities and I was to meet these people to come in and set up this recording equipment and have this scene, and they didn't show up. And I had literally like two or three hours just in that apartment. I was padding around the place in my jammies, feeling beautifully luxurious and relaxed in London, you know, like digging out the window. I'd been the night previous reading at an International Festival of Poetry on a beautiful occasion, and I'd gone over. Jim Dine [https://www.wikidata.org/wiki/Q531234] is frankly a friend from the States and I'd called him up, he's living in, where the hell does he live, Grosvenor square [https://www.wikidata.org/wiki/Q932992], he's like in that district. He's living next to the Uruguay Embassy, like it's a very- he's running a house that somebody is trying to sell, but they can't find an appropriate buyer. Mick Jagger [https://www.wikidata.org/wiki/Q128121] wanted to buy the house, but they didn't want a rock singer, and then the Nigerian Embassy wanted to buy the house but they didn't want to sell, you know. It was a whole trip. So Jim Dine has maintained the premises. So I go there and say \\\"Terrific\\\" and \\\"Wow\\\". We do the whole American bit, which is frankly to get over excited instantly, and to eat, drink, and be merry with an absolute insistence. And we're now driving over to make the Royal Festival Arts blah, blah, blah scene. And for an American it's a heady trip. I'm going to read now in company with the company of four other people, as part of the International Festival of Poetry and they're having this scene at a place, those of you who know London, they're having a scene at the Queen Elizabeth Hall [https://www.wikidata.org/wiki/Q1622428], that's part of the festival, you know like, complexes across the Thames [https://www.wikidata.org/wiki/Q19686] from the Parliamentary buildings, Tower of London [https://www.wikidata.org/wiki/Q62378], all that. So we're driving  through late London afternoon in July, delicious, I mean, the sun is fading in over those buildings the whole, oh wow, you know, just blow your mind. It's just fantastically tender and real, and that's where Raleigh [https://www.wikidata.org/wiki/Q189144] was imprisoned in the Tower, and that's you know, fantastic. We arrive in absolutely pristine condition, and it took about two minutes to 'x' it all out. So the first two poems--it says “Festival Hall London”, like a note to myself on the side, and the first two poems--like the unrelieved tedium of the evening was just fantastic. I talked to a reporter of like a red rag, a socialist paper in London later. He said, “I don't see any reason why you should show up, Mr. Creeley, before you're required, your presence is literally required”. You know, so I said, “Do you really think that's possible? Do you think I really could do that?”. He said “I don't see any reason why your condition and duty doesn't permit that kind of occasion”, and I said “The hardest thing man is to sit there for like, it isn't the tedium of the people, it's the tedium of the occasion, it's like all these people. I have to have a rock in my pants that I thought it was hashish but it's actually three million, billion years old, it's a worm. We've got time, right?”. So he said “You don't have to”--what was your experience--he's trying to get some, you know he's trying to get some sense of the work as we're not permitted into the reading or something [audience laughter] and I quote the work as we're like generously absent from the reading, like you don't have to do that too, there's going to be a condition of that experience. \\\"In London\\\"\\n \\nRobert Creeley\\n00:28:30\\nReads \\\"In London\\\" [from In London]. \\n\\nRobert Creeley\\n00:28:39\\nThis was, like in this absolutely [unintelligible] environment you suddenly look around and see this exit, exit, exit sign red, exit, exit, exit, exit. There was a titter that ran through the audience and then there was nothing more. \\\"Cards\\\". This is now back in the apartment.\\n \\nRobert Creeley\\n00:28:58\\nResumes reading \\\"In London\\\" [from In London]. \\n \\nRobert Creeley\\n00:30:03\\nNow, I'll read the crossed out portions. \\\"There are people in the sky, now you see them, now you don't, won't you take me to my home, and let me play among the stars. The final fears of all the years are met in you tonight.\\\" This is, this flows out on vague rhythms. “12:30” written as Arabic numerals, read as 12:30 words.\\n \\nRobert Creeley \\n00:30:30.\\nResumes reading \\\"In London” [from In London].\\n \\nRobert Creeley\\n00:30:36\\n[Interrupts reading]. You know that scene when you're in a city and know one or two people, keep calling up, \\\"Well, Ted is sober\\\", [unintelligible] [audience laughter] and I said \\\"Man, I was there, I know how tired he is, I'm awake\\\".\\n \\nRobert Creeley\\n00:30:50\\nResumes reading \\\"In London” [from In London].\\n \\nRobert Creeley\\n00:30:59\\n[Interrupts reading]. This was a girl who played the lead in The Beard, actually, in the initial San Francisco [https://www.wikidata.org/wiki/Q62] production who was now working in London playing the same part. Lovely young woman, Billy, trying to remember her last name, very soft and pleasant...\\n \\nRobert Creeley\\n00:31:15\\nResumes reading \\\"In London” [from In London].\\n \\nRobert Creeley\\n00:31:20\\n[Interrupts reading]. Let me interpolate, Chamberlain [https://www.wikidata.org/wiki/Q468760] at one point had a weird erotic scene where they were making love by telephone. Have you ever tried that number? So John was was making things like sperm omelet, like he really, somehow it arrived in his madness of mid age, and decided that he was really going to go for broke in terms of sexual possibility. You ever see a man from Indiana take off on the possibilities of sexual endeavor? It's like- so John, Ultra Violet was the perfect foil for this condition. Ultra Violet [https://www.wikidata.org/wiki/Q272994], if you've seen, you must have seen her on the Merv Griffin Show [https://www.wikidata.org/wiki/Q3404046], Ultra Violet like is like the most humorless, John had a tape of her singing \\\"The Fool on the Hill'' [https://www.wikidata.org/wiki/Q1920202] that went on for weeks. It was like years would pass by. “Ze fool on ze hill”, you know. With this incredibly corny french accent. \\\"Ze fool on ze hill\\\" I remember, and he had a scene where they would make love like- I remember one time, the only, the first time I met- oh christ, I'm suddenly flipped out in my own mind, oh hell. It's ridiculous. Well, see, John had a studio on 13th Street and First Avenue, and Larry Rubens had a studio also, and a Japanese girl had a studio, and upstairs was like, directly over John's studio was, oh hell, who's the obvious sculpture, someone supply me with a name, it's ridiculous, the greatest imagination in the arts today in terms of this environment, [audience suggests name] Pardon? No, not Segal [https://www.wikidata.org/wiki/Q703624]. Like Oldenburg [https://www.wikidata.org/wiki/Q156731], Claes Oldenburg. Claes Oldenburg lived upstairs and then he was still with his wife, his crazy factory, the industry, like making the ghosts, I mean they were making the mock-ups of the particular sculptures he was involved in and John, for example, would like wake up, you'd hear like- I spent nights in John's place and you'd hear the radio would turn on, in the morning, like to station k-whatever it was and then you'd hear them moving around getting breakfast and then hear the sewing machine start and the day would begin and Claes Oldenburg has a crazy serious humorous, like the peculiar to my- I was talking to someone about being, you know, coming from Nova Scotia [https://www.wikidata.org/wiki/Q1952], or New Brunswick [https://www.wikidata.org/wiki/Q1965] or St. John's [https://www.wikidata.org/wiki/Q2082] I mean like the [unintelligible] scene is very displaced by that Scandinavian economy, you know, of experience. So John was- do things like one night for an example, he and Ultra Violet had this thing going with the telephone and she called him and he happened to be out and she just let the phone ring. The phone rang from 11:00 to 7 in the morning [laughter.] Like it just keeps ringing. I remember I met Claes Oldenburg that morning, he said \\\"John, someone was trying to call you last night\\\" [laughter] and John says \\\"Yeah, I know.\\\" It was lovely, yeah. “I got the message”. And that was all either one of them said.\\n \\nRobert Creeley\\n00:35:21\\nResumes reading \\\"In London” [from In London].\\n \\nRobert Creeley\\n00:37:41\\n[Interrupts reading]. Then in the actual text there's a point that it's been in print actually for fifteen years in paperback. Somehow, nobody, the friends that we had didn't curiously notice. His reminiscences of Tolstoy [https://www.wikidata.org/wiki/Q7243] in London [https://www.wikidata.org/wiki/Q84], for example. Have you ever read Gorky's [https://www.wikidata.org/wiki/Q12706] Reminiscences of Tolstoy? Fantastic book. \\\"Wish I were home\\\"...doesn't just turn you on informationally, it turns you on to conditions of experience, I hope.\\n \\nRobert Creeley\\n00:38:08\\nResumes reading “In London” [from In London].\\n \\nRobert Creeley\\n00:39:30\\nI wonder what this is, \\\"Aside, aside\\\", [unintelligible], February, Spring day, it's from California [https://www.wikidata.org/wiki/Q99].\\n \\nRobert Creeley\\n00:39:46\\nReads [“That Day” from In London].\\n \\nRobert Creeley\\n00:39:51\\n[Interrupts reading]. See, I love that \\\"And that day, in an oak tree, falls way, comes here\\\", I love that “interup-tions”.\\n\\nRobert Creeley\\n00:40:00\\nResumes reading [“That  Day” from In London].\\n \\nRobert Creeley\\n00:40:04\\n[Interrupts reading]. I love that play of language.\\n \\nRobert Creeley\\n00:40:07\\nResumes reading [“That  Day” from In London].\\n \\nRobert Creeley\\n00:40:54\\nThat I, this was a--one time back in the earlier part of the 60's, Ginsberg [https://www.wikidata.org/wiki/Q6711] was given a tape recorder by Bob Dylan [https://www.wikidata.org/wiki/Q392] and when they were both in San Francisco [https://www.wikidata.org/wiki/Q62]. Dylan gave Allen a Uher tape recorder and they had been in San Francisco, now Allen went down to Los Angeles [https://www.wikidata.org/wiki/Q65] and he talked to people like Gerald Heard [https://www.wikidata.org/wiki/Q1606714], he had long conversations with Lenny Bruce [https://www.wikidata.org/wiki/Q460876], and he also went to see Maria Huxley, and he was particularly interested as to what were Huxley's, not merely, he knew what Huxley died of, Huxley died of cancer in a factual and actual manner. But he was very interested into what was Huxley's not state, like he didn't want to hear his last words in some awful sense, but he wanted to know what kind of experience of death Huxley had had. And if this particular experience of death had been in any way informed by the circumstance of experience that Huxley had begun to be more and more involved with as he grew older, namely acid and the transformation, not the transformation but the particularization of experience that he found in the psychedelic so-called drugs. And so he asked Maria Huxley the very obvious question, “was Huxley on acid when he died? Did he take acid previous to his death?” And she said, “well, he had asked that when he was thus conscious. I mean he did go into a coma. He did have a float, physically, and he asked that he have acid available. I mean that the cap of acid be place conveniently by the bed, and that he would obviously determine when and as and if he wanted to take it. It would be there. It would be like an aspirin, like a glass of water,” and she said that roughly half an hour previous to his physical death, he took acid. And then Allen asked the other obvious question, did he say anything? Did he say anything of the experience of the circumstance? She said, no he didn't, he said nothing. But this is a woman who'd lived obviously with this man for a particular length of time and had information specifically, she said no, but there was this beatific smile, he was attending his own, you know, like he was attending, not the apocalypse, but the phenomenality of his own dispersion into you know other states of being, with the agency that's created.\\n \\nRobert Creeley\\n00:43:49\\nReads [section of “Little Time--And Place” from In London]. \\n \\nRobert Creeley\\n00:44:05\\nI want to read one last poem from this text, and then I'll go back to books you may know. \\\"A Wall\\\".\\n \\nRobert Creeley\\n00:44:15\\nReads \\\"A Wall\\\".\\n \\nUnknown\\n00:45:20\\n[Cut or edit made in tape. Unknown amount of  time elapsed].\\n\\nRobert Creeley\\n00:45:22\\n..simply identifies the title of the book that you're referring to and the name of the man who wrote it. \\n\\nUnknown\\n00:45:25\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nRobert Creeley\\n00:45:26\\n...he didn't want to make it hard for anybody, certainly didn't want to make it thus easy. But, particular information was always of that nature, you couldn't describe it, you certainly couldn't make it a convenience, so that the actuation of it for you always had to be the particular resource and fact of your own--I mean, it had to be that you did know it. It wasn't like one-upping, \\\"Gee, you don't know the name of the capital of Madagascar\\\" [https://www.wikidata.org/wiki/Q1019?wprov=srpw1_0], like I don't know the name of the capital of Madagascar, is there a capital of Madagascar? I guess, you couldn't. That wasn't the condition, but if something was there to be known, that was of some particular interest to him, he gave you the fact of that interest and the substance of that interest, but he didn't give you the convenience of that interest, you had not merely to track his experience into it, but you had to get there, like you had to get there by your own agency. But I think I could--someone said, like man, like the dots in this particular book, pieces, and there's a lovely remark by Ed Dorn [https://www.wikidata.org/wiki/Q5334756] whom I dearly love, he said you know, that sense of the pieces of the definition, [unintelligible] of the parts of some of the imagined whole, which these pieces are then the fragments or the parts of, then he says, he effectually suggests, think of a situation where the pieces do not compose that possible containment, the parts that do not necessarily relate and or have the substance of the whole thus to inform them. Like now, you're really in a hole, dig. And his definition of tradition: that which someone comes carrying the information of, literally, he got there, with the news. So the dots in this book, the three dots, those of you who are interested in these explications of text, these three dots simply indicate the intervals of a particular sitting, or a particular, you know literally, you see how this is written, it's like in a notebook, well what was written on a particular day would be separated in this text by three dots, you know, like usually the particular things written would be separated by one dot then when another day occurred there'd be three dots, I mean it's a very rudimentary division.\\n \\nRobert Creeley\\n00:47:53\\nReads \\\"The which it was\\\" [from Pieces].\\n \\nRobert Creeley\\n00:49:15\\n\\\"Re Bob's Film (CUT)\\\", this was a movie done, friend--this is not even interesting, this is an 8 mm film called \\\"Cut\\\".\\n \\nRobert Creeley\\n00:49:23\\nReads \\\"Re Bob's Film (CUT)\\\" [from Pieces].\\n \\nRobert Creeley\\n00:51:53\\nI want to skip, like I want to skip to the end of this book and read frankly, if I may for a close, let me read a sequence called \\\"Mazatlan: Sea\\\" which comes together as a close to this particular book and is writing of the same order.\\n \\nRobert Creeley\\n00:52:15\\nReads \\\"Mazatlan: Sea\\\" [from Pieces].\\n \\nEND\\n01:07:47\\n\",\"notes\":\"Robert Creeley reads from Pieces (Scribner, 1969), In London (Angel Hair Books, 1970), and  from other unknown sources.\\n\\n00:00- Unknown male introduces Robert Creeley. [INDEX: Black Mountain Poet, Robert        \\tDuncan, Charles Olson]\\n02:35- Reads “On Vacation”\\n02:55- Introduces “Do You Think”\\n03:03- Reads “Do You Think”\\n04:51- Introduces “The Act of Love” [INDEX: Robin Blaser]\\n05:50- Reads “The Act of Love”\\n07:55- Introduces “The Birds” [INDEX: Robin Blaser]\\n08:19- Reads “The Birds”\\n09:58- Introduces “An Illness” [INDEX: Allen Ginsberg, San Francisco, Warren [unknown last name], Bobby Louise Hall, Robin Blaser]\\n12:52- Reads “An Illness”\\n15:55- Introduces “The Problem” [INDEX: Robin Blaser]\\n16:06- Reads “The Problem”\\n16:44- Reads “The Tiger”\\n17:09- Reads deleted material from “The Tiger”\\n17:38- Reads first line “We resolved to think of ourselves...”\\n18:33- Introduces “Not Being Dumb”\\n18:36- Reads “Not Being Dumb”\\n19:38- Reads “Harry”\\n19:46- Introduces “Sweet Dreams, Good Harbor Beach”\\n20:04- Reads “Sweet Dreams, Good Harbor Beach”\\n21:15- Introduces “In London” [INDEX: London, 76 Wimphole Street, Oxford Street, Barrets   Street, Paul McCartney, Whitney Museum of American Art,  Publisher John Calder,    \\tMaron Boyars, International Festival of Poetry in London, Jim Dine, Grosvenor Square,    Uruguay Embassy, Mic Jagger, Nigerian Embassy, Royal Festival of Arts, Queen \\tElizabeth Hall, Raleigh imprisoned in the London Tower, socialist paper journalist]\\n28:25- Reads “In London” [with interruptions during poem]\\n28:55- Introduces “Cards”\\n28:58- Reads “Cards”\\n29:14- Reads “Small Dreams”\\n29:53- Reads “Homesick, Etc”\\n30:03- Reads deleted section from “Homesick, Etc” and Introduces “This Flows Out On Vague         Rhythms”\\n30:30- Reads “This Flows Out On Vague Rhythms”\\n30:36- Interrupts poem with explanation\\n30:50- Continues reading\\n30:59- Interrupts poem with explanation\\n31:15- Continues reading\\n31:20- Interrupts poem with explanation [INDEX: John Chamberlain, Ultra Violet, Merv Griffons Show, Chamberlain’s studio on 13th Street and 1st Avenue New York City, Larry        \\tRubens [sp?], Sculptor Claes Oldenburg]\\n35:21- Continues reading [line “Thinking of Chamberlain and Ultra Violet talking the night     \\taway”...]\\n37:41- Interrupts poem with explanation [INDEX: Maxin Gorky’s Reminiscences of Tolstoy]\\n38:08- Reads “Wish I Were Home”\\n39:30- Introduces “Aside, Aside”\\n39:46- Reads “Aside, Aside”\\n38:51- Interrupts poem with explanation\\n40:00- Continues reading\\n40:04- Interrupts poem with explanation\\n40:07- Continues reading\\n40:54- Introduces poem, first line “Fine manners, weathers, cars and people...” [INDEX:     \\tAllen Ginsberg, Bob Dylan, San Francisco, Uher tape, Los Angeles, Gerald Heard, Lenny      \\tBruce, Maria Huxley, Aldous Huxley’s death, experiences on acid]\\n43:49- Reads first line “Fine manners, weathers, cars and people...”\\n44:05- Introduces “A Wall”\\n44:15- Reads “A Wall”\\n45:14- Cut in tape, explains parts of his book, A Wall [INDEX: Ed Dorn, A Wall]\\n47:53- Reads first line “The which it was form seen there...”\\n49:15- Introduces “Ray Bob’s Film Cut”\\n49:23- Reads “Ray Bob’s Film Cut”\\n51:53- Introduces “Mazatlan: Sea”\\n52:15- Reads “Mazatlan: Sea”\\n1:07:47.09- END OF RECORDING\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/robert-creeley-at-sgwu-1970/\"}]"],"score":1.6793567},{"id":"1290","cataloger_name":["Mahtab,Banihashemi"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Daphne Marlatt at Sir George Williams University, The Poetry Series, 3 November 1970"],"item_title_source":["Cataloguer"],"item_title_note":["\"DAPHE MARLATT Recorded November 6, 1970 3.75 ips on 1 mil tape 1/2 track\" written on sticker on the back of the tape's box. \"DAPHNE MARLATT I086-11-035\" written on sticker on the spine of the tape's box. \"I086-11-035\" written on sticker on the reel. \"RT 549\" written on sticker on the front of the tape's box and on the back of the box"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 5"],"item_identifiers":["[]"],"creator_names":["Marlatt, Daphne"],"creator_names_search":["Marlatt, Daphne"],"creators":["[{\"url\":\"http://viaf.org/viaf/92127388\",\"name\":\"Marlatt, Daphne\",\"dates\":\"1942-\",\"notes\":\"Daphne (nee Buckle) Marlatt was born in Melbourne, Australia in 1942. She lived in Penang, Malaysia before immigrating to Vancouver in 1951. There, Marlatt was the editor of tish magazine in 1963 and graduated from the University of British Columbia with a B.A. in 1964. Marlatt then moved to Indiana with her husband to complete an M.A. in comparative literature in 1968. During that time, her novella Sea Haven was published in Modern Canadian stories (Ryerson Press, 1966), followed by fifteen poems in Raymond Souster’s New wave Canada (Contact Press) also in 1966, her long poems Frames of a story (Ryerson Press, 1968) and leaf/leaf/s (Black Sparrow Press, 1969). She returned in 1970 to Vancouver at the ending of her marriage.  Marlatt continued to publish her poems in the collections Rings (York Street Commune, 1971), Vancouver poems (Coach House Press, 1972), Our lives (Truck Press, 1975), Zocalo (Coach House Press, 1977) and What matters (Coach House Press, 1980). She was the editor of The Capilano Review from 1977 to 1981, and co-edited Periodics. Marlatt also collaborated on several aural history projects, Steveston Recollected: A Japanese-Canadian History (Talon Books, 1974), Opening Doors: Vancouver’s East End (Aural History Program, 1979/80), and her ‘autobiographical fiction’ Ana Historic (Coach House Press, 1988). In 1981, Daphne Marlatt collaborated with Barbara Godard, Kathy Mezei and Gail Scott to found Tessera, an Anglo-Quebec feminist journal, and published several other long poems and collections of poetry, including How hug a stone (Turnstone Press, 1983), Touch to my tongue (Longspoon Press, 1984), Double negative (Gynergy Press, 1988) with Betsy Warland, Salvage (Red Deer College Press, 1991), and a release of Ghost works (NeWest, 1993) which recasts her earlier poetry. She currently lives in and writes from Victoria, B.C. Marlatt was awarded the Order of Canada for lifetime achievement in 2006.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"00:60:00\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1970 11 3\",\"type\":\"Performance Date\",\"notes\":\"Previous researcher specifies date as November 3, 1970. Date written on sticker on the back of the tape's box is Novermber 6, 1970. Newspaper clipping references that Marlatt was intended to read with David Bromige on November 13, but no other supporting evidence has been found.\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building\",\"notes\":\"Exact venue location unknown\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building"],"City":["Montreal, Quebec"],"content_notes":["Daphne Marlatt reads poems published later in books like Vancouver Poems (Coach House Press, 1972) and What Matters: Writing 1968-1970 (Coach House Press, 1980), as well as several poems from unknown sources."],"contents":["daphne_marlatt_i086-11-035.mp3\n \nDaphne Marlatt\n00:00:00\nI thought that what I'd do first is read to you from the Vancouver Poems, which won't be published with a 'the', I hope. I guess I'll just try and explain allusions as I go along for those people who have never been to Vancouver [https://www.wikidata.org/wiki/Q24639] or know it because the poems tend to be pretty local, as they were intended to be, and I'll read you two quotes that I have at the beginning because they might help to explain certain concerns in the poem. The first one's from Rimbaud [https://www.wikidata.org/wiki/Q493], it's from a letter of his in which he was talking about his new conception of the poet and how the poet writes, and he said simply \"Je est une autre.\" The second quote is from a record recently released by Randy Newman [https://www.wikidata.org/wiki/Q318475], this is from one of his songs: \"She say I talk to strangers if I want to, 'coz I'm a stranger too\". These are all prose poems. Lagoon is Lost Lagoon, it's supposed to be lost because it was cut off from the sea by man-made walk, and there's a sort of local myth among the kids growing up there that Lost Lagoon is lost too, because it has no bottom, nobody has ever found the bottom. \"Lagoon\".\n \nDaphne Marlatt\n00:01:42\nReads \"Lagoon\" [published later in Vancouver Poems].\n \nDaphne Marlatt\n00:03:40\nThe first poem in the book is sort of a, an entranceway to the book as a whole, it in some ways it sets up my method, I originally had, I'd been reading a lot about Japanese Noh plays, and I'd especially been interested in the Spirit Plays and my original figure in here was a Shite, who is the doer, the central figure in the Noh, who performs the dance and who the particular Noh is about. He usually first appears in the spirit plays as an old man, an old fisherman, or salt-gatherer, some kind of beat down, destitute person, an anonymous person, and the Waki comes along and somehow starts up a conversation and begins to wonder about this man, and usually asks him to tell him the story of the place where he is, assuming that this is some sort of historical shrine, which it often is, and the Waki has come specifically to see this place and as the old man begins to tell the story, he, well, there's actually a scene change, an act change, he reappears in all his glory as the original person whose life was lived out, usually tragically and very dramatically, often in a battle, who died in this place and whose spirit consequently haunts the area. Then I started reading about the Kwakiutl who are a tribe of the Indians somewhat to the north of Vancouver, about the furthest south they reach is the Campbell River [https://www.wikidata.org/wiki/Q270481] on Vancouver Island [https://www.wikidata.org/wiki/Q170479] which is, I don't know how many miles north of Vancouver, 100? 80, about 80. But I always figured that there must have been some sort of interchange between the Kwakiutl and the Salish, the particular tribe around the Fraser Delta [https://www.wikidata.org/wiki/Q269710]  in Vancouver. The thing that interested me the most about the Kwakiutl were one particular secret society called the \"Hamatsa\" and in the Hamatsa it writes, one goes into a sort of frenzy and is possessed by the original spirit, who then passed on the rituals, and the frenzy denotes the acquirement of a certain kind of power. I guess the Salish have something a little corresponding to that in that they have, I don't know what you call them, they're certain kinds of dances which are meant to perform the meeting between the individual who dances, the initiate, and the spirit of the particular place whom he encounters and who gives them, in result of this dance, particular powers. \"Wet fur wavers\", this is a Spanish Banks [https://www.wikidata.org/wiki/Q7573148] poem, about a walk, a Sunday walk along the Spanish Banks.\n \nDaphne Marlatt\n00:06:56\nReads \"Wet fur wavers\" [published later in Vancouver Poems].\n \nDaphne Marlatt\n00:08:16.15\nAnd straight from that to another one that's somewhat linked up to that in terms of its content. This is about the public library, the old Carnegie Library [https://www.wikidata.org/wiki/Q1376408], which is, has since been closed down because the library rebuilt in an up-town area, the old Carnegie Library is located in the heart of skid row and used to be frequented mainly by old men reading who were reading newspapers who were trying to escape from the eternal rain and the cold.\n\nDaphne Marlatt\n00:08:54\nReads \"Go on\".\n \nDaphne Marlatt\n00:10:34\nThe next one which is also linked, I should have mentioned before the last one that the White Lunch--it must be a Vancouver phenomenon because I don't think I've seen it anywhere else. It's a chain of self-serve cafes, restaurants, and they're inexpensive of course, and their symbol outside is a huge white teacup and saucer, with these little coloured stooped figures running, eternally running around the saucer. This next poem is about a woman whose name I didn't know, I attributed a name to her, Emma. She could be seen, often around Berrard and Granville streets, and instead of going into the White Lunch, she used to go into the Bay, Hudson's Bay [https://www.wikidata.org/wiki/Q641129], and sit on the benches outside the elevator, and wait to warm up, I guess. Often, she seemed to me to be just to be interested in watching the weird kind of people who used to shop at the Bay, all those people with money. \"Razor Back Woman\" is taken from a John Stewart [https://www.wikidata.org/wiki/Q1393453] album, lyric of his.\n \nDaphne Marlatt\n00:12:05\nReads \"razorbackt woman\".\n \nDaphne Marlatt\n00:13:56\nOne last one that connects with the Kwakiutl Hamatsa society, this is going to need some explanation. Baxbakwalanuksiwe’, is--and I'm not responsible for my pronunciation for any people here who know how Kwakiutl sounds, because I don't--I'm just picking it up from various spellings and he was the original spirit who informed the Hamatsas, who gave them their cannibal right because an Indian managed to overcome him, through a trick.\n\nAudience Member 1\n00:14:48\nWhich one is that? Which name?\n\nDaphne Marlatt\n00:14:50\nHamatsa--Baxbakwalanuksiwe’. He was supposed to have been the first man, the first one to eat man at the mouth of the river, that's a quote. He was a sort of bird-like, obviously inhuman creature whose body was covered all over with mouths and he used to have various attendants around, and one of whom was a woman who was rooted to the floor of his cabin and she was very beautiful, and she used to lure people in who then became his victims. But in this particular occasion, these three Indian brothers somehow won her sympathy or something, but she told them, Baxbakwalanuksiwe’ was out at the moment, she told him that he would be expected back and that they were supposed to be his victims, and that the only way to overcome this was to build, to dig a deep pit in the floor, cover it over with boughs and then and have a trap that he could spring, that could release the boughs, and then when he did his dance, prior to killing and eating his victims, they would just pull the string or whatever it was and he would then fall into the pit. And then they could set fire to him. Qominaga is the woman, and I don't know if I should explain the B.C. [https://www.wikidata.org/wiki/Q1974] liquor laws or not. [Audience laughter]. Well, for those of you who don't know B.C., up until not so very long ago, what, five? No, must be longer than that, maybe ten years, the beer parlors used to be segregated, and men, alone, sat on one side, and women, alone, and women would be the escorts sat on the other side and you had to enter the beer parlor from different doors, one of which was marked \"Men\", and the other was \"Ladies and Escorts\". The men's side also used to have, in some of the beer parlors, used to have a wooden floor covered with sawdust, which was simply easier to keep clean because of course when expected, there were constant brawls on the men's side and a lot of broken glass and spilled beer, I suppose that was the rationale. This is dedicated to the Alcazar, Cecil, Belmont, [New Fountain (?)] [audience laughter].\n \nDaphne Marlatt\n00:17:33\nReads unnamed poem  “names stations of the way to\".\n \nDaphne Marlatt\n00:20:33\nLittle poems, for my niece who has, or had, she's probably over it by now, a thing about bugs. That bugs are horrible--any bug, no matter what. So I wrote these four poems to try and explain to her what it was like to be a bug, although it's very human, called \"Bugs in the Heart\", for Karen.\n \nDaphne Marlatt\n00:20:57\nReads \"Bugs in the Heart\" [published later in What Matters: Writing 1968-1970].\n \nDaphne Marlatt\n00:22:00\nThese are all fairly recent poems. \"Agenda\".\n \nDaphne Marlatt\n00:22:06\nReads \"Agenda\".\n \nDaphne Marlatt\n00:22:24\nLast Easter, we were in [Tousse (?)], took our swimsuits, expected to come back with a tan. Snowed every night, it was beautiful in the morning. \n \nDaphne Marlatt\n00:22:37\nReads unnamed poem. \"Points west, or south-west, wet downpour...\"\n \nDaphne Marlatt\n00:23:00\nWe're living on a farm and this is a poem, for practically the first time in our lives, this is a poem that I wrote last year, Phil's our landlord and he's always coming up with useful bits of information about, speaking of David, books, about what birds are what.\n \nDaphne Marlatt\n00:23:29\nReads unnamed poem. \"Depressed area space, lived in...\".\n \nDaphne Marlatt\n00:24:42\nThis is a poem that I wrote when I was about, oh I don't know, seven or eight months pregnant. \"Bird of Passage\", I wrote it in Vancouver. Spring time again.\n \nDaphne Marlatt\n00:25:02\nReads \"Bird of Passage\" [published later in What Matters: Writing 1968-1970]. \n \nDaphne Marlatt\n00:27:38\nOne of the in fact, the original Vancouver poem which was written in Bloomington [https://www.wikidata.org/wiki/Q490385], Indiana [https://www.wikidata.org/wiki/Q1415], probably out of a sense of nostalgia, it's about the man who used to collect the rents on the house that I lived in on Comox Street, and he had a little room up in the attic and he was kind of old, he was also the man who I met at the door when I first came to inquire about their rooms.\n \nDaphne Marlatt\n00:28:09\nReads unnamed poem. \"Old Bird, he...\"\n \nDaphne Marlatt\n00:29:31\nAbout Vancouver's fire, in 1868? 1886. There are a lot of quotes in here, and I think all of them, yes all of them are taken from a historical journal put out by the city archives and the body of it is concerned with W.H. Gallagher's eye-witness account. He was in a little office and had control of payroll for men who were working for the CPR clearing the land, the fire was caused by the clearing of the land, because the trees were knocked down bowling-pin method, that is a tree, a very large tree was chosen and then cut so that it would bring down a pile of trees as it fell and then the stuff was left because they didn't get around to burning it. And it was left over the summer, and got as dry as tinder. Not only that, but they were using gunpowder to blow up stumps. \n \nDaphne Marlatt\n00:30:46\nReads \"Our city is ashes\".\n \nDaphne Marlatt\n00:33:45\nThis is \"Bowen Island\".\n \nDaphne Marlatt\n00:33:50\nReads \"Bowen Island\" [published later as “Bowen” in Vancouver Poems].\n \nDaphne Marlatt\n00:35:48\nI know that there was a bridge in Vancouver with a jack-knife span that opened like London Bridge [https://www.wikidata.org/wiki/Q130206]. And I asked everyone I knew…What?\n\nAudience Member 2\n00:36:03\nMarple.\nDaphne Marlatt\n00:36:04\nMarple! Was that Marple? Because no one seemed to know, I even went down to the library to ask them. Well, I've got a footnote in my book that it wasn't true. So anyway, it began to be confused in my mind with the old Second Narrows Bridge [https://www.wikidata.org/wiki/Q643658], which at that time was being torn down. And so it's compounded with memories of old Second Narrows Bridge, which has a lift-span that rises and all kinds of warning signs--it used to be that when you were learning to drive you went down to Second Narrows Bridge and boy if you made that bridge, you could pass the test.\n\nDaphne Marlatt\n00:36:41\nReads \"Your\".\n \nDaphne Marlatt\n00:39:15\nThis is also a skid row poem, it's a combination of present and past, Water Street, which is a block below Cordova, where there used to be a couple of very popular beer parlours, before they were closed down, Water, the other side of Water, used to be the shore line, that is, the harbour came right up to Water street, and houses, the first houses were built on the southern side of Water. That's where Gassy Jack Deighton [https://www.wikidata.org/wiki/Q720322] built his saloon, the first saloon in Vancouver. That's how Vancouver got its original name, Gastown [https://www.wikidata.org/wiki/Q1495636], because this man was an eternal talker apparently. I use a word that's very foreign to me here, Leman, which means like his woman, and is a word that Alan Morley uses in his book about Vancouver and which I think captures the feeling of Gastown with all its small town morality and prudery. \n \nDaphne Marlatt\n00:40:32\nReads \"Trails\".\n \nEND\n00:42:24\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1970, Daphne Marlatt had returned from Indiana, and was working on both Rings (1971), and Vancouver Poems (1972).\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nMarlatt is an important figure in Canadian poetry, living and writing for most of her life in Vancouver. She writes about Japanese Canadian immigrants and other Canadian minority groups, and was a founding member of Tessera, a bilingual feminist journal in Quebec. Marlatt has worked on many Canadian little magazines, and continues to teach at Canadian universities. Her direct connection to Sir George Williams is unknown.\",\"type\":\"General\"},{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/contemporary-canadian-poem-anthology/oclc/476332314&referer=brief_results\",\"citation\":\"Bowering, George, ed. The Contemporary Canadian Poem Anthology. Toronto: Coach House Press, 1984.\"},{\"url\":\"https://www.worldcat.org/title/encyclopedia-of-post-colonial-literatures-in-english-vol2/oclc/1156824609&referer=brief_results\",\"citation\":\"Carr, Brenda. “Marlatt, Daphne (1942-)”. Routledge Encyclopedia of Post-Colonial Literatures in English. Benson, Eugene and Conolly, L.W. (eds). London: Routledge, 1994. 2 vols. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Davey, Frank. “Marlatt, Daphne”. The Oxford Companion to Canadian Literature. Benson,  Eugene and Toye, William (eds). Oxford University Press, 2001.\"},{\"url\":\"https://www.worldcat.org/title/vancouver-poems/oclc/992191542&referer=brief_results\",\"citation\":\"Marlatt, Daphne. Vancouver Poems. Toronto: Coach House Press, 1972. \"},{\"url\":\"https://www.worldcat.org/title/what-matters-writing-1968-1970/oclc/7285228&referer=brief_results\",\"citation\":\"Marlatt, Daphne. What Matters: Writing 1968-1970. Toronto: Coach House Press, 1980. \"}]"],"_version_":1853670548917190656,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0086_11_0035_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"Daphne Marlatt Tape Box - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0086_11_0035_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"Daphne Marlatt Tape Box - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0086_11_0035_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"Daphne Marlatt Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0086_11_0035_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"Daphne Marlatt Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/daphne_marlatt_i086-11-035.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"daphne_marlatt_i086-11-035.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:42:24\",\"precision\":\"\",\"size\":\"101.8 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Daphne Marlatt\\n00:00:00\\nI thought that what I'd do first is read to you from the Vancouver Poems, which won't be published with a 'the', I hope. I guess I'll just try and explain allusions as I go along for those people who have never been to Vancouver [https://www.wikidata.org/wiki/Q24639] or know it because the poems tend to be pretty local, as they were intended to be, and I'll read you two quotes that I have at the beginning because they might help to explain certain concerns in the poem. The first one's from Rimbaud [https://www.wikidata.org/wiki/Q493], it's from a letter of his in which he was talking about his new conception of the poet and how the poet writes, and he said simply \\\"Je est une autre.\\\" The second quote is from a record recently released by Randy Newman [https://www.wikidata.org/wiki/Q318475], this is from one of his songs: \\\"She say I talk to strangers if I want to, 'coz I'm a stranger too\\\". These are all prose poems. Lagoon is Lost Lagoon, it's supposed to be lost because it was cut off from the sea by man-made walk, and there's a sort of local myth among the kids growing up there that Lost Lagoon is lost too, because it has no bottom, nobody has ever found the bottom. \\\"Lagoon\\\".\\n \\nDaphne Marlatt\\n00:01:42\\nReads \\\"Lagoon\\\" [published later in Vancouver Poems].\\n \\nDaphne Marlatt\\n00:03:40\\nThe first poem in the book is sort of a, an entranceway to the book as a whole, it in some ways it sets up my method, I originally had, I'd been reading a lot about Japanese Noh plays, and I'd especially been interested in the Spirit Plays and my original figure in here was a Shite, who is the doer, the central figure in the Noh, who performs the dance and who the particular Noh is about. He usually first appears in the spirit plays as an old man, an old fisherman, or salt-gatherer, some kind of beat down, destitute person, an anonymous person, and the Waki comes along and somehow starts up a conversation and begins to wonder about this man, and usually asks him to tell him the story of the place where he is, assuming that this is some sort of historical shrine, which it often is, and the Waki has come specifically to see this place and as the old man begins to tell the story, he, well, there's actually a scene change, an act change, he reappears in all his glory as the original person whose life was lived out, usually tragically and very dramatically, often in a battle, who died in this place and whose spirit consequently haunts the area. Then I started reading about the Kwakiutl who are a tribe of the Indians somewhat to the north of Vancouver, about the furthest south they reach is the Campbell River [https://www.wikidata.org/wiki/Q270481] on Vancouver Island [https://www.wikidata.org/wiki/Q170479] which is, I don't know how many miles north of Vancouver, 100? 80, about 80. But I always figured that there must have been some sort of interchange between the Kwakiutl and the Salish, the particular tribe around the Fraser Delta [https://www.wikidata.org/wiki/Q269710]  in Vancouver. The thing that interested me the most about the Kwakiutl were one particular secret society called the \\\"Hamatsa\\\" and in the Hamatsa it writes, one goes into a sort of frenzy and is possessed by the original spirit, who then passed on the rituals, and the frenzy denotes the acquirement of a certain kind of power. I guess the Salish have something a little corresponding to that in that they have, I don't know what you call them, they're certain kinds of dances which are meant to perform the meeting between the individual who dances, the initiate, and the spirit of the particular place whom he encounters and who gives them, in result of this dance, particular powers. \\\"Wet fur wavers\\\", this is a Spanish Banks [https://www.wikidata.org/wiki/Q7573148] poem, about a walk, a Sunday walk along the Spanish Banks.\\n \\nDaphne Marlatt\\n00:06:56\\nReads \\\"Wet fur wavers\\\" [published later in Vancouver Poems].\\n \\nDaphne Marlatt\\n00:08:16.15\\nAnd straight from that to another one that's somewhat linked up to that in terms of its content. This is about the public library, the old Carnegie Library [https://www.wikidata.org/wiki/Q1376408], which is, has since been closed down because the library rebuilt in an up-town area, the old Carnegie Library is located in the heart of skid row and used to be frequented mainly by old men reading who were reading newspapers who were trying to escape from the eternal rain and the cold.\\n\\nDaphne Marlatt\\n00:08:54\\nReads \\\"Go on\\\".\\n \\nDaphne Marlatt\\n00:10:34\\nThe next one which is also linked, I should have mentioned before the last one that the White Lunch--it must be a Vancouver phenomenon because I don't think I've seen it anywhere else. It's a chain of self-serve cafes, restaurants, and they're inexpensive of course, and their symbol outside is a huge white teacup and saucer, with these little coloured stooped figures running, eternally running around the saucer. This next poem is about a woman whose name I didn't know, I attributed a name to her, Emma. She could be seen, often around Berrard and Granville streets, and instead of going into the White Lunch, she used to go into the Bay, Hudson's Bay [https://www.wikidata.org/wiki/Q641129], and sit on the benches outside the elevator, and wait to warm up, I guess. Often, she seemed to me to be just to be interested in watching the weird kind of people who used to shop at the Bay, all those people with money. \\\"Razor Back Woman\\\" is taken from a John Stewart [https://www.wikidata.org/wiki/Q1393453] album, lyric of his.\\n \\nDaphne Marlatt\\n00:12:05\\nReads \\\"razorbackt woman\\\".\\n \\nDaphne Marlatt\\n00:13:56\\nOne last one that connects with the Kwakiutl Hamatsa society, this is going to need some explanation. Baxbakwalanuksiwe’, is--and I'm not responsible for my pronunciation for any people here who know how Kwakiutl sounds, because I don't--I'm just picking it up from various spellings and he was the original spirit who informed the Hamatsas, who gave them their cannibal right because an Indian managed to overcome him, through a trick.\\n\\nAudience Member 1\\n00:14:48\\nWhich one is that? Which name?\\n\\nDaphne Marlatt\\n00:14:50\\nHamatsa--Baxbakwalanuksiwe’. He was supposed to have been the first man, the first one to eat man at the mouth of the river, that's a quote. He was a sort of bird-like, obviously inhuman creature whose body was covered all over with mouths and he used to have various attendants around, and one of whom was a woman who was rooted to the floor of his cabin and she was very beautiful, and she used to lure people in who then became his victims. But in this particular occasion, these three Indian brothers somehow won her sympathy or something, but she told them, Baxbakwalanuksiwe’ was out at the moment, she told him that he would be expected back and that they were supposed to be his victims, and that the only way to overcome this was to build, to dig a deep pit in the floor, cover it over with boughs and then and have a trap that he could spring, that could release the boughs, and then when he did his dance, prior to killing and eating his victims, they would just pull the string or whatever it was and he would then fall into the pit. And then they could set fire to him. Qominaga is the woman, and I don't know if I should explain the B.C. [https://www.wikidata.org/wiki/Q1974] liquor laws or not. [Audience laughter]. Well, for those of you who don't know B.C., up until not so very long ago, what, five? No, must be longer than that, maybe ten years, the beer parlors used to be segregated, and men, alone, sat on one side, and women, alone, and women would be the escorts sat on the other side and you had to enter the beer parlor from different doors, one of which was marked \\\"Men\\\", and the other was \\\"Ladies and Escorts\\\". The men's side also used to have, in some of the beer parlors, used to have a wooden floor covered with sawdust, which was simply easier to keep clean because of course when expected, there were constant brawls on the men's side and a lot of broken glass and spilled beer, I suppose that was the rationale. This is dedicated to the Alcazar, Cecil, Belmont, [New Fountain (?)] [audience laughter].\\n \\nDaphne Marlatt\\n00:17:33\\nReads unnamed poem  “names stations of the way to\\\".\\n \\nDaphne Marlatt\\n00:20:33\\nLittle poems, for my niece who has, or had, she's probably over it by now, a thing about bugs. That bugs are horrible--any bug, no matter what. So I wrote these four poems to try and explain to her what it was like to be a bug, although it's very human, called \\\"Bugs in the Heart\\\", for Karen.\\n \\nDaphne Marlatt\\n00:20:57\\nReads \\\"Bugs in the Heart\\\" [published later in What Matters: Writing 1968-1970].\\n \\nDaphne Marlatt\\n00:22:00\\nThese are all fairly recent poems. \\\"Agenda\\\".\\n \\nDaphne Marlatt\\n00:22:06\\nReads \\\"Agenda\\\".\\n \\nDaphne Marlatt\\n00:22:24\\nLast Easter, we were in [Tousse (?)], took our swimsuits, expected to come back with a tan. Snowed every night, it was beautiful in the morning. \\n \\nDaphne Marlatt\\n00:22:37\\nReads unnamed poem. \\\"Points west, or south-west, wet downpour...\\\"\\n \\nDaphne Marlatt\\n00:23:00\\nWe're living on a farm and this is a poem, for practically the first time in our lives, this is a poem that I wrote last year, Phil's our landlord and he's always coming up with useful bits of information about, speaking of David, books, about what birds are what.\\n \\nDaphne Marlatt\\n00:23:29\\nReads unnamed poem. \\\"Depressed area space, lived in...\\\".\\n \\nDaphne Marlatt\\n00:24:42\\nThis is a poem that I wrote when I was about, oh I don't know, seven or eight months pregnant. \\\"Bird of Passage\\\", I wrote it in Vancouver. Spring time again.\\n \\nDaphne Marlatt\\n00:25:02\\nReads \\\"Bird of Passage\\\" [published later in What Matters: Writing 1968-1970]. \\n \\nDaphne Marlatt\\n00:27:38\\nOne of the in fact, the original Vancouver poem which was written in Bloomington [https://www.wikidata.org/wiki/Q490385], Indiana [https://www.wikidata.org/wiki/Q1415], probably out of a sense of nostalgia, it's about the man who used to collect the rents on the house that I lived in on Comox Street, and he had a little room up in the attic and he was kind of old, he was also the man who I met at the door when I first came to inquire about their rooms.\\n \\nDaphne Marlatt\\n00:28:09\\nReads unnamed poem. \\\"Old Bird, he...\\\"\\n \\nDaphne Marlatt\\n00:29:31\\nAbout Vancouver's fire, in 1868? 1886. There are a lot of quotes in here, and I think all of them, yes all of them are taken from a historical journal put out by the city archives and the body of it is concerned with W.H. Gallagher's eye-witness account. He was in a little office and had control of payroll for men who were working for the CPR clearing the land, the fire was caused by the clearing of the land, because the trees were knocked down bowling-pin method, that is a tree, a very large tree was chosen and then cut so that it would bring down a pile of trees as it fell and then the stuff was left because they didn't get around to burning it. And it was left over the summer, and got as dry as tinder. Not only that, but they were using gunpowder to blow up stumps. \\n \\nDaphne Marlatt\\n00:30:46\\nReads \\\"Our city is ashes\\\".\\n \\nDaphne Marlatt\\n00:33:45\\nThis is \\\"Bowen Island\\\".\\n \\nDaphne Marlatt\\n00:33:50\\nReads \\\"Bowen Island\\\" [published later as “Bowen” in Vancouver Poems].\\n \\nDaphne Marlatt\\n00:35:48\\nI know that there was a bridge in Vancouver with a jack-knife span that opened like London Bridge [https://www.wikidata.org/wiki/Q130206]. And I asked everyone I knew…What?\\n\\nAudience Member 2\\n00:36:03\\nMarple.\\nDaphne Marlatt\\n00:36:04\\nMarple! Was that Marple? Because no one seemed to know, I even went down to the library to ask them. Well, I've got a footnote in my book that it wasn't true. So anyway, it began to be confused in my mind with the old Second Narrows Bridge [https://www.wikidata.org/wiki/Q643658], which at that time was being torn down. And so it's compounded with memories of old Second Narrows Bridge, which has a lift-span that rises and all kinds of warning signs--it used to be that when you were learning to drive you went down to Second Narrows Bridge and boy if you made that bridge, you could pass the test.\\n\\nDaphne Marlatt\\n00:36:41\\nReads \\\"Your\\\".\\n \\nDaphne Marlatt\\n00:39:15\\nThis is also a skid row poem, it's a combination of present and past, Water Street, which is a block below Cordova, where there used to be a couple of very popular beer parlours, before they were closed down, Water, the other side of Water, used to be the shore line, that is, the harbour came right up to Water street, and houses, the first houses were built on the southern side of Water. That's where Gassy Jack Deighton [https://www.wikidata.org/wiki/Q720322] built his saloon, the first saloon in Vancouver. That's how Vancouver got its original name, Gastown [https://www.wikidata.org/wiki/Q1495636], because this man was an eternal talker apparently. I use a word that's very foreign to me here, Leman, which means like his woman, and is a word that Alan Morley uses in his book about Vancouver and which I think captures the feeling of Gastown with all its small town morality and prudery. \\n \\nDaphne Marlatt\\n00:40:32\\nReads \\\"Trails\\\".\\n \\nEND\\n00:42:24\\n\",\"notes\":\"Daphne Marlatt reads poems published later in books like Vancouver Poems (Coach House Press, 1972) and What Matters: Writing 1968-1970 (Coach House Press, 1980), as well as several poems from unknown sources.\\n\\n00:00- Daphne Marlatt Introduces “Lagoon” [INDEX: Vancouver Poems, local myth of the lost lagoon, prose poems, French poet Rimbaud, Randy Newman lyrics]\\n01:42- Reads “Lagoon”\\n03:40- Introduces “Wet fur wavers” [INDEX: Vancouver Poems, Japanese Noh plays: Waki, Spirit plays, Kwakiutl Native American Indians: Hamatsa Secret Society, Campbell River, B.C., Salish Native Americans of the Frasier Delta, Spanish Banks, B.C.]\\n06:56- Reads “Wet fur wavers”\\n08:16- Introduces “Go on” [INDEX: Vancouver Poems, Old Carnegie Library, Vancouver;    Howard Fink list “Old Carnegie Library”]\\n08:54- Reads “Go on”\\n10:34- Introduces “razorbackt woman” [INDEX: Vancouver Poems, White Lunch restaurant, The Hudson Bay’s Company, skid row, John Stewart lyrics]\\n12:05- Reads “razorbackt woman”\\n13:56- Introduces “Alcazar, Cecil, Belmont, New Fountain, names stations of the way,       to” [INDEX: Vancouver Poems, BaxwbakwAllenuksiwe, Coleman Okwas, Alcohol laws   \\tof B.C.]\\n17:33- Reads “Alcazar, Cecil, Belmont, New Fountain, names stations of the way, to”\\n20:33- Introduces “Bugs in the Heart”\\n20:57- Reads “Bugs in the Heart”\\n22:00- Reads “Agenda”\\n22:24- Introduces first line “Points west or south west, wet downpour...”\\n22:37- Reads first line “Points west or south west, wet downpour...”\\n23:00- Introduces first line “Depressed area space, lived in...” [INDEX: living on a farm;      Howard Fink List “Older, heart...”]\\n23:29- Reads first line “Depressed area space, lived in...”\\n24:42- Introduces “Bird of Passage”\\n25:02- Reads “Bird of Passage”\\n27:38- Introduces “Old bird, he” [INDEX: Vancouver Poems, Bloomington, Indiana, Comox Street Vancouver, Vancouver fire of 1886, W.H. Gallagher’s [Unknown A1] eyewitness account, City Archives Historical Journal, Second Narrows Bridge, Marple Bridge]\\n28:09- Reads first line “Old bird, he turned up this this time...”\\n29:31- Introduces “Our city is ashes” [INDEX: Vancouver Poems]\\n30:46- Reads “Our city is ashes”\\n33:45- Reads “Bowen” [INDEX: Howard Fink List “Bowen Island”.]\\n35:48- Introduces “Your” [INDEX: Vancouver Poems]\\n36:41- Reads first line “Your grey-green fathoms unfathomed...”\\n39:15- Introduces “Trails” [INDEX: Vancouver Poems, Bowen Island, Burrard and Granville Streets, Alan Morley's book on Vancouver, Gassy Jack Deighton of Vancouver]\\n40:32- Reads “Trails”\\n42:24.72- END OF RECORDING\\n   \\nFrom the Howard Fink list of poems:\\nNovember 6, 1970\\n \\n1. “Lagoon”\\n2. “Wet For A Wavers” (Spanish Banks)\\n3. “Old Carnegie Library”\\n4. “Razor-backed Woman”\\n5. “The Alcazar Cecil Belmont Newfoundland”\\n6. “Bugs In The Heart”\\n7. “Agenda”\\n8. [blank]\\n9. First line (?)“Older heart...”\\n10. “Bird of Passage”\\n11. (Vancouver Poem) first line (?) “Old Bird...”\\n12. First line (?) “Our City Is Ashes”\\n13. “Bohen Island”\\n14. “Ridge Pole (Second Narrows Bridge)”\\n15. “Trails”\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/daphne-marlatt-at-sgwu-1970/\"}]"],"score":1.6793567},{"id":"1291","cataloger_name":["Bindu,Reddy"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Ted Berrigan Reading at Sir George Williams University, The Poetry Series, 4 December 1970"],"item_title_source":["Cataloguer"],"item_title_note":["\"RT 551 TED BERRIGAN Recorded December 4, 1970 at Sir George Williams University 3.75 ips on 1. mil tape, 1/2 track\" written on sticker on the back of the tape box. \"RT 551\" written on sticker on the front of the tape box. \"TED BERRIGAN I086-11-004\" written on spine of the tape box. \"TED BERRIGAN I086-11-004\" and \"RT 551\" written on stickers on the reel.\n\nWrong tape and information photographed ??"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 5"],"item_identifiers":["[]"],"creator_names":["Berrigan, Ted"],"creator_names_search":["Berrigan, Ted"],"creators":["[{\"url\":\"http://viaf.org/viaf/64027570\",\"name\":\"Berrigan, Ted\",\"dates\":\"1934-1983\",\"notes\":\"Poet and editor Ted Berrigan was born in Providence, Rhode Island on November 15, 1934. He studied briefly at Providence College until 1954 when he joined the US army, which he served three years, an eighteen months of which were spent in the Korean War. Berrigan returned to the US and completed a Bachelor’s degree in English literature at the University of Tulsa, Oklahoma in 1595. It was there that he met Ron Padgett and Joe Brainard. Berrigan completed his MA in 1962, and soon after, with a number of friends from Tulsa, went north to the Lower East Side of New York City. By 1963, Berrigan had established C: A Journal of Poetry, which published not only the work of his friends, but the poetry of the older generation of New York poets and artists like Andy Warhol. In 1964, Berrigan published his most accomplished collection of poems, The Sonnets (Lorenz & Ellen Gude, 1964). Berrigan also taught at the St. Mark’s Poetry Project at its conception by Paul Blackburn, helping to shape the project and its programmes in its early days. He also lectured at the State University of Michigan, University of Iowa, Yale University, the University of Michigan, and at the Jack Kerouac School of Disembodied Poetics at Naropa Institute in Boulder, Colorado. A selection of his publications include A Lily for My Love (Self published, 1959), In the Early Morning Rain (Cape Goliard Press, 1970), Red Wagon (Yellow Press, 1976), Galileo; or Finksville a play (1964) and Bean Spasms (Kulchur Press, 1967) written with Ron Padgett. Ted Berrigan died on July 4, 1983. The most comprehensive collection of his poetry can be found in So Going Around Cities: New and Selected Poems 1958-1979 (Blue Wind Press, 1980).\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Bowering, George"],"contributors_names_search":["Bowering, George"],"contributors":["[{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Presenter\"]}]"],"Presenter_name":["Bowering, George"],"Series_organizer_name":["Bowering, George"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1970 12 4\",\"type\":\"Performance Date\",\"notes\":\"Date reference on tape box\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["Ted Berrigan reads from In the Early Morning Rain (Cape Goliard, 1970), The Sonnets (Grove Press, 1964), Many Happy Returns (Corinth, 1969) and poems later collected in So Going Around Cities (Berkley, 1980) as well as a few unknown poems."],"contents":["ted_berrigan_i086-11-004.mp3\n\nGeorge Bowering\n00:00:00\nWelcome to at last the second reading in the series, for this year.  As you probably know, the series that we have, it might be loosely called a kind of an avant-garde series, and in the, this is our fifth year, and this is the first time we've ever had anybody from the New York School [https://www.wikidata.org/wiki/Q1972942]--it's not going to be the last time, we're going to have Kenneth Koch [https://www.wikidata.org/wiki/Q2708628] in the spring, and we're looking for Tom Clarke [https://www.wikidata.org/wiki/Q7815337] next fall. Berrigan [https://www.wikidata.org/wiki/Q2399732] is I guess now, one of the, say the halfback, I supposed, or quarterback of the New York School. Many of you have probably seen...[laughter] yeah, linebacker! When you ask when you're a little thin... And most of you have probably seen the propaganda sheet that's been around, downstairs and so on, and so you've heard the words that some of his confreres have said about him. I'd just like to add a little bit, in addition to those earlier books such as The Sonnets, and Bean Spasms, there's a couple of new books that have just appeared, one's called In the Early Morning Rain, which will be available here because it's a Cape Goliard book, and it's distributed in Canada [https://www.wikidata.org/wiki/Q16] by one of the big Toronto [https://www.wikidata.org/wiki/Q172] publishers, and another one with a Kraut title that I can't read that's bilingual, half-German and half-English that I'm sure we'll hear some from....\n \nTed Berrigan\n00:01:31\nThe title's [unintelligible] Guillaume Apollinaire [https://www.wikidata.org/wiki/Q133855] ist ...\n \nGeorge Bowering\n00:01:34\nOh I see, yeah right.\n \nTed Berrigan\n00:01:35\nHowever I don't have any available, only in Berlin [https://www.wikidata.org/wiki/Q64].\n \nGeorge Bowering\n00:01:38\nRight, so if you happen to be in Berlin, snap up a copy of Guillaume Apollinaire ist tot und Anders. So I'd like to mention that Ted Berrigan is going to read one set, and then he wants to stop for a very short intermission, say like a five-minute intermission, and then haul you back in again and do a second set. So ladies and gentlemen, etcetera, Ted Berrigan.\n \nAudience\n00:02:05\nApplause. \n \nUnknown\n00:02:07\n[Cut or edit made in tape. Unknown amount of time elapsed]. \n \nTed Berrigan\n00:02:08\nIn the first set I'm going to read mostly poems I've written over the last four or five years. Actually, longer than that, some going back to 1962, or '61. I don't know how long this set'll be. It'll, should be less than a half-hour. In the second set I'll read poems I've written over the last year or two. However I want to start with a poem that I wrote about two years ago. It's called \"Heroin\" I read this in high schools in Ann Arbor [https://www.wikidata.org/wiki/Q485172] which I went to read in a program called Poetry Ann Arbor, and I wanted, I read the title and then I wanted to, I read the title and then I wanted to, I found it real funny because it was called \"Heroin,\" and I wanted to disclaim that it was a pro-heroin poem. So I said, this poem is not a pro-heroin poem.Then I realized there wasn't an anti-heroin poem either.  So I ended them, it was just sort of an on-heroin poem. [Audience laughter]. All my poems are pretty much alike, and this is fairly typical of what you'll be hearing the rest of the evening. \n \nTed Berrigan\n00:03:19\nReads \"Heroin\".\n \nTed Berrigan\n00:04:22\nThis poem is called \"Frank O'Hara's Question\". Frank O'Hara [https://www.wikidata.org/wiki/Q951010] is a poet from New York [https://www.wikidata.org/wiki/Q60], who's dead, he died when he was forty years old a couple of years ago in an automobile accident. The title doesn't have too much to do with the poem, except that it sort of states something that Frank O'Hara evidently had to say, and so it says something that I have to say too in my own way, not that I have to say it the same way that Frank did. \n \nTed Berrigan\n00:04:56\nReads \"Frank O’Hara’s Question\".\n \nTed Berrigan\n00:05:42\nThis is a poem I wrote in 1962. It's called \"Words for Love\". It's a bit rhetorical, but it's the best I could do in 1962, and I still like it a lot, albeit I wonder at some of it.  \"Words for Love\". It was written, actually, at a very difficult time in my life, and I guess I felt the need to make some sort of statement.\n \nTed Berrigan\n00:06:09\nReads \"Words for Love\".\n \nTed Berrigan\n00:08:07\nReads [\"I wake up 11:30, back aching\"].\n \nTed Berrigan\n00:09:23\nReads “Personal Poem #7. \n \nTed Berrigan\n00:10:23\nReads “Personal Poem”.\n \nAudience\n00:11:08\nApplause.\n\nTed Berrigan\n00:11:10\nThank you. Charlie Stanton liked that one too. [Audience laughter]. This is the last one of those kind of poems [audience laughter]. \n \nTed Berrigan\n00:11:21\nReads “Personal Poem #9”.\n\nTed Berrigan\n00:12:32\nI've always liked that poem. [Laughter]. All of those are written around 1962, 61 and 62.  I want to skip up to around 1967. I wrote this poem called \"Things to do in New York City\". I was leaving New York, and this poem, like many of my poems, was written for a specific occasion. It was for someone's birthday. And the poem, it's just my poem, it's not about the other person's birthday, it's just a present for him on his birthday. \n \nTed Berrigan\n00:13:24\nReads \"Things to do in New York City\".\n \nTed Berrigan\n00:14:20\nThis poem is called \"Ten Things I do Every Day,\" which is...it's true, as a matter of fact, in a way. In a manner of speaking. But it's not true that it's ten things. Alas. But that was just the title, like the ten greatest movies of the year. \n \nTed Berrigan\n00:14:40\nReads \"Ten Things I do Every Day\".\n\nAudience\n00:15:16\nLaughter.\n \nTed Berrigan\n00:15:21\nThat's what you do in New York. [Audience laughter]. I'll read this poem called \"Resolution\". \n \nTed Berrigan\n00:15:35\nReads \"Resolution”.\n \nTed Berrigan\n00:15:58\nI don't know what I'll do about it if you do, but...something. All those dramatic poems. \n \nTed Berrigan\n00:16:06\nReads “Sonnet XXXVII”.\n \nTed Berrigan\n00:17:08\nI want to move around a little and not do exactly what I said. This is a poem I wrote last summer in London [https://www.wikidata.org/wiki/Q84], it's dedicated to the poet Tom Raworth [https://www.wikidata.org/wiki/Q7817338] and his wife. They lived in Colchester [https://www.wikidata.org/wiki/Q184163], which is an hour or two train-ride from London, and I was supposed to go down and see them, and I didn't go. And by way of apologies, I wrote this poem to Tom and to his wife, Val.\n \nTed Berrigan\n00:17:33\nReads \"Apologies to Val and Tom\".\n \nTed Berrigan\n00:19:05\nI'll read this one for George Bowering's old lady, [audience laughter] Mrs. Angela Bowering. It's called \"Things to do on Speed\". [Audience laughter].\n \nTed Berrigan\n00:19:19\nReads \"Things to do on Speed\" [audience laughter throughout].\n \nTed Berrigan\n00:20:58 [Laughter] I forgot about that one.  \n\nAudience \n00:21:01\nLaughter.\n \nTed Berrigan\n00:21:03\nResumes reading \"Things to do on Speed\".\n \nTed Berrigan\n00:22:21\nI wrote that one courtesy of The New York Times [https://www.wikidata.org/wiki/Q9684]. Okay, one more this set. This is called, \"Things to do in Providence\". [Audience laughter]. Which is, Providence [https://www.wikidata.org/wiki/Q18383], Rhode Island [https://www.wikidata.org/wiki/Q1387], or whatever else you can make of it.\n \nTed Berrigan\n00:22:50\nReads \"Things to do in Providence\".\n \nAudience\n00:26:23\nLaughter.\n \nTed Berrigan\n00:26:29\nResumes reading \"Things to do in Providence\".\n \nAudience\n00:27:46\nApplause.\n \nTed Berrigan\n00:27:52\n[Unintelligible].\n \nUnknown\n00:27:55\n[Cut or edit made in tape. Unknown amount of time elapsed].\n \nGeorge Bowering\n00:27:55\nHere he is again, terrible Ted Berrigan. \n \nTed Berrigan\n00:28:01\nAll the poems I'm going to read in this set are from my book, In the Early Morning Rain.  The title of this book I got from Gordon Lightfoot [https://www.wikidata.org/wiki/Q359552], the Canadian folk singer-songwriter, and I didn't know, I made, I decided to use that title before Bobby Dylan's [https://www.wikidata.org/wiki/Q392] album Self-Portrait [https://www.wikidata.org/wiki/Q634569] came out, so I didn't know that Bobby was going to record this song. I would have used it anyway, I'm sure. But, I mean if Dylan can steal it, I can steal it. And this book is a collection of poems of mine from over the last ten years, and I'm just going to read around in it. I wrote a lot of different kind of poems. I don't very often try for...I mean, I just take my poems where they come. This poem is called \"Hello\". \n \nTed Berrigan\n00:28:51\nReads \"Hello\" from In the Early Morning Rain.\n \nTed Berrigan\n00:29:06\nNow I'm going to read two or three poems that are from a section of this book called \"Life of a Man\".  \"Life of a Man\" is a book of poems in Italian by an Italian poet, a very great Italian poet who died not too long ago called Giuseppe Ungaretti [https://www.wikidata.org/wiki/Q311802]. There's a little story behind these. A lady poet named Barbara Guest [https://www.wikidata.org/wiki/Q807448] once asked my friend Ron Patchett and I, would we translate some of Ungaretti's poems, because Ungaretti was coming to America [https://www.wikidata.org/wiki/Q30]. And she thought it would be nice if we would translate them as a sort of homage to him. And so I told her, I said, “Barbara, but we don't understand Italian,” and she said, “Oh, I'm sure you can do it, you two are marvelous”.  And she said, “Just get a dictionary, and you can look up the words”. So I looked at Ron and he looked at me, and we said, yeah, we can translate 'em, sure, but we don't want to get any dictionaries. So we just translated 'em without any dictionaries. [Audience laughter]. And we never showed them to Ungaretti but we showed them to Barbara Guest and she had the horrors. The first one is called \"Matinee\". \n \nTed Berrigan\n00:30:16\nReads \"Matinee\" from In the Early Morning Rain [audience laughter throughout].\n\nTed Berrigan\n00:30:26\nThe next one is called \"December\" [audience laughter].\n \nTed Berrigan\n00:30:30\nReads \"December\" from In the Early Morning Rain [audience laughter throughout].\n \nTed Berrigan\n00:30:38\nAnd this one is called \"The Reply to the Fragile.\" \n \nTed Berrigan\n00:30:42\nReads \"The Reply to the Fragile\" from In the Early Morning Rain.\n \nTed Berrigan\n00:30:53\nThat one's a little, that's rated X. [Audience laughter]. And this is the last one, it's called “Corporal Pellegrini”. If any of you know Italian, you can understand where all these words came from [audience laughter].\n \nTed Berrigan\n00:31:09\nReads \"Corporal Pellegrini\" from In the Early Morning Rain.\n \nTed Berrigan\n00:31:38\nI think Ungaretti would've liked them. [Audience laughter]. He probably would have retranslated them and gotten some new ones. This next work is a translation too and it's a translation I did from French, which I understand some. And so this time I only had to leave certain words. This time I translated a lot of it accurately. But it's called \"Life among the woods\". And it's a translation of a page from a grammar book, some kind of book written in the French language. After I'd gotten this much done I decided it was over. Anyway, it's called \"Life Among the Woods\".\n \nTed Berrigan\n00:32:20\nReads \"Life Among the Woods\" from In the Early Morning Rain.\n \nTed Berrigan\n00:34:30.58\nPretty interesting family. This is a poem called \"In Four Parts.\"\n \nTed Berrigan\n00:34:40.14\nReads \"In Four Parts\" from In the Early Morning Rain.\n \nTed Berrigan\n00:35:22\nThat was four sentences from the New York Times. They had this secret continuity. [Laughter]. This is a poem called \"March 17th, 1970\".\n \nTed Berrigan\n00:35:35\nReads \"March 17th, 1970\" from In the Early Morning Rain.\n \nTed Berrigan\n00:36:03\nAnd you'd better believe it. Only not right now, right then. I don't know if I can subject you to this poem. I guess I will anyway. This is called \"The Ten Greatest Books of the Year, 1968\".\n \nTed Berrigan\n00:36:28\nReads \"The Ten Greatest Books of the Year, 1968\" from In the Early Morning Rain [audience laughter throughout].\n \nTed Berrigan\n00:38:02\nYou people that are laughing are getting it.\n\nTed Berrigan\n00:38:04\nResumes reading \"The Ten Greatest Books of the Year, 1968\" from In the Early Morning Rain. \n\nAudience\n00:38:14\nLaughter.\n\nTed Berrigan\n00:38:17\nThis is a poem called \"Thirty\".\n \nTed Berrigan\n00:38:18\nReads \"Thirty\" from In the Early Morning Rain\n \nTed Berrigan\n00:38:24\nThat's for all of you guys that did thirty. This poem is called \"Things to do in Anne's Room\".\n \nTed Berrigan\n00:38:34\nReads \"Things to do in Anne's Room\" from In the Early Morning Rain\n \nTed Berrigan\n00:39:42\nThis is called \"The Great Genius\".\n \nTed Berrigan\n00:39:45\nReads \"The Great Genius\" from In the Early Morning Rain.\n \nTed Berrigan\n00:39:56\nThis is called \"Anti-War Poem\". It's another New Year's poem, actually.\n \nTed Berrigan\n00:40:03\nReads \"Anti-War Poem\" from In the Early Morning Rain.\n \nTed Berrigan\n00:40:41\nAnd this poem is called \"Tough Brown Coat\".\n \nTed Berrigan\n00:40:43\nReads \"Tough Brown Coat\" from In the Early Morning Rain.\n \nTed Berrigan\n00:41:04\nThis poem is called \"Babe Rainbow\".\n \nTed Berrigan\n00:41:08\nReads \"Babe Rainbow\" from In the Early Morning Rain.\n \nTed Berrigan\n00:41:25\nAnd this is called \"In My Room\".\n \nTed Berrigan\n00:41:30\nReads \"In My Room\" from In the Early Morning Rain.\n \nTed Berrigan\n00:41:54\nThis is called \"Ann Arbor Elegy\". It was written for a girl who was killed in an automobile accident. September 27th, 1969. The funny thing about this poem is it was written before she was killed. And when I looked at it after she was dead, I saw that I didn't have to write an elegy for her, that somehow I'd written one already. \n \nTed Berrigan\n00:42:17\nReads \"Ann Arbor Elegy - For Franny Winston\" from In the Early Morning Rain.\n \nTed Berrigan\n00:43:13\nAnd this is a sort of berserk work, which I wrote called \"Wake Up,\" which is about all it says, really.\n \nTed Berrigan\n00:43:23\nReads \"Wake up\" from In the Early Morning Rain.\n \nTed Berrigan\n00:44:18\nI have another poem which I'd like to read but I won't, but it's a series of aphorisms from the works of Francis Picabia [https://www.wikidata.org/wiki/Q157321], the French poet and painter. And this friend Jim Carroll [https://www.wikidata.org/wiki/Q444806] and I translated these from French. I'll read you my favourite one, in any case, which Jim Carroll translated. It says, \"Spinoza [https://www.wikidata.org/wiki/Q35802] is the one who threw a pass to move Spinoza.\" I really...in this book I put some poems by some of my friends so I wouldn't have to read all my works. Though when I read I never read theirs, I notice. This poem is called \"In Bed\".\n \nTed Berrigan\n00:44:56\nReads \"In Bed\" from In the Early Morning Rain.\n \nTed Berrigan\n00:45:12\nThat's an example of saying nothing. [Audience laughter]. This poem is called \"Easy Living\". It's dedicated to a boy named David Henderson, a poet who was a friend of mine, whom I once took a trip to Pittsburgh [https://www.wikidata.org/wiki/Q1342] with. Had a very nice time. \n \nTed Berrigan\n00:45:33\nReads \"Easy Living\" from In the Early Morning Rain.\n \nTed Berrigan\n00:46:25\nThis is a poem I wrote, it's called \"Like Poem\". A friend of mine wrote a love poem to this girl, and I thought I should do that too. But I only wanted to write a like poem to her, because I don't want to have any obligations. [Audience laughter]. No, that isn't the reason why, but that's what came out. This is called \"Like Poem,\" it's to Joan Fagan, who's the wife of my friend Larry Fagan [https://www.wikidata.org/wiki/Q95906997], the poet. \n \nTed Berrigan\n00:46:50\nReads \"Like Poem\" from In the Early Morning Rain.\n \nTed Berrigan\n00:47:06\nThis poem is called \"Ann Arbor Song\". This poem I actually tried to write a poem out of a very corny feeling that I'd had, which nevertheless is very genuine. It starts at a poetry reading in Ann Arbor, but it's really about being in Ann Arbor and realizing I was leaving soon, and thinking about all the things that wouldn't happen to me again, because this trip was going to be over.  Even though, I'm--it's not all that sentimental, I mean I knew I might go to Ann Arbor again and all that, it was just that this particular trip was going to be over. I also wrote it with the idea in mind of reading it at a poetry reading too.  \"Ann Arbor Song\".\n \nTed Berrigan\n00:47:45\nReads \"Ann Arbor Song\" from In the Early Morning Rain.\n \nTed Berrigan\n00:49:22\nI'm going to read two more. First one's called \"Peace\".\n \nTed Berrigan\n00:49:29 \nReads \"Peace\" from In the Early Morning Rain.\n\nTed Berrigan\n00:50:37\nAlright, and this is the last poem. I hate to end heavy, but there's no place to read this poem but at the end. This poem is called \"People Who Died\". It's just a list. \"People Who Died\".\n \nTed Berrigan\n00:50:55\nReads \"People Who Died\" from In the Early Morning Rain.\n \nAudience\n00:52:48\nApplause.\n \nTed Berrigan\n00:52:53\nNot the most, uh...[laughter].\n \nEND\n00:52:59\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1970, Ted Berrigan published In the Early Morning Rain (Cape Goliard Press), and also privately published Scorpion, Eagle & Dove.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nTed Berrigan’s connection to Sir George Williams University is unclear at the moment, but Berrigan was part of the so called ‘Second Beat’ movement, as well as part of the ‘New York School’ of poetry. In this recording, he dedicates a poem to Angela Bowering, (George Bowering’s wife) so he either had met her before this reading or because of the occasion.\",\"type\":\"General\"},{\"note\":\"Original transcript and print catalogue by Rachel Kyne\\n\\nOriginal print catalogue, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\\n\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/in-the-early-morning-rain/oclc/563054848&referer=brief_results\",\"citation\":\"Berrigan, Ted. In the Early Morning Rain. London: Cape Goliard, 1970. \"},{\"url\":\"https://www.worldcat.org/title/sonnets/oclc/934480499&referer=brief_results\",\"citation\":\"Berrigan, Ted. The Sonnets. New York: Grove Press, 1964. \"},{\"url\":\"https://www.worldcat.org/title/many-happy-returns-poems/oclc/564000383&referer=brief_results\",\"citation\":\"Berrigan, Ted. Many Happy Returns. New York: Corinth Press, 1969. \"},{\"url\":\"https://www.worldcat.org/title/so-going-around-cities-new-and-selected-poems-1958-1979/oclc/255865532&referer=brief_results\",\"citation\":\"Berrigan, Ted. So Going Around Cities. Los Angeles: Berkley Press, 1980. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/937869379&referer=brief_results\",\"citation\":\"Horning, Ron. \\\"Berrigan, Ted\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ed. Ian Hamilton. Oxford University Press, 1996. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-american-literature/oclc/54356940&referer=brief_results\",\"citation\":\"\\\"Berrigan, Ted (Edmund J.M. Berrigan, Jr.)\\\". The Oxford Companion to American Literature. James D. Hart, ed., rev. Phillip W. Leininger. Oxford University Press 1995. \"},{\"url\":\"\",\"citation\":\"Pursglove, Glyn. “Berrigan, Ted”. Literature Online Biography. ProQuest LLC, 2009. \"}]"],"_version_":1853670548921384960,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0086_11_0004_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"Ted Berrigan Tape Box - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0086_11_0004_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"Ted Berrigan Tape Box - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0086_11_0004_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"Ted Berrigan Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0086_11_0004_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"Ted Berrigan Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/ted_berrigan_i086-11-004.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"ted_berrigan_i086-11-004.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"127.2 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"George Bowering\\n00:00:00\\nWelcome to at last the second reading in the series, for this year.  As you probably know, the series that we have, it might be loosely called a kind of an avant-garde series, and in the, this is our fifth year, and this is the first time we've ever had anybody from the New York School [https://www.wikidata.org/wiki/Q1972942]--it's not going to be the last time, we're going to have Kenneth Koch [https://www.wikidata.org/wiki/Q2708628] in the spring, and we're looking for Tom Clarke [https://www.wikidata.org/wiki/Q7815337] next fall. Berrigan [https://www.wikidata.org/wiki/Q2399732] is I guess now, one of the, say the halfback, I supposed, or quarterback of the New York School. Many of you have probably seen...[laughter] yeah, linebacker! When you ask when you're a little thin... And most of you have probably seen the propaganda sheet that's been around, downstairs and so on, and so you've heard the words that some of his confreres have said about him. I'd just like to add a little bit, in addition to those earlier books such as The Sonnets, and Bean Spasms, there's a couple of new books that have just appeared, one's called In the Early Morning Rain, which will be available here because it's a Cape Goliard book, and it's distributed in Canada [https://www.wikidata.org/wiki/Q16] by one of the big Toronto [https://www.wikidata.org/wiki/Q172] publishers, and another one with a Kraut title that I can't read that's bilingual, half-German and half-English that I'm sure we'll hear some from....\\n \\nTed Berrigan\\n00:01:31\\nThe title's [unintelligible] Guillaume Apollinaire [https://www.wikidata.org/wiki/Q133855] ist ...\\n \\nGeorge Bowering\\n00:01:34\\nOh I see, yeah right.\\n \\nTed Berrigan\\n00:01:35\\nHowever I don't have any available, only in Berlin [https://www.wikidata.org/wiki/Q64].\\n \\nGeorge Bowering\\n00:01:38\\nRight, so if you happen to be in Berlin, snap up a copy of Guillaume Apollinaire ist tot und Anders. So I'd like to mention that Ted Berrigan is going to read one set, and then he wants to stop for a very short intermission, say like a five-minute intermission, and then haul you back in again and do a second set. So ladies and gentlemen, etcetera, Ted Berrigan.\\n \\nAudience\\n00:02:05\\nApplause. \\n \\nUnknown\\n00:02:07\\n[Cut or edit made in tape. Unknown amount of time elapsed]. \\n \\nTed Berrigan\\n00:02:08\\nIn the first set I'm going to read mostly poems I've written over the last four or five years. Actually, longer than that, some going back to 1962, or '61. I don't know how long this set'll be. It'll, should be less than a half-hour. In the second set I'll read poems I've written over the last year or two. However I want to start with a poem that I wrote about two years ago. It's called \\\"Heroin\\\" I read this in high schools in Ann Arbor [https://www.wikidata.org/wiki/Q485172] which I went to read in a program called Poetry Ann Arbor, and I wanted, I read the title and then I wanted to, I read the title and then I wanted to, I found it real funny because it was called \\\"Heroin,\\\" and I wanted to disclaim that it was a pro-heroin poem. So I said, this poem is not a pro-heroin poem.Then I realized there wasn't an anti-heroin poem either.  So I ended them, it was just sort of an on-heroin poem. [Audience laughter]. All my poems are pretty much alike, and this is fairly typical of what you'll be hearing the rest of the evening. \\n \\nTed Berrigan\\n00:03:19\\nReads \\\"Heroin\\\".\\n \\nTed Berrigan\\n00:04:22\\nThis poem is called \\\"Frank O'Hara's Question\\\". Frank O'Hara [https://www.wikidata.org/wiki/Q951010] is a poet from New York [https://www.wikidata.org/wiki/Q60], who's dead, he died when he was forty years old a couple of years ago in an automobile accident. The title doesn't have too much to do with the poem, except that it sort of states something that Frank O'Hara evidently had to say, and so it says something that I have to say too in my own way, not that I have to say it the same way that Frank did. \\n \\nTed Berrigan\\n00:04:56\\nReads \\\"Frank O’Hara’s Question\\\".\\n \\nTed Berrigan\\n00:05:42\\nThis is a poem I wrote in 1962. It's called \\\"Words for Love\\\". It's a bit rhetorical, but it's the best I could do in 1962, and I still like it a lot, albeit I wonder at some of it.  \\\"Words for Love\\\". It was written, actually, at a very difficult time in my life, and I guess I felt the need to make some sort of statement.\\n \\nTed Berrigan\\n00:06:09\\nReads \\\"Words for Love\\\".\\n \\nTed Berrigan\\n00:08:07\\nReads [\\\"I wake up 11:30, back aching\\\"].\\n \\nTed Berrigan\\n00:09:23\\nReads “Personal Poem #7. \\n \\nTed Berrigan\\n00:10:23\\nReads “Personal Poem”.\\n \\nAudience\\n00:11:08\\nApplause.\\n\\nTed Berrigan\\n00:11:10\\nThank you. Charlie Stanton liked that one too. [Audience laughter]. This is the last one of those kind of poems [audience laughter]. \\n \\nTed Berrigan\\n00:11:21\\nReads “Personal Poem #9”.\\n\\nTed Berrigan\\n00:12:32\\nI've always liked that poem. [Laughter]. All of those are written around 1962, 61 and 62.  I want to skip up to around 1967. I wrote this poem called \\\"Things to do in New York City\\\". I was leaving New York, and this poem, like many of my poems, was written for a specific occasion. It was for someone's birthday. And the poem, it's just my poem, it's not about the other person's birthday, it's just a present for him on his birthday. \\n \\nTed Berrigan\\n00:13:24\\nReads \\\"Things to do in New York City\\\".\\n \\nTed Berrigan\\n00:14:20\\nThis poem is called \\\"Ten Things I do Every Day,\\\" which is...it's true, as a matter of fact, in a way. In a manner of speaking. But it's not true that it's ten things. Alas. But that was just the title, like the ten greatest movies of the year. \\n \\nTed Berrigan\\n00:14:40\\nReads \\\"Ten Things I do Every Day\\\".\\n\\nAudience\\n00:15:16\\nLaughter.\\n \\nTed Berrigan\\n00:15:21\\nThat's what you do in New York. [Audience laughter]. I'll read this poem called \\\"Resolution\\\". \\n \\nTed Berrigan\\n00:15:35\\nReads \\\"Resolution”.\\n \\nTed Berrigan\\n00:15:58\\nI don't know what I'll do about it if you do, but...something. All those dramatic poems. \\n \\nTed Berrigan\\n00:16:06\\nReads “Sonnet XXXVII”.\\n \\nTed Berrigan\\n00:17:08\\nI want to move around a little and not do exactly what I said. This is a poem I wrote last summer in London [https://www.wikidata.org/wiki/Q84], it's dedicated to the poet Tom Raworth [https://www.wikidata.org/wiki/Q7817338] and his wife. They lived in Colchester [https://www.wikidata.org/wiki/Q184163], which is an hour or two train-ride from London, and I was supposed to go down and see them, and I didn't go. And by way of apologies, I wrote this poem to Tom and to his wife, Val.\\n \\nTed Berrigan\\n00:17:33\\nReads \\\"Apologies to Val and Tom\\\".\\n \\nTed Berrigan\\n00:19:05\\nI'll read this one for George Bowering's old lady, [audience laughter] Mrs. Angela Bowering. It's called \\\"Things to do on Speed\\\". [Audience laughter].\\n \\nTed Berrigan\\n00:19:19\\nReads \\\"Things to do on Speed\\\" [audience laughter throughout].\\n \\nTed Berrigan\\n00:20:58 [Laughter] I forgot about that one.  \\n\\nAudience \\n00:21:01\\nLaughter.\\n \\nTed Berrigan\\n00:21:03\\nResumes reading \\\"Things to do on Speed\\\".\\n \\nTed Berrigan\\n00:22:21\\nI wrote that one courtesy of The New York Times [https://www.wikidata.org/wiki/Q9684]. Okay, one more this set. This is called, \\\"Things to do in Providence\\\". [Audience laughter]. Which is, Providence [https://www.wikidata.org/wiki/Q18383], Rhode Island [https://www.wikidata.org/wiki/Q1387], or whatever else you can make of it.\\n \\nTed Berrigan\\n00:22:50\\nReads \\\"Things to do in Providence\\\".\\n \\nAudience\\n00:26:23\\nLaughter.\\n \\nTed Berrigan\\n00:26:29\\nResumes reading \\\"Things to do in Providence\\\".\\n \\nAudience\\n00:27:46\\nApplause.\\n \\nTed Berrigan\\n00:27:52\\n[Unintelligible].\\n \\nUnknown\\n00:27:55\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n \\nGeorge Bowering\\n00:27:55\\nHere he is again, terrible Ted Berrigan. \\n \\nTed Berrigan\\n00:28:01\\nAll the poems I'm going to read in this set are from my book, In the Early Morning Rain.  The title of this book I got from Gordon Lightfoot [https://www.wikidata.org/wiki/Q359552], the Canadian folk singer-songwriter, and I didn't know, I made, I decided to use that title before Bobby Dylan's [https://www.wikidata.org/wiki/Q392] album Self-Portrait [https://www.wikidata.org/wiki/Q634569] came out, so I didn't know that Bobby was going to record this song. I would have used it anyway, I'm sure. But, I mean if Dylan can steal it, I can steal it. And this book is a collection of poems of mine from over the last ten years, and I'm just going to read around in it. I wrote a lot of different kind of poems. I don't very often try for...I mean, I just take my poems where they come. This poem is called \\\"Hello\\\". \\n \\nTed Berrigan\\n00:28:51\\nReads \\\"Hello\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:29:06\\nNow I'm going to read two or three poems that are from a section of this book called \\\"Life of a Man\\\".  \\\"Life of a Man\\\" is a book of poems in Italian by an Italian poet, a very great Italian poet who died not too long ago called Giuseppe Ungaretti [https://www.wikidata.org/wiki/Q311802]. There's a little story behind these. A lady poet named Barbara Guest [https://www.wikidata.org/wiki/Q807448] once asked my friend Ron Patchett and I, would we translate some of Ungaretti's poems, because Ungaretti was coming to America [https://www.wikidata.org/wiki/Q30]. And she thought it would be nice if we would translate them as a sort of homage to him. And so I told her, I said, “Barbara, but we don't understand Italian,” and she said, “Oh, I'm sure you can do it, you two are marvelous”.  And she said, “Just get a dictionary, and you can look up the words”. So I looked at Ron and he looked at me, and we said, yeah, we can translate 'em, sure, but we don't want to get any dictionaries. So we just translated 'em without any dictionaries. [Audience laughter]. And we never showed them to Ungaretti but we showed them to Barbara Guest and she had the horrors. The first one is called \\\"Matinee\\\". \\n \\nTed Berrigan\\n00:30:16\\nReads \\\"Matinee\\\" from In the Early Morning Rain [audience laughter throughout].\\n\\nTed Berrigan\\n00:30:26\\nThe next one is called \\\"December\\\" [audience laughter].\\n \\nTed Berrigan\\n00:30:30\\nReads \\\"December\\\" from In the Early Morning Rain [audience laughter throughout].\\n \\nTed Berrigan\\n00:30:38\\nAnd this one is called \\\"The Reply to the Fragile.\\\" \\n \\nTed Berrigan\\n00:30:42\\nReads \\\"The Reply to the Fragile\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:30:53\\nThat one's a little, that's rated X. [Audience laughter]. And this is the last one, it's called “Corporal Pellegrini”. If any of you know Italian, you can understand where all these words came from [audience laughter].\\n \\nTed Berrigan\\n00:31:09\\nReads \\\"Corporal Pellegrini\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:31:38\\nI think Ungaretti would've liked them. [Audience laughter]. He probably would have retranslated them and gotten some new ones. This next work is a translation too and it's a translation I did from French, which I understand some. And so this time I only had to leave certain words. This time I translated a lot of it accurately. But it's called \\\"Life among the woods\\\". And it's a translation of a page from a grammar book, some kind of book written in the French language. After I'd gotten this much done I decided it was over. Anyway, it's called \\\"Life Among the Woods\\\".\\n \\nTed Berrigan\\n00:32:20\\nReads \\\"Life Among the Woods\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:34:30.58\\nPretty interesting family. This is a poem called \\\"In Four Parts.\\\"\\n \\nTed Berrigan\\n00:34:40.14\\nReads \\\"In Four Parts\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:35:22\\nThat was four sentences from the New York Times. They had this secret continuity. [Laughter]. This is a poem called \\\"March 17th, 1970\\\".\\n \\nTed Berrigan\\n00:35:35\\nReads \\\"March 17th, 1970\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:36:03\\nAnd you'd better believe it. Only not right now, right then. I don't know if I can subject you to this poem. I guess I will anyway. This is called \\\"The Ten Greatest Books of the Year, 1968\\\".\\n \\nTed Berrigan\\n00:36:28\\nReads \\\"The Ten Greatest Books of the Year, 1968\\\" from In the Early Morning Rain [audience laughter throughout].\\n \\nTed Berrigan\\n00:38:02\\nYou people that are laughing are getting it.\\n\\nTed Berrigan\\n00:38:04\\nResumes reading \\\"The Ten Greatest Books of the Year, 1968\\\" from In the Early Morning Rain. \\n\\nAudience\\n00:38:14\\nLaughter.\\n\\nTed Berrigan\\n00:38:17\\nThis is a poem called \\\"Thirty\\\".\\n \\nTed Berrigan\\n00:38:18\\nReads \\\"Thirty\\\" from In the Early Morning Rain\\n \\nTed Berrigan\\n00:38:24\\nThat's for all of you guys that did thirty. This poem is called \\\"Things to do in Anne's Room\\\".\\n \\nTed Berrigan\\n00:38:34\\nReads \\\"Things to do in Anne's Room\\\" from In the Early Morning Rain\\n \\nTed Berrigan\\n00:39:42\\nThis is called \\\"The Great Genius\\\".\\n \\nTed Berrigan\\n00:39:45\\nReads \\\"The Great Genius\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:39:56\\nThis is called \\\"Anti-War Poem\\\". It's another New Year's poem, actually.\\n \\nTed Berrigan\\n00:40:03\\nReads \\\"Anti-War Poem\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:40:41\\nAnd this poem is called \\\"Tough Brown Coat\\\".\\n \\nTed Berrigan\\n00:40:43\\nReads \\\"Tough Brown Coat\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:41:04\\nThis poem is called \\\"Babe Rainbow\\\".\\n \\nTed Berrigan\\n00:41:08\\nReads \\\"Babe Rainbow\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:41:25\\nAnd this is called \\\"In My Room\\\".\\n \\nTed Berrigan\\n00:41:30\\nReads \\\"In My Room\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:41:54\\nThis is called \\\"Ann Arbor Elegy\\\". It was written for a girl who was killed in an automobile accident. September 27th, 1969. The funny thing about this poem is it was written before she was killed. And when I looked at it after she was dead, I saw that I didn't have to write an elegy for her, that somehow I'd written one already. \\n \\nTed Berrigan\\n00:42:17\\nReads \\\"Ann Arbor Elegy - For Franny Winston\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:43:13\\nAnd this is a sort of berserk work, which I wrote called \\\"Wake Up,\\\" which is about all it says, really.\\n \\nTed Berrigan\\n00:43:23\\nReads \\\"Wake up\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:44:18\\nI have another poem which I'd like to read but I won't, but it's a series of aphorisms from the works of Francis Picabia [https://www.wikidata.org/wiki/Q157321], the French poet and painter. And this friend Jim Carroll [https://www.wikidata.org/wiki/Q444806] and I translated these from French. I'll read you my favourite one, in any case, which Jim Carroll translated. It says, \\\"Spinoza [https://www.wikidata.org/wiki/Q35802] is the one who threw a pass to move Spinoza.\\\" I really...in this book I put some poems by some of my friends so I wouldn't have to read all my works. Though when I read I never read theirs, I notice. This poem is called \\\"In Bed\\\".\\n \\nTed Berrigan\\n00:44:56\\nReads \\\"In Bed\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:45:12\\nThat's an example of saying nothing. [Audience laughter]. This poem is called \\\"Easy Living\\\". It's dedicated to a boy named David Henderson, a poet who was a friend of mine, whom I once took a trip to Pittsburgh [https://www.wikidata.org/wiki/Q1342] with. Had a very nice time. \\n \\nTed Berrigan\\n00:45:33\\nReads \\\"Easy Living\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:46:25\\nThis is a poem I wrote, it's called \\\"Like Poem\\\". A friend of mine wrote a love poem to this girl, and I thought I should do that too. But I only wanted to write a like poem to her, because I don't want to have any obligations. [Audience laughter]. No, that isn't the reason why, but that's what came out. This is called \\\"Like Poem,\\\" it's to Joan Fagan, who's the wife of my friend Larry Fagan [https://www.wikidata.org/wiki/Q95906997], the poet. \\n \\nTed Berrigan\\n00:46:50\\nReads \\\"Like Poem\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:47:06\\nThis poem is called \\\"Ann Arbor Song\\\". This poem I actually tried to write a poem out of a very corny feeling that I'd had, which nevertheless is very genuine. It starts at a poetry reading in Ann Arbor, but it's really about being in Ann Arbor and realizing I was leaving soon, and thinking about all the things that wouldn't happen to me again, because this trip was going to be over.  Even though, I'm--it's not all that sentimental, I mean I knew I might go to Ann Arbor again and all that, it was just that this particular trip was going to be over. I also wrote it with the idea in mind of reading it at a poetry reading too.  \\\"Ann Arbor Song\\\".\\n \\nTed Berrigan\\n00:47:45\\nReads \\\"Ann Arbor Song\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:49:22\\nI'm going to read two more. First one's called \\\"Peace\\\".\\n \\nTed Berrigan\\n00:49:29 \\nReads \\\"Peace\\\" from In the Early Morning Rain.\\n\\nTed Berrigan\\n00:50:37\\nAlright, and this is the last poem. I hate to end heavy, but there's no place to read this poem but at the end. This poem is called \\\"People Who Died\\\". It's just a list. \\\"People Who Died\\\".\\n \\nTed Berrigan\\n00:50:55\\nReads \\\"People Who Died\\\" from In the Early Morning Rain.\\n \\nAudience\\n00:52:48\\nApplause.\\n \\nTed Berrigan\\n00:52:53\\nNot the most, uh...[laughter].\\n \\nEND\\n00:52:59\\n\",\"notes\":\"Ted Berrigan reads from In the Early Morning Rain (Cape Goliard, 1970), The Sonnets (Grove Press, 1964), Many Happy Returns (Corinth, 1969) and poems later collected in So Going Around Cities (Berkley, 1980) as well as a few unknown poems.\\n\\n(Rachel has indexed individual poems)\\n00:00- George Bowering introduces Ted Berrigan. [INDEX: second reading in the series in 1970, series called ‘avant-garde series’, fifth year, first reader from the ‘New York School’, Kenneth Coke, Tom Clarke, quarterback of the school, ‘propaganda’ (advertisement) paper of reading, The Sonnets (1967), Bean Spasms (Kulchur Press, 1967, In the Early Morning Rain (Cape Goliard, 1970), Cape Goliard, distributed by big Toronto publisher, ‘Kraut’ title, half German, half English, Guillaume Apollinaire ist tot und Anders (sp?), Berlin.]\\n02:08- Ted Berrigan introduces “Heroin”. [INDEX: poems read from last 4-5 years, in first set   some read from 1961-62, in second set poems read from year or two before, poem read in high schools in Ann Arbour, program called Poetry Ann Arbour, not a pro-heroin poem, not anti-heroin poem either, ‘on-heroin poem’; from In the Early Morning Rain (Cape Goliard, 1970).]\\n03:19- Reads “Heroin”. [INDEX: list, heroin, photograph, Kerouac, Anne, heart, light, streets.]\\n04:22- Introduces “Frank O’Hara’s Question”. [INDEX: O’Hara: dead poet from new York, car accident, significance of title; from In the Early Mornin Rain (Cape Goliard, 1970).]\\n04:56- Reads “Frank O’Hara’s Question”. [INDEX: Frank O'Hara, list, sky, letter, Isaac        Dennison, high, happy, long poem, art, guard, mess, message.]\\n05:42- Introduces “Words for Love”. [INDEX: written in 1962, rhetorical; from Many Happy Returns (Corinth, 1969).]\\n06:09- Reads “Words for Love”. [INDEX: winter, snow, read, poetry, weakness, obsession, Jackson Pollock, Rilke, Benedict Arnold, psyche, high, drugs, poems, list, words, time, lady of the lake, God, heart]\\n08:07- Reads first line “I wake up at 11:30, back aching...”. [INDEX: confessional, New York, Pat, Ron, birthday, Pepsi, high, class, book, Juan Gris, poems, ballad, sonnet, Shakespeare, Auden, Spenser, Stevens, Pound, Frank O'Hara, Jan, Helen, Babe, David, ego, self, wonder, toilet paper; poem not indicated on Howard Fink Poem List.]\\n09:23- Reads “Personal Poem #7”. [INDEX: confessional, New York, drugs, sex, John   Ashbery, food, write, stealing; from Many Happy Returns (Corinth, 1969); poems not    \\tindicated on Howard Fink Poem List.]\\n10:23- Reads “Personal Poem #8”. [INDEX: confessional, diary, journal, love, Ray Joss, New York, court, wife, police, John Stanton; from Many Happy Returns (Corinth, 1969); poems not indicated on Howard Fink Poem List.]\\n11:07- Introduces first line “Personal Poem #9”. [INDEX: Charlie Stanton; from Many Happy   Returns (Corinth, 1969); poems not indicated on Howard Fink Poem List.]\\n11:21- Reads first line “Personal Poem #9”. [INDEX: confessional, journal, diary,      \\tBrooklyn, New York, Pepsi, food, memory, book.]\\n12:32- Explains last selection of poems, introduces “Things to do in New York City”. [INDEX: selection written in 1961-2, “Things to do in New York City” written around 1967, leaving New York, written for a birthday present.]\\n13:24- Reads “Things to do in New York City”. [INDEX: confessional, occasional poem, city, New York, By the Waters of Manhattan, drugs, cigarette, read, break, girls, love, death, birth, friends, departure; from Many Happy Returns (Corinth, 1969).]\\n14:20- Introduces “Ten Things I do Every Day”. [INDEX: title; from Many Happy    \\tReturns (Corinth, 1969).]\\n14:40- Reads “Ten Things I do Every Day”.  [INDEX: New York, waking, smoking, pot, love, eating, food, cat, sound, song, streets, read, children, friends, Pepsi.]\\n15:21- Introduces “Resolution”. [INDEX: New York City; from Many Happy  \\tReturns (Corinth, 1969).]\\n15:35- Reads “Resolution”. [INDEX: city, New York, snow, winter, New Year's, driving]\\n15:58- Introduces “Sonnet XXXVII”. [INDEX: from The Sonnets (Grove Press, 1964).] \\n16:06- Reads “Sonnet XXXVII”. [INDEX: night, sleep, Guillaume Apollinaire, poem, dream, crying, song, library, tear, light]\\n17:08- Introduces “Apologies to Val and Tom”. [INDEX: written last summer in London, dedicated to poet Tom Raworth and his wife, Colchester, London, apology; from unknown source.]\\n17:33- Reads “Apologies to Val and Tom”. [INDEX: place, London, apology, night, city, memory, remembrance, New York, friend, poem, visit.]\\n19:05- Introduces “Things to do on Speed”. [INDEX: for Angela Bowering, George Bowering; from the section “How We Live in the Jungle 1969-1970 in So Going Around Cities (Berkley, 1980).]\\n19:19- Reads “Things to do on Speed”. [INDEX: list, typewriter, mind, writing, book, desk, Pepsi, sleep, dream, paper, song, sickness, drugs, imperative, talking, New York, city, work, hallucination, high, sex, heroin, speed]\\n22:21- Explains “Things to do on Speed” and introduces “Things to do in Providence. [INDEX: New York Times, Providence, Rhode Island.]\\n22:50- Reads “Things to do in Providence”. [INDEX: confessional, place, Providence, Rhode Island, city, drugs, imperative, list, food, TV, war, Texas, movie, Western, tear, cowboy, New York, drunk, children, phone, talk, family, mother, birth, work, cigarette, hippie, teenager, home, car, death, grandmother, heart, stranger, sleep; from the section “Buffalo Days: Summer 1970 in So Going Around Cities (Berkley, 1980).]\\n27:55- After a break (cut in recording), George Bowering introduces Ted Berrigan again.\\n28:01- Ted Berrigan introduces “Hello”. [INDEX: poems read from In the Early Morning Rain, title from Gordon Lightfoot: Canadian Folk singer-songwriter, Bob Dylan’s Self Portrait Album, stealing titles, collection from last ten years; from In the Early Mornin Rain (Cape Goliard, 1970).] \\n28:51- Reads “Hello”. [INDEX: hello, etymology, health.]\\n29:06- Introduces section of book, “Life of a Man”, and poem “Matinee”. [INDEX: Italian poet Giuseppe Ungaretti, poet Barbara Guest, Ron Patchett, translate Ungaretti’s poems, translation without dictionary; from In the Early Mornin Rain (Cape Goliard, 1970).]  \\n30:16- Reads “Matinee”. [INDEX: translation, morning.]\\n30:26- Reads “December” [INDEX: translation, farewell, mother, brother, sister, sex, heart; from In the Early Morning Rain (Cape Goliard, 1970).]\\n30:38- Reads “Reply to the Fragile”. [INDEX: translation, bite, pain, sex, breasts; from In the Early Morning Rain (Cape Goliard, 1970).]\\n30:53- Introduces “Corporal Pellegrini”. [INDEX: Italian; from In the Early Mornin Rain    (Cape Goliard, 1970).]\\n31:09- Reads “Corporal Pellegrini”. [INDEX: translation, corporal, sex, horse, soldier, death.]\\n31:38- Introduces “Life Among the Woods”. [INDEX: Ungaretti, retranslated to make new poems, translation from French, from grammar book; from In the Early Mornin Rain  (Cape Goliard, 1970).] \\n32:20- Reads “Life Among the Woods”. [INDEX: translation, Paris, boat, woods, family, children, rich, house, garden, cooking, list.]\\n34:30- Reads “In Four Parts”.  [INDEX: beach, Israel, Mayor Frank X. Graves, Allen    Ginsberg, marijuana, news, William Carlos Williams, poet, American, New York Times;  \\tfrom In the Early Mornin Rain (Cape Goliard, 1970).]\\n35:22- Explains “In Four Parts”, introduces “March 17th, 1970”. [INDEX: sentences from the New York Times, secret continuity.] \\n35:35- Reads “March 17th, 1970”. [INDEX: love, like, phone, wire, listening, kill.]\\n36:03- Introduces “The Ten Greatest Books of the Year, 1968”.\\n36:28- Reads “The Ten Greatest Books of the Year, 1968”. [INDEX: book, list, William Carlos Williams, Charles Olson, Chicago Review, dictionary, Aristotle, language, Frank O'Hara, Ralph Conners, zodiac, consciousness, names, rank, sonnet; from In the Early Mornin Rain (Cape Goliard, 1970).]\\n38:13- Introduces “30”. [INDEX: from In the Early Morning Rain (Cape Goliard, 1970).]\\n38:18- Reads “30”.\\n38:34- Introduces “Things to do in Anne’s Room”.\\n38:34- Reads “Things to do in Anne’s Room”.  [INDEX: room, house, place, imperative, list, sex, couple, book, Moby Dick, Planet of the Apes, clothes, bed, alone, death; from In the Early Morning Rain (Cape Goliard, 1970).]\\n39:42- Reads “The Great Genius”. [INDEX: man, crazy; from In the Early Morning Rain (Cape Goliard, 1970).]\\n39:56- Introduces “Anti-War Poem”. [INDEX: New Year’s poem; from In the Early Morning Rain (Cape Goliard, 1970)\\n40:03- Reads “Anti-War Poem”. [INDEX: peace, war, resolution, New Year's Eve, 1968, Iowa City, city, memory, remembrance, death.]\\n40:41- Reads “Tough Brown Coat”. [INDEX: coat, description, clothes, death; from In the Early Morning Rain (Cape Goliard, 1970).]\\n41:04- Reads “Babe Rainbow”. [INDEX: smoke, cigarette, burn, bed, read; from In the Early Morning Rain (Cape Goliard, 1970)\\n41:25- Reads “In My Room”. [INDEX: place, house, room, list, Thanksgiving.]\\n42:17- Introduces “Ann Arbor Elegy”. [INDEX: girl killed in automobile accident on \\tSeptember 27, 1969, written before her accident; from In the Early Morning Rain (Cape   Goliard, 1970).]\\n42:17- Reads “Ann Arbor Elegy”. [INDEX: for Franny Winston, party, night, drinking, alcohol, high, girl, place, Ann Arbor, death, morning, sky, food, news.]\\n43:13- Reads “Wake Up”. [INDEX: morning, wake, bed, girl, work, Jim Dine, day, list, imperative; from In the Early Morning Rain (Cape Goliard, 1970).]\\n44:15- Introduces “In Bed”. [INDEX: series of aphorisms, Francis Picabia French poet and painter, Jim Carroll, translation from French, placing other poet’s work in his books; from In the Early Morning Rain (Cape Goliard, 1970).] \\n44:56- Reads “In Bed”. [INDEX: girl, bed, sex.]\\n45:12- Introduces “Easy Living”. [INDEX: dedicated to boy named David Henderson,    Pittsburgh; from In the Early Morning Rain (Cape Goliard, 1970).] \\n45:33- Reads “Easy Living”.   [INDEX: travel, Africa, time, rain, heat, weather, David    Henderson, Pittsburgh.]\\n46:25- Introduces “Like Poem”. [INDEX: friend wrote love poem, to Joan Fagan, wife of poet Larry Fagan; in the section “In the Wheel: Winter 1969” in So Going Around Cities (Berkley, 1980).]\\n46:50- Reads “Like Poem”. [INDEX: couple, drugs, Joan Fagan, like.]\\n47:06- Introduces “Ann Arbor Song”. [INDEX: feeling, poetry reading in Ann Arbor, trip.]\\n47:45- Reads “Ann Arbor Song”.  [INDEX: place, Ann Arbor, poetry, poetry reading, poem, boredom, Jack, Anne, high, drugs, friends, time, memory, remembrance.]\\n49:22- Reads “Peace”. [INDEX: heart, day, east, west, peace, couple, love, woman; unknown source.]\\n50:53- Introduces “People Who Died”. [INDEX: heavy poem, end of reading, list; from In the Early Morning Rain (Cape Goliard, 1970).]\\n50:55- Reads “People Who Died”. [INDEX: death, list, dates, friends, accidents, cancer, suicide, Neal Cassidy, Frank O'Hara, Ann Kepler, Franny Winston, Jack Kerouac.]\\n52:59.60- END OF RECORDING.\\n \\nPoems with Time Stamps and Duration                         \\tTime           \\tDuration (mins.)\\n“Heroin”                                                                             \\t00:03:19      \\t01:02  \\n“Frank O’Hara’s Question”            \\t                                \\t           00:04:56      \\t00:44\\n“Words For Love”                                                              \\t00:06:09      \\t01:57\\n[“I wake up 11:30, back aching”]                                       \\t00:08:07      \\t01:13\\n“Personal Poem #7                                                             \\t00:09:23      \\t00:58\\n“Personal Poem” (#8?)                                                       \\t00:10:23      \\t00:42\\n“Personal Poem #9                                                             \\t00:11:21      \\t01:08\\n“Things To Do in New York City”            \\t                       \\t00:13:24      \\t00:55\\n“Ten Things I Do Every Day”                                                    00:14:40      \\t00:35\\n“Resolution”                                                                       \\t00:15:35      \\t00:17\\n“Sonnet XXXVII”  \\t        \\t                                            \\t00:16:06      \\t01:01\\n“Apologies to Val And Tom”                                             \\t00:17:33      \\t01:31\\n“Things To Do On Speed”                                                 \\t00:19:19      \\t02:58\\n“Things To Do In Providence”                                           \\t00:22:50      \\t04:55\\n“Hello”                                                                                \\t00:28:51      \\t00:15\\n“Matinee”                                                                           \\t00:30:16      \\t00:09\\n“December”                                                                        \\t00:30:30      \\t00:07\\n“Reply to the Fragile”                                                        \\t00:30:42      \\t00:10\\n“Corporal Pelegrini”                                                           \\t00:31:09      \\t00:28\\n“Life Among the Woods”                                                   \\t00:32:20      \\t02:09\\n“In Four Parts”                                                                    \\t00:34:40      \\t00:40\\n“March 17, 1970”                                                               \\t00:35:35      \\t00:28\\n“The Ten Greatest Books of the Year – 1968”                  \\t00:36:28      \\t01:45\\n“Thirty”                                                                              \\t00:38:18      \\t00:06\\n“Things To Do In Anne’s Room”                                      \\t00:38:34      \\t01:09\\n“The Great Genius”                                                            \\t00:39:45      \\t00:10\\n“Anti-War Poem”                                                               \\t00:40:03      \\t00:37  \\n“Tough Brown Coat”                                                          \\t00:40:43      \\t00:20\\n“Babe Rainbow”                                                                 \\t00:41:08      \\t00:16\\n“In My Room”                                                                    \\t00:41:30      \\t00:23\\n“Ann Arbor Elegy”                                                             \\t00:42:17      \\t00:57\\n“Wake Up”                                                                         \\t00:43:23      \\t00:56\\n “In Bed”                                                                             \\t00:44:56      \\t00:15\\n“Easy Living”                                                                     \\t00:45:33      \\t00:50\\n“Like Poem”                                               \\t                    \\t00:46:50      \\t00:16\\n“Ann Arbor Song”                                                              \\t00:47:45      \\t01:46\\n“Peace”                                                                               \\t00:49:29      \\t01:07\\n“People Who Died”                                                            \\t00:50:55      \\t01:51\\n \\nHoward Fink List of Poems:\\n“Ted Berrigan”\\nIntroduction by George Bowering\\nRecorded December 4, 1970\\nNote: “Personal Poems” do not appear on this list, and an extra first line in between “Wake Up” and “In Bed” reads “Spinoza is the one who threw a pass...”.\\npg. 66\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/ted-berrigan-at-sgwu-1970/\"}]"],"score":1.6793567},{"id":"1293","cataloger_name":["Bindu,Reddy"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["David McFadden and Gerry Gilbert at Sir George Williams University, The Poetry Series, 15 January 1971"],"item_title_source":["Cataloguer"],"item_title_note":["\"DAVID McFADDEN AND GERRY GILBERT Recorded January 15, 1971 3.75 ips on 1 mil. tape, 1/2 track Quality: Fair to poor. Poems read alternately\" written on sticker on the back of the tape's box. \"DAVID McFADDEN GERRY GILBERT I006/SR19\" written on sticker on the spine of the tape's box. \"I006-11-019\" written on sticker on the reel.\n"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 5"],"item_identifiers":["[]"],"creator_names":["McFadden, David","Gilbert, Gerry"],"creator_names_search":["McFadden, David","Gilbert, Gerry"],"creators":["[{\"url\":\"http://viaf.org/viaf/7405434\",\"name\":\"McFadden, David\",\"dates\":\"1940-2018\",\"notes\":\"Writer David McFadden was born in 1940, in Hamilton, Ontario, where he spent his first thirty-nine years. He started Mountain, a mimeographed magazine in 1962, and his early work appeared in tish, Is, Evidence, Weed, and Talon. He became a proofreader for the Hamilton Spectator in 1962 and a reporter for the same in 1970. David McFadden’s first collections of poems were published in Letters from the earth to the earth in 1968 (Coach House Press), Poems worth knowing in 1971 (Coach House Press) and Intense pleasure in 1972 (McClelland and Stewart). His first novel was The great Canadian sonnet, published in 1970 (Coach House Press). In 1976 he resigned from the Hamilton Spectator to focus on freelance writing and editing. McFadden continued to publish his poems in A knight in dried plums in 1975 (McClelland and Stewart), and On the road again in 1978 (McClelland and Stewart). His short stories and novels include three from the ‘Great Lakes Series’, published from 1980 to 1988 (Coach House Press), and Animal spirits: stories to live by in 1983 (Coach House Press). McFadden has published over fifteen other novels and collections of poems from 1967 to 1995, which include My Body was Eaten by Dogs (McClelland and Stewart, 1981), selected poems edited and introduced by George Bowering, and The Art of Darkness (McClelland Stewart, 1984). Be Calm Honey (Mansfield Press, 2008) was a finalist for the 2009 Governor General’s Award and his final published book, What's the Score? (Mansfield Press, 2012) won the 2013 Canadian Griffin Poetry Prize. McFadden died in 2018.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]},{\"url\":\"http://viaf.org/viaf/13554305\",\"name\":\"Gilbert, Gerry\",\"dates\":\"1936-2009\",\"notes\":\"Canadian poet and photographer Gerry Gilbert, born in 1936, was one of the most experimental writers from Vancouver in the 60’s. He started as a television cameraman, and then concentrated on writing poetry. Gilbert founded and edited The B.C. Monthly, which published literary and political criticism. He was also the editor of Radio Free Rain Forest, published out of Vancouver. Gilbert’s publications are numerous, and include artful self-published books of poetry. White lunch: poems was published by Periwinkle Press in 1964, followed by The milk (Minimedia, 1967), Quote, New York, July 1965 (Ganglia Press, 1969), Phone book (Weed/Flower, 1969), On my face (G.Gilbert, 1970), The (Probable Latitude 76 ̊15' Longitude 113 ̊10'E, London, 1970), a film Doi,ngng (NFB, Ottawa, 1970), And a place in mind... (Hesheitworks, 1971), Apr. 35, 1978 (Hesheitworks, 1971), And (Blewointmentpress, 1971), Money (York Street Commune, 1971), Lease (Coach House Press, 1971), Journal to the East (Blewointmentpress, 1974), Bicycle (Caledonia Writing Series, 1977), New and used poems (G.Gilbert, 1980), Moby Jane (Coach House Press, 1987), The 1/2 of it (Wave 7 Press, 1989), Azure blues (Talon Books, 1991), Year off  (BC Monthly, 2001), and Poetrees (BC Monthly, 2006). Gilbert died in Vancouver in 2009.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Bowering, George"],"contributors_names_search":["Bowering, George"],"contributors":["[{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Presenter\"]}]"],"Presenter_name":["Bowering, George"],"Series_organizer_name":["Bowering, George"],"Performance_Date":[1971],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1971 1 15\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the back of the tape's box and in written announcement\\n\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["David McFadden reads from The Great Canadian Sonnet (Coach House Press, 1970), as well as poems published later in Poems Worth Knowing (Coach House Press, 1971) and Intense Pleasure (McClelland and Stewart, 1972). Gerry Gilbert reads from Money (York Street Commune, 1971) and Phone Book (Weed/Flower, 1969) and And (Blewointmentpress, 1971) as well as some poems from unknown sources."],"contents":["david_mcfadden_gerry_gilbert_i006-11-019.mp3\n\nGeorge Bowering\n00:00:08\nWe have two readers tonight, both Canadian poets, as you know, and, but in most cases when we have two poets as we did last time, we generally have one poet read for a while, then have a break, and then have the other poet read for a while, but we're not going to do it that way tonight. We're just going to throw the thing open to both David McFadden [https://www.wikidata.org/wiki/Q5237344] and Gerry Gilbert [https://www.wikidata.org/wiki/Q5552756] and they will work it out as it seems to work out for them. This makes a lot of sense, although they've never read together before, they're both published by the same publishing house, and published in the same magazines and know each other as they used to say in the old days in the ivy league by reputation. Gerry Gilbert is, as a lot of people we've had this year, is from the West Coast and has been involved for quite a while with an outfit in the coast that gobbles up your tax money called Intermedia [https://www.wikidata.org/wiki/Q39079179], that's why the screen is there, something might happen there occasionally. Gerry was at one time the editor of a seminal West Coast publishing venture called Radio Free Rain Forest, and is the author of a series of books and things that are like books, as for instance, White Lunch which came out several years ago in Vancouver [https://www.wikidata.org/wiki/Q24639] and Telephone Book which is published by Coach House Press, I think, no, Weed/Flower, sorry. David's also been published by Weed/Flower and the Coach House Press, and his forthcoming book is the second volume of the Big/Little Book novel, called The Great Canadian Sonnet with illustrations by a little-known London [https://www.wikidata.org/wiki/Q92561] artist named Greg Curnoe [https://www.wikidata.org/wiki/Q5605459]. His next book is going to be called Poems Worth Knowing, a title that anyone from Ontario [https://www.wikidata.org/wiki/Q1904] or British Columbia [https://www.wikidata.org/wiki/Q1974] will know. What we're going to do is they're going to operate for a little while, and then when they feel the need for a break there will be a short intermission, like about ten minutes, then we'll proceed again with what, as they say, the second set. So I'm not going to be able to say that somebody's reading first and somebody's reading second but what I will be able to say is that the readers will be David McFadden and Gerry Gilbert.\n \nUnknown\n00:02:39\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nDavid McFadden\n00:02:40\nReads unnamed poem. \n\nUnknown\n00:06:02\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nGerry Gilbert\n00:06:03\nReads \"Her white face where I have seen Her ride the last bus, before\" [from Money].\n \nGerry Gilbert\n00:07:14\nReads \"A moving picture moves, it's the truth about movies\" [from Money].\n \nDavid McFadden\n00:07:33\nReads unnamed poem. \n \nGerry Gilbert\n00:08:20\nReads \"I REMEMBER TOOTSIE ROLLS when they were only in American comic books\" [from Money].\n \nDavid McFadden\n00:09:46\nReads [“The Slippery Wig” published later in Intense Pleasure and collected in Why Are You So Sad?]. \n \nGerry Gilbert\n00:10:38\nReads \"London 1964\" [from Money]\n \nDavid McFadden\n00:12:28\nReads unnamed poem. \n \nGerry Gilbert\n00:13:37\nReads \"waitress calls the man in the corner, HARRY” [from Money].\n \nDavid McFadden\n00:14:30\nReads unnamed poem. \n \nGerry Gilbert\n00:14:53\nReads \"the pleasure. I said” [from Money].\n \nDavid McFadden\n00:16:14\nReads [“Titles I Have Heard Of But Not Read” published later in Intense Pleasure and collected in Why Are You So Sad?].\n \nGerry Gilbert\n00:18:26\nReads [\"Single Mens Unit\" from Money].\n \nDavid McFadden\n00:19:05\nReads unnamed poem. \n \nDavid McFadden\n00:21:03\nReads unnamed poem.\n \nGerry Gilbert\n00:23:13\nReads \"Goodness and mercy are following me across the lake\" [from Money].\n\nGerry Gilbert\n00:24:10\nReads \"Bicycle\" [from Money].\n \nGerry Gilbert\n00:24:55\nReads \"on the bed” [from Money].\n \nDavid McFadden\n00:25:32\nReads unnamed poem. \n \nDavid McFadden\n00:26:05\nReads unnamed poem.\n \nDavid McFadden\n00:26:18\nReads unnamed poem.\n \nGerry Gilbert\n00:26:49\nReads unnamed poem.\n \nGerry Gilbert\n00:28:03\nReads \"bone ring on my finger\" [from Money].\n \nDavid McFadden\n00:28:34\nReads unnamed poem. \n \nDavid McFadden\n00:31:05\nReads unnamed poem.\n \nGerry Gilbert\n00:32:10\nWe're reading Canadian history. A few of the poems from Phone Book.\n \nGerry Gilbert\n00:32:28\nReads untitled poem from Phone Book.\n \nGerry Gilbert\n00:33:05\nReads untitled poem from Phone Book.\n \nGerry Gilbert\n00:33:42\nReads untitled poem from Phone Book.\n \nGerry Gilbert\n00:34:31\nReads untitled poem from Phone Book.\n \nGerry Gilbert\n00:35:25\nReads untitled poem from Phone Book.\n \nGerry Gilbert\n00:36:37\nReads untitled poem from Phone Book.\n \nGerry Gilbert\n00:36:58\nReads untitled poem from Phone Book.\n \nGerry Gilbert\n00:37:29\nThis poem's called \"Garden\".\n \nGerry Gilbert \n00:37:35\nReads \"Garden\" [from Money].\n \nDavid McFadden\n00:38:38\nReads [“Journey To Love” published later in Poems Worth Knowing].\n \nDavid McFadden\n00:39:21\nReads [“A Poem Without A Title Is Like A Letter Without A Stamp” published later in Poems Worth Knowing].\n \nGerry Gilbert\n00:39:50\nReads \"find your birds\" [from Money].\n \nDavid McFadden\n00:41:32\nReads [“Art’s Variety” published later in Poems Worth Knowing].\n \nGerry Gilbert\n00:42:04\nReads \"sometimes I miss\" [from Money].\n \nDavid McFadden\n00:42:18\nReads [“Another Revolution” published later in Poems Worth Knowing].\n \nDavid McFadden\n00:42:57\nReads [“Chapter One” from The Great Canadian Sonnet].\n \nGerry Gilbert\n00:47:06\nDid I hear you say 'boiled skunks'? This is a little tale. \n\nGerry Gilbert\n00:49:24\nReads unnamed poem. \n\nGerry Gilbert\n00:49:45\nReads unnamed poem. \n \nGerry Gilbert\n00:51:42\nReads unnamed poem.\n \nDavid McFadden\n00:53:02\nReads \"Vital Statistics: Distances from Hamilton To...\" [from The Great Canadian Sonnet]. \n \nGerry Gilbert\n00:54:52\nReads unnamed poem.\n \nDavid McFadden\n00:54:52\nReads unnamed poem. \n \nDavid McFadden\n00:55:52\nReads unnamed poem [audience laughter throughout]. \n \nGerry Gilbert\n00:56:52\nReads [“SQUEEZE THRU THE TUBE” from And].\n\nGerry Gilbert\n00:57:08\nReads [“24.11.70. TORONTO” from And].\n\nGerry Gilbert\n00:57:59\nThe following is a Rochdale College [https://www.wikidata.org/wiki/Q14875408] council meeting. 23rd of November, 1970.\n\nGerry Gilbert\n00:58:08\nReads [“ROCHDALE COUNCIL MEETING 23.11.70” and other untitled sections from And].\n \nDavid McFadden\n01:01:24\nReads unnamed poem. \n \nDavid McFadden\n01:01:39\nReads unnamed poem. \n\nUnknown\n01:09:59\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nGerry Gilbert\n01:10:01\nReads [“QUIET” from And].\n\nGerry Gilbert\n01:10:28\nReads untitled poem [from And].\n\nGerry Gilbert\n01:10:41\nReads [“THE WEST IS ALONE SEA” from And].\n\nGerry Gilbert\n01:10:57\nReads “TICKET” [from And].\n\nGerry Gilbert\n01:11:33\nReads [“2.1.71” from And]. \n\nGerry Gilbert\n01:12:44\nReads [“49th week 1970” from And].\n\nGerry Gilbert\n01:12:49\nReads “FRIED EGG SANDWICH ON BROWN” [from And].\n\nDavid McFadden\n01:13:54\nReads unnamed poem. \n \nGerry Gilbert\n01:23:26\nReads [first section of “Babyland Blues” from Money]. \n \nGerry Gilbert\n01:27:05\nReads unnamed poem. \n \nGerry Gilbert\n01:27:52\nReads [section of “Babybland Blues from Money].\n \nGerry Gilbert\n01:28:44\nReads unnamed poem.\n \nGerry Gilbert\n01:29:04\nReads [final section of “Babyland Blues from Money].\n \nEND\n01:29:19\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1971, at the time of the reading, David McFadden was a reporter for the Hamilton Spectator, and his collection of poems, Poems Worth Knowing was to be published the same year. His novel, The Great Canadian Sonnet was published the year before, in 1970.\\n\\nIn 1971, Gerry Gilbert published And a place in mind... (Hesheitworks, 1971), Apr. 35, 1978 (Hesheitworks, 1971), And (Blewointmentpress, 1971), Money (York Street Commune, 1971), and Lease (Coach House Press, 1971).\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nMcFadden was heavily invested in Canadian writing, and lived his whole life in Ontario and British Columbia. He had connections with George Bowering, as Bowering published an interview with McFadden in 1971. McFadden and Bowering had met while Bowering was at the University of Western Ontario, between 1966 and 1967.\\n\\nGerry Gilbert was an important avant-garde poet and publisher in Vancouver in the 60’s through to today. His press, Blewointmentpress published poetry by other Canadian poets such as Maxine Gadd, bill bissett and bp Nichol. His direct connections to Sir George Williams University are unknown, however George Bowering or Roy Kiyooka might have known Gilbert from the Vancouver scene.\",\"type\":\"General\"},{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>2 CDs>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/contemporary-canadian-poem-anthology/oclc/476332314&referer=brief_results\",\"citation\":\"Bowering, George, ed. The Contemporary Canadian Poem Anthology. Toronto: Coach House Press, 1984\"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/1229534811&referer=brief_results\",\"citation\":\"Berry, Reg. \\\"McFadden, David\\\".  The Oxford Companion to Twentieth-Century Poetry in        English. Ian Hamilton. Oxford University Press, 1996. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/858858596&referer=brief_results\",\"citation\":\"Davey, Frank. \\\"McFadden, David\\\", The Oxford Companion to Canadian Literature. Eugene Benson and William Toye. Oxford University Press 2001. \"},{\"url\":\"https://www.worldcat.org/title/from-there-to-here-a-guide-to-english-canadian-literature-since-1960-ii-our-nature-our-voices/oclc/878901819&referer=brief_results\",\"citation\":\"Davey, Frank. “Gerry Gilbert”. From There to Here: A Guide to English-Canadian Literature Since 1960, Our Nature-Our Voices II. Erin, Ontario: Press Porcepic, 1974. \"},{\"url\":\"https://www.worldcat.org/title/from-there-to-here-a-guide-to-english-canadian-literature-since-1960-ii-our-nature-our-voices/oclc/878901819&referer=brief_results\",\"citation\":\"Davey, Frank. “David McFadden”. From There to Here: A Guide to English-Canadian Literature Since 1960, Our Nature-Our Voices II. Erin, Ontario: Press Porcepic, 1974.\\n\"},{\"url\":\"https://www.worldcat.org/title/money/oclc/427223207&referer=brief_results\",\"citation\":\"Gilbert, Gerry. Money. Vancouver: York Street Commune Press, 1971.\"},{\"url\":\"https://www.worldcat.org/title/phone-book/oclc/92241&referer=brief_results\",\"citation\":\"Gilbert, Gerry. Phone Book. Toronto: Weed/Flower Press, 1969. \"},{\"url\":\"https://www.worldcat.org/title/white-lunch-poems/oclc/869020598&referer=brief_results\",\"citation\":\"Gilbert, Gerry. White Lunch, Poems. Vancouver: Periwinkle Press, 1964. \"},{\"url\":\"https://www.worldcat.org/title/grounds-poems/oclc/1087483441&referer=brief_results\",\"citation\":\"Gilbert, Gerry. Grounds. Vancouver: Talonbooks, 1976. \"},{\"url\":\"https://www.worldcat.org/title/lease/oclc/729960668?referer=di&ht=edition\",\"citation\":\"Gilbert, Gerry. Lease. Toronto: Coach House Press, 1972. \"},{\"url\":\"https://www.worldcat.org/title/and/oclc/1005955202&referer=brief_results\",\"citation\":\"Gilbert, Gerry. And. Vancouver: Blewointmentpress, 1971.\"},{\"url\":\"https://www.worldcat.org/title/great-canadian-sonnet/oclc/301438651&referer=brief_results\",\"citation\":\"McFadden, David. The Great Canadian Sonnet. Toronto: Coach House Press, 1970. \"},{\"url\":\"https://www.worldcat.org/title/great-canadian-sonnet-the-great-canadian-sonnet/oclc/15750598&referer=brief_results\",\"citation\":\"McFadden, David. The Great Canadian Sonnet. Toronto: Coach House Press, 1974. \"},{\"url\":\"https://www.worldcat.org/title/great-lakes-suite/oclc/37490622?referer=di&ht=edition\",\"citation\":\"McFadden, David. Great Lakes Suite. Vancouver, Talonbooks, 1997. \"},{\"url\":\"https://www.worldcat.org/title/intense-pleasure/oclc/421732872&referer=brief_results\",\"citation\":\"McFadden, David. Intense Pleasure. Toronto: McClelland and Stewart, 1972. \\n\"},{\"url\":\"https://www.worldcat.org/title/poems-worth-knowing/oclc/422697370&referer=brief_results\",\"citation\":\"McFadden, David. Poems Worth Knowing. Toronto: Coach House Press, 1971. \"},{\"url\":\"https://www.worldcat.org/title/why-are-you-so-sad/oclc/899150333&referer=brief_results\",\"citation\":\"McFadden, David. Why Are You So Sad? Toronto: Insomniac Press, 2007. \"},{\"url\":\"\",\"citation\":\"“Poetry Readings”. OP-ED. Montreal: Sir George Williams University, 6 October 1967, page 6. \"}]"],"_version_":1853670548930822144,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0019_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0019_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"McFadden and Gilbert Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0019_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0019_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"McFadden and Gilbert Tape Box - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0019_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0019_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"McFadden and Gilbert Tape Box - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0019_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0019_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"McFadden and Gilbert Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/david_mcfadden_gerry_gilbert_i006-11-019.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\" david_mcfadden_gerry_gilbert_i006-11-019.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:29:19\",\"precision\":\"\",\"size\":\"214.4 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"George Bowering\\n00:00:08\\nWe have two readers tonight, both Canadian poets, as you know, and, but in most cases when we have two poets as we did last time, we generally have one poet read for a while, then have a break, and then have the other poet read for a while, but we're not going to do it that way tonight. We're just going to throw the thing open to both David McFadden [https://www.wikidata.org/wiki/Q5237344] and Gerry Gilbert [https://www.wikidata.org/wiki/Q5552756] and they will work it out as it seems to work out for them. This makes a lot of sense, although they've never read together before, they're both published by the same publishing house, and published in the same magazines and know each other as they used to say in the old days in the ivy league by reputation. Gerry Gilbert is, as a lot of people we've had this year, is from the West Coast and has been involved for quite a while with an outfit in the coast that gobbles up your tax money called Intermedia [https://www.wikidata.org/wiki/Q39079179], that's why the screen is there, something might happen there occasionally. Gerry was at one time the editor of a seminal West Coast publishing venture called Radio Free Rain Forest, and is the author of a series of books and things that are like books, as for instance, White Lunch which came out several years ago in Vancouver [https://www.wikidata.org/wiki/Q24639] and Telephone Book which is published by Coach House Press, I think, no, Weed/Flower, sorry. David's also been published by Weed/Flower and the Coach House Press, and his forthcoming book is the second volume of the Big/Little Book novel, called The Great Canadian Sonnet with illustrations by a little-known London [https://www.wikidata.org/wiki/Q92561] artist named Greg Curnoe [https://www.wikidata.org/wiki/Q5605459]. His next book is going to be called Poems Worth Knowing, a title that anyone from Ontario [https://www.wikidata.org/wiki/Q1904] or British Columbia [https://www.wikidata.org/wiki/Q1974] will know. What we're going to do is they're going to operate for a little while, and then when they feel the need for a break there will be a short intermission, like about ten minutes, then we'll proceed again with what, as they say, the second set. So I'm not going to be able to say that somebody's reading first and somebody's reading second but what I will be able to say is that the readers will be David McFadden and Gerry Gilbert.\\n \\nUnknown\\n00:02:39\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nDavid McFadden\\n00:02:40\\nReads unnamed poem. \\n\\nUnknown\\n00:06:02\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nGerry Gilbert\\n00:06:03\\nReads \\\"Her white face where I have seen Her ride the last bus, before\\\" [from Money].\\n \\nGerry Gilbert\\n00:07:14\\nReads \\\"A moving picture moves, it's the truth about movies\\\" [from Money].\\n \\nDavid McFadden\\n00:07:33\\nReads unnamed poem. \\n \\nGerry Gilbert\\n00:08:20\\nReads \\\"I REMEMBER TOOTSIE ROLLS when they were only in American comic books\\\" [from Money].\\n \\nDavid McFadden\\n00:09:46\\nReads [“The Slippery Wig” published later in Intense Pleasure and collected in Why Are You So Sad?]. \\n \\nGerry Gilbert\\n00:10:38\\nReads \\\"London 1964\\\" [from Money]\\n \\nDavid McFadden\\n00:12:28\\nReads unnamed poem. \\n \\nGerry Gilbert\\n00:13:37\\nReads \\\"waitress calls the man in the corner, HARRY” [from Money].\\n \\nDavid McFadden\\n00:14:30\\nReads unnamed poem. \\n \\nGerry Gilbert\\n00:14:53\\nReads \\\"the pleasure. I said” [from Money].\\n \\nDavid McFadden\\n00:16:14\\nReads [“Titles I Have Heard Of But Not Read” published later in Intense Pleasure and collected in Why Are You So Sad?].\\n \\nGerry Gilbert\\n00:18:26\\nReads [\\\"Single Mens Unit\\\" from Money].\\n \\nDavid McFadden\\n00:19:05\\nReads unnamed poem. \\n \\nDavid McFadden\\n00:21:03\\nReads unnamed poem.\\n \\nGerry Gilbert\\n00:23:13\\nReads \\\"Goodness and mercy are following me across the lake\\\" [from Money].\\n\\nGerry Gilbert\\n00:24:10\\nReads \\\"Bicycle\\\" [from Money].\\n \\nGerry Gilbert\\n00:24:55\\nReads \\\"on the bed” [from Money].\\n \\nDavid McFadden\\n00:25:32\\nReads unnamed poem. \\n \\nDavid McFadden\\n00:26:05\\nReads unnamed poem.\\n \\nDavid McFadden\\n00:26:18\\nReads unnamed poem.\\n \\nGerry Gilbert\\n00:26:49\\nReads unnamed poem.\\n \\nGerry Gilbert\\n00:28:03\\nReads \\\"bone ring on my finger\\\" [from Money].\\n \\nDavid McFadden\\n00:28:34\\nReads unnamed poem. \\n \\nDavid McFadden\\n00:31:05\\nReads unnamed poem.\\n \\nGerry Gilbert\\n00:32:10\\nWe're reading Canadian history. A few of the poems from Phone Book.\\n \\nGerry Gilbert\\n00:32:28\\nReads untitled poem from Phone Book.\\n \\nGerry Gilbert\\n00:33:05\\nReads untitled poem from Phone Book.\\n \\nGerry Gilbert\\n00:33:42\\nReads untitled poem from Phone Book.\\n \\nGerry Gilbert\\n00:34:31\\nReads untitled poem from Phone Book.\\n \\nGerry Gilbert\\n00:35:25\\nReads untitled poem from Phone Book.\\n \\nGerry Gilbert\\n00:36:37\\nReads untitled poem from Phone Book.\\n \\nGerry Gilbert\\n00:36:58\\nReads untitled poem from Phone Book.\\n \\nGerry Gilbert\\n00:37:29\\nThis poem's called \\\"Garden\\\".\\n \\nGerry Gilbert \\n00:37:35\\nReads \\\"Garden\\\" [from Money].\\n \\nDavid McFadden\\n00:38:38\\nReads [“Journey To Love” published later in Poems Worth Knowing].\\n \\nDavid McFadden\\n00:39:21\\nReads [“A Poem Without A Title Is Like A Letter Without A Stamp” published later in Poems Worth Knowing].\\n \\nGerry Gilbert\\n00:39:50\\nReads \\\"find your birds\\\" [from Money].\\n \\nDavid McFadden\\n00:41:32\\nReads [“Art’s Variety” published later in Poems Worth Knowing].\\n \\nGerry Gilbert\\n00:42:04\\nReads \\\"sometimes I miss\\\" [from Money].\\n \\nDavid McFadden\\n00:42:18\\nReads [“Another Revolution” published later in Poems Worth Knowing].\\n \\nDavid McFadden\\n00:42:57\\nReads [“Chapter One” from The Great Canadian Sonnet].\\n \\nGerry Gilbert\\n00:47:06\\nDid I hear you say 'boiled skunks'? This is a little tale. \\n\\nGerry Gilbert\\n00:49:24\\nReads unnamed poem. \\n\\nGerry Gilbert\\n00:49:45\\nReads unnamed poem. \\n \\nGerry Gilbert\\n00:51:42\\nReads unnamed poem.\\n \\nDavid McFadden\\n00:53:02\\nReads \\\"Vital Statistics: Distances from Hamilton To...\\\" [from The Great Canadian Sonnet]. \\n \\nGerry Gilbert\\n00:54:52\\nReads unnamed poem.\\n \\nDavid McFadden\\n00:54:52\\nReads unnamed poem. \\n \\nDavid McFadden\\n00:55:52\\nReads unnamed poem [audience laughter throughout]. \\n \\nGerry Gilbert\\n00:56:52\\nReads [“SQUEEZE THRU THE TUBE” from And].\\n\\nGerry Gilbert\\n00:57:08\\nReads [“24.11.70. TORONTO” from And].\\n\\nGerry Gilbert\\n00:57:59\\nThe following is a Rochdale College [https://www.wikidata.org/wiki/Q14875408] council meeting. 23rd of November, 1970.\\n\\nGerry Gilbert\\n00:58:08\\nReads [“ROCHDALE COUNCIL MEETING 23.11.70” and other untitled sections from And].\\n \\nDavid McFadden\\n01:01:24\\nReads unnamed poem. \\n \\nDavid McFadden\\n01:01:39\\nReads unnamed poem. \\n\\nUnknown\\n01:09:59\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nGerry Gilbert\\n01:10:01\\nReads [“QUIET” from And].\\n\\nGerry Gilbert\\n01:10:28\\nReads untitled poem [from And].\\n\\nGerry Gilbert\\n01:10:41\\nReads [“THE WEST IS ALONE SEA” from And].\\n\\nGerry Gilbert\\n01:10:57\\nReads “TICKET” [from And].\\n\\nGerry Gilbert\\n01:11:33\\nReads [“2.1.71” from And]. \\n\\nGerry Gilbert\\n01:12:44\\nReads [“49th week 1970” from And].\\n\\nGerry Gilbert\\n01:12:49\\nReads “FRIED EGG SANDWICH ON BROWN” [from And].\\n\\nDavid McFadden\\n01:13:54\\nReads unnamed poem. \\n \\nGerry Gilbert\\n01:23:26\\nReads [first section of “Babyland Blues” from Money]. \\n \\nGerry Gilbert\\n01:27:05\\nReads unnamed poem. \\n \\nGerry Gilbert\\n01:27:52\\nReads [section of “Babybland Blues from Money].\\n \\nGerry Gilbert\\n01:28:44\\nReads unnamed poem.\\n \\nGerry Gilbert\\n01:29:04\\nReads [final section of “Babyland Blues from Money].\\n \\nEND\\n01:29:19\\n\",\"notes\":\"David McFadden reads from The Great Canadian Sonnet (Coach House Press, 1970), as well as poems published later in Poems Worth Knowing (Coach House Press, 1971) and Intense Pleasure (McClelland and Stewart, 1972). Gerry Gilbert reads from Money (York Street Commune, 1971) and Phone Book (Weed/Flower, 1969) and And (Blewointmentpress, 1971) as well as some poems from unknown sources.\\n00:00- Unknown Male introduces David McFadden and Gerry Gilbert [INDEX: Gerry Gilbert: West Coast, radiofreerainforest, Intermedia, White Lunch, Vancouver, Phone Book published by Weed/Flower Press. David McFadden: Coach House Press, Weed/Flower Press, Big Little Book novel, The Great Canadian Sonnet with illustrations by Greg Curnoe, Poems Worth Knowing, Ontario, British Columbia]\\n02:40- David McFadden reads first line “They try to teach you things so fast in school...”\\n06:03- Gerry Gilbert reads first line “Her right face, where I have seen her ride the last bus before...”\\n07:14- Gerry Gilbert reads first line “A moving picture moves...” [INDEX: in the section “For Crying Out Loud” in Money]\\n07:33- David McFadden reads first line “At the vending machine, Garfield got a bag of...”\\n08:20- Gerry Gilbert reads first line “I remember tootsie rolls were only in American comic books...” [INDEX: in the section “For Crying Out Loud” in Money]\\n09:46- David McFadden reads first line “I sat next to her on the bus. She kept adjusting her black wig...”\\n10:38- Gerry Gilbert reads “London 1964” [INDEX: in the section “For Crying Out Loud”, in Money]\\n12:28- David McFadden reads “Received your postcard today and dropped it...”\\n13:37- Gerry Gilbert reads “The waitress calls the man in the corner Harry...” [INDEX: in the section “For Crying Out Loud” in Money]\\n14:30- David McFadden reads first line “Nine inches from navel to vulva...”\\n14:53- Gerry Gilbert reads first line “The pleasure, I said, I dreamed I was in    Vietnam...” [INDEX: in the section “For Crying Out Loud” in Money]\\n16:14- David McFadden reads first line “Dreams have become so full of intricate detail...”\\n18:26- Gerry Gilbert reads “Single Mens Unit” [INDEX: in Money]\\n19:05- David McFadden reads first line “The Bursby Police are a fine group of men...”\\n21:03- David McFadden reads first line “Napanee home for the aged Japanese Canadians...”\\n23:13- Gerry Gilbert reads first line “Goodness and Mercy are following me...” [INDEX: in the section “For Crying Out Loud” in Money]\\n24:10- Gerry Gilbert reads “Bicycle” [INDEX: in Money]\\n24:55- Gerry Gilbert reads first line “On the bed, we held, two hands a pot...”\\n25:32- David McFadden reads first line “The successful young alderman of ambition...”\\n26:05- David McFadden reads first line “The tub was dirty so I washed it out...”\\n26:18- David McFadden reads first line “I’m leaving on Saturday, Harry the sweeper talking...”\\n26:49- Gerry Gilbert reads first line “Blow by blow, solid, solid, short...”\\n28:03- Gerry Gilbert reads first line “Bone, ring on my finger, bell...” [INDEX: in section “For Crying Out Loud” in Money]\\n28:34- David McFadden reads first line “Spitting out the used up toothpaste...”\\n31:05- David McFadden reads first line “If you’re lucky enough to be there when your name is called...”\\n32:28- Gerry Gilbert reads first line “Mirror, mirror from Middle English...” [INDEX: in    \\tPhone Book]\\n33:05- Gerry Gilbert reads first line “Stabit, she’s big, her mom sed...” [INDEX: in Phone    Book]\\n33:42- Gerry Gilbert reads first line “Conductor, CN Conductor...” [INDEX: in Phone Book]\\n35:25- Gerry Gilbert reads first line “It began to rain, we sat on the hill...” [INDEX: in Phone Book]\\n36:37- Gerry Gilbert reads first line “The killer is at the top window...” [INDEX: in Phone    Book]\\n36:58- Gerry Gilbert reads first line “Can’t see the key, you have to reach...” [INDEX: in     Phone Book]\\n37:29- Gerry Gilbert reads “Garden” [INDEX: in Money]\\n38:38- David McFadden reads first line “No one knows his own potential for evil...”\\n39:21- David McFadden reads first line “I made a left turn from Houston onto King...”\\n39:50- Gerry Gilbert reads first line “Find your birds, ladies and gentlemen...” [INDEX: in the section “For Crying Out Loud” in Money]\\n41:32- David McFadden reads first line “She was small and pretty, my heart broke...”\\n42:04- Gerry Gilbert reads first line “Sometimes I miss the times I miss...” [INDEX: in the   section “For Crying Out Loud” in Money]    \\n42:18- David McFadden reads first line “Elege [sp?] expands to fill the vacuum left by loss of spirit...”\\n42:57- David McFadden reads first line “I’m Alabama-bound, my brain is firming round...”\\n47:24- END OF RECORDING\\n\\n00:02- Gerry Gilbert reads first line “I rolled down the slime trail after slug...”\\n01:59- Gerry Gilbert reads first line “Semitic origin, these etymological discussions...”\\n02:21- Gerry Gilbert reads “Spadina Salvation Army, December 1969”\\n04:27- David McFadden reads first line “Vital statistics, distances from Hamilton to \\tBoston...”\\n05:38- Gerry Gilbert reads first line “A place in mind clicks, switch...”\\n07:27- David McFadden reads first line “Joan was telling me how she was driving...”\\n08:28- David McFadden reads first line “The dog across the street is a little Pekinese...”\\n09:28- Gerry Gilbert reads series of poems starting with first lines “I was in Ottawa...” and “Matches, I never saw Eddie...”\\n10:09- Gerry Gilbert reads series of poems starting with first lines “I can’t find the sky...” and “I see you and baby...” and “9 or 10 council men and women...”\\n14:00- David McFadden reads first line “Collier's Encyclopedia says...”\\n14:15- David McFadden reads first line “Joan said she was miserable that day...”\\n22:35- Gerry Gilbert reads of series of short poems with first lines “Buddha, somebody stole...”, “I jacked-off..”, “We’ve been having technical...”, “Go sooner than you   expect...”. “If you like lots of food...”, “Ticket, way West...”, “Pictures of windows...”, “Pencil, don’t dry out...”, “Each a life, eat your wife...”, “Fried egg sandwich...”, “The world is so young...”, “Your own, a better night...”, “She loved me...”, “Hair, hooked behind my ears...”, “Your first is something nobody...”\\n26:29- David McFadden reads first line “The car was running very well...”\\n36:01- Gerry Gilbert reads first line “I know what I’m doing...”\\n39:40- Gerry Gilbert reads first line “Eagle, hear me coming...”\\n40:28- Gerry Gilbert reads first line “Water the garden after...”\\n41:19- Gerry Gilbert reads first line “Each size, big places...”\\n41:40- Gerry Gilbert reads first line “Sweet, sweet babyland bird...”\\n41:55.46- END OF RECORDING\\n \\n*Note about Transcript: because both readers read their work without any extra-poetic speech, there are no ‘annotated’ notes. The text that is spoken by the poets is marked by quotation marks. Poem titles are indicated, when available, in the [Indexed] sections. \",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/david-mcfadden-and-gerry-gilbert-at-sgwu-1971/\"}]"],"score":1.6793567},{"id":"1294","cataloger_name":["Bindu,Reddy"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Kenneth Koch at Sir George Williams University, The Poetry Series, 19 February 1971"],"item_title_source":["Cataloguer "],"item_title_note":["\"KENNETH KOCH Recorded February 19, 1971 3.75 ips on 1 mil. tape, 1/2 track Fair quality\" written on sticker on the back of the tape's box. KENNETH KOCH I006/SR39 written on sticker on the spine of the tape's box. I006-11-039 written on sticker on the reel.\n"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 5"],"item_identifiers":["[]"],"creator_names":["Koch, Kenneth"],"creator_names_search":["Koch, Kenneth"],"creators":["[{\"url\":\"http://viaf.org/viaf/110467351\",\"name\":\"Koch, Kenneth\",\"dates\":\"1925-2002\",\"notes\":\"Poet, playwright, author and teacher Kenneth Koch was born on February 27, 1925 in Cincinnati, Ohio. In 1943, after completing high school, Koch served in the United States Army until 1945. He then enrolled at Harvard University, and received his B.A. degree in 1948 in English literature and writing. Koch then entered the Ph.D. program at Columbia University in New York City, through which he traveled on a Fulbright scholarship to France to study avant-garde poetry. In New York, he met poets John Ashbery and Frank O’Hara, the three of whom would be coined the New York School of Poets. Koch published his first collection of poetry, Poems (Tibor de Nagy Gallery, 1953), and wrote a play, Little Red Riding Hood (1953), followed by Ko; or, A Season on Earth (Grove Press, 1959).  During this time Koch taught at Rutgers and Brooklyn Colleges before he completed his Ph.D. in 1959. Koch’s second play, Bertha, debuted in 1960, along with a third collection of poetry, Permanently (Tiber Press, 1960). In the early 60’s, Koch published plays, including George Washington Crossing the Delaware, The Construction of Boston (both in 1962), Guinevere; or, The Death of the Kangaroo, (1964). Koch was also a brilliant teacher, creating poetry and reading programs for grade school students in New York City public schools, which he won a Harbison Award for teaching. He published his experiences in Wishes, Lies and Dreams: Teaching Children to Write Poetry (Chelsea House, 1970) and Rose, Where Did You Get That Red?: Teaching Great Poetry to Children (Random House, 1973), which won a Ohioana Book Award and a Christopher Book Award. He also launched a similar program for the elderly, as described in I Never Told Anybody: Teaching Poetry Writing in a Nursing Home (Random House, 1977). During this time Koch published numerous books of verse, namely The Pleasures of Peace and Other Poems (Grove Press, 1969), When the Sun Tries to Go On (Black Sparrow, 1969), Sleeping with Women (Black Sparrow Press, 1969), the highly praised The Art of Love (Random House, 1975) which won the National Institute of Arts and Letters award in 1976, The Burning Mystery of Anna in 1951 (Random House, 1979). A prolific writer, Koch wrote over forty books and plays, including Days and Nights (Random House, 1982), On the Edge (Alfred A. Knopf, 1986) which won an Award of Merit for Poetry from the American Academy and Institute of Arts and Letters, Selected Poems, 1950-1982 (Random House, 1985), a book of short dramatic selections One Thousand Avant-garde Plays (Knopf, 1988) won a National Book Critic’s Circle nomination, Selected Poems, (Carcanet, 1991), On the Great Atlantic Rainway: Selected Poems, 1950-1988 (Knopf, 1994) and his last book, New Addresses (Knopf, 2000). 1995 was a big year for Koch, as he was awarded the Bollingen Prize for a lifetime achievement to poetry, and was elected to the American Academy of Arts and Letters. Subsequently, Koch received the Rebekah Johnson Bobbitt National Prize for Poetry in 1996, the Chevalier de l’ordre des arts et des lettres in France in 1999, and the Phi Beta Kappa Poetry Award. Kenneth Koch died of leukemia on July 6, 2002 in New York City.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Bowering, George"],"contributors_names_search":["Bowering, George"],"contributors":["[{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Presenter\"]}]"],"Presenter_name":["Bowering, George"],"Series_organizer_name":["Bowering, George"],"Performance_Date":[1971],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1971 2 19\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the back of the tape's box and in written announcement \\\"What Goes On!\\\"\\n\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["Kenneth Koch reads from Thank You and Other Poems (Grove Press, 1962), The Pleasures of Peace and Other Poems (Grove Press, 1969), works published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971 (Random House, 1973) and from other unknown sources."],"contents":["kenneth_koch_i006-11-039.mp3\n\nGeorge Bowering\n00:00:00\nMost people will have seen, probably, the little promo sheet that went out about Kenneth [https://www.wikidata.org/wiki/Q2708628] talking about all his various books et cetera, so I'll keep this very short. Those that have been involved in reading American poetry over the past few years will naturally know who Kenneth Koch is, that he along with Frank O'Hara [https://www.wikidata.org/wiki/Q951010] probably invented modern American poetry in New York City [https://www.wikidata.org/wiki/Q60], and it's, and he's also been in the news lately in the various, Slick magazine in the United States [https://www.wikidata.org/wiki/Q30] as a teacher of poetry, a very important teacher of poetry to kids in schools. And he's the only man I know who's been able to write what I think is probably an epic in the American language. So I'd like to make this as fast as I can and introduce Mr. Kenneth Koch.\n \nAudience\n00:00:58\nApplause.\n \nUnknown\n00:01:03\n[Cut or edit in tape. Unknown amount of time elapsed].\n \nKenneth Koch\n00:01:04\nThe first poem I'll read is called \"Spring\". \n \nKenneth Koch\n00:01:08\nReads \"Spring\" [from Thank You and Other Poems].\n \nKenneth Koch\n00:02:36\nThe next poem I want to read is called \"Variations on a Theme by William Carlos Williams\". I love Williams' [https://www.wikidata.org/wiki/Q178106] work, and I usually only write parodies of people whose work I like a lot. This parody is based on a poem of Williams, well, actually, on a certain characteristic I saw in Williams' work for a long time which I like, which is sort of, the idea that if you really like something enough and if you want to do it enough, it's okay to do it. And I saw certain insane possibilities of this viewpoint. This is specifically a parody of a poem which goes, \"This is just to say I've eaten the plums in the icebox and which you were probably saving for breakfast. Forgive me, they were so cold and so delicious\". It's really a nice poem, but it seemed to me there was a little streak of insanity running through it. It's called, \"Variations on a Theme by William Carlos Williams\".\n \nKenneth Koch\n00:03:28\nReads \"Variations on a Theme by William Carlos Williams\" [from Thank You and Other Poems].\n \nKenneth Koch\n00:04:33\nI'd like to read another short poem, this is called \"You Were Wearing\".\n \nKenneth Koch\n00:04:38\nReads \"You Were Wearing\" [from Thank You and Other Poems].\n \nKenneth Koch\n00:06:37\nI'm trying to find the ideal lights still, it’s--okay, I think that's probably a bit better. The next thing that I want to read is a play called \"E.KOLOGY\". It's...E.KOLOGY is the name of the hero, it's like capital \"E,\" period, capital \"KOLOGY.\" I'd like to say something about this play. I read it at the University of Chicago [https://www.wikidata.org/wiki/Q131252] last year, and some students thought that I was making fun of the ecology movement. I'm not, and I would see to it that if it were produced that that was not the case. It just seemed to me that the ecology movement was such a, like a natural cause for pleasure that it wouldn't really do to be totally solemn about it. The, I wrote this to be performed on Earth Day [https://www.wikidata.org/wiki/Q124473], in New York last year in April, but they were supposed to have all these things in Union Square [https://www.wikidata.org/wiki/Q110007] and it just ended up being a lot of light shows and speeches, I think, because they couldn't get the actors together and the lights and the stage and everything. It was done in Philadelphia [https://www.wikidata.org/wiki/Q1345], did anyone see it, by any chance? Probably not. I didn't see it. I didn't even know it was done. In any case. E.KOLOGY. \n \nKenneth Koch\n00:07:44\nReads E.KOLOGY - Act One, Scene One [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:09:38\nReads E.KOLOGY - Act One, Scene Two [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:11:19\nReads E.KOLOGY - Act One, Scene Three [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:12:06\nReads E.KOLOGY - Act Two [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:13:54\nReads E.KOLOGY - Act Three, Scene One [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:14:24\nReads E.KOLGOY - Act Three, Scene Two [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:16:04\nReads E.KOLOGY - Act Four [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:17:30\nReads E.KOLOGY - Act Five [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nAudience\n00:19:34\nApplause.\n \nKenneth Koch\n00:19:44\nWhile you're in the mood for theatre, I'll read a film script I wrote which I'd be delighted if someone would do. No one's ever done it. Apparently it would cost a great deal to do this, although it's very simple. It's called “Youth”.\n \nKenneth Koch\n00:19:57\nReads \"Youth\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:21:36\nI don't hear any takers unless...Let's see. This is a very short poem called, \"Poem\".\n \nKenneth Koch\n00:21:53\nReads \"Poem\" [from The Pleasures of Peace and Other Poems].\n \nKenneth Koch\n00:22:11\nThis, this poem is called \"Ma Provence\", and my interest in writing it was the different way that French and English sound to me. \"Ma Provence\".\n \nKenneth Koch\n00:22:23\nReads \"Ma Provence\" [from The Pleasures of Peace and Other Poems].\n \nKenneth Koch\n00:22:52\nI usually translate the French, but I guess here I don't really have to. I'll read a...the French is very banal, it means, \"In my Provence the wheat is always green, the girls are pretty, they love me madly, they never die in my Provence\". This poem is called \"Great Beauty\". \n \nKenneth Koch\n00:23:14\nReads \"Great Beauty\".\n \nKenneth Koch\n00:23:31\nThis poem is called \"Little Known Historical Fact\".\n \nKenneth Koch\n00:23:35\nReads \"Little Known Historical Fact\".\n \nKenneth Koch\n00:23:48\nCharlemagne [https://www.wikidata.org/wiki/Q3044] is an Italian. [Audience laughter]. This is called...\"Getting Back on Land\".\n \nKenneth Koch\n00:24:06\nReads \"Getting Back on Land\".\n \nAudience\n00:24:22\nLaughter. \n \nKenneth Koch\n00:24:29\nThis, the next thing I want to read is part of a long poem I've been writing in the last year. George [https://www.wikidata.org/wiki/Q1239280] mentioned an epic poem I wrote called “Ko”, which I wrote about, oh twelve or fourteen years ago, and it's a poem...that's “Ko”, there it is, and it's about a hundred and twenty pages, it's in ottava rima, which is a stanza that Ariosto [https://www.wikidata.org/wiki/Q48900] used in Orlando Furioso [https://www.wikidata.org/wiki/Q48922] and it's also the stanza that Byron [https://www.wikidata.org/wiki/Q5679] used in Don Juan [https://www.wikidata.org/wiki/Q1245187]. It rhymes ABABABCC. And...I really like “Ko” a lot. It's a poem about a, the main character is a Japanese baseball player, a pitcher, who throws the ball so hard he knocks the grandstand down with every pitch. And there are a lot of other characters in it. When I wrote the poem I really was very happy, I was living in Florence [https://www.wikidata.org/wiki/Q2044], in a villino, and, sort of outside of town on the Viale Michelangelo, and what I tried to do in “Ko” is like to put in every pleasant thing I'd ever experienced in my life, and the poem is kind of happy and optimistic. And I always wanted to continue it, because I liked writing that way. And I never could, because the continuation was always sort of in the style of “Ko” exactly and not as good. It sort of lost that particular feeling. Then I finally was able to start doing it again, recently, but I noticed as I went on writing the poem that it had changed a good deal, that my idea about life and the world was not quite the same, naturally, partly because it changes in me, and partly because it changes in the world, but I don't want to get into metaphysical questions. In any case, the first thing I want to read from this poem is the, like the “Prologue”, which explains my problems in continuing this very happy poem fourteen years afterwards. The only, I think the only thing that needs explaining that I haven't explained is that “Ko” ends with the line, \"Huddle, meanwhile, was flaking at the knees.\" Now Huddle is a, like an Englishman in “Ko” who dies of mold fever in Rome [https://www.wikidata.org/wiki/Q220], and when he dies he turns into a statue which is set up near the Villa Giulia [https://www.wikidata.org/wiki/Q964499] in Rome. And all of the other characters that have been killed sort of turn into statues and start coming back to life, and this is a sign that Huddle is coming back to life but he's flaking at the knees. In any case, that's referred to at the beginning of the “Prologue”.\n \nKenneth Koch\n00:27:00\nReads \"Prologue\".\n \nKenneth Koch\n00:34:08\nThat's the end of the “Prologue”. I want to read the first episode in the poem, now. I realize there was another, perhaps incomprehensible thing in the “Prologue”. Pana Grady...Pana Grady's apartment was a place on...Central Park West [https://www.wikidata.org/wiki/Q2738041] where a lot of parties were held for Upper and Lower Bohemia in the days...well, it was about five or six years ago. Anyway. That's the end of the “Prologue”, which I'm not sure I'm finally going to attach to the poem, since I usually eliminate prologues. And this is the beginning of the poem. \n \nKenneth Koch\n00:34:55\nReads [\"Episode I”].\n \nKenneth Koch\n00:41:07\nThat's the end of the first part. To tell you what happens in this poem would take as long as reading the whole poem, which I don't have time to do. I think I'd like to read some brief, improvisational plays. I wrote these plays to be done at The Living Theatre [https://www.wikidata.org/wiki/Q1202416], though I knew they wouldn't do them. Somebody asked me to write some improvisational plays, it's really, it's really great, you know, writes it with some actors that want to do it, and I'd, I'd seen some improvisational plays and it seemed to me that the only emotions that actors could improvise were...let's see, passion, nostalgia, self-hatred, anxiety, and then make narcissism and then make topical references, and I decide to really throw sort of a curve at actors and give them something that would really be hard to improvise. My penalty has been that these plays have never been done. The first one I'd like to read...I'd be very glad if they were, could be given a premiere here in Canada [https://www.wikidata.org/wiki/Q16]. \"Mexico City\".\n \nKenneth Koch\n00:42:18\nReads \"Mexico City\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:43:13\nThe next one is called \"The Lost Feed\".\n \nKenneth Koch\n00:43:16\nReads \"The Lost Feed\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:44:12\nThe next play is called \"Coil Supreme\".\n \nKenneth Koch\n00:44:17\nReads \"Coil Supreme\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:44:48\nThe last improvisational play I'll read is the one that has always moved me the most at the thought of production. It's called \"The Gold Standard\".\n \nKenneth Koch\n00:44:57\nReads \"The Gold Standard\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:45:54\nI think I'd like to read a rather long poem called...my present plan, which--I don't want to really ruin people's evening, since I didn't start until 9:30, I think the poems that I would like to read will last until 11. So, it's twenty-five after ten now, I don't want to keep anybody up to late or anything. [Audience laughter]. If...Don't feel bad about leaving if you have to go, I want to read these two rather long poems. This is called \"The Pleasures of Peace\". I should say something about this poem, I wrote it...I started to write it, oh, three years ago, or whenever it was, maybe it was four years ago, but it took me a long time to write it. I guess about three years ago I started. It was at the moment of the, when there really was a lot of happiness in the peace movement in the United States. And it was like the first Peace Marches on Fifth Avenue, and people were jumping up and down for peace, and dancing for peace, and it really seemed as though what people were doing was going to do some good. And I remember feeling very excited in the first set of mass peace activities I was in because, being a poet, and having been brought up in America and everything and like almost all the other poets and artists I knew I sort of felt like a social outcast a little bit. And then I found, in the midst of the peace movement, like there were hundreds of thousands of people who sort of felt the same way about a lot of things, it was nice. And there was something very sort of grand and exciting about the peace movement which does not have anything to do with the issues at all, it was just a lot of fun. In a way it was sort of...it was very pleasant. There were a few other things that motivated this poem. One was I was very annoyed at a lot of my fellow-poets who were going around, giving, in groups to colleges, giving poetry readings for peace. Now there were two things about this that annoyed me, three things. One was that I wasn't doing it. But that, I think, was a minor thing  A second thing was that...who did they really think they were trying to convert, like college students who came to poetry readings? I mean, college students who come to poetry readings are not usually in favour of war. And in the second-place, all the poems they read for peace were the sort of things that would make you want to go out and kill people, like \"Lyndon Johnson [https://www.wikidata.org/wiki/Q9640], you, fuck the pregnant woman who's lying with her guts streaming out,\" [audience laughter] and they weren't, they didn't really...they didn't really seem like peace poems to me. It...And I felt it was sort of exploitative on their part to do that. So I wanted to write a--I'd never written a political poem and I wanted very much to write a poem, I had very strong feelings about the Vietnam War [https://www.wikidata.org/wiki/Q8740], and I wanted to write a poem against the war but which really, was really a poem, a positive poem about peace. I found it terribly hard to do, and I never worked so long on any poem. The fact that I worked so long on it does not mean that it's any better than anything else I ever wrote, but it was just hard, because I kept trying to put in sort of, things about suffering and so on, and they would jump out of the poem the way an artificial heart, I mean the way a transferred heart is sometimes rejected by the body. And I realized I was sort of stuck with writing a poem that was, like, one of my poems, it was really sort of a positive poem about peace. Another problem is that if you write a poem about the pleasures of peace it means you're writing a poem about the pleasures of life. And it's endless, in any case. That's about enough of that for now. It took me over a year to write, it was mainly the last part I couldn't write, since I didn't want to have sort of a literary copout at the end, and I didn't want to sort of end up, oh well, anyway. It's just a poem. The only thing--I got varied reactions to the poem. One...some dopey poet friend of mine came over and said, \"Boy, you really put the peace movement down\". And I haven't spoken to him very much since then. But then, a better reaction was that I got, some guy called me up and asked me if he could use this poem as his draft resistance statement. And I said you're going to languish in prison for a long time because, you know, judges don't like poetry. But anyway. Now just forget everything I've said [audience laughter] and I'll read this poem. And there's a pause. \"The Pleasures of Peace\". Oh! Another thing. [Audience laughter]. I read this poem in London [https://www.wikidata.org/wiki/Q84] last year, and I got this dopey review in the Times [https://www.wikidata.org/wiki/Q50008] by, who was it....I'm not sure. And he said, \"Kenneth Koch's 'Pleasures of Peace' is a very interesting poem but since he mentions the name of all his friends which we can't be expected to know”--like about 90% of the people in this poem are imaginary. They, they're not my friends. [Audience laughter]. Okay. Like Georgio Finogo is not a real person, okay?. \"The Pleasures of Peace\".\n \nKenneth Koch\n00:51:15\nReads \"The Pleasures of Peace\" [from The Pleasures of Peace and Other Poems].\n \nAudience\n01:11:09\nApplause. \n \nKenneth Koch\n01:11:15\nThank you. \n \nKenneth Koch\n01:11:22\nI want to read another poem which will take about seven minutes, but just to rest up I'll read a short poem...I can't find one short enough...Oh, this is called \"An X-Ray of Utah\".\n \nKenneth Koch\n01:12:00\nReads \"An X-Ray of Utah\" [from The Pleasures of Peace and Other Poems].\n \nKenneth Koch\n01:12:08\nWell that's the shortest poem I ever wrote. [Audience laughter]. Except, there's one that's not in any of my books which is called \"Tennis\", which is the same length. \n \nKenneth Koch\n01:12:19\nReads \"Tennis\".\n \nKenneth Koch\n01:12:29\nOh, I think I'll read a few movie scripts. I'll just read a few. This is really for, this is from something called \"Ten Films\", but I'll just read a few of them, which are my favourites. One of the films is called \"Sheep Harbour\".\n \nKenneth Koch\n01:12:44\nReads \"Sheep Harbour\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n01:12:57\nLike, the camera could sort of show this for a long time.\n \nKenneth Koch\n01:13:03\nReads \"Oval Gold\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n01:13:19\nI'll just read one more of these films. This is called \"The Cemetery\".\n \nKenneth Koch\n01:13:24\nReads \"The Cemetery\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n01:13:49\nI'll read this one last poem which is called \"Sleeping with Women”.  \"Sleeping with Women\".\n \nKenneth Koch\n01:13:54\nReads \"Sleeping with Women\" [from The Pleasures of Peace and Other Poems].\n\nEND\n01:22:37\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nDuring this time, Koch published Wishes, Lies and Dreams: Teaching Children to Write Poetry (Chelsea House, 1970) and Rose, Where Did You Get That Red?: Teaching Great Poetry to Children (Random House, 1973), recounting his teaching experiences.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nDirect connections to Kenneth Koch and Sir George Williams University are unknown, but Koch was an important and influential New York poet and educator.\",\"type\":\"General\"},{\"note\":\"Original transcript by Rachel Kyne\\n\\nOriginal print catalogue, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\\n\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>2 CDs>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/change-of-hearts-plays-films-and-other-dramatic-works/oclc/469682283&referer=brief_results\",\"citation\":\"Koch, Kenneth. A Change of Hearts: Plays, Films and Other Dramatic Works, 1951-1971. New York: Random House, 1973. \"},{\"url\":\"https://www.worldcat.org/title/pleasures-of-peace-and-other-poems/oclc/256034641&referer=brief_results\",\"citation\":\"Koch, Kenneth. The Pleasures of Peace and Other Poems. New York: Grove Press, Inc, 1969. \"},{\"url\":\"https://www.worldcat.org/title/thank-you-and-other-poems/oclc/256035573&referer=brief_results\",\"citation\":\"Koch, Kenneth. Thank You and Other Poems. New York: Grove Press, Inc, 1962. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-american-literature/oclc/54356940&referer=brief_results\",\"citation\":\"\\\"Koch, Kenneth [Jay]\\\". The Oxford Companion to American Literature. James D. Hart (ed.), Phillip W. Leininger (rev.). Oxford University Press 1995.\"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/kenneth-koch-at-sgwu-1971/\",\"citation\":\"“What Goes On!”. The Georgian. Montreal: Sir George Williams University, 18 February 1971.\"},{\"url\":\"\",\"citation\":\"“Koch, Kenneth, 1925-”. Literature Online Biography. Cambridge: Chadwyck-Healey, Proquest, 2005.\"}]"],"_version_":1853670548932919296,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0039_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0039_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Kenneth Koch Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0039_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0039_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Kenneth Koch Tape Box - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0039_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0039_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Kenneth Koch Tape Box - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0039_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0039_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Kenneth Koch Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/kenneth_koch_i006-11-039.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"kenneth_koch_i006-11-039.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:22:37\",\"precision\":\"\",\"size\":\"103.7 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"George Bowering\\n00:00:00\\nMost people will have seen, probably, the little promo sheet that went out about Kenneth [https://www.wikidata.org/wiki/Q2708628] talking about all his various books et cetera, so I'll keep this very short. Those that have been involved in reading American poetry over the past few years will naturally know who Kenneth Koch is, that he along with Frank O'Hara [https://www.wikidata.org/wiki/Q951010] probably invented modern American poetry in New York City [https://www.wikidata.org/wiki/Q60], and it's, and he's also been in the news lately in the various, Slick magazine in the United States [https://www.wikidata.org/wiki/Q30] as a teacher of poetry, a very important teacher of poetry to kids in schools. And he's the only man I know who's been able to write what I think is probably an epic in the American language. So I'd like to make this as fast as I can and introduce Mr. Kenneth Koch.\\n \\nAudience\\n00:00:58\\nApplause.\\n \\nUnknown\\n00:01:03\\n[Cut or edit in tape. Unknown amount of time elapsed].\\n \\nKenneth Koch\\n00:01:04\\nThe first poem I'll read is called \\\"Spring\\\". \\n \\nKenneth Koch\\n00:01:08\\nReads \\\"Spring\\\" [from Thank You and Other Poems].\\n \\nKenneth Koch\\n00:02:36\\nThe next poem I want to read is called \\\"Variations on a Theme by William Carlos Williams\\\". I love Williams' [https://www.wikidata.org/wiki/Q178106] work, and I usually only write parodies of people whose work I like a lot. This parody is based on a poem of Williams, well, actually, on a certain characteristic I saw in Williams' work for a long time which I like, which is sort of, the idea that if you really like something enough and if you want to do it enough, it's okay to do it. And I saw certain insane possibilities of this viewpoint. This is specifically a parody of a poem which goes, \\\"This is just to say I've eaten the plums in the icebox and which you were probably saving for breakfast. Forgive me, they were so cold and so delicious\\\". It's really a nice poem, but it seemed to me there was a little streak of insanity running through it. It's called, \\\"Variations on a Theme by William Carlos Williams\\\".\\n \\nKenneth Koch\\n00:03:28\\nReads \\\"Variations on a Theme by William Carlos Williams\\\" [from Thank You and Other Poems].\\n \\nKenneth Koch\\n00:04:33\\nI'd like to read another short poem, this is called \\\"You Were Wearing\\\".\\n \\nKenneth Koch\\n00:04:38\\nReads \\\"You Were Wearing\\\" [from Thank You and Other Poems].\\n \\nKenneth Koch\\n00:06:37\\nI'm trying to find the ideal lights still, it’s--okay, I think that's probably a bit better. The next thing that I want to read is a play called \\\"E.KOLOGY\\\". It's...E.KOLOGY is the name of the hero, it's like capital \\\"E,\\\" period, capital \\\"KOLOGY.\\\" I'd like to say something about this play. I read it at the University of Chicago [https://www.wikidata.org/wiki/Q131252] last year, and some students thought that I was making fun of the ecology movement. I'm not, and I would see to it that if it were produced that that was not the case. It just seemed to me that the ecology movement was such a, like a natural cause for pleasure that it wouldn't really do to be totally solemn about it. The, I wrote this to be performed on Earth Day [https://www.wikidata.org/wiki/Q124473], in New York last year in April, but they were supposed to have all these things in Union Square [https://www.wikidata.org/wiki/Q110007] and it just ended up being a lot of light shows and speeches, I think, because they couldn't get the actors together and the lights and the stage and everything. It was done in Philadelphia [https://www.wikidata.org/wiki/Q1345], did anyone see it, by any chance? Probably not. I didn't see it. I didn't even know it was done. In any case. E.KOLOGY. \\n \\nKenneth Koch\\n00:07:44\\nReads E.KOLOGY - Act One, Scene One [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:09:38\\nReads E.KOLOGY - Act One, Scene Two [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:11:19\\nReads E.KOLOGY - Act One, Scene Three [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:12:06\\nReads E.KOLOGY - Act Two [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:13:54\\nReads E.KOLOGY - Act Three, Scene One [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:14:24\\nReads E.KOLGOY - Act Three, Scene Two [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:16:04\\nReads E.KOLOGY - Act Four [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:17:30\\nReads E.KOLOGY - Act Five [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nAudience\\n00:19:34\\nApplause.\\n \\nKenneth Koch\\n00:19:44\\nWhile you're in the mood for theatre, I'll read a film script I wrote which I'd be delighted if someone would do. No one's ever done it. Apparently it would cost a great deal to do this, although it's very simple. It's called “Youth”.\\n \\nKenneth Koch\\n00:19:57\\nReads \\\"Youth\\\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:21:36\\nI don't hear any takers unless...Let's see. This is a very short poem called, \\\"Poem\\\".\\n \\nKenneth Koch\\n00:21:53\\nReads \\\"Poem\\\" [from The Pleasures of Peace and Other Poems].\\n \\nKenneth Koch\\n00:22:11\\nThis, this poem is called \\\"Ma Provence\\\", and my interest in writing it was the different way that French and English sound to me. \\\"Ma Provence\\\".\\n \\nKenneth Koch\\n00:22:23\\nReads \\\"Ma Provence\\\" [from The Pleasures of Peace and Other Poems].\\n \\nKenneth Koch\\n00:22:52\\nI usually translate the French, but I guess here I don't really have to. I'll read a...the French is very banal, it means, \\\"In my Provence the wheat is always green, the girls are pretty, they love me madly, they never die in my Provence\\\". This poem is called \\\"Great Beauty\\\". \\n \\nKenneth Koch\\n00:23:14\\nReads \\\"Great Beauty\\\".\\n \\nKenneth Koch\\n00:23:31\\nThis poem is called \\\"Little Known Historical Fact\\\".\\n \\nKenneth Koch\\n00:23:35\\nReads \\\"Little Known Historical Fact\\\".\\n \\nKenneth Koch\\n00:23:48\\nCharlemagne [https://www.wikidata.org/wiki/Q3044] is an Italian. [Audience laughter]. This is called...\\\"Getting Back on Land\\\".\\n \\nKenneth Koch\\n00:24:06\\nReads \\\"Getting Back on Land\\\".\\n \\nAudience\\n00:24:22\\nLaughter. \\n \\nKenneth Koch\\n00:24:29\\nThis, the next thing I want to read is part of a long poem I've been writing in the last year. George [https://www.wikidata.org/wiki/Q1239280] mentioned an epic poem I wrote called “Ko”, which I wrote about, oh twelve or fourteen years ago, and it's a poem...that's “Ko”, there it is, and it's about a hundred and twenty pages, it's in ottava rima, which is a stanza that Ariosto [https://www.wikidata.org/wiki/Q48900] used in Orlando Furioso [https://www.wikidata.org/wiki/Q48922] and it's also the stanza that Byron [https://www.wikidata.org/wiki/Q5679] used in Don Juan [https://www.wikidata.org/wiki/Q1245187]. It rhymes ABABABCC. And...I really like “Ko” a lot. It's a poem about a, the main character is a Japanese baseball player, a pitcher, who throws the ball so hard he knocks the grandstand down with every pitch. And there are a lot of other characters in it. When I wrote the poem I really was very happy, I was living in Florence [https://www.wikidata.org/wiki/Q2044], in a villino, and, sort of outside of town on the Viale Michelangelo, and what I tried to do in “Ko” is like to put in every pleasant thing I'd ever experienced in my life, and the poem is kind of happy and optimistic. And I always wanted to continue it, because I liked writing that way. And I never could, because the continuation was always sort of in the style of “Ko” exactly and not as good. It sort of lost that particular feeling. Then I finally was able to start doing it again, recently, but I noticed as I went on writing the poem that it had changed a good deal, that my idea about life and the world was not quite the same, naturally, partly because it changes in me, and partly because it changes in the world, but I don't want to get into metaphysical questions. In any case, the first thing I want to read from this poem is the, like the “Prologue”, which explains my problems in continuing this very happy poem fourteen years afterwards. The only, I think the only thing that needs explaining that I haven't explained is that “Ko” ends with the line, \\\"Huddle, meanwhile, was flaking at the knees.\\\" Now Huddle is a, like an Englishman in “Ko” who dies of mold fever in Rome [https://www.wikidata.org/wiki/Q220], and when he dies he turns into a statue which is set up near the Villa Giulia [https://www.wikidata.org/wiki/Q964499] in Rome. And all of the other characters that have been killed sort of turn into statues and start coming back to life, and this is a sign that Huddle is coming back to life but he's flaking at the knees. In any case, that's referred to at the beginning of the “Prologue”.\\n \\nKenneth Koch\\n00:27:00\\nReads \\\"Prologue\\\".\\n \\nKenneth Koch\\n00:34:08\\nThat's the end of the “Prologue”. I want to read the first episode in the poem, now. I realize there was another, perhaps incomprehensible thing in the “Prologue”. Pana Grady...Pana Grady's apartment was a place on...Central Park West [https://www.wikidata.org/wiki/Q2738041] where a lot of parties were held for Upper and Lower Bohemia in the days...well, it was about five or six years ago. Anyway. That's the end of the “Prologue”, which I'm not sure I'm finally going to attach to the poem, since I usually eliminate prologues. And this is the beginning of the poem. \\n \\nKenneth Koch\\n00:34:55\\nReads [\\\"Episode I”].\\n \\nKenneth Koch\\n00:41:07\\nThat's the end of the first part. To tell you what happens in this poem would take as long as reading the whole poem, which I don't have time to do. I think I'd like to read some brief, improvisational plays. I wrote these plays to be done at The Living Theatre [https://www.wikidata.org/wiki/Q1202416], though I knew they wouldn't do them. Somebody asked me to write some improvisational plays, it's really, it's really great, you know, writes it with some actors that want to do it, and I'd, I'd seen some improvisational plays and it seemed to me that the only emotions that actors could improvise were...let's see, passion, nostalgia, self-hatred, anxiety, and then make narcissism and then make topical references, and I decide to really throw sort of a curve at actors and give them something that would really be hard to improvise. My penalty has been that these plays have never been done. The first one I'd like to read...I'd be very glad if they were, could be given a premiere here in Canada [https://www.wikidata.org/wiki/Q16]. \\\"Mexico City\\\".\\n \\nKenneth Koch\\n00:42:18\\nReads \\\"Mexico City\\\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:43:13\\nThe next one is called \\\"The Lost Feed\\\".\\n \\nKenneth Koch\\n00:43:16\\nReads \\\"The Lost Feed\\\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:44:12\\nThe next play is called \\\"Coil Supreme\\\".\\n \\nKenneth Koch\\n00:44:17\\nReads \\\"Coil Supreme\\\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:44:48\\nThe last improvisational play I'll read is the one that has always moved me the most at the thought of production. It's called \\\"The Gold Standard\\\".\\n \\nKenneth Koch\\n00:44:57\\nReads \\\"The Gold Standard\\\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:45:54\\nI think I'd like to read a rather long poem called...my present plan, which--I don't want to really ruin people's evening, since I didn't start until 9:30, I think the poems that I would like to read will last until 11. So, it's twenty-five after ten now, I don't want to keep anybody up to late or anything. [Audience laughter]. If...Don't feel bad about leaving if you have to go, I want to read these two rather long poems. This is called \\\"The Pleasures of Peace\\\". I should say something about this poem, I wrote it...I started to write it, oh, three years ago, or whenever it was, maybe it was four years ago, but it took me a long time to write it. I guess about three years ago I started. It was at the moment of the, when there really was a lot of happiness in the peace movement in the United States. And it was like the first Peace Marches on Fifth Avenue, and people were jumping up and down for peace, and dancing for peace, and it really seemed as though what people were doing was going to do some good. And I remember feeling very excited in the first set of mass peace activities I was in because, being a poet, and having been brought up in America and everything and like almost all the other poets and artists I knew I sort of felt like a social outcast a little bit. And then I found, in the midst of the peace movement, like there were hundreds of thousands of people who sort of felt the same way about a lot of things, it was nice. And there was something very sort of grand and exciting about the peace movement which does not have anything to do with the issues at all, it was just a lot of fun. In a way it was sort of...it was very pleasant. There were a few other things that motivated this poem. One was I was very annoyed at a lot of my fellow-poets who were going around, giving, in groups to colleges, giving poetry readings for peace. Now there were two things about this that annoyed me, three things. One was that I wasn't doing it. But that, I think, was a minor thing  A second thing was that...who did they really think they were trying to convert, like college students who came to poetry readings? I mean, college students who come to poetry readings are not usually in favour of war. And in the second-place, all the poems they read for peace were the sort of things that would make you want to go out and kill people, like \\\"Lyndon Johnson [https://www.wikidata.org/wiki/Q9640], you, fuck the pregnant woman who's lying with her guts streaming out,\\\" [audience laughter] and they weren't, they didn't really...they didn't really seem like peace poems to me. It...And I felt it was sort of exploitative on their part to do that. So I wanted to write a--I'd never written a political poem and I wanted very much to write a poem, I had very strong feelings about the Vietnam War [https://www.wikidata.org/wiki/Q8740], and I wanted to write a poem against the war but which really, was really a poem, a positive poem about peace. I found it terribly hard to do, and I never worked so long on any poem. The fact that I worked so long on it does not mean that it's any better than anything else I ever wrote, but it was just hard, because I kept trying to put in sort of, things about suffering and so on, and they would jump out of the poem the way an artificial heart, I mean the way a transferred heart is sometimes rejected by the body. And I realized I was sort of stuck with writing a poem that was, like, one of my poems, it was really sort of a positive poem about peace. Another problem is that if you write a poem about the pleasures of peace it means you're writing a poem about the pleasures of life. And it's endless, in any case. That's about enough of that for now. It took me over a year to write, it was mainly the last part I couldn't write, since I didn't want to have sort of a literary copout at the end, and I didn't want to sort of end up, oh well, anyway. It's just a poem. The only thing--I got varied reactions to the poem. One...some dopey poet friend of mine came over and said, \\\"Boy, you really put the peace movement down\\\". And I haven't spoken to him very much since then. But then, a better reaction was that I got, some guy called me up and asked me if he could use this poem as his draft resistance statement. And I said you're going to languish in prison for a long time because, you know, judges don't like poetry. But anyway. Now just forget everything I've said [audience laughter] and I'll read this poem. And there's a pause. \\\"The Pleasures of Peace\\\". Oh! Another thing. [Audience laughter]. I read this poem in London [https://www.wikidata.org/wiki/Q84] last year, and I got this dopey review in the Times [https://www.wikidata.org/wiki/Q50008] by, who was it....I'm not sure. And he said, \\\"Kenneth Koch's 'Pleasures of Peace' is a very interesting poem but since he mentions the name of all his friends which we can't be expected to know”--like about 90% of the people in this poem are imaginary. They, they're not my friends. [Audience laughter]. Okay. Like Georgio Finogo is not a real person, okay?. \\\"The Pleasures of Peace\\\".\\n \\nKenneth Koch\\n00:51:15\\nReads \\\"The Pleasures of Peace\\\" [from The Pleasures of Peace and Other Poems].\\n \\nAudience\\n01:11:09\\nApplause. \\n \\nKenneth Koch\\n01:11:15\\nThank you. \\n \\nKenneth Koch\\n01:11:22\\nI want to read another poem which will take about seven minutes, but just to rest up I'll read a short poem...I can't find one short enough...Oh, this is called \\\"An X-Ray of Utah\\\".\\n \\nKenneth Koch\\n01:12:00\\nReads \\\"An X-Ray of Utah\\\" [from The Pleasures of Peace and Other Poems].\\n \\nKenneth Koch\\n01:12:08\\nWell that's the shortest poem I ever wrote. [Audience laughter]. Except, there's one that's not in any of my books which is called \\\"Tennis\\\", which is the same length. \\n \\nKenneth Koch\\n01:12:19\\nReads \\\"Tennis\\\".\\n \\nKenneth Koch\\n01:12:29\\nOh, I think I'll read a few movie scripts. I'll just read a few. This is really for, this is from something called \\\"Ten Films\\\", but I'll just read a few of them, which are my favourites. One of the films is called \\\"Sheep Harbour\\\".\\n \\nKenneth Koch\\n01:12:44\\nReads \\\"Sheep Harbour\\\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n01:12:57\\nLike, the camera could sort of show this for a long time.\\n \\nKenneth Koch\\n01:13:03\\nReads \\\"Oval Gold\\\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n01:13:19\\nI'll just read one more of these films. This is called \\\"The Cemetery\\\".\\n \\nKenneth Koch\\n01:13:24\\nReads \\\"The Cemetery\\\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n01:13:49\\nI'll read this one last poem which is called \\\"Sleeping with Women”.  \\\"Sleeping with Women\\\".\\n \\nKenneth Koch\\n01:13:54\\nReads \\\"Sleeping with Women\\\" [from The Pleasures of Peace and Other Poems].\\n\\nEND\\n01:22:37\\n\",\"notes\":\"Kenneth Koch reads from Thank You and Other Poems (Grove Press, 1962), The Pleasures of Peace and Other Poems (Grove Press, 1969), works published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971 (Random House, 1973) and from other unknown sources.\\n\\n00:00- George Bowering introduces Kenneth Koch. [INDEX: ‘promo sheet’, American poetry, Frank O’Hara, modern American poetry in New York City, Slick magazine, teacher of poetry, epic in the American Language.]\\n01:04- Kenneth Koch introduces “Spring”. [INDEX: from Thank You and Other Poems (Grove Press, 1962).]\\n01:08- Reads “Spring”.\\n02:36- Introduces “Variations on a Theme by William Carlos Williams”. [INDEX: parodies, Williams poem “This is Just to Say”, insanity; from Thank You and Other Poems (Grove Press, 1962).]\\n03:28- Reads “Variations on a Theme by William Carlos Williams”.\\n04:33- Introduces “You Were Wearing”. [INDEX: short poem from Thank You and Other    Poems (Grove Press, 1962).]\\n04:38- Reads “You Were Wearing”.\\n06:37- Introduces “E. KOLOGY”. [INDEX: play, hero, capital letters, read at the University of Chicago, ecology movement, performed on Earth Day in New York in April, Union Square, Philadelphia; from A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971 (Random House, 1973).]\\n07:44- Reads “E.KOLOGY”- Act 1 Scene 1.\\n09:38- Reads “E.KOLOGY”- Act 1 Scene 2.\\n11:19- Reads “E.KOLOGY”- Act 1 Scene 3.\\n12:06 -Reads “E.KOLOGY”- Act 2.\\n13:54- Reads “E.KOLOGY”- Act 3 Scene 1.\\n14:24- Reads “E.KOLOGY”- Act 3 Scene 2.\\n16:04- Reads “E.KOLOGY”- Act 4.\\n17:30- Reads “E.KOLOGY”- Act 5.\\n19:44- Introduces “Youth”. [INDEX: theatre, film script, costly to produce; from  A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971 (Random House, 1973).]\\n19:57- Reads “Youth”.\\n21:36- Introduces “Poem”. [INDEX: short poem; perhaps from The Pleasures of Peace and Other Poems (Grove Press, 1969)]\\n21:53- Reads “Poem”.\\n22:11- Introduces “Ma Provence”. [INDEX: interest in writing, English and French sound; from The Pleasures of Peace and Other Poems (Grove Press, 1969).]\\n22:23- Reads “Ma Provence”.\\n22:52- Explains “Ma Provence”, introduces “Great Beauty”. [INDEX: translate to english,  here he reads in french; from unknown source.]\\n23:14- Reads “Great Beauty”.\\n23:31- Introduces “Little Known Historical Fact”. [INDEX: from unknown source]\\n23:35- Reads “Little Known Historical Fact”.\\n23:48- Explains “Little Known Historical Fact”, introduces “Getting Back on Land”. [INDEX: Charlemagne, Italian, from unknown source.]          \\n24:06- Reads “Getting Back on Land”.\\n24:29- Introduces “Prologue”. [INDEX: George Bowering, epic poem “Ko”, written 12-14    years before, 120 pages, ottava rima: stanza Ariosto used in Orlando Furioso, Byron’s   Don Juan, rhyme scheme ABABABCC, main character Japanese baseball player, pitcher, ball, grandstand, pitch, characters, happy, living in Florence, villino, town outside the Viale Michelangelo, happy and optimistic poem, continuation, change, life, end lie of “Ko”: “Huddle, meanwhile, was flaking at the knees”, Englishman, mold fever, Rome, killed, statues; from unknown source.]\\n27:00- Reads “Prologue”.\\n34:08- Explains “Prologue”, introduces beginning of “Long poem, episode 1”. [INDEX: Pana Grady’s apartment on Central Park West, parties for Upper and Lower Bohemia, \\tuncertainty about publishing “Prologue”; from unknown source.]\\n34:55- Reads “Long Poem, Episode 1”.\\n41:07- Introduces “Mexico City”. [INDEX: long poem, improvisational plays, Living Theatre, actors, emotions, passion, nostalgia, self-hatred, anxiety, narcissism, penalty, premiere in Canada; from “Six Inspirational Plays” in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971 (Random House, 1973).]\\n42:18- Reads “Mexico City”.\\n43:13.69- END OF RECORDING.\\n\\n00:00- Kenneth Koch introduces “The Lost Feed”. [INDEX: play; in “Six Improvisational     Plays”, from A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971 \\t(Random House, 1973).]\\n00:03- Reads “The Lost Feed”.\\n00:59- Introduces “Coil Supreme”. [INDEX: play; in “Six Improvisational Plays”, from A     Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971 (Random House, 1973.]\\n01:03- Reads “Coil Supreme”.\\n01:34- Introduces “The Gold Standard”. [INDEX: improvisational play, production; in “Six        Improvisational Plays” from A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971 (Random House, 1973).]\\n01:43- Reads selection from “The Gold Standard”.\\n02:41- Introduces “The Pleasures of Peace”. [INDEX: reading started at 9:30, reading last until 11pm, started writing 3 or 4 years ago, peace movement in the United States, Peach Marches on Fifth Avenue, social outcast, fun, poetry readings for peace, college students, poems read like “Lyndon Johnson, you, fuck the pregnant woman who’s lying with her guts streaming out”, peace poems, exploitative, political poem, Vietnam War, positive poem about peace, working hard and long on a poem, suffering, artificial heart, rejected by the body, pleasures of life, literary copout, varied reactions, draft resistance statement, prison, London, review in the Times, made up names, Georgia Finogo; from The Pleasures of Peace and Other Poems (Grove Press, 1969).]\\n08:01- Reads “The Pleasures of Peace”.\\n28:09- Introduces “An X-Ray of Utah”. [INDEX: short poem; from the poem “Three Short   Poems” in The Pleasures of Peace and Other Poems (Grove Press, 1969).]\\n28:46- Reads “An X-Ray of Utah”.\\n28:55- Explains “An X-Ray of Utah” introduces “Tennis”. [INDEX: shortest poem, “Tennis” not in any books.]\\n29:05- Reads “Tennis”.\\n29:15- Introduces “Sheep Harbor”. [INDEX: movie script, reads favourites; from “Ten Films” in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971 (Random House, 1973).]\\n29:30- Reads “Sheep Harbour”. [INDEX: from “Ten Films” in A Change of Hearts: Plays,   Films, and Other Dramatic Works 1951-1971 (Random House, 1973).]\\n29:49- Reads “Oval Gold”. [INDEX: from “Ten Films” in A Change of Hearts: Plays, Films, \\tand Other Dramatic Works 1951-1971 (Random House, 1973).]\\n30:10- Reads “The Cemetery”. [INDEX: from “Ten Films” in A Change of Hearts: Plays,     Films, and Other Dramatic Works 1951-1971 (Random House, 1973).]\\n30:40- Reads “Sleeping with Women” [INDEX: from The Pleasures of Peace and Other Poems (Grove Press, 1969).]\\n39:23.67- END OF RECORDING.\\n \\nHoward Fink List of Poems\\n“Kenneth Koch”\\nIntroduction by George Bowering\\nRecorded February 19, 1971.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/kenneth-koch-at-sgwu-1971/\"}]"],"score":1.6793567},{"id":"1296","cataloger_name":["Mahtab,Banihashemi"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Jackson Mac Low at Sir George Williams University, The Poetry Series, 26 March 1971"],"item_title_source":["Cataloguer"],"item_title_note":["\"JACKSON MacLOW experiential poetry Recorded March 26, 1971 3.75 ips, 1/2 track 1 mil. tape Poorish technical quality\" written on sticker on the back of the tape's box. \"JACKSON MacLOW -1 I006/SR31.1\" written on sticker on the spine of the tape's box. \"Side 1 I006-11-031.1\" written on sticker on the reel.\n\n\"JACKSON MacLOW experiential poetry Recorded March 26, 1971 3.75 ips, 1/2 track 1 mil. tape Poorish technical quality\" written on sticker on the back of the tape's box. \"JACKSON MacLOW -2 I006/SR31.2\" written on sticker on the spine of the tape's box. \"I006-11-031.2\" written on sticker on the reel."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 5"],"item_identifiers":["[I006-11-031.1, I006-11-031.2]"],"creator_names":["Mac Low, Jackson"],"creator_names_search":["Mac Low, Jackson"],"creators":["[{\"url\":\"http://viaf.org/viaf/80245668\",\"name\":\"Mac Low, Jackson\",\"dates\":\"1922-2004\",\"notes\":\"Jackson Mac Low was born on September 12, 1922 in Chicago, Illinois, and became not only a poet, but a playwright, an editor, a literary critic, a translator, a teacher, a composer and a performer of verbal and theatrical works.  As a child, he studied music and poetry. Studying for an Associate in Arts degree in philosophy, poetics and literature at the University of Chicago from 1939 to 1943, Mac Low enrolled in Brooklyn College (now the City of University of New York) to pursue an A. B. degree in Greek, graduating cum laude. Jackson Mac Low was the poetry editor of Why? from 1950-1954. After holding a job as an editorial assistant at Funk & Wagnalls from 1957-1958, and again from 1961-1962, he taught at New York University for seven years. Mac Low married painter Iris Lezak in 1962 and had two children with her, however they divorced by 1978. Mac Low put on three plays, The Marrying Maiden: a play of changes from 1960-61, Verdurous Sanguinaria, 1961, and Questions & Answers...A Topical Play in 1963. He published his first set of plays The Twin Plays: Port-au-Prince & Adams County Illinois in 1963 (Something Else Press). The Pronouns- A Collection of 40 Dances-For the Dancers was first self-published in 1964, but was re-published numerous times in later years. Mac Low published a series of Light Poems, August Light Poems in 1967 (s.n. press), 22 Light Poems in 1968 (Black Sparrow Press), 23rd Light Poem: for Larry Eigner in 1969 (Tetrad Press), 38th Light Poem: In Memoriam Buster Keaton in 1975 (Permanent Press) and 54th Light Poem: For Ian Tyson in 1978 (Membrane Press). Stanzas for Iris Lezak, though written in 1968 was only published in 1972 (Something Else Press).  Publishing over twenty other books and performance pieces, Mac Low’s most noted works include Asymmetries 1-260: The First Section of a Series of 501 Performance Poems (Printed Editions, 1976), Antic Quatrains (Toothpaste Press for Bookslinger, 1980), Representative Works, 1938-1985 (Roof Books,1996) and Barnesbook: Four Poems Derived from Sentences by Djuna Barnes (Sun & Moon Press, 1996). Mac Low has won many awards, notably the American Academy of Arts and Sciences grant (1971), Creative Arts Public fellowship in multimedia (1973-1974) and in poetry (1976-77), Madeline Sadin Award in 1974, PEN American  Center grant 1974, National Endowment for the Arts fellowship (1979) and the Tanning Prize (1999). In 1990, he married the visual artist, poet and composer Anne Tardos. He then taught creative writing at numerous universities worldwide. Jackson Mac Low died of complications from a stroke on December 8, 2004.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1971],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"Duplicate\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel","Reel to Reel"],"physical_compositions":["Magnetic Tape","Magnetic Tape"],"recording_type":["Analogue","Analogue"],"AV_type":["Audio","Audio"],"playback_mode":["Mono","Mono"],"Dates":["[{\"date\":\"1971 3 26\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the back of the tape's box and in written announcement \\\"SIR GEORGE WILLIAMS UNIVERSITY POETRY 5\\\"\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"Location specified in written announcement \\\"What Goes On!\\\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["Jackson Mac Low reads from Stanzas for Iris Lezak (Something Else Press, 1971) and performs a number of pieces accompanied by recordings and audience participation. "],"contents":["jackson_maclow_i006-11-031-1.mp3 [File 1 of  2]\n \nUnknown\n00:00:02\nAmbient Sound [music; wood flute].\n \nJackson Mac Low\n00:00:36\nReads \"Glass Buildings\" accompanied by music. \n \nJackson Mac Low\n00:01:28\nReads “5.2.3.6.5., the 3rd biblical poem” [accompanied by music and other voices]. \n\nJackson Mac Low\n00:05:27\nFrom “Judges 6:4 to First Samuel 1:10”, written Saturday, 1st January 1955.\n \nJackson Mac Low\n00:05:40\nReads [“On the Glorious Burning of the Stars and Stripes in the Sheep Meadow in Central Park around about Noon on April 15, 1967 1967 May”].\n \nJackson Mac Low\n00:07:20\nNext is a “Word event for George Brecht” on the words 'anti-personnel bombs', this is a kind of poem that can be done on any words. I did it first on these words at a reading in New York [https://www.wikidata.org/wiki/Q60] where the Russian poet Voznesensky [https://www.wikidata.org/wiki/Q236619] joined some American poets in an anti-war reading.\n\nUnknown\n00:07:42\n[Cut or edit made in tape. Unknown amount of time elapsed]. \n\nJackson Mac Low\n00:07:43\nPerforms “Word event for George Brecht” accompanied by recording.\n \nJackson Mac Low\n00:21:12\nAll the people who are going to read the \"Number to Symmetries\" please come up for the microphone...These were a group of a hundred poems, of the form that has holes in it, that is the format of the poems are used to indicate silences, where there's white space on the page, they're silences. Some of the phonemes on the ends of words are prolonged, and others are stuttered. I'm not sure that any of them that are stuttered are in this particular batch. I wrote about 500 of these in late 1961, early--late, let's see, late ‘60 and early ‘61. I wish you'd say your own names, because I didn't get all your names down in the book, be sure to write your names in my book when you leave. Would the people participating just tell their names to the audience because I don't know all of them?\n \nAudience Participants\n00:22:47\nPeter Boxer, [unintelligible], Walter Katjetski, Robert Graham, Jenny Burn, [unintelligible], Ivan [Lourd (?)].\n \nJackson Mac Low\n00:22:59\nRemember when you get to the end of one, then the next person will take the mic.\n\nAudience Member 1\n00:23:03\nDo we circulate while we’re off mic?\n\nJackson Mac Low\n00:23:06\nYeah, if you want. Yeah, that would be very nice.\n\nUnknown\n00:23:26\nAmbient Sound [voices].\n\nJackson Mac Low\n00:23:40\nYeah, just go after...Would you rather have these than the book? Would you rather have papers or the book? Probably easier for you to just put the book down and say “I’m here.”...No, I’m just going to do these. Alright, does anybody have a lot of short ones? I have a few more...So, you prolong those phonemes and [unintelligible] repeated this one...Yeah...Do you need any...Anybody have lots of short ones? Alright. [Unintelligible]. Okay, I would say move a little bit that way. Now those without mics, I think you might be picked up by the mics of those who have them to at least to get on the tape. Okay.\n \nJackson Mac Low\n00:25:23\nPerforms \"Number to Symmetries\" accompanied by audience members. \n \nJackson Mac Low\n00:41:01\nIn 1960, just before I wrote this group, I wrote a group of poems called the...Stanzas for Iris Lezak, they're--this is the summer of ‘60, they're presently being published this year by the Something Else Press [https://www.wikidata.org/wiki/Q2299703], which is nominally in New York and really in Newhall [https://www.wikidata.org/wiki/Q7018086], California [https://www.wikidata.org/wiki/Q99], at the centre of the earthquake. I'll first read a short group, solo, and then read one in a duet with the--of the earlier performance of it. \"Poe and Psychoanalysis\".\n \nJackson Mac Low\n00:42:30\nReads \"Poe and Psychoanalysis\" from Stanzas for Iris Lezak.\n \nJackson Mac Low\n00:42:57\nReads \"Marseille\" from Stanzas for Iris Lezak.\n \nJackson Mac Low\n00:44:11\nReads \"London\" from Stanzas for Iris Lezak.\n \nJackson Mac Low\n00:44:48\nReads \"Sydney\" from Stanzas for Iris Lezak.\n \nJackson Mac Low\n00:44:58\nReads \"Berlin\" from Stanzas for Iris Lezak.\n \nJackson Mac Low\n00:45:12\nReads \"Madrid\" from Stanzas for Iris Lezak.\n \nJackson Mac Low\n00:45:21\nReads \"Rome\" from Stanzas for Iris Lezak.\n\nUnknown\n00:45:59\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nUnknown\n00:46:00\nAmbient sound [music and voices].\n \nJackson Mac Low\n00:47:37\nI'll explain a bit, I took these from whatever I was reading from about April to October of 1960, the group of place-name poems were from scatter paper called The National Enquirer [https://www.wikidata.org/wiki/Q1814777]. This is from the, an article in the Scientific American [https://www.wikidata.org/wiki/Q39379]...\n\nUnknown\n00:48:05\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nJackson Mac Low\n00:48:06\nReads [“Asymmetry from Scientific American” from Stanzas for Iris Lezak]. \n\nAudience\n00:55:20\nApplause. \n\nJackson Mac Low\n00:55:27\nThis is a, a number of these are collages of various times and places, as well as spontaneity in this room here, on two of these tapes, you will hear a lady's voice along with my own. I did a concert of my works along with Jim Tenney [https://www.wikidata.org/wiki/Q715379] and Max Neuhaus [https://www.wikidata.org/wiki/Q2182711], in town hall, New York in September of 1966, and still earlier Max Neuhaus had realized this particular piece which is a piece produced by subjecting the electric typewriter keyboard to randomization by random numbers, so it looks like a lot of different characters from the electric typewriter, Neuhaus recorded it at the University of Illinois [https://www.wikidata.org/wiki/Q1145814] laboratory, I guess some time earlier in ‘66 or maybe ‘65 and then put it down four octaves. He and another guy were reading from--the readers read from this in any way they wish, now I'll have the live readers to come up here...So then in... in this ‘66 concert, I did it as a duet, reading through the negatives from which this was printed, the blinking light, and a Jeanne Lee [https://www.wikidata.org/wiki/Q274580], a very fine blues singer was in the various works that were performed in that concert, and she's on the duet that you hear, that you will hear. A year ago, or a little more, I guess in April of last year I performed this in a class at NYU [https://www.wikidata.org/wiki/Q49210] along with the-oh and the Neuhaus tape was along with that performance in NYU, then the town hall performance and the Neuhaus tape--all three were in the NYU performance along with the NYU performance, so now you'll hear it at least four different times, plus the present, something like that.\n \nJackson Mac Low\n00:58:23\nPerforms unnamed piece accompanied by recording. \n \nJackson Mac Low\n01:06:11\nI'll do a piece called \"Fifth Gatha'', which is another group piece, uh, the readers who learned it, please come up with copies, and I'll have to toss around tapes for a few minutes here. I might explain that this particular piece is one of a series I call \"Gathas\" that are written on graphed paper, they by chance operations. I take the mantra of one religion or another, this happens to be the great prajnaparamita mantra, which is basic to Northern Buddhism and Zen Buddhism, and it's arranged by the method so that it falls over an axis of 'a's, 'u's and 'm's that is the word 'aum', wherever a's, u's and m's appear in the mantra they may cross the mantra, there aren't many u's in this particular one, so there isn't any--nothing crossing the u-line, you may be able to see the empty gap there. The mantra in question is \"Gone, gone to the other shore, quite gone over the other shore, boldly, wisdom, spaha, pray. Guthe, guthe, paraguthe [unintelligible]...\" you may, those of you who know zen may be more familiar with it in its Japanese version, which is sort of a Japanization of the Sanskrit. The group version of it was done in the Chelsea Hotel [https://www.wikidata.org/wiki/Q240711], I think in '67, but the German editor and producer, Carl Weissner [https://www.wikidata.org/wiki/Q1040995], the whisper version you hear, I did at home, earlier, maybe in ‘66, ‘65, ‘66. \n \nJackson Mac Low\n01:09:35\nPerforms \"Fifth Gatha\" accompanied by audience members and recording.\n \nJackson Mac Low\n01:26:20\nThe last poem I read was also from Stanzas for Iris Lezak. It's based on the Tibetan prayer to the gurus and it's translated by W.Y. Evans-Wentz [https://www.wikidata.org/wiki/Q456451]. The next piece is all about bluebirds. It’s again--it uses the form of...In recent years I've gone back to writing poems in the form of the asymmetries that I wrote in ‘60 and ‘61, but these tended to cluster around one subject matter. There's one in the current Aspen Magazine [https://www.wikidata.org/wiki/Q4807826] about young turtles, no one really knows where they go once they've hatched, and they know when they come back, but they don't really know what they do in between hatching and there is a natural history magazine, there was a caption to a picture, and so there was a record in the current Aspen, that's of that group. This is the first one of this type that I did on bluebirds, was for a group event that a number of us, let’s see, Iris Lezak, Emmett Williams [https://www.wikidata.org/wiki/Q719185], Carol [Bouget (?)] and [Jet Yalka (?)] and I did a collective event for the University of Syracuse [https://www.wikidata.org/wiki/Q617433] at Utica [https://www.wikidata.org/wiki/Q2495519], which we called, which Emmett named for us [\"Jack-a-Jurismatics (?)”] and so one of the pieces I wrote for that was this bluebirds piece. Emmett Williams has a beautiful work that has bluebirds in it, it's a permutation poem that also appears in this anthology, although this is an anthology that La Monte Young [https://www.wikidata.org/wiki/Q432822] got together in ‘60 and we--‘60 and ‘61 I guess, and he had many difficulties between the time that it was designed and the time it was printed and finally got it out at first in 1963, it's called An Anthology of--well, various things--Chance Operations, and well I don't know what, concept art, anti-art, indeterminacy improvisation, meaningless work, natural disasters and so on. And well, just recently, our first edition is now a sort of a collector's item, sells around a hundred, but recently a German publisher re-published it for us and the current, the new editions is going for $8.50, so if anyone is--I don't have copies here but I'll be happy to send any to anybody. Contains work mostly, a lot of it is music, musical scores, there's some other poetry, including the Emmett Williams mention. The Emmett Williams poem does all the variations, does all the permutations of one group of things, \"somewhere bluebirds are flying high in the sky, in the cellar even blackbirds are extinct\", each of those is considered a run unit, and all the possible permutations of them are written out \"somewhere bluebirds are flying high in the sky, in the cellar even blackbirds are extinct\". I'd love to read it, but it's very long. Usually we read it with five different voices, each taking the unit and once in a while, people get through it without breaking down laughing. [Unintelligible]. This was taken from, the bluebird asymmetries were from two...were from two encyclopedia articles on bluebirds, one I think the Audubon Encyclopedia, and I've forgotten what the other one was. They're very complimentary. The voices you hear are, you heard in another performance of Leslie [Sixfin (?)], Amy [Spurling (?)] and Harvey [Lesain (?)], along with four of my students at the Mannes School of Music [https://www.wikidata.org/wiki/Q1519151] and about done in 1966, or 1967, I think it was May of 1967 that this was done. There's a specially gifted group I felt that I happened to get together in that class, just towards the end we were doing mostly, we were just doing ordinary grammar English, I'm an English teacher, for my bread.\n \nEND\n01:32:11\n\n\njackson_maclow_i006-11-031-2.mp3 [File 2 of  2]\n\nUnknown Speaker\n00:00:00\nThis is the one you wanted some light percussive stuff?\n\nJackson Mac Low\n00:00:04\nYeah, but very easy on it, not very, you know, keep the amplitude down to, no higher than mezzo piano. Did someone take one from here? I'm supposed to have one and ten. Try to start with the earlier ones and then go into the later ones if possible. Those with the first, the earlier numbers should be on mic first. Those with numbers between two and five I guess you would have. So that the [unintelligible] will hear the earlier ones more than the later ones. You can prolong any of the phonemes at the ends of lines. This is another piece called [unintelligible].\n \nUnknown\n00:01:49\nAmbient Sound [recorded performance plays; title uncertain].\n \nJackson Mac Low\n00:03:00\nPerforms \"Bluebird Asymmetries\" accompanied by audience members and recording.\n \nJackson Mac Low\n00:12:35\nI have one last one that none of these people have yet seen, and so this one has no rules, that is, the others have some rules for how you put in silences, these will, these...In the summer of ‘69 I did a project for the Los Angeles Museum of Art [https://www.wikidata.org/wiki/Q1641836], an art technology show that's going to open this May. Unfortunately, my machine was bombed out, the corporation seems to be on the rocks, they're not providing the machine, but luckily I had poems that appeared on cathode ray tubes or something called a programmable film reader, and the words appear at the same time we sent the same impulses through an audio system and they turned out to be, well the oboe family, everything down from sopranino oboe to double, double, double bass oboe according to how long the lines were and so I did quite a few poems, this particular one is \"The\", and it's the last one I did, and tried to grab I guess three pages each, just use whatever discretion you want to, and listen, listen, listen. Earlier I had very strict rules governed by chance operations and so on, in reading these, well, in reading these kind of simultaneous works, and more and more I came to the, well I always had the principal of the most important things was to listen hard to everything that was happening, including whatever was happening in the room, whatever’s happening outside and so on, but more and more I relied on the readers to judge when to come in, and in--perform--these I found, this is one very long print-out of this particular poem. I don't want to--I think in, I don't remember, someplace there's a description of the idea of how they were made and all that, but what I got was a number of messages that, of which the units were permuted, the earliest form of my program was simply permuting the words in each, single words in each message. Later on I was able to get carriage returns and things like that so that in this, each message is a group of short sentences, usually about the same thing, and you'll, so that on the page each message looks like a sort of a stanza or strophe, and the groups of sentences--any number of the groups of sentences from any one of these strophe units may appear at any time according to way the thing is programmed. Does everybody have about three pages? Let's just make it...\n \nJackson Mac Low\n00:16:24\nPerforms \"The\" accompanied by audience members.\n \nJackson Mac Low\n00:27:57\nThank you.\n \nEND\n00:27:57\n[Cut off abruptly].\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nJackson Mac Low was in the process of writing “Odes for Iris”, written after the breakup of his first marriage. He won the American Academy of Arts and Sciences grant, and The Pronouns was republished in 1971. Mac Low was the editor of WIN Magazine and an instructor at New York University at the American Language Institute.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nMac Low’s direct connection to Sir George Williams University is unknown, however, Mac Low was an important American avant-garde poet, playwright and professor.\",\"type\":\"General\"},{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"},{\"note\":\"2 reel-to-reel tapes>3 CDs>2 digital files\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"http://www.jacksonmaclow.com/\",\"citation\":\"“Jackson Mac Low: Ten-Page Biography with Detailed Log of Activites 1985-1999”. Jackson Mac Low. Anne Tardos, 2009. \"},{\"url\":\"https://www.worldcat.org/title/stanzas-for-iris-lezak/oclc/795313792?referer=di&ht=edition\",\"citation\":\"Mac Low, Jackson. Stanzas For Iris Lezak. New York: Something Else Press, 1971. \"},{\"url\":\"\",\"citation\":\"Campbell, Bruce. \\\"Jackson Mac Low.\\\" American Poets Since World War II: Sixth Series. Joseph Mark Conte (ed). Dictionary of Literary Biography, Vol. 193. Detroit: Gale Research, 1998. \"},{\"url\":\"\",\"citation\":\"\\\"Jackson Mac Low.\\\" Contemporary Authors Online. Detroit: Gale, 2005.\"}]"],"_version_":1853670548943405056,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0031-1_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0031-1_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Jackson Mac Low Tape Box 1 - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0031-1_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0031-1_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Jackson Mac Low Tape Box 1 - 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I did it first on these words at a reading in New York [https://www.wikidata.org/wiki/Q60] where the Russian poet Voznesensky [https://www.wikidata.org/wiki/Q236619] joined some American poets in an anti-war reading.\\n\\nUnknown\\n00:07:42\\n[Cut or edit made in tape. Unknown amount of time elapsed]. \\n\\nJackson Mac Low\\n00:07:43\\nPerforms “Word event for George Brecht” accompanied by recording.\\n \\nJackson Mac Low\\n00:21:12\\nAll the people who are going to read the \\\"Number to Symmetries\\\" please come up for the microphone...These were a group of a hundred poems, of the form that has holes in it, that is the format of the poems are used to indicate silences, where there's white space on the page, they're silences. Some of the phonemes on the ends of words are prolonged, and others are stuttered. I'm not sure that any of them that are stuttered are in this particular batch. I wrote about 500 of these in late 1961, early--late, let's see, late ‘60 and early ‘61. I wish you'd say your own names, because I didn't get all your names down in the book, be sure to write your names in my book when you leave. Would the people participating just tell their names to the audience because I don't know all of them?\\n \\nAudience Participants\\n00:22:47\\nPeter Boxer, [unintelligible], Walter Katjetski, Robert Graham, Jenny Burn, [unintelligible], Ivan [Lourd (?)].\\n \\nJackson Mac Low\\n00:22:59\\nRemember when you get to the end of one, then the next person will take the mic.\\n\\nAudience Member 1\\n00:23:03\\nDo we circulate while we’re off mic?\\n\\nJackson Mac Low\\n00:23:06\\nYeah, if you want. Yeah, that would be very nice.\\n\\nUnknown\\n00:23:26\\nAmbient Sound [voices].\\n\\nJackson Mac Low\\n00:23:40\\nYeah, just go after...Would you rather have these than the book? Would you rather have papers or the book? Probably easier for you to just put the book down and say “I’m here.”...No, I’m just going to do these. Alright, does anybody have a lot of short ones? I have a few more...So, you prolong those phonemes and [unintelligible] repeated this one...Yeah...Do you need any...Anybody have lots of short ones? Alright. [Unintelligible]. Okay, I would say move a little bit that way. Now those without mics, I think you might be picked up by the mics of those who have them to at least to get on the tape. Okay.\\n \\nJackson Mac Low\\n00:25:23\\nPerforms \\\"Number to Symmetries\\\" accompanied by audience members. \\n \\nJackson Mac Low\\n00:41:01\\nIn 1960, just before I wrote this group, I wrote a group of poems called the...Stanzas for Iris Lezak, they're--this is the summer of ‘60, they're presently being published this year by the Something Else Press [https://www.wikidata.org/wiki/Q2299703], which is nominally in New York and really in Newhall [https://www.wikidata.org/wiki/Q7018086], California [https://www.wikidata.org/wiki/Q99], at the centre of the earthquake. I'll first read a short group, solo, and then read one in a duet with the--of the earlier performance of it. \\\"Poe and Psychoanalysis\\\".\\n \\nJackson Mac Low\\n00:42:30\\nReads \\\"Poe and Psychoanalysis\\\" from Stanzas for Iris Lezak.\\n \\nJackson Mac Low\\n00:42:57\\nReads \\\"Marseille\\\" from Stanzas for Iris Lezak.\\n \\nJackson Mac Low\\n00:44:11\\nReads \\\"London\\\" from Stanzas for Iris Lezak.\\n \\nJackson Mac Low\\n00:44:48\\nReads \\\"Sydney\\\" from Stanzas for Iris Lezak.\\n \\nJackson Mac Low\\n00:44:58\\nReads \\\"Berlin\\\" from Stanzas for Iris Lezak.\\n \\nJackson Mac Low\\n00:45:12\\nReads \\\"Madrid\\\" from Stanzas for Iris Lezak.\\n \\nJackson Mac Low\\n00:45:21\\nReads \\\"Rome\\\" from Stanzas for Iris Lezak.\\n\\nUnknown\\n00:45:59\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nUnknown\\n00:46:00\\nAmbient sound [music and voices].\\n \\nJackson Mac Low\\n00:47:37\\nI'll explain a bit, I took these from whatever I was reading from about April to October of 1960, the group of place-name poems were from scatter paper called The National Enquirer [https://www.wikidata.org/wiki/Q1814777]. This is from the, an article in the Scientific American [https://www.wikidata.org/wiki/Q39379]...\\n\\nUnknown\\n00:48:05\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nJackson Mac Low\\n00:48:06\\nReads [“Asymmetry from Scientific American” from Stanzas for Iris Lezak]. \\n\\nAudience\\n00:55:20\\nApplause. \\n\\nJackson Mac Low\\n00:55:27\\nThis is a, a number of these are collages of various times and places, as well as spontaneity in this room here, on two of these tapes, you will hear a lady's voice along with my own. I did a concert of my works along with Jim Tenney [https://www.wikidata.org/wiki/Q715379] and Max Neuhaus [https://www.wikidata.org/wiki/Q2182711], in town hall, New York in September of 1966, and still earlier Max Neuhaus had realized this particular piece which is a piece produced by subjecting the electric typewriter keyboard to randomization by random numbers, so it looks like a lot of different characters from the electric typewriter, Neuhaus recorded it at the University of Illinois [https://www.wikidata.org/wiki/Q1145814] laboratory, I guess some time earlier in ‘66 or maybe ‘65 and then put it down four octaves. He and another guy were reading from--the readers read from this in any way they wish, now I'll have the live readers to come up here...So then in... in this ‘66 concert, I did it as a duet, reading through the negatives from which this was printed, the blinking light, and a Jeanne Lee [https://www.wikidata.org/wiki/Q274580], a very fine blues singer was in the various works that were performed in that concert, and she's on the duet that you hear, that you will hear. A year ago, or a little more, I guess in April of last year I performed this in a class at NYU [https://www.wikidata.org/wiki/Q49210] along with the-oh and the Neuhaus tape was along with that performance in NYU, then the town hall performance and the Neuhaus tape--all three were in the NYU performance along with the NYU performance, so now you'll hear it at least four different times, plus the present, something like that.\\n \\nJackson Mac Low\\n00:58:23\\nPerforms unnamed piece accompanied by recording. \\n \\nJackson Mac Low\\n01:06:11\\nI'll do a piece called \\\"Fifth Gatha'', which is another group piece, uh, the readers who learned it, please come up with copies, and I'll have to toss around tapes for a few minutes here. I might explain that this particular piece is one of a series I call \\\"Gathas\\\" that are written on graphed paper, they by chance operations. I take the mantra of one religion or another, this happens to be the great prajnaparamita mantra, which is basic to Northern Buddhism and Zen Buddhism, and it's arranged by the method so that it falls over an axis of 'a's, 'u's and 'm's that is the word 'aum', wherever a's, u's and m's appear in the mantra they may cross the mantra, there aren't many u's in this particular one, so there isn't any--nothing crossing the u-line, you may be able to see the empty gap there. The mantra in question is \\\"Gone, gone to the other shore, quite gone over the other shore, boldly, wisdom, spaha, pray. Guthe, guthe, paraguthe [unintelligible]...\\\" you may, those of you who know zen may be more familiar with it in its Japanese version, which is sort of a Japanization of the Sanskrit. The group version of it was done in the Chelsea Hotel [https://www.wikidata.org/wiki/Q240711], I think in '67, but the German editor and producer, Carl Weissner [https://www.wikidata.org/wiki/Q1040995], the whisper version you hear, I did at home, earlier, maybe in ‘66, ‘65, ‘66. \\n \\nJackson Mac Low\\n01:09:35\\nPerforms \\\"Fifth Gatha\\\" accompanied by audience members and recording.\\n \\nJackson Mac Low\\n01:26:20\\nThe last poem I read was also from Stanzas for Iris Lezak. It's based on the Tibetan prayer to the gurus and it's translated by W.Y. Evans-Wentz [https://www.wikidata.org/wiki/Q456451]. The next piece is all about bluebirds. It’s again--it uses the form of...In recent years I've gone back to writing poems in the form of the asymmetries that I wrote in ‘60 and ‘61, but these tended to cluster around one subject matter. There's one in the current Aspen Magazine [https://www.wikidata.org/wiki/Q4807826] about young turtles, no one really knows where they go once they've hatched, and they know when they come back, but they don't really know what they do in between hatching and there is a natural history magazine, there was a caption to a picture, and so there was a record in the current Aspen, that's of that group. This is the first one of this type that I did on bluebirds, was for a group event that a number of us, let’s see, Iris Lezak, Emmett Williams [https://www.wikidata.org/wiki/Q719185], Carol [Bouget (?)] and [Jet Yalka (?)] and I did a collective event for the University of Syracuse [https://www.wikidata.org/wiki/Q617433] at Utica [https://www.wikidata.org/wiki/Q2495519], which we called, which Emmett named for us [\\\"Jack-a-Jurismatics (?)”] and so one of the pieces I wrote for that was this bluebirds piece. Emmett Williams has a beautiful work that has bluebirds in it, it's a permutation poem that also appears in this anthology, although this is an anthology that La Monte Young [https://www.wikidata.org/wiki/Q432822] got together in ‘60 and we--‘60 and ‘61 I guess, and he had many difficulties between the time that it was designed and the time it was printed and finally got it out at first in 1963, it's called An Anthology of--well, various things--Chance Operations, and well I don't know what, concept art, anti-art, indeterminacy improvisation, meaningless work, natural disasters and so on. And well, just recently, our first edition is now a sort of a collector's item, sells around a hundred, but recently a German publisher re-published it for us and the current, the new editions is going for $8.50, so if anyone is--I don't have copies here but I'll be happy to send any to anybody. Contains work mostly, a lot of it is music, musical scores, there's some other poetry, including the Emmett Williams mention. The Emmett Williams poem does all the variations, does all the permutations of one group of things, \\\"somewhere bluebirds are flying high in the sky, in the cellar even blackbirds are extinct\\\", each of those is considered a run unit, and all the possible permutations of them are written out \\\"somewhere bluebirds are flying high in the sky, in the cellar even blackbirds are extinct\\\". I'd love to read it, but it's very long. Usually we read it with five different voices, each taking the unit and once in a while, people get through it without breaking down laughing. [Unintelligible]. This was taken from, the bluebird asymmetries were from two...were from two encyclopedia articles on bluebirds, one I think the Audubon Encyclopedia, and I've forgotten what the other one was. They're very complimentary. The voices you hear are, you heard in another performance of Leslie [Sixfin (?)], Amy [Spurling (?)] and Harvey [Lesain (?)], along with four of my students at the Mannes School of Music [https://www.wikidata.org/wiki/Q1519151] and about done in 1966, or 1967, I think it was May of 1967 that this was done. There's a specially gifted group I felt that I happened to get together in that class, just towards the end we were doing mostly, we were just doing ordinary grammar English, I'm an English teacher, for my bread.\\n \\nEND\\n01:32:11\\n\",\"notes\":\"Jackson Mac Low reads from Stanzas for Iris Lezak (Something Else Press, 1971) and performs a number of pieces accompanied by recordings and audience participation. \\n\\n00:00- Flute is being played, Jackson Mac Low speaks [inaudible]\\n00:36- Jackson Mac Low performs “Last Buildings” first line “When fiery water...”\\n01:28- Performs unknown poem first line “Sustenance...52365 the first biblical poem...”\\n05:27- Performs unknown poem first line “From Judges 6:4 to first Samuel 1:10...”\\n05:40- Performs unknown poem first line “And the glorious burning of the stars and    stripes...”\\n07:20- Introduces “Word event for George Brecht” using the words “anti-personnel  \\tbomb” [INDEX: George Brecht, word event on ‘anti-personnel bombs’, New York City,  \\tRussian poet Voznesensky, anti-war reading]\\n07:43- Performs “Word event for George Brecht”.\\n21:12- Introduces “Number to Symmetries” [INDEX: Audience participation readings,        intentional/quasi-intentional/non-intentional methods, chance methods of composing   \\tpoetry]\\n25:23- Performs “Number to Symmetries”\\n41:13.73- END OF RECORDING\\n\\n00:00- Introduces “Poem Psychoanalysis” [INDEX: Stanzas for Iris Lezak, Something Else Press, Newhall, California]\\n01:16- Reads “Poem Psychoanalysis”\\n01:44- Reads “Marseille”\\n02:57- Reads “London”\\n03:35- Reads “Sydney”\\n03:45- Reads “Berlin”\\n03:58- Reads “Madrid”\\n04:08- Reads “Rome”\\n06:23- Explains the last set of place-name poems, Introduces “Scientific American” poems [INDEX: National Enquirer Magazine, Scientific American Magazine]\\n06:52- Reads “Scientific American” poems\\n14:13- Introduces unknown performance [INDEX: NYU and Town Hall recordings]\\n17:09- Performs unknown performance [random numbers and letters] [INDEX: Jim (James) Newhouse, New York City Town Hall, University of Illinois, Jeanne  Lee (Blues Singer), New York University]\\n24:57- Introduces “Fifth Gata” [INDEX: Zen Mantras, Recording at the Chelsea Hotel, Karl Wiesner]\\n28:21- Performs “Fifth Gata”\\n44:48- Introduces unknown poem from Stanzas for Iris Lezak [INDEX: W.Y. Evan-Wentz, Tibetan Prayer, Aspen Magazine, Turtles, blue birds, reading by Emmett Williams, Carl Bouget, Jet Yalka [sp?] at the University of Syracuse Utica called “Jack-a-   Jurismatics” [sp?], permutation of poetry, Anthology of Chance Operations by La Monte   Young, concept art, anti-art, meaningless work, natural disasters, Emmett William’s  \\tbluebird permutation poems, Audubon Encyclopedia of Birds, Amy Sixfan, Amy         \\tSpurling, Harvey Lessah [sp?], Manne’s School of Music]\\n50:58.11- END OF RECORDING.\\n\\n\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/jackson-mac-low-at-sgwu-1971/#1\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/jackson_maclow_i006-11-031-2.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"jackson_maclow_i006-11-031-2.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:27:57\",\"precision\":\"\",\"size\":\"67.1 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"jackson_maclow_i006-11-031-2.mp3 [File 2 of  2]\\n\\nUnknown Speaker\\n00:00:00\\nThis is the one you wanted some light percussive stuff?\\n\\nJackson Mac Low\\n00:00:04\\nYeah, but very easy on it, not very, you know, keep the amplitude down to, no higher than mezzo piano. Did someone take one from here? I'm supposed to have one and ten. Try to start with the earlier ones and then go into the later ones if possible. Those with the first, the earlier numbers should be on mic first. Those with numbers between two and five I guess you would have. So that the [unintelligible] will hear the earlier ones more than the later ones. You can prolong any of the phonemes at the ends of lines. This is another piece called [unintelligible].\\n \\nUnknown\\n00:01:49\\nAmbient Sound [recorded performance plays; title uncertain].\\n \\nJackson Mac Low\\n00:03:00\\nPerforms \\\"Bluebird Asymmetries\\\" accompanied by audience members and recording.\\n \\nJackson Mac Low\\n00:12:35\\nI have one last one that none of these people have yet seen, and so this one has no rules, that is, the others have some rules for how you put in silences, these will, these...In the summer of ‘69 I did a project for the Los Angeles Museum of Art [https://www.wikidata.org/wiki/Q1641836], an art technology show that's going to open this May. Unfortunately, my machine was bombed out, the corporation seems to be on the rocks, they're not providing the machine, but luckily I had poems that appeared on cathode ray tubes or something called a programmable film reader, and the words appear at the same time we sent the same impulses through an audio system and they turned out to be, well the oboe family, everything down from sopranino oboe to double, double, double bass oboe according to how long the lines were and so I did quite a few poems, this particular one is \\\"The\\\", and it's the last one I did, and tried to grab I guess three pages each, just use whatever discretion you want to, and listen, listen, listen. Earlier I had very strict rules governed by chance operations and so on, in reading these, well, in reading these kind of simultaneous works, and more and more I came to the, well I always had the principal of the most important things was to listen hard to everything that was happening, including whatever was happening in the room, whatever’s happening outside and so on, but more and more I relied on the readers to judge when to come in, and in--perform--these I found, this is one very long print-out of this particular poem. I don't want to--I think in, I don't remember, someplace there's a description of the idea of how they were made and all that, but what I got was a number of messages that, of which the units were permuted, the earliest form of my program was simply permuting the words in each, single words in each message. Later on I was able to get carriage returns and things like that so that in this, each message is a group of short sentences, usually about the same thing, and you'll, so that on the page each message looks like a sort of a stanza or strophe, and the groups of sentences--any number of the groups of sentences from any one of these strophe units may appear at any time according to way the thing is programmed. Does everybody have about three pages? Let's just make it...\\n \\nJackson Mac Low\\n00:16:24\\nPerforms \\\"The\\\" accompanied by audience members.\\n \\nJackson Mac Low\\n00:27:57\\nThank you.\\n \\nEND\\n00:27:57\\n[Cut off abruptly].\",\"notes\":\"Jackson Mac Low reads from Stanzas for Iris Lezak (Something Else Press, 1971) and performs a number of pieces accompanied by recordings and audience participation. \\n\\n\\n00:00- Jackson Mac Low introduces poem “[inaudible word] and Ladders”\\n01:49- Performs “[inaudible word] and Ladders”\\n03:00- Performs “Blue Bird Asymmetries” [INDEX: from 21 Matched Asymmetries: The 10 Bluebird Asymmetries]\\n12:35- Introduces “The” [INDEX: Los Angeles Museum of Art project: Art and Technology program, 1969, reading permutations, chance operations, principals of Mac Low’s poetry \\treading techniques]\\n16:24- Performs “The”\\n27:57- END OF RECORDING\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/jackson-mac-low-at-sgwu-1971/#2\"}]"],"score":1.6793567},{"id":"1305","cataloger_name":["Ali,Barillaro"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":[" David Bromige at Sir George Williams University, The Poetry Series, 6 November 1970"],"item_title_source":["Cataloguer"],"item_title_note":["\"DAVID BROMIGE recorded November 6, 1970 3.75 ips, on 1. mil tape 1/2 track\" written on sticker on the back of the tape box.\"RT 550\" written on sticker on the front of the tape box. \"DAVID BROMIGE I086-11-007\" written on the spine of the tape box. \"DAVID BROMIGE\" and \"RT 550\" also written on stickers on the reel."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 5"],"item_identifiers":["[]"],"creator_names":["Bromige, David"],"creator_names_search":["Bromige, David"],"creators":["[{\"url\":\"http://viaf.org/viaf/7436750\",\"name\":\"Bromige, David\",\"dates\":\"1933-2009\",\"notes\":\"David Bromige was born in London, England, on October 22, 1933. He spent most of his childhood in England, surviving the German blitzkrieg during World War II. Bromige then left for Canada, to pursue an undergraduate degree in English from the University of British Columbia. There he met George Bowering and the Tish group of poets, and worked as an editor for the UBC newspaper. In 1962, he graduated and was offered a scholarship to complete his Master’s Degree from the University of California at Berkeley. He completed both his M.A. (1964) and his Ph.D. (1970), when he began teaching at the Sonoma State University in 1970, a position he held until his retirement 23 years later. His first publication was The Gathering (Sumbooks, 1965), which was followed by The Ends of the Earth (Black Sparrow Press, 1968), Please, Like Me (Black Sparrow Press, 1968) and Threads (Black Sparrow Press, 1971). Bromige was involved in the San Francisco poetry renaissance of the late 1960’s and early 1970’s. He then published Birds of the West (Coach House Press, 1973), Ten Years in the Making: Selected Poems, Songs & Stories, 1961-1970 (Vancouver Community Press, 1973), Three Stories (Black Sparrow Press, 1973), Out of my Hands (Black Sparrow Press, 1974) and Tight Corners & What’s Around Them: Prose & Poems (Black Sparrow Press, 1974). Bromige has published over forty volumes of prose and poetry, including Living in Advance (Open Ready Press, 1976), My Poetry (The Figures press, 1980), Desire: Selected Poems 1963-1987 (Black Sparrow Press, 1988) which won a Western States Arts Federation award, Piccolo Mondo (Coach House Press Books, 1998) with Angela and George Bowering and Michael Matthews, As in T, As in Tether (Chax Press, 2002), Ten Poems from Clearings in the Throat (dPress, 2005) and his last collection, with Richard Denner, Spade (dPress, 2006). Bromige’s many honours include a Pushcart Prize, two fellowships from the National Endowment for the Arts and two awards from the Poetry Foundation. David Bromige died on June 3, 2009 at the age of 75.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[]"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1970 11 6\",\"type\":\"Performance Date\",\"notes\":\"Date referenced on the tape box. A. newspaper announcement mentioned Bromige was intended to read with Daphne Marlatt on November 13, but no other supporting evidence has been found at this time.\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building\",\"notes\":\"Exact venue location unknown\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building"],"City":["Montreal, Quebec"],"content_notes":["David Bromige reads from The Gathering (Sunbooks, 1965) and The Ends of the Earth (Black Sparrow Press, 1968), as well as poems published soon after in Threads (Black Sparrow Press, 1971), and later in Ten Years in the Making: selected poems, songs & stories 1961-1970 (Vancouver Community Press, 1973)."],"contents":["david_bromige_i086-11-007.mp3\n \nDavid Bromige\n00:00:00\n...the new book, Threads, that hasn't been published yet, and then I'm going to read some poems from the book The Ends of the Earth, that came out a couple of years ago. Add a few new poems. It's a book with poems that are not, some poems that are not, in any sense in theory, or are less important than others, but it moves from one tangle of threads to the next, so it moves in various stages or groups, but I'll read at least one poem from each group, so I think that'll make a story. This is the first poem in the book, and this is the presentation that decided me on the book. What the book, in a way, pushes against.\n \nDavid Bromige\n00:01:02\nReads \"In His Image\" [published later in Threads].\n\nDavid Bromige\n00:02:01\nReads \"After the Engraving\" [published later in Threads].\n\nDavid Bromige\n00:03:07\nAnd I got this take, this poem was printed in a magazine that George Bowering [https://www.wikidata.org/wiki/Q1239280] edits, Imago, Number 13, I think.\n \nDavid Bromige\n00:03:21\nReads \"First Love\" [published later in Threads].\n \nDavid Bromige\n00:07:08\nSee, what I was working there was both the delightful self-indulgence of being able to tell that story over to myself after so many years, but, what I had coming out in the poem before, the one about the light elves who danced the dark elves out into the light in order to petrify them, as an Anglo-Saxon, Teutonic conception, which has a lot to do with our idea of what a poem is or what a work of art is. And so then I had this matter of the one you love coming to you and enabling you to be both light and dark elf to yourself, so that the two of you...whose particular form had never been, without her, it was that cultural attachment to particular forms, also, that I was hoping to tell the story, part of the story of, again, there. Okay, here's “Psychoanalysis”.\n \nDavid Bromige\n00:08:23\nReads “Psychoanalysis” [published later in Threads].\n \nDavid Bromige\n00:08:32\nReads \"You Too\" [published later in Threads].\n \nDavid Bromige\n00:08:52\nReads \"Why I Went There\" [published later in Threads].\n \nDavid Bromige\n00:10:54\nReads \"I Can't Read, & Here's a Book\" [published later in Threads].\n \nDavid Bromige\n00:12:27\nAnd so, yeah, and then that shifts into this prose piece, \"They Want\".\n \nDavid Bromige\n00:12:33\nReads \"They Want\" [published later in Threads].\n \nDavid Bromige\n00:14:11\nThis one came out of the same meeting.\n \nDavid Bromige\n00:14:14\nReads \"I can See\" [published later in Threads].\n \nDavid Bromige\n00:14:31\nReads \"Only Fair\" [published later in Threads].\n \nDavid Bromige\n00:14:59\nReads \"Example” [published later in Threads].\n \nDavid Bromige\n00:15:11\nYeah, this would seem to be very useful here. \"Choosing the Event\". This came out of the troubles, the people's park troubles in Berkeley [https://www.wikidata.org/wiki/Q168756]. Whenever it was, I can't remember now, the year before last, I guess.\n \nDavid Bromige\n00:15:34\nReads \"Choosing the Event\" [published later in Threads].\n \nDavid Bromige\n00:17:18\nReads \"Logical Conclusions\" [published later in Threads].\n \nDavid Bromige\n00:17:47\nI still don't know who it was. I figure if I keep reading it, sooner or later someone's going to break. But it's not very likely here. \"An Invention\".\n \nDavid Bromige\n00:18:07\nReads \"An Invention\" [published later in Threads].\n \nDavid Bromige\n00:18:49\nReads \"Fond\" [published later in Threads].\n \nDavid Bromige\n00:19:45\nReads \"So\" [published later in Threads].\n \nDavid Bromige\n00:22:19\nAnd so I want to read a poem from my first book. It was written in Vancouver [https://www.wikidata.org/wiki/Q24639], of Vancouver. Well, I'm not a...particular landscapes don't often come into my poetry but here all kinds of images came in, from Hampstead Heath [https://www.wikidata.org/wiki/Q1570958], near where I spent my childhood, and also of Vancouver, and this poem also was published in TISH [https://www.wikidata.org/wiki/Q2384384], a publication from those Vancouver days.\n \nDavid Bromige\n00:22:52\nReads \"We Could Get a Drink\" from The Gathering.\n \nDavid Bromige\n00:24:57\nI'll read a few poems now from the book between--that was from a book called The Gathering. This is from The Ends of the Earth. And these, in their literal presence, these woods were the woods behind Deep Cove [https://www.wikidata.org/wiki/Q5250114], where I was living in 1964, just up from Vancouver.\n \nDavid Bromige\n00:25:24\nReads \"In Deep Woods\" from The Ends of the Earth.\n \nDavid Bromige\n00:26:17\nThis goes back to back with that, I guess. \n \nDavid Bromige\n00:26:20\nReads \"Just Think\" [from The Ends of the Earth].\n \nDavid Bromige\n00:26:57\nReads \"A Defect\" [from The Ends of the Earth].\n \nDavid Bromige\n00:27:32\nReads \"Taking Heart\" [from The Ends of the Earth].\n \nDavid Bromige\n00:28:11\nReads \"The Faster\" [from The Ends of the Earth].\n \nDavid Bromige\n00:28:45\nReads \"Why Not\" [from The Ends of the Earth].\n \nDavid Bromige\n00:29:25\nReads \"A Call\" [from The Ends of the Earth].\n \nDavid Bromige\n00:30:35\nThis is a...it's my own attempt to write a fairy story. And I just let come into it all the elements that I knew from various fairy stories, narrative tricks and devices and so forth, and tried to have my fun from them, but I didn't get away with it. They took me, even though I held off, as well as I could.\n \nDavid Bromige\n00:31:03\nReads \"A Final Mission\" [from The Ends of the Earth].\n \nAudience\n00:38:04\nApplause.\n \nDavid Bromige\n00:38:11\nThat's the closest, I guess, to a political poem I've ever written. [Audience laughter]. So I want a bit to break that mood, because I can't do anything more with that mood.\n \nDavid Bromige\n00:38:23\nReads \"A Kind Numbness\" [from The Ends of the Earth].\n \nDavid Bromige\n00:39:19\nI like that very much, that notion of the bargain by which we civilized beings live, it comes through for me very strongly there, but also, I mean when the sun gets up the flies get up, but also that you can focus on one or the other. Let's see how I'm doing for time. Okay, I'll read...I sent the manuscript of Threads off to the publisher about two months ago, and these are the poems I've written since then.\n \nDavid Bromige\n00:40:06\nReads \"Dear Night\".\n \nDavid Bromige\n00:42:29\nReads \"The Spell\" [published later in Ten Years in the Making: selected poems, songs & stories 1961-1970].\n\nDavid Bromige\n00:44:46\nReads \"Tom Thumb: A Relation on a Measure\".\n \nDavid Bromige\n00:48:23\nReads \"A Rime\" [published later in Ten Years in the Making: selected poems, songs & stories 1961-1970].\n \nUnknown\n00:48:26\n[Cut or edit made in tape; poem title is repeated]. \n \nDavid Bromige\n00:50:26\nReads \"From my Mother\".\n \nEND\n00:52:18\n"],"Note":["[{\"note\":\"Year-Specific Information: \\n\\nIn 1970, Bromige completed his Ph.D. from the University of California at Berkeley, and began teaching at Sonoma State University the same year. He was working on his book Threads which was published in 1971.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nDavid Bromige completed an undergraduate degree at the University of British Columbia, where he met George Bowering (a Reading Series Committee member).\",\"type\":\"General\"},{\"note\":\"Original transcript by Rachel Kyne\\n\\nOriginal print catalogue, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\\n\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"http://bromige.wordpress.com/memories-thoughts-reflections/\",\"citation\":\"Bowering, George. “Stories”. Comment made on the Remembering David website. Posted June 3, 2009. \"},{\"url\":\"https://www.worldcat.org/title/gathering-poems/oclc/869019454&referer=brief_results\",\"citation\":\"Bromige, David. The Gathering. Buffalo: Sunbooks, 1965. \\n\"},{\"url\":\"https://www.worldcat.org/title/threads/oclc/869019738&referer=brief_results\",\"citation\":\"Bromige, David. Threads. Los Angeles: Black Sparrow Press, 1971.\"},{\"url\":\"https://www.worldcat.org/title/ends-of-the-earth/oclc/869019696&referer=brief_results\",\"citation\":\"Bromige, David. The Ends of the Earth. Los Angeles: Black Sparrow Press, 1968. \"},{\"url\":\"https://www.worldcat.org/title/ten-years-in-the-making-selected-poems-songs-stories-1961-1970/oclc/496167582&referer=brief_results\",\"citation\":\"Bromige David. Ten Years in the Making: selected poems, songs & stories 1961-1970. Vancouver: Community Press, 1973. \"},{\"url\":\"http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2009/06/16/BAU3187NM6.DTL\",\"citation\":\"Jones, Carolyn. “Poet, teacher David Bromige dies”. The San Francisco Chronicle. B-6: June 17, 2009. \"},{\"url\":\"http://www.poetryfoundation.org/harriet/2009/06/in- memoriam-david-bromige\",\"citation\":\"Powell, D.A. “In Memoriam: David Bromige”. Harriet: a blog from the Poetry Foundation. June 10th, 2009. \"},{\"url\":\"\",\"citation\":\"“David Bromige”. Writing Canada into the Millennium: Canadian Poets Online. University of Calgary, English Department. \"}]"],"_version_":1853670548986396672,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0007_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0007_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"David Bromige Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0007_front.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0007_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"David Bromige Tape Box - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0007_back.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0007_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"David Bromige Tape Box - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0007_side.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0007_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"David Bromige Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/david_bromige_i086-11-007.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"david_bromige_i086-11-007.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:52:18\",\"precision\":\"\",\"size\":\"125.7 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"David Bromige\\n00:00:00\\n...the new book, Threads, that hasn't been published yet, and then I'm going to read some poems from the book The Ends of the Earth, that came out a couple of years ago. Add a few new poems. It's a book with poems that are not, some poems that are not, in any sense in theory, or are less important than others, but it moves from one tangle of threads to the next, so it moves in various stages or groups, but I'll read at least one poem from each group, so I think that'll make a story. This is the first poem in the book, and this is the presentation that decided me on the book. What the book, in a way, pushes against.\\n \\nDavid Bromige\\n00:01:02\\nReads \\\"In His Image\\\" [published later in Threads].\\n\\nDavid Bromige\\n00:02:01\\nReads \\\"After the Engraving\\\" [published later in Threads].\\n\\nDavid Bromige\\n00:03:07\\nAnd I got this take, this poem was printed in a magazine that George Bowering [https://www.wikidata.org/wiki/Q1239280] edits, Imago, Number 13, I think.\\n \\nDavid Bromige\\n00:03:21\\nReads \\\"First Love\\\" [published later in Threads].\\n \\nDavid Bromige\\n00:07:08\\nSee, what I was working there was both the delightful self-indulgence of being able to tell that story over to myself after so many years, but, what I had coming out in the poem before, the one about the light elves who danced the dark elves out into the light in order to petrify them, as an Anglo-Saxon, Teutonic conception, which has a lot to do with our idea of what a poem is or what a work of art is. And so then I had this matter of the one you love coming to you and enabling you to be both light and dark elf to yourself, so that the two of you...whose particular form had never been, without her, it was that cultural attachment to particular forms, also, that I was hoping to tell the story, part of the story of, again, there. Okay, here's “Psychoanalysis”.\\n \\nDavid Bromige\\n00:08:23\\nReads “Psychoanalysis” [published later in Threads].\\n \\nDavid Bromige\\n00:08:32\\nReads \\\"You Too\\\" [published later in Threads].\\n \\nDavid Bromige\\n00:08:52\\nReads \\\"Why I Went There\\\" [published later in Threads].\\n \\nDavid Bromige\\n00:10:54\\nReads \\\"I Can't Read, & Here's a Book\\\" [published later in Threads].\\n \\nDavid Bromige\\n00:12:27\\nAnd so, yeah, and then that shifts into this prose piece, \\\"They Want\\\".\\n \\nDavid Bromige\\n00:12:33\\nReads \\\"They Want\\\" [published later in Threads].\\n \\nDavid Bromige\\n00:14:11\\nThis one came out of the same meeting.\\n \\nDavid Bromige\\n00:14:14\\nReads \\\"I can See\\\" [published later in Threads].\\n \\nDavid Bromige\\n00:14:31\\nReads \\\"Only Fair\\\" [published later in Threads].\\n \\nDavid Bromige\\n00:14:59\\nReads \\\"Example” [published later in Threads].\\n \\nDavid Bromige\\n00:15:11\\nYeah, this would seem to be very useful here. \\\"Choosing the Event\\\". This came out of the troubles, the people's park troubles in Berkeley [https://www.wikidata.org/wiki/Q168756]. Whenever it was, I can't remember now, the year before last, I guess.\\n \\nDavid Bromige\\n00:15:34\\nReads \\\"Choosing the Event\\\" [published later in Threads].\\n \\nDavid Bromige\\n00:17:18\\nReads \\\"Logical Conclusions\\\" [published later in Threads].\\n \\nDavid Bromige\\n00:17:47\\nI still don't know who it was. I figure if I keep reading it, sooner or later someone's going to break. But it's not very likely here. \\\"An Invention\\\".\\n \\nDavid Bromige\\n00:18:07\\nReads \\\"An Invention\\\" [published later in Threads].\\n \\nDavid Bromige\\n00:18:49\\nReads \\\"Fond\\\" [published later in Threads].\\n \\nDavid Bromige\\n00:19:45\\nReads \\\"So\\\" [published later in Threads].\\n \\nDavid Bromige\\n00:22:19\\nAnd so I want to read a poem from my first book. It was written in Vancouver [https://www.wikidata.org/wiki/Q24639], of Vancouver. Well, I'm not a...particular landscapes don't often come into my poetry but here all kinds of images came in, from Hampstead Heath [https://www.wikidata.org/wiki/Q1570958], near where I spent my childhood, and also of Vancouver, and this poem also was published in TISH [https://www.wikidata.org/wiki/Q2384384], a publication from those Vancouver days.\\n \\nDavid Bromige\\n00:22:52\\nReads \\\"We Could Get a Drink\\\" from The Gathering.\\n \\nDavid Bromige\\n00:24:57\\nI'll read a few poems now from the book between--that was from a book called The Gathering. This is from The Ends of the Earth. And these, in their literal presence, these woods were the woods behind Deep Cove [https://www.wikidata.org/wiki/Q5250114], where I was living in 1964, just up from Vancouver.\\n \\nDavid Bromige\\n00:25:24\\nReads \\\"In Deep Woods\\\" from The Ends of the Earth.\\n \\nDavid Bromige\\n00:26:17\\nThis goes back to back with that, I guess. \\n \\nDavid Bromige\\n00:26:20\\nReads \\\"Just Think\\\" [from The Ends of the Earth].\\n \\nDavid Bromige\\n00:26:57\\nReads \\\"A Defect\\\" [from The Ends of the Earth].\\n \\nDavid Bromige\\n00:27:32\\nReads \\\"Taking Heart\\\" [from The Ends of the Earth].\\n \\nDavid Bromige\\n00:28:11\\nReads \\\"The Faster\\\" [from The Ends of the Earth].\\n \\nDavid Bromige\\n00:28:45\\nReads \\\"Why Not\\\" [from The Ends of the Earth].\\n \\nDavid Bromige\\n00:29:25\\nReads \\\"A Call\\\" [from The Ends of the Earth].\\n \\nDavid Bromige\\n00:30:35\\nThis is a...it's my own attempt to write a fairy story. And I just let come into it all the elements that I knew from various fairy stories, narrative tricks and devices and so forth, and tried to have my fun from them, but I didn't get away with it. They took me, even though I held off, as well as I could.\\n \\nDavid Bromige\\n00:31:03\\nReads \\\"A Final Mission\\\" [from The Ends of the Earth].\\n \\nAudience\\n00:38:04\\nApplause.\\n \\nDavid Bromige\\n00:38:11\\nThat's the closest, I guess, to a political poem I've ever written. [Audience laughter]. So I want a bit to break that mood, because I can't do anything more with that mood.\\n \\nDavid Bromige\\n00:38:23\\nReads \\\"A Kind Numbness\\\" [from The Ends of the Earth].\\n \\nDavid Bromige\\n00:39:19\\nI like that very much, that notion of the bargain by which we civilized beings live, it comes through for me very strongly there, but also, I mean when the sun gets up the flies get up, but also that you can focus on one or the other. Let's see how I'm doing for time. Okay, I'll read...I sent the manuscript of Threads off to the publisher about two months ago, and these are the poems I've written since then.\\n \\nDavid Bromige\\n00:40:06\\nReads \\\"Dear Night\\\".\\n \\nDavid Bromige\\n00:42:29\\nReads \\\"The Spell\\\" [published later in Ten Years in the Making: selected poems, songs & stories 1961-1970].\\n\\nDavid Bromige\\n00:44:46\\nReads \\\"Tom Thumb: A Relation on a Measure\\\".\\n \\nDavid Bromige\\n00:48:23\\nReads \\\"A Rime\\\" [published later in Ten Years in the Making: selected poems, songs & stories 1961-1970].\\n \\nUnknown\\n00:48:26\\n[Cut or edit made in tape; poem title is repeated]. \\n \\nDavid Bromige\\n00:50:26\\nReads \\\"From my Mother\\\".\\n \\nEND\\n00:52:18\\n\",\"notes\":\"David Bromige reads from The Gathering (Sunbooks, 1965) and The Ends of the Earth (Black Sparrow Press, 1968), as well as poems published soon after in Threads (Black Sparrow Press, 1971), and later in Ten Years in the Making: selected poems, songs & stories 1961-1970 (Vancouver Community Press, 1973).\\n\\n00:00- Recording starts mid-sentence, David Bromige introduces reading and “In His Image”. [INDEX: Threads, The Ends of the Earth, new poems, reading as a story, first poem in the book, presentation; from Threads (Black Sparrow Press, 1971).]\\n01:02- Reads “In His Image”. [INDEX: death, grave, sight, sky, camera, eye, voice, water]\\n02:01- Reads “After the Engraving, for Tom Clark.  [INDEX: chisel, love, evil, luck,   fortune, sculpture, craft, amulet, sky, stone; from Threads (Black Sparrow Press, 1971).]\\n03:07- Introduces “First Love”. [INDEX: printed in George Bowering’s Imago number 13; from Threads (Black Sparrow Press, 1971).]\\n03:21- Reads “First Love”. [INDEX: couple, unity, work, city, anger, fortune, north, village, love, joy, grandparents, wave, sea, sex, music, dance, boat, Chicago, parting, loss, kiss.]\\n07:08- Explains “First Love”, introduces “Psychoanalysis”. [INDEX: self-indulgence, telling story, light elves, dark elves, Anglo-Saxon, Teutonic, idea of what a poem or work of art is, love, cultural attachment to particular forms, psychoanalysis; from Threads (Black Sparrow Press, 1971).]\\n08:23- Reads “Psychoanalysis”. [INDEX: sex, word, psychoanalysis, memory.]\\n08:32- Reads “You Too”. [INDEX: orders, will, uniform; from Threads (Black Sparrow Press, 1971).]\\n08:52- Reads “Why I Went There”. [INDEX: knowledge, travel, audience, memory, Barry, editor, party, night, meeting, love, son, job, resentment, heavy, alone, nightmare; from Threads (Black Sparrow Press, 1971)]\\n10:54- Reads “I Can’t Read & Here’s a Book” [INDEX: boy, son, book, reading, Hans Christian Anderson, fairy tale, alone, solitude, brain; from Threads (Black Sparrow Press, 1971).]\\n12:27- Introduces “They Want”. [INDEX:prose piece; from Threads (Black Sparrow Press, 1971).]\\n12:33- Reads “They Want” [INDEX: identity, student, faculty, meeting, form, evaluation, pain, necessity, structure, rhyme.]\\n14:11- Introduces “I Can See”. [INDEX: poem from same meeting as “They Want”; from    Threads (Black Sparrow Press, 1971)]\\n14:14- Reads “I Can See”. [INDEX: argument, meeting, intelligence]\\n14:31- Reads “Only Fair”. [INDEX: money, justice, banana; from Threads (Black Sparrow Press, 1971)]\\n14:59- Reads “Example”. [INDEX: competition; from Threads (Black Sparrow Press, 1971).]\\n15:11- Introduces “Choosing the Event”. [INDEX: people’s ‘park troubles’ in Berkeley; from Threads (Black Sparrow Press, 1971).]\\n15:34- Reads “Choosing the Event”. [INDEX: loss, luck, D-Day, suffering, forgetting, memory, feeling, interpreter, speaking, freedom, San Fernando, death.]\\n17:18- Reads “Logical Conclusions”.  [INDEX: friend, meeting, couple, door, welcome, trust; from Threads (Black Sparrow Press, 1971)]\\n17:47- Explains “Logical Conclusions”. [INDEX: figuring out who the subject of the poem is.]\\n18:07- Reads “An Invention”. [INDEX:  moon, zodiac, Virgo, date, birth, fate, accident,     determination, dread, sign; from Threads (Black Sparrow Press, 1971)]   \\n18:49- Reads “Fond”. [INDEX: love, failure, couple, sleep, night, kitchen, house; from Threads (Black Sparrow Press, 1971)]\\n19:45- Reads “So”. [INDEX: animal, kitten, eye, sight, vowel, consonant, language, word, loss, mistake, voice, iamb, writing, happiness, lust, joy, death, misery, resentment, cat; from Threads (Black Sparrow Press, 1971).]\\n22:19- Introduces “We Could Get a Drink”. [INDEX: first book, written in Vancouver, about Vancouver, Hampstead Heath, childhood, published in Tish from; The Gathering \\t(Sunbooks, 1965).]\\n22:52- Reads “We Could Get a Drink”. [INDEX: sun, memory, remembrance, Hampstead Heath, morning, tree, couple, love, Vancouver, place, shadow, camera, girl, starve, news, soldier, bomb, birch, drink.]\\n24: 57- Introduces “In Deep Woods”. [INDEX: previous poems from The Gathering, latter poems from The Ends of the Earth, literal presence, Deep Cove, 1964, living in    Vancouver; from The Ends of the Earth (Black Sparrow Press, 1968).]\\n25:24- Reads “In Deep Woods”. [INDEX: place, Vancouver, Deep Cove, fish, salmon, bear, house, forest, animal.]\\n26:17- Introduces “Just Think”. [INDEX: from The Ends of the Earth (Black Sparrow Press, 1968).]\\n26:20- Reads “Just Think”. [INDEX: reality, hypothesis, family, children, theatre]\\n26:57- Reads \\\"A Defect\\\". [INDEX:  doctor, defect, body, boy, meaning; from The Ends of the Earth (Black Sparrow Press, 1968)]\\n27:32- Reads \\\"Taking Heart\\\" [INDEX: mouth, trust, doubt, body, ocean, love, couple, loss, lake, river; from The Ends of the Earth (Black Sparrow Press, 1968)]\\n28:11- Reads \\\"The Faster\\\" [INDEX: night, time, play, statue, studio, representation; from The Ends of the Earth (Black Sparrow Press, 1968).]\\n28:45- Reads \\\"Why Not\\\" [INDEX: hypothetical, clothes, reflection, wind, dawn, window, sky, sun; from The Ends of the Earth (Black Sparrow Press, 1968)]\\n29:25- Reads “A Call”. [INDEX: city, door, solitude, alone, street, sleep, room, silence, sight, mouth; from The Ends of the Earth (Black Sparrow Press, 1968)]\\n30:35- Introduces “A Final Mission”. [INDEX: fairy story, elements of fairy stories, narrative tricks and devices, fun; from The Ends of the Earth (Black Sparrow Press, 1968).]    \\n31:03- Reads “A Final Mission”.  [INDEX: forest, place, fairy tale, wood, ownership, travel, friend, story, woman, naked, home, tree, listening, master, flower, nature, bridge, water, music, heart, sleep, dream, couple, semen, sex, flight, sight, body, star.]\\n38:11- Talks about mood of the reading. [INDEX: political poem, mood of reading and poems.]\\n38:23- Reads “A Kind Numbness”. [INDEX:  morning, sleep, cold, animal, horse, skin, fly, sun; from The Ends of the Earth (Black Sparrow Press, 1968).]\\n39:19- Explains “A Kind Numbness”, introduces new poems. [INDEX: bargain, civilization, sun, flies, manuscript of Threads sent off two months previous, poems written since then.]\\n40:06- Reads “Dear Night”. [INDEX: night, window, reflection, village, story, alone, woman, city, body, perception, praise, fate, figure of speech, language, absence, lover, love, blindness, shame, drinking, song; unknown source.]\\n42:29- Reads “The Spell”.  [INDEX: dark, danger, light, beauty, safety, pun, antonym, city, man, time, story, stone, word, gem, light; published later in Ten Years in the Making: selected poems, songs & stories 1961-1970 (Vancouver Community Press, 1973).]\\n44:46- Reads “Tom Thumb: a Relation on a Measure”. [INDEX: fairy tale, Tom Thumb, size, invisible, sight, child, soul, unique, island, Scotland, friend, betrayal, measure, memory, remembrance, house; unknown source.]\\n48: 23- Reads “A Rime”. [INDEX: nature, animal, bird, Great Horned Owl, sound, sight,       night, book, knowledge, voice, morning, silence, house, fire, cold; published later in Ten       Years in the Making: selected poems, songs & stories 1961-1970 (Vancouver Community Press, 1973)]\\n48:26- Cut/Edit in tape; Bromige reading poem's title is repeated. \\n50:26- Reads “From My Mother”. [INDEX: youth, mother, child, travel, father, home, wife, town, Pacific, Montreal, plane, meadow, St. Albans, education, woman, death; unknown source.]\\n52:18.07- RECORDING ENDS.\\n\\nTitle:\\nSource:\\nDate: Recorded November 6, 1970\\n \\n1. In His Image\\n2. After the Engraving: For Tom Clark\\n3. First Love\\n4. Psychoanalysis\\n5. You Too\\n6. Why I Went There\\n7. I Can’t Read and Here’s A Book\\n8. They Want\\n9. I Can See\\n10.  Only Fair\\n11.  Example\\n12.  Choosing the Event\\n13.  Logical Conclusions\\n14.  An Invention\\n15.  Fond\\n16.  So\\n17.  We Could Get A Drink\\n18.  In Deep Woods\\n19.  Just Think\\n20.  A Defect\\n21.  Taking Heart\\n22.  The Faster\\n23.  Why Not?\\n24.  The Call\\n25.  A Final Mission\\n26.  A Kind Numbness\\n27.  Dear Night\\n28.  The Spell\\n29.  Tom Thumb\\n30.  A Rhyme\\n31.  From My Mother\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/david-bromige-at-sgwu-1970/\"}]"],"score":1.6793567}]