[{"id":"1057","cataloger_name":["Klara,du Plessis"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Véhicule Art (Montréal) Inc. fonds (P027)"],"source_collection_label":["Véhicule Art (Montréal) Inc. fonds (P027)"],"collection_contributing_unit":["Concordia University Library Special Collections"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of ten series, many of them subdivided into sub-series. The documents cover the period 1972 to 1982, however, the great majority of the documents were created between 1973 and 1976. This finding aid deals with the administrative, financial files of this organization as well as the artist and exhibition files, the publicity material (posters, art catalogues), and photographs. There is little documentation for the activities of the Vu00e9hicule Art Inc. gallery from 1976 to 1982. During this time the gallery experienced both administrative and financial difficulties. Frequent changes of staff and insufficient funding contributed to the weakening of the gallery and its activities. The original order of the documents quite faithfully reflected the internal organization of the gallery. Thus, the documents dating from 1972 to 1975, were relatively well organized and required no further arrangement; on the other hand, those covering the 1976-1982 period needed complete reorganization. The fonds is organized into the following series: P027/01 Organization P027/02 Personnel P027/03 Finances P027/04 Programming P027/05 Artists, exhibitions and performances P027/06 Associations P027/07 Correspondence P027/08 Photographs P027/09 Sound recordings P027/10 Posters"],"collection_source_collection_id":["P027"],"persistent_url":["https://concordia.accesstomemory.org/vehicule-art-montreal-inc-fonds"],"item_title":["Open Reading Side One Nov. 20/77 (1/2)"],"item_title_source":["Handwritten on back of box"],"item_title_note":["P0027-11-0003 4th Poetry Marathon"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["In Copyright (InC)"],"rights_notes":["Copyright belongs to the creator(s).Reproductions are allowed for the purpose of research and private study. Use of material in a publication may only be done with written consent of the copyright owner(s).\"source: https://concordia.accesstomemory.org/vehicule-art-montreal-inc-fonds"],"creator_names":["Unknown"],"creator_names_search":["Unknown"],"creators":["[{\"url\":\"\",\"name\":\"Unknown\",\"dates\":\"\",\"notes\":\"This is a marathon open mic event switching reader every few minutes. The presenter never introduces himself.\",\"nation\":[],\"role\":[\"-1\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"Readers: Unknown male (host); Dan Hastings; Noah Zacharin; Steven Mayoff; Carl Yaroshevitz; Christian Williams; Vivien Katz; Bela Ededing; Fred Hurskowitz\",\"nation\":[],\"role\":[\"Author\"]}]"],"author_name":[""],"Production_Date":[1977],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/410/P0027-11-0003.png\",\"other\":\"Different fonds number on box than on reel, P027.9.SR3\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Master\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"1.5 Mil Polyester Base 7\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 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"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"P0027-11-0003.1\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"T01:01:38\",\"precision\":\"\",\"size\":\"622.1 MB\",\"bitrate\":\"1,411 kbps\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1977-11-20\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"Date taken from container\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"Véhicule Art Inc.\",\"notes\":\"source of address: https://concordia.accesstomemory.org/vehicule-art-montreal-inc-fonds\",\"address\":\" 61, Ste. Catherine St. West, Montreal, Quebec, Canada\",\"latitude\":\"45.5095887 \",\"longitude\":\"-73.5647249\"}]"],"Address":[" 61, Ste. Catherine St. West, Montreal, Quebec, Canada"],"Venue":["Véhicule Art Inc."],"City":["Montreal, Quebec"],"contents":["00:00:00 male voice announces Fourth Annual Spring Marathon; 00:01:20 reads “Spring”; 00:04:43 reads “Wordlessly”; 00:07:55 Dan Hastings reads untitled poem; 00:09:45 reads three untitled poems; 00:14:13 reads untitled poem; 00:14:48 Noah Zacharin reads untitled poem; 00:15:53 reads “Trio”; 00:16:55 reads “They Wait”; 00:18:00 reads “IfI” (If I as one word); 00:20:00 Steven Mayoff reads untitled poem; 00:23:07 reads “Neighbourhood”; 00:25:12 reads “Phone booth”; 00:28:41 reads “The One who sits in the Park”; 00:29:57 reads “Telephone”; 00:31:20 reads “Frostbite”; 00:33:17 Carl Yaroshevitz reads “With this power vested”; 00:35:17 reads “Opal”; 00:39:23 “1 o’clock World”; 00:40:25 reads “Nominal Outlines”; 00:42:08 reads untitled poem; 00:43:23 reads “Procession”; 00:44:36 (break) 00:45:45 Christian Williams reads “Sunday Set”; 00:46:35 reads “Cold Guts”; 00:47:40 reads “Fleeting gesture home”; 00:49:16 reads “When exchanging”; 00:49:53 reads “City Bus Ride”; 00:51:11  Vivien Katz reads untitled poem; 00:52:08 reads “The Plant”; 00:52:42 reads “Insomnia”; 00:53:46 Bela Ededing reads four untitled short poems; 00:56:22 Fred Hurskowitz reads “Melba the Nebbish”"],"Note":["[{\"note\":\"There are two CDs digitizing this reading.  Second part is digitized as P0027-11-0003.2. This recording includes a series of short open mic-style readings of predominantly poetry.\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670548068892672,"timestamp":"2026-01-07T14:59:52.745Z","score":1.8530173},{"id":"1058","cataloger_name":["Klara,du Plessis"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Véhicule Art (Montréal) Inc. fonds (P027)"],"source_collection_label":["Véhicule Art (Montréal) Inc. fonds (P027)"],"collection_contributing_unit":["Concordia University Library Special Collections"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of ten series, many of them subdivided into sub-series. The documents cover the period 1972 to 1982, however, the great majority of the documents were created between 1973 and 1976. This finding aid deals with the administrative, financial files of this organization as well as the artist and exhibition files, the publicity material (posters, art catalogues), and photographs. There is little documentation for the activities of the Vu00e9hicule Art Inc. gallery from 1976 to 1982. During this time the gallery experienced both administrative and financial difficulties. Frequent changes of staff and insufficient funding contributed to the weakening of the gallery and its activities. The original order of the documents quite faithfully reflected the internal organization of the gallery. Thus, the documents dating from 1972 to 1975, were relatively well organized and required no further arrangement; on the other hand, those covering the 1976-1982 period needed complete reorganization. The fonds is organized into the following series: P027/01 Organization P027/02 Personnel P027/03 Finances P027/04 Programming P027/05 Artists, exhibitions and performances P027/06 Associations P027/07 Correspondence P027/08 Photographs P027/09 Sound recordings P027/10 Posters"],"collection_source_collection_id":["P027"],"persistent_url":["https://concordia.accesstomemory.org/vehicule-art-montreal-inc-fonds"],"item_title":["Side Two 4th Poetry Marathon on slowspeed (2/2)"],"item_title_source":["Handwritten on back of box"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["In Copyright (InC)"],"rights_notes":["Copyright belongs to the creator(s).Reproductions are allowed for the purpose of research and private study. Use of material in a publication may only be done with written consent of the copyright owner(s).\"source: https://concordia.accesstomemory.org/vehicule-art-montreal-inc-fonds"],"creator_names":["Unknown"],"creator_names_search":["Unknown"],"creators":["[{\"url\":\"\",\"name\":\"Unknown\",\"dates\":\"\",\"notes\":\"This is a marathon open mic event switching reader every few minutes. The presenter never introduces himself.\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"Readers: Jack Nathanson; Michael Morré; Daniel Grimaud; Julie McNeil; Paul Smith; Kevin Laruche; Nathan Fong\",\"nation\":[],\"role\":[\"Author\"]}]"],"author_name":[""],"Publication_Date":[1977],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/451/P0027-11-0003.png\",\"other\":\"Different fonds number on box than on reel, P027.9.SR3\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Master\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"1.5 Mil Polyester Base 7\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 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"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"P0027-11-0003.2\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"T00:56:23\",\"precision\":\"\",\"size\":\"569.1 MB\",\"bitrate\":\"1,411 kbps\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1977-11-20\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"Date taken from container\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"Véhicule Art Inc.\",\"notes\":\"source of address: https://concordia.accesstomemory.org/vehicule-art-montreal-inc-fonds\",\"address\":\" 61, Ste. Catherine St. West, Montreal, Quebec, Canada\",\"latitude\":\"45.5095887 \",\"longitude\":\"-73.5647249\"}]"],"Address":[" 61, Ste. Catherine St. West, Montreal, Quebec, Canada"],"Venue":["Véhicule Art Inc."],"City":["Montreal, Quebec"],"contents":["00:00:08 Jack Nathanson reads “Alex in Wonderland”; 00:12:52 Michael Morré reads untitled poem; 00:17:56 reads “For Lee”; 00:22:21 Daniel Grimaud reads in French; 00:25:15 reads from “Poësie Complet”; 00:28:44 reads untitled poem; 00:29:41 does performance project, cuts himself with razors; 00:31:31 host makes statement about Véhicule and novelty; 00:33:05 Julie McNeil reads untitled poem; 00:34:08 reads “Contributors”; 00:35:02 reads a fairy tale about Virginia Woolf; 00:38:53 reads untitled poem; 00:40:26 Paul Smith reads “Companion Piece”; 00:42:30 reads two haikus; 00:43:27 reads “Notes 1”; 00:44:35 reads untitled poem; 00:45:55 reads a poem for Joe; 00:47:42 Kevin Laruche reads “The Binding”; 00:49:57 introduces haiku genre; 00:50:18 reads “Interviews with Water”; 00:53:17 Nathan Fong reads “Realism Paradise”; reel warps and trails out right at the end"],"Note":["[{\"note\":\"First half digitized as P0027-11-0003.1. This recording contains the second half of the Fourth Annual Spring Marathon, a series of short, open-mic-style readings. This recording has both narrative and poetic works, and notably a performance piece by French poet Daniel Grimaud during which he cuts himself with razors.\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670548132855808,"timestamp":"2026-01-07T14:59:52.745Z","score":1.8530173},{"id":"1059","cataloger_name":["Klara,du Plessis"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Véhicule Art (Montréal) Inc. fonds (P027)"],"source_collection_label":["Véhicule Art (Montréal) Inc. fonds (P027)"],"collection_contributing_unit":["Concordia University Library Special Collections"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of ten series, many of them subdivided into sub-series. The documents cover the period 1972 to 1982, however, the great majority of the documents were created between 1973 and 1976. This finding aid deals with the administrative, financial files of this organization as well as the artist and exhibition files, the publicity material (posters, art catalogues), and photographs. There is little documentation for the activities of the Vu00e9hicule Art Inc. gallery from 1976 to 1982. During this time the gallery experienced both administrative and financial difficulties. Frequent changes of staff and insufficient funding contributed to the weakening of the gallery and its activities. The original order of the documents quite faithfully reflected the internal organization of the gallery. Thus, the documents dating from 1972 to 1975, were relatively well organized and required no further arrangement; on the other hand, those covering the 1976-1982 period needed complete reorganization. The fonds is organized into the following series: P027/01 Organization P027/02 Personnel P027/03 Finances P027/04 Programming P027/05 Artists, exhibitions and performances P027/06 Associations P027/07 Correspondence P027/08 Photographs P027/09 Sound recordings P027/10 Posters"],"collection_source_collection_id":["P027"],"persistent_url":["https://concordia.accesstomemory.org/vehicule-art-montreal-inc-fonds"],"item_title":["Poetry Reading Mattie Falworth & Guy Burchard"],"item_title_source":["Title typed on sticker stuck on spine of box"],"item_title_note":["Spelling error--Guy Birchard"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["In Copyright (InC)"],"rights_notes":["Copyright belongs to the creator(s).Reproductions are allowed for the purpose of research and private study. Use of material in a publication may only be done with written consent of the copyright owner(s).\"source: https://concordia.accesstomemory.org/vehicule-art-montreal-inc-fonds"],"creator_names":["Mattie Falworth","Guy Birchard"],"creator_names_search":["Mattie Falworth","Guy Birchard"],"creators":["[{\"url\":\"https://viaf.org/viaf/1529239/#Falworth,_Mattie\",\"name\":\"Mattie Falworth\",\"dates\":\"1930-\",\"notes\":\"Her reading is missing. It might not have been digitized from the original reel.\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"\",\"name\":\"Guy Birchard\",\"dates\":\"\",\"notes\":\"Unable to identify. Reading is only by him\",\"nation\":[],\"role\":[\"-1\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Production_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/629/P0027-11-0001.png\",\"other\":\"Additional stickers on box include: \",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Master\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Tape starting to unravel\",\"track_configuration\":\"2 track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Reel in a plastic casing and box\",\"other_physical_description\":\"Stored in a Scotch Brand box\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"P0027-11-0001 Falworth, Mattie & Burchard, Guy\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"T00:29:24\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1970-\",\"type\":\"Production Date\",\"notes\":\"Exact date is uncertain.\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"Véhicule Art Inc.\",\"notes\":\"source of address: https://concordia.accesstomemory.org/vehicule-art-montreal-inc-fonds\",\"address\":\" 61, Ste. Catherine St. West, Montreal, Quebec, Canada\",\"latitude\":\"45.5095887 \",\"longitude\":\"-73.5647249\"}]"],"Address":[" 61, Ste. Catherine St. West, Montreal, Quebec, Canada"],"Venue":["Véhicule Art Inc."],"City":["Montreal, Quebec"],"contents":["00:00:05 Background voice and mic adjustment; 00:00:21 Guy Birchard introduces his work, quoting John Cage; 00:01:21 Reads untitled work; 00:02:28 Reads “The Shape of the Mouth”; 00:02:51 Introduces “Pan Poems”; 00:03:12 Reads from “Pan Poems”; 00:03:42 Reads “Jets”; 00:04:07 Reads “Some notes on the colour of the cosmos”; 00:07:17 Reads untitled poem; 00:08:41 Reads “Everest”; 00:11:12 Introduces poem written for Antonio Gaudi; 00:11:59 Reads “For Antonio Gaudi”; 00:13:21 Introduces “What is the poem about”; 00:13:39 Reads “What is the poem about”; 00:14:14 Reads “Truth and fiction”; 00:15:02 Reads “Flora and fauna”; 00:15:47 Reads untitled poem; 00:16:37 Reads “Manhole cover”; 00:17:35 Introduces a childhood poem; 00:18:08 Reads a childhood poem; 00:18:43 Reads “Jamaica”; 00:19:33 Reads “I gape”; 00:20:15 “Reads “Jack’s Heart”; 00:21:09 Reads “Nights downtime”; 00:23:29 Introduces a poem dedicated to his travel partners; 00:23:51 Reads untitled poem; 00:24:35 Introduces two poems from “The Divine Names” book project; 00:25:09 Reads untitled poem; 00:26:47 Reads untitled poem; 00:27:59 Introduces a broadside that Lucy and Adrian from The Word Bookstore in Montreal printed; 00:28:16 Reads broadside"],"Note":["[{\"note\":\"Although this recording is titled as being by both Mattie Falworth and Guy Birchard, it only contains a reading by the latter. Recording contains a substantial hour-long reading by Birchard.\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670548134952960,"timestamp":"2026-01-07T14:59:52.745Z","score":1.8530173},{"id":"1060","cataloger_name":["Klara,du Plessis"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Véhicule Art (Montréal) Inc. fonds (P027)"],"source_collection_label":["Véhicule Art (Montréal) Inc. fonds (P027)"],"collection_contributing_unit":["Concordia University Library Special Collections"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of ten series, many of them subdivided into sub-series. The documents cover the period 1972 to 1982, however, the great majority of the documents were created between 1973 and 1976. This finding aid deals with the administrative, financial files of this organization as well as the artist and exhibition files, the publicity material (posters, art catalogues), and photographs. There is little documentation for the activities of the Vu00e9hicule Art Inc. gallery from 1976 to 1982. During this time the gallery experienced both administrative and financial difficulties. Frequent changes of staff and insufficient funding contributed to the weakening of the gallery and its activities. The original order of the documents quite faithfully reflected the internal organization of the gallery. Thus, the documents dating from 1972 to 1975, were relatively well organized and required no further arrangement; on the other hand, those covering the 1976-1982 period needed complete reorganization. The fonds is organized into the following series: P027/01 Organization P027/02 Personnel P027/03 Finances P027/04 Programming P027/05 Artists, exhibitions and performances P027/06 Associations P027/07 Correspondence P027/08 Photographs P027/09 Sound recordings P027/10 Posters"],"collection_source_collection_id":["P027"],"persistent_url":["https://concordia.accesstomemory.org/vehicule-art-montreal-inc-fonds"],"item_title":["Poetry Reading Kenneth Koch February 27, 1977"],"item_title_source":["Title typed on sticker stuck on spine of box"],"item_title_note":["Different fonds number on box than on reel, P027.9.SR2"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["In Copyright (InC)"],"rights_notes":["Copyright belongs to the creator(s).Reproductions are allowed for the purpose of research and private study. Use of material in a publication may only be done with written consent of the copyright owner(s).\"source: https://concordia.accesstomemory.org/vehicule-art-montreal-inc-fonds"],"creator_names":["Kenneth Koch"],"creator_names_search":["Kenneth Koch"],"creators":["[{\"url\":\"https://viaf.org/viaf/110467351/#Koch,_Kenneth,_1925-2002\",\"name\":\"Kenneth Koch\",\"dates\":\"1925-2002\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Production_Date":[1977],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/630/P0027-110002.png\",\"other\":\"Additional stickers on box include \",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Master\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Reel in a plastic casing and box\",\"other_physical_description\":\"Stored in a Scotch Brand box\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"P0027-11-0002 Koch, Kenneth\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"T01:01:57\",\"precision\":\"\",\"size\":\"625.3 MB\",\"bitrate\":\"1,411 kbps\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1977-02-27\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"Date typed on sticker on spine of box\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"Véhicule Art Inc.\",\"notes\":\"source of address: https://concordia.accesstomemory.org/vehicule-art-montreal-inc-fonds\",\"address\":\" 61, Ste. Catherine St. West, Montreal, Quebec, Canada\",\"latitude\":\"45.5095887 \",\"longitude\":\"-73.5647249\"}]"],"Address":[" 61, Ste. Catherine St. West, Montreal, Quebec, Canada"],"Venue":["Véhicule Art Inc."],"City":["Montreal, Quebec"],"contents":["00:00:11 Kenneth Koch announces that he will read for about and hour without a break; 00:00:44 Reads from “The Art of Love”; 00:00:52 Reads “The Magic of Numbers”; 00:02:51 Introduces “Reflections on Morocco”; 00:05:00 Reads from “Reflections on Morocco”; 00:21:07 Reads “The New Sport”; 00:23:07 Introduces new book “The Duplications”; 00:25:41 Read final pages from “The Duplications”; 00:34:14 Introduces “The Problem of Anxiety”; 00:34:22 Reads “The Problem of Anxiety”; 00:48:22 Discusses “The Problem of Anxiety”; 00:48:48 Introduces “Fate”; 00:49:07 Reads “Fate”; 00:53:10 Introduces “Our Hearts”; 00:53:25 Reads “Our Hearts”"],"Note":["[{\"note\":\"An hour-long reading by Kenneth Koch. The amount of references he includes to other artists and writers of his era provides an insightful inner look at his creative community.\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670548138098688,"timestamp":"2026-01-07T14:59:52.745Z","score":1.8530173},{"id":"1053","cataloger_name":["Tomasz,Neugebauer"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Quality Assurance collection"],"source_collection_label":["Quality Assurance collection"],"collection_contributing_unit":["Quality Assurance Unit"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["A test collection with maximum record complexity."],"collection_source_collection_id":["SGWU_77657/Concordia"],"persistent_url":[""],"item_title":["John Wieners at Sir George Williams University, The Poetry Series, 8 October 1966 - COPY"],"item_title_source":["Catalgouer"],"item_title_note":["\"J. WIENES I006/SR119\" written on sticker on the spine of the tape's box. J. WIENES refers to John Wieners. Wieners is mispelled "],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_series_description":["This is a test description of a series."],"item_subseries_title":["Poetry 1"],"item_subseries_description":["subseries description for Poetry 1, swallow ID 141"],"item_identifiers":["[I006/SR119]"],"rights":["No Copyright non commercial reuse only (NoCNC)"],"rights_license":["Creative Commons Attribution, Non-Commercial, No Derivatives (BY-NC-ND)"],"rights_notes":["May use for research and teaching purposes. Non commercial use, with full citation."],"creator_names":["Wieners, John"],"creator_names_search":["Wieners, John"],"creators":["[{\"url\":\" http://viaf.org/viaf/90723960\",\"name\":\"Wieners, John\",\"dates\":\"1934-2002\",\"notes\":\" American poet, playwright and essayist John Wieners was born in Boston on January 6, 1934. In 1934, Wieners earned a B.A. in English from Boston College, and subsequently worked at Harvard University’s Lamont Library. A 1955 poetry reading by Charles Olson inspired Wieners to attend Black Mountain College in North Carolina, where he met and was mentored by Charles Olson and Robert Duncan. After completing studies in 1956, John Wieners moved back to Boston and started Measure, a (short-lived) literary magazine, as well as becoming involved in the Poet’s Theater in Cambridge. At the age of 24, (in 1958) Wieners moved to San Francisco and met Beat Poets Jack Kerouac, Jack Spicer and Allen Ginsberg, and published his first book of poems, The Hotel Wentley Poems (Dave Haselwood Publishing, 1965). John Wieners’ San Francisco journal, The Journal of John Wieners Is To Be Called 707 Scott Street for Billie Holiday, 1959, was published in 1966 by Sun & Moon Press. Wieners wrote plays that were never published during this time, until 1964 when he published Ace of Pentacles (published by James F. Carr & Robert A. Wilson). Charles Olson asked Wieners to be a graduate student and a teaching assistant at the State University of New York at Buffalo in 1965, and Wieners eventually became the university’s chair of poetics, when he left by 1967. John Wieners suffered from mental illness, and was institutionalized for the second time in 1969, where he wrote Asylum Poems (For My Father) (Press of the Black Flag Raised). In 1970, he published Nerves (Cape Goliard Press), an internationally published book of poetry, and between 1967 to 1972, he published six smaller books of poetry. Behind the State Capitol; or, Cincinnati Pike (Good Gay Poets Press) was published in 1975 and thus marked the last of his published poems. John Wieners’ poetry, while highly appraised by Beat Poets, Black Mountain Poets and his peers, did not achieve wide public acclaim or readership. In 1985, however, Selected Poems, 1958-1984 (Black Sparrow Press) was compiled with the help of Robert Creeley and Allen Ginsberg. In the 70’s, John Wieners lived and became involved with anti-war movements and became an activist for gay rights, living at 44 Joy Street in Boston. Becoming more and more reclusive after the mid 70’s, John Wieners died of an apparent stroke on March 1, 2002. Michael Carr edited a posthumous collection of Wiener’s 1971 journals which was published in 2007.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Layton, Irving"],"contributors_names_search":["Layton, Irving"],"contributors":["[{\"url\":\"https://viaf.org/viaf/66482092/#Layton,_Irving,_1912-2006.\",\"name\":\"Layton, Irving\",\"dates\":\"1912-2006\",\"notes\":\"Irving Layton was on the Poetry Series organizing committee the year that John Wieners read at Sir George Williams University.\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1966],"material_description":["[{\"side\":\"Single Track\",\"image\":\"../Uploads/11552/I0006_11_0119_tape.jpg\",\"other\":\"The reel is shorter than most in the Poetry Series, with no additional real documenting this event. One wonders why it was recorded at 7.5 ips if only a 5 inch reel was available.\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch RB-5\",\"generations\":\"Original\",\"Conservation\":\"Not baked before being digitized.\",\"equalization\":\"None\",\"playback_mode\":\"Mono\",\"playing_speed\":\"7 1/2 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"T00:00:24\",\"physical_condition\":\"Good\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Cardboard tape box.\",\"other_physical_description\":\"In good condition.\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1966 10 08\",\"type\":\"Performance Date\",\"notes\":\"The date of the performance was originally found in the Howard Fink inventory list, and then corroborated with reference to student newspaper articles.\",\"source\":\"Previous researcher\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Art Gallery\",\"notes\":\"The Hall Building Art Gallery is currently occupied by Reggie's Pub and The Hive Co-op restaurant.\",\"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 Art Gallery"],"City":["Montreal, Quebec"],"content_notes":["John Wieners reads from Ace of Pentacles (Carr & Wilson, 1964) as well as works published in 1985 in Selected Poems, 1958-1984 (Black Sparrow Press)."],"contents":["john_wieners_i006-11-119.mp3\n\nJohn Wieners\n00:00:00\nReads “Invocation to Summer” [recording begins abruptly].\n \nJohn Wieners\n00:01:09\n\"Invitation Au Voyage: II\". Do you know that poem of Baudelaire's [https://www.wikidata.org/wiki/Q501]? It's something at the end of the world. He’s speaking to his beloved, very simple. You know, lots of the German Romanticism was very simple.\n \nJohn Wieners\n00:01:30\nReads \"Invitation Au Voyage: II\".\n \nJohn Wieners\n00:03:15\nWell let's go back to the old poems then, that have been published. Stuart Montgomery, well it doesn't matter. But that--I can send it off to England [https://www.wikidata.org/wiki/Q21] to the Fulcrum Press [https://www.wikidata.org/wiki/Q5507820] doing a lot of Basil Bunting [https://www.wikidata.org/wiki/Q2886803] and the English poet of 65, resuscitated in America [https://www.wikidata.org/wiki/Q30] again, it's about time.\n \nJohn Wieners\n00:03:44\nReads \"Long Nook\" [from Ace of Pentacles].\n \nJohn Wieners\n00:04:38\nI'll just make random choices. \"At Big Sur\".\n \nJohn Wieners\n00:04:53\nReads \"At Big Sur” [from Ace of Pentacles].\n \nJohn Wieners\n00:05:12\n\"Louise\".\n \nJohn Wieners\n00:05:21\nReads \"Louise\" [from Ace of Pentacles].\n \nJohn Wieners\n00:05:48\n\"The Pool of Light\".\n \nJohn Wieners\n00:05:53\nReads \"The Pool of Light\" [from Ace of Pentacles].\n \nJohn Wieners\n00:06:14\nFor Mari--No, this is “For Marion\".\n \nJohn Wieners\n00:06:19\nReads \"For Marion\" [from Ace of Pentacles].\n \nJohn Wieners\n00:07:05\n“The Mermaid Song”, forgive me for this, I thought the other poems would carry me through, but I'm reading and keeping with the mood for tonight, it seems to be more lyrical. \"The Serpent's Hiss\".\n \nJohn Wieners\n00:07:52\nReads \"The Serpent's Hiss\" [published later in Selected Poems, 1958-1984].\n \nJohn Wieners\n00:08:37\nAnd this is called \"Tuesday, 5 pm\".\n \nJohn Wieners\n00:08:43\nReads \"Tuesday, 5 pm\" [published later as “Tuesday 7:00 PM” in Selected Poems, 1958-1984].\n \nJohn Wieners\n00:10:45\nI'm going to read the \"The Imperatrice\". Ace of Pentacles is a card in the Tarot deck, but the book should be called ‘pente’ which all the words that appeared in a hypnagogic vision, hypnagogic is the state between waking and sleeping, it's what Jung [https://www.wikidata.org/wiki/Q41532] practiced and his Marie Louise Franz would take down the things that came to him in the state between waking and sleeping and the letters ‘pente’ appeared in that state and I didn't know what they meant so I kept hunting around and I made the word 'pinnacles' out of it and somebody said why don't you call it \"Ace of Pinnacles\" and we made a whole thing about the Tarot deck, but that's not the title of the book. It should be ‘pente’ and that's from the Greek  which is ‘wall’. And I'd like have as a fronts piece for the book William Blake's [https://www.wikidata.org/wiki/Q41513] \"The Chimney Sweep\"  [https://www.wikidata.org/wiki/Q2587725] the second version of that from the \"Songs of Experience\" [https://www.wikidata.org/wiki/Q27890603] when he says that my mum and father have gone up to the church to pray and they make a heaven of my misery. That kind of thing. Imperatrice there's another card from the Tarot deck it's the third card of the deck.\n \nJohn Wieners\n00:12:09\nReads \"The Imperatrice\" [published later in Selected Poems, 1958-1984].\n \nJohn Wieners\n00:13:38\nThere is something else I thought I'd like to read after that one. I'll read a poem for Sylvia Plath [https://www.wikidata.org/wiki/Q133054] who was an American poet who married an English man, Ted Hughes [https://www.wikidata.org/wiki/Q272194] and had mental troubles and wrote a novel about it called The Bell Jar [https://www.wikidata.org/wiki/Q1213085] under a pseudonym Victoria Lucas, so not to embarrass her mother, and then things became too much for her and I think in 1963, she did away with herself in London [https://www.wikidata.org/wiki/Q84], and it was a great loss, some people feel that and some do not, they feel that at least--Lowell has written an introduction to her poems posthumously printed called Ariel [https://www.wikidata.org/wiki/Q224733] and her first book was The Colossus [https://www.wikidata.org/wiki/Q29889462]. But Victoria Lucas was, The Bell Jar, was, you could buy it through William Hiderman and it came down from Canada [https://www.wikidata.org/wiki/Q16] to the United States and it's never been printed in the country. This is \"The Suicide\".\n \nJohn Wieners\n00:15:06\nReads \"The Suicide\" [published later in Selected Poems, 1958-1984].\n \nJohn Wieners\n00:16:57\nLet's read some happy poems, I'm getting depressed.\n\nUnknown\n00:17:03\n[Cut or edit made in tape].\n\nJohn Wieners\n00:17:04\nReads \"Ode on a Common Fountain\" [from Ace of Pentacles; recording jumps to mid-poem].\n \nJohn Wieners\n00:19:51\nThat's the first poem, I ever, I was twenty, so that was twelve years ago, that poem was written. Now I can go back--I'm still writing about Acis [https://www.wikidata.org/wiki/Q419156] and Galatea [https://www.wikidata.org/wiki/Q241070] but these are terribly sentimental and distraught, drunken poems, you can call them. Maybe we'll have one more, or is that anything from that first reading that you'd like to hear again? I'd rather not go into it. [Unknown audience member suggests poem. Title unintelligible]. Okay, that's what Spender [https://www.wikidata.org/wiki/Q448764] did say to me, he said you look like a de-frocked priest, so. Which I thought was awfully cruel, but I think I am one, my sister was a nun, I'll be a priest. Poets are priests, you know.\n \nJohn Wieners\n00:20:54\nReads “There are holy orders in life...” [published later in Selected Poems, 1958-1984].\n \nEND\n00:21:42\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\n From 1965-67, John Wieners was at State University of New York (SUNY) at Buffalo, either working as a graduate student or as the chair of poetics. At that time, Charles Olson left SUNY in 1966, to be replaced by Robert Creeley. Wieners’ The Journal of John Wieners Is To Be Called 707 Scott Street for Billie Holiday, 1959, was published in 1966.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nNo direct connections between John Wieners and Sir George Williams University are known, however Wieners was an important poet, connected with poets from both the Black Mountain school and Beat movements. \\n\",\"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 (mp3)\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/oxford-encyclopedia-of-american-literature/oclc/769478515&referer=brief_results\",\"citation\":\"Foster, Edward Halsey. \\\"Gay Literature: Poetry and Prose\\\". The Oxford Encyclopedia of American Literature. Jay Parini (ed). Oxford University Press, 2004. \"},{\"url\":\"https://www.independent.co.uk/news/obituaries/john-wieners-9143191.html\",\"citation\":\"Ward, Geoff. “John Joseph Wieners, poet, Jan. 6th 1934 - March 1st 2002”. The Independent, 15 March 2000.\"},{\"url\":\"https://www.worldcat.org/title/ace-of-pentacles-a-new-book-of-poems-by-john-wieners/oclc/702932793?referer=di&ht=edition\",\"citation\":\"Wieners, John. Ace of Pentacles. New York: Carr & Wilson, 1964\"},{\"url\":\"https://www.worldcat.org/title/selected-poems-1958-1984/oclc/743392421&referer=brief_results\",\"citation\":\"Wieners, John. Selected Poems, 1958-1984. Santa Barbara: Black Sparrow Press, 1985.\"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/john-wieners-at-sgwu-1966/\",\"citation\":\"Thoms, Kathleen. “Poetry Readings Inaugurated”. The Georgian. Montreal: Sir George Williams University, 10 October 1966, p. 6. \"},{\"url\":\"\",\"citation\":\"“Wieners, John, 1934-”. Literature Online Biography. Literature Online: ProQuest, 2009. \"},{\"url\":\"https://drive.google.com/drive/folders/12H55HcY0pAZtzJ9AmxLabbX2hdjvCaX0\",\"citation\":\"“Poetry Readings”. OP-ED. Montreal: Sir George Williams University, 6 October 1967, page 6. \"}]"],"_version_":1853670548245053440,"timestamp":"2026-01-07T14:59:52.745Z","digital_description":["[{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006_11_0119_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"John Wieners 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\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006_11_0119_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"John Wieners 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/john_wieners_i006-11-119.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"john_wieners_i006-11-119.mp3\",\"channel_field\":\"Standard\",\"sample_rate\":\"44.1kHz\",\"duration\":\"00:21:42\",\"precision\":\"Double\",\"size\":\"52.1 MB\",\"bitrate\":\"320 Kbps\",\"encoding\":\"compressed\",\"contents\":\"John Wieners\\n00:00:00\\nReads “Invocation to Summer” [recording begins abruptly].\\n \\nJohn Wieners\\n00:01:09\\n\\\"Invitation Au Voyage: II\\\". Do you know that poem of Baudelaire's [https://www.wikidata.org/wiki/Q501]? It's something at the end of the world. He’s speaking to his beloved, very simple. You know, lots of the German Romanticism was very simple.\\n \\nJohn Wieners\\n00:01:30\\nReads \\\"Invitation Au Voyage: II\\\".\\n \\nJohn Wieners\\n00:03:15\\nWell let's go back to the old poems then, that have been published. Stuart Montgomery, well it doesn't matter. But that--I can send it off to England [https://www.wikidata.org/wiki/Q21] to the Fulcrum Press [https://www.wikidata.org/wiki/Q5507820] doing a lot of Basil Bunting [https://www.wikidata.org/wiki/Q2886803] and the English poet of 65, resuscitated in America [https://www.wikidata.org/wiki/Q30] again, it's about time.\\n \\nJohn Wieners\\n00:03:44\\nReads \\\"Long Nook\\\" [from Ace of Pentacles].\\n \\nJohn Wieners\\n00:04:38\\nI'll just make random choices. \\\"At Big Sur\\\".\\n \\nJohn Wieners\\n00:04:53\\nReads \\\"At Big Sur” [from Ace of Pentacles].\\n \\nJohn Wieners\\n00:05:12\\n\\\"Louise\\\".\\n \\nJohn Wieners\\n00:05:21\\nReads \\\"Louise\\\" [from Ace of Pentacles].\\n \\nJohn Wieners\\n00:05:48\\n\\\"The Pool of Light\\\".\\n \\nJohn Wieners\\n00:05:53\\nReads \\\"The Pool of Light\\\" [from Ace of Pentacles].\\n \\nJohn Wieners\\n00:06:14\\nFor Mari--No, this is “For Marion\\\".\\n \\nJohn Wieners\\n00:06:19\\nReads \\\"For Marion\\\" [from Ace of Pentacles].\\n \\nJohn Wieners\\n00:07:05\\n“The Mermaid Song”, forgive me for this, I thought the other poems would carry me through, but I'm reading and keeping with the mood for tonight, it seems to be more lyrical. \\\"The Serpent's Hiss\\\".\\n \\nJohn Wieners\\n00:07:52\\nReads \\\"The Serpent's Hiss\\\" [published later in Selected Poems, 1958-1984].\\n \\nJohn Wieners\\n00:08:37\\nAnd this is called \\\"Tuesday, 5 pm\\\".\\n \\nJohn Wieners\\n00:08:43\\nReads \\\"Tuesday, 5 pm\\\" [published later as “Tuesday 7:00 PM” in Selected Poems, 1958-1984].\\n \\nJohn Wieners\\n00:10:45\\nI'm going to read the \\\"The Imperatrice\\\". Ace of Pentacles is a card in the Tarot deck, but the book should be called ‘pente’ which all the words that appeared in a hypnagogic vision, hypnagogic is the state between waking and sleeping, it's what Jung [https://www.wikidata.org/wiki/Q41532] practiced and his Marie Louise Franz would take down the things that came to him in the state between waking and sleeping and the letters ‘pente’ appeared in that state and I didn't know what they meant so I kept hunting around and I made the word 'pinnacles' out of it and somebody said why don't you call it \\\"Ace of Pinnacles\\\" and we made a whole thing about the Tarot deck, but that's not the title of the book. It should be ‘pente’ and that's from the Greek  which is ‘wall’. And I'd like have as a fronts piece for the book William Blake's [https://www.wikidata.org/wiki/Q41513] \\\"The Chimney Sweep\\\"  [https://www.wikidata.org/wiki/Q2587725] the second version of that from the \\\"Songs of Experience\\\" [https://www.wikidata.org/wiki/Q27890603] when he says that my mum and father have gone up to the church to pray and they make a heaven of my misery. That kind of thing. Imperatrice there's another card from the Tarot deck it's the third card of the deck.\\n \\nJohn Wieners\\n00:12:09\\nReads \\\"The Imperatrice\\\" [published later in Selected Poems, 1958-1984].\\n \\nJohn Wieners\\n00:13:38\\nThere is something else I thought I'd like to read after that one. I'll read a poem for Sylvia Plath [https://www.wikidata.org/wiki/Q133054] who was an American poet who married an English man, Ted Hughes [https://www.wikidata.org/wiki/Q272194] and had mental troubles and wrote a novel about it called The Bell Jar [https://www.wikidata.org/wiki/Q1213085] under a pseudonym Victoria Lucas, so not to embarrass her mother, and then things became too much for her and I think in 1963, she did away with herself in London [https://www.wikidata.org/wiki/Q84], and it was a great loss, some people feel that and some do not, they feel that at least--Lowell has written an introduction to her poems posthumously printed called Ariel [https://www.wikidata.org/wiki/Q224733] and her first book was The Colossus [https://www.wikidata.org/wiki/Q29889462]. But Victoria Lucas was, The Bell Jar, was, you could buy it through William Hiderman and it came down from Canada [https://www.wikidata.org/wiki/Q16] to the United States and it's never been printed in the country. This is \\\"The Suicide\\\".\\n \\nJohn Wieners\\n00:15:06\\nReads \\\"The Suicide\\\" [published later in Selected Poems, 1958-1984].\\n \\nJohn Wieners\\n00:16:57\\nLet's read some happy poems, I'm getting depressed.\\n\\nUnknown\\n00:17:03\\n[Cut or edit made in tape].\\n\\nJohn Wieners\\n00:17:04\\nReads \\\"Ode on a Common Fountain\\\" [from Ace of Pentacles; recording jumps to mid-poem].\\n \\nJohn Wieners\\n00:19:51\\nThat's the first poem, I ever, I was twenty, so that was twelve years ago, that poem was written. Now I can go back--I'm still writing about Acis [https://www.wikidata.org/wiki/Q419156] and Galatea [https://www.wikidata.org/wiki/Q241070] but these are terribly sentimental and distraught, drunken poems, you can call them. Maybe we'll have one more, or is that anything from that first reading that you'd like to hear again? I'd rather not go into it. [Unknown audience member suggests poem. Title unintelligible]. Okay, that's what Spender [https://www.wikidata.org/wiki/Q448764] did say to me, he said you look like a de-frocked priest, so. Which I thought was awfully cruel, but I think I am one, my sister was a nun, I'll be a priest. Poets are priests, you know.\\n \\nJohn Wieners\\n00:20:54\\nReads “There are holy orders in life...” [published later in Selected Poems, 1958-1984].\\n \\nEND\\n00:21:42\",\"notes\":\"John Wieners reads from Ace of Pentacles (Carr & Wilson, 1964) as well as works published in 1985 in Selected Poems, 1958-1984 (Black Sparrow Press).\\n\\n00:00- Reading “Invitation to Summer” [recording does not start at beginning of poem]\\n01:09- Introduces “Invitation Au Voyage” [INDEX: German Romanticism]\\n01:30- Reads “Invitation Au Voyage”\\n03:15- Introduces “Long Nook” [Howard Fink list “One Look”] [INDEX: Stuart Montgommery, Fulcrum Press, Basil Bunting]\\n03:44- Reads “Long Nook”\\n04:38- Introduces “At Big Sur”\\n04:53- Reads “At Big Sur”\\n05:12- Introduces “Louise”\\n05:21- Reads “Louise”\\n05:48- Introduces “The Pool of Light”\\n05:53- Reads “The Pool of Light”\\n06:14- Introduces “Not For Marion” [Howard Fink List “I have found her snow white in my head”]\\n06:19- Reads “For Marion”\\n07:05- Introduces “The Serpent’s Hiss”\\n07:52- Reads “The Serpent’s Hiss”\\n08:37- Introduces “Tuesday, 5 pm” [published as “Tuesday 7:00 PM”]\\n08:43- Reads “Tuesday, 5 pm”\\n10:45- Introduces “Imperatrice” [INDEX: Ace of Pentacles, Tarot, hypnogogic, Karl Yung, Marie Louise Franz, William Blake’s “The Chimney Sweep”, “Songs of Experience”]\\n12:09- Reads “Imperatrice”\\n13:38- Introduces “The Suicide” [INDEX: Sylvia Plath, Ted Hughes, mental illness, The Bell Jar 1963, Ariel, The Colossus, Victoria Lucas, William Hiderman]\\n15:06- Reads “The Suicide”\\n17:04- Introduces unknown poem, mid-sentence “About your pipes and mouth...” [Howard Fink first line “In patience wait the flooding...”]\\n19:51- Introduces unknown poem “I was born to be a priest...” [Howard Fink first line “There are holy orders in life...] [INDEX: Asis, Galatea, Spender]\\n20:54- Reads unknown poem\\n21:24.91- END OF RECORDING\\n\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0119_tape.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006_11_0119_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"John Wieners Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006_11_0119_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"John Wieners Tape Box - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"https://digital.lib.sfu.ca/rbr-62/rb757a\"}]"],"score":1.8530173},{"id":"1206","cataloger_name":["Andrew,Roberge"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Ian Ferrier fonds"],"source_collection_label":["Ian Ferrier fonds"],"collection_contributing_unit":["Ian Ferrier"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Words and Music at Casa del Popolo 2005-03-20"],"item_title_source":["Container, event audio"],"item_title_note":["On MDs: \"W+M March 2005 Lisa B Fort Kale Paula #1 \"; \"W+M March 2005 #2\". "],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"creator_names":["Ferrier, Ian","Anderson, Fortner","Wilson, Shawnda","Godin, Steve","D, Jenny","B, Lisa"],"creator_names_search":["Ferrier, Ian","Anderson, Fortner","Wilson, Shawnda","Godin, Steve","D, Jenny","B, Lisa"],"creators":["[{\"url\":\"http://viaf.org/viaf/91437046\",\"name\":\"Ferrier, Ian\",\"dates\":\"1954-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\"]},{\"url\":\"http://viaf.org/viaf/106026246\",\"name\":\"Anderson, Fortner\",\"dates\":\"1955-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Wilson, Shawnda\",\"dates\":\"\",\"notes\":\"Not found on databases.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/105712077\",\"name\":\"Godin, Steve\",\"dates\":\"1956-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"D, Jenny\",\"dates\":\"\",\"notes\":\"Not found on databases. Performs drums alongside Lisa B.\",\"nation\":[],\"role\":[]},{\"url\":\"\",\"name\":\"B, Lisa\",\"dates\":\"\",\"notes\":\"Not found on databases. From Victoria, British Colombia, according to Ian Ferrier's introduction. Her website, \\\"www.luckygoat.org\\\", is no longer online.\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[2005],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"74 minutes\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Minidisc\",\"physical_composition\":\"Magneto-Optical\",\"accompanying_material\":\"\",\"other_physical_description\":\"On MD: W+M March 2005 Lisa B Fort Kaie Paula #1 \"},{\"side\":\"\",\"image\":\"Uploads/1206/Poster 2005-03-20.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"Digital\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"Uploads/1206/W+M March 2005 Lisa B Fort Kake Paula #1.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"74 minutes\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Minidisc\",\"physical_composition\":\"Magneto-Optical\",\"accompanying_material\":\"\",\"other_physical_description\":\"On MD: W+M March 2005 #2\"}]"],"material_designations":["Minidisc","Minidisc"],"physical_compositions":["Magneto-Optical","Magneto-Optical"],"recording_type":["Analogue","Digital","Analogue"],"AV_type":["Audio","Audio"],"playback_mode":["Mono","Mono"],"digital_description":["[{\"file_url\":\"https://files.spokenweb.ca/concordia/wordsandmusic/wm_orig/files/2005/03/\",\"file_path\":\"\",\"filename\":\"04092019093503_DN-700R.wav\",\"channel_field\":\"Mono\",\"sample_rate\":\"96kHz\",\"duration\":\"01:13:27\",\"precision\":\"\",\"size\":\"1 GB\",\"bitrate\":\"24\",\"encoding\":\"Waveform\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/wordsandmusic/wm_orig/files/2005/03/\",\"file_path\":\"\",\"filename\":\"04092019105006_DN-700R.wav\",\"channel_field\":\"Mono\",\"sample_rate\":\"96kHz\",\"duration\":\"01:14:56\",\"precision\":\"\",\"size\":\"701 MB\",\"bitrate\":\"96kHz\",\"encoding\":\"Waveform\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://drive.google.com/file/d/1faZw1UXZ-GEuUanEqtIDkN0Kph5147uq/view\",\"file_path\":\"https://drive.google.com/drive/u/2/folders/1_CNeT4C8F-KzegfFjVrVXof4lLe4LEdO\",\"filename\":\"Poster 2005-03-20.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Poster\",\"featured\":\"Yes\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"2005-03-20\",\"type\":\"Performance Date\",\"notes\":\"Ian Ferrier mentions in his introduction to the show that it is the spring equinox, meaning it took place on Sunday 20 March.\",\"source\":\"Container, event audio\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1570292450\",\"venue\":\"Casa del Popolo (Montreal)\",\"notes\":\"\",\"address\":\"4873, Boulevard Saint-Laurent, Montreal, Quebec, Canada\",\"latitude\":\"45,5222118\",\"longitude\":\"-73,5905321\"}]"],"Address":["4873, Boulevard Saint-Laurent, Montreal, Quebec, Canada"],"Venue":["Casa del Popolo (Montreal)"],"City":["Montreal, Quebec"],"content_notes":["The Words and Music show meets at the Casa del Popolo for the spring equinox on Sunday 20 March 2005. Fortner Anderson has two copies of CD Sometimes I Think (Wired on Words, 2002) on sale at the back; Zine-maker Shawnda Wilson reads “Letter-as-poem”, “The Thirteenth Floor” and an untitled poem; Steve Godin, regular sound guy for the Words and Music Show, performs a portion of his work on sound recording with musical accompaniment. In from Victoria, Lisa B. asks “how open-minded an audience are you?” and performs from her CD Salvaged Music (CD Baby, 2004) with musical accompaniment by Jenny D. Paula Belina comes on stage with “dishwasher tendonitis” to read poems from an unwritten book she would title Paint a City Coat on You, My Wall. Kaie Kellough closes the show with poems which he qualifies as “using fewer words”. "],"contents":["04092019093503_DN-700R.wav [File 1 of 2]\n\nFortner Anderson\n00:01:37\n\nShawnda Wilson\n00:20:24\n\nSteve Godin\n00:25:47\n\nLisa B and Jenny D\n00:37:38\n\n\n04092019105006_DN-700R.wav [File 2 of 2]\n\nPaula Belina\n00:00:48\n\nKaie Kellough\n00:29:21\n"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670548617297921,"timestamp":"2026-01-07T14:59:53.264Z","score":1.8530173},{"id":"1213","cataloger_name":["Emma,Telaro"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Ian Ferrier fonds"],"source_collection_label":["Ian Ferrier fonds"],"collection_contributing_unit":["Ian Ferrier"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Words and Music at Casa del Popolo 2006-03-26"],"item_title_source":["Container "],"item_title_note":["On MD \"Casa  #1 w+m March 2006 Fiorentiuo-blackheart-phare-2\"; \"W+M MAR 2006 #2 Fiorentino\""],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"creator_names":["Ferrier, Ian","Roberts, Laura","Pharmakon","Fiorentino, Jon Paul","Virtanen, Erik"],"creator_names_search":["Ferrier, Ian","Roberts, Laura","Pharmakon","Fiorentino, Jon Paul","Virtanen, Erik"],"creators":["[{\"url\":\"http://viaf.org/viaf/91437046\",\"name\":\"Ferrier, Ian \",\"dates\":\"1954-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\"]},{\"url\":\"\",\"name\":\"Roberts, Laura \",\"dates\":\"\",\"notes\":\"No viaf entry. Laura Roberts of \\\"Black Heart\\\" erotica magazine\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/315542515\",\"name\":\"Pharmakon\",\"dates\":\"1991-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Fiorentino, Jon Paul\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/169959609\",\"name\":\"Virtanen, Erik\",\"dates\":\"1980-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[2006],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"Minidisc\",\"physical_composition\":\"Magneto-Optical\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"Minidisc\",\"physical_composition\":\"Magneto-Optical\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"Uploads/1213/Poster 2006-03-26.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"Digital\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Minidisc","Minidisc"],"physical_compositions":["Magneto-Optical","Magneto-Optical"],"recording_type":["Analogue","Analogue","Digital"],"AV_type":["Audio","Audio"],"playback_mode":["Mono","Stereo"],"digital_description":["[{\"file_url\":\"https://files.spokenweb.ca/concordia/wordsandmusic/wm_orig/files/2006/03/\",\"file_path\":\"\",\"filename\":\"13092019133637_DN-700R.wav\",\"channel_field\":\"Stereo\",\"sample_rate\":\"96kHz\",\"duration\":\"01:07:50\",\"precision\":\"\",\"size\":\"1 GB\",\"bitrate\":\"24\",\"encoding\":\"Waveform \",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/wordsandmusic/wm_orig/files/2006/03/\",\"file_path\":\"\",\"filename\":\"16092019105416_DN-700R.wav\",\"channel_field\":\"Stereo\",\"sample_rate\":\"96kHz\",\"duration\":\"00:22:26\",\"precision\":\"\",\"size\":\"416 MB\",\"bitrate\":\"24\",\"encoding\":\"Waveform\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://drive.google.com/file/d/1uPyKLgU87EEvfixB32pMijSw7dtrTB5p/view?usp=drive_open\",\"file_path\":\"https://drive.google.com/drive/u/2/folders/1_CNeT4C8F-KzegfFjVrVXof4lLe4LEdO\",\"filename\":\"Poster 2006-03-26\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Poster\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"2006-03-26\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Container\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1570292450\",\"venue\":\"Casa del Popolo (Montreal)\",\"notes\":\"\",\"address\":\"4873, Boulevard Saint-Laurent, Montreal, Quebec, Canada\",\"latitude\":\"45,5222118\",\"longitude\":\"-73,5905321\"}]"],"Address":["4873, Boulevard Saint-Laurent, Montreal, Quebec, Canada"],"Venue":["Casa del Popolo (Montreal)"],"City":["Montreal, Quebec"],"content_notes":["Free admission tickets were produced for the Words and Music show of Sunday 26 March 2006, possibly following a rescheduling of the 19 March date. The show “sets out to cure what ails you” with Laura Roberts of Black Heart erotica magazine, poet Jon Paul Riorentino, singer-songwriter Erik Virtanen, and the music of Pharmakon. Admission is $5, doors open 8PM. "],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670548621492224,"timestamp":"2026-01-07T14:59:53.264Z","contents":["13092019133637_DN-700R.wav\n\n00:00:00\nMuted.\n\nIan Ferrier [https://www.wikidata.org/wiki/Q87138884]\n00:00:33\nIntroduces David Kovacs.\n\nAudience\n00:00:40\nApplause.\n\nDavid Kovacs\n00:00:47\nIntroduces unknown magazine | Keywords: fiction editor; literary magazine; regular mail.\n\nIan Ferrier\n00:01:58\nIntroduces Erik Virtanen | Keywords: singer-songwriter.\n\nAudience\n00:02:08\nApplause.\n\nErik Virtanen\n00:03:00\nIntroduces himself | Keywords: Hotmail; Dr. Phil show [https://www.wikidata.org/wiki/Q204630].\n\nErik Virtanen\n00:04:20\nPerforms “A day in her life” | Keywords: story songs.\n\nAudience\n00:07:14\nApplause.\n\nErik Virtanen\n00:07:27\nIntroduces “With a magnifying glass” | Keywords: C. S. Lewis [https://www.wikidata.org/wiki/Q9204]; Dante [https://www.wikidata.org/wiki/Q1067]; Inferno [https://www.wikidata.org/wiki/Q4509219].\n\nErik Virtanen\n00:07:52\nPerforms “With a magnifying glass”.\n\nAudience\n00:11:24\nApplause.\n\nErik Virtanen\n00:11:36\nPerforms “She took off her glasses” | Keywords: Korea [https://www.wikidata.org/wiki/Q18097]; Asian girlfriend.\n\nAudience\n00:15:54\nApplause.\n\nIan Ferrier\n00:16:25\nIntroduces Laura Roberts | Keywords: magazine; Black Heart.\n\n\nAudience\n00:17:18\nApplause.\n\nLaura Roberts\n00:17:26\nIntroduces Black Heart magazine | Keywords: relationships; love; sex; Tim Hortons [https://www.wikidata.org/wiki/Q175106].\n\nLaura Roberts\n00:18:36\nReads “Buck 20 Boyfriend” | Keywords: boyfriend; Spice Girls [https://www.wikidata.org/wiki/Q55641].\n\nAudience\n00:21:19\nApplause [cheering].\n\nIan Ferrier\n00:21:37\nAnnounces break.\n\nAudience\n00:21:44\nApplause [cheering].\n\n00:21:53\nAmbient sound [background music].\n\nIan Ferrier\n00:22:13\nIntroduces Jon Paul Fiorentino | Keywords; Theory of the Loser Class.\n\nAudience\n00:22:29\nApplause.\n\nJon Paul Fiorentino [https://www.wikidata.org/wiki/Q16728998]\n00:22:40\nIntroduces Theory of the Loser Class | Keywords: poems.\n\nAudience\n00:23:10\nLaughter.\n\nJon Paul Fiorentino\n00:23:18\nReads “Rapid Cycler” | Keywords: sacred; hyperbole.\n\nJon Paul Fiorentino\n00:24:08.6\nReads “Right in the Spine” | Keywords: Gertrude Stein [https://www.wikidata.org/wiki/Q188385]; loser.\n\nJon Paul Fiorentino\n00:24:50\nReads “Delver” | Keywords: intravenous.\n\nJon Paul Fiorentino\n00:25:21\nReads “The Errand Boy” | Keywords: leisure class; consumption; Jerry Lewis [https://www.wikidata.org/wiki/Q294927].\n\nJon Paul Fiorentino\n00:26:42\nReads “Jerry Lewis and a gun” | Keywords: sedan; Broadway [https://www.wikidata.org/wiki/Q235065].\n\nJon Paul Fiorentino\n00:27:40\nReads “Spine” | Keywords: story of my life.\n\nJon Paul Fiorentino\n00:28:42\nDiscusses Montreal poets | Keywords: dickheads; Carmine Starnino [https://www.wikidata.org/wiki/Q5043713]; David Halloway; conservative; protest poem.\n\nJon Paul Fiorentino\n00:29:49\nReads “Boring people holding hands” | Keywords: Sunday school; financial district.\n\nAudience\n00:30:40\nApplause [cheering].\n\nIan Ferrier\n00:31:00\nIntroduces Laura Roberts.\n\nLaura Roberts\n00:31:27\nReads unknown story | Keywords: condomless; seals; cock; cunt.\n\nAudience\n00:34:33\nApplause.\n\nIan Ferrier\n00:34:51\nIntroduces David Kovacs.\n\nAudience\n00:35:11\nApplause.\n\nDavid Kovacs\n00:35:24\nReads “Death wish” | Keywords: ocean; navy.\n\nDavid Kovacs\n00:37:01\nReads unknown poem | Keywords: acid; gringo; Mexico [https://www.wikidata.org/wiki/Q96].\n\nDavid Kovacs\n00:39:17\nReads “Routers” | Keywords: socks; Thanksgiving; Kennedy [https://www.wikidata.org/wiki/Q9696].\n\nAudience\n00:41:25\nApplause.\n\nIan Ferrier\n00:41:41\nAnnounces break and change in lineup.\n\n00:43:48\nAmbient sound [background music].\n\nIan Ferrier\n00:49:50\nIntroduces John Stein.\n\nIan Ferrier and John  Stein\n00:50:12\nPerforms “Exile’s Letter” | Keywords: girlfriend; drunk; poets; New York [https://www.wikidata.org/wiki/Q60].\n\nAudience\n01:07:30\nApplause [cheering].\n\nIan Ferrier\n01:07:43\nAnnounces open mic.\n\nEND\n01:07:56\n[Event continues on second recording].\n\n16092019105416_DN-700R.wav\n\n00:00:00\nAmbient sound [tentative music].\n\nUnknown speaker\n00:02:30\nPerforms vocals | Keywords: S. W. Welch [bookstore].\n\nAudience\n00:07:43\nApplause.\n\nUnknown performers\n00:09:12\nImprovise music.\n\nCat Kidd\n00:10:47\nPerforms poem | Keywords: reptile; species; salamander; Charles Darwin [https://www.wikidata.org/wiki/Q1035]; evolution.\n\n0:16:28.4\nAmbient sound [background conversation].\n\nUnknown performer\n00:17:20\nPerforms unknown poem | Keywords: obituary; hitchhike; car crash.\n\nAudience\n00:21:28\nApplause.\n\nIan Ferrier [https://www.wikidata.org/wiki/Q87138884]\n0:21:48.5\nThanks performers.\n\nAudience\n00:22:27\nApplause.\n\n00:22:31\nMuted.\n\nEND\n00:27:27.\n"],"score":1.8530173},{"id":"1252","cataloger_name":["Masoumeh,Zaare"],"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":["John Wieners at Sir George Williams University, The Poetry Series, 8 October 1966"],"item_title_source":["Catalgouer"],"item_title_note":["\"J. WIENES I006/SR119\" written on sticker on the spine of the tape's box. J. WIENES refers to John Wieners. Wieners is mispelled "],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 1"],"item_identifiers":["[]"],"access":["Closed"],"creator_names":["Wieners, John"],"creator_names_search":["Wieners, John"],"creators":["[{\"url\":\" http://viaf.org/viaf/90723960\",\"name\":\"Wieners, John\",\"dates\":\"1934-2002\",\"notes\":\" American poet, playwright and essayist John Wieners was born in Boston on January 6, 1934. In 1934, Wieners earned a B.A. in English from Boston College, and subsequently worked at Harvard University’s Lamont Library. A 1955 poetry reading by Charles Olson inspired Wieners to attend Black Mountain College in North Carolina, where he met and was mentored by Charles Olson and Robert Duncan. After completing studies in 1956, John Wieners moved back to Boston and started Measure, a (short-lived) literary magazine, as well as becoming involved in the Poet’s Theater in Cambridge. At the age of 24, (in 1958) Wieners moved to San Francisco and met Beat Poets Jack Kerouac, Jack Spicer and Allen Ginsberg, and published his first book of poems, The Hotel Wentley Poems (Dave Haselwood Publishing, 1965). John Wieners’ San Francisco journal, The Journal of John Wieners Is To Be Called 707 Scott Street for Billie Holiday, 1959, was published in 1966 by Sun & Moon Press. Wieners wrote plays that were never published during this time, until 1964 when he published Ace of Pentacles (published by James F. Carr & Robert A. Wilson). Charles Olson asked Wieners to be a graduate student and a teaching assistant at the State University of New York at Buffalo in 1965, and Wieners eventually became the university’s chair of poetics, when he left by 1967. John Wieners suffered from mental illness, and was institutionalized for the second time in 1969, where he wrote Asylum Poems (For My Father) (Press of the Black Flag Raised). In 1970, he published Nerves (Cape Goliard Press), an internationally published book of poetry, and between 1967 to 1972, he published six smaller books of poetry. Behind the State Capitol; or, Cincinnati Pike (Good Gay Poets Press) was published in 1975 and thus marked the last of his published poems. John Wieners’ poetry, while highly appraised by Beat Poets, Black Mountain Poets and his peers, did not achieve wide public acclaim or readership. In 1985, however, Selected Poems, 1958-1984 (Black Sparrow Press) was compiled with the help of Robert Creeley and Allen Ginsberg. In the 70’s, John Wieners lived and became involved with anti-war movements and became an activist for gay rights, living at 44 Joy Street in Boston. Becoming more and more reclusive after the mid 70’s, John Wieners died of an apparent stroke on March 1, 2002. Michael Carr edited a posthumous collection of Wiener’s 1971 journals which was published in 2007.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1966],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"7 1/2 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\":\"1966 10 08\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Previous researcher\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Art Gallery\",\"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 Art Gallery"],"City":["Montreal, Quebec"],"content_notes":["John Wieners reads from Ace of Pentacles (Carr & Wilson, 1964) as well as works published in 1985 in Selected Poems, 1958-1984 (Black Sparrow Press)."],"contents":["john_wieners_i006-11-119.mp3\n\nJohn Wieners\n00:00:00\nReads “Invocation to Summer” [recording begins abruptly].\n \nJohn Wieners\n00:01:09\n\"Invitation Au Voyage: II\". Do you know that poem of Baudelaire's [https://www.wikidata.org/wiki/Q501]? It's something at the end of the world. He’s speaking to his beloved, very simple. You know, lots of the German Romanticism was very simple.\n \nJohn Wieners\n00:01:30\nReads \"Invitation Au Voyage: II\".\n \nJohn Wieners\n00:03:15\nWell let's go back to the old poems then, that have been published. Stuart Montgomery, well it doesn't matter. But that--I can send it off to England [https://www.wikidata.org/wiki/Q21] to the Fulcrum Press [https://www.wikidata.org/wiki/Q5507820] doing a lot of Basil Bunting [https://www.wikidata.org/wiki/Q2886803] and the English poet of 65, resuscitated in America [https://www.wikidata.org/wiki/Q30] again, it's about time.\n \nJohn Wieners\n00:03:44\nReads \"Long Nook\" [from Ace of Pentacles].\n \nJohn Wieners\n00:04:38\nI'll just make random choices. \"At Big Sur\".\n \nJohn Wieners\n00:04:53\nReads \"At Big Sur” [from Ace of Pentacles].\n \nJohn Wieners\n00:05:12\n\"Louise\".\n \nJohn Wieners\n00:05:21\nReads \"Louise\" [from Ace of Pentacles].\n \nJohn Wieners\n00:05:48\n\"The Pool of Light\".\n \nJohn Wieners\n00:05:53\nReads \"The Pool of Light\" [from Ace of Pentacles].\n \nJohn Wieners\n00:06:14\nFor Mari--No, this is “For Marion\".\n \nJohn Wieners\n00:06:19\nReads \"For Marion\" [from Ace of Pentacles].\n \nJohn Wieners\n00:07:05\n“The Mermaid Song”, forgive me for this, I thought the other poems would carry me through, but I'm reading and keeping with the mood for tonight, it seems to be more lyrical. \"The Serpent's Hiss\".\n \nJohn Wieners\n00:07:52\nReads \"The Serpent's Hiss\" [published later in Selected Poems, 1958-1984].\n \nJohn Wieners\n00:08:37\nAnd this is called \"Tuesday, 5 pm\".\n \nJohn Wieners\n00:08:43\nReads \"Tuesday, 5 pm\" [published later as “Tuesday 7:00 PM” in Selected Poems, 1958-1984].\n \nJohn Wieners\n00:10:45\nI'm going to read the \"The Imperatrice\". Ace of Pentacles is a card in the Tarot deck, but the book should be called ‘pente’ which all the words that appeared in a hypnagogic vision, hypnagogic is the state between waking and sleeping, it's what Jung [https://www.wikidata.org/wiki/Q41532] practiced and his Marie Louise Franz would take down the things that came to him in the state between waking and sleeping and the letters ‘pente’ appeared in that state and I didn't know what they meant so I kept hunting around and I made the word 'pinnacles' out of it and somebody said why don't you call it \"Ace of Pinnacles\" and we made a whole thing about the Tarot deck, but that's not the title of the book. It should be ‘pente’ and that's from the Greek  which is ‘wall’. And I'd like have as a fronts piece for the book William Blake's [https://www.wikidata.org/wiki/Q41513] \"The Chimney Sweep\"  [https://www.wikidata.org/wiki/Q2587725] the second version of that from the \"Songs of Experience\" [https://www.wikidata.org/wiki/Q27890603] when he says that my mum and father have gone up to the church to pray and they make a heaven of my misery. That kind of thing. Imperatrice there's another card from the Tarot deck it's the third card of the deck.\n \nJohn Wieners\n00:12:09\nReads \"The Imperatrice\" [published later in Selected Poems, 1958-1984].\n \nJohn Wieners\n00:13:38\nThere is something else I thought I'd like to read after that one. I'll read a poem for Sylvia Plath [https://www.wikidata.org/wiki/Q133054] who was an American poet who married an English man, Ted Hughes [https://www.wikidata.org/wiki/Q272194] and had mental troubles and wrote a novel about it called The Bell Jar [https://www.wikidata.org/wiki/Q1213085] under a pseudonym Victoria Lucas, so not to embarrass her mother, and then things became too much for her and I think in 1963, she did away with herself in London [https://www.wikidata.org/wiki/Q84], and it was a great loss, some people feel that and some do not, they feel that at least--Lowell has written an introduction to her poems posthumously printed called Ariel [https://www.wikidata.org/wiki/Q224733] and her first book was The Colossus [https://www.wikidata.org/wiki/Q29889462]. But Victoria Lucas was, The Bell Jar, was, you could buy it through William Hiderman and it came down from Canada [https://www.wikidata.org/wiki/Q16] to the United States and it's never been printed in the country. This is \"The Suicide\".\n \nJohn Wieners\n00:15:06\nReads \"The Suicide\" [published later in Selected Poems, 1958-1984].\n \nJohn Wieners\n00:16:57\nLet's read some happy poems, I'm getting depressed.\n\nUnknown\n00:17:03\n[Cut or edit made in tape].\n\nJohn Wieners\n00:17:04\nReads \"Ode on a Common Fountain\" [from Ace of Pentacles; recording jumps to mid-poem].\n \nJohn Wieners\n00:19:51\nThat's the first poem, I ever, I was twenty, so that was twelve years ago, that poem was written. Now I can go back--I'm still writing about Acis [https://www.wikidata.org/wiki/Q419156] and Galatea [https://www.wikidata.org/wiki/Q241070] but these are terribly sentimental and distraught, drunken poems, you can call them. Maybe we'll have one more, or is that anything from that first reading that you'd like to hear again? I'd rather not go into it. [Unknown audience member suggests poem. Title unintelligible]. Okay, that's what Spender [https://www.wikidata.org/wiki/Q448764] did say to me, he said you look like a de-frocked priest, so. Which I thought was awfully cruel, but I think I am one, my sister was a nun, I'll be a priest. Poets are priests, you know.\n \nJohn Wieners\n00:20:54\nReads “There are holy orders in life...” [published later in Selected Poems, 1958-1984].\n \nEND\n00:21:42\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\n From 1965-67, John Wieners was at State University of New York (SUNY) at Buffalo, either working as a graduate student or as the chair of poetics. At that time, Charles Olson left SUNY in 1966, to be replaced by Robert Creeley. Wieners’ The Journal of John Wieners Is To Be Called 707 Scott Street for Billie Holiday, 1959, was published in 1966.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nNo direct connections between John Wieners and Sir George Williams University are known, however Wieners was an important poet, connected with poets from both the Black Mountain school and Beat movements. \\n\",\"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 (mp3)\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/oxford-encyclopedia-of-american-literature/oclc/769478515&referer=brief_results\",\"citation\":\"Foster, Edward Halsey. \\\"Gay Literature: Poetry and Prose\\\". The Oxford Encyclopedia of American Literature. Jay Parini (ed). Oxford University Press, 2004. \"},{\"url\":\"https://www.independent.co.uk/news/obituaries/john-wieners-9143191.html\",\"citation\":\"Ward, Geoff. “John Joseph Wieners, poet, Jan. 6th 1934 - March 1st 2002”. The Independent, 15 March 2000.\"},{\"url\":\"https://www.worldcat.org/title/ace-of-pentacles-a-new-book-of-poems-by-john-wieners/oclc/702932793?referer=di&ht=edition\",\"citation\":\"Wieners, John. Ace of Pentacles. New York: Carr & Wilson, 1964\"},{\"url\":\"https://www.worldcat.org/title/selected-poems-1958-1984/oclc/743392421&referer=brief_results\",\"citation\":\"Wieners, John. Selected Poems, 1958-1984. Santa Barbara: Black Sparrow Press, 1985.\"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/john-wieners-at-sgwu-1966/\",\"citation\":\"Thoms, Kathleen. “Poetry Readings Inaugurated”. The Georgian. Montreal: Sir George Williams University, 10 October 1966, p. 6. \"},{\"url\":\"\",\"citation\":\"“Wieners, John, 1934-”. Literature Online Biography. Literature Online: ProQuest, 2009. \"},{\"url\":\"https://drive.google.com/drive/folders/12H55HcY0pAZtzJ9AmxLabbX2hdjvCaX0\",\"citation\":\"“Poetry Readings”. OP-ED. Montreal: Sir George Williams University, 6 October 1967, page 6. \"}]"],"_version_":1853670548643512320,"timestamp":"2026-01-07T14:59:53.264Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0119_tape.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006_11_0119_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"John Wieners 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_0119_side.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006_11_0119_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"John Wieners Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0119_front.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006_11_0119_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"John Wieners 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_0119_back.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006_11_0119_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"John Wieners Tape Box - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/john_wieners_i006-11-119.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"john_wieners_i006-11-119.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:21:42\",\"precision\":\"\",\"size\":\"52.1 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"John Wieners\\n00:00:00\\nReads “Invocation to Summer” [recording begins abruptly].\\n \\nJohn Wieners\\n00:01:09\\n\\\"Invitation Au Voyage: II\\\". Do you know that poem of Baudelaire's [https://www.wikidata.org/wiki/Q501]? It's something at the end of the world. He’s speaking to his beloved, very simple. You know, lots of the German Romanticism was very simple.\\n \\nJohn Wieners\\n00:01:30\\nReads \\\"Invitation Au Voyage: II\\\".\\n \\nJohn Wieners\\n00:03:15\\nWell let's go back to the old poems then, that have been published. Stuart Montgomery, well it doesn't matter. But that--I can send it off to England [https://www.wikidata.org/wiki/Q21] to the Fulcrum Press [https://www.wikidata.org/wiki/Q5507820] doing a lot of Basil Bunting [https://www.wikidata.org/wiki/Q2886803] and the English poet of 65, resuscitated in America [https://www.wikidata.org/wiki/Q30] again, it's about time.\\n \\nJohn Wieners\\n00:03:44\\nReads \\\"Long Nook\\\" [from Ace of Pentacles].\\n \\nJohn Wieners\\n00:04:38\\nI'll just make random choices. \\\"At Big Sur\\\".\\n \\nJohn Wieners\\n00:04:53\\nReads \\\"At Big Sur” [from Ace of Pentacles].\\n \\nJohn Wieners\\n00:05:12\\n\\\"Louise\\\".\\n \\nJohn Wieners\\n00:05:21\\nReads \\\"Louise\\\" [from Ace of Pentacles].\\n \\nJohn Wieners\\n00:05:48\\n\\\"The Pool of Light\\\".\\n \\nJohn Wieners\\n00:05:53\\nReads \\\"The Pool of Light\\\" [from Ace of Pentacles].\\n \\nJohn Wieners\\n00:06:14\\nFor Mari--No, this is “For Marion\\\".\\n \\nJohn Wieners\\n00:06:19\\nReads \\\"For Marion\\\" [from Ace of Pentacles].\\n \\nJohn Wieners\\n00:07:05\\n“The Mermaid Song”, forgive me for this, I thought the other poems would carry me through, but I'm reading and keeping with the mood for tonight, it seems to be more lyrical. \\\"The Serpent's Hiss\\\".\\n \\nJohn Wieners\\n00:07:52\\nReads \\\"The Serpent's Hiss\\\" [published later in Selected Poems, 1958-1984].\\n \\nJohn Wieners\\n00:08:37\\nAnd this is called \\\"Tuesday, 5 pm\\\".\\n \\nJohn Wieners\\n00:08:43\\nReads \\\"Tuesday, 5 pm\\\" [published later as “Tuesday 7:00 PM” in Selected Poems, 1958-1984].\\n \\nJohn Wieners\\n00:10:45\\nI'm going to read the \\\"The Imperatrice\\\". Ace of Pentacles is a card in the Tarot deck, but the book should be called ‘pente’ which all the words that appeared in a hypnagogic vision, hypnagogic is the state between waking and sleeping, it's what Jung [https://www.wikidata.org/wiki/Q41532] practiced and his Marie Louise Franz would take down the things that came to him in the state between waking and sleeping and the letters ‘pente’ appeared in that state and I didn't know what they meant so I kept hunting around and I made the word 'pinnacles' out of it and somebody said why don't you call it \\\"Ace of Pinnacles\\\" and we made a whole thing about the Tarot deck, but that's not the title of the book. It should be ‘pente’ and that's from the Greek  which is ‘wall’. And I'd like have as a fronts piece for the book William Blake's [https://www.wikidata.org/wiki/Q41513] \\\"The Chimney Sweep\\\"  [https://www.wikidata.org/wiki/Q2587725] the second version of that from the \\\"Songs of Experience\\\" [https://www.wikidata.org/wiki/Q27890603] when he says that my mum and father have gone up to the church to pray and they make a heaven of my misery. That kind of thing. Imperatrice there's another card from the Tarot deck it's the third card of the deck.\\n \\nJohn Wieners\\n00:12:09\\nReads \\\"The Imperatrice\\\" [published later in Selected Poems, 1958-1984].\\n \\nJohn Wieners\\n00:13:38\\nThere is something else I thought I'd like to read after that one. I'll read a poem for Sylvia Plath [https://www.wikidata.org/wiki/Q133054] who was an American poet who married an English man, Ted Hughes [https://www.wikidata.org/wiki/Q272194] and had mental troubles and wrote a novel about it called The Bell Jar [https://www.wikidata.org/wiki/Q1213085] under a pseudonym Victoria Lucas, so not to embarrass her mother, and then things became too much for her and I think in 1963, she did away with herself in London [https://www.wikidata.org/wiki/Q84], and it was a great loss, some people feel that and some do not, they feel that at least--Lowell has written an introduction to her poems posthumously printed called Ariel [https://www.wikidata.org/wiki/Q224733] and her first book was The Colossus [https://www.wikidata.org/wiki/Q29889462]. But Victoria Lucas was, The Bell Jar, was, you could buy it through William Hiderman and it came down from Canada [https://www.wikidata.org/wiki/Q16] to the United States and it's never been printed in the country. This is \\\"The Suicide\\\".\\n \\nJohn Wieners\\n00:15:06\\nReads \\\"The Suicide\\\" [published later in Selected Poems, 1958-1984].\\n \\nJohn Wieners\\n00:16:57\\nLet's read some happy poems, I'm getting depressed.\\n\\nUnknown\\n00:17:03\\n[Cut or edit made in tape].\\n\\nJohn Wieners\\n00:17:04\\nReads \\\"Ode on a Common Fountain\\\" [from Ace of Pentacles; recording jumps to mid-poem].\\n \\nJohn Wieners\\n00:19:51\\nThat's the first poem, I ever, I was twenty, so that was twelve years ago, that poem was written. Now I can go back--I'm still writing about Acis [https://www.wikidata.org/wiki/Q419156] and Galatea [https://www.wikidata.org/wiki/Q241070] but these are terribly sentimental and distraught, drunken poems, you can call them. Maybe we'll have one more, or is that anything from that first reading that you'd like to hear again? I'd rather not go into it. [Unknown audience member suggests poem. Title unintelligible]. Okay, that's what Spender [https://www.wikidata.org/wiki/Q448764] did say to me, he said you look like a de-frocked priest, so. Which I thought was awfully cruel, but I think I am one, my sister was a nun, I'll be a priest. Poets are priests, you know.\\n \\nJohn Wieners\\n00:20:54\\nReads “There are holy orders in life...” [published later in Selected Poems, 1958-1984].\\n \\nEND\\n00:21:42\",\"notes\":\"John Wieners reads from Ace of Pentacles (Carr & Wilson, 1964) as well as works published in 1985 in Selected Poems, 1958-1984 (Black Sparrow Press).\\n\\n00:00- Reading “Invitation to Summer” [recording does not start at beginning of poem]\\n01:09- Introduces “Invitation Au Voyage” [INDEX: German Romanticism]\\n01:30- Reads “Invitation Au Voyage”\\n03:15- Introduces “Long Nook” [Howard Fink list “One Look”] [INDEX: Stuart Montgommery, Fulcrum Press, Basil Bunting]\\n03:44- Reads “Long Nook”\\n04:38- Introduces “At Big Sur”\\n04:53- Reads “At Big Sur”\\n05:12- Introduces “Louise”\\n05:21- Reads “Louise”\\n05:48- Introduces “The Pool of Light”\\n05:53- Reads “The Pool of Light”\\n06:14- Introduces “Not For Marion” [Howard Fink List “I have found her snow white in my head”]\\n06:19- Reads “For Marion”\\n07:05- Introduces “The Serpent’s Hiss”\\n07:52- Reads “The Serpent’s Hiss”\\n08:37- Introduces “Tuesday, 5 pm” [published as “Tuesday 7:00 PM”]\\n08:43- Reads “Tuesday, 5 pm”\\n10:45- Introduces “Imperatrice” [INDEX: Ace of Pentacles, Tarot, hypnogogic, Karl Yung, Marie Louise Franz, William Blake’s “The Chimney Sweep”, “Songs of Experience”]\\n12:09- Reads “Imperatrice”\\n13:38- Introduces “The Suicide” [INDEX: Sylvia Plath, Ted Hughes, mental illness, The Bell Jar 1963, Ariel, The Colossus, Victoria Lucas, William Hiderman]\\n15:06- Reads “The Suicide”\\n17:04- Introduces unknown poem, mid-sentence “About your pipes and mouth...” [Howard Fink first line “In patience wait the flooding...”]\\n19:51- Introduces unknown poem “I was born to be a priest...” [Howard Fink first line “There are holy orders in life...] [INDEX: Asis, Galatea, Spender]\\n20:54- Reads unknown poem\\n21:24.91- END OF RECORDING\\n\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/john-wieners-at-sgwu-1966/\"}]"],"score":1.8530173},{"id":"1253","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":[" Margaret Atwood at Sir George Williams University, The Poetry Series, 18 October 1974"],"item_title_source":["Cataloguer"],"item_title_note":["\"MARGARET ATWOOD\" written on the spine of the tape's box. \"I006-11-008\" written on sticker on the reel. \"MARGARET ATWOOD 5780 H. FINK ENGLISH 18-10-74 Weisman Gallery OP-Gvadnay?\" written on the front of the tape's box"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_identifiers":["[]"],"access":["Closed"],"creator_names":["Atwood, Margaret"],"creator_names_search":["Atwood, Margaret"],"creators":["[{\"url\":\"http://viaf.org/viaf/109322990\",\"name\":\"Atwood, Margaret\",\"dates\":\"1939-\",\"notes\":\"Internationally acclaimed novelist, poet, critic and activist Margaret Atwood was born in Ottawa, Ontario, November 18, 1939. She lived in Ottawa until 1946, when her family settled in Leaside, a suburb of Toronto. Atwood entered Victoria College, University of Toronto, graduating with honours in 1961. Her first published collection of short stories was Double Persephone (Hawkshead Press, 1961). By 1962 she had received her MA in English from Radcliffe College in the United States, working on further graduate work at Harvard University between 1962-3 and in 1965-7. Atwood published her second collection, The Circle Game (Anansi, 1966), which won the Governor General Award for Poetry. She wrote articles and reviews for Alphabet, Canadian Literature and Poetry among other publications, and poems for Kayak, Quarry and the Tamarack Review. Poems published in her book The Animals in That Country (Oxford University Press, 1968) won first prize in Canada’s 1967 Centennial Commission poetry competition. In 1970, she published three books, Procedures for Underground (Oxford University Press), Time, and The Journals of Susanna Moodie (Oxford University Press). Between 1971 and 1973, Atwood worked as an editor and on the board of directors for the House of Anansi press in Toronto, which in 1972 published Power Politics. Upon the discovery at Harvard that there was no published critical study of Canadian literature, she herself wrote and published Survival: A Thematic Guide to Canadian Literature (Anansi, 1971), which created a stir of controversy, but by 1982 it had sold more than 85,000 copies. Since 1973, she has lived with novelist and activist Graeme Gibson, producing one daughter, Eleanor Jess in 1967. Atwood taught and lectured at several Universities across Canada, the US and Australia, including University of British Columbia, University of Alberta, Sir George Williams University (now Concordia) (1967-68) and at York University, Toronto. A selection of her publications include Surfacing (Simon & Schuster, 1972), You Are Happy (Harper & Row, 1974), Selected Poems (Oxford University Press) in 1976, Two-Headed Poems (Simon & Schuster, 1978), True Stories (Oxford University Press, 1981) and Second Words (Anansi, 1982). Her 1985 novel, The Handmaid’s Tale (McClelland & Stewart) became one of her most popular and critically acclaimed works. In 1986 she was appointed the Berg Chair at New York University, as well as serving as writer-in-residence at several other Universities. She co-founded and served as chair to the Writer’s Union of Canada in 1982-3, and served as president of the Canadian Centre of International PEN from 1984-6. She has subsequently published dozens of books, including Cat’s Eye (McClelland & Stewart, 1988), The Robber Bride (Doubleday, 1993), Alias Grace (Nan A. Talese, 1996), The Blind Assassin (Nan A. Talese, 2000), Oryx and Crake (2003), The Penelopiad (Canongate, 2005) and The Tent (Bloomsbury, 2006). Along with many other publications of her critical essays, Curious Pursuits: Occasional Writing 1970-2005 (Verago) came out in 2005. Her many prizes and honours include the Booker Prize, the E.J. Pratt Medal (1961), The Radcliffe Medal (1980), the Commonwealth Writers Prize (1992), and she is a Companion of the Order of Canada. Atwood continues to work as spokesperson on behalf of human rights and the environment.\",\"nation\":[],\"role\":[\"Author\",\"Performer\",\"Speaker\"]}]"],"contributors_names":["Beissel, Henry, 1929-","Francis, Wynne","Fink, Howard,"],"contributors_names_search":["Beissel, Henry, 1929-","Francis, Wynne","Fink, Howard,"],"contributors":["[{\"url\":\"http://viaf.org/viaf/5489879/#Beissel,_Henry\",\"name\":\"Beissel, Henry, 1929-\",\"dates\":\"1929-\",\"notes\":\"Identity of this speaker confirmed in oral history interviews by Jason Camlot with Henry Beissel (over zoom), conducted on 2020-03-27 and 2020-05-05.\",\"nation\":[],\"role\":[\"Presenter\"]},{\"url\":\"http://viaf.org/viaf/77926194\",\"name\":\"Francis, Wynne\",\"dates\":\"1918-2000\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Presenter\"]},{\"url\":\"http://viaf.org/viaf/6332801\",\"name\":\"Fink, Howard, \",\"dates\":\"1934-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Speaker\"]}]"],"Presenter_name":["Beissel, Henry, 1929-","Francis, Wynne"],"Series_organizer_name":["Francis, Wynne","Fink, Howard, "],"Speaker_name":["Fink, Howard, "],"Performance_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"Notes on tape box include: CENTRE FOR INSTRUCTIONAL TECHNOLOGY; Prod. No: 5789; Professor/Initiator H. Fink; DEPT. English; venue noted is Weisman Gallery; Op. [operator or recordist] G Uadnay [?]; check box indicates this is MASTER of the recording (not a copy); \",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"Master\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"Cardboard tape box\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1974 10 18\",\"type\":\"Performance Date\",\"notes\":\"Date written on the front of the tape's box. This date was confirmed in. the Oct 18, 1974 issue of The Georgian.\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Weismann Art Gallery\",\"notes\":\"Location written on the front of the tape's box indicates the venue was the Weisman Gallery.\",\"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":["Weismann Art Gallery"],"City":["Montreal, Quebec"],"content_notes":["Margaret Atwood reads from You Are Happy (Oxford University Press, 1974) and Power Politics (Anansi, 1971). Atwood also answers audience questions about her work. "],"contents":["margaret_atwood_i006-11-008.mp3\n\nHenry Beissel\n00:00:00\nOne moment... problem that we have here at Sir George [https://www.wikidata.org/wiki/Q326342]. We did try to get a larger hall but it was impossible. To accommodate the overflow, we have set up loudspeakers in the little gallery here, Howard, and in the other one too?\n \nHoward Fink\n00:00:21\nOutside.\n \nHenry Beissel\n00:00:22\nOutside, there are loudspeakers. So please don't all crowd into the room. If you are going to lean against the paintings, we shall never be able to get this room again for poetry readings. Because this, this is a gallery which belongs to the Fine Arts department, we had great difficulty getting it, these paintings are very precious, particularly to the artists themselves [audience laughter]. I would ask you please to stay away from the paintings. That must have been the artist [audience laughter]. We are also waiting for the arrival of someone else, so please be patient. Howard--[audience laughter] can you ask the security people to turn on the cooling system, the hall is going to be too hot.\n \nUnknown\n00:01:22\nAmbient Sound [voices].\n \nHenry Beissel\n00:01:25\nWe may get 927.\n \nMargaret Atwood\n00:01:30\nWhat do you mean, we may, I think they're also--okay. What would you like to do? Let us stay here or move?\n \nAudience\n00:01:41\nStay here.\n \nMargaret Atwood\n00:01:44\nOkay, with the people, there are some people who are at the back of the door, there is some space up here at the front if you'd like to come up.\n \nHenry Beissel\n00:01:54\nNo more than ten.\n \nMargaret Atwood\n00:01:58\nAbout ten. It'll make more room at the back too...If everybody on the chairs would shift over this way, um, and sit on, sort of as if it were a bench, then some more people can sit on the edges there. Or just move the chairs all that way. Move the rows forward. They're all shifting over anyway. Could you all move your chairs forward to make the rows as close together as possible. Okay, it's alright. \n\nUnknown\n00:03:17\nAmbient Sound [voices].\n\nMargaret Atwood\n00:04:41\nThere are these uhh--woohoo--there are these speakers outside and you might be more comfortable if you went out and listened over the speakers, some of the people are really jammed in there. I don't see any reason why this thing should resemble a steam bath, for all of us. If you're--what? what?...I don't think I can, what is it that they do? [Audience laughter].\n \nWynne Francis\n00:05:19\n[Laughter]. Miss Atwood [https://www.wikidata.org/wiki/Q183492] has just upstaged the introducer. Good evening ladies and gentlemen. It's not often that an artist excels in two medium such as poetry and fiction as our guest tonight does. Miss Atwood's reputation as a superior poet was established in the 60's with her first collections, The Circle Game [https://www.wikidata.org/wiki/Q7723073] and The Animals in that Country [https://www.wikidata.org/wiki/Q7713834]. And while continuing to write fine poetry, six major collections to date, she's given  us two novels in the last five years, The Edible Woman [https://www.wikidata.org/wiki/Q7731579] and Surfacing. With the second novel, published late in 1972, within a few months of a controversial work of criticism, Margaret Atwood became one of Canada's [https://www.wikidata.org/wiki/Q16] best known literary artists. The hypothesis of Survival, a study of patterns in Canadian lit is that Canadians see themselves as victims. I was remind of Survival recently when I came across a nineteenth-century curiosity written by one John McTaggart [https://www.wikidata.org/wiki/Q463553]. It was a book published in London [https://www.wikidata.org/wiki/Q84] in 19-- excuse me--1829. McTaggart wrote \"There's a melancholy which is peculiar to Canadians which must be combatted. People who labor under it must be encouraged, the soothing language, good treatment and now and then as circumstances require, a little assistance gratis as a stimulant.\" McTaggart's third point about the helpful effects of a little assistance as a recent theory has been taken up by the Canada Council [https://www.wikidata.org/wiki/Q2993809], to whom we are in part indebted for her appearance tonight. Margaret Atwood's work constitutes an exploration of what it means to be a Canadian, to be a woman and to be a human being. She writes about our totems, our tapestry of manners, our progressive insanities. She taught at Sir George in 67-68, and it's a great pleasure to have her return to us tonight. After her reading, she'll be open to questions from the audience. Ladies and gentlemen, Margaret Atwood.\n\nAudience\n00:07:27\nApplause [cuts out briefly].\n\nMargaret Atwood\n00:07:38\nLet's see now, if the mic starts to get funny, let me know...Too loud?...Not too loud, I'm afraid it isn't a very good mic and also I'm afraid I'm going to have to hold it the whole time which is a bore...I don't think it'll work very well, is that better? Does that work? Higher? Lower? Okay, how's that? Okay, I'm going to read entirely from my new book which is called \"This is\"--oh, what is it called? [audience laughter]. It's called You Are Happy. Somebody who has been photographing me says that a friend of hers was in a bookstore and picked out this book and thought at first that this was one of these \"I'm Okay, You're Okay\" books. Until I saw who wrote it. [Audience laughter]. But it has a happy ending, you'll be pleased to know. And I'm going to begin at the beginning and end at the end. Skipping portions along the way. I'm also going to make this reading fairly short because we are all in this rather constricted situation. I used to tell people when people in the States [https://www.wikidata.org/wiki/Q30] used to ask me “do you live in an igloo” and other questions like that, I used to think to myself that being a Canadian was sort of like living in a chicken coop in the middle of the desert. That everybody was all together in one place but there are these huge spaces around. I wish that  we had been provided with one of them. [Audience laughter]. I have a chicken coop, and you're nicer. But there are more of you. I think we will all have to be very, very patient, unlike the chickens. I'm going to begin by reading a poem called \"Newsreel: Man and Firing Squad\".\n \nMargaret Atwood\n00:10:04\nReads \"Newsreel: Man and Firing Squad\" from You Are Happy.\n \nMargaret Atwood\n00:11:42\nReads \"Useless\" from You Are Happy.\n \nMargaret Atwood\n00:12:35\nThis is--the image in this next poem comes from, begins with the fact that I have a sheep and one of them died. The poem is called \"November\".\n \nMargaret Atwood\n00:12:48\nReads \"November\" from You Are Happy.\n \nMargaret Atwood\n00:13:52\nReads \"Repent\" from You Are Happy.\n \nMargaret Atwood\n00:14:47\n\"Tricks with Mirrors\". How are you doing? Is it hot and steamy? Has anybody died yet?\n \nMargaret Atwood\n00:15:05\nReads \"Tricks with Mirrors\" from You Are Happy.\n \nMargaret Atwood\n00:17:45\nThis is the title poem, \"You Are Happy\".\n \nMargaret Atwood\n00:17:50\nReads \"You are Happy\" from You Are Happy.\n \nMargaret Atwood\n00:18:48\nReads \"First Prayer\" from You Are Happy.\n \nMargaret Atwood\n00:20:25\n\"Is / Not: 1\". Oh boy, is it ever hot in here. I can't stand it. Light. I wonder if we could--well, then I can't see, you see. I wonder if we could turn off--would it be better if we turn off those lights that are grilling you over there...I could what?...Where's the light switch anyway? Howard, turn off the lights?...Well, maybe in a few minutes the lights will go off. Where did…\n\nUnknown\n00:21:36\n[Cut or edit made in tape. Unknown amount of time elapsed]. \n\nMargaret Atwood\n00:21:37\nHooray, wonderful. Actually, there's a light under here. It's like the Saturday movies [audience laughter]. No, I can read with this, yeah. Maybe I'll just read a little something else here, because it's the Saturday Movies.\n \nMargaret Atwood\n00:22:18\nReads [\"You take my hand\" from Power Politics; audience laughter throughout].\n \nMargaret Atwood\n00:23:13\nAnd since we were talking about the war between Superman [https://www.wikidata.org/wiki/Q79015] and Captain Marvel [https://www.wikidata.org/wiki/Q534153] at dinner, my favourite was Plastic Man [https://www.wikidata.org/wiki/Q746838], but that was an esoteric taste. I'll read this one.\n \nMargaret Atwood\n00:23:28\nReads \"They Eat Out\" [from Power Politics].\n \nMargaret Atwood\n00:24:44\nI go to--I can't resist this. This is from the new book, it's called \"Siren Song\". Students of Seventeenth Century Literature are always asking themselves and each other, what song the sirens sang, and this is the ultimate answer.\n \nMargaret Atwood\n00:25:06\nReads \"Siren Song\" from You Are Happy.\n \nMargaret Atwood\n00:26:12\nThe imminent critic, Allen Pearson, who was once known when he lived in Montreal [https://www.wikidata.org/wiki/Q340] as the Montreal Poet, now that he lives in Toronto [https://www.wikidata.org/wiki/Q172], he's probably known as the Toronto Poet, says the following: \"Siren Song tells how boring it is for a woman to be obliged to attract men by appealing to them for help\". [Audience laughter]. Um, since I'm on the subject of people in capes and costumes, I'll read...\n \nUnknown\n00:26:56\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nAnnotation\n00:26:57\nReads [untitled poem from the “Circle/Mud Poems” section in You Are Happy].\n \nMargaret Atwood\n00:28:20\nReads \"Is / Not\" from You Are Happy.\n \nMargaret Atwood\n00:30:37\nI think I'd better read just three more poems, before we all die. The first one is called \"There is Only One of Everything\".\n \nMargaret Atwood\n00:30:54\nReads \"There is Only One of Everything\" from You Are Happy.\n \nMargaret Atwood\n00:32:30\nReads \"Late August\" from You Are Happy.\n \nMargaret Atwood\n00:33:26\nThis is the last poem, called \"Book of Ancestors\".\n \nMargaret Atwood\n00:33:33\nReads \"Book of Ancestors\" from You Are Happy. \n \nAudience\n00:36:31\nApplause [cuts out briefly].\n\nWynne Francis\n00:36:47\nThank you, it's really not so hot if you sit still. Miss Atwood is prepared to discuss, for a little while.\n \nMargaret Atwood\n00:37:04\nIf you would like to, uh, I can't see a thing of course, I can sort of see hands if you stick them up and wave them around. Would that be better than turning back on the lights which I'd prefer not to do?\n \nWynne Francis\n00:37:22\nThere's no way we can get mics in the audience, so please speak loudly.\n \nMargaret Atwood\n00:37:23\nI see a hand.\n \nAudience Member 1\n00:37:28\nHow did your nickname of a witch get originated?\n \nMargaret Atwood\n00:37:30\nHow did my nickname of a witch? Are you referring to the speech I gave the other night at Loyola? Oh, it's, I was talking about a couple of reviews, that seemed to credit me with having these supernatural powers, you know, the ability to hypnotize my readers and things like that, and what I was saying was that in fact I don't in fact possess the powers of hypnotism or I'd use them on my bank manager and be quite rich. Um, I was talking about a pattern that seems to crop up from time to time in a certain kind of review usually written by men. [Audience laughter]. I heard that there were a couple of people in the audience at Loyola who before the speech, were convinced that I was a witch and that I was going to talk about witchcraft, and when I said that I wasn't one, they left. [Audience laughter]. You see, if I were a witch, I wouldn't be able to wear the cross. So that's how you can tell I'm not. Wards off vampires. Um, yes?\n \nAudience Member 2\n00:38:54\nUm, [unintelligible] and as well as the Edible Woman, I seem to get this idea of an emergence from greyness, or darkness and I was wondering if it's through this emergence from greyness that you have any reference to Blake [https://www.wikidata.org/wiki/Q41513] in his emergence from chaos.\n \nMargaret Atwood\n00:39:17\nI'll be very flattered, if I did. I'm afraid I suffer by the comparison. I think that you're right in spotting it, I think I would say that it's more like this, that if you want to think in terms of colour, that you start with a grey, and then you go down. Down into, well, it depends on the poem or the book or whatever of what's happening in your life. And, but you have to go down before you come up again otherwise you stay just in the grey part. If you want a real pattern for this, it's Dante's [https://www.wikidata.org/wiki/Q1067] Inferno [https://www.wikidata.org/wiki/Q4509219], where the man starts in a wandering wood, you know he starts in a kind of state of being lost, and then he goes down into hell. The further down he goes the more tortured souls he sees, but when he gets right to the bottom he finds that he's going up again. And then he comes out the other side.\n \nAudience Member 2\n00:40:19\nYeah, but, in this other side-ness in the Edible Woman you come up through colours, a very [unintelligible] of colours and I was wondering if this is the complete emergence of man?\n \nMargaret Atwood\n00:40:29\nNot complete--I would say no, no beginning.\n \nAudience Member 2\n00:40:32\n[Unintelligible] complete--into his universal aspect, but into an emergence of man. Into the colours of life.\n \nMargaret Atwood\n00:40:39\nYour choice of the word 'man' is interesting. Since the heroine is a woman. [Audience laughter and applause]. Um, I think you have the pattern right. I wouldn't like to attach any sort of universal meaning to it.\n \nAudience Member 2\n00:40:56\nNo I'm not attaching a universal meaning, I'm attaching more or less a universal meaning to the colour of darkness or greyness.\n \nMargaret Atwood\n00:41:04\nNo, that's right, you're correct. Yes.\n \nAudience Member 2\n00:41:07\nI'm not trying to express a universal meaning into these colours, this is where you're taking it wrong.\n \nMargaret Atwood\n00:41:14\nWell, I'm not too sure what we're talking about  to tell you the truth. You've spotted a correct pattern and I'm not too sure how one interprets it because I don't like to be the critic of  my own work in a way if you know what I mean. Yes.\n \nAudience Member 3\n00:41:34\nI know you're writing a screenplay for [unintelligible]. Will it ever become a film?\n \nMargaret Atwood\n00:41:39\nWill it ever? Let's see now, I finished it at the end of July. Now, what is--the stages of making a film are these: first somebody takes out an option on it, which means they pay you X dollars to have the sole right to try to make the movie for a certain period of time. If they fail to make it to renew the option or to require the rights at the end of that period, you get it back and you can then sell it to anybody else or back to them if you want. That's different from buying the rights which means they've got it. And you can't get it back. An option has been taken out, a script has been written. They are now doing whatever it is they do, who knows. To try to put together what is called a package, that is, they try to interest a director or they pick out a director and they try to put a director together with a script together with some money. And that's all going on, I don't know what's happening with it because they don't tell. Yes.\n \nAudience Member 4\n00:42:42\nAre those people American or Canadian?\n \nMargaret Atwood\n00:42:47\nThese people are. [Audience laughter]. Once upon a time there was an English Canadian film industry. Not very hard. I mean it's trying very hard but not many results are being had. And I wanted very much to make Surfacing in Canada with Canadian everything, but I was about two years too late. And also Canadians are quite timmerus about this book because they said “well, it'll never be able to sell a film in the States” because of all that strange American symbolism in it. They--the two people I'm working with are two American independent producers, not to be confused with MGM [https://www.wikidata.org/wiki/Q179200], who want to make the book as it is, that is, they like the book, they want to be faithful to it, they don't want to transport it to Maine [https://www.wikidata.org/wiki/Q724] or wherever and make it into an American film, which of course you couldn't do without ruining the symbolic pattern. They want to make it in Canada, they want to put in all that stuff because they say “wow, dynamite”. [Audience laughter]. They're not worried about selling it in the States. So that's how we're proceeding right now and we have not yet had a falling out on any of the crucial matters such as what's in the screenplay. And so that's been fine. They would like to make it here. And what stage they're at right now I don't know. Now if they don't put it together, then I get it back and then I have another go. And I'll try it ‘round Canada again, once more, and I'll probably with the same results--\n \nAudience Member 4\n00:44:26\nYou have tried?\n \nMargaret Atwood\n00:44:30\nOh yes, everybody tries. I've written four or five screenplays, none of them have been made. They've all been for Canadians. One thing has happened, I got one television play done, but of course everything you do for the CBC [https://www.wikidata.org/wiki/Q461761] pretty well gets done. [Audience laughter]. As you know. I wrote a screenplay for Edible Woman that didn't get done. I wrote one for Marie-Claire Blais [https://www.wikidata.org/wiki/Q298358], Mad Shadows, we had high hopes for that, that was a Canadian director, Canadian producer all the rest of it. No deal. Film development corporations said it wasn't commercial enough. I mean, you don't go outside before you've been through it for a while. It's a problem that novelists used to face when trying to get their novels published here.\n \nWynne Francis\n00:45:22\nI'd like to ask a question, and I can't see what competition I've got, I can't see anything out there. On Wednesday at Loyola, you gave comic tags to some of your critical opponents taken from Koestler [https://www.wikidata.org/wiki/Q78494], Yogis and Komisars are critics that are formalists and culturally and politically aware and I wondered, do you see the ideal critic or type of criticism as combining these two?\n \nMargaret Atwood\n00:45:51\nWell, I think that people have certain talents, you know, and they should exercise what talents they have, and that all kinds of criticism should be available to the reader. I don't think that every critic has to do everything, I think that would be asking a singer to be a dancer. \n \nWynne Francis\n00:46:08\nI remember you saying it was good to have both kinds, I wondered if you think they could be combined?\n \nAudience Member 5\n00:46:16\nIs it possible that the body of knowledge turns into the knowing body?\n \nMargaret Atwood\n00:46:20\nIs it possible that the body of knowledge turns into the knowing body? Um, I'll let you answer that. If such a person could do it, I'd like to see it, I've never seen anybody who could do both at the same time. Frye [https://www.wikidata.org/wiki/Q354256], for instance, does one kind in one book and then another kind in another book, but he usually doesn't usually do them both in the same book. I would say that Yogi-ism is necessary to be able to read a poem, just period pure and simple. To see what is happening in it. But Komasarism is necessary to place it in a larger context. Why not do both? Yes, I see. Back there, you\n \nAudience Member 6\n00:47:08\nDo you think that Quebec [https://www.wikidata.org/wiki/Q176] is a part of Canada?\n \nMargaret Atwood\n00:47:09\nOh that's such a good question.\n \nAudience Member 6\n00:47:11\nDo you think that a Quebecois is a Canadian?\n \nMargaret Atwood\n00:47:15\nI think I'll leave that to the Quebecois to decide for themselves. They're the people concerned. [Audience applause]. I was talking with one not so long ago, Marie-Claire Blais, and I asked her that question. I said, “well, what do you think of yourself as? Do you think of yourself as a Quebecoise? or a Canadian? or a North-American, or part of Western European culture or a universalist?” And she said, “I am from Quebec”. [Audience laughter]. Does that answer your question? Yes.\n \nAudience Member  7\n00:47:58\nWhat is your opinion of the introductions in the New Canadian Library [https://www.wikidata.org/wiki/Q16998703] Series?\n \nMargaret Atwood\n00:48:03\nWell, they vary. [Audience laughter]. Do you mean the one? Well, I thought that it was, it was like a, well, the only thing I can think of is something fairly vulgar, um, but I don't mean that I think it was bad. I mean that I think it was quite a ponderous organization, being brought to bear on what I consider to be a fairly light piece of writing. That is, at the front of my book, I have a quotation from the Joy of Cooking which tells how to make puff pastry. And then I have you know, critical sort of, really big critical apparatus coming in and talking about the symbolic structuring and the this and the that, and I think it's nice, I'm glad to know about those things, but [audience laughter] it's somehow, I thought my novel was a bit more comic than that. If you know what I mean.\n \nAudience Member 8\n00:49:09\nYeah, I wanted to ask a question. Yeah, I was wondering to what degree you consider yourself to be an ironist because you're talking about [unintelligible] irony, it seems to me that irony is the point I’m most attracted to in your work anyway.\n \nMargaret Atwood\n00:49:22\nYeah, well, you can have both of course, as a matter of fact you usually do.\n \nAudience Member 8\n00:49:31\nYou were talking about anger, and \"permit me the present tense\" kind of thing, seems to me that that was ironic.\n \nMargaret Atwood\n00:49:41\nAmbigu--it has a double meaning. But that's not always irony, I think irony has been...Well, somebody defined irony as a kind of literature in which the reader knows more about what's going on with the character than the character knows himself, shall we say. So, yes, of course, I think that happens in an awful lot of modern literature. Yes.\n \nAudience Member 9\n00:50:14\nI understand you're working on Survival Two?\n \nMargaret Atwood\n00:50:16\nNot working, exactly.\n \nAudience Member 9\n00:50:22\nI was wondering whether you could, or would like to elaborate on that.\n \nMargaret Atwood\n00:50:25\nYeah, okay. There was to have been something called Survival Two, which was to have been this really dynamite anthology. Which would have incorporated many of the short pieces mentioned in Survival, plus other ones that were appropriate and we did assemble this and then we had it priced as to how much it would cost for permissions and how much it would cost us to print it and it was just astronomically expensive. So we had to shelf that, and that was what Survival Two was to have been. Now I'll probably publish the proposed table of contents sometime and you can see what would have been in it. [Audience laughter]. You know, but a small publisher cannot afford to do this kind of thing. However, I am, I won't say working on because I'm working on it in the same sense that I'm working on my Ph.D. thesis, what I'm really doing is writing a novel. But I will, should I live that long, write a second edition of Survival, in which I hope to have five new chapters and additions to the ones that already exist. I think the thing about Survival that sometimes gets forgotten was that it was based on what was available in paperback at the time. A lot more things are available in paperback now, we have General Publishing coming on the scene, with Paper Jacks,  and New Canadian Library expanding itself and Macmillan's [https://www.wikidata.org/wiki/Q2108217] paperbacks expanding. So there's just a lot more around that you can put in and also new books have been published that I would like to talk about and I've discovered older ones that I didn't know about before. So, all of these things, plus a new introduction and maybe a few things at the back, I would like to do. However, I'm not quite ready to do it yet. I took a kind of holiday after I finished Survival One, and I'm still in that, it's a holiday devoted to writing other things. Yes,\n \nAudience Member 10\n00:52:30\nWho are your favourite poets?\n \nMargaret Atwood\n00:52:33\nI tend to have favourite poems, rather than favourite poets, but I can tell you the names of some people who've written some of my favourite poems. One of them is Margaret Avison [https://www.wikidata.org/wiki/Q6759152], one of them is P.K. Page [https://www.wikidata.org/wiki/Q2755960], they're poems by all kinds of people that I really like, for instance, I really like some of A.M. Klein's [https://www.wikidata.org/wiki/Q2778027] poems. I think they're just super. And more modern people, for instance, Michael Ondaatje [https://www.wikidata.org/wiki/Q313593], I like his work, Al Purdy [https://www.wikidata.org/wiki/Q4704621] I was reading in the early to middle Sixties, Doug Jones [https://www.wikidata.org/wiki/Q5203595] at that time. It covers a very wide range. I'm a kind of omnivorous reader, I'll read anything, including the backs of Cornflake boxes, so that you just never know, and it also changes, you know, because you read somebody for a while and then you've done that so you go and read somebody else.\n\nAudience Member 10\n00:53:31\n[Unintelligible].\n\nMargaret Atwood\n00:53:33\nOh yeah, I get various little magazines come floating in through the mail to me, for some reason. And right now, for instance, I'm reading a lot of Adrienne Rich [https://www.wikidata.org/wiki/Q270705], because I'm about to write a review of her latest book. This kind of thing, I mean it varies from month to month. If you ask me the same question in January the question would be different...Yeah.\n \nAudience Member 11\n00:54:02\n[Unintelligible] Is Surfacing more than vaguely autobiographical?\n \nMargaret Atwood\n00:54:11\nIt's vaguely, if you're talking about the plot--no. The setting, yes, and this is generally true of fiction, that people write from a setting that they know. They generally create characters out of some people that they've known plus they throw things in and invent them and make mosaics out of various things and the characters are fictional. The plot is usually a total invention. I mean, my parents are still alive and well, all of that. No, I have never been a paranoid schizophrenic with amnesia. [Audience laughter]. And as for the Edible Woman, I've never gone off food, but all kinds of other people have. You know, they come up to me and say, “Gee, how did you know the story of my life” and “that's happened to me and let me tell you it was awful, I used to throw up on busses”. I was kind of shocked, actually, I thought it was all a big comic invention of my own. I see one waving at the back.\n \nAudience Member 12\n00:55:20\nUm, excuse me, would you say that you base your characters on some type of psychological background?\n \nMargaret Atwood\n00:55:25\nUm, I try to make them believable insofar as it will fit the plot. That is, I try to make what they do believable to myself, but they have to do what they do if you see what I mean. Yes.\n \nAudience Member 13\n00:55:46\nWould you say the Edible Woman is a comical invention of your own?\n \nMargaret Atwood\n00:55:49\nI said I thought it was, yeah.\n \nAudience Member 13\n00:55:51\nWell, how would you define that, as a comedy?\n \nMargaret Atwood\n00:55:54\nOh, okay, if you wanna be technical. Um, the Edible Woman is actually an anti-comedy. Because a comedy is a form in which usually a young couple goes through a series of misadventures and blokings and gets married at the end. Now in the Edible Woman, a young couple goes through a series of misadventures and blokings and somebody else gets married at the end. [Audience laughter]. Yes. \n \nAudience Member 14\n00:56:24\nCould you tell us anything about the novel you're writing now?\n \nMargaret Atwood\n00:56:26\nNot a thing, that's my one superstition--well, it's one of my superstitions. I can't talk about work that I'm doing, it uses up the energy. It's true. Yeah.\n \nAudience Member 15\n00:56:41\nI read the Edible Woman right after reading a book by Robertson Davies [https://www.wikidata.org/wiki/Q545375], about [unintelligible].\n \nMargaret Atwood\n00:56:49\nOkay, the question is I read the Edible Woman right after reading a book by Robertson Davies, Fifth Business [https://www.wikidata.org/wiki/Q5447489]?\n \nAudience Member 15\n00:56:58\nNo, an earlier book.\n \nMargaret Atwood\n00:57:00\nManticore [https://www.wikidata.org/wiki/Q7750230]?\n \nAudience Member 15\n00:57:00\nIt was a comedy\n \nMargaret Atwood\n00:57:01\nOh, okay.\n \nAudience Member 15\n00:57:02\nAbout a couple in a town [unintelligible] resolve it and they get married. And I wondered why he wasn't mentioned in Survival at all.\n \nMargaret Atwood\n00:57:15\nWell, I think probably because I wasn't doing humour and I wasn't doing magic. But since I am doing humour and magic in the next two chapters, then he will be in those. Samuel Marchbanks [https://www.wikidata.org/wiki/Q7412104] will be in under humour and Fifth Business and Manticore will be in under magic. I find the magician figure in Fifth Business very interesting from this particular advantage point. Why do Canadian magicians have to disguise themselves as foreigners in order to be thought of as magic. [Audience laughter.] You find this in Gwen MacEwen [https://www.wikidata.org/wiki/Q4276487] too. Specifically in the book called No Man.\n \nAudience Member 16\n00:58:04\nIs that a novel?\n \nMargaret Atwood\n00:58:04\nIt is a series of short stories, but there's sort of a central one in which you have the same pattern. Okay, let's have one more if there is one more. There isn't one more, there's one more.\n \nAudience Member 17\n00:58:22\nUm, the poems that you read tonight, would you consider those the best or the most significant ones from your collection, and if neither of those things, why did you select the ones that you read? The reason that I've asked that is because I've read your latest book quite carefully and I think that you read the, some of the best poems from it. I was wondering if you thought they were some of the best poems.\n \nMargaret Atwood\n00:58:45\nYeah. I think that one of the best things in it is section number three, but that consists of twenty four poems, which seem to me to be too long. I read some of them that I like quite a lot, yes, this is true, but I left out some others that I also like quite a lot because it seemed to me that they were too long and at this particular night anyway I felt that I should get through as quickly as possible because we were all stifling to death. Um, and with that I think that I will now end the question period and we can all go out and have a drink of water. \n\nAudience\n00:59:24\nApplause [cuts out briefly].\n \nWynne Francis\n00:59:38\nI'd just like to thank Margaret Atwood very much for being with us tonight--\n\nAudience\n00:59:40\nLaughter.\n \nEND\n00:59:46\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1974, Atwood was living in Alliston, Ontario and had finished a year as the writer-in-residence at the University of Toronto. You Are Happy came out in 1974, and she was working on collecting her Selected Poems which were published in 1976.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nAtwood became an important award-winning poet and critic in Canada by the late 60‘s. Sir George Williams’ English Department hired Atwood in 1967 as an English lecturer, after she had graduated from Harvard. \",\"type\":\"General\"},{\"note\":\"Additional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"http://margaretatwood.ca/index.php>\",\"citation\":\"Atwood, Margaret.  Margaret Atwood Website. June 29, 2010. \\n\"},{\"url\":\"https://www.worldcat.org/title/selected-poems/oclc/977851868&referer=brief_results\",\"citation\":\"Atwood, Margaret. Selected Poems. Toronto: Oxford University Press, 1977.\"},{\"url\":\"https://www.worldcat.org/title/selected-poems-1965-1975/oclc/455883593&referer=brief_results\",\"citation\":\"Atwood, Margaret. Selected poems, 1965-1975. Toronto: Oxford University Press, 1976. \"},{\"url\":\"https://www.worldcat.org/title/the-circle-game/oclc/1007821877&referer=brief_results\",\"citation\":\"Atwood, Margaret. The Circle Game. Toronto: House of Anansi, 1966. \"},{\"url\":\"https://www.worldcat.org/title/power-politics/oclc/1043970047&referer=brief_results\",\"citation\":\"Atwood, Margaret. Power Politics. Toronto: Anansi, 1971. \"},{\"url\":\"https://www.worldcat.org/title/you-are-happy/oclc/878900780&referer=brief_results\",\"citation\":\"Atwood, Margaret. You are Happy. Toronto: Oxford University Press, 1974.\"},{\"url\":\"https://www.worldcat.org/title/contemporary-canadian-poem-anthology/oclc/802667762&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-volume-1/oclc/636622714&referer=brief_results\",\"citation\":\"Findley, Timothy. “Atwood, Margaret (1939-)”. Routledge Encyclopedia of Post-Colonial         Literatures in English. Benson, Eugene; L.W. Connolly (eds). London: Routledge, 1994. 2 vols.\"},{\"url\":\"https://www.worldcat.org/title/15-canadian-poets-times-2/oclc/622296707&referer=brief_results\",\"citation\":\"Geddes, Gary (ed). Fifteen Canadian Poets Times Two. Toronto: Oxford University Press, 1988.\"},{\"url\":\"https://www.worldcat.org/title/poets-of-contemporary-canada-1960-1970-edited-and-with-an-introduction-by-eli-mandel/oclc/1202953921&referer=brief_results\",\"citation\":\"Mandel, Eli (ed). Poets of Contemporary Canada 1960-1970. Montreal: McClelland and Stewart, 1972. \"},{\"url\":\"https://www.worldcat.org/title/encyclopedia-of-the-novel/oclc/807436716&referer=brief_results\",\"citation\":\"Rowland, Susan. “Margaret Atwood 1939- (Canadian)”. Encyclopedia of the Novel. Schellinger, Paul (ed.); Christopher Hudson, Marijke Rijsberman (asst. eds.). Chicago: Fitzroy Dearborn Publishers, 1998. 2 vols. \"},{\"url\":\"http://news.google.com/newspapers?id=waYtAAAAIBAJ&sjid=u58FAAAAIBAJ&pg=7250,4345207&dq=sir+george+williams+poetry&hl=en\",\"citation\":\"Stephens, Anna. “Poetry- Anywhere, Anytime”. Montreal: The Gazette. 20 October 1967, page 10. \"},{\"url\":\"\",\"citation\":\"Kibble, Matthew. “Atwood, Margaret Eleanor, 1939-”. Literature Online biography. Proquest Information and Learning Company, H.W. Wilson Company, 2006. \"}]"],"_version_":1853670548644560896,"timestamp":"2026-01-07T14:59:53.264Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006-11-0008_tape.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006-11-0008_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Margaret Atwood 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/I0006-11-0008_front.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006-11-0008_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"notes\":\"\",\"title\":\"Margaret Atwood 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/I0006-11-0008_back.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006-11-0008_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Margaret Atwood Tape Box - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/margaret_atwood_i006-11-008.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"margaret_atwood_i006-11-008.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:59:46\",\"precision\":\"\",\"size\":\"143.5 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"margaret_atwood_i006-11-008.mp3\\n\\nHenry Beissel\\n00:00:00\\nOne moment... problem that we have here at Sir George [https://www.wikidata.org/wiki/Q326342]. We did try to get a larger hall but it was impossible. To accommodate the overflow, we have set up loudspeakers in the little gallery here, Howard, and in the other one too?\\n \\nHoward Fink\\n00:00:21\\nOutside.\\n \\nHenry Beissel\\n00:00:22\\nOutside, there are loudspeakers. So please don't all crowd into the room. If you are going to lean against the paintings, we shall never be able to get this room again for poetry readings. Because this, this is a gallery which belongs to the Fine Arts department, we had great difficulty getting it, these paintings are very precious, particularly to the artists themselves [audience laughter]. I would ask you please to stay away from the paintings. That must have been the artist [audience laughter]. We are also waiting for the arrival of someone else, so please be patient. Howard--[audience laughter] can you ask the security people to turn on the cooling system, the hall is going to be too hot.\\n \\nUnknown\\n00:01:22\\nAmbient Sound [voices].\\n \\nHenry Beissel\\n00:01:25\\nWe may get 927.\\n \\nMargaret Atwood\\n00:01:30\\nWhat do you mean, we may, I think they're also--okay. What would you like to do? Let us stay here or move?\\n \\nAudience\\n00:01:41\\nStay here.\\n \\nMargaret Atwood\\n00:01:44\\nOkay, with the people, there are some people who are at the back of the door, there is some space up here at the front if you'd like to come up.\\n \\nHenry Beissel\\n00:01:54\\nNo more than ten.\\n \\nMargaret Atwood\\n00:01:58\\nAbout ten. It'll make more room at the back too...If everybody on the chairs would shift over this way, um, and sit on, sort of as if it were a bench, then some more people can sit on the edges there. Or just move the chairs all that way. Move the rows forward. They're all shifting over anyway. Could you all move your chairs forward to make the rows as close together as possible. Okay, it's alright. \\n\\nUnknown\\n00:03:17\\nAmbient Sound [voices].\\n\\nMargaret Atwood\\n00:04:41\\nThere are these uhh--woohoo--there are these speakers outside and you might be more comfortable if you went out and listened over the speakers, some of the people are really jammed in there. I don't see any reason why this thing should resemble a steam bath, for all of us. If you're--what? what?...I don't think I can, what is it that they do? [Audience laughter].\\n \\nWynne Francis\\n00:05:19\\n[Laughter]. Miss Atwood [https://www.wikidata.org/wiki/Q183492] has just upstaged the introducer. Good evening ladies and gentlemen. It's not often that an artist excels in two medium such as poetry and fiction as our guest tonight does. Miss Atwood's reputation as a superior poet was established in the 60's with her first collections, The Circle Game [https://www.wikidata.org/wiki/Q7723073] and The Animals in that Country [https://www.wikidata.org/wiki/Q7713834]. And while continuing to write fine poetry, six major collections to date, she's given  us two novels in the last five years, The Edible Woman [https://www.wikidata.org/wiki/Q7731579] and Surfacing. With the second novel, published late in 1972, within a few months of a controversial work of criticism, Margaret Atwood became one of Canada's [https://www.wikidata.org/wiki/Q16] best known literary artists. The hypothesis of Survival, a study of patterns in Canadian lit is that Canadians see themselves as victims. I was remind of Survival recently when I came across a nineteenth-century curiosity written by one John McTaggart [https://www.wikidata.org/wiki/Q463553]. It was a book published in London [https://www.wikidata.org/wiki/Q84] in 19-- excuse me--1829. McTaggart wrote \\\"There's a melancholy which is peculiar to Canadians which must be combatted. People who labor under it must be encouraged, the soothing language, good treatment and now and then as circumstances require, a little assistance gratis as a stimulant.\\\" McTaggart's third point about the helpful effects of a little assistance as a recent theory has been taken up by the Canada Council [https://www.wikidata.org/wiki/Q2993809], to whom we are in part indebted for her appearance tonight. Margaret Atwood's work constitutes an exploration of what it means to be a Canadian, to be a woman and to be a human being. She writes about our totems, our tapestry of manners, our progressive insanities. She taught at Sir George in 67-68, and it's a great pleasure to have her return to us tonight. After her reading, she'll be open to questions from the audience. Ladies and gentlemen, Margaret Atwood.\\n\\nAudience\\n00:07:27\\nApplause [cuts out briefly].\\n\\nMargaret Atwood\\n00:07:38\\nLet's see now, if the mic starts to get funny, let me know...Too loud?...Not too loud, I'm afraid it isn't a very good mic and also I'm afraid I'm going to have to hold it the whole time which is a bore...I don't think it'll work very well, is that better? Does that work? Higher? Lower? Okay, how's that? Okay, I'm going to read entirely from my new book which is called \\\"This is\\\"--oh, what is it called? [audience laughter]. It's called You Are Happy. Somebody who has been photographing me says that a friend of hers was in a bookstore and picked out this book and thought at first that this was one of these \\\"I'm Okay, You're Okay\\\" books. Until I saw who wrote it. [Audience laughter]. But it has a happy ending, you'll be pleased to know. And I'm going to begin at the beginning and end at the end. Skipping portions along the way. I'm also going to make this reading fairly short because we are all in this rather constricted situation. I used to tell people when people in the States [https://www.wikidata.org/wiki/Q30] used to ask me “do you live in an igloo” and other questions like that, I used to think to myself that being a Canadian was sort of like living in a chicken coop in the middle of the desert. That everybody was all together in one place but there are these huge spaces around. I wish that  we had been provided with one of them. [Audience laughter]. I have a chicken coop, and you're nicer. But there are more of you. I think we will all have to be very, very patient, unlike the chickens. I'm going to begin by reading a poem called \\\"Newsreel: Man and Firing Squad\\\".\\n \\nMargaret Atwood\\n00:10:04\\nReads \\\"Newsreel: Man and Firing Squad\\\" from You Are Happy.\\n \\nMargaret Atwood\\n00:11:42\\nReads \\\"Useless\\\" from You Are Happy.\\n \\nMargaret Atwood\\n00:12:35\\nThis is--the image in this next poem comes from, begins with the fact that I have a sheep and one of them died. The poem is called \\\"November\\\".\\n \\nMargaret Atwood\\n00:12:48\\nReads \\\"November\\\" from You Are Happy.\\n \\nMargaret Atwood\\n00:13:52\\nReads \\\"Repent\\\" from You Are Happy.\\n \\nMargaret Atwood\\n00:14:47\\n\\\"Tricks with Mirrors\\\". How are you doing? Is it hot and steamy? Has anybody died yet?\\n \\nMargaret Atwood\\n00:15:05\\nReads \\\"Tricks with Mirrors\\\" from You Are Happy.\\n \\nMargaret Atwood\\n00:17:45\\nThis is the title poem, \\\"You Are Happy\\\".\\n \\nMargaret Atwood\\n00:17:50\\nReads \\\"You are Happy\\\" from You Are Happy.\\n \\nMargaret Atwood\\n00:18:48\\nReads \\\"First Prayer\\\" from You Are Happy.\\n \\nMargaret Atwood\\n00:20:25\\n\\\"Is / Not: 1\\\". Oh boy, is it ever hot in here. I can't stand it. Light. I wonder if we could--well, then I can't see, you see. I wonder if we could turn off--would it be better if we turn off those lights that are grilling you over there...I could what?...Where's the light switch anyway? Howard, turn off the lights?...Well, maybe in a few minutes the lights will go off. Where did…\\n\\nUnknown\\n00:21:36\\n[Cut or edit made in tape. Unknown amount of time elapsed]. \\n\\nMargaret Atwood\\n00:21:37\\nHooray, wonderful. Actually, there's a light under here. It's like the Saturday movies [audience laughter]. No, I can read with this, yeah. Maybe I'll just read a little something else here, because it's the Saturday Movies.\\n \\nMargaret Atwood\\n00:22:18\\nReads [\\\"You take my hand\\\" from Power Politics; audience laughter throughout].\\n \\nMargaret Atwood\\n00:23:13\\nAnd since we were talking about the war between Superman [https://www.wikidata.org/wiki/Q79015] and Captain Marvel [https://www.wikidata.org/wiki/Q534153] at dinner, my favourite was Plastic Man [https://www.wikidata.org/wiki/Q746838], but that was an esoteric taste. I'll read this one.\\n \\nMargaret Atwood\\n00:23:28\\nReads \\\"They Eat Out\\\" [from Power Politics].\\n \\nMargaret Atwood\\n00:24:44\\nI go to--I can't resist this. This is from the new book, it's called \\\"Siren Song\\\". Students of Seventeenth Century Literature are always asking themselves and each other, what song the sirens sang, and this is the ultimate answer.\\n \\nMargaret Atwood\\n00:25:06\\nReads \\\"Siren Song\\\" from You Are Happy.\\n \\nMargaret Atwood\\n00:26:12\\nThe imminent critic, Allen Pearson, who was once known when he lived in Montreal [https://www.wikidata.org/wiki/Q340] as the Montreal Poet, now that he lives in Toronto [https://www.wikidata.org/wiki/Q172], he's probably known as the Toronto Poet, says the following: \\\"Siren Song tells how boring it is for a woman to be obliged to attract men by appealing to them for help\\\". [Audience laughter]. Um, since I'm on the subject of people in capes and costumes, I'll read...\\n \\nUnknown\\n00:26:56\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nAnnotation\\n00:26:57\\nReads [untitled poem from the “Circle/Mud Poems” section in You Are Happy].\\n \\nMargaret Atwood\\n00:28:20\\nReads \\\"Is / Not\\\" from You Are Happy.\\n \\nMargaret Atwood\\n00:30:37\\nI think I'd better read just three more poems, before we all die. The first one is called \\\"There is Only One of Everything\\\".\\n \\nMargaret Atwood\\n00:30:54\\nReads \\\"There is Only One of Everything\\\" from You Are Happy.\\n \\nMargaret Atwood\\n00:32:30\\nReads \\\"Late August\\\" from You Are Happy.\\n \\nMargaret Atwood\\n00:33:26\\nThis is the last poem, called \\\"Book of Ancestors\\\".\\n \\nMargaret Atwood\\n00:33:33\\nReads \\\"Book of Ancestors\\\" from You Are Happy. \\n \\nAudience\\n00:36:31\\nApplause [cuts out briefly].\\n\\nWynne Francis\\n00:36:47\\nThank you, it's really not so hot if you sit still. Miss Atwood is prepared to discuss, for a little while.\\n \\nMargaret Atwood\\n00:37:04\\nIf you would like to, uh, I can't see a thing of course, I can sort of see hands if you stick them up and wave them around. Would that be better than turning back on the lights which I'd prefer not to do?\\n \\nWynne Francis\\n00:37:22\\nThere's no way we can get mics in the audience, so please speak loudly.\\n \\nMargaret Atwood\\n00:37:23\\nI see a hand.\\n \\nAudience Member 1\\n00:37:28\\nHow did your nickname of a witch get originated?\\n \\nMargaret Atwood\\n00:37:30\\nHow did my nickname of a witch? Are you referring to the speech I gave the other night at Loyola? Oh, it's, I was talking about a couple of reviews, that seemed to credit me with having these supernatural powers, you know, the ability to hypnotize my readers and things like that, and what I was saying was that in fact I don't in fact possess the powers of hypnotism or I'd use them on my bank manager and be quite rich. Um, I was talking about a pattern that seems to crop up from time to time in a certain kind of review usually written by men. [Audience laughter]. I heard that there were a couple of people in the audience at Loyola who before the speech, were convinced that I was a witch and that I was going to talk about witchcraft, and when I said that I wasn't one, they left. [Audience laughter]. You see, if I were a witch, I wouldn't be able to wear the cross. So that's how you can tell I'm not. Wards off vampires. Um, yes?\\n \\nAudience Member 2\\n00:38:54\\nUm, [unintelligible] and as well as the Edible Woman, I seem to get this idea of an emergence from greyness, or darkness and I was wondering if it's through this emergence from greyness that you have any reference to Blake [https://www.wikidata.org/wiki/Q41513] in his emergence from chaos.\\n \\nMargaret Atwood\\n00:39:17\\nI'll be very flattered, if I did. I'm afraid I suffer by the comparison. I think that you're right in spotting it, I think I would say that it's more like this, that if you want to think in terms of colour, that you start with a grey, and then you go down. Down into, well, it depends on the poem or the book or whatever of what's happening in your life. And, but you have to go down before you come up again otherwise you stay just in the grey part. If you want a real pattern for this, it's Dante's [https://www.wikidata.org/wiki/Q1067] Inferno [https://www.wikidata.org/wiki/Q4509219], where the man starts in a wandering wood, you know he starts in a kind of state of being lost, and then he goes down into hell. The further down he goes the more tortured souls he sees, but when he gets right to the bottom he finds that he's going up again. And then he comes out the other side.\\n \\nAudience Member 2\\n00:40:19\\nYeah, but, in this other side-ness in the Edible Woman you come up through colours, a very [unintelligible] of colours and I was wondering if this is the complete emergence of man?\\n \\nMargaret Atwood\\n00:40:29\\nNot complete--I would say no, no beginning.\\n \\nAudience Member 2\\n00:40:32\\n[Unintelligible] complete--into his universal aspect, but into an emergence of man. Into the colours of life.\\n \\nMargaret Atwood\\n00:40:39\\nYour choice of the word 'man' is interesting. Since the heroine is a woman. [Audience laughter and applause]. Um, I think you have the pattern right. I wouldn't like to attach any sort of universal meaning to it.\\n \\nAudience Member 2\\n00:40:56\\nNo I'm not attaching a universal meaning, I'm attaching more or less a universal meaning to the colour of darkness or greyness.\\n \\nMargaret Atwood\\n00:41:04\\nNo, that's right, you're correct. Yes.\\n \\nAudience Member 2\\n00:41:07\\nI'm not trying to express a universal meaning into these colours, this is where you're taking it wrong.\\n \\nMargaret Atwood\\n00:41:14\\nWell, I'm not too sure what we're talking about  to tell you the truth. You've spotted a correct pattern and I'm not too sure how one interprets it because I don't like to be the critic of  my own work in a way if you know what I mean. Yes.\\n \\nAudience Member 3\\n00:41:34\\nI know you're writing a screenplay for [unintelligible]. Will it ever become a film?\\n \\nMargaret Atwood\\n00:41:39\\nWill it ever? Let's see now, I finished it at the end of July. Now, what is--the stages of making a film are these: first somebody takes out an option on it, which means they pay you X dollars to have the sole right to try to make the movie for a certain period of time. If they fail to make it to renew the option or to require the rights at the end of that period, you get it back and you can then sell it to anybody else or back to them if you want. That's different from buying the rights which means they've got it. And you can't get it back. An option has been taken out, a script has been written. They are now doing whatever it is they do, who knows. To try to put together what is called a package, that is, they try to interest a director or they pick out a director and they try to put a director together with a script together with some money. And that's all going on, I don't know what's happening with it because they don't tell. Yes.\\n \\nAudience Member 4\\n00:42:42\\nAre those people American or Canadian?\\n \\nMargaret Atwood\\n00:42:47\\nThese people are. [Audience laughter]. Once upon a time there was an English Canadian film industry. Not very hard. I mean it's trying very hard but not many results are being had. And I wanted very much to make Surfacing in Canada with Canadian everything, but I was about two years too late. And also Canadians are quite timmerus about this book because they said “well, it'll never be able to sell a film in the States” because of all that strange American symbolism in it. They--the two people I'm working with are two American independent producers, not to be confused with MGM [https://www.wikidata.org/wiki/Q179200], who want to make the book as it is, that is, they like the book, they want to be faithful to it, they don't want to transport it to Maine [https://www.wikidata.org/wiki/Q724] or wherever and make it into an American film, which of course you couldn't do without ruining the symbolic pattern. They want to make it in Canada, they want to put in all that stuff because they say “wow, dynamite”. [Audience laughter]. They're not worried about selling it in the States. So that's how we're proceeding right now and we have not yet had a falling out on any of the crucial matters such as what's in the screenplay. And so that's been fine. They would like to make it here. And what stage they're at right now I don't know. Now if they don't put it together, then I get it back and then I have another go. And I'll try it ‘round Canada again, once more, and I'll probably with the same results--\\n \\nAudience Member 4\\n00:44:26\\nYou have tried?\\n \\nMargaret Atwood\\n00:44:30\\nOh yes, everybody tries. I've written four or five screenplays, none of them have been made. They've all been for Canadians. One thing has happened, I got one television play done, but of course everything you do for the CBC [https://www.wikidata.org/wiki/Q461761] pretty well gets done. [Audience laughter]. As you know. I wrote a screenplay for Edible Woman that didn't get done. I wrote one for Marie-Claire Blais [https://www.wikidata.org/wiki/Q298358], Mad Shadows, we had high hopes for that, that was a Canadian director, Canadian producer all the rest of it. No deal. Film development corporations said it wasn't commercial enough. I mean, you don't go outside before you've been through it for a while. It's a problem that novelists used to face when trying to get their novels published here.\\n \\nWynne Francis\\n00:45:22\\nI'd like to ask a question, and I can't see what competition I've got, I can't see anything out there. On Wednesday at Loyola, you gave comic tags to some of your critical opponents taken from Koestler [https://www.wikidata.org/wiki/Q78494], Yogis and Komisars are critics that are formalists and culturally and politically aware and I wondered, do you see the ideal critic or type of criticism as combining these two?\\n \\nMargaret Atwood\\n00:45:51\\nWell, I think that people have certain talents, you know, and they should exercise what talents they have, and that all kinds of criticism should be available to the reader. I don't think that every critic has to do everything, I think that would be asking a singer to be a dancer. \\n \\nWynne Francis\\n00:46:08\\nI remember you saying it was good to have both kinds, I wondered if you think they could be combined?\\n \\nAudience Member 5\\n00:46:16\\nIs it possible that the body of knowledge turns into the knowing body?\\n \\nMargaret Atwood\\n00:46:20\\nIs it possible that the body of knowledge turns into the knowing body? Um, I'll let you answer that. If such a person could do it, I'd like to see it, I've never seen anybody who could do both at the same time. Frye [https://www.wikidata.org/wiki/Q354256], for instance, does one kind in one book and then another kind in another book, but he usually doesn't usually do them both in the same book. I would say that Yogi-ism is necessary to be able to read a poem, just period pure and simple. To see what is happening in it. But Komasarism is necessary to place it in a larger context. Why not do both? Yes, I see. Back there, you\\n \\nAudience Member 6\\n00:47:08\\nDo you think that Quebec [https://www.wikidata.org/wiki/Q176] is a part of Canada?\\n \\nMargaret Atwood\\n00:47:09\\nOh that's such a good question.\\n \\nAudience Member 6\\n00:47:11\\nDo you think that a Quebecois is a Canadian?\\n \\nMargaret Atwood\\n00:47:15\\nI think I'll leave that to the Quebecois to decide for themselves. They're the people concerned. [Audience applause]. I was talking with one not so long ago, Marie-Claire Blais, and I asked her that question. I said, “well, what do you think of yourself as? Do you think of yourself as a Quebecoise? or a Canadian? or a North-American, or part of Western European culture or a universalist?” And she said, “I am from Quebec”. [Audience laughter]. Does that answer your question? Yes.\\n \\nAudience Member  7\\n00:47:58\\nWhat is your opinion of the introductions in the New Canadian Library [https://www.wikidata.org/wiki/Q16998703] Series?\\n \\nMargaret Atwood\\n00:48:03\\nWell, they vary. [Audience laughter]. Do you mean the one? Well, I thought that it was, it was like a, well, the only thing I can think of is something fairly vulgar, um, but I don't mean that I think it was bad. I mean that I think it was quite a ponderous organization, being brought to bear on what I consider to be a fairly light piece of writing. That is, at the front of my book, I have a quotation from the Joy of Cooking which tells how to make puff pastry. And then I have you know, critical sort of, really big critical apparatus coming in and talking about the symbolic structuring and the this and the that, and I think it's nice, I'm glad to know about those things, but [audience laughter] it's somehow, I thought my novel was a bit more comic than that. If you know what I mean.\\n \\nAudience Member 8\\n00:49:09\\nYeah, I wanted to ask a question. Yeah, I was wondering to what degree you consider yourself to be an ironist because you're talking about [unintelligible] irony, it seems to me that irony is the point I’m most attracted to in your work anyway.\\n \\nMargaret Atwood\\n00:49:22\\nYeah, well, you can have both of course, as a matter of fact you usually do.\\n \\nAudience Member 8\\n00:49:31\\nYou were talking about anger, and \\\"permit me the present tense\\\" kind of thing, seems to me that that was ironic.\\n \\nMargaret Atwood\\n00:49:41\\nAmbigu--it has a double meaning. But that's not always irony, I think irony has been...Well, somebody defined irony as a kind of literature in which the reader knows more about what's going on with the character than the character knows himself, shall we say. So, yes, of course, I think that happens in an awful lot of modern literature. Yes.\\n \\nAudience Member 9\\n00:50:14\\nI understand you're working on Survival Two?\\n \\nMargaret Atwood\\n00:50:16\\nNot working, exactly.\\n \\nAudience Member 9\\n00:50:22\\nI was wondering whether you could, or would like to elaborate on that.\\n \\nMargaret Atwood\\n00:50:25\\nYeah, okay. There was to have been something called Survival Two, which was to have been this really dynamite anthology. Which would have incorporated many of the short pieces mentioned in Survival, plus other ones that were appropriate and we did assemble this and then we had it priced as to how much it would cost for permissions and how much it would cost us to print it and it was just astronomically expensive. So we had to shelf that, and that was what Survival Two was to have been. Now I'll probably publish the proposed table of contents sometime and you can see what would have been in it. [Audience laughter]. You know, but a small publisher cannot afford to do this kind of thing. However, I am, I won't say working on because I'm working on it in the same sense that I'm working on my Ph.D. thesis, what I'm really doing is writing a novel. But I will, should I live that long, write a second edition of Survival, in which I hope to have five new chapters and additions to the ones that already exist. I think the thing about Survival that sometimes gets forgotten was that it was based on what was available in paperback at the time. A lot more things are available in paperback now, we have General Publishing coming on the scene, with Paper Jacks,  and New Canadian Library expanding itself and Macmillan's [https://www.wikidata.org/wiki/Q2108217] paperbacks expanding. So there's just a lot more around that you can put in and also new books have been published that I would like to talk about and I've discovered older ones that I didn't know about before. So, all of these things, plus a new introduction and maybe a few things at the back, I would like to do. However, I'm not quite ready to do it yet. I took a kind of holiday after I finished Survival One, and I'm still in that, it's a holiday devoted to writing other things. Yes,\\n \\nAudience Member 10\\n00:52:30\\nWho are your favourite poets?\\n \\nMargaret Atwood\\n00:52:33\\nI tend to have favourite poems, rather than favourite poets, but I can tell you the names of some people who've written some of my favourite poems. One of them is Margaret Avison [https://www.wikidata.org/wiki/Q6759152], one of them is P.K. Page [https://www.wikidata.org/wiki/Q2755960], they're poems by all kinds of people that I really like, for instance, I really like some of A.M. Klein's [https://www.wikidata.org/wiki/Q2778027] poems. I think they're just super. And more modern people, for instance, Michael Ondaatje [https://www.wikidata.org/wiki/Q313593], I like his work, Al Purdy [https://www.wikidata.org/wiki/Q4704621] I was reading in the early to middle Sixties, Doug Jones [https://www.wikidata.org/wiki/Q5203595] at that time. It covers a very wide range. I'm a kind of omnivorous reader, I'll read anything, including the backs of Cornflake boxes, so that you just never know, and it also changes, you know, because you read somebody for a while and then you've done that so you go and read somebody else.\\n\\nAudience Member 10\\n00:53:31\\n[Unintelligible].\\n\\nMargaret Atwood\\n00:53:33\\nOh yeah, I get various little magazines come floating in through the mail to me, for some reason. And right now, for instance, I'm reading a lot of Adrienne Rich [https://www.wikidata.org/wiki/Q270705], because I'm about to write a review of her latest book. This kind of thing, I mean it varies from month to month. If you ask me the same question in January the question would be different...Yeah.\\n \\nAudience Member 11\\n00:54:02\\n[Unintelligible] Is Surfacing more than vaguely autobiographical?\\n \\nMargaret Atwood\\n00:54:11\\nIt's vaguely, if you're talking about the plot--no. The setting, yes, and this is generally true of fiction, that people write from a setting that they know. They generally create characters out of some people that they've known plus they throw things in and invent them and make mosaics out of various things and the characters are fictional. The plot is usually a total invention. I mean, my parents are still alive and well, all of that. No, I have never been a paranoid schizophrenic with amnesia. [Audience laughter]. And as for the Edible Woman, I've never gone off food, but all kinds of other people have. You know, they come up to me and say, “Gee, how did you know the story of my life” and “that's happened to me and let me tell you it was awful, I used to throw up on busses”. I was kind of shocked, actually, I thought it was all a big comic invention of my own. I see one waving at the back.\\n \\nAudience Member 12\\n00:55:20\\nUm, excuse me, would you say that you base your characters on some type of psychological background?\\n \\nMargaret Atwood\\n00:55:25\\nUm, I try to make them believable insofar as it will fit the plot. That is, I try to make what they do believable to myself, but they have to do what they do if you see what I mean. Yes.\\n \\nAudience Member 13\\n00:55:46\\nWould you say the Edible Woman is a comical invention of your own?\\n \\nMargaret Atwood\\n00:55:49\\nI said I thought it was, yeah.\\n \\nAudience Member 13\\n00:55:51\\nWell, how would you define that, as a comedy?\\n \\nMargaret Atwood\\n00:55:54\\nOh, okay, if you wanna be technical. Um, the Edible Woman is actually an anti-comedy. Because a comedy is a form in which usually a young couple goes through a series of misadventures and blokings and gets married at the end. Now in the Edible Woman, a young couple goes through a series of misadventures and blokings and somebody else gets married at the end. [Audience laughter]. Yes. \\n \\nAudience Member 14\\n00:56:24\\nCould you tell us anything about the novel you're writing now?\\n \\nMargaret Atwood\\n00:56:26\\nNot a thing, that's my one superstition--well, it's one of my superstitions. I can't talk about work that I'm doing, it uses up the energy. It's true. Yeah.\\n \\nAudience Member 15\\n00:56:41\\nI read the Edible Woman right after reading a book by Robertson Davies [https://www.wikidata.org/wiki/Q545375], about [unintelligible].\\n \\nMargaret Atwood\\n00:56:49\\nOkay, the question is I read the Edible Woman right after reading a book by Robertson Davies, Fifth Business [https://www.wikidata.org/wiki/Q5447489]?\\n \\nAudience Member 15\\n00:56:58\\nNo, an earlier book.\\n \\nMargaret Atwood\\n00:57:00\\nManticore [https://www.wikidata.org/wiki/Q7750230]?\\n \\nAudience Member 15\\n00:57:00\\nIt was a comedy\\n \\nMargaret Atwood\\n00:57:01\\nOh, okay.\\n \\nAudience Member 15\\n00:57:02\\nAbout a couple in a town [unintelligible] resolve it and they get married. And I wondered why he wasn't mentioned in Survival at all.\\n \\nMargaret Atwood\\n00:57:15\\nWell, I think probably because I wasn't doing humour and I wasn't doing magic. But since I am doing humour and magic in the next two chapters, then he will be in those. Samuel Marchbanks [https://www.wikidata.org/wiki/Q7412104] will be in under humour and Fifth Business and Manticore will be in under magic. I find the magician figure in Fifth Business very interesting from this particular advantage point. Why do Canadian magicians have to disguise themselves as foreigners in order to be thought of as magic. [Audience laughter.] You find this in Gwen MacEwen [https://www.wikidata.org/wiki/Q4276487] too. Specifically in the book called No Man.\\n \\nAudience Member 16\\n00:58:04\\nIs that a novel?\\n \\nMargaret Atwood\\n00:58:04\\nIt is a series of short stories, but there's sort of a central one in which you have the same pattern. Okay, let's have one more if there is one more. There isn't one more, there's one more.\\n \\nAudience Member 17\\n00:58:22\\nUm, the poems that you read tonight, would you consider those the best or the most significant ones from your collection, and if neither of those things, why did you select the ones that you read? The reason that I've asked that is because I've read your latest book quite carefully and I think that you read the, some of the best poems from it. I was wondering if you thought they were some of the best poems.\\n \\nMargaret Atwood\\n00:58:45\\nYeah. I think that one of the best things in it is section number three, but that consists of twenty four poems, which seem to me to be too long. I read some of them that I like quite a lot, yes, this is true, but I left out some others that I also like quite a lot because it seemed to me that they were too long and at this particular night anyway I felt that I should get through as quickly as possible because we were all stifling to death. Um, and with that I think that I will now end the question period and we can all go out and have a drink of water. \\n\\nAudience\\n00:59:24\\nApplause [cuts out briefly].\\n \\nWynne Francis\\n00:59:38\\nI'd just like to thank Margaret Atwood very much for being with us tonight--\\n\\nAudience\\n00:59:40\\nLaughter.\\n \\nEND\\n00:59:46\\n\",\"notes\":\"Margaret Atwood reads from You Are Happy (Oxford University Press, 1974) and Power Politics (Anansi, 1971). Atwood also answers audience questions about her work. \\n                                                                                                                                      \\n00:00- Unknown introducer makes an announcement about the room. [INDEX: Sir George Williams University, larger hall, gallery, Howard Fink.]\\n00:21- Howard Fink answers question.\\n00:22- Unknown introducer continues to make announcements. [INDEX: loud speakers outside, paintings, Fine Arts Department, artists, Howard Fink, air conditioning.]\\n01:22- Audience talking\\n01:30- Margaret Atwood talks about room set up, it is recorded by the mic [INDEX: room      change.]\\n01:41- Audience responds, says they want to stay in the same room.\\n01:44- Margaret Atwood tries to arrange people in the room. [INDEX: chairs, bench, people, rows, room.]\\n04:41- Margaret Atwood continues to arrange audience.\\n05:19- Wynne Francis introduces Margaret Atwood. [INDEX: poetry, fiction, poet, 1960’s, The   Circle Game (Anansi, 1966), The Animals in that Country (Oxford University Press, 1968), Edible Woman (McClelland and Stewart, 1973), Surfacing (Anansi, 1971), 1972, controversial work of criticism, patterns in Canadian literature, nineteenth-century curiosity, John McTaggart quote, book published in London in 1829, victim, Canada Council, woman, human being, totems, manners, insanities, taught at Sir George Williams University between 1967-68, audience questions.]\\n07:38- Margaret Atwood introduces “Newsreel, Man and Firing Squad”. [INDEX:    \\tmicrophone, reading entirely from You are Happy (Harper & Row, 1974), photographer,      bookstore, order of reading, United States, what it’s like to live in Canada; from You Are    Happy (Oxford University Press, 1974).]\\n10:04- Reads “Newsreel, Man and Firing Squad”.\\n11:42- Reads “Useless”. [INDEX: from You Are Happy (Oxford University Press, 1974).]\\n12:35- Introduces “November”. [INDEX: image, sheep that died; from You Are Happy (Oxford University Press, 1974)]\\n12:48- Reads “November”.\\n13:52- Reads “Repent”. [INDEX: from You Are Happy (Oxford University Press, 1974).]\\n14:47- Introduces “Tricks with Mirrors”. [INDEX: from You Are Happy (Oxford University \\tPress, 1974).]\\n15:05- Reads “Tricks with Mirrors”.\\n17:45- Reads “You are Happy”. [INDEX: from You Are Happy (Oxford University Press,     1974).]\\n18:48- Reads “First Prayer”. [INDEX: from You Are Happy (Oxford University Press, 1974).]\\n20:25- Introduces “Is/Not” (but does not read it). [INDEX: hot in rom, Howard Fink. light,     Saturday movies; from You Are Happy (Oxford University Press, 1974).]\\n22:18- Reads unknown poem, first line “You take my hand and I’m suddenly in a bad movie...”.\\n23:13- Introduces “They Eat Out”. [INDEX: war between Superman and Captain Marvel,     dinner, Plastic Man, esoteric taste; from Selected poems, 1965-1975 (Oxford University    Press, 1976).]\\n23:28- Reads “They Eat Out”.\\n24:44- Introduces “Siren Song”. [INDEX: new book, students of seventeenth-century literature, answer; from Selected poems, 1965-1975 (Oxford University Press, 1976).]\\n25:06- Reads “Siren Song”.\\n26:12- Introduces “Circe/Mud Poems”, which is cut mid-sentence “The heads of eagles no longer interest me...”[INDEX: critic Allen Pearson, Montreal, Montreal Poet, Toronto,   Toronto Poet, “Siren Song”, woman, attract men, capes, costumes; from Selected poems, 1965-1975 (Oxford University Press, 1976)]\\n26:57- Recording is CUT, repeats, begins mid-sentence reading unknown poem, which is cut mid-sentence “The heads of eagles no longer interest me...”, last line “They would rather be trees”.\\n28:20- Reads “It is Not”. [INDEX: perhaps “IS/Not”; from You are Happy (Oxford University Press, 1974) and Selected poems, 1965-1975 (Oxford University Press, 1976).]\\n30:37- Introduces “There is Only One of Everything”. [INDEX: three last poems, heat; from You are Happy (Oxford University Press, 1974) and Selected poems, 1965-1975 (Oxford University Press, 1976).]\\n30:54- Reads “There is Only One of Everything”.\\n32:20- Reads “Late August”. [INDEX: from You are Happy (Oxford University Press, 1974) \\tand Selected poems, 1965-1975 (Oxford University Press, 1976).]\\n33:26- Introduces “Book of Ancestors”. [INDEX: last poem of the night; from You are Happy (Oxford University Press, 1974) and Selected poems, 1965-1975 (Oxford University Press, 1976).]\\n33:33- Reads “Book of Ancestors”.\\n36:47- Wynne Francis thanks Margaret Atwood and opens the floor to discussion.\\n37:04- Atwood asks for questions.\\n37:28- Audience #1 (female) asks first question about Atwood’s nickname ‘witch’. [INDEX: nickname “witch”]\\n37:30- Atwood answers question. [INDEX: speech given recently at Loyola, reviews,   \\tsupernatural powers, hypnotize readers, reviews written by men, witchcraft, cross,     \\tvampires.]\\n38:54- Audience #2 (male) asks question about the Edible Woman’s symbology of colours. [INDEX: Edible Woman, grayness, William Blake reference, emergence from chaos.]\\n39:17- Margaret Atwood answers question. [INDEX: comparison, colour, descending, poem, book, life, grey, pattern, Dante’s Inferno, wood, state of being lost, hell, tortured souls.]\\n40:19- Audience #2 (male) asks another question. [INDEX: Edible Woman, colours, complete emergence of man.]\\n40:29- Margaret Atwood responds. [INDEX: not complete, beginning.]\\n40:32- Audience #2 (male) responds. [INDEX: complete, universal aspect, emergence of man, colours, life.]\\n40:39- Margaret Atwood responds. [INDEX: man, female heroine, pattern, universal meaning.]\\n40:56- Audience #2 (male) responds. [INDEX: universal meaning, colour of darkness, greyness.]\\n41:04- Margaret Atwood responds. [INDEX: correct.]\\n41:07- Audience #2 (male) responds. [INDEX: universal meaning, colours, wrong.]\\n41:14- Margaret Atwood responds. [INDEX: truth, correct pattern, critic of her own work,        interpretation.]\\n41:34- Audience #3 (male) asks question about a screenplay. [INDEX: screen play, film.]\\n41:39- Margaret Atwood responds [INDEX: finished in July, stages of making films, taking out   an auction [option?], payment, movie, rights, sell, script, written, package, director, money.]\\n42:42- Audience #4 (female) asks question about film producers’ nationalities. [INDEX: American or Canadian]\\n42:46- Margaret Atwood responds to question. [INDEX: English Canadian film industry, struggle, book, American symbolism, American independent producers, not MGM,       \\tfaithful to the book, Maine, American film, ruining the symbolic pattern, Canada.]\\n44:26- Audience #4 (female) asks another question. [INDEX: attempt to sell script in Canada.]\\n44:30- Margaret Atwood responds to question. [INDEX: four or five screen plays which haven’t been made, Canadian, television play, CBC, screenplay for Edible Woman, Marie Clarie Blais, “Mad Shadows”, Canadian director and producer, film development corporations, commercial, novelists, publishing.]\\n45:22- Wynne Francis asks a question about criticism. [INDEX: question, competition, speech on Wednesday at Loyola, comic tags, critical opponents, Koestler, Yogi [?], Komisars [?], literary critics, formalism, cultural and political awareness, ideal critic or ideal type of criticism.]\\n45:51- Margaret Atwood responds. [INDEX: talents, criticism available to the reader, singer, dancer]\\n46:08- Wynne Francis asks another question. [INDEX: combined talents, formal or cultural criticism]\\n46:16- Audience Member #5 (male) asks question about body and knowledge. [INDEX: body of knowledge]\\n46:20- Margaret Atwood answers question. [INDEX: body of knowledge, [Northrop] Frye, books, Yogi-ism [sp?], reading poetry, Komasar-isim [sp?], context of a poem]\\n47:02- Margaret Atwood calls on audience member to ask question.\\n47:08- Audience #6 (male) asks question about Quebec’s relation to Canada. [INDEX: Quebec, Canada]\\n47:09- Margaret Atwood responds.\\n47:11- Audience #6 (male) asks question about Quebecer’s relation to Canada. [INDEX: Quebecois, Canadian]\\n47:15- Margaret Atwood responds. [INDEX: Quebecois, Marie Claire Blais, identity, Canadian, North-American, Western European culture, universalist]\\n47:58- Audience #7 (female) asks question about the New Canadian Library Series. [INDEX: opinion of the New Canadian Library Series introductions]\\n48:03- Margaret Atwood answers. [INDEX: quotation from the Joy of Cooking, puff pastry, critical apparatus, symbolic structuring, novel, comic]\\n49:09- Audience #8 (female) asks question about irony. [INDEX: ironist, irony]\\n49:22- Margaret Atwood answers question.\\n49:31- Audience #8 (female) asks question about one line of Atwood’s poem. [INDEX: anger, ironic]\\n49:41- Margaret Atwood answers question. [INDEX: double meaning, irony, definition of irony, character, modern literature]\\n50:14- Audience #9 (female) asks question about a second Survival book. [INDEX: Survival 2.]\\n50:16- Margaret Atwood answers question.\\n50:22- Audience #9 (female) asks Atwood to elaborate.\\n50:25- Margaret Atwood answers question. [INDEX: Survival 2, anthology, short pieces, permissions, expensive to produce, publish proposed table of contents, Ph.D. thesis, novel, second edition of Survival, paperback, General Publishing, Paper Jacks [?], New   Canadian Library, McMillan’s, publishing industry in Canada, new introduction]\\n52:30- Audience #10 (male) asks question about favourite poets. [INDEX: favourite poet]\\n52:33- Margaret Atwood answers question. [INDEX: favourite poet, favourite poems, Margaret Avison, P.K. Page, A.M. Klein, Michael Ondaatje, Al Purdy, mid-Sixties, Doug [Gordon] Jones, Cornflake boxes]\\n53:31- Margaret Atwood responds to inaudible question. [INDEX: little magazines, Adrienne Rich, January.]\\n54:02- Audience #11 (female) asks question about Surfacing being autobiographical. [INDEX: Surfacing, autobiographical.]\\n54:11- Margaret Atwood responds. [INDEX: vaguely, plot, fiction, setting, characters, invent part of characters, parents, paranoid schizophrenic, amnesia, Edible Woman, food, reader’s reactions, comic invention.]\\n55:20- Audience #12 (female) asks question about characters. [INDEX: psychological  \\tbackground, characters.]\\n55:25- Margaret Atwood responds to question. [INDEX: believable, plot.]\\n55:46- Audience #13 (male) asks question about Edible Woman. [INDEX: comical invention, Edible Woman.]\\n55:49- Margaret Atwood responds to question.\\n55:51- Audience #13 (male) asks question about the definition of comedy. [INDEX: definition of comedy.]\\n55:54- Margaret Atwood responds to question. [INDEX: technical, Edible Woman, anti-comedy, form, young couple, series of misadventures, marriage, ending.]\\n56:24- Audience #14 (male) asks question about latest writing. [INDEX: novel being written]\\n56:24- Margaret Atwood responds to question. [INDEX: superstition, work in progress.]\\n56:41- Audience #15 (female) asks question about Edible Woman [INDEX: Robinson Davies book.]\\n56:49-57:01- Margaret Atwood and audience try to figure out which book was written by        Robinson Davies. [INDEX: Fifth Busienss, Nanticore, comedy.]\\n57:02- Audience #15 (female) asks about selections in Survival. [INDEX: couple, town, married, Survival.]\\n57:15- Margaret Atwood responds to question. [INDEX: humour, magic, next two chapters of Survival 2, Samuel Marchbanks, Fifth Business, Nanticore, magician figure, Canadian magicians, foreigners, Gwen[dolyn] MacEwen’s book No Man.]\\n58:04- Audience #16 (female) asks question about No Man by Gwendolyn MacEwen. [INDEX: Novel.]\\n58:04- Margaret Atwood responds to question. [INDEX: series of short stories, central story, pattern.]\\n58:22- Audience #17 (male) asks question about selections made in Atwood’s reading [INDEX: poems read, best, most significant from the collection, selection choices.]\\n58:45- Margaret Atwood responds to question. [INDEX: section #3, consists of 24 poems, too long, time constraints.]\\n59:380 Wynne Francis thanks Margaret Atwood.\\n59:46.85- END OF RECORDING.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/margaret-atwood-and-alden-nowlan-at-sgwu-1967/\"}]"],"score":1.8530173},{"id":"1254","cataloger_name":["Masoumeh,Zaare"],"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":["Anthony Hecht at Sir George Williams University, The Poetry Series, 21 October 1966"],"item_title_source":["Transcribed from the Artifact"],"item_title_note":["\"I006/SR41 ANTHONY HECHT\" written on sticker on the spine of the tape's box"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 1"],"item_identifiers":["[]"],"creator_names":["Hecht, Anthony"],"creator_names_search":["Hecht, Anthony"],"creators":["[{\"url\":\"http://viaf.org/viaf/76363549\",\"name\":\"Hecht, Anthony\",\"dates\":\"1923-2004\",\"notes\":\"American poet Anthony Hecht was born in New York City on January 16th, 1923. Hecht has admitted that it was only in his freshman year at Bard College that he became interested in poetry. Upon graduating from Bard in 1944, he was drafted into the United States Army and served in Western Europe and Japan. Hecht was especially impacted by the release of Jews in the concentration camps, a subject that is echoed throughout his poetry. On his return, Hecht was convinced to study with John Crowe Ransom at Kenyon College, and Ransom became a major influence in Hecht’s poetic and intellectual formation. Hecht’s poetry was first published in magazines like the Hudson Review, the Kenyon Review and the New Yorker, and in 1950 he won the Prix de Rome bestowed by the American Academy of Arts and Letters. Hecht’s first book, A Summoning of Stones (MacMillan, 1954) was published, along with a limited edition pamphlet named The Seven Deadly Sins (Gehenna Press, 1954). Hecht then taught at Smith College in Northampton from 1956 to 1959, and then at Bard College from 1961 until 1967. It was at this point that Hecht began to travel on reading tours of his poetry. His next publication, Jiggery Pokery: A Compendium of Double Dactyls (Atheneum, 1966), with John Hollander and Milton Glaser, compiled a new light verse form called ‘double-dactyl’, which they had invented. A year later, Hecht released his second collection of verse, The Hard Hours (Atheneum, 1967), and took a position at the University of Rochester. In the next few years, Hecht translated Aeschylus’ tragedy of war, Seven Against Thebes (Oxford University Press, 1973) with Helen Bacon. He was also the visiting professor at Washington University (1971), Harvard (1973), and at Yale (1977). Hecht then published collections of poetry, Millions of Strange Shadows (Atheneum, 1977) and The Venetian Vespers (Atheneum, 1979), a collection of criticism, Obbligati (Atheneum, 1986), The Transparent Man (Knopf, 1990) and Flight Among the Tombs (Knopf, 1990). Hecht retired in the early 1990s from his post at Rochester, but remained active and published Hidden Law (1993), a book-length study of Auden’s poetry, and provided the introduction to “The New Cambridge Shakespeare Sonnets” in 1996. Hecht was the first American poet to be invited to lecture at the Mellon Lectures at the National Gallery of Art in 1992. Hecht published his last collection of poetry, The Darkness and the Light (Knopf) in 2001. Anthony Hecht died of Non-Hodgkin's Lymphoma on October 20, 2004.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Unknown"],"contributors_names_search":["Unknown"],"contributors":["[{\"url\":\"\",\"name\":\"Unknown\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Series organizer\"]}]"],"Series_organizer_name":["Unknown"],"Speaker_name":["Unknown"],"Performance_Date":[1966],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\\\"I006/SR41 ANTHONY HECHT\\\" written on sticker on the spine of the tape's box\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1966 10 21\",\"type\":\"Performance Date\",\"notes\":\"Date is approximate, using other recordings and readings to guess the time period (October-November 1966)\",\"source\":\"Previous researcher\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"SGW University\",\"notes\":\"Previous researcher\",\"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":["SGW University"],"City":["Montreal, Quebec"],"content_notes":["Anthony Hecht reads from his book The Hard Hours which was published later in 1967 by Atheneum Press."],"contents":["anthony_hecht_i006-11-041.mp3\n\nIntroducer\n00:00:00\nOn behalf of the Poetry Reading Committee of this university, Mr. Roy Kiyooka [https://www.wikidata.org/wiki/Q3445789], Mrs. Wynne Francis, Mr. Howard Fink, Mr. Irving Layton [https://www.wikidata.org/wiki/Q1673289], and Mr. Stanton Hoffman, I wish to welcome you to the second reading in our fall series. The reader for this evening is Mr. Anthony Hecht [https://www.wikidata.org/wiki/Q3618497] of New York City [https://www.wikidata.org/wiki/Q60]. Mr. Hecht was born in New York City. He is a fellow of the American Academy in Rome [https://www.wikidata.org/wiki/Q463271]. He is the author of two volumes of poetry, A Summoning of Stones, which was published by Macmillan [https://www.wikidata.org/wiki/Q2108217] in New York City in 1954, and a later volume published in Northampton, Massachusetts [https://www.wikidata.org/wiki/Q49186] in 1958, Seven Deadly Sins. Mr. Hecht is a poetry editor of The Hudson Review [https://www.wikidata.org/wiki/Q15708605]. Mr. Hecht has also been a faculty member of such universities as Smith [https://www.wikidata.org/wiki/Q49204], New York University [https://www.wikidata.org/wiki/Q49210] and Bard College [https://www.wikidata.org/wiki/Q49109], and he will be joining the faculty of the University of Rochester [https://www.wikidata.org/wiki/Q149990] very soon. Mr. Hecht is the author of three forthcoming volumes: The Hard Hours, which is to be published soon by Viking [https://www.wikidata.org/wiki/Q921536], a volume called Double Dactyls, which is to appear about Christmas and is to be published by Atheneum [https://www.wikidata.org/wiki/Q4813415], and a volume of verse epigrams to the engravings of Thomas Bewick [https://www.wikidata.org/wiki/Q437594], which is to be published by the Harvard University Press [https://www.wikidata.org/wiki/Q1587900]. Ladies and gentlemen, Mr. Anthony Hecht. \n \nAnthony Hecht\n00:01:36\nThank you very much. It's a pleasure to be here, this is my first trip to Canada [https://www.wikidata.org/wiki/Q16], and I regret that it should be so brief. I must leave tomorrow, but I'm struck by the frigidity of the weather and the warmth of the greeting that I received upon arriving. I'd like to begin with a poem which I'll, is set in Italy [https://www.wikidata.org/wiki/Q38], where I spent quite a while. It's called \"A Hill\", and it's what...about a purported visionary experience. \n \nAnthony Hecht\n00:02:21\nReads \"A Hill\" from The Hard Hours..\n \nAnthony Hecht\n00:04:50\nThe next is called \"A Letter\". Some of these, I think, will require some sort of explanatory comment from me, but I don't think this will. \n \nAnthony Hecht\n00:04:59\nReads \"A Letter\" from The Hard Hours.\n \nAnthony Hecht\n00:06:44\nThe next is called \"The Vow\". I should say that all the poems that I want to read to you this evening are from a book called The Hard Hours. They...the book is, I fear, for better or for worse, somewhat on the grim side, as the title is meant to indicate. It perhaps is a corrective to the abundant cheerfulness of my first book. But I hope that there were a few light moments here and there. This one, on the other--is somewhat grim. It is in fact about a miscarriage. And I had better explain to you that a large part of the second stanza, and all of the third stanza is spoken by the ghost of the child who fails to be born. It is called \"The Vow\".\n \nAnthony Hecht\n00:07:42\nReads \"The Vow\" from The Hard Hours.\n \nAnthony Hecht\n00:10:01\nThe next one is also somewhat on the grim side, but it requires an appeasing little note of explanation. Its title is \"More Light! More Light!\" which purport to be the last words of Goethe [https://www.wikidata.org/wiki/Q5879] on his deathbed. There's been a good deal of discussion and dispute as to quite what he meant at the time, which may simply have been to raise the shade. But inasmuch as he is regarded as the spirit of the German Enlightenment, a great deal more profound significance is normally attached to those words. He plays a very minor, somewhat ghostly role in this poem, which is a deliberate and violent contrast, so violent, indeed, that the poem was rejected by The New Yorker [https://www.wikidata.org/wiki/Q217305] on the grounds that the contrast was much too violent for their taste. Between an execution, which is in fact a conflation I've made myself of several executions that took place in England [https://www.wikidata.org/wiki/Q21] during the Renaissance [https://www.wikidata.org/wiki/Q4692], and an execution that took place in the Buchenwald concentration camp [https://www.wikidata.org/wiki/Q152802] during the Second World War [https://www.wikidata.org/wiki/Q362], and the details of which I got from a book by Eugene Kogan, who was himself a prisoner there for five years and survived, miraculously, and was then flown to England to help draw up the indictments that were used, [coughs], excuse me, at the Nuremberg Trials [https://www.wikidata.org/wiki/Q80130]. Goethe's role, his ghostly role in this, is explained by the fact that most prisoners who were brought to Buchenwald were brought by train, and there was no railroad station there at the camp, so the prisoners were, disembarked at the nearest railroad station, which was Weimar [https://www.wikidata.org/wiki/Q3955], and they walked the rest of the way from there. \n \nAnthony Hecht\n00:12:01\nReads \"More Light! More Light!\" from The Hard Hours.\n \nAnthony Hecht\n00:14:36\nThe next is a little lighter, gratefully. But it has its gruesome aspects too, as a matter of fact. It is called \"The Man Who Married Magdalen: Variation on a Theme by Louis Simpson\". Louis Simpson [https://www.wikidata.org/wiki/Q1871997], a fine poet and very old friend of mine. A road poem in one of his early books, called \"The Man Who Married Magdalen\", a fine and delicate poem, in which he imagines that this man who raged and stormed throughout his married life, upon the death of his wife finds it in his heart to forgive her and to acknowledge his abiding love for her. In fact, if I can remember the last stanza, it goes, \"But when he woke, and woke alone, he wept and would deny the loose behaviour of the bone, and the immodest thigh\". I have chosen to make him far less forgiving in my version. He is a very angry man, and the whole poem takes place in a bar where he has been releasing his anger in a bibulous way for some time. His anger is not only personal, however, it's also theological. He is someone who believes in and accepts the ancient dispensation according to which Mary Magdalene [https://www.wikidata.org/wiki/Q63070] had done something which could not, in fact, be so easily forgiven. And he regards the new dispensation as an antinomian heresy which leaves him bewildered and accounts for the rather promiscuous behaviour he finds all around him in the bar. I ought to tell you also that I went on a reading tour of New England [https://www.wikidata.org/wiki/Q18389] a few years ago, and I planned to include this, but when I got to...it has some frankly dirty language in the second stanza, and I decided that it was unbecoming at certain colleges, [audience laughter], but I was assured by a friend of mine on the faculty at Wellesley [https://www.wikidata.org/wiki/Q49205] that the girls there were tough, and they could take it.  [Audience laughter]. He liked it, and he thought I should read it. And indeed, I did. And nobody batted an eye. So, from then on, without compunction at all, I read it everywhere else, and when I got to Mount Hollyhock, [audience laughter], there I had every intention of reading it, but they were not only taping it, as you are here this evening, but they were taping it for radio broadcast, so I felt obliged to warn the Federal Communications Commission [https://www.wikidata.org/wiki/Q128831] [audience laughter] that this was the sort of thing that they would probably have to excise. And after the tour was over, I got a postcard from a friend of mine in that bastion of propriety, Boston [https://www.wikidata.org/wiki/Q100], saying that he had heard the whole broadcast with nothing cut out, so I take it there's absolutely nothing wrong with it now [audience laughter]. It has, in any case, a lofty epigraph from the Book of Jonah [https://www.wikidata.org/wiki/Q178819] [audience laughter], which says, \"Then said the Lord, 'Dost thou well, to be angry?'”\n \nAnthony Hecht\n00:17:57\nReads \"The Man Who Married Magdalen: Variation on a Theme by Louis Simpson\" from The Hard Hours [audience laughter throughout].\n \nAnthony Hecht\n00:20:26\nA poem of a somewhat different sort, called \"Message from the City\".\n \nAnthony Hecht\n00:20:37\nReads \"Message from the City\" from The Hard Hours.\n \nAnthony Hecht\n00:23:02\nThe poem I want to read next is also, again, on the somewhat grim side. It is, in fact, incomplete, but it stands altogether, by itself. It's going to be longer, but it is a unit, as it appears, or as I shall read it to you, and it's called, in its present state, \"The Rune\".\n \nAnthony Hecht\n00:23:35\nReads \"The Rune\" from The Hard Hours.\n \nAnthony Hecht\n00:27:54\nI guess a really violent change of pace is required, and I can provide it. But you are not to be spared as easily as that. There's another sort of wracking one that comes up in a minute. However, I can interject something in between. There's a little sort of period piece, a Restoration comedy song, sort of, called \"The Song of the Flea\". It was written...there were a group of poems that I wrote in collaboration with an artist. We did a bestiary together, and he did a whole bunch of very handsome lithographs of animals, and I wrote a few animal poems, and this is one of them.\n \nAnthony Hecht\n00:28:45\nReads \"The Song of the Flea\" from The Hard Hours.\n \nAnthony Hecht\n00:29:40\nNow this, this next, is quite frankly a stinker, I've got to warn you. It's a very unnerving poem. It's a colloquy; there are two voices, but I'm sure you'll have no difficulty telling them apart. There is one speaker who is a kind of compulsive talker, and he has a very patient and somewhat helpless auditor. The poem is called \"Behold the Lilies of the Field\".\n \nAnthony Hecht\n00:30:18\nReads \"Behold the Lilies of the Field\" from The Hard Hours.\n \nAnthony Hecht\n00:34:34\nThe next is a blessed relief. It's called \"Jason\", which is the name of my older son, and it's a poem written to celebrate his birth. He was born at the time I was teaching at Smith, and he was born on a Sunday, which has some bearing on the poem, but it conveniently avoided my, disrupting my academic obligations. And it has an epigraph from Doctor Faustus [https://www.wikidata.org/wiki/Q50919], which goes, \"And from America, the Golden Fleece\".\n \nAnthony Hecht\n00:35:16\nReads \"Jason\" from The Hard Hours.\n \nAnthony Hecht\n00:37:12\nThe next one is also, this is also rather cheery too--well, not really. I told you that I had gone on this New England tour a few years ago, and I began it in Maine [https://www.wikidata.org/wiki/Q724]. Well, I may have been misled [distortion], but I was told at the two or three colleges and universities where I read that Maine was a dry state, and I had so arranged my poems, completely unconsciously, that I had a whole bunch of them that all took place in bars, in bars altogether [audience laughter]. So I had the feeling as I was reading--I couldn't stop, you see, there I was-- after the third poem, I felt that I appeared to be an obsessive alcoholic. [Audience laughter]. This also takes place in a bar. I was born and brought up in New York City, and remember it from the time when Third Avenue had an elevator train that ran down its length. Now, that has all been torn down. But in the old days, not only did it have the elevator train, but it was lined on both sides all the way up and down with bars. The bars are still there. But the advantage of the El was that it cast a nice, gloomy shadow over the whole avenue even on the brightest days, so that you weren't obliged to face utter reality as soon as you stepped outside [audience laughter]. There was a sort of modulating gloom that you got out into. Now that's been torn down, and it's tougher than it was. The poem is called \"Third Avenue in Sunlight\".\n \nAnthony Hecht\n00:38:45\nReads \"Third Avenue in Sunlight\" from The Hard Hours.\n \nAnthony Hecht\n00:40:31\nThere are two more poems I should like to read. The first of these is called \"Birdwatchers of America\". It has an epigraph from the journals of Baudelaire [https://www.wikidata.org/wiki/Q501], very near the end of his life. Baudelaire wrote as follows: \"I suffer now continually from vertigo, and today, the 23rd of January, 1862, I received a singular warning. I felt the wind of the wing of madness pass over me\".\n \nAnthony Hecht\n00:41:14\nReads \"Birdwatchers of America\" from The Hard Hours.\n \nAnthony Hecht\n00:42:50\nThis is called \"The End of the Weekend\".\n \nAnthony Hecht\n00:42:56\nReads \"The End of the Weekend\" from The Hard Hours.\n \nAnthony Hecht\n00:44:38\nFinally, there is a poem that I must remind you of which I enormously admire, by Matthew Arnold [https://www.wikidata.org/wiki/Q271032]. \"Dover Beach\" [https://www.wikidata.org/wiki/Q5302469]. I have, in spite of my admiration for it, ventured to write a somewhat impertinent commentary upon it, which is called \"The Dover Bitch\" and subtitled [audience laughter], \"A Criticism of Life\", which is what Arnold said poetry ought to be. \n \nAnthony Hecht\n00:45:13\nReads \"The Dover Bitch: A Criticism of Life\" from The Hard Hours [audience laughter throughout].\n \nEND\n00:46:55\n[Cut off abruptly]."],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1966, Hecht was teaching at Bard College, and was participating in traveling tours reading his poetry. Three of his works were in the process of being published: The Hard Hours, Jiggery Pokery: A Compendium of Double Dactyls and AEsopic: twenty four couplets.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nAnthony Hecht was an important figure in American poetry, as well as an influential professor of literature and writing. He is the inventor of the double dactyl, a form of light verse as well as the recipient of many valued awards, including the Pulitzer Prize for poetry, the Bollingen Prize, the Wallace Stevens Award. His connection to Sir George Williams is unknown at this time.\",\"type\":\"General\"},{\"note\":\"Original transcription by Rachel Kyne\\n\\nOriginal print catalogue, introduction, research and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\\n\\n\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-english-literature/oclc/1205259088&referer=brief_results\",\"citation\":\"\\\"Hecht, Anthony\\\". The Oxford Companion to English Literature. Dinah Birch (ed). Oxford University Press Inc., 2009. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-american-literature/oclc/54356940&referer=brief_results\",\"citation\":\"\\\"Hecht, Anthony [Evan]\\\". The Oxford Companion to American Literature. James D. Hart (ed.), Phillip W. Leininger (rev). Oxford University Press, 1995.  \"},{\"url\":\"\",\"citation\":\"Freeland, Petra. “Hecht, Anthony, 1923-”. Literature Online Biography. Proquest and H.W. Wilson Company, 2005. \"},{\"url\":\"\",\"citation\":\"“Poetry Readings”. OP-ED. Montreal: Sir George Williams University, 6 October 1967, page 6.\"}]"],"_version_":1853670548656095232,"timestamp":"2026-01-07T14:59:53.264Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0041_back.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006_11_0041_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Anthony Hecht 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_0041_front.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006_11_0041_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Anthony Hecht 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_0041_side.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006_11_0041_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Anthony Hecht Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0041_tape.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006_11_0041_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"notes\":\"\",\"title\":\"Anthony Hecht 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/anthony_hecht_i006-11-041.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"anthony_hecht_i006-11-041.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:46:55\",\"precision\":\"\",\"size\":\"112.6 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Introducer\\n00:00:00\\nOn behalf of the Poetry Reading Committee of this university, Mr. Roy Kiyooka [https://www.wikidata.org/wiki/Q3445789], Mrs. Wynne Francis, Mr. Howard Fink, Mr. Irving Layton [https://www.wikidata.org/wiki/Q1673289], and Mr. Stanton Hoffman, I wish to welcome you to the second reading in our fall series. The reader for this evening is Mr. Anthony Hecht [https://www.wikidata.org/wiki/Q3618497] of New York City [https://www.wikidata.org/wiki/Q60]. Mr. Hecht was born in New York City. He is a fellow of the American Academy in Rome [https://www.wikidata.org/wiki/Q463271]. He is the author of two volumes of poetry, A Summoning of Stones, which was published by Macmillan [https://www.wikidata.org/wiki/Q2108217] in New York City in 1954, and a later volume published in Northampton, Massachusetts [https://www.wikidata.org/wiki/Q49186] in 1958, Seven Deadly Sins. Mr. Hecht is a poetry editor of The Hudson Review [https://www.wikidata.org/wiki/Q15708605]. Mr. Hecht has also been a faculty member of such universities as Smith [https://www.wikidata.org/wiki/Q49204], New York University [https://www.wikidata.org/wiki/Q49210] and Bard College [https://www.wikidata.org/wiki/Q49109], and he will be joining the faculty of the University of Rochester [https://www.wikidata.org/wiki/Q149990] very soon. Mr. Hecht is the author of three forthcoming volumes: The Hard Hours, which is to be published soon by Viking [https://www.wikidata.org/wiki/Q921536], a volume called Double Dactyls, which is to appear about Christmas and is to be published by Atheneum [https://www.wikidata.org/wiki/Q4813415], and a volume of verse epigrams to the engravings of Thomas Bewick [https://www.wikidata.org/wiki/Q437594], which is to be published by the Harvard University Press [https://www.wikidata.org/wiki/Q1587900]. Ladies and gentlemen, Mr. Anthony Hecht. \\n \\nAnthony Hecht\\n00:01:36\\nThank you very much. It's a pleasure to be here, this is my first trip to Canada [https://www.wikidata.org/wiki/Q16], and I regret that it should be so brief. I must leave tomorrow, but I'm struck by the frigidity of the weather and the warmth of the greeting that I received upon arriving. I'd like to begin with a poem which I'll, is set in Italy [https://www.wikidata.org/wiki/Q38], where I spent quite a while. It's called \\\"A Hill\\\", and it's what...about a purported visionary experience. \\n \\nAnthony Hecht\\n00:02:21\\nReads \\\"A Hill\\\" from The Hard Hours..\\n \\nAnthony Hecht\\n00:04:50\\nThe next is called \\\"A Letter\\\". Some of these, I think, will require some sort of explanatory comment from me, but I don't think this will. \\n \\nAnthony Hecht\\n00:04:59\\nReads \\\"A Letter\\\" from The Hard Hours.\\n \\nAnthony Hecht\\n00:06:44\\nThe next is called \\\"The Vow\\\". I should say that all the poems that I want to read to you this evening are from a book called The Hard Hours. They...the book is, I fear, for better or for worse, somewhat on the grim side, as the title is meant to indicate. It perhaps is a corrective to the abundant cheerfulness of my first book. But I hope that there were a few light moments here and there. This one, on the other--is somewhat grim. It is in fact about a miscarriage. And I had better explain to you that a large part of the second stanza, and all of the third stanza is spoken by the ghost of the child who fails to be born. It is called \\\"The Vow\\\".\\n \\nAnthony Hecht\\n00:07:42\\nReads \\\"The Vow\\\" from The Hard Hours.\\n \\nAnthony Hecht\\n00:10:01\\nThe next one is also somewhat on the grim side, but it requires an appeasing little note of explanation. Its title is \\\"More Light! More Light!\\\" which purport to be the last words of Goethe [https://www.wikidata.org/wiki/Q5879] on his deathbed. There's been a good deal of discussion and dispute as to quite what he meant at the time, which may simply have been to raise the shade. But inasmuch as he is regarded as the spirit of the German Enlightenment, a great deal more profound significance is normally attached to those words. He plays a very minor, somewhat ghostly role in this poem, which is a deliberate and violent contrast, so violent, indeed, that the poem was rejected by The New Yorker [https://www.wikidata.org/wiki/Q217305] on the grounds that the contrast was much too violent for their taste. Between an execution, which is in fact a conflation I've made myself of several executions that took place in England [https://www.wikidata.org/wiki/Q21] during the Renaissance [https://www.wikidata.org/wiki/Q4692], and an execution that took place in the Buchenwald concentration camp [https://www.wikidata.org/wiki/Q152802] during the Second World War [https://www.wikidata.org/wiki/Q362], and the details of which I got from a book by Eugene Kogan, who was himself a prisoner there for five years and survived, miraculously, and was then flown to England to help draw up the indictments that were used, [coughs], excuse me, at the Nuremberg Trials [https://www.wikidata.org/wiki/Q80130]. Goethe's role, his ghostly role in this, is explained by the fact that most prisoners who were brought to Buchenwald were brought by train, and there was no railroad station there at the camp, so the prisoners were, disembarked at the nearest railroad station, which was Weimar [https://www.wikidata.org/wiki/Q3955], and they walked the rest of the way from there. \\n \\nAnthony Hecht\\n00:12:01\\nReads \\\"More Light! More Light!\\\" from The Hard Hours.\\n \\nAnthony Hecht\\n00:14:36\\nThe next is a little lighter, gratefully. But it has its gruesome aspects too, as a matter of fact. It is called \\\"The Man Who Married Magdalen: Variation on a Theme by Louis Simpson\\\". Louis Simpson [https://www.wikidata.org/wiki/Q1871997], a fine poet and very old friend of mine. A road poem in one of his early books, called \\\"The Man Who Married Magdalen\\\", a fine and delicate poem, in which he imagines that this man who raged and stormed throughout his married life, upon the death of his wife finds it in his heart to forgive her and to acknowledge his abiding love for her. In fact, if I can remember the last stanza, it goes, \\\"But when he woke, and woke alone, he wept and would deny the loose behaviour of the bone, and the immodest thigh\\\". I have chosen to make him far less forgiving in my version. He is a very angry man, and the whole poem takes place in a bar where he has been releasing his anger in a bibulous way for some time. His anger is not only personal, however, it's also theological. He is someone who believes in and accepts the ancient dispensation according to which Mary Magdalene [https://www.wikidata.org/wiki/Q63070] had done something which could not, in fact, be so easily forgiven. And he regards the new dispensation as an antinomian heresy which leaves him bewildered and accounts for the rather promiscuous behaviour he finds all around him in the bar. I ought to tell you also that I went on a reading tour of New England [https://www.wikidata.org/wiki/Q18389] a few years ago, and I planned to include this, but when I got to...it has some frankly dirty language in the second stanza, and I decided that it was unbecoming at certain colleges, [audience laughter], but I was assured by a friend of mine on the faculty at Wellesley [https://www.wikidata.org/wiki/Q49205] that the girls there were tough, and they could take it.  [Audience laughter]. He liked it, and he thought I should read it. And indeed, I did. And nobody batted an eye. So, from then on, without compunction at all, I read it everywhere else, and when I got to Mount Hollyhock, [audience laughter], there I had every intention of reading it, but they were not only taping it, as you are here this evening, but they were taping it for radio broadcast, so I felt obliged to warn the Federal Communications Commission [https://www.wikidata.org/wiki/Q128831] [audience laughter] that this was the sort of thing that they would probably have to excise. And after the tour was over, I got a postcard from a friend of mine in that bastion of propriety, Boston [https://www.wikidata.org/wiki/Q100], saying that he had heard the whole broadcast with nothing cut out, so I take it there's absolutely nothing wrong with it now [audience laughter]. It has, in any case, a lofty epigraph from the Book of Jonah [https://www.wikidata.org/wiki/Q178819] [audience laughter], which says, \\\"Then said the Lord, 'Dost thou well, to be angry?'”\\n \\nAnthony Hecht\\n00:17:57\\nReads \\\"The Man Who Married Magdalen: Variation on a Theme by Louis Simpson\\\" from The Hard Hours [audience laughter throughout].\\n \\nAnthony Hecht\\n00:20:26\\nA poem of a somewhat different sort, called \\\"Message from the City\\\".\\n \\nAnthony Hecht\\n00:20:37\\nReads \\\"Message from the City\\\" from The Hard Hours.\\n \\nAnthony Hecht\\n00:23:02\\nThe poem I want to read next is also, again, on the somewhat grim side. It is, in fact, incomplete, but it stands altogether, by itself. It's going to be longer, but it is a unit, as it appears, or as I shall read it to you, and it's called, in its present state, \\\"The Rune\\\".\\n \\nAnthony Hecht\\n00:23:35\\nReads \\\"The Rune\\\" from The Hard Hours.\\n \\nAnthony Hecht\\n00:27:54\\nI guess a really violent change of pace is required, and I can provide it. But you are not to be spared as easily as that. There's another sort of wracking one that comes up in a minute. However, I can interject something in between. There's a little sort of period piece, a Restoration comedy song, sort of, called \\\"The Song of the Flea\\\". It was written...there were a group of poems that I wrote in collaboration with an artist. We did a bestiary together, and he did a whole bunch of very handsome lithographs of animals, and I wrote a few animal poems, and this is one of them.\\n \\nAnthony Hecht\\n00:28:45\\nReads \\\"The Song of the Flea\\\" from The Hard Hours.\\n \\nAnthony Hecht\\n00:29:40\\nNow this, this next, is quite frankly a stinker, I've got to warn you. It's a very unnerving poem. It's a colloquy; there are two voices, but I'm sure you'll have no difficulty telling them apart. There is one speaker who is a kind of compulsive talker, and he has a very patient and somewhat helpless auditor. The poem is called \\\"Behold the Lilies of the Field\\\".\\n \\nAnthony Hecht\\n00:30:18\\nReads \\\"Behold the Lilies of the Field\\\" from The Hard Hours.\\n \\nAnthony Hecht\\n00:34:34\\nThe next is a blessed relief. It's called \\\"Jason\\\", which is the name of my older son, and it's a poem written to celebrate his birth. He was born at the time I was teaching at Smith, and he was born on a Sunday, which has some bearing on the poem, but it conveniently avoided my, disrupting my academic obligations. And it has an epigraph from Doctor Faustus [https://www.wikidata.org/wiki/Q50919], which goes, \\\"And from America, the Golden Fleece\\\".\\n \\nAnthony Hecht\\n00:35:16\\nReads \\\"Jason\\\" from The Hard Hours.\\n \\nAnthony Hecht\\n00:37:12\\nThe next one is also, this is also rather cheery too--well, not really. I told you that I had gone on this New England tour a few years ago, and I began it in Maine [https://www.wikidata.org/wiki/Q724]. Well, I may have been misled [distortion], but I was told at the two or three colleges and universities where I read that Maine was a dry state, and I had so arranged my poems, completely unconsciously, that I had a whole bunch of them that all took place in bars, in bars altogether [audience laughter]. So I had the feeling as I was reading--I couldn't stop, you see, there I was-- after the third poem, I felt that I appeared to be an obsessive alcoholic. [Audience laughter]. This also takes place in a bar. I was born and brought up in New York City, and remember it from the time when Third Avenue had an elevator train that ran down its length. Now, that has all been torn down. But in the old days, not only did it have the elevator train, but it was lined on both sides all the way up and down with bars. The bars are still there. But the advantage of the El was that it cast a nice, gloomy shadow over the whole avenue even on the brightest days, so that you weren't obliged to face utter reality as soon as you stepped outside [audience laughter]. There was a sort of modulating gloom that you got out into. Now that's been torn down, and it's tougher than it was. The poem is called \\\"Third Avenue in Sunlight\\\".\\n \\nAnthony Hecht\\n00:38:45\\nReads \\\"Third Avenue in Sunlight\\\" from The Hard Hours.\\n \\nAnthony Hecht\\n00:40:31\\nThere are two more poems I should like to read. The first of these is called \\\"Birdwatchers of America\\\". It has an epigraph from the journals of Baudelaire [https://www.wikidata.org/wiki/Q501], very near the end of his life. Baudelaire wrote as follows: \\\"I suffer now continually from vertigo, and today, the 23rd of January, 1862, I received a singular warning. I felt the wind of the wing of madness pass over me\\\".\\n \\nAnthony Hecht\\n00:41:14\\nReads \\\"Birdwatchers of America\\\" from The Hard Hours.\\n \\nAnthony Hecht\\n00:42:50\\nThis is called \\\"The End of the Weekend\\\".\\n \\nAnthony Hecht\\n00:42:56\\nReads \\\"The End of the Weekend\\\" from The Hard Hours.\\n \\nAnthony Hecht\\n00:44:38\\nFinally, there is a poem that I must remind you of which I enormously admire, by Matthew Arnold [https://www.wikidata.org/wiki/Q271032]. \\\"Dover Beach\\\" [https://www.wikidata.org/wiki/Q5302469]. I have, in spite of my admiration for it, ventured to write a somewhat impertinent commentary upon it, which is called \\\"The Dover Bitch\\\" and subtitled [audience laughter], \\\"A Criticism of Life\\\", which is what Arnold said poetry ought to be. \\n \\nAnthony Hecht\\n00:45:13\\nReads \\\"The Dover Bitch: A Criticism of Life\\\" from The Hard Hours [audience laughter throughout].\\n \\nEND\\n00:46:55\\n[Cut off abruptly].\",\"notes\":\"Anthony Hecht reads from his book The Hard Hours which was published later in 1967 by Atheneum Press.\\n\\n00:00- Unknown Introducer introduces Anthony Hecht [INDEX: Poetry Reading Committee: Roy Kiyooka, Wynne Francis, Howard Fink, Irving Layton, Stanton Hoffman; New York City, fellow of the American Academy in Rome, A Summoning of Stones published by Macmillan NYC 1954, Seven Deadly Sins published in Northampton, Massachusetts in 1958; poetry editor of The Hudson Review; faculty member of Smith University, New York University, Bard College, University of Rochester; The Hard Hours published by Viking Press, Double Dactyls published by Atheneum Press, AEsopic: twenty four couplets written with Thomas Bewick, Harvard University Press.]\\n01:36- Anthony Hecht introduces “A Hill”. [INDEX: first trip to Canada, cold weather, Italy; from The Hard Hours (Atheneum Press, 1967).]\\n02:21- Reads “A Hill”.\\n04:50- Introduces “A Letter” [INDEX: from The Hard Hours (Atheneum Press, 1967)]\\n04:59- Reads “A Letter”.\\n06:44- Introduces “The Vow”. [INDEX: all poems read from The Hard Hours, miscarriage, ghost of a child.]\\n07:42- Reads “The Vow”.\\n10:01- Introduces “More Light! More Light!”. [INDEX: last words of Goethe, German Enlightenment, poem rejected by The New Yorker, England during the Renaissance,      Buchenwald concentration camps during WWII, book by Eugene Kogan, Nuremburg   Trials, prisoners brought by train, Weimar; from The Hard Hours (Atheneum Press,   \\t1967).]\\n12:01- Reads “More Light! More Light!”.\\n14:36- Introduces \\\"The Man Who Married Magdalen: Variation on a Theme by Louis        Simpson.\\\" [INDEX: Louis Simpson: poet and friend, poem in Simpson’s early books  \\tcalled “The Man Who Married Magdalen”, husband forgiving wife, line from the last  \\tstanza “But when he woke, and woke alone, he wept and would deny the loose    behaviour of the bone, and the immodest thigh”, takes place in a bar, reading tour of   England, Wellesley, Mount Hollyhock, Federal Communications Commission, Boston,     Book of Jonah “Then said the Lord, ‘Dost thou well, to be angry?’”; from The Hard    \\tHours (Atheneum Press, 1967).]\\n17:57- Reads \\\"The Man Who Married Magdalen: Variation on a Theme by Louis \\tSimpson\\\".\\n20:26- Introduces “Message from the City”. [INDEX: from The Hard Hours (Atheneum Press, 1967).]\\n20:37- Reads “Message from the City”.\\n23:02- Introduces “The Rune”. [INDEX: from unknown source.]\\n23:35- Reads “The Rune”.\\n27:54- Introduces “The Song of the Flea”. [INDEX: Restoration comedy song called “The Song of the Flea”, group of poems written in collaboration with an artist, bestiary, lithographs of animals; from The Hard Hours (Atheneum Press, 1967).]\\n28:45- Reads “The Song of the Flea”.\\n29:40- Introduces “Behold the Lilies of the Field”. [INDEX: colloquy, two voices, one   compulsive talker, and a patient auditor; The Hard Hours (Atheneum Press, 1967).]\\n30:18- Reads “Behold the Lilies of the Field”.\\n34:34- Introduces “Jason”. [INDEX: Hecht’s older son to celebrate his birth, teaching at Smith, epigraph from Dr. Faustus “And from America, the Golden Fleece”; The Hard Hours (Atheneum Press, 1967).]\\n35:16- Reads “Jason”.\\n37:12- Introduces “Third Avenue in Sunlight”. [INDEX: New England Tour, began in Maine, dry state, reading poems about bars; born in NYC on Third Avenue elevator train, bars; The Hard Hours (Atheneum Press, 1967).]\\n38:45- Reads “Third Avenue in Sunlight”.\\n40:31- Introduces “Birdwatchers of America”. [INDEX: Epigraph from the journals of Baudelaire “I suffer now continually from vertigo, and today, the 23rd of January 1862, I       received a singular warning. I felt the wind of the wing of madness pass over me.”; The       Hard Hours (Atheneum Press, 1967).]\\n41:14- Reads “Birdwatchers of America”.\\n42:50- Reads “The End of the Weekend”. [INDEX: from The Hard Hours (Atheneum Press, 1967).]\\n44:38- Introduces “The Dover Bitch: A Criticism of Life”. [INDEX: Poem by Matthew Arnold “Dover Beach”, Arnold said poetry ought to be “A criticism of life”; from The Hard     Hours (Atheneum Press, 1967).]\\n45:13- Reads “The Dover Bitch: A Criticism of Life”.\\n46:55.93- END OF RECORDING.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/anthony-hecht-at-sgwu-1966/\"}]"],"score":1.8530173},{"id":"1255","cataloger_name":["Masoumeh,Zaare"],"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 Kelly at Sir George Williams University, The Poetry Series, 4 November 1966"],"item_title_source":["Cataloguer"],"item_title_note":["\"Robert Kelly at Sir George Williams University, Montreal 4 November, 1966\" handwriitten on the back of the tape's box. Date and name also written on spine of the box and stickers on the reel. Additional Info: I086-11-027 and RT 503"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 1"],"item_identifiers":["[]"],"access":["Streaming"],"creator_names":["Kelly, Robert,"],"creator_names_search":["Kelly, Robert,"],"creators":["[{\"url\":\"http://viaf.org/viaf/7411990\",\"name\":\"Kelly, Robert, \",\"dates\":\"1935-\",\"notes\":\"Prolific American poet, Robert Kelly, was born in Brooklyn, New York in 1935. He attended both Columbia University and the City College of New York. He took positions as a translator, later becoming a lecturer and writer-in-residence at several universities, including the California Institute of Technology, Bard College and Tufts University. In 1957, he co-founded and edited the Chelsea Review (now Chelsea) until 1960, after which he co-edited Trobar magazine until 1965. Kelly was involved in the creation of The Blue Yak poetry co-operative in New York City. His first published collection of poems was Armed Descent in 1961 (Hawk’s Well Press), followed by seven other collections including Lunes/Sightings with Jerome Rothenberg in 1964 (Hawk’s Well Press), and Weeks in 1966 (El Corno Emplumado). He began editing Matter magazine in 1963, and has had affiliations with several other magazines like Caterpilar, Los, Alcheringa: Ethnopoetics and Fulcrum. Publishing over forty books of poetry, prose, essays and plays, Kelly’s most notable books include The Scorpions (Doubleday, 1967), Finding the Measure (Black Sparrow Press, 1968), California Journal (Big Venus/Asphodel, 1969), Mill of Particulars (1973), The Loom (1975), The Convections (1978), Kill the Messenger (1979), Spiritual Exercises (1981) and Not This Island Music (1987) all published by Black Sparrow Press. Robert Kelly has been the Asher B. Edelman Professor of Literature at Bard College from 1986 onwards; he was the co-director of The Writing Program and the founding member of the Milton Avery Graduate School of the Arts at Bard College. He has won many awards and honors, including a Doctor of Letters from State University of New York in 1994, the Award for Distinction from the National Academy and Institute of Arts and Letters in 1986 and a National Endowment for the Arts fellowship in 1976.\",\"nation\":[],\"role\":[]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1966],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Kodak\",\"generations\":\"Duplicate\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"00:30:00\",\"physical_condition\":\"\",\"track_configuration\":\"2 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\":\"1966 11 4\",\"type\":\"Performance Date\",\"notes\":\"Date written on the tape box and on a sticker on the tape reel\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Art Gallery\",\"notes\":\"Location specified in printed announcement \\\"Georgantics\\\" by Bob Simco (Supplemental material)\",\"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 Art Gallery"],"City":["Montreal, Quebec"],"content_notes":["Robert Kelly reads from Lectiones (Duende Press, 1965) and Weeks (El Corno Emplumado, 1966) as well as poems from unknown sources."],"contents":["robert_kelly_i086-11-027.mp3\n\nRobert Kelly\n00:00:00\n...Read a couple of poems from a book that came out last year that's very hard to find, it's called Lectiones. These are poems that I offered in the book, very humbly, as poems that I think needed the instrumentation of the human voice, my voice, someone's voice to present them. I don't think they hold on paper. To some extent all of the poems that I've written, all of the poems anyone writes are scores for an eventual ideal performance in someone's mind's ear. More particularly in my poetry any kind of deviation from the margin represents a pitch variation, space left out indicates silence, in an obvious way, I don't know how better to do it, you know Yeats [https://www.wikidata.org/wiki/Q40213] played around with the notion of notation for songs, then he realized the words have to do with, I understand, two of the words must do it, but there are ways of setting them down. This is a poem called \"Dates of the Calendar\".\n \nRobert Kelly\n00:01:11\nReads \"Dates of the Calendar\" [from Lectiones].\n \nRobert Kelly\n00:03:03\nI'd like really, since I've read now tiny fragments, scatter of history, I'd like now for my good to read poems that are very recent, so everything that I read from here on after will be from the summer or after, this past summer. i.e. things that are still urgent with me that I have to deal with, as to say them or give. “King of Death”.\n \nRobert Kelly\n00:03:49\nReads \"King of Death\".\n \nRobert Kelly\n00:04:38\nReads unnamed poem. \n \nRobert Kelly\n00:05:47\nThat's a very difficult poem for me. It's meant to sound difficult. I mean it's not meant to flow and it's filled with rhyme and I think rhyme is the torment. The real reason that rhyme was invented must have been pain, the pain of psychosis, the pain of madness, of hoping by that fictive and easy device to cling to a measure of order, because you can get cling, cling, ring, ring, ring the way the tantric hindus make their gestures of introjection, intro- substance via mantrum, rhyme noises, [unintelligible], they say. Fellini [https://www.wikidata.org/wiki/Q7371] makes fun of it in that 8 ½ [https://www.wikidata.org/wiki/Q12018], the girl in the old Hindu...But I think rhyme is madness and rhyme is pain, and maybe poets will no longer have to be madmen now that we have come to abandon rhyme. Don't you think that free-verse poets are less mad then rhyming poets? [Audience laughter]. They need order somewhere else, they can't keep it there. Alright. I mean A.A. Milne [https://www.wikidata.org/wiki/Q207036] was probably the craziest man in the world. [Audience laughter]. This is a hard poem in a number of ways, the music of it interests me very much, it's a variety, it all fits on one page somehow but it's a long poem. It's based on the word ‘Gala’, the old Greek word for 'milk' from which we get obviously galactose and galactose but also galaxy from milky way, gala way.\n \nRobert Kelly\n00:08:01\nReads unnamed poem. \n\nRobert Kelly\n00:08:11\nLet me try that again.\n\nRobert Kelly\n00:08:013\nReads unnamed poem [restarts]. \n\nRobert Kelly\n00:11:43\nThis is, strange that I should say it, but this is the time of the world, you know, it is now upon us, when women can acquire souls. The whole of our culture is based on the soullessness of women, the woman gets soul from man, from children, from mother, but now perhaps woman is a separate entity, can be a separate entity, even if it means separate from me, but that is a large concern of mine. That's obvious from the poem, why do I have to say this. It comes of teaching and schools [audience laughter], that sort of thing, no one can understand a thing, nobody can understand anything, I can say it and say it again. Here's a poem, last spring, \"Memorial Day\". I looked out and saw the students of the college, oh, scattered on the lawn having a wiener roast or something.\n \nRobert Kelly\n00:13:13\nReads \"Memorial Day\".\n \nRobert Kelly\n00:16:19\nReads unnamed poem. \n \nRobert Kelly\n00:17:22\nI'd like to move back in time a little bit and read you a few sections from this very long poem called \"Weeks\", which is perhaps even going to be out even this month, sometime soon, I've just finished the proofs of it a week or so ago. Let me read you the first one, at any rate, this is not a narrative poem, but it is a continuity of poems, there are 150 sections, some of them are quite short and some of them are fairly long. So there is not what we are trying to call a formal similarity between the sections, there is a continuity of sound and of concern and that's enough.\n \nRobert Kelly\n00:18:35\nReads “Weeks: 1” published later in Weeks. \n \nRobert Kelly\n00:19:05\nIt's deliberately a--what poems do at their beginnings is to set measures of music, to set new measures, not to declare more than the sound of themselves, I think that's important and a long poem might take a section or two or three or ten, in this case I think the first ten sections do no more than to set the measure of the poem. But I don't want to read them all. God, I don't want to read all 150 of them. I tried that once, not publicly, but I couldn't do it, even privately, even with coffee and the ability to s-m-o-k-e, can't do that here…[Audience laughter]. There is much said in this world about city, I mean I see all around me here the evidence of a monumental concern with city, and we're taught to think about Socrates [https://www.wikidata.org/wiki/Q913] and polis and all of that--polis, city, the community of men, and we haven't said all that has to be said about it. In the last 100--the last 50 sections of \"Weeks\" I get very involved with that. I get very involved with the fact that we do build cities as we build rooms with no place to sit down, with no air, and so on and so forth, and the simplest way we can find that objectionable is simple: Animals, but in a different sense we have allowed that sense of community to destroy something that's closer to the bone, that possibility of a man's doing, and this is what experimental art is always about isn't it? A man doing his own work, that's the hardest experiment of all to do and to maintain, to continue doing your work and not somebody else's. So this is 107, it's about 'polis', the Greek word for 'city' if I am not pronouncing it clearly.\n \nRobert Kelly\n00:21:15\nReads “Weeks: 107” published later in Weeks.\n \nRobert Kelly\n00:22:47\nAnd that's followed by 108, which is more specific and is about the murder of a great man [https://www.wikidata.org/wiki/Q43303].   \n \nRobert Kelly\n00:22:57\nReads “Weeks: 108” published later in Weeks. \n \nEND\n00:24:57\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nKelly was working as a visiting professor of Modern Poetry at Tufts University in 1966, and was working on several collections of poetry, such as Devotions (Salitter Books), Twenty Poems (Asphodel), Axon Dendron Tree (Asphodel), Crooked Bridge Love Society (Salitter Books), A Joining: A Sequence for H.D. (Black Sparrow Press), and Alpha (J.Fisher) which all came out in 1967, as well as his first work of fiction, The Scorpions (Doubleday, 1967).\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nKelly’s direct connection to Sir George Williams University is unknown, however as an important and prolific American poet and professor, he was no doubt known to Canadian writers and professors.\",\"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/oxford-companion-to-twentieth-century-poetry-in-english/oclc/937869379&referer=brief_results\",\"citation\":\"Gray, Robert. \\\"Kelly, Robert\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ian Hamilton (ed). Oxford University Press, 1996. \"},{\"url\":\"https://www.worldcat.org/title/lectiones-for-joan/oclc/123285319&referer=brief_results\",\"citation\":\"Kelly, Robert. Lectiones. New Mexico: Duende Press, 1965. \"},{\"url\":\"https://www.worldcat.org/title/weeks/oclc/8726084&referer=brief_results\",\"citation\":\"Kelly, Robert. Weeks. Mexico: El Corno Emplumado, 1966. \"},{\"url\":\"http://inside.bard.edu/~kelly/about.html\",\"citation\":\"Kelly, Robert. “Curriculum Vitae”. Bard College Website. November 11, 2009. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/robert-kelly-at-sgwu-1966/\",\"citation\":\"Simco, Bob. “Georgiantics”. The Georgian. Montreal: Sir George Williams University, 4 November 1966. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/robert-kelly-at-sgwu-1966/\",\"citation\":\"Thoms, Kathleen. “The Electronic Poetry of Robert Kelly”. OP-ED. Montreal: Sir George Williams University, 11 November 1966. \"},{\"url\":\"\",\"citation\":\"“Poetry Readings”. OP-ED. Montreal: Sir George Williams University, 6 October 1967, page  6.\"},{\"url\":\"\",\"citation\":\"“Kelly, Robert, 1935-”. Literature Online Biography. Cambridge: Chadwyck-Healey, 2000.    \"}]"],"_version_":1853670548658192384,"timestamp":"2026-01-07T14:59:53.264Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0027_back.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0086_11_0027_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Robert Kelly 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_0027_front.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0086_11_0027_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Robert Kelly 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_0027_side.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0086_11_0027_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Robert Kelly Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0027_tape.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0086_11_0027_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Robert Kelly 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/robert_kelly_i086-11-027.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"robert_kelly_i086-11-027.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:24:57\",\"precision\":\"\",\"size\":\"59.9 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Robert Kelly\\n00:00:00\\n...Read a couple of poems from a book that came out last year that's very hard to find, it's called Lectiones. These are poems that I offered in the book, very humbly, as poems that I think needed the instrumentation of the human voice, my voice, someone's voice to present them. I don't think they hold on paper. To some extent all of the poems that I've written, all of the poems anyone writes are scores for an eventual ideal performance in someone's mind's ear. More particularly in my poetry any kind of deviation from the margin represents a pitch variation, space left out indicates silence, in an obvious way, I don't know how better to do it, you know Yeats [https://www.wikidata.org/wiki/Q40213] played around with the notion of notation for songs, then he realized the words have to do with, I understand, two of the words must do it, but there are ways of setting them down. This is a poem called \\\"Dates of the Calendar\\\".\\n \\nRobert Kelly\\n00:01:11\\nReads \\\"Dates of the Calendar\\\" [from Lectiones].\\n \\nRobert Kelly\\n00:03:03\\nI'd like really, since I've read now tiny fragments, scatter of history, I'd like now for my good to read poems that are very recent, so everything that I read from here on after will be from the summer or after, this past summer. i.e. things that are still urgent with me that I have to deal with, as to say them or give. “King of Death”.\\n \\nRobert Kelly\\n00:03:49\\nReads \\\"King of Death\\\".\\n \\nRobert Kelly\\n00:04:38\\nReads unnamed poem. \\n \\nRobert Kelly\\n00:05:47\\nThat's a very difficult poem for me. It's meant to sound difficult. I mean it's not meant to flow and it's filled with rhyme and I think rhyme is the torment. The real reason that rhyme was invented must have been pain, the pain of psychosis, the pain of madness, of hoping by that fictive and easy device to cling to a measure of order, because you can get cling, cling, ring, ring, ring the way the tantric hindus make their gestures of introjection, intro- substance via mantrum, rhyme noises, [unintelligible], they say. Fellini [https://www.wikidata.org/wiki/Q7371] makes fun of it in that 8 ½ [https://www.wikidata.org/wiki/Q12018], the girl in the old Hindu...But I think rhyme is madness and rhyme is pain, and maybe poets will no longer have to be madmen now that we have come to abandon rhyme. Don't you think that free-verse poets are less mad then rhyming poets? [Audience laughter]. They need order somewhere else, they can't keep it there. Alright. I mean A.A. Milne [https://www.wikidata.org/wiki/Q207036] was probably the craziest man in the world. [Audience laughter]. This is a hard poem in a number of ways, the music of it interests me very much, it's a variety, it all fits on one page somehow but it's a long poem. It's based on the word ‘Gala’, the old Greek word for 'milk' from which we get obviously galactose and galactose but also galaxy from milky way, gala way.\\n \\nRobert Kelly\\n00:08:01\\nReads unnamed poem. \\n\\nRobert Kelly\\n00:08:11\\nLet me try that again.\\n\\nRobert Kelly\\n00:08:013\\nReads unnamed poem [restarts]. \\n\\nRobert Kelly\\n00:11:43\\nThis is, strange that I should say it, but this is the time of the world, you know, it is now upon us, when women can acquire souls. The whole of our culture is based on the soullessness of women, the woman gets soul from man, from children, from mother, but now perhaps woman is a separate entity, can be a separate entity, even if it means separate from me, but that is a large concern of mine. That's obvious from the poem, why do I have to say this. It comes of teaching and schools [audience laughter], that sort of thing, no one can understand a thing, nobody can understand anything, I can say it and say it again. Here's a poem, last spring, \\\"Memorial Day\\\". I looked out and saw the students of the college, oh, scattered on the lawn having a wiener roast or something.\\n \\nRobert Kelly\\n00:13:13\\nReads \\\"Memorial Day\\\".\\n \\nRobert Kelly\\n00:16:19\\nReads unnamed poem. \\n \\nRobert Kelly\\n00:17:22\\nI'd like to move back in time a little bit and read you a few sections from this very long poem called \\\"Weeks\\\", which is perhaps even going to be out even this month, sometime soon, I've just finished the proofs of it a week or so ago. Let me read you the first one, at any rate, this is not a narrative poem, but it is a continuity of poems, there are 150 sections, some of them are quite short and some of them are fairly long. So there is not what we are trying to call a formal similarity between the sections, there is a continuity of sound and of concern and that's enough.\\n \\nRobert Kelly\\n00:18:35\\nReads “Weeks: 1” published later in Weeks. \\n \\nRobert Kelly\\n00:19:05\\nIt's deliberately a--what poems do at their beginnings is to set measures of music, to set new measures, not to declare more than the sound of themselves, I think that's important and a long poem might take a section or two or three or ten, in this case I think the first ten sections do no more than to set the measure of the poem. But I don't want to read them all. God, I don't want to read all 150 of them. I tried that once, not publicly, but I couldn't do it, even privately, even with coffee and the ability to s-m-o-k-e, can't do that here…[Audience laughter]. There is much said in this world about city, I mean I see all around me here the evidence of a monumental concern with city, and we're taught to think about Socrates [https://www.wikidata.org/wiki/Q913] and polis and all of that--polis, city, the community of men, and we haven't said all that has to be said about it. In the last 100--the last 50 sections of \\\"Weeks\\\" I get very involved with that. I get very involved with the fact that we do build cities as we build rooms with no place to sit down, with no air, and so on and so forth, and the simplest way we can find that objectionable is simple: Animals, but in a different sense we have allowed that sense of community to destroy something that's closer to the bone, that possibility of a man's doing, and this is what experimental art is always about isn't it? A man doing his own work, that's the hardest experiment of all to do and to maintain, to continue doing your work and not somebody else's. So this is 107, it's about 'polis', the Greek word for 'city' if I am not pronouncing it clearly.\\n \\nRobert Kelly\\n00:21:15\\nReads “Weeks: 107” published later in Weeks.\\n \\nRobert Kelly\\n00:22:47\\nAnd that's followed by 108, which is more specific and is about the murder of a great man [https://www.wikidata.org/wiki/Q43303].   \\n \\nRobert Kelly\\n00:22:57\\nReads “Weeks: 108” published later in Weeks. \\n \\nEND\\n00:24:57\\n\",\"notes\":\"Robert Kelly reads from Lectiones (Duende Press, 1965) and Weeks (El Corno Emplumado, 1966) as well as poems from unknown sources.\\n\\n00:00- Robert Kelly introduces reading [INDEX: Lectiones, Reading poetry: techniques, Yeats: spacing and notations of poems]\\n01:11- Reads “Dates of the Calendar”\\n03:03- Introduces “King of Death”\\n03:49- Reads “King of Death”\\n04:38- Reads first line “The sun didn’t know a thing...”\\n05:47- Introduces first line “Galas, star, all the things I meant...” [INDEX: Rhyme, mantrums, Fellini, Poet A.A. Milne, ‘gala’: Greek for ‘milk’, constellations]\\n08:01- Reads first line “Galas, star, all the things I meant...”\\n11:43- Introduces “Memorial Day” [INDEX: Teaching]\\n13:13- Reads “Memorial Day”\\n16:19- Reads first line “This who I have chosen...”\\n17:22- Introduces “Weeks” (Series of 150 poems) [INDEX: Weeks (1966) Formal similarities vs. continuity of sound as ways of connecting poems]\\n18:35- Reads “Weeks: 1”\\n19:05- Introduces “Weeks: 107” [INDEX: Greek word ‘polis’]\\n21:15- Reads “Weeks: 107”\\n22:47- Introduces “Weeks: 108” [INDEX: Malcolm X]\\n22:57- Reads “Weeks: 108”\\n24:57.12- END OF RECORDING\\n  \\nHoward Fink List of Poems:\\n \\n4/11/66\\none 5” reel @ 3 3/4 mono lasting 1/2 hr\\n \\n1.  From book Lectiones, “Dates of the Calendar”\\n2.  “King of Death”\\n3.  first line “The sun didn’t know...”\\n4.  first line “Galas, star...”\\n5.  “Memorial Day”\\n6.  first line “This, who I have chosen...”\\n7.  “Weeks” (selected sections)\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/robert-kelly-at-sgwu-1966/\"}]"],"score":1.8530173},{"id":"1256","cataloger_name":["Masoumeh,Zaare"],"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":["Phyllis Webb and Gwendolyn MacEwen at Sir George Williams University, The Poetry Series, 18 November 1966"],"item_title_source":["Cataloguer"],"item_title_note":["“PHYLLIS WEBB. Recorded November 18, 1966 with Gwedolyn MacEwan. 3.75 its, 1/2 track on 1. mil tape” written on sticker on the back of the tape box. Gwendolyn MacEwen's name is misspelled. “PHYLLIS WEBB I006/SR130” written on sticker on the spine of tape box. “i006-11-130” written on sticker on the reel.\n\n\"GWENDOLYN MacEWAN I066/SR161\" written on sticker on the spine of the tape's box. MacEwen is misspelled. \"I006-11-161\" written on sticker on the reel."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 1"],"item_identifiers":["[I006-11-130, I006-11-161]"],"access":["Streaming"],"creator_names":["MacEwen, Gwendolyn","Webb, Phyllis"],"creator_names_search":["MacEwen, Gwendolyn","Webb, Phyllis"],"creators":["[{\"url\":\"http://viaf.org/viaf/115290827\",\"name\":\"MacEwen, Gwendolyn\",\"dates\":\"1941-1987\",\"notes\":\"Poet, novelist and short story writer Gwendolyn MacEwen was born in Toronto in 1941, and spent her childhood there and in Winnipeg. Her first poem was published in The Canadian Forum, and a year later, when she was eighteen, she left school to pursue a career in writing. She self-published her first two collections of poetry, Selah and The drunken clock in 1961 (Aleph Press). In 1962, she briefly married fellow poet Milton Acorn, published her first novel, Julian the magician (Macmillan, 1963), and a collection of poetry, The rising fire (Contact Press, 1963), which established her reputation on the Canadian scene at the age of twenty-two. That same year, her work was published in Jacques Godbout and John Robert Colombo’s anthology Poetry 64/Poesie 64 (Ryerson Press/ Editions du jour, 1963). MacEwen followed this success with poetry collections A Breakfast for Barbarians (Ryerson Press, 1966), The Shadow-Maker (Macmillan, 1969) which won a Governor General’s Award for poetry, The Armies of the Moon (Macmillan, 1972), which won the A.J.M. Smith Poetry Award, Magic Animals: Selected Poems (Macmillan, 1975), The Fire-Eaters (Oberon Press, 1976), The T.E. Lawrence Poems (Mosaic Press/Valley Editions, 1982) and Earthlight: Selected Poems (General Publisher, 1982). She was re-married to Greek singer Nikos Tsingos, who introduced her to worlds Mediterranean. MacEwen published in other genres, including a CBC verse play Terror and Erebus (reprinted as Afterworlds in 1987), novel King of Egypt, King of Dreams (Macmillan, 1971), collections of short stories Norman (Oberon Press, 1972) and Norman’s Land (1985), travel book Mermaids and Ikons: A Greek Summer (Anansi, 1978), a translation of Euripides’ The Trojan Women: A Play (Playwright’s Co-op, 1979), and two children’s books, The chocolate moose (New Canada Publications, 1981) and The honey drum (Mosaic Press, Flatiron Books, 1983).  Her last publication, Afterworlds (McClelland and Stewart, 1987) won a Governor General’s Award, and was published shortly before her death in 1987. Two volumes of selected work appeared posthumously, The poetry of Gwendolyn MacEwen: the early years (Exile Editions, 1993) and The poetry of Gwendolyn MacEwen: the later years (Exile Editions, 1994) edited by Margaret Atwood and Barry Callaghan.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]},{\"url\":\" http://viaf.org/viaf/29847238\",\"name\":\"Webb, Phyllis\",\"dates\":\"1927-2021\",\"notes\":\"Poet Phyllis Webb was born in Victoria, British Columbia in 1927. She completed a B.A. in Philosophy and English at University of British Columbia and at the young age of twenty-two, she ran as a CCF candidate for the B.C. legislature. She finished one year of graduate studies at McGill University in 1950 in Montreal. She traveled and lived in San Francisco, Paris and England before settling back in B.C. where she taught at UBC for four years. Her first poems were published in Trio (Contact Press) in 1954 with Eli Mandel and Gael Turnbull, and in Even your right eye in 1956 (McClelland and Stewart). The Sea is Also a Garden (Ryerson Press) was published in 1952, and Naked poems (Periwinkle Press) was published in 1965. While in Toronto, Phyllis Webb conceived and was executive producer of the CBC radio program “Ideas” from 1966 to 1969. Two years later in 1971, Webb published Selected Poems (Talon Books). Webb’s many publications also include Wilson’s bowl (Coach House Press, 1980), Sunday water: thirteen anti ghazals (Island Writing Series, 1982), The vision tree: selected poems (Talon Books, 1982) which won the Governor General’s Award and Hanging fire (Coach House Press, 1990). Along with poetry, Phyllis Webb also collected her essays, reviews and radio discussions in Taking (1982), Nothing but brush strokes: selected prose (NeWest, 1995). She was the writer-in-residence at the University of Alberta, and taught at University of Victoria and the Banff Centre. Phyllis Webb has also won the Canada Council Senior Arts Award in 1981 and 1987, as well as being awarded an Officer of the Order of Canada in 1992. She lives on Saltspring Island, B.C.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Kiyooka, Roy"],"contributors_names_search":["Kiyooka, Roy"],"contributors":["[{\"url\":\"http://viaf.org/viaf/30784426\",\"name\":\"Kiyooka, Roy\",\"dates\":\"1926-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Presenter\",\"Series organizer\"]}]"],"Presenter_name":["Kiyooka, Roy"],"Series_organizer_name":["Kiyooka, Roy"],"Performance_Date":[1966],"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\":\"\"},{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"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\":\"1966 11 18\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the tape box. Date is also referenced but not specified in \\\"Georgantics\\\" by Bob Simco\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Basement Theatre\",\"notes\":\"Location specified in printed announcement \\\"Georgantics\\\" by Bob Simco (Supplemental material)\",\"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 Basement Theatre"],"City":["Montreal, Quebec"],"content_notes":["Phyllis Webb reads from The Sea is Also a Garden (Ryerson Press, 1962), Even Your Right Eye (McClelland & Stewart, 1956), and Naked Poems (Periwinkle Press, 1965). Gwendolyn MacEwen reads from Breakfast for Barbarians (Ryerson Press, 1966) and poems published later in The Shadow-Maker (Macmillan, 1969) and a few unknown poems."],"contents":["phyllis_webb_i006-11-130.mp3 [File 1 of 2]\n\nRoy Kiyooka\n00:00:00\nNow perhaps some of you are wondering what these readings are all about and how the choices made, I have here a slight commentary on that which I would like to read to you. Our answer to this is that we have not attempted to make the series an exhaustive coverage of any particular school or faction of poetry. Nor has our concern been an attempt to seek out the so-called \"great poets\". Our choices have been made with the desire to present to you, hopefully, the possibilities of utterance that is more than parochial. In short, this is our attempt to sound just that diversity that so much characterizes the North American Poetry scene. Now tonight it is my very great pleasure to introduce to you two poets whose distinctiveness is more than the fact of their sex. I want to introduce each poet in turn, Phyllis Webb [https://www.wikidata.org/wiki/Q7188637] will begin the readings and after the intermission, I shall introduce to you Gwendolyn MacEwen [https://www.wikidata.org/wiki/Q4276487]. Now Phyllis Webb has published three books of poems, they are Even Your Right Eye in 1956, The Sea is Also a Garden in ‘62 and Naked Poems in ‘65. Her earlier work appeared in Trio along with Eli Mandel [https://www.wikidata.org/wiki/Q3050883] and Gael Turnbull [https://www.wikidata.org/wiki/Q5516589]. She is currently a program organizer for CBC's [https://www.wikidata.org/wiki/Q461761] Ideas Series [https://www.wikidata.org/wiki/Q5988057]. Ladies and Gentleman, Ms. Phyllis Webb.\n \nUnknown\n00:02:20\n[Cut or edit in tape. Unknown amount of time elapsed].\n \nPhyllis Webb\n00:02:21\nI'd like to begin with a found poem, in that it was simply given to me by a child behaving in my presence. It's called \"Alec\".\n \nPhyllis Webb\n00:02:35\nReads \"Alec\".\n \nPhyllis Webb\n00:04:07\nReads \"Rilke\".\n \nPhyllis Webb\n00:05:58\nThis next poem is called \"Continuum\" and it's not a very extraordinary or terribly good poem even, I don't think, but it came out of a rather extraordinary experience, which was television. And it was simply a news clip from Vietnam [https://www.wikidata.org/wiki/Q881], but this one had soundtrack on it, which made it rather more touching and inspired me to wire the Prime Minister. And shortly after that and I didn't know I was getting to the wire in the middle of it until I got there and it has to do with the almost totally impossibility of separating out objective events  that happen out there in history and in time and one's own private history. \"Continuum\".\n\nPhyllis Webb\n00:07:04\nReads \"Continuum\".\n \nPhyllis Webb\n00:08:34\nI'm afraid I am suffering from the Toronto [https://www.wikidata.org/wiki/Q172] plague which may be rampant here too. The next poem has a title longer than the poem. The title is \"A Loaf of Sliced Bread Wrapped in Cellophane and Bought at the Supermarket Where the Doors Open Without Pushing\".\n \nPhyllis Webb\n00:09:04\nReads \"A Loaf of Sliced Bread Wrapped in Cellophane and Bought at the Supermarket Where the Doors Open Without Pushing\".\n \nPhyllis Webb\n00:09:13\nAnd the next poem is dedicated to Paul Goodman [https://www.wikidata.org/wiki/Q943567], and there is a quotation embedded in the poem which you will probably catch when I come to it. It's a short poem.\n \nPhyllis Webb\n00:09:32\nReads unnamed poem.\n \nPhyllis Webb\n00:10:06\nReads \"Poetry\".\n \nPhyllis Webb\n00:11:54\nI will read now from my volume The Sea is Also a Garden. \"Propositions\".\n \nPhyllis Webb\n00:12:16\nReads \"Propositions\" from The Sea is Also a Garden.\n \nPhyllis Webb\n00:13:28\nThe next poem is one that seems to elicit negative vibrations from an audience in the first three quarters, so go ahead and zoom them at me.\n \nPhyllis Webb\n00:13:43\nReads unnamed poem.\n \nPhyllis Webb\n00:16:02\nI don't think I have the voice to read both sides of this poems tonight, there are two poems, one called \"Breaking\" and one called \"Making\". They're about the creative process that involves both those things, but \"Making\" is rather long and a little hard to read, so I'll read \"Breaking\" which is better probably as a poem.\n \nPhyllis Webb\n00:16:47\nReads \"Breaking\".\n \nPhyllis Webb\n00:19:04\nThe next poem is called \"The Time of Man\" and had a rather interesting genesis. I was reading an article in Horizon [https://www.wikidata.org/wiki/Q3786777] by Dr. Loren Eiseley [https://www.wikidata.org/wiki/Q2634723], which he was putting forward some ideas on evolution and it was very beautifully written this Dr. Eiseley's an excellent stylist as well as a good scientist and I discovered that as I was going through I was marking the sentences and a few days later I began writing a poem and picked up the book and listed the sentences, so this poem takes off from the Eiseley article which is called \"The Time of Man\" in which Eiseley says we must live evolution forward amongst many other interesting things and it is started with quotations, which you will get some of the time and some of the time you won't. I sent it to him for confirmation about the scientific aspects of it, he said okay, I used to write poetry too. \"The Time of Man\".\n \nPhyllis Webb\n00:20:24\nReads \"The Time of Man\".\n \nPhyllis Webb\n00:21:38\nReads \"Sitting\".\n \nPhyllis Webb\n00:22:08\nI want to read an old poem now, which I wrote in Dublin [https://www.wikidata.org/wiki/Q1761], long years ago, if I can find it. It's called \"Poems of Dublin\", where I'd gone on a sort of literary pilgrimage in search of the spirit of Yeats [https://www.wikidata.org/wiki/Q40213] and Joyce [https://www.wikidata.org/wiki/Q6882] among others, it's a very down to earth sort of poem, in four parts.\n \nPhyllis Webb\n00:22:45\nReads \"Poems of Dublin\".\n \nPhyllis Webb\n00:25:33\nI want to move on now to my latest book called Naked Poems and which one of your local critics, or at least he wrote for the Montreal Star [https://www.wikidata.org/wiki/Q3521910] at this particular point, exclaimed of the price because there are so few words in the book. It's 2.25$. These poems are very small, and therefore very expensive and came at a bitter price, I may say, to me. They came quite as a surprise, I didn't know what I was doing when I wrote them, the first fourteen or so I thought, my goodness, what are these little things doing here, and I couldn't quite take them seriously and then I began to see the order that really was intrinsic in them, and realized that here was something, almost a new form for me to work on, and it's very bare, naked, undecorated and I wanted to get rid of all my affectations. And so I decided to write a couple hundred of them, and I wrote about a hundred and then got hung up on a technical problem, and finally reduced them to, I don't know, forty or so that are in this book. So this is a distillation, let's say. I'm going to read the first fourteen which comprise a total poem, in a sense the whole book is a poem. And then I'll read a few more as long as my voice and your patience will hold out. \"Suite I\".\n \nPhyllis Webb\n00:27:56\nReads \"Suite I\" from Naked Poems.\n \nPhyllis Webb\n00:28:53\nReads \"Flies\" from Naked Poems.\n \nPhyllis Webb\n00:29:10\nReads \"Your Blouse\" from Naked Poems.\n \nPhyllis Webb\n00:29:41\nReads \"Suite II\" from Naked Poems.\n \nPhyllis Webb\n00:31:27\nOne of the things I was interested in doing in these poems is again this subjective and the objective, here the subject and the object relationship, so that I use objects just to speak for themselves, in a sense, and yet they are all prismed in the way I see them. And again this impossibility of the dichotomy of subjective-objective.\n \nPhyllis Webb\n00:32:09\nReads unnamed poem from Naked Poems.\n \nEND\n00:32:43\n\n\ngwendolyn_macewan_i006-11-161.mp3 [File 2 of 2]\n\nRoy Kiyooka\n00:00:00\nSecond half of our program...on the second half of our program we will have Gwendolyn MacEwen reading for us. I have notes in my hand concerning her, but on the back of this album, here, a CBC [https://www.wikidata.org/wiki/Q461761] publications release of...is it eight Canadian poets? One, two, three, four… [Audience laughter]. Yes, eight Canadian poets, this album is about to be released very shortly. There's a much more comprehensive biography of her, so I shall read this as an introduction to her. Born in Toronto [https://www.wikidata.org/wiki/Q172] in 1941, began publishing poetry in the Canadian Forum [https://www.wikidata.org/wiki/Q5030045] at age fifteen. She left school at eighteen, a high school dropout, as the sociologists would say [audience applause and laughter] to devote herself to writing. She has published three books of poetry, The Drunken Clock, The Rising Fire, and most recently, A Breakfast for Barbarians. She has also published a novel called Julian the Magician. In 1965, she was awarded the prize for poetry in the CBC's new writing contest. With the aid of a Canada Council [https://www.wikidata.org/wiki/Q2993809] grant, she is currently at work on a novel on the, how do you pronounce the guy's name? [whispers off-mic to MacEwen]...Pharaoh Akhenaten [https://www.wikidata.org/wiki/Q81794] [laughter] of the eighteenth dynasty in Egypt [https://www.wikidata.org/wiki/Q79]. Ladies and gentlemen, Gwendolyn MacEwen.\n \nUnknown\n00:01:47\n[Cut or edit in tape. Unknown amount of time elapsed].\n \nGwendolyn MacEwen\n00:01:47\nSo listen, I had a great idea that if our voices gave out we were just going to open up the record and bring a recorder up on a stage and place the needle in the proper groove, and then just let the record speak for itself. However, I guess the voice is intact. I'm reading first from my latest work, poems from the last year. The first is called \"The Zoo\".\n  \nGwendolyn MacEwen\n00:02:22\nReads \"The Zoo\".\n \nGwendolyn MacEwen\n00:03:38\nNot feeling that I'd sufficiently exploited beasts and things, I wrote another called \"The Taming of the Dragon\".\n \nGwendolyn MacEwen\n00:03:49\nReads \"The Taming of the Dragon\".\n \nGwendolyn MacEwen\n00:04:57\nStill not having exploited the animal kingdom, I wrote a poem which, well, is not connected with the animal kingdom at all, really. It's called \"The Horse-head Nebula\".\n  \nGwendolyn MacEwen\n00:05:12\nReads \"The Horse-head Nebula\".\n \nGwendolyn MacEwen\n00:06:19.86\nReads \"Wheels\".\n \nGwendolyn MacEwen\n00:07:18\nThis is a poem which, oddly enough, came out in a Mexican magazine in Spanish not too long ago, looking completely unrecognizable to me. It's called \"I Should Have Predicted\".\n \nGwendolyn MacEwen\n00:07:38\nReads \"I Should Have Predicted\" [published later in The Shadow-Maker].\n \nGwendolyn MacEwen\n00:08:47\nSome people have asked me if that poem was about Toronto, and I'm at a loss to answer, not having seen horses, riders, chariots, or anything remotely similar in Toronto. Plus the fact, I'm sure many people have predicted the death of Toronto, as far as that goes. I recall Phyllis reading a poem on perhaps an evolutionary theme, and I have one here called \"The Heel\".\n \nGwendolyn MacEwen\n00:09:32\nReads \"The Heel\" [published later in The Shadow-Maker].\n \nGwendolyn MacEwen\n00:11:16\nNow, I think I can safely move into Breakfast for Barbarians. It needs a little preparation, a little cushioning, perhaps. This is a poem called \"The Garden of Square Roots: An Autobiography\".\n \nGwendolyn MacEwen\n00:12:01\nReads \"The Garden of Square Roots: An Autobiography\" from A Breakfast for Barbarians.\n \nGwendolyn MacEwen\n00:13:33\nI think all poets should have some suffering poems, poems of great anguish. So feeling I was somewhat deficient in this area [audience laughter], I made use of a very opportune situation, recovering from an appendectomy in hospital. [Audience laughter]. Deciding that surely this was my moment, if I was ever going to write a painful poem it must be now. [Audience laughter]. So this is \"Appendectomy\".\n \nGwendolyn MacEwen\n00:14:20\nReads \"Appendectomy\".\n \nUnknown\n00:14:22\n[High-pitched sound. Possible damage to recording].\n \nUnknown\n00:14:57\n[High-pitched sound. Possible damage to recording].\n \nGwendolyn MacEwen\n00:15:20\nAlthough I can't say that I'm convinced that that suffering was valid, either. But. The next poem is called \"The Self Assumes\", and I rarely talk about how a poem gets written because it seems mostly irrelevant, but I would remark that the last line of this poem was one of those very strange, surprising things that comes to one almost instantaneously, and one plucks it out of the air. I was very delighted with it. \"The Self Assumes\".\n \nGwendolyn MacEwen\n00:16:08\nReads \"The Self Assumes\".\n \nGwendolyn MacEwen\n00:18:01\nThe next poem is one of a group of poems toward the end of this book where the, I think the tone or the voice takes a somewhat radical departure from the poems in the rest of the book. It's called \"The Caravan\".\n \nGwendolyn MacEwen\n00:18:23\nReads \"The Caravan\" from A Breakfast for Barbarians. \n \nGwendolyn MacEwen\n00:20:29\nI'm trying to locate a poem in this book which I realized doesn't exist. It's somewhere else altogether. I'd like to end this reading with a trilogy of poems. Which are also toward the end of Breakfast for Barbarians. Poems which, for me, represent a stage in my own growth as a poet. They are called the Arcanum poems, I believe they're on the record which Roy Kiyooka [https://www.wikidata.org/wiki/Q3445789] was showing you. \n \nGwendolyn MacEwen\n00:21:15\nReads \"Arcanum One\" from A Breakfast for Barbarians.\n \nGwendolyn MacEwen\n00:22:35\nBefore I go into \"Arcanum Two\", in case anyone is mystified with beetles and suns and various creatures like that, let me say that the book is, the poem, rather, is of an Egyptian theme. A royal house. And the events taking place within it. So we move on: \"Arcanum Two\".\n \nGwendolyn MacEwen\n00:23:05\nReads \"Arcanum Two\" from A Breakfast for Barbarians.\n \nGwendolyn MacEwen\n00:24:33\nAnd finally, \"Arcanum Three\".\n \nGwendolyn MacEwen\n00:24:39\nReads \"Arcanum Three\" from A Breakfast for Barbarians.\n \nGwendolyn MacEwen\n00:25:31\nThank you very much. \n \nUnknown\n00:25:34\n[Cut or edit in tape. Unknown amount of time elapsed]. \n \nRoy Kiyooka\n00:25:34\n...everybody here, I want to thank Gwendolyn MacEwen. Our night three is on December the second. Thank you very much. \n \nEND\n00:25:42\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\n In 1966, Phyllis Webb was executive producer of CBC’s “Ideas” radio show in Toronto. She had just published Naked Poems in 1965.\\n\\nIn 1966, Gwendolyn MacEwen published Breakfast for Barbarians (Ryerson Press).\",\"type\":\"General\"},{\"note\":\"\\nLocal Connections:\\n\\nWhile studying at McGill in the early 50’s, she became involved with the literary circle that included F.R. Scott, Louis Dudek and Irving Layton. Her work was published by Toronto’s Coach House Press, McClelland and Stewart, Ryerson University Press and Vancouver’s Talonbooks. She also kept correspondences with George Bowering (Archives Canada).\\n\\nThe direct connection between Sir George Williams University and Gwendolyn MacEwen is unknown. However, MacEwen was an important emerging poet from Toronto, associated with poets Margaret Atwood, and husband Milton Acorn.\",\"type\":\"General\"},{\"note\":\"I006-11-130:\\nOriginal transcript, research, introduction and edits by Celyn Harding-Jones \\n\\nAdditional research and edits by Ali Barillaro\\n\\nI006-11-161:\\nOriginal 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\":\"2 reel-to-reel tapes>2 CDs>2 digital files\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/encyclopedia-of-post-colonial-literatures-in-english-vol-1/oclc/32566813&referer=brief_results\",\"citation\":\"Atwood, Margaret. “MacEwen, Gwendolyn (1941-87)”. Routledge Encyclopedia of Post- Colonial Literatures in English. Eugene Benson & L.W. Connolly (eds). London: Routledge, 1994\"},{\"url\":\"https://www.worldcat.org/title/poetry-of-gwendolyn-macewen-volume-one-the-early-years/oclc/1127735121&referer=brief_results\",\"citation\":\"Atwood, Margaret and Barry Callaghan (eds). The Poetry of Gwendolyn MacEwen; Volume One: The Early Years. Toronto: Exile Editions, 1993. \"},{\"url\":\"https://www.worldcat.org/title/encyclopedia-of-post-colonial-literatures-in-english-vol-1/oclc/32566813&referer=brief_results\",\"citation\":\"Beddoes, Julie. “Webb, Phyllis (1927-)”. Routledge Encyclopedia of Post-Colonial Literatures in English. Eugene Benson and L.W. Conolly (eds). London: Routledge, 1994. \"},{\"url\":\"https://www.worldcat.org/title/contemporary-canadian-poem-anthology/oclc/988192362&referer=brief_results\",\"citation\":\"Bowering, George, ed. The Contemporary Canadian Poetry Anthology. Toronto: Coach House Press, 1994. \"},{\"url\":\"https://www.worldcat.org/title/margaret-atwood-a-biography/oclc/398000144&referer=brief_results\",\"citation\":\"Cooke, Nathalie. Margaret Atwood: A Biography. Toronto: ECW Press, 1998. \"},{\"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. “Gwendolyn MacEwen”. From There to Here. Erin, Ontario: Press Porcepic, 1974. \"},{\"url\":\"https://www.worldcat.org/title/15-canadian-poets-x2/oclc/977756354&referer=brief_results\",\"citation\":\"Geddes, Gary. “Gwendolyn MacEwen (1941-1987)”. Fifteen Canadian Poets Times Two. Toronto: Oxford University Press, 1990. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Geddes, Gary. \\\"Webb, Phyllis\\\". The Oxford Companion to Canadian Literature. Eugene Benson and William Toye (eds). Oxford University Press, 2001. \"},{\"url\":\"http://www.ccca.ca/history/ozz/english/authors/macewen_gwendolyn.html\",\"citation\":\"“Gwendolyn MacEwen (1941-1987)”. One Zero Zero: A Virtual Library of English Canadian Small Press 1945-2044. \"},{\"url\":\"https://www.worldcat.org/title/breakfast-for-barbarians/oclc/468766375&referer=brief_results\",\"citation\":\"MacEwen, Gwendolyn. A Breakfast for Barbarians. Toronto: Ryerson Press, 1966. \"},{\"url\":\"https://www.worldcat.org/title/magic-animals-selected-poems-old-and-new/oclc/643604498&referer=brief_results\",\"citation\":\"MacEwen, Gwendolyn. Magic Animals: Selected Poems Old and New. Toronto: Macmillan, 1974. \"},{\"url\":\"https://www.worldcat.org/title/poets-of-contemporary-canada-1960-1970/oclc/659470&referer=brief_results\",\"citation\":\"Mandel, Eli. “Gwendolyn MacEwen”. Poets of Contemporary Canada 1960-1970. Montreal: McClelland and Stewart, 1972. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/807465072&referer=brief_results\",\"citation\":\"Manhire, Bill.\\\"MacEwen, Gwendolyn\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ian Hamilton (ed). Oxford University Press, 1996. \\n\"},{\"url\":\"https://www.bac-lac.gc.ca/eng/discover/archives-literary/Pages/list-fonds-collections.aspx#p\",\"citation\":\"“Phyllis Webb fonds”. Library and Archives Canada. \"},{\"url\":\"https://www.worldcat.org/title/sea-is-also-a-garden/oclc/422686224&referer=brief_results\",\"citation\":\"Webb, Phyllis. The Sea is Also a Garden. Toronto: Ryerson Press, 1962. \"},{\"url\":\"https://www.worldcat.org/title/even-your-right-eye/oclc/654581694&referer=brief_results\",\"citation\":\"Webb, Phyllis. Even Your Right Eye. Toronto: McClelland & Stewart, 1956. \"},{\"url\":\"https://www.worldcat.org/title/naked-poems/oclc/423359678&referer=brief_results\",\"citation\":\"Webb, Phyllis. Naked Poems. Vancouver: Periwinkle Press, 1965. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Woodcock, George & Rosemary Sullivan. \\\"MacEwen, Gwendolyn\\\". The Oxford Companion to Canadian Literature. Eugene Benson and William Toye (eds). Oxford University Press, 2001. \"},{\"url\":\"\",\"citation\":\"MacEwen, Gwendolyn. The Shadow-Maker. Toronto: Macmillan, 1969.\"},{\"url\":\"\",\"citation\":\"“Poetry Readings”. OP-ED. 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Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/phyllis_webb_i006-11-130.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"phyllis_webb_i006-11-130.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:32:43\",\"precision\":\"\",\"size\":\"78.5 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"phyllis_webb_i006-11-130.mp3 [File 1 of 2]\\n\\nRoy Kiyooka\\n00:00:00\\nNow perhaps some of you are wondering what these readings are all about and how the choices made, I have here a slight commentary on that which I would like to read to you. Our answer to this is that we have not attempted to make the series an exhaustive coverage of any particular school or faction of poetry. Nor has our concern been an attempt to seek out the so-called \\\"great poets\\\". Our choices have been made with the desire to present to you, hopefully, the possibilities of utterance that is more than parochial. In short, this is our attempt to sound just that diversity that so much characterizes the North American Poetry scene. Now tonight it is my very great pleasure to introduce to you two poets whose distinctiveness is more than the fact of their sex. I want to introduce each poet in turn, Phyllis Webb [https://www.wikidata.org/wiki/Q7188637] will begin the readings and after the intermission, I shall introduce to you Gwendolyn MacEwen [https://www.wikidata.org/wiki/Q4276487]. Now Phyllis Webb has published three books of poems, they are Even Your Right Eye in 1956, The Sea is Also a Garden in ‘62 and Naked Poems in ‘65. Her earlier work appeared in Trio along with Eli Mandel [https://www.wikidata.org/wiki/Q3050883] and Gael Turnbull [https://www.wikidata.org/wiki/Q5516589]. She is currently a program organizer for CBC's [https://www.wikidata.org/wiki/Q461761] Ideas Series [https://www.wikidata.org/wiki/Q5988057]. Ladies and Gentleman, Ms. Phyllis Webb.\\n \\nUnknown\\n00:02:20\\n[Cut or edit in tape. Unknown amount of time elapsed].\\n \\nPhyllis Webb\\n00:02:21\\nI'd like to begin with a found poem, in that it was simply given to me by a child behaving in my presence. It's called \\\"Alec\\\".\\n \\nPhyllis Webb\\n00:02:35\\nReads \\\"Alec\\\".\\n \\nPhyllis Webb\\n00:04:07\\nReads \\\"Rilke\\\".\\n \\nPhyllis Webb\\n00:05:58\\nThis next poem is called \\\"Continuum\\\" and it's not a very extraordinary or terribly good poem even, I don't think, but it came out of a rather extraordinary experience, which was television. And it was simply a news clip from Vietnam [https://www.wikidata.org/wiki/Q881], but this one had soundtrack on it, which made it rather more touching and inspired me to wire the Prime Minister. And shortly after that and I didn't know I was getting to the wire in the middle of it until I got there and it has to do with the almost totally impossibility of separating out objective events  that happen out there in history and in time and one's own private history. \\\"Continuum\\\".\\n\\nPhyllis Webb\\n00:07:04\\nReads \\\"Continuum\\\".\\n \\nPhyllis Webb\\n00:08:34\\nI'm afraid I am suffering from the Toronto [https://www.wikidata.org/wiki/Q172] plague which may be rampant here too. The next poem has a title longer than the poem. The title is \\\"A Loaf of Sliced Bread Wrapped in Cellophane and Bought at the Supermarket Where the Doors Open Without Pushing\\\".\\n \\nPhyllis Webb\\n00:09:04\\nReads \\\"A Loaf of Sliced Bread Wrapped in Cellophane and Bought at the Supermarket Where the Doors Open Without Pushing\\\".\\n \\nPhyllis Webb\\n00:09:13\\nAnd the next poem is dedicated to Paul Goodman [https://www.wikidata.org/wiki/Q943567], and there is a quotation embedded in the poem which you will probably catch when I come to it. It's a short poem.\\n \\nPhyllis Webb\\n00:09:32\\nReads unnamed poem.\\n \\nPhyllis Webb\\n00:10:06\\nReads \\\"Poetry\\\".\\n \\nPhyllis Webb\\n00:11:54\\nI will read now from my volume The Sea is Also a Garden. \\\"Propositions\\\".\\n \\nPhyllis Webb\\n00:12:16\\nReads \\\"Propositions\\\" from The Sea is Also a Garden.\\n \\nPhyllis Webb\\n00:13:28\\nThe next poem is one that seems to elicit negative vibrations from an audience in the first three quarters, so go ahead and zoom them at me.\\n \\nPhyllis Webb\\n00:13:43\\nReads unnamed poem.\\n \\nPhyllis Webb\\n00:16:02\\nI don't think I have the voice to read both sides of this poems tonight, there are two poems, one called \\\"Breaking\\\" and one called \\\"Making\\\". They're about the creative process that involves both those things, but \\\"Making\\\" is rather long and a little hard to read, so I'll read \\\"Breaking\\\" which is better probably as a poem.\\n \\nPhyllis Webb\\n00:16:47\\nReads \\\"Breaking\\\".\\n \\nPhyllis Webb\\n00:19:04\\nThe next poem is called \\\"The Time of Man\\\" and had a rather interesting genesis. I was reading an article in Horizon [https://www.wikidata.org/wiki/Q3786777] by Dr. Loren Eiseley [https://www.wikidata.org/wiki/Q2634723], which he was putting forward some ideas on evolution and it was very beautifully written this Dr. Eiseley's an excellent stylist as well as a good scientist and I discovered that as I was going through I was marking the sentences and a few days later I began writing a poem and picked up the book and listed the sentences, so this poem takes off from the Eiseley article which is called \\\"The Time of Man\\\" in which Eiseley says we must live evolution forward amongst many other interesting things and it is started with quotations, which you will get some of the time and some of the time you won't. I sent it to him for confirmation about the scientific aspects of it, he said okay, I used to write poetry too. \\\"The Time of Man\\\".\\n \\nPhyllis Webb\\n00:20:24\\nReads \\\"The Time of Man\\\".\\n \\nPhyllis Webb\\n00:21:38\\nReads \\\"Sitting\\\".\\n \\nPhyllis Webb\\n00:22:08\\nI want to read an old poem now, which I wrote in Dublin [https://www.wikidata.org/wiki/Q1761], long years ago, if I can find it. It's called \\\"Poems of Dublin\\\", where I'd gone on a sort of literary pilgrimage in search of the spirit of Yeats [https://www.wikidata.org/wiki/Q40213] and Joyce [https://www.wikidata.org/wiki/Q6882] among others, it's a very down to earth sort of poem, in four parts.\\n \\nPhyllis Webb\\n00:22:45\\nReads \\\"Poems of Dublin\\\".\\n \\nPhyllis Webb\\n00:25:33\\nI want to move on now to my latest book called Naked Poems and which one of your local critics, or at least he wrote for the Montreal Star [https://www.wikidata.org/wiki/Q3521910] at this particular point, exclaimed of the price because there are so few words in the book. It's 2.25$. These poems are very small, and therefore very expensive and came at a bitter price, I may say, to me. They came quite as a surprise, I didn't know what I was doing when I wrote them, the first fourteen or so I thought, my goodness, what are these little things doing here, and I couldn't quite take them seriously and then I began to see the order that really was intrinsic in them, and realized that here was something, almost a new form for me to work on, and it's very bare, naked, undecorated and I wanted to get rid of all my affectations. And so I decided to write a couple hundred of them, and I wrote about a hundred and then got hung up on a technical problem, and finally reduced them to, I don't know, forty or so that are in this book. So this is a distillation, let's say. I'm going to read the first fourteen which comprise a total poem, in a sense the whole book is a poem. And then I'll read a few more as long as my voice and your patience will hold out. \\\"Suite I\\\".\\n \\nPhyllis Webb\\n00:27:56\\nReads \\\"Suite I\\\" from Naked Poems.\\n \\nPhyllis Webb\\n00:28:53\\nReads \\\"Flies\\\" from Naked Poems.\\n \\nPhyllis Webb\\n00:29:10\\nReads \\\"Your Blouse\\\" from Naked Poems.\\n \\nPhyllis Webb\\n00:29:41\\nReads \\\"Suite II\\\" from Naked Poems.\\n \\nPhyllis Webb\\n00:31:27\\nOne of the things I was interested in doing in these poems is again this subjective and the objective, here the subject and the object relationship, so that I use objects just to speak for themselves, in a sense, and yet they are all prismed in the way I see them. And again this impossibility of the dichotomy of subjective-objective.\\n \\nPhyllis Webb\\n00:32:09\\nReads unnamed poem from Naked Poems.\\n \\nEND\\n00:32:43\\n\",\"notes\":\"Phyllis Webb reads from The Sea is Also a Garden (Ryerson Press, 1962), Even Your Right Eye (McClelland & Stewart, 1956), and Naked Poems (Periwinkle Press, 1965). \\n\\n00:00- Roy Kiyooka Introduction [INDEX: Kiyooka explains decisions behind Reading Series Poets, North American Poetry scene, Phyllis Webb, Gwendolyn MacEwan, Even Your Right Eye in 1956, The Sea is Also a Garden in 1962 and Naked Poems in 1965 by Phyllis Webb, Trio with Eli Mandel and Gael Turnbull, CBC’s Ideas Series]\\n02:21- Phyllis Webb introduces “Alec” [INDEX: found poem]\\n02:35- Reads “Alec”\\n04:07- Reads “Rilke”\\n05:58- Introduces “Continuum” [INDEX: Television clip from Vietnam, Prime Minister,        objective events and private history]\\n07:04- Reads “Continuum”\\n08:34- Introduces “A Loaf of Sliced Bread Wrapped in Cellophane and Bought at the         Supermarket Where the Doors Open Without Pushing” [INDEX: Toronto]\\n09:04- Reads “A Loaf of Sliced Bread Wrapped in Cellophane and Bought at the   \\tSupermarket Where the Doors Open Without Pushing”\\n09:13- Introduces first line “What decides the vision...” [INDEX: Paul Goodman]\\n09:32- Reads first line “What decides the vision...”\\n10:06- Reads “Poetry”\\n11:54- Introduces “Propositions” [INDEX: from The Sea is Also a Garden]\\n12:16- Reads “Propositions”\\n13:28- Introduces first line “To friends who have also considered suicide...”\\n13:43- Reads first line “To friends who have also considered suicide...”\\n16:02- Introduces “Breaking” [INDEX: “Making”, creative process]\\n16:47- Reads “Breaking”\\n19:04- Introduces “The Time of Man” [INDEX: article in Horizon by Dr. Loren Eiseley,         evolution]\\n20:24- Reads “The Time of Man”\\n21:38- Reads “Sitting”\\n22:08- Introduces “Poems of Dublin” [INDEX: pilgrimage to Dublin, Yeats, Joyce]\\n22:45- Reads “Poems of Dublin”\\n25:33- Reads “Suite I” [INDEX: from Naked Poems, critic from the Montreal Star, writing     process of Naked Poems]\\n28:53- Reads “Flies” [INDEX: not in Howard Fink List of poems]\\n29.10- Reads “Your Blouse” [INDEX: not in Howard Fink List of poems]\\n29:41- Reads “Suite II” [INDEX: not in Howard Fink List of poems]\\n31:27- Introduces first line “An instant of white roses...” [INDEX: in section “Non Linear” in Naked Poems, subject-object relationship; not in Howard Fink List of Poems]\\n32:43.57- END OF RECORDING\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/phyllis-webb-at-sgwu-1966-roy-kiyooka/\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/gwendolyn_macewen_i006-11-161.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"gwendolyn_macewan_i006-11-161.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:25:42\",\"precision\":\"\",\"size\":\"61.7 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"gwendolyn_macewan_i006-11-161.mp3 [File 2 of 2]\\n\\nRoy Kiyooka\\n00:00:00\\nSecond half of our program...on the second half of our program we will have Gwendolyn MacEwen reading for us. I have notes in my hand concerning her, but on the back of this album, here, a CBC [https://www.wikidata.org/wiki/Q461761] publications release of...is it eight Canadian poets? One, two, three, four… [Audience laughter]. Yes, eight Canadian poets, this album is about to be released very shortly. There's a much more comprehensive biography of her, so I shall read this as an introduction to her. Born in Toronto [https://www.wikidata.org/wiki/Q172] in 1941, began publishing poetry in the Canadian Forum [https://www.wikidata.org/wiki/Q5030045] at age fifteen. She left school at eighteen, a high school dropout, as the sociologists would say [audience applause and laughter] to devote herself to writing. She has published three books of poetry, The Drunken Clock, The Rising Fire, and most recently, A Breakfast for Barbarians. She has also published a novel called Julian the Magician. In 1965, she was awarded the prize for poetry in the CBC's new writing contest. With the aid of a Canada Council [https://www.wikidata.org/wiki/Q2993809] grant, she is currently at work on a novel on the, how do you pronounce the guy's name? [whispers off-mic to MacEwen]...Pharaoh Akhenaten [https://www.wikidata.org/wiki/Q81794] [laughter] of the eighteenth dynasty in Egypt [https://www.wikidata.org/wiki/Q79]. Ladies and gentlemen, Gwendolyn MacEwen.\\n \\nUnknown\\n00:01:47\\n[Cut or edit in tape. Unknown amount of time elapsed].\\n \\nGwendolyn MacEwen\\n00:01:47\\nSo listen, I had a great idea that if our voices gave out we were just going to open up the record and bring a recorder up on a stage and place the needle in the proper groove, and then just let the record speak for itself. However, I guess the voice is intact. I'm reading first from my latest work, poems from the last year. The first is called \\\"The Zoo\\\".\\n  \\nGwendolyn MacEwen\\n00:02:22\\nReads \\\"The Zoo\\\".\\n \\nGwendolyn MacEwen\\n00:03:38\\nNot feeling that I'd sufficiently exploited beasts and things, I wrote another called \\\"The Taming of the Dragon\\\".\\n \\nGwendolyn MacEwen\\n00:03:49\\nReads \\\"The Taming of the Dragon\\\".\\n \\nGwendolyn MacEwen\\n00:04:57\\nStill not having exploited the animal kingdom, I wrote a poem which, well, is not connected with the animal kingdom at all, really. It's called \\\"The Horse-head Nebula\\\".\\n  \\nGwendolyn MacEwen\\n00:05:12\\nReads \\\"The Horse-head Nebula\\\".\\n \\nGwendolyn MacEwen\\n00:06:19.86\\nReads \\\"Wheels\\\".\\n \\nGwendolyn MacEwen\\n00:07:18\\nThis is a poem which, oddly enough, came out in a Mexican magazine in Spanish not too long ago, looking completely unrecognizable to me. It's called \\\"I Should Have Predicted\\\".\\n \\nGwendolyn MacEwen\\n00:07:38\\nReads \\\"I Should Have Predicted\\\" [published later in The Shadow-Maker].\\n \\nGwendolyn MacEwen\\n00:08:47\\nSome people have asked me if that poem was about Toronto, and I'm at a loss to answer, not having seen horses, riders, chariots, or anything remotely similar in Toronto. Plus the fact, I'm sure many people have predicted the death of Toronto, as far as that goes. I recall Phyllis reading a poem on perhaps an evolutionary theme, and I have one here called \\\"The Heel\\\".\\n \\nGwendolyn MacEwen\\n00:09:32\\nReads \\\"The Heel\\\" [published later in The Shadow-Maker].\\n \\nGwendolyn MacEwen\\n00:11:16\\nNow, I think I can safely move into Breakfast for Barbarians. It needs a little preparation, a little cushioning, perhaps. This is a poem called \\\"The Garden of Square Roots: An Autobiography\\\".\\n \\nGwendolyn MacEwen\\n00:12:01\\nReads \\\"The Garden of Square Roots: An Autobiography\\\" from A Breakfast for Barbarians.\\n \\nGwendolyn MacEwen\\n00:13:33\\nI think all poets should have some suffering poems, poems of great anguish. So feeling I was somewhat deficient in this area [audience laughter], I made use of a very opportune situation, recovering from an appendectomy in hospital. [Audience laughter]. Deciding that surely this was my moment, if I was ever going to write a painful poem it must be now. [Audience laughter]. So this is \\\"Appendectomy\\\".\\n \\nGwendolyn MacEwen\\n00:14:20\\nReads \\\"Appendectomy\\\".\\n \\nUnknown\\n00:14:22\\n[High-pitched sound. Possible damage to recording].\\n \\nUnknown\\n00:14:57\\n[High-pitched sound. Possible damage to recording].\\n \\nGwendolyn MacEwen\\n00:15:20\\nAlthough I can't say that I'm convinced that that suffering was valid, either. But. The next poem is called \\\"The Self Assumes\\\", and I rarely talk about how a poem gets written because it seems mostly irrelevant, but I would remark that the last line of this poem was one of those very strange, surprising things that comes to one almost instantaneously, and one plucks it out of the air. I was very delighted with it. \\\"The Self Assumes\\\".\\n \\nGwendolyn MacEwen\\n00:16:08\\nReads \\\"The Self Assumes\\\".\\n \\nGwendolyn MacEwen\\n00:18:01\\nThe next poem is one of a group of poems toward the end of this book where the, I think the tone or the voice takes a somewhat radical departure from the poems in the rest of the book. It's called \\\"The Caravan\\\".\\n \\nGwendolyn MacEwen\\n00:18:23\\nReads \\\"The Caravan\\\" from A Breakfast for Barbarians. \\n \\nGwendolyn MacEwen\\n00:20:29\\nI'm trying to locate a poem in this book which I realized doesn't exist. It's somewhere else altogether. I'd like to end this reading with a trilogy of poems. Which are also toward the end of Breakfast for Barbarians. Poems which, for me, represent a stage in my own growth as a poet. They are called the Arcanum poems, I believe they're on the record which Roy Kiyooka [https://www.wikidata.org/wiki/Q3445789] was showing you. \\n \\nGwendolyn MacEwen\\n00:21:15\\nReads \\\"Arcanum One\\\" from A Breakfast for Barbarians.\\n \\nGwendolyn MacEwen\\n00:22:35\\nBefore I go into \\\"Arcanum Two\\\", in case anyone is mystified with beetles and suns and various creatures like that, let me say that the book is, the poem, rather, is of an Egyptian theme. A royal house. And the events taking place within it. So we move on: \\\"Arcanum Two\\\".\\n \\nGwendolyn MacEwen\\n00:23:05\\nReads \\\"Arcanum Two\\\" from A Breakfast for Barbarians.\\n \\nGwendolyn MacEwen\\n00:24:33\\nAnd finally, \\\"Arcanum Three\\\".\\n \\nGwendolyn MacEwen\\n00:24:39\\nReads \\\"Arcanum Three\\\" from A Breakfast for Barbarians.\\n \\nGwendolyn MacEwen\\n00:25:31\\nThank you very much. \\n \\nUnknown\\n00:25:34\\n[Cut or edit in tape. Unknown amount of time elapsed]. \\n \\nRoy Kiyooka\\n00:25:34\\n...everybody here, I want to thank Gwendolyn MacEwen. Our night three is on December the second. Thank you very much. \\n \\nEND\\n00:25:42\\n\",\"notes\":\"Gwendolyn MacEwen reads from Breakfast for Barbarians (Ryerson Press, 1966) and poems published later in The Shadow-Maker (Macmillan, 1969) and a few unknown poems.\\n\\n00:00- Roy Kiyooka introduces Gwendolyn MacEwen. [INDEX: second half of reading, CBC recording of eight Canadian poets (Phyllis Webb, Earle Birney, John Newlove, Al Purdy, Irving Layton, Leonard Cohen, George Bowering and Gwendolyn MacEwen (CBC, 1966), biography, born in Toronto in 1941, publishing poetry at age 15, high school dropout, sociologists, three poetry books: The Drunken Clock, The Rising Fire and Breakfast for Barbarians, novel Julian and the Magician, 1965 award from CBC’s\\nwriting contest, Canada Council grant, Pharaoh Akhenaton and the eighteenth dynasty in Egypt, (perhaps King of Egypt, King of Dreams (Macmillan, 1971)].\\n01:47- Gwendolyn MacEwen introduces reading and “The Zoo”. [INDEX: loss of voice,\\nrecording, record, latest work].\\n02:22- Reads “The Zoo”.\\n03:38- Introduces “The Taming of the Dragon”. [INDEX: exploited beasts].\\n03:49- Reads “The Taming of the Dragon”.\\n04:57- Introduces “The Horse-head Nebula”. [INDEX: exploited the animal kingdom].\\n05:12- Reads “The Horse-head Nebula”.\\n06:19- Reads “Wheels”.\\n07:18- Introduces “I Should Have Predicted”. [INDEX: published in Mexican magazine in\\nSpanish; later published in The Shadow-Maker (Macmillan, 1969)].\\n07:38- Reads “I Should Have Predicted”.\\n08:47- Explains “I Should Have Predicted” and introduces “The Heel”. [INDEX: about\\nToronto, horses, riders, chariots, death of Toronto, Phyllis [Webb] poem, evolutionary\\ntheme; later published in The Shadow-Maker (Macmillan, 1969)].\\n09:32- Reads “The Heel”.\\n11:16- Introduces Breakfast for Barbarians. [INDEX: preparation, cushioning].\\n11:52- Introduces “The Garden of Square Roots: An Autobiography”. [INDEX: from\\nBreakfast for Barbarians].\\n12:01- Reads “The Garden of Square Roots: An Autobiography”.\\n13:33- Introduces “Appendectomy”. [INDEX: suffering poem, poets, appendectomy in hospital,painful poem; from Breakfast for Barbarians].\\n14:20- Reads “Appendectomy”.\\n14:22- Damage to recording\\n14:57- Damage to recording\\n15:20- Explains “Appendectomy”, introduces “The Self Assumes”. [INDEX: suffering,\\nvalidity, how a poem gets written, irrelevant, last line, strange surprise, instantaneous, out of air; from Breakfast for Barbarians].\\n16:08- Reads “The Self Assumes”.\\n18:01- Introduces “The Caravan”. [INDEX: group of poems, tone, voice, radical departure; from Breakfast for Barbarians].\\n18:23- Reads “The Caravan”.\\n20:29- Introduces “Arcanum One”. [INDEX: poem that doesn’t exist, trilogy of poems, at the end of Breakfast for Barbarians, stage in growth as a poet, Arcanum poems, on record, Roy Kiyooka].\\n21:15- Reads “Arcanum One”.\\n22:35- Introduces “Arcanum Two”. [INDEX: beetles, sun, creatures, Egyptian theme, royal house].\\n23:05- Reads “Arcanum Two”.\\n24:33- Reads “Arcanum Three”.\\n25:31- Gwendolyn MacEwen thanks the audience.\\n25:34- Roy Kiyooka thanks Gwendolyn MacEwen, announces date of next reading. [INDEX: next reading December 2].\\n25:42.80- END OF RECORDING.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/gwendolyn-macewen-at-sgwu-1966/\"}]"],"score":1.8530173},{"id":"1257","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":["Roy Kiyooka and Richard (Dick) Sommer at Sir George Williams University, The Poetry Series, 2 December 1966"],"item_title_source":["Cataloguer"],"item_title_note":["\"R. KIYOOKA 2/12/66\" written on the spine of the tape's box. \"Roy Kiyooka (2 tracls 3 3/4) and I086-11-030\" also written on reel and the tape's box.\n\n\"Dick Sommer Sides 1 & 2  3 3/4\"/sec 2/12/66\" handwriitten on the back of the tape's box. \"I086-11-046\" and \"RT 500\" also written."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 1"],"item_identifiers":["[I086-11-030, I086-11-046]"],"access":["Streaming"],"creator_names":["Sommer, Richard","Kiyooka, Roy"],"creator_names_search":["Sommer, Richard","Kiyooka, Roy"],"creators":["[{\"url\":\"https://viaf.org/viaf/46769463/#Sommer,_Richard\",\"name\":\"Sommer, Richard\",\"dates\":\"1934-2012\",\"notes\":\"Richard Sommer was born on August 27, 1934 in St. Paul, Minnesota. He graduated with a B.A. summa cum laude from the University of Minnesota in 1956, then went on to receive an A.M. in 1957 and a Ph.D. in 1962 from Harvard University. In 1961 Sommer married Gillian Taylor, but remarried Victoria Tansey in 1969, with whom he had two children. Sommer won the American-Scandinavian Foundation fellowship for research in Norway in 1958-9, and published The Odyssey and Primitive Religion in 1962 (Norwegian Universities Press). That same year, he was hired at Sir George Williams College (now Concordia University) as an assistant professor from 1962 to 1967, when he became an associate professor of English in 1967. His second publication, Strangers and Pilgrims: An Essay on the Metaphor of Journey, was published in 1964, written with Georg Roppen (Humanities Press). Sommer’s collections of poetry that have been published by Delta Canada include Homage to Mr. MacMullin (Delta Canada, 1969), The Blue Sky Notebook (New Delta, 1972), Milarepa (New Delta, 1976), Left Hand Mind (New Delta, 1976), The Other Side of Games (New Delta, 1977), and Selected and New Poems (1983) published by Vehicule Press. After Sommer retired from Sir George Williams University, he became increasingly active in environmental conservation, leading the conservation effort of Pinnacle Mountain in Quebec, which was documented in an NFB film, The Poet and the Pinnacle (1995). In the early 2000s, Richard Sommer was diagnosed with prostate cancer and, shortly before his death in 2012, he published Cancer Songs (Signature Editions 2011), a mix of verse and journaling exploring his experiences living with the illness.\",\"nation\":[],\"role\":[\"Performer\",\"Author\",\"Series organizer\"]},{\"url\":\"http://viaf.org/viaf/30784426\",\"name\":\"Kiyooka, Roy\",\"dates\":\"1926-1994\",\"notes\":\"Roy Kiyooka was born in Moose Jaw, Saskatchewan in 1926. Sculptor, painter, photographer, poet, film-maker and teacher, he was influential in many important literary and artistic scenes all across Canada. Kiyooka studied fine art at the Provincial Institute of Art and Technology in Alberta, the Institute Allende in Mexico, the University of Saskatchewan, Emma Lake Workshops. He married Monica Dealtry Barker in 1955 and had three children.  He has exhibited his works in numerous cities, including Edmonton, Calgary, San Miguel D’Allende, Saskatoon, Regina, Vancouver, Toronto, New York and Montreal. Kiyooka’s work was shown at the National Gallery of Canada and the Museum of Modern Art in Washington, D.C. He won the silver medal representing Canada at the Sao Paulo Biennial in 1966. Kiyooka taught at various institutions, including Regina College, where he worked from 1956 to 1960, the Vancouver School of Art (Now Emily Carr Institute of Art + Design) from 1960-1965, Sir George Williams University (now Concordia University) from 1966 to 1969 and the University of British Columbia from 1972 to his retirement. During the 60’s, Kiyooka played a crucial role in the artistic renaissance of Vancouver poetry and art, and served to connect the Vancouver scene with the Coach House Press group in Toronto. It was around this time that he began writing poetry, publishing Kyoto airs in 1964 (Periwinkle Press), illustrating Daphne Marlatt’s The unquiet bed in 1967, Nevertheless these eyes also in 1967 (Coach House Press), Stoned gloves in 1970 (Coach House Press), Transcanada letters in 1975 (Talon Books), The Fontainebleau dream machine: 18 frames from a book in 1977 (Coach House Press), and Of seasonal pleasures and small hindrances in 1978 (B.C. Monthly). Pacific windows: collected poems of Roy Kiyooka came out in 1974 (Talon Books), and included a biography, bibliography and notes on his poetry. Pear tree poems came out almost a decade later in 1988 (Coach House Press) and was nominated for a Governor General’s Award. More recently he published Mothertalk: Life Stories of Mary Kiyoshi Kiyooka in 1997(NeWest Press), edited by Daphne Marlatt. Roy Kiyooka died in 1994.\",\"nation\":[],\"role\":[\"Author\",\"Performer\",\"Series organizer\"]}]"],"contributors_names":["Hoffman, Stanton"],"contributors_names_search":["Hoffman, Stanton"],"contributors":["[{\"url\":\"\",\"name\":\"Hoffman, Stanton\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Speaker\"]}]"],"Series_organizer_name":["Hoffman, Stanton"],"Speaker_name":["Hoffman, Stanton"],"Performance_Date":[1966],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"BASF\",\"generations\":\"Duplicate\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"2 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\":\"Kodak\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"00:50:00\",\"physical_condition\":\"\",\"track_configuration\":\"2 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\":\"1966 12 2\",\"type\":\"Performance Date\",\"notes\":\"Date written on the tape box and on a sticker on the tape reel\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Basement Theatre\",\"notes\":\"Location specified in printed announcement \\\"Georgantics\\\" by Bob Simco (Supplemental material)\",\"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 Basement Theatre"],"City":["Montreal, Quebec"],"content_notes":["Roy Kiyooka reads from Kyoto Airs (Periwinkle Press, 1964) and poems published later in Nevertheless These Eyes (Coach House Press, 1967). Richard (Dick) Sommer reads poems from an unknown selection of books. "],"contents":["roy_kiyooka_i086-11-030.mp3 [File 1 of 2]\n\nStanton Hoffman\n00:00:00\nOn behalf of the Poetry Reading Committee of Sir George Williams University [https://www.wikidata.org/wiki/Q326342] I wish to welcome you to this, the fifth, in a series of poetry readings, given at this University during 1966-67. Tonight there will be readings by two poets living in Montreal [https://www.wikidata.org/wiki/Q340], and members of the faculty of this university. There will be a fifteen minute intermission in between each reading. Roy Kiyooka [https://www.wikidata.org/wiki/Q3445789] was born in Moose Jaw [https://www.wikidata.org/wiki/Q1019496], Saskatchewan [https://www.wikidata.org/wiki/Q1989], he studied at the Provincial Institute of Technology and Art, the Instituto Allende [https://www.wikidata.org/wiki/Q17989128] in Mexico [https://www.wikidata.org/wiki/Q96], and the University of Saskatchewan [https://www.wikidata.org/wiki/Q1514848] Emma Lake Workshops. He has had one-man exhibitions in Edmonton [https://www.wikidata.org/wiki/Q2096], Calgary [https://www.wikidata.org/wiki/Q36312], San Miguel de Allende [https://www.wikidata.org/wiki/Q4063467], Saskatoon [https://www.wikidata.org/wiki/Q10566], Regina [https://www.wikidata.org/wiki/Q2123], Toronto [https://www.wikidata.org/wiki/Q172], Vancouver [https://www.wikidata.org/wiki/Q24639], Victoria [https://www.wikidata.org/wiki/Q2132], New York City [https://www.wikidata.org/wiki/Q60] and Montreal. He exhibited at the Sao Paulo Biennial [https://www.wikidata.org/wiki/Q653360], where he was one of four painters representing Canada [https://www.wikidata.org/wiki/Q16], and where he received honourable mention and a Silver Medal. His most recent show was held last month at the Laing Galleries [https://www.wikidata.org/wiki/Q28846441] in Toronto. In 1964, his first volume of poems, Kyoto Airs, was published by the Periwinkle Press in Vancouver. His second volume, Nevertheless These Eyes is being published this month, in Montreal by Bev Leech. Ladies and Gentlemen, Mr. Roy Kiyooka.\n \nUnknown\n00:01:24\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nRoy Kiyooka\n00:01:25\n--want to start off this evening by reading a few poems from my earlier book, the one that Stan mentioned. These poems were written as a result of a summer in Japan [https://www.wikidata.org/wiki/Q17], and they are very much occasional poems, they address themselves to the particular occasion of having been there, and they were meant in part to account for that experience of having been there, to my numerable friends in Vancouver. I'll begin by reading three very short little poems, they all relate to, what should we call it, the various contexts in which I saw the sculptured image of the Buddha. The first one is called \"Waiting Out the Rain\".\n \nRoy Kiyooka\n00:02:51\nReads \"Waiting Out the Rain\" [from Kyoto Airs].\n \nRoy Kiyooka\n00:03:13\nThis is \"Buddha in the Garden\". Again, very brief.\n \nRoy Kiyooka\n00:03:23\nReads \"Buddha in the Garden\" [from Kyoto Airs].\n \nRoy Kiyooka\n00:03:47\nThis is \"Sunday at the Temple\".\n \nRoy Kiyooka\n00:03:53\nReads \"Sunday at the Temple\" [from Kyoto Airs].\n \nRoy Kiyooka\n00:04:20\nAnd this is the image of a Buddha seen in the Kyoto Museum, a reclining figure.\n \nRoy Kiyooka\n00:04:30\nReads unnamed poem [from Kyoto Airs].\n \nRoy Kiyooka\n00:05:01\nNow the next is a sequence of four little poems, very much like the traditional Japanese poems called the Haiku. This is a sequence, the title of which is \"The Stone Garden of Ryoanji\". The first one goes like this:\n \nRoy Kiyooka\n00:05:27\nReads “The Stone Garden of Ryoanji\", part 1 [from Kyoto Airs].\n \nRoy Kiyooka\n00:05:45\nReads “The Stone Garden of Ryoanji\", part 2 [from Kyoto Airs].\n \nRoy Kiyooka\n00:06:07\nReads “The Stone Garden of Ryoanji\", part 3 [from Kyoto Airs].\n \nRoy Kiyooka\n00:06:24\nReads “The Stone Garden of Ryoanji\", part 4 [from Kyoto Airs].\n \nRoy Kiyooka\n00:06:49\nNow this one is called \"Children's Shrine\". Throughout most of the cities and towns and villages all over Japan you'll find way-side shrines, they're frequently just built into the wall in a very narrow street and people on whatever religious occasion come to worship there. This is a shrine particularly for children. And it goes like this:\n \nRoy Kiyooka\n00:07:24\nReads \"Children's Shrine\" [from Kyoto Airs].\n \nRoy Kiyooka\n00:08:41\nWell this is rather a long sequence, once more very short poems, there are eleven of them, and the title of the sequence is simply \"Higashiyama\", now 'higashiyama' means, in English, 'east mountain'.\n \nRoy Kiyooka\n00:09:22\nReads \"Higashiyama\", part 1 [from Kyoto Airs].\n \nRoy Kiyooka\n00:09:39\nReads \"Higashiyama\", part 2 [from Kyoto Airs].\n \nRoy Kiyooka\n00:10:04\nReads \"Higashiyama\", part 3 [from Kyoto Airs].\n \nRoy Kiyooka\n00:10:20\nReads \"Higashiyama\", part 4 [from Kyoto Airs].\n \nRoy Kiyooka\n00:10:38\nReads \"Higashiyama\", part 5 [from Kyoto Airs].\n \nRoy Kiyooka\n00:10:54\nReads \"Higashiyama\", part 6 [from Kyoto Airs].\n \nRoy Kiyooka\n00:11:13\nReads \"Higashiyama\", part 7 [from Kyoto Airs].\n \nRoy Kiyooka\n00:11:38\nReads \"Higashiyama\", part 8 [from Kyoto Airs].\n \nRoy Kiyooka\n00:11:55\nReads \"Higashiyama\", part 9 [from Kyoto Airs].\n \nRoy Kiyooka\n00:12:17\nReads \"Higashiyama\", part 10 [from Kyoto Airs].\n \nRoy Kiyooka\n00:12:43\nReads \"Higashiyama\", part 11 [from Kyoto Airs].\n \nRoy Kiyooka\n00:13:01\nWell I'll go on to the last poem in the book, this is an attempt, as it were, to sum up the varied experiences that I had there. The poem is called \"Itinerary of a View\".\n \nRoy Kiyooka\n00:13:29\nReads \"Itinerary of a View\" [from Kyoto Airs].\n \nRoy Kiyooka\n00:17:07\nI think I need to say a few words about this next group of poems, they were, they're from the book that I am having done at the moment, I started these poems in June 1965 in Montreal when I first came here. I don't know how to tell you this, except that at the time I came, I stayed with Alfred Pinsky [https://www.wikidata.org/wiki/Q21997094], or rather I stayed at his home, at his invitation, while I was looking for a place to live. Now, this took me about two weeks, it was very hot, and in the evenings I used to go through his library and pick up things and scanned them. One evening I came across this book, which was a biography of the English painter, Stanley Spencer [https://www.wikidata.org/wiki/Q1282413]. Spencer, we could say is perhaps the co-partner in the origin and the form and the content of this book. The book is in three parts, the first part is called the mirror, \"The Song the Mirror Sang at Midnight\", and it is prefaced by a quotation from Spencer, which goes like this: \"I am meeting you all the time, and sending my longing for you into chaos, into the darkness, beyond these walls\". I may add that these poems, likewise, are on the whole, very brief, though some are longer.\n \nRoy Kiyooka\n00:19:31\nReads \"The Song the Mirror Sang at Midnight\", part 1 [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:20:34\nReads \"The Song the Mirror Sang at Midnight\", part 2 [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:21:55\nReads \"The Song the Mirror Sang at Midnight\", part 3 published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:22:49\nReads \"The Song the Mirror Sang at Midnight\", part 4 [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:23:23\nReads \"The Song the Mirror Sang at Midnight\", part 5 [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:24:18\nReads \"The Song the Mirror Sang at Midnight\", part 6 [published later in Nevertheless These Eyes].\n\nRoy Kiyooka\n00:24:46\nReads \"The Song the Mirror Sang at Midnight\", part 7 [published later in Nevertheless These Eyes].\n\nRoy Kiyooka\n00:25:24\nReads \"The Song the Mirror Sang at Midnight\", part 8 [published later in Nevertheless These Eyes].\n\nRoy Kiyooka\n00:25:51\nReads \"The Song the Mirror Sang at Midnight\", part 9 [published later in Nevertheless These Eyes].\n\nRoy Kiyooka\n00:26:27\nReads \"The Song the Mirror Sang at Midnight\", part 10 [published later in Nevertheless These Eyes].\n\nRoy Kiyooka\n00:27:02\nReads \"The Song the Mirror Sang at Midnight\", part 11 [published later in Nevertheless These Eyes].\n\nRoy Kiyooka\n00:27:26\nReads \"The Song the Mirror Sang at Midnight\", part 12 [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:28:06\nReads \"The Song the Mirror Sang at Midnight\", part 13 [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:28:36\nReads \"The Song the Mirror Sang at Midnight\", part 14 [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:29:21\nReads \"The Song the Mirror Sang at Midnight\", part 15 [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:30:05\nThe last one in this section.\n \nRoy Kiyooka\n00:30:11\nReads \"The Song the Mirror Sang at Midnight\", part 16 [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:30:53\nThere's a terrible draft coming in from the back, I think you're right Dick, we're going to end up with arthritic ankles. Well, this is the second section, and it is called \"The Proposal\". Once more, prefaced with a remark from Stanley Spencer, a very beautiful one. They are set down, as I found them in the book, I have used them in the context of this section of the book and these four poems, taken from his writings are meant to define certain of her attributes. Now I have given a title to each one of these four poems, and I hope they will clarify the context in which they belong here. \"Portrait of the Beloved\".\n \nRoy Kiyooka\n00:32:06\nReads \"Portrait of the Beloved\" [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:32:56\nThis I called \"The Marriage\".\n \nRoy Kiyooka\n00:33:05\nReads \"The Marriage\" [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:33:37\nThis is called \"The Separation\".\n \nRoy Kiyooka\n00:33:45\nReads \"The Separation\" [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:34:07\nAnd this, is \"Her Apotheosis\".\n \nRoy Kiyooka\n00:34:17\nReads \"Her Apotheosis\" [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:35:23\nThat incidentally, is a description he wrote to a friend about a painting that he in fact had made. From your response, I gathered, it has a comic element, but I don't think that he himself made it that way. [Laughter].\n \nRoy Kiyooka\n00:36:05\nReads unnamed poem.\n \nRoy Kiyooka\n00:38:04\nReads unnamed poem.\n \nRoy Kiyooka\n00:38:36\nThe first stanza of this two-stanza poem is from Spencer, once again.\n \nRoy Kiyooka\n00:38:43\nReads unnamed poem.\n \nRoy Kiyooka\n00:39:34\nThe reference in this poem is to an exemplary sculptor who died many years ago, who obsessionally sculpted the human female form, his name is Gaston Lachaise [https://www.wikidata.org/wiki/Q1495586].\n \nRoy Kiyooka\n00:40:02\nReads unnamed poem.\n\nRoy Kiyooka\n00:40:59.50\nThe title of this poem is the same as the title of the second section, it's \"The Proposal\".\n \nRoy Kiyooka\n00:41:14\nReads \"The Proposal\" [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:42:27\nThis one is called \"The Dance\".\n \nRoy Kiyooka\n00:42:33\nReads \"The Dance\" [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:43:59\nThe title of this poem is called \"Her Admonition\".\n \nRoy Kiyooka\n00:44:06\nReads \"Her Admonition\" [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:45:28\nNow the following five poems are called \"Poems of Resurrection\".\n \nRoy Kiyooka\n00:45:46\nReads \"Poems of Resurrection\", part 1 [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:47:27\nSecond \"Resurrection\" poem.\n \nRoy Kiyooka\n00:47:28\nReads \"Poems of Resurrection\", part 2 [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:48:33\nReads \"Poems of Resurrection\", part 3 [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:49:07\nReads \"Poems of Resurrection\", part 4 [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:49:49\nThe last Resurrection poem, which concludes with a very brief, two-line coda.\n \nRoy Kiyooka\n00:50:01\nReads \"Poems of Resurrection\", part 5 [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:50:51\nNow, the second to last poem is called \"The Visitation\".\n \nRoy Kiyooka\n00:51:16\nReads \"The Visitation\" [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:53:14\nAnd finally,\n \nRoy Kiyooka\n00:53:22\nReads unnamed poem.\n \nRoy Kiyooka\n00:53:56\nWell, this is the final section. This is called \"Nevertheless These Eyes\" and briefly, and again from Spencer, a preface that goes like this: \"I am on this side of angels and dirt\".\n \nRoy Kiyooka\n00:55:25\nReads \"Nevertheless These Eyes\" [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n01:00:20\nAnd finally, by way of acknowledging the nature of this book.\n \nRoy Kiyooka\n01:00:31\nReads unnamed poem [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n01:00:57\nThank you very much--\n\nUnknown\n01:00:59\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nRoy Kiyooka\n01:01:00\n--and I were reading together, decided we should write one for the occasion, so we have each come up with a haiku. This is my haiku, it's especially for Dick. I have in brackets here, \"A gentle admonition to the audience following my reading, and preceding his\" and it goes like this: \"Let the stone tell how /snow-covered in whiteness, /these words, when his words come.\"\n \nEND\n01:01:42\n\n\nrichard_sommer_i086-11-046.mp3 [File 2 of 2]\n\nStanton Hoffman\n00:00:00\nThe second reader of this evening, Dick Sommer, was born in St. Paul [https://www.wikidata.org/wiki/Q28848], Minnesota [https://www.wikidata.org/wiki/Q1527], and educated at the University of Minnesota [https://www.wikidata.org/wiki/Q238101] where he most recently returned as a visiting Assistant Professor of English, and at Harvard [https://www.wikidata.org/wiki/Q13371]. In 1958 he was a recipient of the Academy of American Poets [https://www.wikidata.org/wiki/Q282096] Prize, and over a period of several years published his poems in the Harvard Advocate. He has given readings in Cambridge [https://www.wikidata.org/wiki/Q49111], Minneapolis [https://www.wikidata.org/wiki/Q36091], and in Oslo [https://www.wikidata.org/wiki/Q585]. Also, he does not want me to mention his scholarly publications: Dash, Which Are, Strangers and Pilgrims, an essay on the Metaphor of the Journey written with Georg Roppen [https://www.wikidata.org/wiki/Q23944662] and published by the Humanities Press [https://www.wikidata.org/wiki/Q97958829] in New York City, as well as by the Norwegian University's Press, in Norway [https://www.wikidata.org/wiki/Q20] and A Monograph, the Odyssey and Primitive Religion, published by the University of Bergen [https://www.wikidata.org/wiki/Q204457] in 1962. Ladies and gentlemen, Mr. Dick Sommer.\n \nRichard (Dick) Sommer\n00:01:02\nI didn't want him to mention those. Oh I've got the deal with Roy, as well. So this is a haiku with, which you'll be glad to know also has seventeen syllables in the title. \"The Haiku to Roy Kiyooka\", in reply to his haiku to me.\n \nRichard (Dick) Sommer\n00:01:31\nReads \"The Haiku to Roy Kiyooka\".\n \nRichard (Dick) Sommer\n00:01:50\nAnd this is the Haiku that began the mess, this was the one that I originally threatened to read to him, and naturally will carry out my threat. Which has a slightly different title, \"Haiku at Roy Kiyooka\"\n \nRichard (Dick) Sommer\n00:02:07\nReads \"Haiku at Roy Kiyooka\".\n \nRichard (Dick) Sommer\n00:02:27\nAnd then there's the one that I think you have on that broadsheet, which as I looked at it, in all of its mimeographed splendor, struck me as sounding a bit, now, like the theme song of the Central Intelligence Agency [https://www.wikidata.org/wiki/Q37230], but I'm sorry about that, I didn't mean it that way when I wrote it.\n \nRichard (Dick) Sommer\n00:02:55\nReads unnamed haiku.\n \nRichard (Dick) Sommer\n00:03:13\nI'm as you've heard, I'm responsible for having written some criticism, sorry about that, but I hope to make it up with the next poem, which is also on your broadsheet. Called the meaning of- \"The Meaning of Poetry\".\n \nRichard (Dick) Sommer\n00:03:36\nReads \"The Meaning of Poetry\".\n \nRichard (Dick) Sommer\n00:04:19\nAnd this next poem, you'll be very happy to know I have my wife's permission to read.\n\nRichard (Dick) Sommer\n00:04:26\nReads unnamed poem.\n \nRichard (Dick) Sommer\n00:05:02\nYou're going to be out of luck if you don't play chess, for this next one. You may be out of luck if you do, but that has more to do with the poem than your ability at chess.\n \nRichard (Dick) Sommer\n00:05:23\nReads unnamed poem. \n \nRichard (Dick) Sommer\n00:06:27\nRoy's given us a series of poems in praise of 'her', I don't know who 'her' is, but I have another name for her myself, she's called the Lady of Situations, and that's the title of this poem. You know, situations in the sense of she's always getting involved, or people are always getting involved. This is that Lady of Situation. And, oh yes, there's some erudition in this one too, there's a marvelous drawing taken from the tomb of Tuthmosis [https://www.wikidata.org/wiki/Q1320491], which appears in the Skera, Egyptian Painting Volume, and you might look it up because she appears there as a tree, a breasted tree, and giving suck to a Pharaoh, it's quite interesting as a painting, anyway, that's in here too.\n \nRichard (Dick) Sommer\n00:07:34\nReads \"Lady of Situation\".\n \nRichard (Dick) Sommer\n00:09:29\nThe, I noticed that the Brotherhood of Railroad Engineers has arranged to have separate drinking glasses, or they're trying to get themselves put into the sanitary code, I think this is Roy's. This must be mine, still water. This next one, I wrote the day following my seeing of a movie that I hope many of you are familiar with, it's the Russian version of Don Quixote [https://www.wikidata.org/wiki/Q49612156], a lovely film, beautiful adaptation of the myth of Don Quixote, and Sancho Panza [https://www.wikidata.org/wiki/Q630823] in the terms of the revolution to come, and I was particularly fascinated to the title that was given to Don Quixote, in this film, so I used it for the title of the poem.\n \nRichard (Dick) Sommer\n00:10:54\nReads \"Don Quixote de la Manchesky\".\n \nRichard (Dick) Sommer\n00:13:25\nThis next one takes its title, this is another area of that reference, takes its title from a little known and very important folk ballad, I had to put something in ethnic here, so this is it. It's, the title is \"The Other Side of the Mountain\", and it comes from that little song that begins \"The bear climbed over the mountain to see what he could see, but the other side of the mountain was all that he could see\".\n \nRichard (Dick) Sommer\n00:14:05\nReads \"The Other Side of the Mountain\".\n \nRichard (Dick) Sommer\n00:17:15\nIncidentally, you must not get the idea that the mountain, you know, came entirely from the, from the, from the song. It, you can find it on the Greater Barrington Quadrangle, for the appropriate section of the Massachusetts [https://www.wikidata.org/wiki/Q771] of the US [https://www.wikidata.org/wiki/Q30] geological survey, it's right on the map. It's really there, it's got position. This poem is in four sections, there are three narrative sections and then there's a short epilogue. And it's called \"My Loveliest Enemies\". I don't think there's any point in keeping you in suspense about this, my loveliest enemies are birds. And that's the punchline, so now you know it and you can listen to the poem.\n \nRichard (Dick) Sommer\n00:18:24\nReads \"My Loveliest Enemies\" [parts 1-3].\n \nRichard (Dick) Sommer\n00:33:12\nAnd here's the epilogue.\n \nRichard (Dick) Sommer\n00:33:19\nReads \"Epilogue\" of \"My Loveliest Enemies\".\n \nRichard (Dick) Sommer\n00:35:52\nIt's a race against not time but against the creeping gelatination, I think is the word of my lower extremities, and I'm sure the creeping sleepiness that is likely to affect you. This next, excuse me, here's to you! This next poem requires an erudite explanation too and I'm sorry for that. I hope, actually, it's not necessary. Alcuin [https://www.wikidata.org/wiki/Q154332], the Charles the King, Alcuin was an 8th century scholar who was brought from his, from the York [https://www.wikidata.org/wiki/Q42462] diocese, to the court of Charlemagne [https://www.wikidata.org/wiki/Q3044], and there became the principal architect of Charlemagne's attempt to bring Latin and Latin culture to the Francs. You might say, I suppose, that he was the first of, first great humanist, but we'll see what his Latin is worth in this poem. This is a letter, written by Alcuin, actually it was written by me, presumably written by Alcuin, to Charles the King.\n \nRichard (Dick) Sommer\n00:37:33\nReads \"Letter written by Alcuin, to Charles the King\".\n \nRichard (Dick) Sommer\n00:41:46\nAnd this poem is, has a title, and a subtitle. The title is \"Concentration\" the subtitle, \"Homage to Eva Jerome\".\n\nEND\n00:42:12\n[Cut off abruptly]."],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1966, Kiyooka was working on Nevertheless these eyes (1967) and was teaching at Sir George Williams University. He was part of the Reading Series Committee.\\n\\nIn 1966, Richard Sommer was teaching at Sir George Williams University.\\n\\n\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nRoy Kiyooka had many connections all across Canada: he was involved in the poetry renaissance in Vancouver in the 60’s, he was connected to the Coach House poetry group in Toronto, thus he was most likely influential in the communication between Sir George Williams Reading Series and other Canadian poets.\\n\\nRichard Sommer became an important influence and player in Montreal poetry in the 1970’s, associated with Vehicule Press and poets Artie Gold, Ken Norris and Stephen Morrissey.\",\"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>2 CDs>2 digital files\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.thecanadianencyclopedia.ca/en/article/poetry-in-english\",\"citation\":\"Barbour, Douglas. “Poetry in English: The New Generation: After 1960”. The Canadian Encyclopedia. Historica-Dominion, 2009. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/gary-snyder-at-sgwu-1971/#1\",\"citation\":\"Boxer, Avi and Bryan McCarthy and Graham Seal. “Re: Reverend Richard J. Sommer”. The Georgian. Montreal: Sir George Williams University, 12 November 1971, page 4. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/gary-snyder-at-sgwu-1971/#1\",\"citation\":\"Boxer, Avi and Bryan McCarthy and Graham Seal. “Get Your Shit Together...”. The Georgian. Montreal: Sir George Williams University, 19 November 1971, page 4. \"},{\"url\":\"https://www.worldcat.org/title/montreal-english-poetry-of-the-seventies/oclc/1072194565&referer=brief_results\",\"citation\":\"Farkas, Andre & Ken Norris (eds). Montreal English Poetry of the Seventies. Montreal: Vehicule Press, 1977. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Hancock, Geoff. \\\"Kiyooka, Roy\\\". The Oxford Companion to Canadian Literature. Eugene Benson and William Toye (eds). Oxford University Press, 2001. \"},{\"url\":\"https://www.worldcat.org/title/kyoto-airs/oclc/70783779&referer=brief_results\",\"citation\":\"Kiyooka, Roy. Kyoto Airs. Vancouver: Periwinkle Press, 1964. \"},{\"url\":\"https://www.worldcat.org/title/nevertheless-these-eyes/oclc/1138698061&referer=brief_results\",\"citation\":\"Kiyooka, Roy. Nevertheless These Eyes. Toronto: Coach House Press, 1967.\"},{\"url\":\"\",\"citation\":\"“Poetry Reading Info”. OP-ED. Montreal: Sir George Williams University, 25 November 1966, page 7. \"},{\"url\":\"\",\"citation\":\"“Poetry Readings”. Post-Grad. Montreal: Sir George Williams University, Spring 1967, page 13.\"},{\"url\":\"https://www.concordia.ca/content/dam/concordia/offices/archives/docs/the-georgian/The%20Georgian_Vol%2031%20no%2010_1967-10-17.pdf\",\"citation\":\"“Prism Awards For Literature”. The Georgian. Montreal: Sir George Williams University, 17 October 1967, page 11.\"},{\"url\":\"\",\"citation\":\"Marlatt, Daphne. “Roy Kiyooka: from eminence to immanence”. West Coast Line: A Journal of Contemporary Writing & Criticism. No. 38.3 (Winter 2005), page 39.\"},{\"url\":\"\",\"citation\":\"\\\"Roy (Kenzie) Kiyooka.\\\" Contemporary Authors Online. Detroit: Gale, 2003.\"},{\"url\":\"\",\"citation\":\"\\\"Richard J(erome) Sommer.\\\" Contemporary Authors Online. Detroit: Gale, 2001. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/roy-kiyooka-at-sgwu-1966-stanton-hoffman/\",\"citation\":\"Simco, Bob. “Georgantics”. The Georgian. Montreal: Sir George Williams University, 2 December 1966. \"},{\"url\":\"https://www.worldcat.org/title/4-montreal-poets-peter-van-toorn-marc-plourde-arty-gold-richard-sommer/oclc/622296821&referer=brief_results\",\"citation\":\"Solway, David. 4 Montreal poets: Peter van Toorn, Marc Plourde, Arty Gold and Richard       Sommer. Fredericton, N.B., Fiddlehead Poetry Books, 1973. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Stevens, Peter. \\\"Sommer, Richard\\\". The Oxford Companion to Canadian Literature. Eugene Benson and William Toye (eds). Oxford University Press, 2001.  \"},{\"url\":\"http://www.jrank.org/literature/pages/8722/Richard-Sommer.html#ixzz0Zb3DRqFx\",\"citation\":\"Stevens, Peter. “Richard Sommer Biography- (b.1934), The Poet and the Pinnacle, Blue sky notebook, The other side of games”. Literature Reference: American Literature, English Literature, Classics & Modern Fiction. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/roy-kiyooka-at-sgwu-1966-stanton-hoffman/\",\"citation\":\"Stock, Sandra. “Kiyooka Examined”. The Georgian. Montreal: Sir George Williams University, 4 November 1966. \"}]"],"_version_":1853670548665532416,"timestamp":"2026-01-07T14:59:53.264Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0030_side.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0086_11_0030_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Roy Kiyooka Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0030_back.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0086_11_0030_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Roy Kiyooka Tape Box - 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In 1958 he was a recipient of the Academy of American Poets [https://www.wikidata.org/wiki/Q282096] Prize, and over a period of several years published his poems in the Harvard Advocate. He has given readings in Cambridge [https://www.wikidata.org/wiki/Q49111], Minneapolis [https://www.wikidata.org/wiki/Q36091], and in Oslo [https://www.wikidata.org/wiki/Q585]. Also, he does not want me to mention his scholarly publications: Dash, Which Are, Strangers and Pilgrims, an essay on the Metaphor of the Journey written with Georg Roppen [https://www.wikidata.org/wiki/Q23944662] and published by the Humanities Press [https://www.wikidata.org/wiki/Q97958829] in New York City, as well as by the Norwegian University's Press, in Norway [https://www.wikidata.org/wiki/Q20] and A Monograph, the Odyssey and Primitive Religion, published by the University of Bergen [https://www.wikidata.org/wiki/Q204457] in 1962. Ladies and gentlemen, Mr. Dick Sommer.\\n \\nRichard (Dick) Sommer\\n00:01:02\\nI didn't want him to mention those. Oh I've got the deal with Roy, as well. So this is a haiku with, which you'll be glad to know also has seventeen syllables in the title. \\\"The Haiku to Roy Kiyooka\\\", in reply to his haiku to me.\\n \\nRichard (Dick) Sommer\\n00:01:31\\nReads \\\"The Haiku to Roy Kiyooka\\\".\\n \\nRichard (Dick) Sommer\\n00:01:50\\nAnd this is the Haiku that began the mess, this was the one that I originally threatened to read to him, and naturally will carry out my threat. Which has a slightly different title, \\\"Haiku at Roy Kiyooka\\\"\\n \\nRichard (Dick) Sommer\\n00:02:07\\nReads \\\"Haiku at Roy Kiyooka\\\".\\n \\nRichard (Dick) Sommer\\n00:02:27\\nAnd then there's the one that I think you have on that broadsheet, which as I looked at it, in all of its mimeographed splendor, struck me as sounding a bit, now, like the theme song of the Central Intelligence Agency [https://www.wikidata.org/wiki/Q37230], but I'm sorry about that, I didn't mean it that way when I wrote it.\\n \\nRichard (Dick) Sommer\\n00:02:55\\nReads unnamed haiku.\\n \\nRichard (Dick) Sommer\\n00:03:13\\nI'm as you've heard, I'm responsible for having written some criticism, sorry about that, but I hope to make it up with the next poem, which is also on your broadsheet. Called the meaning of- \\\"The Meaning of Poetry\\\".\\n \\nRichard (Dick) Sommer\\n00:03:36\\nReads \\\"The Meaning of Poetry\\\".\\n \\nRichard (Dick) Sommer\\n00:04:19\\nAnd this next poem, you'll be very happy to know I have my wife's permission to read.\\n\\nRichard (Dick) Sommer\\n00:04:26\\nReads unnamed poem.\\n \\nRichard (Dick) Sommer\\n00:05:02\\nYou're going to be out of luck if you don't play chess, for this next one. You may be out of luck if you do, but that has more to do with the poem than your ability at chess.\\n \\nRichard (Dick) Sommer\\n00:05:23\\nReads unnamed poem. \\n \\nRichard (Dick) Sommer\\n00:06:27\\nRoy's given us a series of poems in praise of 'her', I don't know who 'her' is, but I have another name for her myself, she's called the Lady of Situations, and that's the title of this poem. You know, situations in the sense of she's always getting involved, or people are always getting involved. This is that Lady of Situation. And, oh yes, there's some erudition in this one too, there's a marvelous drawing taken from the tomb of Tuthmosis [https://www.wikidata.org/wiki/Q1320491], which appears in the Skera, Egyptian Painting Volume, and you might look it up because she appears there as a tree, a breasted tree, and giving suck to a Pharaoh, it's quite interesting as a painting, anyway, that's in here too.\\n \\nRichard (Dick) Sommer\\n00:07:34\\nReads \\\"Lady of Situation\\\".\\n \\nRichard (Dick) Sommer\\n00:09:29\\nThe, I noticed that the Brotherhood of Railroad Engineers has arranged to have separate drinking glasses, or they're trying to get themselves put into the sanitary code, I think this is Roy's. This must be mine, still water. This next one, I wrote the day following my seeing of a movie that I hope many of you are familiar with, it's the Russian version of Don Quixote [https://www.wikidata.org/wiki/Q49612156], a lovely film, beautiful adaptation of the myth of Don Quixote, and Sancho Panza [https://www.wikidata.org/wiki/Q630823] in the terms of the revolution to come, and I was particularly fascinated to the title that was given to Don Quixote, in this film, so I used it for the title of the poem.\\n \\nRichard (Dick) Sommer\\n00:10:54\\nReads \\\"Don Quixote de la Manchesky\\\".\\n \\nRichard (Dick) Sommer\\n00:13:25\\nThis next one takes its title, this is another area of that reference, takes its title from a little known and very important folk ballad, I had to put something in ethnic here, so this is it. It's, the title is \\\"The Other Side of the Mountain\\\", and it comes from that little song that begins \\\"The bear climbed over the mountain to see what he could see, but the other side of the mountain was all that he could see\\\".\\n \\nRichard (Dick) Sommer\\n00:14:05\\nReads \\\"The Other Side of the Mountain\\\".\\n \\nRichard (Dick) Sommer\\n00:17:15\\nIncidentally, you must not get the idea that the mountain, you know, came entirely from the, from the, from the song. It, you can find it on the Greater Barrington Quadrangle, for the appropriate section of the Massachusetts [https://www.wikidata.org/wiki/Q771] of the US [https://www.wikidata.org/wiki/Q30] geological survey, it's right on the map. It's really there, it's got position. This poem is in four sections, there are three narrative sections and then there's a short epilogue. And it's called \\\"My Loveliest Enemies\\\". I don't think there's any point in keeping you in suspense about this, my loveliest enemies are birds. And that's the punchline, so now you know it and you can listen to the poem.\\n \\nRichard (Dick) Sommer\\n00:18:24\\nReads \\\"My Loveliest Enemies\\\" [parts 1-3].\\n \\nRichard (Dick) Sommer\\n00:33:12\\nAnd here's the epilogue.\\n \\nRichard (Dick) Sommer\\n00:33:19\\nReads \\\"Epilogue\\\" of \\\"My Loveliest Enemies\\\".\\n \\nRichard (Dick) Sommer\\n00:35:52\\nIt's a race against not time but against the creeping gelatination, I think is the word of my lower extremities, and I'm sure the creeping sleepiness that is likely to affect you. This next, excuse me, here's to you! This next poem requires an erudite explanation too and I'm sorry for that. I hope, actually, it's not necessary. Alcuin [https://www.wikidata.org/wiki/Q154332], the Charles the King, Alcuin was an 8th century scholar who was brought from his, from the York [https://www.wikidata.org/wiki/Q42462] diocese, to the court of Charlemagne [https://www.wikidata.org/wiki/Q3044], and there became the principal architect of Charlemagne's attempt to bring Latin and Latin culture to the Francs. You might say, I suppose, that he was the first of, first great humanist, but we'll see what his Latin is worth in this poem. This is a letter, written by Alcuin, actually it was written by me, presumably written by Alcuin, to Charles the King.\\n \\nRichard (Dick) Sommer\\n00:37:33\\nReads \\\"Letter written by Alcuin, to Charles the King\\\".\\n \\nRichard (Dick) Sommer\\n00:41:46\\nAnd this poem is, has a title, and a subtitle. The title is \\\"Concentration\\\" the subtitle, \\\"Homage to Eva Jerome\\\".\\n\\nEND\\n00:42:12\\n[Cut off abruptly].\",\"notes\":\"Richard (Dick) Sommer reads poems from an unknown selection of books. \\n\\n00:00- Stanton Hoffman introduces Richard/Dick Sommer [INDEX: St. Paul, Minnesota,         University of Minnesota, Harvard, published in Harvard Advocate, Academy of    American Poets Prize, Readings in Cambridge, Minneapolis, Oslo, Strangers and    Pilgrims: an essay on the Metaphor of Journey by Richard Sommer and Georg Roppen,  published by Humanities Press in New York City and by the Norwegian University Press, Monograph, the Odyssey and Primitive Religion by Richard Sommer, published by University of Bergen 1962, Criticism: Dash, Which Are]\\n01:02- Introduces “The Haiku to Roy Kiyooka” [INDEX: Haiku Battle with Roy Kiyooka]\\n01:31- Reads “The Haiku to Roy Kiyooka”\\n01:50- Introduces “Haiku at Roy Kiyooka”\\n02:07- Reads “Haiku at Roy Kiyooka”\\n02:27- Introduces first line haiku “The little known eye...” [INDEX: C.I.A.]\\n02:55- Reads first line “The little known eye...”\\n03:13- Introduces “The Meaning of Poetry” [INDEX: Writing criticism]\\n03:36- Reads “The Meaning of Poetry”\\n04:19- Introduces first line “The figure eight....”\\n04:26- Reads first line “The figure eight...”\\n05:02- Introduces first line “How much wildness in that horseman’s eye...” [INDEX: Chess]\\n05:23- Reads “How much wildness in that horseman’s eye...”\\n06:27- Introduces “Lady of Situation” [INDEX: Tomb of Tuthmosis, Skera- Egyptian Painting Volume, Pharaoh]\\n07:34- Reads “Lady of Situation”\\n09:29- Introduces “Don Quixote de la Manchesky” [INDEX: Brotherhood of Railroad   Engineers, Don Quixote: Russian Film “Don Kikhot”, Sancho Panza]\\n10:54- Reads “Don Quixote de la Manchesky”\\n13:25- Introduces “The Other Side of the Mountain” [INDEX: Folk ballads]\\n14:05- Reads “The Other Side of the Mountain”\\n17:15- Introduces “My Loveliest Enemies” [INDEX: Greater Barrington Quadrangle]\\n18:24- Reads “My Loveliest Enemies” parts 1-3\\n33:19- Reads “Epilogue” from “My Loveliest Enemies”\\n35:52- Introduces “Letter Written by Alcuin, to Charles the King” [INDEX: Alcuin \\t, Charlemange, 8th Century Scholars, Latin; Howard Fink List “Great Lord”.]\\n37:33- Reads “Letter Written by Alcowen, to Charles the King” [sp?]\\n41:46- Introduces “Concentration: Homage to Eva Jerome” (poem is never read)\\n42:12.32- END OF RECORDING\\n\\nHoward Fink List: 2/12/66\\n 3 3/4, on one 5” reel, two tracks mono, 50 mins\\n \\n1.  Haiku for Roy Kiyooka first line “the snow melts...”\\n2.  Haiku at Roy Kiyooka first line “I hear Roy speak...”\\n3.  Haiku first line “The little known eye...”\\n4.  “The Meaning of Poetry”\\n5.  first line “The figure eight...:\\n6.  first line “How much wilderness in that horses eye...”\\n7.   “The Lady of Situations”\\n8.  “Don Quixote de la Manchasky”\\n9.  “The Other Side of the Mountain”\\n10.  A poem in four sections: “My Loveliest Enemies” parts of section one missing\\n11. first line “Great Lord...”\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/richard-dick-sommer-at-sgwu-1966-stanton-hoffman/\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/roy_kiyooka_i086-11-030.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"roy_kiyooka_i086-11-030.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:01:42\",\"precision\":\"\",\"size\":\"148.1 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"roy_kiyooka_i086-11-030.mp3 [File 1 of 2]\\n\\nStanton Hoffman\\n00:00:00\\nOn behalf of the Poetry Reading Committee of Sir George Williams University [https://www.wikidata.org/wiki/Q326342] I wish to welcome you to this, the fifth, in a series of poetry readings, given at this University during 1966-67. Tonight there will be readings by two poets living in Montreal [https://www.wikidata.org/wiki/Q340], and members of the faculty of this university. There will be a fifteen minute intermission in between each reading. Roy Kiyooka [https://www.wikidata.org/wiki/Q3445789] was born in Moose Jaw [https://www.wikidata.org/wiki/Q1019496], Saskatchewan [https://www.wikidata.org/wiki/Q1989], he studied at the Provincial Institute of Technology and Art, the Instituto Allende [https://www.wikidata.org/wiki/Q17989128] in Mexico [https://www.wikidata.org/wiki/Q96], and the University of Saskatchewan [https://www.wikidata.org/wiki/Q1514848] Emma Lake Workshops. He has had one-man exhibitions in Edmonton [https://www.wikidata.org/wiki/Q2096], Calgary [https://www.wikidata.org/wiki/Q36312], San Miguel de Allende [https://www.wikidata.org/wiki/Q4063467], Saskatoon [https://www.wikidata.org/wiki/Q10566], Regina [https://www.wikidata.org/wiki/Q2123], Toronto [https://www.wikidata.org/wiki/Q172], Vancouver [https://www.wikidata.org/wiki/Q24639], Victoria [https://www.wikidata.org/wiki/Q2132], New York City [https://www.wikidata.org/wiki/Q60] and Montreal. He exhibited at the Sao Paulo Biennial [https://www.wikidata.org/wiki/Q653360], where he was one of four painters representing Canada [https://www.wikidata.org/wiki/Q16], and where he received honourable mention and a Silver Medal. His most recent show was held last month at the Laing Galleries [https://www.wikidata.org/wiki/Q28846441] in Toronto. In 1964, his first volume of poems, Kyoto Airs, was published by the Periwinkle Press in Vancouver. His second volume, Nevertheless These Eyes is being published this month, in Montreal by Bev Leech. Ladies and Gentlemen, Mr. Roy Kiyooka.\\n \\nUnknown\\n00:01:24\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nRoy Kiyooka\\n00:01:25\\n--want to start off this evening by reading a few poems from my earlier book, the one that Stan mentioned. These poems were written as a result of a summer in Japan [https://www.wikidata.org/wiki/Q17], and they are very much occasional poems, they address themselves to the particular occasion of having been there, and they were meant in part to account for that experience of having been there, to my numerable friends in Vancouver. I'll begin by reading three very short little poems, they all relate to, what should we call it, the various contexts in which I saw the sculptured image of the Buddha. The first one is called \\\"Waiting Out the Rain\\\".\\n \\nRoy Kiyooka\\n00:02:51\\nReads \\\"Waiting Out the Rain\\\" [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:03:13\\nThis is \\\"Buddha in the Garden\\\". Again, very brief.\\n \\nRoy Kiyooka\\n00:03:23\\nReads \\\"Buddha in the Garden\\\" [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:03:47\\nThis is \\\"Sunday at the Temple\\\".\\n \\nRoy Kiyooka\\n00:03:53\\nReads \\\"Sunday at the Temple\\\" [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:04:20\\nAnd this is the image of a Buddha seen in the Kyoto Museum, a reclining figure.\\n \\nRoy Kiyooka\\n00:04:30\\nReads unnamed poem [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:05:01\\nNow the next is a sequence of four little poems, very much like the traditional Japanese poems called the Haiku. This is a sequence, the title of which is \\\"The Stone Garden of Ryoanji\\\". The first one goes like this:\\n \\nRoy Kiyooka\\n00:05:27\\nReads “The Stone Garden of Ryoanji\\\", part 1 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:05:45\\nReads “The Stone Garden of Ryoanji\\\", part 2 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:06:07\\nReads “The Stone Garden of Ryoanji\\\", part 3 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:06:24\\nReads “The Stone Garden of Ryoanji\\\", part 4 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:06:49\\nNow this one is called \\\"Children's Shrine\\\". Throughout most of the cities and towns and villages all over Japan you'll find way-side shrines, they're frequently just built into the wall in a very narrow street and people on whatever religious occasion come to worship there. This is a shrine particularly for children. And it goes like this:\\n \\nRoy Kiyooka\\n00:07:24\\nReads \\\"Children's Shrine\\\" [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:08:41\\nWell this is rather a long sequence, once more very short poems, there are eleven of them, and the title of the sequence is simply \\\"Higashiyama\\\", now 'higashiyama' means, in English, 'east mountain'.\\n \\nRoy Kiyooka\\n00:09:22\\nReads \\\"Higashiyama\\\", part 1 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:09:39\\nReads \\\"Higashiyama\\\", part 2 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:10:04\\nReads \\\"Higashiyama\\\", part 3 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:10:20\\nReads \\\"Higashiyama\\\", part 4 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:10:38\\nReads \\\"Higashiyama\\\", part 5 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:10:54\\nReads \\\"Higashiyama\\\", part 6 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:11:13\\nReads \\\"Higashiyama\\\", part 7 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:11:38\\nReads \\\"Higashiyama\\\", part 8 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:11:55\\nReads \\\"Higashiyama\\\", part 9 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:12:17\\nReads \\\"Higashiyama\\\", part 10 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:12:43\\nReads \\\"Higashiyama\\\", part 11 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:13:01\\nWell I'll go on to the last poem in the book, this is an attempt, as it were, to sum up the varied experiences that I had there. The poem is called \\\"Itinerary of a View\\\".\\n \\nRoy Kiyooka\\n00:13:29\\nReads \\\"Itinerary of a View\\\" [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:17:07\\nI think I need to say a few words about this next group of poems, they were, they're from the book that I am having done at the moment, I started these poems in June 1965 in Montreal when I first came here. I don't know how to tell you this, except that at the time I came, I stayed with Alfred Pinsky [https://www.wikidata.org/wiki/Q21997094], or rather I stayed at his home, at his invitation, while I was looking for a place to live. Now, this took me about two weeks, it was very hot, and in the evenings I used to go through his library and pick up things and scanned them. One evening I came across this book, which was a biography of the English painter, Stanley Spencer [https://www.wikidata.org/wiki/Q1282413]. Spencer, we could say is perhaps the co-partner in the origin and the form and the content of this book. The book is in three parts, the first part is called the mirror, \\\"The Song the Mirror Sang at Midnight\\\", and it is prefaced by a quotation from Spencer, which goes like this: \\\"I am meeting you all the time, and sending my longing for you into chaos, into the darkness, beyond these walls\\\". I may add that these poems, likewise, are on the whole, very brief, though some are longer.\\n \\nRoy Kiyooka\\n00:19:31\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 1 [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:20:34\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 2 [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:21:55\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 3 published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:22:49\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 4 [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:23:23\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 5 [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:24:18\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 6 [published later in Nevertheless These Eyes].\\n\\nRoy Kiyooka\\n00:24:46\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 7 [published later in Nevertheless These Eyes].\\n\\nRoy Kiyooka\\n00:25:24\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 8 [published later in Nevertheless These Eyes].\\n\\nRoy Kiyooka\\n00:25:51\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 9 [published later in Nevertheless These Eyes].\\n\\nRoy Kiyooka\\n00:26:27\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 10 [published later in Nevertheless These Eyes].\\n\\nRoy Kiyooka\\n00:27:02\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 11 [published later in Nevertheless These Eyes].\\n\\nRoy Kiyooka\\n00:27:26\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 12 [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:28:06\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 13 [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:28:36\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 14 [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:29:21\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 15 [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:30:05\\nThe last one in this section.\\n \\nRoy Kiyooka\\n00:30:11\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 16 [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:30:53\\nThere's a terrible draft coming in from the back, I think you're right Dick, we're going to end up with arthritic ankles. Well, this is the second section, and it is called \\\"The Proposal\\\". Once more, prefaced with a remark from Stanley Spencer, a very beautiful one. They are set down, as I found them in the book, I have used them in the context of this section of the book and these four poems, taken from his writings are meant to define certain of her attributes. Now I have given a title to each one of these four poems, and I hope they will clarify the context in which they belong here. \\\"Portrait of the Beloved\\\".\\n \\nRoy Kiyooka\\n00:32:06\\nReads \\\"Portrait of the Beloved\\\" [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:32:56\\nThis I called \\\"The Marriage\\\".\\n \\nRoy Kiyooka\\n00:33:05\\nReads \\\"The Marriage\\\" [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:33:37\\nThis is called \\\"The Separation\\\".\\n \\nRoy Kiyooka\\n00:33:45\\nReads \\\"The Separation\\\" [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:34:07\\nAnd this, is \\\"Her Apotheosis\\\".\\n \\nRoy Kiyooka\\n00:34:17\\nReads \\\"Her Apotheosis\\\" [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:35:23\\nThat incidentally, is a description he wrote to a friend about a painting that he in fact had made. From your response, I gathered, it has a comic element, but I don't think that he himself made it that way. [Laughter].\\n \\nRoy Kiyooka\\n00:36:05\\nReads unnamed poem.\\n \\nRoy Kiyooka\\n00:38:04\\nReads unnamed poem.\\n \\nRoy Kiyooka\\n00:38:36\\nThe first stanza of this two-stanza poem is from Spencer, once again.\\n \\nRoy Kiyooka\\n00:38:43\\nReads unnamed poem.\\n \\nRoy Kiyooka\\n00:39:34\\nThe reference in this poem is to an exemplary sculptor who died many years ago, who obsessionally sculpted the human female form, his name is Gaston Lachaise [https://www.wikidata.org/wiki/Q1495586].\\n \\nRoy Kiyooka\\n00:40:02\\nReads unnamed poem.\\n\\nRoy Kiyooka\\n00:40:59.50\\nThe title of this poem is the same as the title of the second section, it's \\\"The Proposal\\\".\\n \\nRoy Kiyooka\\n00:41:14\\nReads \\\"The Proposal\\\" [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:42:27\\nThis one is called \\\"The Dance\\\".\\n \\nRoy Kiyooka\\n00:42:33\\nReads \\\"The Dance\\\" [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:43:59\\nThe title of this poem is called \\\"Her Admonition\\\".\\n \\nRoy Kiyooka\\n00:44:06\\nReads \\\"Her Admonition\\\" [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:45:28\\nNow the following five poems are called \\\"Poems of Resurrection\\\".\\n \\nRoy Kiyooka\\n00:45:46\\nReads \\\"Poems of Resurrection\\\", part 1 [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:47:27\\nSecond \\\"Resurrection\\\" poem.\\n \\nRoy Kiyooka\\n00:47:28\\nReads \\\"Poems of Resurrection\\\", part 2 [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:48:33\\nReads \\\"Poems of Resurrection\\\", part 3 [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:49:07\\nReads \\\"Poems of Resurrection\\\", part 4 [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:49:49\\nThe last Resurrection poem, which concludes with a very brief, two-line coda.\\n \\nRoy Kiyooka\\n00:50:01\\nReads \\\"Poems of Resurrection\\\", part 5 [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:50:51\\nNow, the second to last poem is called \\\"The Visitation\\\".\\n \\nRoy Kiyooka\\n00:51:16\\nReads \\\"The Visitation\\\" [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:53:14\\nAnd finally,\\n \\nRoy Kiyooka\\n00:53:22\\nReads unnamed poem.\\n \\nRoy Kiyooka\\n00:53:56\\nWell, this is the final section. This is called \\\"Nevertheless These Eyes\\\" and briefly, and again from Spencer, a preface that goes like this: \\\"I am on this side of angels and dirt\\\".\\n \\nRoy Kiyooka\\n00:55:25\\nReads \\\"Nevertheless These Eyes\\\" [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n01:00:20\\nAnd finally, by way of acknowledging the nature of this book.\\n \\nRoy Kiyooka\\n01:00:31\\nReads unnamed poem [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n01:00:57\\nThank you very much--\\n\\nUnknown\\n01:00:59\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nRoy Kiyooka\\n01:01:00\\n--and I were reading together, decided we should write one for the occasion, so we have each come up with a haiku. This is my haiku, it's especially for Dick. I have in brackets here, \\\"A gentle admonition to the audience following my reading, and preceding his\\\" and it goes like this: \\\"Let the stone tell how /snow-covered in whiteness, /these words, when his words come.\\\"\\n \\nEND\\n01:01:42\\n\",\"notes\":\"Roy Kiyooka reads from Kyoto Airs (Periwinkle Press, 1964) and poems published later in Nevertheless These Eyes (Coach House Press, 1967).\\n\\n00:00- Introducer (Stanton Hoffman) introduces Roy Kiyooka [INDEX: Fifth reader in the       1966-67 Poetry Reading Series, Moose Jaw, Provincial Institute of Technology and Art, \\tInstituto Allende in Mexico, University of Saskatchewan: Emma Lake Workshop, One         man exhibitions in: Calgary, San Miguel D’Allende, Saskatoon, Toronto, Regina,        \\tMontreal, Vancouver, Victoria, New York City, Sao Paulo Biennial: Silver Medal     \\trepresenting Canada, Lane [or Ling?] Gallery in Toronto, Kyoto Airs by Roy Kiyooka, 1964, Periwinkle Press, Vancouver, [Unknown A1] Nevertheless These Eyes by Roy Kiyooka (1966), published by Bev Leech in Montreal, written in June 1965 in Montreal\\n01:25- Roy Kiyooka introduces Kyoto Airs and “Waiting Out the Rain” [INDEX: Occasional poetry in Japan, sculptured image of the Buddha, Japan]\\n02:51- Reads “Waiting Out the Rain”\\n03:13- Reads “Buddha in the Garden”\\n03:47- Reads “Sunday at the Temple”\\n04:20- Introduces first line “Hovering, he is hovering, his eyes closed...”\\n04:30- Reads first line “Hovering, he is hovering, his eyes closed...”\\n05:01- Introduces “The Stone Garden of Ryoanji” [INDEX: series of four haikus, stone      gardens in Royanji, Japan]\\n05:27- Reads haikus 1-4 of “The Stone Garden of Ryoanji Series”\\n06:49- Introduces “Children’s Shrine” [INDEX: Shrines in Japan]\\n07:24- Reads “Children’s Shrine”\\n08:41- Introduces “Higashiyama” sequence of eleven poems.\\n09:22- Reads “Higashiyama, 1-11”\\n13:01- Introduces “Itinerary of a View”\\n13:29- Reads “Itinerary of a View”\\n17:07- Introduces poems 1-15 of the section “The Song the Mirror Sang at Midnight” from Nevertheless These Eyes. [INDEX: Sequence poems, Higashiyama Mountain Japan, Alfred Pinsky, English Painter Stanley Spencer]\\n19:31- Reads poems 1-16 from “The Song the Mirror Sang at Midnight”\\n30:53- Introduces poems from the second section “The Proposal” from Nevertheless These Eyes. [INDEX: English Painter Stanley Spencer]\\n32:06- Reads “Portrait of the Beloved”\\n32:56- Reads “The Marriage”\\n33:37- Reads “The Separation”\\n34:07- Reads “Her Apotheosis”\\n35:23- Explains “Her Apotheosis”\\n36:05- Reads first line “The grotesque flash...”\\n38:04- Reads first line “The beloved is resilient...”\\n38:36- Introduces first line “The women say what I like...” [INDEX: English Painter Stanley Spencer]\\n38:43- Reads first line “The women say what I like...”\\n39:34- Introduces first line “Gaston Lachaise...”\\n40:02- Reads first line “Gaston Lachaise...”\\n40:59- Reads “The Proposal”\\n42:27- Reads “The Dance”\\n43:59- Reads “Her Admonition”\\n45:28- Introduces five poems called “Five Poems of Resurrection”\\n45:46- Reads 1-5 poems of “Five Poems of Resurrection”\\n50:51- Reads “The Visitation”\\n53:22- Reads first line “What the beloved said...”\\n53:56- Introduces “Nevertheless These Eyes”\\n55:25- Reads “Nevertheless These Eyes”\\n1:00:31- Reads first line “The figure in the poems are his...”\\n1:00:57- Introduces and reads haiku written for this reading [see transcript for entire poem] [INDEX: Haiku to Dick Sommers]\\n1:01:42.65- END OF RECORDING\\n\\nHoward Fink List of Poems:\\n2/12/66\\n one 5” @ 3 3/4 time: 1 hr 10 mins\\n \\nA)From Kyoto Airs about his experience in Japan\\n1. “Waiting Out the Rain”\\n2. “Buddha in the Garden”\\n3. “Sunday at the Temple”\\nFrom series- “The Stone Garden of Ryoanji” (first lines only)\\n4. “hovering, he is hovering...\\n5. “they whisper...”\\n6. “the boards...”\\n7. “white sand...”\\n8.  “when...”\\n9.  title: “Children’s Shrine” sequence of eleven poems\\n10. titled “Higashiyama” (first lines only) “kneeling, she...”\\n11.  “o the white pigeon...”\\n12.  “you raise up...”\\n13.  “she call’d...”\\n14.  “small comfort...”\\n15.  “on Higashiyama...”\\n16.   “tonight...”\\n17.  “beyond...”\\n18.  “put stone...”\\n19.  “tell me, Cid...”\\n20.  “I have left...”\\n21.   Title: “Itinerary of a View” (a poem summing up his experience in Japan)\\nB)  from Nevertheless These Eyes; a collection which was motivated from Kiyooka’s reading the biography of the English writer/sculptor Stanley Spencer. -  poems from section one; The song the mirror sang at midnight (first lines)\\n22.  “Climbing into the mirror...”\\n23.  “ Behind my eyes...”\\n24.  “The image of her...”\\n25.  “At least...”\\n26.  “Since you asked me...”\\n27.  “The distance...”\\n28.  “Moonch...”\\n29.  “My hand covets...”\\n30.  “The other face...”\\n31.  “Turning away...”\\n32.  “The mirror...”\\n33.  “In all this space...”\\n34.  “In a room...”\\n35.  “It is the vision of her...\\n36.  “Now, other faces appear...”\\n37.  “Who, among you...” four poems from the second section, “The Proposal”\\n38.  “Portrait of the Beloved”\\n39.  “The Marriage”\\n40.  “The Separation”\\n41.  “Her Apotheosis”\\n42.  first line- “The grotesque flash...”\\n43.  first line- “The beloved is...”\\n44.  first line- “The women say...”\\n45.  first line- “Gaston Lachaise”\\n46.  “The Proposal”\\n47.  “The Dance”\\n48.  “Her Admonition” series of five, from Poems of Resurrection\\n49.  first line “the way...”\\n50.  first line “the Fallen have risen”\\n51.  first line “the moon...”\\n52.  first line “Stanley Spencer painted...”\\n53.  first line “The resurrected flesh...”\\n54.  “The Visitation”\\n55.  first line “what the beloved said...” from section three Nevertheless These Eyes\\n56.  first line “Nevertheless these eyes”\\n57. a haiku composed for the reading by Kiyooka\\n\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/richard-dick-sommer-at-sgwu-1966-stanton-hoffman/\"}]"],"score":1.8530173},{"id":"1258","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":["Henry Beissel and Mike Gnarowski at Sir George Williams University, The Poetry Series, 13 January 1967"],"item_title_source":["Cataloguer"],"item_title_note":["\"Henry Beissel Reading in The Poetry Series at Sir George Williams University, 1967-01-13\" handwritten on the back of the tape's box. Spelling mistakes and Mike Gnarwoski's name scratched over with pen. \n\n\"I086-11-003\" and \"RT 516\" also written. \n\n\"GNAROWSKI & BISSEL I006/SR122\" written on sticker on the spine of the tape's box. Gnarowski refers to Michael Gnarowski. Bissel refers to Henry Beissel. Biessel is mispelled "],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 1"],"item_identifiers":["[I086-11-003, I006-11-122]"],"access":["Streaming and download"],"creator_names":["Gnarowski, Michael","Beissel, Henry"],"creator_names_search":["Gnarowski, Michael","Beissel, Henry"],"creators":["[{\"url\":\"http://viaf.org/viaf/115582508\",\"name\":\"Gnarowski, Michael\",\"dates\":\"1934-\",\"notes\":\"Michael Gnarowski was born on September 27, 1934 in Shanghai, China. He attended several universities: McGill University, B.A. in 1956, Indiana University in 1959, University of Montreal, M.A. in 1960 and University of Ottawa, Ph.D. in 1967. While at McGill, he published his poetry in Yes, which he co-edited. Gnarowski was heavily involved in several presses and magazines throughout his career, which include Le Chien d’or/The Golden Dog, Delta, Golden Dog Press, the Tecumseh Press, Arc Poetry Magazine and McGraw-Hill Ryerson’s Critical Views on Canadian Writers Series (Ryerson Press, 1970), and Canadian Poetry. Along with Ron Everson, Raymond Souster and Louis Dudek, he founded the League of Canadian Poets in 1966. He taught English at the University of Sherbrooke from 1961-62; at Port Arthur (now Thunder Bay), Ontario from 1962-65; was an assistant professor of English at Sir George Williams University (now Concordia) from 1966-72; Carleton University from 1972 onwards. He published a book of his own poetry, Postscript for St. James Street in 1965 (Delta Press), and has since edited and compiled over fifteen other books.\",\"nation\":[],\"role\":[\"Performer\",\"Author\"]},{\"url\":\"http://viaf.org/viaf/5489879\",\"name\":\"Beissel, Henry\",\"dates\":\"1929-\",\"notes\":\"Poet Henry Beissel was born in 1929 in Cologne, Germany. Beissel studied philosophy at universities in Cologne and in London before emigrating to Canada in 1951 where he graduated with an M.A. in English from the University of Toronto in 1960. He taught at the University of Edmonton, the University of Alberta as well as Sir George Williams University (now Concordia University) in Montreal. Beissel served as editor for the controversial literary and political journal Edge from 1963 (in Edmonton) until 1969 (in Montreal). He translated the poetry of German-Canadian Walter Bauer, called The Price of Morning in 1968 (Prism International Press). His first book, New Wings for Icarus was published in 1966 (Coach House Press), followed by Face on the Dark in 1970. Beissel later published The Salt I Taste (D.C. Books, 1975), The Cantos North (Penumbra Press, 1982), Season of Blood (Mosaic Press,1984), Poems new and selected (Grove Press, 1987), Across the Sun’s Warp (BuschekBooks, 2003). He later wrote and published several plays; Inook and the Sun was performed at the Stratford Festival in 1973. In 1980-1, Henry Beissel acted as President of the League of Canadian Poets.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Kiyooka, Roy","Dudek, Louis"],"contributors_names_search":["Kiyooka, Roy","Dudek, Louis"],"contributors":["[{\"url\":\"http://viaf.org/viaf/30784426\",\"name\":\"Kiyooka, Roy\",\"dates\":\"1926-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/49240132\",\"name\":\"Dudek, Louis\",\"dates\":\"1918-2001\",\"notes\":\"\",\"nation\":[],\"role\":[\"Presenter\"]}]"],"Presenter_name":["Dudek, Louis"],"Series_organizer_name":["Kiyooka, Roy"],"Speaker_name":["Kiyooka, Roy"],"Performance_Date":[1967],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"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\":\"Kodak\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Popped strands\",\"track_configuration\":\"2 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\":\"1967 1 13\",\"type\":\"Performance Date\",\"notes\":\"Date specified in The Georgian's \\\"Op-Ed\\\"\",\"source\":\"Supplemental Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Basement Theatre\",\"notes\":\"Location specified in The Georgian's \\\"Op-Ed\\\"\",\"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 Basement Theatre"],"City":["Montreal, Quebec"],"content_notes":["Henry Beissel reads largely from New Wings for Icarus (Coach House Press, 1966). Mike Gnarowski reads from Postscript for St. James Street (Delta, 1965) and from other unknown sources."],"contents":["Henry_beissel_i086-11-003.mp3 [File 1 of 2]\n\nRoy Kiyooka\n00:00:00\nLadies and Gentleman, um, let's see, what am I going to say? [Audience laughter and applause]...Well, glad to see y’all here. So, Professor Louis Dudek []https://www.wikidata.org/wiki/Q3261787] from McGill University [https://www.wikidata.org/wiki/Q201492] will introduce the two poets who’re reading this evening. \n\nAudience\n00:00:31\nApplause.\n\nLouis Dudek\n00:00:40\nI expected a longer introduction than that, it will be very fine. There are two kinds of readings that I like to attend very much, one kind is the sort that they're having tonight at McGill University, where a well-established poet who has been on the scene for forty or fifty years comes to read. Over there, it's A.J.M. Smith [https://www.wikidata.org/wiki/Q4647944] from Michigan State [https://www.wikidata.org/wiki/Q270222], Canadian anthologist and well-known poet. With a poet like that, really makes no difference what he reads or how he reads it's just important to see him and even the tottering saint can perform miracles on occasions. The other kinds of poets I do like to hear very much are the sort that we'll hear tonight, Gnarowski and Beissel [https://www.wikidata.org/wiki/Q1606507]. The McGill publicity department sent out a notice about A.J.M. Smith and described him as well-known Anthropologist of Canadian poetry. Actually, they corrected it in ink, they made the mistake twice though, probably a typist error. But they didn't know how correct they were, with the current scene in Canadian writing, there are primitive types around that are hard to classify and we need anthropologists...Well, Beissel and Gnarowski are not of this breed of poets who seem to have lost all sense of poetic organization or form, where you think that conventions, poetic conventions have been abolished and what is left are chaotic bits of internal monologue on the page. Of course, that kind of school may be very interesting to watch to see what comes out of it but at present, having watched it now for a few years I'm a little impatient often and tired of the magazines where this material occurs because it seems so easy to turn out and anyone has these bits of chaotic monologue going on. On the other hand, there are many poets still writing who are not following the conventional forms of English metrics and rhyme and so forth, who are turning out poems or at least watching what happens what happens with the words on the page and both the poets we're listening to tonight are of this kind. They are very careful craftsmen. Henry Beissel has the long list of achievements to his credits already, but two on that list strike me very much. One is, amongst many of the posts where he's taught, one is the University of Alberta [https://www.wikidata.org/wiki/Q640694] is the kind of political stir that was created on the campus when his magazine Edge was brought into the classroom by one of the professors. That is, his poetry contains, content that can make one think, that is morally committed to certain issues in today's world. He's very strongly a moral poet on one side, and the other item in his biography is his new book which has just appeared New Wings for Icarus, which is extremely aesthetic at the same time that it is meaningful in this way. His poetry seems to combine two things, one is a moral urgency and on the other hand, at the same time, a romantic sense of language and of imagery and of emotion that goes with that, which are all very, very promising characteristics for a beginning poet, but I think that this New Wings for Icarus book is his first considerable book. So, without more ado, I introduce to you Henry Beissel. \n\nHenry Beissel\n00:05:30\nWhen I considered the kind of poems that I might read this evening and the order in which to read them, I was thinking of the condition of this hall, as it was the last time I was here and I therefore chose two poems which I wrote in the West Indies [https://www.wikidata.org/wiki/Q669037]. [Audience laughter]. They celebrate the sun in an ambiguous sort of way, I'm going to read them all the same, despite the fact that the conditions have changed. I don't know how much you need to know about the West Indies, I'm hoping—oh.\n\nAudience Member 1\n00:06:15\nAddresses Beissel [unintelligible].\n\nHenry Beissel\n00:06:17\nIs this any better? Is there someone in the hall who can attend please to all this? \n\nAudience Member 2\n00:06:28\nAddresses Beissel [unintelligible].\n\nAudience\n00:06:30\nLaughter.\n\nHenry Beissel\n00:06:39\nWell I'll try to speak a little louder on my own, in spite of the microphone. I was saying that I don't know how much one needs to know of the West Indies to respond to this sort of poem, I'm hoping something of the West Indies might be in the poems, the first is called \"Pans at Carnival\". Pan [https://www.wikidata.org/wiki/Q6610630] is the expression for a steel drum. The imagery in the poem is taken entirely from the steel drum and its use at Carnival [https://www.wikidata.org/wiki/Q4618], a feast that is about to be celebrated in Trinidad [https://www.wikidata.org/wiki/Q754] in about a month. Rhythmically, the poem tries to catch something of the rhythm of the steel pan. \n\nHenry Beissel\n00:07:28\nReads \"Pans at Carnival\".\n\nHenry Beissel\n00:10:18\nThe second poem celebrates something of the violence that the sun, with which the sun blesses those parts of the world from which it never really disappears.\n\nHenry Beissel\n00:10:34\nReads \"Where the Sun Only\".\n\nHenry Beissel\n00:12:49\nNext I want to read two parts from New Wings for Icarus. Time does not allow me to read the whole poem, because then I could read you nothing else. “Icarus” is a poem that is written in four parts, it is with some regret that I read only two, because to me it is like playing the second and fourth part of a symphony, but there is no alternative. \n\nHenry Beissel\n00:13:19\nReads \"New Wings for Icarus\", part 2 from New Wings for Icarus.\n\nHenry Beissel\n00:13:51\nSorry, I'll start again. This is a hard one to read and this print is very small. I better hold it closer.\n\nHenry Beissel\n00:13:59\nReads \"New Wings for Icarus\", part 2 from New Wings for Icarus.\n\nHenry Beissel\n00:19:41\nReads \"New Wings for Icarus\", part 4 from New Wings for Icarus.\n\nHenry Beissel\n00:26:39\nNow for a little sort of relaxation in-between, I find unrelieved serious poetry hard to bear myself, I'll read—unfortunately I do not write occasional poems terribly often, they always seem to grow into something much bigger than I can handle, but the next two poems I want to read you are occasional poems, poetry can come out of anything of course, and this one came out of an encounter in a house of Inquisition in Cartagena [https://www.wikidata.org/wiki/Q657461], in Colombia [https://www.wikidata.org/wiki/Q739], it is really self-explanatory. It's called \"En la Casa de Inquisición\". \n\nHenry Beissel\n00:27:40\nReads \"En la Casa de Inquisición\".\n\nHenry Beissel\n00:29:23\nThe next poem leads me on to the last set of poems, but you won't discover that until you hear the last two poems. This poem is dedicated to my daughter, when she was 1 and a half, the first stanza deals with the circumstances of her birth, which were somewhat elaborate, there were firemen. The second stanza deals with her present—this would be the past from the time of the poem, the second deals with her present, and the third with her future. \n\nHenry Beissel\n00:30:07\nReads \"To My Daughter at Age 1 1/2\".\n\nHenry Beissel\n00:33:25\nAnd now I come to the final two poems. They belong together and are part of a— we agreed not to torture you and not to read for more than 30 minutes this evening and I am trying to stick to that. This is rather the beginning of something that I may never live to finish, the entire thing is supposed to have some 26 poems, of which you will hear the first two, one is a prologue and the other one is called \"Adam Enter Eve\". In the prologue, a character introduces himself who is to play his part in the rest of the poem. It's not really a dramatic poem, although it's, well I don't think of it as a drama, although it has dramatic qualities. Anyway, I don't like to be my own critic. I prefer just to read you the poem. The whole cycle will be called \"The Dancer from the Dance\" that is as you no doubt know, a quotation from Yeats [https://www.wikidata.org/wiki/Q40213]. \n\nHenry Beissel\n00:34:45\nReads \"Prologue\" from \"The Dancer from the Dance\".\n\nHenry Beissel\n00:37:04\nReads \"Adam Enter Eve\".\n\nEND\n00:49:40\n[Recording continues on mike_gnarowski_i006-11-122.mp3].\n\nmike_gnarowski_i006-11-122.mp3 [File 2 of 2]\n\nLouis Dudek\n00:00:00\nStrongly I was impressed and moved by that reading by Henry Beissel. Really several times after the poems I wanted to applaud, only we don't do that. They were magnificently organized forms with powerful language and very well read, I felt, I think I'm speaking for most people here when I say that. Mike Gnarowski who reads next is different perhaps in the extent to which his poetry is oriented towards reality. Not by implication because Beissel's also is very real and very down to earth and very much committed to the real world, but Gnarowski's poetry has a lot to do with Canadian poetry and the way it has turned towards the real world since about 1925 since A.J.M. Smith and Scott [F.R. Scott; https://www.wikidata.org/wiki/Q3081656] and A.M. Klein [https://www.wikidata.org/wiki/Q2778027] began writing. Gnarowski's been very active as a student of Canadian literature, a scholar and a bibliographer and so forth of our literature looking into the sources of this modern poetry and to letters and documents. In this he has done some very valuable work, indexing little magazines that would be otherwise, less well known, preparing bibliographies and he is now working on a larger anthology of criticism introducing the backgrounds of modern Canadian poetry. All this kind of study which is very valuable on the academic side is also important to his poetry I feel, that it places him within the line of modern Canadian poets who have tried to interpret the real, the visible, the actual, directly in poetry. Somewhat in the way I suppose that all modern poetry in English does, including T.S. Eliot's [https://www.wikidata.org/wiki/Q37767] \"Waste Land\" [https://www.wikidata.org/wiki/Q581458] and Ezra Pound's [https://www.wikidata.org/wiki/Q163366] \"Cantos\" [https://www.wikidata.org/wiki/Q2701465] and e. e. cumming's [https://www.wikidata.org/wiki/Q298703] comedies and satires and Auden's [https://www.wikidata.org/wiki/Q178698] poetry also. That is the characteristic of twentieth-century poetry is that its extreme realism and the bringing of the romantic conceptions of the last century to bear upon the actual world and showing that the conflict, the intense conflict that exists in the poet between his conception of things and what he sees before him. That you find in Gnarowski very much. He as a writer he is a meticulous craftsman, I don't know if that's symbolic [audience laughter]... He's also a meticulous craftsman and his poems seem to grow by accretion, very gradually. He writes with a stubborn integrity and knows what he thinks and what he's trying to say in a poem, they aren't just momentary fusions. They're highly worked up pieces of writing. There's a strong element of rationality and reality in this poetry, less of the flight of the emotions and the fantasy that's in most other poets. There's a very strong formal organization in his poetry, a clean speech, straight as the Greeks as Ezra Pound used to say in the past. His first book is entitled Postscript for St. James Street which has to do with, in some part anyhow, with the business world in which we live and he has chosen that quite consciously as a subject that could be turned into poetry, to take the business man, the real in that sense, St. James Street [https://www.wikidata.org/wiki/Q1526237] and see what can be made out of that imaginatively. Most poets when they treat a subject like that turn it into satire, because what else can you make out of St. James Street, but Gnarowski wants to keep his vision clear and straight for the fact to see what it really is without elevating too much or perhaps without caricaturing the reality, and it's a very interesting experiment. I'm sure you'll all enjoy listening to his poetry.\n \nMike Gnarowski\n00:05:09\nA couple of years ago I had the occasion to go up into North Western Ontario [https://www.wikidata.org/wiki/Q1904], and I lived there for three or four years and more specifically on Port Arthur [https://www.wikidata.org/wiki/Q7230482] which is on the very shores of Lake Superior [https://www.wikidata.org/wiki/Q1066], and I kept looking at this magnificent and fantastic lake and it kept bothering me. It was too big and too vast and too meaningful and too ominous in many ways to be let off too easily. I also had a friend up there who was an anthropologist and archaeologist and a very good one, and he spent a lot of time going up into that country up around Lake Superior and he kept coming back with all sorts of wonderful thing, all sorts of relics of the past as it were. Gaffs and skulls and this and that which he kept finding and he told me that that part of the world had at one time had supported a pretty fantastic civilization of its own, a very peculiar civilization. And I looked at the lake, Lake Superior, and I decided I would try to write something about it, about the feelings that I think that this ominous body of water might have. A little poem I did for it is entitled \"Great Sea\".\n \nMike Gnarowski\n00:06:30\nReads \"Great Sea\".\n \nMike Gnarowski\n00:10:40\nAnd following along the same themes, a little poem entitled \"Amethyst Harbour\" which was occasioned by a visit of A.Y. Jackson [https://www.wikidata.org/wiki/Q3499926] and several friends who gathered in this quite magnificent place on the lake, just about this time of the year and you could look out across Thunder Bay [https://www.wikidata.org/wiki/Q9298873] and you saw nothing but ice-locked island and of course snow and ice continuing forever and ever. I always felt the nature, of course, there had not been overcome by man and that nature always threatened man and that there was a struggle, a conflict, a tension going on. So here is \"Amethyst Harbour\".\n \nMike Gnarowski\n00:11:31\nReads \"Amethyst Harbour\".\n \nMike Gnarowski\n00:13:20\nAs Louis Dudek pointed out, I've always been fascinated by those men who wheel and deal and who are responsible for much of the life of the nation, I suppose, of North America [https://www.wikidata.org/wiki/Q49], the so-called businessman, much maligned most of the time. I normally try to deal as properly as I can and in this instance I think I'm probably being unkind. This is a poem entitled \"Portrait of a Man Come to Say Farewell\".\n \nMike Gnarowski\n00:13:55\nReads \"Portrait of a Man Come to Say Farewell\".\n\nAudience\n00:15:26\nApplause [one person].\n \nMike Gnarowski\n00:15:30\nUhh--Thank you. A little while ago, or a few years ago I should say, I had the occasion to go to a town south-east of here called Victoriaville [https://www.wikidata.org/wiki/Q141731], I was there on business and I went through an old-age or an old-people's home and some of you may know what those places are like, I was profoundly affected by this experience and I tried to write something about it and I've called this little thing \"Provincia Nostra\".\n \nMike Gnarowski\n00:15:56\nReads \"Provincia Nostra”.\n \nMike Gnarowski\n00:16:50\nThis is for a friend who was lost in an automobile accident.\n \nMike Gnarowski\n00:16:54\nReads unnamed poem.\n \nMike Gnarowski\n00:17:31\nA very short thing, which I think fills the purpose of keeping me from becoming too serious.\n \nMike Gnarowski\n00:17:46\nReads unnamed poem. \n\nMike Gnarowski\n00:17:59\nThank you.\n \nAudience\n00:18:00\nLaughter and applause [cut off].\n\nIntroducer\n00:18:03\nWe'd like to express our thanks to Mike Gnarowski, Henry Beissel, and our special appreciation to Louis Dudek who made the supreme sacrifice of tearing himself away from McGill to come here and introduce them. [Audience applause]. Our next reading will be in two weeks, on Friday, January 27 Margaret Avison [https://www.wikidata.org/wiki/Q6759152] will be coming from Toronto [https://www.wikidata.org/wiki/Q172] to read her poetry and the following reading on Sat. Feb. 11, Paul Blackburn [https://www.wikidata.org/wiki/Q7149388] who is the Poet in Residence at the City College in New York [https://www.wikidata.org/wiki/Q1093910] and the author of, among other things, Brooklyn, Manhattan Transit will be coming here to read his poetry. Thank you.\n \nEND\n00:19:00\n"],"Note":["[{\"note\":\"Year-specific Information:\\n\\nHenry Beissel was teaching at Sir George Williams University in 1966. He also edited Edge: An Independent Periodical, no. 6, Spring 1967.\\n\\nMike Gnarowski received his Ph.D. from University of Ottawa in 1967, and was working as an associate professor at Sir George Williams University. He co-edited The Making of Modern Poetry in Canada with Louis Dudek, which was published by Ryerson Press in 1967. He was the editor of Yes magazine from 1956-69.\",\"type\":\"General\"},{\"note\":\"Local connections:\\n\\nBeissel retired as Distinguished Emeritus Professor of English from Concordia University in 1996. Henry Beissel, Mike Gnarowski and Louis Dudek (also in this reading) organized the Montreal Committee, and organized The Emergency Symposium on the Americanization of Canadian Universities in May of 1969.\\n\\nMike Gnarowski is very involved in the effort to promote Canadian authors and writers, editing and publishing criticism and anthologies of Canadian poetry, specifically those of Leonard Cohen, Archibald Lampman and Raymond Knister as well as little known writers.\",\"type\":\"General\"},{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Faith Paré (2020) and Ali Barillaro (2021)\\n\",\"type\":\"Cataloguer\"},{\"note\":\"2 reel-to-reel tapes>2 CDs>2 digital files\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/new-wings-for-icarus-a-poem-in-four-parts/oclc/1127807997&referer=brief_results\",\"citation\":\"Beissel, Henry. New Wings for Icarus. Toronto: Coach House Press, 1966. \"},{\"url\":\"https://www.worldcat.org/title/canadianization-movement-emergence-survival-and-success/oclc/1165482183&referer=brief_results\",\"citation\":\"Cormier, Jeffrey. The Canadianization movement: emergence, survival and success. Toronto: University of Toronto Press, 2004. \"},{\"url\":\"http://www.lac-bac.gc.ca/archiveslitteraires/027011-200.058-e.html\",\"citation\":\"“Gnarowski, Michael 1934-”. Michael Gnarowski fonds 1956-1985. Library and Archives       \\t\\nCanada\\n\"},{\"url\":\"https://www.worldcat.org/title/postscript-for-st-james-street/oclc/2566553&referer=brief_results\",\"citation\":\"Gnarowski, Michael. Postscript for St. James Street. Montreal: Delta, 1965. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/mike-gnarowski-at-sgwu-1967-louis-dudek/\",\"citation\":\"“Poetry Readings Resume Tonight with Beissel and Gnarowski”. OP-ED. Montreal: Sir George Williams University, 13 January 1967. \"},{\"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. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/mike-gnarowski-at-sgwu-1967-louis-dudek/\",\"citation\":\"Simco, Bob. “Georgiantics”. The Georgian. Montreal: Sir George Williams University, 9 January 1967. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/865265719&referer=brief_results\",\"citation\":\"Stevens, Peter. \\\"Beissel, Henry\\\". The Oxford Companion to Canadian Literature, 2nd edition. \\nEugene Benson and William Toye (eds). Oxford University Press, 2006. \\n\"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/mike-gnarowski-at-sgwu-1967-louis-dudek/\",\"citation\":\"Thoms, Kathleen. “Professor Poets With Urgency and Imagery”. The Georgian. Montreal: Sir George Williams University, January 1967.\"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/86526\",\"citation\":\"Toye, William. \\\"League of Canadian Poets, The\\\". The Oxford Companion to Canadian \\nLiterature, 2nd edition. Eugene Benson and William Toye (eds). Oxford University Press, \\n2006. \\n\"},{\"url\":\"\",\"citation\":\"\\\"Michael Gnarowski.\\\" Contemporary Authors Online. Detroit: Gale, 2009. \"}]"],"_version_":1853670548668678144,"timestamp":"2026-01-07T14:59:53.264Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0122_back.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006_11_0122_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Mike Gnarowski Tape Box 1 - 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_0122_front.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006_11_0122_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Mike Gnarowski Tape Box 1 - 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Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/mike_gnarowski_i006-11-122.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"mike_gnarowski_i006-11-122.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:19:00\",\"precision\":\"\",\"size\":\"45.6 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"mike_gnarowski_i006-11-122.mp3 [File 2 of 2]\\n\\nLouis Dudek\\n00:00:00\\nStrongly I was impressed and moved by that reading by Henry Beissel. Really several times after the poems I wanted to applaud, only we don't do that. They were magnificently organized forms with powerful language and very well read, I felt, I think I'm speaking for most people here when I say that. Mike Gnarowski who reads next is different perhaps in the extent to which his poetry is oriented towards reality. Not by implication because Beissel's also is very real and very down to earth and very much committed to the real world, but Gnarowski's poetry has a lot to do with Canadian poetry and the way it has turned towards the real world since about 1925 since A.J.M. Smith and Scott [F.R. Scott; https://www.wikidata.org/wiki/Q3081656] and A.M. Klein [https://www.wikidata.org/wiki/Q2778027] began writing. Gnarowski's been very active as a student of Canadian literature, a scholar and a bibliographer and so forth of our literature looking into the sources of this modern poetry and to letters and documents. In this he has done some very valuable work, indexing little magazines that would be otherwise, less well known, preparing bibliographies and he is now working on a larger anthology of criticism introducing the backgrounds of modern Canadian poetry. All this kind of study which is very valuable on the academic side is also important to his poetry I feel, that it places him within the line of modern Canadian poets who have tried to interpret the real, the visible, the actual, directly in poetry. Somewhat in the way I suppose that all modern poetry in English does, including T.S. Eliot's [https://www.wikidata.org/wiki/Q37767] \\\"Waste Land\\\" [https://www.wikidata.org/wiki/Q581458] and Ezra Pound's [https://www.wikidata.org/wiki/Q163366] \\\"Cantos\\\" [https://www.wikidata.org/wiki/Q2701465] and e. e. cumming's [https://www.wikidata.org/wiki/Q298703] comedies and satires and Auden's [https://www.wikidata.org/wiki/Q178698] poetry also. That is the characteristic of twentieth-century poetry is that its extreme realism and the bringing of the romantic conceptions of the last century to bear upon the actual world and showing that the conflict, the intense conflict that exists in the poet between his conception of things and what he sees before him. That you find in Gnarowski very much. He as a writer he is a meticulous craftsman, I don't know if that's symbolic [audience laughter]... He's also a meticulous craftsman and his poems seem to grow by accretion, very gradually. He writes with a stubborn integrity and knows what he thinks and what he's trying to say in a poem, they aren't just momentary fusions. They're highly worked up pieces of writing. There's a strong element of rationality and reality in this poetry, less of the flight of the emotions and the fantasy that's in most other poets. There's a very strong formal organization in his poetry, a clean speech, straight as the Greeks as Ezra Pound used to say in the past. His first book is entitled Postscript for St. James Street which has to do with, in some part anyhow, with the business world in which we live and he has chosen that quite consciously as a subject that could be turned into poetry, to take the business man, the real in that sense, St. James Street [https://www.wikidata.org/wiki/Q1526237] and see what can be made out of that imaginatively. Most poets when they treat a subject like that turn it into satire, because what else can you make out of St. James Street, but Gnarowski wants to keep his vision clear and straight for the fact to see what it really is without elevating too much or perhaps without caricaturing the reality, and it's a very interesting experiment. I'm sure you'll all enjoy listening to his poetry.\\n \\nMike Gnarowski\\n00:05:09\\nA couple of years ago I had the occasion to go up into North Western Ontario [https://www.wikidata.org/wiki/Q1904], and I lived there for three or four years and more specifically on Port Arthur [https://www.wikidata.org/wiki/Q7230482] which is on the very shores of Lake Superior [https://www.wikidata.org/wiki/Q1066], and I kept looking at this magnificent and fantastic lake and it kept bothering me. It was too big and too vast and too meaningful and too ominous in many ways to be let off too easily. I also had a friend up there who was an anthropologist and archaeologist and a very good one, and he spent a lot of time going up into that country up around Lake Superior and he kept coming back with all sorts of wonderful thing, all sorts of relics of the past as it were. Gaffs and skulls and this and that which he kept finding and he told me that that part of the world had at one time had supported a pretty fantastic civilization of its own, a very peculiar civilization. And I looked at the lake, Lake Superior, and I decided I would try to write something about it, about the feelings that I think that this ominous body of water might have. A little poem I did for it is entitled \\\"Great Sea\\\".\\n \\nMike Gnarowski\\n00:06:30\\nReads \\\"Great Sea\\\".\\n \\nMike Gnarowski\\n00:10:40\\nAnd following along the same themes, a little poem entitled \\\"Amethyst Harbour\\\" which was occasioned by a visit of A.Y. Jackson [https://www.wikidata.org/wiki/Q3499926] and several friends who gathered in this quite magnificent place on the lake, just about this time of the year and you could look out across Thunder Bay [https://www.wikidata.org/wiki/Q9298873] and you saw nothing but ice-locked island and of course snow and ice continuing forever and ever. I always felt the nature, of course, there had not been overcome by man and that nature always threatened man and that there was a struggle, a conflict, a tension going on. So here is \\\"Amethyst Harbour\\\".\\n \\nMike Gnarowski\\n00:11:31\\nReads \\\"Amethyst Harbour\\\".\\n \\nMike Gnarowski\\n00:13:20\\nAs Louis Dudek pointed out, I've always been fascinated by those men who wheel and deal and who are responsible for much of the life of the nation, I suppose, of North America [https://www.wikidata.org/wiki/Q49], the so-called businessman, much maligned most of the time. I normally try to deal as properly as I can and in this instance I think I'm probably being unkind. This is a poem entitled \\\"Portrait of a Man Come to Say Farewell\\\".\\n \\nMike Gnarowski\\n00:13:55\\nReads \\\"Portrait of a Man Come to Say Farewell\\\".\\n\\nAudience\\n00:15:26\\nApplause [one person].\\n \\nMike Gnarowski\\n00:15:30\\nUhh--Thank you. A little while ago, or a few years ago I should say, I had the occasion to go to a town south-east of here called Victoriaville [https://www.wikidata.org/wiki/Q141731], I was there on business and I went through an old-age or an old-people's home and some of you may know what those places are like, I was profoundly affected by this experience and I tried to write something about it and I've called this little thing \\\"Provincia Nostra\\\".\\n \\nMike Gnarowski\\n00:15:56\\nReads \\\"Provincia Nostra”.\\n \\nMike Gnarowski\\n00:16:50\\nThis is for a friend who was lost in an automobile accident.\\n \\nMike Gnarowski\\n00:16:54\\nReads unnamed poem.\\n \\nMike Gnarowski\\n00:17:31\\nA very short thing, which I think fills the purpose of keeping me from becoming too serious.\\n \\nMike Gnarowski\\n00:17:46\\nReads unnamed poem. \\n\\nMike Gnarowski\\n00:17:59\\nThank you.\\n \\nAudience\\n00:18:00\\nLaughter and applause [cut off].\\n\\nIntroducer\\n00:18:03\\nWe'd like to express our thanks to Mike Gnarowski, Henry Beissel, and our special appreciation to Louis Dudek who made the supreme sacrifice of tearing himself away from McGill to come here and introduce them. [Audience applause]. Our next reading will be in two weeks, on Friday, January 27 Margaret Avison [https://www.wikidata.org/wiki/Q6759152] will be coming from Toronto [https://www.wikidata.org/wiki/Q172] to read her poetry and the following reading on Sat. Feb. 11, Paul Blackburn [https://www.wikidata.org/wiki/Q7149388] who is the Poet in Residence at the City College in New York [https://www.wikidata.org/wiki/Q1093910] and the author of, among other things, Brooklyn, Manhattan Transit will be coming here to read his poetry. Thank you.\\n \\nEND\\n00:19:00\\n\",\"notes\":\" Mike Gnarowski reads from Postscript for St. James Street (Delta, 1965) and from other unknown sources.\\n\\n00:00 - Introduction by Louis Dudek [INDEX: Henry Beissel’s reading, realism in poetry, Canadian poetry since 1925, A.J.M. Smith, F.R. Scott, A.M. Klein, bibliographer, indexing smaller magazines, T.S. Eliot’s “Wastel Land”, Ezra Pound’s “Cantos”, e e cumming’s satires and comedies, W.H. Auden, romantic conceptions of 19th century vs. extreme realism of 20th century, Postscript for St. James Street by Gnarowski]\\n05:09 - Mike Gnarowski introduces “Great Sea” [INDEX: North Western Ontario, Port Arthur, Lake Superior, archaeological artifacts]\\n06:30 - Reads “Great Sea”\\n10:40 - Introduces “Amethyst Harbour” [INDEX: A.Y. Jackson, Thunder Bay, man vs. nature]\\n11:31 - Reads “Amethyst Harbour”\\n13:20 - Introduces “Portrait of a Man Come to Say Farewell” \\n13:55 - Reads “Portrait of a Man Come to Say Farewell”\\n15:30 - Introduces “Provincia Nostra” [INDEX: Victoriaville]\\n15:56 - Reads “Provincia Nostra”\\n16:50 - Introduces first line “For some inimitable action...”\\n16:54 - Reads first line “For some inimitable action...”\\n17:31 - Introduces first line “If I had legs like yours...”\\n17:46 - Reads first line “If I had legs like yours...”\\n18:03 - Introducer (unknown) says thank-you’s. [INDEX: Mike Gnarowski, Henry Beissel, Louis Dudek, McGill, Margaret Avison, Paul Blackburn]\\n19:00 - END OF EVENT.\\n\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/henry-beissel-reads-with-introduction-by-louis-dudek-michael-gnarowski-in-same-reading/\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/henry_beissel_i086-11-003.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"henry_beissel_i086-11-003.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:49:40\",\"precision\":\"\",\"size\":\"119.2 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Henry_beissel_i086-11-003.mp3 [File 1 of 2]\\n\\nRoy Kiyooka\\n00:00:00\\nLadies and Gentleman, um, let's see, what am I going to say? [Audience laughter and applause]...Well, glad to see y’all here. So, Professor Louis Dudek []https://www.wikidata.org/wiki/Q3261787] from McGill University [https://www.wikidata.org/wiki/Q201492] will introduce the two poets who’re reading this evening. \\n\\nAudience\\n00:00:31\\nApplause.\\n\\nLouis Dudek\\n00:00:40\\nI expected a longer introduction than that, it will be very fine. There are two kinds of readings that I like to attend very much, one kind is the sort that they're having tonight at McGill University, where a well-established poet who has been on the scene for forty or fifty years comes to read. Over there, it's A.J.M. Smith [https://www.wikidata.org/wiki/Q4647944] from Michigan State [https://www.wikidata.org/wiki/Q270222], Canadian anthologist and well-known poet. With a poet like that, really makes no difference what he reads or how he reads it's just important to see him and even the tottering saint can perform miracles on occasions. The other kinds of poets I do like to hear very much are the sort that we'll hear tonight, Gnarowski and Beissel [https://www.wikidata.org/wiki/Q1606507]. The McGill publicity department sent out a notice about A.J.M. Smith and described him as well-known Anthropologist of Canadian poetry. Actually, they corrected it in ink, they made the mistake twice though, probably a typist error. But they didn't know how correct they were, with the current scene in Canadian writing, there are primitive types around that are hard to classify and we need anthropologists...Well, Beissel and Gnarowski are not of this breed of poets who seem to have lost all sense of poetic organization or form, where you think that conventions, poetic conventions have been abolished and what is left are chaotic bits of internal monologue on the page. Of course, that kind of school may be very interesting to watch to see what comes out of it but at present, having watched it now for a few years I'm a little impatient often and tired of the magazines where this material occurs because it seems so easy to turn out and anyone has these bits of chaotic monologue going on. On the other hand, there are many poets still writing who are not following the conventional forms of English metrics and rhyme and so forth, who are turning out poems or at least watching what happens what happens with the words on the page and both the poets we're listening to tonight are of this kind. They are very careful craftsmen. Henry Beissel has the long list of achievements to his credits already, but two on that list strike me very much. One is, amongst many of the posts where he's taught, one is the University of Alberta [https://www.wikidata.org/wiki/Q640694] is the kind of political stir that was created on the campus when his magazine Edge was brought into the classroom by one of the professors. That is, his poetry contains, content that can make one think, that is morally committed to certain issues in today's world. He's very strongly a moral poet on one side, and the other item in his biography is his new book which has just appeared New Wings for Icarus, which is extremely aesthetic at the same time that it is meaningful in this way. His poetry seems to combine two things, one is a moral urgency and on the other hand, at the same time, a romantic sense of language and of imagery and of emotion that goes with that, which are all very, very promising characteristics for a beginning poet, but I think that this New Wings for Icarus book is his first considerable book. So, without more ado, I introduce to you Henry Beissel. \\n\\nHenry Beissel\\n00:05:30\\nWhen I considered the kind of poems that I might read this evening and the order in which to read them, I was thinking of the condition of this hall, as it was the last time I was here and I therefore chose two poems which I wrote in the West Indies [https://www.wikidata.org/wiki/Q669037]. [Audience laughter]. They celebrate the sun in an ambiguous sort of way, I'm going to read them all the same, despite the fact that the conditions have changed. I don't know how much you need to know about the West Indies, I'm hoping—oh.\\n\\nAudience Member 1\\n00:06:15\\nAddresses Beissel [unintelligible].\\n\\nHenry Beissel\\n00:06:17\\nIs this any better? Is there someone in the hall who can attend please to all this? \\n\\nAudience Member 2\\n00:06:28\\nAddresses Beissel [unintelligible].\\n\\nAudience\\n00:06:30\\nLaughter.\\n\\nHenry Beissel\\n00:06:39\\nWell I'll try to speak a little louder on my own, in spite of the microphone. I was saying that I don't know how much one needs to know of the West Indies to respond to this sort of poem, I'm hoping something of the West Indies might be in the poems, the first is called \\\"Pans at Carnival\\\". Pan [https://www.wikidata.org/wiki/Q6610630] is the expression for a steel drum. The imagery in the poem is taken entirely from the steel drum and its use at Carnival [https://www.wikidata.org/wiki/Q4618], a feast that is about to be celebrated in Trinidad [https://www.wikidata.org/wiki/Q754] in about a month. Rhythmically, the poem tries to catch something of the rhythm of the steel pan. \\n\\nHenry Beissel\\n00:07:28\\nReads \\\"Pans at Carnival\\\".\\n\\nHenry Beissel\\n00:10:18\\nThe second poem celebrates something of the violence that the sun, with which the sun blesses those parts of the world from which it never really disappears.\\n\\nHenry Beissel\\n00:10:34\\nReads \\\"Where the Sun Only\\\".\\n\\nHenry Beissel\\n00:12:49\\nNext I want to read two parts from New Wings for Icarus. Time does not allow me to read the whole poem, because then I could read you nothing else. “Icarus” is a poem that is written in four parts, it is with some regret that I read only two, because to me it is like playing the second and fourth part of a symphony, but there is no alternative. \\n\\nHenry Beissel\\n00:13:19\\nReads \\\"New Wings for Icarus\\\", part 2 from New Wings for Icarus.\\n\\nHenry Beissel\\n00:13:51\\nSorry, I'll start again. This is a hard one to read and this print is very small. I better hold it closer.\\n\\nHenry Beissel\\n00:13:59\\nReads \\\"New Wings for Icarus\\\", part 2 from New Wings for Icarus.\\n\\nHenry Beissel\\n00:19:41\\nReads \\\"New Wings for Icarus\\\", part 4 from New Wings for Icarus.\\n\\nHenry Beissel\\n00:26:39\\nNow for a little sort of relaxation in-between, I find unrelieved serious poetry hard to bear myself, I'll read—unfortunately I do not write occasional poems terribly often, they always seem to grow into something much bigger than I can handle, but the next two poems I want to read you are occasional poems, poetry can come out of anything of course, and this one came out of an encounter in a house of Inquisition in Cartagena [https://www.wikidata.org/wiki/Q657461], in Colombia [https://www.wikidata.org/wiki/Q739], it is really self-explanatory. It's called \\\"En la Casa de Inquisición\\\". \\n\\nHenry Beissel\\n00:27:40\\nReads \\\"En la Casa de Inquisición\\\".\\n\\nHenry Beissel\\n00:29:23\\nThe next poem leads me on to the last set of poems, but you won't discover that until you hear the last two poems. This poem is dedicated to my daughter, when she was 1 and a half, the first stanza deals with the circumstances of her birth, which were somewhat elaborate, there were firemen. The second stanza deals with her present—this would be the past from the time of the poem, the second deals with her present, and the third with her future. \\n\\nHenry Beissel\\n00:30:07\\nReads \\\"To My Daughter at Age 1 1/2\\\".\\n\\nHenry Beissel\\n00:33:25\\nAnd now I come to the final two poems. They belong together and are part of a— we agreed not to torture you and not to read for more than 30 minutes this evening and I am trying to stick to that. This is rather the beginning of something that I may never live to finish, the entire thing is supposed to have some 26 poems, of which you will hear the first two, one is a prologue and the other one is called \\\"Adam Enter Eve\\\". In the prologue, a character introduces himself who is to play his part in the rest of the poem. It's not really a dramatic poem, although it's, well I don't think of it as a drama, although it has dramatic qualities. Anyway, I don't like to be my own critic. I prefer just to read you the poem. The whole cycle will be called \\\"The Dancer from the Dance\\\" that is as you no doubt know, a quotation from Yeats [https://www.wikidata.org/wiki/Q40213]. \\n\\nHenry Beissel\\n00:34:45\\nReads \\\"Prologue\\\" from \\\"The Dancer from the Dance\\\".\\n\\nHenry Beissel\\n00:37:04\\nReads \\\"Adam Enter Eve\\\".\\n\\nEND\\n00:49:40\\n[Recording continues on mike_gnarowski_i006-11-122.mp3].\\n\",\"notes\":\"Henry Beissel reads largely from New Wings for Icarus (Coach House Press, 1966).\\n\\n00:00 - Unknown speaker introduces Louis Dudek [INDEX: McGill University, Louis Dudek]\\n00:40 - Louis Dudek introduces Henry Beissel [INDEX: A.J.M. Smith from Michigan State as Canadian Anthropologist of poetry, Mike Gnarowski, poetic organization and conventions, new schools of poetry, ‘chaotic monologue’, English metrics and rhyme, University of Alberta, Edge Magazine, New Wings for Icarus]\\n05:30 - Henry Beissel speaks [INDEX: West Indies]\\n06:39 - Henry Beissel introduces “Pans at Carnival” [INDEX: imagery of a steel drum, Trinidad]\\n07:28 - Reads “Pans at Carnival”\\n10:18 - Introduces “Where the Sun Only” [INDEX: imagery of the sun]\\n10:34 - Reads “Where the Sun Only”\\n12:49 - Introduces “New Wings for Icarus”, part 2 [INDEX: Icarus]\\n13:51 - Re-starts poem\\n19:41 - Reads “New Wings for Icarus”, part 4\\n26:39 - Introduces “En la Casa de Inquisition” [INDEX: occasional poetry, Cartagena, Columbia]\\n27:40 - Reads “En la Casa de Inquisition”\\n29:23 - Introduces “To my Daughter at Age 1 1/2” [INDEX: poem for his daughter]\\n30:07 - Reads “To my Daughter at Age 1 1/2”\\n33:25 - Introduces “Prologue” and “Adam Enter Eve” from “The Dancer from the Dance” [INDEX: Yeats]\\n34:45 - Reads “Prologue”\\n37:04 - Reads “Adam Enter Eve”\\n49:40 - END OF RECORDING.\\n\\nHoward Fink List of Poems:\\n“Henry Beissel”\\nJanuary 13, 1967\\nwith reel information\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/henry-beissel-reads-with-introduction-by-louis-dudek-michael-gnarowski-in-same-reading/\"}]"],"score":1.8530173},{"id":"1259","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":["Margaret Avison at Sir George Williams University, The Poetry Series, 27 January 1967"],"item_title_source":["Cataloguer"],"item_title_note":["\"Marg. Avison (2 tracks 3 3/4\"/sec ) I086-11-002\" written on sticker on the reel and on the tape's box. Marg. Avison refers to Margaret Avison. \"RT 518\" also written."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 1"],"item_identifiers":["[]"],"access":["Streaming and download"],"creator_names":["Avison, Margaret"],"creator_names_search":["Avison, Margaret"],"creators":["[{\"url\":\" http://viaf.org/viaf/79128508\",\"name\":\"Avison, Margaret\",\"dates\":\"1918-2007\",\"notes\":\"Poet Margaret Avison was born in Galt, Ontario in 1918. She was educated at the University of Toronto and received her Bachelor’s degree in 1940. During the early forties, she contributed her poetry to Sid Corman’s Origin, with the likes of Charles Olson, Denise Levertov and Robert Creeley. While she is often associated with this group of poets, her content differs from theirs. Avison worked as an English literature lecturer, a secretary, a librarian, a researcher and as a social worker at a mission in downtown Toronto. Her first collection of poems was published in 1960, titled Winter Sun (University of Toronto Press), followed by The Dumbfounding (Noron, 1966). Avison’s poetry was also anthologized in Eli Mandel and Jean-Guy Pilon’s Poetry 62 (Ryerson, 1961). In 1963, she returned to the University of Toronto to write her thesis on Don Juan and to pursue graduate work. Avison taught and lectured English at Scarborough College and at the University of Toronto, as well as working at the Presbyterian Church Mission in Toronto. In 1970, she collaborated with bp Nichol and published The Cosmic Chef Glee & Perloo Memorial Society under the direction of Captain Poetry presents...: [an evening of concrete, courtesy of Oberon Cement Works] (Oberon Press). Avison, staying on the periphery of the poetry scene, attended and participated in several readings, and supported other writers in their pursuits. She translated poems from Hungarian, which appear in The Plough and the Pen: Writings from Hungary, 1930-1956 (London, P. Owen, 1963). Sunblue was published in 1978 by Lancelot Press, and a collected edition of Winter Sun/The Dumbfounding: Poems 1940-1966 (McClelland & Stewart, 1982) and No time (Lancelot Press, 1989). Her Selected Poems was published in 1991 by Oxford University Press, followed by A kind of perseverance (Lancelot Press, 1994) and Not yet but still (Lancelot Press, 1997). Avison has produced a number of books, Always Now: The collected poems (Porcupine’s Quill) came as a three volume series published between 2003 and 2005. Momentary dark (McClelland & Stewart, 2006), Listening: the last poems (McClelland & Stewart, 2009) and I am here and not not-there: an autobiography (Porcupine’s Quill, 2009) have both recently been released. Margaret Avison died in Toronto in August of 2007.\\n\",\"nation\":[],\"role\":[\"Performer\",\"Author\"]}]"],"contributors_names":["Kiyooka, Roy"],"contributors_names_search":["Kiyooka, Roy"],"contributors":["[{\"url\":\"http://viaf.org/viaf/30784426\",\"name\":\"Kiyooka, Roy\",\"dates\":\"1926-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Presenter\"]}]"],"Presenter_name":["Kiyooka, Roy"],"Series_organizer_name":["Kiyooka, Roy"],"Performance_Date":[1967],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"BASF\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"01:20:00\",\"physical_condition\":\"\",\"track_configuration\":\"2 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\":\"1967 1 27\",\"type\":\"Performance Date\",\"notes\":\"Date specified in The Georgian's \\\"Op-Ed\\\"\",\"source\":\"Supplemental Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Basement Theatre\",\"notes\":\"Location specified in The Georgian's \\\"Op-Ed\\\"\",\"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 Basement Theatre"],"City":["Montreal, Quebec"],"contents":["margaret_avison_i086-11-002.mp3\n\nRoy Kiyooka\n00:00:00\nIn view of the embarrassment of having made such a mess of introducing the last poet, I spent a considerable amount of time setting out what I should say this evening, so hopefully I'll be a little more successful. Well, this is our seventh poetry evening and we welcome you all here this cold and blustery evening. Now, this evening we're having Margaret Avison [https://www.wikidata.org/wiki/Q6759152] read poems, and I wanted to say a few things about her. I first listened to Margaret read her poems at the poetry conference, University of British Columbia [https://www.wikidata.org/wiki/Q391028], during the summer of 1963. Her reading, together with those of the other poets on hand, are among the most memorable occasions I've had in my love affair with poems and poets. Four years later, in early January, we spent an afternoon together. Now I don't want to attribute, what I felt with a thought, on Bloor Street, to our conversation, but the warmth of it was very real. Margaret Avison was born in Guelph [https://www.wikidata.org/wiki/Q504114], Ontario [https://www.wikidata.org/wiki/Q1904]; some early years were spent in Alberta [https://www.wikidata.org/wiki/Q1951]; she graduated from Victoria College [https://www.wikidata.org/wiki/Q3551503], the University of Toronto [https://www.wikidata.org/wiki/Q180865], in 1940, with a BA in English Language and Literature. She has been a secretary of all sorts for various firms, individuals, and organizations, and has also been a research assistant and librarian and presently teaches English at Scarborough College, Toronto [https://www.wikidata.org/wiki/Q172]. 1956-57 she was a Guggenheim Fellow [https://www.wikidata.org/wiki/Property:P6594] in poetry, and during the forties her work appeared in various Canadian magazines, and in the fifties, mainly in American ones. She has published two books of poems; The Winter Sun in 1960 won the Governor General's Award [https://www.wikidata.org/wiki/Q283256], and in 1966, W.W. Norton [https://www.wikidata.org/wiki/Q1282208] in New York [https://www.wikidata.org/wiki/Q60] issued The Dumbfounding [https://www.wikidata.org/wiki/Q42189162], her latest book. Ladies and gentlemen, it gives me great pleasure in introducing to you Margaret Avison.\n \nUnknown\n00:02:59\n[Cut or edit made in tape. Unknown amount of time elapsed]. \n \nMargaret Avison\n00:02:59\nI don't know about the reading but I do know about the pleasure of meeting Roy [https://www.wikidata.org/wiki/Q3445789] again here, and being introduced by him. If this were Monday, or up to a week from tonight, I would be able to join the Angry Art Week. I don't know if anybody else has received these letters, but in New York City initially they're trying this and anybody who gets a letter from them is asked to dedicate any reading or event to what they're trying to do. You can still send them money, too, I'll give you the address if you want it later. What they're going to do is play harps in railroad stations and have...lets see, Bach [https://www.wikidata.org/wiki/Q1339] cantatas in railroad stations, play-ins in various museums and the lobbies of concert halls, recital halls, business buildings--I like that one--dramatic presentations in laundromats and supermarkets, [audience laughter], a paint-in, and fences and billboards throughout Manhattan [https://www.wikidata.org/wiki/Q11299] with their work showing and so on. This is a series. \"What we're trying to do is through art to reach the American people as human beings.\" So...[audience laughter]. If this were Monday I'd dedicate the reading [audience laughter and applause]...This is all very orderly, although it doesn't look it, and it starts with other people's poems of various kinds. A little section of C. Bukowski [https://www.wikidata.org/wiki/Q76409], somebody said that's Charles, an American poet. It's a great long thing that was in a mimeograph magazine, and the description is of a woman with a bicycle and a baby carriage, high-heeled shoes, white socks, and all her belongings, on a hot day in the middle of a road in a city. \n \nMargaret Avison\n00:05:28\nReads unnamed poem by Charles Bukowski.\n \nMargaret Avison\n00:06:30.\nThat's sad, so on the same page I copied one of Al Fowler's, which was in a magazine called Lines, which is the all-time happiest little poem, and I don't know why. I'm going to stop where the lines stop, not where the sense stops, so you can see the shape of it.  There's no capital letters. There's no title.\n \nMargaret Avison\n00:07:01\nReads “Are you a root or a tendermint” by Al Fowler [published in Lines 6].\n\nAudience \n00:07:20\nLaughter.\n\nMargaret Avison\n00:07:30\nThis is one by Gerry Gilbert [https://www.wikidata.org/wiki/Q5552756], called \"Zoo\".\n \nMargaret Avison\n00:07:39\nReads \"Zoo\" by Gerry Gilbert.\n \nMargaret Avison\n00:08:00\nI may bring in some more of other people's, but this is just a little, it's a friend of mine in Toronto who's made it to grade seven this year. He calls it \"The Delinquent\", and he has, in this copy he has said that it's his copyright so if you betray the fact that I read some of it, I'll be in trouble with him.\n \nMargaret Avison\n00:08:33\nReads \"The Delinquent\" by an unnamed author [audience laughter throughout].\n \nMargaret Avison\n00:10:20\nIt goes on, a bit, I want to go back to where it gets sad, though. I love \"She twisted her pinkies behind her but all the knots held more\".\n \nMargaret Avison\n00:10:30\nResumes reading \"The Delinquent\" [audience laughter throughout].\n \nMargaret Avison\n00:11:33\nThere's an awful line in the next verse. [Audience laughter].\n \nMargaret Avison\n00:11:41\nResumes reading \"The Delinquent\" [audience laughter throughout].\n \nMargaret Avison\n00:12:43\nIt ends up with knotting a burning matchstick into her old man's hair. [Audience laughter]. I think as he goes on he'll be somebody. If I'm not reading mine I'll warn of you. Some of these...the first one is a Toronto poem with footnotes, saying that TTC [https://www.wikidata.org/wiki/Q17978] means Toronto Transit Commission, and the Ditch is an open cut on the Yonge subway between Bloor and Rosedale. \n \nMargaret Avison\n00:13:38\nReads unnamed poem.\n \nMargaret Avison\n00:14:37\nThe second subway poem...a little child, it's called \"Subway Station Why Not.\"\n \nMargaret Avison\n00:14:53\nReads \"Subway Station Why Not\".\n \nMargaret Avison\n00:15:56\nThis next one is St. Clair Avenue, where I live on the car tracks. It's called \"Insomniac Report\".\n \nMargaret Avison\n00:16:11\nReads \"Insomniac Report\".\n \nMargaret Avison\n00:17:07\nFeels as if I should be doing something different, but I don't know what. I did a poem to people writing examinations I'm hunting for, but I think I've forgotten it. There's three about this odd experience of teaching and students. This one was written before I had had the experience, but was looking forward to it. And it had the title \"Is That You/Me Standing on My/Your Feet?\" And it's very full of fine theory and idealism.\n \nMargaret Avison\n00:18:18\nReads \"Is That You/Me Standing on My/Your Feet?\".\n \nMargaret Avison\n00:19:21\nAnd I've got two other incomplete ones that should be read with that. I'll just read two stanzas of the first one, it's got one four-line stanza for the students...\n \nMargaret Avison\n00:19:36\nReads unnamed poem.\n \nMargaret Avison\n00:20:36\nThe teacher's answer hasn't got written yet. Here's another bit, two stanzas, the student and the teacher, that isn't finished. The student is talking although it doesn't sound like it. \n \nMargaret Avison\n00:21:01\nReads unnamed poem.\n \nMargaret Avison\n00:21:51\nThere's a daybreak bus I have to catch and this one is called \"October 21, '66, at a bus stop on the way\".\n \nMargaret Avison\n00:22:03\nReads \"October 21, '66, at a bus stop on the way\".\n \nMargaret Avison\n00:23:07\nI had planned to get all this organized on the plane, but I was in the middle of the three seats and I kept getting the briefcase out and everything would fall to the floor, and this one would dive for it, or this one, and I finally gave up, so it's upside down. This is dedicated to Jacques Ellul [https://www.wikidata.org/wiki/Q322922], The Technological Society [https://www.wikidata.org/wiki/Q1607727], a book he wrote that's a little mad but very stirring.\n \nMargaret Avison\n00:23:56\nReads [“Making Senses”, published later in No Time]. \n \nMargaret Avison\n00:26:39\nThere's one here that is just the equivalent to sketching, I guess. I know a poet in Chicago [https://www.wikidata.org/wiki/Q1297] who used to go and sit around in the Art Institute [https://www.wikidata.org/wiki/Q239303], when it was a fairly quiet room, and stare all morning, and if any words occurred to him, he dashed them down. And sometime he worked up his sketches and sometime he didn't, which is a technique that's lots of fun to practice, and occasionally something grows out of it. In this case I don't think I'll ever do anything but it'll show you the kind of thing that I mean, if, as I assume, most of you are writers.\n \nMargaret Avison\n00:27:38\nReads unnamed poem. \n \nMargaret Avison\n00:28:25\nNow a poem with syntax and stuff called \"The Seven Birds\". A corner of Bathurst and College Street in Toronto which is the kind of buildings that have been there since the first world war, where there's often stores on the street level and an apartment or two above. \n \nMargaret Avison\n00:29:01\nReads \"The Seven Birds\" [published later in sunblue].\n\nMargaret Avison\n00:30:15\nI think I should read a long, fierce poem. This is not by me except translated. It's the poem of Gyula Illyes [https://www.wikidata.org/wiki/Q381107], called \"Of Tyranny, In One Breath\". Ilona Duczynska [https://www.wikidata.org/wiki/Q967353] did a literal translation for me and then read it to me for sound and we worked through it that way.  Apparently the poem started, or happened, in 1956 in Budapest [https://www.wikidata.org/wiki/Q1781]. Illyes had written it some years before but hadn't been angry enough at the time to risk what it was to bring it out. But he grew angry enough and somebody said the one thing that nobody censors is the magazine which tells you what lectures are going on where and what movies are running where and is just a news sheet, and the middle spread was for advertising, so they printed this in the middle sheet and it was, they tried to stop it as soon as the authorities found it but by then they were storming the radio station or however it started. I can't do it in one breath because it goes on for several pages. In the first part of it, \"it,\" meaning \"tyranny\" is small \"i\" and towards the end it's a capital \"I.\"\n \nMargaret Avison\n00:32:27\nReads English translation of \"Of Tyranny, In One Breath\" by Gyula Illyes [published later in Always Now, Vol. 1].\n\nMargaret Avison\n00:39:26\nSo, after the revolution he was much too well-known to disappear but they said he was insane and he was in an asylum for a while, but he wrote a lot of lovely things there, so I don't think he was, and he's not there now. It's much better, I think. A group of silly things it's embarrassing to read but I will, called \"Bestialities\".\n \nMargaret Avison\n00:40:19\nReads \"Bestialities\", parts 1-5 [from The Dumbfounding; audience laughter throughout].\n \nMargaret Avison\n00:41:14\nThe last one I think is just beautiful, but nobody gets it unless I explain, so I'll explain, it's like you take a piece of 8 by 11 typing paper...\n \nAudience Member 1\n00:41:26\nDon't explain, just say it.\n \nMargaret Avison\n00:41:28\nAlright, you can tell me then, eh? \n \nMargaret Avison\n00:41:33\nReads \"Bestialities\", part 6 [from The Dumbfounding].\n \nMargaret Avison\n00:41:40\nNow, come on...[Audience laughter]. Hmm? Does anybody want the explanation? Well I've read it. It's just a crumpled-up letter, you know, you get it and you read it and you cry and you crumble it up and you throw it down and the mite goes up...Now I'll read it again.\n \nMargaret Avison\n00:42:17\nReads \"Bestialities\", part 6 [from The Dumbfounding].\n \nMargaret Avison\n00:42:35\n“The Absorbed\". This is one of the very cold days, I guess about ten below, enough. It's inside the pane of glass separating inside from outside comes into it, a certain kind of sky that goes with that which is like glass again. \n \nMargaret Avison\n00:43:09\nReads \"The Absorbed\" [from The Dumbfounding].\n \nMargaret Avison\n00:45:50\nReads [\"Thaw\" from Winter Sun].\n \nMargaret Avison\n00:47:37\nI would like to read two other weather ones and then I'll give you a break. This is “Two Mayday Selves”.\n \nMargaret Avison\n00:47:54\nReads \"Two Mayday Selves\" [from The Dumbfounding].\n \nMargaret Avison\n00:49:42\nAnd the last one is late spring, early summer. Jet-plane and terminuses, called \"Black-White Under Green, May 18th 1965”.\n \nMargaret Avison\n00:50:06\nReads \"Black-White Under Green, May 18th 1965” [published as “May 18 1965” in The Dumbfounding].\n\nUnknown\n00:52:53\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nMargaret Avison\n00:52:54\nI've been asked to read \"The Valiant Vacationist\". It was written so many years ago...I think I would be quite right in saying thirty years ago, and probably a little more. And I couldn't write this well now but in a way when you're very young you've got the whole world in one lump without any lump, and you only get bits later on. \n \nMargaret Avison\n00:53:34\nReads \"The Valiant Vacationist\" [published later in Always Now: Vol. 1].\n \nMargaret Avison\n00:56:54\nThen the one \"To Professor X, Year Y\".\n \nMargaret Avison\n00:57:03\nReads \"To Professor X, Year Y\" [from Winter Sun].\n\nMargaret Avison\n00:59:57\nI'd like to read one introductory poem to the long one, \"The Earth that Falls Away\", and that one, and two short ones, if you'll bear with me that long. This is called \"The Absolute, the Day\".\n \nMargaret Avison\n01:00:22\nReads \"The Absolute, the Day\" [published later as “Absolute” in sunblue and in Always Now Vol. 2].\n\nMargaret Avison\n01:01:39\nThis one is \"The Earth that Falls Away\". There's an epigraph from Beddoes’ [https://www.wikidata.org/wiki/Q2165597] Death's Jest-Book [https://www.wikidata.org/wiki/Q42188673]: \"Can a man die? Aye, as the sun doth set, it is the earth that falls away from light\". There are a number of human situations, some into the past, through the present generation, the rest various city people, myself, and the stories come interleaving so that as I name a new section it'll be a new group of people, and by request I'm going to  stop at the line-ends here. \n \nMargaret Avison\n01:02:32\nReads \"The Earth that Falls Away\" [from The Dumbfounding].\n \nMargaret Avison\n01:15:52\nReads [\"He Couldn’t Be Safe (Isaiah 53:5)”, published later in sunblue].\n \nMargaret Avison\n01:16:54\nThere's one more and I'll stop with this one. \n \nMargaret Avison\n01:17:00\nReads [section from “The Jo Poems”, part 6. Published later in No Time. Subtitled “Having” in Always Now: Vol. 2].\n \nEND\n01:17:54\n[Cut off abruptly].\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1967, Margaret Avison was teaching English at Scarborough College. The Dumbfounding had been published the previous year.\\n\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nMargaret Avison met Roy Kiyooka, who was teaching at Sir George Williams University at a reading in 1963 at the University of British Columbia.\\n\",\"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>2 CDs>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/encyclopedia-of-post-colonial-literatures-in-english-vol-1/oclc/32566813&referer=brief_results\",\"citation\":\"Anderson, Mia. “Avison, Margaret (1918-)”. Routledge Encyclopedia of Post-Colonial Literatures in English. Benson, Eugene; Connoly, L.W. (eds). London: Routledge, 1994. 2 vols.\"},{\"url\":\"https://www.worldcat.org/title/always-now-the-collected-poems-vol-1/oclc/834732786&referer=brief_results\",\"citation\":\"Avison, Margaret. Always Now: The Collected Poems, Vols 1-3. Erin, Ontario: The Porcupine’s Quill, 2003. \"},{\"url\":\"https://www.worldcat.org/title/dumbfounding-poems/oclc/635930&referer=brief_results\",\"citation\":\"Avison, Margaret. The Dumbfounding. New York: W.W. Norton & Co, 1966. \"},{\"url\":\"https://www.worldcat.org/title/no-time/oclc/751204318&referer=brief_results\",\"citation\":\"Avison, Margaret. No Time. Hantsport: Lancelot Press; London: Brick Books, 1989. \"},{\"url\":\"https://www.worldcat.org/title/sunblue/oclc/867940471&referer=brief_results\",\"citation\":\"Avison, Margaret. sunblue. Hantsport: Lancelot Press; London: Brick Books, 1978.\"},{\"url\":\"https://www.worldcat.org/title/winter-sun/oclc/320960000&referer=brief_results\",\"citation\":\"Avison, Margaret. Winter Sun. London: Routledge and Kegan Paul 1960. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/margaret-avison-at-sgwu-1967/#reading1-1\",\"citation\":\"“Avison: Next Poet to Read”. The Georgian. Montreal: Sir George Williams University, 27 January 1967. \"},{\"url\":\"https://www.worldcat.org/title/from-there-to-here-a-guide-to-english-canadian-literature-since-1960/oclc/441669839&referer=brief_results\",\"citation\":\"Davey, Frank. From There to Here: A Guide to English-Canadian Literature Since 1960. Erin, Ontario: Press Porcepic, 1974. \"},{\"url\":\"https://www.worldcat.org/title/15-canadian-poets-times-2/oclc/622296707&referer=brief_results\",\"citation\":\"Geddes, Gary (ed). Fifteen Canadian Poets Times Two. Toronto: Oxford University Press, 1990. \"},{\"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”. The Gazette. Saturday, December 31, 1966: page 39.\"},{\"url\":\"https://www.worldcat.org/title/margaret-avison/oclc/556890573&referer=brief_results\",\"citation\":\"Redekop, Ernest. Margaret Avison: Studies in Canadian Literature. Toronto: The Copp Clark Publishing Company, 1970. \\n\"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/margaret-avison-at-sgwu-1967/#reading1-1\",\"citation\":\"Simco, Bob. “Georgiantics”. The Georgian. Montreal: Sir George Williams University, 27 January 1967. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/margaret-avison-at-sgwu-1967/#reading1-1\",\"citation\":\"Thoms, Kathleen. “Margaret Avison’s Poetry”. OP-ED. Montreal: Sir George Williams University, 3 February 1967. \"}]"],"_version_":1853670548673921024,"timestamp":"2026-01-07T14:59:53.264Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0002_front.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0086_11_0002_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Margaret Avison 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_0002_side.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0086_11_0002_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Margaret Avison Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0002_back.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0086_11_0002_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Margaret Avison 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_0002_tape.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0086_11_0002_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Margaret Avison 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/margaret_avison_i086-11-002.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"margaret_avison_i086-11-002.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:17:54\",\"precision\":\"\",\"size\":\"187 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Roy Kiyooka\\n00:00:00\\nIn view of the embarrassment of having made such a mess of introducing the last poet, I spent a considerable amount of time setting out what I should say this evening, so hopefully I'll be a little more successful. Well, this is our seventh poetry evening and we welcome you all here this cold and blustery evening. Now, this evening we're having Margaret Avison [https://www.wikidata.org/wiki/Q6759152] read poems, and I wanted to say a few things about her. I first listened to Margaret read her poems at the poetry conference, University of British Columbia [https://www.wikidata.org/wiki/Q391028], during the summer of 1963. Her reading, together with those of the other poets on hand, are among the most memorable occasions I've had in my love affair with poems and poets. Four years later, in early January, we spent an afternoon together. Now I don't want to attribute, what I felt with a thought, on Bloor Street, to our conversation, but the warmth of it was very real. Margaret Avison was born in Guelph [https://www.wikidata.org/wiki/Q504114], Ontario [https://www.wikidata.org/wiki/Q1904]; some early years were spent in Alberta [https://www.wikidata.org/wiki/Q1951]; she graduated from Victoria College [https://www.wikidata.org/wiki/Q3551503], the University of Toronto [https://www.wikidata.org/wiki/Q180865], in 1940, with a BA in English Language and Literature. She has been a secretary of all sorts for various firms, individuals, and organizations, and has also been a research assistant and librarian and presently teaches English at Scarborough College, Toronto [https://www.wikidata.org/wiki/Q172]. 1956-57 she was a Guggenheim Fellow [https://www.wikidata.org/wiki/Property:P6594] in poetry, and during the forties her work appeared in various Canadian magazines, and in the fifties, mainly in American ones. She has published two books of poems; The Winter Sun in 1960 won the Governor General's Award [https://www.wikidata.org/wiki/Q283256], and in 1966, W.W. Norton [https://www.wikidata.org/wiki/Q1282208] in New York [https://www.wikidata.org/wiki/Q60] issued The Dumbfounding [https://www.wikidata.org/wiki/Q42189162], her latest book. Ladies and gentlemen, it gives me great pleasure in introducing to you Margaret Avison.\\n \\nUnknown\\n00:02:59\\n[Cut or edit made in tape. Unknown amount of time elapsed]. \\n \\nMargaret Avison\\n00:02:59\\nI don't know about the reading but I do know about the pleasure of meeting Roy [https://www.wikidata.org/wiki/Q3445789] again here, and being introduced by him. If this were Monday, or up to a week from tonight, I would be able to join the Angry Art Week. I don't know if anybody else has received these letters, but in New York City initially they're trying this and anybody who gets a letter from them is asked to dedicate any reading or event to what they're trying to do. You can still send them money, too, I'll give you the address if you want it later. What they're going to do is play harps in railroad stations and have...lets see, Bach [https://www.wikidata.org/wiki/Q1339] cantatas in railroad stations, play-ins in various museums and the lobbies of concert halls, recital halls, business buildings--I like that one--dramatic presentations in laundromats and supermarkets, [audience laughter], a paint-in, and fences and billboards throughout Manhattan [https://www.wikidata.org/wiki/Q11299] with their work showing and so on. This is a series. \\\"What we're trying to do is through art to reach the American people as human beings.\\\" So...[audience laughter]. If this were Monday I'd dedicate the reading [audience laughter and applause]...This is all very orderly, although it doesn't look it, and it starts with other people's poems of various kinds. A little section of C. Bukowski [https://www.wikidata.org/wiki/Q76409], somebody said that's Charles, an American poet. It's a great long thing that was in a mimeograph magazine, and the description is of a woman with a bicycle and a baby carriage, high-heeled shoes, white socks, and all her belongings, on a hot day in the middle of a road in a city. \\n \\nMargaret Avison\\n00:05:28\\nReads unnamed poem by Charles Bukowski.\\n \\nMargaret Avison\\n00:06:30.\\nThat's sad, so on the same page I copied one of Al Fowler's, which was in a magazine called Lines, which is the all-time happiest little poem, and I don't know why. I'm going to stop where the lines stop, not where the sense stops, so you can see the shape of it.  There's no capital letters. There's no title.\\n \\nMargaret Avison\\n00:07:01\\nReads “Are you a root or a tendermint” by Al Fowler [published in Lines 6].\\n\\nAudience \\n00:07:20\\nLaughter.\\n\\nMargaret Avison\\n00:07:30\\nThis is one by Gerry Gilbert [https://www.wikidata.org/wiki/Q5552756], called \\\"Zoo\\\".\\n \\nMargaret Avison\\n00:07:39\\nReads \\\"Zoo\\\" by Gerry Gilbert.\\n \\nMargaret Avison\\n00:08:00\\nI may bring in some more of other people's, but this is just a little, it's a friend of mine in Toronto who's made it to grade seven this year. He calls it \\\"The Delinquent\\\", and he has, in this copy he has said that it's his copyright so if you betray the fact that I read some of it, I'll be in trouble with him.\\n \\nMargaret Avison\\n00:08:33\\nReads \\\"The Delinquent\\\" by an unnamed author [audience laughter throughout].\\n \\nMargaret Avison\\n00:10:20\\nIt goes on, a bit, I want to go back to where it gets sad, though. I love \\\"She twisted her pinkies behind her but all the knots held more\\\".\\n \\nMargaret Avison\\n00:10:30\\nResumes reading \\\"The Delinquent\\\" [audience laughter throughout].\\n \\nMargaret Avison\\n00:11:33\\nThere's an awful line in the next verse. [Audience laughter].\\n \\nMargaret Avison\\n00:11:41\\nResumes reading \\\"The Delinquent\\\" [audience laughter throughout].\\n \\nMargaret Avison\\n00:12:43\\nIt ends up with knotting a burning matchstick into her old man's hair. [Audience laughter]. I think as he goes on he'll be somebody. If I'm not reading mine I'll warn of you. Some of these...the first one is a Toronto poem with footnotes, saying that TTC [https://www.wikidata.org/wiki/Q17978] means Toronto Transit Commission, and the Ditch is an open cut on the Yonge subway between Bloor and Rosedale. \\n \\nMargaret Avison\\n00:13:38\\nReads unnamed poem.\\n \\nMargaret Avison\\n00:14:37\\nThe second subway poem...a little child, it's called \\\"Subway Station Why Not.\\\"\\n \\nMargaret Avison\\n00:14:53\\nReads \\\"Subway Station Why Not\\\".\\n \\nMargaret Avison\\n00:15:56\\nThis next one is St. Clair Avenue, where I live on the car tracks. It's called \\\"Insomniac Report\\\".\\n \\nMargaret Avison\\n00:16:11\\nReads \\\"Insomniac Report\\\".\\n \\nMargaret Avison\\n00:17:07\\nFeels as if I should be doing something different, but I don't know what. I did a poem to people writing examinations I'm hunting for, but I think I've forgotten it. There's three about this odd experience of teaching and students. This one was written before I had had the experience, but was looking forward to it. And it had the title \\\"Is That You/Me Standing on My/Your Feet?\\\" And it's very full of fine theory and idealism.\\n \\nMargaret Avison\\n00:18:18\\nReads \\\"Is That You/Me Standing on My/Your Feet?\\\".\\n \\nMargaret Avison\\n00:19:21\\nAnd I've got two other incomplete ones that should be read with that. I'll just read two stanzas of the first one, it's got one four-line stanza for the students...\\n \\nMargaret Avison\\n00:19:36\\nReads unnamed poem.\\n \\nMargaret Avison\\n00:20:36\\nThe teacher's answer hasn't got written yet. Here's another bit, two stanzas, the student and the teacher, that isn't finished. The student is talking although it doesn't sound like it. \\n \\nMargaret Avison\\n00:21:01\\nReads unnamed poem.\\n \\nMargaret Avison\\n00:21:51\\nThere's a daybreak bus I have to catch and this one is called \\\"October 21, '66, at a bus stop on the way\\\".\\n \\nMargaret Avison\\n00:22:03\\nReads \\\"October 21, '66, at a bus stop on the way\\\".\\n \\nMargaret Avison\\n00:23:07\\nI had planned to get all this organized on the plane, but I was in the middle of the three seats and I kept getting the briefcase out and everything would fall to the floor, and this one would dive for it, or this one, and I finally gave up, so it's upside down. This is dedicated to Jacques Ellul [https://www.wikidata.org/wiki/Q322922], The Technological Society [https://www.wikidata.org/wiki/Q1607727], a book he wrote that's a little mad but very stirring.\\n \\nMargaret Avison\\n00:23:56\\nReads [“Making Senses”, published later in No Time]. \\n \\nMargaret Avison\\n00:26:39\\nThere's one here that is just the equivalent to sketching, I guess. I know a poet in Chicago [https://www.wikidata.org/wiki/Q1297] who used to go and sit around in the Art Institute [https://www.wikidata.org/wiki/Q239303], when it was a fairly quiet room, and stare all morning, and if any words occurred to him, he dashed them down. And sometime he worked up his sketches and sometime he didn't, which is a technique that's lots of fun to practice, and occasionally something grows out of it. In this case I don't think I'll ever do anything but it'll show you the kind of thing that I mean, if, as I assume, most of you are writers.\\n \\nMargaret Avison\\n00:27:38\\nReads unnamed poem. \\n \\nMargaret Avison\\n00:28:25\\nNow a poem with syntax and stuff called \\\"The Seven Birds\\\". A corner of Bathurst and College Street in Toronto which is the kind of buildings that have been there since the first world war, where there's often stores on the street level and an apartment or two above. \\n \\nMargaret Avison\\n00:29:01\\nReads \\\"The Seven Birds\\\" [published later in sunblue].\\n\\nMargaret Avison\\n00:30:15\\nI think I should read a long, fierce poem. This is not by me except translated. It's the poem of Gyula Illyes [https://www.wikidata.org/wiki/Q381107], called \\\"Of Tyranny, In One Breath\\\". Ilona Duczynska [https://www.wikidata.org/wiki/Q967353] did a literal translation for me and then read it to me for sound and we worked through it that way.  Apparently the poem started, or happened, in 1956 in Budapest [https://www.wikidata.org/wiki/Q1781]. Illyes had written it some years before but hadn't been angry enough at the time to risk what it was to bring it out. But he grew angry enough and somebody said the one thing that nobody censors is the magazine which tells you what lectures are going on where and what movies are running where and is just a news sheet, and the middle spread was for advertising, so they printed this in the middle sheet and it was, they tried to stop it as soon as the authorities found it but by then they were storming the radio station or however it started. I can't do it in one breath because it goes on for several pages. In the first part of it, \\\"it,\\\" meaning \\\"tyranny\\\" is small \\\"i\\\" and towards the end it's a capital \\\"I.\\\"\\n \\nMargaret Avison\\n00:32:27\\nReads English translation of \\\"Of Tyranny, In One Breath\\\" by Gyula Illyes [published later in Always Now, Vol. 1].\\n\\nMargaret Avison\\n00:39:26\\nSo, after the revolution he was much too well-known to disappear but they said he was insane and he was in an asylum for a while, but he wrote a lot of lovely things there, so I don't think he was, and he's not there now. It's much better, I think. A group of silly things it's embarrassing to read but I will, called \\\"Bestialities\\\".\\n \\nMargaret Avison\\n00:40:19\\nReads \\\"Bestialities\\\", parts 1-5 [from The Dumbfounding; audience laughter throughout].\\n \\nMargaret Avison\\n00:41:14\\nThe last one I think is just beautiful, but nobody gets it unless I explain, so I'll explain, it's like you take a piece of 8 by 11 typing paper...\\n \\nAudience Member 1\\n00:41:26\\nDon't explain, just say it.\\n \\nMargaret Avison\\n00:41:28\\nAlright, you can tell me then, eh? \\n \\nMargaret Avison\\n00:41:33\\nReads \\\"Bestialities\\\", part 6 [from The Dumbfounding].\\n \\nMargaret Avison\\n00:41:40\\nNow, come on...[Audience laughter]. Hmm? Does anybody want the explanation? Well I've read it. It's just a crumpled-up letter, you know, you get it and you read it and you cry and you crumble it up and you throw it down and the mite goes up...Now I'll read it again.\\n \\nMargaret Avison\\n00:42:17\\nReads \\\"Bestialities\\\", part 6 [from The Dumbfounding].\\n \\nMargaret Avison\\n00:42:35\\n“The Absorbed\\\". This is one of the very cold days, I guess about ten below, enough. It's inside the pane of glass separating inside from outside comes into it, a certain kind of sky that goes with that which is like glass again. \\n \\nMargaret Avison\\n00:43:09\\nReads \\\"The Absorbed\\\" [from The Dumbfounding].\\n \\nMargaret Avison\\n00:45:50\\nReads [\\\"Thaw\\\" from Winter Sun].\\n \\nMargaret Avison\\n00:47:37\\nI would like to read two other weather ones and then I'll give you a break. This is “Two Mayday Selves”.\\n \\nMargaret Avison\\n00:47:54\\nReads \\\"Two Mayday Selves\\\" [from The Dumbfounding].\\n \\nMargaret Avison\\n00:49:42\\nAnd the last one is late spring, early summer. Jet-plane and terminuses, called \\\"Black-White Under Green, May 18th 1965”.\\n \\nMargaret Avison\\n00:50:06\\nReads \\\"Black-White Under Green, May 18th 1965” [published as “May 18 1965” in The Dumbfounding].\\n\\nUnknown\\n00:52:53\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nMargaret Avison\\n00:52:54\\nI've been asked to read \\\"The Valiant Vacationist\\\". It was written so many years ago...I think I would be quite right in saying thirty years ago, and probably a little more. And I couldn't write this well now but in a way when you're very young you've got the whole world in one lump without any lump, and you only get bits later on. \\n \\nMargaret Avison\\n00:53:34\\nReads \\\"The Valiant Vacationist\\\" [published later in Always Now: Vol. 1].\\n \\nMargaret Avison\\n00:56:54\\nThen the one \\\"To Professor X, Year Y\\\".\\n \\nMargaret Avison\\n00:57:03\\nReads \\\"To Professor X, Year Y\\\" [from Winter Sun].\\n\\nMargaret Avison\\n00:59:57\\nI'd like to read one introductory poem to the long one, \\\"The Earth that Falls Away\\\", and that one, and two short ones, if you'll bear with me that long. This is called \\\"The Absolute, the Day\\\".\\n \\nMargaret Avison\\n01:00:22\\nReads \\\"The Absolute, the Day\\\" [published later as “Absolute” in sunblue and in Always Now Vol. 2].\\n\\nMargaret Avison\\n01:01:39\\nThis one is \\\"The Earth that Falls Away\\\". There's an epigraph from Beddoes’ [https://www.wikidata.org/wiki/Q2165597] Death's Jest-Book [https://www.wikidata.org/wiki/Q42188673]: \\\"Can a man die? Aye, as the sun doth set, it is the earth that falls away from light\\\". There are a number of human situations, some into the past, through the present generation, the rest various city people, myself, and the stories come interleaving so that as I name a new section it'll be a new group of people, and by request I'm going to  stop at the line-ends here. \\n \\nMargaret Avison\\n01:02:32\\nReads \\\"The Earth that Falls Away\\\" [from The Dumbfounding].\\n \\nMargaret Avison\\n01:15:52\\nReads [\\\"He Couldn’t Be Safe (Isaiah 53:5)”, published later in sunblue].\\n \\nMargaret Avison\\n01:16:54\\nThere's one more and I'll stop with this one. \\n \\nMargaret Avison\\n01:17:00\\nReads [section from “The Jo Poems”, part 6. Published later in No Time. Subtitled “Having” in Always Now: Vol. 2].\\n \\nEND\\n01:17:54\\n[Cut off abruptly].\\n\",\"notes\":\"Margaret Avison reads from Winter Sun (Routledge and Kegan Paul, 1960) and The Dumbfounding (W.W. Norton & Co, 1966), as well as a few poems published years later in books like sunblue (Lancelot Press, 1978) and No Time (Lancelot Press and Brick Books, 1998). The majority of the poems read were also collected in three volumes, entitled Always Now (The Porcupine’s Quill, 2003).\\n\\nI086-11-002.1=AC\\n\\n(Rachel has indexed poems)\\n00:00- Roy Kiyooka introduces Margaret Avison. [INDEX: seventh poetry evening, poetry conference at UBC summer of 1963; Bloor Street, Guelph Ontario, Alberta, Victoria College of the University of Toronto in 1940 with BA from English Language and Literature, secretary at firms, research assistant, librarian, teaching English at    \\tScarborough College (Toronto), Guggenheim Fellow 1956-7, Canadian and American    \\tmagazines; books: The Winter Sun won Governor General’s Award in 1960, The    Dumbfounding (W.W. Norton in New York, 1966).]\\n02:59- Avison introduces poem by Charles Bukowski, first line “She had gone wrong somewhere...” [INDEX: Roy Kiyooka (meeting), Angry Art Week in NYC, dedicate    \\treadings to Angry Art Week, Bach, Manhattan, American people, American poet,        \\tMimeograph Magazine.]\\n05:28- Reads section from a poem by Charles Bukowski “She had gone wrong somewhere...”\\n06:30- Introduces poem by Al Fowler first line “Quote: Are you a root or a tender mint     tea?”. [INDEX: magazine Line, line stops, shape of poem, no capital letters, no title.]\\n07:01- Reads poem by Al Fowler, first line “Quote: Are you a root or a tender mint tea?”.\\n07:30- Introduces poem by Gerry Gilbert called “Zoo”.\\n07:39- Reads poem by Gerry Gilbert, called  “Zoo”.\\n08:00- Introduces poem called “The Delinquent”  by unknown child. [INDEX: friend in Toronto, in grade seven.]\\n08:33- Reads “The Delinquent”.\\n10:20- Interjects comment about poem.\\n10:30- Continues reading “The Delinquent”.\\n11:33- Interjects comment about poem.\\n11:41- Continues reading “The Delinquent”.\\n12:43- Explains “The Delinquent”, Introduces poem, first line “Inside the TTC’s fence...”.  [INDEX: Toronto poem, footnotes, TTC means Toronto Transit Commission, Yonge       \\tSubway between Bloor and Rosedale.]\\n13:38- Reads first line “Inside the TTC’s fence...”. [INDEX: cities, Toronto, transportation, subway; from an unknown source.]\\n14:37- Introduces “Subway Station Why Not”. [INDEX: subway poem, child, from unknown source]\\n14:53- Reads “Subway Station Why Not”. [INDEX: cities, Toronto,  transportation, subway, child; from an unknown source.]\\n15:56- Introduces “Insomniac Report”. [INDEX: St. Clair Avenue (Toronto), car tracks.]\\n16:11- Reads “Insomniac Report”. [INDEX: cities, Toronto, night, streets, sounds, sleep; from an unknown source.]\\n17:07- Introduces “Is that You/Me Standing on My/Your Feet?”. [INDEX: students writing exams, teaching, theory, idealism; from an unknown source.]\\n18:18- Reads “Is that You/Me Standing on My/Your Feet?”. [INDEX: school, teaching, work, children, student.]\\n19:21- Introduces incomplete poems, first line “No instant morality for us...”. [INDEX:        incomplete poem, two stanzas of first, one four-line stanza for the students; from an      unknown source.]\\n19:36- Reads first line “No instant morality for us...”. [INDEX: school, teaching, work,        children, students.]\\n20:36- Introduces incomplete poem, first line “The boy with the brilliant promises...”. [INDEX: teacher’s answer, two stanzas, incomplete poem; from an unknown source.]\\n21:01- Reads first line “The boy with the brilliant promises...”. [INDEX: work, school,        teaching, children, students.]\\n21:51- Introduces \\\"October 21, '66, at a bus stop on the way.\\\". [INDEX: daybreak bus; from an unknown source]\\n22:03- Reads \\\"October 21, '66, at a bus stop on the way.\\\". [INDEX: nature, time, day.]\\n23:07- Introduces unknown poem first line “A junk truck stopped beside my bus...”. [INDEX: plane, dedicated to Jacques Ellul who wrote The Technological Society; from an unknown source.]\\n23:55- Reads first line “A junk truck stopped beside my bus...”. [INDEX: cities, bus, truck, metal, urban, waste, stone, wreck, yard, grass, gargoyle.]\\n26:39- Introduces first line, “Grey by water...”. [INDEX: sketching, poet in Chicago, Art       Institute; from an unknown source.]\\n27:38- Reads first line “Grey by water...”. [INDEX: language, play, process, sketch.]\\n28:25- Introduces “The Seven Birds”. [INDEX: poem with syntax, corner of Bathurst and     College Street in Toronto, First World War building; from sunblue in “Sketches”.]\\n29:01- Reads “The Seven Birds”.\\n30:15- Introduces poem Avison translated, called “Of Tyranny in One Breath” by Gyula     Illyes. [INDEX: Ilona Duczynska, translation, 1956 in Budapest, censorship in magazines, newsheets, radio station, authorities, protest, tyranny; collected in Always  Now, Vol. 1 (Porcupine’s Quill, 2003).]\\n32:27- Reads “Of Tyranny in One Breath” by Gyula Illyes.\\n39:26- Explains “Of Tyranny in One Breath”, introduces “Bestialities”. [INDEX: revolution, Gyula Illyes, insane asylum; from The Dumbfounding.]\\n40:19- Reads “Bestialities”. [INDEX: play, animals, language, puns.]\\n41:14- Introduces first line “Said the mite on the single page of a sad letter: Eureka...”.      [INDEX: misunderstood poem, 8x11 typing paper.]\\n41:26- Audience member interjects, asks her to read it without explanation.\\n41:28- Avison reads first line “Said the mite on the single page of a sad letter: Eureka...”.\\n41:40- Explains “Said the mite on the single page of a sad letter: Eureka...”. [INDEX:        crumpled up letter, mite; from unknown source.]\\n42:17- Re-reads “Said the mite on the single page of a sad letter: Eureka...”.\\n42:35- Introduces “Be Absorbed”. [INDEX: cold day, glass pane, sky; from unknown source.]\\n43:09- Reads “Be Absorbed”. [INDEX: nature, weather, glass, window, cold, winter, ice.]\\n45:50- Reads “The Thaw”. [INDEX: city, children, weather, winter, spring, streets, dog, sparrow, pigeons, boy; published as “Thaw” in Winter Sun.]\\n47:37- Introduces poem, first line “The grackle shining in long grass...”. [INDEX weather   poem, May; Howard Fink list “To May Day”.]\\n47:54- Reads “The grackle shining in long grass...”. [INDEX: colours, birds, grackle, city,   streets, winter, day, breath; from unknown source.]\\n49:42- Introduces “Black-White Under Green”. [INDEX: late spring, early summer, Jet-plane terminuses, May 18th, 1965.]\\n50:06- Reads “Black-White Under Green”. [INDEX: nature, flowers, birds, plane, flight,     leaves, snow, sky, sea, music, ice; from The Dumbfounding.]\\n52:53.49- END OF RECORDING.\\n  \\nPoem (by stated title or first line):                                     \\nFIRST CD: I086-11-002.1=AC                         \\t\\t           Time            Duration\\n\\n[\\\"She had gone wrong...\\\"]by Charles Bukowski                        00:05:28      \\t01:01\\n[\\\"Quote: Are you a root or a tender mint tea?\\\"] by Al Fowler    00:07:01      \\t00:28\\n\\\"Zoo\\\" by Gerry Gilbert                                                       \\t00:07:39      \\t00:19\\n\\\"The Delinquent\\\" by an unknown, seven year-old friend  \\t00:08:33      \\t04:10\\n[\\\"Inside the TTC's fence...\\\"]                                               \\t00:13:38      \\t00:58\\n\\\"Subway Station Why Not\\\"                                    \\t        \\t00:14:53      \\t01:03  \\n\\\"Insomniac Report\\\"                                                            \\t00:16:11      \\t00:55\\n\\\"Is That You/Me Standing on My/Your Feet?\\\"                 \\t00:18:18      \\t01:02\\n[\\\"No instant morality for us...\\\"]                                          \\t00:19:36      \\t00:58\\n[\\\"The boy with the brilliant promises\\\"]                              \\t00:21:01      \\t00:50\\n\\\"October 21, '66, at a bus stop on the way\\\"                        \\t00:22:03      \\t01:02\\n [\\\"A junk truck stopped beside my bus\\\"]                           \\t00:23:56      \\t02:40\\n[\\\"Grey by water...\\\"]                                                            \\t00:27:38      \\t00:45\\n\\\"The Seven Birds\\\"                                                              \\t00:29:01      \\t01:13\\n\\\"Of Tyranny in One Breath\\\" by Gyula Illyes         \\t        \\t00:32:27      \\t04:58\\n\\\"Bestialities\\\"                                                           \\t        \\t00:40:19      \\t00:54\\n\\\"Said the mite on the single page of a sad letter: Eureka.\\\"      00:41:33      \\t00:57\\n\\\"Be Absorbed\\\"                                                                    \\t00:43:09      \\t02:40\\n\\\"The Thaw\\\"                                                                        \\t00:45:50      \\t01:40\\n\\\"The grackle shining in long grass\\\"                                   \\t00:47:54      \\t00:46\\n\\\"Black-White Under Green,\\\" May 18th, 1965                   \\t00:50:06      \\t02:47\\n\\nI086-11-002.2=AC \\n\\n00:00- Avison introduces “The Valiant Vacationist”. [INDEX: written more than thirty years before, writing when young; from Elsewhere.]\\n00:41- Reads “The Valiant Vacationist”. [INDEX: vacation, travel, walking, picnic, park, city, landing, steps, trees, bridge, tourist, stranger.]\\n04:00- Reads “To Professor X, Year Y”. [INDEX: November, waiting, uniformity, crowd,        downtown, history, historian, death, snow; from The Winter Sun.]\\n07:04- Introduces “The Absolute, the Day”. [INDEX: introductory poem to “The Earth that Falls Away”.] \\n07:28- Reads “The Absolute, the Day”. [INDEX: power, rabbi, Judaism, good, morality, love.]\\n08:46- Introduces “The Earth that Falls Away”. [INDEX: epigraph from Beddoes’s Death’s Jest Book, human situations, present generation, city people, stop at the line-ends; from The Dumbfounding.]\\n09:38- Reads “The Earth that Falls Away”. [INDEX: long poem, Romans, history, Bible,    silence, breaking, marriage, illness, winter, summer, city, Dawson City, gold rush, books, Canadiana, photographs, remembrance, scholar, value, cloth, fabric, textiles, production, operation, cancer, treasure, children, blind, snow, farm, emptiness, isolation, solitude, sight, sound.]\\n22:58- Reads first line “He chose a street where he wouldn’t be safe...” [INDEX: city, street, party, Bible, safety, saviour, Jesus; from unknown source; not indicated as separate poem on Howard Fink List.]\\n24:00- Reads first line “Sir, you have nothing...”. [INDEX emptiness, nothing, snow, heart, cup, fullness, joy; from unknown source. .]\\n25:01.03- END OF RECORDING.\\n \\nPoems Time Stamped with Duration\\nSECOND CD: I086-11-002.2=AC                         \\t\\tTime            \\tDuration\\n\\\"The Valiant Vacationist\\\"                                                  \\t00:00:41      \\t03:15\\n\\\"To Professor X, Year Y\\\"                                                   \\t00:04:10      \\t02:55\\n\\\"The Absolute, the Day\\\"                                                    \\t00:07:28      \\t01:15\\n\\\"The Earth that Falls Away\\\"                                              \\t00:09:38      \\t13:15\\n\\\"He chose a street where he wouldn't be safe\\\"                   \\t00:22:58      \\t01:00\\n \\\"Sir, you have nothing\\\"                                                     \\t00:24:06      \\t00:55\\n\\nHoward Fink List:\\n“Marg Avison” reading her own poetry 21/1/67 reel information.\\n\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/margaret-avison-at-sgwu-1967/\"}]"],"score":1.8530173},{"id":"1260","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":["Robert Creeley at Sir George Williams University, The Poetry Series, 24 February 1967 "],"item_title_source":["Cataloguer"],"item_title_note":["\"ROBERT CREELEY I006/SR89.1\" written on sticker on the spine of the tape's box. I006-11-089.1 is written on a sticker on the tape reel"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 1"],"item_identifiers":["[]"],"access":["Streaming and download"],"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\":[\"Performer\",\"Author\"]}]"],"contributors_names":["Layton, Irving"],"contributors_names_search":["Layton, Irving"],"contributors":["[{\"url\":\"http://viaf.org/viaf/66482092\",\"name\":\"Layton, Irving\",\"dates\":\"1912-2006\",\"notes\":\"\",\"nation\":[],\"role\":[\"Presenter\"]}]"],"Presenter_name":["Layton, Irving"],"Performance_Date":[1967],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"Tape\",\"physical_condition\":\"\",\"track_configuration\":\"2 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\":\"1967 2 24\",\"type\":\"Performance Date\",\"notes\":\"Date specified in \\\"Georgantics\\\" \",\"source\":\"Supplemental Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Basement Theatre\",\"notes\":\"Location specified in printed announcement \\\"Georgantics\\\" (Supplemental material)\",\"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 Basement Theatre"],"City":["Montreal, Quebec"],"content_notes":["Robert Creeley reads from For Love (Scribner, 1962) and Words (Scribner, 1967)."],"contents":["robert_creeley_i006-11-089-1_1987.mp3\n\nIrving Layton\n00:00:15\nMr. Creeley [https://www.wikidata.org/wiki/Q918620] has published too many books for me to list for you this evening, but some titles are deserving of notice. His Collected Poems was published by Scriveners in 1962 under the title For Love. He has also published short stories and they're brought out by Scriveners after first being published, privately I believe, under the title of The Gold Diggers. His most recent book, also brought out by Scriveners, is called Words. Mr. Creeley has a style that is unique and inimitable. There are many, both in this country [https://www.wikidata.org/wiki/Q16?wprov=srpw1_0] and in United States of America [https://www.wikidata.org/wiki/Q30?wprov=srpw1_0] that are trying to capture the delicate, tenuous quality of his work, and not quite successfully. For his is an art of pauses, of hesitations. He affirms by diffidence, and he destroys our pretensions with a whisper. He uses silence as a modern composer of music [unintelligible], or the way a contemporary painter uses space. He bounces words off against the wall of [unintelligible]. If you listen carefully, you'll hear reverberations and the subtlest of echoes. Mr. Creeley is one of the most honest poets writing today. And a very brave man, who knows the price that has to be paid for a good poem certified to endure. He has written a little song, sing days of happiness, make a pardonable wonder of one's blunders. The man who wrote those words knows all that needs to be known about the perilous vocation of the poet. One critic has said his poems are miniatures, but then hastened to add that they are not miniatures, sorry-One critic has said-this is not from memory-One critic has said that his poems are miniatures, but there's nothing miniature about the power that they release. I have said somewhere that he has written skinny poems, that miraculously grow in length and breath, one's air absorbed into one's consciousness. Slender firecrackers that explode with the power of a bomb. Ladies and gentlemen, Mr. Robert Creeley.\n\nAudience\n00:03:42\nApplause.\n\nRobert Creeley\n00:03:52\nSee now, it's extremely generous, Irving [https://www.wikidata.org/wiki/Q1673289], all that. No, because we have had a very long association. I think I'd like to say my piece too, apropos that fact that I think that the kind of community that say either Irving or myself in this way were involved with was what kinds of, no really, how could you find the world?  I mean, I, for example first read his poems in the collection called Cerberus with Louis Dudek [https://www.wikidata.org/wiki/Q3261787] and Raymond Souster [https://www.wikidata.org/wiki/Q304129] and then I was very interested in the magazine that they had going called Contact, I was looking for connections I suppose, the man, in no hips sense, but we were, I was extraordinar--I wanted to know where the world was, and Irving seemed to be very much, very much part of any world I certainly could respect. And so, what he generously and definitely himself ignores was that he was that he was a very decisive contributing editor for the Black Mountain Review, and it was really, a very decisive friend all those fifteen years he imagines. Let me read now. Let me start from back then, \"A Song\".\n \nRobert Creeley\n00:05:47\nReads \"A Song\" [from For Love].\n \nRobert Creeley\n00:06:37\nThis is apropos. \"The Conspiracy\".\n \nRobert Creeley\n00:06:43\nReads \"The Conspiracy\" [from For Love].\n \nAudience\n00:07:11\nLaughter.\n\nRobert Creeley\n00:07:12\nThat was no joke. \"Chanson\".\n \nRobert Creeley\n00:07:26\nReads \"Chanson\" [from For Love].\n \nRobert Creeley\n00:08:00\n\"The Operation\".\n \nRobert Creeley\n00:08:05\nReads \"The Operation\" [from For Love].\n \nRobert Creeley\n00:08:35\n\"The Death of Venus\".\n \nRobert Creeley\n00:08:41\nReads \"The Death of Venus\" [from For Love].\n \nRobert Creeley\n00:09:17\nI was thinking Paul Blackburn [https://www.wikidata.org/wiki/Q7149388] happily has been here, so this is a poem, again of the same, the same situation that we were very active in the exchange of, I mean, again I want to emphasize  the sense that we were looking around to see what kinds of possibility that we could find in the world and I suppose if we shared anything, I was thinking of Irving's lovely stories and letters about the problems of visiting literary parties [laughs] and partly being forbidden because he made such awkward problems for guests and hosts, etc. So that Paul Blackburn at this point was translating from Provencal poetry, he'd been at the University of Wisconsin [https://www.wikidata.org/wiki/Q838330] and had had a very active and useful relation with the woman there, I think it was, teaching Provencal, so that he'd also been very involved with Pound [https://www.wikidata.org/wiki/Q163366?wprov=srpw1_0], with Pound's senses of activity in verse and had therefore become particularly interested in Provencal and had begun to translate, and through the same agency that we had in Mallorca [https://www.wikidata.org/wiki/Q8828], my wife and I then, the so called Divers Press that had published Irving's book, we published a collection of Paul's Provencal translations called Proensa. So the title, is actually Paul's title, I can't now remember what- I don't think he ever published the poem it was the title for, but I was struck by it, and you know, you take things, obviously from friends, it was that you were stealing, but that it was always a common situation. It's a form of adaptation, and I think a young friend now at Buffalo [https://www.wikidata.org/wiki/Q681025] were presently working was telling me that I am in the courtly tradition which is confusing to me, but I can see what he means simply that did pick up a lot through Paul Blackburn and writers in this way using a vocabulary or sense of possibility involved with that kind of writing. So this poem, for example, would be, would be actually a, would be a poem not written by Paul Blackburn, but a poem much informed by his way of perceiving. \"A Form of Adaptation\".\n \nRobert Creeley\n00:11:46\nReads \"A Form of Adaptation\" [from For Love].\n \nRobert Creeley\n00:12:40\n“The Whip”.\n \nRobert Creeley\n00:12:43\nReads \"The Whip\" [from For Love].\n \nRobert Creeley\n00:13:29\n\"Please\".\n \nRobert Creeley\n00:13:36\nReads \"Please\" [from For Love].\n \nRobert Creeley\n00:14:36\n\"The Three Ladies\".\n \nRobert Creeley\n00:14:39\nReads \"The Three Ladies\" [from For Love].\n \nRobert Creeley\n00:16:04\n[Unintelligible] \"New Year’s\".\n \nRobert Creeley\n00:16:17\nReads \"New Year’s\" [from For Love].\n \nRobert Creeley\n00:17:34\n\"Entre Nous\".\n \nRobert Creeley\n00:17:40\nReads \"Entre Nous\" [from For Love].\n \nRobert Creeley\n00:18:08\n\"The Place\".\n \nRobert Creeley\n00:18:11\nReads \"The Place\" [from For Love].\n \nRobert Creeley\n00:19:20\n\"The Hill\".\n \nRobert Creeley\n00:19:32\nReads \"The Hill\" [from For Love].\n \nRobert Creeley\n00:20:21\n\"The Awakening\" for Charles Olson [https://www.wikidata.org/wiki/Q922978].\n \nRobert Creeley\n00:20:25\nReads \"The Awakening\" [from For Love].\n \nRobert Creeley\n00:22:04\n\"The Rain\".\n \nRobert Creeley\n00:22:12\nReads \"The Rain\" [from For Love]. \n \nRobert Creeley\n00:23:12\n\"Kore\".\n \nRobert Creeley\n00:23:20\nReads \"Kore\" [from For Love].\n \nRobert Creeley\n00:24:09\nI thought I'd read a few more of these in this particular collection. Zukofsky [https://www.wikidata.org/wiki/Q975481] is a man I very much respect. \"The House\", for Louis Zukofsky.\n \nRobert Creeley\n00:24:29\nReads \"The House\" [from For Love].\n \nRobert Creeley\n00:25:06\n\"The Pool\".\n \nRobert Creeley\n00:25:13\nReads \"The Pool\" [from For Love].\n \nRobert Creeley\n00:26:18\nWater, I really love water. To Water.\n \nRobert Creeley\n00:26:26\nReads \"The Rocks\" [from Words].\n \nRobert Creeley\n00:27:47\n\"The Fire\".\n \nRobert Creeley\n00:27:50\nReads \"The Fire\" [from Words].\n \nRobert Creeley\n00:28:31\n\"Something\".\n \nRobert Creeley\n00:28:37\nReads \"Something” [from Words].\n \nRobert Creeley\n00:29:46\nThat was a, there's another poem with that same sense, no really, I'm very, I think that some of the lovely incongruities of existence [unintelligible] Charlotte- whose last name I can't remember, [unintelligible] like to say was arrested in New York for trying to, as she put it, and I believe, lovely innocence, she wanted to have chamber music as quote sexy unquote as other life circumstances seemed to be becoming, so that she was playing something like [unintelligible] or Bach [https://www.wikidata.org/wiki/Q1339] in topless condition and was arrested by a very discreet policeman and taken away. Although she wanted apparently to entertain the sight as well as the ear. I don't know, I mean, why shouldn't she be permitted to do that? \"Distance\".\n \nRobert Creeley\n00:31:03\nReads \"Distance\" [from Words].\n \nRobert Creeley\n00:34:29\nA couple of these, two from Mexico [https://www.wikidata.org/wiki/Q96]. \"The Window\".\n \nRobert Creeley\n00:34:36\nReads \"The Window\" [from Words].\n \nRobert Creeley\n00:35:30\n\"To Bobbie\".\n \nRobert Creeley\n00:35:34\nReads \"To Bobbie\" [from Words].\n \nRobert Creeley\n00:36:46\nI wanna, there's one poem, apropos I'd like to go back to, a couple--\"The Rose\".\n \nRobert Creeley\n00:37:02\nReads \"The Rose\" [from For Love].\n \nRobert Creeley\n00:38:46\n\"Love Comes Quietly\".\n \nRobert Creeley\n00:38:53\nReads \"Love Comes Quietly\" [from For Love].\n \nRobert Creeley\n00:39:15\n\"The Gesture\".\n \nRobert Creeley\n00:39:21\nReads \"The Gesture\" [from For Love].\n \nRobert Creeley\n00:39:52\n\"For Love\".\n \nRobert Creeley\n00:39:56\nReads \"For Love\" [from For Love].\n\nRobert Creeley\n00:42:39\nI want to go back to this one. There's one... called, \"Anger\". This interpolates, so to speak of. I've been traveling in an extraordinary company of people the last, or the week previous and then, we'll see them again at the same activity tomorrow night in New York [https://www.wikidata.org/wiki/Q60?wprov=srpw1_0]. We were billed as quote contemporary voices in the arts, unquote, but apart from that the, we were visiting various colleges and universities in the Upstate New York area from say Albany State [https://www.wikidata.org/wiki/Q4709390] to Rensselaer Polytechnic [https://www.wikidata.org/wiki/Q49211] to Potsdam [https://www.wikidata.org/wiki/Q7603628], and then places St Lawrence [https://www.wikidata.org/wiki/Q1411093] or Union College [https://www.wikidata.org/wiki/Q1567748] and we were trying, in effect, to- we had the problem of we were billed as a panel, seven men, sitting down to discuss- John Cage [https://www.wikidata.org/wiki/Q180727] is one of the participants, and he said, 'well', of course if we sit down, we say, 'well where do you think art is going?' and then you have to figure out where do you think art's come from? [laughter] And at that point you just might as well come home because it's going to be a long, long conversation. So we decided that we would, instead of having the formal sense of panel, that we would simply create, improvise, or go about in effect at our own activity, except that we wouldn't isolate ourselves in that but would simply try to improvise, as we were seven people, a poem that could permit each one of us to be active, all together so that we at no point had much- we had no decision as to what the others would be doing, so that the whole activity occurred as the complex, and I was- I mean, I had never had any experience of this kind previously at all, John Cage had made, oh very large decisions indeed about this kind of possibility in music, simply that he wanted all possibility of sound to be admitted into the context that music proposes. He also had very decisive relation to what are called loosely 'happenings', and both he and Merce Cunningham [https://www.wikidata.org/wiki/Q318364], another participant, had in that with some previous experience, but the point is that they weren't- neither was trying to create a system from previous experience, but again was trying to think of how this activity of seven people could be evident in ways that simply didn't create a three-ring circus but was actually a participation so, I was intrigued, I was extraordinarily intrigued as to how words, as poetry and whatnot could enter into this circumstance, and because I literally was in it, I have in a sense no quote objective unquote experience at all, but it was extraordinary to me to hear how things are heard in a multiple, in a multiple event, rather than the kind of singularity that this occasion proposes. So I still have that on my mind in a way, and I may, I really do feel that say, all the arts, I mean if one does want some kind of statement about them, that all the arts are moving into a situation where the agency is becoming less and less singular, I don't mean necessarily that in some seminal sense, that everyone's quote an artist, I mean I don't know what an artist is, in one way at all, but I think that the participation is becoming much more a situation of process and activity, and that it is becoming less and less evident as one singular isolation of person, and I realize in my own writing how much the previous condition had been my, my occasion. So, I may be reading these poems for the last time in that sense. I'm certainly prepared to do so, I'm not at all interested in continuing an activity that maybe, you know, maybe have much more experience or much more range of possibility than say contemporary habits about it seem to imply. But anyhow, that was interesting to me to have that experience and also interesting of course is what it had as an impact on educational process. Immediately this activity finished and I've never been in such a- I mean I've been, you know, like they say in [unintelligible] auditorium in the summer, I certainly have seen light shows and other [unintelligible] happenings, a few years ago, it was Roy Kiyooka [https://www.wikidata.org/wiki/Q3445789], knows, having been there also, there was an extraordinary happening like they say put on by the Tate Music Center from San Francisco [https://www.wikidata.org/wiki/Q62]  [unintelligible] being the painter doing the so called decor, doing the set, the set that was used, creating the visual. But this other thing was something quite distinct, simply that each person was so active in ways that he couldn't anticipate and we had with us also Billy Kluver [https://www.wikidata.org/wiki/Q4912866], who can be most easily identified as the man who, is literally is an Engineer at Bell Labs [https://www.wikidata.org/wiki/Q217365] in New Jersey [https://www.wikidata.org/wiki/Q1408?wprov=srpw1_0] who engineered the 9 Evenings [https://www.wikidata.org/wiki/Q4646407] of the Armory [Hall (?)] in company with Rauschenberg [https://www.wikidata.org/wiki/Q164358], [Vergan (?)] and Cage [https://www.wikidata.org/wiki/Q180727] and others, a situation that brought technology into close apropos with the arts, and led to the practical effects of this activity are very evident, it led to ten patented inventions, all of which have much more extensive use, let's say than that occasion of those particular evenings. That was [unintelligible] you know, many, many poets [unintelligible] of this kind, that is, it turns out that when the arts are permitted this situation, that, I think we were talking to Irving earlier this evening, I think we both fear a situation, or have some kind of, feeling of personal awkwardness about a situation that is turning to the arts as if the arts had a necessary message or condition of life to stake for people to have use of, I mean, again, in these evenings we were round in these colleges, I mean the students or the people present, again and again said that \"what were you trying to tell us?\" And the point was that we weren't trying to tell them anything. We were in fact, we thought, that the activity was something which each person could have experienced, it would be like going to the beach and saying what do you think the water is trying to tell us? [audience laughter.] And you stand there, you're swimming [unintelligible] for two hours enjoying yourself thoroughly and then you come out and say to your friend, but what did it all mean? You know, we assumed that the people there would have some - would have some decision of their own, you know, did you think it was too cold, or too hot, or did you enjoy it, or you know, that's the kind of question no one can answer for you. In any case, I do feel the arts has, as Irving feels also, are being turned to, as some possibility of decision in contemporary society and don't think they can offer that ever, I don't- I think the very value of the arts is that they have no conclusion of this kind to propose, that what they do give is something I think perhaps Pound puts as ably as anyone when he says that \"art is the antenna of the race\". It's a very large statement obviously, and I think what he proposes in it is perhaps even can be put more simply in that the arts tend to experience the condition of the society that is, in a sense, and that way I have use of the condition of the society, perhaps more immediately than any other definition or activity in the society, I mean they tend to respond to the present condition perhaps more decisively than any other segment, I mean everyone else tends, not- I don't mean this in any put down sense of their attitudes in this society but I mean, that as the war goes on because it's an historical precedent and so on and so forth, I mean people continued to act as though what they were doing is still what they are doing, what they are doing is still what they were doing and they literally tend to continue in those habits of attitude or activity until something simply makes them impossible, but the arts tend to have experience I think of present condition, that they have no other viable occasion, they tend to propose what the immediate experience of say any life situation simply is, but they have no instruction therefore offer except that is possible, so that as I say, if poetry, as we've now experienced it is about to yield to another situation that is if books or printed medium of this order are to be changed, in societal experience, great, I mean I don't see why I want you to have to carry around all these pieces of paper, there must be, I'm sure that there's a simple way to communicate this kind of content but I do want to make the insistence that these poems or what I'm doing here has- I mean, I'm enjoying this, I'd probably do this even if you weren't here. [audience laughter], obviously did do it, you know. Now this is something else again, I had no messages, if the media is the message, this is perhaps the most absolute demonstration you'll probably get. \"Anger\".\n \nRobert Creeley\n00:54:01\nReads \"Anger\" [from Words].\n \nRobert Creeley\n00:59:25\nI'd like if people are feeling reasonably restless, I'd like to read one or two more poems and then one more story to make a selection frankly [unintelligible]  I think I'll see what would be useful. A couple of shorter poems for the end. One called \"A Tally\".\n \nRobert Creeley\n01:00:01\nReads \"A Tally\" [from Words].\n \nRobert Creeley\n01:01:41\n\"Enough\".\n \nRobert Creeley\n01:01:45\nReads \"Enough\" [from Words].\n \nRobert Creeley\n01:06:00\nOne last poem I want to read now, [unintelligible] \"The Hole\".\n \nRobert Creeley\n01:06:07\nReads \"The Hole\" [from Words].\n \nRobert Creeley\n01:07:53\nRead a story that's in effect going back some time to the time of the writing of the Island, a novel. And I hadn't written any prose for some time, not since the middle 50's and I had a [joke (?)], myself and my wife and our four kids were all down in Guatemala [https://www.wikidata.org/wiki/Q774]where I was tutoring children on a coffee plantation, and having that kind of isolation and time that seemed to, you know, have the possibility to try some prose. I like prose simply that it has--it's continuous, it permits a kind of variety of activity in ways that sometimes poetry from my own experience, at least in the way I'm given to write it, doesn't altogether- I mean, the emotional demand, let's say in a poem is in my own experience has known it, is of such order that alternatives in a curious way aren't possible, you simply say what you're thus brought to say as best you can. In prose, the emotional so called situation tends to be more various, it goes up, down, it ebbs, flows, re-forms, changes its mind, and so on and so forth, so I--not in recent years, I think the last prose I wrote was this novel, called the Island and I've not really written any since, that's about--when I was in Vancouver [https://www.wikidata.org/wiki/Q24639]teaching I finished that novel, and that was the last prose I think I've written and hopefully won't--I would like to go back to prose for a time. I'd like to have it open, I mean, again, this experience of being with these particular people, whenever habits become, oh let's say whenever you expect everything to be as you have experienced, it's time to look out or do something else because it means that you're assuming of the reality of your life has become too much of a pattern of a habit. Anyhow, this is a story called \"The Book\". I sort of like this story.\n \nRobert Creeley\n01:10:22\nReads \"The Book\".\n\nRobert Creeley\n01:21:15\nThank you very much for your...\n\nAudience \n01:21:16\nApplause.\n\nIntroducer\n01:21:39\nI think I speak for everyone in thanking Robert Creeley for being able to come down and make the scene tonight. There are a couple of announcements that I want to make, the first one I can't remember so I'll have to [unintelligible], [Audrey Brunet (?)], that I do remember invites everyone to come to hear \"Prayers on the Periphery\", an original reading, this coming Monday, March the 6th at 8:30 pm in the little gallery on the mezzanine. Our next reading is a week from now, next Friday, March the 3rd, and Victor Coleman [https://www.wikidata.org/wiki/Q23882910] and George Bowering [https://www.wikidata.org/wiki/Q1239280] from Buffalo [https://www.wikidata.org/wiki/Q40435]  and Toronto [https://www.wikidata.org/wiki/Q172] will be coming. Thank you.\n\nAudience\n01:22:32\nApplause.\n\nUnknown\n01:22:45\n[Cut or edit made in tape].\n\nRobert Creeley \n01:22:48\nReads “The Book” [repeated from 00:27:43].\n\nEND\n01:23:12\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.\\n\",\"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[1]. 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\":\"Reel-to-reel tape>2 CDs>digital file\",\"type\":\"Preservation\"},{\"note\":\"Notes on item identifiers: \\n\\nIrving Layton makes introductory speech, and it’s referred to in Irving’s reading, in 1967. I006-11-089.1 and I006-11-089.1-AC2 are from same reading. I006-11-089.2 is a separate reading.\\n\",\"type\":\"General\"},{\"note\":\"Original transcript, print catalogue, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Sarah McDonnell and Ali Barillaro\",\"type\":\"Cataloguer\"}]"],"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. \\n\"},{\"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/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. 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/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.  \"},{\"url\":\"\",\"citation\":\"O’Reilly, Elizabeth. “Creeley, Robert, 1926-”. Literature Online Biography. Proquest, 2008. \"}]"],"_version_":1853670548677066752,"timestamp":"2026-01-07T14:59:53.264Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0089-1_back.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006_11_0089-1_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 1 - 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_0089-1_front.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006_11_0089-1_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 1 - 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_0089-1_side.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006_11_0089-1_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 1 - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0089-1_tape.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006_11_0089-1_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 1 - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/robert_creeley_i006-11-089-1_1967.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"robert_creeley_i006-11-089-1_1987.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:23:12\",\"precision\":\"\",\"size\":\"199.7 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Irving Layton\\n00:00:15\\nMr. Creeley [https://www.wikidata.org/wiki/Q918620] has published too many books for me to list for you this evening, but some titles are deserving of notice. His Collected Poems was published by Scriveners in 1962 under the title For Love. He has also published short stories and they're brought out by Scriveners after first being published, privately I believe, under the title of The Gold Diggers. His most recent book, also brought out by Scriveners, is called Words. Mr. Creeley has a style that is unique and inimitable. There are many, both in this country [https://www.wikidata.org/wiki/Q16?wprov=srpw1_0] and in United States of America [https://www.wikidata.org/wiki/Q30?wprov=srpw1_0] that are trying to capture the delicate, tenuous quality of his work, and not quite successfully. For his is an art of pauses, of hesitations. He affirms by diffidence, and he destroys our pretensions with a whisper. He uses silence as a modern composer of music [unintelligible], or the way a contemporary painter uses space. He bounces words off against the wall of [unintelligible]. If you listen carefully, you'll hear reverberations and the subtlest of echoes. Mr. Creeley is one of the most honest poets writing today. And a very brave man, who knows the price that has to be paid for a good poem certified to endure. He has written a little song, sing days of happiness, make a pardonable wonder of one's blunders. The man who wrote those words knows all that needs to be known about the perilous vocation of the poet. One critic has said his poems are miniatures, but then hastened to add that they are not miniatures, sorry-One critic has said-this is not from memory-One critic has said that his poems are miniatures, but there's nothing miniature about the power that they release. I have said somewhere that he has written skinny poems, that miraculously grow in length and breath, one's air absorbed into one's consciousness. Slender firecrackers that explode with the power of a bomb. Ladies and gentlemen, Mr. Robert Creeley.\\n\\nAudience\\n00:03:42\\nApplause.\\n\\nRobert Creeley\\n00:03:52\\nSee now, it's extremely generous, Irving [https://www.wikidata.org/wiki/Q1673289], all that. No, because we have had a very long association. I think I'd like to say my piece too, apropos that fact that I think that the kind of community that say either Irving or myself in this way were involved with was what kinds of, no really, how could you find the world?  I mean, I, for example first read his poems in the collection called Cerberus with Louis Dudek [https://www.wikidata.org/wiki/Q3261787] and Raymond Souster [https://www.wikidata.org/wiki/Q304129] and then I was very interested in the magazine that they had going called Contact, I was looking for connections I suppose, the man, in no hips sense, but we were, I was extraordinar--I wanted to know where the world was, and Irving seemed to be very much, very much part of any world I certainly could respect. And so, what he generously and definitely himself ignores was that he was that he was a very decisive contributing editor for the Black Mountain Review, and it was really, a very decisive friend all those fifteen years he imagines. Let me read now. Let me start from back then, \\\"A Song\\\".\\n \\nRobert Creeley\\n00:05:47\\nReads \\\"A Song\\\" [from For Love].\\n \\nRobert Creeley\\n00:06:37\\nThis is apropos. \\\"The Conspiracy\\\".\\n \\nRobert Creeley\\n00:06:43\\nReads \\\"The Conspiracy\\\" [from For Love].\\n \\nAudience\\n00:07:11\\nLaughter.\\n\\nRobert Creeley\\n00:07:12\\nThat was no joke. \\\"Chanson\\\".\\n \\nRobert Creeley\\n00:07:26\\nReads \\\"Chanson\\\" [from For Love].\\n \\nRobert Creeley\\n00:08:00\\n\\\"The Operation\\\".\\n \\nRobert Creeley\\n00:08:05\\nReads \\\"The Operation\\\" [from For Love].\\n \\nRobert Creeley\\n00:08:35\\n\\\"The Death of Venus\\\".\\n \\nRobert Creeley\\n00:08:41\\nReads \\\"The Death of Venus\\\" [from For Love].\\n \\nRobert Creeley\\n00:09:17\\nI was thinking Paul Blackburn [https://www.wikidata.org/wiki/Q7149388] happily has been here, so this is a poem, again of the same, the same situation that we were very active in the exchange of, I mean, again I want to emphasize  the sense that we were looking around to see what kinds of possibility that we could find in the world and I suppose if we shared anything, I was thinking of Irving's lovely stories and letters about the problems of visiting literary parties [laughs] and partly being forbidden because he made such awkward problems for guests and hosts, etc. So that Paul Blackburn at this point was translating from Provencal poetry, he'd been at the University of Wisconsin [https://www.wikidata.org/wiki/Q838330] and had had a very active and useful relation with the woman there, I think it was, teaching Provencal, so that he'd also been very involved with Pound [https://www.wikidata.org/wiki/Q163366?wprov=srpw1_0], with Pound's senses of activity in verse and had therefore become particularly interested in Provencal and had begun to translate, and through the same agency that we had in Mallorca [https://www.wikidata.org/wiki/Q8828], my wife and I then, the so called Divers Press that had published Irving's book, we published a collection of Paul's Provencal translations called Proensa. So the title, is actually Paul's title, I can't now remember what- I don't think he ever published the poem it was the title for, but I was struck by it, and you know, you take things, obviously from friends, it was that you were stealing, but that it was always a common situation. It's a form of adaptation, and I think a young friend now at Buffalo [https://www.wikidata.org/wiki/Q681025] were presently working was telling me that I am in the courtly tradition which is confusing to me, but I can see what he means simply that did pick up a lot through Paul Blackburn and writers in this way using a vocabulary or sense of possibility involved with that kind of writing. So this poem, for example, would be, would be actually a, would be a poem not written by Paul Blackburn, but a poem much informed by his way of perceiving. \\\"A Form of Adaptation\\\".\\n \\nRobert Creeley\\n00:11:46\\nReads \\\"A Form of Adaptation\\\" [from For Love].\\n \\nRobert Creeley\\n00:12:40\\n“The Whip”.\\n \\nRobert Creeley\\n00:12:43\\nReads \\\"The Whip\\\" [from For Love].\\n \\nRobert Creeley\\n00:13:29\\n\\\"Please\\\".\\n \\nRobert Creeley\\n00:13:36\\nReads \\\"Please\\\" [from For Love].\\n \\nRobert Creeley\\n00:14:36\\n\\\"The Three Ladies\\\".\\n \\nRobert Creeley\\n00:14:39\\nReads \\\"The Three Ladies\\\" [from For Love].\\n \\nRobert Creeley\\n00:16:04\\n[Unintelligible] \\\"New Year’s\\\".\\n \\nRobert Creeley\\n00:16:17\\nReads \\\"New Year’s\\\" [from For Love].\\n \\nRobert Creeley\\n00:17:34\\n\\\"Entre Nous\\\".\\n \\nRobert Creeley\\n00:17:40\\nReads \\\"Entre Nous\\\" [from For Love].\\n \\nRobert Creeley\\n00:18:08\\n\\\"The Place\\\".\\n \\nRobert Creeley\\n00:18:11\\nReads \\\"The Place\\\" [from For Love].\\n \\nRobert Creeley\\n00:19:20\\n\\\"The Hill\\\".\\n \\nRobert Creeley\\n00:19:32\\nReads \\\"The Hill\\\" [from For Love].\\n \\nRobert Creeley\\n00:20:21\\n\\\"The Awakening\\\" for Charles Olson [https://www.wikidata.org/wiki/Q922978].\\n \\nRobert Creeley\\n00:20:25\\nReads \\\"The Awakening\\\" [from For Love].\\n \\nRobert Creeley\\n00:22:04\\n\\\"The Rain\\\".\\n \\nRobert Creeley\\n00:22:12\\nReads \\\"The Rain\\\" [from For Love]. \\n \\nRobert Creeley\\n00:23:12\\n\\\"Kore\\\".\\n \\nRobert Creeley\\n00:23:20\\nReads \\\"Kore\\\" [from For Love].\\n \\nRobert Creeley\\n00:24:09\\nI thought I'd read a few more of these in this particular collection. Zukofsky [https://www.wikidata.org/wiki/Q975481] is a man I very much respect. \\\"The House\\\", for Louis Zukofsky.\\n \\nRobert Creeley\\n00:24:29\\nReads \\\"The House\\\" [from For Love].\\n \\nRobert Creeley\\n00:25:06\\n\\\"The Pool\\\".\\n \\nRobert Creeley\\n00:25:13\\nReads \\\"The Pool\\\" [from For Love].\\n \\nRobert Creeley\\n00:26:18\\nWater, I really love water. To Water.\\n \\nRobert Creeley\\n00:26:26\\nReads \\\"The Rocks\\\" [from Words].\\n \\nRobert Creeley\\n00:27:47\\n\\\"The Fire\\\".\\n \\nRobert Creeley\\n00:27:50\\nReads \\\"The Fire\\\" [from Words].\\n \\nRobert Creeley\\n00:28:31\\n\\\"Something\\\".\\n \\nRobert Creeley\\n00:28:37\\nReads \\\"Something” [from Words].\\n \\nRobert Creeley\\n00:29:46\\nThat was a, there's another poem with that same sense, no really, I'm very, I think that some of the lovely incongruities of existence [unintelligible] Charlotte- whose last name I can't remember, [unintelligible] like to say was arrested in New York for trying to, as she put it, and I believe, lovely innocence, she wanted to have chamber music as quote sexy unquote as other life circumstances seemed to be becoming, so that she was playing something like [unintelligible] or Bach [https://www.wikidata.org/wiki/Q1339] in topless condition and was arrested by a very discreet policeman and taken away. Although she wanted apparently to entertain the sight as well as the ear. I don't know, I mean, why shouldn't she be permitted to do that? \\\"Distance\\\".\\n \\nRobert Creeley\\n00:31:03\\nReads \\\"Distance\\\" [from Words].\\n \\nRobert Creeley\\n00:34:29\\nA couple of these, two from Mexico [https://www.wikidata.org/wiki/Q96]. \\\"The Window\\\".\\n \\nRobert Creeley\\n00:34:36\\nReads \\\"The Window\\\" [from Words].\\n \\nRobert Creeley\\n00:35:30\\n\\\"To Bobbie\\\".\\n \\nRobert Creeley\\n00:35:34\\nReads \\\"To Bobbie\\\" [from Words].\\n \\nRobert Creeley\\n00:36:46\\nI wanna, there's one poem, apropos I'd like to go back to, a couple--\\\"The Rose\\\".\\n \\nRobert Creeley\\n00:37:02\\nReads \\\"The Rose\\\" [from For Love].\\n \\nRobert Creeley\\n00:38:46\\n\\\"Love Comes Quietly\\\".\\n \\nRobert Creeley\\n00:38:53\\nReads \\\"Love Comes Quietly\\\" [from For Love].\\n \\nRobert Creeley\\n00:39:15\\n\\\"The Gesture\\\".\\n \\nRobert Creeley\\n00:39:21\\nReads \\\"The Gesture\\\" [from For Love].\\n \\nRobert Creeley\\n00:39:52\\n\\\"For Love\\\".\\n \\nRobert Creeley\\n00:39:56\\nReads \\\"For Love\\\" [from For Love].\\n\\nRobert Creeley\\n00:42:39\\nI want to go back to this one. There's one... called, \\\"Anger\\\". This interpolates, so to speak of. I've been traveling in an extraordinary company of people the last, or the week previous and then, we'll see them again at the same activity tomorrow night in New York [https://www.wikidata.org/wiki/Q60?wprov=srpw1_0]. We were billed as quote contemporary voices in the arts, unquote, but apart from that the, we were visiting various colleges and universities in the Upstate New York area from say Albany State [https://www.wikidata.org/wiki/Q4709390] to Rensselaer Polytechnic [https://www.wikidata.org/wiki/Q49211] to Potsdam [https://www.wikidata.org/wiki/Q7603628], and then places St Lawrence [https://www.wikidata.org/wiki/Q1411093] or Union College [https://www.wikidata.org/wiki/Q1567748] and we were trying, in effect, to- we had the problem of we were billed as a panel, seven men, sitting down to discuss- John Cage [https://www.wikidata.org/wiki/Q180727] is one of the participants, and he said, 'well', of course if we sit down, we say, 'well where do you think art is going?' and then you have to figure out where do you think art's come from? [laughter] And at that point you just might as well come home because it's going to be a long, long conversation. So we decided that we would, instead of having the formal sense of panel, that we would simply create, improvise, or go about in effect at our own activity, except that we wouldn't isolate ourselves in that but would simply try to improvise, as we were seven people, a poem that could permit each one of us to be active, all together so that we at no point had much- we had no decision as to what the others would be doing, so that the whole activity occurred as the complex, and I was- I mean, I had never had any experience of this kind previously at all, John Cage had made, oh very large decisions indeed about this kind of possibility in music, simply that he wanted all possibility of sound to be admitted into the context that music proposes. He also had very decisive relation to what are called loosely 'happenings', and both he and Merce Cunningham [https://www.wikidata.org/wiki/Q318364], another participant, had in that with some previous experience, but the point is that they weren't- neither was trying to create a system from previous experience, but again was trying to think of how this activity of seven people could be evident in ways that simply didn't create a three-ring circus but was actually a participation so, I was intrigued, I was extraordinarily intrigued as to how words, as poetry and whatnot could enter into this circumstance, and because I literally was in it, I have in a sense no quote objective unquote experience at all, but it was extraordinary to me to hear how things are heard in a multiple, in a multiple event, rather than the kind of singularity that this occasion proposes. So I still have that on my mind in a way, and I may, I really do feel that say, all the arts, I mean if one does want some kind of statement about them, that all the arts are moving into a situation where the agency is becoming less and less singular, I don't mean necessarily that in some seminal sense, that everyone's quote an artist, I mean I don't know what an artist is, in one way at all, but I think that the participation is becoming much more a situation of process and activity, and that it is becoming less and less evident as one singular isolation of person, and I realize in my own writing how much the previous condition had been my, my occasion. So, I may be reading these poems for the last time in that sense. I'm certainly prepared to do so, I'm not at all interested in continuing an activity that maybe, you know, maybe have much more experience or much more range of possibility than say contemporary habits about it seem to imply. But anyhow, that was interesting to me to have that experience and also interesting of course is what it had as an impact on educational process. Immediately this activity finished and I've never been in such a- I mean I've been, you know, like they say in [unintelligible] auditorium in the summer, I certainly have seen light shows and other [unintelligible] happenings, a few years ago, it was Roy Kiyooka [https://www.wikidata.org/wiki/Q3445789], knows, having been there also, there was an extraordinary happening like they say put on by the Tate Music Center from San Francisco [https://www.wikidata.org/wiki/Q62]  [unintelligible] being the painter doing the so called decor, doing the set, the set that was used, creating the visual. But this other thing was something quite distinct, simply that each person was so active in ways that he couldn't anticipate and we had with us also Billy Kluver [https://www.wikidata.org/wiki/Q4912866], who can be most easily identified as the man who, is literally is an Engineer at Bell Labs [https://www.wikidata.org/wiki/Q217365] in New Jersey [https://www.wikidata.org/wiki/Q1408?wprov=srpw1_0] who engineered the 9 Evenings [https://www.wikidata.org/wiki/Q4646407] of the Armory [Hall (?)] in company with Rauschenberg [https://www.wikidata.org/wiki/Q164358], [Vergan (?)] and Cage [https://www.wikidata.org/wiki/Q180727] and others, a situation that brought technology into close apropos with the arts, and led to the practical effects of this activity are very evident, it led to ten patented inventions, all of which have much more extensive use, let's say than that occasion of those particular evenings. That was [unintelligible] you know, many, many poets [unintelligible] of this kind, that is, it turns out that when the arts are permitted this situation, that, I think we were talking to Irving earlier this evening, I think we both fear a situation, or have some kind of, feeling of personal awkwardness about a situation that is turning to the arts as if the arts had a necessary message or condition of life to stake for people to have use of, I mean, again, in these evenings we were round in these colleges, I mean the students or the people present, again and again said that \\\"what were you trying to tell us?\\\" And the point was that we weren't trying to tell them anything. We were in fact, we thought, that the activity was something which each person could have experienced, it would be like going to the beach and saying what do you think the water is trying to tell us? [audience laughter.] And you stand there, you're swimming [unintelligible] for two hours enjoying yourself thoroughly and then you come out and say to your friend, but what did it all mean? You know, we assumed that the people there would have some - would have some decision of their own, you know, did you think it was too cold, or too hot, or did you enjoy it, or you know, that's the kind of question no one can answer for you. In any case, I do feel the arts has, as Irving feels also, are being turned to, as some possibility of decision in contemporary society and don't think they can offer that ever, I don't- I think the very value of the arts is that they have no conclusion of this kind to propose, that what they do give is something I think perhaps Pound puts as ably as anyone when he says that \\\"art is the antenna of the race\\\". It's a very large statement obviously, and I think what he proposes in it is perhaps even can be put more simply in that the arts tend to experience the condition of the society that is, in a sense, and that way I have use of the condition of the society, perhaps more immediately than any other definition or activity in the society, I mean they tend to respond to the present condition perhaps more decisively than any other segment, I mean everyone else tends, not- I don't mean this in any put down sense of their attitudes in this society but I mean, that as the war goes on because it's an historical precedent and so on and so forth, I mean people continued to act as though what they were doing is still what they are doing, what they are doing is still what they were doing and they literally tend to continue in those habits of attitude or activity until something simply makes them impossible, but the arts tend to have experience I think of present condition, that they have no other viable occasion, they tend to propose what the immediate experience of say any life situation simply is, but they have no instruction therefore offer except that is possible, so that as I say, if poetry, as we've now experienced it is about to yield to another situation that is if books or printed medium of this order are to be changed, in societal experience, great, I mean I don't see why I want you to have to carry around all these pieces of paper, there must be, I'm sure that there's a simple way to communicate this kind of content but I do want to make the insistence that these poems or what I'm doing here has- I mean, I'm enjoying this, I'd probably do this even if you weren't here. [audience laughter], obviously did do it, you know. Now this is something else again, I had no messages, if the media is the message, this is perhaps the most absolute demonstration you'll probably get. \\\"Anger\\\".\\n \\nRobert Creeley\\n00:54:01\\nReads \\\"Anger\\\" [from Words].\\n \\nRobert Creeley\\n00:59:25\\nI'd like if people are feeling reasonably restless, I'd like to read one or two more poems and then one more story to make a selection frankly [unintelligible]  I think I'll see what would be useful. A couple of shorter poems for the end. One called \\\"A Tally\\\".\\n \\nRobert Creeley\\n01:00:01\\nReads \\\"A Tally\\\" [from Words].\\n \\nRobert Creeley\\n01:01:41\\n\\\"Enough\\\".\\n \\nRobert Creeley\\n01:01:45\\nReads \\\"Enough\\\" [from Words].\\n \\nRobert Creeley\\n01:06:00\\nOne last poem I want to read now, [unintelligible] \\\"The Hole\\\".\\n \\nRobert Creeley\\n01:06:07\\nReads \\\"The Hole\\\" [from Words].\\n \\nRobert Creeley\\n01:07:53\\nRead a story that's in effect going back some time to the time of the writing of the Island, a novel. And I hadn't written any prose for some time, not since the middle 50's and I had a [joke (?)], myself and my wife and our four kids were all down in Guatemala [https://www.wikidata.org/wiki/Q774]where I was tutoring children on a coffee plantation, and having that kind of isolation and time that seemed to, you know, have the possibility to try some prose. I like prose simply that it has--it's continuous, it permits a kind of variety of activity in ways that sometimes poetry from my own experience, at least in the way I'm given to write it, doesn't altogether- I mean, the emotional demand, let's say in a poem is in my own experience has known it, is of such order that alternatives in a curious way aren't possible, you simply say what you're thus brought to say as best you can. In prose, the emotional so called situation tends to be more various, it goes up, down, it ebbs, flows, re-forms, changes its mind, and so on and so forth, so I--not in recent years, I think the last prose I wrote was this novel, called the Island and I've not really written any since, that's about--when I was in Vancouver [https://www.wikidata.org/wiki/Q24639]teaching I finished that novel, and that was the last prose I think I've written and hopefully won't--I would like to go back to prose for a time. I'd like to have it open, I mean, again, this experience of being with these particular people, whenever habits become, oh let's say whenever you expect everything to be as you have experienced, it's time to look out or do something else because it means that you're assuming of the reality of your life has become too much of a pattern of a habit. Anyhow, this is a story called \\\"The Book\\\". I sort of like this story.\\n \\nRobert Creeley\\n01:10:22\\nReads \\\"The Book\\\".\\n\\nRobert Creeley\\n01:21:15\\nThank you very much for your...\\n\\nAudience \\n01:21:16\\nApplause.\\n\\nIntroducer\\n01:21:39\\nI think I speak for everyone in thanking Robert Creeley for being able to come down and make the scene tonight. There are a couple of announcements that I want to make, the first one I can't remember so I'll have to [unintelligible], [Audrey Brunet (?)], that I do remember invites everyone to come to hear \\\"Prayers on the Periphery\\\", an original reading, this coming Monday, March the 6th at 8:30 pm in the little gallery on the mezzanine. Our next reading is a week from now, next Friday, March the 3rd, and Victor Coleman [https://www.wikidata.org/wiki/Q23882910] and George Bowering [https://www.wikidata.org/wiki/Q1239280] from Buffalo [https://www.wikidata.org/wiki/Q40435]  and Toronto [https://www.wikidata.org/wiki/Q172] will be coming. Thank you.\\n\\nAudience\\n01:22:32\\nApplause.\\n\\nUnknown\\n01:22:45\\n[Cut or edit made in tape].\\n\\nRobert Creeley \\n01:22:48\\nReads “The Book” [repeated from 00:27:43].\\n\\nEND\\n01:23:12\\n\",\"notes\":\"Robert Creeley reads from For Love (Scribner, 1962) and Words (Scribner, 1967).\\n\\nI006-11-089.1=AC.1\\n\\n00:15- Irving Layton introduces Robert Creeley [INDEX: Irving Layton, Collected Poems         \\tScriveners Press 1962, For Love, The Gold Diggers, Words by Robert Creeley]\\n03:52- Robert Creeley responds to Layton’s introduction and introduces “A Song”. [INDEX:  \\tCerberus, Contact Magazine, Louis Dudek, Raymond Souster, Irving Layton as editor for \\tBlack Mountain Review]\\n05:47- Reads “A Song”\\n06:37- Reads “The Conspiracy”\\n07:12- Reads “Chanson”\\n08:00- Reads “The Operation”\\n08:35- Reads “The Death of Venus”\\n09:17- Introduces “A Form of Adaptation”. [INDEX: Paul Blackburn, University of Wisconsin, Divers Press, Irving Layton, Provencal Poetry, Ezra Pound, Mallorca, Proensa by Paul Blackburn.]\\n11:46- Reads “A Form of Adaptation”\\n12:40- Reads “The Whip”\\n13:29- Reads “Please”\\n14:36- Reads “The Three Ladies”\\n16:04- Reads “New Year’s”\\n17:34- Reads “Entre-Nous”\\n18:08- Reads “The Place”\\n19:20- Reads “The Hill”\\n20:21- Reads “The Awakening” [INDEX: Charles Olson]\\n22:04- Reads “The Rain”\\n23:12- Reads “Kore”\\n24:09- Introduces “The House” [INDEX: Louis Zukofsky]\\n24:29- Reads “The House”\\n25:06- Reads “The Pool”\\n26:18- Reads “To Water”\\n27:47- Reads “The Fire”\\n28:31- Reads “Something”\\n29:46- Introduces “Distance” [INDEX: New York, Bach]\\n31:03- Reads “Distance”\\n34:29- Introduces “The Window”\\n34:36- Reads “The Window”\\n35:30- Reads “To Bobby”\\n36:46- Reads “The Rose”\\n38:46- Reads “Love Comes Quietly”\\n39:25- Reads “The Gesture”\\n39:52- Reads “For Love”\\n42:39.23- END OF RECORDING\\n\\nI006-11-089.1= AC2\\n \\n00:00- Robert Creeley introduces “Anger” and talks about the state of art and poetry [INDEX:    Upstate New York, Albany State University, Rensselaer Polytechnic, Pottsdam, St.        \\tLawrence College, Union College- Part of Reading Series of seven artists with John Cage, Merce Cunningham. Roy Kiyooka at the Tate Music Center in San Francisco. Billy Kluver from Bell Labs in New Jersey, engineered “9 Evenings” at the Armory Hall with Rauschenberg, [Vergan (?) ] and John Cage. Technology and art, purpose of art, Ezra Pound.]\\n11:21- Reads “Anger”\\n16:46- Reads “A Tally”\\n19:02- Reads “Enough”\\n23:21- Reads “The Hole”\\n25:14- Introduces short story “The Book”. [INDEX: Prose, middle 50’s, Guatemala (teaching \\tchildren on a coffee plantation), writing poetry vs. prose, Vancouver, Island by Robert   \\tCreeley.]\\n27:43- Reads “The Book”\\n38:59- Unknown male thanks Robert Creeley, makes announcements. [INDEX: Audrey Brunet   [?] “Prayers on the Periphery” on March 6th. Victor Coleman and George Bowering from  \\tBuffalo and Toronto reading on March 3rd.]\\n40:32- END OF RECORDING.\\n\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/robert-creeley-at-sgwu-1967/\"}]"],"score":1.8530173},{"id":"1261","cataloger_name":["Masoumeh,Zaare"],"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":["Victor Coleman at Sir George Williams University, The Poetry Series,  3 March 1967"],"item_title_source":["Cataloguer"],"item_title_note":["\"VICTOR COLEMAN I006/SR159\" written on sticker on the spine of the tape's box. \"I006-11-159\" is written on a sticker on the tape reel"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 1"],"item_identifiers":["[]"],"creator_names":["Coleman, Victor","Bowering, George"],"creator_names_search":["Coleman, Victor","Bowering, George"],"creators":["[{\"url\":\"http://viaf.org/viaf/38160442\",\"name\":\"Coleman, Victor\",\"dates\":\"1944-\",\"notes\":\"A self-educated poet and publisher, Victor Coleman was born in Toronto on September 11, 1944, and he lived in both Montreal and Toronto. By the end of 1964, he had met poet Raymond Souster and founded Island Magazine and Island Press, drawing the avant-garde poetry centre from the West Coast to Toronto. Mr. Coleman was a publishing assistant for the Oxford University Press in Toronto from 1966 to 1967, after which he served for almost ten years as the editor for Coach House Press. Coleman was influential in the creations of Is, Image Nation, The Goose & Duck and Open Letter magazines and journals. He published his own poetry in From Erik Satie’s Notes to the Music (Island Press, 1965),  One/eye/love (Coach House Press, 1967), Light Verse (Coach House Press, 1969), Old Friends’ Ghosts: Poems 1963-68 (Weed/Flower, 1970), along with a dozen other titles. Victor Coleman was the director of the “A Space” (1975-1978), “31 Mercer” (1975-1978), Nightingale Arts Council in Toronto, the editor and writer for the Association of Non-Profit Artist-Run Centres, and has served as the director of the National Film Theatre in Kingston, Ontario. The poet also taught Creative Writing at both Queen's and York Universities. In 1995, as Coach House Press struggled, Coleman and Stan Bevington created Coach House Books to save the Press. In 2001, Victor Coleman became the Editorial Director for the Centre for Contemporary Canadian Art, a website devoted to the promotion of Canadian artists and writers. Victor Coleman continues to promote the development of avant-garde or postmodernist Canadian writing.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"Mentioned, but missing from recording\",\"nation\":[],\"role\":[]}]"],"contributors_names":["Francis, Wynne"],"contributors_names_search":["Francis, Wynne"],"contributors":["[{\"url\":\"http://viaf.org/viaf/77926194\",\"name\":\"Francis, Wynne\",\"dates\":\"1918-2000\",\"notes\":\"\",\"nation\":[],\"role\":[\"Presenter\",\"Series organizer\"]}]"],"Presenter_name":["Francis, Wynne"],"Series_organizer_name":["Francis, Wynne"],"Performance_Date":[1967],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"Tape\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"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\":\"1967 3 3\",\"type\":\"Performance Date\",\"notes\":\"Date specified in \\\"Georgantics\\\" by Bob Simco\",\"source\":\"Supplemental Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Basement Theatre\",\"notes\":\"Location specified in printed announcement \\\"Georgantics\\\" by Bob Simco (Supplemental material)\",\"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 Basement Theatre"],"City":["Montreal, Quebec"],"content_notes":["Victor Coleman reads from One/eye/love (Coach House Press, 1967)."],"contents":["victor_coleman_i086.11-159.mp3\n\nWynne Francis\n00:00:00\nBy the way I must remember a most important announcement, there is to be no smoking in the theatre. You may smoke at intermission, but please do not smoke during the readings. Our first reader tonight is Mr. Victor Coleman [https://www.wikidata.org/wiki/Q23882910] who comes to us from Toronto [https://www.wikidata.org/wiki/Q172]. Mr. Coleman is the publisher of Island Magazine [https://www.wikidata.org/wiki/Q15754909], and Is Magazine which is spelled 'i' 's' and looks like 'is' but is pronounced 'I’s', and he is also the publisher and editor of Island Press. He is a very active promoter of new Canadian poetry and he himself has published in several little magazines in Canada [https://www.wikidata.org/wiki/Q16] and he has made translations from Erik Satie's [https://www.wikidata.org/wiki/Q187192] notes to the music, he has also been published in New Wave Canada, an anthology of new Canadian poets published by Contact Press, and edited by Raymond Souster [https://www.wikidata.org/wiki/Q304129]. He is also affiliated, his press, Island Press, is affiliated with the Coach House Press [https://www.wikidata.org/wiki/Q5137585] in Toronto and through this press a book of his poems will be appearing this spring. He is our first reader and our second reader is Mr. George Bowering [https://www.wikidata.org/wiki/Q1239280], who has already published three books, the first one by Contact Press called Points On The Grid, the second one, The Silver Wire published by Quarry Press and the third one, A Man in Yellow Boots, by El Corno Emplumado which was done bilingually in Spanish and in English and which contains montages and illustrations by poet and artist Roy Kiyooka [https://www.wikidata.org/wiki/Q3445789]. Mr. Bowering is also editor of Imago Magazine, which emanated from Alberta [https://www.wikidata.org/wiki/Q1951] and which is devoted to the long poem or the longer poem, he is expecting to publish very shortly, in the spring I believe, a novel called The Mirror on the Floor. Mr. Coleman will read first, and then there will be a short intermission, and then Mr. Bowering will read to you.\n \nVictor Coleman\n00:02:49\nI like to make it a habit always at a reading to start off with something that somebody else wrote, simply to show you that my concerns lie elsewhere, then in my own self. This is something from A History of America by an American writer by the name of Bill Hutton and it's— well, I won't explain it to you.\n \nVictor Coleman\n00:03:35\nReads unnamed poem by Bill Hutton.\n \nVictor Coleman\n00:06:00\nI'll read a few short poems first, and then go into something from a sequence, a longer sequence. This is a poem dedicated to Bill Hutton, the author of that piece I just read, it's called \"Buff Hello, 6\".\n \nVictor Coleman\n00:06:33\nReads \"Buff Hello, 6\".\n \nVictor Coleman\n00:08:27\nI'm going to focus on that clock every once in a while, simply because I want to keep track of myself. If I might say, um, it's interesting that I'm reading with George Bowering and my general tenure at this time, uh, which I'm not really that self-conscious about which is interesting to me to be growing a beard at this time and that the last time that I started to grow a beard was the first time that I met George Bowering and it was about two years ago and we were sitting up in my attic which was a room and I said to him, \"How do you like my beard?\" and he says that \"It makes you look like an impotent D.H. Lawrence [https://www.wikidata.org/wiki/Q34970]”. [Audience laughter]. This is a poem called \"The Lady Vanishes\".\n \nVictor Coleman\n00:09:41\nReads \"The Lady Vanishes\".\n \nVictor Coleman\n00:11:14\nHere's a kind of poem that I can bug everybody with because it probably won't mean anything to you at all, but simply because it really is my occasion but rather than hide it away, um, I think that the sound of it is enough to carry to you, some measure of the poetry that I got from the occasion that I speak of. It's called \"For Basil Bunting\".\n \nVictor Coleman\n00:11:48\nReads \"For Basil Bunting\".\n \nVictor Coleman\n00:12:34\nI don't know whether any of you are familiar with a Japanese-English dictionary called Kenkyusha [https://www.wikidata.org/wiki/Q6389422], if not, all I can tell you is that it's a Japanese-English dictionary and that it has a strange quality to be able to predict the future, by chance operations in that it's very fat and you open it and you're like the guy with the funny hat at the track who really shouldn't be there because he can only guess and he just opens the racing form and sticks his finger on the horse and he bets on the horse and he usually loses. Kenkyusha is a little better than that because you're not trying to win anything, you're looking for some kind of instruction and the time I wrote these poems I was rather desperate for some kind of instruction, and uh, it's just a matter of opening the book, pointing and getting the epigraph for each poem from the Japanese-English dictionary. I'll just read a couple. \"Day Seven\", oh there are given days, that are sort of daily devotions.\n \nVictor Coleman\n00:14:09\nReads \"Day Seven\".\n \nVictor Coleman\n00:14:33\nReads \"Day Eight\".\n \nVictor Coleman\n00:15:19\nReads \"Day Ten\".\n \nVictor Coleman\n00:16:18\nMany of these relate to certain experiences with LSD also.\n \nVictor Coleman\n00:16:29\nReads \"Day Thirteen\".\n \nVictor Coleman\n00:16:49\nThe reason that the definitions, the English definitions in this section are so interesting and not like the ones we are accustomed to is because the characters that they represent go through their own changes and it's almost an ideogrammatic dictionary rather than a dictionary of definitions.\n \nVictor Coleman\n00:17:13\nResumes reading “Day Thirteen”.\n \nVictor Coleman\n00:20:17\nI need to get one of those spider clocks, can't read in this light.\n \nVictor Coleman\n00:20:39\nReads \"Day Twenty-One\" .\n \nVictor Coleman\n00:22:36\nReads \"Day Twenty-Two\".\n \nVictor Coleman\n00:24:56\nReads \"Day Twenty-Four\".\n \nVictor Coleman\n00:28:22\nThese next poems are the poems that are closest to me now. It's another long sequence called \"Separations\" and I don't think I need to give you any background on it. I'll not read the whole thing because it's quite long.\n \nVictor Coleman\n00:28:56\nReads \"Separations” [parts 4-8, 10-12, and 14].\n \nVictor Coleman\n00:37:00\nThank you.\n \nEND\n00:37:17\n"],"Note":["[{\"note\":\"George Bowering is repeatedly mentioned on the tape and in printed announcements, but no supporting audio has been found. \",\"type\":\"General\"},{\"note\":\"Year-specific Information:\\n\\nOne/eye/love was published in 1967, and Coleman was working at Coach House Press.\\n\",\"type\":\"General\"},{\"note\":\"Local connections:\\n\\nVictor Coleman was very involved in the promotion of small presses and Canadian writers, specifically through his own presses and Coach House Press. Victor Coleman and George Bowering regularly corresponded (Archives Canada has these correspondences under George Bowering).\\n\",\"type\":\"General\"},{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Faith Paré (2020) & Ali Barillaro (2021)\\n\",\"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/802667762&referer=brief_results\",\"citation\":\"Bowering, George, ed. The Contemporary Canadian Poem Anthology. Toronto: Coach House \\nPress, 1984. \\n\"},{\"url\":\"https://www.worldcat.org/title/one-eye-love/oclc/461736&referer=brief_results\",\"citation\":\"Coleman, Victor. One/eye/love. Toronto: Coach House Press, 1967. \"},{\"url\":\"http://www.ccca.ca/history/ozz/english/authors/coleman_victor.html\",\"citation\":\"“Coleman, Victor (1944-  )”. One Zero One: A Virtual Library of English Canadian Small Press 1945-2044. Centre for Contemporary Canadian Art, 2009. \\n\"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/victor-coleman-at-sgwu/\",\"citation\":\"Simco, Bob. “Georgiantics”. The Georgian. Montreal: Sir George Williams University, 28 February 1967. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Staines, David. \\\"Coleman, Victor\\\". The Oxford Companion to Canadian Literature. Eugene Benson and William Toye, eds. Oxford University Press 2001. \"}]"],"_version_":1853670548681261056,"timestamp":"2026-01-07T14:59:53.264Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0159_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0159_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Victor Coleman 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_0159_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0159_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Victor Coleman 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_0159_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0159_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Victor Coleman Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0159_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0159_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Victor Coleman 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/victor_coleman_i086-11-159.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"victor_coleman_i086.11-159.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:37:17\",\"precision\":\"\",\"size\":\"89.5 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Wynne Francis\\n00:00:00\\nBy the way I must remember a most important announcement, there is to be no smoking in the theatre. You may smoke at intermission, but please do not smoke during the readings. Our first reader tonight is Mr. Victor Coleman [https://www.wikidata.org/wiki/Q23882910] who comes to us from Toronto [https://www.wikidata.org/wiki/Q172]. Mr. Coleman is the publisher of Island Magazine [https://www.wikidata.org/wiki/Q15754909], and Is Magazine which is spelled 'i' 's' and looks like 'is' but is pronounced 'I’s', and he is also the publisher and editor of Island Press. He is a very active promoter of new Canadian poetry and he himself has published in several little magazines in Canada [https://www.wikidata.org/wiki/Q16] and he has made translations from Erik Satie's [https://www.wikidata.org/wiki/Q187192] notes to the music, he has also been published in New Wave Canada, an anthology of new Canadian poets published by Contact Press, and edited by Raymond Souster [https://www.wikidata.org/wiki/Q304129]. He is also affiliated, his press, Island Press, is affiliated with the Coach House Press [https://www.wikidata.org/wiki/Q5137585] in Toronto and through this press a book of his poems will be appearing this spring. He is our first reader and our second reader is Mr. George Bowering [https://www.wikidata.org/wiki/Q1239280], who has already published three books, the first one by Contact Press called Points On The Grid, the second one, The Silver Wire published by Quarry Press and the third one, A Man in Yellow Boots, by El Corno Emplumado which was done bilingually in Spanish and in English and which contains montages and illustrations by poet and artist Roy Kiyooka [https://www.wikidata.org/wiki/Q3445789]. Mr. Bowering is also editor of Imago Magazine, which emanated from Alberta [https://www.wikidata.org/wiki/Q1951] and which is devoted to the long poem or the longer poem, he is expecting to publish very shortly, in the spring I believe, a novel called The Mirror on the Floor. Mr. Coleman will read first, and then there will be a short intermission, and then Mr. Bowering will read to you.\\n \\nVictor Coleman\\n00:02:49\\nI like to make it a habit always at a reading to start off with something that somebody else wrote, simply to show you that my concerns lie elsewhere, then in my own self. This is something from A History of America by an American writer by the name of Bill Hutton and it's— well, I won't explain it to you.\\n \\nVictor Coleman\\n00:03:35\\nReads unnamed poem by Bill Hutton.\\n \\nVictor Coleman\\n00:06:00\\nI'll read a few short poems first, and then go into something from a sequence, a longer sequence. This is a poem dedicated to Bill Hutton, the author of that piece I just read, it's called \\\"Buff Hello, 6\\\".\\n \\nVictor Coleman\\n00:06:33\\nReads \\\"Buff Hello, 6\\\".\\n \\nVictor Coleman\\n00:08:27\\nI'm going to focus on that clock every once in a while, simply because I want to keep track of myself. If I might say, um, it's interesting that I'm reading with George Bowering and my general tenure at this time, uh, which I'm not really that self-conscious about which is interesting to me to be growing a beard at this time and that the last time that I started to grow a beard was the first time that I met George Bowering and it was about two years ago and we were sitting up in my attic which was a room and I said to him, \\\"How do you like my beard?\\\" and he says that \\\"It makes you look like an impotent D.H. Lawrence [https://www.wikidata.org/wiki/Q34970]”. [Audience laughter]. This is a poem called \\\"The Lady Vanishes\\\".\\n \\nVictor Coleman\\n00:09:41\\nReads \\\"The Lady Vanishes\\\".\\n \\nVictor Coleman\\n00:11:14\\nHere's a kind of poem that I can bug everybody with because it probably won't mean anything to you at all, but simply because it really is my occasion but rather than hide it away, um, I think that the sound of it is enough to carry to you, some measure of the poetry that I got from the occasion that I speak of. It's called \\\"For Basil Bunting\\\".\\n \\nVictor Coleman\\n00:11:48\\nReads \\\"For Basil Bunting\\\".\\n \\nVictor Coleman\\n00:12:34\\nI don't know whether any of you are familiar with a Japanese-English dictionary called Kenkyusha [https://www.wikidata.org/wiki/Q6389422], if not, all I can tell you is that it's a Japanese-English dictionary and that it has a strange quality to be able to predict the future, by chance operations in that it's very fat and you open it and you're like the guy with the funny hat at the track who really shouldn't be there because he can only guess and he just opens the racing form and sticks his finger on the horse and he bets on the horse and he usually loses. Kenkyusha is a little better than that because you're not trying to win anything, you're looking for some kind of instruction and the time I wrote these poems I was rather desperate for some kind of instruction, and uh, it's just a matter of opening the book, pointing and getting the epigraph for each poem from the Japanese-English dictionary. I'll just read a couple. \\\"Day Seven\\\", oh there are given days, that are sort of daily devotions.\\n \\nVictor Coleman\\n00:14:09\\nReads \\\"Day Seven\\\".\\n \\nVictor Coleman\\n00:14:33\\nReads \\\"Day Eight\\\".\\n \\nVictor Coleman\\n00:15:19\\nReads \\\"Day Ten\\\".\\n \\nVictor Coleman\\n00:16:18\\nMany of these relate to certain experiences with LSD also.\\n \\nVictor Coleman\\n00:16:29\\nReads \\\"Day Thirteen\\\".\\n \\nVictor Coleman\\n00:16:49\\nThe reason that the definitions, the English definitions in this section are so interesting and not like the ones we are accustomed to is because the characters that they represent go through their own changes and it's almost an ideogrammatic dictionary rather than a dictionary of definitions.\\n \\nVictor Coleman\\n00:17:13\\nResumes reading “Day Thirteen”.\\n \\nVictor Coleman\\n00:20:17\\nI need to get one of those spider clocks, can't read in this light.\\n \\nVictor Coleman\\n00:20:39\\nReads \\\"Day Twenty-One\\\" .\\n \\nVictor Coleman\\n00:22:36\\nReads \\\"Day Twenty-Two\\\".\\n \\nVictor Coleman\\n00:24:56\\nReads \\\"Day Twenty-Four\\\".\\n \\nVictor Coleman\\n00:28:22\\nThese next poems are the poems that are closest to me now. It's another long sequence called \\\"Separations\\\" and I don't think I need to give you any background on it. I'll not read the whole thing because it's quite long.\\n \\nVictor Coleman\\n00:28:56\\nReads \\\"Separations” [parts 4-8, 10-12, and 14].\\n \\nVictor Coleman\\n00:37:00\\nThank you.\\n \\nEND\\n00:37:17\\n\",\"notes\":\"Victor Coleman reads from One/eye/love (Coach House Press, 1967).\\n\\nList of Poems Read and Time Stamps [File 1 of 2]\\n0:00 - Introductions of Coleman and George Bowering (also reading the same night, but not on    this recording.) [INDEX: Island Magazine, Is Magazine, Island Press, new Canadian   poetry, translations of Eric Satie’s notes to music, New Wave Canada edited by Ramond Souster published by Contact Press, Coach House Press in Toronto. George Bowering: Contact Press published Points on the Grid, The Silver Wire, A Man in Yellow Boots by El Corno Emplumado in Spanish and English with drawings by Roy Kiyooka. Editor of Imago Magazine, Alberta, Long Poem or Longer Poem, The Mirror on the Floor.]\\n2:49 - Victor Coleman introduces poem by Bill Hutton from History of America, first line “John         Fitzgerald Kennedy shot John Wilkes Booth...” [INDEX: History of America by Bill Hutton]\\n3:35 - Reads unknown poem by Bill Hutton from History of America.\\n5:45 - Introduces “Buff Hello 6”\\n6:33 - Reads “Buff Hello 6”\\n8.27 - Introduces “The Lady Vanishes” [INDEX: George Bowering, D.H. Lawrence]\\n9:41 - Reads “The Lady Vanishes”\\n11:14 - Introduces “For Basil Bunting” [INDEX: Basil Bunting, occasional poetry]\\n11:48 - Reads “For Basil Bunting”\\n12:34 - Introduces “Day Seven” [INDEX: Japanese-English Dictionary Kenkyusha, chance     operations, days of devotions]\\n14:09 - Reads “Day Seven”\\n14:33 - Reads “Day Eight”\\n15:19 - Reads “Day Ten”\\n16:18 - Introduces “Day Thirteen” [INDEX: experiences with LSD]\\n16:29 - Reads “Day Thirteen”\\n20:17 - Introduces “Day 21”\\n20:39 - Reads “Day 21”\\n22:36 - Reads “Day 22”\\n24:56 - Reads “Day 24”\\n28:22 - Introduces “Separations” [INDEX: long sequence poem]\\n28:56 - Reads “Separations”, #4, 5, 6, 7, 8, 10, 11, 12, 14.\\n37:17 - END OF RECORDING.\\n\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/victor-coleman-at-sgwu/\"}]"],"score":1.8530173},{"id":"1262","cataloger_name":["Masoumeh,Zaare"],"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":["Irving Layton at Sir George Williams University, The Poetry Series, 18 March 1967"],"item_title_source":["Cataloguer"],"item_title_note":["\"IRVING LAYTON (2 tracks-3 3/4)\" written on sticker on the front of the tape's box and on the reel. \"I086-11-031\" also written on sticker on the reel."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 1"],"item_identifiers":["[]"],"creator_names":["Layton, Irving"],"creator_names_search":["Layton, Irving"],"creators":["[{\"url\":\"http://viaf.org/viaf/66482092\",\"name\":\"Layton, Irving\",\"dates\":\"1912-2006\",\"notes\":\"Canadian poet Irving Layton was born Israel Lazarovitch in Romania on March 12, 1913. His parents moved to Montreal when he was an infant. He attended Baron Byng High School, and then received a B.Sc. in agriculture in 1939 at MacDonald College. He completed an M.A. in 1946 in economics and political science at McGill University. At McGill, Layton began publishing his poetry in 1943 in First Statement, joining John Sutherland and Louis Dudek on the editorial board, and was involved with Northern Review from 1945-1956. Irving Layton was a founding member of Contact Press, along with Dudek and Raymond Souster in 1952. Layton’s first collection of poems began with Here and now (First Statement, 1945), followed by Now is the place (First Statement, 1948), The black huntsman (Contact Press [?], 1951), Love the conqueror worm (Contact Press, 1953), In the midst of my fever (published by Robert Creeley for Divers Press in 1954), The long pea-shooter (Laocoon Press, 1954), The cold green element and The blue propeller (Contact Press, 1955), The bull calf and other poems, Music on a Kazoo and The improved binoculars (published with an introduction by William Carlos Williams, Contact Press and J.Williams Press, 1956), A laughter in the mind (J. Williams, 1958) and A red carpet for the sun (J. Williams, 1959), which won a Governor General’s Award. He was a member of the editorial board of the Black Mountain Review in 1955. Layton also taught part time at Sir George University (now Concordia University) which appointed him poet-in-residence in 1965. Producing an average of one collection of poems per year, Layton published The swinging flesh (1961), Balls for a one-armed juggler (1963), The laughing rooster (1964), Collected poems (1965), Periods of the moon (1967), The shattered plinths (1968), The whole bloody bird: obs, alphs, and poems (1969), Nail polish (1971), Lovers and lesser men (1973), The pole vaulter (1974), For my brother Jesus (1976), The covenant (1977), The tightrope dancer (1978), Droppings from heaven (1979), For my neighbours in hell (Mosaic Press, 1980), Europe and other bad news (1981), The Gucci bag (1983), and Fortunate exile (1987), all published by McClelland and Stewart Press unless otherwise indicated. Layton also published selected poems in The collected poems of Irving Layton (McClelland and Stewart Press, 1971), The darkening fire: selected poems, 1945-68 (McClelland and Stewart Press, 1975), The unwavering eye: selected poems, 1969-75 (McClelland and Stewart Press, 1975), A wild peculiar joy: selected poems 1945-1982 (1982), Final reckoning: poems 1982-1986 (Mosaic Press, 1987), and Fornaluxt: selected poems 1928-1990 (1992). Layton has edited dozens of anthologies of Canadian poems and prose, as well as having his poetry published internationally. Layton ended his teaching career at York University in Toronto. An influential part of Canada’s literary scene, Irving Layton died on January 4, 2006.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Fink, Howard,"],"contributors_names_search":["Fink, Howard,"],"contributors":["[{\"url\":\"http://viaf.org/viaf/6332801\",\"name\":\"Fink, Howard, \",\"dates\":\"1934-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Presenter\",\"Series organizer\"]}]"],"Presenter_name":["Fink, Howard, "],"Series_organizer_name":["Fink, Howard, "],"Performance_Date":[1967],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"BASF\",\"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\":\"2 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\":\"1967 3 18\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Previous researcher\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Basement Theatre\",\"notes\":\"Previous researcher\",\"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 Basement Theatre"],"City":["Montreal, Quebec"],"content_notes":["Irving Layton reads from Collected Poems (McClelland & Stewart, 1965) and Periods of the Moon (McClelland &Stewart, 1967). "],"contents":["irving_layton_i086-11-031.mp3\n\nHoward Fink\n00:00:00\n...Irving Layton [https://www.wikidata.org/wiki/Q1673289] to this stage again tonight, this time to read his poetry. The last time he was up here was to introduce Robert Creeley [https://www.wikidata.org/wiki/Q918620], and what was said then clearly explained the close relations between Mr. Layton and the Black Mountain Group [https://www.wikidata.org/wiki/Q2905420] in the 50's, so I won't go into that again, but I'll only add that Mr. Layton was a member of the editorial board of Black Mountain Review [https://www.wikidata.org/wiki/Q2905420] from 1955 on. Of course he's been publishing poetry since the 40's and was associated during those years with the First Statement Press, which became the Northern Review [https://www.wikidata.org/wiki/Q15757902] in 1949, and all this time studying at McGill University [https://www.wikidata.org/wiki/Q201492] where he received the M.A. in Political Science and Economics in 1946. It's impossible to list all of his appearances in periodicals and little magazines, and I'll mention only a few of his two dozen or so volumes of poetry, anyway that's what it seemed like to me when I looked at that page in the new one. A Red Carpet for the Sun in 1959, with the well-known introduction by William Carlos Williams [https://www.wikidata.org/wiki/Q178106] which acknowledged, American recognition of Mr. Layton's reputation. A Red Carpet, like all of Mr. Layton's subsequent books was published by McClelland and Stewart [https://www.wikidata.org/wiki/Q6800322]. Then, a book of short stories and poems, The Swinging Flesh, which came out in 1961, Balls for a One-armed Juggler in 1963, The Laughing Rooster in 1964, Collected Poems in 1965 and his latest work, just published this winter, Periods of the Moon. And I should say the ones that I have mentioned are the ones which are still in stock and able to be bought. Among Mr. Layton's other frenetic activities, poetry readings in Canada [https://www.wikidata.org/wiki/Q16], United States [https://www.wikidata.org/wiki/Q30], Germany [https://www.wikidata.org/wiki/Q183] and elsewhere, television appearances, controversial ones and so on, he finds time to communicate with students as well as Poet in Residence of this university [https://www.wikidata.org/wiki/Q326342]. I'd like to present Mr. Irving Layton.\n\nAudience\n00:02:21\nApplause.\n \nIrving Layton\n00:02:30\nThank you Howard, for your kind introduction. I'm glad that you did not introduce me as a letter writer. I'm very glad to see so large a turn out this evening. I am very heartened by it, very moved, and I'm very glad to see so many of my friends and former students in the audience. I like beginning my reading with a poem \"There Are No Signs\" because if any one poem expresses what I try to say, and all the poems and stories that I have written, is that modern man, pretty well, has to find out where he is going, by just going. Now the old sign posts are down, and that he must make his sign posts as he goes along.\n \nIrving Layton\n00:04:00\nReads \"There Are No Signs\" [published as “There Were No Signs in Collected Poems].\n \nIrving Layton\n00:04:51\n\"The Swimmer\", my symbol for the poet, condemned to live in two realms, and happy to live in neither of them. The realm of actuality and the realm of the imagination. Here I compare the poet to the swimmer.\n \nIrving Layton\n00:05:15\nReads \"The Swimmer\" [from Collected Poems].\n \nIrving Layton\n00:06:38\nSeveral years ago I taught at the Jewish Library, one of my students was a Mrs. Fornheim, who had lived in Vienna [https://www.wikidata.org/wiki/Q1741], and left Vienna when that city fell to the Nazis. She went to Paris [https://www.wikidata.org/wiki/Q90], and left Paris for Spain [https://www.wikidata.org/wiki/Q29], when the Vichy government was formed. From Spain, she went to Portugal [https://www.wikidata.org/wiki/Q45] and then came to Montreal [https://www.wikidata.org/wiki/Q340], where I taught her English. She died of cancer, this is my poem for her. \"Mrs. Fornheim, Refugee\".\n \nIrving Layton\n00:07:19\nReads \"Mrs. Fornheim, Refugee\" [from Collected Poems].\n \nIrving Layton\n00:08:12\n\"Gothic Landscape\", or what it means to be a Jewish boy growing up in a hostile neighbourhood of French Canadians and Italians who are convinced that you have lately murdered Christ. And where you are entranced by the church bells every Sunday, because of the ecstatic music over the sky, over the rooftops, and yet, in that ecstatic music of the bells, a sound of menace, something alien and frightening.\n \nIrving Layton\n00:09:00\nReads \"Gothic Landscape\" [from Collected Poems].\n \nIrving Layton\n00:10:19\n\"The Black Huntsmen\". This was written at a time when Jewish skin was made into lampshades. Or, the song of innocence becoming the song of experience.\n \nIrving Layton\n00:10:42\nReads \"The Black Huntsmen\" [from Collected Poems].\n\nUnknown\n00:12:07\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nIrving Layton\n00:12:08\nThis is how the fringes of a prayer shawl, a sheitel is a wig. If you are an Orthodox, Jewess as my mother was, you have to cut your hair very short and wear a wig so that you are no longer attractive so to speak, to any other man but your husband. Peculiar way of looking at it.\n \nIrving Layton\n00:12:43\nReads \"Archetypes\" [from Collected Poems].\n\nIrving Layton\n00:13:38\nReads \"Soleil de Noces\" [from Collected Poems].\n \nIrving Layton\n00:14:15\n\"De Bullion Street\". I don't suppose De Bullion Street has the reputation that it had when I was a boy. I suppose the present administration has cleaned up things, and anyway harlots now are more peripatetic. So this, in a sense, is an old fashioned poem.\n \nIrving Layton\n00:14:40\nReads \"De Bullion Street\" [from Collected Poems].\n \nIrving Layton\n00:16:10\n\"On My Way To School\" or the changes that come. I wasn't the most punctual of students, and it's a great comfort to me therefore when I was late to find a sign on a Baptist church \"Jesus Saves\". Many years, I returned and found some change had taken place and this poem celebrates the change, or records it.\n \nIrving Layton\n00:16:44\nReads \"On My Way To School\" [from Collected Poems].\n \nIrving Layton\n00:17:20\nReads \"Love the Conqueror Worm\" [from Collected Poems].\n \nIrving Layton\n00:18:31\n\"Vexata Quaestio\". Western man is the product we are told, of two traditions, the Greek, and the Hebrew. The Greek, pagan, believing that all experience is worth having, and man should refuse no experience. The Hebrew believing that the proper life, salvation is to be found in obedience to God's will. The two traditions are quite contradictory and can never be reconciled. It is our unfortunate destiny to try to reconcile them. I do not think we have been successful at it because the task cannot be done, it's impossible. So I've written this poem, \"Vexata Quaestio\" and what I'm saying is that each and every one of us in the West is a sort of compromise between these two traditions. Here I use the tree, a tall tree, as a symbol for the Hebraic, the Maccabean and the sun becomes a symbol for the pagan, and you'll see what happens to both the tree and the sun.\n \nIrving Layton\n00:20:11\nReads \"Vexata Quaestio\" [from Collected Poems].\n \nIrving Layton\n00:21:19\n\"Cemetery in August\". Only humans of course are aware of death, and even in August, when you feel the flush and thrill and intensity of life, you are aware of the autumn and the winter and when you are in a cemetery, the macabre juxtaposition of life and death becomes even more intense. So I wrote this poem, \"Cemetery in August\".\n \nIrving Layton\n00:21:54\nReads \"Cemetery in August\" [from Collected Poems].\n \nIrving Layton\n00:24:20\n\"To the Girls of my Graduating Class\". This was a graduating class, not at Sir George Williams, but my high school I taught several years ago. And I was very fortunate one year in having six very, very lovely, nubile adolescents, very attractive, and very, very well aware of precisely where attractions lay [audience laughter]. And very often when I was in the middle of a serious lecture in history, one of them would make some provocative gesture that would drive my thoughts from the lecture to something far more interesting [audience laughter].\n \nIrving Layton\n00:25:15\nReads \"To the Girls of my Graduating Class\" [from Collected Poems].\n\nAudience\n00:26:30\nLaughter.\n \nIrving Layton\n00:26:33\nAnd what you see when you are in the tavern, the kind of dreams you have about pleasure and about the strange, the strange dance that all of us lead. And this very queer life and journey of ours. And I call this \"Bacchanal\", and it's a rather unusual Bacchanal, because it's a rather sad one, or shall I say a prayerful one.\n \nIrving Layton\n00:27:10\nReads \"Bacchanal\" [from Collected Poems].\n \nIrving Layton\n00:28:18\nThis one is for my son, \"Maxie\".\n \nIrving Layton\n00:28:24\nReads \"Maxie\" [from Collected Poems].\n \nIrving Layton\n00:30:03\nAnd I suppose all teachers of literature have had the experience of giving an inspired lecture on Shakespeare [https://www.wikidata.org/wiki/Q692] or John Donne [https://www.wikidata.org/wiki/Q140412], and finding some hand at the back waving furiously as you're getting to the home stretch and your peroration is the most resounding thing that you've ever thought about but this hand out there, very insistent, you know, and finally you stop in the middle of the peroration and you say \"Yes, yes what is it?\" and the student says, \"Sir, will this be on the exam?\" [audience laughter].\n \nIrving Layton\n00:30:57\nReads \"Seven o'Clock Lecture\" [from Collected Poems].\n \nIrving Layton\n00:34:07\n\"The Birth of Tragedy\". The title is taken from one of the earliest books of Nietzsche [https://www.wikidata.org/wiki/Q9358], the gods here that I speak about in the poem, are the gods of Dream and Dance, of Reason and Ecstasy, Apollo and Dionysus, Nietzsche held that tragedy came from the union of both dream and dance, intellect and impulse.\n \nIrving Layton\n00:34:44\nReads \"The Birth of Tragedy\" [from Collected Poems].\n \nIrving Layton\n00:36:44\nAnd I suppose no Layton reading would be quite complete without this poem, \"Misunderstanding\".\n \nIrving Layton\n00:36:54\nReads \"Misunderstanding\" [from Collected Poems].\n \nIrving Layton\n00:37:16\n\"The Cold Green Element\". This is about life, death, nature, and poetry. It's really a meditation, and, I hope, a passionate meditation on art and life. Like Yeats [https://www.wikidata.org/wiki/Q40213], I am very concerned with the necessary antinomies or contradictions of life. Like Yeats, I believe that great art results from the happy, the miraculous fusion of the two.\n \nIrving Layton\n00:38:04\nReads \"The Cold Green Element\" [from Collected Poems].\n \nIrving Layton\n00:40:20\n\"The Improved Binoculars\", my symbol for science. It is truism to say that unless man's moral development, his capacity for sympathy, keeps space, or this development in science and technology he's in danger of blowing himself off the face of this earth. This poem is an apocalyptic poem, it is a vision of the future, such as I hope will never be realized. But in one of my more despairing moments, or one of my more savage and bitter moments, I wrote this poem, \"The Improved Binoculars\".\n \nIrving Layton\n00:41:05\nReads \"The Improved Binoculars\" [from Collected Poems].\n \nIrving Layton\n00:42:25\nReads [“Orpheus” from Collected Poems].\n \nIrving Layton\n00:44:11\nReads \"Death of a Construction Worker\" [from Collected Poems].\n \nIrving Layton\n00:45:08\nReads “Theology” [from Collected Poems].\n \nIrving Layton\n00:45:47\nReads “For Louise, Age 17” [from Collected Poems].\n \nIrving Layton\n00:47:14\n\"Song for Naomi\". Naomi's my daughter. Several years ago we were out in the country, I was appalled to find that while she was by the bank of the lake, I couldn't see her because the weeds and the flowers were taller than she was. If she fell into the lake, neither I nor my wife might see it. But nothing happened. Just a day before we were to pack up to leave, I noticed my daughter down by the lake, and this time, her dear little head was peeping just above the weeds and the flowers and this gave me the idea for this poem, which I wrote, while of course my wife did the packing.\n \nIrving Layton\n00:48:12\nReads \"Song for Naomi\" [from Collected Poems].\n \nIrving Layton\n00:49:47\nHere's a rather erotic poem, called \"Gathering of Poets\", to be taken of course with a grain of salt.\n \nUnknown\n00:49:59\n[Cut or edit made in tape].\n \nIrving Layton\n00:50:00\n...to be taken, of course, with a grain of salt. Just a short thing.\n \nIrving Layton\n00:50:08\nReads \"Gathering of Poets\" [from Collected Poems].\n \nIrving Layton\n00:50:40\nReads \"The Bull Calf\" [from Collected Poems].\n \nIrving Layton\n00:53:19\nAnd here's a lighter poem called \"Bargain\".\n \nIrving Layton\n00:53:22\nReads \"Bargain\" [from Collected Poems].\n\nAudience\n00:53:46\nLaughter.\n \nIrving Layton\n00:53:58\nThis next poem is for my mother, who died at the age of 89. She was a very remarkable woman, I'd like to tell you a great deal about her, she certainly merits it, she was a most remarkable character with a tremendous joie-de-vivre and a wonderful gift of vituperation, which it is said I have inherited [audience laughter]. Certainly I learned the cadence of poetry from my mother's cursing. My mother would start cursing as soon as I opened my eyes in the morning and wouldn't stop cursing until I closed them at night when I went to bed. But the cadence was what interested me [audience laughter] and I didn't pay any attention to words. Occasionally I would get the drift, of course, of what the curses were intended to say, and I must say it did me a wonderful lot of good because later on when I got knocked my critics and so on, it was like so much water off a duck's back after my mother's cursing. Nothing the critics say could possibly make any impression upon me whatsoever [audience laughter]. She was extremely vain of her black eyebrows. When she was 85, I was taking her somewhere and we stopped for a red light. I noticed a very lovely girl standing on the curb, and of course, I looked very intently at her. My mother caught my intent gaze and said, sighing, \"Yes, she's very beautiful, but has she got my black eyebrows?\" [audience laughter]. She wore earrings that were made of old Romanian coins, she wore an amber necklace, which I remember playing with when I was a child. But it was her immense vitality and joie-de-vivre, coupled with an immense discontent that always fascinated me about my mother. She was a very Orthodox woman, reverencing God, but often giving me the impression that she might have made a much better job of creation than God himself. So this is my tribute to my very, very remarkable mother.\n \nIrving Layton\n00:56:56\nReads \"Keine Lazarovitch, 1870-1959\" [from Collected Poems].\n \nIrving Layton\n00:59:16\nReads \"The Well-Wrought Urn\" [from Collected Poems].\n \nIrving Layton\n00:59:57\nSome time ago, I went down to the church at Notre Dame, and you know, you have halos lighting up over the head of your favourite saint, or the Virgin Mary, if you drop the requisite number of coins. There's nobody else in that vast gloomy church, except another man and myself, and he went over to the little machine and he dropped some coins, and he waited for the halo to light up and it didn't. And that nettled him a great deal, and he waited, and it still didn't light up so he gave the machine a kick, nothing happened. But he said something and I went home and I wrote this poem.\n \nIrving Layton\n01:01:01\nReads \"This Machine Age\" [from Collected Poems; audience laughter throughout].\n \nIrving Layton\n01:02:09\nThis next poem of mine is also based on an actual experience, I'm sure that most of you have heard of Djilas [https://www.wikidata.org/wiki/Q153909], the very courageous Yugoslav writer who's imprisoned by his erstwhile comrade and companion in arms, Tito. He's imprisoned for writing and publishing outside of the country, Conversations with Stalin [https://www.wikidata.org/wiki/Q5166446]. That was several years ago, he's just been released. Well I thought a brave man like that deserves some kind of support, especially from and by writers, and so I decided to go up to Ottawa [https://www.wikidata.org/wiki/Q1930] and demonstrate in front of the Yugoslav Embassy. I took my wife with me, and one or two of the local poets, we made some signs and we drove up to Ottawa. We got out of the car, and the sign read, of course, \"Free Djilas\", and I was amazed and delighted to find that a considerable crowd gathered around me and the sign. Until I realized just what was happening. And so I wrote this poem, called \"Free Djilas\".\n \nIrving Layton\n01:03:31\nReads \"Free Djilas\" [from Collected Poems; audience laughter throughout].\n \nIrving Layton\n01:04:29\nThis one, in a more serious vein, \"The Predator\".\n \nIrving Layton\n01:04:36\nReads \"The Predator\" [from Collected Poems].\n\nIrving Layton\n01:06:41\nReads \"Plaza de Toros\" [from Collected Poems].\n \nIrving Layton\n01:09:13\nReads \"At the Alhambra\" [from Collected Poems].\n \nIrving Layton\n01:10:20\nReads \"For My Green Old Age\" [from Collected Poems].\n \nIrving Layton\n01:11:44\nNow I want to read a few poems from my most recent book, Periods of the Moon. \"Castles on the Rhine\".\n \nIrving Layton\n01:12:01\nReads \"Castles on the Rhine\" [published as “Rhine Boat Trip in Periods of the Moon].\n \nIrving Layton\n01:12:54\nReads \"Mutability\" from Periods of the Moon.\n \nIrving Layton\n01:14:19\nReads \"Time's Velvet Tongue\" from Periods of the Moon.\n \nIrving Layton\n01:15:20\nReads \"Gratitude\" from Periods of the Moon.\n\nAudience\n01:16:00\nLaughter \n\nIrving Layton\n01:16:04\nMy contribution to the centennial year, “Confederation Ode”.\n\nIrving Layton\n01:16:10\nReads \"Confederation Ode\" from Periods of the Moon [audience laughter throughout].\n\nAudience\n01:17:23\nLaughter and Applause.\n \nIrving Layton\n01:17:34\nReads \"The Beautiful Unknown Girl\" from Periods of the Moon.\n \nIrving Layton\n01:18:55\nAnd this one, \"For Musia's Grandchildren\".\n \nIrving Layton\n01:19:09\nReads \"For Musia's Grandchildren\" from Periods of the Moon.\n \nIrving Layton\n01:20:59\nReads \"Look Homeward, Angel\" from Periods of the Moon.\n \nIrving Layton\n01:21:45\nAnd this last one, \"Family Portrait\".\n \nIrving Layton\n01:21:54\nReads \"Family Portrait\" [from Collected Poems; audience laughter throughout].\n\nAudience\n01:22:59\nLaughter and Applause.\n \nEND\n01:23:43\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nHis collection of poetry Periods of the Moon was published in 1967, and he participated in several other readings at the Jewish Public Library in Montreal, among other places. His poetry was anthologized in Modern Canadian Verse: In English and French (Oxford University Press), edited by F.R. Scott and A.J.M. Smith, The Blasted Pine: An Anthology of Satire, also edited by F.R. Scott and A.J.M. Smith in 1967 (Macmillan). Layton was poet-in-residence at Sir George Williams University.\\n\",\"type\":\"General\"},{\"note\":\"Local Connections: \\n\\nLayton’s meeting with Louis Dudek and John Sutherland culminated in the very influential First Statement magazine and press in 1942. His poetry is widely-read and has been awarded generously. Layton has also become a well-known figure in Montreal, and caught the attention of many critics--for better or for worse. Layton and Dudek helped Aileen Collins found the magazine CIV/n, and with Raymond Souster founded Contact Press in 1952, which both published many young Canadian poets like Margaret Atwood, Phyllis Webb, Eli Mandel, D.G. Jones, Alden Nowlan, Gwendolyn MacEwen, George Bowering, Frank Davey and John Newlove. Through Raymond Souster, he began correspondence with Robert Creeley in 1953, and continued to prove to American poets that Canadian poets had something interesting to say. Layton, Dudek and F.R. Scott promoted and mentored the newer generation of Canadian poets. He has become a Montreal icon, as he spent most of his life in the city.\\n\",\"type\":\"General\"},{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"General\"},{\"note\":\"Reel-to-reel tape>2 CDs>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Davey, Frank. \\\"Layton, Irving\\\". The Oxford Companion to Canadian Literature. Eugene Benson and William Toye (eds). 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. 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/collected-poems-irving-layton/oclc/460183130&referer=brief_results\",\"citation\":\"Layton, Irving. Collected Poems. Toronto: McClelland & Stewart, 1965. \"},{\"url\":\"https://www.worldcat.org/title/periods-of-the-moon-poems/oclc/907399867&referer=brief_results\",\"citation\":\"Layton, Irving. Periods of the Moon. Toronto: McClelland & Stewart, 1967. \"},{\"url\":\"https://www.worldcat.org/title/encyclopedia-of-post-colonial-literatures-in-english-vol2/oclc/1156824609&referer=brief_results\",\"citation\":\"Lynch, Gerald. “Layton, Irving (1912-)”. Routledge Encyclopedia of Post-Colonial Literatures in English. Eugene Benson and L.W. Conolly, (eds). London: Routledge, 1994. 2 Vols. \\n\"},{\"url\":\"https://www.concordia.ca/content/dam/concordia/offices/archives/docs/postgrad/Postgrad-1967-Spring.pdf\",\"citation\":\"“Poetry Readings”. Post-Grad. Montreal: Sir George Williams University, Spring 1967, page 13. \"},{\"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. \"}]"],"_version_":1853670548809187328,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0031_back.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0031_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Irving Layton 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_0031_front.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0031_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Irving Layton 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_0031_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0031_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Irving Layton 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/irving_layton_i086-11-031.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"irving_layton_i086-11-031.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:23:43\",\"precision\":\"\",\"size\":\"200.9 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Howard Fink\\n00:00:00\\n...Irving Layton [https://www.wikidata.org/wiki/Q1673289] to this stage again tonight, this time to read his poetry. The last time he was up here was to introduce Robert Creeley [https://www.wikidata.org/wiki/Q918620], and what was said then clearly explained the close relations between Mr. Layton and the Black Mountain Group [https://www.wikidata.org/wiki/Q2905420] in the 50's, so I won't go into that again, but I'll only add that Mr. Layton was a member of the editorial board of Black Mountain Review [https://www.wikidata.org/wiki/Q2905420] from 1955 on. Of course he's been publishing poetry since the 40's and was associated during those years with the First Statement Press, which became the Northern Review [https://www.wikidata.org/wiki/Q15757902] in 1949, and all this time studying at McGill University [https://www.wikidata.org/wiki/Q201492] where he received the M.A. in Political Science and Economics in 1946. It's impossible to list all of his appearances in periodicals and little magazines, and I'll mention only a few of his two dozen or so volumes of poetry, anyway that's what it seemed like to me when I looked at that page in the new one. A Red Carpet for the Sun in 1959, with the well-known introduction by William Carlos Williams [https://www.wikidata.org/wiki/Q178106] which acknowledged, American recognition of Mr. Layton's reputation. A Red Carpet, like all of Mr. Layton's subsequent books was published by McClelland and Stewart [https://www.wikidata.org/wiki/Q6800322]. Then, a book of short stories and poems, The Swinging Flesh, which came out in 1961, Balls for a One-armed Juggler in 1963, The Laughing Rooster in 1964, Collected Poems in 1965 and his latest work, just published this winter, Periods of the Moon. And I should say the ones that I have mentioned are the ones which are still in stock and able to be bought. Among Mr. Layton's other frenetic activities, poetry readings in Canada [https://www.wikidata.org/wiki/Q16], United States [https://www.wikidata.org/wiki/Q30], Germany [https://www.wikidata.org/wiki/Q183] and elsewhere, television appearances, controversial ones and so on, he finds time to communicate with students as well as Poet in Residence of this university [https://www.wikidata.org/wiki/Q326342]. I'd like to present Mr. Irving Layton.\\n\\nAudience\\n00:02:21\\nApplause.\\n \\nIrving Layton\\n00:02:30\\nThank you Howard, for your kind introduction. I'm glad that you did not introduce me as a letter writer. I'm very glad to see so large a turn out this evening. I am very heartened by it, very moved, and I'm very glad to see so many of my friends and former students in the audience. I like beginning my reading with a poem \\\"There Are No Signs\\\" because if any one poem expresses what I try to say, and all the poems and stories that I have written, is that modern man, pretty well, has to find out where he is going, by just going. Now the old sign posts are down, and that he must make his sign posts as he goes along.\\n \\nIrving Layton\\n00:04:00\\nReads \\\"There Are No Signs\\\" [published as “There Were No Signs in Collected Poems].\\n \\nIrving Layton\\n00:04:51\\n\\\"The Swimmer\\\", my symbol for the poet, condemned to live in two realms, and happy to live in neither of them. The realm of actuality and the realm of the imagination. Here I compare the poet to the swimmer.\\n \\nIrving Layton\\n00:05:15\\nReads \\\"The Swimmer\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:06:38\\nSeveral years ago I taught at the Jewish Library, one of my students was a Mrs. Fornheim, who had lived in Vienna [https://www.wikidata.org/wiki/Q1741], and left Vienna when that city fell to the Nazis. She went to Paris [https://www.wikidata.org/wiki/Q90], and left Paris for Spain [https://www.wikidata.org/wiki/Q29], when the Vichy government was formed. From Spain, she went to Portugal [https://www.wikidata.org/wiki/Q45] and then came to Montreal [https://www.wikidata.org/wiki/Q340], where I taught her English. She died of cancer, this is my poem for her. \\\"Mrs. Fornheim, Refugee\\\".\\n \\nIrving Layton\\n00:07:19\\nReads \\\"Mrs. Fornheim, Refugee\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:08:12\\n\\\"Gothic Landscape\\\", or what it means to be a Jewish boy growing up in a hostile neighbourhood of French Canadians and Italians who are convinced that you have lately murdered Christ. And where you are entranced by the church bells every Sunday, because of the ecstatic music over the sky, over the rooftops, and yet, in that ecstatic music of the bells, a sound of menace, something alien and frightening.\\n \\nIrving Layton\\n00:09:00\\nReads \\\"Gothic Landscape\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:10:19\\n\\\"The Black Huntsmen\\\". This was written at a time when Jewish skin was made into lampshades. Or, the song of innocence becoming the song of experience.\\n \\nIrving Layton\\n00:10:42\\nReads \\\"The Black Huntsmen\\\" [from Collected Poems].\\n\\nUnknown\\n00:12:07\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nIrving Layton\\n00:12:08\\nThis is how the fringes of a prayer shawl, a sheitel is a wig. If you are an Orthodox, Jewess as my mother was, you have to cut your hair very short and wear a wig so that you are no longer attractive so to speak, to any other man but your husband. Peculiar way of looking at it.\\n \\nIrving Layton\\n00:12:43\\nReads \\\"Archetypes\\\" [from Collected Poems].\\n\\nIrving Layton\\n00:13:38\\nReads \\\"Soleil de Noces\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:14:15\\n\\\"De Bullion Street\\\". I don't suppose De Bullion Street has the reputation that it had when I was a boy. I suppose the present administration has cleaned up things, and anyway harlots now are more peripatetic. So this, in a sense, is an old fashioned poem.\\n \\nIrving Layton\\n00:14:40\\nReads \\\"De Bullion Street\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:16:10\\n\\\"On My Way To School\\\" or the changes that come. I wasn't the most punctual of students, and it's a great comfort to me therefore when I was late to find a sign on a Baptist church \\\"Jesus Saves\\\". Many years, I returned and found some change had taken place and this poem celebrates the change, or records it.\\n \\nIrving Layton\\n00:16:44\\nReads \\\"On My Way To School\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:17:20\\nReads \\\"Love the Conqueror Worm\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:18:31\\n\\\"Vexata Quaestio\\\". Western man is the product we are told, of two traditions, the Greek, and the Hebrew. The Greek, pagan, believing that all experience is worth having, and man should refuse no experience. The Hebrew believing that the proper life, salvation is to be found in obedience to God's will. The two traditions are quite contradictory and can never be reconciled. It is our unfortunate destiny to try to reconcile them. I do not think we have been successful at it because the task cannot be done, it's impossible. So I've written this poem, \\\"Vexata Quaestio\\\" and what I'm saying is that each and every one of us in the West is a sort of compromise between these two traditions. Here I use the tree, a tall tree, as a symbol for the Hebraic, the Maccabean and the sun becomes a symbol for the pagan, and you'll see what happens to both the tree and the sun.\\n \\nIrving Layton\\n00:20:11\\nReads \\\"Vexata Quaestio\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:21:19\\n\\\"Cemetery in August\\\". Only humans of course are aware of death, and even in August, when you feel the flush and thrill and intensity of life, you are aware of the autumn and the winter and when you are in a cemetery, the macabre juxtaposition of life and death becomes even more intense. So I wrote this poem, \\\"Cemetery in August\\\".\\n \\nIrving Layton\\n00:21:54\\nReads \\\"Cemetery in August\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:24:20\\n\\\"To the Girls of my Graduating Class\\\". This was a graduating class, not at Sir George Williams, but my high school I taught several years ago. And I was very fortunate one year in having six very, very lovely, nubile adolescents, very attractive, and very, very well aware of precisely where attractions lay [audience laughter]. And very often when I was in the middle of a serious lecture in history, one of them would make some provocative gesture that would drive my thoughts from the lecture to something far more interesting [audience laughter].\\n \\nIrving Layton\\n00:25:15\\nReads \\\"To the Girls of my Graduating Class\\\" [from Collected Poems].\\n\\nAudience\\n00:26:30\\nLaughter.\\n \\nIrving Layton\\n00:26:33\\nAnd what you see when you are in the tavern, the kind of dreams you have about pleasure and about the strange, the strange dance that all of us lead. And this very queer life and journey of ours. And I call this \\\"Bacchanal\\\", and it's a rather unusual Bacchanal, because it's a rather sad one, or shall I say a prayerful one.\\n \\nIrving Layton\\n00:27:10\\nReads \\\"Bacchanal\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:28:18\\nThis one is for my son, \\\"Maxie\\\".\\n \\nIrving Layton\\n00:28:24\\nReads \\\"Maxie\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:30:03\\nAnd I suppose all teachers of literature have had the experience of giving an inspired lecture on Shakespeare [https://www.wikidata.org/wiki/Q692] or John Donne [https://www.wikidata.org/wiki/Q140412], and finding some hand at the back waving furiously as you're getting to the home stretch and your peroration is the most resounding thing that you've ever thought about but this hand out there, very insistent, you know, and finally you stop in the middle of the peroration and you say \\\"Yes, yes what is it?\\\" and the student says, \\\"Sir, will this be on the exam?\\\" [audience laughter].\\n \\nIrving Layton\\n00:30:57\\nReads \\\"Seven o'Clock Lecture\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:34:07\\n\\\"The Birth of Tragedy\\\". The title is taken from one of the earliest books of Nietzsche [https://www.wikidata.org/wiki/Q9358], the gods here that I speak about in the poem, are the gods of Dream and Dance, of Reason and Ecstasy, Apollo and Dionysus, Nietzsche held that tragedy came from the union of both dream and dance, intellect and impulse.\\n \\nIrving Layton\\n00:34:44\\nReads \\\"The Birth of Tragedy\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:36:44\\nAnd I suppose no Layton reading would be quite complete without this poem, \\\"Misunderstanding\\\".\\n \\nIrving Layton\\n00:36:54\\nReads \\\"Misunderstanding\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:37:16\\n\\\"The Cold Green Element\\\". This is about life, death, nature, and poetry. It's really a meditation, and, I hope, a passionate meditation on art and life. Like Yeats [https://www.wikidata.org/wiki/Q40213], I am very concerned with the necessary antinomies or contradictions of life. Like Yeats, I believe that great art results from the happy, the miraculous fusion of the two.\\n \\nIrving Layton\\n00:38:04\\nReads \\\"The Cold Green Element\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:40:20\\n\\\"The Improved Binoculars\\\", my symbol for science. It is truism to say that unless man's moral development, his capacity for sympathy, keeps space, or this development in science and technology he's in danger of blowing himself off the face of this earth. This poem is an apocalyptic poem, it is a vision of the future, such as I hope will never be realized. But in one of my more despairing moments, or one of my more savage and bitter moments, I wrote this poem, \\\"The Improved Binoculars\\\".\\n \\nIrving Layton\\n00:41:05\\nReads \\\"The Improved Binoculars\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:42:25\\nReads [“Orpheus” from Collected Poems].\\n \\nIrving Layton\\n00:44:11\\nReads \\\"Death of a Construction Worker\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:45:08\\nReads “Theology” [from Collected Poems].\\n \\nIrving Layton\\n00:45:47\\nReads “For Louise, Age 17” [from Collected Poems].\\n \\nIrving Layton\\n00:47:14\\n\\\"Song for Naomi\\\". Naomi's my daughter. Several years ago we were out in the country, I was appalled to find that while she was by the bank of the lake, I couldn't see her because the weeds and the flowers were taller than she was. If she fell into the lake, neither I nor my wife might see it. But nothing happened. Just a day before we were to pack up to leave, I noticed my daughter down by the lake, and this time, her dear little head was peeping just above the weeds and the flowers and this gave me the idea for this poem, which I wrote, while of course my wife did the packing.\\n \\nIrving Layton\\n00:48:12\\nReads \\\"Song for Naomi\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:49:47\\nHere's a rather erotic poem, called \\\"Gathering of Poets\\\", to be taken of course with a grain of salt.\\n \\nUnknown\\n00:49:59\\n[Cut or edit made in tape].\\n \\nIrving Layton\\n00:50:00\\n...to be taken, of course, with a grain of salt. Just a short thing.\\n \\nIrving Layton\\n00:50:08\\nReads \\\"Gathering of Poets\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:50:40\\nReads \\\"The Bull Calf\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:53:19\\nAnd here's a lighter poem called \\\"Bargain\\\".\\n \\nIrving Layton\\n00:53:22\\nReads \\\"Bargain\\\" [from Collected Poems].\\n\\nAudience\\n00:53:46\\nLaughter.\\n \\nIrving Layton\\n00:53:58\\nThis next poem is for my mother, who died at the age of 89. She was a very remarkable woman, I'd like to tell you a great deal about her, she certainly merits it, she was a most remarkable character with a tremendous joie-de-vivre and a wonderful gift of vituperation, which it is said I have inherited [audience laughter]. Certainly I learned the cadence of poetry from my mother's cursing. My mother would start cursing as soon as I opened my eyes in the morning and wouldn't stop cursing until I closed them at night when I went to bed. But the cadence was what interested me [audience laughter] and I didn't pay any attention to words. Occasionally I would get the drift, of course, of what the curses were intended to say, and I must say it did me a wonderful lot of good because later on when I got knocked my critics and so on, it was like so much water off a duck's back after my mother's cursing. Nothing the critics say could possibly make any impression upon me whatsoever [audience laughter]. She was extremely vain of her black eyebrows. When she was 85, I was taking her somewhere and we stopped for a red light. I noticed a very lovely girl standing on the curb, and of course, I looked very intently at her. My mother caught my intent gaze and said, sighing, \\\"Yes, she's very beautiful, but has she got my black eyebrows?\\\" [audience laughter]. She wore earrings that were made of old Romanian coins, she wore an amber necklace, which I remember playing with when I was a child. But it was her immense vitality and joie-de-vivre, coupled with an immense discontent that always fascinated me about my mother. She was a very Orthodox woman, reverencing God, but often giving me the impression that she might have made a much better job of creation than God himself. So this is my tribute to my very, very remarkable mother.\\n \\nIrving Layton\\n00:56:56\\nReads \\\"Keine Lazarovitch, 1870-1959\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:59:16\\nReads \\\"The Well-Wrought Urn\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:59:57\\nSome time ago, I went down to the church at Notre Dame, and you know, you have halos lighting up over the head of your favourite saint, or the Virgin Mary, if you drop the requisite number of coins. There's nobody else in that vast gloomy church, except another man and myself, and he went over to the little machine and he dropped some coins, and he waited for the halo to light up and it didn't. And that nettled him a great deal, and he waited, and it still didn't light up so he gave the machine a kick, nothing happened. But he said something and I went home and I wrote this poem.\\n \\nIrving Layton\\n01:01:01\\nReads \\\"This Machine Age\\\" [from Collected Poems; audience laughter throughout].\\n \\nIrving Layton\\n01:02:09\\nThis next poem of mine is also based on an actual experience, I'm sure that most of you have heard of Djilas [https://www.wikidata.org/wiki/Q153909], the very courageous Yugoslav writer who's imprisoned by his erstwhile comrade and companion in arms, Tito. He's imprisoned for writing and publishing outside of the country, Conversations with Stalin [https://www.wikidata.org/wiki/Q5166446]. That was several years ago, he's just been released. Well I thought a brave man like that deserves some kind of support, especially from and by writers, and so I decided to go up to Ottawa [https://www.wikidata.org/wiki/Q1930] and demonstrate in front of the Yugoslav Embassy. I took my wife with me, and one or two of the local poets, we made some signs and we drove up to Ottawa. We got out of the car, and the sign read, of course, \\\"Free Djilas\\\", and I was amazed and delighted to find that a considerable crowd gathered around me and the sign. Until I realized just what was happening. And so I wrote this poem, called \\\"Free Djilas\\\".\\n \\nIrving Layton\\n01:03:31\\nReads \\\"Free Djilas\\\" [from Collected Poems; audience laughter throughout].\\n \\nIrving Layton\\n01:04:29\\nThis one, in a more serious vein, \\\"The Predator\\\".\\n \\nIrving Layton\\n01:04:36\\nReads \\\"The Predator\\\" [from Collected Poems].\\n\\nIrving Layton\\n01:06:41\\nReads \\\"Plaza de Toros\\\" [from Collected Poems].\\n \\nIrving Layton\\n01:09:13\\nReads \\\"At the Alhambra\\\" [from Collected Poems].\\n \\nIrving Layton\\n01:10:20\\nReads \\\"For My Green Old Age\\\" [from Collected Poems].\\n \\nIrving Layton\\n01:11:44\\nNow I want to read a few poems from my most recent book, Periods of the Moon. \\\"Castles on the Rhine\\\".\\n \\nIrving Layton\\n01:12:01\\nReads \\\"Castles on the Rhine\\\" [published as “Rhine Boat Trip in Periods of the Moon].\\n \\nIrving Layton\\n01:12:54\\nReads \\\"Mutability\\\" from Periods of the Moon.\\n \\nIrving Layton\\n01:14:19\\nReads \\\"Time's Velvet Tongue\\\" from Periods of the Moon.\\n \\nIrving Layton\\n01:15:20\\nReads \\\"Gratitude\\\" from Periods of the Moon.\\n\\nAudience\\n01:16:00\\nLaughter \\n\\nIrving Layton\\n01:16:04\\nMy contribution to the centennial year, “Confederation Ode”.\\n\\nIrving Layton\\n01:16:10\\nReads \\\"Confederation Ode\\\" from Periods of the Moon [audience laughter throughout].\\n\\nAudience\\n01:17:23\\nLaughter and Applause.\\n \\nIrving Layton\\n01:17:34\\nReads \\\"The Beautiful Unknown Girl\\\" from Periods of the Moon.\\n \\nIrving Layton\\n01:18:55\\nAnd this one, \\\"For Musia's Grandchildren\\\".\\n \\nIrving Layton\\n01:19:09\\nReads \\\"For Musia's Grandchildren\\\" from Periods of the Moon.\\n \\nIrving Layton\\n01:20:59\\nReads \\\"Look Homeward, Angel\\\" from Periods of the Moon.\\n \\nIrving Layton\\n01:21:45\\nAnd this last one, \\\"Family Portrait\\\".\\n \\nIrving Layton\\n01:21:54\\nReads \\\"Family Portrait\\\" [from Collected Poems; audience laughter throughout].\\n\\nAudience\\n01:22:59\\nLaughter and Applause.\\n \\nEND\\n01:23:43\\n\",\"notes\":\"Irving Layton reads from Collected Poems (McClelland & Stewart, 1965) and Periods of the Moon (McClelland &Stewart, 1967). \\n\\nI086-11-031.1\\n00:00- Howard Fink introduces Irving Layton [INDEX: Layton introduced Robert Creeley in earlier reading, Black Mountain Poetry Group in 1950’s, Board of Black Mountain      \\tReview in 1955 onwards, First Statement Press- became Northern Review in 1949,  A    red carpet for the sun (1959) with intro by William Carlos Williams, published by       \\tMcClelland and Stewart, The swinging flesh,  Balls for a one-armed juggler (1963),        \\tLaughing Rooster (1964), Collected Poems (1965), Periods of the Moon (1967),    \\tcontroversial T.V. appearances, Poet in Residence at Sir George University 1967]\\n02:30- Irving Layton introduces “There Are No Signs”\\n04:00- Reads “There Are No Signs”\\n04:51- Introduces “The Swimmer” [INDEX: Poet as swimmer symbol; Howard Fink List “The Summer”.]\\n05:15- Reads “The Swimmer”\\n06:38- Introduces “Mrs. Fornheim, Refugee” [INDEX: Jewish Library: teaching English, Mrs. Fornheim: an European refugee from Nazis]\\n07:19- Reads “Mrs. Fornheim, Refugee”\\n08:12- Introduces “Gothic Landscape” [INDEX: Jewish boy living in Christian and Catholic neighborhoods]\\n09:00- Reads “Gothic Landscape”\\n10:19- Introduces “The Black Huntsman”\\n10:40- Reads “The Black Huntsman”\\n12:08- Introduces “Archetypes” [INDEX: Orthodox Judaism]\\n12:43- Reads “Archetypes”\\n13:38- Reads “Soleil de Nos”\\n14:15- Introduces “De Bullion Street”\\n14:40- Reads “De Bullion Street”\\n16:10- Introduces “On My Way To School”\\n16:44- Reads “On My Way To School”\\n17:20- Reads “Love the Conqueror Worm”\\n18:31- Introduces “Exata Christio” [INDEX: Western man: Greek vs. Hebraic Cultures]\\n20:11- Reads “Exata Christio”\\n21:19- Introduces “Cemetery in August”\\n21:54- Reads “Cemetery in August”\\n24:20- Introduces “To The Girls of My Graduating Class”\\n25:15- Reads “To The Girls of My Graduating Class”\\n26:33- Introduces “Bacchanal”\\n27:10- Reads “Bacchanal”\\n28:18- Introduces “Maxie” [INDEX: poem for his son]\\n28:24- Reads “Maxie”\\n30:03- Introduces “Seven O’Clock Lecture”\\n30:57- Reads “Seven O’Clock Lecture”\\n34:07- Introduces “Birth of a Tragedy” [INDEX: Nietzsche]\\n34:44- Reads “Birth of a Tragedy”\\n36:44- Introduces “Misunderstanding”\\n36:54- Reads “Misunderstanding”\\n37:16- Introduces “A Cold Green Element” [INDEX: William Butler Yeats]\\n38:04- Reads “A Cold Green Element”\\n40:20- Introduces “The Improved Binoculars” [INDEX: dangers of science and technology]\\n41:05- Reads “The Improved Binoculars”\\n42:25- Reads first line “Poets of a distant time...”\\n44:11- Reads “Death of a Construction Worker”\\n45:08- Reads “Theology”\\n45:47- Reads “For Louise, Age 17”\\n47:14- Introduces “Song for Naomi”\\n48:12- Reads “Song for Naomi” [INDEX: Poem for Naomi, daughter]\\n49:47- Begins to introduce “Gathering of Poets”\\n49:59.53- END OF RECORDING\\n   \\nHoward Fink List of poems:\\n18/03/67\\nmono, 2 tracks, speed 3 3/4 one one 5” reel, lasting 1 hr 35 min\\n \\n1.  “There Are No Signs”\\n2.  “The Summer”\\n3.  “Mrs. Fornheim, the Refugee”\\n4.  “Gothic Landscape”\\n5.  “The Black Huntsman”\\n6.  “Archetypes”\\n7.  “Soleil de Nos”\\n8.  “DeBullion Street”\\n9.  “On My Way To School”\\n10. “Love the Conquerer Worm”\\n11. “Exata Christio”\\n12. “Cemetary in August”\\n13. “To the Girls (gauls) of My Graduating Class”\\n14. “Bachnal”\\n15. “Maxie”\\n16. “Seven O’clock Lecture”\\n17. “The Birth Of Tragedy”\\n18. “Misunderstanding”\\n19. “The Cold Green Element”\\n20. “The Improved Binoculars”\\n21. first line “Poets of a distant time...”\\n22. “Death of a Construction Worker”\\n23. first line “She came to us...”\\n24. “Song for Naomi”\\n25. “Gathering of Poets”\\n\\nI086-11-031.2\\n00:00- Irving Layton introduces “Gathering of Poets”\\n00:08- Reads “Gathering of Poets”\\n00:40- Reads “The Bull Calf”\\n03:20- Reads “Bargain”\\n03:58- Introduces “Keine Lazarovitch, 1870-1959” [INDEX: Layton’s mother, Keine \\tLazarovitch]\\n06:57- Reads “Keine Lazarovitch, 1870-1959”\\n09:15- Reads “The Wall Watt Urn”\\n09:56- Introduces “This Machine Age”\\n11:01- Reads “This Machine Age”\\n12:09- Introduces “Free Djilas” [INDEX: Milovan Djilas Conversations with Stalin, Tito]\\n13:31- Reads “Free Djilas”\\n14:29- Reads “The Predator”\\n14:36- Reads “Plaza de Toros” [Plaza de Toros in Madrid]\\n19:14- Reads “At The Alhambra”\\n20:20- Reads “For My Green Old Age”\\n21:44- Reads “Castles on the Rhine”, following poems are from Periods of the Moon\\n22:54- Reads “Mutability” [INDEX: The Rhine]\\n24:20- Reads “Time’s Velvet Tongue”\\n25:02- Reads “Gratitude”\\n26:02- Reads “Confederation Ode” [INDEX: Canada’s Centennial Year, Confederation Ode]\\n27:35- Reads “The Beautiful Unknown Girl”\\n28:55- Reads “For Musia’s Grandchildren”\\n31:00- Reads “Look Homeward, Angel”\\n31:45- Reads “Family Portrait”\\n33:43.03- END OF RECORDING\\n\\nHoward Fink list of poems:\\n26.  “The Bull Calf”\\n27.  “Bargain”\\n28.  “Kana (sp??) Laserovich” (Layton’s mom)--Keine Lazarovitch\\n29.  “The Will Watt Van”\\n30.  “This Machine Age”\\n31.  “Free Gilas”\\n32.  “The Predator”\\n33.  “Plaza de Toro’s”\\n34.  first line “I sat where...”\\n35.  “For My Green Old Age”\\nThe following poems are from Layton’s book Periods of the Moon:\\n36.  “Castles On the Rine”\\n37.  “Meutability”\\n38.  “Times Velvet Tongue”\\n39.  “Gratitude”\\n40.  “Confederation Ode”\\n41.  “The Beautiful Unknowen Girl”\\n42.  “For Muska’s Grandchildren”\\n43.  “Look Homeward Angel”\\n44.  “Family Portrait”\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/irving-layton-at-sgwu-1967/\"}]"],"score":1.8530173},{"id":"1263","cataloger_name":["Masoumeh,Zaare"],"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":["Margaret Atwood and Alden Nowlan at Sir George Williams University, The Poetry Series, 13 October 1967"],"item_title_source":["Cataloguer"],"item_title_note":["\"MARGARET ATWOOD & ALDEN NOWLAN Recorder October 13, 1967 3.75 ips on 1.mil tape, 1/2 track\" written on sticker on the back of the tape's box. \"ATWOOD & NOWLAN I006/SR36\" written on sticker on the spine of the tape's box. \"I006-11-036\" also written on sticker on the reel."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 2"],"item_identifiers":["[]"],"creator_names":["Atwood, Margaret","Nowlan, Alden"],"creator_names_search":["Atwood, Margaret","Nowlan, Alden"],"creators":["[{\"url\":\"http://viaf.org/viaf/109322990\",\"name\":\"Atwood, Margaret\",\"dates\":\"1939-\",\"notes\":\"Internationally acclaimed novelist, poet, critic and activist Margaret Atwood was born in Ottawa, Ontario, November 18,  1939. She lived in Ottawa until 1946, when her family settled in Leaside, a suburb of Toronto. Atwood entered Victoria College, University of Toronto, graduating with honours in 1961. Her first published collection of short stories was Double Persephone (Hawkshead Press, 1961). By 1962 she had received her MA in English from Radcliffe College in the United States, working on further graduate work at Harvard University between 1962-3 and in 1965-7. Atwood published her second collection, The Circle Game (Anansi, 1966), which won the Governor General Award for Poetry. She wrote articles and reviews for Alphabet, Canadian Literature and Poetry among other publications, and poems for Kayak, Quarry and the Tamarack Review. Poems published in her book The Animals in That Country (Oxford University Press, 1968) won first prize in Canada’s 1967 Centennial Commission poetry competition. In 1970, she published three books, Procedures for Underground (Oxford University Press), Time, and The Journals of Susanna Moodie (Oxford University Press). Between 1971 and 1973, Atwood worked as an editor and on the board of directors for the House of Anansi press in Toronto, which in 1972 published Power Politics. Upon the discovery at Harvard that there was no published critical study of Canadian literature, she herself wrote and published Survival: A Thematic Guide to Canadian Literature (Anansi, 1971), which created a stir of controversy, but by 1982 it had sold more than 85,000 copies. Since 1973, she has lived with novelist and activist Graeme Gibson, producing one daughter, Eleanor Jess in 1967. Atwood taught and lectured at several Universities across Canada, the US and Australia, including University of British Columbia, University of Alberta, Sir George Williams University (now Concordia) (1967-68) and at York University, Toronto. A selection of her publications include Surfacing (Simon & Schuster, 1972), You Are Happy (Harper &Row, 1974), Selected Poems (Oxford University Press) in 1976, Two-Headed Poems (Simon & Schuster, 1978), True Stories (Oxford University Press, 1981) and Second Words (Anansi, 1982). Her 1985 novel, The Handmaid’s Tale (McClelland & Stewart) became one of her most popular and critically acclaimed works. In 1986 she was appointed the Berg Chair at New York University, as well as serving as writer-in-residence at several other Universities. She co-founded and served as chair to the Writer’s Union of Canada in 1982-3, and served as president of the Canadian Centre of International PEN from 1984-6. She has subsequently published dozens of books, including Cat’s Eye (McClelland & Stewart, 1988), The Robber Bride (Doubleday, 1993), Alias Grace (Nan A. Talese, 1996), The Blind Assassin (Nan A. Talese, 2000), Oryx and Crake (2003), The Penelopiad (Canongate, 2005) and The Tent (Bloomsbury, 2006). Along with many other publications of her critical essays, Curious Pursuits: Occasional Writing 1970-2005 (Verago) came out in 2005. Her most recent novel, Year of the Flood was published in 2009 by Doubleday Press. Her many prizes and honours include the Booker Prize, the E.J. Pratt Medal (1961), The Radcliffe Medal (1980), the Commonwealth Writers Prize (1992), and she is a Companion of the Order of Canada. Atwood continues to work as spokesperson on behalf of human rights and the environment. \",\"nation\":[],\"role\":[\"Author\",\"Performer\"]},{\"url\":\"http://viaf.org/viaf/61671170\",\"name\":\"Nowlan, Alden\",\"dates\":\"1933-1983\",\"notes\":\"Poet Alden Nowlan was born in 1933, in a small rural community near Windsor, Nova Scotia. Nowlan worked as a young man on farms, lumbermills and as a sawmill helper before he left Nova Scotia for New Brunswick to take a position as editor at The Heartland Observer and the night-news editor of the Saint John Telegraph-Journal. Nowlan published his first book of poetry, The rose and the puritan (New Brunswick University) in 1958, which was followed closely by A darkness in the earth (Hearse Press, 1959), Wind in a rocky country (Emblem Books, 1961), Under the ice (Ryerson Press, 1961) and The things which are (Contact Press,1962). In 1967 he was awarded the Governor General’s Award for his collection Bread, wine and salt (Clarke, Irwin). Nowlan was offered a writer-in-residence position at the University of New Brunswick, which he held until his death in 1983. His other publications include The mysterious naked man (Clarke, Irwin, 1969), Between tears and laughter (Clarke, Irwin, 1971), I’m a stranger here myself (Clarke, Irwin, 1974), Smoked glass (Clarke, Irwin, 1977) and I might not tell everybody this (Clarke, Irwin, 1982). Nowlan was also involved in theatre, and wrote three stage plays with Walter Learning: Frankenstein (Clarke, Irwin, 1976), The incredible murder of Cardinal Tosca (Learning Productions, 1978) and The dollar woman (Borealis Press, 1981). Nowlan was awarded a Doctor of Letters from the University of New Brunswick, and a Guggenheim Fellowship. Nowlan has also published an autobiography, Various persons named Kevin O’Brien (Clarke, Irwin, 1973), a collection of short stories, Miracle at Indian River (Clarke, Irwin, 1968), a travel book Campobello, the outer island (Clarke, Irwin, 1975) and collected twenty-seven of his magazine articles in Double exposure (Brunswick Press, 1978). Numerous titles were published posthumously, including Alden Nowlan, early poems (Fiddlehead Poetry Books, 1983), The best of Alden Nowlan (Lancelot Press, 1993), Will ye let the mummers in? (Clarke, Irwin, 1984), An exchange of gifts: poems new and selected (Irwin, 1985), Alden Nowlan: selected poems (Irwin, 1985).\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Kiyooka, Roy"],"contributors_names_search":["Kiyooka, Roy"],"contributors":["[{\"url\":\"http://viaf.org/viaf/30784426\",\"name\":\"Kiyooka, Roy\",\"dates\":\"1926-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Presenter\"]}]"],"Presenter_name":["Kiyooka, Roy"],"Series_organizer_name":["Kiyooka, Roy"],"Performance_Date":[1967],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_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\":\"1967 10 13\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the back of the tape's box\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Basement Theatre\",\"notes\":\"Location specified in printed announcement \\\"Georgantics\\\" (Supplemental material)\",\"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 Basement Theatre"],"City":["Montreal, Quebec"],"content_notes":["Margaret Atwood reads from The Circle Game (House of Anansi, 1966) as well as poems later published in The Animals in that Country (Oxford University Press, 1968). Alden Nowlan reads from Bread Wine and Salt (Clarke, Irwin & Company, 1967) along with some poems from unknown sources.  "],"contents":["margaret_atwood_alden_nowlan_i006-11-036.mp3\n\nMargaret Atwood\n00:00:00\nI should apologize to begin with for my voice. I don't usually sound quite this much like Tallulah Bankhead [https://www.wikidata.org/wiki/Q255815]. I have the Montreal [https://www.wikidata.org/wiki/Q340] plague. The first poem is called \"This is a Photograph of Me,\" and it's the first poem in The Circle Game [https://www.wikidata.org/wiki/Q7723073].\n \nMargaret Atwood\n00:00:22\nReads \"This is a Photograph of Me\" from The Circle Game.\n \nMargaret Atwood\n00:01:35\nThe next poem is called \"Camera,\" and is dedicated to somebody I knew who liked to take pictures. \n \nMargaret Atwood\n00:01:44\nReads \"Camera\" [from The Circle Game].\n \nMargaret Atwood\n00:03:24\nAnd a small poem called \"Carved Animals\".\n\nMargaret Atwood\n00:03:28\nReads \"Carved Animals\" [from The Circle Game].\n \nMargaret Atwood\n00:04:25\nNow some more recent poems, which I should explain were mostly written in the United States [https://www.wikidata.org/wiki/Q30] when I was living there recently. The first one called \"At the Tourist centre in Boston\". Now Canada [https://www.wikidata.org/wiki/Q16] does have a Tourist centre in Boston [https://www.wikidata.org/wiki/Q100].\n \nMargaret Atwood\n00:04:50\nReads \"At the Tourist centre in Boston\" [published later in The Animals in that Country [https://www.wikidata.org/wiki/Q7713834]].\n\nMargaret Atwood\n00:06:48\nAnd a poem called \"The Green Man\", which is dedicated to the Boston Strangler [https://www.wikidata.org/wiki/Q2855440]. \n \nMargaret Atwood\n00:06:56\nReads \"The Green Man\".\n \nMargaret Atwood\n00:08:03\nThis poem called \"A Fortification\".\n \nMargaret Atwood\n00:08:08\nReads \"A Fortification\" [published later in The Animals in that Country].\n\nMargaret Atwood\n00:09:17\nAnd this is a poem dedicated to my landlady who didn't remain my landlady for very long, called \"The Landlady\".\n \nMargaret Atwood\n00:09:29\nReads \"The Landlady\" [published later in The Animals in that Country].\n \nMargaret Atwood\n00:10:47\nAnd this poem called, \"A Foundling\".\n \nMargaret Atwood\n00:10:52\nReads \"A Foundling\" [published later in The Animals in that Country].\n \nMargaret Atwood\n00:11:41\nAnd this poem, which has no title.\n \nMargaret Atwood\n00:11:49\nReads [\"Untitled\"].\n \nMargaret Atwood\n00:12:58\nAnd a poem called \"Chronology\", which I wrote in one of my more paranoid states of mind. \n \nMargaret Atwood\n00:13:06\nReads \"Chronology\".\n \nMargaret Atwood\n00:14:39\nAnd here's my love poem to the, our large, friendly neighbour to the south. \n \nMargaret Atwood\n00:14:50\nReads \"Backdrop addresses cowboy\" [published later in The Animals in that Country].\n \nMargaret Atwood\n00:16:28\nThen a slightly happier poem called \"A Voice\".\n \nMargaret Atwood\n00:16:36\nReads \"A Voice\" [published later in The Animals in that Country].\n \nMargaret Atwood\n00:17:40\nAnd this one called, \"An Elegy for the Giant Tortoises\", which I wrote when I heard that they were planning to use a certain South Pacific island for the building of an airstrip. \n \nMargaret Atwood\n00:17:59\nReads \"An Elegy for the Giant Tortoises\" [published later in The Animals in that Country].\n \nMargaret Atwood\n00:19:19\nAnd this poem called, \"It is Dangerous to Read Newspapers\".\n \nMargaret Atwood\n00:19:26\nReads \"It is Dangerous to Read Newspapers\" [published later in The Animals in that Country].\n\nMargaret Atwood\n00:20:49\nReads \"I was reading a scientific article\" [published later in The Animals in that Country].\n \nMargaret Atwood\n00:22:20\nAnd the last poem. \n \nMargaret Atwood\n00:22:25\nReads \"The Reincarnation of Captain Cook\" [published later in The Animals in that Country].\n \nMargaret Atwood\n00:23:44\nThank you.\n \nAudience\n00:23:46\nApplause [cut off abruptly].\n \nUnknown\n00:23:49\n[Cut or edit made in tape. Unknown amount of time elapsed]. \n \nRoy Kiyooka\n00:23:58\n...for quite a number of years as a journalist in the Maritimes [https://www.wikidata.org/wiki/Q731613], and this evening he is here with his wife and son and will be reading to you. Ladies and gentlemen, Alden Nowlan [https://www.wikidata.org/wiki/Q4713563].\n \nAudience\n00:24:17\nApplause.\n \nAlden Nowlan\n00:24:26\nThank you, Roy [https://www.wikidata.org/wiki/Q3445789]. First of all, I want to reassure everyone that I'm not going to read everything that's in this. I feel that probably there are some who are terrified when they see this, you know. It's really basically laziness that I haven't shortened anything out, I simply have wads of things here. \n \nAudience\n00:24:55\nLaughter.\n \nAlden Nowlan\n00:24:56\nNo no, not that one, I'm not going to read them all, definitely, definitely not. \n \nUnknown\n00:25:09\nSilence [pause].\n \nAlden Nowlan\n00:25:19\nFirst of all I have a very, very bad poem that I can't resist reading. I realized that it's sort of a bad beginning to start off with a poem that the poet himself considers a very bad one, but I wrote this when I arrived here this afternoon. To the natural egotism of a poet, you see, I can't resist offering it to this sort of captive audience here. [Audience laughter]. \"Poem for the Ritz Carlton\". [Audience laughter].\n \nAlden Nowlan\n00:26:06\nReads \"Poem for the Ritz Carlton\" [audience laughter throughout].\n \nAlden Nowlan\n00:26:30\nThat isn't really as critical of the Ritz Carlton as it sounds, because I sort of like the crypt of St. Paul's Cathedral [https://www.wikidata.org/wiki/Q173882], too, you see. [Audience laughter]. Next, I'd like to read some poems from my new book, Bread Wine and Salt, which is going to be published by Carter when, the first week in November, at three dollars and fifty cents. [Audience laughter]. That is the commercial.  \"I, Icarus\".\n \nAlden Nowlan\n00:27:15\nReads \"I, Icarus\" [from Bread, Wine and Salt].\n \nAlden Nowlan\n00:28:34\nReads \"Sailors\" [from Bread, Wine and Salt].\n \nAlden Nowlan\n00:30:06\nThis poem is entitled \"The Cinnamon Bears\", which sounds at first as if it were some sort of an animal cooking. But actually, what these cinnamon bears were, was back around the turn of the century in New Brunswick [https://www.wikidata.org/wiki/Q1965], as I've been told, there were all sorts of touring side-show type of things, you know, that, fortune tellers, and...people with a monkey, organ grinders with a monkey, and all this type of, sort of strolling pyres or wandering minstrels that existed up until the advent of radio and television. And it was a terrific thing, of course, in these backwoods communities. No doubt throughout Canada and the United States, when one of these people arrived. And among the, among these people were men who had trained bears, who, because of their colouration, were called cinnamon bears. And this poem actually is sort of a found poem, because it's not so much a creative thing as it is the transcription of a conversation which I happened to overhear between an old couple in northern New Brunswick. A man and his wife in their seventies, when they, suddenly something brought back these memories of these days of the organ grinders and the cinnamon bears. And as I say, I sort of made the poem more or less by simply transcribing the things which they said to one another, which it seemed to me was sort of a poetry, a form of poetry itself. \n \nAlden Nowlan\n00:32:20\nReads \"The Cinnamon Bears\" [from Bread, Wine and Salt].\n \nAlden Nowlan\n00:33:21\nReads \"Britain Street, St. John, New Brunswick” [published as “Britain Street” in Bread, Wine and Salt].\n\nAlden Nowlan\n00:34:22\nThis is another, sort of a found poem, I'm not really terribly convinced that it's a poem at all. Last year, when I had a quite serious illness, one afternoon I was in the waiting room at the doctor's office, and the only thing that seemed to lay at hand for me to read was a copy of one of these Confessions magazines entitled Secret Life. [Audience laughter]. And as I glanced through it, it seemed to me, all that I actually read of it, you know, were these sort of captions at the top of the articles, and some of the big type in it. But it seemed to me really, as I glanced through it, that it had, that it contained sort of a crazy poetry of its own. At least, in the mood that I was in at the time, I sort of responded to it as though it were a crazy sort of poetry. And so as I sat there I sort of jotted down some of these things from the magazine, and ever since I've been trying to pass it off as a poem. \n \nAlden Nowlan\n00:35:37\nReads \"Secret Life\" [from Bread, Wine and Salt; audience laughter throughout].\n \nAudience\n00:36:39\nLaughter. \n \nAlden Nowlan\n00:36:57\nReads \"In Our Time\" [from Bread, Wine and Salt].\n \nAlden Nowlan\n00:40:51\nReads \"The Changeling\" [from Bread, Wine and Salt].\n \nAlden Nowlan\n00:41:49\nReads \"The Hollow Men\" [from Bread, Wine and Salt].\n \nAlden Nowlan\n00:42:38\nThis poem is entitled \"Ancestral Memories Evoked by Attending the Opening of the Playhouse in Fredericton [https://www.wikidata.org/wiki/Q2138], New Brunswick\". And I'm a little afraid that many of you will feel that it is sort of pointless. I'm not sure really but what you'd have to be completely immersed in the atmosphere of New Brunswick to get the real point of it, but. But that said, not implying any superiority on the part of New Brunswickers, unfortunately. Anyway.\n \nAlden Nowlan\n00:43:26\nReads \"Ancestral Memories Evoked by Attending the Opening of the Playhouse in Fredericton, New Brunswick\" [from Bread, Wine and Salt].\n \nAlden Nowlan\n00:44:36\nReads \"Every Man Owes God a Death\" [from Bread, Wine and Salt].\n \nAlden Nowlan\n00:46:41\nThis poem, for no particular reason, is entitled \"The Loneliness of the Long-Distance Runner\". \n \nAlden Nowlan\n00:46:48\nReads \"The Loneliness of the Long-Distance Runner\" [from Bread, Wine and Salt].\n \nAlden Nowlan\n00:48:23\nThis is a poem that came out of a serious illness that I had last year, and it's entitled \"In the Operating Room\". \n \nAlden Nowlan\n00:48:38\nReads \"In the Operating Room\" [from Bread, Wine and Salt].\n \nAlden Nowlan\n00:50:05\nI have a few other recent poems I'll dig out of these. \n \nUnknown\n00:50:12\nAmbient Sound [pause; Nowlan turning pages].\n\nAlden Nowlan\n00:50:47\nAs I sort through these, I'm silently cursing myself for not having done this before I came here. \n \nUnknown\n00:50:52\nAmbient Sound [pause; Nowlan turning pages].\n\nAlden Nowlan\n00:51:20\nHere's a fairly recent poem which isn't a political poem at all, but a human poem. And one that I wrote as a result of watching on television the debates in the United Nations [https://www.wikidata.org/wiki/Q1065] on the Middle East [https://www.wikidata.org/wiki/Q7204] crisis. And one of the horrible things I felt as I watched it was how completely dehumanized it all was, that the real, human issues had been lost sight of, and sort of drowned in an ocean of resolutions and memos from embassies and all this sort of things. And one night when they televised these sessions through until about four o'clock, the ambassador of Saudi Arabia [https://www.wikidata.org/wiki/Q851] spoke, and he delivered certainly a very bigoted speech, and one that as a speech I wouldn't have agreed with, but I felt an admiration for him, because it had seemed to me that he was the only really human thing that had happened there all day. You know, that certainly he was a bigoted old man, full of thousands of years of hatred, but it was a human hatred, expressed in a human manner, something that the rest of them had completely lost sight of. And as a result of this feeling I wrote this poem, \"For Jamil Baroody [https://www.wikidata.org/wiki/Q96384169], Saudi Arabian Ambassador to the United Nations on the Occasion of his Address to the Security Council, June 1967\".\n \nAlden Nowlan\n00:53:21\nReads \"For Jamil Baroody, Saudi Arabian Ambassador to the United Nations on the Occasion of his Address to the Security Council, June 1967\".\n \nAlden Nowlan\n00:56:26\nReads \"Fireworks\".\n \nAlden Nowlan\n00:57:34\nReads \"Two Poems for the Nova Scotia Department of Highways\".\n \nAlden Nowlan\n00:59:31\nFinally, this is a poem entitled \"State Visit\", and the motivation of it, like one of the earlier ones I read, was sort of this same feeling of frustration at the complete dehumanization of politics as we feel it today, and particularly, this sort of apotheosis of world leaders into some sort of a symbol, so they even, I think, begin to think of themselves in these sort of abstract terms, rather than as a human being. And out of--this is sort of, I suppose, perhaps to a degree sort of a bitter little poem, but it stemmed from an emotion which I'm sure many of us feel. \n \nAlden Nowlan\n01:00:27\nReads \"State Visit\".\n \nEND\n01:01:39\n[Cut off abruptly]."],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1967, Margaret Atwood had moved to Montreal and took a position at the Sir George Williams University English Department. She taught four courses, as well as working on The Animals in that Country, The Journals of Susanna Moodie, Procedures for Underground and finished The Edible Woman.\\n\\nIn 1967, Nowlan was awarded the Governor General’s Award for Bread Wine and Salt which was published the same year. He was also offered a position as writer-in-residence at the University of New Brunswick during this time.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nAtwood became an important award-winning poet and critic in Canada by the late 60‘s. Sir George Williams English Department hired Atwood in 1967 as an English lecturer, after she had graduated from Harvard.  \\n\\nHis direct connection to Sir George Williams is unknown, but Nowlan was one of the most popular and important Maritime poets of the sixties and seventies.\",\"type\":\"General\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"},{\"note\":\"Original transcript, print catalogue, research, introduction and edits by Celyn Harding-Jones.\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"http://www.ccca.ca/history/ozz/english/authors/nowlan_alden.html\",\"citation\":\"“Alden Nolan (1933-1983)”. One Zero Zero: A Virtual Library of English Canadian Small      Presses, 1945-2044. Centre for Contemporary Canadian Art: The Canadian Art Database. Toronto: York University. \"},{\"url\":\"https://www.worldcat.org/title/selected-poems/oclc/977851868&referer=brief_results\",\"citation\":\"Atwood, Margaret. Selected Poems. Toronto: Oxford University Press, 1977. \"},{\"url\":\"https://www.worldcat.org/title/animals-in-that-country/oclc/301739674&referer=brief_results\",\"citation\":\"Atwood, Margaret. The Animals in that Country. Toronto: Oxford University Press, 1968. \"},{\"url\":\"https://www.worldcat.org/title/circle-game/oclc/549399081&referer=brief_results\",\"citation\":\"Atwood, Margaret. The Circle Game. Toronto, House of Anansi, 1966. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/840722670&referer=brief_results\",\"citation\":\"Bartlett, Donald R. “Nowlan, Alden”. The Oxford Companion to Twentieth-Century Poetry in English. Hamiton, Ian (ed). Oxford University Press, 1996. \"},{\"url\":\"https://www.worldcat.org/title/contemporary-canadian-poem-anthology/oclc/489958766&referer=brief_results\",\"citation\":\"Bowering, George, ed. The Contemporary Canadian Poem Anthology. Toronto: Coach House Press, 1984. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/margaret-atwood-and-alden-nowlan-at-sgwu-1967/\",\"citation\":\"Charny, Marty. “Georgantics.” The Georgian. Montreal: Sir George Williams University, 13 October 1967. \"},{\"url\":\"ttps://www.worldcat.org/title/encyclopedia-of-post-colonial-literatures-in-english-vol-1/oclc/32566813&referer=brief_results\",\"citation\":\"Findley, Timothy. “Atwood, Margaret (1939-)”. Routledge Encyclopedia of Post-Colonial        Literatures in English. Benson, Eugene; L.W. Connolly (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. “Nowlan, Alden”. The Oxford Companion to Canadian Literature. Benson,       Eugene and William Toye (eds). Oxford University Press, 2001. \"},{\"url\":\"https://www.worldcat.org/title/15-canadian-poets-times-2/oclc/622296707&referer=brief_results\",\"citation\":\"Geddes, Gary (ed). Fifteen Canadian Poets Times Two. Toronto: Oxford University Press, 1990. \"},{\"url\":\"https://www.worldcat.org/title/poets-of-contemporary-canada-1960-1970/oclc/833713141&referer=brief_results\",\"citation\":\"Mandel, Eli (ed). Poets of Contemporary Canada 1960-1970. Montreal: McClelland and Stewart Limited, 1972. \"},{\"url\":\"https://www.worldcat.org/title/bread-wine-and-salt/oclc/4321706&referer=brief_results\",\"citation\":\"Nowlan, Alden. Bread, Wine and Salt. Toronto: Clarke, Irwin & Company, 1967. \"},{\"url\":\"https://www.concordia.ca/content/dam/concordia/offices/archives/docs/postgrad/Postgrad-1967-Spring.pdf\",\"citation\":\"“Poetry Readings”. Post-Grad. Montreal: Sir George Williams University, Spring 1967, page 20. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/margaret-atwood-and-alden-nowlan-at-sgwu-1967/\",\"citation\":\"“Poets Next Week:”. OP-ED. Montreal: Sir George Williams University, October 1967.\"},{\"url\":\"https://www.worldcat.org/title/encyclopedia-of-the-novel/oclc/470223344&referer=brief_results\",\"citation\":\"Rowland, Susan. “Margaret Atwood 1939- (Canadian)”. Encyclopedia of the Novel. Schellinger, Paul (ed.); Christopher Hudson, Marijke Rijsberman (asst. eds.). Chicago: Fitzroy Dearborn Publishers, 1998. 2 vols.\"},{\"url\":\"http://news.google.com/newspapers?id=np8tAAAAIBAJ&sjid=PKAFAAAAIBAJ&pg=4195,2837932&dq=sir+george+williams+poetry&hl=en\",\"citation\":\"“SGWU To Have Poetry Series”. The Gazette. 14 September 1967, page 15.\"},{\"url\":\"http://news.google.com/newspapers?id=waYtAAAAIBAJ&sjid=u58FAAAAIBAJ&pg=7250,4345207&dq=sir+george+williams+poetry&hl=en\",\"citation\":\"Stephens, Anna. “Poetry- Anywhere, Anytime”. The Gazette. 20 October 1967, page 10. \"},{\"url\":\"\",\"citation\":\"“Poetry Readings”. OP-ED. Montreal: Sir George Williams University, 6 October 1967, page 6. \"},{\"url\":\"\",\"citation\":\"Kibble, Matthew. “Atwood, Margaret Eleanor, 1939-”. Literature Online biography. Proquest Information and Learning Company, H.W. Wilson Company, 2006. \"}]"],"_version_":1853670548812333056,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0036_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0036_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Atwood and Nowlan 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_0036_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0036_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Atwood and Nowlan 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_0036_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0036_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Atwood and Nowlan Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0036_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0036_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Atwood and Nowlan 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/margaret_atwood_alden_nowlan_i006-11-036.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"margaret_atwood_alden_nowlan_i006-11-036.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:01:39\",\"precision\":\"\",\"size\":\"148 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Margaret Atwood\\n00:00:00\\nI should apologize to begin with for my voice. I don't usually sound quite this much like Tallulah Bankhead [https://www.wikidata.org/wiki/Q255815]. I have the Montreal [https://www.wikidata.org/wiki/Q340] plague. The first poem is called \\\"This is a Photograph of Me,\\\" and it's the first poem in The Circle Game [https://www.wikidata.org/wiki/Q7723073].\\n \\nMargaret Atwood\\n00:00:22\\nReads \\\"This is a Photograph of Me\\\" from The Circle Game.\\n \\nMargaret Atwood\\n00:01:35\\nThe next poem is called \\\"Camera,\\\" and is dedicated to somebody I knew who liked to take pictures. \\n \\nMargaret Atwood\\n00:01:44\\nReads \\\"Camera\\\" [from The Circle Game].\\n \\nMargaret Atwood\\n00:03:24\\nAnd a small poem called \\\"Carved Animals\\\".\\n\\nMargaret Atwood\\n00:03:28\\nReads \\\"Carved Animals\\\" [from The Circle Game].\\n \\nMargaret Atwood\\n00:04:25\\nNow some more recent poems, which I should explain were mostly written in the United States [https://www.wikidata.org/wiki/Q30] when I was living there recently. The first one called \\\"At the Tourist centre in Boston\\\". Now Canada [https://www.wikidata.org/wiki/Q16] does have a Tourist centre in Boston [https://www.wikidata.org/wiki/Q100].\\n \\nMargaret Atwood\\n00:04:50\\nReads \\\"At the Tourist centre in Boston\\\" [published later in The Animals in that Country [https://www.wikidata.org/wiki/Q7713834]].\\n\\nMargaret Atwood\\n00:06:48\\nAnd a poem called \\\"The Green Man\\\", which is dedicated to the Boston Strangler [https://www.wikidata.org/wiki/Q2855440]. \\n \\nMargaret Atwood\\n00:06:56\\nReads \\\"The Green Man\\\".\\n \\nMargaret Atwood\\n00:08:03\\nThis poem called \\\"A Fortification\\\".\\n \\nMargaret Atwood\\n00:08:08\\nReads \\\"A Fortification\\\" [published later in The Animals in that Country].\\n\\nMargaret Atwood\\n00:09:17\\nAnd this is a poem dedicated to my landlady who didn't remain my landlady for very long, called \\\"The Landlady\\\".\\n \\nMargaret Atwood\\n00:09:29\\nReads \\\"The Landlady\\\" [published later in The Animals in that Country].\\n \\nMargaret Atwood\\n00:10:47\\nAnd this poem called, \\\"A Foundling\\\".\\n \\nMargaret Atwood\\n00:10:52\\nReads \\\"A Foundling\\\" [published later in The Animals in that Country].\\n \\nMargaret Atwood\\n00:11:41\\nAnd this poem, which has no title.\\n \\nMargaret Atwood\\n00:11:49\\nReads [\\\"Untitled\\\"].\\n \\nMargaret Atwood\\n00:12:58\\nAnd a poem called \\\"Chronology\\\", which I wrote in one of my more paranoid states of mind. \\n \\nMargaret Atwood\\n00:13:06\\nReads \\\"Chronology\\\".\\n \\nMargaret Atwood\\n00:14:39\\nAnd here's my love poem to the, our large, friendly neighbour to the south. \\n \\nMargaret Atwood\\n00:14:50\\nReads \\\"Backdrop addresses cowboy\\\" [published later in The Animals in that Country].\\n \\nMargaret Atwood\\n00:16:28\\nThen a slightly happier poem called \\\"A Voice\\\".\\n \\nMargaret Atwood\\n00:16:36\\nReads \\\"A Voice\\\" [published later in The Animals in that Country].\\n \\nMargaret Atwood\\n00:17:40\\nAnd this one called, \\\"An Elegy for the Giant Tortoises\\\", which I wrote when I heard that they were planning to use a certain South Pacific island for the building of an airstrip. \\n \\nMargaret Atwood\\n00:17:59\\nReads \\\"An Elegy for the Giant Tortoises\\\" [published later in The Animals in that Country].\\n \\nMargaret Atwood\\n00:19:19\\nAnd this poem called, \\\"It is Dangerous to Read Newspapers\\\".\\n \\nMargaret Atwood\\n00:19:26\\nReads \\\"It is Dangerous to Read Newspapers\\\" [published later in The Animals in that Country].\\n\\nMargaret Atwood\\n00:20:49\\nReads \\\"I was reading a scientific article\\\" [published later in The Animals in that Country].\\n \\nMargaret Atwood\\n00:22:20\\nAnd the last poem. \\n \\nMargaret Atwood\\n00:22:25\\nReads \\\"The Reincarnation of Captain Cook\\\" [published later in The Animals in that Country].\\n \\nMargaret Atwood\\n00:23:44\\nThank you.\\n \\nAudience\\n00:23:46\\nApplause [cut off abruptly].\\n \\nUnknown\\n00:23:49\\n[Cut or edit made in tape. Unknown amount of time elapsed]. \\n \\nRoy Kiyooka\\n00:23:58\\n...for quite a number of years as a journalist in the Maritimes [https://www.wikidata.org/wiki/Q731613], and this evening he is here with his wife and son and will be reading to you. Ladies and gentlemen, Alden Nowlan [https://www.wikidata.org/wiki/Q4713563].\\n \\nAudience\\n00:24:17\\nApplause.\\n \\nAlden Nowlan\\n00:24:26\\nThank you, Roy [https://www.wikidata.org/wiki/Q3445789]. First of all, I want to reassure everyone that I'm not going to read everything that's in this. I feel that probably there are some who are terrified when they see this, you know. It's really basically laziness that I haven't shortened anything out, I simply have wads of things here. \\n \\nAudience\\n00:24:55\\nLaughter.\\n \\nAlden Nowlan\\n00:24:56\\nNo no, not that one, I'm not going to read them all, definitely, definitely not. \\n \\nUnknown\\n00:25:09\\nSilence [pause].\\n \\nAlden Nowlan\\n00:25:19\\nFirst of all I have a very, very bad poem that I can't resist reading. I realized that it's sort of a bad beginning to start off with a poem that the poet himself considers a very bad one, but I wrote this when I arrived here this afternoon. To the natural egotism of a poet, you see, I can't resist offering it to this sort of captive audience here. [Audience laughter]. \\\"Poem for the Ritz Carlton\\\". [Audience laughter].\\n \\nAlden Nowlan\\n00:26:06\\nReads \\\"Poem for the Ritz Carlton\\\" [audience laughter throughout].\\n \\nAlden Nowlan\\n00:26:30\\nThat isn't really as critical of the Ritz Carlton as it sounds, because I sort of like the crypt of St. Paul's Cathedral [https://www.wikidata.org/wiki/Q173882], too, you see. [Audience laughter]. Next, I'd like to read some poems from my new book, Bread Wine and Salt, which is going to be published by Carter when, the first week in November, at three dollars and fifty cents. [Audience laughter]. That is the commercial.  \\\"I, Icarus\\\".\\n \\nAlden Nowlan\\n00:27:15\\nReads \\\"I, Icarus\\\" [from Bread, Wine and Salt].\\n \\nAlden Nowlan\\n00:28:34\\nReads \\\"Sailors\\\" [from Bread, Wine and Salt].\\n \\nAlden Nowlan\\n00:30:06\\nThis poem is entitled \\\"The Cinnamon Bears\\\", which sounds at first as if it were some sort of an animal cooking. But actually, what these cinnamon bears were, was back around the turn of the century in New Brunswick [https://www.wikidata.org/wiki/Q1965], as I've been told, there were all sorts of touring side-show type of things, you know, that, fortune tellers, and...people with a monkey, organ grinders with a monkey, and all this type of, sort of strolling pyres or wandering minstrels that existed up until the advent of radio and television. And it was a terrific thing, of course, in these backwoods communities. No doubt throughout Canada and the United States, when one of these people arrived. And among the, among these people were men who had trained bears, who, because of their colouration, were called cinnamon bears. And this poem actually is sort of a found poem, because it's not so much a creative thing as it is the transcription of a conversation which I happened to overhear between an old couple in northern New Brunswick. A man and his wife in their seventies, when they, suddenly something brought back these memories of these days of the organ grinders and the cinnamon bears. And as I say, I sort of made the poem more or less by simply transcribing the things which they said to one another, which it seemed to me was sort of a poetry, a form of poetry itself. \\n \\nAlden Nowlan\\n00:32:20\\nReads \\\"The Cinnamon Bears\\\" [from Bread, Wine and Salt].\\n \\nAlden Nowlan\\n00:33:21\\nReads \\\"Britain Street, St. John, New Brunswick” [published as “Britain Street” in Bread, Wine and Salt].\\n\\nAlden Nowlan\\n00:34:22\\nThis is another, sort of a found poem, I'm not really terribly convinced that it's a poem at all. Last year, when I had a quite serious illness, one afternoon I was in the waiting room at the doctor's office, and the only thing that seemed to lay at hand for me to read was a copy of one of these Confessions magazines entitled Secret Life. [Audience laughter]. And as I glanced through it, it seemed to me, all that I actually read of it, you know, were these sort of captions at the top of the articles, and some of the big type in it. But it seemed to me really, as I glanced through it, that it had, that it contained sort of a crazy poetry of its own. At least, in the mood that I was in at the time, I sort of responded to it as though it were a crazy sort of poetry. And so as I sat there I sort of jotted down some of these things from the magazine, and ever since I've been trying to pass it off as a poem. \\n \\nAlden Nowlan\\n00:35:37\\nReads \\\"Secret Life\\\" [from Bread, Wine and Salt; audience laughter throughout].\\n \\nAudience\\n00:36:39\\nLaughter. \\n \\nAlden Nowlan\\n00:36:57\\nReads \\\"In Our Time\\\" [from Bread, Wine and Salt].\\n \\nAlden Nowlan\\n00:40:51\\nReads \\\"The Changeling\\\" [from Bread, Wine and Salt].\\n \\nAlden Nowlan\\n00:41:49\\nReads \\\"The Hollow Men\\\" [from Bread, Wine and Salt].\\n \\nAlden Nowlan\\n00:42:38\\nThis poem is entitled \\\"Ancestral Memories Evoked by Attending the Opening of the Playhouse in Fredericton [https://www.wikidata.org/wiki/Q2138], New Brunswick\\\". And I'm a little afraid that many of you will feel that it is sort of pointless. I'm not sure really but what you'd have to be completely immersed in the atmosphere of New Brunswick to get the real point of it, but. But that said, not implying any superiority on the part of New Brunswickers, unfortunately. Anyway.\\n \\nAlden Nowlan\\n00:43:26\\nReads \\\"Ancestral Memories Evoked by Attending the Opening of the Playhouse in Fredericton, New Brunswick\\\" [from Bread, Wine and Salt].\\n \\nAlden Nowlan\\n00:44:36\\nReads \\\"Every Man Owes God a Death\\\" [from Bread, Wine and Salt].\\n \\nAlden Nowlan\\n00:46:41\\nThis poem, for no particular reason, is entitled \\\"The Loneliness of the Long-Distance Runner\\\". \\n \\nAlden Nowlan\\n00:46:48\\nReads \\\"The Loneliness of the Long-Distance Runner\\\" [from Bread, Wine and Salt].\\n \\nAlden Nowlan\\n00:48:23\\nThis is a poem that came out of a serious illness that I had last year, and it's entitled \\\"In the Operating Room\\\". \\n \\nAlden Nowlan\\n00:48:38\\nReads \\\"In the Operating Room\\\" [from Bread, Wine and Salt].\\n \\nAlden Nowlan\\n00:50:05\\nI have a few other recent poems I'll dig out of these. \\n \\nUnknown\\n00:50:12\\nAmbient Sound [pause; Nowlan turning pages].\\n\\nAlden Nowlan\\n00:50:47\\nAs I sort through these, I'm silently cursing myself for not having done this before I came here. \\n \\nUnknown\\n00:50:52\\nAmbient Sound [pause; Nowlan turning pages].\\n\\nAlden Nowlan\\n00:51:20\\nHere's a fairly recent poem which isn't a political poem at all, but a human poem. And one that I wrote as a result of watching on television the debates in the United Nations [https://www.wikidata.org/wiki/Q1065] on the Middle East [https://www.wikidata.org/wiki/Q7204] crisis. And one of the horrible things I felt as I watched it was how completely dehumanized it all was, that the real, human issues had been lost sight of, and sort of drowned in an ocean of resolutions and memos from embassies and all this sort of things. And one night when they televised these sessions through until about four o'clock, the ambassador of Saudi Arabia [https://www.wikidata.org/wiki/Q851] spoke, and he delivered certainly a very bigoted speech, and one that as a speech I wouldn't have agreed with, but I felt an admiration for him, because it had seemed to me that he was the only really human thing that had happened there all day. You know, that certainly he was a bigoted old man, full of thousands of years of hatred, but it was a human hatred, expressed in a human manner, something that the rest of them had completely lost sight of. And as a result of this feeling I wrote this poem, \\\"For Jamil Baroody [https://www.wikidata.org/wiki/Q96384169], Saudi Arabian Ambassador to the United Nations on the Occasion of his Address to the Security Council, June 1967\\\".\\n \\nAlden Nowlan\\n00:53:21\\nReads \\\"For Jamil Baroody, Saudi Arabian Ambassador to the United Nations on the Occasion of his Address to the Security Council, June 1967\\\".\\n \\nAlden Nowlan\\n00:56:26\\nReads \\\"Fireworks\\\".\\n \\nAlden Nowlan\\n00:57:34\\nReads \\\"Two Poems for the Nova Scotia Department of Highways\\\".\\n \\nAlden Nowlan\\n00:59:31\\nFinally, this is a poem entitled \\\"State Visit\\\", and the motivation of it, like one of the earlier ones I read, was sort of this same feeling of frustration at the complete dehumanization of politics as we feel it today, and particularly, this sort of apotheosis of world leaders into some sort of a symbol, so they even, I think, begin to think of themselves in these sort of abstract terms, rather than as a human being. And out of--this is sort of, I suppose, perhaps to a degree sort of a bitter little poem, but it stemmed from an emotion which I'm sure many of us feel. \\n \\nAlden Nowlan\\n01:00:27\\nReads \\\"State Visit\\\".\\n \\nEND\\n01:01:39\\n[Cut off abruptly].\",\"notes\":\"Margaret Atwood reads from The Circle Game (House of Anansi, 1966) as well as poems later published in The Animals in that Country (Oxford University Press, 1968). Nowlan reads from Bread Wine and Salt (Clarke, Irwin & Company, 1967) along with some poems from unknown sources.  \\n\\n00:00- Atwood introduces “This is a Photograph of Me”. [INDEX: Montreal plague, Tallula Bankhead, The Circle Game; from The Circle Game.]\\n00:22- Reads “This is a Photograph of Me”.\\n01:35- Introduces “The Camera”. [INDEX: dedication; published as “Camera” in The Circle \\tGame]\\n01:44- Reads “Camera”.\\n03:28- Reads “Carved Animals”. [INDEX: from The Circle Game, part III of “Some Objects of Wood and Stone”.]\\n04:25- Introduces “At the tourist center in Boston”. [INDEX: recent poems, written in the   United States, Canada’s Tourist Center in Boston; from The Animals in that Country.]\\n04:50- Reads “At the tourist centre in Boston”.\\n06:48- Introduces “The Green Man” [INDEX: dedicated to the Boston Strangler; from   unknown source.]\\n06:56- Reads “The Green Man”.\\n08:03- Reads “A fortification”. [INDEX: from The Animals in that Country]\\n09:17- Introduces “The landlady”. [INDEX: dedicated to Atwood’s landlady; from The Animals in that Country.]\\n09:29- Reads “The landlady”.\\n10:47- Reads “A foundling”. [INDEX: from The Animals in that Country.]\\n11:41- Reads “Untitled”.\\n12:58- Introduces “Chronology”. [INDEX: written in a paranoid state of mind; from unknown source.]\\n13:06- Reads “Chronology”.\\n14:39- Introduces “Backdrop addresses cowboy”. [INDEX: U.S.A.]\\n14:50- Reads “Backdrop addresses cowboy”. [INDEX: from The Animals in that Country.]\\n16:36- Reads “A voice”. [INDEX: from The Animals in that Country.]\\n17:40- Introduces “Elegy for giant tortoises”. [INDEX: South Pacific Island as airstrip; from The Animals in that Country.]\\n17:59- Reads “Elegy for giant tortoises”.\\n19:19- Reads “It’s dangerous to read newspapers”. [INDEX: from The Animals in that        Country.]\\n20:49- Reads “I was reading a scientific article”. [INDEX: from The Animals in that Country.]\\n22:25- Reads “The reincarnation of Captain Cook”. [INDEX: from The Animals in that      Country.]\\n23:44- End of Atwood’s Reading.\\n23:49- CUT in recording.\\n23:58- Roy Kiyooka introduces Alden Nowlan (recording starts mid-introduction). [INDEX: Journalist from the Maritimes, with wife and son.]\\n24:26- Alden Nowlan introduces the reading. [INDEX: shortened poems, poems for reading.]\\n25:19- Introduces “Poem for the Rich Carlton”. [INDEX: bad poem, written upon arrival in Montreal, egotism of poet, audience.]\\n26:06- Reads “Poem for the Rich Carlton”.\\n26:30- Explains “Poem for the Rich Carlton”. [INDEX: crypt of St Paul’s Cathedral.]\\n26:43- Introduces “I, Icarus”. [INDEX: from new book, Bread Wine and Salt, published by Carter at $3.50.]\\n27:15- Reads “I, Icarus”.\\n28:34- Reads “Sailors” [INDEX: from Bread, Wine and Salt.]\\n30:06- Introduces “The Cinnamon Bears”. [INDEX: animal cooking, turn of the century, New Brunswick, touring side-show, fortune tellers, monkey, organ grinders, strolling pyres, wandering minstrels, advent of radio and television, Canada, United States, trained bears, found poem, creative, transcription of a conversation, northern New Brunswick, form of poetry; from Bread, Wine and Salt.]\\n32:30- Reads “The Cinnamon Bears”.\\n33:21- Reads “Britain Street, St. John, New Brunswick”. [INDEX: published as “Britain     Street” in Bread, Wine and Salt.]\\n34:22- Introduces “The Secret Life”. [INDEX: found poem, maybe not a poem, serious illness, doctor’s office, Confessions magazines called Sacred Life, crazy poetry; from Bread, Wine and Salt.]\\n35:37- Reads “Secret Life”.\\n36:57- Reads “In Our Time” [INDEX: from Bread, Wine and Salt.]\\n40:51- Reads “The Changeling” [INDEX: from Bread, Wine and Salt.]\\n41:49- Reads “The Hollow Men”. [INDEX: from Bread, Wine and Salt.]\\n42:38- Introduces \\\"Ancestral Memories Evoked by Attending the Opening of the Playhouse in Fredericton, New Brunswick.\\\" [INDEX: atmosphere of New Brunswick; from   Bread, Wine and Salt.].]\\n43:26- Reads \\\"Ancestral Memories Evoked by Attending the Opening of the Playhouse in Fredericton, New Brunswick.\\\"\\n44:36- Reads “Every Man Owes God a Death”. [INDEX: from Bread, Wine and Salt.]\\n46:41- Introduces “The Loneliness of the Long-Distance Runner”. [INDEX: title, from Bread, Wine and Salt.]\\n46:48- Reads “The Loneliness of the Long-Distance Runner”.\\n48:23- Introduces “In the Operating Room”. [INDEX: serious illness the previous year, from Bread, Wine and Salt.].]\\n48:38- Reads “In the Operating Room”.\\n51:20- Introduces “For Jamol Barudi, Saudi Arabian Ambassador to the United Nations on the Occasion of his Address to the Security Council, June 1967”. [INDEX: political      poem, human poem, television debates, United Nations, Middle East Crisis,    dehumanization, bigoted speech.]\\n53:21- Reads “For Jamol Barudi, Saudi Arabian Ambassador to the United Nations on    the Occasion of his Address to the Security Council, June 1967”.\\n56:26- Reads “Fireworks”.\\n57:34- Reads “Two Poems for the Nova Scotia Department of Highways”.\\n59:31- Introduces “State Visit”. [INDEX: dehumanization of politics, apotheosis of world     leaders into a symbol, abstract terms, emotion.]       \\n1:00:27- Reads “State Visit”.\\n1:01:27- RECORDING ENDS (suddenly).\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/margaret-atwood-and-alden-nowlan-at-sgwu-1967/\"}]"],"score":1.8530173},{"id":"1264","cataloger_name":["Masoumeh,Zaare"],"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":["Barbara Howes at Sir George Williams University, The Poetry Series, 3 November 1967"],"item_title_source":["Cataloguer"],"item_title_note":["\"Barbara Howes Poetry Reading Nov 3, 1967\" written on sticker on the front of the tape's box. \"RT 521\" written on sticker on the front of the tape's box. \"Howes Poetry Nov 3/67\" written on sticker on the reel. \"Barbara Howes 3/11/67 I068-11-024\" also written on the spine of the tape's box"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 2"],"item_identifiers":["[]"],"creator_names":["Howes, Barbara"],"creator_names_search":["Howes, Barbara"],"creators":["[{\"url\":\"http://viaf.org/viaf/38160442\",\"name\":\"Howes, Barbara\",\"dates\":\"1914-1996\",\"notes\":\"American poet, short story writer, essayist, editor and translator Barbara Howes was born in New York in 1914, and adopted into a family in Boston. She enrolled at Bennington College in Vermont before moving to New York City upon her graduation. Howes then worked as an editor of Chimera: A Literary Magazine between 1944 and 1947. She married poet William Jay Smith, and they lived in England and Italy for a short while. Her first collection of poetry was published in 1948, named The Undersea Farmer (Banyan Press), which was followed by In the Cold Country (Bonaci & Saul in association with Grove Press, 1954), both of which drew critical acclaim and praise. She then published Light and Dark (Wesleyan University Press, 1959), Looking Up at Leaves (Knopf, 1966), The Blue Garden (Wesleyan University Press, 1972) and A Private Signal: Poems New and Selected (Wesleyan University Press, 1977). Howes divorced in the 60’s and traveled to the Caribbean, which inspired her to edit two anthologies of Caribbean and Latin American writing: From the Green Antilles: Writings of the Caribbean (Macmillan, 1966) and The Eye of the Heart: Short Stories from Latin America (Bobbs-Merrill, 1973). Howes also edited 23 Modern Stories, (Vintage, 1963), The Sea-Green Horse with her son Gregory Jay Smith (Macmillan, 1970), The Road Commissioner and Other Stories (Stinehour Press, 1983). She published two final collections of poetry, Moving (Elysian Press, 1983) and The Collected Poems of Barbara Howes, 1945-1990 (University of Arkansas Press, 1995), which was nominated for the 1995 National Book Award. Her poetry can be found in dozens of periodicals and literary magazines. Barbara Howes died at the age of 81 in Pownal, Vermont in 1996.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Hoffman, Stanton"],"contributors_names_search":["Hoffman, Stanton"],"contributors":["[{\"url\":\"\",\"name\":\"Hoffman, Stanton\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Presenter\",\"Series organizer\"]}]"],"Presenter_name":["Hoffman, Stanton"],"Series_organizer_name":["Hoffman, Stanton"],"Performance_Date":[1967],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Ampex\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"Tape\",\"physical_condition\":\"\",\"track_configuration\":\"2 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\":\"1967 11 3\",\"type\":\"Performance Date\",\"notes\":\"Date written three times on the reel and tape's box\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Basement Theatre\",\"notes\":\"Previous researcher\",\"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 Basement Theatre"],"City":["Montreal, Quebec"],"content_notes":["Barbara Howes reads from Light and Dark (Wesleyan University Press, 1959), Looking Up at Leaves (Knopf, 1966), and From the Green Antilles: Writings of the Caribbean, (Macmillan, 1966) as well as some poems from unknown sources."],"contents":["barbara_howes_i086-11-024.mp3\n\nStanton Hoffman\n00:00:00\nThe reading this evening is by Miss Barbara Howes [https://www.wikidata.org/wiki/Q4858990[. Miss Barbara Howes was born in Boston [https://www.wikidata.org/wiki/Q100] and educated at Bennington College [https://www.wikidata.org/wiki/Q817902]. She has published four volumes of poems: The Undersea Farmer, which was published in 1948 by the Banyan Press; In the Cold Country, which was was published by Bonaci and Saul in cooperation with Grove Press [https://www.wikidata.org/wiki/Q3777164] in 1954, Light and Dark, which was published by Wellesley University [https://www.wikidata.org/wiki/Q49205] Press in 1959, and the recent Looking up at Leaves, which was published by Knopf [https://www.wikidata.org/wiki/Q1431868] in 1966 and which was nominated for the National Book Awards. She has been the editor of a volume of writings of the Carribean which was published by MacMillan [https://www.wikidata.org/wiki/Q2108217]in 1966 and Twenty-three Modern Stories published in 1963 by Vintage Books [https://www.wikidata.org/wiki/Q3560313]. In 1949, she won the Bess Hokin Prize of Poetry Magazine, in 1955 she held a Guggenheim Fellowship [https://www.wikidata.org/wiki/Q1316544], and in 1957, she won the Brandeis Poetry Award. Her poems have appeared in many journals, such as Harper's Bazaar [https://www.wikidata.org/wiki/Q654606], New World Writing [https://www.wikidata.org/wiki/Q7012606], Poetry [https://www.wikidata.org/wiki/Q7207482], Suani Review, New Republic [https://www.wikidata.org/wiki/Q1329873], and so forth. And next week in New York City [https://www.wikidata.org/wiki/Q60], Miss Howes will be reading as part of series, or brothers, as part of reading, as part of a reading by fifteen or so other poets, as part of a Poets for Peace, sponsored by the Compassionate Art of the Fellowship of Reconciliation. Ladies and gentlemen, Miss Barbara Howes. \n \nAudience\n00:01:48\nApplause.\n \nBarbara Howes\n00:02:17\nThank you very much, Mr. Hoffman, I'm delighted to be here. If you can't hear me, raise your hands or let me know by some other device. Is this a microphone or does this have to do with this machine? Well I'll try to be clear. I thought rather than read a kind of segmented, like a string of sausages, series of poems, going on and on and on, which gives one very little hope that it'll ever end, it'd be better to say that I'm going to have a beginning, a middle, and an end, and that would be...and so I've arranged the poems in this way, so you will have hope that I won't continue forever, which has been done, in the annals of poetry. I wanted to write, read some poems that have to do with place, because I've thought a lot about the effect of place on poems, and to what extent the place you're in influences what you write. One's imagination would never become extended in certain directions if you hadn't happened to live in a certain place. I was very conscious of that when we lived in Florence [https://www.wikidata.org/wiki/Q2044] for two years and when my older boy was born, and subsequently for another two years. And I would never--because we--I would never possibly have been able to think, I mean this is obvious in a way, but it gets more complicated, of...Some of the imaginative happenings that occurred would, could never have happened, well in Massachusetts [https://www.wikidata.org/wiki/Q771] or anywhere else, and also even in, I mean in Vermont [https://www.wikidata.org/wiki/Q16551], where we now live, have been profoundly affected by the section of the mountain which we life. And also we spent some time in Haiti [https://www.wikidata.org/wiki/Q790], and so on and so forth, so this first group will be mostly poems that have a lot to do with experiences that have happened because of a particular place. The first poem is an Italian poem, or written out of Italy [https://www.wikidata.org/wiki/Q38], called \"Primavera\".\n \nBarbara Howes\n00:04:48\nReads \"Primavera\" [from Light and Dark].\n \nBarbara Howes\n00:06:19\nThis is called \"The Triumph of Love\".\n \nBarbara Howes\n00:06:27\nReads \"The Triumph of Love\" [from Light and Dark].\n \nBarbara Howes\n00:07:18\nThen for a summer, we lived in a little town in the south of France [https://www.wikidata.org/wiki/Q142], Le Lavandou [https://www.wikidata.org/wiki/Q736462], and it was a very good summer all in all, although, except we had no car and a very big house with only about one room on a floor. So the baby was on the top floor, and the kitchen, it's one burner, was on, you know, it's four floors down. And I would rush up and pick him up and then put him back in his bed, and then rush down and light the burner, and then rush up and get him, and then rush down. So it was difficult in some ways. But one of our entertainments, or entertainments that seemed to certainly entertain friends was to go to an island off Toulon [https://www.wikidata.org/wiki/Q44160] called Ile Levant [https://www.wikidata.org/wiki/Q292516], which is half a naval base and half a colony. And you could go out there in a small--it took about an hour in a small boat, and one time we stood on the dock not quite sure what to do next. Another person who'd come in the boat with us in very high heels and an enormous black hat removed everything else and ran up the hill. [Audience laughter]. So this is “L'Ile du Levant, the Nudist Colony”.\n \nBarbara Howes\n00:08:55\nReads \"L'Ile du Levant: the Nudist Colony\" [from Light and Dark].\n \nBarbara Howes\n00:10:59\nNow living as I do in the country in Vermont, there comes that terrible time in November when all the hunters from the cities come rushing up with their pint bottles and their confusion and they lounge around half the time sitting in cars and shooting vaguely at anything. So I used to try to write an anti-hunter poem every fall,I don't know about this year, I haven't got an idea yet, but I may see if I can do something. \"In Autumn\". Excuse me. \n \nBarbara Howes\n00:11:37\nReads \"In Autumn\" [from Light and Dark].\n \nBarbara Howes\n00:12:29\nAnd this is another on the same subject.\n \nBarbara Howes\n00:12:39\nReads [\"Landscape, Deer Season\" from Looking Up At Leaves].\n \nBarbara Howes\n00:13:16\nThis is another Pownal [https://www.wikidata.org/wiki/Q1940266] poem, it's really two things put together. It's called \"A Night Picture of Pownal”, for JFK. And I stood one evening in very bright moonlight looking out at the shadow of the apple tree across the road on the snow and it made an impression on me, I began to take notes in the dark as best I could on it. And then later, shortly after that, for the death of Kennedy [https://www.wikidata.org/wiki/Q9696], then I saw the poem wasn't, it was inadequate, and I somehow put, wove those two things together.\n \nBarbara Howes\n00:14:06\nReads \"A Night Picture of Pownal\" [from Looking Up At Leaves].\n \nBarbara Howes\n00:15:19\nAnother Vermont poem or Pownal poem on a more cheerful note. \"Town Meeting Tuesday\". Town meeting is the first Tuesday in March, and many of the people who have stayed in all winter then emerge like woodchucks from their houses.\n \nBarbara Howes\n00:15:45\nReads \"Town Meeting Tuesday\" [from Looking Up At Leaves].\n \nBarbara Howes\n00:16:22\nNow, we spent two or three Easter vacations in the islands of the Caribbean [https://www.wikidata.org/wiki/Q664609], we went to Guadeloupe [https://www.wikidata.org/wiki/Q17012] once for two weeks. And most of the time I find I write fish poems when I go down to the islands but this one is about a dead toucan in Guadeloupe. There was a little, well, a strange little zoo at the small hotel where we stayed and we would look at these creatures and one day I went and there was the toucan and it had fallen over dead. Somehow, it made an impression on me. \"Dead Toucan: Guadeloupe\".\n \nBarbara Howes\n00:17:04\nReads \"Dead Toucan: Guadeloupe\" [from Looking Up At Leaves].\n \nBarbara Howes\n00:17:55\nI hope you can hear--can you hear me? In the back rows? We also spent some time in Haiti, earlier, and I'd like to read a couple of poems from that period. This was a thing--it could perfectly well have happened elsewhere but it was the kind of thing that, after we lived in Haiti for a while, I could see very clearly, would definitely have to happen there. There was a young man of about nineteen, very talented as a painter, and did, had just tried out through the art centre there, and doing really quite good and interesting work. And he needed a job so he could buy paints and paper, and anyway just to exist. So an American woman had two small boys and he said he could look after them and play ball and, you know, keep them out of trouble and so on and so forth. And she said, “Can you swim?” And he said, “Oh yes, of course.” So the boys dove into the pool because they had been swimming, as most American boys do, for years. And he dove into the pool, and didn't come up. And nobody was around except some workers who were fixing the garden. But like everybody, almost, in Haiti, they didn't want to get involved, because then the police might ask them questions, and then at the end there's trouble, so the poor young man just died, because the little boys couldn't do anything, and nobody else did anything. And so that made an impression on me. But it's the kind of unfortunate tragedy, due to his saying that he could swim and he couldn't, just because he was so desperately anxious to get the job, and he just made himself believe he could swim. Just a complete waste. \n \nBarbara Howes\n00:20:10\nReads [\"In a Prospect of Flowers\" from Light and Dark].\n \nBarbara Howes\n00:21:10\n\"Mirror Image: Port-au-Prince [https://www.wikidata.org/wiki/Q34261]\". This, there was a little sign on a tree we used to pass every day and then I thought of this poem.\n \nBarbara Howes\n00:21:19\nReads \"Mirror Image: Port-au-Prince\" [from Light and Dark].\n \nBarbara Howes\n00:21:59\nThere's one other. Oh yes. \n \nBarbara Howes\n00:22:06\nReads [\"On a Bougainvillea Vine at the Summer Palace\" from Light and Dark]. \n \nBarbara Howes\n00:23:36\nWell, this is one of the fishing poems from the, from Barbados [https://www.wikidata.org/wiki/Q244], from the islands.\n \nBarbara Howes\n00:23:46\nReads [\"Out Fishing\" from Looking Up At Leaves].\n \nBarbara Howes\n00:24:58\nThis poem is written in one foot, it's just an experiment to see what would happen. I, you know, diameter's two feet, or is it, trimeter is three feet. And tetrameter is four, and pentameter is five. One foot means you just have one sound, like that, and it's just, was a technical experiment, but I might as well read it. And it's also another fish poem. \n \nBarbara Howes\n00:25:32\nReads [\"The Crane Chub--Barbados\" from Looking Up At Leaves].\n \nBarbara Howes\n00:26:18\nHere's a fish, well, a jellyfish poem, from Texas [https://www.wikidata.org/wiki/Q1439]. \n \nBarbara Howes\n00:26:32\nReads [\"On Galveston Beach\" from Looking Up At Leaves].\n \nBarbara Howes\n00:27:32\nAnd then there's the last Caribbean poem, “A Letter from the Caribbean”. \n \nBarbara Howes\n00:27:45\nReads “A Letter From The Caribbean” [from Looking Up At Leaves].\n \nBarbara Howes\n00:28:59\nI've thought I would read just a few poems by modern poets that I like, they're not by any means their strongest or anything, but they're just ones I'm attached to. The first I cut out of the paper once, a long time ago. It's by an African schoolgirl, and I think it's very imaginative. It's awkward but it's really quite wonderful.\n \nBarbara Howes\n00:29:38\nReads unnamed poem by an unknown author. \n\nBarbara Howes\n00:29:53\nThis is an early poem of Wystan Auden's [https://www.wikidata.org/wiki/Q178698] that he kept out of, he didn't use in his book and then he printed again in a recent edition. I think it's technically as awfully, it's light verse but it's also very serious underneath, as good light verse can me. Poem. \n \nBarbara Howes\n00:30:15\nReads [\"To You Simply\"] by W.H. Auden [published in The Collected Poetry of W.H. Auden].\n \nBarbara Howes\n00:30:57\nAnd this is a, I think a simply charming poem by Richard Wilbur [https://www.wikidata.org/wiki/Q1333582]. It gets...it's about the Piazza di Spagna [https://www.wikidata.org/wiki/Q15124814], the Spanish Steps in Rome [https://www.wikidata.org/wiki/Q220], and it gets the feeling of someone gliding, really gliding down that long, gorgeous stairway. \n \nBarbara Howes\n00:31:22\nReads [\"Piazza Di Spagna, Early Morning\"] by Richard Wilbur.\n \nBarbara Howes\n00:32:11\nThis is a poem by Louise Bogan [https://www.wikidata.org/wiki/Q516180], who's a very well known American poet, a very recent one that she, that came out in The New Yorker [https://www.wikidata.org/wiki/Q217305], this summer, I think.\n \nBarbara Howes\n00:32:27\nReads [\"Masked Woman’s Song\"] by Louise Bogan.\n \nBarbara Howes\n00:32:51\nIt's a difficult poem, might read that again, if you don't mind. \n \nBarbara Howes\n00:32:56\nRe \"Masked Woman’s Song\" by Louise Bogan.\n \nBarbara Howes\n00:33:17\nAnd then, the last, oh, oh that's right, I thought I would read a poem by Derek Walcott [https://www.wikidata.org/wiki/Q132701], which I used in this Carribean Anthology. It's mostly short stories but I put a poem in front of each language section. This is by Derek Walcott who's a young poet from St. Lucia [https://www.wikidata.org/wiki/Q760], called \"Missing the Sea\".\n \nBarbara Howes\n00:33:48\nReads \"Missing the Sea\" by Derek Walcott [from The Castaway and collected in From the Green Antilles: Writings of the Caribbean].\n \nBarbara Howes\n00:34:31\nIt's quite a difficult poem but you...he had a book out, oh, can't remember the name, by Farrar, Straus & Giroux [https://www.wikidata.org/wiki/Q3067003] a couple of years ago, in the United States. [https://www.wikidata.org/wiki/Q30] And the last of this group is a poem that I've heard about a hundred thousand times, but it still gives me a chill. It's called \"American Primitive\" by William Jay Smith [https://www.wikidata.org/wiki/Q4355736].\n \nBarbara Howes\n00:35:06\nReads \"American Primitive\" by William Jay Smith.\n \nBarbara Howes\n00:35:47\nI still get a chill! Now, I don't know whether you prefer to have an intermission, and get up and smoke, or prefer for me to continue, what would you think, Stanton?\n \nUnknown\n00:36:06\nAmbient Sound [voices].\n \nBarbara Howes\n00:36:08\nHave an intermission? So people can...breathe?\n \nUnknown\n00:36:17\nAmbient Sound [voices].\n\nUnknown\n00:36:23\n[Cut or edit made in tape. Unknown amount of time elapsed].\n \nBarbara Howes\n00:36:23\nThe problem is the third group of poems, I'd read some poems that are more or less to and about people, and some new poems, although I've noticed that most of my new poems are very depressing, and this is not a good note on which to end, so I'll maybe not read them. I've been very much interested in old French forms, the trielle, the villanelle, the rondeau and rondelle, and ballade and so on and so forth, and they're very difficult but they're fascinating to try, at least. And this is in the form of a trielle. And the lines have to be repeated in a certain fashion which gives you very little room in which to maneuver. This is called \"Early Supper\".\n \nBarbara Howes\n00:37:14\nReads \"Early Supper\" [from Light and Dark].\n \nBarbara Howes\n00:38:10\nThis is a poem I wrote for W.H. Auden for his fiftieth birthday, which was several years ago, now. I think actually, he was last year, sixty.\n \nBarbara Howes\n00:38:21\nReads [\"To W.H. Auden on his Fiftieth Birthday\" from Light and Dark].\n \nBarbara Howes\n00:39:22\nI wrote three poems at that point about winds, and I'll just read one of them. The winds have names in Italy and they almost become like familiar characters. The sirocco, when it blows, is so terrible in its effect on people that if there're crimes of passion, the people generally get off with a lighter sentence, because you sell, well, the sirocco. Naturally you can throttle your wife during that period. This is about the mistral, which, if it blows for three days, one survives, if it blows for six days it's simply awful. If it blows for nine days you've probably already gone out of your head. It's a very wild wind who rushes down the Rhone Valley [https://www.wikidata.org/wiki/Q2747791] and just blows everything away. \n \nBarbara Howes\n00:40:22\nReads [\"Mistral\" from Light and Dark].\n \nBarbara Howes\n00:41:23\nThis is another one, an old French form, the rondeau, which again makes its, has its own complications because of the repetition of lines. And what interested me to do was to try to use, not the usual subject of the rondeaux but to write about, as in this case, the death of a Vermont farm woman, instead of just doing some sort of chittery-chattery business that generally is what people use a rondeau for. \n \nBarbara Howes\n00:42:03\nReads [\"Death of a Vermont Farm Woman\" from Light and Dark].  \n\nBarbara Howes\n00:42:51\nThis is a poem about a very disagreeable character, a thirteenth-century tyrant called Ugolino [https://www.wikidata.org/wiki/Q706003], who met his death from being thrown into prison to die of hunger. He is reputed to have attempted to eat his sons, who were there with him. I must say, it's not an agreeable picture, but I don't think there's been much improvement in that part of mankind. Dante [https://www.wikidata.org/wiki/Q1067] writes of him in the 33rd Canto of the Inferno [https://www.wikidata.org/wiki/Q4509219]. This poem is called \"The Critic\" and, I must say, critics have disliked it heartily. \n \nBarbara Howes\n00:43:28\nReads \"The Critic\" [from Light and Dark].\n \nBarbara Howes\n00:44:23\nThis is a, an odd combination about a person and about Pownal, I guess. \n \nBarbara Howes\n00:44:32\nReads [\"Running into Edgar Bellemare\" from Looking Up at Leaves]. \n \nBarbara Howes\n00:45:27\nThis is a poem I wrote for Katherine Anne Porter [https://www.wikidata.org/wiki/Q236958] on the occasion of her 75th birthday. \"For Katherine Anne Porter\".\n \nBarbara Howes\n00:45:39\nReads “For Katherine Anne Porter” [from Looking Up at Leaves].\n \nBarbara Howes\n00:46:15\nIt's quite marvelous, those collective nouns, who would know that you call a lot of heron a siege of herons and so forth. I'll read that again, because it really is, I was very lucky the way it worked out.\n \nBarbara Howes\n00:46:31\nReads line from “For Katherine Anne Porter”.\n \nBarbara Howes\n00:47:06\nThis is called \"Looking up at Leaves\".\n \nBarbara Howes\n00:47:14\nReads \"Looking up at Leaves\" [from Looking Up At Leaves].\n \nBarbara Howes\n00:48:09\nI'd like to read one New England [https://www.wikidata.org/wiki/Q18389] poem, this is a newer poem, I haven't read this before, I guess.\n \nBarbara Howes\n00:48:16\nReads [\"Still Life: New England\", published later in The Blue Garden].\n \nBarbara Howes\n00:49:34\nI'll read three more poems, I think. This is \"A Rune for C.\"--‘C.’ was a dog of ours. \n \nBarbara Howes\n00:49:51\nReads \"A Rune for C.\" [from Looking Up At Leaves].\n \nBarbara Howes\n00:50:36\nActually, I had just often, I'd made up a good luck thing that seeing the caboose was good luck, but then I found out that this has been an old piece of, well, I don't know, country folklore, that to see the caboose, it means luck. I want to read one poem about my son, and then one short one. \"Portrait of the Boy as Artist\".\n \nBarbara Howes\n00:51:18\nReads \"Portrait of the Boy as Artist\" [from Light and Dark].\n \nBarbara Howes\n00:52:11\nOh, I did want to read one that I'll read next week in New York. This poem is a, this is a rondelle, which is another old French form. And I'm obviously not using it for the usual subject, in this case. It's arranged about the idea, really, of a contrast of the use of space. \"Viet-Napalm: A Rondelle\".\n \nBarbara Howes\n00:52:45\nReads \"Viet-Napalm: A Rondelle\".\n \nBarbara Howes\n00:53:31\nAnd then one last poem on a more cheerful note. \"Leaning into Light\".\n \nBarbara Howes\n00:53:44\nReads \"Leaning into Light\" [from Looking Up At Leaves].\n \nBarbara Howes\n00:54:21.\nThank you very much. \n \nAudience\n00:54:23\nApplause.\n \nStanton Hoffman\n00:54:38\nOne announcement, the next reading will be by Charles Reznikoff [https://www.wikidata.org/wiki/Q1065911], and that's Friday, the same time, November 17th. \n\nUnknown\n00:54:46\nAmbient Sound [voices].\n \nEND\n00:54:57\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1967, Looking Up At Leaves was published in Poetry Magazine. The previous year, Howes edited From the Green Antilles: Writings of the Caribbean, Macmillan (New York, NY), 1966.\\n\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nDirect connections between Barbara Howes and Sir George Williams University are unknown at this time. Howes’ position as an important American poet, though her work was not often acknowledged publicly, made her an ideal candidate for the Reading Series.\\n\",\"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\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/807465072&referer=brief_results\",\"citation\":\"Grosholz, Emily. \\\"Howes, Barbara\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ian Hamilton (ed). Oxford University Press, 1996. \"},{\"url\":\"https://www.worldcat.org/title/light-and-dark-poems/oclc/1150226992&referer=brief_results\",\"citation\":\"Howes, Barbara. Light and Dark. Middletown, Connecticut: Wesleyan University Press, 1959. \"},{\"url\":\"https://www.worldcat.org/title/looking-up-at-leaves-poems/oclc/1150237234&referer=brief_results\",\"citation\":\"Howes, Barbara. Looking Up at Leaves. New York: Knopf, 1966. \"},{\"url\":\"https://www.worldcat.org/title/from-the-green-antilles-writings-of-the-caribbean/oclc/1140475941&referer=brief_results\",\"citation\":\"Howes, Barbara. (ed) From the Green Antilles: Writings of the Caribbean. New York: Macmillan, 1966. \"},{\"url\":\"http://www.nytimes.com/1996/02/25/us/barbara-howes-poet-and-editor-dies-at-81.html?pagewanted=1\",\"citation\":\"Pace, Eric. “Barbara Howes, Poet and Editor, Dies at 81”. New York Times. February 25, 1996. New York Edition: Obituary, page 139.\"},{\"url\":\"http://www.poetryfoundation.org/archive/poet.html?id=3307\",\"citation\":\"“Barbara Howes (1914-1996)”. Poetry Foundation. Poet Biography. Poetry Foundation: 2009.\"},{\"url\":\"https://www.concordia.ca/content/dam/concordia/offices/archives/docs/postgrad/Postgrad-1967-Spring.pdf\",\"citation\":\"“Poetry Readings”. Post-Grad. Montreal: Sir George Williams University, Spring 1967, page 20. \"},{\"url\":\"http://news.google.com/newspapers?id=np8tAAAAIBAJ&sjid=PKAFAAAAIBAJ&pg=4195,2837932&dq=sir+george+williams+poetry&hl=en\",\"citation\":\"“SGWU To Have Poetry Series”. Montreal: The Gazette. 14 September 1967, page 15. \"},{\"url\":\"\",\"citation\":\"Howes, Barbara. Looking Up at Leaves. Poetry Magazine. Volume 109, January 1967, Page 270.\"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-american-literature/oclc/54356940&referer=brief_results\",\"citation\":\"\\\"Howes, Barbara\\\". The Oxford Companion to American Literature. James D. Hart (ed). Phillip W. Leininger (rev.). Oxford University Press 1995.\"}]"],"_version_":1853670548818624512,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0024_back.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0024_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Barbara Howes 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_0024_front.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0024_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Barbara Howes 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_0024_side.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0024_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Barbara Howes Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0024_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0024_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Barbara Howes 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/barbara_howes_i086-11-024.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"barbara_howes_i086-11-024.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:54:57\",\"precision\":\"\",\"size\":\"131.9 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Stanton Hoffman\\n00:00:00\\nThe reading this evening is by Miss Barbara Howes [https://www.wikidata.org/wiki/Q4858990[. Miss Barbara Howes was born in Boston [https://www.wikidata.org/wiki/Q100] and educated at Bennington College [https://www.wikidata.org/wiki/Q817902]. She has published four volumes of poems: The Undersea Farmer, which was published in 1948 by the Banyan Press; In the Cold Country, which was was published by Bonaci and Saul in cooperation with Grove Press [https://www.wikidata.org/wiki/Q3777164] in 1954, Light and Dark, which was published by Wellesley University [https://www.wikidata.org/wiki/Q49205] Press in 1959, and the recent Looking up at Leaves, which was published by Knopf [https://www.wikidata.org/wiki/Q1431868] in 1966 and which was nominated for the National Book Awards. She has been the editor of a volume of writings of the Carribean which was published by MacMillan [https://www.wikidata.org/wiki/Q2108217]in 1966 and Twenty-three Modern Stories published in 1963 by Vintage Books [https://www.wikidata.org/wiki/Q3560313]. In 1949, she won the Bess Hokin Prize of Poetry Magazine, in 1955 she held a Guggenheim Fellowship [https://www.wikidata.org/wiki/Q1316544], and in 1957, she won the Brandeis Poetry Award. Her poems have appeared in many journals, such as Harper's Bazaar [https://www.wikidata.org/wiki/Q654606], New World Writing [https://www.wikidata.org/wiki/Q7012606], Poetry [https://www.wikidata.org/wiki/Q7207482], Suani Review, New Republic [https://www.wikidata.org/wiki/Q1329873], and so forth. And next week in New York City [https://www.wikidata.org/wiki/Q60], Miss Howes will be reading as part of series, or brothers, as part of reading, as part of a reading by fifteen or so other poets, as part of a Poets for Peace, sponsored by the Compassionate Art of the Fellowship of Reconciliation. Ladies and gentlemen, Miss Barbara Howes. \\n \\nAudience\\n00:01:48\\nApplause.\\n \\nBarbara Howes\\n00:02:17\\nThank you very much, Mr. Hoffman, I'm delighted to be here. If you can't hear me, raise your hands or let me know by some other device. Is this a microphone or does this have to do with this machine? Well I'll try to be clear. I thought rather than read a kind of segmented, like a string of sausages, series of poems, going on and on and on, which gives one very little hope that it'll ever end, it'd be better to say that I'm going to have a beginning, a middle, and an end, and that would be...and so I've arranged the poems in this way, so you will have hope that I won't continue forever, which has been done, in the annals of poetry. I wanted to write, read some poems that have to do with place, because I've thought a lot about the effect of place on poems, and to what extent the place you're in influences what you write. One's imagination would never become extended in certain directions if you hadn't happened to live in a certain place. I was very conscious of that when we lived in Florence [https://www.wikidata.org/wiki/Q2044] for two years and when my older boy was born, and subsequently for another two years. And I would never--because we--I would never possibly have been able to think, I mean this is obvious in a way, but it gets more complicated, of...Some of the imaginative happenings that occurred would, could never have happened, well in Massachusetts [https://www.wikidata.org/wiki/Q771] or anywhere else, and also even in, I mean in Vermont [https://www.wikidata.org/wiki/Q16551], where we now live, have been profoundly affected by the section of the mountain which we life. And also we spent some time in Haiti [https://www.wikidata.org/wiki/Q790], and so on and so forth, so this first group will be mostly poems that have a lot to do with experiences that have happened because of a particular place. The first poem is an Italian poem, or written out of Italy [https://www.wikidata.org/wiki/Q38], called \\\"Primavera\\\".\\n \\nBarbara Howes\\n00:04:48\\nReads \\\"Primavera\\\" [from Light and Dark].\\n \\nBarbara Howes\\n00:06:19\\nThis is called \\\"The Triumph of Love\\\".\\n \\nBarbara Howes\\n00:06:27\\nReads \\\"The Triumph of Love\\\" [from Light and Dark].\\n \\nBarbara Howes\\n00:07:18\\nThen for a summer, we lived in a little town in the south of France [https://www.wikidata.org/wiki/Q142], Le Lavandou [https://www.wikidata.org/wiki/Q736462], and it was a very good summer all in all, although, except we had no car and a very big house with only about one room on a floor. So the baby was on the top floor, and the kitchen, it's one burner, was on, you know, it's four floors down. And I would rush up and pick him up and then put him back in his bed, and then rush down and light the burner, and then rush up and get him, and then rush down. So it was difficult in some ways. But one of our entertainments, or entertainments that seemed to certainly entertain friends was to go to an island off Toulon [https://www.wikidata.org/wiki/Q44160] called Ile Levant [https://www.wikidata.org/wiki/Q292516], which is half a naval base and half a colony. And you could go out there in a small--it took about an hour in a small boat, and one time we stood on the dock not quite sure what to do next. Another person who'd come in the boat with us in very high heels and an enormous black hat removed everything else and ran up the hill. [Audience laughter]. So this is “L'Ile du Levant, the Nudist Colony”.\\n \\nBarbara Howes\\n00:08:55\\nReads \\\"L'Ile du Levant: the Nudist Colony\\\" [from Light and Dark].\\n \\nBarbara Howes\\n00:10:59\\nNow living as I do in the country in Vermont, there comes that terrible time in November when all the hunters from the cities come rushing up with their pint bottles and their confusion and they lounge around half the time sitting in cars and shooting vaguely at anything. So I used to try to write an anti-hunter poem every fall,I don't know about this year, I haven't got an idea yet, but I may see if I can do something. \\\"In Autumn\\\". Excuse me. \\n \\nBarbara Howes\\n00:11:37\\nReads \\\"In Autumn\\\" [from Light and Dark].\\n \\nBarbara Howes\\n00:12:29\\nAnd this is another on the same subject.\\n \\nBarbara Howes\\n00:12:39\\nReads [\\\"Landscape, Deer Season\\\" from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:13:16\\nThis is another Pownal [https://www.wikidata.org/wiki/Q1940266] poem, it's really two things put together. It's called \\\"A Night Picture of Pownal”, for JFK. And I stood one evening in very bright moonlight looking out at the shadow of the apple tree across the road on the snow and it made an impression on me, I began to take notes in the dark as best I could on it. And then later, shortly after that, for the death of Kennedy [https://www.wikidata.org/wiki/Q9696], then I saw the poem wasn't, it was inadequate, and I somehow put, wove those two things together.\\n \\nBarbara Howes\\n00:14:06\\nReads \\\"A Night Picture of Pownal\\\" [from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:15:19\\nAnother Vermont poem or Pownal poem on a more cheerful note. \\\"Town Meeting Tuesday\\\". Town meeting is the first Tuesday in March, and many of the people who have stayed in all winter then emerge like woodchucks from their houses.\\n \\nBarbara Howes\\n00:15:45\\nReads \\\"Town Meeting Tuesday\\\" [from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:16:22\\nNow, we spent two or three Easter vacations in the islands of the Caribbean [https://www.wikidata.org/wiki/Q664609], we went to Guadeloupe [https://www.wikidata.org/wiki/Q17012] once for two weeks. And most of the time I find I write fish poems when I go down to the islands but this one is about a dead toucan in Guadeloupe. There was a little, well, a strange little zoo at the small hotel where we stayed and we would look at these creatures and one day I went and there was the toucan and it had fallen over dead. Somehow, it made an impression on me. \\\"Dead Toucan: Guadeloupe\\\".\\n \\nBarbara Howes\\n00:17:04\\nReads \\\"Dead Toucan: Guadeloupe\\\" [from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:17:55\\nI hope you can hear--can you hear me? In the back rows? We also spent some time in Haiti, earlier, and I'd like to read a couple of poems from that period. This was a thing--it could perfectly well have happened elsewhere but it was the kind of thing that, after we lived in Haiti for a while, I could see very clearly, would definitely have to happen there. There was a young man of about nineteen, very talented as a painter, and did, had just tried out through the art centre there, and doing really quite good and interesting work. And he needed a job so he could buy paints and paper, and anyway just to exist. So an American woman had two small boys and he said he could look after them and play ball and, you know, keep them out of trouble and so on and so forth. And she said, “Can you swim?” And he said, “Oh yes, of course.” So the boys dove into the pool because they had been swimming, as most American boys do, for years. And he dove into the pool, and didn't come up. And nobody was around except some workers who were fixing the garden. But like everybody, almost, in Haiti, they didn't want to get involved, because then the police might ask them questions, and then at the end there's trouble, so the poor young man just died, because the little boys couldn't do anything, and nobody else did anything. And so that made an impression on me. But it's the kind of unfortunate tragedy, due to his saying that he could swim and he couldn't, just because he was so desperately anxious to get the job, and he just made himself believe he could swim. Just a complete waste. \\n \\nBarbara Howes\\n00:20:10\\nReads [\\\"In a Prospect of Flowers\\\" from Light and Dark].\\n \\nBarbara Howes\\n00:21:10\\n\\\"Mirror Image: Port-au-Prince [https://www.wikidata.org/wiki/Q34261]\\\". This, there was a little sign on a tree we used to pass every day and then I thought of this poem.\\n \\nBarbara Howes\\n00:21:19\\nReads \\\"Mirror Image: Port-au-Prince\\\" [from Light and Dark].\\n \\nBarbara Howes\\n00:21:59\\nThere's one other. Oh yes. \\n \\nBarbara Howes\\n00:22:06\\nReads [\\\"On a Bougainvillea Vine at the Summer Palace\\\" from Light and Dark]. \\n \\nBarbara Howes\\n00:23:36\\nWell, this is one of the fishing poems from the, from Barbados [https://www.wikidata.org/wiki/Q244], from the islands.\\n \\nBarbara Howes\\n00:23:46\\nReads [\\\"Out Fishing\\\" from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:24:58\\nThis poem is written in one foot, it's just an experiment to see what would happen. I, you know, diameter's two feet, or is it, trimeter is three feet. And tetrameter is four, and pentameter is five. One foot means you just have one sound, like that, and it's just, was a technical experiment, but I might as well read it. And it's also another fish poem. \\n \\nBarbara Howes\\n00:25:32\\nReads [\\\"The Crane Chub--Barbados\\\" from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:26:18\\nHere's a fish, well, a jellyfish poem, from Texas [https://www.wikidata.org/wiki/Q1439]. \\n \\nBarbara Howes\\n00:26:32\\nReads [\\\"On Galveston Beach\\\" from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:27:32\\nAnd then there's the last Caribbean poem, “A Letter from the Caribbean”. \\n \\nBarbara Howes\\n00:27:45\\nReads “A Letter From The Caribbean” [from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:28:59\\nI've thought I would read just a few poems by modern poets that I like, they're not by any means their strongest or anything, but they're just ones I'm attached to. The first I cut out of the paper once, a long time ago. It's by an African schoolgirl, and I think it's very imaginative. It's awkward but it's really quite wonderful.\\n \\nBarbara Howes\\n00:29:38\\nReads unnamed poem by an unknown author. \\n\\nBarbara Howes\\n00:29:53\\nThis is an early poem of Wystan Auden's [https://www.wikidata.org/wiki/Q178698] that he kept out of, he didn't use in his book and then he printed again in a recent edition. I think it's technically as awfully, it's light verse but it's also very serious underneath, as good light verse can me. Poem. \\n \\nBarbara Howes\\n00:30:15\\nReads [\\\"To You Simply\\\"] by W.H. Auden [published in The Collected Poetry of W.H. Auden].\\n \\nBarbara Howes\\n00:30:57\\nAnd this is a, I think a simply charming poem by Richard Wilbur [https://www.wikidata.org/wiki/Q1333582]. It gets...it's about the Piazza di Spagna [https://www.wikidata.org/wiki/Q15124814], the Spanish Steps in Rome [https://www.wikidata.org/wiki/Q220], and it gets the feeling of someone gliding, really gliding down that long, gorgeous stairway. \\n \\nBarbara Howes\\n00:31:22\\nReads [\\\"Piazza Di Spagna, Early Morning\\\"] by Richard Wilbur.\\n \\nBarbara Howes\\n00:32:11\\nThis is a poem by Louise Bogan [https://www.wikidata.org/wiki/Q516180], who's a very well known American poet, a very recent one that she, that came out in The New Yorker [https://www.wikidata.org/wiki/Q217305], this summer, I think.\\n \\nBarbara Howes\\n00:32:27\\nReads [\\\"Masked Woman’s Song\\\"] by Louise Bogan.\\n \\nBarbara Howes\\n00:32:51\\nIt's a difficult poem, might read that again, if you don't mind. \\n \\nBarbara Howes\\n00:32:56\\nRe \\\"Masked Woman’s Song\\\" by Louise Bogan.\\n \\nBarbara Howes\\n00:33:17\\nAnd then, the last, oh, oh that's right, I thought I would read a poem by Derek Walcott [https://www.wikidata.org/wiki/Q132701], which I used in this Carribean Anthology. It's mostly short stories but I put a poem in front of each language section. This is by Derek Walcott who's a young poet from St. Lucia [https://www.wikidata.org/wiki/Q760], called \\\"Missing the Sea\\\".\\n \\nBarbara Howes\\n00:33:48\\nReads \\\"Missing the Sea\\\" by Derek Walcott [from The Castaway and collected in From the Green Antilles: Writings of the Caribbean].\\n \\nBarbara Howes\\n00:34:31\\nIt's quite a difficult poem but you...he had a book out, oh, can't remember the name, by Farrar, Straus & Giroux [https://www.wikidata.org/wiki/Q3067003] a couple of years ago, in the United States. [https://www.wikidata.org/wiki/Q30] And the last of this group is a poem that I've heard about a hundred thousand times, but it still gives me a chill. It's called \\\"American Primitive\\\" by William Jay Smith [https://www.wikidata.org/wiki/Q4355736].\\n \\nBarbara Howes\\n00:35:06\\nReads \\\"American Primitive\\\" by William Jay Smith.\\n \\nBarbara Howes\\n00:35:47\\nI still get a chill! Now, I don't know whether you prefer to have an intermission, and get up and smoke, or prefer for me to continue, what would you think, Stanton?\\n \\nUnknown\\n00:36:06\\nAmbient Sound [voices].\\n \\nBarbara Howes\\n00:36:08\\nHave an intermission? So people can...breathe?\\n \\nUnknown\\n00:36:17\\nAmbient Sound [voices].\\n\\nUnknown\\n00:36:23\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n \\nBarbara Howes\\n00:36:23\\nThe problem is the third group of poems, I'd read some poems that are more or less to and about people, and some new poems, although I've noticed that most of my new poems are very depressing, and this is not a good note on which to end, so I'll maybe not read them. I've been very much interested in old French forms, the trielle, the villanelle, the rondeau and rondelle, and ballade and so on and so forth, and they're very difficult but they're fascinating to try, at least. And this is in the form of a trielle. And the lines have to be repeated in a certain fashion which gives you very little room in which to maneuver. This is called \\\"Early Supper\\\".\\n \\nBarbara Howes\\n00:37:14\\nReads \\\"Early Supper\\\" [from Light and Dark].\\n \\nBarbara Howes\\n00:38:10\\nThis is a poem I wrote for W.H. Auden for his fiftieth birthday, which was several years ago, now. I think actually, he was last year, sixty.\\n \\nBarbara Howes\\n00:38:21\\nReads [\\\"To W.H. Auden on his Fiftieth Birthday\\\" from Light and Dark].\\n \\nBarbara Howes\\n00:39:22\\nI wrote three poems at that point about winds, and I'll just read one of them. The winds have names in Italy and they almost become like familiar characters. The sirocco, when it blows, is so terrible in its effect on people that if there're crimes of passion, the people generally get off with a lighter sentence, because you sell, well, the sirocco. Naturally you can throttle your wife during that period. This is about the mistral, which, if it blows for three days, one survives, if it blows for six days it's simply awful. If it blows for nine days you've probably already gone out of your head. It's a very wild wind who rushes down the Rhone Valley [https://www.wikidata.org/wiki/Q2747791] and just blows everything away. \\n \\nBarbara Howes\\n00:40:22\\nReads [\\\"Mistral\\\" from Light and Dark].\\n \\nBarbara Howes\\n00:41:23\\nThis is another one, an old French form, the rondeau, which again makes its, has its own complications because of the repetition of lines. And what interested me to do was to try to use, not the usual subject of the rondeaux but to write about, as in this case, the death of a Vermont farm woman, instead of just doing some sort of chittery-chattery business that generally is what people use a rondeau for. \\n \\nBarbara Howes\\n00:42:03\\nReads [\\\"Death of a Vermont Farm Woman\\\" from Light and Dark].  \\n\\nBarbara Howes\\n00:42:51\\nThis is a poem about a very disagreeable character, a thirteenth-century tyrant called Ugolino [https://www.wikidata.org/wiki/Q706003], who met his death from being thrown into prison to die of hunger. He is reputed to have attempted to eat his sons, who were there with him. I must say, it's not an agreeable picture, but I don't think there's been much improvement in that part of mankind. Dante [https://www.wikidata.org/wiki/Q1067] writes of him in the 33rd Canto of the Inferno [https://www.wikidata.org/wiki/Q4509219]. This poem is called \\\"The Critic\\\" and, I must say, critics have disliked it heartily. \\n \\nBarbara Howes\\n00:43:28\\nReads \\\"The Critic\\\" [from Light and Dark].\\n \\nBarbara Howes\\n00:44:23\\nThis is a, an odd combination about a person and about Pownal, I guess. \\n \\nBarbara Howes\\n00:44:32\\nReads [\\\"Running into Edgar Bellemare\\\" from Looking Up at Leaves]. \\n \\nBarbara Howes\\n00:45:27\\nThis is a poem I wrote for Katherine Anne Porter [https://www.wikidata.org/wiki/Q236958] on the occasion of her 75th birthday. \\\"For Katherine Anne Porter\\\".\\n \\nBarbara Howes\\n00:45:39\\nReads “For Katherine Anne Porter” [from Looking Up at Leaves].\\n \\nBarbara Howes\\n00:46:15\\nIt's quite marvelous, those collective nouns, who would know that you call a lot of heron a siege of herons and so forth. I'll read that again, because it really is, I was very lucky the way it worked out.\\n \\nBarbara Howes\\n00:46:31\\nReads line from “For Katherine Anne Porter”.\\n \\nBarbara Howes\\n00:47:06\\nThis is called \\\"Looking up at Leaves\\\".\\n \\nBarbara Howes\\n00:47:14\\nReads \\\"Looking up at Leaves\\\" [from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:48:09\\nI'd like to read one New England [https://www.wikidata.org/wiki/Q18389] poem, this is a newer poem, I haven't read this before, I guess.\\n \\nBarbara Howes\\n00:48:16\\nReads [\\\"Still Life: New England\\\", published later in The Blue Garden].\\n \\nBarbara Howes\\n00:49:34\\nI'll read three more poems, I think. This is \\\"A Rune for C.\\\"--‘C.’ was a dog of ours. \\n \\nBarbara Howes\\n00:49:51\\nReads \\\"A Rune for C.\\\" [from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:50:36\\nActually, I had just often, I'd made up a good luck thing that seeing the caboose was good luck, but then I found out that this has been an old piece of, well, I don't know, country folklore, that to see the caboose, it means luck. I want to read one poem about my son, and then one short one. \\\"Portrait of the Boy as Artist\\\".\\n \\nBarbara Howes\\n00:51:18\\nReads \\\"Portrait of the Boy as Artist\\\" [from Light and Dark].\\n \\nBarbara Howes\\n00:52:11\\nOh, I did want to read one that I'll read next week in New York. This poem is a, this is a rondelle, which is another old French form. And I'm obviously not using it for the usual subject, in this case. It's arranged about the idea, really, of a contrast of the use of space. \\\"Viet-Napalm: A Rondelle\\\".\\n \\nBarbara Howes\\n00:52:45\\nReads \\\"Viet-Napalm: A Rondelle\\\".\\n \\nBarbara Howes\\n00:53:31\\nAnd then one last poem on a more cheerful note. \\\"Leaning into Light\\\".\\n \\nBarbara Howes\\n00:53:44\\nReads \\\"Leaning into Light\\\" [from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:54:21.\\nThank you very much. \\n \\nAudience\\n00:54:23\\nApplause.\\n \\nStanton Hoffman\\n00:54:38\\nOne announcement, the next reading will be by Charles Reznikoff [https://www.wikidata.org/wiki/Q1065911], and that's Friday, the same time, November 17th. \\n\\nUnknown\\n00:54:46\\nAmbient Sound [voices].\\n \\nEND\\n00:54:57\\n\",\"notes\":\"Barbara Howes reads from Light and Dark (Wesleyan University Press, 1959), Looking Up at Leaves (Knopf, 1966), and From the Green Antilles: Writings of the Caribbean, (Macmillan, 1966) as well as some poems from unknown sources.\\n\\n00:00- Stanton Hoffman introduces Barbara Howes [INDEX: Boston, Bennington College, volumes of poetry: The Undersea Farmer (Banyan Press, 1948), In the Cold Country (Bonaci & Saul (Grove Press), 1954), Light and Dark (Wellesley University Press, 1959), Light and Dark (Knopf, 1966)- nominated for the National Book Award, editor of Caribbean writing (MacMillan, 1966), Twenty-Three Modern Stories (Vintage, 1963), won Bess Hawkin Prize of Poetry Magazine (1949), Guggenheim Fellowship (1955), Brandeis Poetry Award (1957), Harper's Bazaar, New World Writing, Poetry, Suani Review, New Republic, reading in NYC Poets for Peace sponsored by the Compassionate Art of the Fellowship of Reconciliation.]\\n01:48- Barbara Howes introduces reading, and “Primavera”. [INDEX: Mr. Hoffman,  \\tmicrophone, recording ‘machine’, reading order, poetry readings, place poems, influences, imagination, Florence (Italy), first son, Massachusetts, Vermont, Haiti,   \\tmountain, Italian poem.]\\n04:48- Reads \\\"Primavera\\\"  [INDEX:  horse, sick, city, Florence, Italy, riding, catacomb, past, history, stone, journey, Giotto, Aphrodite, art, architecture.]\\n06:29- Introduces and reads “The Triumph of Love”.  [INDEX: Italy, city, Venice, art,   Veronese, sight, gaze, painting, palace, love; from Light and Dark (Wesleyan University \\tPress, 1958)]\\n07:18- Introduces “L’Ile du Levant: The Nudist Colony”. [INDEX: La Bandue, town in the south of France, summer, car, house, baby, housewife, entertainment, island Toulon, Ile \\tle Bon, naval base, colony, small town, dock, nudist colony; from Light and Dark   (Wesleyan University Press, 1958).]\\n08:55- Reads “L’Ile du Levant: the Nudist Colony”. [INDEX: place, island, France, plants, cicadas, colony, nudist, vacation, display, clothes, body, skin, dusk]\\n10:59- Introduces “In Autumn”. [INDEX: Vermont, November, hunters, cities, pint bottles,  anti-hunter poem; from Light and Dark (Wesleyan University Press, 1958)]\\n11:37- Reads \\\"In Autumn\\\"  [INDEX: place, Vermont, city, rural, country, hunter,       \\thunting, game, cars, guns, blood, body, red, male, stag.]\\n12:29- Reads “Landscape, Deer Season”  [INDEX: buck, gun, deer, hunting, body, blood, sun, country, place, Vermont, death; from Looking up at Leaves (Knopf, 1966).]\\n13:16- Introduces “A Night Picture of Pownal for JFK”.  [INDEX Pownal poem, apple tree, snow, nighttime, death of Kennedy; from Looking up at Leaves (Knopf, 1966).]\\n14:06- Reads “A Night Picture of Pownal, for JFK”. [INDEX:  place, night, Pownal, Kennedy, history, Matthew Brady, civil war, moon, sound, death, tree, sight, tragedy, stain.]\\n15:19- Introduces “Town Meeting, Tuesday”. [INDEX: Vermont poem, Parnell Poem, cheerful, town meeting, first Tuesday in March, winter, woodchucks; from Looking up at Leaves (Knopf, 1966).]\\n15:45- Reads \\\"Town Meeting, Tuesday\\\"  [INDEX: place, Vermont, trees.]\\n16:22- Introduces  “Dead Toucan, Guadeloupe”. [INDEX: Easter vacations, Caribbean,          Guadeloupe, fish poems, islands, zoo, small hotel; ; from Looking up at Leaves (Knopf, 1966).]\\n17:04- Reads “Dead Toucan, Guadeloupe”. [INDEX: place, Guadeloupe, nature, bird, toucan, death, animals.]\\n17:55- Introduces “In a Prospect of Flowers”. [INDEX: Haiti, young painter, American woman, children, drowning death, Haitian attitudes and politics, tragedy, job; from Light and Dark (Wesleyan University Press, 1958).]\\n20:10- Reads “In a Prospect of Flowers”. [INDEX:  place, Haiti, art, artist, picture, water, pool, death, drowning, Icarus, elegy, ideal.]\\n21:10- Introduces “Mirror Image, Port-au-Prince”. [INDEX: sign on a tree; from Light and Dark (Wesleyan University Press, 1958).]\\n21:19- Reads “Mirror Image, Port-au-Prince”. [INDEX: place, Haiti, mirror, makeup,       woman, hairdresser; from Light and Dark (Wesleyan University Press, 1958).]\\n21:59- Reads “On Bougainvillea Vine at the Summer Palace”.  [INDEX: place, Haiti, lizard, nature, animals, palace, couple, winter.]\\n23:36- Introduces “Out Fishing”. [INDEX: Barbados, fishing poems; from Looking up at       Leaves (Knopf, 1966).] \\n23:46- Reads  “Out Fishing”. [INDEX: place, Barbados, ocean, fishing, fish, boat, war]\\n24:58- Introduces “The Crane Chub, Barbados”. [INDEX: technical experiment, diameter, trimeter, tetrameter, pentameter, one foot, one sound, fish poem; from Looking up at Leaves (Knopf, 1966).]\\n25:32- Reads “The Crane Chub, Barbados”. [INDEX: place, Barbados, fish, ocean, chub, eating, food, lover, absence]\\n26:18- Introduces “On Galveston Beach”. [INDEX: Jellyfish poem, Texas; from Looking up at Leaves (Knopf, 1966).]\\n26:32- Reads \\\"On Galveston Beach\\\"  [INDEX: place, Texas, Galveston Beach, ocean, beach, fish, jellyfish]\\n27:32- Introduces “A Letter from the Caribbean”. [INDEX:   Caribbean poem.]\\n27:45- Reads \\\"A Letter from the Caribbean\\\" [INDEX: place, Carribean, wind, air, nature, time, memory, remembrance.]\\n28:59- Introduces poem by Unknown author, first line “What a wonderful bird, the   \\tfraga” [Spelling unknown.] [INDEX: modern poets, poems Howes is attached to, poem   \\tcut out of newspaper, by an African schoolgirl; from unknown source.]\\n29:38- Reads “What a wonderful bird, the fraga” by unknown poet. [INDEX: nature, animal, bird, fraga.]\\n29:53- Introduces unknown poem, first line “For what is easy, for what though small” by    Wystan Auden. [INDEX: W.H. Auden, early poem, not published in his first edition,    \\tprinted in a recent edition, technical qualities, light verse; from Collected Shorter Poems, 1927-1957 (Faber Press, 1966) by W.H. Auden.]\\n30:15- Reads unknown poem, first line “For what is easy, for what though small” by    Wystan Auden. [INDEX: word, heart, memory]\\n30:57- Introduces poem by Richard Wilbur “Piazza Di Espagna, Early Morning”. [INDEX: Spanish Steps in Rome, gliding down a stairway; from unknown source.]\\n31:22- Reads poem by Richard Wilbur “Piazza Di Espagna, Early Morning”.\\n32:11- Introduces poem by Louise Bogan “Masked Woman Song”. [INDEX: American poet, The New Yorker Magazine; from unknown source.]\\n32:27- Reads “Masked Woman Song” by Louise Bogan. [INDEX: sight, woman, man, face, mask, virtue, evil, beauty.]\\n32:51- Decides to re-read the poem [INDEX: poem difficult to read.]\\n33:56- Re-reads “Masked Woman Song” by Louise Bogan.\\n33:17- Introduces “Missing the Sea” by Derek Walcott. [INDEX: Caribbean Anthology, short stories, poem in front of language section, St. Lucia; from From the Green Antilles:     Writings of the Caribbean (MacMillan, 1966).]\\n33:48- Reads “Missing the Sea” by Derek Walcott. [INDEX: place, house, absence, sea, sound, dead.]\\n34:31- Explains “Missing the Sea”, introduces “American Primitive” by William J. Smith. [INDEX: difficult poem, Walcott’s book (perhaps Another Life 1966) published by Farrar,   Straus & Giroux, United States, William J. Smith; from unknown source.]\\n35:06- Reads “American Primitive” by William J. Smith. [INDEX: man, clothes, money,     America, father, daddy, dollar.]\\n35:47- Introduces intermission. [INDEX: chill from poem, Stanton (Hoffman).]\\n36:23- Cut made in tape.\\n36:23- Howe introduces third group of poems and “Early Supper”. [INDEX: poems to or about people, new poems as depressing, old French forms, trielle, villanelle, rondeau and rondelle, ballade, difficult but fascinating, trielle; from unknown source.]    \\n37:14- Reads “Early Supper”. [INDEX: genre, form, trielle, kitchen, autumn, children, eating, cooking, food, night.]\\n38:10- Introduces “To W.H. Auden on his Fiftieth Birthday”. [INDEX: poem for W.H. Auden on his fiftieth birthday, sixtieth birthday last year; from Light and Dark (Wesleyan \\tUniversity Press, 1958).]\\n38:21- Reads “To W.H. Auden on his Fiftieth Birthday”. [INDEX: occasional poem, books, library, poem, poet, Auden.]\\n39:22- Introduces “Mistral”. [INDEX: three poems about winds, wind names in Italy, sirocco, crimes of passion, mistral blows for three days, down the Rhone Valley; from Light and Dark (Wesleyan University Press, 1958).]\\n40:22- Reads “Mistral”. [INDEX: nature, wind, Mistral, place, Italy, solitude, sound, storm.]\\n41:23- Introduces “Death of a Vermont Farm Woman”. [INDEX: old French form,   \\tcomplications because of the repetition of lines, not the usual subject of the rondeaux; from Light and Dark (Wesleyan University Press, 1958).]\\n42:03- Reads “Death of a Vermont Farm Woman”. [INDEX: form, genre, rondeau, death, woman, Vermont, place, farm.]\\n42:51- Introduces “The Critic”. [INDEX: disagreeable character, thirteenth century tyrant called Ugolino, prison, eat his sons, Dante’s 33rd Canto of the Inferno, critics dislike the poem; from Light and Dark (Wesleyan University Press, 1958).] \\n43:28- Reads “The Critic”. [INDEX: Ugolino, Dante, critic, criticism, poets, Eliot, Yeats,      eating, wisdom.]\\n44:23- Introduces “Running into Edgar Blemar”. [INDEX: odd combination or a person and Pownal; from Looking Up at Leaves (Knopf, 1966).] \\n44:32- Reads \\\"Running into Edgar Belmar\\\"  [INDEX: place, Vermont, Pownal, Edgar Belmar, car, children, accident.]\\n45:27- Introduces “For Catherine Anne Porter”. [INDEX: written for Catherine Ann Porter on her 75th birthday; from Looking Up at Leaves (Knopf, 1966).] \\n45:39- Reads “For Catherine Anne Porter”. [INDEX: occasional poem, Catherine Ann Porter, birthday, birds, heron, peacock, dove, starling, nightingale, lark.]\\n46:15- Introduces unknown poem first line “For Catherine Anne Porter”. [INDEX:   \\tcollective nouns, siege of herons.]\\n46:31- Rereads “For Catherine Anne Porter”. [INDEX: occasional poem, Catherine Ann     Porter, birthday, birds, heron, peacock, dove, starling, nightingale, lark.]\\n47:06- Introduces “Looking up at Leaves”. [INDEX: from Looking Up at Leaves (Knopf,     1966).] \\n47:14- Reads “Looking up at Leaves”. [INDEX: nature, tree, leaves, sight, reflection.]\\n48:09- Introduces “Still Life, New England”. [INDEX: new poem, never read before; unknown source.]\\n48:16- Reads “Still Life, New England”.   [INDEX: nature, animal, cow, birth, calf, sheep, boar, death, cat.]\\n49:34- Introduces “A Rune for C.”. [INDEX: dog named ‘C’; from Looking Up at Leaves      (Knopf, 1966).]\\n49:51- Reads “A Rune for C.”. [INDEX: animal, dog, sickness, omen, luck, rune, fate, death, train]\\n50:36- Explains “A Rune for C.”, introduces “Portrait of the Boy as Artist”. [INDEX: good    luck, caboose, country folklore; from Light and Dark (Wesleyan University Press, 1958).]\\n51:18- Reads “Portrait of the Boy as Artist”.  [INDEX: son, boy, artist, composer, music,     painter, train, colour, poet, Theseus, Daniel Boone, youth.]\\n52:11- Introduces “Viet-Napalm: A Rondelle”. [INDEX: will read in New York, rondelle, old French form, not usual subject, contrast of the use of space; unknown source.]\\n52:45- Reads “Viet-Napalm: A Rondelle”. [INDEX: war, Vietnam, peace, bomb, death, face, genre, form, rondelle.]\\n53:31- Introduces “Leaning into Light”. [INDEX: cheerful poem; unknown source.]\\n53:44- Reads “Leaning into Light”. [INDEX: hibiscus, nature, plant, light, shadow, wisteria]\\n54:21- Barbara Howes thanks audience.\\n54:38- Stanton Hoffman makes announcement about next reading. [INDEX: Charles Reznikoff reading on Friday, November 17th.]\\n54:57.60- RECORDING ENDS.\\n \\nHoward Fink Print catalogue page from Concordia University archives contains the following information:\\n \\nTitle: Barbara Howes reading poetry, November 3, 1967\\nDate: November 3, 1967\\nSource: one 7”, two track tape, mono, @ 3 ¾ ips, lasting one hour and 15 mins.\\n \\n1. Title:              \\n    First line: “The horse with consumption…”\\n2. Title: The Triumph of Love\\n    First line:        \\n3. Title:              \\n    First line: “All the wide…”\\n4. Title:              \\n    First line: “In Autumn, red men come…”\\n5. Title: Landscape: Deer Season\\n    First line: “Snorting his pleasure in the…”\\n6. Title: A Night Picture of Ponel for J.F.K.\\n    First line: “Thanks to the moon…”\\n7. Title: Town Meeting; Tuesday\\n    First line: “Our roadside trees…”\\n8. Title: Dead Tucan; Guadeloupe\\n    First line: “Down like the oval fall of a hammer…\\n9. Title:              \\n    First line: “As in his tomb…\\n10. Title: Mirror Image: Port au Prince\\n      First line: “Mirror image: Port au Prince…”\\n11. Title:              \\n      First line: “Under the Sovereign…”\\n12. Title: Out Fishing\\n      First line: “We went out…”\\n13. Title:              \\n      First line: “Darling I learn the full…”\\n14. Title: On Galveston Beach\\n      First line: “The sky was…”\\n15. Title: A Letter from the Caribbean\\n      First line: “Breeze ways in the tropics\\n16. Title: poem by a young African girl [is this the real title or a stand-in?]\\n      First line: “What a wonderful…”\\n17. Title: by W. H. Auden Poem\\n      First line: “For what is easy…”\\n18. Title: by R. Wilbur\\n      First line: “I can’t forget how she stood…”\\n19. Title: by L. Boden Masked Woman Song\\n      First line: “Before I saw the tall…”\\n20. Title: by D. Walker Missing the Sea\\n      First line: “Something removed roars in the ears…”\\n21. Title: by W. J. Smith American Primitive\\n      First line: “Look at him there…”\\nend of track one\\n22. Title: Early Supper  \\n      First line: “Laughter children bring…”\\n23. Title:              \\n      First line: “Books collide…”\\n24. Title: Mistral\\n      First line:        \\n25. Title:              \\n      First line: “It is time now to go away…”\\n26. Title: The Critic\\n      First line: “…takes his rest…”\\n27. Title:              \\n      First line: “In my fool…”\\n28. Title: For Katherine N. Porter\\n      First line: “Madam, a siege…”\\n29. Title: Looking up at Leaves\\n      First line: “No one need feel alone”\\n30. Title: Still Life: New England\\n      First line: “From that old cow…”\\n31. Title:              \\n      First line: “Luck, I am upset…”\\n32. Title: Portrait of a Boy as Artist\\n      First line: “Were he a composer…”\\n33. Title:              \\n      First line: “To save face…”\\n34. Title: Leaving into Light\\n      First line: “Beginning…”\\n\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/barbara-howes-at-sgwu-1967/\"}]"],"score":1.8530173},{"id":"1265","cataloger_name":["Masoumeh,Zaare"],"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":["Charles Reznikoff at Sir George Williams University, The Poetry Series, 17 November 1967"],"item_title_source":["Cataloguer"],"item_title_note":["\"CHARLES REZNIKOFF I006/SR153\" written on sticker on the spine of the tape's box. \"I006-11-153\" written on sticker on the reel"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 2"],"item_identifiers":["[]"],"creator_names":["Reznikoff, Charles"],"creator_names_search":["Reznikoff, Charles"],"creators":["[{\"url\":\"http://viaf.org/viaf/51811237\",\"name\":\"Reznikoff, Charles\",\"dates\":\"1894-1976\",\"notes\":\"American poet Charles Reznikoff was born on August 31, 1894, in Brooklyn, New York. His parents were Jewish Russian émigrés, and often encountered anti-semitism, which would have a strong influence on Reznikoff’s later work. An intelligent boy, Reznikoff finished high school in 1909, at the age of fifteen- three years ahead of his class. In the hopes of becoming a writer, Reznikoff entered the journalism department at the University of Missouri, but left after a year when he realized the priorities of a journalist and a poet were different. In 1912, he enrolled in New York University’s Law school, graduating at the top of his class in 1915, and entered the Bar of the State of New York the next year. Reznikoff spent a few years practicing as a lawyer, but again, he felt he needed to spend his energy writing, not working as a lawyer. Reznikoff published his first book of poems Rhythms in 1918, on his own small press, the next year printing Rhythms II. In 1920, he met Samuel Roth, who published Poems (S.Roth at the New York Poetry Book Shop), and during that decade he was able to publish more poems in magazines and plays. Reznikoff supported himself by working on the editorial board of the American Law Book Company, writing law encyclopedias. Reznikoff married his wife, Marie Syrkin in 1930. During the 1930s, Reznikoff met and joined the Objectivist group with Louis Zukofsky, George Oppen and Carl Rakosi. The Objectivist Press published three of Reznikoff’s books, Jerusalem the Golden (Objectivist Press, 1934), In Memoriam: 1933 (Objectivist Press, 1934) and Separate Way (Objectivist Press, 1936). Reznikoff spent a short time in Hollywood in the late 30’s, working as a screenwriter. Marie Reznikoff was hired by the English Department at Brandeis University in Boston, and throughout the 40’s Charles Reznikoff stayed in New York working on freelance contracts. Reznikoff published Going To and Fro and Walking Up and Down (Futuro Press, 1941). For a period of eighteen years, Reznikoff did not publish any poetry, until 1959, when Inscriptions: 1944-1956  was self-published. Reznikoff then published By the Waters of Manhattan: Selected Verse (New Directions, 1962), his major works Testimony: The United States (1885-1890): Recitative (New Directions, 1965), Testimony: The United States (1891-1900): Recitative (Privately Published, 1968) and Holocaust (Black Sparrow Press, 1975). Reznikoff also published By the Well of Living and Seeing and The Fifth Book of the Maccabees (Self Published, 1969), By the Well of Living & Seeing: New & Selected Poems 1918-1973 (Black Sparrow Press, 1974), several works of prose including Testimony (The Objectivist Press, 1934) and Family Chronicle: An Odyssey from Russia to America (Norton Bailey with the Human Constitution, 1969). A lifelong resident of New York City, Charles Reznikoff died on January 22, 1976 after suffering from a heart attack. The most comprehensive collection of Reznikoff’s work can be found in Poems 1918-1975: The Complete Poems of Charles Reznikoff (Black Sparrow Press, 1976-77), edited by Seamus Cooney.\",\"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":[1967],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"Tape\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"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\":\"1967 11 17\",\"type\":\"Performance Date\",\"notes\":\"Date specified in The Georgian's \\\"Op-Ed\\\"\",\"source\":\"Supplemental Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Art Gallery\",\"notes\":\"Location specified in The Georgian's \\\"Op-Ed\\\"\",\"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 Art Gallery"],"City":["Montreal, Quebec"],"content_notes":["Charles Reznikoff reads poems from several books, including Jerusalem the Golden (Objectivist Press, 1934), Inscriptions: 1944-1956 (Shulsinger Brothers, 1959), Going To and Fro and Walking Up and Down (Futuro Press, 1941), and By the Waters of Manhattan: Selected Verse (New Directions, 1962). Many of the poems were later re-organized, edited, and included in other publications, such as Poems 1918-1975:The Complete Poems of Charles Reznikoff (Black Sparrow, 1989). "],"contents":["charles_reznikoff_i006-11-153.mp3\n\nGeorge Bowering\n00:00:00\nI'd like to welcome you all to our third reading, and announce just before I have to say what I say that the next reading will be with Daryl Hine [https://www.wikidata.org/wiki/Q5226186] on the first of December. Tonight's reading will be by, as you probably all know, Mr. Charles Reznikoff [https://www.wikidata.org/wiki/Q1065911], whom I'm very happy to have the job, the chore of introducing, because I've been interested in his work for many years. He was born in Brooklyn [https://www.wikidata.org/wiki/Q18419], 1894, and graduated from the law school of New York University [https://www.wikidata.org/wiki/Q49210], admitted to the bar of the state of New York [https://www.wikidata.org/wiki/Q60] but never practiced, however, the law experience has stood him in good stead for his later poetry. He's published a number of volumes of verse and several volumes of prose, but most to the point, books that you probably saw on the table outside, in print by New Directions [https://www.wikidata.org/wiki/Q27474] and the San Francisco Review [https://www.wikidata.org/wiki/Q17087510], By the Waters of Manhattan, which was this joint effort's first book in 1962, and in 1965, Testimony, which is the first volume in a projected series of volumes about the moral and legal history of the United States [https://www.wikidata.org/wiki/Q30]. The main--my--the reason I said that I'm very happy about Mr. Reznikoff is because when I was going to university I was very hard looking for an alternative to the kind of poetry that was in vogue, especially in the universities, that is, that which tended towards T.S. Eliot [https://www.wikidata.org/wiki/Q37767] and highly symbolic language, and Mr. Reznikoff was one of the first poets I found able to do that for me, and I found a short poem of his which I would like to be brash enough to read, as introduction. He said, \"Not because of victories I sing, having none, but for the common sunshine, the breeze, the largesse of spring. Not for victory, but for the day's work done, as well as I was able, not for a seat upon the dais, but at the common table.\"  So to this common table, rather than dais, I'd like to welcome Mr. Charles Reznikoff.  \n \nAudience\n00:02:34\nApplause.\n \nCharles Reznikoff\n00:02:56\nVery much obliged to the gentleman who introduced me, among other things, for reading something I did. Perhaps I should ask him to read all that I brought along. But to get down to what I have here, let me say, to begin with, a few days ago, I came across in a bookshop a collection of Chinese verse translated into English. At the beginning was the following, written a thousand years ago, and I was very much impressed with it, and permit me to read it to you as a sort of an introduction. This man who wrote in the 11th century, this Chinese, said this: \"Poetry presents the thing in order to convey the feeling.  It should be precise about the thing and reticent about the feeling.\" I thought that was...expressed exactly what I feel, and what I have tried to do, not always, not always, I'm afraid, as well as called for, but a recipe. Among other things, let me begin by reading a couple of things I did also on the way I think verse should be written. And this is from this, By the Waters of Manhattan. \n \nCharles Reznikoff\n00:04:47\nReads \"Salmon and Red Wine\" from By the Waters of Manhattan: Selected Verse [also published in Inscriptions: 1944-1956].\n \nCharles Reznikoff\n00:05:39\nThat's the first in this. And the second, I did on the same theme, in a way. \n \nCharles Reznikoff\n00:05:47\nReads \"I have neither the time nor the weaving skill, perhaps\" from By the Waters of Manhattan: Selected Verse [also published in Inscriptions: 1944-1956].\n\n \nCharles Reznikoff\n00:06:13\nNow, let me start with a group which I've written about the city I come from, New York, and its suburbs, and some of its residents, including myself.\n \nCharles Reznikoff\n00:06:27\nReads \"The winter afternoon darkens\" [from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:06:44\nAnd this I call \"The Scrubwoman\". \n \nCharles Reznikoff\n00:06:48\nReads \"The Scrubwoman\" [from Rhythms II and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:07:07\nReads \"The peddler who goes from shop to shop\". \n \nCharles Reznikoff\n00:07:27\nAnd this next. \n \nCharles Reznikoff\n00:07:31\nReads “The elevator man\" [from Going To and Fro and Walking Up and Down and from By the Waters of Manhattan: Selected Verse]. \n \nCharles Reznikoff\n00:07:54\nReads \"The shopgirls leave their work\" [from Five Groups of Verse, Rhythms, and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:08:16\nThis one I call \"Cooper Union Library\". I should add, it's no longer that way, this is the way it used to be.\n \nCharles Reznikoff\n00:08:23\nReads \"Cooper Union Library\" [from \"Going To and Fro and Walking Up and Down and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:08:42\nReads \"Showing a Torn Sleeve\" [from By the Waters of Manhattan: Selected Verse and published later in Poems 1918-1936: The Complete Poems of Charles Reznikoff]. \n\nCharles Reznikoff\n00:09:06\nReads \"Two girls of twelve or so at a table\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:09:54\nReads \"I am always surprised to meet\" [from Going To and Fro and Walking Up and Down and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:10:23\nReads \"Rails in the Subway\" [from Jerusalem the Golden and from By the Waters of Manhattan: Selected Verse]. \n \nAudience\n00:10:35\nLaughter.\n \nCharles Reznikoff\n00:10:41\nReads \"This subway station, with its electric lights\" [from Going To and Fro and Walking Up and Down and from By the Waters of Manhattan: Selected Verse].\n \nAudience\n00:10:58\nLaughter.\n \nCharles Reznikoff\n00:11:06\nReads \"Among the heaps of brick and plaster lies\" [from Jerusalem the Golden and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:11:18\nReads \"The sky is blue\" [from Jerusalem is Golden].\n \nCharles Reznikoff\n00:11:42\nThis I call \"Suburban River, Winter\".\n \nCharles Reznikoff\n00:11:48\nReads \"Suburban River, Winter\" [from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:12:07\nAnd this too I call \"Suburban River,\" this is \"Summer\".\n \nCharles Reznikoff\n00:12:13\nReads \"Suburban River, Summer\" [from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:12:38\nThis I call \"Twilight\".\n \nCharles Reznikoff\n00:12:40\nReads \"Twilight\" [from By the Waters of Manhattan: Selected Verse and published later in The Poems Of Charles Reznikoff 1918–1975]. \n \nCharles Reznikoff\n00:12:56\nReads \"Fraser, I think, tells of a Roman\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse; audience laughter throughout].\n \nCharles Reznikoff\n00:13:21\nReads \"The dogs that walk with me” [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:13:44\nThis I call a \"Fable\".\n \nCharles Reznikoff\n00:13:46\nReads \"Fable\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse]. \n \nCharles Reznikoff\n00:14:15\nReads \"Scrap of paper\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].  \n \nCharles Reznikoff\n00:14:28\nReads \"One of my sentinels, a tree\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].   \n \nCharles Reznikoff\n00:14:45\nReads \"I have not even been in the fields\" [from Rhythms ll and from By the Waters of Manhattan: Selected Verse]. \n \nCharles Reznikoff\n00:15:01\nReads \"How grey you are! No, white!” [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse]. \n \nCharles Reznikoff\n00:15:25\nReads \"Blurred sight, and trembling fingers\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse]. \n \nCharles Reznikoff\n00:15:47\nReads \"You were young and contemptuous\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse]. \n \nCharles Reznikoff\n00:16:03\nThis I call \"Heart and Clock\", there's a series in here. \n \nCharles Reznikoff\n00:16:09\nReads \"Heart and Clock” [from Separate Way and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:16:51\nReads \"If my days were like the ant's\" [published as “Heart and Clock II” in By the Waters of Manhattan: Selected Verse]. \n \nCharles Reznikoff\n00:17:18\nReads \"Our nightingale, the clock\" [from Jerusalem the Golden and from By the Waters of Manhattan: Selected Verse].  \n \nCharles Reznikoff\n00:17:32\nReads \"The clock on the bookcase ticks\" [from By the Waters of Manhattan: Selected Verse and published later in The Poems Of Charles Reznikoff 1918–1975].  \n \nCharles Reznikoff\n00:17:47\nReads \"My hair was caught in the wheels of a clock\" [from Jerusalem the Golden and from By the Waters of Manhattan: Selected Verse].   \n\nCharles Reznikoff\n00:17:58\nReads \"Of course we must die\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:18:20\nReads \"Now it is cold\" [from Going To and Fro and Walking Up and Down and from By the Waters of Manhattan: Selected Verse].\n\nCharles Reznikoff\n00:19:33\nReads \"It had been snowing at night\" [from By the Waters of Manhattan: Selected Verse and published later in The Poems Of Charles Reznikoff 1918–1975].  \n \nCharles Reznikoff\n00:19:54\nReads \"Hardly a breath of wind\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:20:14\nReads \"After I had worked all day\" [from Five Groups of Verse and from By the Waters of Manhattan: Selected Verse]. \n \nCharles Reznikoff\n00:20:42\nNow I have a group that I will call 'religious,' for perhaps no better word, and this I call \"Meditations on the Fall and Winter Holidays\", and the first is “New Year's”. As many of you, or some of you may know, no doubt, the Jewish New Year's comes in the fall. This is based on it.\n \nCharles Reznikoff\n00:21:11\nReads \"Meditations on the Fall and Winter Holidays: New Year's\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:23:19\nAnd I call the next one \"The Day of Atonement\".\n \nCharles Reznikoff\n00:23:24\nReads \"The Day of Atonement\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:24:50\nAnd this I call \"Hanukkah\" which incidentally is a holiday that's just about to come, and it, as some of you may know, it represents the victory, a festival celebrating the victory of the Maccabees over the Syrians, about 150 B.C.E.\n \nCharles Reznikoff\n00:25:14\nReads \"Hanukkah\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:26:59\nI don't know why I should be having a cold on this occasion but, [laughter], these things [blows nose]. \n \nCharles Reznikoff\n00:27:18\nReads \"The lamps are burning in the synagogue\" [from Inscriptions: 1944-1956].\n \nCharles Reznikoff\n00:28:40\nThis one I call \"Samuel\". Samuel in the Bible, of course.\n \nCharles Reznikoff\n00:28:47\nReads \"Samuel\" [from Five Groups of Verse and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:30:06\nThese are all from By the Waters of Manhattan, and I'm going to read you, if I may, something quite different, from the volume called Testimony, and which I call \"Recitative\".\n \nCharles Reznikoff\n00:30:27\nReads \"Recitative\" [from Testimony: the United States (1885-1890); Recitative].\n \nCharles Reznikoff\n00:31:15\nThat's the first. This, these, incidentally, I might say, are all based on law cases. Ah...I don't know what...whether that'll excuse their ferocity, but apparently something like that once happened. The names are different. The facts are the same.\n \nCharles Reznikoff\n00:31:39\nReads \"Tilda was just a child...” [from Testimony: the United States (1885-1890); Recitative].\n \nCharles Reznikoff\n00:32:49\nAnd this is the third in this. \n \nCharles Reznikoff\n00:32:53\nReads \"Years ago, a company procured a body of land...\" [from Testimony: the United States (1885-1890); Recitative].\n \nCharles Reznikoff\n00:33:44\nNow...let's see, if I may, the time...Here is a poem with which I generally end these readings but I don't intend to end this unless you wish me to because I have some other things to read. But I'll end it right here anyway and then we'll see how much time is left. I call this \"Kaddish\". Now, it's not the Kaddish for mourners that you might know about. It was written at the beginning of the rise of Hitler [https://www.wikidata.org/wiki/Q352]. I did it; I mean, I did the writing, not the Kaddish, which is very old. It was written at the beginning of the rise of Hitler and his influence, and before his extermination program was put into effect. It's really an ancient blessing in the Jewish ritual. And incidentally, I use that word \"Torah,\" and I doubt, it may be strange to many, but James Parks, I notice, in his History of the Jewish People, has defined it, correctly, I think, \"The word Torah,\" he says, \"has been defined as law, but is much wider in meaning. It applies a way of life\".  Now this is this \"Kaddish\".\n \nCharles Reznikoff\n00:35:09\nReads \"Kaddish\" [from Separate Way and from By the Waters of Manhattan: Selected Verse]].\n \nCharles Reznikoff\n00:36:43\nThis ends the, let's say the first part. And I'll continue, if you like, with some others, unless you're all...[inaudible]\n \nAudience\n00:36:51\nApplause.\n \nCharles Reznikoff\n00:37:04\nWell I, if, I shall continue, if you're not all exhausted. I have here, quite a few things that are not arranged in any way, so they're more or less haphazard. And...this is one. Let's see...well this one is “After Reading Translations of Ancient Texts on Stone and Clay”.\n \nCharles Reznikoff\n00:37:37\nReads “After Reading Translations of Ancient Texts on Stone and Clay”.\n \nCharles Reznikoff\n00:38:47\nNow, these, these are much less organized than that, haphazard, you'll have to take them as they come if we keep on. \n \nCharles Reznikoff\n00:39:00\nReads \"As I was wandering with my unhappy thoughts\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\n\nCharles Reznikoff\n00:39:36\nReads \"The young fellow walks about with nothing to do\" [from Going To and Fro and Walking Up and Down and from By the Waters of Manhattan: Selected Verse]. \n \nCharles Reznikoff\n00:40:09\nReads “A well-phrased eulogy\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:40:44\nReads \"On a Sunday, when the place was closed\" [from Going To and Fro and Walking Up and Down].  \n \nCharles Reznikoff\n00:41:12\nNow here are two earlier testimony, two or more things based on a law case, which I call \"Testimony\", and these were included in that same By the Waters of Manhattan. \n \nBy the Waters of Manhattan. \n00:41:28\nReads \"The Company had advertised for men\" from By the Waters of Manhattan: Selected Verse. \n \nCharles Reznikoff\n00:43:13\nThat's the first, and this is the second.\n \nCharles Reznikoff \n00:43:16\nReads \"Amelia was just fourteen\" from By the Waters of Manhattan: Selected Verse.\n \nCharles Reznikoff\n00:44:33\nThat's the second. I have some more I'd like to get at before I close. Well, this I wrote for my wife. Pity she isn't here, but we'll read it in her absence.\n \nCharles Reznikoff\n00:44:55\nReads \"Malicious women greet you, saying...\" [from By the Waters of Manhattan: Selected Verse and published later in The Poems Of Charles Reznikoff 1918–1975].  \n\n Charles Reznikoff\n00:45:38\nNow, this, this is a kind of counterpiece to this I have just read. It was not written for my wife. [Laughter].\n \nCharles Reznikoff\n00:45:56\nReads \"He had with him a bag\" [from By the Waters of Manhattan: Selected Verse and published later in The Poems Of Charles Reznikoff 1918–1975].  \n \nAudience\n00:46:38\nLaughter. \n \nCharles Reznikoff\n00:46:42\nI'm reading this 'cause...\"On a seat\"...maybe it would....I think this is rather appropriate in view of all the Hebrew things I read.\n \nCharles Reznikoff\n00:46:56\nReads \"On a seat in the subway\" [from Going To and Fro and Walking Up and Down].  \n\nCharles Reznikoff\n00:47:41\nReads \"Permit me to warn you\" [from Jerusalem the Golden and from By the Waters of Manhattan: Selected Verse].\n \nAudience\n00:47:51\nLaughter.\n \nCharles Reznikoff\n00:47:59\nReads \"These days, the papers in the street\" [from Jerusalem the Golden and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:48:36\nLet me close, unless it...if I should...with something that I tried to do which may be something to close with. This is based on the Book of Ezra [https://www.wikidata.org/wiki/Q131635], and the Book of Ezra, according to my note, I've probably forgotten by this time, is, 'This is a rearrangement and a versification of parts of the Fourth Book of Ezra.' And that's what it's called in the appendix to the Vulgate [https://www.wikidata.org/wiki/Q131175], or two Esdras of the Protestant Apocrypha. And I based this upon a translation of this Book of Ezra from the Syriac by a friend of mine who taught, and I have their permission and all, but the original was probably, there's quite a discussion as to what the original was right, and some scholars believe that it was in Greek, and a Doctor Bocks, who was in, G.H. Bocks, thinks that it was in Hebrew, and Bloch, who was, they had in 42nd Street at the library, didn't think that it was in either Greek or Hebrew, but Aramaic. Anyway, excuse me just, [laughter], anyway, I will read it, and its adaptation of it, and see what one can do with things that you...clear up. \n \nCharles Reznikoff\n00:50:12\nReads “Because I saw the desolation of Zion\" [from By the Waters of Manhattan: Selected Verse and published later in The Poems of Charles Reznikoff: 1918-1975]. \n \nCharles Reznikoff\n00:53:33\nAnd I think this is enough, perhaps, for a time. \n \nAudience\n00:53:36\nApplause.\n \nGeorge Bowering\n00:54:01\nWhat else, thank you very much, Mr. Reznikoff, and I'd just like to repeat that the next reading is at, two weeks from tonight, December the first, Daryl Hine, who's a graduate of the other university.\n \nEND\n00:54:21\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n \\nIn 1967, Reznikoff held several other readings, including one at the 92nd Street Y in New York City. The next year, 1968, Testimony: The United States (1891-1900): Recitative was published.\\n\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nNo direct connections to Sir George Williams University are known. However, Charles Reznikoff was an established and highly regarded poet from New York. Reznikoff was involved in the Objectivist movement and an important American poet during the 60’s and 70’s.\\n\",\"type\":\"General\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"},{\"note\":\"Original transcript by Rachel Kyne\\n\\nOriginal print catalogue, introduction, research and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/807465072&referer=brief_results\",\"citation\":\"Heller, Michael. “Reznikoff, Charles\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ian Hamilton (ed). Oxford University Press, 1996. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/charles-reznikoff-at-sgwu-1967/\",\"citation\":\"Nemiroff, Michael. “Nemiroff on Reznikoff.” OP-ED. Montreal: Sir George Williams University, 28 November 1967, p. 7. \"},{\"url\":\"https://www.worldcat.org/title/history-of-the-jewish-people/oclc/32303940&referer=brief_results\",\"citation\":\"Parks, James Williams. A History of the Jewish People. London: Weidenfeld and Nicolson, 1952. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/charles-reznikoff-at-sgwu-1967/\",\"citation\":\"“Poetry: Bards Heard”. OP-ED. Montreal: Sir George Williams University, 14 November 1967, page 6. \"},{\"url\":\"https://www.concordia.ca/content/dam/concordia/offices/archives/docs/postgrad/Postgrad-1967-Spring.pdf\",\"citation\":\"“Poetry Readings”. Post-Grad. Montreal: Sir George Williams University, Spring 1967, page 20. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/charles-reznikoff-at-sgwu-1967\",\"citation\":\"“Poetry Readings - Sir George Williams”. Montreal: Sir George Williams University, 1967. \"},{\"url\":\"https://library.ucsd.edu/speccoll/findingaids/mss0009.html\",\"citation\":\"“The Register of Charles Reznikoff Papers 1912-1976”. Mandeville Special Collections Library, Geisel Library, University of California, San Diego. \"},{\"url\":\"http://www.poets.org/poet.php/prmPID/694\",\"citation\":\"“Reznikoff, Charles”. Poets.org. The Academy of American Poets, 2007-2009. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-american-literature/oclc/54356940&referer=brief_results\",\"citation\":\"\\\"Reznikoff, Charles\\\". The Oxford Companion to American Literature. James D. Hart (ed.), Phillip W. Leininger (rev). Oxford University Press, 1995. \"},{\"url\":\"https://www.worldcat.org/title/concise-oxford-companion-to-american-literature/oclc/1146399202&referer=brief_results\",\"citation\":\"\\\"Reznikoff, Charles\\\". The Concise Oxford Companion to American Literature. James D. Hart (ed). Oxford University Press, 1986. \"},{\"url\":\"https://www.worldcat.org/title/by-the-waters-of-manhattan-selected-verse-introduction-by-cp-snow/oclc/503805384&referer=brief_results\",\"citation\":\"Reznikoff, Charles. By the Waters of Manhattan: Selected Verse. San Francisco: San Francisco Review, 1962. \"},{\"url\":\"https://www.worldcat.org/title/five-groups-of-verse-by-charles-reznikoff/oclc/457809461&referer=brief_results\",\"citation\":\"Reznikoff, Charles. Five Groups of Verse. New York: Charles Reznikoff, 1927. \"},{\"url\":\"https://www.worldcat.org/title/going-to-and-fro-and-walking-up-and-down/oclc/644000166&referer=brief_results\",\"citation\":\"Reznikoff, Charles. Going To and Fro and Walking Up and Down. New York: Futuro Press, 1941. \"},{\"url\":\"https://www.worldcat.org/title/inscriptions-1944-1956-by-charles-reznikoff/oclc/459778991&referer=brief_results\",\"citation\":\"Reznikoff, Charles. Inscriptions: 1944-1956. New York: Shulsinger Brothers, 1959. \"},{\"url\":\"https://www.worldcat.org/title/jerusalem-the-golden-poems/oclc/503805492&referer=brief_results\",\"citation\":\"Reznikoff, Charles. Jerusalem The Golden. New York: Objectivist Press, 1934. \"},{\"url\":\"https://www.worldcat.org/title/rhythms/oclc/11216921&referer=brief_results\",\"citation\":\"Reznikoff, Charles. Rhythms. New York: Charles Reznikoff, 1918. \"},{\"url\":\"https://www.worldcat.org/title/rhythms-ii-poems/oclc/4400024&referer=brief_results\",\"citation\":\"Reznikoff, Charles. Rhythms ll. New York: Charles Reznikoff, 1919. \"},{\"url\":\"https://www.worldcat.org/title/separate-way/oclc/2377996&referer=brief_results\",\"citation\":\"Reznikoff, Charles. Separate Way. New York: Objectivist Press, 1936. \"},{\"url\":\"https://www.worldcat.org/title/testimony-the-united-states-1885-1890-recitative/oclc/1079271632&referer=brief_results\",\"citation\":\"Reznikoff, Charles. Testimony: The United States (1885-1890); Recitative. New York: Charles Reznikoff, 1965. \"},{\"url\":\"https://www.worldcat.org/title/testimony-the-united-states-1891-1900-recitative/oclc/49565&referer=brief_results\",\"citation\":\"Reznikoff, Charles. Testimony: The United States (1891-1900); Recitative. New York: Charles Reznikoff, 1968.\"},{\"url\":\"https://www.worldcat.org/title/poems-1918-1975-the-complete-poems-of-charles-reznikoff-edited-by-seamus-cooney/oclc/1167716778&referer=brief_results\",\"citation\":\"Reznikoff, Charles. The Poems of Charles Reznikoff: 1918-1975. Los Angeles: Black Sparrow Press, 1989. \"},{\"url\":\"http://news.google.com/newspapers?id=np8tAAAAIBAJ&sjid=PKAFAAAAIBAJ&pg=4195,2837932&dq=sir+george+williams+poetry&hl=en\",\"citation\":\"“SGWU To Have Poetry Series”. The Gazette. 14 September 1967, page 15.\"},{\"url\":\"\",\"citation\":\"“Poetry Readings”. OP-ED. Montreal: Sir George Williams University, 6 October 1967, page 6. \"},{\"url\":\"\",\"citation\":\"“Reznikoff, Charles, 1894-1976”. Literature Online Biography. Cambridge: Chadwyck-Healey, 2000. \"}]"],"_version_":1853670548825964544,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0153_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0153_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Charles Reznikoff 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_0153_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0153_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Charles Reznikoff 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_0153_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0153_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Charles Reznikoff Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0153_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0153_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Charles Reznikoff 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/charles_reznikoff_i006-11-153.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"charles_reznikoff_i006-11-153.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:54:21\",\"precision\":\"\",\"size\":\"130.4 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"George Bowering\\n00:00:00\\nI'd like to welcome you all to our third reading, and announce just before I have to say what I say that the next reading will be with Daryl Hine [https://www.wikidata.org/wiki/Q5226186] on the first of December. Tonight's reading will be by, as you probably all know, Mr. Charles Reznikoff [https://www.wikidata.org/wiki/Q1065911], whom I'm very happy to have the job, the chore of introducing, because I've been interested in his work for many years. He was born in Brooklyn [https://www.wikidata.org/wiki/Q18419], 1894, and graduated from the law school of New York University [https://www.wikidata.org/wiki/Q49210], admitted to the bar of the state of New York [https://www.wikidata.org/wiki/Q60] but never practiced, however, the law experience has stood him in good stead for his later poetry. He's published a number of volumes of verse and several volumes of prose, but most to the point, books that you probably saw on the table outside, in print by New Directions [https://www.wikidata.org/wiki/Q27474] and the San Francisco Review [https://www.wikidata.org/wiki/Q17087510], By the Waters of Manhattan, which was this joint effort's first book in 1962, and in 1965, Testimony, which is the first volume in a projected series of volumes about the moral and legal history of the United States [https://www.wikidata.org/wiki/Q30]. The main--my--the reason I said that I'm very happy about Mr. Reznikoff is because when I was going to university I was very hard looking for an alternative to the kind of poetry that was in vogue, especially in the universities, that is, that which tended towards T.S. Eliot [https://www.wikidata.org/wiki/Q37767] and highly symbolic language, and Mr. Reznikoff was one of the first poets I found able to do that for me, and I found a short poem of his which I would like to be brash enough to read, as introduction. He said, \\\"Not because of victories I sing, having none, but for the common sunshine, the breeze, the largesse of spring. Not for victory, but for the day's work done, as well as I was able, not for a seat upon the dais, but at the common table.\\\"  So to this common table, rather than dais, I'd like to welcome Mr. Charles Reznikoff.  \\n \\nAudience\\n00:02:34\\nApplause.\\n \\nCharles Reznikoff\\n00:02:56\\nVery much obliged to the gentleman who introduced me, among other things, for reading something I did. Perhaps I should ask him to read all that I brought along. But to get down to what I have here, let me say, to begin with, a few days ago, I came across in a bookshop a collection of Chinese verse translated into English. At the beginning was the following, written a thousand years ago, and I was very much impressed with it, and permit me to read it to you as a sort of an introduction. This man who wrote in the 11th century, this Chinese, said this: \\\"Poetry presents the thing in order to convey the feeling.  It should be precise about the thing and reticent about the feeling.\\\" I thought that was...expressed exactly what I feel, and what I have tried to do, not always, not always, I'm afraid, as well as called for, but a recipe. Among other things, let me begin by reading a couple of things I did also on the way I think verse should be written. And this is from this, By the Waters of Manhattan. \\n \\nCharles Reznikoff\\n00:04:47\\nReads \\\"Salmon and Red Wine\\\" from By the Waters of Manhattan: Selected Verse [also published in Inscriptions: 1944-1956].\\n \\nCharles Reznikoff\\n00:05:39\\nThat's the first in this. And the second, I did on the same theme, in a way. \\n \\nCharles Reznikoff\\n00:05:47\\nReads \\\"I have neither the time nor the weaving skill, perhaps\\\" from By the Waters of Manhattan: Selected Verse [also published in Inscriptions: 1944-1956].\\n\\n \\nCharles Reznikoff\\n00:06:13\\nNow, let me start with a group which I've written about the city I come from, New York, and its suburbs, and some of its residents, including myself.\\n \\nCharles Reznikoff\\n00:06:27\\nReads \\\"The winter afternoon darkens\\\" [from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:06:44\\nAnd this I call \\\"The Scrubwoman\\\". \\n \\nCharles Reznikoff\\n00:06:48\\nReads \\\"The Scrubwoman\\\" [from Rhythms II and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:07:07\\nReads \\\"The peddler who goes from shop to shop\\\". \\n \\nCharles Reznikoff\\n00:07:27\\nAnd this next. \\n \\nCharles Reznikoff\\n00:07:31\\nReads “The elevator man\\\" [from Going To and Fro and Walking Up and Down and from By the Waters of Manhattan: Selected Verse]. \\n \\nCharles Reznikoff\\n00:07:54\\nReads \\\"The shopgirls leave their work\\\" [from Five Groups of Verse, Rhythms, and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:08:16\\nThis one I call \\\"Cooper Union Library\\\". I should add, it's no longer that way, this is the way it used to be.\\n \\nCharles Reznikoff\\n00:08:23\\nReads \\\"Cooper Union Library\\\" [from \\\"Going To and Fro and Walking Up and Down and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:08:42\\nReads \\\"Showing a Torn Sleeve\\\" [from By the Waters of Manhattan: Selected Verse and published later in Poems 1918-1936: The Complete Poems of Charles Reznikoff]. \\n\\nCharles Reznikoff\\n00:09:06\\nReads \\\"Two girls of twelve or so at a table\\\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:09:54\\nReads \\\"I am always surprised to meet\\\" [from Going To and Fro and Walking Up and Down and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:10:23\\nReads \\\"Rails in the Subway\\\" [from Jerusalem the Golden and from By the Waters of Manhattan: Selected Verse]. \\n \\nAudience\\n00:10:35\\nLaughter.\\n \\nCharles Reznikoff\\n00:10:41\\nReads \\\"This subway station, with its electric lights\\\" [from Going To and Fro and Walking Up and Down and from By the Waters of Manhattan: Selected Verse].\\n \\nAudience\\n00:10:58\\nLaughter.\\n \\nCharles Reznikoff\\n00:11:06\\nReads \\\"Among the heaps of brick and plaster lies\\\" [from Jerusalem the Golden and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:11:18\\nReads \\\"The sky is blue\\\" [from Jerusalem is Golden].\\n \\nCharles Reznikoff\\n00:11:42\\nThis I call \\\"Suburban River, Winter\\\".\\n \\nCharles Reznikoff\\n00:11:48\\nReads \\\"Suburban River, Winter\\\" [from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:12:07\\nAnd this too I call \\\"Suburban River,\\\" this is \\\"Summer\\\".\\n \\nCharles Reznikoff\\n00:12:13\\nReads \\\"Suburban River, Summer\\\" [from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:12:38\\nThis I call \\\"Twilight\\\".\\n \\nCharles Reznikoff\\n00:12:40\\nReads \\\"Twilight\\\" [from By the Waters of Manhattan: Selected Verse and published later in The Poems Of Charles Reznikoff 1918–1975]. \\n \\nCharles Reznikoff\\n00:12:56\\nReads \\\"Fraser, I think, tells of a Roman\\\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse; audience laughter throughout].\\n \\nCharles Reznikoff\\n00:13:21\\nReads \\\"The dogs that walk with me” [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:13:44\\nThis I call a \\\"Fable\\\".\\n \\nCharles Reznikoff\\n00:13:46\\nReads \\\"Fable\\\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse]. \\n \\nCharles Reznikoff\\n00:14:15\\nReads \\\"Scrap of paper\\\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].  \\n \\nCharles Reznikoff\\n00:14:28\\nReads \\\"One of my sentinels, a tree\\\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].   \\n \\nCharles Reznikoff\\n00:14:45\\nReads \\\"I have not even been in the fields\\\" [from Rhythms ll and from By the Waters of Manhattan: Selected Verse]. \\n \\nCharles Reznikoff\\n00:15:01\\nReads \\\"How grey you are! No, white!” [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse]. \\n \\nCharles Reznikoff\\n00:15:25\\nReads \\\"Blurred sight, and trembling fingers\\\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse]. \\n \\nCharles Reznikoff\\n00:15:47\\nReads \\\"You were young and contemptuous\\\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse]. \\n \\nCharles Reznikoff\\n00:16:03\\nThis I call \\\"Heart and Clock\\\", there's a series in here. \\n \\nCharles Reznikoff\\n00:16:09\\nReads \\\"Heart and Clock” [from Separate Way and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:16:51\\nReads \\\"If my days were like the ant's\\\" [published as “Heart and Clock II” in By the Waters of Manhattan: Selected Verse]. \\n \\nCharles Reznikoff\\n00:17:18\\nReads \\\"Our nightingale, the clock\\\" [from Jerusalem the Golden and from By the Waters of Manhattan: Selected Verse].  \\n \\nCharles Reznikoff\\n00:17:32\\nReads \\\"The clock on the bookcase ticks\\\" [from By the Waters of Manhattan: Selected Verse and published later in The Poems Of Charles Reznikoff 1918–1975].  \\n \\nCharles Reznikoff\\n00:17:47\\nReads \\\"My hair was caught in the wheels of a clock\\\" [from Jerusalem the Golden and from By the Waters of Manhattan: Selected Verse].   \\n\\nCharles Reznikoff\\n00:17:58\\nReads \\\"Of course we must die\\\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:18:20\\nReads \\\"Now it is cold\\\" [from Going To and Fro and Walking Up and Down and from By the Waters of Manhattan: Selected Verse].\\n\\nCharles Reznikoff\\n00:19:33\\nReads \\\"It had been snowing at night\\\" [from By the Waters of Manhattan: Selected Verse and published later in The Poems Of Charles Reznikoff 1918–1975].  \\n \\nCharles Reznikoff\\n00:19:54\\nReads \\\"Hardly a breath of wind\\\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:20:14\\nReads \\\"After I had worked all day\\\" [from Five Groups of Verse and from By the Waters of Manhattan: Selected Verse]. \\n \\nCharles Reznikoff\\n00:20:42\\nNow I have a group that I will call 'religious,' for perhaps no better word, and this I call \\\"Meditations on the Fall and Winter Holidays\\\", and the first is “New Year's”. As many of you, or some of you may know, no doubt, the Jewish New Year's comes in the fall. This is based on it.\\n \\nCharles Reznikoff\\n00:21:11\\nReads \\\"Meditations on the Fall and Winter Holidays: New Year's\\\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:23:19\\nAnd I call the next one \\\"The Day of Atonement\\\".\\n \\nCharles Reznikoff\\n00:23:24\\nReads \\\"The Day of Atonement\\\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:24:50\\nAnd this I call \\\"Hanukkah\\\" which incidentally is a holiday that's just about to come, and it, as some of you may know, it represents the victory, a festival celebrating the victory of the Maccabees over the Syrians, about 150 B.C.E.\\n \\nCharles Reznikoff\\n00:25:14\\nReads \\\"Hanukkah\\\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:26:59\\nI don't know why I should be having a cold on this occasion but, [laughter], these things [blows nose]. \\n \\nCharles Reznikoff\\n00:27:18\\nReads \\\"The lamps are burning in the synagogue\\\" [from Inscriptions: 1944-1956].\\n \\nCharles Reznikoff\\n00:28:40\\nThis one I call \\\"Samuel\\\". Samuel in the Bible, of course.\\n \\nCharles Reznikoff\\n00:28:47\\nReads \\\"Samuel\\\" [from Five Groups of Verse and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:30:06\\nThese are all from By the Waters of Manhattan, and I'm going to read you, if I may, something quite different, from the volume called Testimony, and which I call \\\"Recitative\\\".\\n \\nCharles Reznikoff\\n00:30:27\\nReads \\\"Recitative\\\" [from Testimony: the United States (1885-1890); Recitative].\\n \\nCharles Reznikoff\\n00:31:15\\nThat's the first. This, these, incidentally, I might say, are all based on law cases. Ah...I don't know what...whether that'll excuse their ferocity, but apparently something like that once happened. The names are different. The facts are the same.\\n \\nCharles Reznikoff\\n00:31:39\\nReads \\\"Tilda was just a child...” [from Testimony: the United States (1885-1890); Recitative].\\n \\nCharles Reznikoff\\n00:32:49\\nAnd this is the third in this. \\n \\nCharles Reznikoff\\n00:32:53\\nReads \\\"Years ago, a company procured a body of land...\\\" [from Testimony: the United States (1885-1890); Recitative].\\n \\nCharles Reznikoff\\n00:33:44\\nNow...let's see, if I may, the time...Here is a poem with which I generally end these readings but I don't intend to end this unless you wish me to because I have some other things to read. But I'll end it right here anyway and then we'll see how much time is left. I call this \\\"Kaddish\\\". Now, it's not the Kaddish for mourners that you might know about. It was written at the beginning of the rise of Hitler [https://www.wikidata.org/wiki/Q352]. I did it; I mean, I did the writing, not the Kaddish, which is very old. It was written at the beginning of the rise of Hitler and his influence, and before his extermination program was put into effect. It's really an ancient blessing in the Jewish ritual. And incidentally, I use that word \\\"Torah,\\\" and I doubt, it may be strange to many, but James Parks, I notice, in his History of the Jewish People, has defined it, correctly, I think, \\\"The word Torah,\\\" he says, \\\"has been defined as law, but is much wider in meaning. It applies a way of life\\\".  Now this is this \\\"Kaddish\\\".\\n \\nCharles Reznikoff\\n00:35:09\\nReads \\\"Kaddish\\\" [from Separate Way and from By the Waters of Manhattan: Selected Verse]].\\n \\nCharles Reznikoff\\n00:36:43\\nThis ends the, let's say the first part. And I'll continue, if you like, with some others, unless you're all...[inaudible]\\n \\nAudience\\n00:36:51\\nApplause.\\n \\nCharles Reznikoff\\n00:37:04\\nWell I, if, I shall continue, if you're not all exhausted. I have here, quite a few things that are not arranged in any way, so they're more or less haphazard. And...this is one. Let's see...well this one is “After Reading Translations of Ancient Texts on Stone and Clay”.\\n \\nCharles Reznikoff\\n00:37:37\\nReads “After Reading Translations of Ancient Texts on Stone and Clay”.\\n \\nCharles Reznikoff\\n00:38:47\\nNow, these, these are much less organized than that, haphazard, you'll have to take them as they come if we keep on. \\n \\nCharles Reznikoff\\n00:39:00\\nReads \\\"As I was wandering with my unhappy thoughts\\\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\\n\\nCharles Reznikoff\\n00:39:36\\nReads \\\"The young fellow walks about with nothing to do\\\" [from Going To and Fro and Walking Up and Down and from By the Waters of Manhattan: Selected Verse]. \\n \\nCharles Reznikoff\\n00:40:09\\nReads “A well-phrased eulogy\\\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:40:44\\nReads \\\"On a Sunday, when the place was closed\\\" [from Going To and Fro and Walking Up and Down].  \\n \\nCharles Reznikoff\\n00:41:12\\nNow here are two earlier testimony, two or more things based on a law case, which I call \\\"Testimony\\\", and these were included in that same By the Waters of Manhattan. \\n \\nBy the Waters of Manhattan. \\n00:41:28\\nReads \\\"The Company had advertised for men\\\" from By the Waters of Manhattan: Selected Verse. \\n \\nCharles Reznikoff\\n00:43:13\\nThat's the first, and this is the second.\\n \\nCharles Reznikoff \\n00:43:16\\nReads \\\"Amelia was just fourteen\\\" from By the Waters of Manhattan: Selected Verse.\\n \\nCharles Reznikoff\\n00:44:33\\nThat's the second. I have some more I'd like to get at before I close. Well, this I wrote for my wife. Pity she isn't here, but we'll read it in her absence.\\n \\nCharles Reznikoff\\n00:44:55\\nReads \\\"Malicious women greet you, saying...\\\" [from By the Waters of Manhattan: Selected Verse and published later in The Poems Of Charles Reznikoff 1918–1975].  \\n\\n Charles Reznikoff\\n00:45:38\\nNow, this, this is a kind of counterpiece to this I have just read. It was not written for my wife. [Laughter].\\n \\nCharles Reznikoff\\n00:45:56\\nReads \\\"He had with him a bag\\\" [from By the Waters of Manhattan: Selected Verse and published later in The Poems Of Charles Reznikoff 1918–1975].  \\n \\nAudience\\n00:46:38\\nLaughter. \\n \\nCharles Reznikoff\\n00:46:42\\nI'm reading this 'cause...\\\"On a seat\\\"...maybe it would....I think this is rather appropriate in view of all the Hebrew things I read.\\n \\nCharles Reznikoff\\n00:46:56\\nReads \\\"On a seat in the subway\\\" [from Going To and Fro and Walking Up and Down].  \\n\\nCharles Reznikoff\\n00:47:41\\nReads \\\"Permit me to warn you\\\" [from Jerusalem the Golden and from By the Waters of Manhattan: Selected Verse].\\n \\nAudience\\n00:47:51\\nLaughter.\\n \\nCharles Reznikoff\\n00:47:59\\nReads \\\"These days, the papers in the street\\\" [from Jerusalem the Golden and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:48:36\\nLet me close, unless it...if I should...with something that I tried to do which may be something to close with. This is based on the Book of Ezra [https://www.wikidata.org/wiki/Q131635], and the Book of Ezra, according to my note, I've probably forgotten by this time, is, 'This is a rearrangement and a versification of parts of the Fourth Book of Ezra.' And that's what it's called in the appendix to the Vulgate [https://www.wikidata.org/wiki/Q131175], or two Esdras of the Protestant Apocrypha. And I based this upon a translation of this Book of Ezra from the Syriac by a friend of mine who taught, and I have their permission and all, but the original was probably, there's quite a discussion as to what the original was right, and some scholars believe that it was in Greek, and a Doctor Bocks, who was in, G.H. Bocks, thinks that it was in Hebrew, and Bloch, who was, they had in 42nd Street at the library, didn't think that it was in either Greek or Hebrew, but Aramaic. Anyway, excuse me just, [laughter], anyway, I will read it, and its adaptation of it, and see what one can do with things that you...clear up. \\n \\nCharles Reznikoff\\n00:50:12\\nReads “Because I saw the desolation of Zion\\\" [from By the Waters of Manhattan: Selected Verse and published later in The Poems of Charles Reznikoff: 1918-1975]. \\n \\nCharles Reznikoff\\n00:53:33\\nAnd I think this is enough, perhaps, for a time. \\n \\nAudience\\n00:53:36\\nApplause.\\n \\nGeorge Bowering\\n00:54:01\\nWhat else, thank you very much, Mr. Reznikoff, and I'd just like to repeat that the next reading is at, two weeks from tonight, December the first, Daryl Hine, who's a graduate of the other university.\\n \\nEND\\n00:54:21\\n\",\"notes\":\"Charles Reznikoff reads poems from several books, including Jerusalem the Golden (Objectivist Press, 1934), Inscriptions: 1944-1956 (Shulsinger Brothers, 1959), Going To and Fro and Walking Up and Down (Futuro Press, 1941), and By the Waters of Manhattan: Selected Verse (New Directions, 1962). Many of the poems were later re-organized, edited, and included in other publications, such as Poems 1918-1975:The Complete Poems of Charles Reznikoff (Black Sparrow, 1989). \\n\\n00:00- Unknown Introducer introduces Charles Reznikoff. [INDEX: Daryl Hine reading on December 1, 1967; born in Brooklyn in 1894, graduated from law school New York       University, state bar of NY, New Directions Press and the San Francisco Review, By the Waters of Manhattan (1962), Testimony (1965), moral and legal history of United States; Reznikoff as an alternative to popular poetry taught at universities; quote from “Te Deum” by Charles Reznikoff.]\\n02:56- Charles Reznikoff introduces “Salmon and Red Wine”. [INDEX: collection of Chinese verse translated in English, quotes from it as introduction, 11th century, \\\"Poetry presents the thing in order to convey the feeling.  It should be precise about the thing and reticent about the feeling\\\"; reading from By the Waters of Manhattan (New Directions, 1962).]\\n04:47- Reads first line “Salmon and red wine”. [INDEX: process, writing life, travel, Bible; found in By the Waters of Manhattan (New Directions, 1962).]\\n05:39- Introduces first line “I have neither the time nor the weaving skill, perhaps...”. [INDEX: second poem in the same theme; found in By the Waters of Manhattan (New    Directions, 1962).]\\n05:47- Reads first line “I have neither the time nor the weaving skill, perhaps...”. [INDEX: craft, descriptive.]\\n06:13- Introduces unknown poem, first line “The winter afternoon darkens...” [INDEX: group of poems about New York.]\\n06:27- Reads unknown poem, first line “The winter afternoon darkens...”. [INDEX: cities, New York, work.]\\n06:44- Introduces “The Scrubwoman”.\\n06:48- Reads “The Scrubwoman”. [INDEX: cities, New York, work, poverty.]\\n07:07- Reads unknown poem, first line “The peddler who goes from shop to shop...”. [INDEX: cities, New York, Work.]\\n07:31- Reads first line “The elevator man”. [INDEX: cities, New York, poverty, work; from the poem “Autobiography: New York” in By the Waters of Manhattan (New Directions, 1962).]\\n07:54- Reads unknown poem, first line “The shopgirls leave their work...”. [INDEX: cities, New York, work.]\\n08:16- Introduces “Cooper Union Library”.\\n08:23- Reads “Cooper Union Library”. [INDEX: cities, New York, reading, from the poem        “Autobiography: New York” in By the Waters of Manhattan (New Directions, 1962).]\\n08:42- Reads unknown poem, first line “Showing a torn sleeve...”. [INDEX: cities, New York, poverty, food, age.]\\n09:06- Reads “Two girls of twelve or so at a table”. [INDEX: cities, New York, poverty, food, age; from Inscriptions: 1944-1956.]\\n09:54- Reads first line “I am always surprised to meet...” [INDEX: cities, New York, death; from the poem “Autobiography: New York” in Going To and Fro and Walking Up and Down (1941).]\\n10:23- Reads unknown poem, first line “Rails in the subway”. [INDEX: cities, New York,         transportation, building.]\\n10:41- Reads unknown poem, first line “This subway station, with its electric lights”.   [INDEX: cities, New York, transportation, building, from the poem “Autobiography:      \\tNew York” in Going To and Fro and Walking Up and Down (1941).]\\n11:06- Reads unknown poem, first line “Among the heaps of brick and plaster lies...”. [INDEX: cities, New York, building.]\\n11:18- Reads unknown poem, first line “The sky is [a peculiar] blue...”. [INDEX: cities, New York, water, pollution; from “Sightseeing Tour: New York”, from Inscriptions:   1944-1956 (1959), By the Waters of Manhattan (1962).]\\n11:48- Reads “Suburban River, Winter”. [INDEX: cities, New York, water.]\\n12:13- Reads “Suburban River, Summer”. [INDEX: cities, New York, water, women.]\\n12:40- Reads “Twilight”. [INDEX: nature, sky, horse.]\\n13:16- Reads first line “Frasier, I think, tells of a Roman...”. [INDEX: nature, New York; from poem “Sightseeing Tour: New York” from Inscriptions: 1944-1956 (1959), By the Waters of Manhattan (1962).]\\n13:31- Reads first line “The dogs that walk with me...”. [INDEX: time, nature, now, here, if; from By the Waters of Manhattan.]\\n13:46- Reads “Fable”. [INDEX: solitude, friendship, woods, song, joke, from By the Waters of Manhattan.]\\n14:15- Reads first line “Scrap of paper”. [INDEX: money, streets, from Inscriptions:  \\t1944-1956 (1959), By the Waters of Manhattan (1962).]\\n14:28- Reads first line “One of my sentinels, a tree...”. [INDEX: summer, seasons, time, nature, from Inscriptions: 1944-1956 (1959), By the Waters of Manhattan (1962).]\\n14:45- Reads poem, first line “I have not even been in the fields...”. [INDEX: age, time,        seasons, wind.]\\n15:01- Reads poem, first line “How grey are you, no white...”. [INDEX: age, body, death,     friends, dog; from Inscriptions: 1944-1956 (1959), By the Waters of Manhattan (1962).]\\n15:25- Reads poem, first line “Blurred sight, and trembling fingers...”. [INDEX: age; from  “Notes on the Spring Holiday” from Inscriptions: 1944-1956 (1959), By the Waters of  Manhattan (1962).]\\n16:03- Introduces “Hardened Clock”. [INDEX: series.]\\n16:09- Reads “Hardened Clock”. [INDEX: time, sun, cycles, clocks, stars.]\\n16:51- Reads poem, fist line “If my days were like the ant’s...”. [INDEX: time, ant, carpe diem; perhaps part of “Hardened Clock”.]\\n17:18- Reads poem, first line “Our nightingale, the clock...”. [INDEX: time, clocks, birds,        nightingale, nature; perhaps part of “Hardened Clock”.]\\n17:32- Reads poem, first line “The clock on the bookcase ticks...”. [INDEX: time, clocks,     insects, consumption; perhaps part of “Hardened Clock”.]\\n17:47- Reads poem, first line “My hair was caught in the wheels of a clock...”. [INDEX: age, clocks, time, baldness; perhaps part of “Hardened Clock”.]\\n17:58- Reads poem, first line “Of course we must die...”. [INDEX:  death, telephone numbers; perhaps from “Hardened Clock”, from By the Waters of Manhattan.]\\n18:20- Reads poem, first line “Now it is cold...”. [INDEX: age, winter, time, seasons, death, birds, sparrow, sun, tree, anger, statues, weather, Don Juan, St. Francis; perhaps part of “Hardened Clock”.]\\n19:33- Reads poem, first line “It had been snowing at night...”. [INDEX: winter, time, snow, weather, morning; perhaps part of “Hardened Clock”.]\\n19:54- Reads poem, first line “Hardly a breath of wind...”. [INDEX: wind, leaves, fate;        perhaps part of “Hardened Clock”.]\\n20:14- Reads poem, first line: “After I had worked all day...”. [INDEX: work, fatigue, strength, tide; perhaps part of “Hardened Clock”.]\\n20:42- Introduces group called ‘religious’, poem called “Meditations on the Fall and Winter Holidays”. [INDEX: religious, Jewish New Year's.]\\n21:11- Reads “New Year’s” from “Meditations on the Fall and Winter Holidays”. [INDEX:   religious, holiday, water, farewell, death, harvest, autumn, trees, beginning, God,  \\tholidays, seasons, Israel, Judaism, grief, peace, servants, inheritance, remembrance; from Inscriptions: 1944-1956 (1959), By the Waters of Manhattan (1962).]\\n23:19- Introduces “Day of Atonement”. [INDEX: from “Meditations on the Fall and Winter         Holidays” from Inscriptions: 1944-1956 (1959), By the Waters of Manhattan    \\t(1962).]\\n23:24- Reads “Day of Atonement”. [INDEX: time, religious holidays, Judaism, Yom Kippur, God, time, day, write, rabbi, creation, world, men.]\\n24:50- Introduces “Hanukah”. [INDEX: victory of Maccabees over Syrians in 150 BCE, festival celebration; from “Meditations on the Fall and Winter Holidays”, from Inscriptions: 1944-1956 (1959), By the Waters of Manhattan (1962).]\\n25:14- Reads “Hanukah”. [INDEX: religious holiday, Judaism, death, water, songs,    \\tremembrance, power, God.]\\n27:18- Reads poem, first line, “The lamps are burning in the synagogue...” [INDEX: religious, Judaism, travel, tradition, remembrance, names, knowledge, ignorance, eternal life; from “Meditations on the Fall and Winter Holidays”, from Inscriptions: 1944-1956 (1959), By the Waters of Manhattan (1962).]\\n28:40- Introduces “Samuel”. [INDEX: Samuel in the Bible.]\\n28:47- Reads “Samuel”. [INDEX: religious, Judaism, Bible, tradition, spirit, fire, seasons,      waiting, service.]\\n30:06- Introduces “Recitative”. [INDEX: from Inscriptions: 1944-1956 (1959), By the Waters of Manhattan (1962), Testimony (1965-8).]\\n30:27- Reads “Recitative”. [INDEX: birth, water, fire, murder, death]\\n31:15- Introduces poem, first line “Tilda was just a child...”. [INDEX: Testimony about law cases, different names, facts same.]\\n31:59- Reads poem, first line “Tilda was just a child...”. [INDEX: adolescence, girl,   \\tmenstruation, work, rural, domestic; from “The North: Boys & Girls, 5.” from Testimony.]\\n32:53- Reads poem, first line, “Years ago, a company procured a body of land...”. [INDEX: company land, urban planning, city, Mississippi City, streets, railroad, depot, pier, bankruptcy; from “The South: Negroes, X” from Testimony.]          \\n33:44- Introduces “Kaddish”. [INDEX: mourning, written at the beginning of the rise of Hitler, extermination program, ancient blessing in the Jewish ritual, Torah, quote from James Parks’ History of the Jewish People; from Going To and Fro and Walking Up and Down (1941).]\\n35:09- Reads “Kaddish”. [INDEX: religious, Judaism, Kaddish, Torah, Israel, blessing.]\\n37:04- Introduces “After Reading Translations of Ancient Texts on Stone and Clay”. [INDEX: from Going To and Fro and Walking Up and Down (1941).]\\n37:37- Reads “After Reading Translations of Ancient Texts on Stone and Clay”. [INDEX: religious, Bible, Judaism, Moses, Israel, Pharaoh, Egypt, soldiers.]\\n38:47- Introduces “As I was wandering with my unhappy thoughts...”\\n39:00- Reads “As I was wandering with my unhappy thoughts...”. [INDEX: unhappiness, sun, wind, paradise, Adam.]\\n39:36- Reads “The young fellow walks about with nothing to do”. [INDEX: work,   \\tunemployment, cigarettes, youth, stranger.]\\n40:09- Reads “A well-phrased eulogy”. [INDEX: funeral, death, eulogy, politeness.]\\n40:44- Reads “On a Sunday, when the place was closed”. [INDEX: mouse, food, God, blessing.]\\n41:12- Introduces “Testimony”. [INDEX: earlier testimony, based on law case, included in By the Waters of Manhattan.]\\n41:28- Reads “The company had advertised for men...”. [INDEX: company, work, dock,   water, ice, river, death.]\\n43:13- Introduces “Amelia was just fourteen...”.\\n43:16- Reads “Amelia was just fourteen...” [INDEX: work, orphanage, youth, girl, books,   wound.]\\n44:33- Introduces “Malicious women greet you, saying...”. [INDEX: poem written for his wife, wife not in attendance.]\\n44:55- Reads “Malicious women greet you, saying...”.  [INDEX: love poem, women, beauty, timeless.]\\n45:38- Introduces “He had with him a bag”. [INDEX: counter-piece, not written for wife.]\\n45:56- Reads “He had with him a bag”. [INDEX: scolding, walking, wives, husbands,   marriage.]\\n46:38- Introduces “On a seat in the subway”. [INDEX: Hebrew.]\\n46:56- Reads “On a seat in the subway”. [INDEX: cities, subway, Judaism, work,      \\tdiscrimination, racial, sadness, Aryan.]\\n47:41- Reads “Permit me to warn you...”. [INDEX: car, accident.]\\n47:59- Reads “These days, the papers in the street...”. [INDEX: cities, streets, sun.]\\n48:36- Introduces “Because I saw the desolation of Zion...”. [INDEX: Book of Ezra, fourth book of Ezra, appendix to the Vulgate, Protestant Apocrypha, translation, Syriac, original, Greek, Doctor G.H. Bocks, Hebrew, Bloch, 42nd Street Library, Aramaic.]\\n50:12- Reads “Because I saw the desolation of Zion”. [INDEX: Bible, Judaism, Ezra, Zion, God, prayer, angel, heaven, hell, fire, wind, sea, dialogue, Israel, plants, seeds, earth.]\\n54:01- Unknown introducer thanks Charles Reznikoff, announces next reading: Daryl Hine on December 1st. [INDEX: Daryl Hine reading, December 1.]\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/charles-reznikoff-at-sgwu-1967/\"}]"],"score":1.8530173},{"id":"1266","cataloger_name":["Masoumeh,Zaare"],"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":["Daryl Hine at Sir George Williams University, The Poetry Series, 1 December 1967"],"item_title_source":["Cataloguer"],"item_title_note":["\"DARYL HINES I006/SR158\" written on sticker on the spine of the tape's box. DARYL HINES refers to Daryl Hine; HINES is mispelled. \"I006-11-158\" written on sticker on the reel"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 2"],"item_identifiers":["[]"],"creator_names":["Hine, Daryl"],"creator_names_search":["Hine, Daryl"],"creators":["[{\"url\":\"http://viaf.org/viaf/94517620\",\"name\":\"Hine, Daryl\",\"dates\":\"1936-2012\",\"notes\":\"Canadian-American poet, translator and editor Daryl Hine was born in Vancouver, British Columbia in 1936. His first poems were published when he was fifteen in Contemporary Verse. In 1954 he traveled to Montreal to study classics and philosophy at McGill University, and completed his B.A. by 1958. His first books of poetry published was Five Poems (Emblem Books, 1955), followed by The carnal and the crane (McGill Poetry Series by Contact Press, 1957). In 1968 Hine received a Canada Foundation-Rockefeller fellowship which he used to travel Europe and live in France. In 1962 he returned, and completed his M.A. and Ph.D. degrees at the University of Chicago in comparative literature by 1967. Hine then took on a position teaching English at the University of Chicago, and the next year edited the distinguished Poetry magazine until 1978. By this time Hine had already published The Devil’s Picture Book (Abelard, 1960), Heroics: Five Poems (Grosswiller, 1961), The Wooden Horse (Atheneum, 1965), Minutes (Atheneum, 1969), Resident Alien (Atheneum, 1975), privately printed In and Out in 1975 (reprinted in 1989 by Knopf) and Daylight Saving (Atheneum, 1978). Hine has also translated The Homeric Hymns and the Battle of the Frogs and Mice (Atheneum, 1972), Ovid’s Heroines: A Verse Translations of the Hero Heroides (Yale University Press, 1991) and Puerilities: Erotic Epigrams of The Greek Anthology (Princeton University Press, 2001), several radio and stage plays A Mutual Flame (BBC Radio, 1961), The Death of Seneca (Chicago, 1968) and Alecstis (BBC Radio, 1972). Hine has won several prestigious awards, including the Guggenheim Fellowship in 1980, an American Academy Award in 1982 and a MacArthur Foundation Fellowship in 1986. He has since published a novel, The Prince of Darkness & Co (Abelard-Schuman, 1961), and poetry collections, including Selected Poems (Oxford University Press, 1980), Academic Festival Overtures (Atheneum, 1985), Postscripts (Random House, 1990), Recollected poems: 1951-2004 (Fitzhenry & Whiteside, 2007) along with dozens of articles and poems in magazines and anthologies. Hine died in 2012. \",\"nation\":[],\"role\":[\"Author\"]}]"],"contributors_names":["Atwood, Margaret"],"contributors_names_search":["Atwood, Margaret"],"contributors":["[{\"url\":\"http://viaf.org/viaf/109322990\",\"name\":\"Atwood, Margaret\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Presenter\"]}]"],"Presenter_name":["Atwood, Margaret"],"Performance_Date":[1967],"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\":\"2 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\":\"1967 12 1\",\"type\":\"Performance Date\",\"notes\":\" \",\"source\":\"Previous researcher\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Art Gallery\",\"notes\":\"Previous researcher\",\"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 Art Gallery"],"City":["Montreal, Quebec"],"content_notes":["Daryl Hine reads from The Carnal and the Crane (McGill Poetry Series by Contact Press, 1957), The Devil’s Picture Book (Abelard, 1960), and The Wooden Horse (Atheneum, 1965), as well as poems published later in Minutes (Atheneum, 1968)."],"contents":["daryl_hine_i006-11-158.mp3\n\nUnknown\n00:00:00\nAmbient Sound [voices].\n\nMargaret Atwood\n00:00:12\nI first met Daryl Hine [https://www.wikidata.org/wiki/Q5226186] about six years ago in New York [https://www.wikidata.org/wiki/Q60], where he was living in the midst of a colony of cockroaches, and on that occasion, he drank me under the table with more ease and urbanity than anybody that's been able to manage since, which is actually a literary comment on the way he writes poetry. It's a pleasure to welcome him back to Montreal [https://www.wikidata.org/wiki/Q340], while attending the 'other' university here; before that he lived in Vancouver [https://www.wikidata.org/wiki/Q24639], where he was born in 1936, and where he began writing poetry at the age of twelve, and publishing it in such magazines as Northern Review [https://www.wikidata.org/wiki/Q15757902] and Contemporary Verse at the age of fifteen. His first book, Five Poems, was published when he was eighteen, and his next, The Carnal and the Crane, established him as an important poet at age 21, when most poets are still cutting their poetic teeth. Since then, his career, like his poetry, has been international, rather than national. After becoming a college dropout, he traveled widely in Europe [https://www.wikidata.org/wiki/Q46] and then in the United States [https://www.wikidata.org/wiki/Q30], producing, en route, four other books, The Devil's Picture Book and The Wooden Horse, both of which are poetry, The Prince of Darkness, a novel, and a travel book called Polish Subtitles.  He is currently awaiting the publication of his next book of poetry, to be called Minutes, while teaching in the English department at the University of Chicago [https://www.wikidata.org/wiki/Q131252]. He says that his plans for the future are vague, but he assures me that they include the evasion of Toronto [https://www.wikidata.org/wiki/Q172]. Ladies and gentlemen, Daryl Hine.\n \nAudience\n00:02:03\nApplause.\n \nDaryl Hine\n00:02:11\nI thought I'd begin by reading some poems that I wrote when I lived in Montreal...if I can find some fuel. Poems that are in my second book, which I tend to think of as my first book, The Carnal and the Crane. I'll read the third and fourth of four fabulary satires.\n \nDaryl Hine\n00:02:48\nReads “Four Fabulary Satires” part III from The Carnal and the Crane.\n \nDaryl Hine\n00:04:51\nAnd the fourth satire.\n \nDaryl Hine\n00:04:53\nReads “Four Fabulary Satires” part IV from The Carnal and the Crane.\n \nDaryl Hine\n00:06:56\nThe other poem that I'll read from The Carnal and the Crane is a one-sided dialogue called \"A Bewilderment at the Entrance of the Fat Boy into Eden\". It's in four fairly distinct parts. They're more distinct than the ordinary stanzas in a poem.\n \nDaryl Hine\n00:07:35\nReads \"A Bewilderment at the Entrance of the Fat Boy into Eden\" from The Carnal and the Crane.\n \nDaryl Hine\n00:10:52\nA number of the poems in my next book, The Devil's Picture Book, were also written in Montreal, although the book was published about two years after I left Montreal and went to Europe. I'm going to read one of the longest poems in this book, which is called \"The Double-Goer\".\n \nDaryl Hine\n00:11:41\nReads \"The Double-Goer\" from The Devil’s Picture Book.\n \nDaryl Hine\n00:16:31\nImmediately following that poem in The Devil's Picture Book, which I feel is very accurately titled, immediately after that poem is another much shorter, and...perhaps not really simpler poem on the same subject, the subject which seemed to preoccupy me a great deal at the time and I'm glad to say no longer does. This poem is a villanelle, and it's called \"The Black Swan\".\n \nDaryl Hine\n00:17:12\nReads \"The Black Swan\" from The Devil’s Picture Book.\n \nDaryl Hine\n00:18:38\nThere's a...poem in The Wooden Horse that deals also, perhaps, I think, with the same subject, but in a different way, and at a different stage. It's called \"The Ouija Board\".  It may be that some of you don't know what an ouija board is, in any case, this one wasn't a real ouija board. We made it up using a teacup, an inverted, as I remember, cracked, willow-patterned teacup, on a round circular table top. Four of us operated this by placing a single finger each on the teacup, and we cut out letters of the alphabet and placed them around the table. I did this in company with a friend of mine who's done it for many years, and has developed such perfect communication with the other side that instead of getting the usual scrambled answers that people get in these attempted communications, he gets extremely long, involved, and very literate answers, rather in the style of his own prose writing....[audience laughter] which all purport, or most of them purport to come from a Greek or Roman character called, in this poem Io, he's actually called Ephraim, although perhaps I shouldn't mention it. Anyway, this is about a session with the teacup.\n \nDaryl Hine\n00:20:15\nReads “The Ouija Board” from The Wooden Horse. \n \nDaryl Hine\n00:21:54\nPerhaps as an alternative to all of this tinkering with the other side, I'll read a poem that is, most of it, very much about this side, called \"Bluebeard's Wife\".\n \nDaryl Hine\n00:22:21\nReads \"Bluebeard's Wife\" from The Wooden Horse.\n \nDaryl Hine\n00:25:46\nThe last poem I'll read from The Wooden Horse is the last poem in The Wooden Horse, and I beg your indulgence, as it's a trifle long. It's called \"The Wave\".\n \nDaryl Hine\n00:26:17\nReads \"The Wave” from The Wooden Horse.\n \nDaryl Hine\n00:31:01\nFour years ago I came back to Montreal on my first visit since I left rather quietly in 1958, and spent the next year after this return visit, which was very pleasant, although very brief, struggling with a poem which I think perhaps is still not quite finished, but I think will go either in this form or some other form into the next book. It's a poem, of course, about the impossibility of writing an autobiographical poem. And it's called \"The Apology\".\n \nDaryl Hine\n00:31:56\nReads \"The Apology\" [published later in Minutes]. \n\nDaryl Hine\n00:35:53\nWell, I've returned to other places than Montreal [audience laughter], and two summers ago I went back just for the summer to Paris [https://www.wikidata.org/wiki/Q90], where I lived for something more than, between three and four years, and I didn't like it very much. And these are two poems from a series that I wrote about not liking it. This one is called \"The Marché aux Puces and the Jardin des Plantes\"- the Marché aux Puces is of course the flea market, and the Jardin des Plantes is the botanical and zoological gardens, where I spent, in one place or other I spent most of my afternoons, that rather boring summer in Paris. Having the habit of working in the morning.\n \nDaryl Hine\n00:36:53\nReads \"The Marché aux Puces and the Jardin des Plantes\" [published later in Minutes; audience laughter throughout]. \n \nDaryl Hine\n00:38:17\nWell, I think perhaps I'll read three of these [inaudible]. The next one will seem familiar to, I'm sure, many of you. I haven't quite decided on a title, it might be called \"Jardin des Gourmets\", or it might be called \"Rendez-vous des routiers\" or something like that, it's about a certain sort of French restaurant.\n \nDaryl Hine\n00:38:42\nReads \"Le Rendezvous des Gourmets\" [published later in Minutes; audience laughter throughout].\n \nDaryl Hine\n00:40:18\nAnd this poem isn't quite as funny [audience laughter], not that I really thought the last one was, but this one is really about Henry James' [https://www.wikidata.org/wiki/Q170509] novel, The Ambassadors [https://www.wikidata.org/wiki/Q650571]. It's also, of course, about being in any town in the off season, in this case, Paris, and of course, Paris in August is emptier than anywhere I've ever been. But, I imagine that other places in their off seasons are the same. It's called \"Clôture annuelle\".\n \nDaryl Hine\n00:40:57\nReads \"Clôture annuelle\" [published later in Minutes].\n\nDaryl Hine\n00:42:19\nI also, this year, or was it last, returned to my place of origin, British Columbia [https://www.wikidata.org/wiki/Q1974]. A [inaudible] which will be familiar to some of you as the site of the University of British Columbia [https://www.wikidata.org/wiki/Q391028], I don't mean the University by any of the architectural things I mention in this poem, but I'm talking about the beach, a very beautiful, barren Pacific beach that lies below Point Grey [https://www.wikidata.org/wiki/Q16898567]. \n \nDaryl Hine\n00:43:05\nBegins to read unnamed poem.\n \nDaryl Hine\n00:43:10\nWell...[shuffles paper] I'll read another version, I think. Excuse me. \n \nDaryl Hine\n00:43:18\nReads [“Point Grey”; published later in Minutes].\n \nDaryl Hine\n00:45:03\nReads unnamed poem.\n \nDaryl Hine\n00:46:12\nThe last poem I'll read, if I can find it...it is called...\"The Trout\".\n \nDaryl Hine\n00:46:50\nReads \"The Trout\" [published later in Minutes].\n \nAudience\n00:48:41\nApplause.\n \nAnnouncer\n00:48:59\nI want to thank Mr. Hine and also announce that the next reading is on January 26th, by the American poet John Logan [https://www.wikidata.org/wiki/Q6245151].\n \nEND\n00:49:12\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\n In 1969, Daryl Hine published Commonplaces (Unicorn Press), and had published Bluebeard’s wife (Pasdeloup Press) and Minutes: poems (Atheneum) and the play The Death of Seneca in 1968. Hines was working at the University of Chicago and was editing Poetry magazine.\\n\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\n At different points in his career, Daryl Hine lived in Montreal, and studied at McGill University. He met Margaret Atwood (the event presenter) in 1963 in New York, and I assume that she offers the direct connection between Hine and Sir George Williams University. Regardless of this connection, Hine is an important and influential Canadian-American poet, editor, translator and writer.\\n\",\"type\":\"General\"},{\"note\":\"Original transcript and print catalogue by Rachel Kyne\\n\\nOriginal print catalogue, introduction, research and edits by Celyn Harding-Jones\\n\\nAdditional research and edits Ali Barillaro\\n\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/807465072&referer=brief_results\",\"citation\":\"Gilbert, Roger. \\\"Hine, Daryl\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ian Hamilton (ed). Oxford University Press, 1996. \"},{\"url\":\"https://www.worldcat.org/title/minutes-poems/oclc/61503623&referer=brief_results\",\"citation\":\"Hine, Daryl. Minutes. New York: Atheneum, 1968. \"},{\"url\":\"https://www.worldcat.org/title/carnal-and-the-crane/oclc/460627893&referer=brief_results\",\"citation\":\"Hine, Daryl. The Carnal and the Crane. Montreal: McGill Poetry Series, 1957. \"},{\"url\":\"https://www.worldcat.org/title/devils-picture-book-poems/oclc/707438836&referer=brief_results\",\"citation\":\"Hine, Daryl. The Devil's Picture Book. Toronto: Abelard-Schuman, 1960.\"},{\"url\":\"https://www.worldcat.org/title/wooden-horse-poems/oclc/613046839&referer=brief_results\",\"citation\":\"Hine, Daryl. The Wooden Horse. New York: Atheneum, 1965. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Sullivan, Rosemary. \\\"Hine, Daryl\\\". The Oxford Companion to Canadian Literature. Eugene Benson and William Toye (eds). Oxford University Press, 2001. \"},{\"url\":\"http://www.poetryfoundation.org/archive/poet.html?id=3167\",\"citation\":\"“Daryl Hine (1936-)”. The Poetry Foundation Website. Poetryfoundation.org, 2009. \"},{\"url\":\"https://www.concordia.ca/content/dam/concordia/offices/archives/docs/postgrad/Postgrad-1967-Spring.pdf\",\"citation\":\"“Poetry Readings”. Post-Grad. Montreal: Sir George Williams University, Spring 1967, page 20. \"},{\"url\":\"http://news.google.com/newspapers?id=np8tAAAAIBAJ&sjid=PKAFAAAAIBAJ&pg=4195,2837932&dq=sir+george+williams+poetry&hl=en\",\"citation\":\"“SGWU To Have Poetry Series”. Montreal: The Gazette. 14 September 1967, page 15.\"},{\"url\":\"\",\"citation\":\"“Poetry: From the Archive”. Poetry Magazine Website. Poetrymagazine.org\"},{\"url\":\"\",\"citation\":\"“Poetry Readings”. OP-ED. Montreal: Sir George Williams University, 6 October 1967, page 6. \"}]"],"_version_":1853670548831207424,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0158_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0158_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Daryl Hine 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_0158_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0158_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Daryl Hine 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_0158_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0158_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Daryl Hine Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0158_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0158_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Daryl Hine 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/daryl_hine_i006-11-158.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"daryl_hine_i006-11-158.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:49:12\",\"precision\":\"\",\"size\":\"118.1 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Unknown\\n00:00:00\\nAmbient Sound [voices].\\n\\nMargaret Atwood\\n00:00:12\\nI first met Daryl Hine [https://www.wikidata.org/wiki/Q5226186] about six years ago in New York [https://www.wikidata.org/wiki/Q60], where he was living in the midst of a colony of cockroaches, and on that occasion, he drank me under the table with more ease and urbanity than anybody that's been able to manage since, which is actually a literary comment on the way he writes poetry. It's a pleasure to welcome him back to Montreal [https://www.wikidata.org/wiki/Q340], while attending the 'other' university here; before that he lived in Vancouver [https://www.wikidata.org/wiki/Q24639], where he was born in 1936, and where he began writing poetry at the age of twelve, and publishing it in such magazines as Northern Review [https://www.wikidata.org/wiki/Q15757902] and Contemporary Verse at the age of fifteen. His first book, Five Poems, was published when he was eighteen, and his next, The Carnal and the Crane, established him as an important poet at age 21, when most poets are still cutting their poetic teeth. Since then, his career, like his poetry, has been international, rather than national. After becoming a college dropout, he traveled widely in Europe [https://www.wikidata.org/wiki/Q46] and then in the United States [https://www.wikidata.org/wiki/Q30], producing, en route, four other books, The Devil's Picture Book and The Wooden Horse, both of which are poetry, The Prince of Darkness, a novel, and a travel book called Polish Subtitles.  He is currently awaiting the publication of his next book of poetry, to be called Minutes, while teaching in the English department at the University of Chicago [https://www.wikidata.org/wiki/Q131252]. He says that his plans for the future are vague, but he assures me that they include the evasion of Toronto [https://www.wikidata.org/wiki/Q172]. Ladies and gentlemen, Daryl Hine.\\n \\nAudience\\n00:02:03\\nApplause.\\n \\nDaryl Hine\\n00:02:11\\nI thought I'd begin by reading some poems that I wrote when I lived in Montreal...if I can find some fuel. Poems that are in my second book, which I tend to think of as my first book, The Carnal and the Crane. I'll read the third and fourth of four fabulary satires.\\n \\nDaryl Hine\\n00:02:48\\nReads “Four Fabulary Satires” part III from The Carnal and the Crane.\\n \\nDaryl Hine\\n00:04:51\\nAnd the fourth satire.\\n \\nDaryl Hine\\n00:04:53\\nReads “Four Fabulary Satires” part IV from The Carnal and the Crane.\\n \\nDaryl Hine\\n00:06:56\\nThe other poem that I'll read from The Carnal and the Crane is a one-sided dialogue called \\\"A Bewilderment at the Entrance of the Fat Boy into Eden\\\". It's in four fairly distinct parts. They're more distinct than the ordinary stanzas in a poem.\\n \\nDaryl Hine\\n00:07:35\\nReads \\\"A Bewilderment at the Entrance of the Fat Boy into Eden\\\" from The Carnal and the Crane.\\n \\nDaryl Hine\\n00:10:52\\nA number of the poems in my next book, The Devil's Picture Book, were also written in Montreal, although the book was published about two years after I left Montreal and went to Europe. I'm going to read one of the longest poems in this book, which is called \\\"The Double-Goer\\\".\\n \\nDaryl Hine\\n00:11:41\\nReads \\\"The Double-Goer\\\" from The Devil’s Picture Book.\\n \\nDaryl Hine\\n00:16:31\\nImmediately following that poem in The Devil's Picture Book, which I feel is very accurately titled, immediately after that poem is another much shorter, and...perhaps not really simpler poem on the same subject, the subject which seemed to preoccupy me a great deal at the time and I'm glad to say no longer does. This poem is a villanelle, and it's called \\\"The Black Swan\\\".\\n \\nDaryl Hine\\n00:17:12\\nReads \\\"The Black Swan\\\" from The Devil’s Picture Book.\\n \\nDaryl Hine\\n00:18:38\\nThere's a...poem in The Wooden Horse that deals also, perhaps, I think, with the same subject, but in a different way, and at a different stage. It's called \\\"The Ouija Board\\\".  It may be that some of you don't know what an ouija board is, in any case, this one wasn't a real ouija board. We made it up using a teacup, an inverted, as I remember, cracked, willow-patterned teacup, on a round circular table top. Four of us operated this by placing a single finger each on the teacup, and we cut out letters of the alphabet and placed them around the table. I did this in company with a friend of mine who's done it for many years, and has developed such perfect communication with the other side that instead of getting the usual scrambled answers that people get in these attempted communications, he gets extremely long, involved, and very literate answers, rather in the style of his own prose writing....[audience laughter] which all purport, or most of them purport to come from a Greek or Roman character called, in this poem Io, he's actually called Ephraim, although perhaps I shouldn't mention it. Anyway, this is about a session with the teacup.\\n \\nDaryl Hine\\n00:20:15\\nReads “The Ouija Board” from The Wooden Horse. \\n \\nDaryl Hine\\n00:21:54\\nPerhaps as an alternative to all of this tinkering with the other side, I'll read a poem that is, most of it, very much about this side, called \\\"Bluebeard's Wife\\\".\\n \\nDaryl Hine\\n00:22:21\\nReads \\\"Bluebeard's Wife\\\" from The Wooden Horse.\\n \\nDaryl Hine\\n00:25:46\\nThe last poem I'll read from The Wooden Horse is the last poem in The Wooden Horse, and I beg your indulgence, as it's a trifle long. It's called \\\"The Wave\\\".\\n \\nDaryl Hine\\n00:26:17\\nReads \\\"The Wave” from The Wooden Horse.\\n \\nDaryl Hine\\n00:31:01\\nFour years ago I came back to Montreal on my first visit since I left rather quietly in 1958, and spent the next year after this return visit, which was very pleasant, although very brief, struggling with a poem which I think perhaps is still not quite finished, but I think will go either in this form or some other form into the next book. It's a poem, of course, about the impossibility of writing an autobiographical poem. And it's called \\\"The Apology\\\".\\n \\nDaryl Hine\\n00:31:56\\nReads \\\"The Apology\\\" [published later in Minutes]. \\n\\nDaryl Hine\\n00:35:53\\nWell, I've returned to other places than Montreal [audience laughter], and two summers ago I went back just for the summer to Paris [https://www.wikidata.org/wiki/Q90], where I lived for something more than, between three and four years, and I didn't like it very much. And these are two poems from a series that I wrote about not liking it. This one is called \\\"The Marché aux Puces and the Jardin des Plantes\\\"- the Marché aux Puces is of course the flea market, and the Jardin des Plantes is the botanical and zoological gardens, where I spent, in one place or other I spent most of my afternoons, that rather boring summer in Paris. Having the habit of working in the morning.\\n \\nDaryl Hine\\n00:36:53\\nReads \\\"The Marché aux Puces and the Jardin des Plantes\\\" [published later in Minutes; audience laughter throughout]. \\n \\nDaryl Hine\\n00:38:17\\nWell, I think perhaps I'll read three of these [inaudible]. The next one will seem familiar to, I'm sure, many of you. I haven't quite decided on a title, it might be called \\\"Jardin des Gourmets\\\", or it might be called \\\"Rendez-vous des routiers\\\" or something like that, it's about a certain sort of French restaurant.\\n \\nDaryl Hine\\n00:38:42\\nReads \\\"Le Rendezvous des Gourmets\\\" [published later in Minutes; audience laughter throughout].\\n \\nDaryl Hine\\n00:40:18\\nAnd this poem isn't quite as funny [audience laughter], not that I really thought the last one was, but this one is really about Henry James' [https://www.wikidata.org/wiki/Q170509] novel, The Ambassadors [https://www.wikidata.org/wiki/Q650571]. It's also, of course, about being in any town in the off season, in this case, Paris, and of course, Paris in August is emptier than anywhere I've ever been. But, I imagine that other places in their off seasons are the same. It's called \\\"Clôture annuelle\\\".\\n \\nDaryl Hine\\n00:40:57\\nReads \\\"Clôture annuelle\\\" [published later in Minutes].\\n\\nDaryl Hine\\n00:42:19\\nI also, this year, or was it last, returned to my place of origin, British Columbia [https://www.wikidata.org/wiki/Q1974]. A [inaudible] which will be familiar to some of you as the site of the University of British Columbia [https://www.wikidata.org/wiki/Q391028], I don't mean the University by any of the architectural things I mention in this poem, but I'm talking about the beach, a very beautiful, barren Pacific beach that lies below Point Grey [https://www.wikidata.org/wiki/Q16898567]. \\n \\nDaryl Hine\\n00:43:05\\nBegins to read unnamed poem.\\n \\nDaryl Hine\\n00:43:10\\nWell...[shuffles paper] I'll read another version, I think. Excuse me. \\n \\nDaryl Hine\\n00:43:18\\nReads [“Point Grey”; published later in Minutes].\\n \\nDaryl Hine\\n00:45:03\\nReads unnamed poem.\\n \\nDaryl Hine\\n00:46:12\\nThe last poem I'll read, if I can find it...it is called...\\\"The Trout\\\".\\n \\nDaryl Hine\\n00:46:50\\nReads \\\"The Trout\\\" [published later in Minutes].\\n \\nAudience\\n00:48:41\\nApplause.\\n \\nAnnouncer\\n00:48:59\\nI want to thank Mr. Hine and also announce that the next reading is on January 26th, by the American poet John Logan [https://www.wikidata.org/wiki/Q6245151].\\n \\nEND\\n00:49:12\\n\",\"notes\":\" Daryl Hine reads from The Carnal and the Crane (McGill Poetry Series by Contact Press, 1957), The Devil’s Picture Book (Abelard, 1960), and The Wooden Horse (Atheneum, 1965), as well as poems published later in Minutes (Atheneum, 1968).\\n\\n00:12- Unknown (female- perhaps Wynne Francis?) introduces Daryl Hine [INDEX: met in New York, McGill University, Vancouver (b. 1936), Northern Review, Contemporary Verse, books Five Poems (Emblem Books, 1955), The carnal and the crane (McGill Poetry Series by Contact Press, 1957), international career, traveling in Europe and the U.S., books The Devil’s Picture Book (Abelard, 1960), The Wooden Horse (Atheneum, 1965), The Prince of Darkness (Abelard-Schuman, 1961), Polish Subtitles (Abelard-Schuman,1962), next publication: Minutes (Atheneum, 1975), teaching at the University of Chicago, Toronto.]\\n02:11- Daryl Hine introduces “Four Fabulary Satires” part III. [INDEX: first line “Bee, at the end of your famous garden, admonished...”; poems written in Montreal, poems in “second” book (actually first); from The Carnal and the Crane (McGill Poetry Series,   \\t1957).]\\n02:48- Reads “Four Fabulary Satires” part III. [INDEX: garden, nature, bee, poppy,    hollyhock, time, rhetoric, language, orator, grasshopper, ant, grammar; Duration: 02:03.]\\n04:51- Introduces “Four Fabulary Satires” Part IV. [INDEX: fourth satire; from The Carnal and the Crane (McGill Poetry Series, 1957)]\\n04:53- Reads “Four Fabulary Satires” Part IV.\\n06:56- Introduces “A Bewilderment at the Entrance of the Fat Boy into Eden”. [INDEX:   one-sided dialogue, four parts, rather than stanzas; from The Carnal and the Crane    (McGill Poetry Series, 1957).]\\n07:35- Reads “A Bewilderment at the Entrance of the Fat Boy into Eden”. [INDEX: boy,   demons, paradise, money, angel, sleep, art, Hamlet, duality; duration: 03:17.]\\n10:52- Introduces “The Double-Goer”. [INDEX: number of poems in The Devil’s Picture Book (Abelard, 1960) written in Montreal, left Montreal for Europe, longest poem in the book.]\\n11:41- Reads “The Double-Goer”. [INDEX: lyric, error, crime, art, heart, half, double, heaven, earth, duality, day, single, sleeper, dream, sublime, careless; from The Devil’s Picture Book (Abelard, 1960), duration 04:50; Howard Fink list “The Double Door”.]\\n16:31- Introduces “The Black Swan”. [INDEX: title of The Devil’s Picture Book, poem following “The Double-goer” is shorter, subject matter, villanelle; from The Devil’s       \\tPicture Book (Abelard, 1960).]\\n17:12- Reads “The Black Swan”. [INDEX: nature, air, water, swan, villanelle, guilt, lover, fair, duality; from The Devil’s Picture Book (Abelard, 1960), duration 01:26.]\\n18:38- Introduces “The Ouija Board”. [INDEX: from The Wooden Horse (Atheneum, 1965), deals with similar subject to “The Black Swan” but at different stage, ouija board, self-made ouija board out of willow-patterned teacup, on table, four people operating it,   literate answers, prose writing, Greek or Roman character called Io or Ephraim.]\\n20:15- Reads “The Ouija Board”. [INDEX: ouija board, voices, spirit, questions, answers, dialogue, glass, grave, death, other side, other world, love; duration 01:38.]\\n21:54- Introduces “Bluebeard’s Wife”. [INDEX: about the other side; from The Wooden Horse (Atheneum, 1965)]\\n25:46- Reads “Bluebeard's Wife”. [INDEX: Bluebeard, myth, fairy tale, wife, objects, summer, nature, air, alone, artifice, rooms; from The Wooden Horse (Atheneum, 1965); duration 02:24.]\\n26:17- Reads “The Wave”. [INDEX: day, Sunday, sea, tide, beach, write, event, documentation, earthquake, death, flood, God; from unknown source; duration 03:45.]\\n31:01- Introduces “The Apology”. [INDEX: first trip to Montreal since 1958, came back with idea for this poem, not in finished form, about the impossibility of writing an      \\tautobiographical poem, published in next book of poetry; first published in Minutes         \\t(Atheneum, 1968). Note: possible differences in published version?]\\n31:56- Reads “The Apology”. [INDEX: apology, time machine, woman, school, poem,   machine, mechanical, reader, verse, silence, experience, meaning, poet; duration 03:57.]\\n35:53- Introduces “The Marche aux puces and the Jardin des Plantes”. [INDEX: return to Paris, lived there for 3-4 years, poem about not liking Paris, Marche aux puces is a flea   market, Jardin des Plantes is the botanical and zoological gardens, summer in Paris, working in the morning; from Minutes (Atheneum, 1968).]\\n36:53- Reads “The Marche aux Puces and the Jardins des Plantes”. [INDEX: art, beauty, zoo, flea market, metro, cities, Paris; duration 01:22.]\\n38:17- Introduces unknown poem, first line “The price is fixed...”. [INDEX: possible titles    “Jardin des Gourmets” or “Rendez-vous des routiers”, about French Restaurant;    published as “Le Rendezvous des Gourmets” in Minutes (Atheneum, 1968).]\\n38:42- Reads unknown poem, first line “The price is fixed...”. [INDEX: restaurant, food, soup, menu, bread, sacrament, Last Supper, remembrance; duration 01:34.]\\n40:18- Introduces “Clôture annuelle”. [INDEX: Henry James’ novel, The Ambassadors, being   in a town in the off-season, Paris in August; from Minutes (Atheneum, 1968).]\\n40:57- Reads “Clôture annuelle”. [INDEX: cities, Paris, August, emptiness, solitude, weather, summer, winter, stranger, life; duration 01:22.]\\n42:19- Introduces unknown poem, first line “Brought up as I was to judge the weather...”. [INDEX: returning to B.C., University of British Columbia, barren beach below Point Grey; published as “Point Grey” in Minutes (Atheneum, 1968).]\\n43:05- Begins to read “Brought up as I was to judge the weather...”.\\n43:10- Interrupts reading to read a different version.\\n43:18- Reads “Brought up as I was to ask of the weather...”. [INDEX: cities, Vancouver,    beach, water, mountains, rain, weather, concrete, guilt, waves, beauty.]\\n45:03- Reads “Antaeus, when once separated from the ground...”. [INDEX: myth, Antaeus, Hercules, gravity, love, suffering; from unknown source.]\\n46:12- Introduces “The Trout”. [INDEX: from Minutes (Atheneum, 1968).]\\n46:50- Reads “The Trout”. [INDEX: water, fish, prison, reality, music, cycles, death, pattern, paradise; duration 01:48.]\\n48:59- Unknown male announcer makes announcement of next reading [INDEX: January 26, American poet John Logan.]\\n\\nHoward Fink List: Print catalogue page from archives contains the following information:\\n\\nTitle: Daryl Hine reading his own poetry\\nDate: December 1, 1969\\nSource: one, two-track, 7” tape, 3 ¾, lasting 55 mins.\\n \\n1. Title:  \\n    First line: “Be, at the end of your famous garden…”\\n2. Title:              \\n    First line: “The fox and the crow…”\\n3. Title: A Bewilderment of the Entrance of the Fat Boy into Eden\\n    First line: “Not knowing…”\\n4. Title: The Double Door\\n    First line: “All that I do is…”\\n5. Title: The Black Swan\\n    First line: “Confused between the water and the air…”\\n6. Title: Ouija Board\\n    First line: “The wood that they prefer to walk…”\\n7. Title: Bluebeard’s Wife\\n    First line: “Impatiently she tampered with”\\n**Note inserted in archived print catalogue: -between poems #7 and #8; The Wave\\nFirst line: “Suddenly it was quiet as a Sunday”\\n8. Title: The Apology\\n    First line:“The time machine”\\n9. Title:              \\n    First line:“There are too many hours in a day”\\n10. Title:              \\n      First line: “The price is fixed…”\\n11. Title:              \\n      First line: “X, in August…”\\n12. Title:              \\n      First line: “Brought up as I was…”\\n13. Title: The Trout\\n      First line: “The water…”\\n\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/daryl-hine-at-sgwu-1967/\"}]"],"score":1.8530173},{"id":"1267","cataloger_name":["Masoumeh,Zaare"],"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":["John Logan at Sir George Williams University, The Poetry Series, 26 January 1968"],"item_title_source":["Cataloguer"],"item_title_note":["\"JOHN LOGAN I006/SR163\" written on sticker on the spine of the tape's box. \"I006-11-163\" written on sticker on the reel"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 2"],"item_identifiers":["[]"],"creator_names":["Logan, John"],"creator_names_search":["Logan, John"],"creators":["[{\"url\":\"http://viaf.org/viaf/85933786\",\"name\":\"Logan, John\",\"dates\":\"1923-1987\",\"notes\":\"Poet John Logan was born in Red Oak, Iowa. Logan earned a B.Sc. in zoology at Coe College and earned an M.A. in English at the University of Iowa. Later he pursued more graduate work at Georgetown University and at the University of Notre Dame. He taught English at St. John’s College in Maryland and at the University of Notre Dame, finally settling in as a professor at the State University of New York in Buffalo. He married, and fathered nine children but divorced later on in his life. His first of fourteen publications was Cycle for Mother Cabrini (Grove Press), published in 1955. Two collections followed, Ghosts of the Heart: New Poems (University of Chicago Press) in 1960 and Spring of the Thief: Poems 1960-1962 (Knopf) in 1963. In 1969, Logan published a selection of his poems written since 1963 in The Zig-Zag Walk: Poems 1963-1968 (E.P. Dutton), and in 1973 The Anonymous Lover: New Poems (Liveright) came out. The bridge of change: poems, 1974-1980 (BOA Editions) was published in 1981, along with Only the dreamer can change the dream (Ecco Press, 1981), which won the Lenore Marshall Poetry Prize the following year. Logan’s prose was collected in A Bullet for the Ear: Interviews, Essays and Reviews (Ann Arbor, 1983) edited by A. Poulin, Jr. Logan received a Rockefeller Foundation grant, Morton Dauwen Zabel Award, Guggenheim Fellowship, and a Wayne State University’s Miles Modern Poetry Prize. He was the poetry editor of The Nation and Critic, and founded Choice magazine. John Logan died in 1987, and his poetry was published posthumously in The Collected Poems (BOA Editions) in 1989.\\n\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1968],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"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\":\"1968 1 26\",\"type\":\"Performance Date\",\"notes\":\"Date specified in \\\"Georgantics\\\" by Marty Charny\",\"source\":\"Supplemental Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Art Gallery\",\"notes\":\"Location specified in printed announcement \\\"Georgantics\\\" by Marty Charny (Supplemental material)\",\"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 Art Gallery"],"City":["Montreal, Quebec"],"content_notes":["John Logan reads from Ghosts of the Heart: New Poems (University of Chicago Press, 1960) and The Zigzag Walk: Poems; 1963-1968 (Dutton, 1969)."],"contents":["john_logan_i006-11-163.mp3\n\nJohn Logan\n00:00:00\nReads “Eight Poems on Portraits of the Foot” [recording begins abruptly].\n \nJohn Logan\n00:03:37\nNow, can you see over there? I'm still concerned about the situation of the lights. Light's one of the big problems in poetry. [Audience laughter]. This is \"Two Preludes for La Push\", and it’s dedicated to Michael Ross [https://www.wikidata.org/wiki/Q21280686]. It was written when I was teaching [Wetky's (?)] courses a couple of years ago in Seattle [https://www.wikidata.org/wiki/Q5083] for a couple of quarters. The physical beauty of the North West got me very involved and I wrote a number of poems about it, of which this was the first. La Push [https://www.wikidata.org/wiki/Q554902], Washington [https://www.wikidata.org/wiki/Q1223] is a city on the coast--city, no it's a hamlet on the coast, very poverty stricken Indian populated, really a ruined community with dead cars lying around and houses falling apart, but in the summer many people come there because of its superb beauty. I found that I couldn't write about the Indian community, I wrote rather about the sea and myself.\n \nJohn Logan\n00:05:38\nReads \"Two Preludes for La Push\" [published later in The Zigzag Walk].\n \nJohn Logan\n00:07:48\nI'm sorry it bothers me when people come in late, I'm temperamental about that, you'll just have to excuse me. It's not that they're late, you know, it has no respect for the poem, they could wait until it's over. I'll go back to the second part.\n \nJohn Logan\n00:08:13\nResumes reading \"Two Preludes for La Push\" [published later in The Zigzag Walk].\n \nJohn Logan\n00:10:57\nThis is another poem about a superb place in the North West called Deception Pass [https://www.wikidata.org/wiki/Q1181773], which is a pass really--a water pass between islands, Deception Island [https://www.wikidata.org/wiki/Q49636439] is the name of the poem which the poem takes its name.\n \nJohn Logan\n00:11:39\nReads \"The Pass\" [published later in The Zigzag Walk].\n \nJohn Logan\n00:13:32\nI lived on a houseboat for a while, in Seattle, which I certainly think that everybody who considers going to Seattle ought to do. In fact, I was living on a houseboat when the tidal wave struck in the spring of that year. That is a marvelous thrill, it woke me up. I became friends with ducks there, I was living alone, and the poem is partly about that. \"Three Moves in Six Months\". You'll have to forgive me, I don't have this poem with me, I wanted to remember it, I'll see if I can.\n \nJohn Logan\n00:14:29\nReads \"Three Moves\" [published later in The Zigzag Walk].\n \nJohn Logan\n00:15:45\nI'm sorry, I can't remember this poem now. I'll try it again in the second half of the program, I'm screwing it up. [Audience laughter]. I'll read you another poem, I'll try that one later. This is called \"Poem, Slow to Come, on the Death of Cummings, (1896-1962)\". There are two epigraphs, one from a student of mine who said  \"I care more about strawberries than about death\", and one from Rilke [https://www.wikidata.org/wiki/Q76483], who wrote \"Heir, es ist zeit\".\n \nJohn Logan\n00:16:43\nReads \"Poem, Slow to Come, on the Death of Cummings, (1896-1962)\" [published later in The Zigzag Walk].\n \nJohn Logan\n00:22:27\nI'll read one more poem then would like to take a break, and begin again. It's called \"Love Poem\". I said that as though it didn't matter that it's called that. It does.\n \nJohn Logan\n00:23:17\nReads \"Love Poem\" [published later in The Zigzag Walk].\n\nAudience \n00:25:35 \nApplause.\n\nUnknown\n00:25:49\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nUnknown\n00:25:50\nAmbient Sound [voices].\n\nJohn Logan\n00:26:27\nI was just asked to read another, earlier poem, which I'm glad to do. Why not? I still like this poem. Then I'll come back and read some more recent things. Did we decide we'll try this without the lamp at all? I think we did, because it seems to get in the way of people. I think that people are more important than I am. Is that worse? Probably if you can't see me it should be marvelous. It’s called \"A Trip to Four or Five Towns\" and I dedicated it to James Wright [https://www.wikidata.org/wiki/Q6145850], simply because he liked it. There's a reference toward the end of the poem to a visit to William Carlos Williams [https://www.wikidata.org/wiki/Q178106], and there's also a reference to a story about e.e. cummings [https://www.wikidata.org/wiki/Q298703], told by Charles Norman in his biography of cummings about a long night spent at [Archebold (?)] and [unintelligible] with them living in France [https://www.wikidata.org/wiki/Q142], cummings was working for the New York Herald Tribune [https://www.wikidata.org/wiki/Q532494], I think, perhaps another New York [https://www.wikidata.org/wiki/Q60] paper, there aren't that many. But on the way back from the party, cummings had the urge to take a leak, and so he did so, but it was Champs-Élysées [https://www.wikidata.org/wiki/Q550] or some extraordinary [audience laughter] place like that and the cops saw him. They brought him to jail, and they said, 'You piss on Paris [https://www.wikidata.org/wiki/Q90]' [audience laughter]. He said, 'No ,it's not the point, I just had to take a leak', but they kept him there the whole night and when he finally got back to his office in the morning they had signs posted up around, which said--and I don't read French, I'm sorry because I know that many of you know French--but it was something like this, “[unintelligible] pisseur Americain”, which I guess translated \"Let the American pisser go\". [Audience laughter]. This was \"A Trip to Four or Five Towns”.\n \nJohn Logan\n00:29:01\nReads \"A Trip to Four of Five Towns\" [from Ghosts of the Heart]..\n \nJohn Logan\n00:38:34\nI realize reading the poem now how dated it is with the reference to the capital of [Viscount(?)] claim, which sold out some time ago to I don't know, somebody that sold out to somebody else. Williams by the way, did not read his Sixteen new poems, he had them, but he couldn't read them because he'd had a stroke and had never heard them. I visited him with Galway Kinnell [https://www.wikidata.org/wiki/Q2425705], and he asked us to read the poems, and we did. But I thought that, you know, one of the great things about poetry is that you can make it the way that it should be, so I had him read the poems. This is \"Big Sur: Partington Cove\". I went with a couple of students to, well we were in the Big Sur [https://www.wikidata.org/wiki/Q859413], and this is a very hidden place, Partington Cove [https://www.wikidata.org/wiki/Q21551591]. A marvelous place, accessible only by a tunnel shored up by ancient timbers, I feel I am sort of repeating the poem by telling you this, but there is such a cove, and you can only reach it through a tunnel, it's very beautiful. Smugglers used the cove and a cave nearby to hide booze during the prohibition, it was used for other purposes before and since, and there are--well why not? [Audience laughter]. But you can't get there at all now, I tried to revisit when I was back there last spring, but it's all roped off. And even the one time I did get to go there, there was a sign that was supposed to scare you away. The, one of the motivating things behind the poem was my understanding for the first time of what happens in some paintings that a friend of mine Jim Johnson [https://www.wikidata.org/wiki/Q100239918] does, where he uses combinations of landscape and the human body. He will have for example, mountains coming off an arm, and the figure of a clown. I had an experience which this poem talks about that made me see for the first time the kind of rapport between body and landscape. It was important to me, and part of what happens to the poem.\n \nJohn Logan\n00:41:54\nReads \"Big Sur: Partington Cove\" [published later in The Zigzag Walk].\n \nJohn Logan\n00:50:45\nReads \"Three Moves\" [in full, published later in The Zigzag Walk].\n\nAudience\n00:53:56 \nApplause. \n\nJohn Logan\n00:53:56\nI'm glad I finally read a poem you liked. [Laughter]. I'll read two more, they're both new, one is fairly long and one is fairly short. This one is called “Lines on Locks (or Jail and the Erie Canal)”. It's based on an experience of being in jail along the Erie Canal [https://www.wikidata.org/wiki/Q459578]. The name of the town is Herkimer [https://www.wikidata.org/wiki/Q3134036], New York [audience laughter] and I guess I won't go into the background of it, it's not that interesting. But it was written there. Not long ago.\n \nJohn Logan\n00:55:00\nReads \"Lines on Locks (or Jail and the Erie Canal)\" [published later in The Zigzag Walk].\n \nJohn Logan\n01:02:31\nAnd finally, read \"The Search\". Which is my most recent poem. If you knew how few poems there have been lately, that would mean more but...\n \nJohn Logan\n01:03:03\nReads \"The Search\" [published later in The Zigzag Walk].\n\nAudience \n01:07:31\nApplause.\n\nJohn Logan\n01:07:48\nThank you [audience applause continues throughout].\n\nIntroducer\n01:08:04\nThanks very much John [https://www.wikidata.org/wiki/Q6245151], just several announcements before we go. Fred Cogswell [https://www.wikidata.org/wiki/Q5494855], who is visiting us this year, has been invited by the Sir George Williams Student Literary Society to read his poetry, next Friday evening, in the students' lounge on the sixth floor. Jorge Luis Borges [https://www.wikidata.org/wiki/Q909], the distinguished--[audience laughter] you're not making it easier--the distinguished author will be coming here, to Sir George Williams [https://www.wikidata.org/wiki/Q326342], on Thursday February the 29th and I think I have this right. He's changed the title of his talk, it will be \"Beginnings of English Poetry\". Our next reading, John Newlove [https://www.wikidata.org/wiki/Q6250356] and Joe Rosenblatt [https://www.wikidata.org/wiki/Q1691575], two weeks from...\n\nUnknown\n01:09:05\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nUnknown\n01:09:06\nAmbient Sound [voices]. \n\nEND\n01:09:14\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1968, John Logan was an English Professor at State University New York in Buffalo. He was working on The Zig-Zag Walk: Poems 1963-1968, which was published in 1969.\\n\",\"type\":\"General\"},{\"note\":\"Local Connections: \\n\\nJohn Logan’s direct connection to Montreal or Sir George Williams University is unknown at this point. Logan was, however, an important and influential American poet and professor at State University of New York.\\n\",\"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://montreal.spokenweb.ca/sgw-poetry-readings/john-logan-at-sgwu-1968/\",\"citation\":\"Charny, Marty. “Georgiantics.” The Georgian. Montreal: Sir George Williams University, 26 January 1968. \"},{\"url\":\"https://www.worldcat.org/title/ghosts-of-the-heart/oclc/328409781?referer=di&ht=edition\",\"citation\":\"Logan, John. Ghosts of the Heart. Chicago: University of Chicago Press, 1960.\"},{\"url\":\"https://www.worldcat.org/title/zig-zag-walk/oclc/251231523?referer=di&ht=edition\",\"citation\":\"Logan, John. The Zigzag Walk: Poems; 1963-1968. New York: Dutton, 1969.\"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-american-literature/oclc/54356940&referer=brief_results\",\"citation\":\"\\\"Logan, John\\\". The Oxford Companion to American Literature. James D. Hart (ed.), Phillip W. Leininger (rev). Oxford University Press 1995.\"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/807465072&referer=brief_results\",\"citation\":\"Butscher, Edward. \\\"Logan, John\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ian Hamilton (ed). Oxford University Press, 1996. \"},{\"url\":\"http://www.poets.org/poet.php/prmPID/286\",\"citation\":\"“John Logan”. Poets.org: Poetry, Poems, Bios & More. The Academy of American Poets, 2009.\"},{\"url\":\"https://www.concordia.ca/content/dam/concordia/offices/archives/docs/postgrad/Postgrad-1967-Spring.pdf\",\"citation\":\"“Poetry Readings”. Post-Grad. Montreal: Sir George University, Spring 1967, page 20. \"}]"],"_version_":1853670548833304576,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0163_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0163 back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"John Logan 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_0163_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0163 front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"John Logan 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_0163_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0163 side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"John Logan Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0163_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0163_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"John Logan 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/john_logan_i006-11-163.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"john_logan_i006-11-163.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:09:14\",\"precision\":\"\",\"size\":\"166.2 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"John Logan\\n00:00:00\\nReads “Eight Poems on Portraits of the Foot” [recording begins abruptly].\\n \\nJohn Logan\\n00:03:37\\nNow, can you see over there? I'm still concerned about the situation of the lights. Light's one of the big problems in poetry. [Audience laughter]. This is \\\"Two Preludes for La Push\\\", and it’s dedicated to Michael Ross [https://www.wikidata.org/wiki/Q21280686]. It was written when I was teaching [Wetky's (?)] courses a couple of years ago in Seattle [https://www.wikidata.org/wiki/Q5083] for a couple of quarters. The physical beauty of the North West got me very involved and I wrote a number of poems about it, of which this was the first. La Push [https://www.wikidata.org/wiki/Q554902], Washington [https://www.wikidata.org/wiki/Q1223] is a city on the coast--city, no it's a hamlet on the coast, very poverty stricken Indian populated, really a ruined community with dead cars lying around and houses falling apart, but in the summer many people come there because of its superb beauty. I found that I couldn't write about the Indian community, I wrote rather about the sea and myself.\\n \\nJohn Logan\\n00:05:38\\nReads \\\"Two Preludes for La Push\\\" [published later in The Zigzag Walk].\\n \\nJohn Logan\\n00:07:48\\nI'm sorry it bothers me when people come in late, I'm temperamental about that, you'll just have to excuse me. It's not that they're late, you know, it has no respect for the poem, they could wait until it's over. I'll go back to the second part.\\n \\nJohn Logan\\n00:08:13\\nResumes reading \\\"Two Preludes for La Push\\\" [published later in The Zigzag Walk].\\n \\nJohn Logan\\n00:10:57\\nThis is another poem about a superb place in the North West called Deception Pass [https://www.wikidata.org/wiki/Q1181773], which is a pass really--a water pass between islands, Deception Island [https://www.wikidata.org/wiki/Q49636439] is the name of the poem which the poem takes its name.\\n \\nJohn Logan\\n00:11:39\\nReads \\\"The Pass\\\" [published later in The Zigzag Walk].\\n \\nJohn Logan\\n00:13:32\\nI lived on a houseboat for a while, in Seattle, which I certainly think that everybody who considers going to Seattle ought to do. In fact, I was living on a houseboat when the tidal wave struck in the spring of that year. That is a marvelous thrill, it woke me up. I became friends with ducks there, I was living alone, and the poem is partly about that. \\\"Three Moves in Six Months\\\". You'll have to forgive me, I don't have this poem with me, I wanted to remember it, I'll see if I can.\\n \\nJohn Logan\\n00:14:29\\nReads \\\"Three Moves\\\" [published later in The Zigzag Walk].\\n \\nJohn Logan\\n00:15:45\\nI'm sorry, I can't remember this poem now. I'll try it again in the second half of the program, I'm screwing it up. [Audience laughter]. I'll read you another poem, I'll try that one later. This is called \\\"Poem, Slow to Come, on the Death of Cummings, (1896-1962)\\\". There are two epigraphs, one from a student of mine who said  \\\"I care more about strawberries than about death\\\", and one from Rilke [https://www.wikidata.org/wiki/Q76483], who wrote \\\"Heir, es ist zeit\\\".\\n \\nJohn Logan\\n00:16:43\\nReads \\\"Poem, Slow to Come, on the Death of Cummings, (1896-1962)\\\" [published later in The Zigzag Walk].\\n \\nJohn Logan\\n00:22:27\\nI'll read one more poem then would like to take a break, and begin again. It's called \\\"Love Poem\\\". I said that as though it didn't matter that it's called that. It does.\\n \\nJohn Logan\\n00:23:17\\nReads \\\"Love Poem\\\" [published later in The Zigzag Walk].\\n\\nAudience \\n00:25:35 \\nApplause.\\n\\nUnknown\\n00:25:49\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nUnknown\\n00:25:50\\nAmbient Sound [voices].\\n\\nJohn Logan\\n00:26:27\\nI was just asked to read another, earlier poem, which I'm glad to do. Why not? I still like this poem. Then I'll come back and read some more recent things. Did we decide we'll try this without the lamp at all? I think we did, because it seems to get in the way of people. I think that people are more important than I am. Is that worse? Probably if you can't see me it should be marvelous. It’s called \\\"A Trip to Four or Five Towns\\\" and I dedicated it to James Wright [https://www.wikidata.org/wiki/Q6145850], simply because he liked it. There's a reference toward the end of the poem to a visit to William Carlos Williams [https://www.wikidata.org/wiki/Q178106], and there's also a reference to a story about e.e. cummings [https://www.wikidata.org/wiki/Q298703], told by Charles Norman in his biography of cummings about a long night spent at [Archebold (?)] and [unintelligible] with them living in France [https://www.wikidata.org/wiki/Q142], cummings was working for the New York Herald Tribune [https://www.wikidata.org/wiki/Q532494], I think, perhaps another New York [https://www.wikidata.org/wiki/Q60] paper, there aren't that many. But on the way back from the party, cummings had the urge to take a leak, and so he did so, but it was Champs-Élysées [https://www.wikidata.org/wiki/Q550] or some extraordinary [audience laughter] place like that and the cops saw him. They brought him to jail, and they said, 'You piss on Paris [https://www.wikidata.org/wiki/Q90]' [audience laughter]. He said, 'No ,it's not the point, I just had to take a leak', but they kept him there the whole night and when he finally got back to his office in the morning they had signs posted up around, which said--and I don't read French, I'm sorry because I know that many of you know French--but it was something like this, “[unintelligible] pisseur Americain”, which I guess translated \\\"Let the American pisser go\\\". [Audience laughter]. This was \\\"A Trip to Four or Five Towns”.\\n \\nJohn Logan\\n00:29:01\\nReads \\\"A Trip to Four of Five Towns\\\" [from Ghosts of the Heart]..\\n \\nJohn Logan\\n00:38:34\\nI realize reading the poem now how dated it is with the reference to the capital of [Viscount(?)] claim, which sold out some time ago to I don't know, somebody that sold out to somebody else. Williams by the way, did not read his Sixteen new poems, he had them, but he couldn't read them because he'd had a stroke and had never heard them. I visited him with Galway Kinnell [https://www.wikidata.org/wiki/Q2425705], and he asked us to read the poems, and we did. But I thought that, you know, one of the great things about poetry is that you can make it the way that it should be, so I had him read the poems. This is \\\"Big Sur: Partington Cove\\\". I went with a couple of students to, well we were in the Big Sur [https://www.wikidata.org/wiki/Q859413], and this is a very hidden place, Partington Cove [https://www.wikidata.org/wiki/Q21551591]. A marvelous place, accessible only by a tunnel shored up by ancient timbers, I feel I am sort of repeating the poem by telling you this, but there is such a cove, and you can only reach it through a tunnel, it's very beautiful. Smugglers used the cove and a cave nearby to hide booze during the prohibition, it was used for other purposes before and since, and there are--well why not? [Audience laughter]. But you can't get there at all now, I tried to revisit when I was back there last spring, but it's all roped off. And even the one time I did get to go there, there was a sign that was supposed to scare you away. The, one of the motivating things behind the poem was my understanding for the first time of what happens in some paintings that a friend of mine Jim Johnson [https://www.wikidata.org/wiki/Q100239918] does, where he uses combinations of landscape and the human body. He will have for example, mountains coming off an arm, and the figure of a clown. I had an experience which this poem talks about that made me see for the first time the kind of rapport between body and landscape. It was important to me, and part of what happens to the poem.\\n \\nJohn Logan\\n00:41:54\\nReads \\\"Big Sur: Partington Cove\\\" [published later in The Zigzag Walk].\\n \\nJohn Logan\\n00:50:45\\nReads \\\"Three Moves\\\" [in full, published later in The Zigzag Walk].\\n\\nAudience\\n00:53:56 \\nApplause. \\n\\nJohn Logan\\n00:53:56\\nI'm glad I finally read a poem you liked. [Laughter]. I'll read two more, they're both new, one is fairly long and one is fairly short. This one is called “Lines on Locks (or Jail and the Erie Canal)”. It's based on an experience of being in jail along the Erie Canal [https://www.wikidata.org/wiki/Q459578]. The name of the town is Herkimer [https://www.wikidata.org/wiki/Q3134036], New York [audience laughter] and I guess I won't go into the background of it, it's not that interesting. But it was written there. Not long ago.\\n \\nJohn Logan\\n00:55:00\\nReads \\\"Lines on Locks (or Jail and the Erie Canal)\\\" [published later in The Zigzag Walk].\\n \\nJohn Logan\\n01:02:31\\nAnd finally, read \\\"The Search\\\". Which is my most recent poem. If you knew how few poems there have been lately, that would mean more but...\\n \\nJohn Logan\\n01:03:03\\nReads \\\"The Search\\\" [published later in The Zigzag Walk].\\n\\nAudience \\n01:07:31\\nApplause.\\n\\nJohn Logan\\n01:07:48\\nThank you [audience applause continues throughout].\\n\\nIntroducer\\n01:08:04\\nThanks very much John [https://www.wikidata.org/wiki/Q6245151], just several announcements before we go. Fred Cogswell [https://www.wikidata.org/wiki/Q5494855], who is visiting us this year, has been invited by the Sir George Williams Student Literary Society to read his poetry, next Friday evening, in the students' lounge on the sixth floor. Jorge Luis Borges [https://www.wikidata.org/wiki/Q909], the distinguished--[audience laughter] you're not making it easier--the distinguished author will be coming here, to Sir George Williams [https://www.wikidata.org/wiki/Q326342], on Thursday February the 29th and I think I have this right. He's changed the title of his talk, it will be \\\"Beginnings of English Poetry\\\". Our next reading, John Newlove [https://www.wikidata.org/wiki/Q6250356] and Joe Rosenblatt [https://www.wikidata.org/wiki/Q1691575], two weeks from...\\n\\nUnknown\\n01:09:05\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nUnknown\\n01:09:06\\nAmbient Sound [voices]. \\n\\nEND\\n01:09:14\\n\",\"notes\":\"John Logan reads from Ghosts of the Heart: New Poems (University of Chicago Press, 1960) and The Zigzag Walk: Poems; 1963-1968 (Dutton, 1969).\\n\\n00:00- Begins mid-sentence “...sperm in the womb quickens to a man...” from “Eight Poems on Portraits of the Foot”\\n03:37- John Logan introduces “Two Preludes for La Push” [INDEX: Michael Ross, teaching Wetky’s class [?], North West, Seattle, La Push Washington, Indian]\\n05:38- Reads “Two Preludes for La Push”\\n10:57- Introduces “The Pass” [INDEX: Deception Pass, North West]\\n11:39- Reads “The Pass”\\n13:32- Introduces “Three Moves” [partial reading] [INDEX: houseboat, ducks, Seattle]\\n14:29- Reads “Three Moves”\\n15:45- Introduces “Poem, Slow to Come, on the Death of Cummings (1896-1962)” [INDEX: explains epigraphs]\\n16:43- Reads “Poem, Slow to Come, on the Death of Cummings (1896-1962)”\\n22:27- Introduces “Love Poem”\\n23:17- Reads “Love Poem”\\n25:52- Introduces “A Trip to Four or Five Towns” [INDEX: James Wright, William Carlos Williams, e.e. cummings, Charles Norman, Archebold [?], France, New York Herald        Tribune, Champs Elysees]\\n29:01- Reads “A Trip to Four or Five Towns”\\n38:34- Explains “A Trip to Four or Five Towns”, introduces “Big Sur, Partington Cove” [INDEX: Capital of Viscount, William Carlos Williams, Galway Kinnell,Partington Cove, prohibition, artist Jim Johnson, relationship between body and landscape]\\n41:54- Reads “Big Sur, Partington Cove”.\\n50:45.20- END OF RECORDING\\n\\n00:00- John Logan reads “Three Moves” in full.\\n03:10- Introduces “Lines on Locks, or Jail on the Erie Canal” [INDEX: Herkimer, New      York]\\n04:14- Reads “Lines on Locks, or Jail on the Erie Canal”\\n11:46- Introduces “The Search”\\n12:18- Reads “The Search”\\n17:19- Unknown male announces next readings [INDEX: Fred Cogswell, Sir George Williams Student Literary Society, Jorge Luis Borges, John Newlove, Joe Rosenblatt]\\n18:29.44- END OF RECORDING\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/john-logan-at-sgwu-1968/\"}]"],"score":1.8530173},{"id":"1268","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":["Joe Rosenblatt and John Newlove at Sir George Williams University, The Poetry Series, 9 February 1968"],"item_title_source":["Cataloguer"],"item_title_note":["\"JOE RESENBLATT I006/SR138\" written on sticker on the spine of the tape's box. JOE RESENBLATT refers to Joe Rosenblatt. RESENBLATT is mispelled. \"I006-11-138\" written on sticker on the reel.\n\n\"JOHN NEWLOVE I006/S2143\" written on sticker on the spine of the tape's box. I006-11-143 written on sticker on the reel."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 2"],"item_identifiers":["[I006-11-138, I006-11-143]"],"creator_names":["Rosenblatt, Joseph","Newlove, John"],"creator_names_search":["Rosenblatt, Joseph","Newlove, John"],"creators":["[{\"url\":\"http://viaf.org/viaf/69752567\",\"name\":\"Rosenblatt, Joseph\",\"dates\":\"1933-\",\"notes\":\"Poet and artist Joe (Joseph) Rosenblatt was born in Toronto in 1933, where he attended Central Technical School, which he left in grade ten. After a decade of traveling across Canada, working labour jobs with the CPR, Rosenblatt published his first collection of poetry through a small press, called The voyage of the mood (Heinrich Heine Press, 1963). He received a Canada Council grant in 1963 to write and draw, and published The LSD Leacock (Coach House Press, 1966), which established Rosenblatt as a serious poet. Rosenblatt then began editing Jewish Dialog, a literary magazine, in 1969, which he continued until 1983. He then published The winter of the lunar moth (House of Anansi, 1968), a collection of drawings Greenbaum (Coach House Press, 1971), Bumblebee dithyramb (Press Porcepic, 1972), Dream craters (Press Porcepic, 1974), Virgins and vampires (McClelland and Stewart, 1975) and Top Soil (Press Porcepic, 1976) which won a Governor General’s Award. Rosenblatt continued to publish collections of drawings and poetry collections, including Doctor Anacoda’s solar fan club (Press Porcepic, 1978), Loosely tied hands: an experiment in punk (Black Moss Press, 1978), The sleeping lady (Exile Editions, 1979), Brides of the stream (Oolichan Books, 1983), a reconsidered history of Marxist government Beds and consenting dreamers (Oolichan Books, 1994) and The Joe Rosenblatt Reader (Exile Editions, 1995). Rosenblatt received the B.C. Book Prize in 1986 for Poetry Hotel (1986). Rosenblatt held several positions as writer in residence at the University of Western Ontario (1979-1980), as Visiting Lecturer at University of Victoria (1980-81), the Associate editor of the Malahat Review (1980-1982), the writer in residence at the Saskatoon Public Library (1985-86) and at the University of Rome and University of Bologna (1987). Rosenblatt also served as a literary consultant for Porcupine's Quill, Blackfish Press, McClelland and Stewart, the Canada Council and Oolichan Books. His collected works can be found in The voluptuous gardener: the collected art and writing of Joe Rosenblatt, 1973-1996 (Beach Holme Publishers, 1996). Rosenblatt lived in Qualicum Beach on Vancouver Island, and during that time, also published Parrot fever (Exile Editions, 2002), The lunatic muse (Exile, 2007) and Dog (Mansfield Press, 2008). Rosenblatt died in 2019 after finishing work on Bite Me! Musings on Monsters and Mayhem (The Porcupine's Quill, 2019).\\n\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]},{\"url\":\"http://viaf.org/viaf/92277383\",\"name\":\"Newlove, John\",\"dates\":\"1938-2003\",\"notes\":\"Canadian poet John Newlove was born on June 13, 1938 in Regina, and was raised in Kamsack, Saskatchewan. He graduated from Kamsack College in 1956, and completed one year at the University of Saskatoon before touring and working in many cities across Canada. Newlove has worked as a school teacher in Birtle, Manitoba, as a social worker in Yorkton, Saskatchewan, at a radio station in Weyburn and in Regina, and as a clerk at the University of British Columbia bookstore. His first book of poetry is titled Grave Sirs (Robert Reid & Takao Tanabe, Vancouver, 1962), and is followed by Elephants, Mothers and Others (Periwinkle, 1963), Moving in Alone (Contact Press, 1965), What They Say (Weed/Flower, 1967), Black Night Window (McClelland & Stewart, 1968), The Cave (McClelland & Stewart, 1970), and Lies (McClelland & Stewart, 1972), which won a Governor General’s Award for Poetry. Newlove also worked as a writer-in-residence at the Regina Public Library, the University of Toronto, at Montreal’s Loyola College, and as an editor with McClelland & Stewart Publishing in Toronto between 1970 and 1974. Newlove then edited the McClelland & Stewart anthology Canadian Poetry: the modern era (1977), and published his own poetry in The fat man: selected poems 1962-1972 (McClelland & Stewart, 1977), The green plain (Oolichan Books, 1981), The night the dog smiled (ECW Press, 1986) and Apology for absence: Selected poems 1962-1992 (Porcupine’s Quill, 1993). Newlove taught writing at the David Thompson University Centre in Nelson, B.C. and as an editor for the Federal Commission of Official Languages in Ottawa. Newlove won the Saskatchewan Writer’s Guild Founders Award in 1984 and the Literary Press Group Award in 1986. Known and celebrated for bringing the Canadian Prairie into Canadian Literature, John Newlove died suddenly at the age of 65 on December 23, 2003.\",\"nation\":[],\"role\":[]}]"],"contributors_names":["Kiyooka, Roy"],"contributors_names_search":["Kiyooka, Roy"],"contributors":["[{\"url\":\"http://viaf.org/viaf/30784426\",\"name\":\"Kiyooka, Roy\",\"dates\":\"1926-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Presenter\"]}]"],"Presenter_name":["Kiyooka, Roy"],"Series_organizer_name":["Kiyooka, Roy"],"Performance_Date":[1968],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"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\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"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\":\"1968 2 9\",\"type\":\"Performance Date\",\"notes\":\"Date specified in \\\"Georgantics\\\" by Marty Charny\",\"source\":\"Supplemental Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Art Gallery\",\"notes\":\"Location specified in printed announcement \\\"Georgantics\\\" by Marty Charny (Supplemental material)\",\"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 Art Gallery"],"City":["Montreal, Quebec"],"content_notes":["Joe Rosenblatt reads from Winter of the Luna Moth (Anansi Press, 1968)] and The LSD Leacock (Coach House Press, 1966) and a few poems from unknown sources. John Newlove reads from Black Night Window (McClelland & Stewart, 1968), What They Say (Weed/Flower, 1967), Elephants, Mothers and Others (Periwinkle Press, 1963) and poems later published in The Cave (McClelland & Stewart, 1970). Most of these poems have been collected in The Fat Man: Selected Poems 1962-1972 (McClelland & Stewart, 1977)."],"contents":["joe_rosenblatt_i006-11-138.mp3 [File 1 of 2]\n \nRoy Kiyooka\n00:00:00\nGood evening. Hello, Mr. Bowering [https://www.wikidata.org/wiki/Q1239280]. [Audience laughter]. Well, welcome to the sixth reading of our second series of evenings with Canadian and American poets. Tonight we have Joe Rosenblatt [https://www.wikidata.org/wiki/Q1691575], Toronto [https://www.wikidata.org/wiki/Q172], and John Newlove [https://www.wikidata.org/wiki/Q6250356], formerly of Vancouver [https://www.wikidata.org/wiki/Q24639], now residing in Nova Scotia [https://www.wikidata.org/wiki/Q1952]. Joe Rosenblatt will begin the reading, there will be an intermission, and John Newlove will follow. I'm going to quote largely from the copy in Joe Rosenblatt's book, The LSD Leacock, for I hope servient biographical information. It goes like this, he was born in Toronto on December the 26th, nineteen hundred and thirty-three. He says that he has suffocated in Toronto ever since then. He attended the Central Technical School [https://www.wikidata.org/wiki/Q5061898] and dropped out in Grade 10, he has worked as a grave-digger, plumber's helper, civil servant, railway express misanthrope. He has attended the Provincial Institute of Trades where he acquired a diploma as a welder fitter, his favourite writers are Ambrose Biers, William Blake [https://www.wikidata.org/wiki/Q41513], Emily Dickinson [https://www.wikidata.org/wiki/Q4441], and A.M. Klein [https://www.wikidata.org/wiki/Q2778027], and his favourite dream, is Cyclops turning up at a [nigh-bank (?)]. [Audience laughter]. His previous book of poems, which was probably printed in nineteen hundred and sixty-three, is called Voyage of the Mood. Joe Rosenblatt.\n \nAudience\n00:02:27\nApplause.\n \nJoe Rosenblatt\n00:02:36\nWasn't that [unintelligible]. I'm just going to read, start off with a series of poems I had written about my uncle, who was a fishmonger. He had a habit of phyxiating and murdering fish, and slicing them, and slicing them, and...well, I'll start. This is called \"Uncle Nathan: Blessed his memory, speaketh in land-locked green\".\n \nJoe Rosenblatt\n00:03:11\nReads \"Uncle Nathan: Blessed his memory, speaketh in land-locked green\" [from Winter of the Luna Moth].\n\nAudience\n00:06:10\nApplause.\n \nJoe Rosenblatt\n00:06:16\n\"Ichthycide\". Another poem about my uncle. It's funny, really. [Audience laughter].\n \nJoe Rosenblatt\n00:06:29\nReads \"Ichthycide\" [from Winter of the Luna Moth].\n \nAudience\n00:08:05\nLaughter and applause .\n\nJoe Rosenblatt\n00:08:13\nThis is called \"A Shell Game\". Has to do with my uncle. [Audience laughter]. It's about his funeral.  Joke.\n \nJoe Rosenblatt\n00:08:27\nReads \"A Shell Game [from Winter of the Luna Moth].\n \nJoe Rosenblatt\n00:09:42\nI wrote all kinds of poems. I was in Vancouver and I came across the god-awful logic of the zoo. It kinda scared the hell out of me. It was a bat. I've never seen a bat before. Met people who were bats. But this was the real McCoy, it was a fruit bat and it was hanging upside-down, you know, that's the way they live and they fornicate that way too, apparently, upside-down. So I wrote about bats. I have some more fish poems but I get tired of that after a while, you start hating it. And we'll begin with \"Bats\". While it's true the bat is a mammal, not a bird, there's all types of kinds of mythology based on prejudice about bats and which I've tried to embody in these poems. \n \nJoe Rosenblatt\n00:10:47\nReads \"Bats\" [from Winter of the Luna Moth].\n \nJoe Rosenblatt\n00:11:32\nOutside of the bat poem there came a group of sound poetry. Because I tried to get the feeling of the bat in the air, you know the image of the bat and the way it, and the movements of the bat. And this is called \"The Fruit Bat\". First encounter with a bat.\n \nJoe Rosenblatt\n00:11:56\nReads \"The Fruit Bat\" [from Winter of the Luna Moth].\n \nJoe Rosenblatt\n00:13:16\nThis is better. This is “The Bat Cage”.\n \nJoe Rosenblatt\n00:13:19\nReads “The Bat Cage” [from Winter of the Luna Moth]. \n \nJoe Rosenblatt\n00:14:39\nOh we're like bats to people. We used to have, I used to, when I was a kid I went to school and we had a music teacher who was a bit of a nut. She used to rap kids across the knuckles, you know, just to hear them singing. [Audience laughter]. I may have called her Mrs. Love, I can't recall, the trauma was too great. \n \nJoe Rosenblatt\n00:15:02\nReads “The Vampire” [from Winter of the Luna Moth].\n \nAudience\n00:15:48\nLaughter and applause.\n \nJoe Rosenblatt\n00:15:55\n\"The Zombie\". Just whistle when you get tired of these bat poems. Do anything you wanna do. \"The Zombie\". By the way, bats are supposed to be unkosher according to Leviticus [https://www.wikidata.org/wiki/Q41490]. It says all fowl that creep going upon all fours shall be an abomination unto you. But in other countries they're great appetizers, the fruit bat especially, and I have an interesting poem, not right now though. \"The Zombie\".\n \nJoe Rosenblatt\n00:16:26\nReads \"The Zombie\" [from Winter of the Luna Moth].\n \nJoe Rosenblatt\n00:17:59\nI'll read one more bat poem, it's the sound thing, an experimental thing which I later developed...too many of these bats here. I wrote a Christmas poem on bats, too. Maybe I should read it. Dedicated to somebody. I'll read the sound poem. It's more important. \"The Butterfly Bat\". There is a butterfly bat. Hm, found in the Orient, a very beautiful bat, orange apparently, very beautiful though. \n \nJoe Rosenblatt\n00:18:43\nReads \"The Butterfly Bat\" [from Winter of the Luna Moth].\n \nJoe Rosenblatt\n00:20:02\nReads \"Orpheus in Stanley Park\" [from Winter of the Luna Moth]. \n \nJoe Rosenblatt\n00:20:50\n\"Sex and Death\". This poem's for a friend of mine. \n \nJoe Rosenblatt\n00:20:54\nReads \"Sex and Death\" [from Winter of the Luna Moth].\n \nJoe Rosenblatt\n00:21:48\nI should read the egg poems, because I don't think many of you have heard them, and I'll do that. You'd probably like them better than the bats. More meaningful. This is called \"Egg Sonata\".\n \nJoe Rosenblatt\n00:22:20\nReads \"Egg Sonata\" [from The LSD Leacock].\n \nAudience\n00:23:38\nLaughter and applause.\n \nJoe Rosenblatt\n00:23:44\nReads [\"Let the egg live\" (?)].\n \nUnknown\n00:24:56\nSilence [cut or edit made in tape. Unknown amount of time elapsed].\n \nJoe Rosenblatt\n00:24:59\nReads \"It's in the egg, in the little round egg\" [from The LSD Leacock].\n \nJoe Rosenblatt\n00:26:57\nOne more egg poem. [Audience laughter and applause]. This is a prose poem. It's called \"The Easter I got for Passover\". [Audience laughter]. It has to do with an argument, whether the body of Christ did not go to heaven, the moderator of the United Church of Canada [https://www.wikidata.org/wiki/Q198745] said yesterday, Right Reverend Ernest Marshall Howes told a press conference that he does not believe in the physical resurrection of Jesus but does believe in a spiritual resurrection. That's from the Globe and Mail [https://www.wikidata.org/wiki/Q43148750], 23rd of April, '65.\n \nJoe Rosenblatt\n00:27:46\nReads \"The Easter I got for Passover\" [from The LSD Leacock].\n \nAudience\n00:30:02\nApplause. \n \nJoe Rosenblatt\n00:30:10\nDo you want to read, John? Where is he? [Audience laughter]. Do you want me to come here? Yeah, okay. I'm getting down to my dirty poems, what am I going to do? I wrote a whole bunch of pornographic poetry, right. I'll read that for the end when the time's up. I wrote a poem to Che Guevara [https://www.wikidata.org/wiki/Q5809], if I can find the thing now, because I really muddled everything up here, oh here it is. It's called \"The Beehive: An Elegy to Che Guevara\".\n \nJoe Rosenblatt\n00:30:52\nReads \"The Beehive: An Elegy to Che Guevara\" [from Winter of the Luna Moth]. \n \nJoe Rosenblatt\n00:31:42\nA poem about a critic, “Fable”.\n \nJoe Rosenblatt\n00:31:47\nReads “Fable” [from Winter of the Luna Moth].  \n \nJoe Rosenblatt\n00:32:37\nI wrote another one about a critic, a friend of mine. It's called \"The Crab Louse\". I'll read it. [Audience laughter]. I think some of you may recognize him. \n \nJoe Rosenblatt\n00:32:47\nReads \"The Crab Louse\".\n \nJoe Rosenblatt\n00:33:25\nReads \"The Fire Bug Poet\".\n \nJoe Rosenblatt\n00:34:29\n\"How Mice Make Love,\" how'd this get in here? \"How Mice Make Love\".\n \nJoe Rosenblatt\n00:34:36\nReads \"How Mice Make Love\" [from Winter of the Luna Moth].\n \nJoe Rosenblatt\n00:35:29\n\"The Electric Rose\".\n \nJoe Rosenblatt\n00:35:34\nReads \"The Electric Rose\" [from Winter of the Luna Moth].\n \nAudience\n00:37:13\nApplause.\n \nJoe Rosenblatt\n00:37:17\nShould I read on? Well this is a poem called \"Itch\". It's about that cat who, you know, in the world of the dead. And as usual I mucked up all the mythology, but it was too late to change the poem. So I said, what the hell. \n \nJoe Rosenblatt\n00:37:44\nReads \"Itch\" [from Winter of the Luna Moth].\n \nJoe Rosenblatt\n00:41:51\nThere's a loathsome typographical error in here. That's what happens.\n \nJoe Rosenblatt\n00:41:56\nResumes reading \"Itch\" [from Winter of the Luna Moth].\n \nJoe Rosenblatt\n00:43:20\n[Unintelligible] a more cheerful poem, if I can find one here. How about \"Cricket Love\"? I'll read one very early poem I wrote, \"Better She Dressed in a Black Garment\". \n \nJoe Rosenblatt\n00:43:39\nReads \"Better She Dressed in a Black Garment\" [from Winter of the Luna Moth].\n \nJoe Rosenblatt\n00:44:21\nThank you. \n \nAudience\n00:44:22\nApplause.\n \nRoy Kiyooka\n00:44:35\nThere'll be a fifteen minute inter- [cut off abruptly]. \n \nEND\n00:44:37\n\n\njohn_newlove_i006-11-143.mp3 [File 2 of 2]\n\nRoy Kiyooka\n00:00:00\nWell, it gives me a very special kind of pleasure to introduce John Newlove. An old and dear friend. We met in the fall of '61 in Vancouver, and both of us had come from Saskatchewan [https://www.wikidata.org/wiki/Q1989] to Vancouver. I think that some of John's most memorable early poems have to do with the fact of Saskatchewan.  It's perhaps not an exaggeration to say that the place does continue to haunt him, and hopefully that the exorcism is not complete and that we may get some more Saskatchewan poems. Subsequently, and this is still in Vancouver, we shared a studio, or rather, he shared my studio [audience laughter], for a period of little over a year. Now during this time, we played marathon games of chess, ate several hundred dozens of chocolate-coated Long Johns, scribbled poems, dribbled paint, drank cheap red wine...and read through at least a dozen five-foot shelves of great and lesser works of literature, not to mention the confusion of mice, drunken poets, women, painters, and assorted kooks who kept visiting us. Now, it was during this period that his first book, called Grave Sirs was printed, and I have in italics here \"more or less.\" If you want to know the history of that book, you can ask John. I think there must be fifty odd copies that are still unbound someplace. This was printed by Robert Reed. It was followed by a second, called Elephants, Mothers, and Others, done by Tak Tanabe, again in Vancouver, and subsequent to that, it was rumored that Robert Columbo had discovered John Newlove for Canadian poetry [audience laughter], when he collected some of his works together in an anthology called Poetry '64. Now. Following this, of course, Contact Press bought out his book, Moving in Alone, which was perhaps the book that brought him his first large-scale critical attention. Meanwhile, of course, I'd come here, and some time afterwards I received a book, a wee book, called...let's see. [Audience laughter]. Can't read my own printing here. What They Say. Yes, What They Say is a wee book of poems, it's made up of the rejects from his manuscript that he submitted to McClelland and Stewart [https://www.wikidata.org/wiki/Q6800322]. McClelland and Stewart is to bring out his next book of poems called Black Night Window, when they get around to doing it. The manuscript has been in their hands for over twenty-four months. There has been much other activity which include three, two years and a third one coming up as poet in residence at Deep Springs [https://www.wikidata.org/wiki/Q5250324] in California [https://www.wikidata.org/wiki/Q99]. I want to conclude this little preamble by saying that at the time that John moved out of our studio, I took over this room that he slept in and wrote poetry in. The mattress in this room was about sixteen inches from the floor, and on two sides, on the wall, there was copious scribbling.  Most of it were quotations from Heraclitus [https://www.wikidata.org/wiki/Q41155] that he was reading at that time.\n \nAudience\n00:04:43\nApplause.\n \nJohn Newlove\n00:04:51\nThey weren't quotations from whoever, whatever Greek name that was you just made up, [audience laughter], they were from Herodotus [https://www.wikidata.org/wiki/Q26825]. And, Roy [https://www.wikidata.org/wiki/Q3445789] might have mentioned that, while I suppose technically you could say I was sharing the studio, I was paying half the rent.  Almost half the rent. I was paying some rent. [Audience laughter]. And he never mentioned who won most of the chess games. I write a lot of...who's throwing things at me?  You didn't win any chess games. [Audience laughter]. And you weren't paying any rent, either. I write a lot of poems about dreams, one night I woke up with a dream about an Australian chief and I managed to write down most of it. It's called \"The Almost King\".\n \nJohn Newlove\n00:05:42\nReads \"The Almost King\" [audience laughter throughout].\n\nJohn Newlove\n00:08:32\nWell, when you have dreams like that, you don't really have much chance. I've a number of short poems, I'm told it's not good to give them at poetry readings because people don't listen fast enough or something. But. [Laughter]. This...Yes, that ashtray is stolen from the faculty club, George, and your wife stole it. [Audience laughter]. This one is called \"The Candle\".\n \nJohn Newlove\n00:09:07\nReads \"The Candle\".\n \nJohn Newlove\n00:09:19\nAgain a dream. This poem, misprinted in the Malahat Review [https://www.wikidata.org/wiki/Q1567225], is one that I most like. It's called \"The Engine and the Sea\".\n \nJohn Newlove\n00:09:32\nReads \"The Engine and the Sea\" [published later in The Cave and in The Fat Man].\n \nJohn Newlove\n00:11:26\nLove poems about sleep. And about dreams. This one is called \"Before Sleep\". I used to have a great deal of trouble going to sleep because I was afraid I would have nightmares.\n \nJohn Newlove\n00:11:44\nReads \"Before Sleep\" [later published in The Cave and in The Fat Man].\n \nJohn Newlove\n00:12:53\nAnd again another one about dreams, this one called \"The Dream Man”. Dreamed I once wrote a dream about somebody else's dream, but that's not fair, dreams are copyright. This was my own. [Audience laughter].\n \nJohn Newlove\n00:13:09\nReads \"The Dream Man\".\n \nJohn Newlove\n00:14:35\nAccording to the rules, you're supposed to say things in between poems, but I can't really ever think of anything appropriate to say in between them, so. I used to have some nice Ed Sullivan [https://www.wikidata.org/wiki/Q83807] routines, but I've forgotten them. This poem is called \"Burn\".\n \nJohn Newlove\n00:14:52\nReads \"Burn\".\n \nJohn Newlove\n00:15:16\nAnd this one, an old one, again fairly short. It's called \"No Song\".\n \nJohn Newlove\n00:15:25\nReads \"No Song\" [from Black Night Window and published later in The Fat Man].\n \nJohn Newlove\n00:15:47\nI have a poem I wrote for and about a friend, but after the poem was finished as you may see, I showed it to him but I didn't tell him it was about him. He said it was a very good poem and very accurate, and so on. But he didn't know it was about himself. It's called, \"What do you want, what do you want?\".\n \nJohn Newlove\n00:16:06\nReads \"What do you want, what do you want?\" [from Black Night Window and later published in The Fat Man; audience laughter and applause throughout].\n  \nJohn Newlove\n00:17:01\nAfter he said it was such an accurate poem, I couldn't tell him it was about him. This one's called \"Strand by Strand\".\n \nJohn Newlove\n00:17:14\nReads \"Strand by Strand\".\n \nJohn Newlove\n00:17:56\nThis is the first time I've kept to a list of...because usually I decide that I don't want to read a particular poem and I get all confused, but I'm very pleased with myself when I keep right to the schedule. Everything organized, everything complete. This short poem in five naturally short pieces is called \"One Day\".\n \nJohn Newlove\n00:18:23\nReads \"One Day\".\n \nJohn Newlove\n00:18:55\nCharles Williams [https://www.wikidata.org/wiki/Q124735] died in about 1953, he was an Englishman, originally Cockney. He wrote a number of what I think are very good poems, a number of detective novels, some theological deputation, I guess would be the right word. One of his detective novels is about finding the holy grail. It's called War in Heaven and it's out in Faber Paperback, go and buy it, it's really nice. This poem is for and from and about Charles Williams.\n \nJohn Newlove\n00:19:35\nReads “For and From Charles Williams” [from What They Say].\n \nJohn Newlove\n00:20:04\nNow my list has gone to pot, because I've got a poem down in a magazine that I didn't bring. So. One day some years ago, I was hitchhiking out to British Columbia [https://www.wikidata.org/wiki/Q1974]. I got to a place called Golden [https://www.wikidata.org/wiki/Q1020179], B.C. and I had to go up the Big Bend Highway [https://www.wikidata.org/wiki/Q30253222], this would be before the Rogers Pass [https://www.wikidata.org/wiki/Q383051] was open. And I got a ride about thirty miles in on what I didn't know was an illegally-present logging truck, because the Big Bend Highway was not open to traffic for three more days. So I sat three days on the Big Bend Highway. This poem roughly...well, it's called \"Solitaire\".\n \nJohn Newlove\n00:20:47\nReads \"Solitaire\" [from Black Night Window and published later in The Fat Man].\n \nJohn Newlove\n00:21:22\nThis short one called \"El Paso\" because El Paso was the place where it happens. It was ninety degrees outside in El Paso [https://www.wikidata.org/wiki/Q16562], and with the air conditioning, which I couldn't turn off, it was about thirty below. And I couldn't sleep, I had to get up in the middle of the night and get dressed and get under the blankets, and I caught terrible cold in that motel. \n \nJohn Newlove\n00:21:41\nReads \"El Paso\".\n \nJohn Newlove\n00:21:56\nSince I've been out of Nova Scotia, I've written a couple of poems about or around Nova Scotia. The main thing I can't seem to get in a poem just yet is the difference between the Pacific Ocean [https://www.wikidata.org/wiki/Q98], in Vancouver, and the Atlantic [https://www.wikidata.org/wiki/Q97]. There seems a tremendous difference that I can feel but that I can't seem yet to grasp in the fact. This poem is called \"God Bless You\".\n \nJohn Newlove\n00:22:24\nReads \"God Bless You\" [later published in The Cave and in The Fat Man].\n \nAudience\n00:22:43\nLaughter.\n \nJohn Newlove\n00:22:47\nThe next piece is on the back of my list. I think this is about the only other ethnic Nova Scotia-type poem that I've got, but I was only there for about six months and I can't quite put out a book yet. This is called \"By the Grey Atlantic\".\n \nJohn Newlove\n00:23:04\nReads \"By the Grey Atlantic\" [published later in The Cave and in The Fat Man].\n \nJohn Newlove\n00:23:31\nI think I'll read quickly a number of poems from this book. I'm anxious not to keep you too long, if anybody feels like walking out, I won't really be insulted if you'll [unintelligible]. These are all quite simple so I might as well just give the title in my school-class fashion and then go on to read them. This is called \"The Photograph my Mother Keeps\". I might see first that Veregin [https://www.wikidata.org/wiki/Q7921203] is a town in Saskatchewan named after a leader of the Doukhobors [https://www.wikidata.org/wiki/Q5302215], they first came to that area after Peter the Lordly Verigin [https://www.wikidata.org/wiki/Q4107818] [unintelligible] his palace, which is really just a gigantic farmhouse, it's outside the town. \n \nJohn Newlove\n00:24:19\nReads \"The Photograph my Mother Keeps\".\n \nJohn Newlove\n00:25:04\nThis one, about a pregnant girl, it's called \"On Her Long Bed of Night”.\n \nJohn Newlove\n00:25:09\nReads \"On Her Long Bed of Night\".\n \nJohn Newlove\n00:26:12\nSo, this one's about my father. Drowning kittens, in a lot of houses in Saskatchewan you keep a rain barrel on a corner of the house underneath a spout to get the fresh rainwater for washing and so on.\n \nJohn Newlove\n00:26:27\nReads “My Daddy Drowned” [from Elephants, Mothers and Others and later published in The Fat Man].\n \nAudience\n00:27:09.11\nLaughter and applause.\n \nJohn Newlove\n00:27:18\nThis one is called \"Half in Love\".\n \nJohn Newlove\n00:27:22\nReads \"Half in Love\".\n \nJohn Newlove\n00:28:02\nThis one is called \"Sister Cowen\". She used to run a mission in Edmonton [https://www.wikidata.org/wiki/Q2096], and she had very good stew. She was a very violent woman. On Christmas Eve she used to give all the bums fifty cents, but she gave a particularly long sermon on Christmas Eve. She was very down on booze.\n \nJohn Newlove\n00:28:25\nReads \"Sister Cowen\".\n \nJohn Newlove\n00:28:40\nLaughter.\n \nJohn Newlove\n00:28:49\nThis one is set in Vancouver outside Roy Kiyooka's studio. \n \nJohn Newlove\n00:28:58\nReads unnamed poem.\n \nJohn Newlove\n00:29:30\nThe name of this book is Elephants, Mothers, and Others. I've read poems about others and one about my mother, and this is the elephant’s poem. \n \nJohn Newlove\n00:29:41\nReads “Elephants” from Elephants, Mothers, and Others [and published later in The Fat Man; audience laughter throughout].\n \nJohn Newlove\n00:30:01\nI think I've gone on too long, there is a longish poem called \"The Fat Man\", which I want to read, so I'll skip the rest of the stuff I thought I was going to read and just do this one.\n \nAnnotation\n00:30:18\nReads \"The Fat Man\" [published later in The Fat Man].\n \nAudience\n00:34:47\nApplause.\n \nJohn Newlove\n00:34:48\nIt's not finished, you see, it's not...[Audience laughter].\n \nJohn Newlove\n00:34:52\nResumes reading \"The Fat Man\" [published later in The Fat Man].\n \nJohn Newlove\n00:36:33\nThank you.\n \nAudience\n00:36:35\nApplause.\n \nEND\n00:36:55\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1968, Rosenblatt published his third collection of poetry, The winter of the lunar moth (House of Anansi).\\n\\n In 1968, Newlove published Black Night Window (McClelland & Stewart) and 3 Poems (Western P). The Fat Man: Selected Poems 1962-1972 (McClelland & Stewart, 1977) collects poems written during this time.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nRosenblatt was an influential and up-and-coming Canadian poet in the mid 60’s and while there is no direct connection to Sir George Williams University, he was friends with and known by many in poetry circles.\\n\\nAs illustrated in the introduction to this reading, John Newlove was close friends with Roy Kiyooka (Professor at Sir George Williams and Reading Series Committee member) when they both lived in Vancouver. Newlove was also an important Canadian and Prairie poet.\",\"type\":\"General\"},{\"note\":\"Original transcript by Rachel Kyne\\n\\nOriginal print catalogue, introduction, research, and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\\n\",\"type\":\"Cataloguer\"},{\"note\":\"2 reel-to-reel tapes>2 CDs> 2 digital files\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/807465072&referer=brief_results\",\"citation\":\"Besner, Neil. \\\"Rosenblatt, Joe (Joseph)\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ian Hamilton (ed). Oxford University Press, 1996. \"},{\"url\":\"https://www.worldcat.org/title/contemporary-canadian-poem-anthology/oclc/988192362&referer=brief_results\",\"citation\":\"Bowering, George (ed). “John Newlove”. The Contemporary Canadian Poem Anthology.         Toronto: Coach House Press, 1984.\"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/john-newlove-at-sgwu-1968/\",\"citation\":\"Charny, Marty. “Georgantics.” The Georgian. Montreal: Sir George Williams University, 9 February 1968. \"},{\"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. “Joe Rosenblatt”. From There to Here: A Guide to English-Canadian Literature Since 1960. 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. “John Newlove”. From There to Here: A Guide to English-Canadian Literature Since 1960. Erin, Ontario: Press Porcepic, 1974. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Davey, Frank. \\\"Rosenblatt, Joe\\\". The Oxford Companion to Canadian Literature. Eugene Benson and William Toye (eds). Oxford University Press, 2001. \"},{\"url\":\"https://www.worldcat.org/title/15-canadian-poets-x2/oclc/40224711&referer=brief_results\",\"citation\":\"Geddes, Gary (ed). Fifteen Canadian Poets Times Two. Toronto: Oxford University Press, 1990. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Geddes, Gary. \\\"Newlove, John\\\". The Oxford Companion to Canadian Literature. Eugene Benson and William Toye (eds). Oxford University Press, 2001.\"},{\"url\":\"http://www.ccca.ca/history/ozz/english/authors/newlove_john.html\",\"citation\":\"“John Newlove (1938-)”. One Zero Zero: A Virtual Library of English Canadian Small Press 1945-2044. Centre for Contemporary Canadian Art, York University. \"},{\"url\":\"https://canpoetry.library.utoronto.ca/rosenblatt/index.htm\",\"citation\":\"“Joe Rosenblatt: Biography”. Canadian Poetry Online. University of Toronto Libraries, 2000. \"},{\"url\":\"https://canpoetry.library.utoronto.ca/newlove/index.htm\",\"citation\":\"“John Newlove: Biography”. Canadian Poetry Online. University of Toronto Libraries, 2000.\"},{\"url\":\"https://www.worldcat.org/title/poets-of-contemporary-canada-1960-1970/oclc/42678409&referer=brief_results\",\"citation\":\"Mandel, Eli (ed). “Joe Rosenblatt”. Poets of Contemporary Canada 1960-1970. Montreal, Quebec: McClelland and Stewart, 1972. \"},{\"url\":\"https://www.worldcat.org/title/poets-of-contemporary-canada-1960-1970/oclc/42678409&referer=brief_results\",\"citation\":\"Mandel, Eli (ed). “John Newlove”. Poets of Contemporary Canada 1960-1970. Montreal:         McClelland & Stewart, 1972. \"},{\"url\":\"https://www.worldcat.org/title/apology-for-absence-selected-poems-1962-1992/oclc/751573535&referer=brief_results\",\"citation\":\"Newlove, John. Apology for Absence: Selected Poems 1962-1992. Ontario: The Porcupine’s Quill, 1993.\"},{\"url\":\"https://www.worldcat.org/title/black-night-window/oclc/253373347&referer=brief_results\",\"citation\":\"Newlove, John. Black Night Window. Toronto: McClelland and Stewart, 1968. \"},{\"url\":\"https://www.worldcat.org/title/cave/oclc/556837824&referer=brief_results\",\"citation\":\"Newlove, John. The Cave. Toronto: McClelland and Stewart, 1970.\"},{\"url\":\"https://www.worldcat.org/title/fat-man-selected-poems-1962-1972/oclc/299451378&referer=brief_results\",\"citation\":\"Newlove, John. The Fat Man: Selected Poems 1962-1972. Toronto: McClelland and Stewart, 1977.\"},{\"url\":\"https://www.worldcat.org/title/what-they-say/oclc/433815288&referer=brief_results\",\"citation\":\"Newlove, John. What They Say. Ontario: Weed/Flower Press, 1967. \"},{\"url\":\"http://www.abcbookworld.com/view_author.php?id=1871\",\"citation\":\"“Newlove, John”. ABC BookWorld, Simon Fraser University Library. \"},{\"url\":\"https://www.worldcat.org/title/lsd-leacock-a-new-volume-of-poetry-by-joe-rosenblatt-with-20-drawings-by-r-daigneault-published-by-the-coach-house-press/oclc/1007418956&referer=brief_results\",\"citation\":\"Rosenblatt, Joe. The LSD Leacock. Toronto: Coach House Press, 1966. \"},{\"url\":\"https://www.worldcat.org/title/lunatic-muse/oclc/1150303654&referer=brief_results\",\"citation\":\"Rosenblatt, Joe. The Lunatic Muse. Holstein, Ontario: Exile Editions, 2007.\"},{\"url\":\"https://www.worldcat.org/title/winter-of-the-luna-moth/oclc/557044236&referer=brief_results\",\"citation\":\"Rosenblatt, Joe. Winter of the Luna Moth. Toronto: Anansi Press, 1968. \"},{\"url\":\"http://news.google.com/newspapers?id=np8tAAAAIBAJ&sjid=PKAFAAAAIBAJ&pg=4195,2837932&dq=sir+george+williams+poetry&hl=en\",\"citation\":\"“SGWU To Have Poetry Series”. The Gazette. 14 September 1967, page 15. \"},{\"url\":\"https://www.worldcat.org/title/encyclopedia-of-post-colonial-literatures-in-english-vol-1/oclc/32566813&referer=brief_results\",\"citation\":\"Whalen, Terry. “Newlove, John (1938-)”. Routledge Encyclopedia of Post-Colonial Literatures in English. Eugene Benson & L.W. Connolly (eds). London: Routledge, 1994. 2 Vols. \"},{\"url\":\"\",\"citation\":\"“Poetry Readings”. OP-ED. Montreal: Sir George Williams University, 6 October 1967, page 6. \"}]"],"_version_":1853670548835401728,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/john_newlove_i006-11-143.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"john_newlove_i006-11-143.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:36:55\",\"precision\":\"\",\"size\":\"88.6 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"john_newlove_i006-11-143.mp3 [File 2 of 2]\\n\\nRoy Kiyooka\\n00:00:00\\nWell, it gives me a very special kind of pleasure to introduce John Newlove. An old and dear friend. We met in the fall of '61 in Vancouver, and both of us had come from Saskatchewan [https://www.wikidata.org/wiki/Q1989] to Vancouver. I think that some of John's most memorable early poems have to do with the fact of Saskatchewan.  It's perhaps not an exaggeration to say that the place does continue to haunt him, and hopefully that the exorcism is not complete and that we may get some more Saskatchewan poems. Subsequently, and this is still in Vancouver, we shared a studio, or rather, he shared my studio [audience laughter], for a period of little over a year. Now during this time, we played marathon games of chess, ate several hundred dozens of chocolate-coated Long Johns, scribbled poems, dribbled paint, drank cheap red wine...and read through at least a dozen five-foot shelves of great and lesser works of literature, not to mention the confusion of mice, drunken poets, women, painters, and assorted kooks who kept visiting us. Now, it was during this period that his first book, called Grave Sirs was printed, and I have in italics here \\\"more or less.\\\" If you want to know the history of that book, you can ask John. I think there must be fifty odd copies that are still unbound someplace. This was printed by Robert Reed. It was followed by a second, called Elephants, Mothers, and Others, done by Tak Tanabe, again in Vancouver, and subsequent to that, it was rumored that Robert Columbo had discovered John Newlove for Canadian poetry [audience laughter], when he collected some of his works together in an anthology called Poetry '64. Now. Following this, of course, Contact Press bought out his book, Moving in Alone, which was perhaps the book that brought him his first large-scale critical attention. Meanwhile, of course, I'd come here, and some time afterwards I received a book, a wee book, called...let's see. [Audience laughter]. Can't read my own printing here. What They Say. Yes, What They Say is a wee book of poems, it's made up of the rejects from his manuscript that he submitted to McClelland and Stewart [https://www.wikidata.org/wiki/Q6800322]. McClelland and Stewart is to bring out his next book of poems called Black Night Window, when they get around to doing it. The manuscript has been in their hands for over twenty-four months. There has been much other activity which include three, two years and a third one coming up as poet in residence at Deep Springs [https://www.wikidata.org/wiki/Q5250324] in California [https://www.wikidata.org/wiki/Q99]. I want to conclude this little preamble by saying that at the time that John moved out of our studio, I took over this room that he slept in and wrote poetry in. The mattress in this room was about sixteen inches from the floor, and on two sides, on the wall, there was copious scribbling.  Most of it were quotations from Heraclitus [https://www.wikidata.org/wiki/Q41155] that he was reading at that time.\\n \\nAudience\\n00:04:43\\nApplause.\\n \\nJohn Newlove\\n00:04:51\\nThey weren't quotations from whoever, whatever Greek name that was you just made up, [audience laughter], they were from Herodotus [https://www.wikidata.org/wiki/Q26825]. And, Roy [https://www.wikidata.org/wiki/Q3445789] might have mentioned that, while I suppose technically you could say I was sharing the studio, I was paying half the rent.  Almost half the rent. I was paying some rent. [Audience laughter]. And he never mentioned who won most of the chess games. I write a lot of...who's throwing things at me?  You didn't win any chess games. [Audience laughter]. And you weren't paying any rent, either. I write a lot of poems about dreams, one night I woke up with a dream about an Australian chief and I managed to write down most of it. It's called \\\"The Almost King\\\".\\n \\nJohn Newlove\\n00:05:42\\nReads \\\"The Almost King\\\" [audience laughter throughout].\\n\\nJohn Newlove\\n00:08:32\\nWell, when you have dreams like that, you don't really have much chance. I've a number of short poems, I'm told it's not good to give them at poetry readings because people don't listen fast enough or something. But. [Laughter]. This...Yes, that ashtray is stolen from the faculty club, George, and your wife stole it. [Audience laughter]. This one is called \\\"The Candle\\\".\\n \\nJohn Newlove\\n00:09:07\\nReads \\\"The Candle\\\".\\n \\nJohn Newlove\\n00:09:19\\nAgain a dream. This poem, misprinted in the Malahat Review [https://www.wikidata.org/wiki/Q1567225], is one that I most like. It's called \\\"The Engine and the Sea\\\".\\n \\nJohn Newlove\\n00:09:32\\nReads \\\"The Engine and the Sea\\\" [published later in The Cave and in The Fat Man].\\n \\nJohn Newlove\\n00:11:26\\nLove poems about sleep. And about dreams. This one is called \\\"Before Sleep\\\". I used to have a great deal of trouble going to sleep because I was afraid I would have nightmares.\\n \\nJohn Newlove\\n00:11:44\\nReads \\\"Before Sleep\\\" [later published in The Cave and in The Fat Man].\\n \\nJohn Newlove\\n00:12:53\\nAnd again another one about dreams, this one called \\\"The Dream Man”. Dreamed I once wrote a dream about somebody else's dream, but that's not fair, dreams are copyright. This was my own. [Audience laughter].\\n \\nJohn Newlove\\n00:13:09\\nReads \\\"The Dream Man\\\".\\n \\nJohn Newlove\\n00:14:35\\nAccording to the rules, you're supposed to say things in between poems, but I can't really ever think of anything appropriate to say in between them, so. I used to have some nice Ed Sullivan [https://www.wikidata.org/wiki/Q83807] routines, but I've forgotten them. This poem is called \\\"Burn\\\".\\n \\nJohn Newlove\\n00:14:52\\nReads \\\"Burn\\\".\\n \\nJohn Newlove\\n00:15:16\\nAnd this one, an old one, again fairly short. It's called \\\"No Song\\\".\\n \\nJohn Newlove\\n00:15:25\\nReads \\\"No Song\\\" [from Black Night Window and published later in The Fat Man].\\n \\nJohn Newlove\\n00:15:47\\nI have a poem I wrote for and about a friend, but after the poem was finished as you may see, I showed it to him but I didn't tell him it was about him. He said it was a very good poem and very accurate, and so on. But he didn't know it was about himself. It's called, \\\"What do you want, what do you want?\\\".\\n \\nJohn Newlove\\n00:16:06\\nReads \\\"What do you want, what do you want?\\\" [from Black Night Window and later published in The Fat Man; audience laughter and applause throughout].\\n  \\nJohn Newlove\\n00:17:01\\nAfter he said it was such an accurate poem, I couldn't tell him it was about him. This one's called \\\"Strand by Strand\\\".\\n \\nJohn Newlove\\n00:17:14\\nReads \\\"Strand by Strand\\\".\\n \\nJohn Newlove\\n00:17:56\\nThis is the first time I've kept to a list of...because usually I decide that I don't want to read a particular poem and I get all confused, but I'm very pleased with myself when I keep right to the schedule. Everything organized, everything complete. This short poem in five naturally short pieces is called \\\"One Day\\\".\\n \\nJohn Newlove\\n00:18:23\\nReads \\\"One Day\\\".\\n \\nJohn Newlove\\n00:18:55\\nCharles Williams [https://www.wikidata.org/wiki/Q124735] died in about 1953, he was an Englishman, originally Cockney. He wrote a number of what I think are very good poems, a number of detective novels, some theological deputation, I guess would be the right word. One of his detective novels is about finding the holy grail. It's called War in Heaven and it's out in Faber Paperback, go and buy it, it's really nice. This poem is for and from and about Charles Williams.\\n \\nJohn Newlove\\n00:19:35\\nReads “For and From Charles Williams” [from What They Say].\\n \\nJohn Newlove\\n00:20:04\\nNow my list has gone to pot, because I've got a poem down in a magazine that I didn't bring. So. One day some years ago, I was hitchhiking out to British Columbia [https://www.wikidata.org/wiki/Q1974]. I got to a place called Golden [https://www.wikidata.org/wiki/Q1020179], B.C. and I had to go up the Big Bend Highway [https://www.wikidata.org/wiki/Q30253222], this would be before the Rogers Pass [https://www.wikidata.org/wiki/Q383051] was open. And I got a ride about thirty miles in on what I didn't know was an illegally-present logging truck, because the Big Bend Highway was not open to traffic for three more days. So I sat three days on the Big Bend Highway. This poem roughly...well, it's called \\\"Solitaire\\\".\\n \\nJohn Newlove\\n00:20:47\\nReads \\\"Solitaire\\\" [from Black Night Window and published later in The Fat Man].\\n \\nJohn Newlove\\n00:21:22\\nThis short one called \\\"El Paso\\\" because El Paso was the place where it happens. It was ninety degrees outside in El Paso [https://www.wikidata.org/wiki/Q16562], and with the air conditioning, which I couldn't turn off, it was about thirty below. And I couldn't sleep, I had to get up in the middle of the night and get dressed and get under the blankets, and I caught terrible cold in that motel. \\n \\nJohn Newlove\\n00:21:41\\nReads \\\"El Paso\\\".\\n \\nJohn Newlove\\n00:21:56\\nSince I've been out of Nova Scotia, I've written a couple of poems about or around Nova Scotia. The main thing I can't seem to get in a poem just yet is the difference between the Pacific Ocean [https://www.wikidata.org/wiki/Q98], in Vancouver, and the Atlantic [https://www.wikidata.org/wiki/Q97]. There seems a tremendous difference that I can feel but that I can't seem yet to grasp in the fact. This poem is called \\\"God Bless You\\\".\\n \\nJohn Newlove\\n00:22:24\\nReads \\\"God Bless You\\\" [later published in The Cave and in The Fat Man].\\n \\nAudience\\n00:22:43\\nLaughter.\\n \\nJohn Newlove\\n00:22:47\\nThe next piece is on the back of my list. I think this is about the only other ethnic Nova Scotia-type poem that I've got, but I was only there for about six months and I can't quite put out a book yet. This is called \\\"By the Grey Atlantic\\\".\\n \\nJohn Newlove\\n00:23:04\\nReads \\\"By the Grey Atlantic\\\" [published later in The Cave and in The Fat Man].\\n \\nJohn Newlove\\n00:23:31\\nI think I'll read quickly a number of poems from this book. I'm anxious not to keep you too long, if anybody feels like walking out, I won't really be insulted if you'll [unintelligible]. These are all quite simple so I might as well just give the title in my school-class fashion and then go on to read them. This is called \\\"The Photograph my Mother Keeps\\\". I might see first that Veregin [https://www.wikidata.org/wiki/Q7921203] is a town in Saskatchewan named after a leader of the Doukhobors [https://www.wikidata.org/wiki/Q5302215], they first came to that area after Peter the Lordly Verigin [https://www.wikidata.org/wiki/Q4107818] [unintelligible] his palace, which is really just a gigantic farmhouse, it's outside the town. \\n \\nJohn Newlove\\n00:24:19\\nReads \\\"The Photograph my Mother Keeps\\\".\\n \\nJohn Newlove\\n00:25:04\\nThis one, about a pregnant girl, it's called \\\"On Her Long Bed of Night”.\\n \\nJohn Newlove\\n00:25:09\\nReads \\\"On Her Long Bed of Night\\\".\\n \\nJohn Newlove\\n00:26:12\\nSo, this one's about my father. Drowning kittens, in a lot of houses in Saskatchewan you keep a rain barrel on a corner of the house underneath a spout to get the fresh rainwater for washing and so on.\\n \\nJohn Newlove\\n00:26:27\\nReads “My Daddy Drowned” [from Elephants, Mothers and Others and later published in The Fat Man].\\n \\nAudience\\n00:27:09.11\\nLaughter and applause.\\n \\nJohn Newlove\\n00:27:18\\nThis one is called \\\"Half in Love\\\".\\n \\nJohn Newlove\\n00:27:22\\nReads \\\"Half in Love\\\".\\n \\nJohn Newlove\\n00:28:02\\nThis one is called \\\"Sister Cowen\\\". She used to run a mission in Edmonton [https://www.wikidata.org/wiki/Q2096], and she had very good stew. She was a very violent woman. On Christmas Eve she used to give all the bums fifty cents, but she gave a particularly long sermon on Christmas Eve. She was very down on booze.\\n \\nJohn Newlove\\n00:28:25\\nReads \\\"Sister Cowen\\\".\\n \\nJohn Newlove\\n00:28:40\\nLaughter.\\n \\nJohn Newlove\\n00:28:49\\nThis one is set in Vancouver outside Roy Kiyooka's studio. \\n \\nJohn Newlove\\n00:28:58\\nReads unnamed poem.\\n \\nJohn Newlove\\n00:29:30\\nThe name of this book is Elephants, Mothers, and Others. I've read poems about others and one about my mother, and this is the elephant’s poem. \\n \\nJohn Newlove\\n00:29:41\\nReads “Elephants” from Elephants, Mothers, and Others [and published later in The Fat Man; audience laughter throughout].\\n \\nJohn Newlove\\n00:30:01\\nI think I've gone on too long, there is a longish poem called \\\"The Fat Man\\\", which I want to read, so I'll skip the rest of the stuff I thought I was going to read and just do this one.\\n \\nAnnotation\\n00:30:18\\nReads \\\"The Fat Man\\\" [published later in The Fat Man].\\n \\nAudience\\n00:34:47\\nApplause.\\n \\nJohn Newlove\\n00:34:48\\nIt's not finished, you see, it's not...[Audience laughter].\\n \\nJohn Newlove\\n00:34:52\\nResumes reading \\\"The Fat Man\\\" [published later in The Fat Man].\\n \\nJohn Newlove\\n00:36:33\\nThank you.\\n \\nAudience\\n00:36:35\\nApplause.\\n \\nEND\\n00:36:55\\n\",\"notes\":\"John Newlove reads from Black Night Window (McClelland & Stewart, 1968), What They Say (Weed/Flower, 1967), Elephants, Mothers and Others (Periwinkle Press, 1963) and poems later published in The Cave (McClelland & Stewart, 1970). Most of these poems have been collected in The Fat Man: Selected Poems 1962-1972 (McClelland & Stewart, 1977).\\n\\n00:00- Roy Kiyooka introduces John Newlove. [INDEX: friend, fall of 1961, Vancouver,        Saskatchewan, early poems, studio, chess, Long Johns, paint, wine, literature, mice,     drunken poets, women, Grave Sirs published in this period, Robert Reed, Elephants,      Mothers and Others, Tak Tanabe, Robert Columbo discovered John Newlove, Canadian        poetry, Poetry ’64, Contact Press, Moving in Alone, critical attention, What They Say \\t(Weed/Flower, 1967), rejected manuscripts submitted to McClelland and Stewart, new   book Black Night Window, manuscript, poet in residence at Deep Springs in California,    Heraclitus.]\\n04:51- John Newlove responds to Kiyooka’s introduction, and introduces “The Almost King”. [INDEX: Herodotus, studio, Roy Kiyooka, rent, chess games, poems about dreams, Australian chief; from unknown source.]\\n05:42- Reads “The Almost King”.\\n08:32- Introduces “The Candle”. [INDEX: drams, short poems, poetry readings, listening, ashtray, faculty club, George (Bowering), Angela (Bowering); from unknown source.]\\n09:07- Reads “The Candle”.\\n09:19- Introduces “The Engine in the Sea”. [INDEX: dream, misprinted in the Malahat Review, favourite poem, supposed to be ‘and the Sea’; first printed in The Cave (McClelland and Stewart, 1970), collected in The Fat Man (McClelland and Stewart, 1977).]\\n09:32- Reads “The Engine and the Sea”.\\n11:26- Introduces “Before Sleep”. [INDEX: love poems about sleep, dreams, problems sleeping, nightmares; first printed in The Cave (McClelland and Stewart, 1970), collected in The Fat Man (McClelland and Stewart, 1977).]\\n11:44- Reads “Before Sleep”.\\n12:53- Introduces “The Dream Man”. [INDEX: dreams, dream about someone else’s dream, copyright; from unknown source.]\\n13:09- Reads “The Dream Man”.\\n14:35- Introduces “Burn”. [INDEX: reading ‘rules’, extra-poetic speech, Ed Sullivan routines; from unknown source.]\\n14:52- Reads “Burn”.\\n15:16- Introduces “No Song”. [INDEX: old poem, short poem; published first in Black Night Window (McClelland and Stewart, 1968), collected in The Fat Man (McClelland and Stewart, 1977).]\\n15:25- Reads “No Song”.\\n15:47- Introduces “What do you want?” [INDEX: wrote for and about a friend; originally    printed in Black Night Window (McClelland and Stewart, 1968), collected in The Fat       Man (McClelland and Stewart, 1977).]\\n16:06- Reads “What do you want?”.\\n17:01- Introduces “Strand by Strand”. [INDEX: from unknown source.]\\n17:14- Reads “Strand by Strand”.\\n17:56- Introduces “One Day”. [INDEX: list of poems to read, poem in five short parts; from unknown source.]\\n18:23- Reads “One Day”.\\n18:55- Introduces first line “For and From Charles Williams”. [INDEX: Charles Williams   \\tdeath in 1953, Englishman, Cockney, detective novels, poems, theological disputation,   holy grail, War in Heaven Faber Paperback; published in What they Say (Weed/flower     Press, 1967).]\\n19:35- Reads first line “For and From Charles Williams”.\\n20:04- Introduces “Solitaire”. [INDEX: list, magazine, hitchhiking in British Columbia, Golden, B.C, Big Bend Highway, Rogers Pass, ride, illegally-present logging truck; originally printed in Black Night Window (McClelland and Stewart, 1968), collected in The Fat Man (McClelland and Stewart, 1977).]\\n20:47- Reads “Solitaire”.\\n21:22- Introduces “El Paso”. [INDEX: ninety degrees, air conditioning, thirty below, sleep, cold, motel; from unknown source.]\\n21:41- Reads “El Paso”.\\n21:56- Introduces “God Bless You”. [INDEX: Nova Scotia, poem, difference between Pacific Ocean and Atlantic Ocean, Vancouver; later printed in The Cave (McClelland and Stewart, 1970), The Fat Man (McClelland and Stewart, 1977).]\\n22:24- Reads “God Bless You”.\\n22:47- Introduces “By the Grey Atlantic”. [INDEX: list, Nova-Scotia-type poem, six months, unfinished book; later printed in The Cave (McClelland and Stewart, 1970), The Fat Man (McClelland and Stewart, 1977).]\\n23:04- Reads “By the Grey Atlantic”.\\n23:31- Introduces “The Photograph my Mother Keeps”. [INDEX: reading poems from book (unknown), title, school-class fashion, Verrigan, Saskatchewan, named after the leader of the Doukhabors, Peter the Lordly Verrigan, farmhouse; from unknown source.]\\n24:19- Reads “The Photograph my Mother Keeps”.\\n25:04- Introduces “On Her Long Bed of Night”. [INDEX: pregnant girl; from unknown        source.]\\n25:09- Reads “On Her Long Bed of Night”.\\n26:12- Introduces “My Daddy Drowned”. [INDEX: father, kittens, houses in Saskatchewan, rain barrel, house, fresh rainwater; published Elephants, Mothers and Others (Periwinkle, 1963), collected in The Fat Man (McClelland and Stewart, 1977).]\\n26:27- Reads “My Daddy Drowned”.\\n27:18- Reads “Half in Love”.\\n28:02- Introduces “Sister Cowen”. [INDEX: Sister Cowen, mission in Edmonton, stew, violent woman, Christmas eve, homeless men, fifty cents, alcohol, sermon; from unknown source.]\\n28:27- Reads “Sister Cowen”.\\n28:49- Introduces first line “The obnoxiously-generated neon suspense...”. [INDEX: Roy        Kiyooka’s studio; from unknown source.]\\n28:58- Reads first line “The obnoxiously-generated neon suspense...”.\\n29:30- Introduces first line “Elephants ”. [INDEX: from Elephants, Mothers and Others        (Periwinkle, 1963) later collected in The Fat Man (McClelland and Stewart, 1977),       \\tmother, others, elephant poem.]\\n29:41- Reads first line “Elephants”.\\n30:01- Introduces “The Fat Man”. [INDEX: reading too long, long poem; from The Fat Man (McClelland and Stewart, 1977).]\\n30:18- Reads “The Fat Man”.\\n00:36:55.23- END OF RECORDING\\n\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0006_11_0143_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"John Newlove 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\":\"I0006_11_0143_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"John Newlove Tape Box - 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Hello, Mr. Bowering [https://www.wikidata.org/wiki/Q1239280]. [Audience laughter]. Well, welcome to the sixth reading of our second series of evenings with Canadian and American poets. Tonight we have Joe Rosenblatt [https://www.wikidata.org/wiki/Q1691575], Toronto [https://www.wikidata.org/wiki/Q172], and John Newlove [https://www.wikidata.org/wiki/Q6250356], formerly of Vancouver [https://www.wikidata.org/wiki/Q24639], now residing in Nova Scotia [https://www.wikidata.org/wiki/Q1952]. Joe Rosenblatt will begin the reading, there will be an intermission, and John Newlove will follow. I'm going to quote largely from the copy in Joe Rosenblatt's book, The LSD Leacock, for I hope servient biographical information. It goes like this, he was born in Toronto on December the 26th, nineteen hundred and thirty-three. He says that he has suffocated in Toronto ever since then. He attended the Central Technical School [https://www.wikidata.org/wiki/Q5061898] and dropped out in Grade 10, he has worked as a grave-digger, plumber's helper, civil servant, railway express misanthrope. He has attended the Provincial Institute of Trades where he acquired a diploma as a welder fitter, his favourite writers are Ambrose Biers, William Blake [https://www.wikidata.org/wiki/Q41513], Emily Dickinson [https://www.wikidata.org/wiki/Q4441], and A.M. Klein [https://www.wikidata.org/wiki/Q2778027], and his favourite dream, is Cyclops turning up at a [nigh-bank (?)]. [Audience laughter]. His previous book of poems, which was probably printed in nineteen hundred and sixty-three, is called Voyage of the Mood. Joe Rosenblatt.\\n \\nAudience\\n00:02:27\\nApplause.\\n \\nJoe Rosenblatt\\n00:02:36\\nWasn't that [unintelligible]. I'm just going to read, start off with a series of poems I had written about my uncle, who was a fishmonger. He had a habit of phyxiating and murdering fish, and slicing them, and slicing them, and...well, I'll start. This is called \\\"Uncle Nathan: Blessed his memory, speaketh in land-locked green\\\".\\n \\nJoe Rosenblatt\\n00:03:11\\nReads \\\"Uncle Nathan: Blessed his memory, speaketh in land-locked green\\\" [from Winter of the Luna Moth].\\n\\nAudience\\n00:06:10\\nApplause.\\n \\nJoe Rosenblatt\\n00:06:16\\n\\\"Ichthycide\\\". Another poem about my uncle. It's funny, really. [Audience laughter].\\n \\nJoe Rosenblatt\\n00:06:29\\nReads \\\"Ichthycide\\\" [from Winter of the Luna Moth].\\n \\nAudience\\n00:08:05\\nLaughter and applause .\\n\\nJoe Rosenblatt\\n00:08:13\\nThis is called \\\"A Shell Game\\\". Has to do with my uncle. [Audience laughter]. It's about his funeral.  Joke.\\n \\nJoe Rosenblatt\\n00:08:27\\nReads \\\"A Shell Game [from Winter of the Luna Moth].\\n \\nJoe Rosenblatt\\n00:09:42\\nI wrote all kinds of poems. I was in Vancouver and I came across the god-awful logic of the zoo. It kinda scared the hell out of me. It was a bat. I've never seen a bat before. Met people who were bats. But this was the real McCoy, it was a fruit bat and it was hanging upside-down, you know, that's the way they live and they fornicate that way too, apparently, upside-down. So I wrote about bats. I have some more fish poems but I get tired of that after a while, you start hating it. And we'll begin with \\\"Bats\\\". While it's true the bat is a mammal, not a bird, there's all types of kinds of mythology based on prejudice about bats and which I've tried to embody in these poems. \\n \\nJoe Rosenblatt\\n00:10:47\\nReads \\\"Bats\\\" [from Winter of the Luna Moth].\\n \\nJoe Rosenblatt\\n00:11:32\\nOutside of the bat poem there came a group of sound poetry. Because I tried to get the feeling of the bat in the air, you know the image of the bat and the way it, and the movements of the bat. And this is called \\\"The Fruit Bat\\\". First encounter with a bat.\\n \\nJoe Rosenblatt\\n00:11:56\\nReads \\\"The Fruit Bat\\\" [from Winter of the Luna Moth].\\n \\nJoe Rosenblatt\\n00:13:16\\nThis is better. This is “The Bat Cage”.\\n \\nJoe Rosenblatt\\n00:13:19\\nReads “The Bat Cage” [from Winter of the Luna Moth]. \\n \\nJoe Rosenblatt\\n00:14:39\\nOh we're like bats to people. We used to have, I used to, when I was a kid I went to school and we had a music teacher who was a bit of a nut. She used to rap kids across the knuckles, you know, just to hear them singing. [Audience laughter]. I may have called her Mrs. Love, I can't recall, the trauma was too great. \\n \\nJoe Rosenblatt\\n00:15:02\\nReads “The Vampire” [from Winter of the Luna Moth].\\n \\nAudience\\n00:15:48\\nLaughter and applause.\\n \\nJoe Rosenblatt\\n00:15:55\\n\\\"The Zombie\\\". Just whistle when you get tired of these bat poems. Do anything you wanna do. \\\"The Zombie\\\". By the way, bats are supposed to be unkosher according to Leviticus [https://www.wikidata.org/wiki/Q41490]. It says all fowl that creep going upon all fours shall be an abomination unto you. But in other countries they're great appetizers, the fruit bat especially, and I have an interesting poem, not right now though. \\\"The Zombie\\\".\\n \\nJoe Rosenblatt\\n00:16:26\\nReads \\\"The Zombie\\\" [from Winter of the Luna Moth].\\n \\nJoe Rosenblatt\\n00:17:59\\nI'll read one more bat poem, it's the sound thing, an experimental thing which I later developed...too many of these bats here. I wrote a Christmas poem on bats, too. Maybe I should read it. Dedicated to somebody. I'll read the sound poem. It's more important. \\\"The Butterfly Bat\\\". There is a butterfly bat. Hm, found in the Orient, a very beautiful bat, orange apparently, very beautiful though. \\n \\nJoe Rosenblatt\\n00:18:43\\nReads \\\"The Butterfly Bat\\\" [from Winter of the Luna Moth].\\n \\nJoe Rosenblatt\\n00:20:02\\nReads \\\"Orpheus in Stanley Park\\\" [from Winter of the Luna Moth]. \\n \\nJoe Rosenblatt\\n00:20:50\\n\\\"Sex and Death\\\". This poem's for a friend of mine. \\n \\nJoe Rosenblatt\\n00:20:54\\nReads \\\"Sex and Death\\\" [from Winter of the Luna Moth].\\n \\nJoe Rosenblatt\\n00:21:48\\nI should read the egg poems, because I don't think many of you have heard them, and I'll do that. You'd probably like them better than the bats. More meaningful. This is called \\\"Egg Sonata\\\".\\n \\nJoe Rosenblatt\\n00:22:20\\nReads \\\"Egg Sonata\\\" [from The LSD Leacock].\\n \\nAudience\\n00:23:38\\nLaughter and applause.\\n \\nJoe Rosenblatt\\n00:23:44\\nReads [\\\"Let the egg live\\\" (?)].\\n \\nUnknown\\n00:24:56\\nSilence [cut or edit made in tape. Unknown amount of time elapsed].\\n \\nJoe Rosenblatt\\n00:24:59\\nReads \\\"It's in the egg, in the little round egg\\\" [from The LSD Leacock].\\n \\nJoe Rosenblatt\\n00:26:57\\nOne more egg poem. [Audience laughter and applause]. This is a prose poem. It's called \\\"The Easter I got for Passover\\\". [Audience laughter]. It has to do with an argument, whether the body of Christ did not go to heaven, the moderator of the United Church of Canada [https://www.wikidata.org/wiki/Q198745] said yesterday, Right Reverend Ernest Marshall Howes told a press conference that he does not believe in the physical resurrection of Jesus but does believe in a spiritual resurrection. That's from the Globe and Mail [https://www.wikidata.org/wiki/Q43148750], 23rd of April, '65.\\n \\nJoe Rosenblatt\\n00:27:46\\nReads \\\"The Easter I got for Passover\\\" [from The LSD Leacock].\\n \\nAudience\\n00:30:02\\nApplause. \\n \\nJoe Rosenblatt\\n00:30:10\\nDo you want to read, John? Where is he? [Audience laughter]. Do you want me to come here? Yeah, okay. I'm getting down to my dirty poems, what am I going to do? I wrote a whole bunch of pornographic poetry, right. I'll read that for the end when the time's up. I wrote a poem to Che Guevara [https://www.wikidata.org/wiki/Q5809], if I can find the thing now, because I really muddled everything up here, oh here it is. It's called \\\"The Beehive: An Elegy to Che Guevara\\\".\\n \\nJoe Rosenblatt\\n00:30:52\\nReads \\\"The Beehive: An Elegy to Che Guevara\\\" [from Winter of the Luna Moth]. \\n \\nJoe Rosenblatt\\n00:31:42\\nA poem about a critic, “Fable”.\\n \\nJoe Rosenblatt\\n00:31:47\\nReads “Fable” [from Winter of the Luna Moth].  \\n \\nJoe Rosenblatt\\n00:32:37\\nI wrote another one about a critic, a friend of mine. It's called \\\"The Crab Louse\\\". I'll read it. [Audience laughter]. I think some of you may recognize him. \\n \\nJoe Rosenblatt\\n00:32:47\\nReads \\\"The Crab Louse\\\".\\n \\nJoe Rosenblatt\\n00:33:25\\nReads \\\"The Fire Bug Poet\\\".\\n \\nJoe Rosenblatt\\n00:34:29\\n\\\"How Mice Make Love,\\\" how'd this get in here? \\\"How Mice Make Love\\\".\\n \\nJoe Rosenblatt\\n00:34:36\\nReads \\\"How Mice Make Love\\\" [from Winter of the Luna Moth].\\n \\nJoe Rosenblatt\\n00:35:29\\n\\\"The Electric Rose\\\".\\n \\nJoe Rosenblatt\\n00:35:34\\nReads \\\"The Electric Rose\\\" [from Winter of the Luna Moth].\\n \\nAudience\\n00:37:13\\nApplause.\\n \\nJoe Rosenblatt\\n00:37:17\\nShould I read on? Well this is a poem called \\\"Itch\\\". It's about that cat who, you know, in the world of the dead. And as usual I mucked up all the mythology, but it was too late to change the poem. So I said, what the hell. \\n \\nJoe Rosenblatt\\n00:37:44\\nReads \\\"Itch\\\" [from Winter of the Luna Moth].\\n \\nJoe Rosenblatt\\n00:41:51\\nThere's a loathsome typographical error in here. That's what happens.\\n \\nJoe Rosenblatt\\n00:41:56\\nResumes reading \\\"Itch\\\" [from Winter of the Luna Moth].\\n \\nJoe Rosenblatt\\n00:43:20\\n[Unintelligible] a more cheerful poem, if I can find one here. How about \\\"Cricket Love\\\"? I'll read one very early poem I wrote, \\\"Better She Dressed in a Black Garment\\\". \\n \\nJoe Rosenblatt\\n00:43:39\\nReads \\\"Better She Dressed in a Black Garment\\\" [from Winter of the Luna Moth].\\n \\nJoe Rosenblatt\\n00:44:21\\nThank you. \\n \\nAudience\\n00:44:22\\nApplause.\\n \\nRoy Kiyooka\\n00:44:35\\nThere'll be a fifteen minute inter- [cut off abruptly]. \\n \\nEND\\n00:44:37\\n\",\"notes\":\"Joe Rosenblatt reads from Winter of the Luna Moth (Anansi Press, 1968)] and The LSD Leacock (Coach House Press, 1966) and a few poems from unknown sources.\\n\\n00:00- Roy Kiyooka introduces Joe Rosenblatt. [INDEX: George Bowering, sixth reading, second series, Canadian and American poets, Toronto, John Newlove of Vancouver/Nova Scotia, Joe Rosenblatt as first reader, The LSD Leacock (Coach House Press, 1966), biographical information, born in Toronto Dec. 26, 1933, Central Technical School, dropped out in grade 10, grave-digger, plumber’s helper, civil servant, railway express misanthrope, Provincial Institute of Trades, diploma as a welder fitter, Ambrose Biers, William Blake, Emily Dickinson, A.M. Klein, dream of cyclops turned up at nigh-bank [?], previous book of poems Voyage of the Mood (Heinrich Heine Press, 1963).]\\n02:36- Joe Rosenblatt introduces “Uncle Nathan: Blessed his memory, speaketh in land-locked green” [INDEX series of poems about his uncle, fishmonger, fish, slicing \\tfish; from Winter of the Luna Moth (Anansi, 1968).]\\n03:11- Reads “Uncle Nathan: Blessed his memory, speaketh in land-locked green”.\\n06:16- Introduces “Ichthycide”. [INDEX: poem about uncle, funny; from Winter of the Luna Moth (Anansi, 1968).]\\n06:29- Reads “Ichthycide”\\n08:13- Introduces “A Shell Game” [INDEX: uncle, funeral, joke; from Winter of the Luna Moth (Anansi, 1968).]\\n08:27- Reads “A Shell Game”.\\n09:42- Introduces “Bats”. [INDEX: all kinds of poems, Vancouver, zoo, scared, bat, fruit bat, fornicate, fish poems, mammal, bird, mythology, prejudice about bats; most likely from Winter of the Luna Moth (Anansi, 1968).]\\n10:47- Reads “Bats”.\\n11:32- Introduces “The Fruit Bat”. [INDEX: bat poem, group of sound poetry, feeling of the bat, first encounter; from Winter of the Luna Moth (Anansi, 1968).]\\n11:56- Reads “The Fruit Bat”.\\n13:16- Introduces “The Bat Cage”. [INDEX: from Winter of the Luna Moth (Anansi, 1968).]\\n13:19- Reads “The Bat Cage”.\\n14:39- Introduces “The Vampire”. [INDEX: bats, people, kid, school, music teacher,  \\ttrauma; from Winter of the Luna Moth (Anansi, 1968).]\\n15:02- Reads “The Vampire”.\\n15:55- Introduces “The Zombie”. [INDEX: bat poem, unkosher, Levictis, fowl, appetizers; from Winter of the Luna Moth (Anansi, 1968).]\\n16:26- Reads “The Zombie”.\\n17:59- Introduces “The Butterfly Bat”. [INDEX: bat poem, experimental, Christmas poem, dedication, sound poem, Orient, orange bat; from Winter of the Luna Moth (Anansi, 1968).]\\n18:43- Reads “The Butterfly Bat”.\\n20:02- Reads “Orpheus in Stanley Park”. [INDEX: from Winter of the Luna Moth (Anansi, 1968).]\\n20:50- Introduces “Sex and Death”. [INDEX: for a friend; from Winter of the Luna Moth       (Anansi, 1968).]\\n20:54- Reads “Sex and Death”.\\n21:48- Introduces “Egg Sonata”. [INDEX: egg poem, meaning; from The LSD Leacock (Coach House Press, 1966).]\\n22:20- Reads “Egg Sonata”.\\n23:44- Reads unknown poem, first line “Let the egg live...”. [INDEX: from unknown source]\\n24:59- Reads “It’s in the egg, the little round egg” [INDEX: from The LSD Leacock (Coach House Press, 1966).]\\n27:08- Introduces “The Easter I got for Passover”. [INDEX: prose poem, argument, the body of Christ, moderator of the United Church of Canada, Right Reverend Earnest Marshall Hows, press conference, disbelief in the physical resurrection of Jesus, spiritual resurrection, Globe and Mail, April 23, 1965; from The LSD Leacock (Coach House Press, 1966).]\\n27:46- Reads “The Easter I got for Passover”.\\n30:02- Introduces “The Beehive: An Elegy to Che Guevara” [INDEX: John Newlove, dirty poems, pornographic poems, Che Guevara; from Winter of the Luna Moth (Anansi Press, 1968).] \\n30:52- Reads “The Beehive: An Elegy to Che Guevara”.\\n31:42- Introduces “Fable” [INDEX: critic, fable; from Winter of the Luna Moth (Anansi Press, 1968).]\\n31:47- Reads “Fable”.\\n32:37- Introduces “The Crab Louse”. [INDEX: critic, friend; from unknown source]\\n32:47- Reads “The Crab Louse”.\\n33:25- Reads “The Fire Bug Poet”. [INDEX: from unknown source\\n34:29- Introduces “How Mice Make Love”. [INDEX: from Winter of the Luna Moth (Anansi Press, 1968).]\\n34:36- Reads “How Mice Make Love”.\\n35:29- Reads “The Electric Rose” [INDEX: from Winter of the Luna Moth (Anansi Press,      1968).]\\n37:17- Introduces “Itch”. [INDEX: Cat, world of the dead, mythology from Winter of the Luna Moth (Anansi Press, 1968).]\\n37:44- Reads “Itch”. [INDEX: interrupts poem with admission of a typographical error]\\n43:20- Introduces “Better She Dressed in a Black Garment”. [INDEX: early poem, “Cricket Love”; from Winter of the Luna Moth (Anansi Press, 1968).]\\n43:39- Reads “Better She Dressed in a Black Garment”.\\n44:35- Introducer (Roy Kiyooka) introduces 15 minute intermission.\\n44:37.30- END OF RECORDING.\\n\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/joe-rosenblatt-at-sgwu-1968/\"}]"],"score":1.8530173},{"id":"1270","cataloger_name":["Masoumeh,Zaare"],"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":["Joseph Langland at Sir George Williams University, The Poetry Series, 8 March 1968"],"item_title_source":["Cataloguer"],"item_title_note":["\"JOSEPH LANGLAND I006/SR126\" written on sticker on the spine of the tape's box. \"I006-11-126\" written on sticker on the reel"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 2"],"item_identifiers":["[]"],"creator_names":["Langland, Jospeh"],"creator_names_search":["Langland, Jospeh"],"creators":["[{\"url\":\"http://viaf.org/viaf/92023235\",\"name\":\"Langland, Jospeh\",\"dates\":\"1917-2007\",\"notes\":\"American poet Joseph Langland was born on February 16, 1917, in Spring Grove, Minnesota. He grew up on his family’s farm in Iowa, which had been in his family since 1877. He attended Santa Ana College of California, then the University of Iowa, from which he received his Bachelor’s degree in 1940. A year later, the University of Iowa also awarded him his Master’s degree. Langland taught English during 1941 and 1942 at Dana College in Nebraska. Langland enlisted in the U.S. Infantry from 1942-1946, where he served in Europe during the Second World War. On his trips back to the U.S., Langland married Judith Gail Wood, and had three children. After the war, he served with the Military Government in Bavaria, going on to liberate the Concentration Camp at Buchenwald. By the time Langland left the military in 1946, he had risen to the position of Captain. Langland self-published his first collection of poetry, For Harold  in 1945 while still in Germany. He then taught at the University of Iowa from 1946-1948, at the University of Wyoming from 1948-1959, then to the University of Massachusets, Amherst from 1959-1979 as a Professor Emeritus and as the founder and Director of the Masters of Fine Arts writing program from 1964-1970 and from 1978-1979. Langland published more collections of poetry, including The Green Town (Scribner Press, 1956), The Wheel of Summer (Dial Press, 1963), An Interview and Fourteen Poems (GOB Press, 1973), The Sacrifice Poems (1975), co-edited The Short Story (Macmillan, 1956), and Poet’s Choice with Paul Engel (Dial Press, 1962), co-translated Poetry From the Russian Underground (Harper & Row, 1973). Langland was awarded many honours, including the Ford Fellowship in Humanities in 1953 from the Harvard-Columbia Universities, the Amy Lowell Fellowship in Poetry in 1966, the Melville Can Prize for Poetry from the Poetry Society of America in 1964, an honorary doctorate from Luther College in 1974, and the Living Art Treasure in Literature from the New England Arts Biennial in 1985. He also traveled to guest lecture at the University of Washington, The University of British Columbia and at San Francisco State University. His last publications include Any Body’s Song (Doubleday, 1980), A Dream of Love (Pleiades Press, 1986), Twelve Preludes and Postludes (Adastra Press, 1988) and Selected Poems (University of Massachusetts Press,1991). Joseph Langland died at 90 years old on April 9, 2007.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1968],"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\":\"01:20:00\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"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\":\"1968 3 8\",\"type\":\"Performance Date\",\"notes\":\"Date specified in written announcement \\\"Poetry at S.G.W.U.\\\"\",\"source\":\"Supplemental Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Art Gallery\",\"notes\":\"Location specified in written announcement \\\"Poetry at S.G.W.U.\\\"\",\"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 Art Gallery"],"City":["Montreal, Quebec"],"content_notes":["Joseph Langland reads from The Green Town (Scribner, 1956) and The Wheel of Summer (Dial Press, 1963), as well as poems published later in Poetry from the Russian Underground (Harper & Row, 1973), Any Body’s Song (Doubleday, 1980), and Selected Poems (University of Massachusetts Press, 1991)."],"contents":["joseph_langland_i006-11-126.mp3\n\nUnknown\n00:00:00\nAmbient Sound [voices].\n \nUnknown\n00:00:03\n[Cut or edit made in tape, Unknown amount of time elapsed]. \n \nIntroducer\n00:00:06\nThis evening, Joseph Langland [https://www.wikidata.org/wiki/Q6284810]reads. Mr. Langland was born in Spring Grove [https://www.wikidata.org/wiki/Q203865], Minnesota [https://www.wikidata.org/wiki/Q1527], and attended the public schools of Minnesota and Iowa [https://www.wikidata.org/wiki/Q1546], attended the State University of Iowa [https://www.wikidata.org/wiki/Q182973]. He has taught at the University of British Columbia [https://www.wikidata.org/wiki/Q391028], the University of Washington [https://www.wikidata.org/wiki/Q219563], the San Francisco [https://www.wikidata.org/wiki/Q62] Poetry Center, and so forth. He has been a professor of English at the University of Wyoming [https://www.wikidata.org/wiki/Q1326975], and he is presently a professor of English at the University of Massachusetts [https://www.wikidata.org/wiki/Q1061122]. And he has been associated with the Massachusetts Review as a member of its editorial board. His publications: For Harold, a collection of memorial poems for a younger brother killed in World War II [https://www.wikidata.org/wiki/Q362] and published in Germany [https://www.wikidata.org/wiki/Q183] in 1945, The Green Town, which was published in 1956 by Scribner’s [https://www.wikidata.org/wiki/Q845617] and nominated for the National Book Award [https://www.wikidata.org/wiki/Q572316] in Poetry in 1957, and The Wheel of Summer published in 1963 by Dial Press [https://www.wikidata.org/wiki/Q5270470], and winner of the Melville Kane Poetry Award. He has also published two anthologies, Poet's Choice, co-edited with Paul Engle [https://www.wikidata.org/wiki/Q7150503], published in 1952, and The Short Story, published in 1956 and co-edited with James B. Hall [https://www.wikidata.org/wiki/Q95328740], published by Macmillan [https://www.wikidata.org/wiki/Q2108217]. He has forthcoming a volume, a small volume called Adlai Stevenson, which is to be published in Iowa City [https://www.wikidata.org/wiki/Q487977] by the Stonewall Press, and is, will contain one long memorial poem and two lyrics. And also a larger volume, to appear perhaps next year, called Songs and Half-Songs. His poems have appeared in numerous anthologies, and have appeared in such journals as Poetry Chicago, Hudson Review, Chicago Review [https://www.wikidata.org/wiki/Q5095765], Paris Review [https://www.wikidata.org/wiki/Q3988628], London Magazine [https://www.wikidata.org/wiki/Q2154323], Nation, and so forth. He has written lyrics for songs by Morton Gould [https://www.wikidata.org/wiki/Q1352656], Phillip Esantzen, Elliot Schwartz, and also lyrics and music for folk songs. He has been recorded by FolkWays [https://www.wikidata.org/wiki/Q1435522], Scholastic Records, reading eight of his poems, and he has held a number of grants. In 1953-54 he was, he held a Ford Faculty Fellowship in the Humanities, in 1955 and 56, an Amy Lowell Traveling Poetry Fellowship, and in 1966, or last year, rather, a National Council of Arts Grant in Poetry, and in this period, he gave a series of readings at universities throughout Europe [https://www.wikidata.org/wiki/Q46], in Glasgow [https://www.wikidata.org/wiki/Q4093], London [https://www.wikidata.org/wiki/Q84], Sussex [https://www.wikidata.org/wiki/Q23346], Munich [https://www.wikidata.org/wiki/Q1726], Oslo [https://www.wikidata.org/wiki/Q585], and University College in Dublin [https://www.wikidata.org/wiki/Q1068258]. Ladies and gentlemen, Professor Joseph Langland. \n \nAudience\n00:03:03\nApplause. \n \nJoseph Langland\n00:03:19\nSo much of that sounds irrelevant. So I will begin by reading a poem which was really written in answer to a critic. I've written two poems in answers to critics. And this is one of them. I call it \"Desperate Equations\".\n \nJoseph Langland\n00:03:47\nReads \"Desperate Equations\" [from The Wheel of Summer].\n \nJoseph Langland\n00:04:33\nThen I would like to go to, from that to a newer poem, one which I call \"Natures\".\n \nJoseph Langland\n00:04:44\nReads \"Natures\".\n \nJoseph Langland\n00:06:54\nAnd I'd like to just simply move from that to a poem which is called, \"Dandelion\". It's a poem that, well, the daughter of a famous poet likes it very much, and she recently said so, and so consequently I'm very fond of it at the moment. I think this is a kind of procedure among artists. They tend to like very much, at least for a little while, something that someone else likes. It's a poem which I say partially for my wife, it's a poem of affection, but I wouldn't just simply say \"for\" my wife, it's for all of you, too. \"Dandelion\".\n \nJoseph Langland\n00:07:40\nReads \"Dandelion\" [published later in Any Body’s Song and collected in Selected Poems].\n \nJoseph Langland\n00:09:26\nI visited once a grotto in the southern coast of Italy [https://www.wikidata.org/wiki/Q38], the Amalfi [https://www.wikidata.org/wiki/Q80563] grotto, and it's typical of a whole series of such places. It's completely enclosed. You enter it...well actually, I was there a year ago, and it's a little disappointing, because, to sort of accommodate the tourist trade, they've blown out a little section of the wall, and they've hung a flapping canvas cloth over it. But eleven years ago this wasn't so, and you descend in an elevator into this inner room, and it's an absolutely magic place, it's explained to you, for instance, that about sixteen feet under the level of the sea, the Tyrrhenian Sea [https://www.wikidata.org/wiki/Q38882], there's a large hole in the cave, and the sunlight, particularly in the morning, you come there about 11 in the morning, it's a good time, the sun filters down these sixteen feet and through this huge hole and then comes up inside the cafe. And the effect of this is absolutely eerie because it's completely enclosed, it's like darkness, but you get in there, and you adjust, and everything is just luminous with light, water, everything. You pick up, and you dip your hands in water and pick them up, you know, drops of water fall from your fingers from the orb-blades that splash, the orb is simply just a whole splash of light that goes up, like that. It's magic, see. And I want to believe in the magic, but in this sense I want to believe in this way in poetry. We shouldn't, I think, just simply deceive ourselves, but....so we can talk about what is, but somehow it's a responsibility to do a little bit more than what is, and so I've written this poem, and of course it's about the Amalfi Grotto, it's about our own behaviour, an attitude toward many things, and it's also, for me, a poem about poetry. \"The Amalfi Grotto\".\n \nJoseph Langland\n00:11:38\nReads \"The Amalfi Grotto\" [from The Wheel of Summer; later collected in Selected Poems].\n \nJoseph Langland\n00:12:53\nI would go from that to a poem for my brother. I call the poem \"War\". This was a brother who was killed in the Philippines [https://www.wikidata.org/wiki/Q928] in World War II. I was in Europe at the time. I wrote thirty poems, at least, for him, following this. And finally I wrote this poem. This was...about eleven years afterwards when I got to this poem. And with this poem I knew I was, I was through writing those poems. It's also a poem that's had a very curious history. The history of poems is something that's difficult to predict. I was in Germany at the time, I suppose the next German soldier I met I would have shot. But this poem has been seen, or was seen a few years ago by a former infantry officer in the German Army, who at that moment was a captive at Stalingrad [https://www.wikidata.org/wiki/Q914]. He's come into the United States [https://www.wikidata.org/wiki/Q30] now and teaches music in an American university, not the one I'm in. And so he set it to music. And so it's a strange irony. I started the whole sequence, see, but, see art pays no attention to that kind of enmity whatsoever. And so it's been set to music by a former infantry officer in the German army. Also, just this past week, actually two days ago, I got a notice it's been published in a Japanese anthology, and it's been translated into Italian, and so all the axis powers have translated it, and then somehow, I don't, still don't know how, it found its way after the Hungarian Revolution [https://www.wikidata.org/wiki/Q164348] into Budapest [https://www.wikidata.org/wiki/Q1781] in '56, and got translated there, I understand a very poor translation into Hungarian, but nevertheless it's happened. This is just part of its history. And other things have been happening to it strangely like this. I just mention this because, see, at a certain point the thing is out of your control completely, and you sort of are, I feel a bit humbled by what happens to them, and the uses that people put these things to. I wrote poems in all sorts of forms for my brother, and I finally, there're some subjects...well, I'd heard William Carlos Williams [https://www.wikidata.org/wiki/Q178106] give a reading at the Lexington Y in New York City [https://www.wikidata.org/wiki/Q60] in 1954, and so I said, okay, I was still dealing with the same poem, and I was in an apartment up in 96th Street, and it was a very foggy night coming home, and I heard all these great foghorns coming off over the lower bay, over Manhattan [https://www.wikidata.org/wiki/Q11299] and so forth. And I wrote another poem, \"A Seachange for Harold\", which I'm not going to read, except just the beginning.\n \nJoseph Langland\n00:16:22\nReads the beginning of \"A Seachange: For Harold\" [fromThe Green Town and collected later in Selected Poems].\n \nJoseph Langland\n00:16:40\nWell that's, I wrote that thing first, and then I came back to this other poem, in which I just said, okay I'll put it down the way it was, but there's some subjects that by their very nature you can't do much about. Except, of course, the whole dry feeling associated with it led me to all kinds of selections. If there seem to be an excess of family in the poem, I just simply say I am one of nine children. \n \nJoseph Langland\n00:17:15\nReads \"War\" [from The Green Town and later collected in Selected Poems].\n \nJoseph Langland\n00:18:43\nI would go from that to some poems I'm trying to write now. Some of these poems are songs, and I've been writing music for them, also, but, and this is such a song. I call it \"A Hard Song to Sing\", and it's really about the contemporary condition of war and civil rights problems which threaten to just overwhelm the United States. And almost the entire poem is monosyllabic, but it just seemed like it had to be that way. So. I...and actually, the tune that goes with this thing is...well, I know for instance that I could come in right on pitch on it. I once fell in love with--I don't have absolute pitch, but I fell in love with a song by Edward Grieg [https://www.wikidata.org/wiki/Q80621], and all I have to do is remember this song and I can always begin singing in A flat. But, it's, sometimes I think that maybe this is what I mean by being so right with your subject that you finally say the right thing about it. Somehow the resonance, just the resonance of the idea set up in my body brings me in on pitch, see. Well, I'll just read it. \"The clear, cold night\"...oh I'll sing, I'll sing the one stanza. \n \nJoseph Langland\n00:20:24\nSings the beginning of \"A Hard Song to Sing\".\n \nJoseph Langland\n00:20:42.79\nAnd it repeats itself in various ways, the melody varies. \n \nJoseph Langland\n00:20:47\nReads \"A Hard Song to Sing\".\n \nJoseph Langland\n00:21:48\nI...when I spent some time in Europe, among other people I met Ralph Ellison [https://www.wikidata.org/wiki/Q299965]. And he and his wife, Fanny, and my wife, Judy, and I, we spent several very fine noons on a beach of a small Italian fishing town, and ever since then I've been trying to write a poem for him. He's been relatively silent, at least, he's not taken a very aggressive role in the whole civil rights movement, although he has published significant essays in that whole thing. Many of you will know his great novel The Invisible Man [https://www.wikidata.org/wiki/Q1784288]. And I've written a poem, I call it \"An Open Letter to Ralph Ellison\", I'm reading it, I have to send it to him. I have not sent it out to be published anywhere, either. You probably do know he used to be a jazz player, he played the trumpet, he was a photographer and so forth and he did live in some sort of cellar that he had brilliantly lit for a while, but in The Invisible Man there are aspects of this kind of background, too. So I just wanted to address--I started writing him a letter. And then I got interested in writing in the letter and quit the letter and wrote the poem instead, but that's the way it'd be. It was \"Dear Ralph\", you know but just, now the poem begins, \"Ralph...\"\n \nJoseph Langland\n00:23:16\nReads \"An Open Letter to Ralph Ellison\" [published later in The Massachusetts Review vol. 40, n.4].\n \nJoseph Langland\n00:27:02\nWell, I will move from that to a poem on Thoreau [https://www.wikidata.org/wiki/Q131149]. Actually, I'm doing a whole book of these things. But one...actually, the first time I ever went to Walden Pond [https://www.wikidata.org/wiki/Q2023853], things turned out like an art farm. There were certain people there, and I met people in certain sequences, and of course I've told all sorts of people that, when they write poetry, you know, just to say that this is the way it happened, or this is the way it was, you know, that's no guarantee that it will be art at all. But in this case, something else had happened, see, Thoreau himself plays influence and just simply organized, you know, a hundred years later, certain people who would be there. And this happened just this way, and so I, almost to defend myself against all the things I'd ever said to people, I called the poem, \"How It, So Help Me, Was\". And that's the title of the poem. I end with a, the blue-grey twilight, because it was 1963, and it was, or '62 when I went there, and it was, you know, a hundred years after the war between the North and the South in the United States, the blue and the grey. And I felt that whole shadow, and even, in a curious way, it's on the west end of the pond, actually, I'd gone swimming in it, it's illegal, but then the shadow was coming off the hill and it was just sort of beginning to cover, to cover me, and it was a blue-grey shadow, you see, I'm not making that up. And, but...I suppose that's a kind of selection you take out of what is made available to you at a certain point. So \"How It, So Help me, Was\".\n \nJoseph Langland\n00:29:04\nReads \"How It, So Help Me, Was\" [published in The Massachusetts Review, Vol. 4, n.1 and published later as “Walden” in Any Body’s Song].\n \nJoseph Langland\n00:29:29\nThat's a little poem he's written that's on the hearth there, about the smoke rising.\n\nJoseph Langland\n00:30:04\nResumes reading “How it, So Help Me, Was”. \n\nJoseph Langland\n00:32:10\nI know at a time like this I keep thinking all the time in poetry, you know, what does it mean in poetry to somehow keep alive, or...to keep the whole body open, and I wanted to write a poem about that. I call this one \"Still to be Man\". Because sort of in an animal way, we have to be able to continue to take in all sorts of things. \n \nJoseph Langland\n00:32:44\nReads \"Still to be Man\".\n \nJoseph Langland\n00:32:51\nI can remember when I was, the morning I was trying to write this poem because I was home alone, I stepped out the kitchen door and as I stepped out I felt I didn't even have to land on the earth itself, I would just step out into the air. \n \nJoseph Langland\n00:33:04\nResumes reading \"Still to be Man\".\n \nJoseph Langland\n00:34:10\nLast year, I spent, with my family, a half a year in Rome [https://www.wikidata.org/wiki/Q220], and I got acquainted with a certain kind of syndrome among some of the Roman women. They sort of get trapped, in a society which seems free and easy and open, there's an extreme conservatism. For instance, I know, well, a person who teaches art in an American university, he and his wife were adopting some children in Italy a few years ago, and he could not have children and she could. It was proved by tests in this country, and they went to adopt two children in Italy. But you cannot adopt children in Italy on this basis because by law, no man in Italy can be sterile. [Audience laughter]. And this is a law. And so they had to go to Naples [https://www.wikidata.org/wiki/Q2634] and be tested all over again, officially, by a doctor in Naples, and a lawyer had to follow this, and they discovered after the tests that she was sterile and she was not [audience laughter], and they got this all certified and they adopted the children and they now have them and are living happily with them. But there's some, there's another side to this coin, too. And so, we lived next to a high school called the church, or the school of the Adorazione, and I'd see this women, you know, they're so beautiful when they're young, and then when they get married they start dressing in black and start cooking spaghetti and having children, and something awful happens, and then their husbands lose interest in them and then they have to find other lovers and then, you know, it's an awful thing. [Audience laughter]. It's \"La Donna a Roma, an Odyssey\".\n \nJoseph Langland\n00:36:12\nReads \"La Donna a Roma, an Odyssey\".\n \nJoseph Langland\n00:37:24\nWell then, another kind of thing that happens in our society, I think it happens to many people, I've been writing a series of half-songs. I call them half-songs, they're at half-pitch, half-singing pitch, where we talk and we don't talk together. You know, we say something and someone answers and it goes, you know, we keep going past each other. And so I've written a poem that, it has two separate parts, both parts rhyme all the way but you won't hear this at all, I was talking about that with the class here, today, it may be aesthetically valid for myself alone. And it's one, it's called \"Not Quite a Conversation: A Half-Song\", and the first part is called \"He and Her\". You see, \"he\" is the noun and \"her\" is the object. And the next part is called, \"She and Him\". \"She\" is the noun and \"him\" is the object. And they're talking. Or, we're talking about them. And so, in a sense they should be printed facing each other on the page, and I can't read them together, so I have to read first \"He and Her\", then I might, they talk back and forth to each other all the way through the poem. \"He and Her.\"\n \nJoseph Langland\n00:38:44\nReads \"Not Quite a Conversation: He and Her\" [published later in Any Body’s Song].\n \nJoseph Langland\n00:39:40\nAnd the other, \"She and Him\". As I say, it rhymes all the way, and triad by triad it answers. \n \nJoseph Langland\n00:39:47\nReads \"Not Quite a Conversation: She and Him\" [published later in Any Body’s Song].\n \nJoseph Langland\n00:40:59\nI guess we take a break in the program. \n \nUnknown\n00:41:05\nAmbient Sound [voices].\n \nUnknown\n00:41:24\n[Cut or edit made in tape. Unknown amount of time elapsed].  \n \nJoseph Langland\n00:41:25\nAnd, I will read just one or two of these. And once again, I make no particular claim as to the validity of this, and probably in the long run it’s not even a fruitful thing. All my grandparents were born in Norway [https://www.wikidata.org/wiki/Q20], my name is Langeland. You know, they dropped the 'e' and called it Langland. And I have been back there a couple of times, I might go again this summer and work with a Norwegian poet, Paul Brekke, and maybe another one, on some translations from the Norwegian  I don't know much Norwegian, he knows a lot of English. [Audience laughter]. But when I was going through there a year ago, I got two, two poems. First this one, \"Singing in Late Summer\". When my father died they played a folk song, \"Den store hvide Flok\", \"The Great White Host\" [https://www.wikidata.org/wiki/Q10468796], at his funeral. And I'd sort of shipped my children off to jobs, I had, you know, I had a fourteen-year-old boy working on a ranch in Wyoming [https://www.wikidata.org/wiki/Q1214], and a twelve-year-old son working on a farm in Iowa, and a daughter who'd gone off to work in-- who was what, fifteen, sixteen, to a hotel in Switzerland [https://www.wikidata.org/wiki/Q39], and my wife was in Provincetown [https://www.wikidata.org/wiki/Q49154], painting [audience laughter], and I was at home writing. Which is what I wanted to do all the time, in any case. \"Singing in Late Summer\".\n \nJoseph Langland\n00:43:03\nReads \"Singing in Late Summer\" [published later in Any Body’s Song and collected in Selected Poems].\n \nJoseph Langland\n00:44:17\nAnd then, traveling through Norway, all these rivers, you know, they just...they're tumbling all over, rushing everywhere, and falling off the tops of mountains, you know, it just seemed endless, going from Oslo to Bergen [https://www.wikidata.org/wiki/Q26793] and Trondheim [https://www.wikidata.org/wiki/Q25804] and down to Oslo and so forth. Or down to the Island of Store [https://www.wikidata.org/wiki/Q1636366] along the west coast of Norway. And so, I was thinking of a phrase I'd heard an old, an older woman in my own area say about the younger generation. She would always say, \"[inaudible phrase in Norwegian]\". And so I saw these rivers, and every time I saw them I kept saying, \"[inaudible phrase in Norwegian]\". [Laughter]. And so then I started thinking of all of these Norwegian immigrants that just came, you know, more of them over here than there are over there...and...so I, it's about the rivers, it's called \"Norwegian Rivers\", and it's about the people, the younger people, and it's about the immigrants, and the older immigrants, everything like that, I guess.\n \nJoseph Langland\n00:45:22\nReads \"Norwegian Rivers\" [published in The Massachusetts Review, Vol. 4, n.1 and collected later in Any Body’s Song and in Selected Poems].\n\nJoseph Langland\n00:48:08\nWell, there's several like that. But I want to do some other things, so I'll just leave them alone. I'm...you know, I'm translating from the Russian, and no pretense about it, I have two great friends, Thomas Axel [https://www.wikidata.org/wiki/Q23565070], who was press agent for Imre Nagy [https://www.wikidata.org/wiki/Q177917] for eleven days, before, at the time of the Hungarian Revolution, and then he escaped to Austria [https://www.wikidata.org/wiki/Q40]. He teaches at my university, he's a very fine poet, he used to be a director of theatre in Budapest, of the State Theatre. And then Laszlo Ticosz, he teaches in the German-Russian department at the university. They both, for years, have been collecting from the underground poems by relatively unknown poets, student poets and so forth, from Russia [https://www.wikidata.org/wiki/Q159], and they have a magnificent collection of these things. They give me, absolutely literal cribbed translations, and then I work with them, and there're some magnificent things coming, and I'm as certain as I stand here that the moment these things are sent into a publisher, not because of what I'm doing, but because of the nature of the thing, that it'll be just snapped up. This is relative, totally fresh new material, no one else has it, they have, through their own channels in the underground, they are being fed this. And so I find it very exciting, and as I said to someone today, I have to sort of take it through my own experience, which included...I won't say poverty, that's not the right word, but absolutely no money, not poverty because we could milk the cow and, you know, raise the garden vegetables and shear our sheep and make our own blankets and, you know, we had food, clothing, and shelter. And then the war in Europe, and I was in well, concentration camps, I wasn't in them, but I was, at Nordhausen [https://www.wikidata.org/wiki/Q7033], I sort of participated in the burial of five thousand people in one day in open trenches, and was with a headquarters unit a few days after and captured Buchenwald [https://www.wikidata.org/wiki/Q152802], and it...I won't say it's these things that pulled together, I was in Weimar [https://www.wikidata.org/wiki/Q3955] when it was turned over to the Russians, I remember going out of there, you know, it was half the German population in their carts going toward Eisenach [https://www.wikidata.org/wiki/Q7070], to the west, and the Russian cavalry coming in, meeting it from the east...lots of things, but so that's simply what this material comes through, and so I have some sympathy for it. This is a poem \"Drowning\", by a person named Sergei Chudakov [https://www.wikidata.org/wiki/Q4517600]. \n \nJoseph Langland\n00:51:23\nReads \"Drowning\" by Sergei Chudakov [published later in Poetry from the Russian Underground].\n \nJoseph Langland\n00:51:31\nSee, in the original it says, \"bright as a house\".\n \nJoseph Langland\n00:51:36\nResumes reading \"Drowning\" by Sergei Chudakov.\n \nJoseph Langland\n00:52:06\nThis is \"The Jewish Cemetery in Leningrad\" by Joseph Brodsky [https://www.wikidata.org/wiki/Q862]. \n \nJoseph Langland\n00:52:12\nReads \"The Jewish Cemetery in Leningrad\" by Joseph Brodsky.\n \nJoseph Langland\n00:52:32\nSee the poem says, \"lie musicians, lawyers, businessmen, and revolutionaries\". I'm very certain in this case that, you know, I felt great when I thought of saying it in this other way. Makes it better. \n \nJoseph Langland\n00:52:47\nResumes reading \"The Jewish Cemetery in Leningrad\" by Joseph Brodsky.\n \nJoseph Langland\n00:54:03\nFor instance, the original translation was that this whole thing is \"one hour by foot FROM the nearest bus stop\" And as far as I'm concerned, saying \"to\" is apt, a crucial difference, \"and the crooked faces of the plywood\", see, \"are one hour by foot TO the nearest bus stop\". Wanted the whole sense that they might all get up and walk and haunt us, see, coming the other way. Here's a poem about conditions by Artyemy Mikhailov. These names may be just be relatively anonymous, although some of them are among the friends that have been defending Sinyavsky [https://www.wikidata.org/wiki/Q468267] and Daniel [https://www.wikidata.org/wiki/Q435770]. His idea about conditions. And it was a pretty rigid, stiff poem and I had to try to get movement in it and so forth. And it's whole, if, if you've, if your dearest friend has not been trapped and dragged to a camp, if, if, if, the entire way through.\n \nJoseph Langland\n00:55:01\nReads “Conditions” by Artyemy Mikahilov [published later in Poetry from the Russian Underground].\n \nJoseph Langland\n00:56:07\nHere once again, there's so many of these, I just, here's one in the older style but it's one that's full of an elegant, lyric despair, \"Now that I know\", by Vladimir Kovshin.\n \nJoseph Langland\n00:56:21\nReads \"Now that I Know\" by Vladimir Kovshin [published later in Poetry from the Russian Underground].\n \nJoseph Langland\n00:57:01\nThis is a poem called \"After the War\" by Gleb Garbovsky. I just completed this this previous weekend, these I'm reading from now. \n \nJoseph Langland\n00:57:11\nReads \"After the War\" by Gleb Garbovsky [published later in Poetry from the Russian Underground].\n \nJoseph Langland\n00:58:54\nIncidentally, I used the phrase \"called back\" because that's on Emily Dickinson's [https://www.wikidata.org/wiki/Q4441]  tomb in Amherst [https://www.wikidata.org/wiki/Q49164], Massachusetts. Just an example of how you get your own little allegiance and locality into something else. \n \nJoseph Langland\n00:59:08\nResumes reading \"After the War\" by Gleb Garbovsky.\n \nJoseph Langland\n00:59:27\nHere's one, \"Keeping up with the Humanskys\". It's a poem about keeping up with the Joneses. [Audience laughter]. I had a lieutenant in the army who said his name was Humansky, and he said his, that man, I'll never forget it because he said that means \"son of the fields\" but I've been called worse names. I remember him saying that [audience laughter]. And so I...Son of the fields, I thought, that's great, you know, I was looking for a Russian name that would be like the Joneses, only this is like the serfs, son of the fields, of the soil. Couldn't be better. \"Keeping up with the Humanskys\". So, see, that's my good luck out of a little piece of experience that came to me when I needed it. \n \nJoseph Langland\n01:00:06\nReads \"Keeping up with the Humanskys\".\n \nJoseph Langland\n01:01:33\nThen there's one about a march from Russia to Siberia [https://www.wikidata.org/wiki/Q5428]. And, \"Etape\". There's no title in the original, there's a footnote, which was, these were sent to Axel and Ticosz from Russia, this poem. Neither the name nor the fate of its author is known. The phrase \"Marching in Etape\" originates from the nineteenth century. One stretch of the Long March from Russia to Siberia was called Etape, and it was in a ballad stanza form, so that's the way I did it. It's...little old style, but.\n \nJoseph Langland\n01:02:07\nReads \"Etape\" by an unknown author.\n \nJoseph Langland\n01:03:57\nThen \"The Garbage Collector,\" a poem that...\n \nUnknown\n01:04:03\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nJoseph Langland\n01:04:04\nReads \"The Garbage Collector” [begins abruptly; audience laughter throughout].\n \nAudience\n01:04:27\nLaughter.\n \nJoseph Langland\n01:04:30\nI'm very proud of that too, because you know in the old Renaissance things there's always these, an infinitely wise Christ Child, you know, at the mother's breast but his eyes are looking out elsewhere, and he's pointing like this, you know, and it's, so I thought, you know, that's not quite the translation but it's mine [audience laughter]. \n\nJoseph Langland\n01:04:46\nResumes reading “The Garbage Collector”.\n\nJoseph Langland\n01:05:32\nWell, these are, you know, poems out of new, unknown--\n \nUnknown\n01:05:36\n[Cut or edit made in tape. Unknown amount of time elapsed].\n \nJoseph Langland\n01:05:37\nI've sort of been threatening to sing something, and the trouble is, I'm...as I...I wouldn't play the piano if there were one here, and I don't play the guitar, and if I play this thing, it's locked stuff, I'm tied to it, and, I haven't played this tape that's accompanying me, you know, for at least three weeks, and I haven't sung a note since I left Amherst, except the notes I sang here, so, that's all right. These are songs of all sorts. So this is my accompaniment. I hope it works, if it doesn't I'll just stop it. \n \nUnknown\n01:06:17\nAmbient Sound [music; recorded track]. \n \nJoseph Langland\n01:06:22\nListen here, just a song called \"All the Lovers that You Ever Knew\".\n \nJoseph Langland\n01:06:37\nPerforms \"All the Lovers that You Ever Knew\" [published later in Any Body’s Song] accompanied by recorded track.\n \nJoseph Langland\n01:08:02\nThis next is a song called \"Alone the Evening Falls on Me\". Sometimes I wonder, just trying to remember it here, whether I'm supposed to start singing now, and I'll get to the end of the song and I won't have accompaniment for the last dance. [Audience laughter].\n \nJoseph Langland\n01:08:31\nPerforms \"Alone the Evening Falls on Me\" accompanied by recorded track [published later as \"Song At Evening” in Any Body’s Song and collected in Selected Poems] \n \nJoseph Langland\n01:10:23\nThis is a song called \"Jump on my Back\". It's about Iowa and Wyoming. But since Wyoming didn't work, I had to say Idaho [https://www.wikidata.org/wiki/Q1221]. [Audience laughter].\n \nJoseph Langland\n01:10:45\nPerforms \"Jump on my Back\" accompanied by recorded track.\n \nJoseph Langland\n01:11:25\nThis next one is called \"A Hiroshima Lullaby\". There's an infinitely sad story. In Hiroshima [https://www.wikidata.org/wiki/Q34664] when the bomb fell, in 1945, there was a little girl, Sadako Sasaki [https://www.wikidata.org/wiki/Q231997], two years old, some of you may know of her. She was a mile and a half from the centre of the blast and apparently unharmed. She was a very gay and popular girl, and her classmates loved her. And she was in the sixth grade or the equivalent, age twelve, in Hiroshima, Hiroshima, however you pronounce it.  And she developed leukemia, which is of course, as many of you know, a latent effect of many people exposed to radiation, so she was, after all, a victim. And she, well she finally became so ill she had to go to the hospital. And her friends came to visit her. And among other things, they told her, and that she knew, that there's an old Japanese legend about herons. I've been writing poem about herons and cranes and I have some in my book, one on a sandhill crane, and I told some people today that I'm going to the University of Oregon [https://www.wikidata.org/wiki/Q766145] in June to speak in their summer Academy of the Arts, and I heard of a person who works in wildlife out in Oregon [https://www.wikidata.org/wiki/Q824], and so because of the poem about the crane he's invited me to visit his wildlife refuge, about two or three hours east of Eugene [https://www.wikidata.org/wiki/Q171224], where he has a refuge among other things for sandhill cranes, you know these water birds are simple. And so I'm going to visit him. I look forward to it. Not because of a poem, see, it's nice. And so, Sadako Sasaki in the hospital, she heard that if you fold a thousand paper cranes in this Japanese folding technique, this will protect your health and save you. So she started folding them. And the tale has two sides. She reached 964 and she died. Her classmates were so, at the centre so involved they completed the thousand, they formed them in a chain. They went around gathering the equivalent of pennies, around Japan [https://www.wikidata.org/wiki/Q17], and when they got enough they asked a sculptor from Tokyo [https://www.wikidata.org/wiki/Q1490] to make a statue of this girl, and so he made a statue showing...you'll surely see pictures of this if you haven't. It's a young, twelve year-old girl, you know, still with a girl's body, she's standing up like this....and she stands in the Peace Park in Hiroshima now. And over her, made out of gold, the folded crane. And so, I wanted to write a poem for her. And so just using the fifth in the bass, and then using the five notes, black keys, I wrote a little ballad and I'll probably sing one stanza maybe, and then read the rest. \n \nJoseph Langland\n01:15:03\nPerforms the beginning of \"A Hiroshima Lullaby\" [published later in Any Body’s Song and collected in Selected Poems].\n \nJoseph Langland\n01:15:38\nReads the continuation of “A Hiroshima Lullaby\" [published later in Any Body’s Song and collected in Selected Poems].\n \nJoseph Langland\n01:16:49\nI wanted to write a civil rights song, something that you could march to in Madison Square Garden [https://www.wikidata.org/wiki/Q186125]. And that's, you know, it's a marching song. That's like that. \n \nJoseph Langland\n01:17:15\nPerforms unnamed song accompanied by recorded track. \n \nJoseph Langland\n01:18:00\nStops recorded track. \n \nJoseph Langland\n01:18:00\nWell, there are a lot more of these songs and I'm just going to stop the tape at this time because...I haven't even begun reading you my favourite poems, [audience laughter], and I know it's about to end but maybe, maybe I can read for fifteen minutes or so. If you have to go, just get up and go. But. When I was in Italy in 1954, I read in Marcus Cunliffe's [https://www.wikidata.org/wiki/Q6758114] The Literature of the United States, \"New York is the intellectual centre of the United States.\"  That made my blood boil [audience laughter] because it's a marketplace, so I just simply took his own book, The Literature of the United States, took all his authors, and lined them up, and all the places where they were born, where they grew up, and where they wrote from, and sent them the chart, which proves, out of his own book, that in literature, creative ideas, there have been three great centres and then two subordinate ones. New England [https://www.wikidata.org/wiki/Q18389], the Midwest, and the South, and then as subordinate ones, they're the West Coast, and then the mid-Atlantic, New York area. That's in literature [audience laughter]. And we got in an argument...the result of it all was that I invited him to come and teach at my university [audience laughter]. So he came and he gave an address, and in one of his speeches he said, “Americans are overly given to haruspication and scrying” [audience laughter]. Well, you know, when someone comes out of England [https://www.wikidata.org/wiki/Q21] and says, gives, delivers a lecture to an American audience and says that, among other things you have to look up the words. [Audience laughter]. And, so...so I looked them up and I discovered \"haruspication\", the Haruspects were Roman and Etruscan pagan priests who examined the entrails of sacrificial animals [audience laughter] to predict natural phenomena and the future. So I started thinking about that. I grew up on a general farm, we had about a hundred pigs, two hundred sheep, a hundred head of cattle, twenty milk cows, a thousand chickens, about one hundred turkeys, twelve goats, you know [audience laughter], anywhere from twenty to fifty cats, and all sorts of wild animals, and I had seen bulls gored to death, I had seen flocks of sheep driven over limestone cliffs by dogs, I'd seen hawks that'd ripped little lambs and chickens, I'd seen skunks that had eaten them up, I'd butchered all of these things, I'd castrated, you know, I myself have castrated maybe three thousand pigs, and [laughter]..and...so, I thought okay. In fact, some of you may know that \"The Wheel of Summer\", the title poem, is about the castration of one hundred pigs, by three teenage boys [audience laughter], and as I was introduced in England once, he said it's probably the most distinguished poem in English about the castration of a hundred pigs. [Audience laughter]. But I started thinking about all of this and I thought, well, okay, I have a philosophy of life too, and it's been based with the whole business of producing food for you. You know, that's the end of it, the end of it all. And I participated in an awful lot of killing and...routine, it’s a way of life. And you know, if you eat meat, well you too. So I said, well okay, I've been haruspicating for a long time. And I gradually went up from age six to age eighteen, and meantime I achieved some kind of maturity, and I'm going to write my own poems. So I wrote all these poems, and the titles are, you know, like \"Sacrifice of a Rainbow Trout\", \"Sacrifice of My Pet Lamb\", but I'm going to read you the ultimate titles, which aren't in the book. Just running from age six on up to age eighteen, or when we got all old enough and we all went off to the war, as the last poem said.  But these say, you know, that's what these poems are really about.  \n \nJoseph Langland\n01:22:38\n\"The Clarity of Innocence: Sacrifice of a Trout\". “The Loss of Early Innocence: Sacrifice of My Pet Lamb\". \"The Plunder of Idealism: Sacrifice of the Golden Owl\". \"The Sickle among the Flowers\"...I quit making the equation...\"The Sickle Among the Flowers\". \"The Decline of Heroic Voices\"--that's the goring to death of a bull. \"The Suffocations of Love\"--that's the killing a pet chick by over-affection. \"The Attritions of Man\". \"The Unhousing of Beneficent God\". \"The Seeming, the Necessary and Beneficial Perversions of Love\"--that's my sacrifice of a gunny sack of cats. \"The Subtleties of Violent Revenge: Sacrifice of an old Sow\". \"The Sweet Solace of Evil\". \"The Absurdities of Fact\". \"The Pitfalls of Group Action: Sacrifice of a Flock of Sheep\"--they ran over this cliff, twelve of them died at once, and people say you shouldn't write villanelles, but that's the way sheep act, so I wrote a villanelle, you know, they repeat. \"The Catechism of Human Culpability\"--that's Eric, a suicide of a man. \"The Oddities of Affection\". \"The Sacred Violence of Purity\". \"The Bounties of Natural Law\". \"The Winter of the Cold War: Sacrifice of a Grey Wolf\". \"The Decline of Natural Instincts: Sacrifice of Three Wild Geese\". \"The Tyranny of Fixed Ideas\"--that's a sacrifice of a red squirrel. \"A Dream of the Ultimate Holocaust: Sacrifice of a Hill of Ants\" and \"The Warfare of the Sensuous Past: Sacrifice of My Aunt Marie\".  And then it all culminates in the longer narrative poem, \"The Wheel of Summer\". Which is just simply coming to maturity as a man. Well I'll, I'll read a few of these. \"Sacrifice of a Rainbow Trout\" has no music, but I oftentimes start singing when I'm reading it, but I'm not going to now, I've done that. \n \nJoseph Langland\n01:24:43\n\"Suddenly\"--this is six years old, you know.\n \nJoseph Langland\n01:24:46\nReads \"Sacrifice of a Rainbow Trout\" [from The Wheel of Summer and collected later in Selected Poems].\n \nJoseph Langland\n01:25:42\nI'll skip the lamb and read the owl. I wanted to just talk--\"We strung our wind-up rooster dead on a post\"--see, it can't be any flatter than that. \n \nJoseph Langland\n01:25:52\nReads \"Sacrifice of the Golden Owl\" [from The Wheel of Summer and later collected in Selected Poems].\n \nJoseph Langland\n01:27:39\nI'll read the one of the neighbors. No one can live on a, in a farm area without seeing over a period of years, people lose fingers, toes, arms, legs, in various ways. It's...I was on a reading tour, actually, when Kennedy [https://www.wikidata.org/wiki/Q9696] was killed. And I was actually in an auditorium about to start reading these poems, when it was cancelled, because of the announced death of the president. I couldn't have read them, but I didn't know what I was going to do. I was just sitting there, and five minutes from starting time. But this is \"Sacrifice of my Neighbors\".\n \nJoseph Langland\n01:28:20\nReads \"Sacrifice of my Neighbors\" [from The Wheel of Summer].\n \nJoseph Langland\n01:28:39\nThat was my brother.\n\nJoseph Langland\n01:28:42\nResumes reading “Sacrifice of my Neighbors”.\n \nJoseph Langland\n01:31:02\n\"Sacrifice of the Gunnysack of Cats\". I read it in New York City, I didn't know that the officers of the Society for the Friends of the Prevention of Cruelty to Animals were sitting in the audience. After I went back to Amherst I got a letter from them, saying that every year there are twenty-five million unwanted pets born in the United States [audience laughter] and we secure funds to get the females spayed and the males castrated, and your poem, \"The Sacrifice of the Gunnysack of Cats\" is perfect for our purposes for our annual appeal, and, could we...[audience laughter.]..could we use it, please. I thought, my God, you know, I just, I read this poem, like all of these things out of a great affection, and this is the thing, you'll have to forgive me but this is what occurred to me, you know. I just had this great affectionate conception of the whole thing, and now they wanted to turn it into a kind of contraceptive. [Audience laughter]. And...and then I thought, well, okay, what can I do at this point? And so, showing this charming little picture, you know, it's a dog, and a little puppy dog [audience laughter], little kitten and laying their heads against each other and saying \"Annual Appeal\" and on the back of it was my \"Sacrifice of the Gunnysack of Cats\" and...I, you know, when I travel around the United States even now, I often like wonder in what town did I do in this poor little male cat or this female, you know, cooperating in one way or another, it's like, you know, I have to refuse to pay your taxes...you don't know what you're maiming at a certain point. But that's an example. I wanted to start from the most ordinary thing and see how I could carry it, and this is the \"Sacrifice of the Gunnysack of Cats\".\n \nJoseph Langland\n01:33:13\nReads \"Sacrifice of the Gunnysack of Cats\" [from The Wheel of Summer and collected later in Selected Poems].\n \nJoseph Langland\n01:36:23\nOne hard poem about the old sow, which is, says something about this world. \n \nJoseph Langland\n01:36:31\nReads \"Sacrifice of an Old Sow\" [from The Wheel of Summer and later collected in Selected Poems].\n \nJoseph Langland\n01:37:48\nWell that's the way we do it. Then one, pretty hard poem, too, it's about Eric, but it's really about us, and then I'll read the squirrel poem, and then leave these alone. That...okay, actually this, I had in mind an uncle, a favourite uncle. Very talented, frustrated.\n \nJoseph Langland\n01:38:19\nReads [\"The Sacrifice of Eric” from The Wheel of Summer and collected later in Selected Poems].\n \nJoseph Langland\n01:41:09\nAlright, and then the squirrel. Actually, I...last week, I had a letter from some fellow in Kansas [https://www.wikidata.org/wiki/Q1558], I never, of course I don't know him at all. He wants to set the thing to music, I don't know what he's going to do with it, but...he plays the guitar, and so I said, fine. And just about anybody who gets caught in a rut...I must say that after this I'm going to read one little ballad on Adlai Stevenson [https://www.wikidata.org/wiki/Q311719], but...\n \nJoseph Langland\n01:41:47\nReads [\"The Sacrifice of a Red Squirrel\" from The Wheel of Summer]. \n \nJoseph Langland\n01:44:25\nLittle ballad for Stevenson, and I don't have it with me, but I know it. The state tree, bird, and flower of Illinois [https://www.wikidata.org/wiki/Q1204] is the oak, the cardinal, and the violet. That's green, red, and violet. It struck me, that's half a rainbow. That seemed like Adlai Stevens' life. A great theoretical life, unfinished, has to be completed by someone else. I asked, what's the other half, they're yellow, orange, and blue, and his home at Libertyville [https://www.wikidata.org/wiki/Q1787181], Illinois, you can't improve on that for the title, \"Libertyville\", it has a river the Des Plaines River [https://www.wikidata.org/wiki/Q8637], that's before it enters the Chicago [https://www.wikidata.org/wiki/Q1297] drainage system, it's a nice blue stream out of the Wisconsin [https://www.wikidata.org/wiki/Q1537] woods, that's blue, the sky is blue, the light by day is orange, and by night yellow. That's the full rainbow. \"There's a fountain in the wood\"...It's called \"Libertyville\" and past that, a little epigraph about the state tree, bird, and flower of Illinois, and I wanted to, for the schoolchildren of Illinois...\n \nJoseph Langland\n01:45:27\nReads \"Libertyville\" [from The Wheel of Summer and collected later in Selected Poems].\n \nAudience\n01:47:02\nApplause.\n \nEND\n01:47:35\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nJoseph Langland was a professor at the University of Massachusetts, Amherst, and had founded the Masters of Fine Arts writing program during the 1960’s.\\n\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nConnections between Joseph Langland and Sir George Williams University or Montreal are unknown, however Langland had taught at the University of British Columbia, and played an important role in the founding of the Master of Fine Arts writing program at the University of Massachusetts.\\n\",\"type\":\"General\"},{\"note\":\"Original transcript and print catalogue by Rachel Kyne\\n\\nOriginal print catalogue, research, intro 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\":\"http://news.google.com/newspapers?id=GYIuAAAAIBAJ&sjid=AqAFAAAAIBAJ&pg=2474,42252&dq=sir+george+williams+poetry&hl=en\",\"citation\":\"“Joseph Langland To Read At Next SG Poetry Night”.  Montreal: The Gazette. 1 March 1968, page 8. \"},{\"url\":\"https://www.worldcat.org/title/any-bodys-song/oclc/1148022872&referer=brief_results\",\"citation\":\"Langland, Joseph. Any Body’s Song. New York: Doubleday, 1980. \"},{\"url\":\"https://www.worldcat.org/title/green-town-poems/oclc/74670391&referer=brief_results\",\"citation\":\"Langland, Joseph, The Green Town. New York: Scribner, 1956.\"},{\"url\":\"https://www.worldcat.org/title/poetry-from-the-russian-underground-a-bilingual-anthology/oclc/568758531&referer=brief_results\",\"citation\":\"Langland, Joseph. Poetry from the Russian Underground. New York: Harper & Row, 1973. \"},{\"url\":\"https://www.worldcat.org/title/wheel-of-summer/oclc/2693715&referer=brief_results\",\"citation\":\"Langland, Joseph. The Wheel of Summer. New York: Dial Press, 1963. \"},{\"url\":\"https://www.worldcat.org/title/selected-poems/oclc/27191429&referer=brief_results\",\"citation\":\"Langland, Joseph. Selected Poems. Amherst: University of Massachusetts Press, 1991. \"},{\"url\":\"http://www.jstor.org/stable/25091591\",\"citation\":\"Langland, Joseph. “For Ralph Ellison: Then and Now”. The Massachusetts Review. Vol. 40, No. 4 (Winter, 1999/2000), pp. 614-416.\"},{\"url\":\"http://www.jstor.org/stable/25086942\",\"citation\":\"Langland, Joseph. “How It, so Help Me, Was”. The Massachusetts Review. Vol. 4, No. 1, (Autumn, 1962), pp. 53-54. \"},{\"url\":\"http://www.jstor.org/stable/25088573\",\"citation\":\"Langland, Joseph. “Norwegian Rivers”. The Massachusetts Review. Vol. 16, No. 3 (Summer, 1975), pp. 567-568.\"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/joseph-langland-at-sgwu-1968/\",\"citation\":\"“Poetry at S.G.W.U”. OP-ED. Montreal: Sir George Williams University, 27 February 1968. \"},{\"url\":\"\",\"citation\":\"“Joseph Langland: Poet, Teacher, Friend”. Luther College Archives: Biography. Iowa, 2010. \"}]"],"_version_":1853670548850081792,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0126_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0126_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Joseph Langland 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_0126_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0126_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Joseph Langland 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_0126_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0126_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Joseph Langland Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0126_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0126_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Joseph Langland 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/joseph_langland_i006-11-126.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"joseph_langland_i006-11-126.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:47:35\",\"precision\":\"\",\"size\":\"258.2 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Unknown\\n00:00:00\\nAmbient Sound [voices].\\n \\nUnknown\\n00:00:03\\n[Cut or edit made in tape, Unknown amount of time elapsed]. \\n \\nIntroducer\\n00:00:06\\nThis evening, Joseph Langland [https://www.wikidata.org/wiki/Q6284810]reads. Mr. Langland was born in Spring Grove [https://www.wikidata.org/wiki/Q203865], Minnesota [https://www.wikidata.org/wiki/Q1527], and attended the public schools of Minnesota and Iowa [https://www.wikidata.org/wiki/Q1546], attended the State University of Iowa [https://www.wikidata.org/wiki/Q182973]. He has taught at the University of British Columbia [https://www.wikidata.org/wiki/Q391028], the University of Washington [https://www.wikidata.org/wiki/Q219563], the San Francisco [https://www.wikidata.org/wiki/Q62] Poetry Center, and so forth. He has been a professor of English at the University of Wyoming [https://www.wikidata.org/wiki/Q1326975], and he is presently a professor of English at the University of Massachusetts [https://www.wikidata.org/wiki/Q1061122]. And he has been associated with the Massachusetts Review as a member of its editorial board. His publications: For Harold, a collection of memorial poems for a younger brother killed in World War II [https://www.wikidata.org/wiki/Q362] and published in Germany [https://www.wikidata.org/wiki/Q183] in 1945, The Green Town, which was published in 1956 by Scribner’s [https://www.wikidata.org/wiki/Q845617] and nominated for the National Book Award [https://www.wikidata.org/wiki/Q572316] in Poetry in 1957, and The Wheel of Summer published in 1963 by Dial Press [https://www.wikidata.org/wiki/Q5270470], and winner of the Melville Kane Poetry Award. He has also published two anthologies, Poet's Choice, co-edited with Paul Engle [https://www.wikidata.org/wiki/Q7150503], published in 1952, and The Short Story, published in 1956 and co-edited with James B. Hall [https://www.wikidata.org/wiki/Q95328740], published by Macmillan [https://www.wikidata.org/wiki/Q2108217]. He has forthcoming a volume, a small volume called Adlai Stevenson, which is to be published in Iowa City [https://www.wikidata.org/wiki/Q487977] by the Stonewall Press, and is, will contain one long memorial poem and two lyrics. And also a larger volume, to appear perhaps next year, called Songs and Half-Songs. His poems have appeared in numerous anthologies, and have appeared in such journals as Poetry Chicago, Hudson Review, Chicago Review [https://www.wikidata.org/wiki/Q5095765], Paris Review [https://www.wikidata.org/wiki/Q3988628], London Magazine [https://www.wikidata.org/wiki/Q2154323], Nation, and so forth. He has written lyrics for songs by Morton Gould [https://www.wikidata.org/wiki/Q1352656], Phillip Esantzen, Elliot Schwartz, and also lyrics and music for folk songs. He has been recorded by FolkWays [https://www.wikidata.org/wiki/Q1435522], Scholastic Records, reading eight of his poems, and he has held a number of grants. In 1953-54 he was, he held a Ford Faculty Fellowship in the Humanities, in 1955 and 56, an Amy Lowell Traveling Poetry Fellowship, and in 1966, or last year, rather, a National Council of Arts Grant in Poetry, and in this period, he gave a series of readings at universities throughout Europe [https://www.wikidata.org/wiki/Q46], in Glasgow [https://www.wikidata.org/wiki/Q4093], London [https://www.wikidata.org/wiki/Q84], Sussex [https://www.wikidata.org/wiki/Q23346], Munich [https://www.wikidata.org/wiki/Q1726], Oslo [https://www.wikidata.org/wiki/Q585], and University College in Dublin [https://www.wikidata.org/wiki/Q1068258]. Ladies and gentlemen, Professor Joseph Langland. \\n \\nAudience\\n00:03:03\\nApplause. \\n \\nJoseph Langland\\n00:03:19\\nSo much of that sounds irrelevant. So I will begin by reading a poem which was really written in answer to a critic. I've written two poems in answers to critics. And this is one of them. I call it \\\"Desperate Equations\\\".\\n \\nJoseph Langland\\n00:03:47\\nReads \\\"Desperate Equations\\\" [from The Wheel of Summer].\\n \\nJoseph Langland\\n00:04:33\\nThen I would like to go to, from that to a newer poem, one which I call \\\"Natures\\\".\\n \\nJoseph Langland\\n00:04:44\\nReads \\\"Natures\\\".\\n \\nJoseph Langland\\n00:06:54\\nAnd I'd like to just simply move from that to a poem which is called, \\\"Dandelion\\\". It's a poem that, well, the daughter of a famous poet likes it very much, and she recently said so, and so consequently I'm very fond of it at the moment. I think this is a kind of procedure among artists. They tend to like very much, at least for a little while, something that someone else likes. It's a poem which I say partially for my wife, it's a poem of affection, but I wouldn't just simply say \\\"for\\\" my wife, it's for all of you, too. \\\"Dandelion\\\".\\n \\nJoseph Langland\\n00:07:40\\nReads \\\"Dandelion\\\" [published later in Any Body’s Song and collected in Selected Poems].\\n \\nJoseph Langland\\n00:09:26\\nI visited once a grotto in the southern coast of Italy [https://www.wikidata.org/wiki/Q38], the Amalfi [https://www.wikidata.org/wiki/Q80563] grotto, and it's typical of a whole series of such places. It's completely enclosed. You enter it...well actually, I was there a year ago, and it's a little disappointing, because, to sort of accommodate the tourist trade, they've blown out a little section of the wall, and they've hung a flapping canvas cloth over it. But eleven years ago this wasn't so, and you descend in an elevator into this inner room, and it's an absolutely magic place, it's explained to you, for instance, that about sixteen feet under the level of the sea, the Tyrrhenian Sea [https://www.wikidata.org/wiki/Q38882], there's a large hole in the cave, and the sunlight, particularly in the morning, you come there about 11 in the morning, it's a good time, the sun filters down these sixteen feet and through this huge hole and then comes up inside the cafe. And the effect of this is absolutely eerie because it's completely enclosed, it's like darkness, but you get in there, and you adjust, and everything is just luminous with light, water, everything. You pick up, and you dip your hands in water and pick them up, you know, drops of water fall from your fingers from the orb-blades that splash, the orb is simply just a whole splash of light that goes up, like that. It's magic, see. And I want to believe in the magic, but in this sense I want to believe in this way in poetry. We shouldn't, I think, just simply deceive ourselves, but....so we can talk about what is, but somehow it's a responsibility to do a little bit more than what is, and so I've written this poem, and of course it's about the Amalfi Grotto, it's about our own behaviour, an attitude toward many things, and it's also, for me, a poem about poetry. \\\"The Amalfi Grotto\\\".\\n \\nJoseph Langland\\n00:11:38\\nReads \\\"The Amalfi Grotto\\\" [from The Wheel of Summer; later collected in Selected Poems].\\n \\nJoseph Langland\\n00:12:53\\nI would go from that to a poem for my brother. I call the poem \\\"War\\\". This was a brother who was killed in the Philippines [https://www.wikidata.org/wiki/Q928] in World War II. I was in Europe at the time. I wrote thirty poems, at least, for him, following this. And finally I wrote this poem. This was...about eleven years afterwards when I got to this poem. And with this poem I knew I was, I was through writing those poems. It's also a poem that's had a very curious history. The history of poems is something that's difficult to predict. I was in Germany at the time, I suppose the next German soldier I met I would have shot. But this poem has been seen, or was seen a few years ago by a former infantry officer in the German Army, who at that moment was a captive at Stalingrad [https://www.wikidata.org/wiki/Q914]. He's come into the United States [https://www.wikidata.org/wiki/Q30] now and teaches music in an American university, not the one I'm in. And so he set it to music. And so it's a strange irony. I started the whole sequence, see, but, see art pays no attention to that kind of enmity whatsoever. And so it's been set to music by a former infantry officer in the German army. Also, just this past week, actually two days ago, I got a notice it's been published in a Japanese anthology, and it's been translated into Italian, and so all the axis powers have translated it, and then somehow, I don't, still don't know how, it found its way after the Hungarian Revolution [https://www.wikidata.org/wiki/Q164348] into Budapest [https://www.wikidata.org/wiki/Q1781] in '56, and got translated there, I understand a very poor translation into Hungarian, but nevertheless it's happened. This is just part of its history. And other things have been happening to it strangely like this. I just mention this because, see, at a certain point the thing is out of your control completely, and you sort of are, I feel a bit humbled by what happens to them, and the uses that people put these things to. I wrote poems in all sorts of forms for my brother, and I finally, there're some subjects...well, I'd heard William Carlos Williams [https://www.wikidata.org/wiki/Q178106] give a reading at the Lexington Y in New York City [https://www.wikidata.org/wiki/Q60] in 1954, and so I said, okay, I was still dealing with the same poem, and I was in an apartment up in 96th Street, and it was a very foggy night coming home, and I heard all these great foghorns coming off over the lower bay, over Manhattan [https://www.wikidata.org/wiki/Q11299] and so forth. And I wrote another poem, \\\"A Seachange for Harold\\\", which I'm not going to read, except just the beginning.\\n \\nJoseph Langland\\n00:16:22\\nReads the beginning of \\\"A Seachange: For Harold\\\" [fromThe Green Town and collected later in Selected Poems].\\n \\nJoseph Langland\\n00:16:40\\nWell that's, I wrote that thing first, and then I came back to this other poem, in which I just said, okay I'll put it down the way it was, but there's some subjects that by their very nature you can't do much about. Except, of course, the whole dry feeling associated with it led me to all kinds of selections. If there seem to be an excess of family in the poem, I just simply say I am one of nine children. \\n \\nJoseph Langland\\n00:17:15\\nReads \\\"War\\\" [from The Green Town and later collected in Selected Poems].\\n \\nJoseph Langland\\n00:18:43\\nI would go from that to some poems I'm trying to write now. Some of these poems are songs, and I've been writing music for them, also, but, and this is such a song. I call it \\\"A Hard Song to Sing\\\", and it's really about the contemporary condition of war and civil rights problems which threaten to just overwhelm the United States. And almost the entire poem is monosyllabic, but it just seemed like it had to be that way. So. I...and actually, the tune that goes with this thing is...well, I know for instance that I could come in right on pitch on it. I once fell in love with--I don't have absolute pitch, but I fell in love with a song by Edward Grieg [https://www.wikidata.org/wiki/Q80621], and all I have to do is remember this song and I can always begin singing in A flat. But, it's, sometimes I think that maybe this is what I mean by being so right with your subject that you finally say the right thing about it. Somehow the resonance, just the resonance of the idea set up in my body brings me in on pitch, see. Well, I'll just read it. \\\"The clear, cold night\\\"...oh I'll sing, I'll sing the one stanza. \\n \\nJoseph Langland\\n00:20:24\\nSings the beginning of \\\"A Hard Song to Sing\\\".\\n \\nJoseph Langland\\n00:20:42.79\\nAnd it repeats itself in various ways, the melody varies. \\n \\nJoseph Langland\\n00:20:47\\nReads \\\"A Hard Song to Sing\\\".\\n \\nJoseph Langland\\n00:21:48\\nI...when I spent some time in Europe, among other people I met Ralph Ellison [https://www.wikidata.org/wiki/Q299965]. And he and his wife, Fanny, and my wife, Judy, and I, we spent several very fine noons on a beach of a small Italian fishing town, and ever since then I've been trying to write a poem for him. He's been relatively silent, at least, he's not taken a very aggressive role in the whole civil rights movement, although he has published significant essays in that whole thing. Many of you will know his great novel The Invisible Man [https://www.wikidata.org/wiki/Q1784288]. And I've written a poem, I call it \\\"An Open Letter to Ralph Ellison\\\", I'm reading it, I have to send it to him. I have not sent it out to be published anywhere, either. You probably do know he used to be a jazz player, he played the trumpet, he was a photographer and so forth and he did live in some sort of cellar that he had brilliantly lit for a while, but in The Invisible Man there are aspects of this kind of background, too. So I just wanted to address--I started writing him a letter. And then I got interested in writing in the letter and quit the letter and wrote the poem instead, but that's the way it'd be. It was \\\"Dear Ralph\\\", you know but just, now the poem begins, \\\"Ralph...\\\"\\n \\nJoseph Langland\\n00:23:16\\nReads \\\"An Open Letter to Ralph Ellison\\\" [published later in The Massachusetts Review vol. 40, n.4].\\n \\nJoseph Langland\\n00:27:02\\nWell, I will move from that to a poem on Thoreau [https://www.wikidata.org/wiki/Q131149]. Actually, I'm doing a whole book of these things. But one...actually, the first time I ever went to Walden Pond [https://www.wikidata.org/wiki/Q2023853], things turned out like an art farm. There were certain people there, and I met people in certain sequences, and of course I've told all sorts of people that, when they write poetry, you know, just to say that this is the way it happened, or this is the way it was, you know, that's no guarantee that it will be art at all. But in this case, something else had happened, see, Thoreau himself plays influence and just simply organized, you know, a hundred years later, certain people who would be there. And this happened just this way, and so I, almost to defend myself against all the things I'd ever said to people, I called the poem, \\\"How It, So Help Me, Was\\\". And that's the title of the poem. I end with a, the blue-grey twilight, because it was 1963, and it was, or '62 when I went there, and it was, you know, a hundred years after the war between the North and the South in the United States, the blue and the grey. And I felt that whole shadow, and even, in a curious way, it's on the west end of the pond, actually, I'd gone swimming in it, it's illegal, but then the shadow was coming off the hill and it was just sort of beginning to cover, to cover me, and it was a blue-grey shadow, you see, I'm not making that up. And, but...I suppose that's a kind of selection you take out of what is made available to you at a certain point. So \\\"How It, So Help me, Was\\\".\\n \\nJoseph Langland\\n00:29:04\\nReads \\\"How It, So Help Me, Was\\\" [published in The Massachusetts Review, Vol. 4, n.1 and published later as “Walden” in Any Body’s Song].\\n \\nJoseph Langland\\n00:29:29\\nThat's a little poem he's written that's on the hearth there, about the smoke rising.\\n\\nJoseph Langland\\n00:30:04\\nResumes reading “How it, So Help Me, Was”. \\n\\nJoseph Langland\\n00:32:10\\nI know at a time like this I keep thinking all the time in poetry, you know, what does it mean in poetry to somehow keep alive, or...to keep the whole body open, and I wanted to write a poem about that. I call this one \\\"Still to be Man\\\". Because sort of in an animal way, we have to be able to continue to take in all sorts of things. \\n \\nJoseph Langland\\n00:32:44\\nReads \\\"Still to be Man\\\".\\n \\nJoseph Langland\\n00:32:51\\nI can remember when I was, the morning I was trying to write this poem because I was home alone, I stepped out the kitchen door and as I stepped out I felt I didn't even have to land on the earth itself, I would just step out into the air. \\n \\nJoseph Langland\\n00:33:04\\nResumes reading \\\"Still to be Man\\\".\\n \\nJoseph Langland\\n00:34:10\\nLast year, I spent, with my family, a half a year in Rome [https://www.wikidata.org/wiki/Q220], and I got acquainted with a certain kind of syndrome among some of the Roman women. They sort of get trapped, in a society which seems free and easy and open, there's an extreme conservatism. For instance, I know, well, a person who teaches art in an American university, he and his wife were adopting some children in Italy a few years ago, and he could not have children and she could. It was proved by tests in this country, and they went to adopt two children in Italy. But you cannot adopt children in Italy on this basis because by law, no man in Italy can be sterile. [Audience laughter]. And this is a law. And so they had to go to Naples [https://www.wikidata.org/wiki/Q2634] and be tested all over again, officially, by a doctor in Naples, and a lawyer had to follow this, and they discovered after the tests that she was sterile and she was not [audience laughter], and they got this all certified and they adopted the children and they now have them and are living happily with them. But there's some, there's another side to this coin, too. And so, we lived next to a high school called the church, or the school of the Adorazione, and I'd see this women, you know, they're so beautiful when they're young, and then when they get married they start dressing in black and start cooking spaghetti and having children, and something awful happens, and then their husbands lose interest in them and then they have to find other lovers and then, you know, it's an awful thing. [Audience laughter]. It's \\\"La Donna a Roma, an Odyssey\\\".\\n \\nJoseph Langland\\n00:36:12\\nReads \\\"La Donna a Roma, an Odyssey\\\".\\n \\nJoseph Langland\\n00:37:24\\nWell then, another kind of thing that happens in our society, I think it happens to many people, I've been writing a series of half-songs. I call them half-songs, they're at half-pitch, half-singing pitch, where we talk and we don't talk together. You know, we say something and someone answers and it goes, you know, we keep going past each other. And so I've written a poem that, it has two separate parts, both parts rhyme all the way but you won't hear this at all, I was talking about that with the class here, today, it may be aesthetically valid for myself alone. And it's one, it's called \\\"Not Quite a Conversation: A Half-Song\\\", and the first part is called \\\"He and Her\\\". You see, \\\"he\\\" is the noun and \\\"her\\\" is the object. And the next part is called, \\\"She and Him\\\". \\\"She\\\" is the noun and \\\"him\\\" is the object. And they're talking. Or, we're talking about them. And so, in a sense they should be printed facing each other on the page, and I can't read them together, so I have to read first \\\"He and Her\\\", then I might, they talk back and forth to each other all the way through the poem. \\\"He and Her.\\\"\\n \\nJoseph Langland\\n00:38:44\\nReads \\\"Not Quite a Conversation: He and Her\\\" [published later in Any Body’s Song].\\n \\nJoseph Langland\\n00:39:40\\nAnd the other, \\\"She and Him\\\". As I say, it rhymes all the way, and triad by triad it answers. \\n \\nJoseph Langland\\n00:39:47\\nReads \\\"Not Quite a Conversation: She and Him\\\" [published later in Any Body’s Song].\\n \\nJoseph Langland\\n00:40:59\\nI guess we take a break in the program. \\n \\nUnknown\\n00:41:05\\nAmbient Sound [voices].\\n \\nUnknown\\n00:41:24\\n[Cut or edit made in tape. Unknown amount of time elapsed].  \\n \\nJoseph Langland\\n00:41:25\\nAnd, I will read just one or two of these. And once again, I make no particular claim as to the validity of this, and probably in the long run it’s not even a fruitful thing. All my grandparents were born in Norway [https://www.wikidata.org/wiki/Q20], my name is Langeland. You know, they dropped the 'e' and called it Langland. And I have been back there a couple of times, I might go again this summer and work with a Norwegian poet, Paul Brekke, and maybe another one, on some translations from the Norwegian  I don't know much Norwegian, he knows a lot of English. [Audience laughter]. But when I was going through there a year ago, I got two, two poems. First this one, \\\"Singing in Late Summer\\\". When my father died they played a folk song, \\\"Den store hvide Flok\\\", \\\"The Great White Host\\\" [https://www.wikidata.org/wiki/Q10468796], at his funeral. And I'd sort of shipped my children off to jobs, I had, you know, I had a fourteen-year-old boy working on a ranch in Wyoming [https://www.wikidata.org/wiki/Q1214], and a twelve-year-old son working on a farm in Iowa, and a daughter who'd gone off to work in-- who was what, fifteen, sixteen, to a hotel in Switzerland [https://www.wikidata.org/wiki/Q39], and my wife was in Provincetown [https://www.wikidata.org/wiki/Q49154], painting [audience laughter], and I was at home writing. Which is what I wanted to do all the time, in any case. \\\"Singing in Late Summer\\\".\\n \\nJoseph Langland\\n00:43:03\\nReads \\\"Singing in Late Summer\\\" [published later in Any Body’s Song and collected in Selected Poems].\\n \\nJoseph Langland\\n00:44:17\\nAnd then, traveling through Norway, all these rivers, you know, they just...they're tumbling all over, rushing everywhere, and falling off the tops of mountains, you know, it just seemed endless, going from Oslo to Bergen [https://www.wikidata.org/wiki/Q26793] and Trondheim [https://www.wikidata.org/wiki/Q25804] and down to Oslo and so forth. Or down to the Island of Store [https://www.wikidata.org/wiki/Q1636366] along the west coast of Norway. And so, I was thinking of a phrase I'd heard an old, an older woman in my own area say about the younger generation. She would always say, \\\"[inaudible phrase in Norwegian]\\\". And so I saw these rivers, and every time I saw them I kept saying, \\\"[inaudible phrase in Norwegian]\\\". [Laughter]. And so then I started thinking of all of these Norwegian immigrants that just came, you know, more of them over here than there are over there...and...so I, it's about the rivers, it's called \\\"Norwegian Rivers\\\", and it's about the people, the younger people, and it's about the immigrants, and the older immigrants, everything like that, I guess.\\n \\nJoseph Langland\\n00:45:22\\nReads \\\"Norwegian Rivers\\\" [published in The Massachusetts Review, Vol. 4, n.1 and collected later in Any Body’s Song and in Selected Poems].\\n\\nJoseph Langland\\n00:48:08\\nWell, there's several like that. But I want to do some other things, so I'll just leave them alone. I'm...you know, I'm translating from the Russian, and no pretense about it, I have two great friends, Thomas Axel [https://www.wikidata.org/wiki/Q23565070], who was press agent for Imre Nagy [https://www.wikidata.org/wiki/Q177917] for eleven days, before, at the time of the Hungarian Revolution, and then he escaped to Austria [https://www.wikidata.org/wiki/Q40]. He teaches at my university, he's a very fine poet, he used to be a director of theatre in Budapest, of the State Theatre. And then Laszlo Ticosz, he teaches in the German-Russian department at the university. They both, for years, have been collecting from the underground poems by relatively unknown poets, student poets and so forth, from Russia [https://www.wikidata.org/wiki/Q159], and they have a magnificent collection of these things. They give me, absolutely literal cribbed translations, and then I work with them, and there're some magnificent things coming, and I'm as certain as I stand here that the moment these things are sent into a publisher, not because of what I'm doing, but because of the nature of the thing, that it'll be just snapped up. This is relative, totally fresh new material, no one else has it, they have, through their own channels in the underground, they are being fed this. And so I find it very exciting, and as I said to someone today, I have to sort of take it through my own experience, which included...I won't say poverty, that's not the right word, but absolutely no money, not poverty because we could milk the cow and, you know, raise the garden vegetables and shear our sheep and make our own blankets and, you know, we had food, clothing, and shelter. And then the war in Europe, and I was in well, concentration camps, I wasn't in them, but I was, at Nordhausen [https://www.wikidata.org/wiki/Q7033], I sort of participated in the burial of five thousand people in one day in open trenches, and was with a headquarters unit a few days after and captured Buchenwald [https://www.wikidata.org/wiki/Q152802], and it...I won't say it's these things that pulled together, I was in Weimar [https://www.wikidata.org/wiki/Q3955] when it was turned over to the Russians, I remember going out of there, you know, it was half the German population in their carts going toward Eisenach [https://www.wikidata.org/wiki/Q7070], to the west, and the Russian cavalry coming in, meeting it from the east...lots of things, but so that's simply what this material comes through, and so I have some sympathy for it. This is a poem \\\"Drowning\\\", by a person named Sergei Chudakov [https://www.wikidata.org/wiki/Q4517600]. \\n \\nJoseph Langland\\n00:51:23\\nReads \\\"Drowning\\\" by Sergei Chudakov [published later in Poetry from the Russian Underground].\\n \\nJoseph Langland\\n00:51:31\\nSee, in the original it says, \\\"bright as a house\\\".\\n \\nJoseph Langland\\n00:51:36\\nResumes reading \\\"Drowning\\\" by Sergei Chudakov.\\n \\nJoseph Langland\\n00:52:06\\nThis is \\\"The Jewish Cemetery in Leningrad\\\" by Joseph Brodsky [https://www.wikidata.org/wiki/Q862]. \\n \\nJoseph Langland\\n00:52:12\\nReads \\\"The Jewish Cemetery in Leningrad\\\" by Joseph Brodsky.\\n \\nJoseph Langland\\n00:52:32\\nSee the poem says, \\\"lie musicians, lawyers, businessmen, and revolutionaries\\\". I'm very certain in this case that, you know, I felt great when I thought of saying it in this other way. Makes it better. \\n \\nJoseph Langland\\n00:52:47\\nResumes reading \\\"The Jewish Cemetery in Leningrad\\\" by Joseph Brodsky.\\n \\nJoseph Langland\\n00:54:03\\nFor instance, the original translation was that this whole thing is \\\"one hour by foot FROM the nearest bus stop\\\" And as far as I'm concerned, saying \\\"to\\\" is apt, a crucial difference, \\\"and the crooked faces of the plywood\\\", see, \\\"are one hour by foot TO the nearest bus stop\\\". Wanted the whole sense that they might all get up and walk and haunt us, see, coming the other way. Here's a poem about conditions by Artyemy Mikhailov. These names may be just be relatively anonymous, although some of them are among the friends that have been defending Sinyavsky [https://www.wikidata.org/wiki/Q468267] and Daniel [https://www.wikidata.org/wiki/Q435770]. His idea about conditions. And it was a pretty rigid, stiff poem and I had to try to get movement in it and so forth. And it's whole, if, if you've, if your dearest friend has not been trapped and dragged to a camp, if, if, if, the entire way through.\\n \\nJoseph Langland\\n00:55:01\\nReads “Conditions” by Artyemy Mikahilov [published later in Poetry from the Russian Underground].\\n \\nJoseph Langland\\n00:56:07\\nHere once again, there's so many of these, I just, here's one in the older style but it's one that's full of an elegant, lyric despair, \\\"Now that I know\\\", by Vladimir Kovshin.\\n \\nJoseph Langland\\n00:56:21\\nReads \\\"Now that I Know\\\" by Vladimir Kovshin [published later in Poetry from the Russian Underground].\\n \\nJoseph Langland\\n00:57:01\\nThis is a poem called \\\"After the War\\\" by Gleb Garbovsky. I just completed this this previous weekend, these I'm reading from now. \\n \\nJoseph Langland\\n00:57:11\\nReads \\\"After the War\\\" by Gleb Garbovsky [published later in Poetry from the Russian Underground].\\n \\nJoseph Langland\\n00:58:54\\nIncidentally, I used the phrase \\\"called back\\\" because that's on Emily Dickinson's [https://www.wikidata.org/wiki/Q4441]  tomb in Amherst [https://www.wikidata.org/wiki/Q49164], Massachusetts. Just an example of how you get your own little allegiance and locality into something else. \\n \\nJoseph Langland\\n00:59:08\\nResumes reading \\\"After the War\\\" by Gleb Garbovsky.\\n \\nJoseph Langland\\n00:59:27\\nHere's one, \\\"Keeping up with the Humanskys\\\". It's a poem about keeping up with the Joneses. [Audience laughter]. I had a lieutenant in the army who said his name was Humansky, and he said his, that man, I'll never forget it because he said that means \\\"son of the fields\\\" but I've been called worse names. I remember him saying that [audience laughter]. And so I...Son of the fields, I thought, that's great, you know, I was looking for a Russian name that would be like the Joneses, only this is like the serfs, son of the fields, of the soil. Couldn't be better. \\\"Keeping up with the Humanskys\\\". So, see, that's my good luck out of a little piece of experience that came to me when I needed it. \\n \\nJoseph Langland\\n01:00:06\\nReads \\\"Keeping up with the Humanskys\\\".\\n \\nJoseph Langland\\n01:01:33\\nThen there's one about a march from Russia to Siberia [https://www.wikidata.org/wiki/Q5428]. And, \\\"Etape\\\". There's no title in the original, there's a footnote, which was, these were sent to Axel and Ticosz from Russia, this poem. Neither the name nor the fate of its author is known. The phrase \\\"Marching in Etape\\\" originates from the nineteenth century. One stretch of the Long March from Russia to Siberia was called Etape, and it was in a ballad stanza form, so that's the way I did it. It's...little old style, but.\\n \\nJoseph Langland\\n01:02:07\\nReads \\\"Etape\\\" by an unknown author.\\n \\nJoseph Langland\\n01:03:57\\nThen \\\"The Garbage Collector,\\\" a poem that...\\n \\nUnknown\\n01:04:03\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nJoseph Langland\\n01:04:04\\nReads \\\"The Garbage Collector” [begins abruptly; audience laughter throughout].\\n \\nAudience\\n01:04:27\\nLaughter.\\n \\nJoseph Langland\\n01:04:30\\nI'm very proud of that too, because you know in the old Renaissance things there's always these, an infinitely wise Christ Child, you know, at the mother's breast but his eyes are looking out elsewhere, and he's pointing like this, you know, and it's, so I thought, you know, that's not quite the translation but it's mine [audience laughter]. \\n\\nJoseph Langland\\n01:04:46\\nResumes reading “The Garbage Collector”.\\n\\nJoseph Langland\\n01:05:32\\nWell, these are, you know, poems out of new, unknown--\\n \\nUnknown\\n01:05:36\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n \\nJoseph Langland\\n01:05:37\\nI've sort of been threatening to sing something, and the trouble is, I'm...as I...I wouldn't play the piano if there were one here, and I don't play the guitar, and if I play this thing, it's locked stuff, I'm tied to it, and, I haven't played this tape that's accompanying me, you know, for at least three weeks, and I haven't sung a note since I left Amherst, except the notes I sang here, so, that's all right. These are songs of all sorts. So this is my accompaniment. I hope it works, if it doesn't I'll just stop it. \\n \\nUnknown\\n01:06:17\\nAmbient Sound [music; recorded track]. \\n \\nJoseph Langland\\n01:06:22\\nListen here, just a song called \\\"All the Lovers that You Ever Knew\\\".\\n \\nJoseph Langland\\n01:06:37\\nPerforms \\\"All the Lovers that You Ever Knew\\\" [published later in Any Body’s Song] accompanied by recorded track.\\n \\nJoseph Langland\\n01:08:02\\nThis next is a song called \\\"Alone the Evening Falls on Me\\\". Sometimes I wonder, just trying to remember it here, whether I'm supposed to start singing now, and I'll get to the end of the song and I won't have accompaniment for the last dance. [Audience laughter].\\n \\nJoseph Langland\\n01:08:31\\nPerforms \\\"Alone the Evening Falls on Me\\\" accompanied by recorded track [published later as \\\"Song At Evening” in Any Body’s Song and collected in Selected Poems] \\n \\nJoseph Langland\\n01:10:23\\nThis is a song called \\\"Jump on my Back\\\". It's about Iowa and Wyoming. But since Wyoming didn't work, I had to say Idaho [https://www.wikidata.org/wiki/Q1221]. [Audience laughter].\\n \\nJoseph Langland\\n01:10:45\\nPerforms \\\"Jump on my Back\\\" accompanied by recorded track.\\n \\nJoseph Langland\\n01:11:25\\nThis next one is called \\\"A Hiroshima Lullaby\\\". There's an infinitely sad story. In Hiroshima [https://www.wikidata.org/wiki/Q34664] when the bomb fell, in 1945, there was a little girl, Sadako Sasaki [https://www.wikidata.org/wiki/Q231997], two years old, some of you may know of her. She was a mile and a half from the centre of the blast and apparently unharmed. She was a very gay and popular girl, and her classmates loved her. And she was in the sixth grade or the equivalent, age twelve, in Hiroshima, Hiroshima, however you pronounce it.  And she developed leukemia, which is of course, as many of you know, a latent effect of many people exposed to radiation, so she was, after all, a victim. And she, well she finally became so ill she had to go to the hospital. And her friends came to visit her. And among other things, they told her, and that she knew, that there's an old Japanese legend about herons. I've been writing poem about herons and cranes and I have some in my book, one on a sandhill crane, and I told some people today that I'm going to the University of Oregon [https://www.wikidata.org/wiki/Q766145] in June to speak in their summer Academy of the Arts, and I heard of a person who works in wildlife out in Oregon [https://www.wikidata.org/wiki/Q824], and so because of the poem about the crane he's invited me to visit his wildlife refuge, about two or three hours east of Eugene [https://www.wikidata.org/wiki/Q171224], where he has a refuge among other things for sandhill cranes, you know these water birds are simple. And so I'm going to visit him. I look forward to it. Not because of a poem, see, it's nice. And so, Sadako Sasaki in the hospital, she heard that if you fold a thousand paper cranes in this Japanese folding technique, this will protect your health and save you. So she started folding them. And the tale has two sides. She reached 964 and she died. Her classmates were so, at the centre so involved they completed the thousand, they formed them in a chain. They went around gathering the equivalent of pennies, around Japan [https://www.wikidata.org/wiki/Q17], and when they got enough they asked a sculptor from Tokyo [https://www.wikidata.org/wiki/Q1490] to make a statue of this girl, and so he made a statue showing...you'll surely see pictures of this if you haven't. It's a young, twelve year-old girl, you know, still with a girl's body, she's standing up like this....and she stands in the Peace Park in Hiroshima now. And over her, made out of gold, the folded crane. And so, I wanted to write a poem for her. And so just using the fifth in the bass, and then using the five notes, black keys, I wrote a little ballad and I'll probably sing one stanza maybe, and then read the rest. \\n \\nJoseph Langland\\n01:15:03\\nPerforms the beginning of \\\"A Hiroshima Lullaby\\\" [published later in Any Body’s Song and collected in Selected Poems].\\n \\nJoseph Langland\\n01:15:38\\nReads the continuation of “A Hiroshima Lullaby\\\" [published later in Any Body’s Song and collected in Selected Poems].\\n \\nJoseph Langland\\n01:16:49\\nI wanted to write a civil rights song, something that you could march to in Madison Square Garden [https://www.wikidata.org/wiki/Q186125]. And that's, you know, it's a marching song. That's like that. \\n \\nJoseph Langland\\n01:17:15\\nPerforms unnamed song accompanied by recorded track. \\n \\nJoseph Langland\\n01:18:00\\nStops recorded track. \\n \\nJoseph Langland\\n01:18:00\\nWell, there are a lot more of these songs and I'm just going to stop the tape at this time because...I haven't even begun reading you my favourite poems, [audience laughter], and I know it's about to end but maybe, maybe I can read for fifteen minutes or so. If you have to go, just get up and go. But. When I was in Italy in 1954, I read in Marcus Cunliffe's [https://www.wikidata.org/wiki/Q6758114] The Literature of the United States, \\\"New York is the intellectual centre of the United States.\\\"  That made my blood boil [audience laughter] because it's a marketplace, so I just simply took his own book, The Literature of the United States, took all his authors, and lined them up, and all the places where they were born, where they grew up, and where they wrote from, and sent them the chart, which proves, out of his own book, that in literature, creative ideas, there have been three great centres and then two subordinate ones. New England [https://www.wikidata.org/wiki/Q18389], the Midwest, and the South, and then as subordinate ones, they're the West Coast, and then the mid-Atlantic, New York area. That's in literature [audience laughter]. And we got in an argument...the result of it all was that I invited him to come and teach at my university [audience laughter]. So he came and he gave an address, and in one of his speeches he said, “Americans are overly given to haruspication and scrying” [audience laughter]. Well, you know, when someone comes out of England [https://www.wikidata.org/wiki/Q21] and says, gives, delivers a lecture to an American audience and says that, among other things you have to look up the words. [Audience laughter]. And, so...so I looked them up and I discovered \\\"haruspication\\\", the Haruspects were Roman and Etruscan pagan priests who examined the entrails of sacrificial animals [audience laughter] to predict natural phenomena and the future. So I started thinking about that. I grew up on a general farm, we had about a hundred pigs, two hundred sheep, a hundred head of cattle, twenty milk cows, a thousand chickens, about one hundred turkeys, twelve goats, you know [audience laughter], anywhere from twenty to fifty cats, and all sorts of wild animals, and I had seen bulls gored to death, I had seen flocks of sheep driven over limestone cliffs by dogs, I'd seen hawks that'd ripped little lambs and chickens, I'd seen skunks that had eaten them up, I'd butchered all of these things, I'd castrated, you know, I myself have castrated maybe three thousand pigs, and [laughter]..and...so, I thought okay. In fact, some of you may know that \\\"The Wheel of Summer\\\", the title poem, is about the castration of one hundred pigs, by three teenage boys [audience laughter], and as I was introduced in England once, he said it's probably the most distinguished poem in English about the castration of a hundred pigs. [Audience laughter]. But I started thinking about all of this and I thought, well, okay, I have a philosophy of life too, and it's been based with the whole business of producing food for you. You know, that's the end of it, the end of it all. And I participated in an awful lot of killing and...routine, it’s a way of life. And you know, if you eat meat, well you too. So I said, well okay, I've been haruspicating for a long time. And I gradually went up from age six to age eighteen, and meantime I achieved some kind of maturity, and I'm going to write my own poems. So I wrote all these poems, and the titles are, you know, like \\\"Sacrifice of a Rainbow Trout\\\", \\\"Sacrifice of My Pet Lamb\\\", but I'm going to read you the ultimate titles, which aren't in the book. Just running from age six on up to age eighteen, or when we got all old enough and we all went off to the war, as the last poem said.  But these say, you know, that's what these poems are really about.  \\n \\nJoseph Langland\\n01:22:38\\n\\\"The Clarity of Innocence: Sacrifice of a Trout\\\". “The Loss of Early Innocence: Sacrifice of My Pet Lamb\\\". \\\"The Plunder of Idealism: Sacrifice of the Golden Owl\\\". \\\"The Sickle among the Flowers\\\"...I quit making the equation...\\\"The Sickle Among the Flowers\\\". \\\"The Decline of Heroic Voices\\\"--that's the goring to death of a bull. \\\"The Suffocations of Love\\\"--that's the killing a pet chick by over-affection. \\\"The Attritions of Man\\\". \\\"The Unhousing of Beneficent God\\\". \\\"The Seeming, the Necessary and Beneficial Perversions of Love\\\"--that's my sacrifice of a gunny sack of cats. \\\"The Subtleties of Violent Revenge: Sacrifice of an old Sow\\\". \\\"The Sweet Solace of Evil\\\". \\\"The Absurdities of Fact\\\". \\\"The Pitfalls of Group Action: Sacrifice of a Flock of Sheep\\\"--they ran over this cliff, twelve of them died at once, and people say you shouldn't write villanelles, but that's the way sheep act, so I wrote a villanelle, you know, they repeat. \\\"The Catechism of Human Culpability\\\"--that's Eric, a suicide of a man. \\\"The Oddities of Affection\\\". \\\"The Sacred Violence of Purity\\\". \\\"The Bounties of Natural Law\\\". \\\"The Winter of the Cold War: Sacrifice of a Grey Wolf\\\". \\\"The Decline of Natural Instincts: Sacrifice of Three Wild Geese\\\". \\\"The Tyranny of Fixed Ideas\\\"--that's a sacrifice of a red squirrel. \\\"A Dream of the Ultimate Holocaust: Sacrifice of a Hill of Ants\\\" and \\\"The Warfare of the Sensuous Past: Sacrifice of My Aunt Marie\\\".  And then it all culminates in the longer narrative poem, \\\"The Wheel of Summer\\\". Which is just simply coming to maturity as a man. Well I'll, I'll read a few of these. \\\"Sacrifice of a Rainbow Trout\\\" has no music, but I oftentimes start singing when I'm reading it, but I'm not going to now, I've done that. \\n \\nJoseph Langland\\n01:24:43\\n\\\"Suddenly\\\"--this is six years old, you know.\\n \\nJoseph Langland\\n01:24:46\\nReads \\\"Sacrifice of a Rainbow Trout\\\" [from The Wheel of Summer and collected later in Selected Poems].\\n \\nJoseph Langland\\n01:25:42\\nI'll skip the lamb and read the owl. I wanted to just talk--\\\"We strung our wind-up rooster dead on a post\\\"--see, it can't be any flatter than that. \\n \\nJoseph Langland\\n01:25:52\\nReads \\\"Sacrifice of the Golden Owl\\\" [from The Wheel of Summer and later collected in Selected Poems].\\n \\nJoseph Langland\\n01:27:39\\nI'll read the one of the neighbors. No one can live on a, in a farm area without seeing over a period of years, people lose fingers, toes, arms, legs, in various ways. It's...I was on a reading tour, actually, when Kennedy [https://www.wikidata.org/wiki/Q9696] was killed. And I was actually in an auditorium about to start reading these poems, when it was cancelled, because of the announced death of the president. I couldn't have read them, but I didn't know what I was going to do. I was just sitting there, and five minutes from starting time. But this is \\\"Sacrifice of my Neighbors\\\".\\n \\nJoseph Langland\\n01:28:20\\nReads \\\"Sacrifice of my Neighbors\\\" [from The Wheel of Summer].\\n \\nJoseph Langland\\n01:28:39\\nThat was my brother.\\n\\nJoseph Langland\\n01:28:42\\nResumes reading “Sacrifice of my Neighbors”.\\n \\nJoseph Langland\\n01:31:02\\n\\\"Sacrifice of the Gunnysack of Cats\\\". I read it in New York City, I didn't know that the officers of the Society for the Friends of the Prevention of Cruelty to Animals were sitting in the audience. After I went back to Amherst I got a letter from them, saying that every year there are twenty-five million unwanted pets born in the United States [audience laughter] and we secure funds to get the females spayed and the males castrated, and your poem, \\\"The Sacrifice of the Gunnysack of Cats\\\" is perfect for our purposes for our annual appeal, and, could we...[audience laughter.]..could we use it, please. I thought, my God, you know, I just, I read this poem, like all of these things out of a great affection, and this is the thing, you'll have to forgive me but this is what occurred to me, you know. I just had this great affectionate conception of the whole thing, and now they wanted to turn it into a kind of contraceptive. [Audience laughter]. And...and then I thought, well, okay, what can I do at this point? And so, showing this charming little picture, you know, it's a dog, and a little puppy dog [audience laughter], little kitten and laying their heads against each other and saying \\\"Annual Appeal\\\" and on the back of it was my \\\"Sacrifice of the Gunnysack of Cats\\\" and...I, you know, when I travel around the United States even now, I often like wonder in what town did I do in this poor little male cat or this female, you know, cooperating in one way or another, it's like, you know, I have to refuse to pay your taxes...you don't know what you're maiming at a certain point. But that's an example. I wanted to start from the most ordinary thing and see how I could carry it, and this is the \\\"Sacrifice of the Gunnysack of Cats\\\".\\n \\nJoseph Langland\\n01:33:13\\nReads \\\"Sacrifice of the Gunnysack of Cats\\\" [from The Wheel of Summer and collected later in Selected Poems].\\n \\nJoseph Langland\\n01:36:23\\nOne hard poem about the old sow, which is, says something about this world. \\n \\nJoseph Langland\\n01:36:31\\nReads \\\"Sacrifice of an Old Sow\\\" [from The Wheel of Summer and later collected in Selected Poems].\\n \\nJoseph Langland\\n01:37:48\\nWell that's the way we do it. Then one, pretty hard poem, too, it's about Eric, but it's really about us, and then I'll read the squirrel poem, and then leave these alone. That...okay, actually this, I had in mind an uncle, a favourite uncle. Very talented, frustrated.\\n \\nJoseph Langland\\n01:38:19\\nReads [\\\"The Sacrifice of Eric” from The Wheel of Summer and collected later in Selected Poems].\\n \\nJoseph Langland\\n01:41:09\\nAlright, and then the squirrel. Actually, I...last week, I had a letter from some fellow in Kansas [https://www.wikidata.org/wiki/Q1558], I never, of course I don't know him at all. He wants to set the thing to music, I don't know what he's going to do with it, but...he plays the guitar, and so I said, fine. And just about anybody who gets caught in a rut...I must say that after this I'm going to read one little ballad on Adlai Stevenson [https://www.wikidata.org/wiki/Q311719], but...\\n \\nJoseph Langland\\n01:41:47\\nReads [\\\"The Sacrifice of a Red Squirrel\\\" from The Wheel of Summer]. \\n \\nJoseph Langland\\n01:44:25\\nLittle ballad for Stevenson, and I don't have it with me, but I know it. The state tree, bird, and flower of Illinois [https://www.wikidata.org/wiki/Q1204] is the oak, the cardinal, and the violet. That's green, red, and violet. It struck me, that's half a rainbow. That seemed like Adlai Stevens' life. A great theoretical life, unfinished, has to be completed by someone else. I asked, what's the other half, they're yellow, orange, and blue, and his home at Libertyville [https://www.wikidata.org/wiki/Q1787181], Illinois, you can't improve on that for the title, \\\"Libertyville\\\", it has a river the Des Plaines River [https://www.wikidata.org/wiki/Q8637], that's before it enters the Chicago [https://www.wikidata.org/wiki/Q1297] drainage system, it's a nice blue stream out of the Wisconsin [https://www.wikidata.org/wiki/Q1537] woods, that's blue, the sky is blue, the light by day is orange, and by night yellow. That's the full rainbow. \\\"There's a fountain in the wood\\\"...It's called \\\"Libertyville\\\" and past that, a little epigraph about the state tree, bird, and flower of Illinois, and I wanted to, for the schoolchildren of Illinois...\\n \\nJoseph Langland\\n01:45:27\\nReads \\\"Libertyville\\\" [from The Wheel of Summer and collected later in Selected Poems].\\n \\nAudience\\n01:47:02\\nApplause.\\n \\nEND\\n01:47:35\\n\",\"notes\":\"Joseph Langland reads from The Green Town (Scribner, 1956) and The Wheel of Summer (Dial Press, 1963), as well as poems published later in Poetry from the Russian Underground (Harper & Row, 1973), Any Body’s Song (Doubleday, 1980), and Selected Poems (University of Massachusetts Press, 1991).\\n\\n00:06- Unknown introducer introduces Joseph Langland. [INDEX: Spring Grove, Minnesota, public schools, Iowa, State University of Iowa, University of British Columbia, University of Washington, San Francisco Poetry Center, University of Wyoming, University of Massachusetts, Massachusetts Review, editorial board, books For Harold, memorial poems for brother, WWII, published in Germany in 1945, The Green Town published by Scribner’s in 1956, nominated for the National Book Award for poetry in 1957, The Wheel of Summer, (Dial Press, 1963), winner of the Melville Kane Poetry Award, anthologies Poet’s Choice co-edited with Paul Engle (1952), The Short Story (Macmillan, 1956) co-edited with James B. Hall, forthcoming books: Adlai Stevenson, Iowa City, Stonewall Press [unknown actual publication], long memorial poem, lyric poems, Songs and Half-Songs [unknown actual publication], poetry anthologies, Poetry Chicago, Hudson Review, Chicago Review, Paris Review, London Magazine, Nation magazine, song lyrics, Morton Gould, Phillip Esantzen, Elliot Schwartz, folk songs, Folk Ways Scholastic Records, grants, 1953-4 Ford Faculty Fellowship in Humanities, 1955 and 1956 Amy Lowell Traveling Poetry Fellowship, 1966 National Council of Arts Grant in Poetry, readings at universities in Europe, Glasgow, London, Sussex, Munich, Oslo, University College in Dublin.]\\n03:19- Joseph Langland introduces “Desperate Equations”. [INDEX: written in answer to a critic; from The Wheel of Summer (1963).]\\n03:47- Reads “Desperate Equations”.\\n04:33- Introduces “Natures”. [INDEX: newer poem]\\n04:44- Reads “Natures”.\\n06:54- Introduces “Dandelion”. [INDEX: daughter of famous poet, procedure among  \\tartists, wife, poem of affection.]\\n07:40- Reads “Dandelion”.\\n09:26- Introduces “The Amalfi Grotto”. [INDEX: grotto in the southern coast of Italy, tourist trade, magical place, sea level, Tyrrhenian Sea, cave, sunlight, morning, cafe, water, orb, poetry, poem about poetry; from The Wheel of Summer (1963).]\\n11:38- Reads “The Amalfi Grotto”.\\n12:53- Introduces “War” and “A Seachange for Harold”. [INDEX: poem for brother, killed in the Philippines in WWII, Europe, wrote thirty poems for him, history, Germany,     \\tGerman soldier, former infantry officer of the German Army, captive at Stalingrad, United States, teaches music, American university, irony, sequence, art, enmity, published in Japanese anthology, translated into Italian, axis powers, Hungarian Revolution, Budapest in 1956, Hungarian, history, humbled, forms, subjects, Williams Carlos Williams, reading at the Lexington Y in NYC in 1954, 96th Street, foghorns, Manhattan, beginning of poem “A Seachange for Harold”.; from The Wheel of Summer (1963)]\\n16:22- Reads beginning of “A Seachange for Harold”.\\n16:40- Introduces “War”. [INDEX: subjects, family, nine children; from The Wheel of  Summer (1963).]\\n17:15- Reads “War”.\\n18:43- Introduces “A Hard Song to Sing”. [INDEX: music for poems, song, contemporary condition of war, civil rights, United States, monosyllabic, pitch, love, Edward Grieg, A flat, resonance, body.]\\n20:24- Sings “A Hard Song to Sing”.\\n21:48- Introduces “An Open Letter to Ralph Ellison”. [INDEX: Ralph Ellison and his wife   Fanny, Langland’s wife Judy, beach on small Italian fishing town, civil rights movement,        Ellison’s essays, The Invisible Man, poem not published, jazz player, trumpet,      \\tphotographer, cellar, background, letter; published later in The Massachusetts Review Vol. 40, n.4, (Winter, 1999/2000).]\\n23:16- Reads “An Open Letter to Ralph Ellison”.\\n27:02- Introduces “How It, So Help Me, Was”. [INDEX: Thoreau, book of letters to famous people, Walden Pond, art farm, title, 1963/1962, 100 years after the Civil War, blue, grey, shadow, pond, illegal; published in The Massachusetts Review, Vol. 4, n.1, (Autumn, 1962).]\\n29:04- Reads “How It, So Help Me, Was”.\\n32:10- Introduces “Still to be Man”. [INDEX: poetry, alive, body, animal.]\\n32:44- Reads “Still to be Man”.’\\n32:51- Interrupts with explanation. [INDEX: writing a poem, home, kitchen, land on the earth, air.]\\n33:04- Continues reading “Still to be Man”.\\n34:10- Introduces “La Donna a Roma, an Odyssey”. [INDEX: family, Rome, syndrome,      Roman women, trapped in society, extreme conservatism, teacher of art at an American    university, adopting child in Italy, law, sterile men, Naples, doctor, lawyer, certified, high    school, Adorazione (school), beautiful and young women, married, dressing in black,   \\tspaghetti, children, husbands, lovers.]\\n36:12- Reads “La Donna a Roma, an Odyssey”.\\n37:24- Introduces “He and Her”. [INDEX: society, series of half-songs, half-pitch, half- singing, talk, two parts, rhyme, class (at Sir George Williams University), aesthetic value, \\t“Not Quite a Conversation: A Half-Song”, first part is “He and Her”, noun, object,    second part “She and Him”, talking, printed, page.]\\n38:44- Reads “Not Quite a Conversation: A Half-Song, part 1: He and Her”.\\n39:60- Introduces “She and Him”. [INDEX: triad, rhyme, answers.]\\n39:47- Reads “Not Quite a Conversation: A Half-Song, part 2: She and Him”\\n40:59- Langland announces break.\\n41:25- Introduces second part of reading and “Singing in Late Summer”. [INDEX:     \\tvalidity, grandparents, Norway, name ‘Langeland’, Norwegian poet Paul Brekke,    translations, Norwegian, two poems written in Norway, death of his father, folk song   \\t“Den store hvide Flok”/ “The Great White Host”, funeral, children’s jobs, farm in Iowa,       ranch in Wyoming, hotel in Switzerland, Provincetown, painting, writing; published later  in Selected Poems (University of Massachusetts Press, 1991).]\\n43:03- Reads “Singing in Late Summer”.\\n44:17- Introduces “Norwegian Rivers”. [INDEX: traveling through Norway, rivers,    \\tmountains, Oslo, Bergen, Trodheim, Island of Store, west coast of Norway, older  \\twoman, younger generation, Norwegian immigrants; published first in The       \\tMassachusetts Review, Vol. 4, n.1, (Autumn, 1962); later in Selected Poems       \\t(University of Massachusetts Press, 1991).]\\n45:22- Reads “Norwegian Rivers”.\\n48:08- Introduces “Drowning” by Sergey Chudakov. [INDEX: translation from Russian,     friends Thomas Axel, press agent for Imre Nagy, Hungarian Revolution, escape to        \\tAustria, teaches at university, poet, director of theatre in Budapest, State Theatre, Laszlo Ticosz, teaches in the German-Russian department at the university, collecting   underground poems from unknown poets from Russia, collection of poems, literal \\ttranslations, not sent to a publisher, new material, channels in the underground, war in   Europe, concentration camps, Nordhaussen, burial of five thousand people in one day in open trenches, captured Buchenwald, Weimar, Russians, German population Eisenach, Russian cavalry; from Poetry from the Russian Underground  (Harper & Row, 1973).]\\n51:23- Reads “Drowning” by Sergey Cuchadakov.\\n52:06- Reads “The Jewish Cemetery in Leningrad” by Joseph Brodsky. [INDEX:   \\tprobably intended for Poetry from the Russian Underground but was never published.]\\n52:32- Interrupts reading with explanation. [INDEX: translation changes.]\\n52:47- Continues reading “The Jewish Cemetery in Leningrad” by Joseph Bordsky.\\n54:03- Explains “The Jewish Cemetery in Leningrad” translations, introduces first line         “Conditions” by Artyemy Mikhailov. [INDEX: conditions, defending Sinyavsky and    Daniel, trapped, dragged to camp; from Poetry from the Russian Underground (Harper & Row, 1973).]\\n55:01- Reads first line “Conditions” by Artyemy Mikhailov.\\n56:07- Introduces “Now that I Know” by Vladimir Kovshin. [INDEX: older style, elegant    lyric despair; from Poetry from the Russian Underground (Harper & Row, 1973).]\\n56:21- Reads “Now that I Know” by Vladimir Kovshin.\\n57:01- Introduces “After the War” by Gleb Garbovsky. [INDEX: newest poem; from Poetry from the Russian Underground (Harper & Row, 1973).]\\n57:11- Reads “After the War” by Gleb Garbovsky.\\n58:54- Interrupts reading with explanation. [INDEX: Emily Dickinson’s tomb in Amherst        Massachusetts, locality.]\\n59:08- Continues reading “After the War” by Gleb Garbovsky.\\n59:27- Introduces “Keeping up with the Humansky’s”. [INDEX: Joneses, lieutenant in the army, son of the fields, Russian name, serfs, experience.]\\n1:00:06- Reads “Keeping up with the Humansky’s”.\\n1:01:33- Introduces “Etape”. [INDEX: march from Russia to Siberia, original, title,     \\tfootnote, Axel, Ticosz, author unknown, nineteenth century, part of the long March from   Russia called Etape, ballad stanza form.]\\n1:02:07- Reads “Etape”.\\n1:03:57- Begins to Introduce “The Garbage Collector”, but recording ends suddenly.\\n1:04:03.32- END OF RECORDING.\\n \\nRachel Kyne has tracked poem times and durations:\\n \\nTitle                                                                        \\tTime           \\tDuration (mins)\\nFIRST CD:\\n“Desperate Equations”                                           \\t00:03:47      \\t00:45\\n“Natures”                                                                \\t00:04:44      \\t02:09\\n“Dandelion”                                                            \\t00:07:40      \\t01:43\\n“The Amalfi Grotto”                                              \\t00:11:38      \\t01:14\\n“War”                                                                      \\t00:17:15      \\t01:27\\n“A Hard Song to Sing” (one stanza sung)              \\t00:20:24      \\t00:17\\n“A Hard Song to Sing” (read)                                \\t00:20:47      \\t01:00\\n“An Open Letter to Ralph Ellison”                        \\t00:23:16      \\t03:45\\n“How It, So Help Me, Was”                                   \\t00:29:04      \\t00:24\\n“Still to be Man”                                                    \\t00:32:44      \\t01:24\\n“La Donna a Roma, an Odyssey”                           \\t00:36:12      \\t01:11\\n“He and Her”                                                          \\t00:38:44      \\t00:56\\n“She and Him”                                                        \\t00:39:47      \\t01:10\\n“Singing in Late Summer”                                     \\t00:43:03      \\t01:13\\n“Norwegian Rivers”                                               \\t00:45:22      \\t02:44\\n“Drowning”                                                            \\t00:51:23      \\t00:42\\n“The Jewish Cemetery in Leningrad”                    \\t00:52:12      \\t01:55\\n“Conditions”                                                           \\t00:55:01      \\t01:05\\n“Now That I Know”                                               \\t00:56:21      \\t00:40\\n“After the War”                                                      \\t00:57:11      \\t02:09\\n“Keeping up with the Humanskys”                        \\t01:00:06      \\t01:26\\n“Etape”                                                                   \\t01:02:07      \\t01:48\\n  \\n00:00- Reads “The Garbage Collector”.\\n00:27- Interrupts poem with explanation, then continues reading.  [INDEX: Renaissance, Christ Child, mother’s breast, translation”.\\n01:33- Introduces song “All the Lovers that You Ever Knew”. [INDEX: piano, singing,       guitar, Amherst, recorded tape.]\\n02:14- Plays recorded piano accompaniment.\\n02:33- Sings “All the Lovers that You Ever Knew”.\\n03:59- Introduces “Alone the Evening Falls on Me”. [INDEX: recording, singing, song,        last dance”; most likely from Selected Poems (University of Massachusetts Press,    1991).]\\n04:28- Sings “Alone the Evening Falls on Me”.\\n06:20- Introduces “Jump on my Back”. [INDEX: Iowa, Wyoming, Idaho.]\\n06:41- Sings “Jump on my Back”.\\n07:22- Introduces “A Hiroshima Lullaby”. [INDEX: sad story, Hiroshima bomb, 1945, little girl named Sadako Saki, unharmed, leukemia, hospital, Japanese legend about herons,       cranes, sandhill crane, University of Oregon in June, Summer Academy of the Arts,       wildlife refuge, Oregon, Eugene, fold a thousand paper cranes, health, sculptor from        Tokyo, statue, Peace Park, five notes, black keys, fifth in the bass, sing, stanza; published later in Selected Poems (University of Massachusetts Press, 1991).]\\n11:00- Plays and Sings “A Hiroshima Lullaby”.\\n12:46- Introduces first line “I long to walk in the promised land”, [INDEX: Civil rights        \\tsong, march in Madison Square Garden, marching song.]\\n13:12- Sings first line “I long to walk in the promised land”.\\n13:57- Introduces The Wheel of Summer (Dial Press, 1963). [INDEX: Italy in 1954, Marcus Cunliffe’s The Literature of the United States, authors, New England, Midwest, South, West Coast and mid-Atlantic New York area, literature, speech, England, Haruspects, Roman/ Etruscan pagan priests, sacrificial animals, natural phenomena, farm animals, “The Wheel of Summer” title poem, titles “Sacrifice of a Rainbow Trout”, “Sacrifice of my Pet Lamb”, poem titles that aren’t in the book.]\\n18:34- Reads poem titles from The Wheel of Summer. [INDEX: \\\"The Clarity of   Innocence: Sacrifice of a Trout.”, “The Loss of Early Innocence: Sacrifice of My Pet Lamb\\\", \\\"The Plunder of Idealism: Sacrifice of the Golden Owl\\\", \\\"The Sickle among the Flowers\\\", \\\"The Sickle Among the Flowers\\\", \\\"The Decline of Heroic Voices\\\",  \\\"The Suffocations of Love\\\", \\\"The Attrition of Man\\\", \\\"The Unhousing of Beneficent God,\\\" \\\"The Seeming, the Necessary and Beneficial Perversions of Love\\\", \\\"The Subtleties of Violent Revenge: Sacrifice of an old Sow\\\", \\\"The Sweet Solace of Evil\\\", \\\"The Absurdities of Fact”,  \\\"The Pitfalls of Group Action: Sacrifice of a Flock of Sheep\\\", \\\"The Catechism of Human Culpability\\\", \\\"The Oddities of Affection”,  \\\"The Sacred Violence of Purity\\\", \\\"The        Bounties of Natural Law\\\", \\\"The Winter of the Cold War: Sacrifice of a Grey Wolf\\\", \\\"The    Decline of Natural Instincts: Sacrifice of Three Wild Geese\\\", \\\"The Tyranny of Fixed   Ideas\\\", \\\"A Dream of the Ultimate Holocaust: Sacrifice of a Hill of Ants\\\", \\\"The Warfare of  \\tthe Sensuous Past: Sacrifice of My Aunt Marie”, longer narrative poem, \\\"The Wheel of     Summer\\\",\\\"Sacrifice of a Rainbow Trout\\\"; titles from The Wheel of Summer.]\\n20:43- Reads “Sacrifice of a Rainbow Trout”. [INDEX: from The Wheel of Summer, (Dial   Press, 1963).]\\n21:38- Introduces “Sacrifice of a Golden Owl”. [INDEX: lamb, owl, from The Wheel of        Summer, (Dial Press, 1963).]\\n21:49- Reads “Sacrifice of a Golden Owl”.\\n23:36- Introduces “Sacrifice of my Neighbors”. [INDEX: farm, lost body parts, death of       President Kennedy, reading tour, auditorium, poems, cancelled; from The Wheel   \\tof Summer, (Dial Press, 1963).]\\n24:17- Reads “Sacrifice of my Neighbors”.\\n26:58- Introduces “Sacrifice of the Gunny-Sack of Cats”. [INDEX: read in New York City, officers of the Society for the Friends of the Prevention of Cruelty to Animals, Amherst,    letter, unwanted animals, United States, cat spaying, contraceptive, Annual Appeal, taxes;  from The Wheel of Summer, (Dial Press, 1963).]\\n29:10- Reads “Sacrifice of the Gunny-Sack of Cats”.\\n32:19- Introduces “Sacrifice of an Old Sow”. [INDEX: old sow, hard poem, world; from       The Wheel of Summer, (Dial Press, 1963).]\\n32:28- Reads “Sacrifice of an Old Sow”.\\n33:45- Introduces “The Catechism of Human Culpability”. [INDEX: hard poem, Eric, squirrel poem, uncle.]\\n34:15- Reads “The Catechism of Human Culpability”.\\n37:05- Introduces “The Tyranny of Fixed Ideas”. [INDEX: squirrel, letter, Kansas, music,    guitar, ballad on Adlai Stevens.]\\n37:44- Reads “The Tyranny of Fixed Ideas”.\\n40:21- Introduces “Libertyville”. [INDEX: Stevens, ballad, state tree, bird, flower,      \\tIllinois, oak, cardinal, violet, red, green, violet, rainbow, theoretical life, yellow, orange,       blue, Libertyville Illinois, Des Plaines River, Chicago drainage system, Winsconsin   woods, blue, sky, light, epigraph, school children.]\\n41:24- Reads “Libertyville”.\\n43:32.33- END OF RECORDING.\\n \\nSECOND CD:\\n“The Garbage Collector”                                        \\t00:00:00      \\t01:27\\n“All the Lovers that You Ever Knew” (song)        \\t00:02:33      \\t01:25\\n“Alone the Evening Falls on Me” (song)               \\t00:04:28      \\t01:45\\n“Jump on my Back” (song)                                    \\t00:06:41      \\t00:40\\n“A Hiroshima Lullaby” (song and reading)           \\t00:11:00      \\t01:45\\n[“I long to walk in the Promised Land”]                \\t00:13:12      \\t00:44\\n“Sacrifice of a Rainbow Trout”                              \\t00:20:43      \\t00:57\\n“Sacrifice of the Golden Owl”                               \\t00:21:49      \\t01:15\\n“Sacrifice of my Neighbours”                                \\t00:24:17      \\t02:30\\n“Sacrifice of the Gunny-Sack of Cats”                  \\t00:29:10      \\t03:08\\n“Sacrifice of an Old Sow”                                      \\t00:32:28      \\t01:18\\n“The Catechism of Human Culpability”                \\t00:34:15      \\t02:45\\n“The Tyranny of Fixed Ideas”                                         00:37:44      \\t02:44\\n“Libertyville”                                                         \\t00:41:24      \\t01:35\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/joseph-langland-at-sgwu-1968/\"}]"],"score":1.8530173},{"id":"1271","cataloger_name":["Masoumeh,Zaare"],"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":["Michael McClure and George Montana at Sir George Williams University, The Poetry Series, 22 March 1968"],"item_title_source":["Cataloguer"],"item_title_note":["\"MICHAEL McCLURE I006/SR160\" written on sticker on the spine of the tape's box. \"I006-11-160\" written on sticker on the reel"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 2"],"item_identifiers":["[]"],"creator_names":["McClure, Michael","Montana, George"],"creator_names_search":["McClure, Michael","Montana, George"],"creators":["[{\"url\":\"http://viaf.org/viaf/71493269\",\"name\":\"McClure, Michael\",\"dates\":\"1932-\",\"notes\":\"American poet, playwright, essayist, novelist and teacher Michael McClure was born on October 20, 1932 in Marysville, Kansas. After his parents divorced, he went to live with his grandfather in Seattle, who influenced McClure’s early interests in the natural world. McClure attended several universities in Kansas and Arizona before completing his Bachelor degree at the San Francisco State College in 1955. McClure met his first wife, Joanna Kinnison, and married her in 1954. They later had one daughter, Katherine Jane (b. 1956), but divorced in 1986. While at San Francisco State College, he took a course with poet Robert Duncan, and was influenced by Charles Olson, William Blake and Walt Whitman’s poetries as well as Jackson Pollock’s paintings. McClure received instant fame when he participated in the infamous Six Gallery poetry reading in San Francisco with Allen Ginsberg, Philip Whalen, Gary Snyder and Philip Lamantia. McClure was thus associated with the Beat movement, and began publishing in what became a prolific writing career. In 1956, with poet and publisher Jonathan Williams and James Harmon, McClure published the work of both Black Mountain school poets and San Francisco Beat poets in Ark II/Moby I review; it was published in 1957. Jonathan Williams then published McClure’s first book of poetry, Passage (Jargon Book Series, 1956). McClure subsequently published many collections of poetry, including For Artaud (Totem Press, 1959), Hymns to St. Geryon and Other Poems (Auerhahn Press, 1959), Dark Brown (Auerhahn Press, 1961), The New Book/ A Book of Torture (Grove Press, 1961), Meat Science Essays (City Lights Books, 1963), Love Lion Lioness (Privately printed, 1963), Ghost Tantras (Privately printed, 1964), 13 Mad Sonnets (Privately printed, 1965), The Beard (Several publishers between 1965-7), The Sermons of Jean Harlow and the Curses of Billy the Kid (Four Seasons press, 1968), The Mammals (Cranium Press, 1972), Jaguar Skies (New Directions, 1975), Scratching the Beat Surface (North Point Press, 1982), Selected Poems (New Directions, 1986), and Rebel Lions (New Directions, 1991). McClure also wrote many plays, including !The Feast! (San Francisco, Batman Gallery, 22 December 1960), The Blossom; or Billy the Kid (New York, American Theatre for Poets, 1964), the controversial play The Beard (San Francisco, Encore Theatre, Encore Theare, December 18, 1965), Gorf (San Francisco, Magic Theare,1976) and Josephine the Mouse Singer (New York, WPA Theatre, November 20, 1978), recipient of two Off-Broadway Theatre Awards. In 1963, McClure became a professor at the California College of Arts and Crafts in Oakland, California, where he taught for more than 40 years, eventually becoming a professor emeritus. McClure was awarded numerous honours, including grants from the National Endowment for the Arts in 1967 and 1974, a Guggenheim Fellowship in 1974, a Pushcart Prize for Poetry in 1991 and a Lifetime Achievement Poetry Award from the National Poetry Society in 1993. More recently, McClure published Simple Eyes (New Directions, 1992), Love Lion Video (with Ray Manzarek, Mystic Fire Video, 1993), The Mad Club (Blue Moon Books, 1995), Rain Mirror (New Directions, 1999),  There’s a Word! audio recording with Ray Manzarek (Rare Angel Music 2001), and Plum Stones: Cartoons of No Heaven (O Books, 2002). In 1997, McClure married a sculptor, Amy Evans. Michael McClure continues to perform and write from the San Francisco Bay Area\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]},{\"url\":\"\",\"name\":\"Montana, George\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1968],"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\":\"01:20:00\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"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\":\"3/22/1968\",\"type\":\"Performance Date\",\"notes\":\"Date specified in written announcement \\\"Poetry at S.G.W.U.\\\"\",\"source\":\"Supplemental Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Basement Theatre\",\"notes\":\"Location specified in written announcement \\\"Poetry at S.G.W.U.\\\"\",\"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 Basement Theatre"],"City":["Montreal, Quebec"],"content_notes":["Michael McClure reads poems collected in The Beards (Coyote, 1967), Star (Grove Press, 1970), Ghost Tantras (Four Seasons, 1969), and Dark Brown (Dave Haselwood Books, 1967). McClure also performs a number of songs with George Montana."],"contents":["michael_mcclure_george_montana_i006-11-160.mp3\n \nIntroducer\n00:00:00\nLadies and gentlemen, Michael McClure [https://www.wikidata.org/wiki/Q1390054], George Montana. \n\nAudience\n00:00:05\nApplause.\n \nMichael McClure\n00:00:29\nThat was [unintelligible]. Star is a four letter word, s-t-a-r. Now, in case I read, I--is this on right? In case I read something here tonight with a four letter word in it, which I'm liable to cause I might start off be reading part of The Beard, um, [unintelligible] if anyone would be offended, it would be a good thing if they got their money back, right now. It's their right to do so.\n\nAudience\n00:01:07\nApplause.\n\nMichael McClure\n00:01:22\nThe Beard is a poem of mine in the form of a play that's just been arrested fifteen nights in a row by Los Angeles [https://www.wikidata.org/wiki/Q65] police and a state law has been passed against it being performed in the state colleges in California [https://www.wikidata.org/wiki/Q99]. These are the trials and tribulations. And right now we're waiting for a panel of three federal judges to come and see it and decide if it has redeeming special significance. [Audience laughter]. And if they don't think it is, we'll take it to the Supreme Court [https://www.wikidata.org/wiki/Q11201] and see what they think. And, the play has two characters in it, Billy the Kid [https://www.wikidata.org/wiki/Q44200] and Jean Harlow [https://www.wikidata.org/wiki/Q105719]. And they're together in a blue velvet eternity, they both are wearing little beards made out of torn white tissue paper. They're--they only thing on the set with them is a table and two chairs covered with furs and Harlow is wearing a blue gown and she has a purse with her and a mirror and the Kid is dressed in a costume appropriate to his costume--I mean appropriate to his career. And when the curtain opens, there's an orange light shining on him which goes up after the first, about the first thirty seconds. And being that this is a poem in the form of a play, I can only read it, I can't read it properly, I can't be two people, I can't be Billy the Kid and Jean Harlow I can only be the author so I'll have to read it that way where it's actually meant to be a poem and acted by me on a stage, on a shelf with lights. We have a shelf with lights, but that's the best I can do.\n \nMichael McClure\n00:03:41\nReads selection from The Beard.\n\nAudience\n00:10:29\nApplause.\n \nMichael McClure\n00:11:02\nUm, I'm going to read two more tonight. I want to read for a while and then have an intermission and then I'd like to come back on and play some musical pieces that my music guru George Montana has been working on with me and we've been writing some songs together, but I'd like to read poems for maybe half an hour or so first. I want to read some poems called \"Mad Sonnets\" and I imagine a lot of you know what sons are, what known as sons are, fourteen lines with a legitimate rhyme scheme, and these are not quite exactly like that...Does this microphone sound right? If I stand right here is that okay so that I don't have to lean into it?\n \nMichael McClure\n00:12:25\nReads \"Mad Sonnet\" [from Star].\n \nMichael McClure\n00:14:08\nAnother \"Mad Sonnet\", kind of ecological.\n \nMichael McClure\n00:14:23\nReads [\"Mad Sonnet 3\" from Star].\n \nMichael McClure\n00:16:03\nHere's a--I live in San Francisco [https://www.wikidata.org/wiki/Q62], but here's a \"Mad Sonnet\" that I started in New York [https://www.wikidata.org/wiki/Q60], I went to Wall Street [https://www.wikidata.org/wiki/Q11690] on a Saturday morning, I guess you can imagine what it's like during the weekdays, it's a narrow street, buildings stretching up like cliffs on each side of them and on Saturday morning it's cold and empty and you can feel the crush and vibrations from the previous part of the week.\n \nMichael McClure\n00:16:32\nReads [“Mad Sonnet 13” from Star, published later as “Cold Saturday Mad Sonnet” in Selected Poems].\n \nMichael McClure\n00:17:58\nI never thought of those signs--they told me I can't smoke up here. It's my life. I'll do what I want, [unintelligible]. [Audience laughter]. The work--I think-are we all, I think I'm waiting for, this technology with which we live in, which is wonderful enough in it's own way, is also costly and [unintelligible], eating up the planet, and I think I'm waiting for an all-chemical science, by means in which we can manifest ourselves through the universe and I guess we'll have to tinker toys like rocket ships and space ships to begin it, but I don't think that's how we'll really do it. And it's become kind of tradition to write songs to science, so I guess I had to do one too.\n \nMichael McClure\n00:19:20\nReads [“Mad Sonnet 5” from Star].\n \nMichael McClure\n00:20:48\nI've got a book of poems in a language I call Beast Language, they're about half in English and half in this invented language. The book is called Ghost Tantras, ghost like the German word \"gist\", g-i-s-t, which means spirit, and I just said \"ghost\". Why can't ghost be a spirit, why can't we use that in English? And tantra, t-a-n-t-r-a, which is a Hindu form of poetry, it's poetry written in an invented language for magical purposes to bring about changes in the universe. I felt these poems, I felt these poems coming on, and I felt like I had a ball of silence within myself, within my body and I heard these sounds within that ball of silence, and I wrote them down phonetically, so kind of like Marvel comics [https://www.wikidata.org/wiki/Q173496], you know where it says \"keee\" or \"rash\", k-e-e-e, or r-a-s-h. And I see later that things like this have been done in gnostic Bizantine chants too, which also, is like Marvel comics. \"Ka-pow\". And some of them were written in San Francisco, some of them were written in airplanes, on the way to Mexico [https://www.wikidata.org/wiki/Q96]. I was going to Mexico to bring back cultures of [unintelligible] Mexicana, the sacred [salsavie (?)] mushroom which were grown by scientists in Brooklyn [https://www.wikidata.org/wiki/Q18419]. And, then upon my return I finished from there. I finished these \"Mad Sonnets\", there are 99 of them and I don't think you've probably heard anything like them before, and I guess all you can do is just relax. I like to start with one that starts with English because it's not so strange, they're about a third English or half English maybe.\n \nMichael McClure\n00:23:15\nBegins to perform unnamed sound poem.\n \nMichael McClure\n00:23:19\nNo, that's not it...Where'd George go? George? [Audience laughter].\n \nMichael McClure\n00:24:00\nPerforms “Ghost Tantra #51” [published later in Ghost Tantras].\n \nMichael McClure\n00:25:42\nHere's another one that starts in English, it starts in Spanish. Just went to Spanish, [unintelligible] George is.\n \nMichael McClure\n00:25:57\nPerforms “Ghost Tantra #54” [published later in Ghost Tantras].\n \nMichael McClure\n00:27:45\nI just had a lot of microphone trouble in Buffalo [https://www.wikidata.org/wiki/Q40435] too. I don't know what. It's alright?\n \nMichael McClure\n00:27:55\nPerforms “Ghost Tantra #69” [published later in Ghost Tantras].\n \nMichael McClure\n00:29:45\nHere's one, this was written the day after Marilyn Monroe [https://www.wikidata.org/wiki/Q4616] died, August 6, 1962.\n \nMichael McClure\n00:30:11\nReads \"Ghost Tantra #39\" [published later in Ghost Tantras].\n \nMichael McClure\n00:31:37\nYou've got a tourist card in the back of the room [(?)] Is everybody relaxed? Cause I'm not. Eddie in [unintelligible] was dismissed recently and I guess this poem had something to do with it. And, the poem is the ending of, it's the sexual ending of a very long poem called \"Dark Brown\" I see nothing wrong in taking any sexual part of the poem from any other part of the poem, and the sexual writing today will be viewed in fifty years or a hundred years much the way we view nature poetry today in the 19th century, because some [unintelligible] classes we kept bringing up the fact that for our [unintelligible] today if you were to look at the atmosphere or the air we breathe, the primary part of our environment is either other human bodies or concrete and we choose human bodies rather than the concrete which seems to be a pretty good choice. I think that given the changes that are going on today, I believe we won't be able to say anything. If we can say anything now. If we can say anything anytime but I mean, I think this will be looked upon as [unintelligible] Nature poetry, Shelley [https://www.wikidata.org/wiki/Q93343] and Keats [https://www.wikidata.org/wiki/Q82083]were pulling cockney school in their day, which of course was all there is for Shelley since he was a [unintelligible] and probably some of Keats although it was worse since he was a cockney. [Audience laughter]. They were insulted for their new nature poetries, and this too. I'd like to read some like, preliminary stanzas of that poem, and then read part of the longer section which seems to have to do with the [unintelligible]. In Eddie's defense I'll say that the London Times [https://www.wikidata.org/wiki/Q50008] literary supplement found that this is [unintelligible]. The poem is written in independent stanzas, I'd like to think of the stanzas as being independent in the way an organism is, and the totality of the poem in the totality in a way an--the way a primitive--and this is a primitive organism is comprised of [unintelligible] individuals to make up its [unintelligible] of being. The poem is called \"Dark Brown\" and I've just opened it to the page I wanted to. The stanza I wanted to.\n \nMichael McClure\n00:35:21\nReads \"Dark Brown\" from Dark Brown.\n \nMichael McClure\n00:37:48\nReads [\"The black black black damned and undreamy odem the undersoul\" from Dark Brown].\n \nMichael McClure\n00:40:00\nAnother poem. Okay, have I justified enough? Now's your chance to go home. I'm going to read the tough part.\n \nMichael McClure\n00:40:23\nReads [“Fuck Ode” from Dark Brown].\n \nAudience\n00:50:00\nApplause.\n \nMichael McClure\n00:50:15\nI'll take a break. George and I are going to play, George Montana and I, and I won't guarantee anything about it as my fingers are feeling very clumsy tonight. I'll be playing an instrument but I know George will play for us, so if you hear any faults in the playing, it's me not George. I want to take like, at least, I want to take a ten minute break and anybody who'd like to stay is welcome to stay, and if you'd like to go, go, and if you want to leave during the music if you don't like the music for god's sake go. Thank you. \n \nUnknown\n00:51:09\n[Cut or edit made in tape. Unknown amount of time elapsed].\n \nMichael McClure\n00:51:12\nI'm kind of nervous, us going through it again.\n \nGeorge Montana\n00:51:19\n[IUnintelligible].\n \nMichael McClure\n00:51:23\nSure, let's see if it picks up.\n \nGeorge Montana\n00:51:24\nI think it's picking up\n \nMichael McClure\n00:51:25\nYeah?\n \nGeorge Montana\n00:51:26\nYeah.\n \nMichael McClure\n00:51:27\nCan you hear us whispering?\n \nAudience\n00:51:28\nYes.\n \nUnknown\n00:51:30\nAmbient Sound [music].\n \nMichael McClure\n00:51:41\nLet's see what it sounds like.\n \nMichael McClure\n00:51:43\nIs it picking up? Can you hear in the back? Can you hear in the back row? Yeah, I think I lost that pic already. Christ. \n \nMichael McClure and George Montana\n00:52:17\nPerform unnamed song.\n \nAudience\n01:01:41\nApplause.\n \nMichael McClure\n01:01:56\nUm, I don't think I can sing. Do you want to do that one?\n \nGeorge Montana\n01:02:00\nAh, okay.\n \nMichael McClure\n01:02:04\nShall we tell them it's a new song? Why don't you tell them?\n \nGeorge Montana\n01:02:07\nThis is a song that Michael and I just have done, so I don't know the words by heart yet. So here it is.\n \nMichael McClure\n01:02:19\nAnd I haven't learned this melody very well yet. Let's get coordinated together. You set the [unintelligible]. You wanna sing it through three times? \n\nUnknown\n01:02:41\nAmbient Sound [voices].\n \nMichael McClure\n01:02:57\nIs this picking up alright? Can you hear it clear, loud enough? No? [Audience laughter]. Get out. [Audience laughter].\n \nMichael McClure and George Montana\n01:03:24\nPerform unnamed song.\n \nAudience\n01:10:50\nApplause.\n \nUnknown\n01:10:59\nAmbient Sound [voices].\n \nMichael McClure\n01:11:39\nThese are called technical difficulties. By the way we can smoke on the stage now because the lights are off in the auditorium. That's the fire alarm. [Audience laughter].\nWant to play the “Bells of Moscow”?\n \nGeorge Montana\n01:12:22\nHow about the other [unintelligible].\n \nMichael McClure\n01:12:31\nI don't think I'm up to...\n \nGeorge Montana\n01:12:40\nWe're going to try to do the Allen Ginsberg [https://www.wikidata.org/wiki/Q6711] \"For President Walt\".\n \nMichael McClure\n01:12:43\nI think I'm too scared to. We'll try it. I might be too--can you hear alright? I might be too scared. This isn't very complicated, isn't it a two chord one?\n \nMichael McClure and George Montana\n01:13:04\nPerform \"For President Walt\" by Allen Ginsberg.\n \nMichael McClure\n01:13:20\nI can't remember the words.\n \nMichael McClure and George Montana\n01:13:31\nPerform \"For President Walt\" by Allen Ginsberg.\n \nAudience\n01:16:29\nApplause.\n\nUnknown\n01:16:39\nAmbient Sound [voices].\n \nMichael McClure\n01:16:45\nI was just thinking you'd play it your way fast. No, let's do a non-vocal.\n \nGeorge Montana\n01:17:03\nOkay, which one.\n \nMichael McClure\n01:17:05\nWhat about \"The Bells of Moscow\"?\n \nGeorge Montana\n01:17:06\nThat one?\n \nUnknown\n01:17:11\nAmbient Sound [voices]. \n\nGeorge Montana\n01:17:15\nWe'll play for you a little instrumental one it's called \"The Bells of Moscow\".\n \nMichael McClure\n01:17:20\nNamed today.\n \nMichael McClure and George Montana\n01:17:56\nPerform \"The Bells of Moscow\".\n \nAudience\n01:23:06\nApplause.\n \nMichael McClure\n01:23:17\nI don't think that was picking up here. Alright. Or I was too close. More music lovers are leaving. I don't know, we could try the [unintelligible] thing. \n\nUnknown\n01:23:40\nAmbient Sound [voices].\n \nMichael McClure\n01:24:12\nGeorge and I usually do this in my front room. With no light but a candle and the incense, but we can smoke there of course. This is a song by William Blake [https://www.wikidata.org/wiki/Q41513].\n \nMichael McClure and George Montana\n01:24:59\nPerform \"How sweet I roam’d from field to field\" [https://www.wikidata.org/wiki/Q19049519] by William Blake.\n \nAudience\n01:30:25\nApplause.\n \nMichael McClure\n01:30:46\nHow about, um, Dvořák’s [https://www.wikidata.org/wiki/Q7298] 43rd auto-harp duet? Which one is that?\n \nMichael McClure and George Montana\n01:31:44\nBegin to perform unnamed song.\n \nMichael McClure and George Montana\n01:31:58\nPerform unnamed song.\n \nAudience\n01:35:52\nApplause. \n\nUnknown\n01:35:57\nAmbient Sound [voices].\n\nMichael McClure\n01:36:12\nGood night.\n \nAudience \n01:36:28\nApplause. \n \nEND\n01:37:00\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nUnknown date-around 1970. McClure was teaching at the California College of Arts and Crafts in Oakland, California. He was publishing prolifically, often printing his own work in pamphlets and chap books.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nThe connection between McClure and Sir George Williams University is unknown, however as a member of the Beat movement, McClure was certainly a poet of interest for Canadians. McClure read his poetry often and his performances were also a part of his poetics. \",\"type\":\"General\"},{\"note\":\"Reel-to-reel tape>2 CDs>digital file\",\"type\":\"Preservation\"},{\"note\":\"Original transcript, research, introduction, and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/dictionary-of-literary-biography-vol-16-the-beats-literary-bohemians-in-postwar-america-edited-by-ann-charters-parts-1-2/oclc/59250319&referer=brief_results\",\"citation\":\"King, William R. “Michael (Thomas) McClure”. The Beats: Literary Bohemians in Postwar  America. Ann Charters (ed). Dictionary of Literary Biography, Vol. 16. Detroit: Gale Research, 1983. \"},{\"url\":\"https://www.worldcat.org/title/dark-brown/oclc/69024444?referer=di&ht=edition\",\"citation\":\"McClure, Michael. Dark Brown. San Francisco: Dave Haselwood Books, 1967. \"},{\"url\":\"https://www.worldcat.org/title/ghost-tantras/oclc/923460319&referer=brief_results\",\"citation\":\"McClure, Michael. Ghost Tantras. San Francisco: Four Seasons Foundation, 1969. \"},{\"url\":\"https://www.worldcat.org/title/beard/oclc/561713511&referer=brief_results\",\"citation\":\"McClure, Michael. The Beard. San Francisco: Coyote Books, 1967. \"},{\"url\":\"https://www.worldcat.org/title/new-book-a-book-of-torture/oclc/918221317&referer=brief_results\",\"citation\":\"McClure, Michael. The New Book: A Book of Torture. New York City: Grove Press, 1967. \"},{\"url\":\"https://www.worldcat.org/title/selected-poems/oclc/916271510?referer=di&ht=edition\",\"citation\":\"McClure, Michael. Selected Poems. New York City: New Directions Books, 1986. \"},{\"url\":\"https://www.worldcat.org/title/star-poems/oclc/462091780&referer=brief_results\",\"citation\":\"McClure, Michael. Star. New York City: Grove Press, 1970. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-american-literature/oclc/54356940&referer=brief_results\",\"citation\":\"\\\"McClure, Michael (Thomas)\\\". The Oxford Companion to American Literature. James D. Hart, ed., rev. Phillip W. Leininger. Oxford University Press 1995. \"},{\"url\":\"\",\"citation\":\"Camlot, Jason. “Mammals and Machines: Michael McClure’s Embodying Poetics”. Atenea, 23, no.1; June 2003.\"},{\"url\":\"\",\"citation\":\"“Michael McClure” Literature Online Biography. Literature Online, 2008.\"}]"],"_version_":1853670548858470400,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0160_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0160_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"McClure and Montana 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_0160_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0160_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"McClure and Montana Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0160_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0160_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"McClure and Montana 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_0160_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0160_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"McClure and Montana Tape Box - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/michael_mcclure_george_montana_i006-11-160.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"michael_mcclure_george_montana_i006-11-160.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:37:00\",\"precision\":\"\",\"size\":\"232.8 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Introducer\\n00:00:00\\nLadies and gentlemen, Michael McClure [https://www.wikidata.org/wiki/Q1390054], George Montana. \\n\\nAudience\\n00:00:05\\nApplause.\\n \\nMichael McClure\\n00:00:29\\nThat was [unintelligible]. Star is a four letter word, s-t-a-r. Now, in case I read, I--is this on right? In case I read something here tonight with a four letter word in it, which I'm liable to cause I might start off be reading part of The Beard, um, [unintelligible] if anyone would be offended, it would be a good thing if they got their money back, right now. It's their right to do so.\\n\\nAudience\\n00:01:07\\nApplause.\\n\\nMichael McClure\\n00:01:22\\nThe Beard is a poem of mine in the form of a play that's just been arrested fifteen nights in a row by Los Angeles [https://www.wikidata.org/wiki/Q65] police and a state law has been passed against it being performed in the state colleges in California [https://www.wikidata.org/wiki/Q99]. These are the trials and tribulations. And right now we're waiting for a panel of three federal judges to come and see it and decide if it has redeeming special significance. [Audience laughter]. And if they don't think it is, we'll take it to the Supreme Court [https://www.wikidata.org/wiki/Q11201] and see what they think. And, the play has two characters in it, Billy the Kid [https://www.wikidata.org/wiki/Q44200] and Jean Harlow [https://www.wikidata.org/wiki/Q105719]. And they're together in a blue velvet eternity, they both are wearing little beards made out of torn white tissue paper. They're--they only thing on the set with them is a table and two chairs covered with furs and Harlow is wearing a blue gown and she has a purse with her and a mirror and the Kid is dressed in a costume appropriate to his costume--I mean appropriate to his career. And when the curtain opens, there's an orange light shining on him which goes up after the first, about the first thirty seconds. And being that this is a poem in the form of a play, I can only read it, I can't read it properly, I can't be two people, I can't be Billy the Kid and Jean Harlow I can only be the author so I'll have to read it that way where it's actually meant to be a poem and acted by me on a stage, on a shelf with lights. We have a shelf with lights, but that's the best I can do.\\n \\nMichael McClure\\n00:03:41\\nReads selection from The Beard.\\n\\nAudience\\n00:10:29\\nApplause.\\n \\nMichael McClure\\n00:11:02\\nUm, I'm going to read two more tonight. I want to read for a while and then have an intermission and then I'd like to come back on and play some musical pieces that my music guru George Montana has been working on with me and we've been writing some songs together, but I'd like to read poems for maybe half an hour or so first. I want to read some poems called \\\"Mad Sonnets\\\" and I imagine a lot of you know what sons are, what known as sons are, fourteen lines with a legitimate rhyme scheme, and these are not quite exactly like that...Does this microphone sound right? If I stand right here is that okay so that I don't have to lean into it?\\n \\nMichael McClure\\n00:12:25\\nReads \\\"Mad Sonnet\\\" [from Star].\\n \\nMichael McClure\\n00:14:08\\nAnother \\\"Mad Sonnet\\\", kind of ecological.\\n \\nMichael McClure\\n00:14:23\\nReads [\\\"Mad Sonnet 3\\\" from Star].\\n \\nMichael McClure\\n00:16:03\\nHere's a--I live in San Francisco [https://www.wikidata.org/wiki/Q62], but here's a \\\"Mad Sonnet\\\" that I started in New York [https://www.wikidata.org/wiki/Q60], I went to Wall Street [https://www.wikidata.org/wiki/Q11690] on a Saturday morning, I guess you can imagine what it's like during the weekdays, it's a narrow street, buildings stretching up like cliffs on each side of them and on Saturday morning it's cold and empty and you can feel the crush and vibrations from the previous part of the week.\\n \\nMichael McClure\\n00:16:32\\nReads [“Mad Sonnet 13” from Star, published later as “Cold Saturday Mad Sonnet” in Selected Poems].\\n \\nMichael McClure\\n00:17:58\\nI never thought of those signs--they told me I can't smoke up here. It's my life. I'll do what I want, [unintelligible]. [Audience laughter]. The work--I think-are we all, I think I'm waiting for, this technology with which we live in, which is wonderful enough in it's own way, is also costly and [unintelligible], eating up the planet, and I think I'm waiting for an all-chemical science, by means in which we can manifest ourselves through the universe and I guess we'll have to tinker toys like rocket ships and space ships to begin it, but I don't think that's how we'll really do it. And it's become kind of tradition to write songs to science, so I guess I had to do one too.\\n \\nMichael McClure\\n00:19:20\\nReads [“Mad Sonnet 5” from Star].\\n \\nMichael McClure\\n00:20:48\\nI've got a book of poems in a language I call Beast Language, they're about half in English and half in this invented language. The book is called Ghost Tantras, ghost like the German word \\\"gist\\\", g-i-s-t, which means spirit, and I just said \\\"ghost\\\". Why can't ghost be a spirit, why can't we use that in English? And tantra, t-a-n-t-r-a, which is a Hindu form of poetry, it's poetry written in an invented language for magical purposes to bring about changes in the universe. I felt these poems, I felt these poems coming on, and I felt like I had a ball of silence within myself, within my body and I heard these sounds within that ball of silence, and I wrote them down phonetically, so kind of like Marvel comics [https://www.wikidata.org/wiki/Q173496], you know where it says \\\"keee\\\" or \\\"rash\\\", k-e-e-e, or r-a-s-h. And I see later that things like this have been done in gnostic Bizantine chants too, which also, is like Marvel comics. \\\"Ka-pow\\\". And some of them were written in San Francisco, some of them were written in airplanes, on the way to Mexico [https://www.wikidata.org/wiki/Q96]. I was going to Mexico to bring back cultures of [unintelligible] Mexicana, the sacred [salsavie (?)] mushroom which were grown by scientists in Brooklyn [https://www.wikidata.org/wiki/Q18419]. And, then upon my return I finished from there. I finished these \\\"Mad Sonnets\\\", there are 99 of them and I don't think you've probably heard anything like them before, and I guess all you can do is just relax. I like to start with one that starts with English because it's not so strange, they're about a third English or half English maybe.\\n \\nMichael McClure\\n00:23:15\\nBegins to perform unnamed sound poem.\\n \\nMichael McClure\\n00:23:19\\nNo, that's not it...Where'd George go? George? [Audience laughter].\\n \\nMichael McClure\\n00:24:00\\nPerforms “Ghost Tantra #51” [published later in Ghost Tantras].\\n \\nMichael McClure\\n00:25:42\\nHere's another one that starts in English, it starts in Spanish. Just went to Spanish, [unintelligible] George is.\\n \\nMichael McClure\\n00:25:57\\nPerforms “Ghost Tantra #54” [published later in Ghost Tantras].\\n \\nMichael McClure\\n00:27:45\\nI just had a lot of microphone trouble in Buffalo [https://www.wikidata.org/wiki/Q40435] too. I don't know what. It's alright?\\n \\nMichael McClure\\n00:27:55\\nPerforms “Ghost Tantra #69” [published later in Ghost Tantras].\\n \\nMichael McClure\\n00:29:45\\nHere's one, this was written the day after Marilyn Monroe [https://www.wikidata.org/wiki/Q4616] died, August 6, 1962.\\n \\nMichael McClure\\n00:30:11\\nReads \\\"Ghost Tantra #39\\\" [published later in Ghost Tantras].\\n \\nMichael McClure\\n00:31:37\\nYou've got a tourist card in the back of the room [(?)] Is everybody relaxed? Cause I'm not. Eddie in [unintelligible] was dismissed recently and I guess this poem had something to do with it. And, the poem is the ending of, it's the sexual ending of a very long poem called \\\"Dark Brown\\\" I see nothing wrong in taking any sexual part of the poem from any other part of the poem, and the sexual writing today will be viewed in fifty years or a hundred years much the way we view nature poetry today in the 19th century, because some [unintelligible] classes we kept bringing up the fact that for our [unintelligible] today if you were to look at the atmosphere or the air we breathe, the primary part of our environment is either other human bodies or concrete and we choose human bodies rather than the concrete which seems to be a pretty good choice. I think that given the changes that are going on today, I believe we won't be able to say anything. If we can say anything now. If we can say anything anytime but I mean, I think this will be looked upon as [unintelligible] Nature poetry, Shelley [https://www.wikidata.org/wiki/Q93343] and Keats [https://www.wikidata.org/wiki/Q82083]were pulling cockney school in their day, which of course was all there is for Shelley since he was a [unintelligible] and probably some of Keats although it was worse since he was a cockney. [Audience laughter]. They were insulted for their new nature poetries, and this too. I'd like to read some like, preliminary stanzas of that poem, and then read part of the longer section which seems to have to do with the [unintelligible]. In Eddie's defense I'll say that the London Times [https://www.wikidata.org/wiki/Q50008] literary supplement found that this is [unintelligible]. The poem is written in independent stanzas, I'd like to think of the stanzas as being independent in the way an organism is, and the totality of the poem in the totality in a way an--the way a primitive--and this is a primitive organism is comprised of [unintelligible] individuals to make up its [unintelligible] of being. The poem is called \\\"Dark Brown\\\" and I've just opened it to the page I wanted to. The stanza I wanted to.\\n \\nMichael McClure\\n00:35:21\\nReads \\\"Dark Brown\\\" from Dark Brown.\\n \\nMichael McClure\\n00:37:48\\nReads [\\\"The black black black damned and undreamy odem the undersoul\\\" from Dark Brown].\\n \\nMichael McClure\\n00:40:00\\nAnother poem. Okay, have I justified enough? Now's your chance to go home. I'm going to read the tough part.\\n \\nMichael McClure\\n00:40:23\\nReads [“Fuck Ode” from Dark Brown].\\n \\nAudience\\n00:50:00\\nApplause.\\n \\nMichael McClure\\n00:50:15\\nI'll take a break. George and I are going to play, George Montana and I, and I won't guarantee anything about it as my fingers are feeling very clumsy tonight. I'll be playing an instrument but I know George will play for us, so if you hear any faults in the playing, it's me not George. I want to take like, at least, I want to take a ten minute break and anybody who'd like to stay is welcome to stay, and if you'd like to go, go, and if you want to leave during the music if you don't like the music for god's sake go. Thank you. \\n \\nUnknown\\n00:51:09\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n \\nMichael McClure\\n00:51:12\\nI'm kind of nervous, us going through it again.\\n \\nGeorge Montana\\n00:51:19\\n[IUnintelligible].\\n \\nMichael McClure\\n00:51:23\\nSure, let's see if it picks up.\\n \\nGeorge Montana\\n00:51:24\\nI think it's picking up\\n \\nMichael McClure\\n00:51:25\\nYeah?\\n \\nGeorge Montana\\n00:51:26\\nYeah.\\n \\nMichael McClure\\n00:51:27\\nCan you hear us whispering?\\n \\nAudience\\n00:51:28\\nYes.\\n \\nUnknown\\n00:51:30\\nAmbient Sound [music].\\n \\nMichael McClure\\n00:51:41\\nLet's see what it sounds like.\\n \\nMichael McClure\\n00:51:43\\nIs it picking up? Can you hear in the back? Can you hear in the back row? Yeah, I think I lost that pic already. Christ. \\n \\nMichael McClure and George Montana\\n00:52:17\\nPerform unnamed song.\\n \\nAudience\\n01:01:41\\nApplause.\\n \\nMichael McClure\\n01:01:56\\nUm, I don't think I can sing. Do you want to do that one?\\n \\nGeorge Montana\\n01:02:00\\nAh, okay.\\n \\nMichael McClure\\n01:02:04\\nShall we tell them it's a new song? Why don't you tell them?\\n \\nGeorge Montana\\n01:02:07\\nThis is a song that Michael and I just have done, so I don't know the words by heart yet. So here it is.\\n \\nMichael McClure\\n01:02:19\\nAnd I haven't learned this melody very well yet. Let's get coordinated together. You set the [unintelligible]. You wanna sing it through three times? \\n\\nUnknown\\n01:02:41\\nAmbient Sound [voices].\\n \\nMichael McClure\\n01:02:57\\nIs this picking up alright? Can you hear it clear, loud enough? No? [Audience laughter]. Get out. [Audience laughter].\\n \\nMichael McClure and George Montana\\n01:03:24\\nPerform unnamed song.\\n \\nAudience\\n01:10:50\\nApplause.\\n \\nUnknown\\n01:10:59\\nAmbient Sound [voices].\\n \\nMichael McClure\\n01:11:39\\nThese are called technical difficulties. By the way we can smoke on the stage now because the lights are off in the auditorium. That's the fire alarm. [Audience laughter].\\nWant to play the “Bells of Moscow”?\\n \\nGeorge Montana\\n01:12:22\\nHow about the other [unintelligible].\\n \\nMichael McClure\\n01:12:31\\nI don't think I'm up to...\\n \\nGeorge Montana\\n01:12:40\\nWe're going to try to do the Allen Ginsberg [https://www.wikidata.org/wiki/Q6711] \\\"For President Walt\\\".\\n \\nMichael McClure\\n01:12:43\\nI think I'm too scared to. We'll try it. I might be too--can you hear alright? I might be too scared. This isn't very complicated, isn't it a two chord one?\\n \\nMichael McClure and George Montana\\n01:13:04\\nPerform \\\"For President Walt\\\" by Allen Ginsberg.\\n \\nMichael McClure\\n01:13:20\\nI can't remember the words.\\n \\nMichael McClure and George Montana\\n01:13:31\\nPerform \\\"For President Walt\\\" by Allen Ginsberg.\\n \\nAudience\\n01:16:29\\nApplause.\\n\\nUnknown\\n01:16:39\\nAmbient Sound [voices].\\n \\nMichael McClure\\n01:16:45\\nI was just thinking you'd play it your way fast. No, let's do a non-vocal.\\n \\nGeorge Montana\\n01:17:03\\nOkay, which one.\\n \\nMichael McClure\\n01:17:05\\nWhat about \\\"The Bells of Moscow\\\"?\\n \\nGeorge Montana\\n01:17:06\\nThat one?\\n \\nUnknown\\n01:17:11\\nAmbient Sound [voices]. \\n\\nGeorge Montana\\n01:17:15\\nWe'll play for you a little instrumental one it's called \\\"The Bells of Moscow\\\".\\n \\nMichael McClure\\n01:17:20\\nNamed today.\\n \\nMichael McClure and George Montana\\n01:17:56\\nPerform \\\"The Bells of Moscow\\\".\\n \\nAudience\\n01:23:06\\nApplause.\\n \\nMichael McClure\\n01:23:17\\nI don't think that was picking up here. Alright. Or I was too close. More music lovers are leaving. I don't know, we could try the [unintelligible] thing. \\n\\nUnknown\\n01:23:40\\nAmbient Sound [voices].\\n \\nMichael McClure\\n01:24:12\\nGeorge and I usually do this in my front room. With no light but a candle and the incense, but we can smoke there of course. This is a song by William Blake [https://www.wikidata.org/wiki/Q41513].\\n \\nMichael McClure and George Montana\\n01:24:59\\nPerform \\\"How sweet I roam’d from field to field\\\" [https://www.wikidata.org/wiki/Q19049519] by William Blake.\\n \\nAudience\\n01:30:25\\nApplause.\\n \\nMichael McClure\\n01:30:46\\nHow about, um, Dvořák’s [https://www.wikidata.org/wiki/Q7298] 43rd auto-harp duet? Which one is that?\\n \\nMichael McClure and George Montana\\n01:31:44\\nBegin to perform unnamed song.\\n \\nMichael McClure and George Montana\\n01:31:58\\nPerform unnamed song.\\n \\nAudience\\n01:35:52\\nApplause. \\n\\nUnknown\\n01:35:57\\nAmbient Sound [voices].\\n\\nMichael McClure\\n01:36:12\\nGood night.\\n \\nAudience \\n01:36:28\\nApplause. \\n \\nEND\\n01:37:00\\n\",\"notes\":\"Michael McClure reads poems collected in The Beards (Coyote, 1967), Star (Grove Press, 1970), Ghost Tantras (Four Seasons, 1969), and Dark Brown (Dave Haselwood Books, 1967). McClure also performs a number of songs with George Montana.\\n\\n00:00- Unknown male introduces Michael McClure and George Montana.\\n00:29- Michael McClure introduces the reading, and selection from “The Beards”. [INDEX: four-letter words, offended audience, poem in the form of a play, arrested, Los Angeles Police, state laws, state colleges in California, federal judges, Supreme Court, Billy the Kid, Jean Harlow, set of the play/poem, character’s costumes, stage.]\\n03:41- Michael McClure reads selection from “The Beards”. [INDEX: selection begins on first page of the play/poem, The Beards (Coyote, 1967).]\\n11:02- Introduces “Mad Sonnet 1” series, first line “The plumes of love are black...”. [INDEX: reading arrangement, intermission, musical pieces, George Montana, songs,       “Mad Sonnets”, fourteen lines, rhyme scheme; from The New Book / A Book of Torture  \\t(Grove, 1961) and collected in Star (Grove Press, 1970)]\\n12:25- Reads “Mad Sonnet 1” first line “The plumes of love are black...”.\\n14:08- Introduces “Mad Sonnet 3” first line “Tiny mammals walk on white between the    yellow...” [INDEX: ecological; from Star  (Grove Press, 1970)]\\n14:23- Reads  “Mad Sonnet 3” first line “Tiny mammals walk on white between the   yellow...”\\n16:03- Introduces “Mad Sonnet 13” first line “On cold Saturday I walked in the empty      \\tvalley of Wall Street...”. [INDEX: San Francisco, New York, Wall Street, Saturday        \\tmorning, buildings, cliffs; from Star (Grove Press, 1970)]\\n16:32- Reads “Mad Sonnet 13 ” first line “On cold Saturday I walked in the empty valley of Wall Street...”.\\n17:58- Introduces “To Science”, published as “Mad Sonnet 5”. [INDEX: no-smoking signs in auditorium, technology, planet, all-chemical science, universe, rocket ships, space ships, tradition, songs written for science; from Star (Grove Press, 1970)]\\n19:20- Reads “To Science”.\\n20:48- Introduces poem from Ghost Tantras “#51” first line “I love to think of the red-purple rose...”. [INDEX: book of poems, Beast Language, half English, half in invented language, Ghost Tantras, German word “gist”, ghost, spirit, English, tantra, Hindu form of poetry, magical poetry, changes in the universe, body, Marvel Comic strips, some written in San Francisco, some written in airplanes, Mexico, Mexicana, Mexican sacred mushroom, scientists in Brooklyn, “Mad Sonnets”, 99 poems; from Ghost Tantras (Four Seasons, 1969)]\\n23:15- Begins to read unknown poem in Beast language.\\n23:19- Stops reading unknown poem. [INDEX: wrong poem, George Montana.]\\n24:00- Reads poem “Ghost Tantara #51”\\n25:42- Introduces poem first line “The motion of cool air shudders my shoulders...”.   [INDEX: English, Spanish, George Montana; from unknown source]\\n25:57- Reads first line “The motion of cool air shudders my shoulders...”.\\n27:45- Talks about prior reading in Buffalo, New York. [INDEX: microphone problems, Buffalo, New York.]\\n27:55- Reads “Ghost Tantra #69” first line Ooor greeeooossshhh strato, butterfly, beaks and pants...”. [INDEX: from Ghost Tantras (Four Seasons, 1969)]\\n29:45- Introduces poem “Ghost Tantra #39 first line “Marilyn Monroe today...”. [INDEX: \\twritten the day after Marilyn Monroe’s death, August 6, 1962; from Ghost Tantras (Four Seasons, 1969)]\\n30:11- Reads “Ghost Tantra #39”\\n31:37- Introduces “Dark Brown”. [INDEX: Eddie [unknown reference], sexual ending, long poem, fifty years into the future, 19th century, nature poetry, atmosphere, air,   \\tenvironment, human bodies, concrete, changes, [Percy] Shelley, [John] Keats, cockney, stanzas, London Times literary supplement, independent stanzas, organism; from Dark    Brown (Dave Haselwood Books, 1967)]\\n35:21- Reads “Dark Brown”.\\n37:48- Reads poem, first line “The black, black, black damned and un-dreamy...”. [INDEX: from Dark Brown (Dave Haselwood Books, 1967)]\\n40:00- Introduces poem, “(Fuck Ode)” first line “The huge figures fucking...”. [INDEX:       justification of poems, from Dark Brown (Dave Haselwood Books, 1967)]\\n40:23- Reads “(Fuck Ode)”.\\n50:15- Michael McClure introduces a break and the second part of the reading. [INDEX: George Montana, break, instruments, music.]\\n51:09.06- END OF RECORDING.\\n \\n00:00- Michael McClure and George Montana whisper to each other away from the microphone.\\n00:21- McClure and Montana begin to play unknown instruments, perhaps sitars.\\n00:33- Play first song. [Unknown song, no lyrics, only instrumental.]\\n10:47- McClure and Montana discuss which song to play next.\\n10:58- Montana introduces song. [INDEX: new song.]\\n11:10- McClure introduces song. [INDEX: melody, co-ordinated, singing.]\\n12:15- Play second song, George Montana sings. [Unknown song.]\\n19:50- McClure and Montana discuss playlist, inaudible to microphone.\\n20:30- McClure introduces the next song, “For President Walt” by Allen Ginsberg. [INDEX: smoking, auditorium, “Bells of Moscow”]\\n21:55- Plays song “For President Walt” by Allen Ginsberg, McClure sings.\\n25:35- McClure and Montana discuss next song, “The Bells of Moscow”.\\n26:46- Play song “The Bells of Moscow”.\\n32:08- McClure and Montana discuss next song, “Song: How sweet I roam’d from field to field” by William Blake [INDEX: practice at home, candles, incense, smoking.]\\n33:50- Play “Song: How sweet I roam’d from field to field” by William Blake.\\n39:37- McClure introduces song, first line “Takes a hundred sixty-five-thousand chicks to lay a railway from here to Chicago...”. [INDEX: Vorshack’s 43 auto-harp duet]\\n40:35- Play song, first line “Takes a hundred sixty-five-thousand chicks to lay a railway   from here to Chicago...”.\\n45:51.44- END OF RECORDING.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/michael-mcclure-and-george-montana-at-sgwu-1968/\"}]"],"score":1.8530173},{"id":"1273","cataloger_name":["Masoumeh,Zaare"],"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":["George Oppen at Sir George Williams University, The Poetry Series, 25 November 1968"],"item_title_source":["Cataloguer"],"item_title_note":["\"(GEORGE) G OPPEN Poetry Oct 25/68 I086-11-040\" written on the spine of the tape's box. \"G. OPPEN Poetry I086-11-040\" also written on sticker on the reel. \"RT 523\" written on sticker on the front of the tape's box"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 3"],"item_identifiers":["[]"],"creator_names":["Oppen, George"],"creator_names_search":["Oppen, George"],"creators":["[{\"url\":\"http://viaf.org/viaf/98097764\",\"name\":\"Oppen, George\",\"dates\":\"1908-1984\",\"notes\":\"Poet George Oppen was born on April 24, 1908 in New Rochelle, New York. Spending much of his childhood in San Francisco, Oppen enrolled in the Agricultural College at Corvallis (now University of Oregon) in 1926. He met his future wife, Mary Colby there, and they married in 1928. Oppen attended a prep school in Oakland in the hopes of enrolling at the University at Berkeley, but instead the couple made their way to New York in the hopes of meeting Ezra Pound.  In New York City, they met Charles Reznikoff and Louis Zukofsky, and in 1931 they formed the Objectivist movement. Having finally met Ezra Pound, Oppen’s poetry was published in his Active Anthology in 1933 (Faber and Faber). Oppen’s first collection of poetry, written in 1929, Discrete Series, was published by the Objectivist Press in 1934 and opened with a preface by Ezra Pound. From that point onwards, Oppen stopped writing poetry. The Depression had hit and the Oppens spent their time in the 30’s and 40’s organizing the unemployed in Brooklyn. Oppen served for the U.S. Army from 1943-1945 and received a Purple Heart among other honours. After the war, his family moved to Los Angeles, until 1950 when they were harassed by the McCarthy House Un-American Activities Committee for their affiliations with Communism. They fled to Mexico and resided there for eight years. By the time the Oppen family moved back to New York in 1958, Oppen had taken up poetry again. In 1962, Oppen published his second collection of poems, The Materials (New Directions Press), followed in 1965 with This In Which and Of Being Numerous in 1968 (New Directions Press), which won the Pulitzer Prize for poetry in 1969. Seascape: Needle’s Eye was published in 1972 (Sumac Press), and in 1975 Oppen compiled his previously published material with new poems in Collected Poems (New Directions). His final collection of poetry, Primitive was published in 1978 (Black Sparrow Press). George Oppen died in July 1984.\\n\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Kiyooka, Roy"],"contributors_names_search":["Kiyooka, Roy"],"contributors":["[{\"url\":\"http://viaf.org/viaf/30784426\",\"name\":\"Kiyooka, Roy\",\"dates\":\"1926-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Presenter\"]}]"],"Presenter_name":["Kiyooka, Roy"],"Series_organizer_name":["Kiyooka, Roy"],"Performance_Date":[1968],"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\":\"1968 11 25\",\"type\":\"Performance Date\",\"notes\":\"Date written on the spine of the tape's box. Previous researcher statest the Gazette published the date of the reading as March 8, 1968 but may have been changed subsequently\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building\",\"notes\":\"Exact venue 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":["George Oppen reads his long poem “The Route” from Of Being Numerous (New Directions Press, 1968). "],"contents":["george_oppen_i086-11-040.mp3\n\nRoy Kiyooka\n00:00:00\nThis evening, we're having George Oppen [https://www.wikidata.org/wiki/Q3101810], who is going to start off the third series, now I want to keep this introduction to George very succinct, and I'm going to quote a part of the letter that he sent to us, regarding his activities, I think it adequately, perhaps, sums up what he's been about. It goes like this: \"A bibliography, in so far as my memory will produce it. Objectivist Issue of Poetry, Chicago [https://www.wikidata.org/wiki/Q1297], circa 1932. A book, Discrete Series, Objectivist Press, 1934, re-issued by Asphodel Press [https://www.wikidata.org/wiki/Q2089201], 463 The Arcade, Cleveland [https://www.wikidata.org/wiki/Q37320], Ohio [https://www.wikidata.org/wiki/Q1397]. Pound's Active Anthology, 1936, a number of little magazines during 33, 34, Hound and Horn, I believe, Lion and Crown, etc. There it is, you'll see, 25 year gap. Touched on in some of the poems including “Pro Nobis” in This In Which. A forthcoming book, Of Being Numerous, New Directions [https://www.wikidata.org/wiki/Q27474] scheduled for the spring of 1968.\" And he ends by saying, \"If there is a moral it is one has in fact a great deal of triumph, and then, recently, he has had the following books done: This in Which, by New Directions, 1957, The Materials, New Directions again, 1962, Of Being Numerous, 1968. Now if there's any a book of poems, Discrete Series, there is a long preface by Ezra Pound [https://www.wikidata.org/wiki/Q163366], I'd like to quote a segment of that, which goes like this: \"I salute a serious craftsman, a sensibility which is not every man's sensibility, and which is not been got out of other man's books.\" Ladies and gentlemen, George Oppen.\n\nUnknown \n00:02:47\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nGeorge Oppen\n00:02:48\nI think I will, I plan to read two of the longer poems in the last volume, so I will just read the poems. Without pleasantries and so on. We can easily make a conversation if you want afterwards, but I think I better just read the books, read the poems, and I'll make a few intermissions, it's a great deal of poetry both for you and for me, at a single sitting, and we'll make intermissions as however you think, however I think. I'll start with the poem in Of Being Numerous, called \"The Route\". That's r-o-u-t-e, route.\n \nGeorge Oppen\n00:03:37\nReads \"The Route\" from Of Being Numerous.\n \nUnknown\n00:18:45\nSilence [cut or edit made in tape].\n \nGeorge Oppen\n00:18:58\nResumes reading “The Route’\n \nUnknown\n00:22:14\n[Cut or edit made in tape].\n \nEND\n00:40:12\n"],"Note":["[{\"note\":\"Year-Specific Information: \\n\\nIn 1968, George Oppen published Of Being Numerous (New Directions Press, 1968).\\n\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nThe direct connection between Oppen and Montreal or Sir George Williams University is unknown. Oppen was an important American poet, forming with Charles Reznikoff (also in this series) and Louis Zukofsky the Objectivist movement, and working with both William Carlos Williams and Ezra Pound.\\n\",\"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/oxford-companion-to-american-literature/oclc/54356940&referer=brief_results\",\"citation\":\"\\\"Oppen, George\\\". The Oxford Companion to American Literature. James D. Hart (ed.), Phillip W. Leininger (rev). Oxford University Press 1995. \"},{\"url\":\"https://www.worldcat.org/title/of-being-numerous/oclc/462091047?referer=di&ht=edition\",\"citation\":\"Oppen, George. Of Being Numerous. New York: New Directions Press, 1968. \"},{\"url\":\"http://news.google.com/newspapers?id=np8tAAAAIBAJ&sjid=PKAFAAAAIBAJ&pg=4195,2837932&dq=sir+george+williams+poetry&hl=en\",\"citation\":\"“SGWU To Have Poetry Series”. Montreal: The Gazette. 14September 1967, page 15. \\n\"},{\"url\":\"\",\"citation\":\"Sutton, Mark. “Oppen, George”. Literature Online Biography. H.W. Wilson Company, Proquest, 2002. \"},{\"url\":\"\",\"citation\":\"“Poetry Readings”. OP-ED. Montreal: Sir George Williams University, 6 October 1967, page 6. \"}]"],"_version_":1853670548870004736,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0040_back.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0040_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"George Oppen 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_0040_front.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0040_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"George Oppen 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_0040_side.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0040_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"George Oppen Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0040_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0040_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"George Oppen Tape Box - Reel\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/george_oppen_i086-11-040.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"george_oppen_i086-11-040.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:40:12\",\"precision\":\"\",\"size\":\"96.5 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Roy Kiyooka\\n00:00:00\\nThis evening, we're having George Oppen [https://www.wikidata.org/wiki/Q3101810], who is going to start off the third series, now I want to keep this introduction to George very succinct, and I'm going to quote a part of the letter that he sent to us, regarding his activities, I think it adequately, perhaps, sums up what he's been about. It goes like this: \\\"A bibliography, in so far as my memory will produce it. Objectivist Issue of Poetry, Chicago [https://www.wikidata.org/wiki/Q1297], circa 1932. A book, Discrete Series, Objectivist Press, 1934, re-issued by Asphodel Press [https://www.wikidata.org/wiki/Q2089201], 463 The Arcade, Cleveland [https://www.wikidata.org/wiki/Q37320], Ohio [https://www.wikidata.org/wiki/Q1397]. Pound's Active Anthology, 1936, a number of little magazines during 33, 34, Hound and Horn, I believe, Lion and Crown, etc. There it is, you'll see, 25 year gap. Touched on in some of the poems including “Pro Nobis” in This In Which. A forthcoming book, Of Being Numerous, New Directions [https://www.wikidata.org/wiki/Q27474] scheduled for the spring of 1968.\\\" And he ends by saying, \\\"If there is a moral it is one has in fact a great deal of triumph, and then, recently, he has had the following books done: This in Which, by New Directions, 1957, The Materials, New Directions again, 1962, Of Being Numerous, 1968. Now if there's any a book of poems, Discrete Series, there is a long preface by Ezra Pound [https://www.wikidata.org/wiki/Q163366], I'd like to quote a segment of that, which goes like this: \\\"I salute a serious craftsman, a sensibility which is not every man's sensibility, and which is not been got out of other man's books.\\\" Ladies and gentlemen, George Oppen.\\n\\nUnknown \\n00:02:47\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nGeorge Oppen\\n00:02:48\\nI think I will, I plan to read two of the longer poems in the last volume, so I will just read the poems. Without pleasantries and so on. We can easily make a conversation if you want afterwards, but I think I better just read the books, read the poems, and I'll make a few intermissions, it's a great deal of poetry both for you and for me, at a single sitting, and we'll make intermissions as however you think, however I think. I'll start with the poem in Of Being Numerous, called \\\"The Route\\\". That's r-o-u-t-e, route.\\n \\nGeorge Oppen\\n00:03:37\\nReads \\\"The Route\\\" from Of Being Numerous.\\n \\nUnknown\\n00:18:45\\nSilence [cut or edit made in tape].\\n \\nGeorge Oppen\\n00:18:58\\nResumes reading “The Route’\\n \\nUnknown\\n00:22:14\\n[Cut or edit made in tape].\\n \\nEND\\n00:40:12\\n\",\"notes\":\"George Oppen reads his long poem “The Route” from Of Being Numerous (New Directions Press, 1968). \\n\\n00:00- Introducer (George Bowering?) introduces George Oppen [INDEX: Objectivist Issue of Poetry, 1932, Discreet Series, Objectivist Press, 1934, re-issued by Asphodel press, 462 Arcade, Cleveland Ohio: with long preface from Ezra Pound, Active Anthology ed. Ezra Pound 1936, Hound and Horn Magazine, Lion and Crown Magazine, Of Being Numerous, New Directions Press, 1968- [One year after recording won the Pulitzer Prize], The Materials, New Directions Press, 1962, This In Which, New Directions Press, 1957]\\n02:48- George Oppen introduces “The Route”.\\n03:37- Reads “The Route”. [INDEX: “The Route” in Of Being Numerous : partly about WWII, Alcace, German Nazi Soldiers]\\n40:12.69- END OF RECORDING\\n \\nFrom the Howard Fink list of poems:\\n25/11/68\\none 5” mono, single track reel, @ 3 3/4 ips, lasting 40 min.\\n1. “The Route”.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/george-oppen-at-sgwu-1968/\"}]"],"score":1.8530173},{"id":"1274","cataloger_name":["Masoumeh,Zaare"],"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":["Muriel Rukeyser at Sir George Williams University, The Poetry Series, 24 January 1969"],"item_title_source":["Cataloguer"],"item_title_note":["\"MURIEL RUKEYSER I006/SR162\" written on sticker on the spine of the tape's box. \"I006-11-162\" written on sticker on the reel"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 3"],"item_identifiers":["[]"],"creator_names":["Rukeyser, Muriel"],"creator_names_search":["Rukeyser, Muriel"],"creators":["[{\"url\":\"http://viaf.org/viaf/137544\",\"name\":\"Rukeyser, Muriel\",\"dates\":\"1913-1980\",\"notes\":\"New York poet and activist Muriel Rukeyser was born in New York City in 1913. She attended Vassar College from 1930 to 1932, working on college newspapers and magazines. She co-founded the Student Review, edited the literary journal Housaton and attended summer courses at Columbia University. Her first book of poems, Theory of Flight (Yale University Press), published in 1935, was influenced from her brief experience at the Roosevelt Aviation School. U.S. 1 (Covici, Friede) was published three years later in 1938, and she was sent by the literary journal Life and Letters Today to report on the athletic competition staged by workers’ sports clubs in Spain. Rukeyser subsequently published A Turning Wind (Viking Press) in 1939, Wake Island (Doubleday) in 1942, Beast in View (Doubleday) in 1944, The Green Wave (Doubleday) in 1948 and The poem as a mask: Orpheus (Unicorn Press) in 1949 (a long poem with drawings by Pablo Picasso). She received the Oscar Blumenthal Prize for Poetry in 1940, the Harriet Monroe Poetry Award in 1941, a grant from the National Institute of Arts and Letters in 1942 and a Guggenheim Fellowship in 1943. She served as associate editor of Decision, a literary magazine edited by Klaus Mann. Muriel Rukeyser taught at Sarah Lawrence College in 1946, and the following year, she won the Levinson Prize for poetry. She published Body of Waking (Harper) in 1958, Waterlily Fire (Macmillan) in 1962, The speed of darkness (Random House) in 1968, Breaking Open (Random House) in 1973, The Gates (McGraw-Hill) in 1976 and finally Collected Poems (McGraw-Hill) in 1979. She translated the work of Mexican poet Octavio Paz and Swedish poet Gunnar Ekelof. Active in the protection of human rights, she was jailed in Washington, D.C, because of her protests of the Vietnam war. Between 1975 and 1976 she was president of PEN’s American Center, traveling to South Korea in defense of poet Kim Chi-Ha. She was awarded an honorary doctorate from Rutgers University in 1961, a fellowship from the American Council of Learned Societies in 1963, the Shelley Memorial Award and the Copernicus Award for lifetime contribution to poetry in 1977. Muriel Rukeyser died in February 1980.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1969],"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\":\"\",\"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\":\"1969 1 24\",\"type\":\"Performance Date\",\"notes\":\" \",\"source\":\"Previous researcher\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Uncertain, possibly Hall Building Art Gallery\",\"notes\":\"Presenter annoucnes next reading to take place in basement theatre of the building, mostly likely referring to the Hall Building\",\"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":["Uncertain, possibly Hall Building Art Gallery"],"City":["Montreal, Quebec"],"content_notes":["Muriel Rukeyser reads largely from her book The Speed of Darkness (Random House, 1968) as well as a few poems from Elegies (New Directions, 1949) and Waterlily Fire (Macmillan, 1962) and others published later in Breaking Open (Random House, 1973).  Most of the poems read were also later collected in Collected Poems (McGraw-Hill, 1978)."],"contents":["muriel_rukeyser_i006-11-162.mp3\n\nIntroducer\n00:00:00\n...Introduction mention that she has published ten volumes of poetry which include such books as The Green Wave, The Turning Wind, Beast in View, U.S. 1, Theory of Flight, Body of Waking, Waterlily Fire, The Speed of Darkness, amongst others. She has published essays, biography, she's working on a biography now, she has published a novel called The Orgy, she has published translations of the Mexican writer Octavio Paz [https://www.wikidata.org/wiki/Q46739], and the Swedish poet Gunnar Ekelöf [https://www.wikidata.org/wiki/Q366311], she has published a number of children's books and what else can I say? She's a New Yorker, she was born in New York [https://www.wikidata.org/wiki/Q60], she lives in New York, and so forth. I now introduce Muriel Rukeyser [https://www.wikidata.org/wiki/Q735177].\n\nAudience\n00:00:40\nApplause. \n\nMuriel Rukeyser\n00:00:49\nThank you. It sounds peculiar when it's said that way, you know. It just means that I've been writing poems all along, and that sometimes there's been some prose or something film, prose, whatever it is, that spills into the poems that feeds into the poems. And they lie all the time about the poems to us, you know, about all of our poems they say it's something very odd and rare, that people who do it are very odd, if a man does it, he's sexually questionable, if a woman does it she's sexually questionable, besides, very few people do it [audience laughter]. And it's all lies, you know. There's a company in the United States [https://www.wikidata.org/wiki/Q30] that's made a fortune, on the premise that everybody takes a snapshot at some time or other, and I would like to ask you, and this is apart from all critical standards, all criteria, all faculty and institutions, apart from any of that. I would like to ask a question, how many of you here has ever written a poem, would you put up your hands please? [Audience laughter]. Thank you. I'm always nervous before I ask the question, I ask the question now in all rooms, no matter how few or many people there are and if the universities would generally look around to see if the basketball team is there, but there's always the moment of silence, and looking around first, and generally, quite slowly, almost all the hands go up, maybe four or five do not put up their hands and if I wait around afterwards, and with any luck and favorable wins, the four or five people come up to me and will say something like, I was 15, it was a love poem, it stank. [Audience laughter]. But the thing is it's a human activity. We all do it. We lie about it, you know, and they lie about it to us. And thanks now to the young, the poets maybe, a few other people one could name together, maybe we don't lie so much as we used to, maybe we don't lie about this anymore. Maybe we don't lie about sex, maybe we don't lie about poetry, they seem to lie a great deal about politics instead, it seems to shift around. There are these, and the fact is, we all write poems, it is something we do, we come to this part of experience, as you get a very rainy, rainy evening, why do people come and listen to poems? Or you've got some marvelous summer night, why do people come and listen to poems? Alright, it's partly out of curiosity and looking at the person and I go to see what is that breathing behind, what is that heartbeat, the breathing goes against the heartbeat and these rhythms are set up, and the involuntary muscles and you see the person do it but beyond that, something is what we call shared, something is arrived at, we come to something with almost unmediated, that is the poem among us, between us, there, we're reaching each other, you giving me whatever silence you are giving me and it comes to me with great strength, your silence. Somebody said prima donna, you know, or I'm going to give this to the audience and the conductor says that's what you think, you're going to get it from the audience. That's where it comes from in a funny way. So this mediation, it is not a description, it is not only the music and it, although certainly the reinforcement of sound. The sound climbing up and finally reaching a place, the last word, the sound that begins with the first breathing, the breath of the title. Keats [https://www.wikidata.org/wiki/Q82083] doing Ode to a Nightingale [https://www.wikidata.org/wiki/Q3349126], we hardly ever say ode, nobody says nightingale, but Keats having said that, never has to say it again, it's a bird. You find it in these things, but from the beginning, from the first moment, that is the first breath, the thing that is made as, suggestion, breath, what my life has been, whatever that--what your lives have been. This is a very short one called \"Song\".\n \nMuriel Rukeyser\n00:06:50\nReads \"Song\" [from Waterlily Fire and collected later in Collected Poems].\n \nMuriel Rukeyser\n00:07:36\nThis is another very short one, I wanted to start with these and see what happened. I called it \"In Our Time\", it's very--it's four lines.\n \nMuriel Rukeyser\n00:07:50\nReads \"In Our Time\" [from The Speed of Darkness].\n \nMuriel Rukeyser\n00:08:12\nThis is called \"The Poem As Mask\". It's for another poem, a big Orpheus [https://www.wikidata.org/wiki/Q174353] poem that I wrote a long time ago and it had the acting out the women on the mountain after the murder, the pieces of the man scattered about the top of the mountain. The slow coming together of the pieces as God. And I realized, long after, when I came to this newest book, Speed of Darkness, that this was a mask that I did not want anymore of this. You know how it is--it happens to undergraduates, say, it happens to the thing that was just before, and you see these girls acting very childish, and trading on it, and thinking they're still thirteen and able to influence their father, and it's been used up, used up, it served its purpose back there, but it isn't that anymore. And these, phases of being, \"The Poem As Mask\" for Orpheus.\n \nMuriel Rukeyser\n00:09:25\nReads \"The Poem As Mask\" [from The Speed of Darkness].\n \nMuriel Rukeyser\n00:10:42\nReads \"Air\" [from The Speed of Darkness].\n \nMuriel Rukeyser\n00:11:43\nReads \"Poem\" [from The Speed of Darkness].\n \nMuriel Rukeyser\n00:13:57\nReads \"Anemone\" [from The Speed of Darkness].\n \nMuriel Rukeyser\n00:14:46\nReads \"For My Son\" [from The Speed of Darkness].\n \nMuriel Rukeyser\n00:17:15\nReads \"Orgy\" [from The Speed of Darkness].\n \nMuriel Rukeyser\n00:19:14\nThis is called \"Bunk Johnson Blowing\", if you know the early jazz men, the New Orleans [https://www.wikidata.org/wiki/Q34404] jazz men, you'll know Bunk Johnson [https://www.wikidata.org/wiki/Q487021] and his trumpet. This is years later in San Francisco [https://www.wikidata.org/wiki/Q62]. \"Bunk Johnson Blowing\" and the dedication is in memory of Lead Belly [https://www.wikidata.org/wiki/Q314310], and his house on 59th Street, that's New York.\n \nMuriel Rukeyser\n00:19:45\nReads \"Bunk Johnson Blowing\" [from The Speed of Darkness].\n \nMuriel Rukeyser\n00:21:19\nReads \"Endless\" [from The Speed of Darkness].\n \nMuriel Rukeyser\n00:22:53\nThis last one of the first group is called \"Clues\", it's a Canadian, British Columbia [https://www.wikidata.org/wiki/Q1974] poem, is--how it is among the Thompson River [https://www.wikidata.org/wiki/Q2143805] Indians, or how it was in the anthropological moment, that flash of moment before it was broken up by this civilization, and we have caught up to some of this, without know what the hell it was, what this is. We are full of body painting, tattooing, emblems painted on ourselves, this is further. \"Clues\".\n \nMuriel Rukeyser\n00:23:56\nReads \"Clues\" [from The Speed of Darkness].\n \nMuriel Rukeyser\n00:25:55\nHere's one piece of a long poem, it's the last of a group called \"Elegies\", which one hardly dares name anything anymore. It's called \"Elegy in Joy\" and this is just a beginning piece, I wanted to do it tonight this way, I've never cut it up.\n \n Muriel Rukeyser\n00:26:17\nReads \"Elegy in Joy\" [from Elegies and collected later in Collected Poems].\n \nMuriel Rukeyser\n00:28:26\nI thought of that very much at the beginning of this month in Mexico [https://www.wikidata.org/wiki/Q96], and yesterday when I heard a story. It's a story of what happened at Christmas time, I was in Mexico, I wonder whether you saw it, I heard of it yesterday in New York, as a little, three line story, in the back page of the New York Times [https://www.wikidata.org/wiki/Q9684], saying that the largest underground bomb test was about to be held in Nevada [https://www.wikidata.org/wiki/Q1227] in the States, and to that test, the day before, came five scientists, in Utah [https://www.wikidata.org/wiki/Q829], in the States, to protest, to picket, to try to stop it. And another person who protested, was Howard Hughes [https://www.wikidata.org/wiki/Q189081], who owns most of Las Vegas [https://www.wikidata.org/wiki/Q23768] at this point, and had his own reasons for protesting. These protests did not stop the testing. The test was made. It was the largest underground made yet. Do you know this story? There was a crack, a crack in the earth, big enough, they said, the way we talk, big enough that the Empire State Building [https://www.wikidata.org/wiki/Q9188]. There's a crack there, and deep under the crust there's a three foot crack of some kind, and the rocks are still falling, and they say there will be earthquakes in various parts, unpredictable parts of the world as a result of the shift of the under-crust. Now, last night, before I came here, on TV, late news in New York, they said that there'd been a quake in the Fiji Islands [https://www.wikidata.org/wiki/Q24570183]. I have no idea what the relations between these things are, I give it to you simply, that something has happened to shift the under-crust there will be unpredictable results. This is under the ground, the way we are bound to each other, we are all so bound to each other through the air and the fall out has come over Canada [https://www.wikidata.org/wiki/Q16], this is also a part of the story that I heard yesterday, and you, I can see by your nods, you know this part of the story. People were saying one thing, and then the other about why don't we do this, why don't they do that, part of the story is that maybe nothing will fall because the Russians also wish to make underground tests. It's part of the ways in which we are bound to each other. I'll give you that. In Mexico, we are bound, under the ground, over the ground, in every way there is. In Mexico, though the stories of what really happened to the students in October, and the stories of people--of many students were killed and the police were among the crowd, and the police wore one white glove or tied a handkerchief around their right hand, and when the helicopters came over, these white hands were put up that said \"don't shoot us, we're police\". Many students were shot and they say in Mexico City [https://www.wikidata.org/wiki/Q1489] that the bodies were incinerated and no reports were made and no count was made, and these are the ways in which we are bound too. And yes, I have been translating Octavio Paz, and Ekelof is another such poet, but Paz, the end of one of Octavio's poems, was printed on this issue of the University Students' Journal of the University of Mexico, with the account of September, October, November, December. And the poem ends like this in English, it's not as good, I warn you, these translations are a folly on a madness on a stupidity and at the same time one has to do it, as work to which one is driven, out of love and gratitude, and also out a motive not so noble as any of that, during the times in which one cannot write poems, it is wonderful to have something one cares about out in front of one, and work with it that way, and it's the thing, not spinning out of oneself, in those times, but having something out in front. This is the end of the, of a great poem of Octavio Paz's called \"A Broken Jar\", and jar, of course, water jar, is something quite different in Mexico, we say 'jar', 'jug', something like that, it isn't in the thing we use every day, in Mexico, it's every day, it's that kind of broken jar.\n \nMuriel Rukeyser\n00:33:33\nReads translation of \"A Broken Jar\" by Octavio Paz in English.\n \nMuriel Rukeyser\n00:34:35\nThese are some poems, since my last book, and I don't know whether they are finished, they may be finished. The next book that these will be in will be called Breaking Open. This is a short one called \"Martin Luther King\" [https://www.wikidata.org/wiki/Q8027].\n \nMuriel Rukeyser\n00:34:56\nReads \"Martin Luther King\" [published later as “Martin Luther King, Malcolm X” in Breaking Open and collected in Collected Poems].\n \nMuriel Rukeyser\n00:35:45\nThis is a poem, I found a long time ago, you probably have found it in the same way, it's on the back of a one of the Gauguin [https://www.wikidata.org/wiki/Q37693] watercolours, it's a piece of poem without any heading, without any signature, I didn't know what it was, and it stopped me, and it stayed in me, and I tried to turn it into English, and I couldn't do it. And I finally found out what it was and I finally turned it into English, it's a poem by Charles Morice [https://www.wikidata.org/wiki/Q2959857], who is hardly read, now, you know him? No, he's one of those people around Gauguin, and I said well, you can't print anything like that, people, and then 2001 [https://www.wikidata.org/wiki/Q835341] was written and released, and 2001 has stargate, starbaby, the whole thing, and I put the name \"Next\" on this and I'm reading it to you partly for itself, but partly because one line of it is something I used in a poem I wrote when the same thing happened to many of us, the Olympics [https://www.wikidata.org/wiki/Q5389] committee wrote to us and asked for poems, you know, for the games, or for the times of the games, or for something. And one wasn't exactly going to do that, but there was something that could be said, and so on. Anyway, this is the Morice, and I've called it \"Next\".\n \nMuriel Rukeyser\n00:37:25\nReads \"Next\", an English translation of an unnamed poem by Charles Morice [published later in Breaking Open and collected in Collected Poems].\n \nMuriel Rukeyser\n00:38:19\nAnd this poem, using one line of that was what I sent to Mexico, it's called \"Voices\".\n \nMuriel Rukeyser\n00:38:30\nReads \"Voices\" [published later in Breaking Open and collected in Collected Poems].\n \nMuriel Rukeyser\n00:40:00\nThe last poem I'll read this evening is a group, the group is called \"The Speed of Darkness\". They're short poems, and I'll just pause between poems, there should be numbers going up in back of me, 1, 2, 3 [audience laughter]. I'll just pause. \"The Speed of Darkness\".\n\nMuriel Rukeyser\n00:40:27\nReads \"The Speed of Darkness\" from The Speed of Darkness. \n\nMuriel Rukeyser\n00:46:11\nThank you very much.\n \nAudience\n00:46:14\nApplause.\n \nIntroducer\n00:46:37\nWe wish to announce that the next reading will be by F.R. Scott [https://www.wikidata.org/wiki/Q3081656], and that will be on February 14, at the same time, in the theatre in the basement of this building. Thank you.\n \nUnknown\n00:46:58\nAmbient Sound [voices].\n \nEND\n00:51:24\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nThe speed of darkness was published the previous year, in 1968. Muriel Rukeyser did a reading in 1969 at Vassar College.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nMuriel Rukeyser was an influential American poet and human rights activist. No other connections to Montreal or Sir George Williams University are known.\",\"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\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/breaking-open-muriel-rukeyser/oclc/924572095?referer=di&ht=edition\",\"citation\":\"Rukeyser, Muriel. Breaking Open. New York: Random House, 1973. \"},{\"url\":\"https://www.worldcat.org/title/elegies/oclc/504012626?referer=di&ht=edition\",\"citation\":\"Rukeyser, Muriel. Elegies. New York: New Directions, 1949. \"},{\"url\":\"https://www.worldcat.org/title/speed-of-darkness-2-print/oclc/468799078&referer=brief_results\",\"citation\":\"Rukeyser, Muriel. The speed of darkness. New York: Random House, 1968. \"},{\"url\":\"https://www.worldcat.org/title/waterlily-fire-poems-1935-1962/oclc/468799083?referer=di&ht=edition\",\"citation\":\"Rukeyser, Muriel. Waterlily Fire. New York: Macmillan, 1962. \"},{\"url\":\"https://www.worldcat.org/title/collected-poems/oclc/924905547?referer=di&ht=edition\",\"citation\":\"Rukeyser, Muriel. Collected Poems. New York: McGraw-Hill, 1978. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-american-literature/oclc/54356940&referer=brief_results\",\"citation\":\"\\\"Rukeyser, Muriel\\\". The Oxford Companion to American Literature. James D. Hart (ed.), Phillip W. Leininger (rev). Oxford University Press 1995.\"},{\"url\":\"\",\"citation\":\"“Rukeyser, Muriel, 1913-”. Literature Online Biography. H.W. Wilson Company. \"}]"],"_version_":1853670548872101888,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0162_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0162 back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Muriel Rukeyser 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_0162_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0162 front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Muriel Rukeyser 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_0162_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0162 side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Muriel Rukeyser Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0162_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0162_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Muriel Rukeyser 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/muriel_rukeyser_i006-11-162.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"muriel_rukeyser_i006-11-162.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:51:24\",\"precision\":\"\",\"size\":\"123.4 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Introducer\\n00:00:00\\n...Introduction mention that she has published ten volumes of poetry which include such books as The Green Wave, The Turning Wind, Beast in View, U.S. 1, Theory of Flight, Body of Waking, Waterlily Fire, The Speed of Darkness, amongst others. She has published essays, biography, she's working on a biography now, she has published a novel called The Orgy, she has published translations of the Mexican writer Octavio Paz [https://www.wikidata.org/wiki/Q46739], and the Swedish poet Gunnar Ekelöf [https://www.wikidata.org/wiki/Q366311], she has published a number of children's books and what else can I say? She's a New Yorker, she was born in New York [https://www.wikidata.org/wiki/Q60], she lives in New York, and so forth. I now introduce Muriel Rukeyser [https://www.wikidata.org/wiki/Q735177].\\n\\nAudience\\n00:00:40\\nApplause. \\n\\nMuriel Rukeyser\\n00:00:49\\nThank you. It sounds peculiar when it's said that way, you know. It just means that I've been writing poems all along, and that sometimes there's been some prose or something film, prose, whatever it is, that spills into the poems that feeds into the poems. And they lie all the time about the poems to us, you know, about all of our poems they say it's something very odd and rare, that people who do it are very odd, if a man does it, he's sexually questionable, if a woman does it she's sexually questionable, besides, very few people do it [audience laughter]. And it's all lies, you know. There's a company in the United States [https://www.wikidata.org/wiki/Q30] that's made a fortune, on the premise that everybody takes a snapshot at some time or other, and I would like to ask you, and this is apart from all critical standards, all criteria, all faculty and institutions, apart from any of that. I would like to ask a question, how many of you here has ever written a poem, would you put up your hands please? [Audience laughter]. Thank you. I'm always nervous before I ask the question, I ask the question now in all rooms, no matter how few or many people there are and if the universities would generally look around to see if the basketball team is there, but there's always the moment of silence, and looking around first, and generally, quite slowly, almost all the hands go up, maybe four or five do not put up their hands and if I wait around afterwards, and with any luck and favorable wins, the four or five people come up to me and will say something like, I was 15, it was a love poem, it stank. [Audience laughter]. But the thing is it's a human activity. We all do it. We lie about it, you know, and they lie about it to us. And thanks now to the young, the poets maybe, a few other people one could name together, maybe we don't lie so much as we used to, maybe we don't lie about this anymore. Maybe we don't lie about sex, maybe we don't lie about poetry, they seem to lie a great deal about politics instead, it seems to shift around. There are these, and the fact is, we all write poems, it is something we do, we come to this part of experience, as you get a very rainy, rainy evening, why do people come and listen to poems? Or you've got some marvelous summer night, why do people come and listen to poems? Alright, it's partly out of curiosity and looking at the person and I go to see what is that breathing behind, what is that heartbeat, the breathing goes against the heartbeat and these rhythms are set up, and the involuntary muscles and you see the person do it but beyond that, something is what we call shared, something is arrived at, we come to something with almost unmediated, that is the poem among us, between us, there, we're reaching each other, you giving me whatever silence you are giving me and it comes to me with great strength, your silence. Somebody said prima donna, you know, or I'm going to give this to the audience and the conductor says that's what you think, you're going to get it from the audience. That's where it comes from in a funny way. So this mediation, it is not a description, it is not only the music and it, although certainly the reinforcement of sound. The sound climbing up and finally reaching a place, the last word, the sound that begins with the first breathing, the breath of the title. Keats [https://www.wikidata.org/wiki/Q82083] doing Ode to a Nightingale [https://www.wikidata.org/wiki/Q3349126], we hardly ever say ode, nobody says nightingale, but Keats having said that, never has to say it again, it's a bird. You find it in these things, but from the beginning, from the first moment, that is the first breath, the thing that is made as, suggestion, breath, what my life has been, whatever that--what your lives have been. This is a very short one called \\\"Song\\\".\\n \\nMuriel Rukeyser\\n00:06:50\\nReads \\\"Song\\\" [from Waterlily Fire and collected later in Collected Poems].\\n \\nMuriel Rukeyser\\n00:07:36\\nThis is another very short one, I wanted to start with these and see what happened. I called it \\\"In Our Time\\\", it's very--it's four lines.\\n \\nMuriel Rukeyser\\n00:07:50\\nReads \\\"In Our Time\\\" [from The Speed of Darkness].\\n \\nMuriel Rukeyser\\n00:08:12\\nThis is called \\\"The Poem As Mask\\\". It's for another poem, a big Orpheus [https://www.wikidata.org/wiki/Q174353] poem that I wrote a long time ago and it had the acting out the women on the mountain after the murder, the pieces of the man scattered about the top of the mountain. The slow coming together of the pieces as God. And I realized, long after, when I came to this newest book, Speed of Darkness, that this was a mask that I did not want anymore of this. You know how it is--it happens to undergraduates, say, it happens to the thing that was just before, and you see these girls acting very childish, and trading on it, and thinking they're still thirteen and able to influence their father, and it's been used up, used up, it served its purpose back there, but it isn't that anymore. And these, phases of being, \\\"The Poem As Mask\\\" for Orpheus.\\n \\nMuriel Rukeyser\\n00:09:25\\nReads \\\"The Poem As Mask\\\" [from The Speed of Darkness].\\n \\nMuriel Rukeyser\\n00:10:42\\nReads \\\"Air\\\" [from The Speed of Darkness].\\n \\nMuriel Rukeyser\\n00:11:43\\nReads \\\"Poem\\\" [from The Speed of Darkness].\\n \\nMuriel Rukeyser\\n00:13:57\\nReads \\\"Anemone\\\" [from The Speed of Darkness].\\n \\nMuriel Rukeyser\\n00:14:46\\nReads \\\"For My Son\\\" [from The Speed of Darkness].\\n \\nMuriel Rukeyser\\n00:17:15\\nReads \\\"Orgy\\\" [from The Speed of Darkness].\\n \\nMuriel Rukeyser\\n00:19:14\\nThis is called \\\"Bunk Johnson Blowing\\\", if you know the early jazz men, the New Orleans [https://www.wikidata.org/wiki/Q34404] jazz men, you'll know Bunk Johnson [https://www.wikidata.org/wiki/Q487021] and his trumpet. This is years later in San Francisco [https://www.wikidata.org/wiki/Q62]. \\\"Bunk Johnson Blowing\\\" and the dedication is in memory of Lead Belly [https://www.wikidata.org/wiki/Q314310], and his house on 59th Street, that's New York.\\n \\nMuriel Rukeyser\\n00:19:45\\nReads \\\"Bunk Johnson Blowing\\\" [from The Speed of Darkness].\\n \\nMuriel Rukeyser\\n00:21:19\\nReads \\\"Endless\\\" [from The Speed of Darkness].\\n \\nMuriel Rukeyser\\n00:22:53\\nThis last one of the first group is called \\\"Clues\\\", it's a Canadian, British Columbia [https://www.wikidata.org/wiki/Q1974] poem, is--how it is among the Thompson River [https://www.wikidata.org/wiki/Q2143805] Indians, or how it was in the anthropological moment, that flash of moment before it was broken up by this civilization, and we have caught up to some of this, without know what the hell it was, what this is. We are full of body painting, tattooing, emblems painted on ourselves, this is further. \\\"Clues\\\".\\n \\nMuriel Rukeyser\\n00:23:56\\nReads \\\"Clues\\\" [from The Speed of Darkness].\\n \\nMuriel Rukeyser\\n00:25:55\\nHere's one piece of a long poem, it's the last of a group called \\\"Elegies\\\", which one hardly dares name anything anymore. It's called \\\"Elegy in Joy\\\" and this is just a beginning piece, I wanted to do it tonight this way, I've never cut it up.\\n \\n Muriel Rukeyser\\n00:26:17\\nReads \\\"Elegy in Joy\\\" [from Elegies and collected later in Collected Poems].\\n \\nMuriel Rukeyser\\n00:28:26\\nI thought of that very much at the beginning of this month in Mexico [https://www.wikidata.org/wiki/Q96], and yesterday when I heard a story. It's a story of what happened at Christmas time, I was in Mexico, I wonder whether you saw it, I heard of it yesterday in New York, as a little, three line story, in the back page of the New York Times [https://www.wikidata.org/wiki/Q9684], saying that the largest underground bomb test was about to be held in Nevada [https://www.wikidata.org/wiki/Q1227] in the States, and to that test, the day before, came five scientists, in Utah [https://www.wikidata.org/wiki/Q829], in the States, to protest, to picket, to try to stop it. And another person who protested, was Howard Hughes [https://www.wikidata.org/wiki/Q189081], who owns most of Las Vegas [https://www.wikidata.org/wiki/Q23768] at this point, and had his own reasons for protesting. These protests did not stop the testing. The test was made. It was the largest underground made yet. Do you know this story? There was a crack, a crack in the earth, big enough, they said, the way we talk, big enough that the Empire State Building [https://www.wikidata.org/wiki/Q9188]. There's a crack there, and deep under the crust there's a three foot crack of some kind, and the rocks are still falling, and they say there will be earthquakes in various parts, unpredictable parts of the world as a result of the shift of the under-crust. Now, last night, before I came here, on TV, late news in New York, they said that there'd been a quake in the Fiji Islands [https://www.wikidata.org/wiki/Q24570183]. I have no idea what the relations between these things are, I give it to you simply, that something has happened to shift the under-crust there will be unpredictable results. This is under the ground, the way we are bound to each other, we are all so bound to each other through the air and the fall out has come over Canada [https://www.wikidata.org/wiki/Q16], this is also a part of the story that I heard yesterday, and you, I can see by your nods, you know this part of the story. People were saying one thing, and then the other about why don't we do this, why don't they do that, part of the story is that maybe nothing will fall because the Russians also wish to make underground tests. It's part of the ways in which we are bound to each other. I'll give you that. In Mexico, we are bound, under the ground, over the ground, in every way there is. In Mexico, though the stories of what really happened to the students in October, and the stories of people--of many students were killed and the police were among the crowd, and the police wore one white glove or tied a handkerchief around their right hand, and when the helicopters came over, these white hands were put up that said \\\"don't shoot us, we're police\\\". Many students were shot and they say in Mexico City [https://www.wikidata.org/wiki/Q1489] that the bodies were incinerated and no reports were made and no count was made, and these are the ways in which we are bound too. And yes, I have been translating Octavio Paz, and Ekelof is another such poet, but Paz, the end of one of Octavio's poems, was printed on this issue of the University Students' Journal of the University of Mexico, with the account of September, October, November, December. And the poem ends like this in English, it's not as good, I warn you, these translations are a folly on a madness on a stupidity and at the same time one has to do it, as work to which one is driven, out of love and gratitude, and also out a motive not so noble as any of that, during the times in which one cannot write poems, it is wonderful to have something one cares about out in front of one, and work with it that way, and it's the thing, not spinning out of oneself, in those times, but having something out in front. This is the end of the, of a great poem of Octavio Paz's called \\\"A Broken Jar\\\", and jar, of course, water jar, is something quite different in Mexico, we say 'jar', 'jug', something like that, it isn't in the thing we use every day, in Mexico, it's every day, it's that kind of broken jar.\\n \\nMuriel Rukeyser\\n00:33:33\\nReads translation of \\\"A Broken Jar\\\" by Octavio Paz in English.\\n \\nMuriel Rukeyser\\n00:34:35\\nThese are some poems, since my last book, and I don't know whether they are finished, they may be finished. The next book that these will be in will be called Breaking Open. This is a short one called \\\"Martin Luther King\\\" [https://www.wikidata.org/wiki/Q8027].\\n \\nMuriel Rukeyser\\n00:34:56\\nReads \\\"Martin Luther King\\\" [published later as “Martin Luther King, Malcolm X” in Breaking Open and collected in Collected Poems].\\n \\nMuriel Rukeyser\\n00:35:45\\nThis is a poem, I found a long time ago, you probably have found it in the same way, it's on the back of a one of the Gauguin [https://www.wikidata.org/wiki/Q37693] watercolours, it's a piece of poem without any heading, without any signature, I didn't know what it was, and it stopped me, and it stayed in me, and I tried to turn it into English, and I couldn't do it. And I finally found out what it was and I finally turned it into English, it's a poem by Charles Morice [https://www.wikidata.org/wiki/Q2959857], who is hardly read, now, you know him? No, he's one of those people around Gauguin, and I said well, you can't print anything like that, people, and then 2001 [https://www.wikidata.org/wiki/Q835341] was written and released, and 2001 has stargate, starbaby, the whole thing, and I put the name \\\"Next\\\" on this and I'm reading it to you partly for itself, but partly because one line of it is something I used in a poem I wrote when the same thing happened to many of us, the Olympics [https://www.wikidata.org/wiki/Q5389] committee wrote to us and asked for poems, you know, for the games, or for the times of the games, or for something. And one wasn't exactly going to do that, but there was something that could be said, and so on. Anyway, this is the Morice, and I've called it \\\"Next\\\".\\n \\nMuriel Rukeyser\\n00:37:25\\nReads \\\"Next\\\", an English translation of an unnamed poem by Charles Morice [published later in Breaking Open and collected in Collected Poems].\\n \\nMuriel Rukeyser\\n00:38:19\\nAnd this poem, using one line of that was what I sent to Mexico, it's called \\\"Voices\\\".\\n \\nMuriel Rukeyser\\n00:38:30\\nReads \\\"Voices\\\" [published later in Breaking Open and collected in Collected Poems].\\n \\nMuriel Rukeyser\\n00:40:00\\nThe last poem I'll read this evening is a group, the group is called \\\"The Speed of Darkness\\\". They're short poems, and I'll just pause between poems, there should be numbers going up in back of me, 1, 2, 3 [audience laughter]. I'll just pause. \\\"The Speed of Darkness\\\".\\n\\nMuriel Rukeyser\\n00:40:27\\nReads \\\"The Speed of Darkness\\\" from The Speed of Darkness. \\n\\nMuriel Rukeyser\\n00:46:11\\nThank you very much.\\n \\nAudience\\n00:46:14\\nApplause.\\n \\nIntroducer\\n00:46:37\\nWe wish to announce that the next reading will be by F.R. Scott [https://www.wikidata.org/wiki/Q3081656], and that will be on February 14, at the same time, in the theatre in the basement of this building. Thank you.\\n \\nUnknown\\n00:46:58\\nAmbient Sound [voices].\\n \\nEND\\n00:51:24\\n\",\"notes\":\"Muriel Rukeyser reads largely from her book The Speed of Darkness (Random House, 1968) as well as a few poems from Elegies (New Directions, 1949) and Waterlily Fire (Macmillan, 1962) and others published later in Breaking Open (Random House, 1973).  Most of the poems read were also later collected in Collected Poems (McGraw-Hill, 1978).\\n\\n00:00- Unknown Introducer introduces Muriel Rukeyser [INDEX: The Green Wave, The Turning Wind, Beast and View, U.S. 1, Theory of Flight, The speed of darkness]\\n00:49- Muriel Rukeyser introduces “Song” [INDEX: writing poetry, poet John Keats’ “Ode to a Nightingale”]\\n06:50- Reads “Song”\\n07:36- Introduces “In Our Time”\\n07:50- Reads “In Our Time”\\n08:12- Introduces “The Poem as a Mask” [INDEX: Orpheus, Greek Myth, The speed of darkness]\\n09:25- Reads “The Poem as a Mask”\\n10:42- Reads “Air”\\n11:43- Reads “Poem”\\n13:57- Reads “Anemone”\\n14:46- Reads “For My Son”\\n17:15- Reads “Orgy”\\n19:14- Introduces “Bunk Johnson Blowing” [INDEX: Musician Bunk Johnson, San Francisco, Lead Belly, house on 59th Street in NYC]\\n19:45- Reads “Bunk Johnson Blowing”\\n21:19- Reads “Endless”\\n22:53- Introduces “Clues” [INDEX: Thompson River Indians (the Nlaka'pamux of Southern British Columbia)]\\n23:56- Reads “Clues”\\n25:55- Introduces “Elegy in Joy”\\n26:17- Reads “Elegy in Joy”\\n28:26- Introduces “A Broken Jar” [INDEX: Biggest underground bomb testing in Nevada, Student protest killings on October 2, 1968 in Mexico City, Poet Octavio Paz, Surrealist poet Gunnar Ekelof]\\n33:33- Reads “A Broken Jar”\\n34:35- Introduces “Martin Luther King” [INDEX: Breaking Open: Upcoming novel, poet Charles Maurice and artist Paul Gauguin, 2001: A Space Odyssey]\\n34:56- Reads “Martin Luther King”\\n35:45- Introduces “Next” [Howard Fink List: “Poem by C. Maurice”]\\n37:35- Reads “Next”\\n38:19- Introduces “Voices”\\n38:30- Reads “Voices”\\n40:00- Introduces “The speed of darkness”\\n40:27- Reads “The speed of darkness”\\n51:24.74- END OF RECORDING\\n \\nHoward Fink List of Poems\\n“Muriel Rukeyser”\\n1/24/69\\nreel information\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/muriel-rukeyser-at-sgwu-1969/\"}]"],"score":1.8530173},{"id":"1275","cataloger_name":["Masoumeh,Zaare"],"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":["F.R. Scott at Sir George Williams University, The Poetry Series, 22 February 1969"],"item_title_source":["Cataloguer"],"item_title_note":["\"R.F. SCOTT - 1 I006/SR117.1\" written on sticker on the spine of the tape's box. R.F. SCOTT refers to F.R. SCOTT. R.F. is mispelled. \"I006-11-112.1\" written on sticker on the reel\n\n\"R.F. SCOTT - 2 I006/SR117.2\" written on sticker on the spine of the tape's box. R.F. SCOTT refers to F.R. SCOTT. R.F. is mispelled. \"I006-11-112.2\" written on sticker on the reel"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 3"],"item_identifiers":["[I006-11-112.1, I006-11-112.2]"],"creator_names":["Scott, Francis Reginald"],"creator_names_search":["Scott, Francis Reginald"],"creators":["[{\"url\":\"http://viaf.org/viaf/108944267\",\"name\":\"Scott, Francis Reginald\",\"dates\":\"1899-1985\",\"notes\":\"Francis (Frank) Reginald Scott (F.R. Scott) was born in Quebec City, in 1899. Educated at Bishop’s College, Lennoxville, and then at Oxford University where he received his B.A. in 1922, and his B.Litt in 1923 on a Rhodes scholarship. In 1926 he graduated from McGill University in Montreal with a Law degree. It was at McGill, after meeting A.J.M. Smith, that he became interested in the current poetry scene. With Smith and Leon Edel, Scott founded The McGill fortnightly review (1925-1927), which then became The Canadian Mercury (1928-1929). After practicing law for a year, he returned to teach at McGill in 1928. In 1936 he and Smith co-edited the first anthology of modern Canadian poetry, New Provinces: Poems of Several Authors (Macmillan, 1936), and he was subsequently involved in many influential literary journals and anthologies of Canadian poetry. Preview begun with the help of Scott, A.M. Klein and P.K. Page in 1942, and in 1945 it merged with First Statement to become the Northern Review (1945-1956). Scott also was an advising editor of The Tamarack Review in 1956. Scott’s first collection of poems was Overture (Ryerson Press), published in 1945, delayed by the Depression, but was followed by Events and signals (Ryerson Press, 1954), The eye of the needle (Contact Press, 1957), Signature (Klanak Press and McGill University Press, 1964) and Selected poems (Oxford University Press, 1966). Scott became the dean of law at McGill in 1961 until 1964, retiring in 1968. Not only was Scott an important figure in Canadian poetry, he was heavily involved with politics, law and the translation of French literature. Scott was the President of the League for Social Reconstruction in 1935-7. He was the national chairman of the Co-operative Commonwealth Federation from 1942 to 1950. Scott helped to found the New Party in the 60‘s, what is known as the New Democratic Party today. He also worked several high-priority civil rights cases, Switzman v. Elbing (1957) and Roncarelli v. Duplessis (1958) in front of the Supreme Court. F.R. Scott was awarded the Lorne Piece Medal for distinguished service to Canadian literature in 1962. He received the Canada Council Translation Prize for Poems of French Canada (Blackfish press, 1977), a Governor General’s Award for Essays on the constitution: aspects of Canadian law and politics (University of Toronto Press, 1977) as well as a second Governor General’s Award for The collected poems of F.R. Scott (McClelland and Stewart) in 1981. F.R. Scott died in 1985.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1969],"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\":\"\"},{\"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\":\"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","Reel to Reel"],"physical_compositions":["Magnetic Tape","Magnetic Tape"],"recording_type":["Analogue","Analogue"],"AV_type":["Audio","Audio"],"playback_mode":["Mono","Mono"],"Dates":["[{\"date\":\"1969 2 22\",\"type\":\"Performance Date\",\"notes\":\"In previous recording, announcement is made for F.R. Scott's reading to take place on February 14, 1969. Perhaps date changed subsequently.\",\"source\":\"Previous researcher\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Basement Theatre\",\"notes\":\"Location announced in previous recording\",\"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 Basement Theatre"],"City":["Montreal, Quebec"],"content_notes":["F.R. Scott reads from a large selection of his poetry, most of which was collected much later in The Collected Poems of F.R. Scott (McClelland and Stewart, 1981). Scott most likely did not read from one book, but from his own manuscripts, but many of the poems were already published in F.R. Scott: Selected Poems (Oxford University Press, 1966) at the time of the reading."],"contents":["fr_scott_i006-11-112-1.mp3 [File 1 of 2]\n\nF.R. Scott\n00:00:00\nLadies and gentleman, the poems I'm going to read stretch over a period, it seems hard to believe, of about 45 years, and the writing of poetry has changed quite as much in that time as the world has changed, and probably for the same reason. Some of the poems I start with, you are actually going to hear a rhyme, and they're going to be structured. And you won't appreciate it, but some are going to vary the rhyme form in a way which, when they were written, seemed really quite daring. And I have witnessed, and as poets go on, it will always happen, this continuous evolution of the method--the method of expression and the forms of expression, that the poet, like any other artist, uses. I'm going to start at the beginning of my writing, I was born in Quebec City [https://www.wikidata.org/wiki/Q2145], grew up there. The Laurentian mountains [https://www.wikidata.org/wiki/Q75596] are ten miles away, my father was a great lover of nature, we went into the country for picnics all the time, he used to put me at the edge of the mountains and say \"Frank, look North, there's nothing between you and the North Pole\". And after I'd been three and a half years at Oxford [https://www.wikidata.org/wiki/Q34433] and in Europe [https://www.wikidata.org/wiki/Q46], soaking up nothing up but human history, the background and fundamentals of our civilization, I came back to Montreal [https://www.wikidata.org/wiki/Q340], which seemed an incredibly ugly, empty, valueless city. The one thing that matched the power of the European tradition was this North land. It's emptiness, it's waiting. So I remember poems touching upon that feeling, and I will read first, this poem is really 45 years old, \"New Names\".\n \nF.R. Scott\n00:02:31\nReads \"New Names\" [from F.R. Scott: Selected Poems].\n \nF.R. Scott\n00:03:26\nReads \"Old Song\" [from F.R. Scott: Selected Poems]..\n \nF.R. Scott\n00:04:17\n\"Trees In Ice\", we've all seen trees in ice.\n \nF.R. Scott\n00:04:26\nReads \"Trees In Ice\" [from F.R. Scott: Selected Poems].\n \nF.R. Scott\n00:05:21\nReads \"Snow Drift\" [from F.R. Scott: Selected Poems].\n \nF.R. Scott\n00:05:47\nReads \"North Stream\" [from F.R. Scott: Selected Poems].\n \nF.R. Scott\n00:06:29\nAnd then, \"Stone\", and I'm thinking of one of these marvelous artifacts that find on the shores of the northern rivers, and what it tells us.\n \nF.R. Scott\n00:06:55\nReads \"Stone\" [from F.R. Scott: Selected Poems].\n \nF.R. Scott\n00:08:09\nAnd in the same vein, here is a street cry modeled on the street cries of London [https://www.wikidata.org/wiki/Q84] when they were selling--women were selling on the streets--\"Street Cry\".\n \nF.R. Scott\n00:08:34\nReads \"Street Cry\".\n \nF.R. Scott\n00:09:03\nOne sees this north land, subject to man's invasion. This is called \"Laurentian Shield\" [https://www.wikidata.org/wiki/Q76034], which as you know, the name of the geological formation that covers most of the northern part of this country.\n \nF.R. Scott\n00:09:41\nReads \"Laurentian Shield\" [from F.R. Scott: Selected Poems].\n \nF.R. Scott\n00:12:27\nAnd \"Flying to Fort Smith\". I went down the Mackenzie river [https://www.wikidata.org/wiki/Q3411] and flew from Edmonton [https://www.wikidata.org/wiki/Q2096] to Fort Smith [https://www.wikidata.org/wiki/Q686415] over the Peace River [https://www.wikidata.org/wiki/Q2220] and these other rivers underneath which wind through the flat plain.\n \nF.R. Scott\n00:12:53\nReads \"Flying to Fort Smith\" [from F.R. Scott: Selected Poems].\n \nF.R. Scott\n00:14:14\nHere's a fairly recent poem to be published shortly. It's called \"T.V. Weatherman\" and it's dedicated to Percy Saltzman [https://www.wikidata.org/wiki/Q7167559].\n \nF.R. Scott\n00:14:41\nReads \"T.V. Weatherman\".\n \nF.R. Scott\n00:16:30\n\"Trans Canada\" this is my first flight, Regina [https://www.wikidata.org/wiki/Q2123] to Montreal one night.\n \nF.R. Scott\n00:16:42\nReads \"Trans Canada\" [from F.R. Scott: Selected Poems].\n \nF.R. Scott\n00:19:19\nHere's another recent poem, called \"On the Terrace, Quebec\". You imagine yourself on the terrace of Chateau Frontenac [https://www.wikidata.org/wiki/Q745964] looking at the basin.\n \n \nF.R. Scott\n00:19:41\nReads \"On the Terrace, Quebec\".\n \nF.R. Scott\n00:21:28\n\"A Grain of Rice\", a poem I wrote in Burma [https://www.wikidata.org/wiki/Q836], thinking of the Korean war [https://www.wikidata.org/wiki/Q8663], seeing the monsoon rains, reflecting on man and the universe in which he lives. \"A Grain of Rice\".\n \nF.R. Scott\n00:22:04\nReads \"A Grain of Rice\" [from F.R. Scott: Selected Poems].\n \nF.R. Scott\n00:24:25\nReads \"The Bird\" [from F.R. Scott: Selected Poems].\n \nF.R. Scott\n00:26:40\nHere's another version of an old story. It's called \"Eden\".\n \nF.R. Scott\n00:26:57\nReads \"Eden\" [from F.R. Scott: Selected Poems].\n \nF.R. Scott\n00:29:25\nAnd now, one or two more found poems. The first is from the Canadian Indian Pavilion at Expo [https://www.wikidata.org/wiki/Q1344988]. And it is found in this way, and those of you that saw that pavilion remember that they had these various rooms and in each room they had one or two lines of statements, up on the wall, about themselves and their relations with the white man. And all I did was to collect these various statements from a number of rooms and put them together to make a single poem, and it goes like this, I call it \"The Indians Speak at Expo 67\".\n \nF.R. Scott\n00:30:24\nReads \"The Indians Speak at Expo 67\".\n \nF.R. Scott\n00:31:44\nIn one of those rooms, there was a treaty between the British Crown and some Indian Chiefs. These treaties all had one purpose: they were to transfer valuable lands to Indians to the white man. And the treaties I may say always succeeded. This treaty was written out in a very formal manuscript, and the Indians had got hold of the original parchment, or whatever it was on, and they had blown it up to a great big thing they had up on the wall. The treaty was signed by two chiefs, signed--that is to say--the chiefs could not sign their names and presumably could not read the treaty, but they made little drawings, marks, to indicate that they had approved, and this what part of the treaty contains. There was a signature at the top, Chief Ningaram and at the bottom, Chief Wobumingwam.\n \nF.R. Scott\n00:32:56\nReads unnamed poem.\n \nF.R. Scott\n00:34:07\nAnd about 30,000 acres of the richest land in Southern Ontario [https://www.wikidata.org/wiki/Q1904] went for a song to the chiefs who couldn't sign their names. And I just came across the other day, in a book that I picked up, another thing I think I could call a 'found poem', also by the Indians, it's in The Life of McGillivray, the great fur trader of Montreal and his North West Company [https://www.wikidata.org/wiki/Q1142049], you know in the early part of the last century, around 1810-20. This is an account of the North West Company, describing how they relate themselves to the Indians, and you will see the philanthropy.\n \nF.R. Scott\n00:34:54\nReads unnamed poem.\n \nEND\n00:35:32\n\n\nfr_scott_i006-11-112-2.mp3 [File 2 of 2]\n\nF.R. Scott\n00:00:00\nHere's a poem, some poems of sentiment, a poem called \"Will to Win\". It's full of the imagery, it came out of the resistance movement in France [https://www.wikidata.org/wiki/Q142], during WW2 [https://www.wikidata.org/wiki/Q362], the Marquis hiding, having supplies dropped to them etc., etc.\n \nF.R. Scott\n00:00:25\nReads \"Will to Win\" [from F.R. Scott: Selected Poems].\n \nF.R. Scott\n00:01:50\nReads unnamed poem.\n \nF.R. Scott\n00:02:48\nReads \"Girl Running Down Hill\" [from F.R. Scott: Selected Poems].\n \nF.R. Scott\n00:04:00\nReads \"Upon Watching Margaret Dying\" [from F.R. Scott: Selected Poems].\n \nF.R. Scott\n00:05:39\nHere's a translation from Jacques Boraux [sp?], it's in his recent book that won the Prix de France. The poem is called \"Connaissance, Knowing\".\n \nF.R. Scott\n00:06:00\nReads \"Connaissance, Knowing”.\n \nF.R. Scott\n00:07:31\nAnd here's a translation from Pierre Trottier [https://www.wikidata.org/wiki/Q3387180] It's called \"Time Corrected\".\n \nF.R. Scott\n00:07:50\nReads \"Time Corrected\".\n \nF.R. Scott\n00:09:27\nReads \"Vision\" [from F.R. Scott: Selected Poems].\n \nF.R. Scott\n00:11:40\n\"Last Rites\". This was written at the death of my father in hospital.\n \nF.R. Scott\n00:11:50\nReads \"Last Rites\" [from F.R. Scott: Selected Poems].\n \nF.R. Scott\n00:15:23\nAnd finally, a poem called \"A l'ange avant-gardien\". It seems strange, but I was brought up to believe there was a guardian angel, un ange gardien, looking after me, so you felt a little more secure. As you know, there are certain places in this province called l'ange gardien. So I thought of the avant, l'ange avant-gardien. Stevens had a necessary angel, which to him was reality. Many people have angels, but this challenging avant-garde angel always asking you to be in the avant=garde, seems to me what I was thinking about. \"A l'ange avant-gardien\".\n \nF.R. Scott\n00:16:53\nReads \"A l'ange avant-gardien\".\n \nEND\n00:18:01\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1969, Scott was working on Dialogue sur la traduction, with Anne Hebert, published in 1970 (Bibliotheque Quebecoise). He had retired from teaching at McGill the previous year.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nSince the 1920’s, Scott surrounded himself with poets, socializing with Dudek, Layton, Souster, Klein, Sutherland, D.G. Jones, Webb, Bowering, Newlove, Livesay, Mandel. Layton and Scott organized many infamous get-togethers and parties at their houses. He no doubt had many connections to Sir George Williams University through its professors, by association to McGill and from his prominence in the Montreal poetry 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\":\"2 reel-to-reel tapes>CD>2 digital files\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/fr-scott-une-vie-biographie/oclc/1132465721&referer=brief_results\",\"citation\":\"Djwa, Sandra. F.R. Scott: Une Vie, bibliographie. Florence Bernard (translation). Montreal: Boreal, 2001.\"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/803224830&referer=brief_results\",\"citation\":\"Djwa, Sandra. \\\"Scott, F.R.\\\"  The Oxford Companion to Canadian Literature. Eugene Benson and William Toye (eds). Oxford University Press, 2001.\"},{\"url\":\"https://www.worldcat.org/title/encyclopedia-of-post-colonial-literatures-in-english-v-2/oclc/847425506&referer=brief_results\",\"citation\":\"Trehearne, Brian. “Scott, F.R. (1899-1985)”. Routledge Encyclopedia of Post-Colonial    Literatures in English. Eugene Benson, L.W. Connolly (eds). London: Routledge, 1994. 2 vols. \\n\"},{\"url\":\"https://www.worldcat.org/title/selected-poems/oclc/900052866&referer=brief_results\",\"citation\":\"Scott, F.R. F.R. Scott: Selected Poems. Toronto: Oxford University Press, 1966.\"},{\"url\":\"https://www.worldcat.org/title/collected-poems-of-fr-scott/oclc/240862769&referer=brief_results>\",\"citation\":\"Scott, F.R. The Collected Poems of F.R. Scott. Toronto: McClelland and Stewart, 1981.\"}]"],"_version_":1853670548875247616,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0112-1_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0112-1_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"F.R. 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Scott Tape Box 2 - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/fr_scott_i006-11-112-1.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"fr_scott_i006-11-112-1.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:35:32\",\"precision\":\"\",\"size\":\"85.3 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"fr_scott_i006-11-112-1.mp3 [File 1 of 2]\\n\\nF.R. Scott\\n00:00:00\\nLadies and gentleman, the poems I'm going to read stretch over a period, it seems hard to believe, of about 45 years, and the writing of poetry has changed quite as much in that time as the world has changed, and probably for the same reason. Some of the poems I start with, you are actually going to hear a rhyme, and they're going to be structured. And you won't appreciate it, but some are going to vary the rhyme form in a way which, when they were written, seemed really quite daring. And I have witnessed, and as poets go on, it will always happen, this continuous evolution of the method--the method of expression and the forms of expression, that the poet, like any other artist, uses. I'm going to start at the beginning of my writing, I was born in Quebec City [https://www.wikidata.org/wiki/Q2145], grew up there. The Laurentian mountains [https://www.wikidata.org/wiki/Q75596] are ten miles away, my father was a great lover of nature, we went into the country for picnics all the time, he used to put me at the edge of the mountains and say \\\"Frank, look North, there's nothing between you and the North Pole\\\". And after I'd been three and a half years at Oxford [https://www.wikidata.org/wiki/Q34433] and in Europe [https://www.wikidata.org/wiki/Q46], soaking up nothing up but human history, the background and fundamentals of our civilization, I came back to Montreal [https://www.wikidata.org/wiki/Q340], which seemed an incredibly ugly, empty, valueless city. The one thing that matched the power of the European tradition was this North land. It's emptiness, it's waiting. So I remember poems touching upon that feeling, and I will read first, this poem is really 45 years old, \\\"New Names\\\".\\n \\nF.R. Scott\\n00:02:31\\nReads \\\"New Names\\\" [from F.R. Scott: Selected Poems].\\n \\nF.R. Scott\\n00:03:26\\nReads \\\"Old Song\\\" [from F.R. Scott: Selected Poems]..\\n \\nF.R. Scott\\n00:04:17\\n\\\"Trees In Ice\\\", we've all seen trees in ice.\\n \\nF.R. Scott\\n00:04:26\\nReads \\\"Trees In Ice\\\" [from F.R. Scott: Selected Poems].\\n \\nF.R. Scott\\n00:05:21\\nReads \\\"Snow Drift\\\" [from F.R. Scott: Selected Poems].\\n \\nF.R. Scott\\n00:05:47\\nReads \\\"North Stream\\\" [from F.R. Scott: Selected Poems].\\n \\nF.R. Scott\\n00:06:29\\nAnd then, \\\"Stone\\\", and I'm thinking of one of these marvelous artifacts that find on the shores of the northern rivers, and what it tells us.\\n \\nF.R. Scott\\n00:06:55\\nReads \\\"Stone\\\" [from F.R. Scott: Selected Poems].\\n \\nF.R. Scott\\n00:08:09\\nAnd in the same vein, here is a street cry modeled on the street cries of London [https://www.wikidata.org/wiki/Q84] when they were selling--women were selling on the streets--\\\"Street Cry\\\".\\n \\nF.R. Scott\\n00:08:34\\nReads \\\"Street Cry\\\".\\n \\nF.R. Scott\\n00:09:03\\nOne sees this north land, subject to man's invasion. This is called \\\"Laurentian Shield\\\" [https://www.wikidata.org/wiki/Q76034], which as you know, the name of the geological formation that covers most of the northern part of this country.\\n \\nF.R. Scott\\n00:09:41\\nReads \\\"Laurentian Shield\\\" [from F.R. Scott: Selected Poems].\\n \\nF.R. Scott\\n00:12:27\\nAnd \\\"Flying to Fort Smith\\\". I went down the Mackenzie river [https://www.wikidata.org/wiki/Q3411] and flew from Edmonton [https://www.wikidata.org/wiki/Q2096] to Fort Smith [https://www.wikidata.org/wiki/Q686415] over the Peace River [https://www.wikidata.org/wiki/Q2220] and these other rivers underneath which wind through the flat plain.\\n \\nF.R. Scott\\n00:12:53\\nReads \\\"Flying to Fort Smith\\\" [from F.R. Scott: Selected Poems].\\n \\nF.R. Scott\\n00:14:14\\nHere's a fairly recent poem to be published shortly. It's called \\\"T.V. Weatherman\\\" and it's dedicated to Percy Saltzman [https://www.wikidata.org/wiki/Q7167559].\\n \\nF.R. Scott\\n00:14:41\\nReads \\\"T.V. Weatherman\\\".\\n \\nF.R. Scott\\n00:16:30\\n\\\"Trans Canada\\\" this is my first flight, Regina [https://www.wikidata.org/wiki/Q2123] to Montreal one night.\\n \\nF.R. Scott\\n00:16:42\\nReads \\\"Trans Canada\\\" [from F.R. Scott: Selected Poems].\\n \\nF.R. Scott\\n00:19:19\\nHere's another recent poem, called \\\"On the Terrace, Quebec\\\". You imagine yourself on the terrace of Chateau Frontenac [https://www.wikidata.org/wiki/Q745964] looking at the basin.\\n \\n \\nF.R. Scott\\n00:19:41\\nReads \\\"On the Terrace, Quebec\\\".\\n \\nF.R. Scott\\n00:21:28\\n\\\"A Grain of Rice\\\", a poem I wrote in Burma [https://www.wikidata.org/wiki/Q836], thinking of the Korean war [https://www.wikidata.org/wiki/Q8663], seeing the monsoon rains, reflecting on man and the universe in which he lives. \\\"A Grain of Rice\\\".\\n \\nF.R. Scott\\n00:22:04\\nReads \\\"A Grain of Rice\\\" [from F.R. Scott: Selected Poems].\\n \\nF.R. Scott\\n00:24:25\\nReads \\\"The Bird\\\" [from F.R. Scott: Selected Poems].\\n \\nF.R. Scott\\n00:26:40\\nHere's another version of an old story. It's called \\\"Eden\\\".\\n \\nF.R. Scott\\n00:26:57\\nReads \\\"Eden\\\" [from F.R. Scott: Selected Poems].\\n \\nF.R. Scott\\n00:29:25\\nAnd now, one or two more found poems. The first is from the Canadian Indian Pavilion at Expo [https://www.wikidata.org/wiki/Q1344988]. And it is found in this way, and those of you that saw that pavilion remember that they had these various rooms and in each room they had one or two lines of statements, up on the wall, about themselves and their relations with the white man. And all I did was to collect these various statements from a number of rooms and put them together to make a single poem, and it goes like this, I call it \\\"The Indians Speak at Expo 67\\\".\\n \\nF.R. Scott\\n00:30:24\\nReads \\\"The Indians Speak at Expo 67\\\".\\n \\nF.R. Scott\\n00:31:44\\nIn one of those rooms, there was a treaty between the British Crown and some Indian Chiefs. These treaties all had one purpose: they were to transfer valuable lands to Indians to the white man. And the treaties I may say always succeeded. This treaty was written out in a very formal manuscript, and the Indians had got hold of the original parchment, or whatever it was on, and they had blown it up to a great big thing they had up on the wall. The treaty was signed by two chiefs, signed--that is to say--the chiefs could not sign their names and presumably could not read the treaty, but they made little drawings, marks, to indicate that they had approved, and this what part of the treaty contains. There was a signature at the top, Chief Ningaram and at the bottom, Chief Wobumingwam.\\n \\nF.R. Scott\\n00:32:56\\nReads unnamed poem.\\n \\nF.R. Scott\\n00:34:07\\nAnd about 30,000 acres of the richest land in Southern Ontario [https://www.wikidata.org/wiki/Q1904] went for a song to the chiefs who couldn't sign their names. And I just came across the other day, in a book that I picked up, another thing I think I could call a 'found poem', also by the Indians, it's in The Life of McGillivray, the great fur trader of Montreal and his North West Company [https://www.wikidata.org/wiki/Q1142049], you know in the early part of the last century, around 1810-20. This is an account of the North West Company, describing how they relate themselves to the Indians, and you will see the philanthropy.\\n \\nF.R. Scott\\n00:34:54\\nReads unnamed poem.\\n \\nEND\\n00:35:32\\n\",\"notes\":\"F.R. Scott reads from a large selection of his poetry, most of which was collected much later in The Collected Poems of F.R. Scott (McClelland and Stewart, 1981). Scott most likely did not read from one book, but from his own manuscripts, but many of the poems were already published in F.R. Scott: Selected Poems (Oxford University Press, 1966) at the time of the reading.\\n\\n00:00- Introduces his reading and “New Names” [INDEX: changes of poetry over 45 years, evolution of method of expression, Quebec City, Laurentian Mountains, Nature, F.R. Scott’s father, Oxford University, human history, Montreal, Northern Landscape]\\n02:31- Reads “New Names”\\n03:26- Reads “Old Song”\\n04:17- Introduces “Trees in Ice”\\n04:26- Reads “Trees in Ice”\\n05:21- Reads “Snow Drift”\\n05:47- Reads “North Stream”\\n06:29- Introduces “Stone” [INDEX: artifacts of the Northern rivers]\\n06:55- Reads “Stone”\\n08:09- Introduces “Street Cry” [INDEX: female street vendors of London, read from unknown  source]\\n08:34- Reads “Street Cry”\\n09:03- Introduces “Laurentian Shield”\\n09:41- Reads “Laurentian Shield”\\n12:27- Introduces “Flying to Fort Smith” [INDEX: MacKenzie River, flight from Edmonton to Fort Smith, Peace River]\\n12:53- Reads “Flying to Forth Smith”\\n14:14- Introduces “T.V. Weatherman” [INDEX: Percy Saltzman, read from unknown source]\\n14:41- Reads “T.V. Weatherman”\\n16:30- Introduces “Trans Canada” [INDEX: flight from Regina to Montreal]\\n16:42- Reads “Trans Canada”\\n19:19- Introduces “On the Terrace, Quebec” [INDEX: Chateau Frontenac, Quebec City, read from unknown source]\\n19:41- Reads “On the Terrace, Quebec”\\n21:28- Introduces “A Grain of Rice”\\n22:04- Reads “A Grain of Rice”\\n24:25- Reads “The Bird”\\n26:40- Introduces “Eden”\\n26:57- Reads “Eden”\\n29:25- Introduces “The Indians Speak at Expo ’67” [INDEX: Found poems, Canadian Indian Pavilion at Expo 67 in Montreal]\\n30:24- Reads “The Indians Speak at Expo ’67”\\n31:44- Introduces unknown ‘treaty’ found poem [Howard Fink first line: “We the     \\tundersigned chiefs...”] [INDEX: British Crown treaty with Indian Chiefs Ningaram and      Chief Wabuminguam to transfer valuable lands, Expo 67, reading from unknown source]\\n32:56- Reads unknown ‘treaty’ found poem\\n34:07- Introduces unknown poem about the life of MacGillivray [Howard Fink first line      “While the trade is confined to a...”] [INDEX: Southern Ontario lands, The Life of         \\tMacGillivray, fur trader of Montreal and the NorthWest Company, 1810-1820, reading    \\tfrom unknown source]\\n35:27- Reads unknown poem\\n35:27- Introduces “Will to Win” [INDEX: World War II, Marquis of France, resistance   movement]\\n36:21- Reads “Will to Win”\\n37:46- Reads “Heart”\\n38:44- Reads “Girl Running Down Hill”\\n39:56- Reads “Upon Watching Margaret Dying”\\n41:35- Introduces “Connaissance, Knowing” [Howard Fink first line: “I have in my mouth...”] [INDEX: translation from Jacques Borraux [sp?], Prix de France, read from unknown source]\\n41:56- Reads “Connaissance, Knowing”\\n43:27- Introduces “Time Corrected” [INDEX: Translation from Pierre Trottier [sp?]]\\n43:46- Reads “Time Corrected”\\n45:23- Reads “Vision”\\n47:36- Introduces “Last Rites” [INDEX: death of F.R. Scott’s father]\\n47:46- Reads “Last Rites”\\n51:19- Introduces “A l’ange avantgardien” [Howard Fink first line: “We must leave the        handrails...”] [INDEX: guardian angels, brother Stevens Scott]\\n52:49- Reads “A l’ange avantgardien”\\n53:57.79- END OF RECORDING.\\n\\nHoward Fink list of poems\\n“R.F. Scott” *note mistake\\n22/2/69\\nreel info\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/f-r-scott-at-sgwu-1969/#1\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/fr_scott_i006-11-112-2.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"fr_scott_i006-11-112-2.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:18:01\",\"precision\":\"\",\"size\":\"44.2 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"fr_scott_i006-11-112-2.mp3 [File 2 of 2]\\n\\nF.R. Scott\\n00:00:00\\nHere's a poem, some poems of sentiment, a poem called \\\"Will to Win\\\". It's full of the imagery, it came out of the resistance movement in France [https://www.wikidata.org/wiki/Q142], during WW2 [https://www.wikidata.org/wiki/Q362], the Marquis hiding, having supplies dropped to them etc., etc.\\n \\nF.R. Scott\\n00:00:25\\nReads \\\"Will to Win\\\" [from F.R. Scott: Selected Poems].\\n \\nF.R. Scott\\n00:01:50\\nReads unnamed poem.\\n \\nF.R. Scott\\n00:02:48\\nReads \\\"Girl Running Down Hill\\\" [from F.R. Scott: Selected Poems].\\n \\nF.R. Scott\\n00:04:00\\nReads \\\"Upon Watching Margaret Dying\\\" [from F.R. Scott: Selected Poems].\\n \\nF.R. Scott\\n00:05:39\\nHere's a translation from Jacques Boraux [sp?], it's in his recent book that won the Prix de France. The poem is called \\\"Connaissance, Knowing\\\".\\n \\nF.R. Scott\\n00:06:00\\nReads \\\"Connaissance, Knowing”.\\n \\nF.R. Scott\\n00:07:31\\nAnd here's a translation from Pierre Trottier [https://www.wikidata.org/wiki/Q3387180] It's called \\\"Time Corrected\\\".\\n \\nF.R. Scott\\n00:07:50\\nReads \\\"Time Corrected\\\".\\n \\nF.R. Scott\\n00:09:27\\nReads \\\"Vision\\\" [from F.R. Scott: Selected Poems].\\n \\nF.R. Scott\\n00:11:40\\n\\\"Last Rites\\\". This was written at the death of my father in hospital.\\n \\nF.R. Scott\\n00:11:50\\nReads \\\"Last Rites\\\" [from F.R. Scott: Selected Poems].\\n \\nF.R. Scott\\n00:15:23\\nAnd finally, a poem called \\\"A l'ange avant-gardien\\\". It seems strange, but I was brought up to believe there was a guardian angel, un ange gardien, looking after me, so you felt a little more secure. As you know, there are certain places in this province called l'ange gardien. So I thought of the avant, l'ange avant-gardien. Stevens had a necessary angel, which to him was reality. Many people have angels, but this challenging avant-garde angel always asking you to be in the avant=garde, seems to me what I was thinking about. \\\"A l'ange avant-gardien\\\".\\n \\nF.R. Scott\\n00:16:53\\nReads \\\"A l'ange avant-gardien\\\".\\n \\nEND\\n00:18:01\\n\",\"notes\":\"F.R. Scott reads from a large selection of his poetry, most of which was collected much later in The Collected Poems of F.R. Scott (McClelland and Stewart, 1981). Scott most likely did not read from one book, but from his own manuscripts, but many of the poems were already published in F.R. Scott: Selected Poems (Oxford University Press, 1966) at the time of the reading.\\n\\n00:00- Introduces his reading and “New Names” [INDEX: changes of poetry over 45 years, evolution of method of expression, Quebec City, Laurentian Mountains, Nature, F.R. Scott’s father, Oxford University, human history, Montreal, Northern Landscape]\\n02:31- Reads “New Names”\\n03:26- Reads “Old Song”\\n04:17- Introduces “Trees in Ice”\\n04:26- Reads “Trees in Ice”\\n05:21- Reads “Snow Drift”\\n05:47- Reads “North Stream”\\n06:29- Introduces “Stone” [INDEX: artifacts of the Northern rivers]\\n06:55- Reads “Stone”\\n08:09- Introduces “Street Cry” [INDEX: female street vendors of London, read from unknown  source]\\n08:34- Reads “Street Cry”\\n09:03- Introduces “Laurentian Shield”\\n09:41- Reads “Laurentian Shield”\\n12:27- Introduces “Flying to Fort Smith” [INDEX: MacKenzie River, flight from Edmonton to Fort Smith, Peace River]\\n12:53- Reads “Flying to Forth Smith”\\n14:14- Introduces “T.V. Weatherman” [INDEX: Percy Saltzman, read from unknown source]\\n14:41- Reads “T.V. Weatherman”\\n16:30- Introduces “Trans Canada” [INDEX: flight from Regina to Montreal]\\n16:42- Reads “Trans Canada”\\n19:19- Introduces “On the Terrace, Quebec” [INDEX: Chateau Frontenac, Quebec City, read from unknown source]\\n19:41- Reads “On the Terrace, Quebec”\\n21:28- Introduces “A Grain of Rice”\\n22:04- Reads “A Grain of Rice”\\n24:25- Reads “The Bird”\\n26:40- Introduces “Eden”\\n26:57- Reads “Eden”\\n29:25- Introduces “The Indians Speak at Expo ’67” [INDEX: Found poems, Canadian Indian Pavilion at Expo 67 in Montreal]\\n30:24- Reads “The Indians Speak at Expo ’67”\\n31:44- Introduces unknown ‘treaty’ found poem [Howard Fink first line: “We the     \\tundersigned chiefs...”] [INDEX: British Crown treaty with Indian Chiefs Ningaram and      Chief Wabuminguam to transfer valuable lands, Expo 67, reading from unknown source]\\n32:56- Reads unknown ‘treaty’ found poem\\n34:07- Introduces unknown poem about the life of MacGillivray [Howard Fink first line      “While the trade is confined to a...”] [INDEX: Southern Ontario lands, The Life of         \\tMacGillivray, fur trader of Montreal and the NorthWest Company, 1810-1820, reading    \\tfrom unknown source]\\n35:27- Reads unknown poem\\n35:27- Introduces “Will to Win” [INDEX: World War II, Marquis of France, resistance   movement]\\n36:21- Reads “Will to Win”\\n37:46- Reads “Heart”\\n38:44- Reads “Girl Running Down Hill”\\n39:56- Reads “Upon Watching Margaret Dying”\\n41:35- Introduces “Connaissance, Knowing” [Howard Fink first line: “I have in my mouth...”] [INDEX: translation from Jacques Borraux [sp?], Prix de France, read from unknown source]\\n41:56- Reads “Connaissance, Knowing”\\n43:27- Introduces “Time Corrected” [INDEX: Translation from Pierre Trottier [sp?]]\\n43:46- Reads “Time Corrected”\\n45:23- Reads “Vision”\\n47:36- Introduces “Last Rites” [INDEX: death of F.R. Scott’s father]\\n47:46- Reads “Last Rites”\\n51:19- Introduces “A l’ange avantgardien” [Howard Fink first line: “We must leave the        handrails...”] [INDEX: guardian angels, brother Stevens Scott]\\n52:49- Reads “A l’ange avantgardien”\\n53:57.79- END OF RECORDING.\\n\\nHoward Fink list of poems\\n“R.F. Scott” *note mistake\\n22/2/69\\nreel info\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/f-r-scott-at-sgwu-1969/#2\"}]"],"score":1.8530173},{"id":"1276","cataloger_name":["Masoumeh,Zaare"],"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":["Eli Mandel and D.G. Jones at Sir George Williams University, The Poetry Series, 7 March 1969"],"item_title_source":["Cataloguer"],"item_title_note":["\"JONES & MANDEL I006/SR43\" written on sticker on the spine of the tape's box. JONES & MANDEL refers to D.G. Jones and Eli Mandel. \"I006-11-043\" written on sticker on the reel\n\n\"Poetry - 7th Mar/69 Eli Mandel & Jones -1 I086-11-034\" written on the spine of the tape's box. Jones refers to D.G. Jones. \"1 Mandel I086-11-034\" written on sticker on the reel. \"RT 510\" written on sticker on the front of the tape's box and written on the back of the tape's box."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 3"],"item_identifiers":["[I006-11-043, I086-11-034]"],"creator_names":["Jones, Douglas Gordon","Mandel, Eli"],"creator_names_search":["Jones, Douglas Gordon","Mandel, Eli"],"creators":["[{\"url\":\"http://viaf.org/viaf/41883605\",\"name\":\"Jones, Douglas Gordon\",\"dates\":\"1929-2016\",\"notes\":\"Poet and critic Douglas Gordon (D.G.) Jones was born in Bancroft Ontario in 1929. He completed his B.A. at McGill University in 1952 and an M.A. at Queen’s University in 1954, writing a thesis on Ezra Pound. Jones’ first poems were encouraged by Louis Dudek and Raymond Souster in his publications in Contact Press and Delta. His first collection of poetry, Frost on the Sun (Contact Press, 1957) was followed by The Sun is Axeman (University of Toronto Press, 1961), Phrases from Orpheus (Oxford University Press, 1967) and a winner of a Governor General’s Award for Poetry, Under the Thunder of the Flowers Light Up the Earth (Coach House Press, 1977), A Throw of Particles (General Publishing Company, 1983), Balthazar (Coach House Press, 1988) and The floating garden (Coach House Press, 1995). Jones taught first at the Royal Military College from 1954-5, the Ontario Agricultural College from 1955-1961, he moved to Quebec and taught at Bishop’s University from 1961-1963, and finally at the Universite de Sherbooke, from 1963-1994. His book, Butterfly on rock: a study of themes and images in Canadian literature (University of Toronto Press, 1970) on Canadian criticism has proven to be important in the shaping of that field's literature. He founded Ellipse in 1969, the only Canadian magazine in which both English and French poetry was reciprocally translated. Jones’ own translations include Paul-Marie Lapointe’s The terror of the snows (University of Pittsburgh Press, 1976), The march to love: Selected poems of Gaston Miron (International Poetry Forum, 1986), Normand de Bellefeuille’s Categorics, one, two & three (Coach House Press, 1992) which won the Governor General’s Award for translation and Emile Martel’s For orchestra and solo poet (Muses’ Co, 1996). D.G. Jones was made an Officer of the Order of Canada in 2007. Jones died in 2016. \",\"nation\":[],\"role\":[\"Author\",\"Performer\"]},{\"url\":\"http://viaf.org/viaf/59095399\",\"name\":\"Mandel, Eli\",\"dates\":\"1922-1992\",\"notes\":\"Poet, critic and editor Eli Mandel was born Elias Wolf Mandel in Estevan, Saskatchewan in 1922. He grew up in Regina, until the Second World War when he joined the Army Medical Corps. Upon his return, he studied at the University of Saskatchewan, earning his B.A. in 1949, going on to complete his M.A. in 1950. Mandel then moved east, where he received a Ph.D. in 1957 from the University of Toronto. His early poetry was published in magazines like CIV/N and Contact, and in 1954 Contact Press published his collection “Minotaur poems” in Trio with Gael Turnbull and Phyllis Webb. Mandel taught English at College Militaire Royal de Saint Jean, University of Alberta and York University in Toronto, as well as serving as visiting professor and writer-in-residence later on in his career. He also wrote many important essays on Canadian literature, art and society, promoting Canadian writers. Poetry 62 (Ryerson Press, 1961), Mandel’s first anthology, co-edited with Jean-Guy Pilon, collected the works of (then) little-known writers Al Purdy, Milton Acorn, D.G. Jones, Alden Nowlan, Leonard Cohen and John Robert Colombo. His second collection of poems was published in Fuseli Poems (Contact Press, 1960), followed by Black and Secret Man (Ryerson Press, 1964), and An Idiot Joy (Hurtig Press, 1967), which won the Governor General’s award. A collection of eight essays by Mandel that had been presented as radio talks for CBC was published in Criticism: the silent-speaking words in 1966 (CBC). His later anthologies include Five modern Canadian poets (Holt, Rinehart and Winston, 1970), English poems of the twentieth century (Macmillan, 1971), Contexts of Canadian Criticism (University of Chicago Press, 1971), Eight more Canadian poets (Holt, Rinehart and Winston, 1972), and Poets of contemporary Canada: 1960-1970 (Macmillan, 1972) which published Joe Rosenblatt and bill bissett’s first collections of poetry. Mandel’s other works include Stony Plain (Porcepic Press, 1973), Crusoe (Anansi, 1973), Out of Place (Porcepic Press, 1977), the long poem Mary Midnight (Coach House Press, 1979), Life Sentence (Porcepic Press, 1981), Dreaming backwards: selected poems (General Publishing, 1981), the collections of essays Another Time (Porcepic, 1977), and The family romance (Turnstone, 1986) as well as a book-length study of his colleague, Irving Layton called The Poetry of Irving Layton (Coles, 1969). An important figure in Canadian literature, Eli Mandel died in Toronto on September 3, 1992.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Unspecified","Bowering, George"],"contributors_names_search":["Unspecified","Bowering, George"],"contributors":["[{\"url\":\"\",\"name\":\"Unspecified \",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Recordist\"]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Presenter\"]}]"],"Presenter_name":["Bowering, George"],"Recordist_name":["Unspecified "],"Series_organizer_name":["Bowering, George"],"Performance_Date":[1969],"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\":\"\"},{\"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\":\"First part of the tape is repeated from the end of I086-11-034\",\"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\":\"1969 3 7\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Previous researcher\"}]"],"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":["Eli Mandel reads from An Idiot Joy (Hurtig, 1967), Black and Secret Man (1964), Trio:  First Poems (Contact Press, 1954), as well as poems later published in Crusoe: Poems Selected and New (Anansi, 1973). D.G. Jones reads from Phrases from Orpheus (Oxford University Press, 1967), as well as a few that were published later in Under the Thunder the Flowers Light up the Earth (Coach House Press, 1977) and an unnamed long poem that may have been published in Poetry 62 (Ryerson Press 1961)."],"contents":["eli_mandel_i086-11-034.mp3 [File 1 of 2]\n \nGeorge Bowering\n00:00:00\n...start with the poesy, I've been asked to announce that on Friday, i.e., what's this the seventh? Two weeks from tonight, March the 21st at 9 o’clock. in Room 653, [Barnes (?)] willing, there will be a program, I guess within the auspices of the Fine Arts department, the Ira Cohen [https://www.wikidata.org/wiki/Q1097790], New York [https://www.wikidata.org/wiki/Q60] film maker, and poet will be showing three of his films, as far as I know for the first time in Montreal [https://www.wikidata.org/wiki/Q340]. That's two weeks tonight at 9 in 653. When I was asked to introduce Eli Mandel [https://www.wikidata.org/wiki/Q3050883], and D.G. Jones [https://www.wikidata.org/wiki/Q5203595], I said, 'that's ridiculous', Canadian poetry being the way it is, they already know each other. And after the moment of hilarity I was brought to my senses, and I began to think that it really did make a lot of sense that we do have Doug Jones and Eli Mandel reading on the same program. I can remember in 1961 when Poetry 62 came out, Canadian poetry being the way it is [audience laughter], Poetry 62 was edited by Jean-Guy Pilon [https://www.wikidata.org/wiki/Q3166089] I believe and Eli Mandel, being a bilingual book, and at the time the poem that struck me as the most interesting was the long poem by D.G. Jones, the most interesting in that anthology, and I therefore, felt kind of warm, without having them, to both of them to Doug's poem and Eli's great taste for putting it in the anthology. And then I thought that there was this kind of confluence going on and I began to see all kinds of other things happening too, for instance, they both had their first books published by Contact Press, that published the first books of most of the important Canadian poets, and they now have seen their careers sort of criss-cross one another in a kind of a funny way because they each have three books, except that Eli has three and a third, which is also kind of Canadian, and I thought it was kind of interesting because not only is there a kind of parallel going on, and they both in 1967, for instance, turned out very good books of poetry, but there's a kind of uh, they'll be kind of an interesting contrast I think in tonight's program because I've always considered that Doug Jones is sort of the best of the Ontario [https://www.wikidata.org/wiki/Q1904] Wasp poets [audience laughter], and Eli Mandel is the best of the Western Jewish poets and they both deal with essential problems that seem to expose their two opposing and therefore contrary and conjugal, you might almost say, attitudes towards the business of writing poems. So we're going to start off with Eli's reading, and then have something like a ten minute break, and then we'll have Doug Jones' reading. I should mention that of those two books, Eli's is called An Idiot Joy and it shared the Governor General's Award [https://www.wikidata.org/wiki/Q283256] given in 1968, and published by Hurtig, Edmonton [https://www.wikidata.org/wiki/Q2096] publisher, who is very pleased to get the Governor General's Award, and Doug Jones' book is Phrases from Orpheus, published by Oxford Press [https://www.wikidata.org/wiki/Q217595], two books that would be well worth investing both your heaven, forbid, money and your imagination upon. I'm probably not going to say anything before D.G. Jones comes to read, so I'm not expecting to come up here and spout for five or ten minutes before he reads and I'm not going to spout any longer before Eli reads. So I'd first like to introduce to you Mr. Eli Mandel.\n\nAudience\n00:05:01\nApplause. \n \nEli Mandel\n00:05:29\nI think George [https://www.wikidata.org/wiki/Q1239280] might have carried the parallel of contrasts and comparisons a little further had he wanted to, or chosen to, or had he known about certain very intimate details about Doug's life and my life. But I don't propose to go into those myself right now either [audience laughter]. Instead, I'm going to read, primarily from An Idiot Joy, but also from Black and Secret Man, which was an earlier book and also from one or two manuscript poems that I've been working on recently. I want to start with a poem called \"Signatures\" and although I can say a lot about a number of poems that I've written, I'm not sure I can say much about this except that as will be obvious to you I think, the imagery is drawn from the Vietnam [https://www.wikidata.org/wiki/Q881] conflict, though I don't know that the poem is necessarily about that. Can you hear me with this mic? Some people at the back are saying 'no'. Can you hear me now?\n \nEli Mandel\n00:07:00\nReads \"Signatures\" [from An Idiot Joy].\n \nEli Mandel\n00:09:27\nThis poem is called \"Neither Here Nor There\".\n \nEli Mandel\n00:09:33\nReads \"Neither Here Nor There\" [published later in Crusoe: Poems Selected and New].\n \nEli Mandel\n00:10:28\nThis is a poem from Black and Secret Man and it's called \"The Direction is North Until the Pole\", and I suppose it's one of the few poems I've written that I would call a Canadian poem, that is to say it draws on a number of specific images from the Canadian landscape and therefore I have to annotate this poem. I have to tell you that the Fleming mentioned in the last line of the poem was once a Minister of Finance in the federal government, that just proves how transient political poems really are. I think all the rest of this should be clear, hockey is a game that's played in Canada [https://www.wikidata.org/wiki/Q16].\n \nEli Mandel\n00:11:16\nReads \"The Direction is North Until the Pole\" from Black and Secret Man.\n \nEli Mandel\n00:13:24\nThis is one of my prophetic poems. I think I've written a lot of really prophetic poems. This poem is called \"Departure\" and it tells about leaving Edmonton. Everybody who has read the poem believes that I wrote it when I decided to leave Edmonton, either for the first time or the second time, I've left there twice, as a matter of fact, I didn't write it when I decided to leave in Edmonton, I wrote it when I arrived in Edmonton.\n \nEli Mandel\n00:13:53\nReads \"Departure\" [from Black and Secret Man].\n \nEli Mandel\n00:14:37\nA little poem about one of my perversions, this is about making love to pregnant women, I think, I'm not sure if there's a technical name for that but the perversion appears in the poem. The poem's called \"Cassandra\" and it's about a prophetess, Cassandra [https://www.wikidata.org/wiki/Q170779], you'll remember was the woman that Agamemnon [https://www.wikidata.org/wiki/Q128176]  brought home with him to his wife, Clytemnestra [https://www.wikidata.org/wiki/Q131157], and this, so angered Clytemnestra, aside from the fact that Agamemnon had killed one of their daughters, that she killed Agamemnon, but Cassandra was a Prophetess, like Prophetesses, was given the power to tell the truth and was never believed. Some of the imagery in this poem is taken from the story of Cassandra, and the rest from my perversions.\n \nEli Mandel\n00:15:39\nReads \"Cassandra\" [from Black and Secret Man].\n \nEli Mandel\n00:17:00\nReads \"The Madness of our Polity\" [from An Idiot Joy].\n \nEli Mandel\n00:17:46\n\"Whence Cometh Our Help?\", the title is taken from the Psalms [https://www.wikidata.org/wiki/Q41064], and there are a number of images of the Psalms, in the poem. Or images from the Psalms.\n \nEli Mandel\n00:18:04\nReads \"Whence Cometh Our Help?\" [from An Idiot Joy].\n \nEli Mandel\n00:19:03\nThis poem is called \"Manner of Suicide\", and it's the closest thing I've come to writing a found poem, in that all the material in the poem, the words are taken from two sources, except for the first line. One is Karl Menninger's [https://www.wikidata.org/wiki/Q3080926] Man Against Himself and the other, the Jewish Daily Prayer Book. There are twenty-six ways listed here of committing suicide, they're all ways that Menninger lists and documents, and he lists them in the order in which I give them here, and this list, which I give, is then followed by some comments he makes about those ways of committing suicide and a passage from the prayer book.\n \nEli Mandel\n00:20:11\nReads \"Manner of Suicide\" [from An Idiot Joy].\n \nEli Mandel\n00:23:24\nIn An Idiot Joy I wrote a number of poems which were, which used two primary images, the image of the moon and the image of the sea, and these are love poems. I suppose the interesting thing in them to me, aside from the personal sense that I feel about them, is that with each of the poems, whether it's with the image of the moon or the image of the sea, or both, I keep trying different technical things in the poetry, and so far as I'm concerned, I've done some more interesting technical things in this than anywhere else, but primarily, the poems talk about the moon and the sea, and seabirds and women and a woman.\n \nEli Mandel\n00:24:30\nReads \"Woman in the Moon\" from An Idiot Joy.\n \nEli Mandel\n00:26:12\nReads \"The Explanations of the Moon” [from An Idiot Joy].\n \nEli Mandel\n00:27:32\nThis is one of the sea poems, in the sequence, called \"Listen, the Sea\", and the title comes from King Lear [https://www.wikidata.org/wiki/Q181598], though actually, I had become aware of it of course when I knew that Keats [https://www.wikidata.org/wiki/Q82083] had written a sonnet using this, but the technique is neither Shakespearean nor Keatsean, nothing of the kind.\n \nEli Mandel\n00:28:00\nReads \"Listen, the Sea\" [from An Idiot Joy].\n \nEli Mandel\n00:29:01\nAnd \"Marina\", who is a daughter of the sea.\n \nEli Mandel\n00:29:09\nReads \"Marina\" [from An Idiot Joy].\n \nEli Mandel\n00:30:46\nWell something quite different. I think I should dedicate this to George Bowering, because I wrote the poem after I had been…\n\nUnknown\n00:30:56\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nEli Mandel\n00:30:57\nAnd I would have to apologize for this, but the last thing in the world that I wanted to do was apologize, I'd prefer anything but that, I mean this is pretty simple-minded simplistic psychology, of the worst order I suppose, I just--I'm writing a poem about how stupid I felt at that particular moment.\n \nEli Mandel\n00:31:17\nReads \"The Apology\" [from An Idiot Joy].\n \nEli Mandel\n00:34:34\nThis is the poem I like to think of as the one that one would put in a time capsule, it's called \"Letter to be Opened Later\" and presumably each one of us wants to immortalize oneself, and imagine, you know, two thousand years later the time capsule being opened and then they can read your letter. This is my letter, to be opened later.\n \nEli Mandel\n00:35:12\nReads \"Letter to be Opened Later\" [published later in Crusoe: Poems Selected and New ].\n \nEli Mandel\n00:36:09\nI'm going to read a lyric, it's a very short poem, but I'd like to read this one anyhow. It's called \"To My Children\" and it's based upon both an odd and rather terrifying coincidence in my life and a curious Jewish tradition. The Jewish tradition is that you name a child after the nearest dead relative, the relative who has died most recently and who is closest to one, and it so happened that my mother died, my daughter was born, my father died and my son was born. And I wrote this poem about the naming of the children. It's called \"To My Children\".\n \nEli Mandel\n00:37:08\nReads \"To My Children\" [from Black and Secret Man].\n \nEli Mandel\n00:38:00\nNow I'm going to finish this reading with two poems, one is called \"The Meaning of the I Ching\" and the other \"Cosmos: the Giant Rose\"--three poems, I'm sorry. I'm going to read \"Pictures in an Institution\" as well. \"The Meaning of the I Ching\", the I Ching [https://www.wikidata.org/wiki/Q181937] as you probably know is a book of divination, it's the oldest book of divination known, and when I first heard about it, I looked at the book before I opened it and I wondered about the very simple notion of a book that old telling my future. How could I be contained in this ancient book? And I wrote this poem. Now it seems to me that there is something remarkable here, it's one claim I will make for the poem, at least, in the poem, is the first time I used the phrase \"earth upon earth\" and the very first hexagram that I cast when I opened the book. The book tells fortunes with what are called hexagrams and hexagrams are given various names, the very first one that I cast was the hexagram \"earth upon earth\" and that's simply something that happened whether it means that the poem is prophetic or magical, I don't know.\n \nEli Mandel\n00:39:36\nReads \"The Meaning of the I Ching\" [from An Idiot Joy].\n \nEli Mandel\n00:43:18\nI'm going to finish now reading \"Pictures in an Institution\". This is the most personal poem I've ever written, and I don't want to read anything after that, so I'm going to finish with this. \"Pictures in an Institution\". I think all I need to say about this is that it plays off notices against some personal experiences and I think that'll be plain enough.\n \nEli Mandel\n00:43:43\nReads \"Pictures in an Institution\" [from Trio: First Poems by Gael Turnbull, Phyllis Webb, and Eli Mandel].\n\nEli Mandel\n00:47:40\nThank you.\n\nAudience\n00:47:41\nApplause.\n\nUnknown\n00:47:51\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nUnknown\n00:47:53\nAmbient Sound [voices].\n\nGeorge Bowering\n00:48:22\nI'd like to help you welcome now, D.G. Jones.\n \nAudience\n00:48:27\nApplause.\n\nD.G. Jones\n00:48:60\nI'm going to do this because I'm thirsty. It's a little disturbing but I've had a suspicion that this was becoming true for some time, in the last few years, that pretty soon you won't be able to tell the Jew from the Wasp, anyway [audience laughter]. It's getting more disconcerting all the time how similar certain things are between me and Eli Mandel [audience laughter]. I just hope he's a very good person and lives a long life and has great success in the future [audience laughter]. The main thing I want to read tonight is a little bit like Eli's last poem [audience laughter]. But it takes a lot more time to get itself said, for good or ill, and I'd like to read a few, a couple shorter poems anyway, before starting that longer poem which takes up a fair amount of the time. I'll read the first book from the, I mean...[laughter], I'll read the first poem from the book which old oriental George Bowering told you about at the beginning of the program. This poem's called \"The Perishing Bird\".\n \nD.G. Jones\n00:51:12\nReads \"The Perishing Bird\" [from Phrases from Orpheus].\n \nD.G. Jones\n00:53:16\nA poem called \"Summer is a Poem by Ovid\".\n \nD.G. Jones\n00:53:34\nReads \"Summer is a Poem by Ovid\" [from Phrases from Orpheus].\n \nD.G. Jones\n00:54:41\nWell, this reads well. It starts with a Latin title, it's a kind of letter, actually written in reply to a letter to somebody who accused me of being rather complacent when ironically enough, I felt anything but that at that time. Accused me of being one of the people who didn't have any troubles in life, or not only me but somebody else too, when we had quite a few of our own that were not too dissimilar from those that the other person was talking about. It's about marriage. It's called, to avoid looking too obvious, \"De Profundis Conjugii Vox et Responsum''. It's a serious poem though, more or less.\n \nD.G. Jones\n00:55:56\nReads \"De Profundis Conjugii Vox et Responsum\" [from Phrases from Orpheus].\n \nEND\n01:01:57\n\n\ndg-jones_i006-11-04-2.mp3 [File 2 of 2]\n \nGeorge Bowering\n00:00:00\nI'd like to help you welcome now, D.G. Jones.\n \nD.G. Jones\n00:00:13\nI'm going to do this because I'm thirsty. It's a little disturbing but I've had a suspicion that this was becoming true for some time, in the last few years, that pretty soon you won't be able to tell the Jew from the Wasp, anyway. It's getting more disconcerting all the time how similar certain things are between me and Eli Mandel. I just hope he's a very good person and lives a long life and has great success in the future. [Audience laughter]. The main thing I want to read tonight is a little bit like Eli's last poem. [laughter]. But it takes a lot more time to get itself said, for good or ill, and I'd like to read a few, a couple shorter poems anyway, before starting that longer poem which takes up a fair amount of the time. I'll read the first book, I mean...[laughter], I'll read the first poem from the book which old oriental George Bowering told you about at the beginning of the program. This poem's called \"The Perishing Bird\".\n \nD.G. Jones\n00:02:53\nReads \"The Perishing Bird\" [from Phrases from Orpheus].\n \nD.G. Jones\n00:05:05\nA poem called \"Summer is a Poem by Ovid\" .\n \nD.G. Jones\n00:05:20\nReads \"Summer is a Poem by Ovid\".\n \nD.G. Jones\n00:06:35\nWell, this reads well. It starts with a Latin title, it's a kind of letter, actually written in reply to a letter to somebody who accused me of being rather complacent when ironically enough, I felt anything but that at that time. Accused me of being one of the people who didn't have any troubles in life, or not only me but somebody else too, when we had quite a few of our own that were not too dissimilar from those that the other person was talking about. It's about marriage. It's called, to avoid looking too obvious, \"De Profundis Conjugii Vox et Responsum''. It's a serious poem though, more or less.\n \nD.G. Jones\n00:07:49\nReads “De Profundis Conjugii Vox et Responsum” [from Phrases from Orpheus].\n \nUnknown\n00:13:55\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nD.G. Jones\n00:13:56\n...features of it, particularly carved doors or doors with glass panels carved, and a fountain, whoops. Wrong poem [audience laughter], same person [audience laughter]. The other one was written without any picture, this was written with a picture, \"On a Picture of Your House\".\n \nD.G. Jones\n00:14:49\nReads \"On a Picture of Your House\" [from Phrases from Orpheus].\n \nD.G. Jones\n00:16:44\nThis poem is the long poem I referred to, it's a kind of confessional poem, it's only about, I suppose, ten years behind Robert Lowell [https://www.wikidata.org/wiki/Q981448] and the other American poets who have been writing what the critics now call confessional poetry, which is about par, I suppose. This poem was more or less actually complete several years ago, but I got so many things into the poem I wasn't sure how I was going to get out. And I've dickied around with it and possibly added a few more things, and finally I kept what I had in the end anyway, which was simply a way of ducking out I suspect. Though I hope there's some kind of peculiar relationship to the end, and everything else. I haven't been able to find a title for it. \"Night Thoughts\", might do, but somebody used that. But it's something along this line: the situation, the scheme is to present a kind of series of reminiscences, mediations, memories which disintegrate and become a little more peculiar as time goes on. Then suddenly stops, breaks off with morning. And it's set more or less around my cottage that I had, in Ontario, which wasn't far from where I was born. This is written in sections but I won't bother reading all the numbers, I'll just pause and go on.\n \nD.G. Jones\n00:19:00\nReads unnamed poem.\n \nD.G. Jones\n00:41:22\nExcuse me, I'll read the last point, I was almost there, but I think I'll skip that part.\n \nD.G. Jones\n00:41:30\nResumes reading unnamed poem.\n \nD.G. Jones\n00:42:35\nExcuse me, I didn't feel I was reading that very well. Sorry, it is perhaps a little long. I'll finish quickly. I'd like to just read something a little different. I'll read two poems, one called \"Spring Flowers\", which will be the first.\n \nD.G. Jones\n00:43:22\nReads \"Spring Flowers\" [published later in Under the Thunder the Flowers Light up the Earth]\n \nD.G. Jones\n00:43:56\nI seem to be running out of steam. There's one here that's short enough I should be able to get all the way through it. It's called \"Under the Thunder\", and that's the first line.\n\nD.G. Jones\n00:44:15\nReads \"Under the Thunder\" [poem read is the title of a later publication, Under the Thunder the Flowers Light up the Earth].\n \nD.G. Jones\n00:44:21\nI'll try one more [audience laughter]. This was written for a number of people who got together--to form a society of a somewhat antiquated name, The League of Canadian Poets [https://www.wikidata.org/wiki/Q6509004], who met in Toronto [https://www.wikidata.org/wiki/Q172] in October 1968. It's called \"To Certain Poets Who Met in Toronto, October 1968\" [audience laughter].\n \nD.G. Jones\n00:45:03\nReads \"To Certain Poets Who Met in Toronto, October 1968\".\n \nD.G. Jones\n00:46:40\nI think I'm sorry, I've run out of steam but...\n \nEND\n00:46:49\n[Cut off abruptly].\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1969, Mandel was a professor at York University in Toronto, and he had published The Poetry of Irving Layton. He was also working on an anthology Five Modern Canadian Poets, published in 1970.\\n\\nIn 1969, D.G. Jones had founded Ellipse, and was teaching at the Universite de Sherbrooke.\",\"type\":\"General\"},{\"note\":\"Local Connections: \\n\\nThough no direct connections to Sir George Williams University are known, Eli Mandel’s work has been essential and influential in promoting the work of Canadian authors and poets, through his anthologizing and editing, his essay writing as well as his poetry.\\n\\nD.G. Jones has had a very influential role in Canadian and in specific Quebec poetry, as a leader in the translations of both English and French poetry. His criticism of Canadian literature places him with Margaret Atwood and Northrop Frye in shaping Canada’s literary canon and its literature. Jones was associated with poets such as Bowering, Dudek and Layton and F.R. Scott.\",\"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>2 CDs>2 digital files\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.thecanadianencyclopedia.ca/en/article/douglas-gordon-jones\",\"citation\":\"Blodgett, E.D. “Jones, Douglas Gordon”. The Canadian Encyclopedia. Historica-Dominion, 2008. \"},{\"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.thecanadianencyclopedia.ca/en/article/eli-mandel\",\"citation\":\"Boyd, Colin. “Mandel, Eli”. The Canadian Encyclopedia. Historica-Dominion, 2008.\"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Davey, Frank. \\\"Mandel, Eli\\\". The Oxford Companion to Canadian Literature. Eugene Benson and William Toye (eds). Oxford University Press 2001.\"},{\"url\":\"https://www.worldcat.org/title/fr-scott-une-vie-biographie/oclc/1132465721&referer=brief_results\",\"citation\":\"Djwa, Sandra. F.R. Scott: Une Vie, biographie. Montreal: Boreal, 2001. \"},{\"url\":\"https://www.worldcat.org/title/15-canadian-poets-x2/oclc/40224711&referer=brief_results\",\"citation\":\"Geddes, Gary. Fifteen Canadian Poets Times Two. Toronto: Oxford University Press, 1990.\"},{\"url\":\"https://www.worldcat.org/title/encyclopedia-of-post-colonial-literatures-in-english-vol2/oclc/1156824609&referer=brief_results\",\"citation\":\"Harrison, James. “Jones, Douglas Gordon (1929-)”. Routledge Encyclopedia of Post-Colonial  Literatures in English. Benson, Eugene; Conolly, L.W. (eds). London: Routledge, 1994. 2 vols. \"},{\"url\":\"https://www.worldcat.org/title/phrases-from-orpheus-by-jones/oclc/503359867&referer=brief_results\",\"citation\":\"Jones, D.G.. Phrases From Orpheus. Toronto: Oxford University Press, 1967.\"},{\"url\":\"https://www.worldcat.org/title/under-the-thunder-the-flowers-light-up-the-earth/oclc/3901520&referer=brief_results\",\"citation\":\"Jones, D.G.. Under the Thunder the Flowers Light up the Earth. Toronto: Coach House Press, 1977. \"},{\"url\":\"https://www.worldcat.org/title/idiot-joy/oclc/468767134?referer=di&ht=edition\",\"citation\":\"Mandel, Eli. An Idiot Joy. Edmonton: Hurtig, 1967.\"},{\"url\":\"https://www.worldcat.org/title/black-and-secret-man/oclc/247643578?referer=di&ht=edition\",\"citation\":\"Mandel, Eli. Black and Secret Man. Toronto: Ryerson Press, 1964.\"},{\"url\":\"https://www.worldcat.org/title/crusoe-poems-selected-and-new/oclc/1419679&referer=brief_results\",\"citation\":\"Mandel, Eli. Crusoe: Poems Selected and New. Toronto: Anansi, 1973. \"},{\"url\":\"https://www.worldcat.org/title/trio/oclc/224515443&referer=brief_results\",\"citation\":\"Mandel, Eli., Turnbull, Gael., and Phyllis Webb. Trio: First Poems. Toronto: Contact Press, 1954\"},{\"url\":\"https://www.worldcat.org/title/poetry-62/oclc/5110944&referer=brief_results\",\"citation\":\"Mandel, Eli and Jean-Guy Pilon. Poetry 62. Toronto: Ryerson Press, 1961.\"},{\"url\":\"https://www.worldcat.org/title/encyclopedia-of-post-colonial-literatures-in-english-vol2/oclc/1156824609&referer=brief_results\",\"citation\":\"Stubbs, Andrew. “Mandel, Eli (1922-1992)”. Routledge Encyclopedia of Post-Colonial    Literatures in English. Benson, Eugene; Connolly, 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\":\"Woodcock, George. \\\"Jones, D.G.\\\"  The Oxford Companion to Canadian Literature. Eugene Benson and William Toye. Oxford University Press 2001. \"}]"],"_version_":1853670548880490496,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0034_back.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0025_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Mandel and Jones 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/I0086_11_0034_front.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0025_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Mandel and Jones Tape Box 2 - 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Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/dg-jones_i006-11-043-2.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"dg-jones_i006-11-04-2.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:46:49\",\"precision\":\"\",\"size\":\"112.4 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"dg-jones_i006-11-04-2.mp3 [File 2 of 2]\\n \\nGeorge Bowering\\n00:00:00\\nI'd like to help you welcome now, D.G. Jones.\\n \\nD.G. Jones\\n00:00:13\\nI'm going to do this because I'm thirsty. It's a little disturbing but I've had a suspicion that this was becoming true for some time, in the last few years, that pretty soon you won't be able to tell the Jew from the Wasp, anyway. It's getting more disconcerting all the time how similar certain things are between me and Eli Mandel. I just hope he's a very good person and lives a long life and has great success in the future. [Audience laughter]. The main thing I want to read tonight is a little bit like Eli's last poem. [laughter]. But it takes a lot more time to get itself said, for good or ill, and I'd like to read a few, a couple shorter poems anyway, before starting that longer poem which takes up a fair amount of the time. I'll read the first book, I mean...[laughter], I'll read the first poem from the book which old oriental George Bowering told you about at the beginning of the program. This poem's called \\\"The Perishing Bird\\\".\\n \\nD.G. Jones\\n00:02:53\\nReads \\\"The Perishing Bird\\\" [from Phrases from Orpheus].\\n \\nD.G. Jones\\n00:05:05\\nA poem called \\\"Summer is a Poem by Ovid\\\" .\\n \\nD.G. Jones\\n00:05:20\\nReads \\\"Summer is a Poem by Ovid\\\".\\n \\nD.G. Jones\\n00:06:35\\nWell, this reads well. It starts with a Latin title, it's a kind of letter, actually written in reply to a letter to somebody who accused me of being rather complacent when ironically enough, I felt anything but that at that time. Accused me of being one of the people who didn't have any troubles in life, or not only me but somebody else too, when we had quite a few of our own that were not too dissimilar from those that the other person was talking about. It's about marriage. It's called, to avoid looking too obvious, \\\"De Profundis Conjugii Vox et Responsum''. It's a serious poem though, more or less.\\n \\nD.G. Jones\\n00:07:49\\nReads “De Profundis Conjugii Vox et Responsum” [from Phrases from Orpheus].\\n \\nUnknown\\n00:13:55\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nD.G. Jones\\n00:13:56\\n...features of it, particularly carved doors or doors with glass panels carved, and a fountain, whoops. Wrong poem [audience laughter], same person [audience laughter]. The other one was written without any picture, this was written with a picture, \\\"On a Picture of Your House\\\".\\n \\nD.G. Jones\\n00:14:49\\nReads \\\"On a Picture of Your House\\\" [from Phrases from Orpheus].\\n \\nD.G. Jones\\n00:16:44\\nThis poem is the long poem I referred to, it's a kind of confessional poem, it's only about, I suppose, ten years behind Robert Lowell [https://www.wikidata.org/wiki/Q981448] and the other American poets who have been writing what the critics now call confessional poetry, which is about par, I suppose. This poem was more or less actually complete several years ago, but I got so many things into the poem I wasn't sure how I was going to get out. And I've dickied around with it and possibly added a few more things, and finally I kept what I had in the end anyway, which was simply a way of ducking out I suspect. Though I hope there's some kind of peculiar relationship to the end, and everything else. I haven't been able to find a title for it. \\\"Night Thoughts\\\", might do, but somebody used that. But it's something along this line: the situation, the scheme is to present a kind of series of reminiscences, mediations, memories which disintegrate and become a little more peculiar as time goes on. Then suddenly stops, breaks off with morning. And it's set more or less around my cottage that I had, in Ontario, which wasn't far from where I was born. This is written in sections but I won't bother reading all the numbers, I'll just pause and go on.\\n \\nD.G. Jones\\n00:19:00\\nReads unnamed poem.\\n \\nD.G. Jones\\n00:41:22\\nExcuse me, I'll read the last point, I was almost there, but I think I'll skip that part.\\n \\nD.G. Jones\\n00:41:30\\nResumes reading unnamed poem.\\n \\nD.G. Jones\\n00:42:35\\nExcuse me, I didn't feel I was reading that very well. Sorry, it is perhaps a little long. I'll finish quickly. I'd like to just read something a little different. I'll read two poems, one called \\\"Spring Flowers\\\", which will be the first.\\n \\nD.G. Jones\\n00:43:22\\nReads \\\"Spring Flowers\\\" [published later in Under the Thunder the Flowers Light up the Earth]\\n \\nD.G. Jones\\n00:43:56\\nI seem to be running out of steam. There's one here that's short enough I should be able to get all the way through it. It's called \\\"Under the Thunder\\\", and that's the first line.\\n\\nD.G. Jones\\n00:44:15\\nReads \\\"Under the Thunder\\\" [poem read is the title of a later publication, Under the Thunder the Flowers Light up the Earth].\\n \\nD.G. Jones\\n00:44:21\\nI'll try one more [audience laughter]. This was written for a number of people who got together--to form a society of a somewhat antiquated name, The League of Canadian Poets [https://www.wikidata.org/wiki/Q6509004], who met in Toronto [https://www.wikidata.org/wiki/Q172] in October 1968. It's called \\\"To Certain Poets Who Met in Toronto, October 1968\\\" [audience laughter].\\n \\nD.G. Jones\\n00:45:03\\nReads \\\"To Certain Poets Who Met in Toronto, October 1968\\\".\\n \\nD.G. Jones\\n00:46:40\\nI think I'm sorry, I've run out of steam but...\\n \\nEND\\n00:46:49\\n[Cut off abruptly].\",\"notes\":\" D.G. Jones reads from Phrases from Orpheus (Oxford University Press, 1967), as well as a few that were published later in Under the Thunder the Flowers Light up the Earth (Coach House Press, 1977) and an unnamed long poem that may have been published in Poetry 62 (Ryerson Press 1961).\\n\\n00:00- George Bowering introduces D.G Jones [for full introduction, see I006-11-043.1 or I086-11-34]\\n00:13- D.G. Jones introduces “The Perishing Bird” [INDEX: Eli Mandel, George Bowering, Phrases from Orpheus; not on Howard Fink List of Poems]\\n02:53- Reads “The Perishing Bird”\\n05:20- Reads “Summer is a Poem by Ovid” [INDEX: not on Howard Fink List of Poems]\\n06:35- Introduces “De Profundis Conjugii Vox et Responsum” [INDEX: not on Howard Fink List of Poems.]\\n13:56- [CUT] Introduces “On a Picture of Your House”\\n14:49- Reads “On a Picture of Your House”\\n16:44- Introduces untitled poem, first line “The night is mild and the young moon...” [INDEX: confessional poem, Robert Lowell, process of writing, Ontario]\\n19:00- Reads first line “The night is mild and the young moon...”\\n42:35- Interrupts poem, introduces “Spring Flowers”\\n43:22- Reads “Spring Flowers”\\n43:56- Introduces “Under the Thunder”\\n44:15- Reads “Under the Thunder”\\n44:21- Introduces “To Certain Poets Who Met in Toronto, October 1968” [INDEX: The     \\tLeague of Canadian Poets meeting in Toronto, October 1968]\\n45:49- Reads “To Certain Poets Who Met in Toronto, October 1968”\\n46:49- END OF RECORDING\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/douglas-gordon-d-g-jones-at-sgwu-1969-george-bowering/\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/eli_mandel_i086-11-034.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"eli_mandel_i086-11-034.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:01:57\",\"precision\":\"\",\"size\":\"148.7 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"eli_mandel_i086-11-034.mp3 [File 1 of 2]\\n \\nGeorge Bowering\\n00:00:00\\n...start with the poesy, I've been asked to announce that on Friday, i.e., what's this the seventh? Two weeks from tonight, March the 21st at 9 o’clock. in Room 653, [Barnes (?)] willing, there will be a program, I guess within the auspices of the Fine Arts department, the Ira Cohen [https://www.wikidata.org/wiki/Q1097790], New York [https://www.wikidata.org/wiki/Q60] film maker, and poet will be showing three of his films, as far as I know for the first time in Montreal [https://www.wikidata.org/wiki/Q340]. That's two weeks tonight at 9 in 653. When I was asked to introduce Eli Mandel [https://www.wikidata.org/wiki/Q3050883], and D.G. Jones [https://www.wikidata.org/wiki/Q5203595], I said, 'that's ridiculous', Canadian poetry being the way it is, they already know each other. And after the moment of hilarity I was brought to my senses, and I began to think that it really did make a lot of sense that we do have Doug Jones and Eli Mandel reading on the same program. I can remember in 1961 when Poetry 62 came out, Canadian poetry being the way it is [audience laughter], Poetry 62 was edited by Jean-Guy Pilon [https://www.wikidata.org/wiki/Q3166089] I believe and Eli Mandel, being a bilingual book, and at the time the poem that struck me as the most interesting was the long poem by D.G. Jones, the most interesting in that anthology, and I therefore, felt kind of warm, without having them, to both of them to Doug's poem and Eli's great taste for putting it in the anthology. And then I thought that there was this kind of confluence going on and I began to see all kinds of other things happening too, for instance, they both had their first books published by Contact Press, that published the first books of most of the important Canadian poets, and they now have seen their careers sort of criss-cross one another in a kind of a funny way because they each have three books, except that Eli has three and a third, which is also kind of Canadian, and I thought it was kind of interesting because not only is there a kind of parallel going on, and they both in 1967, for instance, turned out very good books of poetry, but there's a kind of uh, they'll be kind of an interesting contrast I think in tonight's program because I've always considered that Doug Jones is sort of the best of the Ontario [https://www.wikidata.org/wiki/Q1904] Wasp poets [audience laughter], and Eli Mandel is the best of the Western Jewish poets and they both deal with essential problems that seem to expose their two opposing and therefore contrary and conjugal, you might almost say, attitudes towards the business of writing poems. So we're going to start off with Eli's reading, and then have something like a ten minute break, and then we'll have Doug Jones' reading. I should mention that of those two books, Eli's is called An Idiot Joy and it shared the Governor General's Award [https://www.wikidata.org/wiki/Q283256] given in 1968, and published by Hurtig, Edmonton [https://www.wikidata.org/wiki/Q2096] publisher, who is very pleased to get the Governor General's Award, and Doug Jones' book is Phrases from Orpheus, published by Oxford Press [https://www.wikidata.org/wiki/Q217595], two books that would be well worth investing both your heaven, forbid, money and your imagination upon. I'm probably not going to say anything before D.G. Jones comes to read, so I'm not expecting to come up here and spout for five or ten minutes before he reads and I'm not going to spout any longer before Eli reads. So I'd first like to introduce to you Mr. Eli Mandel.\\n\\nAudience\\n00:05:01\\nApplause. \\n \\nEli Mandel\\n00:05:29\\nI think George [https://www.wikidata.org/wiki/Q1239280] might have carried the parallel of contrasts and comparisons a little further had he wanted to, or chosen to, or had he known about certain very intimate details about Doug's life and my life. But I don't propose to go into those myself right now either [audience laughter]. Instead, I'm going to read, primarily from An Idiot Joy, but also from Black and Secret Man, which was an earlier book and also from one or two manuscript poems that I've been working on recently. I want to start with a poem called \\\"Signatures\\\" and although I can say a lot about a number of poems that I've written, I'm not sure I can say much about this except that as will be obvious to you I think, the imagery is drawn from the Vietnam [https://www.wikidata.org/wiki/Q881] conflict, though I don't know that the poem is necessarily about that. Can you hear me with this mic? Some people at the back are saying 'no'. Can you hear me now?\\n \\nEli Mandel\\n00:07:00\\nReads \\\"Signatures\\\" [from An Idiot Joy].\\n \\nEli Mandel\\n00:09:27\\nThis poem is called \\\"Neither Here Nor There\\\".\\n \\nEli Mandel\\n00:09:33\\nReads \\\"Neither Here Nor There\\\" [published later in Crusoe: Poems Selected and New].\\n \\nEli Mandel\\n00:10:28\\nThis is a poem from Black and Secret Man and it's called \\\"The Direction is North Until the Pole\\\", and I suppose it's one of the few poems I've written that I would call a Canadian poem, that is to say it draws on a number of specific images from the Canadian landscape and therefore I have to annotate this poem. I have to tell you that the Fleming mentioned in the last line of the poem was once a Minister of Finance in the federal government, that just proves how transient political poems really are. I think all the rest of this should be clear, hockey is a game that's played in Canada [https://www.wikidata.org/wiki/Q16].\\n \\nEli Mandel\\n00:11:16\\nReads \\\"The Direction is North Until the Pole\\\" from Black and Secret Man.\\n \\nEli Mandel\\n00:13:24\\nThis is one of my prophetic poems. I think I've written a lot of really prophetic poems. This poem is called \\\"Departure\\\" and it tells about leaving Edmonton. Everybody who has read the poem believes that I wrote it when I decided to leave Edmonton, either for the first time or the second time, I've left there twice, as a matter of fact, I didn't write it when I decided to leave in Edmonton, I wrote it when I arrived in Edmonton.\\n \\nEli Mandel\\n00:13:53\\nReads \\\"Departure\\\" [from Black and Secret Man].\\n \\nEli Mandel\\n00:14:37\\nA little poem about one of my perversions, this is about making love to pregnant women, I think, I'm not sure if there's a technical name for that but the perversion appears in the poem. The poem's called \\\"Cassandra\\\" and it's about a prophetess, Cassandra [https://www.wikidata.org/wiki/Q170779], you'll remember was the woman that Agamemnon [https://www.wikidata.org/wiki/Q128176]  brought home with him to his wife, Clytemnestra [https://www.wikidata.org/wiki/Q131157], and this, so angered Clytemnestra, aside from the fact that Agamemnon had killed one of their daughters, that she killed Agamemnon, but Cassandra was a Prophetess, like Prophetesses, was given the power to tell the truth and was never believed. Some of the imagery in this poem is taken from the story of Cassandra, and the rest from my perversions.\\n \\nEli Mandel\\n00:15:39\\nReads \\\"Cassandra\\\" [from Black and Secret Man].\\n \\nEli Mandel\\n00:17:00\\nReads \\\"The Madness of our Polity\\\" [from An Idiot Joy].\\n \\nEli Mandel\\n00:17:46\\n\\\"Whence Cometh Our Help?\\\", the title is taken from the Psalms [https://www.wikidata.org/wiki/Q41064], and there are a number of images of the Psalms, in the poem. Or images from the Psalms.\\n \\nEli Mandel\\n00:18:04\\nReads \\\"Whence Cometh Our Help?\\\" [from An Idiot Joy].\\n \\nEli Mandel\\n00:19:03\\nThis poem is called \\\"Manner of Suicide\\\", and it's the closest thing I've come to writing a found poem, in that all the material in the poem, the words are taken from two sources, except for the first line. One is Karl Menninger's [https://www.wikidata.org/wiki/Q3080926] Man Against Himself and the other, the Jewish Daily Prayer Book. There are twenty-six ways listed here of committing suicide, they're all ways that Menninger lists and documents, and he lists them in the order in which I give them here, and this list, which I give, is then followed by some comments he makes about those ways of committing suicide and a passage from the prayer book.\\n \\nEli Mandel\\n00:20:11\\nReads \\\"Manner of Suicide\\\" [from An Idiot Joy].\\n \\nEli Mandel\\n00:23:24\\nIn An Idiot Joy I wrote a number of poems which were, which used two primary images, the image of the moon and the image of the sea, and these are love poems. I suppose the interesting thing in them to me, aside from the personal sense that I feel about them, is that with each of the poems, whether it's with the image of the moon or the image of the sea, or both, I keep trying different technical things in the poetry, and so far as I'm concerned, I've done some more interesting technical things in this than anywhere else, but primarily, the poems talk about the moon and the sea, and seabirds and women and a woman.\\n \\nEli Mandel\\n00:24:30\\nReads \\\"Woman in the Moon\\\" from An Idiot Joy.\\n \\nEli Mandel\\n00:26:12\\nReads \\\"The Explanations of the Moon” [from An Idiot Joy].\\n \\nEli Mandel\\n00:27:32\\nThis is one of the sea poems, in the sequence, called \\\"Listen, the Sea\\\", and the title comes from King Lear [https://www.wikidata.org/wiki/Q181598], though actually, I had become aware of it of course when I knew that Keats [https://www.wikidata.org/wiki/Q82083] had written a sonnet using this, but the technique is neither Shakespearean nor Keatsean, nothing of the kind.\\n \\nEli Mandel\\n00:28:00\\nReads \\\"Listen, the Sea\\\" [from An Idiot Joy].\\n \\nEli Mandel\\n00:29:01\\nAnd \\\"Marina\\\", who is a daughter of the sea.\\n \\nEli Mandel\\n00:29:09\\nReads \\\"Marina\\\" [from An Idiot Joy].\\n \\nEli Mandel\\n00:30:46\\nWell something quite different. I think I should dedicate this to George Bowering, because I wrote the poem after I had been…\\n\\nUnknown\\n00:30:56\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nEli Mandel\\n00:30:57\\nAnd I would have to apologize for this, but the last thing in the world that I wanted to do was apologize, I'd prefer anything but that, I mean this is pretty simple-minded simplistic psychology, of the worst order I suppose, I just--I'm writing a poem about how stupid I felt at that particular moment.\\n \\nEli Mandel\\n00:31:17\\nReads \\\"The Apology\\\" [from An Idiot Joy].\\n \\nEli Mandel\\n00:34:34\\nThis is the poem I like to think of as the one that one would put in a time capsule, it's called \\\"Letter to be Opened Later\\\" and presumably each one of us wants to immortalize oneself, and imagine, you know, two thousand years later the time capsule being opened and then they can read your letter. This is my letter, to be opened later.\\n \\nEli Mandel\\n00:35:12\\nReads \\\"Letter to be Opened Later\\\" [published later in Crusoe: Poems Selected and New ].\\n \\nEli Mandel\\n00:36:09\\nI'm going to read a lyric, it's a very short poem, but I'd like to read this one anyhow. It's called \\\"To My Children\\\" and it's based upon both an odd and rather terrifying coincidence in my life and a curious Jewish tradition. The Jewish tradition is that you name a child after the nearest dead relative, the relative who has died most recently and who is closest to one, and it so happened that my mother died, my daughter was born, my father died and my son was born. And I wrote this poem about the naming of the children. It's called \\\"To My Children\\\".\\n \\nEli Mandel\\n00:37:08\\nReads \\\"To My Children\\\" [from Black and Secret Man].\\n \\nEli Mandel\\n00:38:00\\nNow I'm going to finish this reading with two poems, one is called \\\"The Meaning of the I Ching\\\" and the other \\\"Cosmos: the Giant Rose\\\"--three poems, I'm sorry. I'm going to read \\\"Pictures in an Institution\\\" as well. \\\"The Meaning of the I Ching\\\", the I Ching [https://www.wikidata.org/wiki/Q181937] as you probably know is a book of divination, it's the oldest book of divination known, and when I first heard about it, I looked at the book before I opened it and I wondered about the very simple notion of a book that old telling my future. How could I be contained in this ancient book? And I wrote this poem. Now it seems to me that there is something remarkable here, it's one claim I will make for the poem, at least, in the poem, is the first time I used the phrase \\\"earth upon earth\\\" and the very first hexagram that I cast when I opened the book. The book tells fortunes with what are called hexagrams and hexagrams are given various names, the very first one that I cast was the hexagram \\\"earth upon earth\\\" and that's simply something that happened whether it means that the poem is prophetic or magical, I don't know.\\n \\nEli Mandel\\n00:39:36\\nReads \\\"The Meaning of the I Ching\\\" [from An Idiot Joy].\\n \\nEli Mandel\\n00:43:18\\nI'm going to finish now reading \\\"Pictures in an Institution\\\". This is the most personal poem I've ever written, and I don't want to read anything after that, so I'm going to finish with this. \\\"Pictures in an Institution\\\". I think all I need to say about this is that it plays off notices against some personal experiences and I think that'll be plain enough.\\n \\nEli Mandel\\n00:43:43\\nReads \\\"Pictures in an Institution\\\" [from Trio: First Poems by Gael Turnbull, Phyllis Webb, and Eli Mandel].\\n\\nEli Mandel\\n00:47:40\\nThank you.\\n\\nAudience\\n00:47:41\\nApplause.\\n\\nUnknown\\n00:47:51\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nUnknown\\n00:47:53\\nAmbient Sound [voices].\\n\\nGeorge Bowering\\n00:48:22\\nI'd like to help you welcome now, D.G. Jones.\\n \\nAudience\\n00:48:27\\nApplause.\\n\\nD.G. Jones\\n00:48:60\\nI'm going to do this because I'm thirsty. It's a little disturbing but I've had a suspicion that this was becoming true for some time, in the last few years, that pretty soon you won't be able to tell the Jew from the Wasp, anyway [audience laughter]. It's getting more disconcerting all the time how similar certain things are between me and Eli Mandel [audience laughter]. I just hope he's a very good person and lives a long life and has great success in the future [audience laughter]. The main thing I want to read tonight is a little bit like Eli's last poem [audience laughter]. But it takes a lot more time to get itself said, for good or ill, and I'd like to read a few, a couple shorter poems anyway, before starting that longer poem which takes up a fair amount of the time. I'll read the first book from the, I mean...[laughter], I'll read the first poem from the book which old oriental George Bowering told you about at the beginning of the program. This poem's called \\\"The Perishing Bird\\\".\\n \\nD.G. Jones\\n00:51:12\\nReads \\\"The Perishing Bird\\\" [from Phrases from Orpheus].\\n \\nD.G. Jones\\n00:53:16\\nA poem called \\\"Summer is a Poem by Ovid\\\".\\n \\nD.G. Jones\\n00:53:34\\nReads \\\"Summer is a Poem by Ovid\\\" [from Phrases from Orpheus].\\n \\nD.G. Jones\\n00:54:41\\nWell, this reads well. It starts with a Latin title, it's a kind of letter, actually written in reply to a letter to somebody who accused me of being rather complacent when ironically enough, I felt anything but that at that time. Accused me of being one of the people who didn't have any troubles in life, or not only me but somebody else too, when we had quite a few of our own that were not too dissimilar from those that the other person was talking about. It's about marriage. It's called, to avoid looking too obvious, \\\"De Profundis Conjugii Vox et Responsum''. It's a serious poem though, more or less.\\n \\nD.G. Jones\\n00:55:56\\nReads \\\"De Profundis Conjugii Vox et Responsum\\\" [from Phrases from Orpheus].\\n \\nEND\\n01:01:57\\n\",\"notes\":\"Eli Mandel reads from An Idiot Joy (Hurtig, 1967), Black and Secret Man (1964), Trio:  First Poems (Contact Press, 1954), as well as poems later published in Crusoe: Poems Selected and New (Anansi, 1973).\\n\\n00:00- George Bowering introduces Eli Mandel and D.G. Jones [INDEX: announces other event: Ira Cohen film showing. Poetry 62 ed. by Eli Mandel and Jean-Guy Pilon: contains long poem by D.G. Jones, Contact Press, D.G. Jones- “Ontario Wasp Poet”/ Eli Mandel-“Western Jewish Poet”, Eli Mandel: An Idiot Joy published by Hurtig press, won Governor General Award, Eli Mandel: Black and Secret Man, D.G. Jones: Phrases from Orpheus Oxford Press]\\n05:08- Eli Mandel introduces “Signatures”\\n07:00- Reads “Signatures”\\n09:27- Reads “Neither Here Nor There”\\n10:28- Introduces “The Direction is North Until the Pole” [INDEX: Canadian Landscapes, Fleming- Minister of Finance of Federal Government, Political poems]\\n11:16- Reads “The Direction is North Until the Pole”\\n13:24- Introduces “Departure” [INDEX: leaving Edmonton]\\n13:53- Reads “Departure”\\n14:37- Introduces “Cassandra” [INDEX:  Cassandra, Prophetess, Clytemnestra, Agamemnon]\\n15:39- Reads “Cassandra”\\n17:00- Reads “The Madness of our Polity”\\n17:46- Introduces “Whence Cometh Our Help” [INDEX: psalms]\\n18:04- Reads “Whence Cometh Our Help”\\n19:03- Introduces “Manner of Suicide” [INDEX:  Karl Mennenger’s Man Against Himself,   Jewish Daily Prayer Book, Found Poem]\\n20:11- Reads “Manner of Suicide”\\n23:24- Introduces “Woman in the Moon” [INDEX: image: moon and sea]\\n24:30- Reads “Woman in the Moon”\\n26:12- Reads “The Explanations of the Moon”\\n27:32- Introduces “Listen, the Sea” [INDEX: King Lear, Keats Sonnet]\\n28:00- Reads “Listen, the Sea”\\n29:01- Reads “Marina”\\n30:46- Introduces “The Apology” [INDEX: George Bowering]\\n31:17- Reads “The Apology”\\n34:34- Introduces “Letter to be Opened Later” [INDEX: time capsule]\\n35:12- Reads “Letter to be Opened Later”\\n36:09- Introduces “To My Children” [INDEX: lyric poetry, Jewish naming tradition]\\n37:08- Reads “To My Children”\\n38:00- Introduces “The Meaning of the I Ching” [INDEX: hexagram ‘earth upon earth’]\\n39:36- Reads “The Meaning of the I Ching”\\n43:18- Introduces “Pictures in an Institution”\\n43:43- Reads “Pictures in an Institution”\\n47:47- George Bowering introduces D.G. Jones\\n48:35- D.G. Jones introduces “The Perishing Bird”\\n51:12- Reads “The Perishing Bird”\\n53:16- Reads “Summer is a Poem by Auden”\\n54:41- Introduces “De Profundis Con Yugie Voxette Responsem”\\n55:56- Reads “De Profundis Con Yugie Voxette Responsem”\\n01:01:57.14- END OF RECORDING\\n\\nFrom the Howard Fink list of Poems:\\n7/2/69\\none 5” reel, 3 3/4 one track, mono, 1/2 hour\\nreadings are from Mandel’s books An Idiot Joy and Black and Secret Man\\n\\n1. “Signature”\\n2. “Neither Here Nor There”\\n3. “The Direction is North Until the Pole”\\n4. “Departure”\\n5. “Cassandra”\\n6. first line “Being savages, we learn”\\n7. “Whence Cometh Our Help”\\n8. “Manner of Suicide”\\n9. “Woman on the Moon”\\n10. “The Explanation of the Moon”\\n11. “Listen, the Sea”\\n12. “Marina”\\n*note: list of poems not complete.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/eli-mandel-at-sgwu-1969-d-g-jones-george-bowering/\"}]"],"score":1.8530173},{"id":"1277","cataloger_name":["Masoumeh,Zaare"],"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":["Robin Blaser at Sir George Williams University, The Poetry Series, 28 March 1969"],"item_title_source":["Cataloguer"],"item_title_note":["\"Robin Blaser Mar. 28/69 1\" written on sticker on the reel"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 3"],"item_identifiers":["[]"],"creator_names":["Blaser, Robin"],"creator_names_search":["Blaser, Robin"],"creators":["[{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"Poet, essayist and professor Robin Blaser was born on May 18, 1925 in Denver, Colorado, but spent most of his early years in rural Idaho. He moved to California where he received his B.A. in 1952, his M.A. in 1955 and a M.L.S. in 1956 from the University of California at Berkeley. Here he met poets Jack Spicer and Robert Duncan, the three playing major roles in the San Francisco Poetry Renaissance. Blaser, however, next to the dominant figures of Spicer and Duncan, was hesitant to identify himself as a poet and only began publishing his poetry close to twenty years later despite the fact that he was writing poetry already. His work appeared in smaller presses and received restricted attention because of this. After graduating from Berkley, Blaser worked at a number of libraries across the country, including the Widener Library in Boston where he met other East Coast poets, such as Charles Olson and John Wieners. His first larger publication was The Moth Poem (Open Space, 1964). In 1966, he moved to Vancouver, to teach at the Simon Fraser University, and became a Canadian Citizen in 1974. There, Blaser became a strong mentor and influence on the younger poets of the emerging Vancouver Poetry scene of the 60’s, influencing Daphne Marlatt, bp Nichol, Erin Mouré, and Steve McCaffery. His next collections of poetry followed, with Cups (Four Seasons Foundation, 1968), Image Nations 1-12; and The Stadium of the Mirror (Ferry Press, 1974), Image Nations 13 &14 (Cobblestone Press, 1975), Image Nation 15: The Lacquerhouse (W. Hoffer, 1981), Syntax (Talonbooks, 1983) and his most popular publication nominated for a Governor General’s Award, The Holy Forest (Coach House Press, 1993). Blaser was also an essayist, and published important essays such as “The Fire” (1967), “The Violets: Charles Olson and Alfred North Whitehead” (1983), “Robert Duncan, The ‘Elf’ of It” (1992), “The Recovery of the Public World” (1993), “Preface to the Early Poems of Robert Duncan” (1995), most of which are collected in The Fire: Collected Essays of Robin Blaser (University of California Press, 2006). Blaser became a Professor of Emeritus at Simon Fraser University and retired in 1986. Blaser was honoured the Order of Canada in 2005, and the Griffin Poetry prize for lifetime achievement in 2006, the Griffin Prize for poetry in 2008, as well as an honourary doctorate by Simon Fraser University in March 2009. After a battle with cancer, Robin Blaser died in Vancouver on May 7th, 2009.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Kiyooka, Roy"],"contributors_names_search":["Kiyooka, Roy"],"contributors":["[{\"url\":\"http://viaf.org/viaf/30784426\",\"name\":\"Kiyooka, Roy\",\"dates\":\"1926-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Presenter\"]}]"],"Presenter_name":["Kiyooka, Roy"],"Series_organizer_name":["Kiyooka, Roy"],"Performance_Date":[1969],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"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\":\"1969 3 28\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the reel\",\"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":["Robin Blaser reads poems from Cups (Four Seasons Press, 1968), The Moth Poem (Open Space, 1964) and his essay “The Fire”, collected later in The Fire: Collected Essays of Robin Blaser (University of California Press, 2006), as well as poems collected later in The Holy Forest (Coach House Press, 1993)."],"contents":["robin_blaser_i086-11-005.mp3\n\nRoy Kiyooka\n00:00:00\nIt's my pleasure this evening to introduce to you Robin Blaser [https://www.wikidata.org/wiki/Q2115003], recently of Vancouver [https://www.wikidata.org/wiki/Q24639], and a little bit before that, from San Francisco [https://www.wikidata.org/wiki/Q62] and elsewhere. Can you hear me? Can you all hear me? Okay. Well, I haven't really a great deal to say, I wanted to say simply that I met Robin Blaser in June of 1964, the occasion was the usual round of parties and a rather un-memorable reading, and a marvelous day out into the countryside, and I also had on that occasion the pleasure of meeting two very close friends of his, Stan Persky [https://www.wikidata.org/wiki/Q2330087] and Jack Spicer [https://www.wikidata.org/wiki/Q3805658]. I'll read you this little sort of resume of his career. He was born in Idaho [https://www.wikidata.org/wiki/Q1221], and he studied at Northwestern [https://www.wikidata.org/wiki/Q309350] and Berkeley [https://www.wikidata.org/wiki/Q168756], and was a librarian at Harvard [https://www.wikidata.org/wiki/Q13371] from 1955 to '59. He now teaches in exile at Simon Fraser University [https://www.wikidata.org/wiki/Q201603], has made an important contribution to the San Francisco poetry renaissance in the '50's and the '60's, and was one of a triumvirate, with Duncan [https://www.wikidata.org/wiki/Q964391] and Spicer, that fulminated the serial poem on the poetry scene. Among his own serial poems are “The Faerie Queene” and “Image-Nation”. His verse has been published in a number of contemporary poetry anthologies. They include, among many, Donald Allen's [https://www.wikidata.org/wiki/Q5293963] The New American Poetry [https://www.wikidata.org/wiki/Q7753501], the Penguin [https://www.wikidata.org/wiki/Q3374730] New Writing in the United States, and A Controversy of Poets. And among his volumes of poetry are The Boston Poems 1956-58, The Moth Poem, Les Chimeres, and Cups. He is the editor of a West Coast magazine called the Pacific Nation. Now, Robin? Please read for us.\n \nAudience\n00:02:56\nApplause.\n \nRobin Blaser\n00:03:00\nThe marvelous thing about that list of books is that The Boston Poems, in fact, I think I will read one of those, was published and I decided I didn't like the book so there's one copy in the world and I own that copy. So I'm not sure it's fair, to call that a book. I don't think I--but I think I will read, open with that, it now dates back so many years, back to the Boston [https://www.wikidata.org/wiki/Q100] world, when [Jack] Spicer, and [John] Wieners [https://www.wikidata.org/wiki/Q1702153] and I were there together, and a very different scene from anything. [Charles] Olson [https://www.wikidata.org/wiki/Q922978] was at Black Mountain [https://www.wikidata.org/wiki/Q2413277], and Wieners in the centre at Boston. This poem is \"The Hunger of Sound\", and the date of it would be 1956. \n \nRobin Blaser\n00:03:54\nReads \"The Hunger of Sound\" from The Boston Poems [collected later in The Holy Forest].\n\nRobin Blaser\n00:10:38\nNow I, I'm a little confused because I've changed the reading now because it was very nice to have people ask for things, so I think I'll read \"Cups\", which is a...I've worked since 1960 on a book called The Holy Forest and that is composed of several serial poems, the first of which is \"Cups\", and that is followed by one called \"The Park\", and one called \"The Faerie Queen\", then \"The Moth Poem\", and then the, then there is a group, translated from Gérard de Nerval [https://www.wikidata.org/wiki/Q191305], \"Les Chimeres\", which is also a serial poem, and finally a group called \"The Holy Forest\", an unfinished group, and I thought I would read \"Cups\" and then a section, do a little thing on my poetics, an intermission, and then read, if you still are with me, the section I've just finished, called \"The Holy Forest\". This is \"Cups\".\n \nRobin Blaser\n00:11:47\nReads \"Cups\" [from Cups]. \n\nRobin Blaser\n00:22:58\nNow I'm going to move to my essay called \"The Fire\", which is meant to, is meant to talk about what people call poetics, I guess. It certainly talks about what I intend to do, what I am doing. \n \nRobin Blaser\n00:23:28\nReads \"The Fire\" [published later in The Fire: Collected Essays of Robin Blaser].\n \nUnknown\n00:31:57\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nRobin Blaser\n00:31:58\nResumes reading \"The Fire\". \n \nRobin Blaser\n00:43:29\nI won't go on to the rest of the essay, I think that's enough. Now...should we have a break, for a minute? Is it the right time for a break? Do you want a break? Because the next section has thirty-two poems, and not great long ones, but it's a move through the...\n \nUnknown\n00:43:57\n[Cut or edit made in tape. Unknown amount of time elapsed]. \n \nRobin Blaser\n00:43:58\nReads “In A Dark” [collected later in The Holy Forest].\n\nRobin Blaser\n00:44:17\nReads “The Prints” [collected later in The Holy Forest].\n \nRobin Blaser\n00:44:47\nReads “Love” [collected later in The Holy Forest].\n \nRobin Blaser\n00:45:18\nReads \"The Private I\" [collected later in The Holy Forest].\n \nRobin Blaser\n00:46:18\nReads \"Song\" [collected later in The Holy Forest].\n \nRobin Blaser\n00:46:52\nReads \"Translation\" [collected later in The Holy Forest].\n \nRobin Blaser\n00:47:23\nReads \"1st Tale: Over\" [collected later in The Holy Forest].\n \nRobin Blaser\n00:48:09\nReads \"2nd Tale: Returned\" [collected later in The Holy Forest].\n \nRobin Blaser\n00:49:48\nReads \": At Last\" [collected later in The Holy Forest].\n \nRobin Blaser\n00:50:29\nReads \"Aphrodite of the Leaves\" [collected later in The Holy Forest].\n \nRobin Blaser\n00:51:02\nReads \"Winter Words\" [collected later in The Holy Forest].\n \nRobin Blaser\n00:51:39\nReads \"The Stories\" [collected later in The Holy Forest].\n \nRobin Blaser\n00:52:23\nReads \"The City\" [collected later in The Holy Forest].\n \nRobin Blaser\n00:53:12\nReads \"The Translator: A Tale\" [from The Moth Poem].\n \nRobin Blaser\n00:54:31\nReads [“Sophia Nichols,” published later in The Holy Forest].\n\nRobin Blaser\n00:56:34\nReads \"A Gift: Homage to Creeley\" [published later as “A Gift” in The Holy Forest].\n \nRobin Blaser\n00:57:30\nReads \"Bottom's Dream\" [collected later in The Holy Forest].\n \nRobin Blaser\n00:58:18\nReads \"The Finder” [collected later in The Holy Forest].\n \nRobin Blaser\n00:59:35\nReads \"Out of the Window,\" [collected later in The Holy Forest].\n \nRobin Blaser\n01:00:45\nReads \"Merlin\" [collected later in The Holy Forest].\n \nRobin Blaser\n01:01:44\nReads \"The Cry of Merlin\" [collected later in The Holy Forest].\n\nUnknown\n01:03:55\n[Cut or edit made in tape. Unknown amount of time elapsed]. \n \nRobin Blaser\n01:03:57\nI stood between the two in the marriage ceremony and replaced the psalms that are given, at one point, that was my gift as well as my blessing, and this is the poem I wrote for that wedding. \"Image-Nation 6: a marriage poem for Gladys Hindmarch and Cliff Anston\".\n \nRobin Blaser\n1:04:15\nReads \"Image-Nation 6: a marriage poem for Gladys Hindmarch and Cliff Anston\" [published later as “Image-Nation 6 (epithalamium)” in The Holy Forest].\n \nRobin Blaser\n01:05:27\nThank you.\n\nAudience\n01:05:28\nApplause [cut off]. \n\nEND\n01:05:30\n[Cut off abruptly]."],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nThis reading most likely took place in 1969. Blaser was teaching at Simon Fraser University in Vancouver, and was most likely working on Image Nations 1-12; and The Stadium of the Mirror which was published much later in 1974.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nAs stated in the introduction of this reading, Robin Blaser was an important poet involved in the San Francisco Renaissance of the 1960’s, but was connected to other important poets like Robert Duncan, Jack Spicer, and Stan Persky among many others. Stanton Hoffman, a Sir George Williams University English Professor and Reading Committee Member met Robin Blaser in 1964 in Vancouver, where Blaser was teaching. He no doubt met with George Bowering at the same time.\",\"type\":\"General\"},{\"note\":\"Reel-to-reel tape>2 CDs>digital file\",\"type\":\"Preservation\"},{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/cups/oclc/4506227&referer=brief_results\",\"citation\":\"Blaser, Robin. Cups. San Francisco: Four Seasons Press, 1968. \"},{\"url\":\"https://www.worldcat.org/title/holy-forest/oclc/971211126&referer=brief_results\",\"citation\":\"Blaser, Robin. The Holy Forest. Toronto: Coach House Press, 1993.\"},{\"url\":\"https://www.worldcat.org/title/fire-collected-essays-of-robin-blaser/oclc/237064008&referer=brief_results\",\"citation\":\"Blaser, Robin. The Fire: Collected Essays of Robin Blaser. Miriam Nichols (ed). Berkley: University of California Press, 2006. \"},{\"url\":\"https://www.worldcat.org/title/contemporary-canadian-poem-anthology/oclc/988192362&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-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Thesen, Sharon. “Blaser, Robin”. The Oxford Companion to Canadian Literature. Eugene Benson and William Toye (eds). Oxford University Press, 2001.\"},{\"url\":\"https://www.sfu.ca/retirees-forum/msg01139.html\",\"citation\":\"“Blaser- Robin Francis, 1925-2009”. The Vancouver Sun. Saturday, May 9, 2009. Page F14.\"},{\"url\":\"\",\"citation\":\"“Blaser, Robin”. Literature Online Biography. Proquest Inc, 2008.\"}]"],"_version_":1853670548883636224,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0086_11_0005_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"Robin Blaser 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_0005_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"Robin Blaser 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_0005_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"Robin Blaser Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0005_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0005_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Robin Blaser 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/robin_blaser_i086-11-005.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"robin_blaser_i086-11-005.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:05:30\",\"precision\":\"\",\"size\":\"157.2 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Roy Kiyooka\\n00:00:00\\nIt's my pleasure this evening to introduce to you Robin Blaser [https://www.wikidata.org/wiki/Q2115003], recently of Vancouver [https://www.wikidata.org/wiki/Q24639], and a little bit before that, from San Francisco [https://www.wikidata.org/wiki/Q62] and elsewhere. Can you hear me? Can you all hear me? Okay. Well, I haven't really a great deal to say, I wanted to say simply that I met Robin Blaser in June of 1964, the occasion was the usual round of parties and a rather un-memorable reading, and a marvelous day out into the countryside, and I also had on that occasion the pleasure of meeting two very close friends of his, Stan Persky [https://www.wikidata.org/wiki/Q2330087] and Jack Spicer [https://www.wikidata.org/wiki/Q3805658]. I'll read you this little sort of resume of his career. He was born in Idaho [https://www.wikidata.org/wiki/Q1221], and he studied at Northwestern [https://www.wikidata.org/wiki/Q309350] and Berkeley [https://www.wikidata.org/wiki/Q168756], and was a librarian at Harvard [https://www.wikidata.org/wiki/Q13371] from 1955 to '59. He now teaches in exile at Simon Fraser University [https://www.wikidata.org/wiki/Q201603], has made an important contribution to the San Francisco poetry renaissance in the '50's and the '60's, and was one of a triumvirate, with Duncan [https://www.wikidata.org/wiki/Q964391] and Spicer, that fulminated the serial poem on the poetry scene. Among his own serial poems are “The Faerie Queene” and “Image-Nation”. His verse has been published in a number of contemporary poetry anthologies. They include, among many, Donald Allen's [https://www.wikidata.org/wiki/Q5293963] The New American Poetry [https://www.wikidata.org/wiki/Q7753501], the Penguin [https://www.wikidata.org/wiki/Q3374730] New Writing in the United States, and A Controversy of Poets. And among his volumes of poetry are The Boston Poems 1956-58, The Moth Poem, Les Chimeres, and Cups. He is the editor of a West Coast magazine called the Pacific Nation. Now, Robin? Please read for us.\\n \\nAudience\\n00:02:56\\nApplause.\\n \\nRobin Blaser\\n00:03:00\\nThe marvelous thing about that list of books is that The Boston Poems, in fact, I think I will read one of those, was published and I decided I didn't like the book so there's one copy in the world and I own that copy. So I'm not sure it's fair, to call that a book. I don't think I--but I think I will read, open with that, it now dates back so many years, back to the Boston [https://www.wikidata.org/wiki/Q100] world, when [Jack] Spicer, and [John] Wieners [https://www.wikidata.org/wiki/Q1702153] and I were there together, and a very different scene from anything. [Charles] Olson [https://www.wikidata.org/wiki/Q922978] was at Black Mountain [https://www.wikidata.org/wiki/Q2413277], and Wieners in the centre at Boston. This poem is \\\"The Hunger of Sound\\\", and the date of it would be 1956. \\n \\nRobin Blaser\\n00:03:54\\nReads \\\"The Hunger of Sound\\\" from The Boston Poems [collected later in The Holy Forest].\\n\\nRobin Blaser\\n00:10:38\\nNow I, I'm a little confused because I've changed the reading now because it was very nice to have people ask for things, so I think I'll read \\\"Cups\\\", which is a...I've worked since 1960 on a book called The Holy Forest and that is composed of several serial poems, the first of which is \\\"Cups\\\", and that is followed by one called \\\"The Park\\\", and one called \\\"The Faerie Queen\\\", then \\\"The Moth Poem\\\", and then the, then there is a group, translated from Gérard de Nerval [https://www.wikidata.org/wiki/Q191305], \\\"Les Chimeres\\\", which is also a serial poem, and finally a group called \\\"The Holy Forest\\\", an unfinished group, and I thought I would read \\\"Cups\\\" and then a section, do a little thing on my poetics, an intermission, and then read, if you still are with me, the section I've just finished, called \\\"The Holy Forest\\\". This is \\\"Cups\\\".\\n \\nRobin Blaser\\n00:11:47\\nReads \\\"Cups\\\" [from Cups]. \\n\\nRobin Blaser\\n00:22:58\\nNow I'm going to move to my essay called \\\"The Fire\\\", which is meant to, is meant to talk about what people call poetics, I guess. It certainly talks about what I intend to do, what I am doing. \\n \\nRobin Blaser\\n00:23:28\\nReads \\\"The Fire\\\" [published later in The Fire: Collected Essays of Robin Blaser].\\n \\nUnknown\\n00:31:57\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nRobin Blaser\\n00:31:58\\nResumes reading \\\"The Fire\\\". \\n \\nRobin Blaser\\n00:43:29\\nI won't go on to the rest of the essay, I think that's enough. Now...should we have a break, for a minute? Is it the right time for a break? Do you want a break? Because the next section has thirty-two poems, and not great long ones, but it's a move through the...\\n \\nUnknown\\n00:43:57\\n[Cut or edit made in tape. Unknown amount of time elapsed]. \\n \\nRobin Blaser\\n00:43:58\\nReads “In A Dark” [collected later in The Holy Forest].\\n\\nRobin Blaser\\n00:44:17\\nReads “The Prints” [collected later in The Holy Forest].\\n \\nRobin Blaser\\n00:44:47\\nReads “Love” [collected later in The Holy Forest].\\n \\nRobin Blaser\\n00:45:18\\nReads \\\"The Private I\\\" [collected later in The Holy Forest].\\n \\nRobin Blaser\\n00:46:18\\nReads \\\"Song\\\" [collected later in The Holy Forest].\\n \\nRobin Blaser\\n00:46:52\\nReads \\\"Translation\\\" [collected later in The Holy Forest].\\n \\nRobin Blaser\\n00:47:23\\nReads \\\"1st Tale: Over\\\" [collected later in The Holy Forest].\\n \\nRobin Blaser\\n00:48:09\\nReads \\\"2nd Tale: Returned\\\" [collected later in The Holy Forest].\\n \\nRobin Blaser\\n00:49:48\\nReads \\\": At Last\\\" [collected later in The Holy Forest].\\n \\nRobin Blaser\\n00:50:29\\nReads \\\"Aphrodite of the Leaves\\\" [collected later in The Holy Forest].\\n \\nRobin Blaser\\n00:51:02\\nReads \\\"Winter Words\\\" [collected later in The Holy Forest].\\n \\nRobin Blaser\\n00:51:39\\nReads \\\"The Stories\\\" [collected later in The Holy Forest].\\n \\nRobin Blaser\\n00:52:23\\nReads \\\"The City\\\" [collected later in The Holy Forest].\\n \\nRobin Blaser\\n00:53:12\\nReads \\\"The Translator: A Tale\\\" [from The Moth Poem].\\n \\nRobin Blaser\\n00:54:31\\nReads [“Sophia Nichols,” published later in The Holy Forest].\\n\\nRobin Blaser\\n00:56:34\\nReads \\\"A Gift: Homage to Creeley\\\" [published later as “A Gift” in The Holy Forest].\\n \\nRobin Blaser\\n00:57:30\\nReads \\\"Bottom's Dream\\\" [collected later in The Holy Forest].\\n \\nRobin Blaser\\n00:58:18\\nReads \\\"The Finder” [collected later in The Holy Forest].\\n \\nRobin Blaser\\n00:59:35\\nReads \\\"Out of the Window,\\\" [collected later in The Holy Forest].\\n \\nRobin Blaser\\n01:00:45\\nReads \\\"Merlin\\\" [collected later in The Holy Forest].\\n \\nRobin Blaser\\n01:01:44\\nReads \\\"The Cry of Merlin\\\" [collected later in The Holy Forest].\\n\\nUnknown\\n01:03:55\\n[Cut or edit made in tape. Unknown amount of time elapsed]. \\n \\nRobin Blaser\\n01:03:57\\nI stood between the two in the marriage ceremony and replaced the psalms that are given, at one point, that was my gift as well as my blessing, and this is the poem I wrote for that wedding. \\\"Image-Nation 6: a marriage poem for Gladys Hindmarch and Cliff Anston\\\".\\n \\nRobin Blaser\\n1:04:15\\nReads \\\"Image-Nation 6: a marriage poem for Gladys Hindmarch and Cliff Anston\\\" [published later as “Image-Nation 6 (epithalamium)” in The Holy Forest].\\n \\nRobin Blaser\\n01:05:27\\nThank you.\\n\\nAudience\\n01:05:28\\nApplause [cut off]. \\n\\nEND\\n01:05:30\\n[Cut off abruptly].\",\"notes\":\"Robin Blaser reads poems from Cups (Four Seasons Press, 1968), The Moth Poem (Open Space, 1964) and his essay “The Fire”, collected later in The Fire: Collected Essays of Robin Blaser (University of California Press, 2006), as well as poems collected later in The Holy Forest (Coach House Press, 1993).\\n\\n00:00- Stanton Hoffman introduces Robin Blaser [INDEX: Vancouver, San Francisco, June 1964, meeting, reading, countryside, Stan Persky, Jack Spicer, Idaho, Northwestern University, Berkeley University, librarian at Harvard from 1955-59, exile, teaches, Simon Fraser University, San Francisco Poetry Renaissance in the 1950’s and 1960’s, triumvirate with Robert Duncan and Jack Spicer, serial poem, “The Faerie Queene”, “Image Nation”, poetry anthologies, Donald Allen’s The New American Poetry (Grove Press, 1960), The Penguin New Writing [most likely Nendeln, Liechtenstein: Kraus, 1960 or 1970], A controversy of poets (Doubleday/ Anchor Books, 1965), poetry volumes The Boston Poems 1956-58 (self published?), The Moth Poem (Open Space, 1964), Les Chimeres (White Rabbit Press, 1965), Cups (Four Seasons Foundation, 1968), editor of The Pacific Nation.]\\n03:00- Robin Blaser introduces “The Hunger of Sound”. [INDEX: The Boston Poems, one copy in the world, dislike for the book, Boston, Jack Spicer, John Wieners, Charles       Olson, Black Mountain, 1956; from The Boston Poems (unknown publishing info) later collected in The Holy Forest (Coach House Press, 1993).]\\n03:54- Reads “The Hunger of Sound” [INDEX: serial poem, poetry, child, image, star, hunger, tree, time, sound, poem, man, wife, house, boy, Dante, book, German, gun, work, chaos, joy.]\\n10:38- Introduces “Cups”. [INDEX: order of reading, requested poems, working The Holy Forest since 1960, serial poems, “The Park”, “The Faerie Queene”, “The Moth Poem”, translations from Gerard de Nerval “Les Chimeres”, The Holy Forest as unfinished, poetics, intermission; from Cups (Four Seasons Foundation, 1968).]\\n11:47- Reads “Cups”.  [INDEX: serial poem, cup, nature, iris, flower, tree, poem, poetry,       window, sex, Dante, love, spring, truck, goat, father, hunter, blood, dark, semen, skin,     \\twhistle, sound]\\n22:58- Introduces essay “The Fire”. [INDEX: poetics; written in 1967, collected in The Holy Forest (Coach House Press, 1993)]\\n23:28- Reads essay “The Fire”. [INDEX: poetry, poetics, sight, sound, intellect, Louis    Zukofsky, San Francisco, invisibility, emotion, body, earth, god, reality, conceptual,     \\tdifficulty, image, conceptual, [Stan] Persky, imagination, language, Charles Olson,       \\t[Thoreau’s?] Walden, [Herman] Melville, [Ezra] Pound, narrative, Jack Spicer, Ovid]\\n31:57- END OF RECORDING (mid-sentence, continues on next CD I086-11-005.2)\\n\\n00:00- Robin Blaser continues reading “The Fire” essay.  [INDEX: family, idiom, English,        American, French, Orphic, Orpheus, Dionysus, Jack Spicer, Robert Duncan, imagery,  \\tLeibniz, Spinoza, Francis Yeats, monads, Nerval; written in 1967, collected in The Holy \\tForest (Coach House Press, 1993).]\\n11:31- Robin Blaser stops reading essay, introduces intermission [INDEX: break, next section, thirty-two poems, not long poems]\\n12:00- Cut in tape, unknown amount of time elapsed\\n12:00- Robin Blaser reads line “...the drive to the spring mountains...” recording starts mid-poem [INDEX: nature, drive, tree, heart, love, stone, song, star, forest, fire, night,       translation; from unknown source.]\\n12:20- Reads “The Prints”. [INDEX: Nerval, prince, tree, fantasy, heart; from Charms    (1964-1968) collected in The Holy Forest (Coach House Press, 1993).]\\n12:50- Reads “Love”. [INDEX: water, love, night; from Charms (1964-1968) collected in The Holy Forest (Coach House Press, 1993).]\\n13:21- Reads “The Private I” [IMAGE: dog, moon, wind, white, black, earth, water, wind; from Charms (1964-1968) collected in The Holy Forest (Coach House Press, 1993).]\\n14:21- Reads \\\"Song\\\" [INDEX:  Nerval, song, night, horse; from Charms (1964-1968) collected in The Holy Forest (Coach House Press, 1993).]\\n14:55- Reads \\\"Translation\\\" [INDEX: ash, Mount St. Helen's, fire, tree; from Charms    (1964-1968) collected in The Holy Forest (Coach House Press, 1993).]\\n15:26- Reads \\\"1st Tale, Lost\\\"  [INDEX: sweet, child, tale, bird, sound; from Charms \\t(1964-1968) collected in The Holy Forest (Coach House Press, 1993).]\\n16:11- Reads \\\"2nd Tale, Returned\\\"  [INDEX: brother, sister, child, fear, story, water, love,  magic, air, found; from Charms (1964-1968) collected in The Holy Forest (Coach House Press, 1993).]\\n17:50- Reads \\\":At Last\\\" [INDEX: place, tree, story, youth, body; from Charms (1964-1968) \\tcollected in The Holy Forest (Coach House Press, 1993).]\\n18:32- Reads \\\"Aphrodite of the Leaves\\\"  [INDEX: city, light, Aphrodite, place from Charms (1964-1968) collected in The Holy Forest (Coach House Press, 1993).]\\n19:05- Reads \\\"Winter Words\\\" [INDEX: fountain, silence, cold, invisible; from Charms       (1964-1968) collected in The Holy Forest (Coach House Press, 1993)]\\n19:42- Reads \\\"The Stories\\\" [INDEX: table, supper, sound, imagination, taste, radio from Charms (1964-1968) collected in The Holy Forest (Coach House Press, 1993).]\\n20:25- Reads \\\"The City\\\" [INDEX: lover, city, Wandering Jew, voice, water, radio, light,       fountain from Charms (1964-1968) collected in The Holy Forest (Coach House Press,   1993).]\\n21:15- Reads \\\"The Translator: A Tale\\\" [INDEX: water, circle, tale, translation, shadow, sex, moth, flight; from The Moth Poem (Open Space, 1964).]\\n22:34- Reads unknown poem first line [\\\"...and returns, it is easy to personify\\\"]\\t[INDEX: head, personification, woman, love, disease, nature, moon, Blake, star, city, place, Odyssey, story, night, word]\\n24:37- Reads \\\"A Gift: Homage to Creeley\\\" [INDEX: room, house, table, soul, city, language, Wells Fargo, poet, love; published as “A Gift”, from Charms (1964-1968) collected in The Holy Forest (Coach House Press, 1993).]\\n25:33- Reads \\\"Bottom's Dream\\\"  [INDEX: Shakespeare, A Midsummer Night's Dream,        Bottom, solitude, translation, city, love, glass; from Charms (1964-1968) collected in The Holy Forest (Coach House Press, 1993).]\\n26:21- Reads \\\"The Finder\\\" [INDEX: tree, window, English Bay, Vancouver, ship, body, blood, intellect, violence, death, glass; from Charms (1964-1968) collected in The Holy Forest (Coach House Press, 1993).]\\n27:37- Reads \\\"Out of the Window\\\" [INDEX: nature, earth, sea, fire, heart, city, building, loss, invisible; from Charms (1964-1968) collected in The Holy Forest (Coach House Press, 1993).]\\n28:48- Reads \\\"Merlin\\\" [INDEX: action, blackbird, glass, companion, house, window, tree, unity, poetry, city, future, movement; from Charms (1964-1968) collected in The Holy Forest (Coach House Press, 1993).]\\n29:47- Reads \\\"The Cry of Merlin\\\" (unfinished reading on recording) [INDEX: stone, blue,  spiritual, image, man, room, story, sea, sex, body, love, radio, Daphne;  from Charms     (1964-1968) collected in The Holy Forest (Coach House Press, 1993).]\\n31:58- Break/distortion in tape; recording recommences mid-phrase as Blaser introduces his last work.\\n32:00- Introduces “Image Nation 6: a marriage poem for Gladys Hindmarch and Cliff      Anston” [INDEX: marriage ceremony, psalms, gift, blessing, wedding, Gladys    \\tHindmarch, Cliff Anston; published in Image Nations 5-14 (1967- 1974) collected in The Holy Forest (Coach House Press, 1993)]\\n32:18- Reads “Image Nation 6: a marriage poem for Gladys Hindmarch and Cliff  \\tAnston” [INDEX: marriage, tree, Gladys Hindmarch, Cliff Anston, vision, gift, occasional poem, ring, unity, image, invisible.]\\n33:30- Robin Blaser thanks audience.\\n33:33.03- END OF RECORDING.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/robin-blaser-at-sgwu-1969/\"}]"],"score":1.8530173},{"id":"1278","cataloger_name":["Masoumeh,Zaare"],"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 Duncan at Sir George Williams University, The Poetry Series, 19 April 1969"],"item_title_source":["Cataloguer"],"item_title_note":["\"ROBERT DUNCAN -1 Recorded Spring 1970 3.75 ips, 1/2 track on 1 mil. tape ONE OF TWO TAPES\" written on sticker on the back of the tape's box. \"ROBERT DUNCAN -1 I006/SR96.1\" written on sticker on the spine of the tape's box. I006-11-096.1 written on sticker on the reel.\n\n\"ROBERT DUNCAN -2 Recorded, Spring, 1970 3.75 ips, 1/2 track on 1 mil. tape THE SECOND OF TWO TAPES\" written on sticker on the back of the tape's box. \"ROBERT DUNCAN -2 I006/SR96.2\" written on sticker on the spine of the tape's box."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 3"],"item_identifiers":["[I006-11-096.1 , I006-11-096.2]"],"creator_names":["Duncan, Robert"],"creator_names_search":["Duncan, Robert"],"creators":["[{\"url\":\" http://viaf.org/viaf/105142281\",\"name\":\"Duncan, Robert\",\"dates\":\"1919-1988\",\"notes\":\"American poet Robert Duncan was born on January 7, 1919 in Oakland, California. At birth, he was given his father’s name: Edward Howard Duncan. In 1920 and after his mother’s death shortly after childbirth, Duncan was adopted into another family and re-named. But he adopted the name Robert Duncan when he started publishing his early poems. These poems were published in magazines during his studies at University of California at Berkeley between 1936-1938. He edited the Experimental Review the year following. Duncan then moved to New York where he joined a group of writers which included Anais Nin, George Barker, Henry Miller, and Kenneth Patchen. The poems that he wrote in this period were collected in 1966 for The Years as Catches: First Poems 1939-1946 (Oyez Press) and in 1968 for The First Decade: Selected Poems 1940-1950 (Fulcrum Press). From 1946 to 1950, Duncan moved to San Francisco, where he met and was influenced by poet Jack Spicer. His first collection of published poems was Heavenly and Earthly City (Bern Porter Press, 1947), followed by Poems 1948-49 (Berkeley Miscellany Editions, 1949). In 1948 he enrolled in classes in Medieval and Renaissance Civilization, taught by Ernst Kantorowicz, after which he published Medieval Scenes (Centaur Press) in 1950. The next year he met and began a lifelong relationship with the painter Jess Collins, and by 1955 he published Caesar’s Gate Poems 1949-1950 with Collages by Jess (Divers Press), a collection of poems from the early 50’s. Fragments of a Disordered Devotion was published privately in 1952, only to be re-printed by Toronto’s Island Press in 1966. During this time he also was deeply influenced by the poems of Charles Olson, Robert Creeley and Denise Levertov. Duncan taught at the Black Mountain College in 1956, and published Derivations (1968), poems collected from 1950 to 1956. After spending a year in Mallorca, his play Medea at Kolchis: The Maiden Head was performed at Black Mountain College. Duncan then moved back to San Francisco as the assistant director of the Poetry Center at San Francisco State University.  His most popular collection of poems, The Opening of the Field (Grove Press) was published in 1960, and was re-printed in London by Jonathan Cape in 1969 and in New York by New Directions in 1973. He was associated with the Creative Writing Workshop at the University of British Columbia in 1963, and he held a Guggenheim Fellowship until 1964. Duncan became one of the most vocal poets writing against the Vietnam war, and some of his anti-war poetry was published in pamphlets, collected later in Ground Work: Before the War printed privately in 1971. His later collections include, but are not limited to Roots and Branches, (Scribners, 1964, reprinted by New Directions, 1968, and Johnathan Cape, 1970), Bending the Bow (New Directions, 1968), his last collection of poetry, Ground Work II: In the Dark (New Directions, 1987), and several books of essays including Fictive Certainties (New Directions, 1985). He was the recipient of National Endowment of the Arts grants, the National Poetry Award as well as other honours. Robert Duncan died in 1988, and several of his collections of poetry were published posthumously.\",\"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":[1969],"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\":\"\"},{\"side\":\"\",\"image\":\"\",\"other\":\"Box is Scotch brand, tape is BASF\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"BASF\",\"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","Reel to Reel"],"physical_compositions":["Magnetic Tape","Magnetic Tape"],"recording_type":["Analogue","Analogue"],"AV_type":["Audio","Audio"],"playback_mode":["Mono","Mono"],"Dates":["[{\"date\":\"1969 4 19\",\"type\":\"Performance Date\",\"notes\":\"Please note that the Howard Fink list states the reading took place in “Spring 1970”, while the interview states another (perhaps separate) reading took place on April 19, 1969.\",\"source\":\"Previous researcher\"}]"],"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":["Robert Duncan reads from The Opening of the Field (Grove Press, 1960), Roots and Branches (New Directions, 1964), and Bending the Bow (New Directions, 1968)."],"contents":["robert_duncan_i006-11-096-1.mp3 [File 1 of 2] \n \nGeorge Bowering\n00:00:00\n...say anything about Robert Duncan's credentials, so I'll make this as brief as possible. M.L. Rosenthal [https://www.wikidata.org/wiki/Q6723336] said, a little while ago in the Reporter that Duncan [https://www.wikidata.org/wiki/Q57421163] was the best of the poets in the experimental tradition and Warren Tolman says he's the best poet writing in the English Language, and I'd probably go further than that. And it's the reading we've been waiting for, most of us, all year, so I'd like to give him as much time as there possibly is. Robert Duncan.\n \nRobert Duncan\n00:00:44\nIn the early 50's, I belonged to a, not a group, because as a matter of fact we were scattered, some in Europe and some in America and didn't know each other, but we were all reacting to a, we all had response of a feeling of poetic responsibility and also a poetic mission, arising out of our response to the publication of Ezra Pound's [https://www.wikidata.org/wiki/Q163366] \"Pisan Cantos\" [https://www.wikidata.org/wiki/Q2701465] and the publication that came year after year of the parts of William Carlos Williams's [https://www.wikidata.org/wiki/Q178106] \"Paterson\" [https://www.wikidata.org/wiki/Q7017378] but in the same period in magazines, some of the poetry of the later William Carlos Williams was appearing. And it does interest me, although the command of the Modernists had been to write in a natural speech, that in response to features that were appearing in Williams more than Pound, because Pound's lines are all syntactic utterances, but in Williams there's a kind of enjambment and there was a juncture appearing at the end of lines. And we, we took that juncture over and imposed it upon the language, but even in imposing it, found that we had arrived at something that's quite common indeed in our English speech, the stutter is at one end of it, but it is one of the forms we have when we are emotionally excited and things are broken up into phrases and words become almost painful and impossible to say, and this encounter we explored for some time. Later, I'm going to be reading, in passages, which will bring into question radically something related to his. My poetry developed along lines that I began to see as allied to the collage, things that were appearing in American painting, that is whole elements and bits would be taken from anywhere, and very early, at the time, as a matter of fact that I was writing The Opening of the Field, I viewed myself as a kind of jackdaw of poetry and gave up entirely worrying about if I had any originality or had a voice of my own. I was much more attracted picking up things and building them into something, so I was a weaver, I felt in some ways, almost before I was a speaker, and I was a weaver of voices and did not care, or- I decided well, I happen to be the one who is doing this, so certainly that's one thing that I don't have to have an effort about. There's nothing else that's going to be moving out from here. In passages, you'll find a new feature about that collage, but it's already contained in the thing I was suggesting that we took over- the juncture, Creeley [https://www.wikidata.org/wiki/Q918620] for instance built a whole personal style from that juncture and by making its articulation radical, and forcing it into a depth of an emotional statement, and of course of an intellectual statement, because the whole framework of thought changes. Very striking to us in the very beginning was that form was the content, not, it was very hard to determine it, you could say that it even determined content, there was no cause to effect relationship for us, between form and content. Structure determined the nature of what was to thought, like the structure of a body is to what we are, and we didn't think of them as divided, so we were incarnationists in that sense. I feel very strongly that you'll find that repeatedly a theme of my poetry the incarnation of Christ [https://www.wikidata.org/wiki/Q302], the incarnation of spirit and the body, that spirit, that the divine world is manifest and incarnate, and that in its- led us back to the poem as the incarnation and place in which- the spirit doesn't enter poetry, incarnate, it exists. But it was also a collage and you will hear Greek and French entering this world of a collage, and it will be as reformed as the American language is when it enters my collage. And reformed to American contours, the contours of French, and the contours of Greek disappear, forced back into an American stress system, which I find analogous. The French poets were extremely disturbed when Stravinsky set them, she could not bear to hear [Persephone (?)] and because they all came out, French all came out to be Russian in its entire tonation and the French not very happy when the French language turns up in an intonation. I'm thinking of the Parisian, but no Frenchman's very happy about the French language turning up, turning out to be American or Russian. Now my poetry doesn't turn out to be exactly American either, it turns out to be strictly forced back to conform to my poetic patterns, and Greek is not intoned but is forced into a stress pattern. However, with Greek I'm in for free because there's no man who can say what you do with it anyway. In America, we have one system, in Germany, they have another system, and in England, they have, still, a third system of what to do with vowels and what to do with the whole thing. And there's a controversy about whether you do have pitch or whether you do have stress and that arises from the fact that the Hellenistic Greeks [https://www.wikidata.org/wiki/Q428995] already couldn't figure out exactly what you did with those Greek choruses, and they had to put those marks in to instruct their readers what to do, and we don't know what those marks meant for sure [audience laughter]. But they certainly didn't know what it had been like 500 years before. They did poorer, I take it, than the poorest, and that would include me, informed of us do with Middle English [https://www.wikidata.org/wiki/Q36395], and I guess we're nearer to it than they were. Okay, well, we'll just start out and I want to take a path, I'm going to take a path through beginning with a small group of poems from The Opening of the Field.\n \nRobert Duncan\n00:07:46\nReads \"The Law I Love is Major Mover” from The Opening of the Field.\n \nRobert Duncan\n00:10:44\nWhen I was about 30, a great Medieval Historian was teaching at the University of California [https://www.wikidata.org/wiki/Q184478], where I made my living teaching, typing thesis and term papers when I was really hard out of luck and the rumour was very thick indeed that something extraordinary had happened, I think, and my impression is that Universities kill off scholars today much faster than they- they certainly don't kill off poets, they give them very handsome fees to come for a week or so, but they certainly kill off scholars, but the existence- perhaps only the World War with its refugee professors from Europe brought this kind of scholarship onto the scene at the University of California and I returned to school to take up Medieval Studies. One of the, clearly, in my work I, the one course, and I studied with that man until he left for the Princeton Institute of Advanced Learning, studied for him--with him for two and a half years, the course that most changed my poetry was a course on Medieval law, and the growth of constitutional law, because the very basis of poetry I think is a- of art, is the discovery of laws, the laws that finally we can trace through from those Medieval concepts of law and constant meditations upon law so I'm going to read a couple of more poems of our- in which this concept of law moves. This is \"Structure of Rime XIII\" and it's part of an open construct that is a construct that has nothing in its concept, does not belong to a world of cause or effect. It has a chronology, but its chronology is like our chronological time, that is seen by contemporary physics as an anomaly within a time--within a physical time that cannot possibly have the character of a chronological sequence. The best they can explain is that we must inhabit a thread that is suspended in actual time, because actual physical time cannot really be one directional, and we experience one directional time because we are really caught in some isolated thread, in the medium of time. So in \"Structure of Rime\" I conceive of myself not in a chronology, although I experience it, being human as such, but as entering such a domain in which real law exists and real time exists, and the real form to which the poem refers and from which it derives its form. The real form has no beginning or end, and is much faster, is universal, so the--in writing the poem I do not create a form, but participate in a form which is of the nature that we believe the physical world to be and I am much for a convert of Whitehead's process and reality in which we believe the spiritual world to be. And that's where \"The Structure of Rime\" takes place. When I say 'thirteen',  that's of course, in my own sequence then and I conceive of that sequence as actually existing in a part of the mosaic that does not have the character of sequence.\n \nRobert Duncan\n00:14:29\nReads \"Structure of Rime XIII\" from The Opening of the Field. \n \nRobert Duncan\n00:16:59\nSome time shortly after The Opening of the Field was published, I was invited up to Portland [https://www.wikidata.org/wiki/Q6106] by a lawyer and his wife to talk to a small group and I learned in correspondence that he had been attracted to my poetry because of the concepts of law as they move through poems, and so I wrote, for them, the poem called \"The Law\", a series and variation.\n \nRobert Duncan\n00:17:35\nReads \"The Law\" [from Roots and Branches].\n \nRobert Duncan\n00:23:27\nWhen Adams [https://www.wikidata.org/wiki/Q11806] said, “the which”, meaning, he said, \"Democracy, the which requires the continual exercise of virtue beyond the reach of human infirmity, even in its best estate\" he was writing to Jefferson and talking about something that was absolutely necessary, he did not mean that we could escape from what required what was impossible. We had to live in the impossible, which is where I found myself entirely in concord with certainly a poet understands what it is to live in the impossible. He speaks in the first place in a voice which is impossible for himself to speak in, and before which he must always be a flunk out and in some sense, a political- a poetical failure in relation to what everywhere's own poetics is to point out what is necessary. Let me in relation to the law again, read the opening of a poem that I will be later be reading entire, but I want to bring it in context with these poems and the law, and close it with a John Adams that I discovered only a passage of John Adams that I discovered for myself, only about what, it's two or three years ago, two years ago. \"Reading on Myth\", this was from a book called I think it's called 18th Century Against the Gods, or confronts--The 18th Century Confronts the Gods and the chapter on John Adams's mythology was a fascinating chapter, and this passage of the poem is built up entirely with no interpolations at all of--it's built up to the place where I cease to read it, with no interpolations at all of passages of the marginalia that John Adams writes in an Encyclopedia of Mythology.\n \nRobert Duncan\n00:25:32\nReads [\"John Adams’s Marginalia...\"].\n \nRobert Duncan\n00:26:53\nMove back to another early poem in The Opening of the Field that was formative to, throughout my work and the last I guess it must be, each one of these is about three, this is the last ten years. The Field began in 1956, so it must be the last 14 years. And this poem is written in 1956. Take my coat off. In articulating the line, we were opening up- Pound had very early said [unintelligible] by the musical phrase and as I said, since his phrases were identical with syntactic utterances, with sentence utterances, the phrase is- the phrase is simpler than the phrases we use, where often they are enjambed, where often they disturb the meaning of the sentence and suspend elements so that they operate in various parts we did not want what was called an ambiguity by Mr. [Adams (?)], we wanted a multi-phasic area of meanings which is something very different. We wanted all parts to operate within all other parts. And I think this is a crucial difference from what let's say fascinated the metaphysicals of the post-Eliot [https://www.wikidata.org/wiki/Q37767] period in their idea of ambiguities. We wanted one meaning operating within another meaning and they wanted one meaning secretly giving another meaning, I may have such things too, but I mean it's a very different feeling for us. Certainly they did not have to come to articulate as we did, and with these poems, when I get to, as you'll see in passages, when I get into rhythmic articulations where only my body is intelligent enough to keep them, so I have to throw them back into my hands and to my body, a dance can carry them and a dance is really in a sense, the poem in which I moved straight forward and realized how un-literary this was and not exactly song either, and that this dance centre was going to be for whole sections of poems. So, there's a key poem.\n\nRobert Duncan\n00:29:27\nReads \"The Dance\" [from The Opening of the Field].\n\nUnknown\n00:31:32\n[Cut or edit made in tape. Unknown amount of time elapsed]. \n\nRobert Duncan\n00:31:33\nResumes reading \"The Dance\" [from The Opening of the Field].\n \nRobert Duncan\n00:32:09.\nSomeone said this evening I probably wouldn't read The Pindar poems, I will. Oh let me sing a song for you, songs, I have a couple of songs that are in books. Songs for me are not that quaint form that, a few of them are like the night nurse's songs, the song the night nurse sang. But a song of the old order and some of the other songs are actual songs, that means when I was writing them, a tune came. And they had only one voice to be in, mine, and we could even say unhappily, but there they were. And startled I was when, this is I think, one of the first songs that came that really belonged in a book of poetry. I had early had some songs in Faust Foutu in a sort of a long play that would never get performed in my mind so I was able to whatever I wanted to in it, and- which is a great kind of play to write, because you don't have to worry about anyone else solving any problems, you can name it, they can be on the moon, or whatever, have no stage dimension problems, but also of course I had no song dimension problems but when I wrote this song, \"Gee, I know I'm going to have to get up and sing it\", well of course now you'll get away with it because how rare you'd hear a poet's voice, unless a poet's already like your happy rock-n-roll singer, which I ain't as you will hear. My idea of song is exceedingly primitive indeed, my impression is very, I think you will hear it in this song, it comes from a brief period in which to much the horror of my theosophical parents, but because we were living in a small town and all your friends went to a Sunday School, I went for several years to a Methodist Sunday school and somebody along the line gave me the hint that hymns would come out much better if I just moved my mouth and didn't join in, happily, the lovely music that was going on and so of course I always wanted to write a hymn and there's something in the Methodist hymnal for sure in the song I'm going to sing. \"A Song of the Old Order\". It's not strictly Methodist in theology, but I meant that it's something of the Methodist hymn. However, I will sing also, by following another song that is certainly Calvinist [https://www.wikidata.org/wiki/Q101849], it's a Halloween song, and like only the scotch can possibly dig out of there- the Calvinist counter hymnal.\n \nRobert Duncan\n00:34:52\nSings \"A Song of the Old Order\" [from The Opening of the Field].\n \nRobert Duncan\n00:38:05\nThat was considerably higher than I've ever tried to do it before. [Audience laughter]. But, like a poem, when you're writing it, when you're in it, you're in for it. You can't re-model it to something you think you might get through with. So I will now do the Pindar poem. That somewhat determines what long poem we're going to do. And since this is the first time I've read here in Montreal, some other places I read, I try and give them new stuff, but I take it outside of some tapes that might be available, you haven't really heard these poems. And this will be the last one from The Opening of the Field. I'll pick up a couple from Roots and Branches and then I will be reading from the current, the Bending the Bow and then after the break I'll read some of the new poems that I've written since Bending the Bow. [Take off Biney's Law (?).] No, this is not the beginning of a Ginsberg [https://www.wikidata.org/wiki/Q6711] round [laughter.] \"Beginning with a Line by Pindar\", I am ending up with an exhibition by Ginsberg, [laughter.] We've gotten so [unintelligible] in San Francisco [https://www.wikidata.org/wiki/Q62] since all barriers of all kinds were down you really couldn't compete with the show, so you've got, I mean what to do. Common, ordinary people are just left out, you've got to be somebody extraordinary now to [audience laughter], and poetry has to be my extraordinary thing. Believe me, the rest of me is just me. \"A Poem Beginning with a Line by Pindar\".\n\nRobert Duncan\n00:40:17\nReads \"A Poem Beginning with a Line by Pindar\" [from The Opening of the Field].\n \nRobert Duncan\n00:54:15\nI'll read two poems from--that were requested from Roots and Branches.\n \nRobert Duncan\n00:54:30\nReads [\"Risk”] from Roots and Branches.\n \nRobert Duncan\n00:59:22\nThe other poem I will read from Roots and Branches is \"The Continent\". My poetic thought continuously arises from the ground of my happy and, believe me, wildly misunderstanding readings of contemporary science. And the one real poetic source I have is not a literary magazine but Scientific American [https://www.wikidata.org/wiki/Q39379] which I avidly read. So I'm more likely to be studying language than I am to be studying poems and more likely to be studying the world, than I am to be- well, I can't say that, language and the world get even treatment. The poem \"The Continent\" came from the re-assertion that has come in recent years of evidence which has rebuilt the picture of the continental drift. And I was happy at the coordinates to find that Charles Olson [https://www.wikidata.org/wiki/Q922978], who also ransacks the same magazine, but does not have the same misunderstandings of the magazine by any means, we have quite a, we sometimes come to [loggerheads (?) ] in our very positively taken misunderstandings of what is. He also had built sections of “Maximus [Poems]” on the continental drift. I love puns of course right away, and so does he, and if you get my drift in poetry, you will see something of what is revealed when we begin to get the drift of those continents and the fittingness of poetry is of course the logic whereby we identify that the continents originally fitted together and identified the sequence of things that happened. They do fit together, but they must have- I mean, the universe- the Neo-plateness, [unintelligible], well no, it isn't a neo-plate, well, it's a near neo-plate, and it's [unintelligible] Judas [https://www.wikidata.org/wiki/Q81018] refers to the masterpiece which is the Universe, that's the only masterpiece and the rest of us compose masterpieces because we are children of the universe, although we may not recognize that that's what we are doing. Some of us don't have entire respect for what we belong to. \"The Continent\".\n \nRobert Duncan\n01:01:49\nReads \"The Continent\" from Roots and Branches.\n \nUnknown\n01:03:39\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nRobert Duncan\n01:03:40\nResumes reading \"The Continent\" from Roots and Branches.\n\nRobert Duncan\n01:06:16\n[Unintelligible] break in tone I'll sing that song I mentioned, the second one that comes from a Calvinist anti-hymnal. It's a song from my Halloween masque. And it's “A Country Wife’s Song”, the country husband is lying in bed, snoring away and the wife rises silently, puts a stick in the bed and a stone on the pillow and sings the following song.\n \nRobert Duncan\n01:07:50\nPerforms “A Country Wife’s Song” [from Roots and Branches].\n \nRobert Duncan\n01:09:38\nWe seem to be close to 10:30 so I'm going to just--I won't read--well, I'd like to read one passage before the intermission and I would also like to read the poem \"Epilogos\", then we'll have a break, I would suggest about 10 minutes and I will then read in the second part, I will be reading from \"Passages\", well let me add one more poem to this first part because I want to give you a sample of what I've been--so there will be one \"Passages\", so those of you with great relief run out into the world will at least have been subject to something of what \"Passages\" is like, and I will read \"Epilogos\" and then I will read one of the poems that I have written, post-Bending the Bow and then you will have a sample of everything and you won't be missing a thing if you don't stay for the second part. [Audience laughter]. Okay, well a few things, but you might be missing them anyway.\n \nRobert Duncan\n01:10:39\nReads \"Transgressing the Real, Passages 27\" [from Bending the Bow].\n \nRobert Duncan\n01:14:14\nReads \"Epilogos\" [from Bending the Bow].\n\nRobert Duncan\n01:20:57\nNow the one poem from, poetry I've written since then, a poem called \"Achilles' Song\". One note before I read it, the island that we would ordinarily in American call ‘Leuke’ a [unintelligible], like in Leukemia--leuke. In Greek would be ‘Lay-okay’ and so I was very alarmed indeed when in this poem, as I was writing it came out ‘Loy-kay’ and it took me quite some time of sheer stage fright and horror at the mis-pronunciation recall the ‘Lauke’ in German is the [unintelligible] and so forth in German, and that I have had for years now, for some years now a tape of H.D. [https://www.wikidata.org/wiki/Q236469] reading from her \"Helen in Egypt\", a poem which is really the mother poem of this poem, and not too much hidden in the poem, for those who know of  my closeness to H.D. who was certainly a surrogate mother for me. Thetis of the poem would certainly be the poetess H.D. and in that tape, H.D. who had lived for most of her life from the 20's on in Switzerland, uses the German pronunciation throughout, ‘Aloike’ and that's how I heard it in association with this poem. So I've finally recognized where it came from but it's an example of the fact that you cannot correct things in poems because it's sewn into a rhyme and absolutely belongs in the music here. Play it differently--I mean, it's what fits a poem not what fits some other system outside the poem that the poem must adhere to. Okay, \"Achilles' Song\".\n \nRobert Duncan\n01:22:44 \nReads \"Achilles' Song\".\n\nUnknown\n01:25:05\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nAudience\n01:25:06\nApplause.\n\nRobert Duncan\n01:25:16\nSo we'll take a break of ten minutes and then I'm going to read a rather short section because we're almost at 11 and that would seem, I want to read as many, something like four passages to give you of a feeling of moving through that and that would give you something like Passages are like.\n\nUnknown\n01:25:44\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nRobert Duncan\n01:25:45\nTwo aspects of the art, seem particularly mysteries to me as I've been working at the art of poetry since I was 19 and it's now 30 years. In relation to that thing we call rhyme, meter and so forth, I have come to think more and more that it's ratios and numbers that may be the heart of the matter. And at the same time as I begin to feel that at the heart of the matter, as one begins to, as one does with mysteries, be fearful about approaching the question. Some years ago, two years ago or so, with the poet Zukofsky [https://www.wikidata.org/wiki/Q975481], who knows much more than I do of the art, and performs really awesomely in it, I said it had begun, I said \"Zuk,” I said, “I had begun to feel that it isn't a question about syllables or stresses and so forth, it's a question of numbers\". And he said \"Yes, I've decided by now I ought to, certainly if I don't know syllables and stresses and so forth, by now, I mean know them only in my hand, I certainly shouldn't be thinking about them. And I am now only dealing with 8's. All of these lines are 8's, straight through. I have not yet really phased the initiations of the question of numbers but I know that this is central as one moves into the period of working in the art that I'm in.\" The other thing, and that is that I have indicated it earlier, is that the nature of the time of the art is increasingly mysterious, the one thing I'm sure of it cannot be, positive absolutely defined in one area, for a long time I was doing happily enough with the formula that Christians made for themselves of time and eternity and their term of eternity which is the very present moment of any work of art and is also of course somehow containing the ensemble of all of the things created must also be like that time that physics talks about. That makes them puzzle why in the world our own time goes from a thing we call the past to the future. Whitehead [https://www.wikidata.org/wiki/Q183372] solves it in Process and Reality by suggesting that we create, in every moment that we live a past and a future, and we live in a history consequently because that's what we create what we are, is pastness and future, and sum it up in a material, that is still persuasive. But a mystery is when none of the answers are answers and as long as they're not answers the artist has them as really, forces that move as art. Now I make this remark because, well I said something about chronologies I, in the past I have not read these two poems as they appear in the book, in readings, but I want to read them today and I'm going to just underline the transition I want you to see and share with me at this point. I arranged, for all that what I've said about chronologies, I arranged the poems in my volumes chronologically and largely because it seems to me a mystery as they go and the rhymes appear from one to the other, and one poem will be an announcement of a succeeding poem or themes will flow out of it. The one I'm going to read first is not a “Passages\" it's called \"Reflections\" and at the close, and as a theme of it, you will find the old man, who is as a matter of fact, I structure rhyme preceding it had a fire master appearing, who seems very close indeed to the master of fire, and the poem that came next, it may have been in a couple of weeks of so, this was a very productive period, concludes with a figure of an old man tuning a drum between a bowl of fire and a bowl of water, and it was followed by a \"Passages\" which is called \"The Fire\", and from it we can learn that the fire that you see in \"Passages\" which is catastrophic, and is held in a polarity with an ideogram with the natural world, that that which may have indeed be--is indeed a bowl of water, as you will see, I mean it's a stream of water that the fire is composed between a world of water and its own world of fire, but that fire that looks like a catastrophe you will find is the creative fire--if you go under \"Reflections\" and let the reflections that came first reflect into the poem following. Now these are things that you realize afterwards, in your own chronology. I am one of those poets who has the characteristic I find in my study of Whitman [https://www.wikidata.org/wiki/Q81438] in the last three years that Whitman certainly was another poet who studied himself all the time. We have a great prohibition in our contemporary world against studying yourself, but I am not short on the world of ego, so I'm not really very disturbed about the fact that I study myself in the poetry. But the one thing I search to find is not something we would ordinarily call ourselves, I study the poet, the thing that the poems are creating in order for them to come into being. That I can sharply distinguish from myself. As sharply as you can do it, it takes office, the idea of office, and this again I got from my Medieval Studies. Okay, I'm going to read \"Reflections\" and then I'm going to read \"The Fire\" and then I will, the poems I will be reading from then on will be \"Passages\", \"Fire\" is one of \"Passages\". And \"Passages\" is as I explained, an open form that exists in these other universe of time, of something, like, you call eternity.\n \nRobert Duncan\n01:32:07\nReads \"Reflections\" [from Bending the Bow].\n \nEND\n01:34:38\n\n\nrobert_duncan_i006-11-096-2.mp3 [File 2 of 2] \n\nRobert Duncan\n00:00:00\nReads [“The Fire, Passages 13 from Bending the Bow; recording begins abruptly].\n \nUnknown\n00:13:11\n[Cut or edit made in tape. Unknown amount of time elapsed]. \n\nRobert Duncan\n00:13:12\n...beginning with a poem called \"Soldiers\", a poem in which, um, let's see, right, some lines of Victor Hugo [https://www.wikidata.org/wiki/Q535] enter, I decided I should, well, I guess, lets see, no I don't want to read too late, and soldiers is rather long again, so I want- certain themes that are moving in \"Soldiers\" will reappear. In \"Soldiers\", a recurring line was one from a poem of Victor Hugo's, \"Dieu dans [unintelligible] reve\", which is a line really quite in tune with my own poetics, \"God, oh creator the- or the creator for us too in oneself whose dream, whose work goes much further than our dreams\" and so it's combined with a scene that's Vietnam and it's combined in the Soldiers with the theme of the recognition that in some mystery of that work that goes further than our dreams the soldiers in Vietnam most of them, have just there, and they're 19 or 18 and so forth, they have only there in which to make their lives. And they have only there in which to, to take their souls in the war, as the followers of Orpheus take soul in the poem. The wood to take fire from that dirty flame. A recognition that that is their field in which they must reach life's epiphany and its thing. And the line of Victor Hugo carried me forward to and returned me to grand themes of Victor Hugo's but it also took me back to Vietnam [https://www.wikidata.org/wiki/Q881] and I wanted to give, before I read \"The Kao Dai\" a little sketch of that. There's a theme of Victor Hugo, by the way, of the fall of Lucifer [https://www.wikidata.org/wiki/Q185498] in which, Lucifer's falling into his own denial of God and in falling he opens the univ- creation, and but in his falling a feather breaks loose from his wings and is floating mid-air, and the sight of God descending falls upon the feather and it becomes light and it turns into an angel and that angel is Liberty and that angel's entire message is to transform the rage and wrathful light that had fallen upon it into the reunion and resurrection of Satan, but of course both Satan and God must be called from their wrath, to reconciliation, so this angel, Liberty and Freedom is also the angel of reconciliation and Victor Hugo knew that also there must be some explanation for the fact that the desire and yearning for freedom and liberty has always been wrathful. Blake [https://www.wikidata.org/wiki/Q41513] is puzzled by the same thing and I think that today, when all over the world, not only in Canada [https://www.wikidata.org/wiki/Q16], but in the United States [https://www.wikidata.org/wiki/Q30], and in China [https://www.wikidata.org/wiki/Q29520], and Yugoslavia [https://www.wikidata.org/wiki/Q36704] and Russia [https://www.wikidata.org/wiki/Q159] the wrath of Liberty is rising and it is the wrath of God against the civilization to its very roots which we know in our hearts are Godless. But that wrath must be reconciled, because it is itself that it's rising against and there's some mystery in this, so my poetry has begun to take up the figure of that angel and the angel comes into it. Now, in Vietnam, one of the strongest forces in the Viet Cong, not a communist group but a religious group, the Cao Dai [https://www.wikidata.org/wiki/Q470364] and in order to read more in deeper into the Cao Dai, I wisely, I think, went back to sources to the early thirties before Vietnam was quite the cause it is today, and found this story and it came quite in line with my kooky family and my own poetry because it was at a medium's table in 1925 on Christmas Eve, when Christ descended and speaking in French, as I usually put it when I read my, something worse than American French, a French man would feel that that was blasphemy, but I'm after all repeating Christ's words in his own voice so that might be more serious yet that that voice was being attempted. Christ came into the medium and renounced in my birth day for the spirit is descending upon Vietnam and when we remember what happened to the very first generation of Christians who were burned in rows as torches, what the promise of Christ meant to his immediate blessing, the powers of martyrdom. The promise of Christ in 1925 was amply fulfilled to his new disciples. So amply, as a matter of fact, the Cao Dai had more than come to my mind, because the cathedral town of Cao Dai, which is [unintelligible] indeed exactly like a Catholic nunnery or convent, or a Buddhist nunnery or convent is Communist, is the province of Tay Ninh [https://www.wikidata.org/wiki/Q36608], and the Cathedral city of Tay Ninh, now it is been repeated over and over in American papers that when those planes were returning for missions in North Vietnam and hadn't dumped their missions, you're not supposed to return any bombs, you gotta dump them somewhere, so they'd dump them on Tay Ninh, you'd just go over the side and dump them on Tay Ninh, because this particular religious group was stubborn indeed in its inherences. Now, also interesting to me was this particular religious group had as its patron Saint Victor Hugo, and the first place that the French are, that the Vietnamese have French as their deepest religious and literary language and so Christ talked in French so Victor Hugo gave the whole line, it's Victor Hugo's Christ who talked to them at the medium tables in French, and they of course had their medium tables in the line of the tradition of Victor Hugo's own medium tables in the Isle of Jersey. So Victor Hugo becomes patron saint for these passages. In the passage, by the way, a passage called \"Orders\" and I will read a passage from it in which I am actually translating from Victor Hugo quite directly but it's a very long poem and keeping in tune with that master of the sublime is very difficult for us in the modern period. Here we are, the passage, wait a minute, it isn't in that poem, I always think it's in \"Orders\", but it's actually in place of a passage 22, that has the passage with Victor Hugo. I have been working on it for years, and it's mainly trying to keep in tune, I go over and over and over it again and then I find it very difficult to deal with 19th century poetry. But this is a passage straight translation, as literal as I could from Victor Hugo, but really, massive poem.\n \nRobert Duncan\n00:21:11\nReads \"The Soldiers\" [from Bending the Bow].\n \nRobert Duncan\n00:22:14\nCharming little poem called the \"Twentieth Century\", in case you want to know where we are.\n \nRobert Duncan\n00:22:22\nReads \"Twentieth Century\" [published as “The Light, Passages 28” in Bending the Bow].\n \nRobert Duncan\n00:30:27\nI'll close with \"Stage Directions\".\n \nUnknown\n00:30:32\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nRobert Duncan\n00:30:33\nReads [“Stage Directions, Passages 30” from Bending the Bow; begins mid-poem].\n \nAudience\n00:37:53\nApplause.\n \nRobert Duncan\n00:38:12\nI'll add one more poem which has not been read aloud except at home today, this is one--I hope I've got the right note--this is a \"Structure of Rime\" that was composed on April Fool's day but it doesn't mean it isn't serious, I mean April 1st.\n \nRobert Duncan\n00:38:32\nReads \"Structure of Rime\" [unnumbered].\n \nAudience\n00:39:54\nApplause.\n \nEND\n00:40:06\n"],"Note":["[{\"note\":\"Year-Specific Information: \\n\\nAt the time of this reading (1970), Robert Duncan had published Tribunals Passages 31-35 (Black Sparrow Press), a broadside called Poetic Disturbances (Cody’s Books) and A Selection of 65 Drawings from the One Drawing-Book 1952-1956 (Black Sparrow Press, 1970).  He was working on Ground Work (privately printed, 1971) and Robert Duncan: An Interview by George Bowering & Robert Hogg (The Coach House Press, 1971).\",\"type\":\"General\"},{\"note\":\"Local Connections: \\n \\nDuncan’s first Canadian reading, in  Vancouver by invitation of Warren Tallman at University of British Columbia, occurred in 1961- to an audience of Bowering, Fred Wah and Frank Davey. These readings inspired the creation of Tish magazine[1]. Robert Duncan and George Bowering have corresponded with each other after this reading.\",\"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\":\"2 reel-to-reel tapes>3 CDs>2 digital files\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/robert-duncan-an-interview-april-19-1969/oclc/963367366&referer=brief_results\",\"citation\":\"Bowering, George and Robert Hogg. Robert Duncan: an interview by George Bowering &       \\tRobert Hogg. Montreal: A Beaver Kosmos Folio, 1969. \"},{\"url\":\"https://www.worldcat.org/title/bending-the-bow/oclc/612189355&referer=brief_results\",\"citation\":\"Duncan, Robert. Bending the Bow. New York: New Directions, 1968.\"},{\"url\":\"https://www.worldcat.org/title/caesars-gate-poems-1949-1950/oclc/270147363&referer=brief_results\",\"citation\":\"Duncan, Robert. Caesar’s Gate: Poems, 1949-1950. Divers Press, 1955.\"},{\"url\":\"https://www.worldcat.org/title/first-decade-selected-poems-1940-1950/oclc/500569831&referer=brief_results\",\"citation\":\"Duncan, Robert. First Decade: Selected Poems 1940-1950. Fulcrum, 1969.\"},{\"url\":\"https://www.worldcat.org/title/ground-work-before-the-war-in-the-dark/oclc/62509155&referer=brief_results\",\"citation\":\"Bertholf, Robert; Duncan, Robert; Maynard, James. Ground Work II: Before the War, In the Dark. New York: New Directions, 1985.\"},{\"url\":\"https://www.worldcat.org/title/heavenly-city-earthly-city/oclc/639710248&referer=brief_results\",\"citation\":\"Duncan, Robert. Heavenly and Earthly City. Berkeley: Miscellany Editions, 1949. \"},{\"url\":\"https://www.worldcat.org/title/opening-of-the-field/oclc/926421653&referer=brief_results\",\"citation\":\"Duncan, Robert. The Opening of the Field. Grove Press, 1960.\"},{\"url\":\"<https://www.worldcat.org/title/oxford-companion-to-american-literature/oclc/54356940&referer=brief_results\",\"citation\":\"\\\"Duncan, Robert [Edward]\\\". The Oxford Companion to American Literature. James D. Hart (ed),        Phillip W. Leininger (rev). Oxford University Press 1995.\"},{\"url\":\"https://www.worldcat.org/title/roots-and-branches/oclc/926421654&referer=brief_results\",\"citation\":\"Duncan, Robert. Roots and Branches. New York: Scribners, 1964.\"},{\"url\":\"https://www.worldcat.org/title/new-release-from-oyez-the-years-as-catches-first-poems-1939-1946-by-robert-duncan-with-an-introduction-and-bibliography-by-the-author/oclc/62513361&referer=brief_results\",\"citation\":\"Duncan, Robert. The Years as Catches: First Poems. Berkeley: Oyez Press, 1966.\"},{\"url\":\"\",\"citation\":\"Patterson, Ian. “Duncan, Robert Edward 1919-”. Literature Online Biography. H.W. Wilson         \\tCompany, 2000. \"}]"],"_version_":1853670548887830528,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0096-1_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0096-1_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Robert Duncan Tape Box 1 - 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_0096-1_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0096-1_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Robert Duncan Tape Box 1 - 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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_0096-2_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0096-2_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Robert Duncan Tape Box 2 - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0096-2_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0096-2_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Robert Duncan Tape Box 2 - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/robert_duncan_i006-11-096-1.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"robert_duncan_i006-11-096-1.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:34:38\",\"precision\":\"\",\"size\":\"227.2 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"robert_duncan_i006-11-096-1.mp3 [File 1 of 2] \\n \\nGeorge Bowering\\n00:00:00\\n...say anything about Robert Duncan's credentials, so I'll make this as brief as possible. M.L. Rosenthal [https://www.wikidata.org/wiki/Q6723336] said, a little while ago in the Reporter that Duncan [https://www.wikidata.org/wiki/Q57421163] was the best of the poets in the experimental tradition and Warren Tolman says he's the best poet writing in the English Language, and I'd probably go further than that. And it's the reading we've been waiting for, most of us, all year, so I'd like to give him as much time as there possibly is. Robert Duncan.\\n \\nRobert Duncan\\n00:00:44\\nIn the early 50's, I belonged to a, not a group, because as a matter of fact we were scattered, some in Europe and some in America and didn't know each other, but we were all reacting to a, we all had response of a feeling of poetic responsibility and also a poetic mission, arising out of our response to the publication of Ezra Pound's [https://www.wikidata.org/wiki/Q163366] \\\"Pisan Cantos\\\" [https://www.wikidata.org/wiki/Q2701465] and the publication that came year after year of the parts of William Carlos Williams's [https://www.wikidata.org/wiki/Q178106] \\\"Paterson\\\" [https://www.wikidata.org/wiki/Q7017378] but in the same period in magazines, some of the poetry of the later William Carlos Williams was appearing. And it does interest me, although the command of the Modernists had been to write in a natural speech, that in response to features that were appearing in Williams more than Pound, because Pound's lines are all syntactic utterances, but in Williams there's a kind of enjambment and there was a juncture appearing at the end of lines. And we, we took that juncture over and imposed it upon the language, but even in imposing it, found that we had arrived at something that's quite common indeed in our English speech, the stutter is at one end of it, but it is one of the forms we have when we are emotionally excited and things are broken up into phrases and words become almost painful and impossible to say, and this encounter we explored for some time. Later, I'm going to be reading, in passages, which will bring into question radically something related to his. My poetry developed along lines that I began to see as allied to the collage, things that were appearing in American painting, that is whole elements and bits would be taken from anywhere, and very early, at the time, as a matter of fact that I was writing The Opening of the Field, I viewed myself as a kind of jackdaw of poetry and gave up entirely worrying about if I had any originality or had a voice of my own. I was much more attracted picking up things and building them into something, so I was a weaver, I felt in some ways, almost before I was a speaker, and I was a weaver of voices and did not care, or- I decided well, I happen to be the one who is doing this, so certainly that's one thing that I don't have to have an effort about. There's nothing else that's going to be moving out from here. In passages, you'll find a new feature about that collage, but it's already contained in the thing I was suggesting that we took over- the juncture, Creeley [https://www.wikidata.org/wiki/Q918620] for instance built a whole personal style from that juncture and by making its articulation radical, and forcing it into a depth of an emotional statement, and of course of an intellectual statement, because the whole framework of thought changes. Very striking to us in the very beginning was that form was the content, not, it was very hard to determine it, you could say that it even determined content, there was no cause to effect relationship for us, between form and content. Structure determined the nature of what was to thought, like the structure of a body is to what we are, and we didn't think of them as divided, so we were incarnationists in that sense. I feel very strongly that you'll find that repeatedly a theme of my poetry the incarnation of Christ [https://www.wikidata.org/wiki/Q302], the incarnation of spirit and the body, that spirit, that the divine world is manifest and incarnate, and that in its- led us back to the poem as the incarnation and place in which- the spirit doesn't enter poetry, incarnate, it exists. But it was also a collage and you will hear Greek and French entering this world of a collage, and it will be as reformed as the American language is when it enters my collage. And reformed to American contours, the contours of French, and the contours of Greek disappear, forced back into an American stress system, which I find analogous. The French poets were extremely disturbed when Stravinsky set them, she could not bear to hear [Persephone (?)] and because they all came out, French all came out to be Russian in its entire tonation and the French not very happy when the French language turns up in an intonation. I'm thinking of the Parisian, but no Frenchman's very happy about the French language turning up, turning out to be American or Russian. Now my poetry doesn't turn out to be exactly American either, it turns out to be strictly forced back to conform to my poetic patterns, and Greek is not intoned but is forced into a stress pattern. However, with Greek I'm in for free because there's no man who can say what you do with it anyway. In America, we have one system, in Germany, they have another system, and in England, they have, still, a third system of what to do with vowels and what to do with the whole thing. And there's a controversy about whether you do have pitch or whether you do have stress and that arises from the fact that the Hellenistic Greeks [https://www.wikidata.org/wiki/Q428995] already couldn't figure out exactly what you did with those Greek choruses, and they had to put those marks in to instruct their readers what to do, and we don't know what those marks meant for sure [audience laughter]. But they certainly didn't know what it had been like 500 years before. They did poorer, I take it, than the poorest, and that would include me, informed of us do with Middle English [https://www.wikidata.org/wiki/Q36395], and I guess we're nearer to it than they were. Okay, well, we'll just start out and I want to take a path, I'm going to take a path through beginning with a small group of poems from The Opening of the Field.\\n \\nRobert Duncan\\n00:07:46\\nReads \\\"The Law I Love is Major Mover” from The Opening of the Field.\\n \\nRobert Duncan\\n00:10:44\\nWhen I was about 30, a great Medieval Historian was teaching at the University of California [https://www.wikidata.org/wiki/Q184478], where I made my living teaching, typing thesis and term papers when I was really hard out of luck and the rumour was very thick indeed that something extraordinary had happened, I think, and my impression is that Universities kill off scholars today much faster than they- they certainly don't kill off poets, they give them very handsome fees to come for a week or so, but they certainly kill off scholars, but the existence- perhaps only the World War with its refugee professors from Europe brought this kind of scholarship onto the scene at the University of California and I returned to school to take up Medieval Studies. One of the, clearly, in my work I, the one course, and I studied with that man until he left for the Princeton Institute of Advanced Learning, studied for him--with him for two and a half years, the course that most changed my poetry was a course on Medieval law, and the growth of constitutional law, because the very basis of poetry I think is a- of art, is the discovery of laws, the laws that finally we can trace through from those Medieval concepts of law and constant meditations upon law so I'm going to read a couple of more poems of our- in which this concept of law moves. This is \\\"Structure of Rime XIII\\\" and it's part of an open construct that is a construct that has nothing in its concept, does not belong to a world of cause or effect. It has a chronology, but its chronology is like our chronological time, that is seen by contemporary physics as an anomaly within a time--within a physical time that cannot possibly have the character of a chronological sequence. The best they can explain is that we must inhabit a thread that is suspended in actual time, because actual physical time cannot really be one directional, and we experience one directional time because we are really caught in some isolated thread, in the medium of time. So in \\\"Structure of Rime\\\" I conceive of myself not in a chronology, although I experience it, being human as such, but as entering such a domain in which real law exists and real time exists, and the real form to which the poem refers and from which it derives its form. The real form has no beginning or end, and is much faster, is universal, so the--in writing the poem I do not create a form, but participate in a form which is of the nature that we believe the physical world to be and I am much for a convert of Whitehead's process and reality in which we believe the spiritual world to be. And that's where \\\"The Structure of Rime\\\" takes place. When I say 'thirteen',  that's of course, in my own sequence then and I conceive of that sequence as actually existing in a part of the mosaic that does not have the character of sequence.\\n \\nRobert Duncan\\n00:14:29\\nReads \\\"Structure of Rime XIII\\\" from The Opening of the Field. \\n \\nRobert Duncan\\n00:16:59\\nSome time shortly after The Opening of the Field was published, I was invited up to Portland [https://www.wikidata.org/wiki/Q6106] by a lawyer and his wife to talk to a small group and I learned in correspondence that he had been attracted to my poetry because of the concepts of law as they move through poems, and so I wrote, for them, the poem called \\\"The Law\\\", a series and variation.\\n \\nRobert Duncan\\n00:17:35\\nReads \\\"The Law\\\" [from Roots and Branches].\\n \\nRobert Duncan\\n00:23:27\\nWhen Adams [https://www.wikidata.org/wiki/Q11806] said, “the which”, meaning, he said, \\\"Democracy, the which requires the continual exercise of virtue beyond the reach of human infirmity, even in its best estate\\\" he was writing to Jefferson and talking about something that was absolutely necessary, he did not mean that we could escape from what required what was impossible. We had to live in the impossible, which is where I found myself entirely in concord with certainly a poet understands what it is to live in the impossible. He speaks in the first place in a voice which is impossible for himself to speak in, and before which he must always be a flunk out and in some sense, a political- a poetical failure in relation to what everywhere's own poetics is to point out what is necessary. Let me in relation to the law again, read the opening of a poem that I will be later be reading entire, but I want to bring it in context with these poems and the law, and close it with a John Adams that I discovered only a passage of John Adams that I discovered for myself, only about what, it's two or three years ago, two years ago. \\\"Reading on Myth\\\", this was from a book called I think it's called 18th Century Against the Gods, or confronts--The 18th Century Confronts the Gods and the chapter on John Adams's mythology was a fascinating chapter, and this passage of the poem is built up entirely with no interpolations at all of--it's built up to the place where I cease to read it, with no interpolations at all of passages of the marginalia that John Adams writes in an Encyclopedia of Mythology.\\n \\nRobert Duncan\\n00:25:32\\nReads [\\\"John Adams’s Marginalia...\\\"].\\n \\nRobert Duncan\\n00:26:53\\nMove back to another early poem in The Opening of the Field that was formative to, throughout my work and the last I guess it must be, each one of these is about three, this is the last ten years. The Field began in 1956, so it must be the last 14 years. And this poem is written in 1956. Take my coat off. In articulating the line, we were opening up- Pound had very early said [unintelligible] by the musical phrase and as I said, since his phrases were identical with syntactic utterances, with sentence utterances, the phrase is- the phrase is simpler than the phrases we use, where often they are enjambed, where often they disturb the meaning of the sentence and suspend elements so that they operate in various parts we did not want what was called an ambiguity by Mr. [Adams (?)], we wanted a multi-phasic area of meanings which is something very different. We wanted all parts to operate within all other parts. And I think this is a crucial difference from what let's say fascinated the metaphysicals of the post-Eliot [https://www.wikidata.org/wiki/Q37767] period in their idea of ambiguities. We wanted one meaning operating within another meaning and they wanted one meaning secretly giving another meaning, I may have such things too, but I mean it's a very different feeling for us. Certainly they did not have to come to articulate as we did, and with these poems, when I get to, as you'll see in passages, when I get into rhythmic articulations where only my body is intelligent enough to keep them, so I have to throw them back into my hands and to my body, a dance can carry them and a dance is really in a sense, the poem in which I moved straight forward and realized how un-literary this was and not exactly song either, and that this dance centre was going to be for whole sections of poems. So, there's a key poem.\\n\\nRobert Duncan\\n00:29:27\\nReads \\\"The Dance\\\" [from The Opening of the Field].\\n\\nUnknown\\n00:31:32\\n[Cut or edit made in tape. Unknown amount of time elapsed]. \\n\\nRobert Duncan\\n00:31:33\\nResumes reading \\\"The Dance\\\" [from The Opening of the Field].\\n \\nRobert Duncan\\n00:32:09.\\nSomeone said this evening I probably wouldn't read The Pindar poems, I will. Oh let me sing a song for you, songs, I have a couple of songs that are in books. Songs for me are not that quaint form that, a few of them are like the night nurse's songs, the song the night nurse sang. But a song of the old order and some of the other songs are actual songs, that means when I was writing them, a tune came. And they had only one voice to be in, mine, and we could even say unhappily, but there they were. And startled I was when, this is I think, one of the first songs that came that really belonged in a book of poetry. I had early had some songs in Faust Foutu in a sort of a long play that would never get performed in my mind so I was able to whatever I wanted to in it, and- which is a great kind of play to write, because you don't have to worry about anyone else solving any problems, you can name it, they can be on the moon, or whatever, have no stage dimension problems, but also of course I had no song dimension problems but when I wrote this song, \\\"Gee, I know I'm going to have to get up and sing it\\\", well of course now you'll get away with it because how rare you'd hear a poet's voice, unless a poet's already like your happy rock-n-roll singer, which I ain't as you will hear. My idea of song is exceedingly primitive indeed, my impression is very, I think you will hear it in this song, it comes from a brief period in which to much the horror of my theosophical parents, but because we were living in a small town and all your friends went to a Sunday School, I went for several years to a Methodist Sunday school and somebody along the line gave me the hint that hymns would come out much better if I just moved my mouth and didn't join in, happily, the lovely music that was going on and so of course I always wanted to write a hymn and there's something in the Methodist hymnal for sure in the song I'm going to sing. \\\"A Song of the Old Order\\\". It's not strictly Methodist in theology, but I meant that it's something of the Methodist hymn. However, I will sing also, by following another song that is certainly Calvinist [https://www.wikidata.org/wiki/Q101849], it's a Halloween song, and like only the scotch can possibly dig out of there- the Calvinist counter hymnal.\\n \\nRobert Duncan\\n00:34:52\\nSings \\\"A Song of the Old Order\\\" [from The Opening of the Field].\\n \\nRobert Duncan\\n00:38:05\\nThat was considerably higher than I've ever tried to do it before. [Audience laughter]. But, like a poem, when you're writing it, when you're in it, you're in for it. You can't re-model it to something you think you might get through with. So I will now do the Pindar poem. That somewhat determines what long poem we're going to do. And since this is the first time I've read here in Montreal, some other places I read, I try and give them new stuff, but I take it outside of some tapes that might be available, you haven't really heard these poems. And this will be the last one from The Opening of the Field. I'll pick up a couple from Roots and Branches and then I will be reading from the current, the Bending the Bow and then after the break I'll read some of the new poems that I've written since Bending the Bow. [Take off Biney's Law (?).] No, this is not the beginning of a Ginsberg [https://www.wikidata.org/wiki/Q6711] round [laughter.] \\\"Beginning with a Line by Pindar\\\", I am ending up with an exhibition by Ginsberg, [laughter.] We've gotten so [unintelligible] in San Francisco [https://www.wikidata.org/wiki/Q62] since all barriers of all kinds were down you really couldn't compete with the show, so you've got, I mean what to do. Common, ordinary people are just left out, you've got to be somebody extraordinary now to [audience laughter], and poetry has to be my extraordinary thing. Believe me, the rest of me is just me. \\\"A Poem Beginning with a Line by Pindar\\\".\\n\\nRobert Duncan\\n00:40:17\\nReads \\\"A Poem Beginning with a Line by Pindar\\\" [from The Opening of the Field].\\n \\nRobert Duncan\\n00:54:15\\nI'll read two poems from--that were requested from Roots and Branches.\\n \\nRobert Duncan\\n00:54:30\\nReads [\\\"Risk”] from Roots and Branches.\\n \\nRobert Duncan\\n00:59:22\\nThe other poem I will read from Roots and Branches is \\\"The Continent\\\". My poetic thought continuously arises from the ground of my happy and, believe me, wildly misunderstanding readings of contemporary science. And the one real poetic source I have is not a literary magazine but Scientific American [https://www.wikidata.org/wiki/Q39379] which I avidly read. So I'm more likely to be studying language than I am to be studying poems and more likely to be studying the world, than I am to be- well, I can't say that, language and the world get even treatment. The poem \\\"The Continent\\\" came from the re-assertion that has come in recent years of evidence which has rebuilt the picture of the continental drift. And I was happy at the coordinates to find that Charles Olson [https://www.wikidata.org/wiki/Q922978], who also ransacks the same magazine, but does not have the same misunderstandings of the magazine by any means, we have quite a, we sometimes come to [loggerheads (?) ] in our very positively taken misunderstandings of what is. He also had built sections of “Maximus [Poems]” on the continental drift. I love puns of course right away, and so does he, and if you get my drift in poetry, you will see something of what is revealed when we begin to get the drift of those continents and the fittingness of poetry is of course the logic whereby we identify that the continents originally fitted together and identified the sequence of things that happened. They do fit together, but they must have- I mean, the universe- the Neo-plateness, [unintelligible], well no, it isn't a neo-plate, well, it's a near neo-plate, and it's [unintelligible] Judas [https://www.wikidata.org/wiki/Q81018] refers to the masterpiece which is the Universe, that's the only masterpiece and the rest of us compose masterpieces because we are children of the universe, although we may not recognize that that's what we are doing. Some of us don't have entire respect for what we belong to. \\\"The Continent\\\".\\n \\nRobert Duncan\\n01:01:49\\nReads \\\"The Continent\\\" from Roots and Branches.\\n \\nUnknown\\n01:03:39\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nRobert Duncan\\n01:03:40\\nResumes reading \\\"The Continent\\\" from Roots and Branches.\\n\\nRobert Duncan\\n01:06:16\\n[Unintelligible] break in tone I'll sing that song I mentioned, the second one that comes from a Calvinist anti-hymnal. It's a song from my Halloween masque. And it's “A Country Wife’s Song”, the country husband is lying in bed, snoring away and the wife rises silently, puts a stick in the bed and a stone on the pillow and sings the following song.\\n \\nRobert Duncan\\n01:07:50\\nPerforms “A Country Wife’s Song” [from Roots and Branches].\\n \\nRobert Duncan\\n01:09:38\\nWe seem to be close to 10:30 so I'm going to just--I won't read--well, I'd like to read one passage before the intermission and I would also like to read the poem \\\"Epilogos\\\", then we'll have a break, I would suggest about 10 minutes and I will then read in the second part, I will be reading from \\\"Passages\\\", well let me add one more poem to this first part because I want to give you a sample of what I've been--so there will be one \\\"Passages\\\", so those of you with great relief run out into the world will at least have been subject to something of what \\\"Passages\\\" is like, and I will read \\\"Epilogos\\\" and then I will read one of the poems that I have written, post-Bending the Bow and then you will have a sample of everything and you won't be missing a thing if you don't stay for the second part. [Audience laughter]. Okay, well a few things, but you might be missing them anyway.\\n \\nRobert Duncan\\n01:10:39\\nReads \\\"Transgressing the Real, Passages 27\\\" [from Bending the Bow].\\n \\nRobert Duncan\\n01:14:14\\nReads \\\"Epilogos\\\" [from Bending the Bow].\\n\\nRobert Duncan\\n01:20:57\\nNow the one poem from, poetry I've written since then, a poem called \\\"Achilles' Song\\\". One note before I read it, the island that we would ordinarily in American call ‘Leuke’ a [unintelligible], like in Leukemia--leuke. In Greek would be ‘Lay-okay’ and so I was very alarmed indeed when in this poem, as I was writing it came out ‘Loy-kay’ and it took me quite some time of sheer stage fright and horror at the mis-pronunciation recall the ‘Lauke’ in German is the [unintelligible] and so forth in German, and that I have had for years now, for some years now a tape of H.D. [https://www.wikidata.org/wiki/Q236469] reading from her \\\"Helen in Egypt\\\", a poem which is really the mother poem of this poem, and not too much hidden in the poem, for those who know of  my closeness to H.D. who was certainly a surrogate mother for me. Thetis of the poem would certainly be the poetess H.D. and in that tape, H.D. who had lived for most of her life from the 20's on in Switzerland, uses the German pronunciation throughout, ‘Aloike’ and that's how I heard it in association with this poem. So I've finally recognized where it came from but it's an example of the fact that you cannot correct things in poems because it's sewn into a rhyme and absolutely belongs in the music here. Play it differently--I mean, it's what fits a poem not what fits some other system outside the poem that the poem must adhere to. Okay, \\\"Achilles' Song\\\".\\n \\nRobert Duncan\\n01:22:44 \\nReads \\\"Achilles' Song\\\".\\n\\nUnknown\\n01:25:05\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nAudience\\n01:25:06\\nApplause.\\n\\nRobert Duncan\\n01:25:16\\nSo we'll take a break of ten minutes and then I'm going to read a rather short section because we're almost at 11 and that would seem, I want to read as many, something like four passages to give you of a feeling of moving through that and that would give you something like Passages are like.\\n\\nUnknown\\n01:25:44\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nRobert Duncan\\n01:25:45\\nTwo aspects of the art, seem particularly mysteries to me as I've been working at the art of poetry since I was 19 and it's now 30 years. In relation to that thing we call rhyme, meter and so forth, I have come to think more and more that it's ratios and numbers that may be the heart of the matter. And at the same time as I begin to feel that at the heart of the matter, as one begins to, as one does with mysteries, be fearful about approaching the question. Some years ago, two years ago or so, with the poet Zukofsky [https://www.wikidata.org/wiki/Q975481], who knows much more than I do of the art, and performs really awesomely in it, I said it had begun, I said \\\"Zuk,” I said, “I had begun to feel that it isn't a question about syllables or stresses and so forth, it's a question of numbers\\\". And he said \\\"Yes, I've decided by now I ought to, certainly if I don't know syllables and stresses and so forth, by now, I mean know them only in my hand, I certainly shouldn't be thinking about them. And I am now only dealing with 8's. All of these lines are 8's, straight through. I have not yet really phased the initiations of the question of numbers but I know that this is central as one moves into the period of working in the art that I'm in.\\\" The other thing, and that is that I have indicated it earlier, is that the nature of the time of the art is increasingly mysterious, the one thing I'm sure of it cannot be, positive absolutely defined in one area, for a long time I was doing happily enough with the formula that Christians made for themselves of time and eternity and their term of eternity which is the very present moment of any work of art and is also of course somehow containing the ensemble of all of the things created must also be like that time that physics talks about. That makes them puzzle why in the world our own time goes from a thing we call the past to the future. Whitehead [https://www.wikidata.org/wiki/Q183372] solves it in Process and Reality by suggesting that we create, in every moment that we live a past and a future, and we live in a history consequently because that's what we create what we are, is pastness and future, and sum it up in a material, that is still persuasive. But a mystery is when none of the answers are answers and as long as they're not answers the artist has them as really, forces that move as art. Now I make this remark because, well I said something about chronologies I, in the past I have not read these two poems as they appear in the book, in readings, but I want to read them today and I'm going to just underline the transition I want you to see and share with me at this point. I arranged, for all that what I've said about chronologies, I arranged the poems in my volumes chronologically and largely because it seems to me a mystery as they go and the rhymes appear from one to the other, and one poem will be an announcement of a succeeding poem or themes will flow out of it. The one I'm going to read first is not a “Passages\\\" it's called \\\"Reflections\\\" and at the close, and as a theme of it, you will find the old man, who is as a matter of fact, I structure rhyme preceding it had a fire master appearing, who seems very close indeed to the master of fire, and the poem that came next, it may have been in a couple of weeks of so, this was a very productive period, concludes with a figure of an old man tuning a drum between a bowl of fire and a bowl of water, and it was followed by a \\\"Passages\\\" which is called \\\"The Fire\\\", and from it we can learn that the fire that you see in \\\"Passages\\\" which is catastrophic, and is held in a polarity with an ideogram with the natural world, that that which may have indeed be--is indeed a bowl of water, as you will see, I mean it's a stream of water that the fire is composed between a world of water and its own world of fire, but that fire that looks like a catastrophe you will find is the creative fire--if you go under \\\"Reflections\\\" and let the reflections that came first reflect into the poem following. Now these are things that you realize afterwards, in your own chronology. I am one of those poets who has the characteristic I find in my study of Whitman [https://www.wikidata.org/wiki/Q81438] in the last three years that Whitman certainly was another poet who studied himself all the time. We have a great prohibition in our contemporary world against studying yourself, but I am not short on the world of ego, so I'm not really very disturbed about the fact that I study myself in the poetry. But the one thing I search to find is not something we would ordinarily call ourselves, I study the poet, the thing that the poems are creating in order for them to come into being. That I can sharply distinguish from myself. As sharply as you can do it, it takes office, the idea of office, and this again I got from my Medieval Studies. Okay, I'm going to read \\\"Reflections\\\" and then I'm going to read \\\"The Fire\\\" and then I will, the poems I will be reading from then on will be \\\"Passages\\\", \\\"Fire\\\" is one of \\\"Passages\\\". And \\\"Passages\\\" is as I explained, an open form that exists in these other universe of time, of something, like, you call eternity.\\n \\nRobert Duncan\\n01:32:07\\nReads \\\"Reflections\\\" [from Bending the Bow].\\n \\nEND\\n01:34:38\\n\",\"notes\":\"Robert Duncan reads from The Opening of the Field (Grove Press, 1960), Roots and Branches (New Directions, 1964), and Bending the Bow (New Directions, 1968).\\n\\nI006-11-096.1=AC.1\\n\\n00:00- George Bowering introduces Robert Duncan [INDEX: M.L. Rosenthall, Warren Tallman [sp?], The Reporter, experimental poetry]\\n00:44- Robert Duncan speaks about his poetry, introduces reading. [INDEX: Ezra Pound’s       \\t“Pisan Cantos”, William Carlos William’s “Paterson” and other poetry, impact of the   \\tmodernist tradition, natural speech, syntactic utterances, enjambment in the line, collage,      \\tAmerican Painting, The Opening of the Field, voice, Robert Creeley, form of content,      \\tincarnation of Christ,  Greek and French languages, Igor Stravinsky, Middle English]\\n07:46- Reads “The Law I Love is Major Mover” from The Opening of the Field [all poems to   follow are from this book]\\n10:44- Introduces “The Structure of Rime XIII”. [INDEX: Medieval Historian teaching at         \\tUniversity of California, World War refugee Professors migrating from Europe, Princeton         \\tInstitute for Advanced Learning, Medieval Law, discovery of laws, open construct poem,         \\tchronological time]\\n14:29- Reads “The Structure of Rime XIII”\\n16:59- Introduces “The Law”\\n17:35- Reads “The Law”\\n23:27- Introduces first line “John Adams Marginalia...” [INDEX: John Adams, Democracy, \\tThomas Jefferson, The 18th Century Confronts the Gods by Frank E. Manuel, Encyclopedia of Mythology]\\n25:32- Reads first line “John Adams Marginalia...”\\n25:53- Introduces “The Dance” and discusses his poetry [INDEX: The Opening of the Field,   \\tEzra Pound, phrases and lines, enjambments, disturb meaning of sentences, multi-phasic      \\tarea of meanings, Mr. Adamson [?], metaphysics of the post-Eliot period, rhythmic      \\tarticulations, dance]\\n29:27- Reads “The Dance” [recording is cut and then resumes at 31:33.90]\\n32:09- Introduces “A Song of the Old Order” [INDEX: Songs, process of writing songs, Faust Foutu An Entertainment in Four parts (play), Methodist Sunday School, Methodist   hymnal, Calvinist counter hymnal]\\n34:52- Sings “A Song of the Old Order”\\n38:05- Introduces “A Poem Beginning with the Line by Pindar”, outlines the rest of the       \\treading. [INDEX: Roots and Branches, Bending the Bow, new poems, Allen Ginsberg    \\t‘show’, San Francisco]\\n40:17- Reads “A Poem Beginning with the Line by Pindar”\\n54:15.78- END OF RECORDING\\n \\nI006-11-096.1=AC.2\\n \\n00:00- Robert Duncan introduces “Risk” [INDEX:Roots and Branches]\\n00:14- Reads first line “Risk”\\n05:06- Introduces “The Continent” [INDEX: poetry from contemporary science, Scientific     \\tAmerican magazine, continental drift, Charles Olson, The Maximus Poems, neo-plates]\\n07:33- Reads “The Continent”\\n12:00- Introduces “Song”\\n12:49- Sings “Song”\\n15:22- Introduces series of poems [INDEX: “Epilogos”, Of the War: Passages 22-27,   \\tBending the Bow]\\n16:23- Reads “Transgressing the Real”\\n19:58- Reads “Epilogos”\\n26:41- Introduces “Achilles' Song” [INDEX: mispronunciation of Greek Island Leuke, H.D.   \\treading “Helen in Egypt”, Switzerland, German]\\n28:28- Reads “Achilles' Song”\\n31:00- Introduces poems read after the break\\n31:29- Introduces “Reflections” and talks about his poetry [INDEX: Rhyme, meter, ratios and    numbers, Louis Zukofsky, time and eternity, Alfred North Whitehead’s Process and Reality, chronology, Of the War: Passages 22-27, “The Fire”, “Reflections”]\\n37:51- Reads “Reflections”\\n40:23.12- END OF RECORDING\\n\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/robert-duncan-at-sgwu-1970/#1\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/robert_duncan_i006-11-096-2.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"robert_duncan_i006-11-096-2.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:40:06\",\"precision\":\"\",\"size\":\"96.3 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"robert_duncan_i006-11-096-2.mp3 [File 2 of 2] \\n\\nRobert Duncan\\n00:00:00\\nReads [“The Fire, Passages 13 from Bending the Bow; recording begins abruptly].\\n \\nUnknown\\n00:13:11\\n[Cut or edit made in tape. Unknown amount of time elapsed]. \\n\\nRobert Duncan\\n00:13:12\\n...beginning with a poem called \\\"Soldiers\\\", a poem in which, um, let's see, right, some lines of Victor Hugo [https://www.wikidata.org/wiki/Q535] enter, I decided I should, well, I guess, lets see, no I don't want to read too late, and soldiers is rather long again, so I want- certain themes that are moving in \\\"Soldiers\\\" will reappear. In \\\"Soldiers\\\", a recurring line was one from a poem of Victor Hugo's, \\\"Dieu dans [unintelligible] reve\\\", which is a line really quite in tune with my own poetics, \\\"God, oh creator the- or the creator for us too in oneself whose dream, whose work goes much further than our dreams\\\" and so it's combined with a scene that's Vietnam and it's combined in the Soldiers with the theme of the recognition that in some mystery of that work that goes further than our dreams the soldiers in Vietnam most of them, have just there, and they're 19 or 18 and so forth, they have only there in which to make their lives. And they have only there in which to, to take their souls in the war, as the followers of Orpheus take soul in the poem. The wood to take fire from that dirty flame. A recognition that that is their field in which they must reach life's epiphany and its thing. And the line of Victor Hugo carried me forward to and returned me to grand themes of Victor Hugo's but it also took me back to Vietnam [https://www.wikidata.org/wiki/Q881] and I wanted to give, before I read \\\"The Kao Dai\\\" a little sketch of that. There's a theme of Victor Hugo, by the way, of the fall of Lucifer [https://www.wikidata.org/wiki/Q185498] in which, Lucifer's falling into his own denial of God and in falling he opens the univ- creation, and but in his falling a feather breaks loose from his wings and is floating mid-air, and the sight of God descending falls upon the feather and it becomes light and it turns into an angel and that angel is Liberty and that angel's entire message is to transform the rage and wrathful light that had fallen upon it into the reunion and resurrection of Satan, but of course both Satan and God must be called from their wrath, to reconciliation, so this angel, Liberty and Freedom is also the angel of reconciliation and Victor Hugo knew that also there must be some explanation for the fact that the desire and yearning for freedom and liberty has always been wrathful. Blake [https://www.wikidata.org/wiki/Q41513] is puzzled by the same thing and I think that today, when all over the world, not only in Canada [https://www.wikidata.org/wiki/Q16], but in the United States [https://www.wikidata.org/wiki/Q30], and in China [https://www.wikidata.org/wiki/Q29520], and Yugoslavia [https://www.wikidata.org/wiki/Q36704] and Russia [https://www.wikidata.org/wiki/Q159] the wrath of Liberty is rising and it is the wrath of God against the civilization to its very roots which we know in our hearts are Godless. But that wrath must be reconciled, because it is itself that it's rising against and there's some mystery in this, so my poetry has begun to take up the figure of that angel and the angel comes into it. Now, in Vietnam, one of the strongest forces in the Viet Cong, not a communist group but a religious group, the Cao Dai [https://www.wikidata.org/wiki/Q470364] and in order to read more in deeper into the Cao Dai, I wisely, I think, went back to sources to the early thirties before Vietnam was quite the cause it is today, and found this story and it came quite in line with my kooky family and my own poetry because it was at a medium's table in 1925 on Christmas Eve, when Christ descended and speaking in French, as I usually put it when I read my, something worse than American French, a French man would feel that that was blasphemy, but I'm after all repeating Christ's words in his own voice so that might be more serious yet that that voice was being attempted. Christ came into the medium and renounced in my birth day for the spirit is descending upon Vietnam and when we remember what happened to the very first generation of Christians who were burned in rows as torches, what the promise of Christ meant to his immediate blessing, the powers of martyrdom. The promise of Christ in 1925 was amply fulfilled to his new disciples. So amply, as a matter of fact, the Cao Dai had more than come to my mind, because the cathedral town of Cao Dai, which is [unintelligible] indeed exactly like a Catholic nunnery or convent, or a Buddhist nunnery or convent is Communist, is the province of Tay Ninh [https://www.wikidata.org/wiki/Q36608], and the Cathedral city of Tay Ninh, now it is been repeated over and over in American papers that when those planes were returning for missions in North Vietnam and hadn't dumped their missions, you're not supposed to return any bombs, you gotta dump them somewhere, so they'd dump them on Tay Ninh, you'd just go over the side and dump them on Tay Ninh, because this particular religious group was stubborn indeed in its inherences. Now, also interesting to me was this particular religious group had as its patron Saint Victor Hugo, and the first place that the French are, that the Vietnamese have French as their deepest religious and literary language and so Christ talked in French so Victor Hugo gave the whole line, it's Victor Hugo's Christ who talked to them at the medium tables in French, and they of course had their medium tables in the line of the tradition of Victor Hugo's own medium tables in the Isle of Jersey. So Victor Hugo becomes patron saint for these passages. In the passage, by the way, a passage called \\\"Orders\\\" and I will read a passage from it in which I am actually translating from Victor Hugo quite directly but it's a very long poem and keeping in tune with that master of the sublime is very difficult for us in the modern period. Here we are, the passage, wait a minute, it isn't in that poem, I always think it's in \\\"Orders\\\", but it's actually in place of a passage 22, that has the passage with Victor Hugo. I have been working on it for years, and it's mainly trying to keep in tune, I go over and over and over it again and then I find it very difficult to deal with 19th century poetry. But this is a passage straight translation, as literal as I could from Victor Hugo, but really, massive poem.\\n \\nRobert Duncan\\n00:21:11\\nReads \\\"The Soldiers\\\" [from Bending the Bow].\\n \\nRobert Duncan\\n00:22:14\\nCharming little poem called the \\\"Twentieth Century\\\", in case you want to know where we are.\\n \\nRobert Duncan\\n00:22:22\\nReads \\\"Twentieth Century\\\" [published as “The Light, Passages 28” in Bending the Bow].\\n \\nRobert Duncan\\n00:30:27\\nI'll close with \\\"Stage Directions\\\".\\n \\nUnknown\\n00:30:32\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nRobert Duncan\\n00:30:33\\nReads [“Stage Directions, Passages 30” from Bending the Bow; begins mid-poem].\\n \\nAudience\\n00:37:53\\nApplause.\\n \\nRobert Duncan\\n00:38:12\\nI'll add one more poem which has not been read aloud except at home today, this is one--I hope I've got the right note--this is a \\\"Structure of Rime\\\" that was composed on April Fool's day but it doesn't mean it isn't serious, I mean April 1st.\\n \\nRobert Duncan\\n00:38:32\\nReads \\\"Structure of Rime\\\" [unnumbered].\\n \\nAudience\\n00:39:54\\nApplause.\\n \\nEND\\n00:40:06\\n\",\"notes\":\"Robert Duncan reads from The Opening of the Field (Grove Press, 1960), Roots and Branches (New Directions, 1964), and Bending the Bow (New Directions, 1968).\\n\\n00:00- Recording starts mid-sentence, reading “The Fire”\\n13:12- Introduces “Soldiers” [INDEX: lines by Victor Hugo, Vietnam, Orpheus, “The Kao Dai”,        Lucifer, Satan and God, Liberty and Freedom, William Blake, Canada, U.S., China,     Yugoslavia, Russia, Viet Cong, Province of Tay Ninh, U.S. dumping bombs, Isle of Jersey, passage “Orders”]\\n21:11- Reads “Soldiers”\\n22:14- Introduces “Twentieth Century”\\n22:22- Reads “Twentieth Century”\\n30:27- Reads “Stage Directions”\\n38:12- Introduces “Structure of Rime”, first line “Away from the green fist of the sleeping     \\tchild”\\n38:32- Reads “Structure of Rime”, first line “Away from the green fist of the sleeping child”\\n40:06.70- END OF TRANSCRIPT\\n \\n1.  “The Law I Love” from the “Opening of the Seal”\\nPlease note that the Howard Fink list states the reading took place in “Spring 1970”, while the interview states another (perhaps separate) reading took place on April 19, 1969.\\n\\n2 reels: 30 min 3 3/4ips, 1/4” 5” reel\\n60 min 3 3/4 ips, 1/4” 7”reel\\nPopped strands in tape 1\\n\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/robert-duncan-at-sgwu-1970/#2\"}]"],"score":1.8530173},{"id":"1279","cataloger_name":["Masoumeh,Zaare"],"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":["Jerome Rothenberg at Sir George Williams University, The Poetry Series, 17 October 1969"],"item_title_source":["Cataloguer"],"item_title_note":["\"JEROME ROTHENBERG Recorded October 16, 1969 3.75 ips, 1/2 track on 1 mil. tape 43 minutes\" written on sticker on the back of the tape's box. \"JEROME ROTHENBERG I006/SR95\" written on sticker on the spine of the tape's box. \"I006-11-095\" written on sticker on the reel"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 4"],"item_identifiers":["[]"],"creator_names":["Rothenberg, Jerome"],"creator_names_search":["Rothenberg, Jerome"],"creators":["[{\"url\":\"http://viaf.org/viaf/109302361\",\"name\":\"Rothenberg, Jerome\",\"dates\":\"1931-\",\"notes\":\"American poet, teacher, translator, performance artist and editor Jerome Rothenberg was born in New York City in 1931. He received his B.A. in 1952 from the City College of New York and his M.A. in 1953 from the University of Michigan. Directly after graduation, Rothenberg enrolled in the military and served until 1955. He then worked on additional graduate work at Columbia University from 1956-1959. Rothenberg’s first collection of poetry, White Sun Black Sun (1960) was published through the small press Hawk’s Well Press, which he founded in 1958 to promote the works of young poets. He also edited the magazine Poems from a Floating World which ran from 1959-1964. At that time, Rothenberg began a long and influential career as a teacher of both Literature and Visual Arts; he worked at the City College of New York (1960-61), the Mannes College of Music (1961-1970), the University of California, San Diego (1971), and at the New School for Social Research (1971-72). Along with his poetry, Rothenberg translated the works of German postwar poets Paul Celan, Gunter Grass and Ingeborg Bachman; the translations influenced many of the poets of the Beat movement. Rothenberg then published his own poetry in The Seven Hells of the Jigoku Zoshi (Trobar, 1962), Sightings (Hawk’s Well, 1964), The Gorky Poems (El Corno Emplumado, 1966), Between: 1960-1963 (Fulcrum, 1967), Poland/1931, Part I (Unicorn Press, 1969), Poems for the Game of Silence (Dial, 1970), Seneca Journal, Midwinter (Singing Bone, 1975) and his popular anthology Shaking the Pumpkin: Traditional Poetry of the Indian North Americas (Doubleday, 1972). Rothenberg then taught at the University of Wisconsin (1974-77), the University of California, San Diego (1977-85), the State University of New York (SUNY) at Albany in 1986 and at Binghamton from 1986-1988, and finally at the University of California, San Diego. More of his poetry collections include Narratives and Realtheater Pieces (Braad, 1978), Poems for the Society of the Mystic Animals (Tetrad, 1979), Abulafia’s Circles (Membrane, 1979), Vienna Blood (New Directions, 1983), Altar Piece (Station Hill, 1982), That Dada Strain (New Directions, 1983), Khurbn & Other Poems (New Directions, 1989), Lorca Variations (New Directions, 1993) which won the PEN Oakland Josephine Miles Literary Award in 1994, Seedings (New Directions, 1996) and A Paradise of Poets (New Directions, 1999). Rothenberg has won, among many other honors, the Wenner-Gren Foundation for Anthropological Research grant in 1968, fellowships fro the Guggenheim Foundation in 1974 and the National Endowment for the Arts in 1976. His first collection of essays on poetics, Pre-Faces (New Directions, 1982) won the American Book Award that same year. Rothenberg continues to teach in the Visual Arts and Literature Departments, as a Professor Emeritus at the University of California at San Diego.\",\"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\",\"Performer\"]}]"],"performer_name":["Bowering, George"],"Series_organizer_name":["Bowering, George"],"Performance_Date":[1969],"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\":\"1969 10 17\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the back of the tape's box.\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"Location specified in written announcement \\\"Poetry Four: Sir George Williams Poetry Series\\\"\",\"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":["Jerome Rothenberg reads poems published later in Shaking the Pumpkin (Doubleday, 1972) and from Poland/1931 (Unicorn Press, 1969)."],"contents":["jerome_rothenberg_i006-11-095.mp3\n\nGeorge Bowering\n00:00:00\nI'm glad we got this room. Welcome back to the first night of the fourth year of our series. And for those of you who are here for the first time, welcome you too. I'm really glad that we could start off with Jerome Rothenberg [https://www.wikidata.org/wiki/Q1775056], especially from my own personal viewpoint, because while Jerome Rothenberg is one of the names that I've paid a lot of attention to, and one of the names that poets have paid attention to over the last decade, this'll be the first time that I've been able to hear him read, too. Usually when, often when us people from the West think about the new American poetry, we tend to think of it in terms of people from outposts such as New Mexico [https://www.wikidata.org/wiki/Q1522], and Utah, [https://www.wikidata.org/wiki/Q829] and San Francisco [https://www.wikidata.org/wiki/Q62], and so on. And we forget that New York City [https://www.wikidata.org/wiki/Q60] is one of the centre-place, central-places, so that it can produce poets such as Joel Oppenheimer [https://www.wikidata.org/wiki/Q6213806] who will be here in the following spring, and Paul Blackburn [https://www.wikidata.org/wiki/Q7149388], who was here a couple of years ago. Jerome Rothenberg has always been the centre, in the centre of that scene, and not only as one of the principal poets, but as editor, and publisher, and so on and so forth, especially with a very important magazine of the 1960's called some--oblique thing [some/thing]. And he's especially interesting to me too because of the kind of work that produced a book such as Technicians of the Sacred, a compilation of the poetries from various oral traditions around the world, and a similar sort of impulse has always been at the centre of his work too. I'd also like to correct a mistake on the little printed page that wasn't really mine, that I picked up from somewhere else and couldn't quite believe myself, that said that Jerome Rothenberg was born in 1921. All I can say is that he was born sometime between the death of Lord Byron [https://www.wikidata.org/wiki/Q5679] and now. [Laughter]. But I'm pretty certain that he wasn't around in 1921. So I'd like you to give a welcome to Jerome Rothenberg.\n \nAudience\n00:02:53\nApplause.\n \nJerome Rothenberg\n00:02:58\nThe birthdate'll come clearer in the second part of the reading. I'll read in two parts. And in the first set, what I'll be reading are translations and re-workings of American Indian poetry, which have been important to me over the last five or six years. And I'll start with some which are based on earlier translations, re-workings of material previously translated, and then as I get into it, some translations that result from direct contact and direct experience of American Indian poetry. This is an Aztec poem. The first four or five, six poems will be Aztec or Mexican in origin, and the theme will be flowers.  \"Offering Flowers\".\n \nJerome Rothenberg\n00:04:24\nReads \"Offering Flowers\" [from Technicians of the Sacred].\n \nJerome Rothenberg\n00:07:37\nThis is Aztec, too, in origin, translated through the Spanish.\n \nJerome Rothenberg\n00:07:52\nReads “A Song of Chalco” [published later in Shaking the Pumpkin].\n \nJerome Rothenberg\n00:09:53\nAnd it doesn't die out, even with the destruction that follows, and flowers are picked up again, this in a series of translations, again through the Spanish, of a series of Peyote songs, from the Huichol Indians of central Mexico [https://www.wikidata.org/wiki/Q96]. The name Wirikuta [https://www.wikidata.org/wiki/Q8026952] is the name given to the place of the gods, and the spiritual place of the Peyote. The Peyote is described as the rose, it's described as the corn, the maize, it's described under a number of images, and through the figure, the mythological figure of one called the Blue Stag. This is the first Huichol, Peyote song.\n \nJerome Rothenberg\n00:10:46\nReads “First Peyote Song” [published later in Shaking the Pumpkin].\n \nJerome Rothenberg\n00:11:46.19\n\"Song of an Initiate\".\n \nJerome Rothenberg\n00:11:51\nReads \"Song of an Initiate\" [published later in Shaking the Pumpkin].\n \nJerome Rothenberg\n00:12:25\nAnd this is a poem called \"How the Violin Was Born: A Peyote Account”.\n \nJerome Rothenberg\n00:12:35\nReads \"How the Violin was Born: A Peyote Account” [published later in Shaking the Pumpkin].\n \nJerome Rothenberg\n00:13:24\nThese are a few short Indian pieces. Not poems but part of what's connected with the whole activity of poetry, among the tribal peoples. Which is more than an activity of words; which goes beyond language. And these are the events that accompany the words. And the first is an Iroquois dream event. \n \nJerome Rothenberg\n00:13:58\nReads [\"Dream Event 1\", published later in Shaking the Pumpkin].\n \nJerome Rothenberg\n00:14:08\nThese are a series of vision events. The first two are Eskimo.\n \nJerome Rothenberg\n00:14:14\nReads \"Vision Event I\" [published later in Shaking the Pumpkin].\n\nJerome Rothenberg\n00:14:25\nReads \"Vision Event 2\" [published later in Shaking the Pumpkin].\n \nJerome Rothenberg\n00:14:39\nAnd this is a Sioux Indian vision event.\n \nJerome Rothenberg\n00:14:43\nReads \"Vision Event 3\" [published later in Shaking the Pumpkin].\n \nJerome Rothenberg\n00:15:01\nThis is a Kwakiutl Indian gift event. All the words are from Kwakiut'l Indians. It's either spoken in English or translated into English. The Kwakiut'l, like other Northwest Coast people, celebrate the potlatch, you know, which is not always terrible or distasteful in its consequences. This is benevolent gift-giving. \n \nJerome Rothenberg\n00:15:26\nReads \"Gift Event [2]\" [published later in Shaking the Pumpkin].\n \nJerome Rothenberg\n00:16:32\nThese are a series of seven Navajo animal songs. \n \nJerome Rothenberg\n00:16:42\nReads \"Navajo Animal Songs\" [published later in Shaking the Pumpkin].\n \nJerome Rothenberg\n00:17:49\nThe next few are from a series of translations I've been doing, are called, well, it's the Seneca Indian word for one of their major curing ceremonies, a term for a major curing ceremony, \"Shaking the Pumpkin\", because the pumpkin rattle, the big pumpkin rattle is the major instrument used in this. Or it's got a more ornate name, it's called \"The Society of the Mystic Animals\". The man, Richard Johnny John, Indian, who is working with me on this, explained it's a serious ceremony, he said, but if everything's alright, the one who says the prayer tells them, I leave it up to you, folks, and if you want to have a good time, have a good time. Well everything's alright in the translations, you know, so one eases up there. The translations are done trying to follow everything in the Seneca, including the meaning of the sounds, the hey-ya and the way-oh-hey, that are very common in Indian poetry. Basically the way I do it is to present them visually on the page, and I can't do this in reading them, so I'm just going to select out of these poems that read easily. The purpose is curing, and well-being. \n \nJerome Rothenberg\n00:19:34\nReads [\"Caw Caw the Crows Caw Caw\" published later in Shaking the Pumpkin].\n \nJerome Rothenberg\n00:19:49\nReads \"Two more about a crow, in the manner of Zukofsky\" [later published in Shaking the Pumpkin].\n \nJerome Rothenberg\n00:20:05\nThree poems about the owl, on the page, the vocables, the sounds, make the figure of an owl, even as in the singing of the song, the sound of the owl comes through. But here are just the words.\n \nJerome Rothenberg\n00:20:19\nReads \"The Owl: One\".\n \nJerome Rothenberg\n00:20:25\nReads \"The Owl: Two\".\n \nJerome Rothenberg\n00:20:32\nReads \"The Owl: Three\".\n \nJerome Rothenberg\n00:20:40\n\"A Song of My Song, In Three Parts”.\n \nJerome Rothenberg\n00:20:45\nReads \"A Song of My Song, In Three Parts\" [published later in Shaking the Pumpkin].\n \nJerome Rothenberg\n00:20:59\nReads “Three Ways to Screw Up on Your Way to the Doings” [published later in Shaking the Pumpkin].\n \nJerome Rothenberg\n00:21:16\nBuckets are important, to bring back soup and...The last one from this series.\n \nJerome Rothenberg\n00:21:31\nReads “Where the Song Went Where She Went & What Happened When they Met” [published later in Shaking the Pumpkin].\n \nJerome Rothenberg\n00:22:15\nThe next are a little harder to do, but I hope I make it. The Senecas don't use many words. It's a kind of minimal poetry and the power is in the compression. The Navajos use more words, the poetry gets dense, and in addition they use many many non-verbal sounds. And in addition, they distort many of the words in the singing. So that if you translate just for the meaning, you're only getting a small part of what the Navajo is doing. And then in addition, everything is sung in the Navajo. So I began to translate a series called, because that's what they are, \"The Seventeen Horse Songs of Frank Mitchell\". Seventeen horse-blessing, horse-curing songs that were the property of a Navajo medicine man named Frank Mitchell. And the problem that came up for me, I couldn't translate just for meaning, I wanted to, you know, consider all of the factors that went into the poem. So I began to insert sounds corresponding to the sound of the English words as the Navajo had the meaning of the sounds, and to distort the words. And then it seemed to me that it was necessary to carry this further, to begin to sing the songs as well. Which came to me with great difficulty. But I've gotten through a number of them now, and what I'll do is sing one, the \"Tenth Horse Song of Frank Mitchell,\" and then do a tape for three voices of another one of the horse songs. You'll notice the words are rather similar from one to another, the melody changes. In this, and the Navajos of course would know this, the hero, Enemy-Slayer, has gone to the house of his father, the sun up there, to bring back horses for the people. And in this Tenth Horse Song, it's mostly the father, the sun, speaking, telling him to bring the horses back to the house of his mother, you know, who everybody understands to be Changing Woman. Bring it back to the earth. And sometimes the voice of Enemy-Slayer comes into it.  But the basic refrain is to \"go to the woman, go to her.\" \n \nJerome Rothenberg\n00:25:24\nPerforms \"Tenth Horse Song of Frank Mitchell\" [from The 17 Horse-Songs of Frank Mitchell]. \n \nAudience\n00:31:25\nApplause.\n \nJerome Rothenberg\n00:31:38\nThe next one, and I guess the last piece in the first set, is the \"Twelfth Horse Song of Frank Mitchell\". The melody changes. Some of the distortions change. The burden changes, and now Enemy-Slayer contemplates the horses coming back to earth with him, in the same sequence. This is done on tape, with three voices. I think that's about all there is to say about it. Three voices.\n \nJerome Rothenberg\n00:32:23\nPlays recording of \"Twelfth Horse Song of Frank Mitchell\", sung by three voices [from The 17 Horse-Songs of Frank Mitchell and published later in Shaking the Pumpkin].\n \nAudience\n00:39:42\nApplause.\n \nJerome Rothenberg\n00:39:48\nIn fact, let me end this set with a live poem, I don't want to end with a machine. This is another Aztec poem called \"The Flight of Quetzalcoatl\". The plumed serpent, bird-snake man. In which he discovers that he's become old, and leaves and goes on a long journey, and is reborn as the morning star.\n \nJerome Rothenberg\n00:40:39\nReads \"The Flight of Quetzalcoatl\" [later published in Shaking the Pumpkin].\n \nAudience\n00:47:17\nApplause. \n \nUnknown\n00:47:20\n[Cut or edit made in tape. Unknown amount of time elapsed].\n \nGeorge Bowering\n00:47:20\nOkay, we'll hold for about ten minutes, and open the doors and get cool, and then come back. \n \nUnknown\n00:47:27\n[Cut or edit made in tape. Unknown amount of time elapsed].\n \nJerome Rothenberg\n00:47:28\nThe second set will be a straight reading, whatever that means, from a long series of poems called \"Poland/1931\". A series of ancestral poems. So Poland [https://www.wikidata.org/wiki/Q36] is where the ancestors come from, for some number, hundreds of years. And that is Jewish Poland. And 1931, rather than 1921, is the year of my birth. And it's in a sense, though I don't keep to it too strictly, everything before that. To try to build up a world that I really don't know.\n \nJerome Rothenberg\n00:48:29\nReads \"Poland/1931: The Wedding\" [from Poland/1931].\n \nJerome Rothenberg\n00:50:46\nReads \"The King of the Jews\" [from Poland/1931].\n \nJerome Rothenberg\n00:51:52\nThe next one's called \"The Key of Solomon\". It's the name of a medieval, a series of medieval magical books that were supposed to go back to the times of Solomon [https://www.wikidata.org/wiki/Q37085]. \n \nJerome Rothenberg\n00:57:07\nReads \"The Key of Solomon\" [from Poland/1931].\n \nJerome Rothenberg\n00:53:42\n\"The Beadle's Testimony.\" Because beadles were a demon.\n \nJerome Rothenberg\n00:53:47\nReads \"The Beadle's Testimony\" [from Poland/1931].\n \nJerome Rothenberg\n00:54:53\nTwo poems called \"Soap\".\n \nJerome Rothenberg\n00:54:57\nReads \"Soap \" [from Poland/1931].\n \nJerome Rothenberg\n00:55:56\nReads \"Soap II” [from Poland/1931].\n \nJerome Rothenberg\n00:57:37\nReads \"The Rabbi's Testimony\" [from Poland/1931].\n \nJerome Rothenberg\n00:59:08\nReads \"The Connoisseur of Jews\" [from Poland/1931].\n \nJerome Rothenberg\n01:00:38\nReads \"The Beards\" [from Poland/1931].\n \nJerome Rothenberg\n01:03:32\nReads \"The Mothers I\" [from Poland/1931]. \n \nJerome Rothenberg\n01:04:08\nReads \"The Mothers II\" [from Poland/1931].\n \nJerome Rothenberg\n01:04:43\nReads \"The Mothers III\" [from Poland/1931].\n \nJerome Rothenberg\n01:05:19\nReads \"Milk & Honey I\" [from Poland/1931].\n \nJerome Rothenberg\n01:06:00\nReads \"Milk & Honey II\" [from Poland/1931].\n \nJerome Rothenberg\n01:06:31\nReads \"Ancestral Scenes\" [from Poland/1931].\n \nJerome Rothenberg\n01:07:09\nReads \"The Fathers\" [from Poland/1931].\n \nJerome Rothenberg\n01:09:10\nThis one is called \"Portrait of the Jew, Old Country Style\".\n \nJerome Rothenberg\n01:09:16\nReads \"Poland, 1931: Portrait of the Jew, Old Country Style\" [from Poland/1931].\n \nJerome Rothenberg\n01:11:51\nThis is a longer one, called \"The Student's Testimony\"\n \nJerome Rothenberg\n01:12:04\nReads \"The Student's Testimony\" [from Poland/1931].\n \nJerome Rothenberg\n01:17:49\nA somewhat shorter one, and then another long one, and then a quite short one and that's...that's it. \n \nJerome Rothenberg\n01:17:58\nReads \"The Brothers\" [from Poland/1931].\n \nJerome Rothenberg\n01:20:10\nReads \"The Steward's Testimony\" [from Poland/1931].\n\nAudience\n01:25:15\nLaughter and applause [faint].\n \nJerome Rothenberg\n01:25:20\nNow, I'll end it with, I'll end it with two poems. \"A Poem for the Christians\". It's partly to...[Audience laughter]...it's a found poem from the prayer book. But you can see where there are changes, you know. [Audience laughter].\n \nJerome Rothenberg\n01:25:42\nReads \"A Poem for the Christians\" [from Poland/1931].\n \nJerome Rothenberg\n01:26:45\nReads \"Fish and Paradise\".\n \nEND\n01:27:32\n[Cut off abruptly]."],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nJerome Rothenberg published Poland/1931 (Unicorn Press, 1969) and The Directions (Tetrad Press, 1969) with Tom Phillips and was teaching at the Mannes College for Music.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nDirect connection to Sir George Williams University is unknown. Jerome Rothenberg was an influential member of contemporary American poetry, and had correspondences with other members of the poetry reading series, such as Robert Creeley, Paul Blackburn, Allen Ginsberg, Robert Kelly, Jackson Mac Low, bp Nichol, Gary Snyder and Diane Wakoski (please see Rothenberg’s papers for correspondences).\",\"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>2 CDs>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/954547274&referer=brief_results\",\"citation\":\"Gilbert, Roger. \\\"Rothenberg, Jerome\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ian Hamilton. Oxford University Press, 1996.\"},{\"url\":\"https://visarts.ucsd.edu/people/emeriti-faculty/jerome-rothenberg.html?_ga=2.257346699.1600795371.1609275761-1945262426.1609275761\",\"citation\":\"“Jerome Rothenberg”. Faculty Description. University of California at San Diego. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/jerome-rothenberg-at-sgwu-1969/\",\"citation\":\"“Poetry Four: Sir George Williams Poetry Series, First Reading”. Montreal: Sir George Williams University, 1969. \"},{\"url\":\"http://www.oac.cdlib.org/data/13030/gk/tf0n39n7gk/files/tf0n39n7gk.pdf\",\"citation\":\"“Register of the Jerome Rothenberg Papers, 1944-1985”. Online Archives of California.   University of California, San Diego.\"},{\"url\":\"https://www.worldcat.org/title/17-horse-songs-of-frank-mitchell-nos-x-xiii-total-translations-from-the-navaho-indian/oclc/976986882&referer=brief_results\",\"citation\":\"Rothenberg, Jerome. The 17 Horse-Songs of Frank Mitchell. London: Tetrad Press, 1969.\"},{\"url\":\"http://d7.drunkenboat.com/db3/rothenberg/rothenberg.html\",\"citation\":\"Rothenberg, Jerome. “Pre-Face to a Symposium on Ethnopoetics (1975)”. Drunken Boat Online Journal of the Arts, Issue 3: Fall/Winter 2001-2002.\"},{\"url\":\"https://www.worldcat.org/title/shaking-the-pumpkin-traditional-poetry-of-the-indian-north-americas/oclc/1131195375&referer=brief_results\",\"citation\":\"Rothenberg, Jerome. Shaking the Pumpkin. New York: Doubleday, 1972. \"},{\"url\":\"https://www.worldcat.org/title/seneca-journal/oclc/898040552&referer=brief_results\",\"citation\":\"Rothenberg, Jerome. A Seneca Journal. New York: New Directions, 1971.\"},{\"url\":\"https://www.worldcat.org/title/technicians-of-the-sacred-a-range-of-poetries-from-africa-america-asia-europe-and-oceania/oclc/1005090292&referer=brief_results\",\"citation\":\"Rothenberg, Jerome. Technicians of the Sacred. New York: Doubleday/Anchor Books, 1969.\"},{\"url\":\"https://www.worldcat.org/title/poems-1964-1967/oclc/869018006&referer=brief_results\",\"citation\":\"Rothenberg, Jerome. Poems 1964-1967. Los Angeles: Black Sparrow Press, 1968. \"},{\"url\":\"\",\"citation\":\"“Rothenberg, Jerome, 1931-”. Literature Online Biography. Cambridge: Chadwyck-Healey, 2000. \"}]"],"_version_":1853670548893073408,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0006_11_0095_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Jerome Rothenberg 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_0095_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0095_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Jerome Rothenberg 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_0095_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0095_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Jerome Rothenberg Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0095_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0095_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Jerome Rothenberg 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/jerome_rothenberg_i006-11-095.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"jerome_rothenberg_i006-11-095.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:27:32\",\"precision\":\"\",\"size\":\"210.1 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"George Bowering\\n00:00:00\\nI'm glad we got this room. Welcome back to the first night of the fourth year of our series. And for those of you who are here for the first time, welcome you too. I'm really glad that we could start off with Jerome Rothenberg [https://www.wikidata.org/wiki/Q1775056], especially from my own personal viewpoint, because while Jerome Rothenberg is one of the names that I've paid a lot of attention to, and one of the names that poets have paid attention to over the last decade, this'll be the first time that I've been able to hear him read, too. Usually when, often when us people from the West think about the new American poetry, we tend to think of it in terms of people from outposts such as New Mexico [https://www.wikidata.org/wiki/Q1522], and Utah, [https://www.wikidata.org/wiki/Q829] and San Francisco [https://www.wikidata.org/wiki/Q62], and so on. And we forget that New York City [https://www.wikidata.org/wiki/Q60] is one of the centre-place, central-places, so that it can produce poets such as Joel Oppenheimer [https://www.wikidata.org/wiki/Q6213806] who will be here in the following spring, and Paul Blackburn [https://www.wikidata.org/wiki/Q7149388], who was here a couple of years ago. Jerome Rothenberg has always been the centre, in the centre of that scene, and not only as one of the principal poets, but as editor, and publisher, and so on and so forth, especially with a very important magazine of the 1960's called some--oblique thing [some/thing]. And he's especially interesting to me too because of the kind of work that produced a book such as Technicians of the Sacred, a compilation of the poetries from various oral traditions around the world, and a similar sort of impulse has always been at the centre of his work too. I'd also like to correct a mistake on the little printed page that wasn't really mine, that I picked up from somewhere else and couldn't quite believe myself, that said that Jerome Rothenberg was born in 1921. All I can say is that he was born sometime between the death of Lord Byron [https://www.wikidata.org/wiki/Q5679] and now. [Laughter]. But I'm pretty certain that he wasn't around in 1921. So I'd like you to give a welcome to Jerome Rothenberg.\\n \\nAudience\\n00:02:53\\nApplause.\\n \\nJerome Rothenberg\\n00:02:58\\nThe birthdate'll come clearer in the second part of the reading. I'll read in two parts. And in the first set, what I'll be reading are translations and re-workings of American Indian poetry, which have been important to me over the last five or six years. And I'll start with some which are based on earlier translations, re-workings of material previously translated, and then as I get into it, some translations that result from direct contact and direct experience of American Indian poetry. This is an Aztec poem. The first four or five, six poems will be Aztec or Mexican in origin, and the theme will be flowers.  \\\"Offering Flowers\\\".\\n \\nJerome Rothenberg\\n00:04:24\\nReads \\\"Offering Flowers\\\" [from Technicians of the Sacred].\\n \\nJerome Rothenberg\\n00:07:37\\nThis is Aztec, too, in origin, translated through the Spanish.\\n \\nJerome Rothenberg\\n00:07:52\\nReads “A Song of Chalco” [published later in Shaking the Pumpkin].\\n \\nJerome Rothenberg\\n00:09:53\\nAnd it doesn't die out, even with the destruction that follows, and flowers are picked up again, this in a series of translations, again through the Spanish, of a series of Peyote songs, from the Huichol Indians of central Mexico [https://www.wikidata.org/wiki/Q96]. The name Wirikuta [https://www.wikidata.org/wiki/Q8026952] is the name given to the place of the gods, and the spiritual place of the Peyote. The Peyote is described as the rose, it's described as the corn, the maize, it's described under a number of images, and through the figure, the mythological figure of one called the Blue Stag. This is the first Huichol, Peyote song.\\n \\nJerome Rothenberg\\n00:10:46\\nReads “First Peyote Song” [published later in Shaking the Pumpkin].\\n \\nJerome Rothenberg\\n00:11:46.19\\n\\\"Song of an Initiate\\\".\\n \\nJerome Rothenberg\\n00:11:51\\nReads \\\"Song of an Initiate\\\" [published later in Shaking the Pumpkin].\\n \\nJerome Rothenberg\\n00:12:25\\nAnd this is a poem called \\\"How the Violin Was Born: A Peyote Account”.\\n \\nJerome Rothenberg\\n00:12:35\\nReads \\\"How the Violin was Born: A Peyote Account” [published later in Shaking the Pumpkin].\\n \\nJerome Rothenberg\\n00:13:24\\nThese are a few short Indian pieces. Not poems but part of what's connected with the whole activity of poetry, among the tribal peoples. Which is more than an activity of words; which goes beyond language. And these are the events that accompany the words. And the first is an Iroquois dream event. \\n \\nJerome Rothenberg\\n00:13:58\\nReads [\\\"Dream Event 1\\\", published later in Shaking the Pumpkin].\\n \\nJerome Rothenberg\\n00:14:08\\nThese are a series of vision events. The first two are Eskimo.\\n \\nJerome Rothenberg\\n00:14:14\\nReads \\\"Vision Event I\\\" [published later in Shaking the Pumpkin].\\n\\nJerome Rothenberg\\n00:14:25\\nReads \\\"Vision Event 2\\\" [published later in Shaking the Pumpkin].\\n \\nJerome Rothenberg\\n00:14:39\\nAnd this is a Sioux Indian vision event.\\n \\nJerome Rothenberg\\n00:14:43\\nReads \\\"Vision Event 3\\\" [published later in Shaking the Pumpkin].\\n \\nJerome Rothenberg\\n00:15:01\\nThis is a Kwakiutl Indian gift event. All the words are from Kwakiut'l Indians. It's either spoken in English or translated into English. The Kwakiut'l, like other Northwest Coast people, celebrate the potlatch, you know, which is not always terrible or distasteful in its consequences. This is benevolent gift-giving. \\n \\nJerome Rothenberg\\n00:15:26\\nReads \\\"Gift Event [2]\\\" [published later in Shaking the Pumpkin].\\n \\nJerome Rothenberg\\n00:16:32\\nThese are a series of seven Navajo animal songs. \\n \\nJerome Rothenberg\\n00:16:42\\nReads \\\"Navajo Animal Songs\\\" [published later in Shaking the Pumpkin].\\n \\nJerome Rothenberg\\n00:17:49\\nThe next few are from a series of translations I've been doing, are called, well, it's the Seneca Indian word for one of their major curing ceremonies, a term for a major curing ceremony, \\\"Shaking the Pumpkin\\\", because the pumpkin rattle, the big pumpkin rattle is the major instrument used in this. Or it's got a more ornate name, it's called \\\"The Society of the Mystic Animals\\\". The man, Richard Johnny John, Indian, who is working with me on this, explained it's a serious ceremony, he said, but if everything's alright, the one who says the prayer tells them, I leave it up to you, folks, and if you want to have a good time, have a good time. Well everything's alright in the translations, you know, so one eases up there. The translations are done trying to follow everything in the Seneca, including the meaning of the sounds, the hey-ya and the way-oh-hey, that are very common in Indian poetry. Basically the way I do it is to present them visually on the page, and I can't do this in reading them, so I'm just going to select out of these poems that read easily. The purpose is curing, and well-being. \\n \\nJerome Rothenberg\\n00:19:34\\nReads [\\\"Caw Caw the Crows Caw Caw\\\" published later in Shaking the Pumpkin].\\n \\nJerome Rothenberg\\n00:19:49\\nReads \\\"Two more about a crow, in the manner of Zukofsky\\\" [later published in Shaking the Pumpkin].\\n \\nJerome Rothenberg\\n00:20:05\\nThree poems about the owl, on the page, the vocables, the sounds, make the figure of an owl, even as in the singing of the song, the sound of the owl comes through. But here are just the words.\\n \\nJerome Rothenberg\\n00:20:19\\nReads \\\"The Owl: One\\\".\\n \\nJerome Rothenberg\\n00:20:25\\nReads \\\"The Owl: Two\\\".\\n \\nJerome Rothenberg\\n00:20:32\\nReads \\\"The Owl: Three\\\".\\n \\nJerome Rothenberg\\n00:20:40\\n\\\"A Song of My Song, In Three Parts”.\\n \\nJerome Rothenberg\\n00:20:45\\nReads \\\"A Song of My Song, In Three Parts\\\" [published later in Shaking the Pumpkin].\\n \\nJerome Rothenberg\\n00:20:59\\nReads “Three Ways to Screw Up on Your Way to the Doings” [published later in Shaking the Pumpkin].\\n \\nJerome Rothenberg\\n00:21:16\\nBuckets are important, to bring back soup and...The last one from this series.\\n \\nJerome Rothenberg\\n00:21:31\\nReads “Where the Song Went Where She Went & What Happened When they Met” [published later in Shaking the Pumpkin].\\n \\nJerome Rothenberg\\n00:22:15\\nThe next are a little harder to do, but I hope I make it. The Senecas don't use many words. It's a kind of minimal poetry and the power is in the compression. The Navajos use more words, the poetry gets dense, and in addition they use many many non-verbal sounds. And in addition, they distort many of the words in the singing. So that if you translate just for the meaning, you're only getting a small part of what the Navajo is doing. And then in addition, everything is sung in the Navajo. So I began to translate a series called, because that's what they are, \\\"The Seventeen Horse Songs of Frank Mitchell\\\". Seventeen horse-blessing, horse-curing songs that were the property of a Navajo medicine man named Frank Mitchell. And the problem that came up for me, I couldn't translate just for meaning, I wanted to, you know, consider all of the factors that went into the poem. So I began to insert sounds corresponding to the sound of the English words as the Navajo had the meaning of the sounds, and to distort the words. And then it seemed to me that it was necessary to carry this further, to begin to sing the songs as well. Which came to me with great difficulty. But I've gotten through a number of them now, and what I'll do is sing one, the \\\"Tenth Horse Song of Frank Mitchell,\\\" and then do a tape for three voices of another one of the horse songs. You'll notice the words are rather similar from one to another, the melody changes. In this, and the Navajos of course would know this, the hero, Enemy-Slayer, has gone to the house of his father, the sun up there, to bring back horses for the people. And in this Tenth Horse Song, it's mostly the father, the sun, speaking, telling him to bring the horses back to the house of his mother, you know, who everybody understands to be Changing Woman. Bring it back to the earth. And sometimes the voice of Enemy-Slayer comes into it.  But the basic refrain is to \\\"go to the woman, go to her.\\\" \\n \\nJerome Rothenberg\\n00:25:24\\nPerforms \\\"Tenth Horse Song of Frank Mitchell\\\" [from The 17 Horse-Songs of Frank Mitchell]. \\n \\nAudience\\n00:31:25\\nApplause.\\n \\nJerome Rothenberg\\n00:31:38\\nThe next one, and I guess the last piece in the first set, is the \\\"Twelfth Horse Song of Frank Mitchell\\\". The melody changes. Some of the distortions change. The burden changes, and now Enemy-Slayer contemplates the horses coming back to earth with him, in the same sequence. This is done on tape, with three voices. I think that's about all there is to say about it. Three voices.\\n \\nJerome Rothenberg\\n00:32:23\\nPlays recording of \\\"Twelfth Horse Song of Frank Mitchell\\\", sung by three voices [from The 17 Horse-Songs of Frank Mitchell and published later in Shaking the Pumpkin].\\n \\nAudience\\n00:39:42\\nApplause.\\n \\nJerome Rothenberg\\n00:39:48\\nIn fact, let me end this set with a live poem, I don't want to end with a machine. This is another Aztec poem called \\\"The Flight of Quetzalcoatl\\\". The plumed serpent, bird-snake man. In which he discovers that he's become old, and leaves and goes on a long journey, and is reborn as the morning star.\\n \\nJerome Rothenberg\\n00:40:39\\nReads \\\"The Flight of Quetzalcoatl\\\" [later published in Shaking the Pumpkin].\\n \\nAudience\\n00:47:17\\nApplause. \\n \\nUnknown\\n00:47:20\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n \\nGeorge Bowering\\n00:47:20\\nOkay, we'll hold for about ten minutes, and open the doors and get cool, and then come back. \\n \\nUnknown\\n00:47:27\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n \\nJerome Rothenberg\\n00:47:28\\nThe second set will be a straight reading, whatever that means, from a long series of poems called \\\"Poland/1931\\\". A series of ancestral poems. So Poland [https://www.wikidata.org/wiki/Q36] is where the ancestors come from, for some number, hundreds of years. And that is Jewish Poland. And 1931, rather than 1921, is the year of my birth. And it's in a sense, though I don't keep to it too strictly, everything before that. To try to build up a world that I really don't know.\\n \\nJerome Rothenberg\\n00:48:29\\nReads \\\"Poland/1931: The Wedding\\\" [from Poland/1931].\\n \\nJerome Rothenberg\\n00:50:46\\nReads \\\"The King of the Jews\\\" [from Poland/1931].\\n \\nJerome Rothenberg\\n00:51:52\\nThe next one's called \\\"The Key of Solomon\\\". It's the name of a medieval, a series of medieval magical books that were supposed to go back to the times of Solomon [https://www.wikidata.org/wiki/Q37085]. \\n \\nJerome Rothenberg\\n00:57:07\\nReads \\\"The Key of Solomon\\\" [from Poland/1931].\\n \\nJerome Rothenberg\\n00:53:42\\n\\\"The Beadle's Testimony.\\\" Because beadles were a demon.\\n \\nJerome Rothenberg\\n00:53:47\\nReads \\\"The Beadle's Testimony\\\" [from Poland/1931].\\n \\nJerome Rothenberg\\n00:54:53\\nTwo poems called \\\"Soap\\\".\\n \\nJerome Rothenberg\\n00:54:57\\nReads \\\"Soap \\\" [from Poland/1931].\\n \\nJerome Rothenberg\\n00:55:56\\nReads \\\"Soap II” [from Poland/1931].\\n \\nJerome Rothenberg\\n00:57:37\\nReads \\\"The Rabbi's Testimony\\\" [from Poland/1931].\\n \\nJerome Rothenberg\\n00:59:08\\nReads \\\"The Connoisseur of Jews\\\" [from Poland/1931].\\n \\nJerome Rothenberg\\n01:00:38\\nReads \\\"The Beards\\\" [from Poland/1931].\\n \\nJerome Rothenberg\\n01:03:32\\nReads \\\"The Mothers I\\\" [from Poland/1931]. \\n \\nJerome Rothenberg\\n01:04:08\\nReads \\\"The Mothers II\\\" [from Poland/1931].\\n \\nJerome Rothenberg\\n01:04:43\\nReads \\\"The Mothers III\\\" [from Poland/1931].\\n \\nJerome Rothenberg\\n01:05:19\\nReads \\\"Milk & Honey I\\\" [from Poland/1931].\\n \\nJerome Rothenberg\\n01:06:00\\nReads \\\"Milk & Honey II\\\" [from Poland/1931].\\n \\nJerome Rothenberg\\n01:06:31\\nReads \\\"Ancestral Scenes\\\" [from Poland/1931].\\n \\nJerome Rothenberg\\n01:07:09\\nReads \\\"The Fathers\\\" [from Poland/1931].\\n \\nJerome Rothenberg\\n01:09:10\\nThis one is called \\\"Portrait of the Jew, Old Country Style\\\".\\n \\nJerome Rothenberg\\n01:09:16\\nReads \\\"Poland, 1931: Portrait of the Jew, Old Country Style\\\" [from Poland/1931].\\n \\nJerome Rothenberg\\n01:11:51\\nThis is a longer one, called \\\"The Student's Testimony\\\"\\n \\nJerome Rothenberg\\n01:12:04\\nReads \\\"The Student's Testimony\\\" [from Poland/1931].\\n \\nJerome Rothenberg\\n01:17:49\\nA somewhat shorter one, and then another long one, and then a quite short one and that's...that's it. \\n \\nJerome Rothenberg\\n01:17:58\\nReads \\\"The Brothers\\\" [from Poland/1931].\\n \\nJerome Rothenberg\\n01:20:10\\nReads \\\"The Steward's Testimony\\\" [from Poland/1931].\\n\\nAudience\\n01:25:15\\nLaughter and applause [faint].\\n \\nJerome Rothenberg\\n01:25:20\\nNow, I'll end it with, I'll end it with two poems. \\\"A Poem for the Christians\\\". It's partly to...[Audience laughter]...it's a found poem from the prayer book. But you can see where there are changes, you know. [Audience laughter].\\n \\nJerome Rothenberg\\n01:25:42\\nReads \\\"A Poem for the Christians\\\" [from Poland/1931].\\n \\nJerome Rothenberg\\n01:26:45\\nReads \\\"Fish and Paradise\\\".\\n \\nEND\\n01:27:32\\n[Cut off abruptly].\",\"notes\":\"Jerome Rothenberg reads poems published later in Shaking the Pumpkin (Doubleday, 1972) and from Poland/1931 (Unicorn Press, 1969).\\n\\nRachel has indexed poems.\\n00:00- George Bowering introduces Jerome Rothenberg. [INDEX: room, first night of fourth year of the series, poets, West, New American Poetry, New Mexico, Utah, San Francisco, New York City, Joel Oppenheimer, Paul Blackburn, editor, publisher, Some CH Oblique Thing [unknown 1960’s magazine], Technicians of the Sacred, oral traditions worldwide, pamphlet mistake: Rothenberg not born in 1921, Lord Byron.]\\n02:58- Jerome Rothenberg introduces reading and “Offering Flowers”. [INDEX: birthdate, two-part reading, translations or re-workings of American Indian poetry, direct contact, direct experience with American Indians, Aztec poem, Mexican, theme of flowers; unknown source.]\\n04:24- Reads “Offering Flowers”. [INDEX: translation, Aztec, Mexico, flower, feast, offering, morning, temple, spiritual, god, dance, repetition, anaphora, food, drink, word]\\n07:37- Introduces “A Song of Chalco”. [INDEX: Aztec in origin, translated to Spanish; later published in Shaking the Pumpkin (Doubleday, 1972).]\\n07:52- Reads “A Song of Chalco”. [INDEX: rose, fire, god, house, bird, thrush,   song, poet, forest, flower, dance, lust, father, prince, joy, son, body, river.]\\n09:53- Introduces first line “First Peyote Song”. [INDEX: die out, destruction, flowers, translations, Spanish, Peyote songs, Huichol Indians of central Mexico, Wiricota, gods,        spiritual place of the Peyote, rose, the corn, the maize, images, mythological figure called Blue Stag, Huichol; later published in Shaking the Pumpkin (Doubleday, 1972).]\\n10:46- Reads first line “First Peyote Song” . [INDEX: rose, birth, flower, wind, eternal, god, mountain, mother, house, heart, Peyote, Blue Stag, rain, maize, earth, Aztec, Mexico, song.]\\n11:46- Reads “Song of an Initiate”. [INDEX: rose, song, god, stair, sky, silence; later published in Shaking the Pumpkin (Doubleday, 1972).]\\n12:25- Introduces “How the Violin Was Born: A Peyote Account”. [INDEX: peyote account; later published in Shaking the Pumpkin (Doubleday, 1972).]\\n12:35- Reads “How the Violin Was Born”. [INDEX: music, violin, wood, cedar, stone, tree, heart, soul, Big Stag, bird, song, wind.]\\n13:24- Introduces “Dream Event I”. [INDEX: Indian pieces, whole activity of poetry, tribal peoples, activity of words, beyond language, events that accompany words, Iroquois dream-event; later published in Shaking the Pumpkin (Doubleday, 1972).]\\n13:58- Reads “Dream Event I\\\". [INDEX: aboriginal, dream, community,         \\tinterpretation, theatre.]\\n14:08- Introduces “Vision Event I”. [INDEX: ‘Eskimo’; later published in Shaking the Pumpkin (Doubleday, 1972).]\\n14:14- Reads “Vision Event I”. [INDEX: aboriginal, Eskimo, solitude, stone, circle, place, time, ritual.]\\n14:25- Reads “Vision Event II”. [INDEX: aboriginal, Eskimo, vision, hanging, sight; later published in Shaking the Pumpkin (Doubleday, 1972).]\\n14:39- Introduces “Vision Event III”. [INDEX: Sioux Indian.]\\n14:43- Reads “Vision Event III”. [INDEX: American Indian, aboriginal, vision, crying, sight; later published in Shaking the Pumpkin (Doubleday, 1972).]\\n15:01- Introduces “Gift Event” [INDEX: Kwakiut’l Indian gift event, English, translation,        Northwest Coast people, celebrate the potlatch, consequences, benevolent; later published in Shaking the Pumpkin (Doubleday, 1972).]\\n15:26- Reads “Gift Event”. [INDEX: Kwakiut'l, giving, gift, potlatch, Northwest, coast, aboriginal, animal, ritual, house, sound, value, name.]\\n16:32- Introduces “Seven Navajo Animal Songs”.\\n16:42- Reads “Seven Navajo Animal Songs”. [INDEX: animal, chipmunk, action, movement, mole, sex, wildcat, water, turkey, madness, scatological, pinion jay, bird; later published in Shaking the Pumpkin (Doubleday, 1972).]\\n17:49- Introduces “Caw Caw the Crows Caw”. [INDEX: Seneca Indian word, curing ceremony “Shaking the pumpkin”, instrument, “The Society of the Mystic Animals”, Richard Johnny-John Indian, serious ceremony, prayer, translations, meanings of sounds, Indian poetry, visual presentation of sound, curing, well-being; later published in Shaking the Pumpkin (Doubleday, 1972).]\\n19:34- Reads “Caw Caw the Crows Caw”.  [INDEX: Seneca, aboriginal, crow, movement; later published in Shaking the Pumpkin (Doubleday, 1972).]\\n19:49- Reads  “Two more about a crow, in the manner of Zukofsky...”.  [INDEX: Louis Zukofsky, sound, Seneca, aboriginal later published in Shaking the Pumpkin      (Doubleday, 1972).]\\n20:05- Introduces “The Owl: One”. [INDEX: page, vocables, sounds, figure, singing of song, \\tsound of the owl.]\\n20:19- Reads “The Owl: One”. [INDEX: Seneca, aboriginal, owl, home, tree, hemlock]\\n20:25- Reads “The Owl: Two”.  [INDEX: Seneca, aboriginal, cure, sickness, poison, owl]\\n20:32- Reads “The Owl: Three”. [INDEX: Seneca, aboriginal, owl, tree, sound, whistle.]\\n20:40- Reads “A Song of My Song”. [INDEX: three parts, song, distance, circle, room,   proximity, sound; later published in Shaking the Pumpkin (Doubleday, 1972).]\\n20:59- Reads “Three Ways to Screw Up on Your Way to the Doings”. [INDEX: later published in Shaking the Pumpkin (Doubleday, 1972)\\n21:16- Introduces “Where the Song Went Where She Went & What Happened When they Met”. [INDEX: buckets, soup, last of series; later published in Shaking the Pumpkin (Doubleday, 1972).]\\n21:31- Reads “Where the Song Went Where She Went & What Happened When they Met”\\n22:15- Introduces “Tenth Horse Song of Frank Mitchell”. [INDEX: Senecas, words, minimal poetry, power in compression, Navajo poetry, non-verbal sounds, distort words when sung, translation, meaning, series, horse-blessing, horse-curing songs, Navajo medicine man Frank Mitchell, problem translating, insert sounds, English, sing, tape of three voices of horse song, melody, hero, Enemy-Slayer, father’s house, sun, people, mother, Changing Woman, earth, refrain “go to the woman, go to her”.]\\n25:24- Reads/Sings “Tenth Horse Song of Frank Mitchell”.\\n31:38- Introduces “Twelfth Horse Song of Frank Mitchell”. [INDEX: melody change, distortions change, burden changes, Enemy-Slayer, horses, earth, sequence, three voices, later published in Shaking the Pumpkin (Doubleday, 1972).]\\n32:23- Plays recording of “Twelfth Horse Song of Frank Mitchell”.\\n39:48- Introduces “The Flight of the Quetzalcoatl”. [INDEX: live poem, machine, Aztec poem, plumed serpent, bird-snake-man, old, long journey, morning star; published later in Shaking the Pumpkin (Doubleday, 1972).]\\n40:39- Reads “The Flight of the Quetzalcoatl”.\\n47:20- George Bowering introduces break.\\n47:27.02- END OF RECORDING.\\n\\n00:00- Jerome Rothenberg introduces long poem “Poland 1931”. [INDEX: long poem, ancestral poems, Jewish Poland, year of Rothenberg’s birth, world unknown.]\\n01:02- Reads “Poland, 1931: The Wedding”.\\n03:19- Reads “Poland, 1931: The King of Jews”.\\n04:25- Introduces “Poland, 1931: The Key of Solomon”. [INDEX: medieval magical books.]\\n04:40- Reads “Poland, 1931: The Key of Solomon”.\\n06:15- Introduces “Poland, 1931: The Beetle’s Testimony”. [INDEX: beetles, demon.]\\n06:20- Reads “Poland, 1931: The Beetle’s Testimony”.\\n07:26- Introduces “Poland, 1931: Soap”. [INDEX: two poems called “Soap”.]\\n07:30- Reads “Poland, 1931: Soap I”.\\n08:29- Reads “Poland, 1931: Soap II”.\\n10:10- Reads \\\"Poland, 1931: The Rabbi's Testimony\\\"\\n11:41- Reads \\\"Poland, 1931: The Connoisseur of Jews\\\"\\n13:11- Reads \\\"Poland, 1931: The Beards\\\"\\n16:05- Reads \\\"Poland, 1931: The Mothers I\\\"  \\n16:41- Reads \\\"Poland, 1931: The Mothers II\\\"\\n17:16- Reads \\\"Poland, 1931: The Mothers III\\\"\\n17:52- Reads \\\"Poland, 1931: Milk and Honey I\\\"\\n18:33- Reads \\\"Poland, 1931: Milk and Honey II\\\"\\n19:04- Reads \\\"Poland, 1931: Ancestral Scenes\\\"\\n19:42- Reads \\\"Poland, 1931: The Fathers\\\"\\n21:43- Introduces \\\"Poland, 1931: Portrait of the Jew, Old Country Style\\\"\\n21:49- Reads \\\"Poland, 1931: Portrait of the Jew, Old Country Style\\\"\\n24:24- Introduces \\\"Poland, 1931: The Student's Testimony\\\"\\n24:37- Reads \\\"Poland, 1931: The Student's Testimony\\\"\\n30:31- Reads \\\"Poland, 1931: The Brothers\\\"\\n32:43- Reads \\\"Poland, 1931: The Steward's Testimony\\\"\\n37:53- Introduces “A Poem for the Christians”. [INDEX: found poem in prayer book.]\\n38:15- Reads \\\"A Poem for the Christians\\\"\\n39:18- Reads \\\"Fish and Paradise\\\"\\n00:40:05.58- END OF RECORDING\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/jerome-rothenberg-at-sgwu-1969/\"}]"],"score":1.8530173},{"id":"1280","cataloger_name":["Masoumeh,Zaare"],"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":["bill bissett at Sir George Williams University, The Poetry Series, 31 October 1969"],"item_title_source":["Cataloguer"],"item_title_note":["\"BILL BISSETT Recorded October 31, 1969 3.75 ips, on 1 mil. tape, 1/2 track\" written on sticker on the back of the tape's box. \"BILL BISSETT I006/SR83\" written on sticker on the spine of the tape's box. \"I006-11-083\" written on sticker on the reel"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 4"],"item_identifiers":["[]"],"creator_names":["Bissett, Bill"],"creator_names_search":["Bissett, Bill"],"creators":["[{\"url\":\"http://viaf.org/viaf/96127023\",\"name\":\"Bissett, Bill\",\"dates\":\"1939-\",\"notes\":\"Poet, artist, painter and editor bill bissett was born in Halifax in 1939, but was most actively associated with the Vancouver poetry renaissance of the 60s. He has often been associated with bpNichol as a founder of the concrete poetry movement and a sound poetry practitioner. bissett has published dozens of collections of poems over thirty years, many of them self-published with his own art on the cover. A selection of his titles include we sleep inside each other all published in 1966 by Island press, which was followed by awake in the red desert (TalonBooks, 1968), selected poems: nobody owns th earth (House of Anansi Press, 1971), pomes for yoshi (blewointmentpress,1972), Medicine my mouths on fire (Oberon Press, 1974), Sailor (TalonBooks, 1978), Seagull on Yonge Street (TalonBooks, 1983), Canada gees mate for life (TalonBooks, 1985), Animal uproar (TalonBooks, 1987), Hard 2 beleev (TalonBooks, 1990), Th last photo uv th human soul (TalonBooks, 1993), Th influenza uv logik (TalonBooks, 1995). bissett founded Vancouver’s blewointmentpress in 1963. His poetry and alternative lifestyle often caused bissett to have legal problems, which rallied support from his community. what we have (TalonBooks, 1988) won the Milton Acorn People’s Poetry Award in 1989, and much of his art and activism privileges the democracy of poetry. He is most famous for his poetry readings, as his printed text lifts off the page through chanting, visual and sound poetry techniques. bissett currently lives in London, Ontario.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1969],"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\":\"1969 10 31\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the back of the tape's box.\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Possibly, Hall Building Room H-651\",\"notes\":\"Location specified in previous written announcement \\\"Poetry Four: Sir George Williams Poetry Series,\\\" but not confirmed\",\"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":["Possibly, Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["bill bissett reads and performs poems from Awake in th red desert! (1968),\nOf Th Land Divine Service (Weed/Flower Press, 1968), lost angel mining company (Blew Ointment Press, 1969), Liberating Skies (1969), and Nobody Owns th Earth (House of Anansi Press, 1971), some of which were later collected in Selected Poems: Beyond Even Faithful Legends (Talonbooks, 1980)."],"contents":["bill_bisset_i006-11-083.mp3\n\nbill bissett\n00:00:00\nReads “3. i have evn herd uv thee” [from Of Th Land Divine Service]. \n\nbill bissett\n00:01:12\nPerforms “4” [from Of Th Land Divine Service]. \n\nbill bissett\n00:04:44\nReads \"The molecular robbery\" [from lost angel mining company]. \n\nbill bissett\n00:11:09\nReads unnamed poem.\n\nbill bissett\n00:13:40\nReads \"Killer Whale\" [from lost angel mining company].\n\nbill bissett\n00:18:04\nPerforms “5. And that light is in thee is in thee and” [from Of Th Land Divine Service].\n\nbill bissett\n00:19:20\nPerforms “6. And in all things did even as Adam had done” [from Of Th Land Divine Service].\n\nbill bissett\n00:20:48\nPerforms “and the green wind is mooving thru th summr trees” [from awake in th red desert]. \n\nbill bissett\n00:22:54\nReads “Circles in th Sun” [from lost angel mining company].\n\nbill bissett\n00:24:13\nPerforms “Walrus Song” [from lost angel mining company].\n\nbill bissett\n00:33:09\nReads unnamed poem [from lost angel mining company].\n\nbill bissett\n00:37:14\nReads [“the flaming end: 8 beautiful people on a bus”].\n\nUnknown\n00:47:44\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nbill bissett\n00:47:44\nResumes reading [possibly still “the flaming end: 8 beautiful people on a bus”].\n\nbill bissett\n00:50:25\nReads unnamed poem.\n\nbill bissett\n00:51:09\nReads [\"Another 100 warrants issued\" from Nobody Owns th Earth].\n\nbill bissett\n00:53:36\nPerforms \"th water falls in yr mind nd yu get wet tooo\" [from liberating skies].\n\nbill bissett\n00:58:25\nPerforms unnamed poem.\n\nbill bissett\n01:02:02\nReads unnamed poem.\n\nbill bissett\n01:02:32\nPerforms “tarzan collage” [from drifting into war]. \n\nAudience\n01:04:37\nApplause.\n\nbill bissett\n01:05:08\nJust as you leave I'll just do this little thing, just keep going though.  \n\nbill bissett\n01:05:11\nPerforms unnamed poem.\n\nbill bissett\n01:06:18\nPerforms [“moss song” from Of Th Land Divine Service].\n\nEND\n01:14:13\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1969, bissett published Liberating Skies (Blewointment Press), Lost Angel Mining Company (Blewointment Press), and Sunday Work? (Blewointment Press). He was working on S the Story I to (Blewointment Press, 1970), Blew Trewz, Nobody Owns th Earth both published by Blewointment Press in 1971, along with Dragonfly (Weed/Flower Press, 1971), Drifting into War (Talonbooks, 1971), I.B.M. (Blewointment Press, 1971), Tuff Shit: Love Pomes (Bandit/Black Moss Press, 1971), and Rush (Blewointmeint Press, 1971).\",\"type\":\"General\"},{\"note\":\"Local Connections:  \\n\\nbissett’s blewointment press and its magazine has published (then) up-and-coming Vancouver poets Gerry Gilbert and Maxine Gadd. His own work was first published by Eli Mandel, and anthologized by Margaret Atwood and Dennis Lee. Though his poetry was radical and a rejection of conventional styles, bissett has become an important figure in Canada’s literary history. He was also connected to George Bowering from Sir George Williams University through the Vancouver poetry scene in the early 1960’s.\",\"type\":\"General\"},{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Faith Paré (2020) and Ali Barillaro (2021)\\n\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>2 CDs>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/liberating-skies/oclc/1053976136?referer=di&ht=edition\",\"citation\":\"bissett, bill. Liberating skies. Vancouver: Blew Ointment Press, 1969.\"},{\"url\":\"https://www.worldcat.org/title/selected-poems-beyond-even-faithful-legends/oclc/7717248&referer=brief_results\",\"citation\":\"bissett, bill. Selected Poems: Beyond Even Faithful Legends. Vancouver: Talonbooks, 1980. \"},{\"url\":\"https://www.worldcat.org/title/lost-angel-mining-company/oclc/7247222&referer=brief_results\",\"citation\":\"bissett, bill. lost angel mining company. Vancouver: Blew Ointment Press, 1969. \"},{\"url\":\"https://www.worldcat.org/title/nobody-owns-th-sic-earth/oclc/490387389&referer=brief_results\",\"citation\":\"bissett, bill. Nobody Owns th Earth. Toronto: House of Anansi Press, 1971. \"},{\"url\":\"https://www.worldcat.org/title/of-th-sic-land-divine-service-poems/oclc/25235&referer=brief_results>\",\"citation\":\"bissett, bill. Of Th Land Divine Service. Toronto: Weed/Flower Press, 1968. \"},{\"url\":\"https://www.worldcat.org/title/contemporary-canadian-poem-anthology/oclc/829314798&referer=brief_results\",\"citation\":\"Bowering, George, ed. The Contemporary Canadian Poem Anthology. Toronto: Coach House Press, 1984. \"},{\"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. 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/poets-of-contemporary-canda-1960-1970/oclc/644860849?referer=di&ht=edition\",\"citation\":\"Mandel, Eli (ed). Poets of Contemporary Canada 1960-1970. Montreal: McClelland and Stewart Limited, 1972.\"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/865265719&referer=brief_results\",\"citation\":\"Stephen Scobie \\\"Bissett, Bill\\\". The Oxford Companion to Canadian Literature, 2nd edition. Eugene Benson and William Toye. Oxford University Press, 2006.\"},{\"url\":\"https://www.worldcat.org/title/awake-in-the-red-desert/oclc/1019165132&referer=brief_results\",\"citation\":\"bissett, bill. Awake in th[e] red desert! Vancouver: Talon Books, 1968. \"}]"],"_version_":1853670548895170560,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I006_11_0083_back.jpg\",\"file_path\":\"\",\"filename\":\"I006_11_0083_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"bill bissett 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/I006_11_0083_front.jpg\",\"file_path\":\"\",\"filename\":\"I006_11_0083_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"bill bissett 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/I006_11_0083_side.jpg\",\"file_path\":\"\",\"filename\":\"I006_11_0083_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"bill bissett Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I006_11_0083_tape.jpg\",\"file_path\":\"\",\"filename\":\"I006_11_0083_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"bill bissett 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/bill_bisset_i006-11-083.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"bill_bisset_i006-11-083.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:14:13\",\"precision\":\"\",\"size\":\"178.1MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"bill bissett\\n00:00:00\\nReads “3. i have evn herd uv thee” [from Of Th Land Divine Service]. \\n\\nbill bissett\\n00:01:12\\nPerforms “4” [from Of Th Land Divine Service]. \\n\\nbill bissett\\n00:04:44\\nReads \\\"The molecular robbery\\\" [from lost angel mining company]. \\n\\nbill bissett\\n00:11:09\\nReads unnamed poem.\\n\\nbill bissett\\n00:13:40\\nReads \\\"Killer Whale\\\" [from lost angel mining company].\\n\\nbill bissett\\n00:18:04\\nPerforms “5. And that light is in thee is in thee and” [from Of Th Land Divine Service].\\n\\nbill bissett\\n00:19:20\\nPerforms “6. And in all things did even as Adam had done” [from Of Th Land Divine Service].\\n\\nbill bissett\\n00:20:48\\nPerforms “and the green wind is mooving thru th summr trees” [from awake in th red desert]. \\n\\nbill bissett\\n00:22:54\\nReads “Circles in th Sun” [from lost angel mining company].\\n\\nbill bissett\\n00:24:13\\nPerforms “Walrus Song” [from lost angel mining company].\\n\\nbill bissett\\n00:33:09\\nReads unnamed poem [from lost angel mining company].\\n\\nbill bissett\\n00:37:14\\nReads [“the flaming end: 8 beautiful people on a bus”].\\n\\nUnknown\\n00:47:44\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nbill bissett\\n00:47:44\\nResumes reading [possibly still “the flaming end: 8 beautiful people on a bus”].\\n\\nbill bissett\\n00:50:25\\nReads unnamed poem.\\n\\nbill bissett\\n00:51:09\\nReads [\\\"Another 100 warrants issued\\\" from Nobody Owns th Earth].\\n\\nbill bissett\\n00:53:36\\nPerforms \\\"th water falls in yr mind nd yu get wet tooo\\\" [from liberating skies].\\n\\nbill bissett\\n00:58:25\\nPerforms unnamed poem.\\n\\nbill bissett\\n01:02:02\\nReads unnamed poem.\\n\\nbill bissett\\n01:02:32\\nPerforms “tarzan collage” [from drifting into war]. \\n\\nAudience\\n01:04:37\\nApplause.\\n\\nbill bissett\\n01:05:08\\nJust as you leave I'll just do this little thing, just keep going though.  \\n\\nbill bissett\\n01:05:11\\nPerforms unnamed poem.\\n\\nbill bissett\\n01:06:18\\nPerforms [“moss song” from Of Th Land Divine Service].\\n\\nEND\\n01:14:13\\n\",\"notes\":\"bill bissett reads and performs poems from Awake in th red desert! (1968),\\nOf Th Land Divine Service (Weed/Flower Press, 1968), lost angel mining company (Blew Ointment Press, 1969), Liberating Skies (1969), and Nobody Owns th Earth (House of Anansi Press, 1971), some of which were later collected in Selected Poems: Beyond Even Faithful Legends (Talonbooks, 1980).\\n\\nTRANSCRIPTION NOTES: Initially transcribed as two separate parts; this digital file combines two recordings. Timestamps reflect the single recording. \\n\\nList of Poems Read and Time Stamps [Part 1]\\n00:00 - Recording starts mid-sentence, reading “3. i have evn herd uv thee” [INDEX: from OF TH LAND DIVINE SERVICE,  line “...I had even heard of thee, that the spirit of the gods is in thee...”]\\n01:12 - Reads “4” [INDEX: from OF TH LAND DIVINE SERVICE, first line “a chain of gold which art of the children...”.]\\n04:44 - Reads “The molecular robbery” [INDEX: from lost angel mining company]\\n11:09 - Reads first line “Sung to the tune of Michael rowed his boat ashore...”\\n13:40 - Reads “Killer Whale”\\n18:04 - Reads “5. And that light is in thee is in thee and” [INDEX: from OF TH LAND DIVINE SERVICE.]\\n19:20 - Reads “6. And in all things did even as Adam had done” [INDEX: from OF TH LAND DIVINE SERVICE.]\\n20:48 - Reads “and the green wind is mooving thru th summr trees” [INDEX: from lost angel mining company and from OF TH LAND DIVINE SERVICE.]\\n22:36 - Reads “Circles in th Sun” [INDEX: from lost angel mining company, first line “In the mushroom village, all the little children, brightly smiling...”]\\n24:13 - Reads “Walrus Song” [INDEX: from lost angel mining company, first line “Drink all the lime you can...”.]\\n33:09 - Reads first line “So that even yourself becomes a serene stranger...”\\n37:14.17 - END OF RECORDING\\n\\nList of Poems Read and Time Stamps [Part 2]\\n00:00 - Reads first line “The flaming end, eight beautiful people on a bus...”\\n10:30 - [CUT] continues reading “...absolutely nothing there but to do with living...”\\n13:11 - Reads first line “Could we grow [inaudible] in the bomb shelter?...”\\n13:55 - Reads “Another 100 warrants issued” from NOBODY OWNS TH EARTH\\n16:21 - Reads first line “The water falls in your mind and you get wet too...”\\n21:11 - Reads  first line “The moon is [inaudible] she screamed, listen closely she said...”\\n24:48 - Reads first line “Sparrows dream of the endless sun...”\\n25:17- Reads “tarzan collage” from drifting into war, first line “Speaking, speaking, speaking, the I is speaking...”\\n27:48 - Reads first line “Bright, yellow, sky...”\\n29:04 - Reads “moss song” from OF TH LAND DIVINE SERVICE , first line “See the berries ripen in the trees...”\\n36:59 - END OF RECORDING.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/bill-bissett-at-sgwu-1969/\"}]"],"score":1.8530173},{"id":"1281","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":["Allen Ginsberg at Sir George Williams University, The Poetry Series, 7 November 1969"],"item_title_source":["Cataloguer"],"item_title_note":["\"ALAN GINSBERG -1 Recorded November 7, 1969 3.75 ips on 1 mil. tape, 1/2 track\" written on sticker on the back of the tape's box. ALAN GINSBERG refers to Allen Ginsberg. ALAN is mispelled. \"PERMISSION FROM HOWARD FINK TO REPRODUCE THIS TAPE\" also written on sticker on the back of the tape's box. \"ALAN GINSBERG-1 I006/SR33.1\" written on sticker on the spine of the tape's box. \"I006-11-033.1\" written on sticker on the reel.\n\n\"ALAN GINSBERG -2 Recorded November 7, 1969 3.75 ips on 1 mil. tape, 1/2 track\" written on sticker on the back of the tape's box. ALAN GINSBERG refers to Allen Ginsberg. ALAN is mispelled. \"PERMISSION FROM HOWARD FINK TO REPRODUCE THIS TAPE\" also written on sticker on the back of the tape's box. \"ALAN GINSBERG-1 I006/SR33.2\" written on sticker on the spine of the tape's box. \"ALAN GINSBERG-1 I006-11-033.2\" written on sticker on the reel."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 4"],"item_identifiers":["[I006-11-033.1, I006-11-033.2]"],"creator_names":["Ginsberg, Irwin Allen"],"creator_names_search":["Ginsberg, Irwin Allen"],"creators":["[{\"url\":\"http://viaf.org/viaf/108417923\",\"name\":\"Ginsberg, Irwin Allen\",\"dates\":\"1926-1997 \",\"notes\":\"Poet, revolutionary, and Beat generation icon Allen Ginsberg was born on June 3, 1926 in Paterson, New Jersey, to Naomi, a radical communist, and Louis Ginsberg, teacher and lyric poet. In his early life, Ginsberg’s mother was diagnosed with paranoid schizophrenia, a condition that would forever shape her son’s life. After graduation from high school, Ginsberg was accepted to Columbia University on scholarship to study labor law. However, after meeting Mark Van Doren and Lionel Trilling, Ginsberg turned to English and poetry. It was also at this time when he met Jack Kerouac, Lucien Carr, William S. Burroughs and Neal Cassady who would eventually form the ‘Beat Generation’. In 1948, Ginsberg had a vision of poet William Blake entering his apartment window, an event which would influence the rest of his life, attempting to recapture the image. In 1949, Ginsberg had a few minor run-ins with the law and he was committed to the Columbia-Presbyterian Psychiatric Institution. There he met his future publisher and life-long friend, Carl Solomon, a troubled intellectual. After serving in the merchant marines, and spending several months in Mexico, Ginsberg moved to San Francisco, where he met poets Kenneth Rexroth, Gary Snyder and Peter Orlovsky, who would become his life-long partner. After composing his first major notable poem, “Howl”, in 1955, he and Rexroth organized a reading of it at the Six Gallery, featuring Snyder and Michael McClure, with Lawrence Ferlenghetti (who later published the poem) and Kerouac in attendance. Ginsberg’s first collection of poetry was published in 1956, but with its second printing in 1957, Howl and Other Poems (City Lights Books, 1956) was seized by U.S. Customs for being ‘obscene’. However, after a trial, the book was deemed to have literary merit, which propelled Ginsberg and the Beat group of poets into instant fame, giving Ginsberg the opportunity to promote Kerouac’s On the Road and Burroughs’ Naked Lunch. In 1956, Ginsberg received news that his mother had died, which compelled him to write the poems “Death to Van Gogh’s Ear!” and “The Lion for Real”, and Kaddish and Other Poems (City Lights Books, 1961) as well as Empty Mirror: Early Poems (Corinth Books, 1961). During the 1960s Ginsberg traveled widely with Burroughs, Gregory Corso, Snyder to Paris, India, Tangier, Prague (where he was deported for being a corrupting influence). He published  Reality Sandwiches: 1953-1960 (City Lights Books, 1963), The Yage Letters with William Burroughs (City Lights Books, 1963), TV Baby Poems (Beach Books, 1968), Angkor Wat (Fulcrum Press, 1968), Planet News (City Lights Books, 1968), and Airplane Dreams: Compositions from Journals (City Lights Books, 1969). The years of 1968 and 1969 were filled with mourning for Ginsberg, as he learned of the death of both Neal Cassady and Jack Kerouac. The 1970s saw Ginsberg publish a number of collections, including The Fall of America: Poems of These States (City Lights, 1972), which won the National Book Award in 1974, The Gates of Wrath: Rhymed Poems, 1948-1952 (Grey Fox, 1972), Iron Horse (City Lights, 1974), First Blues: Rags, Ballads and Harmonium Songs, 1971-1974 (Full Court Press, 1975), Mind Breaths: Poems (City Lights, 1977), Poems All Over the Place: Mostly Seventies (Cherry Valley Editions, 1978). In 1976, Ginsberg and poet Anne Waldman were invited to create a writing program at the Naropa Institute in Colorado, which they named the Jack Kerouac School of Disembodied Poetics. In the 1980s and 1990s, Ginsberg published Plutonian Ode and Other Poems, 1977-1980 (City Lights, 1982), White Shroud: Poems 1980-1985 (Harper & Row, 1986), Cosmopolitan Greetings: Poems, 1986-1992 (HarperCollins,1994), Selected Poems (HarperCollins, 1996), Death & Fame: Last Poems, 1993-1997 (HarperFlamingo, 1999). Until his death, Ginsberg used his fame and poetry to speak out against censorship, the Vietnam War and drug prohibition, and for gay rights. Allen Ginsberg died in New York City, on April 4th, 1997.\",\"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":[1969],"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\":\"\"},{\"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\":\"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","Reel to Reel"],"physical_compositions":["Magnetic Tape","Magnetic Tape"],"recording_type":["Analogue","Analogue"],"AV_type":["Audio","Audio"],"playback_mode":["Mono","Mono"],"Dates":["[{\"date\":\"1969 11 7\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the back of the tape's box.\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-110\",\"notes\":\"Previous researcher\",\"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-110"],"City":["Montreal, Quebec"],"content_notes":["Allen Ginsberg reads from Angkor Wat (Fulcrum Press, 1968), Planet News (City Lights Books, 1968), as well as pieces that were published later in The Fall of America: Poems of These States (City Lights Books, 1973). Ginsbger also performs musical versions of William Blake’s Songs of Innocence and Songs of Experience, recorded later on Songs of Innocence and Experience (MGM, 1970). "],"contents":["allen_ginsberg_i006-11-033-1.mp3 [File 1 of 2]\n \nUnnamed Performers and Audience\n00:00:00\nSing and chant accompanied by music . \n \nUnknown\n00:16:38\n[Cut or edit made in tape. Unknown amount of time elapsed].\n \nGeorge Bowering\n00:16:41\nWelcome to the...welcome to the fourth—third week of the fourth series of our readings here at Sir George [https://www.wikidata.org/wiki/Q326342] and this one is a special one, partly in that it was, it is being presented by a combination of the daytime Arts Student Association and the evening Arts Student Association, and not simply on the normal schedule. I'm certain that you don't have to be told who Allen Ginsberg [https://www.wikidata.org/wiki/Q6711] is, and you might think on how lucky it is that you happen to be in Montreal [https://www.wikidata.org/wiki/Q340] and he is here at the same time. Last night he was at York University [https://www.wikidata.org/wiki/Q849751] in Toronto [https://www.wikidata.org/wiki/Q172], and tomorrow he's going to be in Ottawa [https://www.wikidata.org/wiki/Q1930], and we're going to sap an awful lot of his energy. Allen is, I think, the most noted poet we've had over the last couple of decades, in the world, and as you're going to find out and as you already know, one of the super-poets in terms of writing poetry, as well. I'd like to give you, without any more cogitation, Mr. Allen Ginsberg. \n\nAudience\n00:18:13\nApplause.\n \nAllen Ginsberg\n00:18:23\nGeorge Bowering [https://www.wikidata.org/wiki/Q1239280], who I've known a long time, asked me to read a poem that I haven't read through but once before, called \"Angkor Wat\". So I'll try that. It's middle-sized, like, ten minutes, probably. What it is, is notations taken down in the course of one night in Cambodia [https://www.wikidata.org/wiki/Q424], in Siem Reap [https://www.wikidata.org/wiki/Q11711], which is outside of Angkor Wat [https://www.wikidata.org/wiki/Q43473], a town outside of the ruins.\n \nUnknown\n00:18:55\n[Cut or edit made in tape. Unknown amount of time elapsed].\n \nAllen Ginsberg\n00:18:56\nReads \"Angkor Wat\" [from Angkor Wat]. \n \nAudience\n00:41:32\nApplause [cut off].\n \nUnknown\n00:41:37\nSilence [cut or edit made in tape].  \n \nAllen Ginsberg\n00:41:45\nI want to read a couple poems from a book published in Toronto by Anansi Press, or one poem from that. This is written in Saigon [https://www.wikidata.org/wiki/Q1854], so it's about a week, yes it's about...the same week, I think. Oh this is...a week before. \n \nAllen Ginsberg\n00:42:19\nReads “Understand that this is a Dream” [from Airplane Dreams].\n \nUnknown\n00:49:28\nSilence [cut or edit made in tape].\n \nAllen Ginsberg\n00:49:36\nI've been working on Blake's [https://www.wikidata.org/wiki/Q41513] Songs of Innocence [https://www.wikidata.org/wiki/Q20644964] and Experience [https://www.wikidata.org/wiki/Q27890603], making tunes, or tuning the songs, so I'd like to sing some. \n \nAllen Ginsberg\n00:49:48\nPerforms \"(a) Introduction / (b) The Shepherd”, accompanying himself on harmonium [recorded later on Songs of Innocence and Experience]. \n \nAllen Ginsberg\n00:52:30\nSinging them in the order in Experience, that they're in the book, what follows is \"The Echoing Green\".\n \nAllen Ginsberg\n00:52:40\nPerforms \"The Echoing Green\", accompanying himself on harmonium [recorded later on Songs of Innocence and Experience]. \n \nAllen Ginsberg\n00:54:29\n“The Little Boy Lost\" and \"The Little Boy Found\".\n \nAllen Ginsberg\n00:54:41\nPerforms \"The Little Boy Lost\" and \"The Little Boy Found\", accompanying himself on harmonium [recorded later on Songs of Innocence and Experience]. \n \nAllen Ginsberg\n00:56:14\nPerforms \"The Blossom\", accompanying himself on harmonium [recorded later on Songs of Innocence and Experience]. \n \nAllen Ginsberg\n00:57:16\nFrom Experience, the first song is \"Hear the Voice of the Bard\".\n \nAllen Ginsberg\n00:57:22\nPerforms \"Hear the Voice of the Bard\", accompanying himself on harmonium [recorded later as “Introduction” on Songs of Innocence and Experience]. \n \nAllen Ginsberg\n00:59:26\nAnd the last song in Experience...\n \nAllen Ginsberg\n00:59:33\nPerforms \"Introduction\", accompanying himself on harmonium [recorded later on Songs of Innocence and Experience].\n \nAllen Ginsberg\n01:00:47.46\nAnd last from Innocence, \"The Laughing Song\".\n \nAllen Ginsberg\n01:00:50\nPerforms \"The Laughing Song\", accompanying himself on harmonium [recorded later as “b) Laughing Song” on Songs of Innocence and Experience].\n \nAudience\n01:01:48\nApplause [cut off].\n\nEND\n01:01:52\n\n\nallen_ginsberg_i006-11-033-2.mp3 [File 2 of 2] \n\nAllen Ginsberg\n00:00:00\nReads \"Morning\" [from Planet News]. \n \nAudience\n00:02:17\nLaughter and applause.\n \nUnknown\n00:02:23\n[Cut or edit made in tape. Unknown amount of time elapsed].\n \nAllen Ginsberg\n00:02:23\nReads \"Today\" [from Planet News]. \n \nAudience\n00:10:04\nApplause.\n \nUnknown\n00:10:07\n[Cut or edit made in tape. Unknown amount of time elapsed].\n \nAllen Ginsberg\n00:10:08\nReads \"First party at Ken Kesey's with Hell's Angels\" [from Planet News]. \n \nAllen Ginsberg\n00:11:22\nReads \"Uptown\" [from Planet News]. \n \nAudience\n00:12:20\nLaughter and applause\n \nUnknown\n00:12:29\n[Cut or edit made in tape].\n \nAllen Ginsberg\n00:12:30\nPerforms \"Holy Ghost on the Nod over the Body of Bliss\" [from Planet News]. \n \nAudience\n00:14:46\nApplause.\n \nUnknown\n00:14:52\nSilence [cut or edit made in tape].\n \nAllen Ginsberg\n00:14:59\nPerforms \"Hari Om Namah Shivaya” chant, accompanying himself on harmonium. \n \nAudience\n00:25:17\nApplause.\n \nAllen Ginsberg\n00:25:22\nPerforms \"The Lamb\", accompanying himself on harmonium [recorded later on Songs of Innocence and Experience].\n \nAllen Ginsberg\n00:27:00\nPerforms \"The Little Black Boy\", accompanying himself on harmonium [recorded later on Songs of Innocence and Experience].\n \nAllen Ginsberg\n00:30:11\nPerforms \"Holy Thursday\", accompanying himself on harmonium [recorded later on Songs of Innocence and Experience].\n \nAllen Ginsberg\n00:31:37\nI'll finish the Blake with \"The Nurse's Song\". Get up a little closer to me.\n \nAllen Ginsberg\n00:31:52\nPerforms\"The Nurse's Song\", accompanying himself on harmonium [recorded later as “Nurses Song” on Songs of Innocence and Experience].\n \nAllen Ginsberg\n00:32:27\nNo...start again.\n \nAllen Ginsberg\n00:32:32\nPerforms \"The Nurse's Song\", accompanying himself on harmonium [recorded later as “Nurses Song” on Songs of Innocence and Experience].\n \nAudience\n00:35:58\nApplause.\n \nUnknown\n00:36:05\nSilence [cut or edit made in tape].\n \nAllen Ginsberg\n00:36:13\nThe continuation of a long poem on these dates. Some of those who are specialists, some of those who are specialists in poesy will know a text published in a book I've been reading from, Planet News [https://www.wikidata.org/wiki/Q7201132], called \"Wichita Vortex Sutra\". This is the continuation of the same long poem a year later, bringing the war, the mental war up to 1967. January, 1967. Related to the poem \"Wichita Vortex Sutra\" in that it's crossing the central part of the United States [https://www.wikidata.org/wiki/Q30] again, north of Kansas [https://www.wikidata.org/wiki/Q1558] through Nebraska [https://www.wikidata.org/wiki/Q1553], passing again by Lincoln [https://www.wikidata.org/wiki/Q28260], Nebraska. A trip between Wichita, Kansas and Lincoln, Nebraska two...a year and a half earlier having been the subject of the text \"Wichita Vortex Sutra\". This continuation.\n \nAllen Ginsberg\n00:37:09\nReads [“Returning North of Vortex\", published later in The Fall of America: Poems of These States].\n \nAllen Ginsberg\n00:43:12\nA continuation of the same poem, between Kansas City [https://www.wikidata.org/wiki/Q41819] and St. Louis [https://www.wikidata.org/wiki/Q38022]. Middle of the long poem on these dates.\n \nAllen Ginsberg\n00:43:22\nReads [\"Kansas City to Saint Louis\", published later in The Fall of America: Poems of These States].\n \nAudience\n00:52:41\nApplause.\n \nUnknown\n00:52:46\n[Cut or edit made in tape. Unknown amount of time elapsed].\n \nAllen Ginsberg\n00:52:47\nReads \"Car Crash\" [published later in The Fall of America: Poems of These States; audience laughter throughout].\n\nAllen Ginsberg\n00:58:17\nAnd July 4th, 1969. \"Orange hawkeye\"--Hawkeye is a New York state [https://www.wikidata.org/wiki/Q1384] flower, a flower that grows in New York state, very tiny, bright orange, eyeball with a tiny brown, brownish, purplish pupil.\n \nAllen Ginsberg\n00:58:35\nReads [\"Independence Day\", published later in The Fall of America: Poems of These States]\n \nAllen Ginsberg\n01:00:49\nFinish with a mantra. Well or, read one last poem, which has been distributed by Dakota Broadsides, they're people from Logos, or connected with Logos, I think. Is that not right? Yeah. I'll pass these out, I think. It's a poem written in Grant Park [https://www.wikidata.org/wiki/Q159085] on August 28th, '68, during the Democratic Convention. Uh, Grant Park, the day after the election of, or the day after the nomination of Humphrey [https://www.wikidata.org/wiki/Q209989]. \n \nAllen Ginsberg\n01:01:27\nReads unnamed poem.\n \nAudience\n01:02:25\nApplause and laughter [cut off].\n \nEND\n01:02:31\n"],"Note":["[{\"note\":\"Year-Specific Information: \\n\\nIn 1969, Ginsberg had published Airplane Dreams: Compositions from Journals. In June of 1969, Ginsberg recorded a series of William Blake’s poetry set to music, which was released by MGM records in 1970. Close friend Jack Kerouac died on October 21, 1969, which prompted Allen to write his long elegy, “Memory Gardens”. In December, Ginsberg testified in court at the “Chicago Seven” trial of protesters in the 1968 Democratic National Convention.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nAllen Ginsberg not only became a household name and a symbol for youth in North America during the 60’s and 70’s, he led the ‘Beat’ poetry movement, was a world traveler, a defender of civil and human rights, a teacher and spiritual guide. Ginsberg states in the recording that he had known George Bowering, who was a professor at Sir George Williams University, for “a long time” (I006-11-033.1).\",\"type\":\"General\"},{\"note\":\"George Bowering published his reaction to Ginsberg’s poem, “Howl” in 1969, How I hear Howl (Montreal, Beaver kosmos folio, 1, 1969).\",\"type\":\"General\"},{\"note\":\"Stephen Morrissey has recollections of attending most of the readings in the series: <http://www.vehiculepoets.com/recollective_essay.htm>\",\"type\":\"General\"},{\"note\":\"Original print catalogue, introduction, research and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"},{\"note\":\"2 reel-to-reel tapes>2 CDs>2 digital files\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/807465072&referer=brief_results\",\"citation\":\"Butscher, Edward. \\\"Ginsberg, Allen\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ian Hamilton, ed. Oxford University Press, 1996.\\n\"},{\"url\":\"https://www.worldcat.org/title/oxford-encyclopedia-of-american-literature/oclc/769478515&referer=brief_results\",\"citation\":\"Carlise, Chuck. \\\"Ginsberg, Allen\\\". The Oxford Encyclopedia of American Literature. Jay Parini, ed. Oxford University Press 2004. \"},{\"url\":\"https://www.worldcat.org/title/ankor-wat/oclc/17611&referer=brief_results\",\"citation\":\"Ginsberg, Allen. Angkor Wat. London: Fulcrum Press, 1968. \"},{\"url\":\"https://www.worldcat.org/title/planet-news-1961-1967/oclc/806341370&referer=brief_results\",\"citation\":\"Ginsberg, Allen. Planet News. San Francisco: City Lights Books, 1968. \"},{\"url\":\"https://www.worldcat.org/title/fall-of-america-poems-of-these-states-1965-1971/oclc/472756006&referer=brief_results\",\"citation\":\"Ginsberg, Allen. The Fall of America: Poems of These States. San Francisco: City Lights Books, 1973.\"},{\"url\":\"https://www.wikidata.org/wiki/Q20713959\",\"citation\":\"Ginsberg, Allen. Songs of Innocence and Experience. New York: MGM, 1970. \"},{\"url\":\"http://www.writing.upenn.edu/~afilreis/50s/ginsberg-fbi.html\",\"citation\":\"Mitgang, Herbert. Dangerous dossiers: exposing the secret war against America’s greatest authors. New York: D.I. Fine, 1988.\"},{\"url\":\"http://www.allenginsberg.org\",\"citation\":\"Allen Ginsberg Project. The Allen Ginsberg Trust, 2010. \"},{\"url\":\"\",\"citation\":\"Duerden, Paul. “Ginsberg, Allen, 1926-”. Literature Online Biography. Proquest, 2008.   \"},{\"url\":\"\",\"citation\":\"“Nook: Ginsberg”. The Georgian. Montreal: Sir George Williams University, 12 November 1969, page 7.\"}]"],"_version_":1853670548896219136,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0033-1_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0033-1_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Allen Ginsberg Tape Box 1 - 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_0033-1_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0033-1_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Allen Ginsberg Tape Box 1 - 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Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/allen_ginsberg_i006-11-033-1.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"allen_ginsberg_i006-11-033-1.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:01:52\",\"precision\":\"\",\"size\":\"148.5 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"allen_ginsberg_i006-11-033-1.mp3 [File 1 of 2]\\n \\nUnnamed Performers and Audience\\n00:00:00\\nSing and chant accompanied by music . \\n \\nUnknown\\n00:16:38\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n \\nGeorge Bowering\\n00:16:41\\nWelcome to the...welcome to the fourth—third week of the fourth series of our readings here at Sir George [https://www.wikidata.org/wiki/Q326342] and this one is a special one, partly in that it was, it is being presented by a combination of the daytime Arts Student Association and the evening Arts Student Association, and not simply on the normal schedule. I'm certain that you don't have to be told who Allen Ginsberg [https://www.wikidata.org/wiki/Q6711] is, and you might think on how lucky it is that you happen to be in Montreal [https://www.wikidata.org/wiki/Q340] and he is here at the same time. Last night he was at York University [https://www.wikidata.org/wiki/Q849751] in Toronto [https://www.wikidata.org/wiki/Q172], and tomorrow he's going to be in Ottawa [https://www.wikidata.org/wiki/Q1930], and we're going to sap an awful lot of his energy. Allen is, I think, the most noted poet we've had over the last couple of decades, in the world, and as you're going to find out and as you already know, one of the super-poets in terms of writing poetry, as well. I'd like to give you, without any more cogitation, Mr. Allen Ginsberg. \\n\\nAudience\\n00:18:13\\nApplause.\\n \\nAllen Ginsberg\\n00:18:23\\nGeorge Bowering [https://www.wikidata.org/wiki/Q1239280], who I've known a long time, asked me to read a poem that I haven't read through but once before, called \\\"Angkor Wat\\\". So I'll try that. It's middle-sized, like, ten minutes, probably. What it is, is notations taken down in the course of one night in Cambodia [https://www.wikidata.org/wiki/Q424], in Siem Reap [https://www.wikidata.org/wiki/Q11711], which is outside of Angkor Wat [https://www.wikidata.org/wiki/Q43473], a town outside of the ruins.\\n \\nUnknown\\n00:18:55\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n \\nAllen Ginsberg\\n00:18:56\\nReads \\\"Angkor Wat\\\" [from Angkor Wat]. \\n \\nAudience\\n00:41:32\\nApplause [cut off].\\n \\nUnknown\\n00:41:37\\nSilence [cut or edit made in tape].  \\n \\nAllen Ginsberg\\n00:41:45\\nI want to read a couple poems from a book published in Toronto by Anansi Press, or one poem from that. This is written in Saigon [https://www.wikidata.org/wiki/Q1854], so it's about a week, yes it's about...the same week, I think. Oh this is...a week before. \\n \\nAllen Ginsberg\\n00:42:19\\nReads “Understand that this is a Dream” [from Airplane Dreams].\\n \\nUnknown\\n00:49:28\\nSilence [cut or edit made in tape].\\n \\nAllen Ginsberg\\n00:49:36\\nI've been working on Blake's [https://www.wikidata.org/wiki/Q41513] Songs of Innocence [https://www.wikidata.org/wiki/Q20644964] and Experience [https://www.wikidata.org/wiki/Q27890603], making tunes, or tuning the songs, so I'd like to sing some. \\n \\nAllen Ginsberg\\n00:49:48\\nPerforms \\\"(a) Introduction / (b) The Shepherd”, accompanying himself on harmonium [recorded later on Songs of Innocence and Experience]. \\n \\nAllen Ginsberg\\n00:52:30\\nSinging them in the order in Experience, that they're in the book, what follows is \\\"The Echoing Green\\\".\\n \\nAllen Ginsberg\\n00:52:40\\nPerforms \\\"The Echoing Green\\\", accompanying himself on harmonium [recorded later on Songs of Innocence and Experience]. \\n \\nAllen Ginsberg\\n00:54:29\\n“The Little Boy Lost\\\" and \\\"The Little Boy Found\\\".\\n \\nAllen Ginsberg\\n00:54:41\\nPerforms \\\"The Little Boy Lost\\\" and \\\"The Little Boy Found\\\", accompanying himself on harmonium [recorded later on Songs of Innocence and Experience]. \\n \\nAllen Ginsberg\\n00:56:14\\nPerforms \\\"The Blossom\\\", accompanying himself on harmonium [recorded later on Songs of Innocence and Experience]. \\n \\nAllen Ginsberg\\n00:57:16\\nFrom Experience, the first song is \\\"Hear the Voice of the Bard\\\".\\n \\nAllen Ginsberg\\n00:57:22\\nPerforms \\\"Hear the Voice of the Bard\\\", accompanying himself on harmonium [recorded later as “Introduction” on Songs of Innocence and Experience]. \\n \\nAllen Ginsberg\\n00:59:26\\nAnd the last song in Experience...\\n \\nAllen Ginsberg\\n00:59:33\\nPerforms \\\"Introduction\\\", accompanying himself on harmonium [recorded later on Songs of Innocence and Experience].\\n \\nAllen Ginsberg\\n01:00:47.46\\nAnd last from Innocence, \\\"The Laughing Song\\\".\\n \\nAllen Ginsberg\\n01:00:50\\nPerforms \\\"The Laughing Song\\\", accompanying himself on harmonium [recorded later as “b) Laughing Song” on Songs of Innocence and Experience].\\n \\nAudience\\n01:01:48\\nApplause [cut off].\\n\\nEND\\n01:01:52\\n\",\"notes\":\"Allen Ginsberg reads from Angkor Wat (Fulcrum Press, 1968), Planet News (City Lights Books, 1968), as well as pieces that were published later in The Fall of America: Poems of These States (City Lights Books, 1973). Ginsbger also performs musical versions of William Blake’s Songs of Innocence and Songs of Experience, recorded later on Songs of Innocence and Experience (MGM, 1970). \\n                                              \\n00:00- Recording begins with Hare Krishna chanting music.\\n16:41- George Bowering introduces Allen Ginsberg. [INDEX: Sir George Williams University, third week of the fourth series of readings, reading presented with both daytime and evening Arts Student Association, Ginsberg’s reading schedule: York University (Toronto), Ottawa.]\\n18:23- Introduces “Angkor Wat”. [INDEX: George Bowering, notations taken from one night in Siem Reap, Cambodia; from Angkor Wat (Fulcrum Press, 1968).]\\n18:56- Reads “Angkor Wat”.\\n41:45- Introduces “Understand That This is a Dream”. [INDEX: Published by Anansi Press, Toronto; found in Airplane Dreams (City Lights Books, 1969).]\\n42:19- Reads “Understand That This is a Dream”.\\n49:36- Introduces Blake’s Songs of Innocence and Experience, poem beginning “Piping down the valleys wild”.\\n49:48- Sings (with harmonium-style instrument) “Piping down the valleys wild”.\\n51:20- Sings (with harmonium-style instrument) “How sweet is the shepherd’s sweet lot”.\\n52:30- Introduces “The Echoing Green” [INDEX: Blake’s Experience.]\\n52:40- Sings (with harmonium-style instrument) “The Echoing Green”.\\n54:29- Sings (with harmonium-style instrument) “The Little Boy Lost” and “The Little Boy Found”.\\n56:14- Sings (with harmonium-style instrument) “The Blossom”.\\n57:16- Introduces “Hear the Voice of the Bard” [INDEX: from Experience.]\\n57:22- Sings (with harmonium-style instrument) “Hear the Voice of the Bard”.\\n59:33- Sings (with harmonium-style instrument) “Youth of delight, come hither”.\\n1:00:47- Sings (with harmonium-style instrument) “The Laughing Song”\\n1:01:48.50- END OF RECORDING.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/allen-ginsberg-at-sgwu-1969/#1\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/allen_ginsberg_i006-11-033-2.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"allen_ginsberg_i006-11-033-2.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"66.6 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"allen_ginsberg_i006-11-033-2.mp3 [File 2 of 2] \\n\\nAllen Ginsberg\\n00:00:00\\nReads \\\"Morning\\\" [from Planet News]. \\n \\nAudience\\n00:02:17\\nLaughter and applause.\\n \\nUnknown\\n00:02:23\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n \\nAllen Ginsberg\\n00:02:23\\nReads \\\"Today\\\" [from Planet News]. \\n \\nAudience\\n00:10:04\\nApplause.\\n \\nUnknown\\n00:10:07\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n \\nAllen Ginsberg\\n00:10:08\\nReads \\\"First party at Ken Kesey's with Hell's Angels\\\" [from Planet News]. \\n \\nAllen Ginsberg\\n00:11:22\\nReads \\\"Uptown\\\" [from Planet News]. \\n \\nAudience\\n00:12:20\\nLaughter and applause\\n \\nUnknown\\n00:12:29\\n[Cut or edit made in tape].\\n \\nAllen Ginsberg\\n00:12:30\\nPerforms \\\"Holy Ghost on the Nod over the Body of Bliss\\\" [from Planet News]. \\n \\nAudience\\n00:14:46\\nApplause.\\n \\nUnknown\\n00:14:52\\nSilence [cut or edit made in tape].\\n \\nAllen Ginsberg\\n00:14:59\\nPerforms \\\"Hari Om Namah Shivaya” chant, accompanying himself on harmonium. \\n \\nAudience\\n00:25:17\\nApplause.\\n \\nAllen Ginsberg\\n00:25:22\\nPerforms \\\"The Lamb\\\", accompanying himself on harmonium [recorded later on Songs of Innocence and Experience].\\n \\nAllen Ginsberg\\n00:27:00\\nPerforms \\\"The Little Black Boy\\\", accompanying himself on harmonium [recorded later on Songs of Innocence and Experience].\\n \\nAllen Ginsberg\\n00:30:11\\nPerforms \\\"Holy Thursday\\\", accompanying himself on harmonium [recorded later on Songs of Innocence and Experience].\\n \\nAllen Ginsberg\\n00:31:37\\nI'll finish the Blake with \\\"The Nurse's Song\\\". Get up a little closer to me.\\n \\nAllen Ginsberg\\n00:31:52\\nPerforms\\\"The Nurse's Song\\\", accompanying himself on harmonium [recorded later as “Nurses Song” on Songs of Innocence and Experience].\\n \\nAllen Ginsberg\\n00:32:27\\nNo...start again.\\n \\nAllen Ginsberg\\n00:32:32\\nPerforms \\\"The Nurse's Song\\\", accompanying himself on harmonium [recorded later as “Nurses Song” on Songs of Innocence and Experience].\\n \\nAudience\\n00:35:58\\nApplause.\\n \\nUnknown\\n00:36:05\\nSilence [cut or edit made in tape].\\n \\nAllen Ginsberg\\n00:36:13\\nThe continuation of a long poem on these dates. Some of those who are specialists, some of those who are specialists in poesy will know a text published in a book I've been reading from, Planet News [https://www.wikidata.org/wiki/Q7201132], called \\\"Wichita Vortex Sutra\\\". This is the continuation of the same long poem a year later, bringing the war, the mental war up to 1967. January, 1967. Related to the poem \\\"Wichita Vortex Sutra\\\" in that it's crossing the central part of the United States [https://www.wikidata.org/wiki/Q30] again, north of Kansas [https://www.wikidata.org/wiki/Q1558] through Nebraska [https://www.wikidata.org/wiki/Q1553], passing again by Lincoln [https://www.wikidata.org/wiki/Q28260], Nebraska. A trip between Wichita, Kansas and Lincoln, Nebraska two...a year and a half earlier having been the subject of the text \\\"Wichita Vortex Sutra\\\". This continuation.\\n \\nAllen Ginsberg\\n00:37:09\\nReads [“Returning North of Vortex\\\", published later in The Fall of America: Poems of These States].\\n \\nAllen Ginsberg\\n00:43:12\\nA continuation of the same poem, between Kansas City [https://www.wikidata.org/wiki/Q41819] and St. Louis [https://www.wikidata.org/wiki/Q38022]. Middle of the long poem on these dates.\\n \\nAllen Ginsberg\\n00:43:22\\nReads [\\\"Kansas City to Saint Louis\\\", published later in The Fall of America: Poems of These States].\\n \\nAudience\\n00:52:41\\nApplause.\\n \\nUnknown\\n00:52:46\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n \\nAllen Ginsberg\\n00:52:47\\nReads \\\"Car Crash\\\" [published later in The Fall of America: Poems of These States; audience laughter throughout].\\n\\nAllen Ginsberg\\n00:58:17\\nAnd July 4th, 1969. \\\"Orange hawkeye\\\"--Hawkeye is a New York state [https://www.wikidata.org/wiki/Q1384] flower, a flower that grows in New York state, very tiny, bright orange, eyeball with a tiny brown, brownish, purplish pupil.\\n \\nAllen Ginsberg\\n00:58:35\\nReads [\\\"Independence Day\\\", published later in The Fall of America: Poems of These States]\\n \\nAllen Ginsberg\\n01:00:49\\nFinish with a mantra. Well or, read one last poem, which has been distributed by Dakota Broadsides, they're people from Logos, or connected with Logos, I think. Is that not right? Yeah. I'll pass these out, I think. It's a poem written in Grant Park [https://www.wikidata.org/wiki/Q159085] on August 28th, '68, during the Democratic Convention. Uh, Grant Park, the day after the election of, or the day after the nomination of Humphrey [https://www.wikidata.org/wiki/Q209989]. \\n \\nAllen Ginsberg\\n01:01:27\\nReads unnamed poem.\\n \\nAudience\\n01:02:25\\nApplause and laughter [cut off].\\n \\nEND\\n01:02:31\\n\",\"notes\":\"Allen Ginsberg reads from Angkor Wat (Fulcrum Press, 1968), Planet News (City Lights Books, 1968), as well as pieces that were published later in The Fall of America: Poems of These States (City Lights Books, 1973). Ginsbger also performs musical versions of William Blake’s Songs of Innocence and Songs of Experience, recorded later on Songs of Innocence and Experience (MGM, 1970). \\n\\n00:00- Recording begins, Ginsberg reads “Morning”. [INDEX: from Planet News (City Lights Books, 1968).] \\n02:23- Reads “Today”. [INDEX: from Planet News (City Lights Books, 1968).] \\n10:08- Reads “First party at Ken Kesey’s with Hell’s Angels”. [INDEX: from Planet News (City Lights Books, 1968).]\\n11:22- Reads “Uptown”. [INDEX: from Planet News (City Lights Books, 1968).]\\n12:30- Reads “Holy Ghost, on the Nod, over the Body of Bliss”. [INDEX: from Planet News (City Lights Books, 1968).]\\n13:50- Chants section of poem, first line “And Santa Barbara rejoices in the alleyways of        Brindaban...”.\\n14:59- Harmonium/music starts, Ginsberg sings “Hari Om Namo Shivaya...”\\n25:22- Sings “Little Lamb, Who Made Thee?” [INDEX: William Blake]\\n27:00- Sings \\\"My mother bore me in the southern wild\\\". [INDEX: William Blake.]\\n30:11- Sings “Twas on a Holy Thursday”. [INDEX: William Blake]\\n31:37- Introduces “The Nurse’s Song”. [INDEX: William Blake]\\n31:52- Sings “The Nurse’s Song”.\\n36:13- Introduces “Wichita Votex Sutra”. [INDEX: from Planet News (City Lights Books,   1968).]\\n37:09- Reads “Wichita Vortex Sutra”.\\n43:12- Introduces continuation of same poem, first line “Leaving K.C., MO...”\\n52:47- Reads “Car Crash”.\\n58:17- Introduces “July 4th, 1969”. [INDEX: hawkeye, New York State flower]\\n58:35- Reads “July 4th, 1969”.\\n1:00:49- Introduces unknown mantra, line “Green air, children sit under trees with the old...”\\n1:01:27- Reads unknown mantra, line “Green air, children sit under trees with the old...”\\n1:02:31.23- END OF RECORDING\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/allen-ginsberg-at-sgwu-1969/#2\"}]"],"score":1.8530173},{"id":"1282","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":["Milton Kessler at Sir George Williams University, The Poetry Series, 14 November 1969"],"item_title_source":["Cataloguer"],"item_title_note":["\"MILTON KESSLER Nov 14 69 I086-11-029\" written on sticker on the spine of the tape's box. \"MILTON KESSLER I086-11-029\" written on sticker on the reel. \"RT 533\" 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 4"],"item_identifiers":["[]"],"creator_names":["Kessler, Milton"],"creator_names_search":["Kessler, Milton"],"creators":["[{\"url\":\"http://viaf.org/viaf/29094528\",\"name\":\"Kessler, Milton\",\"dates\":\"1930-2000 \",\"notes\":\"Milton Kessler was born in 1930 in Brooklyn, New York. As a young man, he skipped school and wrote his own poetry instead. He completed a G.E.D. and married his high school sweetheart Sonia Berer in 1952. Kessler earned his undergraduate degree at University of Buffalo in English magna cum laude in 1957, and his master’s degree at the University of Washington in 1962 and continued further study towards a Ph.D. at Harvard and Ohio State University until 1963. He won the Robert Frost Fellowship in poetry in 1961. Kessler taught at Queens College of the City University of New York from 1963 to 1965. His first published collection of poetry came out in 1963, named A Road Came Once (Ohio State University Press). He was awarded several Yaddo fellowships from 1965 to 1976, as well as MacDowell Foundation fellowships in 1966 and 1979. Kessler has taught English and creative writing at many universities throughout the world, including State University of New York, University of Negev (1971-1972), University of Hawaii (1975), Haifa University (1973), Keio University Tokyo (1978) and Antioch International Writing Seminars at Oxford (1977, 1978). His other collections of poetry are Called Home (The Black Bird Press, 1967), Woodlawn North (1970), and Sailing Too Far (1973). Kessler’s poetry has been included in several anthologies, including Contemporary American Poetry (Penguin Books, 1972) and New York Times Book of Verse (Macmillan, 1970). The Grand Concourse: Poems (MSS State University of New York at Binghamton) was only published in 1990, decades after most of the poems were written. Milton Kessler died on April 17, 2000 in Binghamton, New York.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1969],"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\":\"1969 11 14\",\"type\":\"Performance Date\",\"notes\":\"Date written on the spine of the tape's box. Date also specified in written announcement \\\"Poetry Four: Sir George Williams Poetry Series\\\"\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"Location specified in written announcement \\\"Poetry Four: Sir George Williams Poetry Series\\\"\",\"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":["Milton Kessler reads poems published later in both Woodlawn North (Impressions Workshop, 1970) and Sailing Too Far (Harper & Row 1973)."],"contents":["milton_kessler_i086-11-029.mp3\n\nIntroducer\n00:00:00\nLadies and gentlemen, Mr. Milton Kessler [https://www.wikidata.org/wiki/Q6861203], of the Bronx [https://www.wikidata.org/wiki/Q18426] and Binghamton [https://www.wikidata.org/wiki/Q213814], New York [https://www.wikidata.org/wiki/Q1384]. \n\nAudience\n00:00:08\nApplause.\n\nMilton Kessler\n00:00:13\nI'm going to read my most personal poems, and start with the things that mean the most to me. These are poems that will soon be published in a collection that I think it's going to be called The Grand Concourse, that some of you will know is the main street in the Bronx. When I find out what people think of the sight of the Grand Concourse who don't know that it's the main street in the Bronx, you know, they think I'm pretty pompous, but you know it's just another version of something like Flatbush Avenue or something like that. How they got this kind of name for the Bronx, I don't know. This is a poem called, by the way, I don't think I'm going to say too much in between these poems, I'm just going to read them, unless something happens that I will particularly want to say. \"Letter\".\n \nMilton Kessler\n00:01:39\nReads \"Letter\" [published later in Woodlawn North and Sailing Too Far].\n \nMilton Kessler\n00:04:17\nThis one is called \"A Bombadier's Landscape\".\n \nMilton Kessler\n00:04:28\nReads \"A Bombadier's Landscape\" [published later in Woodlawn North and Sailing Too Far].\n \nMilton Kessler\n00:05:54\nThis one is titled \"Called Home\" and it was the title of another collection of poems that I put together. \"Called Home\", I always liked this title, you know, and sort of found out later on what it meant, I always liked it, I wish I could have other titles that were sort of, that I liked as much.\n \nMilton Kessler\n00:06:27\nReads \"Called Home\" [published later in Woodlawn North and Sailing Too Far].\n \nMilton Kessler\n00:07:39\nReads \"Something\" [published later under a different title in Woodlawn North and Sailing Too Far].\n \nMilton Kessler\n00:08:06\nReads \"Lost Song\" [published later in Woodlawn North and Sailing Too Far].\n \nMilton Kessler\n00:09:04\nThis is a little poem called \"Davey\" for my son, Davey.\n \nMilton Kessler\n00:09:16\nReads \"Davey\" [published later in Woodlawn North and Sailing Too Far].\n \nMilton Kessler\n00:10:14\nThis is a poem I recently finished, it's called \"The Quiet\", and it's his reply to me. Because you understand that, all of this weight of seriousness, is supposed to lift the whole scene, which is what it's all about, you know, just lift the whole thing. Not to go down, you know, but to just lift it. So this is his, I never read this one before, but this is his response to me.\n \nMilton Kessler\n00:10:52\nReads \"The Quiet\" [published later in Woodlawn North and Sailing Too Far]. \n \nMilton Kessler\n00:12:08\nThis one is called \"I Am No One Else\", which is very important to me, you know, I'm sort of a, I have a kind of involuntary independence and sometimes I would like to try to imitate somebody else's life or lifestyle, or anything but it's just a hopeless case and I can't ever manage it. This is \"I Am No One Else\".\n \nMilton Kessler\n00:12:41\nReads \"I Am No One Else\" [published later in Woodlawn North and Sailing Too Far].\n \nMilton Kessler\n00:14:08\nI didn't read that too well, I really like that poem I don't want to mess it up, you know, but it's really very hard to be, to say a very, very tender kind of poem, because I'm not so tender, so I have a lot of trouble to be quiet, you know, because I can scream from here back to Brooklyn [https://www.wikidata.org/wiki/Q18419] if I wanted to. This is the last of the poems in this particular part of the sequence. It's a little poem called \"Surprise\", I read it this afternoon. I've had the most amazing response sometimes, at places, when I go very often to the anti-war readings I read these poems, very often this one. And it always sort of surprises me you know, that it's alright. \"Surprise\". Let me tell you a little about this situation--but if I tell you too much about it then I'll read it, you know, I can talk more and it's a little poem. But it was after a big war-type reading at the Loeb Center in New York, and after that, everyone went out, you know, and roaming around all night, and then about 4 am or something like that I got on the subway and went out to my parents' place in Rockaway [https://www.wikidata.org/wiki/Q62569], New York, on the ocean. And when I walked into the place, to their new house, I went to the--I walked in and saw that they were sleeping. And I had such a strong feeling, because when I was a kid, you know, and I used to come in late, either the door was locked, you know, the door was locked or there was this always this--come in after eleven, and you know, you won't get, you know, after eleven the door is locked, climb in through the fire escape or something. But here, you know, it was alright, and there it was and I stood and looked at them sleeping. They're both about 70. And by the way, extraordinarily happy. The poem is called \"Surprise\".\n\nMilton Kessler\n00:16:53\nReads \"Surprise\" [published later in Woodlawn North and Sailing Too Far].\n \nMilton Kessler\n00:18:05\nNow I have these three poems that I call the “Willow Poems”. One of them isn't finished, because the last two lines of the middle one are just, I got into a kind of pleasure in saying \"O\", you know, “Oh, Joy, Oh”, and like that and sometimes I just enjoyed it so much I was just kind of, and then it didn't mean anything, it you know, I was just kind of enjoying it, which is great, you know, but it's great to enjoy it and also is maybe good, so you make them together like that, so here are the three \"Willow Songs\". This one, well here it is, it's perfectly clear.\n \nMilton Kessler\n00:18:58\nReads \"Willow Songs\" [part 1, published later in Woodlawn North and Sailing Too Far].\n \nMilton Kessler\n00:19:53\nIt's just like that beautiful girl, and you know, if you teach some place, what do you do? The last thing you do is hang around the school, stay away from it, you know, and so here I stay around the house, and here, I'm around the house during the day, you know, and so is this beautiful fifteen year old girl, and I'm watching her walk back and forth, you know, of course this is a song of innocence, you understand, this what she's got to worry about is me. Well I won't read the second one because the end of it isn't any good. But here is a little lyric, it's one of the Willow poems. I've written, it seems to me, an unusual number of poems that have something to do with my family. And whenever there's ever any suggestion of that kind coming from the world of important poetry, I really feel like just smashing somebody's head right in, nothing bothers me more than that, you know. The implication that something is important to you really isn't important, you know, just do what you please, that's all. But nevertheless, I do notice that there's a certain--sometimes I write a lot of these things. Here's a lyric. This is the last of them. It's a little poem.\n \nMilton Kessler\n00:21:38\nReads \"Willow Songs\" [part 3, published later in Woodlawn North and Sailing Too Far].\n \nMilton Kessler\n00:22:26\nNow this is a little different kind of series here. And this one is called, the first of these is called \"Summer's End\". This is a long poem that I wrote at a time, it's only some times that it's of any interest what these things develop out of, you know, but this one I think is kind of interesting. I had this very bad, I pulled a muscle in my calf, climbing a mountain, actually, in New Hampshire [https://www.wikidata.org/wiki/Q759], where the mountains aren't too high, you know. And I was in a barn, I was at the MacDowell Colony [https://www.wikidata.org/wiki/Q3273867], and I was in a barn, and I couldn't get out, I couldn't move any place, I had one big jar, you know, next to the floor, sort of thing, and I just stayed there, and they would come around and bring me some food, finally about a week later I couldn't do anything and somebody--Hortense Calisher [https://www.wikidata.org/wiki/Q436082]--I don't know if you know who she is, just finally came along and took my car, drove me to the airport, and that was that, kept the car. But while I was lying there, I said there's no big deal about it, but I have had asthma since I was seven, and the one thing about that, you know a little bit like Proust [https://www.wikidata.org/wiki/Q7199], if you just lie around, you just lie there and then you sort of, alright, so here you are. So you just do something I guess, so this poem, \"Summer's End\", there are a lot of things you do with these things lying around. I'll tell you--\"Summer's End\" alright, \"Summer's End\".\n \nMilton Kessler\n00:24:35\nReads \"Summer's End\" [published later in Woodlawn North and Sailing Too Far].\n \nMilton Kessler\n00:28:20\nLittle poem, \"Russian Joke\".\n \nMilton Kessler\n00:28:26\nReads \"Russian Joke\" [published later in Woodlawn North and Sailing Too Far].\n \nMilton Kessler\n00:29:02\n\"The Confusion: May 1969\". I’ve never read this one before, nor is it finished, nor is it any good, as far as I can tell.\n \nMilton Kessler\n00:29:17\nReads \"The Confusion: May 1969\".\n \nMilton Kessler\n00:30:08\nThis one is called \"A Dream of Weeping\".\n \nMilton Kessler\n00:30:14\nReads \"A Dream of Weeping\" [published later in Woodlawn North and Sailing Too Far].\n \nMilton Kessler\n00:31:24\nHere's a brand new one, this is the last poem I've written, this one. We could stop for a few minutes, you know, if you're tired. I'm really terrified usually before this begins, but once it's going, you know, then it's alright, it's really very good. It's called \"The Moment of No Recovery\". Excuse me, \"The Moment of No Recovery\". Maybe the first one is better than this one. \"The Moment of No Recovery\", \"The Moment of No Discovery\", no this is better. It has only the slightest bit to do, by the way, with a woman in my family who I've recently come to know about, her name is Minnie, she is an aunt, she's my father's sister, she's been in the Rockland State Hospital [https://www.wikidata.org/wiki/Q22061059] for over forty years. Only recently did I find out about her existence. And I remember when I talked to Allen  [https://www.wikidata.org/wiki/Q6711], oh a few months ago, and he said something, he was just talking about the kind of people who are locked up, and he said it's like mini, you know, like mini, and I said that's it! My aunt Minnie, I have this aunt, and he said, well, go, go and see her. You know, what's happening there, how many times she could have been alright, well of course, this is just a little bit to her maybe, but I think I may have been thinking about it a little. Other things too. \"The Moment of No Recovery\". I have to learn, I think, how to read this poem. \n \nMilton Kessler\n00:33:49\nReads \"The Moment of No Recovery\" [published later in Woodlawn North and Sailing Too Far].\n \nMilton Kessler\n00:35:10\nI've written quite a lot about women, and I have read so many of those, I know, but here is one that is a poem about--titled \"Anne\". When I read this poem in a Pittsburgh [https://www.wikidata.org/wiki/Q1342] high school, about three weeks ago, the teacher decided to call the whole thing off. After I read it, after I read it, and somebody asked me about why I read it and I said I read it because I liked it very much and because I--it was about women, you know, and it was kind of a poem of praise about women, and at that point this woman got up and called and said we have to move the chairs into another room, that's actually what she said, we have to take some of these chairs into another room now, sorry. What a bitch. The worst I've ever seen, she was just unbelievable. Let's not have any doubts about her, it was the Langley High School [https://www.wikidata.org/wiki/Q15241542] in Pittsburgh. This poem is titled \"Anne\".\n \nMilton Kessler\n00:36:48\nReads \"Anne\" [published later in Woodlawn North and Sailing Too Far].\n \nMilton Kessler\n00:38:55\nThis poem is titled \"Chad Gadya: One Little Goat\"--a Chad Gadya is a passover song and I assume it's a round that has its sense, the idea that God makes it right. It has just the tiniest little autobiographical fact about it, which is that my grandfather actually sold papers in Brooklyn, so this is the beginning of the thing.\n \nMilton Kessler\n00:39:38\nReads \"Chad Gadya: One Little Goat\" [published later in Woodlawn North and Sailing Too Far].\n \nMilton Kessler\n00:41:4\nThis one is titled \"The Voice of the Soldier\", no one's saying anything about it.\n \nMilton Kessler\n00:42:00\nReads \"The Voice of the Soldier\" [published later in Woodlawn North and Sailing Too Far].\n \nMilton Kessler\n00:43:00\nThat's a song of innocence. I remember I showed this poem to a student of mine who was in the Israeli army [https://www.wikidata.org/wiki/Q58967], and he immediately said \"No, it's not like that, that's not--it's not like that\" and he described how someone had had his leg blown off and what he said, he didn't say anything like this at all, he said to me, he said something else, and so of course I didn't mean that's the way I thought war was. This is the last one I'm going to read and it's one I haven't read. It's called \"A Good Death\", and it's a poem for Henry Thoreau [https://www.wikidata.org/wiki/Q131149], it's \"A Good Death\" and it's for Henry Thoreau, and it's a century later. And it's the only time I tried, somebody just asked me, you know, it's to, to write something about Thoreau, which I thought would be absolutely impossible, but then as I started to read him, and I started to think of how I could never believe what he was saying, ever, like I could never believe so many affirmative, you know, things, and then I began to sort of see what--and I wrote this anyway. It was between Thoreau and me. You'll see what it sounds like.\n \nMilton Kessler\n00:44:51\nReads \"A Good Death\" [published later in Woodlawn North and Sailing Too Far].\n \nMilton Kessler\n00:45:20\n--oh damn it. That's the trouble, that's the way I am, you know, make the last one you're going to read, you know, something you don't know.\n \nEND\n00:45:33\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nDuring 1969, Kessler was teaching at State University of New York. He was also working on Woodlawn North (Impressions Workshop), to be published in 1970.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nNo known direct connections to Sir George Williams University are known, however Kessler was an influential poet and professor in New York.\",\"type\":\"General\"},{\"note\":\"Original transcript, 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/grand-concourse-poems/oclc/610177332?referer=di&ht=edition\",\"citation\":\"Kessler, Milton. The Grand Concourse. New York: MSS Paper Book, 1990. \"},{\"url\":\"https://www.worldcat.org/title/called-home-a-sequence-of-poems-1964-66/oclc/11121618?referer=di&ht=edition\",\"citation\":\"Kessler, Milton. Called Home. New York: The Black Bird Press, 1967. \"},{\"url\":\"https://www.worldcat.org/title/woodlawn-north-a-book-of-poems/oclc/121704&referer=brief_results\",\"citation\":\"Kessler, Milton. Woodlawn North. Boston: Impressions Workshop, 1970. \"},{\"url\":\"https://www.worldcat.org/title/sailing-too-far-poems/oclc/729990397&referer=brief_results\",\"citation\":\"Kessler, Milton. Sailing Too Far. New York: Harper & Row, 1973. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/milton-kessler-at-sgwu-1969/\",\"citation\":\"“Poetry Four: Sir George Williams Poetry Series, Special Reading”. Montreal: Sir George Williams University, 1969. \"},{\"url\":\"\",\"citation\":\"\\\"Milton Kessler.\\\" Contemporary Authors Online. Detroit: Gale, 2001. \\n\"},{\"url\":\"\",\"citation\":\"“Nook Book”. The Georgian. November 12, 1969: page 7.\"}]"],"_version_":1853670548899364864,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0029_back.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0029_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Milton Kessler 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_0029_front.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0029_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Milton Kessler 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_0029_side.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0029_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Milton Kessler Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0029_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0029_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Milton Kessler 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/milton_kessler_i086-11-029.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"milton_kessler_i086-11-029.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:45:33\",\"precision\":\"\",\"size\":\"109.3 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Introducer\\n00:00:00\\nLadies and gentlemen, Mr. Milton Kessler [https://www.wikidata.org/wiki/Q6861203], of the Bronx [https://www.wikidata.org/wiki/Q18426] and Binghamton [https://www.wikidata.org/wiki/Q213814], New York [https://www.wikidata.org/wiki/Q1384]. \\n\\nAudience\\n00:00:08\\nApplause.\\n\\nMilton Kessler\\n00:00:13\\nI'm going to read my most personal poems, and start with the things that mean the most to me. These are poems that will soon be published in a collection that I think it's going to be called The Grand Concourse, that some of you will know is the main street in the Bronx. When I find out what people think of the sight of the Grand Concourse who don't know that it's the main street in the Bronx, you know, they think I'm pretty pompous, but you know it's just another version of something like Flatbush Avenue or something like that. How they got this kind of name for the Bronx, I don't know. This is a poem called, by the way, I don't think I'm going to say too much in between these poems, I'm just going to read them, unless something happens that I will particularly want to say. \\\"Letter\\\".\\n \\nMilton Kessler\\n00:01:39\\nReads \\\"Letter\\\" [published later in Woodlawn North and Sailing Too Far].\\n \\nMilton Kessler\\n00:04:17\\nThis one is called \\\"A Bombadier's Landscape\\\".\\n \\nMilton Kessler\\n00:04:28\\nReads \\\"A Bombadier's Landscape\\\" [published later in Woodlawn North and Sailing Too Far].\\n \\nMilton Kessler\\n00:05:54\\nThis one is titled \\\"Called Home\\\" and it was the title of another collection of poems that I put together. \\\"Called Home\\\", I always liked this title, you know, and sort of found out later on what it meant, I always liked it, I wish I could have other titles that were sort of, that I liked as much.\\n \\nMilton Kessler\\n00:06:27\\nReads \\\"Called Home\\\" [published later in Woodlawn North and Sailing Too Far].\\n \\nMilton Kessler\\n00:07:39\\nReads \\\"Something\\\" [published later under a different title in Woodlawn North and Sailing Too Far].\\n \\nMilton Kessler\\n00:08:06\\nReads \\\"Lost Song\\\" [published later in Woodlawn North and Sailing Too Far].\\n \\nMilton Kessler\\n00:09:04\\nThis is a little poem called \\\"Davey\\\" for my son, Davey.\\n \\nMilton Kessler\\n00:09:16\\nReads \\\"Davey\\\" [published later in Woodlawn North and Sailing Too Far].\\n \\nMilton Kessler\\n00:10:14\\nThis is a poem I recently finished, it's called \\\"The Quiet\\\", and it's his reply to me. Because you understand that, all of this weight of seriousness, is supposed to lift the whole scene, which is what it's all about, you know, just lift the whole thing. Not to go down, you know, but to just lift it. So this is his, I never read this one before, but this is his response to me.\\n \\nMilton Kessler\\n00:10:52\\nReads \\\"The Quiet\\\" [published later in Woodlawn North and Sailing Too Far]. \\n \\nMilton Kessler\\n00:12:08\\nThis one is called \\\"I Am No One Else\\\", which is very important to me, you know, I'm sort of a, I have a kind of involuntary independence and sometimes I would like to try to imitate somebody else's life or lifestyle, or anything but it's just a hopeless case and I can't ever manage it. This is \\\"I Am No One Else\\\".\\n \\nMilton Kessler\\n00:12:41\\nReads \\\"I Am No One Else\\\" [published later in Woodlawn North and Sailing Too Far].\\n \\nMilton Kessler\\n00:14:08\\nI didn't read that too well, I really like that poem I don't want to mess it up, you know, but it's really very hard to be, to say a very, very tender kind of poem, because I'm not so tender, so I have a lot of trouble to be quiet, you know, because I can scream from here back to Brooklyn [https://www.wikidata.org/wiki/Q18419] if I wanted to. This is the last of the poems in this particular part of the sequence. It's a little poem called \\\"Surprise\\\", I read it this afternoon. I've had the most amazing response sometimes, at places, when I go very often to the anti-war readings I read these poems, very often this one. And it always sort of surprises me you know, that it's alright. \\\"Surprise\\\". Let me tell you a little about this situation--but if I tell you too much about it then I'll read it, you know, I can talk more and it's a little poem. But it was after a big war-type reading at the Loeb Center in New York, and after that, everyone went out, you know, and roaming around all night, and then about 4 am or something like that I got on the subway and went out to my parents' place in Rockaway [https://www.wikidata.org/wiki/Q62569], New York, on the ocean. And when I walked into the place, to their new house, I went to the--I walked in and saw that they were sleeping. And I had such a strong feeling, because when I was a kid, you know, and I used to come in late, either the door was locked, you know, the door was locked or there was this always this--come in after eleven, and you know, you won't get, you know, after eleven the door is locked, climb in through the fire escape or something. But here, you know, it was alright, and there it was and I stood and looked at them sleeping. They're both about 70. And by the way, extraordinarily happy. The poem is called \\\"Surprise\\\".\\n\\nMilton Kessler\\n00:16:53\\nReads \\\"Surprise\\\" [published later in Woodlawn North and Sailing Too Far].\\n \\nMilton Kessler\\n00:18:05\\nNow I have these three poems that I call the “Willow Poems”. One of them isn't finished, because the last two lines of the middle one are just, I got into a kind of pleasure in saying \\\"O\\\", you know, “Oh, Joy, Oh”, and like that and sometimes I just enjoyed it so much I was just kind of, and then it didn't mean anything, it you know, I was just kind of enjoying it, which is great, you know, but it's great to enjoy it and also is maybe good, so you make them together like that, so here are the three \\\"Willow Songs\\\". This one, well here it is, it's perfectly clear.\\n \\nMilton Kessler\\n00:18:58\\nReads \\\"Willow Songs\\\" [part 1, published later in Woodlawn North and Sailing Too Far].\\n \\nMilton Kessler\\n00:19:53\\nIt's just like that beautiful girl, and you know, if you teach some place, what do you do? The last thing you do is hang around the school, stay away from it, you know, and so here I stay around the house, and here, I'm around the house during the day, you know, and so is this beautiful fifteen year old girl, and I'm watching her walk back and forth, you know, of course this is a song of innocence, you understand, this what she's got to worry about is me. Well I won't read the second one because the end of it isn't any good. But here is a little lyric, it's one of the Willow poems. I've written, it seems to me, an unusual number of poems that have something to do with my family. And whenever there's ever any suggestion of that kind coming from the world of important poetry, I really feel like just smashing somebody's head right in, nothing bothers me more than that, you know. The implication that something is important to you really isn't important, you know, just do what you please, that's all. But nevertheless, I do notice that there's a certain--sometimes I write a lot of these things. Here's a lyric. This is the last of them. It's a little poem.\\n \\nMilton Kessler\\n00:21:38\\nReads \\\"Willow Songs\\\" [part 3, published later in Woodlawn North and Sailing Too Far].\\n \\nMilton Kessler\\n00:22:26\\nNow this is a little different kind of series here. And this one is called, the first of these is called \\\"Summer's End\\\". This is a long poem that I wrote at a time, it's only some times that it's of any interest what these things develop out of, you know, but this one I think is kind of interesting. I had this very bad, I pulled a muscle in my calf, climbing a mountain, actually, in New Hampshire [https://www.wikidata.org/wiki/Q759], where the mountains aren't too high, you know. And I was in a barn, I was at the MacDowell Colony [https://www.wikidata.org/wiki/Q3273867], and I was in a barn, and I couldn't get out, I couldn't move any place, I had one big jar, you know, next to the floor, sort of thing, and I just stayed there, and they would come around and bring me some food, finally about a week later I couldn't do anything and somebody--Hortense Calisher [https://www.wikidata.org/wiki/Q436082]--I don't know if you know who she is, just finally came along and took my car, drove me to the airport, and that was that, kept the car. But while I was lying there, I said there's no big deal about it, but I have had asthma since I was seven, and the one thing about that, you know a little bit like Proust [https://www.wikidata.org/wiki/Q7199], if you just lie around, you just lie there and then you sort of, alright, so here you are. So you just do something I guess, so this poem, \\\"Summer's End\\\", there are a lot of things you do with these things lying around. I'll tell you--\\\"Summer's End\\\" alright, \\\"Summer's End\\\".\\n \\nMilton Kessler\\n00:24:35\\nReads \\\"Summer's End\\\" [published later in Woodlawn North and Sailing Too Far].\\n \\nMilton Kessler\\n00:28:20\\nLittle poem, \\\"Russian Joke\\\".\\n \\nMilton Kessler\\n00:28:26\\nReads \\\"Russian Joke\\\" [published later in Woodlawn North and Sailing Too Far].\\n \\nMilton Kessler\\n00:29:02\\n\\\"The Confusion: May 1969\\\". I’ve never read this one before, nor is it finished, nor is it any good, as far as I can tell.\\n \\nMilton Kessler\\n00:29:17\\nReads \\\"The Confusion: May 1969\\\".\\n \\nMilton Kessler\\n00:30:08\\nThis one is called \\\"A Dream of Weeping\\\".\\n \\nMilton Kessler\\n00:30:14\\nReads \\\"A Dream of Weeping\\\" [published later in Woodlawn North and Sailing Too Far].\\n \\nMilton Kessler\\n00:31:24\\nHere's a brand new one, this is the last poem I've written, this one. We could stop for a few minutes, you know, if you're tired. I'm really terrified usually before this begins, but once it's going, you know, then it's alright, it's really very good. It's called \\\"The Moment of No Recovery\\\". Excuse me, \\\"The Moment of No Recovery\\\". Maybe the first one is better than this one. \\\"The Moment of No Recovery\\\", \\\"The Moment of No Discovery\\\", no this is better. It has only the slightest bit to do, by the way, with a woman in my family who I've recently come to know about, her name is Minnie, she is an aunt, she's my father's sister, she's been in the Rockland State Hospital [https://www.wikidata.org/wiki/Q22061059] for over forty years. Only recently did I find out about her existence. And I remember when I talked to Allen  [https://www.wikidata.org/wiki/Q6711], oh a few months ago, and he said something, he was just talking about the kind of people who are locked up, and he said it's like mini, you know, like mini, and I said that's it! My aunt Minnie, I have this aunt, and he said, well, go, go and see her. You know, what's happening there, how many times she could have been alright, well of course, this is just a little bit to her maybe, but I think I may have been thinking about it a little. Other things too. \\\"The Moment of No Recovery\\\". I have to learn, I think, how to read this poem. \\n \\nMilton Kessler\\n00:33:49\\nReads \\\"The Moment of No Recovery\\\" [published later in Woodlawn North and Sailing Too Far].\\n \\nMilton Kessler\\n00:35:10\\nI've written quite a lot about women, and I have read so many of those, I know, but here is one that is a poem about--titled \\\"Anne\\\". When I read this poem in a Pittsburgh [https://www.wikidata.org/wiki/Q1342] high school, about three weeks ago, the teacher decided to call the whole thing off. After I read it, after I read it, and somebody asked me about why I read it and I said I read it because I liked it very much and because I--it was about women, you know, and it was kind of a poem of praise about women, and at that point this woman got up and called and said we have to move the chairs into another room, that's actually what she said, we have to take some of these chairs into another room now, sorry. What a bitch. The worst I've ever seen, she was just unbelievable. Let's not have any doubts about her, it was the Langley High School [https://www.wikidata.org/wiki/Q15241542] in Pittsburgh. This poem is titled \\\"Anne\\\".\\n \\nMilton Kessler\\n00:36:48\\nReads \\\"Anne\\\" [published later in Woodlawn North and Sailing Too Far].\\n \\nMilton Kessler\\n00:38:55\\nThis poem is titled \\\"Chad Gadya: One Little Goat\\\"--a Chad Gadya is a passover song and I assume it's a round that has its sense, the idea that God makes it right. It has just the tiniest little autobiographical fact about it, which is that my grandfather actually sold papers in Brooklyn, so this is the beginning of the thing.\\n \\nMilton Kessler\\n00:39:38\\nReads \\\"Chad Gadya: One Little Goat\\\" [published later in Woodlawn North and Sailing Too Far].\\n \\nMilton Kessler\\n00:41:4\\nThis one is titled \\\"The Voice of the Soldier\\\", no one's saying anything about it.\\n \\nMilton Kessler\\n00:42:00\\nReads \\\"The Voice of the Soldier\\\" [published later in Woodlawn North and Sailing Too Far].\\n \\nMilton Kessler\\n00:43:00\\nThat's a song of innocence. I remember I showed this poem to a student of mine who was in the Israeli army [https://www.wikidata.org/wiki/Q58967], and he immediately said \\\"No, it's not like that, that's not--it's not like that\\\" and he described how someone had had his leg blown off and what he said, he didn't say anything like this at all, he said to me, he said something else, and so of course I didn't mean that's the way I thought war was. This is the last one I'm going to read and it's one I haven't read. It's called \\\"A Good Death\\\", and it's a poem for Henry Thoreau [https://www.wikidata.org/wiki/Q131149], it's \\\"A Good Death\\\" and it's for Henry Thoreau, and it's a century later. And it's the only time I tried, somebody just asked me, you know, it's to, to write something about Thoreau, which I thought would be absolutely impossible, but then as I started to read him, and I started to think of how I could never believe what he was saying, ever, like I could never believe so many affirmative, you know, things, and then I began to sort of see what--and I wrote this anyway. It was between Thoreau and me. You'll see what it sounds like.\\n \\nMilton Kessler\\n00:44:51\\nReads \\\"A Good Death\\\" [published later in Woodlawn North and Sailing Too Far].\\n \\nMilton Kessler\\n00:45:20\\n--oh damn it. That's the trouble, that's the way I am, you know, make the last one you're going to read, you know, something you don't know.\\n \\nEND\\n00:45:33\\n\",\"notes\":\"Milton Kessler reads poems published later in both Woodlawn North (Impressions Workshop, 1970) and Sailing Too Far (Harper & Row 1973).\\n\\n00:00- Unidentified male introduces [INDEX: The Bronx, Binghamton New York]\\n00:13- Milton Kessler introduces The Grand Concourse poems [INDEX: The Grand Concourse]\\n01:39- Reads “Letter”\\n04:17- Reads “A Bombardier’s Landscape”\\n05:54- Introduces “Called Home”\\n06:27- Reads “Called Home”\\n07:39- Reads “Something”\\n08:06- Reads “Lost Song”\\n09:04- Reads “Davey” [INDEX: Poem for his son]\\n10:14- Introduces “The Quiet”\\n10:52- Reads “The Quiet”\\n12:08- Introduces \\\"I Am No One Else\\\"\\n12:41- Reads \\\"I Am No One Else\\\"\\n14:08- Introduces “Surprise” [INDEX: Anti-war readings, Loeb Center, New York]\\n16:53- Reads “Surprise”\\n18:05- Introduces “Willow Songs” (series of three, only reads two)\\n18:58- Reads “Willow Songs”\\n19:53- Introduces second poem of “Willow Songs” [INDEX: Lyric poem]\\n21:38- Reads second poem of “Willow Songs”\\n22:26- Introduces “Summer’s End” [INDEX: McDowell Colony in New Hampshire, Hortense Calisher, Proust]\\n24:35- Reads “Summer’s End”\\n28:20- Reads “Russian Joke”\\n29:02- Introduces “The Confusion: May 1969”\\n29:17- Reads “The Confusion: May 1969”\\n30:08- Reads “A Dream of Weeping”\\n31:24- Introduces “The Moment of No Recovery” [INDEX: Allen Ginsberg, Rockland State \\tHospital, New York]\\n33:49- Reads “The Moment of No Recovery”\\n35:10- Introduces “Anne” [INDEX: Langley High School, Pittsburgh]\\n36:48- Reads “Anne”\\n38:55- Introduces “Chad Gadya: One Little Goat” [INDEX: Passover Songs]\\n39:38- Reads “Chad Gadya: One Little Goat”\\n41:45- Reads “The Voice of the Soldier”\\n43:00- Explains “The Voice of the Soldier” and Introduces “A Good Death” [INDEX: Soldiers, war, Henry Thoreau]\\n44:51- Reads “A Good Death”\\n45:33.56- END OF RECORDING\\n\\nHoward Fink List of Poems:\\n14/11/69\\nOn one 5”, single track, mono, reel, @ 3 3/4 ips, lasting 50 mins\\n \\n1.  “Letter”\\n2.  “A Bombardier’s Landscape\\n3.  “Called Home”\\n4.  “Something\\n5.  “Lost Song\\n6.  “Davey”\\n7.  “The Quiet”\\n8.  “I am no one else”\\n9.  “Surprise”\\n10. “Willow Poems”\\n11. “Summers End”\\n12. “Russian Joke”\\n13. “The Confusion: May 1969”\\n14.  “A Dream of Weeping”\\n15.  “The Moment of no Recovery”\\n16. “Anne”\\n17.  1st line: “Oh mister, I am your grandfather...”\\n18. “The Voice of the Soldier”\\n19.  “A Good Death”\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/milton-kessler-at-sgwu-1969/\"}]"],"score":1.8530173},{"id":"1283","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":["Gladys Hindmarch and Stan Persky at Sir George Williams University, The Poetry Series, 21 November 1969"],"item_title_source":["Cataloguer"],"item_title_note":["\"GLADYS HINDMARCH I086-11-020\" written on sticker on the spine of the tape's box and on the reel. \"RT 511\" written on sticker on the front of the tape's box and on the back of the box.\n\n\"STAN PERSKY Recorded November 21, 1969 3.75 ips, 1/2 track 1 mil. tape 55 minutes\" written on sticker on the back of the tape's box. \"STAN PERSKY I006/SR137\" written on sticker on the spine of the tape's box. \"I006-11-137\" written on sticker on the reel"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 4"],"item_identifiers":["[I086-11-020, I006-11-137]"],"creator_names":["Hindmarch, Gladys","Persky, Stan"],"creator_names_search":["Hindmarch, Gladys","Persky, Stan"],"creators":["[{\"url\":\"http://viaf.org/viaf/38164256\",\"name\":\"Hindmarch, Gladys\",\"dates\":\"1940-\",\"notes\":\"Gladys Maria Hindmarch was born on Vancouver Island in 1940. She completed her Bachelor of Arts and a Master of Arts at the University of British Columbia. There she met poets George Bowering, Frank Davey, David Dawson, James Reid, Fred Wah and critic and professor Warren Tallman and was influential in creating the Tish magazine in 1961. However, she never published her own work in the magazine as she wrote prose. Her first publication was Sketches, published by George Bowering via the English Department of Sir George Williams University in 1970. Hindmarch wrote two novels, The Peter Stories (Coach House Press, 1976) and A Birth Account (New Star Books, 1967), which was followed by Watery part of the world (Douglas & McIntyre, 1988). Hindmarch has taught at Langara College and Capilano Colleges and she continues to live and write in Vancouver.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]},{\"url\":\"http://viaf.org/viaf/57448780\",\"name\":\"Persky, Stan\",\"dates\":\"1941-\",\"notes\":\"Writer, teacher, activist and critic Stan Persky was born in Chicago on January 19, 1941. Early on, he was influenced by the Beat Generation poets and decided he would pursue a career in letters. Persky enrolled in the US Navy, and then moved to San Francisco in the early 1960’s where he became involved with the writers of the San Francisco Renaissance, including Jack Spicer, Robin Blaser and Robert Duncan. Persky’s first publications include Les enfants du paradis (St-Denis Press, 1961) and Moss (Rabbit Mountain College, 1961). In 1966, Persky moved with Robin Blaser to Vancouver, where Persky received his BA and MA degrees from the University of British Columbia. Persky co-founded the Georgia Straight Writing Supplements in the late 60’s, which led to what is now known as New Star Books. Persky and other writers began to publish the works of Milton Acorn, Gerry Gilbert, Jack Spicer, George Bowering, Fred Wah, bill bisset and Daphne Marlatt along with many others. Persky has taught at the Northwest College, Malaspina College, Simon Fraser University and at the Capilano University. Persky published Lives of the French Symbolist poets (White Rabbit Press, 1967),  The Day (Georgia Straight Writing Supplement, 1971), George Bowering published An oral literary history of Vancouver in 1972 in the Beaver Kosmos Series, Slaves (New Star Books, 1974), and Wrestling the angel (Talonbooks, 1976). His first political-themed books, Son of Socred (New Star, 1979), The House That Jack Built (New Star, 1980) and Bennett II (New Star, 1983) gained wide-spread acclaim. His other many publications include At the Lenin Shipyard: Poland and the Rise of the Solidarity Trade Union (New Star, 1981), The Solidarity Sourcebook (New Star, 1981), he edited Flaunting It: A Decade of Gay Journalism From the Body Politic with Henry Flam (New Star, 1982), The Holy Forest with introductions by Robin Blaser and Robert Creeley (Coach Hosue Press, 1998), Buddy’s: Meditations on Desire (New Star Press, 1989) which won a Hubert Evans Non-Fiction Prize nomination, Then we Take Berlin: Stories from the Other Side of Europe (Knopf, 1995), On Kiddie Porn: Sexual Representation, Free Speech and the Robin Sharpe Case with John Dixon (New Star, 2001) and most recently Top Sentence: A Writer’s Education (New Star, 2007). He has been a media commentator for the CBC, and has written for The Globe and Mail, the Vancouver Sun, Saturday Night, The Tyee and dooneyscafe.com as well as other journals. Persky resides in Vancouver and Berlin and continues to lecture and write.\",\"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":[1969],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"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\":\"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","Reel to Reel"],"physical_compositions":["Magnetic Tape","Magnetic Tape"],"recording_type":["Analogue","Analogue"],"AV_type":["Audio","Audio"],"playback_mode":["Mono","Mono"],"Dates":["[{\"date\":\"1969 11 21\",\"type\":\"Performance Date\",\"notes\":\"Date written on tape box for I006-11-137\",\"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":["Gladys Hindmarch reads a series of short stories later published in The Watery Part of the World (Douglas & McIntyre, 1988). Stan Persky reads from Wrestling the Angel (Talonbooks, 1976) as well as a few unpublished poems."],"contents":["gladys_hindmarch_i086-11-020.mp3 [File 1 of 2]\n\nGeorge Bowering\n00:00:00\nAnother Vancouver [https://www.wikidata.org/wiki/Q24639] night in the series, this will be, this is the final reading of the fall series, and will be picked up again in January. As you know from the propaganda sheets, we're presenting what I consider to be the centre of the Vancouver writing scene. Gladys Hindmarch has been in that scene for ten years, and was associated with all those people who've got all kinds of names over the last few years such as West Coast movement and the Tish movement and the New Wave Canada [https://www.wikidata.org/wiki/Q16] and that sort of business. And Stan Persky [https://www.wikidata.org/wiki/Q2330087], was as much related if not more because he is also a sort of superstar of little magazines [audience laughter] in San Francisco [https://www.wikidata.org/wiki/Q62], and made the usual move up to Vancouver, what, three years ago? And has now become the superstar of the Vancouver writing scene. What's going to happen is that the reading will be split into two pieces. At the beginning, Stan is going to introduce Gladys, and then there will be a break of about ten minutes, and then Gladys is going to introduce Stan. So, I'd like to give you \"Stan and Gladys Evening\".\n \nStan Persky\n00:01:43\n\"Beginning again and again is a natural thing, even when there is a series. Beginning again and again and again, explaining composition and time is a natural thing. It is understood by this time that everything's the same, except composition and time. Composition, and the time of the composition and the time in the composition. Everything is the same except composition and as the composition is different, and always going to be different, everything is not the same. Everything is not the same as the time when, of the composition, and the time in the composition is different. The composition is different, that is certain.\" Gertrude Stein [https://www.wikidata.org/wiki/Q188385].\n \nGladys Hindmarch\n00:02:40\nWhen I whistle, just imagine that it's a very good whistler. \"They know what they're doing\".\n \nGladys Hindmarch\n00:02:53\nReads \"They know what they're doing\" [published later as “Callback” in The Watery Part of the World].\n \nGladys Hindmarch\n00:16:08\nThat's the third in a group of stories, or series of stories that I'm writing. [Audience laughter]. I haven't got a title for this one, it's still in the first day on the trip but it's the seventh story. I call it \"The [Salad (?)] Story\" in my head but I'll have to find a title for it.\n \nGladys Hindmarch\n00:16:54\nReads [\"Nothing is Simple\", published later in The Watery Part of the World].\n \nGladys Hindmarch\n00:33:30\nAnother, I've got lots of others, but I'm just going to read one other short one that's got a number of daydream passages that I don't think I--it's necessary to know which of the day--I mean you can, I think you can get it, it's just call it \"Number 12\" right now it also hasn't got a title. \"Outside deck scene\"--I guess that George [https://www.wikidata.org/wiki/Q1239280] didn't say, I used to work as a mess girl and a cook on a West Coast freighter called the Tahsis Prince, I worked on four or five of them because I was relief working, but the main one I worked on went up the west coast of Vancouver Island [https://www.wikidata.org/wiki/Q170479], and not, they have great difficulty getting women to go out there, maybe obvious reasons in these stories so I could almost get a job on it, whereas the other ones I could get jobs if nobody was available, but since on this particular boat, usually nobody was available. One time I was leaving shopping in the Army and Navy and a guy came down the hall and said, Look you know, they're trying to get a hold of you, you've gotta go up there. And I said, come on, now, and sort of walked me back to the hall. And one Christmas run there were fifty one men--lots of people don't want to go out at Christmas, but a lot of the seamen, just work in the summer, so if they can get a job for two weeks they take it. They had fifty one cards on the board and not one of them--and there was a call for a cook, which was a girl's job and a call for an able seaman, and not one of the fifty-one men would go out on the boat--they got a guy who hadn't registered yet went out. This is an end of summer trip, it's not rough at all.\n \nAnnotation\n00:35:42\nReads [\"How It Feels”, published later in The Watery Part of the World].\n \nEND\n00:45:52\n[Cut off abruptly].\n\nstan_persky_i006-11-137.mp3 [File 2 of 2]\n\nGladys Hindmarch\n00:00:00\nStan and I both view Gertrude Stein as sort of eternal and I find that I can never read more than two pages of her at a time, like you just sort of become hypnotized, but she's pretty good to...like when I'm starting, trying to get into something to start to write and if I just read, you know just open one of her books at any sort of page, you know just at random and I just read two or three sentences, sometimes a paragraph, never more than that...and so I'm going to introduce Stan with a couple of Gertrude Stein sentences.  \"There's singularly nothing that makes a difference, a difference in beginning, and in middle, and in ending, except that each generation has something different at which they are all looking. By this I mean so simply that anybody knows it that composition is the difference which makes each and all of them then different from other generations, and this is what makes everything different, otherwise they're all like, and everybody knows it because everybody says it.\" Stan Persky. \n \nStan Persky\n00:01:13\nYeah, I'm doing fine. The reading that I'm going to give is called \"The Day\", and what it is is pieces of everything that I'm onto right now, and so you have to bear with however unable to follow it out. And of course, like what we're trying to do is give you some sense of what it's like to be out where we are. \n\nStan Persky\n00:01:45\nReads \"Notebook, around August 20th, 1969\". \n \nStan Persky\n00:03:34.14\nIs that unbearably fast?\n \nStan Persky\n00:03:38.89\nReads \"Notebook, around August 25th, 1969\".\n \nStan Persky\n00:07:16\n\"Notebook, Sunday, August 29th or 30th, 1969\"  You can see the energy this takes, it's just...[laughter]. This is barely doing it. \"Jim and Franz...\" I'm going to try to read one of these a little more slowly, maybe.\n \nStan Persky\n00:07:42\nReads \"Notebook, Sunday, August 29th or 30th, 1969\".\n \nStan Persky\n00:11:45\nThis one's a longer pull if that's possible. \"The Marriage\". Angela, this is the gossip for you [laughter]. Coming in here, I was thinking, who's sitting in the room, and you'd like to hear your names [laughter]...Arnie...\"The Marriage\". \n \nStan Persky\n00:12:23\nReads \"The Marriage\". \n\nAudience\n00:19:00\nLaughter. \n\nStan Persky\n00:19:04\nTricky dick! [laughter].\n \nStan Persky\n00:19:10\nResumes reading \"The Marriage\".\n \nAudience\n00:27:54\nApplause [cut off]. \n\nUnknown\n00:27:55\n[Cut or edit made in tape. Unknown amount of time elapsed].\n \nStan Persky\n00:27:57\nReads \"To Gladys\".\n \nAudience\n00:34:54\nLaughter.\n \nStan Persky\n00:34:59\n\"October 24th, 1969\". Did I write this for this, did I write this reading? \n \nStan Persky\n00:35:08\nReads \"October 24th, 1969\".\n \nStan Persky\n00:36:46\nReads \"Jamie\". \n \nStan Persky\n00:39:49\nAnd the last three...\n \nUnknown\n00:39:52\n[Cut or edit made in tape here. Unknown amount of time elapsed].\n \nStan Persky\n00:39:53\nReads \"Wednesday, November 5th, 1969, by Hunter's Creek\".\n \nStan Persky\n00:42:04\nReads \"Fred Study. Notebook, Friday, November 7th, 1969, Fred Study.\"\n \nStan Persky\n00:44:17\nAnd at last, to finish, as far as it's gone, or whatever it is, \"The Day\".\n \nStan Persky\n00:44:26\nReads \"The Day\".\n \nEND\n00:46:38\n[Cut off abruptly]."],"Note":["[{\"note\":\"Year-Specific Information: \\n\\nIn 1969, Gladys Hindmarch was writing and participating in the writing scene in Vancouver. No specific information could be found on Gladys Hindmarch during this year.\\n\\nIn 1969, Persky was living in Vancouver, was published in The Pacific Nation (Vancouver, 1969). He was working on a series of poems called “The Day”, published in Wrestling the Angel (Talonbooks, 1976).\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nGladys Hindmarch went to the University of British Columbia, where she met professor and Poetry Reading Series Committee Member George Bowering. Hindmarch was an integral part of the Vancouver poetry renaissance, and was connected to the important poets of the Vancouver ‘scene’.\\n\\nStan Persky met George Bowering and Stanton Hoffman (Faculty and Poetry Reading Series Committee members) when they were in Vancouver and at University of British Columbia during the same period of time, involved in the poetry scene. Please see The Oral Literary History of Vancouver: Stan Persky’s Section (Beaver Kosmos Folio, #5) for how Bowering and Persky met as well as Persky’s relationship to Gladys Hindmarch. Persky is also associated with Robin Blaser (who also read in 1969), Robert Duncan, Robert Creeley, Allen Ginsberg, as well as many other local Vancouver writers in this series.\",\"type\":\"General\"},{\"note\":\"I086-11-020:\\nOriginal transcript, print catalogue, research and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\\n\\nI006-11-137:\\nOriginal transcript by Rachel Kyne\\n\\nOriginal print catalogue, research and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\\n\",\"type\":\"Cataloguer\"},{\"note\":\"2 reel-to-reel tapes>2 CDs> 2 digital files\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/oral-literary-history-of-vancouver-stan-perskys-section/oclc/85105672&referer=brief_results\",\"citation\":\"Bowering, George and Brad Robinson (eds). An Oral Literary History of Vancouver: Stan Persky’s Section. Vancouver: Beaver Kosmos Folios, no. 5, 1973. \"},{\"url\":\"https://www.worldcat.org/title/sketches/oclc/499435403&referer=brief_results\",\"citation\":\"Hindmarch, Gladys. Sketches. Montreal: Beaver Kosmos Folios, no. 3, 198-?.\\n\"},{\"url\":\"https://www.worldcat.org/title/watery-part-of-the-world/oclc/17479102&referer=brief_results\",\"citation\":\"Hindmarch, Gladys. The Watery Part of the World. Toronto: Douglas & McIntyre, 1988.\"},{\"url\":\"http://www.vancouverartinthesixties.com/people/189\",\"citation\":\"“People / Gladys (Maria) Hindmarch”. Ruins in the Process: Vancouver Art in the Sixties.\"},{\"url\":\"http://www.vancouverartinthesixties.com/people/185\",\"citation\":\"“People / Stan Persky”. Ruins in Process: Vancouver Art in the Sixties. Vancouver: The Morris and Helen Belkin Art Gallery, The University of British Columbia and the grunt gallery.\"},{\"url\":\"https://www.worldcat.org/title/topic-sentence-a-writers-education/oclc/1151428685&referer=brief_results\",\"citation\":\"Persky, Stan. Topic Sentence: A Writer’s Education. Vancouver: New Star Books, 2007.\"},{\"url\":\"https://www.worldcat.org/title/wrestling-the-angel/oclc/3320699&referer=brief_results\",\"citation\":\"Persky, Stan. Wrestling the Angel. Vancouver: Talonbooks, 1977.\"},{\"url\":\"https://dooneyscafe.com/robin-blaser-1925-2009-deaths-duty/\",\"citation\":\"Persky, Stan. “Robin Blaser, 1925-2009: Death’s Duty”. dooneyscafe.com. 8 May 2009. \"},{\"url\":\"https://www.worldcat.org/title/words-we-call-home-celebrating-creative-writing-at-ubc/oclc/923442804&referer=brief_results\",\"citation\":\"Svendsen, Linda. Words We Call Home: Celebrating Creative Writing at UBC. Vancouver: University of British Columbia Press, 1990. \"},{\"url\":\"http://www.abcbookworld.com/view_author.php?id=1850\",\"citation\":\"Twigg, Allen. “Persky, Stan”. BC BookWorld Canada. Vancouver: Simon Fraser University, 2007. \"},{\"url\":\"\",\"citation\":\"“Nook Book”. The Georgian. Montreal: Sir George Williams University, 12  November 1969, page 7. \"},{\"url\":\"\",\"citation\":\"“Stan Persky”. The Writers’ Union of Canada: Members’ Pages. The Writer’s Union of Canada, 2009.\"}]"],"_version_":1853670548901462016,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0020_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0137_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Stan Persky 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_0020_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0137_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Stan Persky Tape Box - 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Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/gladys_hindmarch_i086-11-020.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"gladys_hindmarch_i086-11-020.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:45:52\",\"precision\":\"\",\"size\":\"110.1 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"gladys_hindmarch_i086-11-020.mp3 [File 1 of 2]\\n\\nGeorge Bowering\\n00:00:00\\nAnother Vancouver [https://www.wikidata.org/wiki/Q24639] night in the series, this will be, this is the final reading of the fall series, and will be picked up again in January. As you know from the propaganda sheets, we're presenting what I consider to be the centre of the Vancouver writing scene. Gladys Hindmarch has been in that scene for ten years, and was associated with all those people who've got all kinds of names over the last few years such as West Coast movement and the Tish movement and the New Wave Canada [https://www.wikidata.org/wiki/Q16] and that sort of business. And Stan Persky [https://www.wikidata.org/wiki/Q2330087], was as much related if not more because he is also a sort of superstar of little magazines [audience laughter] in San Francisco [https://www.wikidata.org/wiki/Q62], and made the usual move up to Vancouver, what, three years ago? And has now become the superstar of the Vancouver writing scene. What's going to happen is that the reading will be split into two pieces. At the beginning, Stan is going to introduce Gladys, and then there will be a break of about ten minutes, and then Gladys is going to introduce Stan. So, I'd like to give you \\\"Stan and Gladys Evening\\\".\\n \\nStan Persky\\n00:01:43\\n\\\"Beginning again and again is a natural thing, even when there is a series. Beginning again and again and again, explaining composition and time is a natural thing. It is understood by this time that everything's the same, except composition and time. Composition, and the time of the composition and the time in the composition. Everything is the same except composition and as the composition is different, and always going to be different, everything is not the same. Everything is not the same as the time when, of the composition, and the time in the composition is different. The composition is different, that is certain.\\\" Gertrude Stein [https://www.wikidata.org/wiki/Q188385].\\n \\nGladys Hindmarch\\n00:02:40\\nWhen I whistle, just imagine that it's a very good whistler. \\\"They know what they're doing\\\".\\n \\nGladys Hindmarch\\n00:02:53\\nReads \\\"They know what they're doing\\\" [published later as “Callback” in The Watery Part of the World].\\n \\nGladys Hindmarch\\n00:16:08\\nThat's the third in a group of stories, or series of stories that I'm writing. [Audience laughter]. I haven't got a title for this one, it's still in the first day on the trip but it's the seventh story. I call it \\\"The [Salad (?)] Story\\\" in my head but I'll have to find a title for it.\\n \\nGladys Hindmarch\\n00:16:54\\nReads [\\\"Nothing is Simple\\\", published later in The Watery Part of the World].\\n \\nGladys Hindmarch\\n00:33:30\\nAnother, I've got lots of others, but I'm just going to read one other short one that's got a number of daydream passages that I don't think I--it's necessary to know which of the day--I mean you can, I think you can get it, it's just call it \\\"Number 12\\\" right now it also hasn't got a title. \\\"Outside deck scene\\\"--I guess that George [https://www.wikidata.org/wiki/Q1239280] didn't say, I used to work as a mess girl and a cook on a West Coast freighter called the Tahsis Prince, I worked on four or five of them because I was relief working, but the main one I worked on went up the west coast of Vancouver Island [https://www.wikidata.org/wiki/Q170479], and not, they have great difficulty getting women to go out there, maybe obvious reasons in these stories so I could almost get a job on it, whereas the other ones I could get jobs if nobody was available, but since on this particular boat, usually nobody was available. One time I was leaving shopping in the Army and Navy and a guy came down the hall and said, Look you know, they're trying to get a hold of you, you've gotta go up there. And I said, come on, now, and sort of walked me back to the hall. And one Christmas run there were fifty one men--lots of people don't want to go out at Christmas, but a lot of the seamen, just work in the summer, so if they can get a job for two weeks they take it. They had fifty one cards on the board and not one of them--and there was a call for a cook, which was a girl's job and a call for an able seaman, and not one of the fifty-one men would go out on the boat--they got a guy who hadn't registered yet went out. This is an end of summer trip, it's not rough at all.\\n \\nAnnotation\\n00:35:42\\nReads [\\\"How It Feels”, published later in The Watery Part of the World].\\n \\nEND\\n00:45:52\\n[Cut off abruptly].\",\"notes\":\"Gladys Hindmarch reads a series of short stories later published in The Watery Part of the World (Douglas & McIntyre, 1988). \\n\\n00:00- George Bowering introduces reading. [INDEX: ‘Vancouver night’, final reading in fall series, January, ‘propaganda sheet’, centre of Vancouver writing scene, West Coast    movement, Tish movement, New Wave Canada, Stan Persky, little magazines, San Francisco, move to Vancouver, Stan introduces Gladys, intermission, Gladys introduces Stan.]\\n01:43- Stan Persky reads Gertrude Stein quote [INDEX: composition, series, composition, time.]\\n02:40- Gladys Hindmarch introduces “They Know What They’re Doing”. [INDEX: originally published in Writing (renamed GSWS) No.3, April 1970; and in Iron, No. 3 as recorded in The Watery Part of the World; perhaps later published as “Callback” in The Watery Part of the World (Douglas & McIntyre, 1988).]\\n02:53- Reads “They Know What They’re Doing”.\\n16:08- Introduces untitled story, dubbed “The Salad Story”, first line “Setting up supper is not nearly so slow...”. [INDEX: third in series of stories, untitled, trip; published later as “Nothing is Simple” in The Watery Part of the World (Douglas & McIntyre, 1988).]\\n16:54- Reads first line “Setting up supper is not nearly so slow...”.\\n33:30- Introduces first line “The sun on my eyes...” [INDEX: short story, daydream passages, preliminary titled “12”, George Bowering, mess cook on a West Coast freighter called “Tahsis Prince”, relief working, Vancouver Island, women, seamen, jobs, treatment of women, Army and Navy, Christmas, summer, cook; perhaps later published as “How it Feels” in The Watery Part of the World (Douglas & McIntyre, 1988).]\\n35:42- Reads first line “The sun on my eyes...”.\\n45:52.62- END OF RECORDING.\\n\\n“Howard Fink List of Poems Read”:\\nPrint catalogue page from archives contains the following information:\\n \\nTitle: Gladys Hindmarch reading her own poetry: Final Fall Reading 1969\\nSource: One 5” reel, 3 3/4 , mono lasting 45 mins.\\nDate: November 21, 1969\\n \\nIntroduction by Stan Persky\\n \\nSpeakers: Stan Persky, Gladys Hindmarch\\n \\n1.Title: They Know What They’re Doing\\nFirst Line: “Nobody is moving quickly…”\\n2. Title: untitled [is poem actually called “Untitled,” or is it just listed on archived print cat. as such?]\\nFirst Line: “Setting up for supper…”\\n3.Title: untitled\\nFirst Line: “The sun in my eye…”\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/gladys-hindmarch-at-sgwu-1969/\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/stan_persky_i006-11-137.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"stan_persky_i006-11-137.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"111.9 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"stan_persky_i006-11-137.mp3 [File 2 of 2]\\n\\nGladys Hindmarch\\n00:00:00\\nStan and I both view Gertrude Stein as sort of eternal and I find that I can never read more than two pages of her at a time, like you just sort of become hypnotized, but she's pretty good to...like when I'm starting, trying to get into something to start to write and if I just read, you know just open one of her books at any sort of page, you know just at random and I just read two or three sentences, sometimes a paragraph, never more than that...and so I'm going to introduce Stan with a couple of Gertrude Stein sentences.  \\\"There's singularly nothing that makes a difference, a difference in beginning, and in middle, and in ending, except that each generation has something different at which they are all looking. By this I mean so simply that anybody knows it that composition is the difference which makes each and all of them then different from other generations, and this is what makes everything different, otherwise they're all like, and everybody knows it because everybody says it.\\\" Stan Persky. \\n \\nStan Persky\\n00:01:13\\nYeah, I'm doing fine. The reading that I'm going to give is called \\\"The Day\\\", and what it is is pieces of everything that I'm onto right now, and so you have to bear with however unable to follow it out. And of course, like what we're trying to do is give you some sense of what it's like to be out where we are. \\n\\nStan Persky\\n00:01:45\\nReads \\\"Notebook, around August 20th, 1969\\\". \\n \\nStan Persky\\n00:03:34.14\\nIs that unbearably fast?\\n \\nStan Persky\\n00:03:38.89\\nReads \\\"Notebook, around August 25th, 1969\\\".\\n \\nStan Persky\\n00:07:16\\n\\\"Notebook, Sunday, August 29th or 30th, 1969\\\"  You can see the energy this takes, it's just...[laughter]. This is barely doing it. \\\"Jim and Franz...\\\" I'm going to try to read one of these a little more slowly, maybe.\\n \\nStan Persky\\n00:07:42\\nReads \\\"Notebook, Sunday, August 29th or 30th, 1969\\\".\\n \\nStan Persky\\n00:11:45\\nThis one's a longer pull if that's possible. \\\"The Marriage\\\". Angela, this is the gossip for you [laughter]. Coming in here, I was thinking, who's sitting in the room, and you'd like to hear your names [laughter]...Arnie...\\\"The Marriage\\\". \\n \\nStan Persky\\n00:12:23\\nReads \\\"The Marriage\\\". \\n\\nAudience\\n00:19:00\\nLaughter. \\n\\nStan Persky\\n00:19:04\\nTricky dick! [laughter].\\n \\nStan Persky\\n00:19:10\\nResumes reading \\\"The Marriage\\\".\\n \\nAudience\\n00:27:54\\nApplause [cut off]. \\n\\nUnknown\\n00:27:55\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n \\nStan Persky\\n00:27:57\\nReads \\\"To Gladys\\\".\\n \\nAudience\\n00:34:54\\nLaughter.\\n \\nStan Persky\\n00:34:59\\n\\\"October 24th, 1969\\\". Did I write this for this, did I write this reading? \\n \\nStan Persky\\n00:35:08\\nReads \\\"October 24th, 1969\\\".\\n \\nStan Persky\\n00:36:46\\nReads \\\"Jamie\\\". \\n \\nStan Persky\\n00:39:49\\nAnd the last three...\\n \\nUnknown\\n00:39:52\\n[Cut or edit made in tape here. Unknown amount of time elapsed].\\n \\nStan Persky\\n00:39:53\\nReads \\\"Wednesday, November 5th, 1969, by Hunter's Creek\\\".\\n \\nStan Persky\\n00:42:04\\nReads \\\"Fred Study. Notebook, Friday, November 7th, 1969, Fred Study.\\\"\\n \\nStan Persky\\n00:44:17\\nAnd at last, to finish, as far as it's gone, or whatever it is, \\\"The Day\\\".\\n \\nStan Persky\\n00:44:26\\nReads \\\"The Day\\\".\\n \\nEND\\n00:46:38\\n[Cut off abruptly].\",\"notes\":\"Stan Persky reads from Wrestling the Angel (Talonbooks, 1976) as well as a few unpublished poems.\\n\\n00:00- Gladys Hindmarch introduces Stan Persky. [INDEX: Gertrude Stein, reading Stein, Stein quote.]\\n01:13- Stan Persky introduces reading and the poem “Notebook, around August 20th, 1969”. [INDEX: reading called “The Day”, current work; published in Wrestling the Angel (Talonbooks, 1976), titled “It Starts with This”.]\\n01:45- Reads “Notebook, around August 20th, 1969”.\\n03:35- Stan asks audience about speed of his reading.\\n03:38- Reads “Notebook, around August 25th, 1969”.\\n07:16- Introduces “Notebook, around August 29th or 30th, 1969”. [INDEX: energy, Jim, Franz, reading more slowly.]\\n07:42- Reads “Notebook, around August 29th, or 30th, 1969”.\\n11:45- Introduces “The Marriage”. [INDEX: longer poem, Angela, gossip, audience, Arnie (random audience names); published in Wrestling the Angel (Talonbooks, 1976).]\\n12:23- Reads “The Marriage”.\\n18:56- Interrupts poem [INDEX: interruption, tricky dick.]\\n19:10- Continues “The Marriage”.\\n27:57- Reads “To Gladys”. [INDEX: Robert Creeley, Robert Duncan, Pound’s Canto 29, H.D. Warren Tallman.]\\n34:59- Introduces “October 24th, 1969”. [INDEX: write poem for reading.]\\n35:08- Reads “October 24th, 1969”. [INDEX: Robert Duncan, Robert Creeley.]\\n36:46- Reads “Jamie”. [INDEX: Tish magazine, James Reed.]\\n39:53- Reads “Wednesday, November 5th, 1969, by Hunter’s Creek”.\\n42:04- Reads “Fred Study. Notebook, Friday, November 7th, 1969”\\n44:26- Introduces “The Day”.\\n44:26- Reads “The Day”.\\n46:38.09- END OF RECORDING.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/stan-persky-at-sgwu-1969/\"}]"],"score":1.8530173},{"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":1.8530173},{"id":"1285","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":["Diane Wakoski at Sir George Williams University, The Poetry Series, 23 January 1970\n"],"item_title_source":["Cataloguer"],"item_title_note":["\"DIANE WAKOSKI Recorded January 23, 1970 3.75 ips, 1/2 track on 1 mil. tape\" written on sticker on the back of the tape's box. \"DIANE WAKOSKI I006/SR49\" written on sticker on the spine of the tape's box. \"I006-11-049\" 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 4"],"item_identifiers":["[]"],"creator_names":["Wakoski, Diane"],"creator_names_search":["Wakoski, Diane"],"creators":["[{\"url\":\"http://viaf.org/viaf/79051243\",\"name\":\"Wakoski, Diane\",\"dates\":\"1937-\",\"notes\":\"American Poet Diane Wakoski was born August 3rd, 1937 in Whittier, California. She earned her B.A. from University of California, Berkeley, where she began to publish her poetry. She read at the San Francisco Poetry Center in 1959. Her first collection, Coins & Coffins (Doubleday) was published in 1962, and her other collections include Discrepancies and Apparitions (Doubleday, 1966), The George Washington Poems (Riverrun Press, 1967), Inside the Blood Factory (Doubleday, 1968), The Magellanic Clouds (Black Sparrow Press, 1970) and Motorcycle Betrayal Poems (Simon and Schuster, 1971). Diane Wakoski attended a summer program at SUNY Buffalo where she met Robert Creeley and other Black Mountain Poets in 1964. She taught English in a Manhattan junior high from 1963 to 1966 and was involved with the New York poetry scene. Diane Wakoski gave poetry readings and workshops to support herself, as well as holding many positions at universities as visiting professor and visiting writer. She was friends with several other poets, namely LaMonte Young, Robert Kelly, LeRoi Jones, Robert Creeley, Charles Olson, Ed Dorn. Wakoski was granted the Guggenheim fellowship in 1972. Since her first publication, she has published over 60 volumes of poetry, including Waiting for the King of Spain (Black Sparrow Press, 1976), The Collected Greed: Parts 1-13 (Black Sparrow Press, 1984) which contains a poetry sequence begun in the 1960’s, Emerald Ice: Selected Poems 1962-1987 (Black Sparrow Press, 1988) and Medea the Sorceress (Black Sparrow Press, 1991).\",\"nation\":[],\"role\":[\"Performer\",\"Author\"]}]"],"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 1 23\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the back of the tape's box\\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":["Diane Wakoski reads the title poem from The Magellanic Clouds (Black Sparrow Press, 1970) and from Discrepancies and Apparitions (Doubleday, 1966), The George Washington Poems (Riverrun Press, 1967), and Inside The Blood Factory (Doubleday, 1968)."],"contents":["diane_wakoski_i006-11-049.mp3\n\nIntroducer\n00:00:00\nOur poet this evening, Diane Wakoski [https://www.wikidata.org/wiki/Q1209000], by birth and education a Californian, has been a central figure on the New York [https://www.wikidata.org/wiki/Q60] scene, poetry scene, since 1961 or 62. She first came to attention outside New York City, with the publication of the small, but now somewhat legendary anthology Four Young Lady Poets. Since then, she has published nine volumes of poems, including Coins and Coffins, Discrepancies and Apparitions, The George Washington Poems, Inside the Blood Factory, Greed, and The Magellanic Clouds which I believe is to come out this year. I understand that some critics have tended to assign some of her recent work to so-called confessional school, which in her case means very little except that she writes about her own pictures of herself. Contrary to what one associates with the term confessional, Miss Wakoski writes a poetry that is syntactically direct and undeceiving. Yet, it is at the same time openly adventurous in its vocabulary, full of excitement and risk. It is thus a poetry that may perplex you, not because you do not understand it however, but because you do. And it's certainly one that you will enjoy hearing. Miss Wakoski, Diane!\n \nDiane Wakoski\n00:01:45\nI wanted to know what that tower was doing, but it's locating the clouds.\n \nIntroducer\n00:01:56\nYeah, I believe there is a meteorological interest...\n \nDiane Wakoski\n00:02:00\nWill you fall asleep if we don't have more lights on? I fall asleep in very dark rooms, I'm very loath to let the audience fall asleep, at least just for lights. If you can't hear me, I think there are more seats up here. This first poem I'm going to read is a poem that I wrote to a young poet a few years ago, I guess he's not so young anymore, but he was young when I wrote it, and he came to visit me in New York City to show me his poems, which were very nice poems, but he had been studying with Robert Creeley [https://www.wikidata.org/wiki/Q918620], whom I very much admire, but who sort of has the kiss of death for any sensitive young man who studies with him, because they all come away looking like Robert Creeley, sounding like Robert Creeley and writing exactly like Robert Creeley. And I'm not exactly known for my tact, so when he asked me about his poems, I said I thought they were very nice Robert Creeley imitations. And he walked away in a huff, and I realized what a message that is constantly being communicated to women in our culture that even though we are asked to be able to think and act intelligently, when it really comes down to the nitty gritty, we are expected to compliment men and not to tell them what we really think. So I wrote him an apology. I'm not really apologizing for what I said, I'm apologizing for being a graceful enough woman in that situation. And this poem, I think, says very much what I would like to say to all of you who wrote poetry who are young, or who do anything else. \"An Apology\".\n \nDiane Wakoski\n00:04:20\nReads \"An Apology\" [from Inside The Blood Factory].\n \nDiane Wakoski\n00:06:15\nI don't really believe that, as I say. But I do believe in the necessity of having to say it. This next poem I'd like to read is a poem in which, again, I ask a kind of rhetorical question that is a very meaningful one for all women in our culture. I think, by the way, that in spite of the fact that I constantly talk about what problems women do have in a contemporary society that at last has freed them from the burden of constant babysitting and washing and ironing and so forth, that the whole mix up of what roles are about makes the life of a woman very hard, but I think that really, it's probably a man's role, it's harder to play the woman and my experience has been most of the time when women are punished in our society or have real problems with being women it's because they are getting the feedback from how complicated and impossible the demands on men have been and the men are feeding it back to them and if maybe we could ever solve that real dilemma of what the complete man is allowed to be, then women wouldn't suffer. I don't really think that anything women can do will do any good until the man's world is a more possible one to live in. At any rate, this poem asks a question that I constantly ask, why is it when a woman who shows strength, strength is something that we should all be honoured for having and being able to live with in our life, why should a woman be punished for her strength? As strong women often are. It's called \"Slicing Oranges for Jeremiah\".\n \nDiane Wakoski\n00:08:19\nReads \"Slicing Oranges for Jeremiah\" [from Inside The Blood Factory].\n \nDiane Wakoski\n00:12:58\nI'm very interested in, well, actually, something that all poets are involved in, and that is trying to use the mythology of their culture to somehow be able to talk about their own personal realities and still be able to communicate with other people in terms of kind of common cultural experience. And I've been writing a series of poems that I call the \"George Washington [https://www.wikidata.org/wiki/Q23] Poems\" to help me do this and every once in a while I will pick up on other things also and something that's always fascinated me, being from California [https://www.wikidata.org/wiki/Q99], are the legends of the Wild West [https://www.wikidata.org/wiki/Q190267] and the way people still sort of look at Americans as pioneers and cowboys and in a way how we like to flatter ourselves, all of us that we have a certain kind of ruggedness because of this pioneer tradition. But one of the confusions that has grown up out of that cultural image is again, something that concerns me very much, as women, we've all been brainwashed to fall in love with men who have this very rugged image who are able to do tough rugged things, and unfortunately, reality doesn't always live up to those images that are presented to us so we're falling madly in love with these men who turn out to often not like women, because that whole western life was geared for men, and not for women. So in this poem I'm lodging my protest officially. It's called \"Follow that Stagecoach\".\n \nDiane Wakoski\n00:14:55\nReads \"Follow that Stagecoach\" [from Discrepancies and Apparitions].\n \nDiane Wakoski\n00:19:57\nDo you think you need the mic in the back? What do you think? I'm going to move up? ...Is this an amplifying mic? ....Can you hear me now any better back there? I'm going to read a few \"George Washington\" poems. Are you getting clicky sound? Maybe if I turn it away, it'll amplify...This poem is called \"Patriotic Poem\" and I always dedicate it to J. Edgar Hoover [https://www.wikidata.org/wiki/Q210435] when I read. This is in hopes that someday I'll be considered a great American Patriot.\n \nDiane Wakoski\n00:21:53\nReads \"Patriotic Poem\" [from The George Washington Poems].\n \nDiane Wakoski\n00:25:09\nThe next poem is called \"George Washington Writes Home about Harvesting his Hemp\". All plantations, I guess, in those days had large hemp crops on them because they had to make their own rope.\n \nDiane Wakoski\n00:25:35\nReads \"George Washington Writes Home about Harvesting his Hemp\" [from The George Washington Poems].\n \nDiane Wakoski\n00:27:07\nI understand you had a writer in this series named Gladys Hindmarch, so I'll read you a poem called \"George Washington and the Dream of Gladys Hindmarch\".\n \nDiane Wakoski\n00:27:22\nReads \"George Washington and the Dream of Gladys Hindmarch\" [from The George Washington Poems].\n \nDiane Wakoski\n00:31:15\nThis next poem is about an idiosyncrasy that I have, I can't stand men who wear rings on their little fingers. and I wrote this poem, oh, a few years ago when I went to the Guggenheim [https://www.wikidata.org/wiki/Q201469] in New York City to hear a poet that I admire a lot, Gary Snyder [https://www.wikidata.org/wiki/Q315963], I like that whole, very masculine image he presents, some guy in the woods chopping down trees, working in a lumber mill and things like that. So, it was really a very great shock to see him appear on stage with his lumber boots, his blue jeans, his work shirt, his tweed jacket with a leather patch and a ring on his little finger. So I went home and wrote this poem. It's called \"Ringless\".\n \nDiane Wakoski\n00:32:17\nReads \"Ringless\" [from Inside The Blood Factory].\n \nDiane Wakoski\n00:35:41\nAnother one of my heroes is Beethoven [https://www.wikidata.org/wiki/Q255], this is Beethoven's two-hundred centennial by the way. I like Beethoven for a lot of reasons, but I suppose why I pick on him to talk about is that Beethoven stands for the ability to use anger and make it into something very beautiful and powerful. Again, we live in a culture that makes life very difficult for us and one of the things we're taught as children is that to express anger is a bad thing, not that it's a natural, healthy thing and that in fact until the anger is expressed, the love can't exist. So I'm going to read this poem which is called \"In Gratitude to Beethoven\".\n \nDiane Wakoski\n00:36:49\nReads \"In Gratitude to Beethoven\" [from Inside The Blood Factory].\n\nUnknown\n00:41:58\n[Cut or edit in tape].\n \nDiane Wakoski\n00:42:01\nResumes reading of “In Gratitude to Beethoven”.\n \nUnknown\n00:43:08\n[Cut or edit in tape].\n \nDiane Wakoski\n00:43:10\n...poets in the world I assume. I wrote a poem about landing on the moon. The moon traditionally is poet's subject and I suppose I feel even more involved, since my name is Diane and I've always felt that either the moon belonged to me, or that I was the moon, so having it landed on gave me a lot of complicated feelings. And I wrote this poem called \"The Ten Dollar Cab Ride\", which is dedicated to Robert Duncan [https://www.wikidata.org/wiki/Q964391], because he once told this story, some of you must know this, I don't think he wrote it in any of his poems, I once heard him tell the story but it could easily be in one of his poems. It was about a number of years ago when he was much, much younger and his life was much more difficult than it is right now and I guess one of his problems was money and money tends to get people very depressed at times, and he was depressed about everything else and he also didn't have any money so he decided he was going to kill himself, and he didn't really want to do it right that minute. But he wanted to do it, and all he had was ten dollars and so he decided he would take a cab ride and when the ten dollars was up, he'd get out and kill himself. But he made the fatal mistake, or I should say the life-giving mistake, of going for a cab ride in Golden Gate Park [https://www.wikidata.org/wiki/Q635559] in San Francisco [https://www.wikidata.org/wiki/Q62] which is very, very beautiful and by the end of his ten dollars, he felt so good that he had to get out and walk home. I always thought that was a hopeful story for any of us. Anyway, \"The Ten Dollar Cab Ride\" for Robert Duncan.\n \nDiane Wakoski\n00:45:06\nReads \"The Ten Dollar Cab Ride\".\n \nUnknown\n00:47:22\n[Cut or edit in tape].\n \nDiane Wakoski\n00:47:43\nResumes reading “The Ten Dollar Cab Ride”.\n \nDiane Wakoski\n00:50:15\nI'm going to read one last poem which is the title poem of a book, it's called the \"Magellanic Clouds\". And those of you who took Astronomy 1 and have your own telescopes and have ever been to the southern latitudes, you know that the Magellanic Clouds are probably another galaxy, and they appear as a  cloudy spot in the sky on a clear night in the southern hemisphere, and they were named by Magellan [https://www.wikidata.org/wiki/Q1496], for himself, of course, when he first saw them.\n \nAnnotation\n00:51:00\nReads \"The Magellanic Clouds\" [published later in The Magellanic Clouds].\n \nEND\n00:56:00\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn the fall of 1969, Diane Wakoski was working as a visiting writer in Deia Majorca sponsored by Dowling College of Long Island. The Magellanic Clouds was published in 1970.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nWakoski’s direct connection to Montreal or Sir George Williams University is unknown, however she was an influential American poet associated with the New York school of poetry, and was close with members of the Black Mountain group. As illustrated in her poem dedicated to Gladys Hindmarch, she was also friendly with the Canadian poet.\",\"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/oxford-companion-to-twentieth-century-poetry-in-english/oclc/807465072&referer=brief_results\",\"citation\":\"Butscher, Edward. \\\"Wakoski, Diane\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ian Hamilton (ed). Oxford University Press, 1996. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-american-literature/oclc/54356940&referer=brief_results\",\"citation\":\"\\\"Wakoski, Diane\\\". The Oxford Companion to American Literature. James D. Hart (ed.), Phillip W. Leininger (rev). Oxford University Press, 1995.\"},{\"url\":\"https://www.worldcat.org/title/merriam-websters-encyclopedia-of-literature/oclc/31434511\",\"citation\":\"\\\"Wakoski, Diane.\\\" Merriam Webster's Encyclopedia of Literature. Springfield, MA: Merriam-Webster, 1995. \"},{\"url\":\"https://www.worldcat.org/title/discrepancies-and-apparitions/oclc/1434566&referer=brief_results\",\"citation\":\"Wakoski, Diane. Discrepancies and Apparitions. New York: Doubleday, 1966.\"},{\"url\":\"https://www.worldcat.org/title/inside-the-blood-factory/oclc/469771668&referer=brief_results\",\"citation\":\"Wakoski, Diane. Inside The Blood Factory. New York: Doubleday, 1968. \\n\"},{\"url\":\"https://www.worldcat.org/title/george-washington-poems/oclc/753478760&referer=brief_results\",\"citation\":\"Wakoski, Diane. The George Washington Poems. New York: Riverrun Press, 1967.\"},{\"url\":\"https://www.worldcat.org/title/magellanic-clouds/oclc/5032677&referer=brief_results\",\"citation\":\"Wakoski, Diane. The Magellanic Clouds. Santa Barbara: Black Sparrow Press: 1970. \"},{\"url\":\"\",\"citation\":\"“Wakoski, Diane”. Literature Online Biography. Cambridge: Chadwyck-Healey, 1998. \"}]"],"_version_":1853670548915093505,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I006_11_049_back.jpg\",\"file_path\":\"\",\"filename\":\"I006_11_049_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Diane Wakoski 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/I006_11_049_front.jpg\",\"file_path\":\"\",\"filename\":\"I006_11_049_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Diane Wakoski 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/I006_11_049_side.jpg\",\"file_path\":\"\",\"filename\":\"I006_11_049_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Diane Wakoski Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I006_11_049_tape.jpg\",\"file_path\":\"\",\"filename\":\"I006_11_049_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Diane Wakoski 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/diane_wakowski_i006-11-049.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"diane_wakoski_i006-11-049.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:56:00\",\"precision\":\"\",\"size\":\"134.4 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Introducer\\n00:00:00\\nOur poet this evening, Diane Wakoski [https://www.wikidata.org/wiki/Q1209000], by birth and education a Californian, has been a central figure on the New York [https://www.wikidata.org/wiki/Q60] scene, poetry scene, since 1961 or 62. She first came to attention outside New York City, with the publication of the small, but now somewhat legendary anthology Four Young Lady Poets. Since then, she has published nine volumes of poems, including Coins and Coffins, Discrepancies and Apparitions, The George Washington Poems, Inside the Blood Factory, Greed, and The Magellanic Clouds which I believe is to come out this year. I understand that some critics have tended to assign some of her recent work to so-called confessional school, which in her case means very little except that she writes about her own pictures of herself. Contrary to what one associates with the term confessional, Miss Wakoski writes a poetry that is syntactically direct and undeceiving. Yet, it is at the same time openly adventurous in its vocabulary, full of excitement and risk. It is thus a poetry that may perplex you, not because you do not understand it however, but because you do. And it's certainly one that you will enjoy hearing. Miss Wakoski, Diane!\\n \\nDiane Wakoski\\n00:01:45\\nI wanted to know what that tower was doing, but it's locating the clouds.\\n \\nIntroducer\\n00:01:56\\nYeah, I believe there is a meteorological interest...\\n \\nDiane Wakoski\\n00:02:00\\nWill you fall asleep if we don't have more lights on? I fall asleep in very dark rooms, I'm very loath to let the audience fall asleep, at least just for lights. If you can't hear me, I think there are more seats up here. This first poem I'm going to read is a poem that I wrote to a young poet a few years ago, I guess he's not so young anymore, but he was young when I wrote it, and he came to visit me in New York City to show me his poems, which were very nice poems, but he had been studying with Robert Creeley [https://www.wikidata.org/wiki/Q918620], whom I very much admire, but who sort of has the kiss of death for any sensitive young man who studies with him, because they all come away looking like Robert Creeley, sounding like Robert Creeley and writing exactly like Robert Creeley. And I'm not exactly known for my tact, so when he asked me about his poems, I said I thought they were very nice Robert Creeley imitations. And he walked away in a huff, and I realized what a message that is constantly being communicated to women in our culture that even though we are asked to be able to think and act intelligently, when it really comes down to the nitty gritty, we are expected to compliment men and not to tell them what we really think. So I wrote him an apology. I'm not really apologizing for what I said, I'm apologizing for being a graceful enough woman in that situation. And this poem, I think, says very much what I would like to say to all of you who wrote poetry who are young, or who do anything else. \\\"An Apology\\\".\\n \\nDiane Wakoski\\n00:04:20\\nReads \\\"An Apology\\\" [from Inside The Blood Factory].\\n \\nDiane Wakoski\\n00:06:15\\nI don't really believe that, as I say. But I do believe in the necessity of having to say it. This next poem I'd like to read is a poem in which, again, I ask a kind of rhetorical question that is a very meaningful one for all women in our culture. I think, by the way, that in spite of the fact that I constantly talk about what problems women do have in a contemporary society that at last has freed them from the burden of constant babysitting and washing and ironing and so forth, that the whole mix up of what roles are about makes the life of a woman very hard, but I think that really, it's probably a man's role, it's harder to play the woman and my experience has been most of the time when women are punished in our society or have real problems with being women it's because they are getting the feedback from how complicated and impossible the demands on men have been and the men are feeding it back to them and if maybe we could ever solve that real dilemma of what the complete man is allowed to be, then women wouldn't suffer. I don't really think that anything women can do will do any good until the man's world is a more possible one to live in. At any rate, this poem asks a question that I constantly ask, why is it when a woman who shows strength, strength is something that we should all be honoured for having and being able to live with in our life, why should a woman be punished for her strength? As strong women often are. It's called \\\"Slicing Oranges for Jeremiah\\\".\\n \\nDiane Wakoski\\n00:08:19\\nReads \\\"Slicing Oranges for Jeremiah\\\" [from Inside The Blood Factory].\\n \\nDiane Wakoski\\n00:12:58\\nI'm very interested in, well, actually, something that all poets are involved in, and that is trying to use the mythology of their culture to somehow be able to talk about their own personal realities and still be able to communicate with other people in terms of kind of common cultural experience. And I've been writing a series of poems that I call the \\\"George Washington [https://www.wikidata.org/wiki/Q23] Poems\\\" to help me do this and every once in a while I will pick up on other things also and something that's always fascinated me, being from California [https://www.wikidata.org/wiki/Q99], are the legends of the Wild West [https://www.wikidata.org/wiki/Q190267] and the way people still sort of look at Americans as pioneers and cowboys and in a way how we like to flatter ourselves, all of us that we have a certain kind of ruggedness because of this pioneer tradition. But one of the confusions that has grown up out of that cultural image is again, something that concerns me very much, as women, we've all been brainwashed to fall in love with men who have this very rugged image who are able to do tough rugged things, and unfortunately, reality doesn't always live up to those images that are presented to us so we're falling madly in love with these men who turn out to often not like women, because that whole western life was geared for men, and not for women. So in this poem I'm lodging my protest officially. It's called \\\"Follow that Stagecoach\\\".\\n \\nDiane Wakoski\\n00:14:55\\nReads \\\"Follow that Stagecoach\\\" [from Discrepancies and Apparitions].\\n \\nDiane Wakoski\\n00:19:57\\nDo you think you need the mic in the back? What do you think? I'm going to move up? ...Is this an amplifying mic? ....Can you hear me now any better back there? I'm going to read a few \\\"George Washington\\\" poems. Are you getting clicky sound? Maybe if I turn it away, it'll amplify...This poem is called \\\"Patriotic Poem\\\" and I always dedicate it to J. Edgar Hoover [https://www.wikidata.org/wiki/Q210435] when I read. This is in hopes that someday I'll be considered a great American Patriot.\\n \\nDiane Wakoski\\n00:21:53\\nReads \\\"Patriotic Poem\\\" [from The George Washington Poems].\\n \\nDiane Wakoski\\n00:25:09\\nThe next poem is called \\\"George Washington Writes Home about Harvesting his Hemp\\\". All plantations, I guess, in those days had large hemp crops on them because they had to make their own rope.\\n \\nDiane Wakoski\\n00:25:35\\nReads \\\"George Washington Writes Home about Harvesting his Hemp\\\" [from The George Washington Poems].\\n \\nDiane Wakoski\\n00:27:07\\nI understand you had a writer in this series named Gladys Hindmarch, so I'll read you a poem called \\\"George Washington and the Dream of Gladys Hindmarch\\\".\\n \\nDiane Wakoski\\n00:27:22\\nReads \\\"George Washington and the Dream of Gladys Hindmarch\\\" [from The George Washington Poems].\\n \\nDiane Wakoski\\n00:31:15\\nThis next poem is about an idiosyncrasy that I have, I can't stand men who wear rings on their little fingers. and I wrote this poem, oh, a few years ago when I went to the Guggenheim [https://www.wikidata.org/wiki/Q201469] in New York City to hear a poet that I admire a lot, Gary Snyder [https://www.wikidata.org/wiki/Q315963], I like that whole, very masculine image he presents, some guy in the woods chopping down trees, working in a lumber mill and things like that. So, it was really a very great shock to see him appear on stage with his lumber boots, his blue jeans, his work shirt, his tweed jacket with a leather patch and a ring on his little finger. So I went home and wrote this poem. It's called \\\"Ringless\\\".\\n \\nDiane Wakoski\\n00:32:17\\nReads \\\"Ringless\\\" [from Inside The Blood Factory].\\n \\nDiane Wakoski\\n00:35:41\\nAnother one of my heroes is Beethoven [https://www.wikidata.org/wiki/Q255], this is Beethoven's two-hundred centennial by the way. I like Beethoven for a lot of reasons, but I suppose why I pick on him to talk about is that Beethoven stands for the ability to use anger and make it into something very beautiful and powerful. Again, we live in a culture that makes life very difficult for us and one of the things we're taught as children is that to express anger is a bad thing, not that it's a natural, healthy thing and that in fact until the anger is expressed, the love can't exist. So I'm going to read this poem which is called \\\"In Gratitude to Beethoven\\\".\\n \\nDiane Wakoski\\n00:36:49\\nReads \\\"In Gratitude to Beethoven\\\" [from Inside The Blood Factory].\\n\\nUnknown\\n00:41:58\\n[Cut or edit in tape].\\n \\nDiane Wakoski\\n00:42:01\\nResumes reading of “In Gratitude to Beethoven”.\\n \\nUnknown\\n00:43:08\\n[Cut or edit in tape].\\n \\nDiane Wakoski\\n00:43:10\\n...poets in the world I assume. I wrote a poem about landing on the moon. The moon traditionally is poet's subject and I suppose I feel even more involved, since my name is Diane and I've always felt that either the moon belonged to me, or that I was the moon, so having it landed on gave me a lot of complicated feelings. And I wrote this poem called \\\"The Ten Dollar Cab Ride\\\", which is dedicated to Robert Duncan [https://www.wikidata.org/wiki/Q964391], because he once told this story, some of you must know this, I don't think he wrote it in any of his poems, I once heard him tell the story but it could easily be in one of his poems. It was about a number of years ago when he was much, much younger and his life was much more difficult than it is right now and I guess one of his problems was money and money tends to get people very depressed at times, and he was depressed about everything else and he also didn't have any money so he decided he was going to kill himself, and he didn't really want to do it right that minute. But he wanted to do it, and all he had was ten dollars and so he decided he would take a cab ride and when the ten dollars was up, he'd get out and kill himself. But he made the fatal mistake, or I should say the life-giving mistake, of going for a cab ride in Golden Gate Park [https://www.wikidata.org/wiki/Q635559] in San Francisco [https://www.wikidata.org/wiki/Q62] which is very, very beautiful and by the end of his ten dollars, he felt so good that he had to get out and walk home. I always thought that was a hopeful story for any of us. Anyway, \\\"The Ten Dollar Cab Ride\\\" for Robert Duncan.\\n \\nDiane Wakoski\\n00:45:06\\nReads \\\"The Ten Dollar Cab Ride\\\".\\n \\nUnknown\\n00:47:22\\n[Cut or edit in tape].\\n \\nDiane Wakoski\\n00:47:43\\nResumes reading “The Ten Dollar Cab Ride”.\\n \\nDiane Wakoski\\n00:50:15\\nI'm going to read one last poem which is the title poem of a book, it's called the \\\"Magellanic Clouds\\\". And those of you who took Astronomy 1 and have your own telescopes and have ever been to the southern latitudes, you know that the Magellanic Clouds are probably another galaxy, and they appear as a  cloudy spot in the sky on a clear night in the southern hemisphere, and they were named by Magellan [https://www.wikidata.org/wiki/Q1496], for himself, of course, when he first saw them.\\n \\nAnnotation\\n00:51:00\\nReads \\\"The Magellanic Clouds\\\" [published later in The Magellanic Clouds].\\n \\nEND\\n00:56:00\\n\",\"notes\":\"Diane Wakoski reads the title poem from The Magellanic Clouds (Black Sparrow Press, 1970) and from Discrepancies and Apparitions (Doubleday, 1966), The George Washington Poems (Riverrun Press, 1967), and Inside The Blood Factory (Doubleday, 1968).\\n\\n00:00- Unknown male introduces Diane Wakoski [INDEX: Californian, New York Poetry scene in 1961, Four Young Lady Poets Anthology, Coins and Coffins, Discrepancies and Apparitions, The George Washington Poem, Inside the Blood Factory, Greed, The \\tMagellanic Clouds by Diane Wakoski, Confessional school of poetry]\\n01:45- Diane Wakoski introduces “An Apology” [INDEX: advice to a young poet, Robert Creeley, gender roles]\\n04:20- Reads “An Apology”\\n06:15- Introduces “Slicing Oranges” [INDEX: Gender roles, strong women]\\n08:19- Reads “Slicing Oranges”\\n12:58- Introduces “Follow that Stagecoach” [INDEX: Mythology of one’s culture, series of poems called “The George Washington Poems”, legends of the Wild West]\\n14:55- Reads “Follow that Stagecoach”\\n19:57- Introduces “Patriotic Poem” [INDEX: J. Edgar Hoover]\\n21:53- Reads “Patriotic Poem”\\n25:09- Introduces “George Washington Writes Home About Harvesting his Hemp”\\n25:25- Reads “George Washington Writes Home About Harvesting his Hemp”\\n27:07- Introduces “George Washington and the Dream of Gladys Hindmarch”\\n27:22- Reads “George Washington and the Dream of Gladys Hindmarch”\\n31:15- Introduces “Ringless” [INDEX: reading by Gary Snyder at the Guggenheim in New York City]\\n32:17- Reads “Ringless”\\n35:41- Introduces “Ingratitude to Beethoven” [INDEX: Beethoven, 200 Centennial]\\n36:49- Reads “Ingratitude to Beethoven”\\n43:10- Introduces “The Ten Dollar Cab Ride” [INDEX: moon as poet’s subject, Robert         Duncan, suicide, Golden Gate Park in San Francisco]\\n45:06- Reads “The Ten Dollar Cab Ride”\\n50:15- Introduces “Magellanic Clouds” [INDEX: Astronomy, Magellan]\\n51:00- Reads “Magellanic Clouds”\\n56:00.27- END OF RECORDING\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/diane-wakoski-at-sgwu-1970/\"}]"],"score":1.8530173},{"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":1.8530173},{"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. 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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":1.8530173},{"id":"1292","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":["Dorothy Livesay at Sir George Williams University, The Poetry Series, 14 January 1972\n"],"item_title_source":["Cataloguer"],"item_title_note":["\"DORTHY LIVESAY POETRY (1 OF 2) 3 3/4 IPS 1/2 TR. (COPY)\" written on the back of the tape's box. DORTHY LIVESAY refers to Dorothy Livesay. DORTHY is mispelled. \"D. LIVESAY I086-11-032.1\" written on on the spine of the tape's box. \"D. LIVESAY 1/2 1-72-012-5\" and \"reel 1 I086-11-032.1\" written on stickers on the reel. \"D. LIVESAY 1/2 I086-11-032.1\" written on the front of the tape's box. \"Reel 1: Contents.- Edmonton Street.-The operation-The women syndrome.-Other.-Bartok and the geranium.-Later day Eve.\" written on sticker on the front of the tape's box\n\n\"DORTHY LIVESAY POETRY (2 OF 2) 3 3/4 IPS 1/2 TR. (COPY)\" written on the back of the tape's box. DORTHY LIVESAY refers to Dorothy Livesay. DORTHY is mispelled. \"D. LIVESAY I086-11-032.2\" written on on the spine of the tape's box. \"I086-11-032.2\" written on sticker on the reel. \"2/2 D. LIVESAY 1/2 1-72-012-5\" written on the front of the tape's box. \"Reel 2: Contents.-Day and night.-Lorea.-Weapons.-Alienation.-Climax.-Blindness.-Song for Solomon.-Poem.-Four Songs.-The taming.-Give us our trespasses.-The notations of love.-Moving out.- At dawn.\" written on sticker on the front of the tape's box"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 6"],"item_identifiers":["[I086-11-032.1, I086-11-032.2]"],"creator_names":["Livesay, Dorothy"],"creator_names_search":["Livesay, Dorothy"],"creators":["[{\"url\":\"http://viaf.org/viaf/116854541\",\"name\":\"Livesay, Dorothy\",\"dates\":\"1909-1996\",\"notes\":\"Poet Dorothy Livesay was born in Winnipeg in 1909, and moved to Toronto in 1920, when her father managed the Canadian Press. In the fall of 1926 she started studying at Trinity College, University of Toronto, where she was influenced by ideas of socialism and women’s rights. She published her first collection of poetry, Green pitcher (Macmillan, 1928) when she was only eighteen. Livesay then went to the south of France to study for one year, and after her graduation in 1931 (B.A.) she studied at the Sorbonne in Paris where she received a Diplôme d'études supérieures, in 1932. Influenced and affected by the Depression, she began studies at University of Toronto’s School of Social Work, joining the Communist Party. The same year, 1932, she published her second book, Signpost (Macmillan). She then moved to Montreal from 1933-1934, and to Englewood, New Jersey from 1934-1935, working with the unemployed as a social worker. During this time she also wrote for the Marxist news magazine New Frontier, Canadian Poetry Magazine and The Canadian Forum. Dorothy Livesay’s political poetry includes Day and Night (Ryerson Press, 1944) and Poems for the People (Ryerson Press, 1947), both of which won the Governor General’s Award. Married in 1937 to Duncan Macnair, Livesay raised two children in Vancouver. In 1960, when her husband had died and her children began their own lives, Dorothy Livesay moved to Zambia, where she taught English for UNESCO for three years. Returning to Vancouver, she earned a M.E.D. (1966) from University of British Columbia. She became involved in the Vancouver poetry scene and she experienced a change of style and content in her writing. She published The Unquiet Bed, illustrated by Roy Kiyooka (Ryerson Press, 1967), and Plainsongs (Fiddlehead Poetry Books, 1971), which both focused on aspects of femaleness. Livesay founded an important poetry magazine CV/II in 1975 and edited the anthology, Forty Women Poets of Canada in 1971 (Ingluvin Press). Dorothy Livesay also published several long poems, The Documentaries (Ryerson Press, 1968), Nine Poems of Farewell (Black Moss Press, 1973), The Raw Edges: Voices From Our Time (Turnstone Press, 1981), Phases of Love (Coach House Press, 1983), Feeling Worlds (Goose Lane/Fiddlehead,1984) and The Self-completing Tree (Porcepic Press, 1986). She also wrote several works of prose, including A Winnipeg Childhood (Peguis, 1973) and Beginnings (Newpress, 1988). She was appointed an Officer of the Order of Canada in 1987 and was the writer-in-residence and professor of English at many Canadian Universities. Livesay died in 1996.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1972],"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\":\"\"},{\"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","Reel to Reel"],"physical_compositions":["Magnetic Tape","Magnetic Tape"],"recording_type":["Analogue","Analogue"],"AV_type":["Audio","Audio"],"playback_mode":["Mono","Mono"],"Dates":["[{\"date\":\"1972 1 14\",\"type\":\"Performance Date\",\"notes\":\"Date specified in written announcement \\\"Georgian Happenings\\\"\\n\",\"source\":\"Supplemental 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":["Dorothy Livesay reads poems from numerous sources, including Signpost (Macmillan, 1932), Day and Night (Ryerson Press, 1944), New Poems (Emblem Press, 1955), The Selected Poems 1926-1956 (Ryerson Press, 1957), The Unquiet Bed (Ryerson, 1967), Forty Women Poets of Canada (Ingluvin Publications, 1971), and Plainsongs (Fiddlehead Poetry Books, 1971)."],"contents":["dorothy_livesay_i086-11-032-1.mp3 [File 1 of 2]\n \nIntroducer\n00:00:02\nI was going to talk on about Dorothy Livesay's [https://www.wikidata.org/wiki/Q1250325] distinguished career, as a poet, and a critic and a teacher, but after what she told me tonight, I'm not sure if distinguished is exactly the right word, she says that at the age of nineteen, she snubbed the Prince of Wales [https://www.wikidata.org/wiki/Q590227]. Nevertheless, two books should be mentioned, her selected and uncollected poems to appear this September and a book which was called 39 Women Poets which has gained another poet and another title at the last moment and as 40 Women Poets of Canada [https://www.wikidata.org/wiki/Q16] is now on sale outside, as you may have seen as you came in. Back in 1965, I guess it was, Wynne Francis managed to catch Dorothy Livesay as she was passing through Montreal [https://www.wikidata.org/wiki/Q340], and Dorothy gave a really private reading in Wynne's office. Ever since then, we have been trying to convince her to come back and read to us all in the series. I'm extremely happy this year that we have been successful and that I can present to you Dorothy Livesay.\n \nDorothy Livesay\n00:01:58\nI think I might get hung up on this, I had quite a disastrous time getting here. I arrived with a new poem of seven, whose title is \"Disasters of the Sun\", and my first disaster was on the train, sitting on top of my glasses, which are now somewhat myopic, and second disaster going to Sherbrooke [https://www.wikidata.org/wiki/Q139473], the bus rolled right into an oil tanker, which somehow or other didn't blow up, but gashed my thumb, and at Bishop's [https://www.wikidata.org/wiki/Q3551383] I had only begun to read when a fire alarm started [laughter], and rang for ten minutes before they silenced it. So I have a feeling that somehow or other, there are more disasters ahead tonight. However, I'm supposed to read a while and then call an intermission I think. Mostly I like to sort of go back over the years and trace the different things, especially love poems from early times on, but I'm going to skip about a bit. Recently in Edmonton [https://www.wikidata.org/wiki/Q2096] I edited the fourth issue of a quarterly magazine, White Pelican. Which Sheila Watson [https://www.wikidata.org/wiki/Q7493167] edits but she gave this particular issue to me, and I chose the theme of North. Feeling perhaps that we are still trying to find our identity, whether we're English Canadians or French Canadians, and that perhaps the north has some element of it in it which helps us to find that. I discovered though, in collecting material, stories, poems, plays about the north, that it was the Native Indian people who have a different view altogether of the north than we do. At the same time, you find many young Canadian poets identifying with Native culture, and almost feeling that they must become Native, and become Indian to be real, to know who they are. I wrote at the beginning of this issue this little note I'll just read. “North is from wherever you are looking.” It's starting...[laughter]. “For those living below the 49th parallel, Canada itself is North. In a sense, we're all here as explorers without a home. Our great guilt at having ousted the Native peoples from their land is now seeking expression in an attempt to re-create the Indian and Eskimo past, and every month brings forth books of poetry, fiction and history which seek to come to terms with pre-history, with myth, or with the way the Inuit live in harmony with nature. In ironic contrast, the Native artists and writers are expressing their concern, not with their past, but with possible ways of accommodation to the present, the white man's world. Thus, the three British Columbia [https://www.wikidata.org/wiki/Q1974] Indian poets here represented, Skyros Bruce, Gordy Williams and Eleanor Crow are bitter, ironic and contemporary. Not for them the nostalgic recreation of the Indian myth, or even  not for them the vigorous folk humor of life in the north which you find in [unintelligible] and in later writers.” While I think it's worthwhile thinking about that because you do have a lot of young poets now seeping themselves in Indian or Eskimo culture, and feeling as if they must become that in order to be themselves. None of us can quite escape from this, and I have a poem or two that I'll begin with, which I suppose are my expression of coming to terms with the North, or the somewhat southernly north, Edmonton. I'll begin with a kind of collage poem where I put bits of history, bits of visual imagery and bits of surrealism together, called \"Edmonton Sweet\".\n \nDorothy Livesay\n00:06:56\nReads \"Edmonton Sweet\" [from Plainsongs].\n \nDorothy Livesay\n00:10:19\nQuite a different poem about going North is called \"The Operation\", and that is the poem which is in this anthology, just out today, 40 Women Poets. I didn't intend to put myself in, but the other editors suggested it was the only 'done' thing to put one or two poems of my own in it. So here's the one called \"The Operation\". It's a kind of three-way poem where the woman is addressing the doctor and her lover, alternately, and then perhaps herself.\n \nDorothy Livesay\n00:11:10\nReads \"The Operation\" [from Plainsongs and collected in 40 Women Poets] .\n \nDorothy Livesay\n00:15:36\nSince this anthology will probably be called a women's lib., even though it isn't, because none of the poets in it are consciously trying to be anything but their individual selves, nonetheless, I think there are poems by every woman which do express that individual point of view, that differentness, I have never been able, though perhaps I was a women's lib. creature in the thirties, I have never been able to feel that men and women are the same, and so I have poems, right through the years which illustrate that point of view. Here's a very recent one called \"The Woman Syndrome\".\n \nDorothy Livesay\n00:16:26\nReads \"The Woman Syndrome\" [published later in Archive For Our Times].\n \nDorothy Livesay\n00:17:05\nAnd a much earlier poem, written when I had a family and young children and I suppose frustrated and not getting out into the world. It's called \"Other\", it's in The Selected Poems of 1957.\n \nDorothy Livesay\n00:17:34\nReads \"Other\" from Selected Poems, 1926-1956.\n \nDorothy Livesay\n00:19:11\nAnd in a different vein altogether, the poem I suppose that's been the most anthologized of any of mine, which to me is a rather traditional way I suppose of seeing the male and female element. It's called \"Bartok and the Geranium\". The poem simply began because I was teaching an evening class of housewives the art of creative writing, and I gave them an assignment to write an imagistic or perhaps haiku-type poem, when they got home, to look at two objects, utterly different and disparate, and just see they could link these objects in a tension which would create a poem. Well the next day, I had sent the children to school after lunch and was sitting in the dining room listening to a CBC [https://www.wikidata.org/wiki/Q461761] concert, and heard music that I hadn't heard before at all, a violin concerto it seemed to be, and in the window as I was listening was this red geranium. So I thought to myself, well I've given my class an assignment, I wonder if I could do the same thing. And at the end of the concert they announced that it was Bela Bartok [https://www.wikidata.org/wiki/Q83326], violin concerto. So suddenly, the two elements, the music and the geranium, did seem to link in my mind and immediately I wrote the poem which I think I've never revised. I'll tell you afterwards about what some of the professors have said about the meaning of the poem.\n \nDorothy Livesay\n00:21:00\nReads \"Bartok and Geranium\" [from New Poems].\n \nDorothy Livesay\n00:22:10\nWell, a few years later, Dr. Roy Daniels was giving a course in Canadian Literature, which I was a member, and one day he asked me if I would not come to class, so I divined he was going to deal with my poems, and I asked a fellow student to please take notes. So this was one of the poems he dealt with, and he informed the class that this poem represented the conflict between nature and art. While at first I was a bit dumbfounded, you know now about how the whole thing began and then what I felt about the he and she of it. But perhaps upon meditation, that this could be another meaning in the poem which I as poet, wasn't aware of but which was still perhaps there. But still another example of the different interpretations which people take to themselves and perhaps get great pleasure from, was, happened in U.N.B. [https://www.wikidata.org/wiki/Q1112515] when Fred Cogswell [https://www.wikidata.org/wiki/Q5494855] put this poem on a sight examination for a first year Canadian lit. class, and one of the students who I'm afraid failed his year, wrote on the paper, and on seeing this poem decided that it was written by a man, and he said it was about this guy Bartok who walked along the street and saw a whore leaning out of the window. Well on the same, and finally, this last one on the same kind of he and she of it, a poem written about a year ago, right out of a dream, I mean I dreamed this poem. It's called \"Latter Day Eve\".\n \nDorothy Livesay\n00:24:18\nReads \"Latter Day Eve\" [from Plainsongs].\n \nDorothy Livesay\n00:25:34\nWell I'd like to jump back a bit, quite a long way back now, not to lyrical poems, which were the ones I really started out doing, but two poems from the thirties...\n\nEND\n00:25:51\n[Unknown amount of time elapsed between tapes].\n\ndorothy_livesay_i086-11-032-2.mp3 [File 2 of 2]\n\nDorothy Livesay\n00:00:00\n...Polish immigrant who came back to the same house to pick up his belongings, and not knowing what was happening, entered the house, and police shot him in the back and killed him. This happened in Montreal in 1934 or 5. So out of all those experiences, through the thirties, and out of another year I had in New Jersey [https://www.wikidata.org/wiki/Q1408], living amongst the Negro, very, very discriminated against people in Englewood [https://www.wikidata.org/wiki/Q986210], New Jersey. I, my whole poetry changed from being lyrical and personal to being social and yet I always, never felt it was something outside myself because I felt very powerfully the identification to what was happening to people. I returned from New Jersey about '36 and I wrote this poem which E.J. Pratt [https://www.wikidata.org/wiki/Q3045744] published in the first issue of the Canadian Poetry Magazine in ‘36. I guess I wrote it in about 1935. In it, there are various themes, the whole poem seemed to start from Cole Porter's [https://www.wikidata.org/wiki/Q215120] lines, the song we were all singing then, \"Night and Day\" [https://www.wikidata.org/wiki/Q1477068]. “Night and day, you are the one…” And then also there's a theme from Lennon [https://www.wikidata.org/wiki/Q1203], who said \"In order to make two steps forward you may have to go one step back\". And this poem reverses that idea, in looking at industrial capitalist society. The other theme is that of the Negro and that of his exploitation and also of his release in song, and in Negro spiritual, because I did know them very well that year.\n \nDorothy Livesay\n00:02:16\nReads \"Day and Night\" from Day and Night.\n \nDorothy Livesay\n00:07:57\nI might read one more poem from that period, \"Lorca\", and then perhaps you'd like a break. This is a little later, of course, this is about 1937-8, when the Spanish Civil War [https://www.wikidata.org/wiki/Q10859] was raging and haunted us very much in this country, many friends we knew joined the MacKenzie-Papineau Battalion [https://www.wikidata.org/wiki/Q1668887], and went to fight for Spain [https://www.wikidata.org/wiki/Q29]. At that time, we believed that the Spanish Court, Garcia Lorca [https://www.wikidata.org/wiki/Q41408], had been killed by Franco's [https://www.wikidata.org/wiki/Q29179] men. I believe that, well in fact, Jack Spicer [https://www.wikidata.org/wiki/Q3805658] taught me that there's another version of his killing, that of a love triangle, but it didn't matter, the point was that many poets were fighting for Spain, and many were killed. So I'll just read \"Lorca\" if I can find it. Yes.\n \nDorothy Livesay\n00:09:15\nReads \"Lorca\" [from Day and Night].\n \nDorothy Livesay\n00:11:29\nI'll pause now for a break. \n\nUnknown\n00:11:32\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nDorothy Livesay\n00:11:33\nAnd though I don't want to appear to suit every taste, quite a lot of my poetry has been personal love poetry, beginning with the earliest days, my teenage, and I thought I would read a few very early love poems and then you could, you might be interested to compare them with those written within the last five or six years. These were from a book published in 1932, Signpost. And you'll notice that they're pretty well structured, and in a sense quite conventional, but perhaps they have a kind of feeling in them. \"Weapons\".\n \nDorothy Livesay\n00:12:25\nReads \"Weapons\" from Signpost.\n \nDorothy Livesay\n00:12:54\nReads \"Alienation\" [from Signpost].\n \nDorothy Livesay\n00:13:26\nReads \"Climax\" [from Signpost].\n \nDorothy Livesay\n00:13:47\nReads \"Blindness\" [from Signpost].\n \nDorothy Livesay\n00:14:11\nAnd a very short lyric, \"Song for Solomon\".\n \nDorothy Livesay\n00:14:17\nReads \"Song for Solomon\" [from Signpost].\n \nDorothy Livesay\n00:14:36\nAnd now, recent poems from the 1967 book, The Unquiet Bed. I'll read a little ballad that is the title poem, which one of my students set to music at one point. \"The Unquiet Bed\".\n \nDorothy Livesay\n00:14:56\nReads \"The Unquiet Bed\" from The Unquiet Bed.\n \nDorothy Livesay\n00:15:25\nAnd \"Four Songs\".\n \nDorothy Livesay\n00:15:32\nReads \"Four Songs\" [from The Unquiet Bed].\n \nDorothy Livesay\n00:16:41\nAnd a poem which certainly wouldn't be acceptable to women's lib., yet it's an experience probably all women have had. It's called \"The Taming\".\n \nDorothy Livesay\n00:16:52\nReads \"The Taming\" [from The Unquiet Bed].\n \nDorothy Livesay\n00:17:34\nAnd \"The Touching\".\n \nDorothy Livesay\n00:17:39\nReads \"The Touching\" [from The Unquiet Bed].\n \nDorothy Livesay\n00:18:49\nAnd a little poem called \"Give Us Our Trespasses\", which was an attempt to do what Jack Spicer had advised us at some of his sessions, to completely wipe out all sensation, all the senses and see what happened when the words came out of this void, out of this [unintelligible] and I did one poem about dreams dedicated to him, and then a little later, this other one came. One would listen in the dark for the words, but not expecting or unexpecting, you understand, but they would certainly arrive and I would turn on the light and write them down. And then turn off the light, turn to sleep again, but again, more words came, and so this series has about seven of these little interludes in it.\n \nDorothy Livesay\n00:19:52\nReads \"And Give Us Our Trespasses\" [from The Unquiet Bed].\n \nDorothy Livesay\n00:21:08\nAnd two more from that book, one has five sections--six sections in it, it's called \"The Notations of Love\".\n \nDorothy Livesay\n00:21:22\nReads \"The Notations of Love\" [from The Unquiet Bed].\n \nDorothy Livesay\n00:23:27\nAnd a last one from there, \"Moving Out\".\n \nDorothy Livesay\n00:23:33\nReads \"Moving Out\" [from The Unquiet Bed].\n \nDorothy Livesay\n00:24:07\nWell, I have a few more recent poems, dealing a little differently perhaps with love. This is in the little book Plainsongs, which is still in print. \"At Dawn\".\n \nDorothy Livesay\n00:24:30\nReads \"At Dawn\" from Plainsongs.\n \nDorothy Livesay\n00:24:58\nAnd \"Dream\".\n \nDorothy Livesay\n00:25:03\nReads \"Dream\" [from Plainsongs].\n  \nDorothy Livesay\n00:25:30\nAnd this one \"The Uninvited\", the river in this is the St. John [https://www.wikidata.org/wiki/Q607546] in New Brunswick [https://www.wikidata.org/wiki/Q1965] and it's a theme that reoccurs a lot, whether one is a man or a woman, the feeling that even though one is walking with one's loved one, there is another lover who one also remembers, or who perhaps is coming, one fears.\n \nDorothy Livesay\n00:26:09\nReads \"The Uninvited\" [from Plainsongs].\n \nDorothy Livesay\n00:27:08\nAnd perhaps just this last one, \"Another Journey\".\n \nDorothy Livesay\n00:27:17\nReads \"Another Journey\" [from Plainsongs].\n \nDorothy Livesay\n00:28:08\nI'd like to read a poem about the West Coast. It was written summer before last, in Victoria [https://www.wikidata.org/wiki/Q2132], where one was, I suppose, feeling one's age, and yet observing the eternal pattern of the young. And perhaps relating it to our own history in this country. It's a more, I suppose, didactic poem. \"The Artefacts, West Coast\".\n \nDorothy Livesay\n00:28:51\nReads \"The Artefacts, West Coast\" [from Plainsongs; cut off].\n \nEND\n00:32:14\n"],"Note":["[{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"},{\"note\":\"Year-Specific Information:\\n\\nForty Women Poets of Canada was published the same year, 1971, as was an extended and revised edition of Plainsongs.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nDorothy Livesay has contributed considerably to the cannon of Canadian poetry, writing about national issues and extending the Canadian long poem. Her anthology, Forty Women Poets of Canada (1971) promoted other Canadian women and their work. Livesay’s writing was published by Canadian publishing houses, and she contributed to and edited Canadian journals and magazines of poetry and criticism. Wynne Francis, who was a professor at Sir George Williams University, met Livesay in 1965.\",\"type\":\"General\"},{\"note\":\"2 reel-to-reel tapes>CD>2 digital files\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Davey, Frank. “Livesay, Dorothy”. The Oxford Companion to Canadian Literature. Benson, Eugene and William Toye (eds). Oxford University Press, 2001.\"},{\"url\":\"https://www.worldcat.org/title/15-canadian-poets-x2/oclc/40224711&referer=brief_results\",\"citation\":\"Geddes, Gary. Fifteen Canadian Poets Times Two. Toronto: Oxford University Press, 1990. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/dorothy-livesay-at-sgwu-1971/#1\",\"citation\":\"“Georgian Happenings”. The Georgian. Montreal: Sir George Williams University, 11 January 1972. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/807465072&referer=brief_results\",\"citation\":\"Gnarowski, Michael. “Livesay, Dorothy”. The Oxford Companion to Twentieth-Century Poetry in English. Hamilton, Ian (ed). Oxford University Press, 1996. \"},{\"url\":\"https://www.worldcat.org/title/archive-for-our-times-previously-uncollected-and-unpublished-poems-of-dorothy-livesay/oclc/409003526&referer=brief_results\",\"citation\":\"Livesay, Dorothy and Dean J. Irvine. Archive for our Times: Previously Uncollected and Unpublished Poems of Dorothy Livesay. Vancouver: Arsenal Pulp Press, 1998. \"},{\"url\":\"https://www.worldcat.org/title/selected-poems-of-dorothy-livesay-1926-1956/oclc/867932457&referer=brief_results\",\"citation\":\"Livesay, Dorothy. The Selected Poems, 1926-1956. Toronto: Ryerson Press, 1957. \"},{\"url\":\"https://www.worldcat.org/title/40-women-poets-of-canada/oclc/855266796&referer=brief_results\",\"citation\":\"Livesay, Dorothy and Seymour Mayne. Forty Women Poets of Canada. Montreal : Ingluvin Publications, 1971.\"},{\"url\":\"https://www.worldcat.org/title/day-and-night-poems/oclc/729783190?referer=di&ht=edition\",\"citation\":\"Livesay, Dorothy. Day and Night. Toronto: Ryerson Press, 1944. \"},{\"url\":\"https://www.worldcat.org/title/new-poems/oclc/933132856&referer=brief_results\",\"citation\":\"Livesay, Dorothy. New Poems. Toronto: Emblem Books, 1955. \"},{\"url\":\"https://www.worldcat.org/title/signpost/oclc/317413427&referer=brief_results\",\"citation\":\"Livesay, Dorothy. Signpost. Toronto: Macmillan, 1932. \"},{\"url\":\"https://www.worldcat.org/title/unquiet-bed/oclc/493383805&referer=brief_results\",\"citation\":\"Livesay, Dorothy. The Unquiet Bed. Toronto: Ryerson Press, 1967. \"},{\"url\":\"https://www.worldcat.org/title/plainsongs/oclc/1015379630&referer=brief_results\",\"citation\":\"Livesay, Dorothy. Plainsongs. Fredericton: Fiddlehead Poetry Books, 1971.\"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/dorothy-livesay-at-sgwu-1971/#1\",\"citation\":\"Stromberg, Paula. “The Gentle Poetry of Dorothy Livesay”. The Georgian. Montreal: Sir George Williams University, 25 January 1972. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-history/oclc/990614829&referer=brief_results\",\"citation\":\"Strong-Boag, Veronica. “Livesay, Dorothy”. The Oxford Companion to Canadian History.        Hallowell, Gerald (ed). Oxford University Press, 2004. \"}]"],"_version_":1853670548925579264,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0032-1_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0032-1_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Dorothy Livesay 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/I0086_11_0032-1_front.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0032-1_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Dorothy Livesay Tape Box 1 - 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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_0032-2_side.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0032-2_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Dorothy Livesay Tape Box 2 - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0032-2_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0032-2_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Dorothy Livesay Tape Box 2 - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/dorothy_livesay_i086-11-032-2.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"dorothy_livesay_i086-11-032-2.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:32:14\",\"precision\":\"\",\"size\":\"77.4 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"dorothy_livesay_i086-11-032-2.mp3 [File 2 of 2]\\n\\nDorothy Livesay\\n00:00:00\\n...Polish immigrant who came back to the same house to pick up his belongings, and not knowing what was happening, entered the house, and police shot him in the back and killed him. This happened in Montreal in 1934 or 5. So out of all those experiences, through the thirties, and out of another year I had in New Jersey [https://www.wikidata.org/wiki/Q1408], living amongst the Negro, very, very discriminated against people in Englewood [https://www.wikidata.org/wiki/Q986210], New Jersey. I, my whole poetry changed from being lyrical and personal to being social and yet I always, never felt it was something outside myself because I felt very powerfully the identification to what was happening to people. I returned from New Jersey about '36 and I wrote this poem which E.J. Pratt [https://www.wikidata.org/wiki/Q3045744] published in the first issue of the Canadian Poetry Magazine in ‘36. I guess I wrote it in about 1935. In it, there are various themes, the whole poem seemed to start from Cole Porter's [https://www.wikidata.org/wiki/Q215120] lines, the song we were all singing then, \\\"Night and Day\\\" [https://www.wikidata.org/wiki/Q1477068]. “Night and day, you are the one…” And then also there's a theme from Lennon [https://www.wikidata.org/wiki/Q1203], who said \\\"In order to make two steps forward you may have to go one step back\\\". And this poem reverses that idea, in looking at industrial capitalist society. The other theme is that of the Negro and that of his exploitation and also of his release in song, and in Negro spiritual, because I did know them very well that year.\\n \\nDorothy Livesay\\n00:02:16\\nReads \\\"Day and Night\\\" from Day and Night.\\n \\nDorothy Livesay\\n00:07:57\\nI might read one more poem from that period, \\\"Lorca\\\", and then perhaps you'd like a break. This is a little later, of course, this is about 1937-8, when the Spanish Civil War [https://www.wikidata.org/wiki/Q10859] was raging and haunted us very much in this country, many friends we knew joined the MacKenzie-Papineau Battalion [https://www.wikidata.org/wiki/Q1668887], and went to fight for Spain [https://www.wikidata.org/wiki/Q29]. At that time, we believed that the Spanish Court, Garcia Lorca [https://www.wikidata.org/wiki/Q41408], had been killed by Franco's [https://www.wikidata.org/wiki/Q29179] men. I believe that, well in fact, Jack Spicer [https://www.wikidata.org/wiki/Q3805658] taught me that there's another version of his killing, that of a love triangle, but it didn't matter, the point was that many poets were fighting for Spain, and many were killed. So I'll just read \\\"Lorca\\\" if I can find it. Yes.\\n \\nDorothy Livesay\\n00:09:15\\nReads \\\"Lorca\\\" [from Day and Night].\\n \\nDorothy Livesay\\n00:11:29\\nI'll pause now for a break. \\n\\nUnknown\\n00:11:32\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nDorothy Livesay\\n00:11:33\\nAnd though I don't want to appear to suit every taste, quite a lot of my poetry has been personal love poetry, beginning with the earliest days, my teenage, and I thought I would read a few very early love poems and then you could, you might be interested to compare them with those written within the last five or six years. These were from a book published in 1932, Signpost. And you'll notice that they're pretty well structured, and in a sense quite conventional, but perhaps they have a kind of feeling in them. \\\"Weapons\\\".\\n \\nDorothy Livesay\\n00:12:25\\nReads \\\"Weapons\\\" from Signpost.\\n \\nDorothy Livesay\\n00:12:54\\nReads \\\"Alienation\\\" [from Signpost].\\n \\nDorothy Livesay\\n00:13:26\\nReads \\\"Climax\\\" [from Signpost].\\n \\nDorothy Livesay\\n00:13:47\\nReads \\\"Blindness\\\" [from Signpost].\\n \\nDorothy Livesay\\n00:14:11\\nAnd a very short lyric, \\\"Song for Solomon\\\".\\n \\nDorothy Livesay\\n00:14:17\\nReads \\\"Song for Solomon\\\" [from Signpost].\\n \\nDorothy Livesay\\n00:14:36\\nAnd now, recent poems from the 1967 book, The Unquiet Bed. I'll read a little ballad that is the title poem, which one of my students set to music at one point. \\\"The Unquiet Bed\\\".\\n \\nDorothy Livesay\\n00:14:56\\nReads \\\"The Unquiet Bed\\\" from The Unquiet Bed.\\n \\nDorothy Livesay\\n00:15:25\\nAnd \\\"Four Songs\\\".\\n \\nDorothy Livesay\\n00:15:32\\nReads \\\"Four Songs\\\" [from The Unquiet Bed].\\n \\nDorothy Livesay\\n00:16:41\\nAnd a poem which certainly wouldn't be acceptable to women's lib., yet it's an experience probably all women have had. It's called \\\"The Taming\\\".\\n \\nDorothy Livesay\\n00:16:52\\nReads \\\"The Taming\\\" [from The Unquiet Bed].\\n \\nDorothy Livesay\\n00:17:34\\nAnd \\\"The Touching\\\".\\n \\nDorothy Livesay\\n00:17:39\\nReads \\\"The Touching\\\" [from The Unquiet Bed].\\n \\nDorothy Livesay\\n00:18:49\\nAnd a little poem called \\\"Give Us Our Trespasses\\\", which was an attempt to do what Jack Spicer had advised us at some of his sessions, to completely wipe out all sensation, all the senses and see what happened when the words came out of this void, out of this [unintelligible] and I did one poem about dreams dedicated to him, and then a little later, this other one came. One would listen in the dark for the words, but not expecting or unexpecting, you understand, but they would certainly arrive and I would turn on the light and write them down. And then turn off the light, turn to sleep again, but again, more words came, and so this series has about seven of these little interludes in it.\\n \\nDorothy Livesay\\n00:19:52\\nReads \\\"And Give Us Our Trespasses\\\" [from The Unquiet Bed].\\n \\nDorothy Livesay\\n00:21:08\\nAnd two more from that book, one has five sections--six sections in it, it's called \\\"The Notations of Love\\\".\\n \\nDorothy Livesay\\n00:21:22\\nReads \\\"The Notations of Love\\\" [from The Unquiet Bed].\\n \\nDorothy Livesay\\n00:23:27\\nAnd a last one from there, \\\"Moving Out\\\".\\n \\nDorothy Livesay\\n00:23:33\\nReads \\\"Moving Out\\\" [from The Unquiet Bed].\\n \\nDorothy Livesay\\n00:24:07\\nWell, I have a few more recent poems, dealing a little differently perhaps with love. This is in the little book Plainsongs, which is still in print. \\\"At Dawn\\\".\\n \\nDorothy Livesay\\n00:24:30\\nReads \\\"At Dawn\\\" from Plainsongs.\\n \\nDorothy Livesay\\n00:24:58\\nAnd \\\"Dream\\\".\\n \\nDorothy Livesay\\n00:25:03\\nReads \\\"Dream\\\" [from Plainsongs].\\n  \\nDorothy Livesay\\n00:25:30\\nAnd this one \\\"The Uninvited\\\", the river in this is the St. John [https://www.wikidata.org/wiki/Q607546] in New Brunswick [https://www.wikidata.org/wiki/Q1965] and it's a theme that reoccurs a lot, whether one is a man or a woman, the feeling that even though one is walking with one's loved one, there is another lover who one also remembers, or who perhaps is coming, one fears.\\n \\nDorothy Livesay\\n00:26:09\\nReads \\\"The Uninvited\\\" [from Plainsongs].\\n \\nDorothy Livesay\\n00:27:08\\nAnd perhaps just this last one, \\\"Another Journey\\\".\\n \\nDorothy Livesay\\n00:27:17\\nReads \\\"Another Journey\\\" [from Plainsongs].\\n \\nDorothy Livesay\\n00:28:08\\nI'd like to read a poem about the West Coast. It was written summer before last, in Victoria [https://www.wikidata.org/wiki/Q2132], where one was, I suppose, feeling one's age, and yet observing the eternal pattern of the young. And perhaps relating it to our own history in this country. It's a more, I suppose, didactic poem. \\\"The Artefacts, West Coast\\\".\\n \\nDorothy Livesay\\n00:28:51\\nReads \\\"The Artefacts, West Coast\\\" [from Plainsongs; cut off].\\n \\nEND\\n00:32:14\\n\",\"notes\":\"Dorothy Livesay reads poems from numerous sources, including Signpost (Macmillan, 1932), Day and Night (Ryerson Press, 1944), New Poems (Emblem Press, 1955), The Selected Poems 1926-1956 (Ryerson Press, 1957), The Unquiet Bed (Ryerson, 1967), Forty Women Poets of Canada (Ingluvin Publications, 1971), and Plainsongs (Fiddlehead Poetry Books, 1971).\\n\\n00:02- Unknown male introduces Dorothy Livesay [INDEX: Prince of Wales, Forty Women Poets, Wynne Francis, Montreal]\\n01:58- Dorothy Livesay introduces reading and “Edmonton Sweet” [INDEX: new poem:        “Disasters of the Sun”, love poems, Edmonton, White Pelican Magazine edited by Sheila Watson, Dorothy Guest edited “North” edition: contains three B.C. Native poets: Skyros Bruce, Gordy Williams, Eleanor Crow, Canadian Identity and Native American Identity, young poets searching for it]\\n06:56- Reads “Edmonton Sweet”\\n10:19- Introduces “The Operation” [INDEX:  40 Women Poets: Anthology edited by Dorothy Livesay]\\n11:10- Reads “The Operation”\\n15:36- Introduces “The Woman Syndrome” [INDEX: Women’s Liberation Movement]\\n16:26- Reads “The Woman Syndrome”\\n17:05- Introduces “Other” [INDEX: from The Selected Poems of 1957]\\n17:34- Reads “Other”\\n19:110 Introduces “Bartok and Geranium” [INDEX:  teaching creative writing to housewives, CBC radio- Violin concerto by Bela Bartok, most anthologized poem: “Bartok and Geranium”]\\n21:00- Reads “Bartok and Geranium”\\n22:10- Continues to explain “Bartok and Geranium”, also introduces “Latter Day    \\tEve” [INDEX: Dr. Roy Daniels, teaching Canadian Literature, Interpretations of her      \\tpoetry, University of New Brunswick, Professor Fred Cogswell]\\n24:18- Reads “Latter Day Eve”\\n25:34- Introduces “Day and Night” [INDEX: Day and Night, 1934/5 Montreal: shooting of a Polish man in his own home, Englewood, New Jersey, Discrimination against African \\tAmericans, E.J. Pratt’s first issue of Canadian Poetry Magazine in 1936, Cole Porter’s   song “Night and Day”, John Lennon quote: “In order to make two steps forward, you   \\tmay have to go one step back”, Negro spiritual songs]\\n28:07- Reads “Day and Night”\\n33:48- Introduces “Lorca” [INDEX: Spanish Civil War: Lorca and Franco, and the poets that were soldiers for Lorca, Jack Spicer, MacKenzie-Papineau Batallion]\\n35:06- Reads “Lorca”\\n37:20- Introduces “Weapons” [INDEX: Love poetry, 1932 Songpost by Dorothy Livesay]\\n38:16- Reads “Weapons”\\n38:45- Reads “An Alienation”\\n39:17- Reads “Climax”\\n39:38- Reads “Blindness”\\n40:02- Reads “Song for Solomon”\\n40:27- Introduces “The Unquiet Bed” [INDEX: 1967 The Unquiet Bed by Dorothy Livesay]\\n40:47- Reads “The Unquiet Bed”\\n41:16- Reads “Four Songs”\\n42:32- Introduces “The Taming”\\n42:43- Reads “The Taming”\\n43:25- Reads “The Touching”\\n44:40- Introduces “Give Us Our Trespasses” [INDEX: Jack Spicer]\\n45:43- Reads “Give Us Our Trespasses”\\n46:59- Introduces “The Notations of Love”\\n47:13- Reads “The Notations of Love”\\n49:18- Reads “Moving Out”\\n49:58- Introduces “At Dawn” [INDEX: 1968 Plainsongs by Dorothy Livesay]\\n50:21- Reads “At Dawn”\\n50:49- Reads “Dream”\\n51:21- Introduces “The Uninvited” [INDEX: St John River, New Brunswick]\\n52:00- Reads \\\"The Uninvited\\\".\\n52:59- Reads “Another Journey”\\n53:08- Introduces “The Artifacts, West Coast” [INDEX: West Coast, Victoria]\\n54:42- Reads “The Artifacts, West Coast”\\n58:05.94- END OF RECORDING\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/dorothy-livesay-at-sgwu-1971/#2\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/dorothy_livesay_i086-11-032-1.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"dorothy_livesay_i086-11-032-1.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:25:51\",\"precision\":\"\",\"size\":\"62.1 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"dorothy_livesay_i086-11-032-1.mp3 [File 1 of 2]\\n \\nIntroducer\\n00:00:02\\nI was going to talk on about Dorothy Livesay's [https://www.wikidata.org/wiki/Q1250325] distinguished career, as a poet, and a critic and a teacher, but after what she told me tonight, I'm not sure if distinguished is exactly the right word, she says that at the age of nineteen, she snubbed the Prince of Wales [https://www.wikidata.org/wiki/Q590227]. Nevertheless, two books should be mentioned, her selected and uncollected poems to appear this September and a book which was called 39 Women Poets which has gained another poet and another title at the last moment and as 40 Women Poets of Canada [https://www.wikidata.org/wiki/Q16] is now on sale outside, as you may have seen as you came in. Back in 1965, I guess it was, Wynne Francis managed to catch Dorothy Livesay as she was passing through Montreal [https://www.wikidata.org/wiki/Q340], and Dorothy gave a really private reading in Wynne's office. Ever since then, we have been trying to convince her to come back and read to us all in the series. I'm extremely happy this year that we have been successful and that I can present to you Dorothy Livesay.\\n \\nDorothy Livesay\\n00:01:58\\nI think I might get hung up on this, I had quite a disastrous time getting here. I arrived with a new poem of seven, whose title is \\\"Disasters of the Sun\\\", and my first disaster was on the train, sitting on top of my glasses, which are now somewhat myopic, and second disaster going to Sherbrooke [https://www.wikidata.org/wiki/Q139473], the bus rolled right into an oil tanker, which somehow or other didn't blow up, but gashed my thumb, and at Bishop's [https://www.wikidata.org/wiki/Q3551383] I had only begun to read when a fire alarm started [laughter], and rang for ten minutes before they silenced it. So I have a feeling that somehow or other, there are more disasters ahead tonight. However, I'm supposed to read a while and then call an intermission I think. Mostly I like to sort of go back over the years and trace the different things, especially love poems from early times on, but I'm going to skip about a bit. Recently in Edmonton [https://www.wikidata.org/wiki/Q2096] I edited the fourth issue of a quarterly magazine, White Pelican. Which Sheila Watson [https://www.wikidata.org/wiki/Q7493167] edits but she gave this particular issue to me, and I chose the theme of North. Feeling perhaps that we are still trying to find our identity, whether we're English Canadians or French Canadians, and that perhaps the north has some element of it in it which helps us to find that. I discovered though, in collecting material, stories, poems, plays about the north, that it was the Native Indian people who have a different view altogether of the north than we do. At the same time, you find many young Canadian poets identifying with Native culture, and almost feeling that they must become Native, and become Indian to be real, to know who they are. I wrote at the beginning of this issue this little note I'll just read. “North is from wherever you are looking.” It's starting...[laughter]. “For those living below the 49th parallel, Canada itself is North. In a sense, we're all here as explorers without a home. Our great guilt at having ousted the Native peoples from their land is now seeking expression in an attempt to re-create the Indian and Eskimo past, and every month brings forth books of poetry, fiction and history which seek to come to terms with pre-history, with myth, or with the way the Inuit live in harmony with nature. In ironic contrast, the Native artists and writers are expressing their concern, not with their past, but with possible ways of accommodation to the present, the white man's world. Thus, the three British Columbia [https://www.wikidata.org/wiki/Q1974] Indian poets here represented, Skyros Bruce, Gordy Williams and Eleanor Crow are bitter, ironic and contemporary. Not for them the nostalgic recreation of the Indian myth, or even  not for them the vigorous folk humor of life in the north which you find in [unintelligible] and in later writers.” While I think it's worthwhile thinking about that because you do have a lot of young poets now seeping themselves in Indian or Eskimo culture, and feeling as if they must become that in order to be themselves. None of us can quite escape from this, and I have a poem or two that I'll begin with, which I suppose are my expression of coming to terms with the North, or the somewhat southernly north, Edmonton. I'll begin with a kind of collage poem where I put bits of history, bits of visual imagery and bits of surrealism together, called \\\"Edmonton Sweet\\\".\\n \\nDorothy Livesay\\n00:06:56\\nReads \\\"Edmonton Sweet\\\" [from Plainsongs].\\n \\nDorothy Livesay\\n00:10:19\\nQuite a different poem about going North is called \\\"The Operation\\\", and that is the poem which is in this anthology, just out today, 40 Women Poets. I didn't intend to put myself in, but the other editors suggested it was the only 'done' thing to put one or two poems of my own in it. So here's the one called \\\"The Operation\\\". It's a kind of three-way poem where the woman is addressing the doctor and her lover, alternately, and then perhaps herself.\\n \\nDorothy Livesay\\n00:11:10\\nReads \\\"The Operation\\\" [from Plainsongs and collected in 40 Women Poets] .\\n \\nDorothy Livesay\\n00:15:36\\nSince this anthology will probably be called a women's lib., even though it isn't, because none of the poets in it are consciously trying to be anything but their individual selves, nonetheless, I think there are poems by every woman which do express that individual point of view, that differentness, I have never been able, though perhaps I was a women's lib. creature in the thirties, I have never been able to feel that men and women are the same, and so I have poems, right through the years which illustrate that point of view. Here's a very recent one called \\\"The Woman Syndrome\\\".\\n \\nDorothy Livesay\\n00:16:26\\nReads \\\"The Woman Syndrome\\\" [published later in Archive For Our Times].\\n \\nDorothy Livesay\\n00:17:05\\nAnd a much earlier poem, written when I had a family and young children and I suppose frustrated and not getting out into the world. It's called \\\"Other\\\", it's in The Selected Poems of 1957.\\n \\nDorothy Livesay\\n00:17:34\\nReads \\\"Other\\\" from Selected Poems, 1926-1956.\\n \\nDorothy Livesay\\n00:19:11\\nAnd in a different vein altogether, the poem I suppose that's been the most anthologized of any of mine, which to me is a rather traditional way I suppose of seeing the male and female element. It's called \\\"Bartok and the Geranium\\\". The poem simply began because I was teaching an evening class of housewives the art of creative writing, and I gave them an assignment to write an imagistic or perhaps haiku-type poem, when they got home, to look at two objects, utterly different and disparate, and just see they could link these objects in a tension which would create a poem. Well the next day, I had sent the children to school after lunch and was sitting in the dining room listening to a CBC [https://www.wikidata.org/wiki/Q461761] concert, and heard music that I hadn't heard before at all, a violin concerto it seemed to be, and in the window as I was listening was this red geranium. So I thought to myself, well I've given my class an assignment, I wonder if I could do the same thing. And at the end of the concert they announced that it was Bela Bartok [https://www.wikidata.org/wiki/Q83326], violin concerto. So suddenly, the two elements, the music and the geranium, did seem to link in my mind and immediately I wrote the poem which I think I've never revised. I'll tell you afterwards about what some of the professors have said about the meaning of the poem.\\n \\nDorothy Livesay\\n00:21:00\\nReads \\\"Bartok and Geranium\\\" [from New Poems].\\n \\nDorothy Livesay\\n00:22:10\\nWell, a few years later, Dr. Roy Daniels was giving a course in Canadian Literature, which I was a member, and one day he asked me if I would not come to class, so I divined he was going to deal with my poems, and I asked a fellow student to please take notes. So this was one of the poems he dealt with, and he informed the class that this poem represented the conflict between nature and art. While at first I was a bit dumbfounded, you know now about how the whole thing began and then what I felt about the he and she of it. But perhaps upon meditation, that this could be another meaning in the poem which I as poet, wasn't aware of but which was still perhaps there. But still another example of the different interpretations which people take to themselves and perhaps get great pleasure from, was, happened in U.N.B. [https://www.wikidata.org/wiki/Q1112515] when Fred Cogswell [https://www.wikidata.org/wiki/Q5494855] put this poem on a sight examination for a first year Canadian lit. class, and one of the students who I'm afraid failed his year, wrote on the paper, and on seeing this poem decided that it was written by a man, and he said it was about this guy Bartok who walked along the street and saw a whore leaning out of the window. Well on the same, and finally, this last one on the same kind of he and she of it, a poem written about a year ago, right out of a dream, I mean I dreamed this poem. It's called \\\"Latter Day Eve\\\".\\n \\nDorothy Livesay\\n00:24:18\\nReads \\\"Latter Day Eve\\\" [from Plainsongs].\\n \\nDorothy Livesay\\n00:25:34\\nWell I'd like to jump back a bit, quite a long way back now, not to lyrical poems, which were the ones I really started out doing, but two poems from the thirties...\\n\\nEND\\n00:25:51\\n[Unknown amount of time elapsed between tapes].\",\"notes\":\"Dorothy Livesay reads poems from numerous sources, including Signpost (Macmillan, 1932), Day and Night (Ryerson Press, 1944), New Poems (Emblem Press, 1955), The Selected Poems 1926-1956 (Ryerson Press, 1957), The Unquiet Bed (Ryerson, 1967), Forty Women Poets of Canada (Ingluvin Publications, 1971), and Plainsongs (Fiddlehead Poetry Books, 1971).\\n\\n00:02- Unknown male introduces Dorothy Livesay [INDEX: Prince of Wales, Forty Women Poets, Wynne Francis, Montreal]\\n01:58- Dorothy Livesay introduces reading and “Edmonton Sweet” [INDEX: new poem:        “Disasters of the Sun”, love poems, Edmonton, White Pelican Magazine edited by Sheila Watson, Dorothy Guest edited “North” edition: contains three B.C. Native poets: Skyros Bruce, Gordy Williams, Eleanor Crow, Canadian Identity and Native American Identity, young poets searching for it]\\n06:56- Reads “Edmonton Sweet”\\n10:19- Introduces “The Operation” [INDEX:  40 Women Poets: Anthology edited by Dorothy Livesay]\\n11:10- Reads “The Operation”\\n15:36- Introduces “The Woman Syndrome” [INDEX: Women’s Liberation Movement]\\n16:26- Reads “The Woman Syndrome”\\n17:05- Introduces “Other” [INDEX: from The Selected Poems of 1957]\\n17:34- Reads “Other”\\n19:110 Introduces “Bartok and Geranium” [INDEX:  teaching creative writing to housewives, CBC radio- Violin concerto by Bela Bartok, most anthologized poem: “Bartok and Geranium”]\\n21:00- Reads “Bartok and Geranium”\\n22:10- Continues to explain “Bartok and Geranium”, also introduces “Latter Day    \\tEve” [INDEX: Dr. Roy Daniels, teaching Canadian Literature, Interpretations of her      \\tpoetry, University of New Brunswick, Professor Fred Cogswell]\\n24:18- Reads “Latter Day Eve”\\n25:34- Introduces “Day and Night” [INDEX: Day and Night, 1934/5 Montreal: shooting of a Polish man in his own home, Englewood, New Jersey, Discrimination against African \\tAmericans, E.J. Pratt’s first issue of Canadian Poetry Magazine in 1936, Cole Porter’s   song “Night and Day”, John Lennon quote: “In order to make two steps forward, you   \\tmay have to go one step back”, Negro spiritual songs]\\n28:07- Reads “Day and Night”\\n33:48- Introduces “Lorca” [INDEX: Spanish Civil War: Lorca and Franco, and the poets that were soldiers for Lorca, Jack Spicer, MacKenzie-Papineau Batallion]\\n35:06- Reads “Lorca”\\n37:20- Introduces “Weapons” [INDEX: Love poetry, 1932 Songpost by Dorothy Livesay]\\n38:16- Reads “Weapons”\\n38:45- Reads “An Alienation”\\n39:17- Reads “Climax”\\n39:38- Reads “Blindness”\\n40:02- Reads “Song for Solomon”\\n40:27- Introduces “The Unquiet Bed” [INDEX: 1967 The Unquiet Bed by Dorothy Livesay]\\n40:47- Reads “The Unquiet Bed”\\n41:16- Reads “Four Songs”\\n42:32- Introduces “The Taming”\\n42:43- Reads “The Taming”\\n43:25- Reads “The Touching”\\n44:40- Introduces “Give Us Our Trespasses” [INDEX: Jack Spicer]\\n45:43- Reads “Give Us Our Trespasses”\\n46:59- Introduces “The Notations of Love”\\n47:13- Reads “The Notations of Love”\\n49:18- Reads “Moving Out”\\n49:58- Introduces “At Dawn” [INDEX: 1968 Plainsongs by Dorothy Livesay]\\n50:21- Reads “At Dawn”\\n50:49- Reads “Dream”\\n51:21- Introduces “The Uninvited” [INDEX: St John River, New Brunswick]\\n52:00- Reads \\\"The Uninvited\\\".\\n52:59- Reads “Another Journey”\\n53:08- Introduces “The Artifacts, West Coast” [INDEX: West Coast, Victoria]\\n54:42- Reads “The Artifacts, West Coast”\\n58:05.94- END OF RECORDING\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/dorothy-livesay-at-sgwu-1971/#1\"}]"],"score":1.8530173},{"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":1.8530173},{"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":1.8530173},{"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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Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/jackson_maclow_i006-11-031-1.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"jackson_maclow_i006-11-031-1.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:32:11\",\"precision\":\"\",\"size\":\"221.3 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"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\",\"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":1.8530173},{"id":"1297","cataloger_name":["Masoumeh,Zaare"],"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":["Charles Simic at Sir George Williams University, The Poetry Series, 19 November 1971"],"item_title_source":["Cataloguer"],"item_title_note":["\"POETRY READING CHARLES SIMAC #1 I006/SR115.1\" written on sticker on the spine of the tape's box. CHARLES SIMAC refers to Charles Simic. SIMAC is misspelled. |I006-11-115.1\" written on sticker on the reel.\n\n\"POETRY READING CHARLES SIMAC #2 I006/SR115.2\" written on sticker on the spine of the tape's box. CHARLES SIMAC refers to Charles Simic. SIMAC is misspelled. \"I006-11-115.2\" written on sticker on the reel"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 6"],"item_identifiers":["[I006-11-115.1, I006-11-115.2]"],"creator_names":["Simic, Charles"],"creator_names_search":["Simic, Charles"],"creators":["[{\"url\":\"http://viaf.org/viaf/22044\",\"name\":\"Simic, Charles\",\"dates\":\" 1938-\",\"notes\":\"Poet, essayist and teacher Charles Simic was born in Belgrade, Yugoslavia on May 9, 1938 to Serbian parents. During his childhood, Simic witnessed both the military occupation by the Nazis during the Second World War, and then by the Soviet Union. His family left Yugoslavia for Paris in 1953, and then to Chicago in 1954. His first poem was published in the Chicago Review in 1959 when Simic was 19 years old. In 1961, Simic was enlisted in the US Army, and served until 1963 when he moved to New York City and enrolled in New York University. Simic met his future wife, designer Helene Dubin, with whom he had two children. Upon graduation with a B.A. in Russian in 1966, he worked as an editorial assistant for Aperture, a photography magazine. Simic’s first collection of poems, What the Grass Says (Kayak) was published in 1967 and was followed in 1969 with Somewhere Among Us a Stone Is Taking Notes (Kayak), and a number of anthologies, including Young American Poets (Follett Publishing Co, 1968), Contemporary American Poets (World Publishing Company, 1969), and Major Young American Poets (World Publishing Co, 1971). In 1970, Simic began teaching English at the University of California at Hayward, and earned a PEN International Award for his translation of Fire Gardens (New Rivers Press), written by Ivan V. Lalic. At that time, Simic also published an anthology of translations Four Modern Yugoslav Poets: Ivan V. Lalic, Branko Miljkovic, Milorad Pavic, Ljubomir Simovic, translations of Vasko Popa’s The Little Box (Charioteer Press, 1970) and his own collection of poetry, Dismantling the Silence (G. Braziller, 1971). Simic then received a fellowship from the Guggenheim Foundation, published White (New Rivers Press, 1972) and took a position of associate professor at the University of New Hampshire in 1973, which he would hold for over thirty years. A wildly prolific writer, Simic published poetry, translations and non-fiction, including Charon’s Cosmology (G. Braziller, 1977) which won the National Book Award, School for Dark Thoughts (Banyan Press, 1978), Classic Ballroom Dances (G. Braziller, 1980) which won both the Harriet Monroe Poetry Award and the Di Castagnola Award, Austerities (G. Braziller, 1982), Weather Forecast for Utopia and Vicinity (Station Hill Press, 1983), Unending Blues (Harcourt Brace Jovanovich, 1986), Brooms: Selected Poems (Edge, 1978), Selected Poems 1963-1983 (G. Braziller, 1985), The World Doesn’t End (Harcourt Brace Jovanovich, 1989) which won the Pulitzer Prize for Poetry in 1990, The Book of Gods and Devils (Harcourt Brace, 1990) and Hotel Insomnia (Harcourt, 1992). The 1990s saw Simic publishing numerous translations from Yugoslavian poets. Collections of Simic’s essays and memoirs include The Unemployed Fortune-Teller (Michigan Press, 1994), Orphan Factory (University of Michigan, 1997), Walking the Black Cat (Harcourt Brace & Co, 1996) and his more recent poetry collection The Voice at 3:00 am: Selected Late and New Poems (A.W. Ellsworth, 2003). In 2007, Simic was appointed U.S. Poet Laureate. Simic resides in Strafford, New Hampshire.\",\"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\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"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\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"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 11 19\",\"type\":\"Performance Date\",\"notes\":\"Date specified by Richard Somner in I006-11-106.4\",\"source\":\"Previous recording \"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"Previous researcher\",\"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":["Charles Simic reads mostly from Dismantling the Silence (G. Braziller, 1971) as well as  a selection of, at the time, new and unpublished poems from a notebook that would later be published in Return to a Place Lit by a Glass of Milk (G. Braziller, 1974) and Selected Early Poems (G. Braziller, 1999)."],"contents":["charles_simic_i006-11-115-1.mp3 [File 1 of 2]\n\nIntroducer\n00:00:05\nA short quotation which appears in the Contributors' Notes to Paul Carroll's [https://www.wikidata.org/wiki/Q15459057] anthology The Young American Poets. Quote: “As far back as I can remember there was a kind of dumbness within me, a need that sought expression. How it eventually materialized in the act of writing a poem belongs to a biography which I have only been able to recount in a few successful poems. As for the finished product, the poem, my need requires it to be of, as Whitman [https://www.wikidata.org/wiki/Q81438] said, the thoughts of all men in all ages and lands, and further, if they are not yours as much as mine, they are nothing, or next to nothing. On a subjective level, I write to give being to that vibration which is my life, and to survive in a hard time”. Charles Simic [https://www.wikidata.org/wiki/Q722555].\n \nCharles Simic\n00:00:57\nThank you. Is this mic also for the audience or just for the tape? Oh it is, okay. I'll be reading mostly from my third book, including also some more recent poems. And I'll start off with a very recent poem which is called \"Breasts\".\n \nCharles Simic\n00:02:07\nReads \"Breasts\" from Dismantling the Silence.\n \nCharles Simic\n00:05:05\nThis is not from the book. A series of poems really dealing with inanimate objects. And the first poem in the series is called \"Table\".\n \nCharles Simic\n00:05:27\nReads \"Table\" from Dismantling the Silence.\n \nCharles Simic\n00:06:55\nReads \"Stone\" from Dismantling the Silence.\n \nCharles Simic\n00:08:14\nThere's a poem about a fork, and also a poem about a spoon and knife, and I'll read \"The Fork\".\n \nCharles Simic\n00:08:26\nReads \"The Fork\" Dismantling the Silence.\n\nCharles Simic\n00:09:12\nReads \"My Shoes\" from Dismantling the Silence.\n \nCharles Simic\n00:10:42\nThe last one of these has not been included in the book. I only discovered it about a year ago, in a notebook, but it was written around the same time, and I've sort of been fooling around with it. It's called \"Brooms\".  There's five parts. I'll just make a little pause within each part.\n \nCharles Simic\n00:11:13\nReads \"Brooms\", Part I [published later in Return to a place lit by a glass of milk].\n \nCharles Simic\n00:11:43\nReads \"Brooms\", Part II [published later in Return to a place lit by a glass of milk].\n \nCharles Simic\n00:12:41\nReads \"Brooms\", Part III [published later in Return to a place lit by a glass of milk].\n \nCharles Simic\n00:13:24\nReads \"Brooms\", Part IV [published later in Return to a place lit by a glass of milk].\n \nCharles Simic\n00:14:06\nReads \"Brooms\", Part V [published later in Return to a place lit by a glass of milk].\n \nCharles Simic\n00:14:55\nI'll read you the last poem of, in the book of this particular series, which really has nothing to do with objects, but it's a poem in which I imagine what would happen if someone really penetrated one of these inanimate objects, like his pores, kind of a Christopher Columbus [https://www.wikidata.org/wiki/Q7322] of entering an ashtray or something. It's called \"Explorers\".\n \nCharles Simic\n00:15:33\nReads \"Explorers\" from Dismantling the Silence.\n \nCharles Simic\n00:17:13\nLet's see. This is, this is called \"The Inner Man\".\n \nCharles Simic\n00:17:40\nReads \"The Inner Man\" from  Dismantling the Silence.\n\nCharles Simic\n00:19:06\nThis poem, this next poem is called \"The Animals\". I wrote it in New York City [https://www.wikidata.org/wiki/Q60], after living in New York City for about five-six years, and lamenting the pastoral quality of my first book, and my inability to return to that kind of nature poetry. I realized that I hadn't seen a tree or an animal in about three or four years, and yet at the same time writing, you know, occasionally about some cows, or, you know, and I was saying, what are these animals, you know, these shadowy animals. Anyway, here's the poem. \"The Animals\".\n \nCharles Simic\n00:19:46\nReads \"The Animals\" from Dismantling the Silence.\n \nCharles Simic\n00:21:07\nLet's see. Sort of change to some different kinds of poems. Here's a poem about Chicago [https://www.wikidata.org/wiki/Q1297]. Going back to Chicago. And, to see my mother. And...it's all there anyway. Hopefully. There's seven parts.\n \nCharles Simic\n00:22:03\nReads \"Chicago\", Part I.\n \nCharles Simic\n00:22:43\nReads \"Chicago\", Part II.\n\nCharles Simic\n00:23:17\nReads \"Chicago\", Part III.\n \nCharles Simic\n00:23:57\nReads \"Chicago\", Part IV.\n \nCharles Simic\n00:24:35\nReads \"Chicago\", Part V.\n \nCharles Simic\n00:25:06\nReads \"Chicago\", Part VI.\n \nCharles Simic\n00:25:33\nReads \"Chicago\", Part VII.\n \nCharles Simic\n00:26:39\nLet's see. I can't find it. Maybe it's not written yet. Oh here it is, yeah. \n \nCharles Simic\n00:27:01\nReads \"Tapestry\" from Dismantling the Silence.\n \nCharles Simic\n00:28:15\nThis is a very different kind of poem. The material for the the poem is, are, cliches, working with, with awful cliches, things which were totally beaten to death and, you know, can't be used anymore. Or proverbs, popular wisdom, and I'm twisting it all around, trying to reverse the kind of universe that is implied by, by let's say proverbs, if you get up in the morning and such and such a thing happens. There is something very deterministic about it, and to reverse that, to give it a little fresh air, I'll turn it around. And so I have a sequence of six poems which are entirely made up of these things, and they're called, the common title is \"Concerning my Neighbors, the Hittites\", and the...why the Hittites [https://www.wikidata.org/wiki/Q5406]...why not? [Laughter]. Hittites were simply something that I had not the slightest idea about and I sort of saw ourselves one day becoming the Hittites, you know, somebody sitting one day in some future century and, our century being, sort of the Hittites, you know. And so there are six poems, and, I guess that's about all to be said.\n \nCharles Simic\n00:29:58\nReads \"Concerning My Neighbors, the Hittites\", Part I [published later in Selected Early Poems].\n \nCharles Simic\n00:31:21\nReads \"Concerning My Neighbors, the Hittites\", Part II [published later in Selected Early Poems].\n \nUnknown\n00:32:09\nSilence [pause].\n \nCharles Simic\n00:33:20\nReads \"Concerning My Neighbors, the Hittites\", Part III [published later in Selected Early Poems].\n \nCharles Simic\n00:34:20\nReads \"Concerning My Neighbors, the Hittites\", Part IV [ [published later in Selected Early Poems; includes extra stanzas not included in the published version of the poem].\n \nCharles Simic\n00:35:12\nReads \"Concerning My Neighbors, the Hittites\", Part V [published later in Selected Early Poems].\n \nCharles Simic\n00:36:14\nReads \"Concerning My Neighbors, the Hittites\", Part VI [published later in Selected Early Poems].\n\nCharles Simic\n00:36:23\nDo you, we need a break? Should we take a break? Huh? No, yes. No. Take a break. Yeah, let's take a ten-minute break.  \n\nAudience\n00:36:30\nApplause [cut off].\n \nEND\n00:36:39\n\n\ncharles_simic_i006-11-115-2.mp3 [File 2 of 2]\n\nCharles Simic\n00:00:00\nI was asking [Ksemi Rothers (?)] about, you know, who are my great grand-uncles, and great-grandfathers and so on, and I found out that they all were killed or disappeared in some completely forgotten nineteenth-century Balkan wars which no one knows anymore the cause or the reason or why they were started. And so this poem kind of happened out of that. It's called \"Marching\". \n \nCharles Simic \n00:00:47\nReads \"Marching\" from Dismantling the Silence.\n \nCharles Simic\n00:03:28\nThis is a kind of a, you could say that it's sort of an elegy for my father, in seven parts.\n \nCharles Simic\n00:03:47\nReads “George Simic” [published later in Return to a place lit by a glass of milk].\n \nCharles Simic\n00:07:44\nThis is a love poem. I have a series of love poems in the new book but this is one of them. And I might use the title of this poem as the title of the new book. The title is \"Return to a place lit by a glass of milk\".\n \nCharles Simic\n00:08:08\nReads \"Return to a place lit by a glass of milk\" [published later in Return to a place lit by a glass of milk].\n \nCharles Simic\n00:09:20\nI want to read a couple more poems now. \"Dismantling the Silence\".\n \nCharles Simicn\n00:09:54\nReads \"Dismantling the Silence\" from Dismantling the Silence.\n \nCharles Simic\n00:11:17\nThe last poem in this book is called \"Errata\" for the good reason that after I finished the book I felt again, you know, a sense of frustration. I didn't say everything. And so each of the lines in this particular poem are really, refer to actual lines in the book. I'm kind of correcting myself. \"Errata\".\n \nCharles Simic\n00:11:53\nReads \"Errata\" from Dismantling the Silence.\n \nCharles Simic\n00:13:20\nThank you.  \n\nAudience\n00:13:23\nApplause.\n \nIntroducer\n00:13:35\nThe next reading will be on January 14th. Dorothy Livesay [https://www.wikidata.org/wiki/Q1250325] will read that night.\n \nEND\n00:13:44\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1971, Simic was teaching at the University of California at Hayward, and had published his third book, Dismantling the Silence (G. Braziller, 1971).\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nAny specific connections Simic had with Montreal or Sir George Williams University are unknown at this point, but Simic was an important and influential figure in American poetry, which no doubt had an impact on Canadian writers.\",\"type\":\"General\"},{\"note\":\"Original transcript by Rachel Kyne\\n\\nOriginal print catalogue, introduction, research and edits by Celyn Harding-Jones \\n\\nAdditional research and edits by Ali Barillaro\\n\",\"type\":\"Cataloguer\"},{\"note\":\"2 reel-to-reel tapes>CD>2 digital files\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/young-american-poets/oclc/1071394844&referer=brief_results\",\"citation\":\"Carroll, Paul. The Young American Poets. Chicago: Big Table Publishing, 1970. \"},{\"url\":\"https://www.worldcat.org/title/oxford-encyclopedia-of-american-literature/oclc/769478515&referer=brief_results\",\"citation\":\"Hart, Henry. \\\"Simic, Charles\\\". The Oxford Encyclopedia of American Literature. Jay Parini (ed). Oxford University Press, 2004. \"},{\"url\":\"http://news.google.com/newspapers?id=H0EjAAAAIBAJ&sjid=36EFAAAAIBAJ&pg=6219,3330526&dq=sir+george+williams+poetry&hl=en\",\"citation\":\"“General: Poetry Reading”. The Gazette. 19 November 1971. \"},{\"url\":\"https://www.worldcat.org/title/concise-oxford-companion-to-english-literature/oclc/869601178&referer=brief_results\",\"citation\":\"\\\"Simic, Charles\\\". The Concise Oxford Companion to English Literature. Margaret Drabble and Jenny Stringer (eds). Oxford University Press, 2007. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-american-literature/oclc/750769493&referer=brief_results\",\"citation\":\"\\\"Simic, Charles\\\". The Oxford Companion to American Literature. James D. Hart (ed), Phillip W. Leininger (rev). Oxford University Press, 1995. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-english-literature/oclc/937869384&referer=brief_results\",\"citation\":\"\\\"Simic, Charles”. The Oxford Companion to English Literature. Dinah Birch (ed). Oxford University Press, 2009. \"},{\"url\":\"https://www.worldcat.org/title/dismantling-the-silence/oclc/1154942465&referer=brief_results\",\"citation\":\"Simic, Charles. Dismantling the Silence. New York: Braziller, 1971. \"},{\"url\":\"https://www.worldcat.org/title/return-to-a-place-lit-by-a-glass-of-milk/oclc/1154834086&referer=brief_results\",\"citation\":\"Simic, Charles. Return to a place lit by a glass of milk. New York: Braziller, 1974.  \"},{\"url\":\"https://www.worldcat.org/title/charles-simic-selected-early-poems/oclc/1101269207&referer=brief_results\",\"citation\":\"Simic, Charles. Selected Early Poems. New York: Braziller, 1999. \"},{\"url\":\"\",\"citation\":\"“Simic, Charles, 1938-”. Literature Online Bibliography. Cambridge, UK: Proquest LLC, 2008.\"}]"],"_version_":1853670548945502208,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0115-1_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0115-1_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Charles Simic 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_0115-1_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0115-1_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Charles Simic Tape Box 1 - 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Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/charles_simic_i006-11-115-1.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"charles_simic_i006-11-115-1.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:36:39\",\"precision\":\"\",\"size\":\"88 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"charles_simic_i006-11-115-1.mp3 [File 1 of 2]\\n\\nIntroducer\\n00:00:05\\nA short quotation which appears in the Contributors' Notes to Paul Carroll's [https://www.wikidata.org/wiki/Q15459057] anthology The Young American Poets. Quote: “As far back as I can remember there was a kind of dumbness within me, a need that sought expression. How it eventually materialized in the act of writing a poem belongs to a biography which I have only been able to recount in a few successful poems. As for the finished product, the poem, my need requires it to be of, as Whitman [https://www.wikidata.org/wiki/Q81438] said, the thoughts of all men in all ages and lands, and further, if they are not yours as much as mine, they are nothing, or next to nothing. On a subjective level, I write to give being to that vibration which is my life, and to survive in a hard time”. Charles Simic [https://www.wikidata.org/wiki/Q722555].\\n \\nCharles Simic\\n00:00:57\\nThank you. Is this mic also for the audience or just for the tape? Oh it is, okay. I'll be reading mostly from my third book, including also some more recent poems. And I'll start off with a very recent poem which is called \\\"Breasts\\\".\\n \\nCharles Simic\\n00:02:07\\nReads \\\"Breasts\\\" from Dismantling the Silence.\\n \\nCharles Simic\\n00:05:05\\nThis is not from the book. A series of poems really dealing with inanimate objects. And the first poem in the series is called \\\"Table\\\".\\n \\nCharles Simic\\n00:05:27\\nReads \\\"Table\\\" from Dismantling the Silence.\\n \\nCharles Simic\\n00:06:55\\nReads \\\"Stone\\\" from Dismantling the Silence.\\n \\nCharles Simic\\n00:08:14\\nThere's a poem about a fork, and also a poem about a spoon and knife, and I'll read \\\"The Fork\\\".\\n \\nCharles Simic\\n00:08:26\\nReads \\\"The Fork\\\" Dismantling the Silence.\\n\\nCharles Simic\\n00:09:12\\nReads \\\"My Shoes\\\" from Dismantling the Silence.\\n \\nCharles Simic\\n00:10:42\\nThe last one of these has not been included in the book. I only discovered it about a year ago, in a notebook, but it was written around the same time, and I've sort of been fooling around with it. It's called \\\"Brooms\\\".  There's five parts. I'll just make a little pause within each part.\\n \\nCharles Simic\\n00:11:13\\nReads \\\"Brooms\\\", Part I [published later in Return to a place lit by a glass of milk].\\n \\nCharles Simic\\n00:11:43\\nReads \\\"Brooms\\\", Part II [published later in Return to a place lit by a glass of milk].\\n \\nCharles Simic\\n00:12:41\\nReads \\\"Brooms\\\", Part III [published later in Return to a place lit by a glass of milk].\\n \\nCharles Simic\\n00:13:24\\nReads \\\"Brooms\\\", Part IV [published later in Return to a place lit by a glass of milk].\\n \\nCharles Simic\\n00:14:06\\nReads \\\"Brooms\\\", Part V [published later in Return to a place lit by a glass of milk].\\n \\nCharles Simic\\n00:14:55\\nI'll read you the last poem of, in the book of this particular series, which really has nothing to do with objects, but it's a poem in which I imagine what would happen if someone really penetrated one of these inanimate objects, like his pores, kind of a Christopher Columbus [https://www.wikidata.org/wiki/Q7322] of entering an ashtray or something. It's called \\\"Explorers\\\".\\n \\nCharles Simic\\n00:15:33\\nReads \\\"Explorers\\\" from Dismantling the Silence.\\n \\nCharles Simic\\n00:17:13\\nLet's see. This is, this is called \\\"The Inner Man\\\".\\n \\nCharles Simic\\n00:17:40\\nReads \\\"The Inner Man\\\" from  Dismantling the Silence.\\n\\nCharles Simic\\n00:19:06\\nThis poem, this next poem is called \\\"The Animals\\\". I wrote it in New York City [https://www.wikidata.org/wiki/Q60], after living in New York City for about five-six years, and lamenting the pastoral quality of my first book, and my inability to return to that kind of nature poetry. I realized that I hadn't seen a tree or an animal in about three or four years, and yet at the same time writing, you know, occasionally about some cows, or, you know, and I was saying, what are these animals, you know, these shadowy animals. Anyway, here's the poem. \\\"The Animals\\\".\\n \\nCharles Simic\\n00:19:46\\nReads \\\"The Animals\\\" from Dismantling the Silence.\\n \\nCharles Simic\\n00:21:07\\nLet's see. Sort of change to some different kinds of poems. Here's a poem about Chicago [https://www.wikidata.org/wiki/Q1297]. Going back to Chicago. And, to see my mother. And...it's all there anyway. Hopefully. There's seven parts.\\n \\nCharles Simic\\n00:22:03\\nReads \\\"Chicago\\\", Part I.\\n \\nCharles Simic\\n00:22:43\\nReads \\\"Chicago\\\", Part II.\\n\\nCharles Simic\\n00:23:17\\nReads \\\"Chicago\\\", Part III.\\n \\nCharles Simic\\n00:23:57\\nReads \\\"Chicago\\\", Part IV.\\n \\nCharles Simic\\n00:24:35\\nReads \\\"Chicago\\\", Part V.\\n \\nCharles Simic\\n00:25:06\\nReads \\\"Chicago\\\", Part VI.\\n \\nCharles Simic\\n00:25:33\\nReads \\\"Chicago\\\", Part VII.\\n \\nCharles Simic\\n00:26:39\\nLet's see. I can't find it. Maybe it's not written yet. Oh here it is, yeah. \\n \\nCharles Simic\\n00:27:01\\nReads \\\"Tapestry\\\" from Dismantling the Silence.\\n \\nCharles Simic\\n00:28:15\\nThis is a very different kind of poem. The material for the the poem is, are, cliches, working with, with awful cliches, things which were totally beaten to death and, you know, can't be used anymore. Or proverbs, popular wisdom, and I'm twisting it all around, trying to reverse the kind of universe that is implied by, by let's say proverbs, if you get up in the morning and such and such a thing happens. There is something very deterministic about it, and to reverse that, to give it a little fresh air, I'll turn it around. And so I have a sequence of six poems which are entirely made up of these things, and they're called, the common title is \\\"Concerning my Neighbors, the Hittites\\\", and the...why the Hittites [https://www.wikidata.org/wiki/Q5406]...why not? [Laughter]. Hittites were simply something that I had not the slightest idea about and I sort of saw ourselves one day becoming the Hittites, you know, somebody sitting one day in some future century and, our century being, sort of the Hittites, you know. And so there are six poems, and, I guess that's about all to be said.\\n \\nCharles Simic\\n00:29:58\\nReads \\\"Concerning My Neighbors, the Hittites\\\", Part I [published later in Selected Early Poems].\\n \\nCharles Simic\\n00:31:21\\nReads \\\"Concerning My Neighbors, the Hittites\\\", Part II [published later in Selected Early Poems].\\n \\nUnknown\\n00:32:09\\nSilence [pause].\\n \\nCharles Simic\\n00:33:20\\nReads \\\"Concerning My Neighbors, the Hittites\\\", Part III [published later in Selected Early Poems].\\n \\nCharles Simic\\n00:34:20\\nReads \\\"Concerning My Neighbors, the Hittites\\\", Part IV [ [published later in Selected Early Poems; includes extra stanzas not included in the published version of the poem].\\n \\nCharles Simic\\n00:35:12\\nReads \\\"Concerning My Neighbors, the Hittites\\\", Part V [published later in Selected Early Poems].\\n \\nCharles Simic\\n00:36:14\\nReads \\\"Concerning My Neighbors, the Hittites\\\", Part VI [published later in Selected Early Poems].\\n\\nCharles Simic\\n00:36:23\\nDo you, we need a break? Should we take a break? Huh? No, yes. No. Take a break. Yeah, let's take a ten-minute break.  \\n\\nAudience\\n00:36:30\\nApplause [cut off].\\n \\nEND\\n00:36:39\\n\",\"notes\":\"Charles Simic reads mostly from Dismantling the Silence (G. Braziller, 1971) as well as  a selection of, at the time, new and unpublished poems from a notebook that would later be published in Return to a Place Lit by a Glass of Milk (G. Braziller, 1974) and Selected Early Poems (G. Braziller, 1999). \\n\\n00:00- Unknown introducer introduces Charles Simic. [INDEX: quotation from the Contributor's notes to Paul Carroll’s anthology, The Young American Poets, Walt Whitman.]\\n00:57- Charles Simic introduces reading, and “Breasts”. [INDEX: reading from his third book (Dismantling the Silence (G. Braziller, 1971)), as well as recent poems; this poem        published in 1974 in Return to a place lit by a glass of milk (G. Braziller, 1974).]      \\n02:07- Reads “Breasts”.\\n05:05- Introduces “Table”. [INDEX: not from the book Dismantling the Silence, dealing with inanimate objects.]\\n05:27- Reads “Table”.\\n06:55- Reads “Stone”. [INDEX: from Dismantling the Silence (G. Braziller, 1971)]\\n08:14- Introduces “The Fork”. [INDEX: poem about a spoon and a knife]\\n08:26- Reads “The Fork”. [INDEX: most likely in Dismantling the Silence (G. Braziller, 1971)]\\n09:12- Reads “My Shoes”. [INDEX: most likely in Dismantling the Silence (G. Braziller, 1971)]\\n10:42- Introduces “Brooms”, parts I-V. [INDEX: written in a notebook, not included in   published book with others; published in 1974 in Return to a place lit by a glass of milk \\t(G. Braziller, 1974).]\\n11:13- Reads “Brooms” Part I.\\n11:43- Reads “Brooms” Part II.\\n12:41- Reads “Brooms” Part III.\\n13:24- Reads “Brooms” Part IV.\\n14:06- Reads “Brooms” Part V.\\n14:55- Introduces “Explorers” [INDEX: last poem in book of particular series, Christopher Columbus entering an ashtray.] \\n15:33- Reads “Explorers”. [INDEX: most likely in Dismantling the Silence (G. Braziller, 1971)]\\n17:13- Reads “The Inner Man”. [INDEX: most likely in Dismantling the Silence (G. Braziller, 1971)]\\n19:06- Introduces “The Animals”. [INDEX: written in NYC, pastoral quality of first book,     inability to return to nature poetry, pastoral animals.]\\n19:46- Reads “The Animals”. [INDEX: in Dismantling the Silence (G. Braziller, 1971).]\\n21:07- Introduces “Chicago”, parts I-VII. [INDEX: about going back to Chicago, Simic’s      mother, perhaps not in Dismantling the Silence (G. Braziller, 1971).]\\n22:03- Reads “Chicago” Part I.\\n22:43- Reads “Chicago” Part II.\\n23:17- Reads “Chicago” Part III.\\n23:57- Reads “Chicago” Part IV.\\n24:35- Reads “Chicago” Part V.\\n25:06- Reads “Chicago” Part VI.\\n25:33- Reads “Chicago” Part VII.\\n27:01- Reads “Tapestry”. [INDEX: most likely in Dismantling the Silence (G. Braziller, 1971)]\\n28:15- Introduces “Concerning My Neighbors, the Hittites”, Parts I-VI. [INDEX: writing with cliches, proverbs, popular wisdom to twist them around, Hittites.]\\n29:58- Reads “Concerning My Neighbors, the Hittites” Part I.\\n31:21- Reads “Concerning My Neighbors, the Hittites” Part II.\\n33:20- Reading interrupted by pause, either Part II is continued or part III begins. [INDEX: discrepancies between published versions and the reading are noted here.]\\n34:20- Reads “Concerning my Neighbors, the Hittites” Part IV.\\n35:12- Reads “Concerning my Neighbors, the Hittites” Part V.\\n36:14- Reads “Concerning my Neighbors, the Hittites” Part VI.\\n36:39- Introduces “Marching”. [INDEX: Ksemi Rothers, Simic’s ancestors, Balkan wars, most likely in Dismantling the Silence (G. Braziller, 1971).]\\n37:27- Reads “Marching”.\\n40:08- Introduces “Elegy for my father” [INDEX: elegy for Simic’s father, seven parts; published in 1974 as “George Simic” in Return to a place lit by a glass of milk (G.   \\tBraziller, 1974).]\\n40:27- Reads “Elegy for my father”.\\n44:24- Introduces “Return to a place lit by a glass of milk”. [INDEX: love poem, might use title for title of new book.]\\n44:47- Reads “Return to a place lit by a glass of milk”. [INDEX: published in 1974 in Return to a place lit by a glass of milk (G. Braziller, 1974)]\\n46:34- Reads “Dismantling the Silence”. [INDEX: from Dismantling the Silence (G. Braziller, 1971)]\\n47:57- Introduces “Errata”. [INDEX: after finishing a book felt a sense of frustration of not being able to say everything, each line refers to actual lines in the book.]\\n48:33- Reads “Errata”.\\n50:15- Unknown speaker announces next reading [Dorothy Livesay on January 14.]\\n50:24.10- END OF RECORDING.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/charles-simic-at-sgwu-1971/#1\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/charles_simic_i006-11-115-2.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"charles_simic_i006-11-115-2.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:13:44\",\"precision\":\"\",\"size\":\"33 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"charles_simic_i006-11-115-2.mp3 [File 2 of 2]\\n\\nCharles Simic\\n00:00:00\\nI was asking [Ksemi Rothers (?)] about, you know, who are my great grand-uncles, and great-grandfathers and so on, and I found out that they all were killed or disappeared in some completely forgotten nineteenth-century Balkan wars which no one knows anymore the cause or the reason or why they were started. And so this poem kind of happened out of that. It's called \\\"Marching\\\". \\n \\nCharles Simic \\n00:00:47\\nReads \\\"Marching\\\" from Dismantling the Silence.\\n \\nCharles Simic\\n00:03:28\\nThis is a kind of a, you could say that it's sort of an elegy for my father, in seven parts.\\n \\nCharles Simic\\n00:03:47\\nReads “George Simic” [published later in Return to a place lit by a glass of milk].\\n \\nCharles Simic\\n00:07:44\\nThis is a love poem. I have a series of love poems in the new book but this is one of them. And I might use the title of this poem as the title of the new book. The title is \\\"Return to a place lit by a glass of milk\\\".\\n \\nCharles Simic\\n00:08:08\\nReads \\\"Return to a place lit by a glass of milk\\\" [published later in Return to a place lit by a glass of milk].\\n \\nCharles Simic\\n00:09:20\\nI want to read a couple more poems now. \\\"Dismantling the Silence\\\".\\n \\nCharles Simicn\\n00:09:54\\nReads \\\"Dismantling the Silence\\\" from Dismantling the Silence.\\n \\nCharles Simic\\n00:11:17\\nThe last poem in this book is called \\\"Errata\\\" for the good reason that after I finished the book I felt again, you know, a sense of frustration. I didn't say everything. And so each of the lines in this particular poem are really, refer to actual lines in the book. I'm kind of correcting myself. \\\"Errata\\\".\\n \\nCharles Simic\\n00:11:53\\nReads \\\"Errata\\\" from Dismantling the Silence.\\n \\nCharles Simic\\n00:13:20\\nThank you.  \\n\\nAudience\\n00:13:23\\nApplause.\\n \\nIntroducer\\n00:13:35\\nThe next reading will be on January 14th. Dorothy Livesay [https://www.wikidata.org/wiki/Q1250325] will read that night.\\n \\nEND\\n00:13:44\\n\",\"notes\":\"Charles Simic reads mostly from Dismantling the Silence (G. Braziller, 1971) as well as  a selection of, at the time, new and unpublished poems from a notebook that would later be published in Return to a Place Lit by a Glass of Milk (G. Braziller, 1974) and Selected Early Poems (G. Braziller, 1999). \\n\\n00:00- Unknown introducer introduces Charles Simic. [INDEX: quotation from the Contributor's notes to Paul Carroll’s anthology, The Young American Poets, Walt Whitman.]\\n00:57- Charles Simic introduces reading, and “Breasts”. [INDEX: reading from his third book (Dismantling the Silence (G. Braziller, 1971)), as well as recent poems; this poem        published in 1974 in Return to a place lit by a glass of milk (G. Braziller, 1974).]      \\n02:07- Reads “Breasts”.\\n05:05- Introduces “Table”. [INDEX: not from the book Dismantling the Silence, dealing with inanimate objects.]\\n05:27- Reads “Table”.\\n06:55- Reads “Stone”. [INDEX: from Dismantling the Silence (G. Braziller, 1971)]\\n08:14- Introduces “The Fork”. [INDEX: poem about a spoon and a knife]\\n08:26- Reads “The Fork”. [INDEX: most likely in Dismantling the Silence (G. Braziller, 1971)]\\n09:12- Reads “My Shoes”. [INDEX: most likely in Dismantling the Silence (G. Braziller, 1971)]\\n10:42- Introduces “Brooms”, parts I-V. [INDEX: written in a notebook, not included in   published book with others; published in 1974 in Return to a place lit by a glass of milk \\t(G. Braziller, 1974).]\\n11:13- Reads “Brooms” Part I.\\n11:43- Reads “Brooms” Part II.\\n12:41- Reads “Brooms” Part III.\\n13:24- Reads “Brooms” Part IV.\\n14:06- Reads “Brooms” Part V.\\n14:55- Introduces “Explorers” [INDEX: last poem in book of particular series, Christopher Columbus entering an ashtray.] \\n15:33- Reads “Explorers”. [INDEX: most likely in Dismantling the Silence (G. Braziller, 1971)]\\n17:13- Reads “The Inner Man”. [INDEX: most likely in Dismantling the Silence (G. Braziller, 1971)]\\n19:06- Introduces “The Animals”. [INDEX: written in NYC, pastoral quality of first book,     inability to return to nature poetry, pastoral animals.]\\n19:46- Reads “The Animals”. [INDEX: in Dismantling the Silence (G. Braziller, 1971).]\\n21:07- Introduces “Chicago”, parts I-VII. [INDEX: about going back to Chicago, Simic’s      mother, perhaps not in Dismantling the Silence (G. Braziller, 1971).]\\n22:03- Reads “Chicago” Part I.\\n22:43- Reads “Chicago” Part II.\\n23:17- Reads “Chicago” Part III.\\n23:57- Reads “Chicago” Part IV.\\n24:35- Reads “Chicago” Part V.\\n25:06- Reads “Chicago” Part VI.\\n25:33- Reads “Chicago” Part VII.\\n27:01- Reads “Tapestry”. [INDEX: most likely in Dismantling the Silence (G. Braziller, 1971)]\\n28:15- Introduces “Concerning My Neighbors, the Hittites”, Parts I-VI. [INDEX: writing with cliches, proverbs, popular wisdom to twist them around, Hittites.]\\n29:58- Reads “Concerning My Neighbors, the Hittites” Part I.\\n31:21- Reads “Concerning My Neighbors, the Hittites” Part II.\\n33:20- Reading interrupted by pause, either Part II is continued or part III begins. [INDEX: discrepancies between published versions and the reading are noted here.]\\n34:20- Reads “Concerning my Neighbors, the Hittites” Part IV.\\n35:12- Reads “Concerning my Neighbors, the Hittites” Part V.\\n36:14- Reads “Concerning my Neighbors, the Hittites” Part VI.\\n36:39- Introduces “Marching”. [INDEX: Ksemi Rothers, Simic’s ancestors, Balkan wars, most likely in Dismantling the Silence (G. Braziller, 1971).]\\n37:27- Reads “Marching”.\\n40:08- Introduces “Elegy for my father” [INDEX: elegy for Simic’s father, seven parts; published in 1974 as “George Simic” in Return to a place lit by a glass of milk (G.   \\tBraziller, 1974).]\\n40:27- Reads “Elegy for my father”.\\n44:24- Introduces “Return to a place lit by a glass of milk”. [INDEX: love poem, might use title for title of new book.]\\n44:47- Reads “Return to a place lit by a glass of milk”. [INDEX: published in 1974 in Return to a place lit by a glass of milk (G. Braziller, 1974)]\\n46:34- Reads “Dismantling the Silence”. [INDEX: from Dismantling the Silence (G. Braziller, 1971)]\\n47:57- Introduces “Errata”. [INDEX: after finishing a book felt a sense of frustration of not being able to say everything, each line refers to actual lines in the book.]\\n48:33- Reads “Errata”.\\n50:15- Unknown speaker announces next reading [Dorothy Livesay on January 14.]\\n50:24.10- END OF RECORDING.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/charles-simic-at-sgwu-1971/#2\"}]"],"score":1.8530173},{"id":"1298","cataloger_name":["Masoumeh,Zaare"],"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":["Maxine Gadd and Andreas Schroeder at Sir George Williams University, The Poetry Series, 18 February 1972"],"item_title_source":["Cataloguer"],"item_title_note":["\"SCHROEDER & GADD 1/4 I006-11-109.1\" written on the spine of the tape's box. SCHROEDER & GADD refers to Andreas Schroeder and Maxine Gadd. \"I006-11-109.1\" written on sticker on the reel. \"POETRY 6 TAPE #1 OF 4 SCHROEDER & GADD 2-72-012-6 3 3/4 ips MASTER\" written on the front of the tape's box.\n\n\"SCHROEDER & GADD 2/4 I006-11-109.2\" written on the spine of the tape's box. SCHROEDER & GADD refers to Andreas Schroeder and Maxine Gadd. \"I006-11-109.2\" written on sticker on the reel. \"POETRY 6 TAPE #2 OF 4 SCHROEDER & GADD 2-72-012-6 3 3/4 ips MASTER #2\" written on the front of the tape's box.\n\n'SCHROEDER & GADD 3/4 I006-11-109.3\" written on sticker on the spine of the tape's box. SCHROEDER & GADD refers to Andreas Schroeder and Maxine Gadd. \"I006-11-109.3\" written on sticker on the reel. \"POETRY 6 TAPE #3 OF 4 SCHROEDER & GADD 2-72-012-6 3 3/4 ips MASTER #3\" written on the front of the tape's box.\n\n\"SCHROEDER & GADD 4/4 I006-11-109.4\" written on sticker on the spine of the tape's box. SCHROEDER & GADD refers to Andreas Schroeder and Maxine Gadd. \"I006-11-109.4\" written on sticker on the reel. \"POETRY 6 TAPE #4 OF 4 SCHROEDER & GADD 2-72-012-6 3 3/4 ips MASTER #4\" written on the front of the tape's box."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 6"],"item_identifiers":["[I006-11-109.1, I006-11-109.2, I006-11-109.3, I006-11-109.4]"],"creator_names":["Gadd, Maxine","Schroeder, Andreas"],"creator_names_search":["Gadd, Maxine","Schroeder, Andreas"],"creators":["[{\"url\":\"http://viaf.org/viaf/75225856\",\"name\":\"Gadd, Maxine\",\"dates\":\"1940-\",\"notes\":\"Canadian poet Maxine Gadd was born in London, England in 1940, but moved to the West Coast as a young child in 1946. Gadd attended the University of British Columbia and published her poetry with the UBC journal The Raven. Gadd was married and had a baby by the time she graduated with her B.A. She spent some time in California with her child, then she returned to Vancouver. Gadd reunited with the poetry scene and met bill bissett. Her first collection of poetry, Guns of the West was published by bill bissett’s blewointment press in 1967, and was followed by Practical Knowledge (Intermedia, 1969). Gadd was a founding member of Vancouver’s Intermedia as well as being involved with the Poetry Front. She then published a series of chapbooks, hochelaga (blewointment press, 1970), air two (Air Press, 1971), Westerns (Air Press, 1975), and Fire in the Cove (mother tongue Press, 2001). Gadd lived in a commune on Galiano Island until 1984, when she moved back to Vancouver and was associated with the Kootenay School of Writing. In 1982, Daphne Marlatt and Ingrid Klassen published through Coach House Press Gadd’s Lost language: selected poems. Most recently, Gadd published Backup to Babylon: poems, 1972-1987 (New Star Books, 2006), which was nominated by the BC Book Prize and Subway Under Byzantium: Poems, 1988-1996 (New Star Books, 2008). An excerpt from “Mazine Meets Proteus in Gastown” from Backup to Babylon was part of Vancouver’s ‘Poetry in Transit’ project in 2007, and was shown on Vancouver busses.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]},{\"url\":\"http://viaf.org/viaf/57773869\",\"name\":\"Schroeder, Andreas\",\"dates\":\"1946-\",\"notes\":\"Andreas Schroeder was born in 1946 in Hoheneggelsen, Germany before his family immigrated to Canada in 1951. Schroeder grew up on a farm in the Fraser Valley in B.C., until he was fifteen when his family moved to Vancouver. He enrolled in the University of British Columbia’s creative writing program where he studied under Michael Bullock and J. Michael Yates and received his B.A. in 1969. He founded and edited The Journal of Contemporary Literature in Translation (1968-80) and worked as a columnist for the Vancouver Province (1968-73). Schroeder’s first collections of poetry were The ozone minotaur (Sono Nis Press, 1969) and File of uncertainties (Sono Nis Press, 1971), a collection of concrete poetry UNIverse (MassAge Press, 1971) and a collection of short stories, The late man (Sono Nis Press, 1972). Schroeder completed his M.A. in 1972 from the University of British Columbia, and began teaching creative writing at the University of Victoria from 1974-1975. Schroeder was the chair of the Writer’s Union of Canada between 1976-1977. His most popular book was Shaking it rough (Doubleday, 1976), and he has published over twenty books in poetry, fiction, non-fiction, radio drama, journalism, translation and criticism. Schroeder then taught at the University of British Columbia (1985-7) and at Simon Fraser University (1989-90), publishing The Mennonites: a pictorial history of their lives in Canada (Douglas & McIntyre, 1990), Carved from wood: Mission, B.C. 1891-1992 (Mission Foundation, 1991) and Scams, scandals and scullduggery (M & S, 1996). Schroeder worked as the “resident crookologist” or “resident Scam-meister” on the CBC Radio show Basic Black, which produced a few collections of history’s greatest scams, including a children’s book, Scams! (Annick Press, 2004). His most recent publication is Renovating Heaven (Ooolichan, 2008), and he continues to teach and write in B.C.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Sommer, Richard"],"contributors_names_search":["Sommer, Richard"],"contributors":["[{\"url\":\"\",\"name\":\"Sommer, Richard\",\"dates\":\"1934-2012\",\"notes\":\"\",\"nation\":[],\"role\":[\"Presenter\",\"Series organizer\"]}]"],"Presenter_name":["Sommer, Richard"],"Series_organizer_name":["Sommer, Richard"],"Performance_Date":[1972],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"Master\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"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\":\"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\":\"\",\"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\":\"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\":\"\",\"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\":\"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\":\"\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel","Reel to Reel","Reel to Reel","Reel to Reel"],"physical_compositions":["Magnetic Tape","Magnetic Tape","Magnetic Tape","Magnetic Tape"],"recording_type":["Analogue","Analogue","Analogue","Analogue"],"AV_type":["Audio","Audio","Audio","Audio"],"playback_mode":["Mono","Mono","Mono","Mono"],"Dates":["[{\"date\":\"1972 2 18\",\"type\":\"Performance Date\",\"notes\":\"Date specified in written announcement \\\"Georgian Happenings\\\"\",\"source\":\"Supplemental Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"Location specified in written announcement \\\"Georgian Happenings\\\"\",\"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":["Maxine Gadd reads several poems that were later collected in Lost Language (Coach House Press, 1982), one poem from air two (Air, 1971), but it is likely that many other poems went unpublished. Andreas Schroeder reads from The Late Man (SonoNis Press, 1971), The Ozone Minotaur (SoNoNis Press, 1969) and File of Uncertainties (SoNoNis Press, 1971)."],"contents":["maxine_gadd_i006-11-109-1.mp3 [File 1 of 4]\n \nRichard (Dick)  Sommer\n00:00:00\nI'd like to introduce you to two poets who are Vancouver [https://www.wikidata.org/wiki/Q24639] friends of mine. Their poetry is quite different, as you'll discover. But from my own point of view, they...I owe both of them a debt that is similar in both cases though neither probably knows it. They've made me, in their own ways, rethink my own feelings about  what ought to constitute poetry and poems. And in the case of Maxine Gadd, this thinking went into a review which was then sent to the Firepoint which then folded. So you may never see that. And in the case of Andy Schroeder [https://www.wikidata.org/wiki/Q4755619], found its way into a long tape harangue between the two of us on the subject of form in poetry. Which I think is now in the Sir George Williams Library [https://www.wikidata.org/wiki/Q5159005], where any of you can endure it if you wish to. At any rate, the first of these poets to read will be Maxine Gadd. There will be a fifteen minute break, and then Andreas Schroeder will read. Maxine. \n \nAudience\n00:01:32\nApplause. \n \nRichard (Dick) Sommer\n00:02:01\nYou're plugged in. \n \nMaxine Gadd\n00:02:03\nOh boy. Can you hear me? I don't know how much projection to do. I don't know how much to talk about the poetry. My connection is very loose to the mainstream I guess, because, I don't know, I'm just not socially related to what's going on maybe in the poetry reading. I guess my identifications with words are somewhat with a West Coast hippie trip. And between the country and the city, the first feeling being, you know, the desire for purity, you know when you're seventeen or eighteen years old and you've figured the country life is it. And later coming to realize the necessity of the communal life and the city. So I think that's a task I'm going to try to set myself right here. I...this...I'm going to read first of all the second \"well\" poem, which I did, experienced in the country, living in the country. I remember the first \"well\" poem, I don't remember where it's gone, because it didn't get published. I disregarded its importance, you know. I tended to take the judgment of editors, and you know, people that set themselves up as authorities, and that's why I'm here, you know. I've kept close enough to them, I guess. I remember the first one went something like, \"Wanting pure water I went to the well/too wonderful\"...and there was something about the oracle as the bucket clacked. This is the “Second Well Poem”. \n \nMaxine Gadd\n00:03:57\nReads \"Second Well Poem\" [published later as “Well poem” in Lost Language].\n\nMaxine Gadd\n00:04:41\nWhich is about where I feel right now. But that's about where my connection to poetry is right now. I wonder if that...I wonder if that one's around. I don't think it is. I guess I'll just take it as it comes. There's some scheme in this. I guess, I got published by a cat, by bill bissett [https://www.wikidata.org/wiki/Q4911496] you might have heard, who did the thing, did the guru thing, the super-energy thing of getting a lot of work done, and getting a lot of people's work out, and a lot of his work out, a lot of it was real shit but he got it out, you know, and some of it worked and some of it didn't, but there was so much of it, you know...I'd like to have had that confidence, you know, I guess almost, most people write poetry, they've got it all in their trunk, you know, they don't get it out. But I guess that's what it takes. This is from one of his first, really cheap magazines. He put, he...it's typed, you know. Pretty good typing. His typing got worse, I get very angry, he makes lots of mistakes. But he did a lot of drawings and things, if anybody wants to look at it, you know.  I mean, he did it minimum, you know, he was living really poor. And a lot of people still read his stuff, so, I mean, to me he was a folk poet in that sense, a lot of people still read his stuff because he got the stuff out cheap, you know. \"Trip\".\n \nMaxine Gadd\n00:06:05\nReads \"Trip\".\n \nMaxine Gadd\n00:07:47\nI'm going to go over there. This one is to a poet who is in the, is in another world, okay? He looks like a silver lizard, and he's very beautiful, and he knows all about the Greek trip, and Eleusis, which is one's talking about in the first poem, okay, the oracles from under the ground, that belief you must start out with. It's called...and it's admiration, as well as a bit of terror.\n \nMaxine Gadd\n00:08:22\nReads unnamed poem. \n \nMaxine Gadd\n00:10:19\nLeary, I should have mentioned, was Timothy Leary. Oh, I should have explained that before, yeah. Oh yeah, this is where I met...now I don't like it okay? And it's probably not a good poem. But that's, that's...you know, that's...the kind of art form I'd like to have seen as a collective art form, was what I yearned and hoped for. Poetry is what people write in rooms alone, and I don't like...I don't, you know, that's what I was stuck with. And I worked for a while with a group in Vancouver called, named, we called it \"Intermedia\". And I had the experience of working with a group, at one point there were five of us poets, you know, or what we called poets. And we'd go around to various places, we went to Edmonton [https://www.wikidata.org/wiki/Q2096] one time, and we tried things, we tried chanting and wailing, like, was it...who was that crazy old lady. Sitwell, Edith Sitwell [https://www.wikidata.org/wiki/Q259921], remember her? And if you ever heard the sort of sing, the song, sing sing she used to do, you know, we tried that. And it really worked, you know, but you'd go around and you'd say, \"Do you dig the poems?\" and they'd say, \"I can't hear them, but we really like your voice.\" You know. [Audience laughter]. So, you know, left that, you got an ache in the gut or something.   \n \nMaxine Gadd\n00:11:37\nReads \"Ratio\".\n \nMaxine Gadd\n00:12:48\nI don't like it. I don't want to be there. Here's one from last year. I got into printing stuff myself, you know, and I do that--I wish, oh, you can't see it, can you? It was mimeograph, it was real cheap, you know? And you could take images, you could take newspaper articles, you could take scraps of anything you saw that you dug, you know, put 'em together, and to me that was a, that was a form of concrete poetry. Can't, of course, I don't know, you couldn't really say that one or any number of them. This one is half-said, okay. Behind it I put a map, I found a map of B.C. [https://www.wikidata.org/wiki/Q1974]and Minster Island [https://www.wikidata.org/wiki/Q21906024] was a map, was an island I found once when I was working on a ship as a mess girl, on a freighter. \n \nMaxine Gadd\n00:13:46\nReads unnamed poem.\n \nMaxine Gadd\n00:15:33\nAnd where that ended up was just over the name Bella Coola [https://www.wikidata.org/wiki/Q815765], which is sort of where they do, can fish. There's no escape, though, you know? And...so then I want to read about Kitsilano [https://www.wikidata.org/wiki/Q4179275], where most of...I happened, you know, I grew up. Kitsilano's a sort of slum district of Vancouver. And it's disintegrating, and you probably all experienced this, you know, being city people, you know, they're bulldozing the places, there's no more cheap places to live, and so your friends, you know, you can't live there anymore, your friends can't live there anymore, so whatever you had, which was sometimes very heavy, you know, community's really beautiful, you know? I used to go over and play music with my friends. We had to move out, you know, because the city's being destroyed, and only the people who are well-to-do, who have some sort of stake in the city, you know, who are supporting the structure can stay. And this poem is about somebody who I met one day on the street, you know, and her story, she's sort of sick, just on the street, everything's falling to pieces. \n \nMaxine Gadd\n00:16:55\nReads “bee-people on 4th avenue” [published later in Lost Language].\n\nMaxine Gadd\n00:18:32\nWho's singing out there? But here, on the next street, you know, I ran into a friend of mine. Her name's Martina. And, you know, we're about the same age, and we've been through a lot of things, and, we've been through some bad things, you know, lots of rejections and refusal, no, there's no food now, you can't have any, go away, you know, fighting over somebody or other. \n \nMaxine Gadd\n00:18:58\nReads “4th ave” [published later in Lost Language].\n \nMaxine Gadd\n00:20:49\nUs old ladies. Okay, but that's not entirely true. I got involved into all that magic stuff, you know, the Sufis, and into politics, and like this summer I hope I'm going to start some sort of woman's centre, back where I live, you know. \n \nEND\n00:21:09\n[Unknown amount of time elapsed before start of next recording].\n\nmaxine_gadd_i006-11-109-2.mp3 [File 2 of 4]\n\nMaxine Gadd\n00:00:00\nReads unnamed poem [recording begins abruptly].\n \nMaxine Gadd\n00:02:20\nReads unnamed poem.\n \nMaxine Gadd\n00:11:10\nThis is the thing that the guy that held onto the raft for fourteen days knew. This is what Armstrong [https://www.wikidata.org/wiki/Q1615], Collins [https://www.wikidata.org/wiki/Q104859] and Reilley [https://www.wikidata.org/wiki/Q739214] out there, those astronauts, this is what they saved up for. It had to be good. \n \nMaxine Gadd\n00:11:29\nReads unnamed poem.\n \nMaxine Gadd\n00:23:31\nThat's the end of that one. \n \nAudience\n00:23:33\nApplause.\n \nMaxine Gadd\n00:23:40\nI think I made enough noise for a while, huh? My voice is getting sort of sore, or, you know, like that was a trip, so. I got a lot of poems, but...Did you feel like reading now or should we have a break or what? Do you think...do you think we should read some more or what? I got...You want to read some more? \n \nUnknown\n00:23:59\nAmbient Sound [voices].\n\nRichard (Dick) Sommer\n00:24:03\nDo you want to read some more? \n \nMaxine Gadd\n00:24:04\nI don't know. I've not nothing in particular form, just bits, that's the problem. \n \nRichard (Dick) Sommer\n00:24:12\nYou can't do the one on the Goat-god....\n \nMaxine Gadd\n00:24:13\nOkay, I'll do the Goat-god. Well okay, do you want to try improvising to a trip that's here? I'll let you read it. \n \nRichard (Dick) Sommer\n00:24:22\nSeriously, I'll do that? \n \nMaxine Gadd\n00:24:23\nYeah. It's just going to be some sounds. \n \nRichard (Dick) Sommer\n00:24:24\nOkay. I don't know if I can…[unintelligible].\n \nMaxine Gadd\n00:24:27\nI gotta find it first. What's that? Are we on? Oh, sorry. God. \n \nUnknown\n00:24:38\nAmbient Sound [voices].\n \nMaxine Gadd\n00:24:39\nWhat? The flute? I think it's over there. For fun...the same message...I'm asking...Richard's going to make some noise with my flute. \n \nRichard (Dick) Sommer\n00:24:55\nI'll make some noise if you'll give me a microphone. \n \nMaxine Gadd\n00:24:57\nOkay. Which one do you want? Let's share it. \n \nRichard (Dick) Sommer\n00:25:01\nGive me the [unintelligible].\n \nMaxine Gadd\n00:25:02\nIt goes with the poem. \n \nRichard (Dick) Sommer\n00:25:05\nWhen'd you do that? \n \nMaxine Gadd\n00:25:06\nWhat?\n \nRichard (Dick) Sommer\n00:25:07\nThis, this knot. \n \nMaxine Gadd\n00:25:08\nI tied myself into it. \n \nRichard (Dick) Sommer\n00:25:11\nOh, here we go. \n \nMaxine Gadd\n00:25:12\nI don't even know if I can find it. All these little pieces, pieces, pieces. Oh, here it is. Now how it goes, you have to keep quiet until...let's see now. He's never done this before.  \n \nRichard (Dick) Sommer\n00:25:40\nWhat did, yeah, what do you want me to do with it? \n \nMaxine Gadd\n00:25:42\nOkay, this is called \"Shore Animals\" and it's a speech piece with flute, and the flute has to listen. It can speak too. [Laughter]. You have to listen to it. You never heard it\n \nRichard (Dick) Sommer\n00:25:57\nI think it's learning how to speak. \n \nMaxine Gadd\n00:26:01\nIt's called \"Shore Animals,\" it's a speech piece with flute. \n \nMaxine Gadd\n00:26:07\nReads \"Shore Animals\" accompanied by Richard Sommer on flute.\n \nAudience\n00:30:13\nAudience.\n\nMaxine Gadd\n00:30:15\nMaybe I'll try to try that one…[audience applause continues throughout].\n\nRichard (Dick) Sommer\n00:30:24\nI'll give you your microphone back. \n \nMaxine Gadd\n00:30:25\nYes. How many minutes we got? \n \nRichard (Dick) Sommer\n00:30:29\nI don't know. [Unintelligible]. \n \nMaxine Gadd\n00:30:35\nOkay, I'm going to read, I'm going to do, this one's totally mindless, okay? It's dedicated to my friend Gerry Gilbert [https://www.wikidata.org/wiki/Q5552756] who used to like to do those trips. And you can go to sleep or something, because that's what I want you to do. \n \nMaxine Gadd\n00:30:51\nReads \"Cantaloup, 29 cents\".\n \nAudience\n00:38:33\nApplause. \n \nEND\n00:38:37\n[Unknown amount of time elapsed before start of next recording].\n\nandreas_schroeder_i006-11-109-3.mp3 [File 3 of 4]\n \nRichard (Dick) Sommer\n00:00:01\nOkay, we won't be using a flute this time, I think it's a bass trombone but I'm not sure.  It'll be up to Andy. I'd like to introduce to you Andy Schroeder.\n \nAudience\n00:00:15\nApplause.\n \nAndreas Schroeder\n00:00:40\nRight. Normally they hang you after a reading. Jesus. I'm going to read from, oh, just kind of a merry jaunt through various books. I think what I'll do is I'll read some of the, some poetry first, and then I'll slip over into fiction. I've just, two days ago, published a book called The Late Man of short fictions and extended prose poems and so on. The work that I've done is gone cyclic in terms of form. I started out with prose poems and went into much more of a linear poetry, and then went back to a fiction which was kind of a half prose poem, half short story, half God knows, film script. And right now I'm working hard at both styles. First book I published was called The Ozone Minotaur, and it was more surreal than anything I'm doing now. I really get very excited about illusions, and I guess that's probably what most of my work is all about. At first I was very interested in surreal illusions; now I'm very interested in real illusions, and I'm not sure there's any difference. Here's a prose poem from way back called \"Introduction\".\n \nAndreas Schroeder\n00:02:10\nReads \"Introduction\" from The Ozone Minotaur.\n \nAndreas Schroeder\n00:03:15\nAfter I found out that you couldn't live by writing poetry, I took a job with CPAir [https://www.wikidata.org/wiki/Q986941]. That doesn't really sound like a very logical progression, but anyway, it was a teletype machine that they put me on, I think I lasted about four days, but I got a poem out of it, and it's entitled \"Cables\".\n \nAndreas Schroeder\n00:03:35\nReads \"Cables\" [from The Ozone Minotaur].\n \nAndreas Schroeder\n00:05:29\nThis next book, File of Uncertainties, I supposed was kind of created when I woke up one morning and was overwhelmed with my own ignorance, so I decided to write a book about it. [Audience laughter]. And then I figured the best way to do it was to go up north and I did that, and I spent a winter up in Alaska [https://www.wikidata.org/wiki/Q797]. And that was where I really got into this illusion thing, because, you know, all the different, very very strange things that happen there, like white-outs, which you probably are familiar with here, as well, where a man suddenly loses all sense of up and down and forward and backward. They have better ones than that, though. They have, until the snowmobile rolls around, when people used to mush with dogs, they'd continually have this happening: a man would set off from one village for another, with his dogs, and he'd be perfectly well-dressed and perfectly well-fed, and apparently perfectly sane, and the dogs would arrive, and the sled would arrive but the man wouldn't, and they possibly found him and possibly not. But no one could ever understand what would make a man suddenly step off his sleigh and walk off in an entirely different direction to die. When he certainly didn't have it on his list of things to do when he left. They still haven't figured that out. Maybe it has something to do with the fact that man's body is made up of such an incredible percentage of water, and very strange things happen to water up there. [Audience laughter]. Anyway, I almost got caught by an avalanche, so I thought I'd check into it and I'd find out what you do if you do get caught by one, cause I figured by that time that survival was probably a good thing. So, they said, one of the things you do is, if you get caught by an avalanche, you make swimming motions with your hands. I guess the idea is that kind of tends to keep you close to the surface, which is a good place to be. Now...[audience laughter] the lovely illusion part, which really intrigued me, was that a man can survive under the snow up to a depth of approximately six feet, but only for a certain period of time, and apparently the closer you are to the surface, the better your chances are, and the way they dig for, well, it's not necessarily logical up there, at least it didn't seem like it, but the way they dig for a man like this is they use sounding rods, and these are very sensitive rods, like, almost like tuning forks, and they walk along, in a very definite rhythm, it's almost like a musical score, and they ram these poles in, one foot deep, about a foot at a time, and attempt to hit somebody that's buried underneath it. And then they go back again and they do it at two feet, and then at three feet and four feet to six feet, they don't go any deeper. Now the peculiar part of it is that they of course can't hear anyone, but the poor bugger that's under the snow can hear very, very clearly. And, you know, and he'll hear people saying, like I wonder where, I think there's a place he might be, and he'll be shouting in there, saying, \"I'm here,\" you know, \"I'm here!\" and they can't hear him, and it's really quite terrifying. Sound only travels one way through an avalanche, I don't...[Audience laughter]. Anyway, I'll, let me read some poems about it, I'll...File of Uncertainties was written in a very short time and mostly about the same thing, and you'll find recurring images all the way through, stylistic things that are similar all the way through, and the poems, because they match together fairly tightly, I didn't even bother naming them, I just numbered them, because they're all part of the same sequence. This is number four. \n \nAndreas Schroeder\n00:09:27\nReads \"File of Uncertainties: #4\" from File of Uncertainties.\n \nAndreas Schroeder\n00:10:25\nReads \"File of Uncertainties: #3\" from File of Uncertainties.\n\nAndreas Schroeder\n00:12:13\nReads \"File of Uncertainties: #5\" from File of Uncertainties.\n \nAndreas Schroeder\n00:12:54\nReads \"File of Uncertainties: #8\" from File of Uncertainties.\n \nAndreas Schroeder\n00:13:50\nI took up sky-diving after I came back and, because...yeah, believe it or not, it had very similar illusions going for it again. When...it's much like the white-out. When you jump off an aircraft, and it banks away, generally to your left, then you suddenly lose all points of reference. And because the earth below you is much too far away to really mean anything, and your parachute is still on your back, in other words not opened, so you can't, you haven't got anything above you either, you suddenly get hit with this incredibly stony silence, and absolutely nothing happens. I mean, you don't fall, you're not moving, you're not even really thinking because it's so suddenly quiet. It seems like everything just freezes. And in fact you're falling at about three hundred feet a second, but you have no sense of it whatsoever. And you just stand there in the sky, and kind of look around, and nothing is going on. Which is why you're not supposed to be stoned when you skydive because, [audience laughter] sometimes people tend to forget, you know. So I wrote a poem about it, and, actually it's not...well anything. It's “#9”, is what it is. \n \nAndreas Schroeder\n00:15:18\nReads \"#9\" [from File of Uncertainties].\n \nAndreas Schroeder\n00:17:31\nAlright, here's another poem from the north--\"#12\".\n \nAndreas Schroeder\n00:17:38\nReads \"# 12\".\n \nAndreas Schroeder\n00:18:29\nI think I'll just let that go for a minute there and go into some prose and then I'll just read some unpublished poems. This first story that I'm going to read is entitled \"The Tree\", and I wrote it after I met a very lovely old man down in Australia [https://www.wikidata.org/wiki/Q408]. Very old. He was an aborigine, and we tried to communicate; he didn't know my language and I didn't know his, which is maybe why we got along so well, but anyway, I built a story up on him. This was on a coral island...of course all islands down there are coral islands. \n \nAnnotationAndreas Schroeder\n00:19:19\nReads \"The Tree\" [from The Late Man].\n \nAudience\n00:25:45\nApplause.\n \nAndreas Schroeder\n00:25:54\nHere's another short one, entitled \"The Pub\", sort of a frenzied affair. They don't--it's sort of illegal to have fights in pubs, and in Vancouver I was the very happy observer of one, finally. Pub fights have sort of a beautiful ritualistic thing as long as you're not involved, like if you're just kind of watching, and the Cecil Hotel staged one one night and after that I wrote this, although it has nothing to do with that. \n \nAndreas Schroeder\n00:26:23\nReads \"The Pub\" [from The Late Man].\n \nAudience\n00:31:28\nApplause.\n \nEND\n00:31:32\n[Unknown amount of time elapsed before start of next recording].\n\nandreas_schroeder_i006-11-109-4.mp3 [File 4 of 4]\n \nAndreas Schroeder\n00:00:00\nReads [“The Theft” from The Late Man]. \n \nAudience\n00:05:03\nApplause.\n \nAndreas Schroeder\n00:05:09\nRight, just one more. This one is, is quite different. Quite different. In fact, if there is such a thing as a manifesto, I guess that's what it is. Or let's say it's a map or something about roughly where I'm at. It's called \"The Cage\".\n \nAndreas Schroeder\n00:05:32\nReads \"The Cage\" [from The Late Man]. \n \nAndreas Schroeder\n00:15:11\nThat's all. \n \nAudience\n00:15:12\nApplause.\n \nAndreas Schroeder\n00:15:19\nI don't know how to get that off. \n \nEND\n00:15:24"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nMaxine Gadd had published air two the previous year (1971), and was living in a commune on Galiano Island. Backup to Babylon: poems 1972-1987 collects poems Gadd wrote in 1972.\\n\\nIn 1972, Schroeder had just finished publishing The late man and File of Uncertainties, was editing The Journal of Contemporary Literature in Translation, writing for the Vancouver Province, and was completing his M.A. from UBC.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nWhile shying away from mainstream poetic circles and public life, Gadd’s work and life has been deeply rooted in Canadian artistic discourse, creating a community and social activism. A Vancouver poet, Gadd was associated with other writers like Gerry Gilbert, Roy Kiyooka, bill bissett, and Daphne Marlatt. She met George Bowering, David Bromige and Lionel Kearns in Earle Birney’s UBC creative writing classes in the early 60’s.\\n\\nAlso a Vancouver writer, Schroeder has contributed over a dozen publications to Canadian literature, in poetry, prose, non-fiction, fiction, young adult non-fiction as well as contributing to CBC radio shows and Vancouver newspapers. A professor in Creative Non-fiction at the University of British Columbia, Schroeder has also represented writers in political positions and unions.\",\"type\":\"General\"},{\"note\":\"4 reel-to-reel tapes>4 CDs>4 digital files\",\"type\":\"Preservation\"},{\"note\":\"Original transcript by Rachel Kyne\\n\\nOriginal print catalogue, introduction, research and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"http://www.thinkcity.ca/node/133\",\"citation\":\"“Andreas Schroeder”. Story Tellers. Think City: Ideas for the 21st Century Vancouver. Think City Society, Vancouver, B.C. \"},{\"url\":\"https://www.annickpress.com/Contributors/S/Schroeder-Andreas\",\"citation\":\"“Andreas Schroder”. Authors. Annick Press: Excellence & Innovation in Children’s Literature. \"},{\"url\":\"https://www.writersunion.ca/member/andreas-schroeder\",\"citation\":\"“Andreas Schroeder”. Members’ Pages. The Writers’ Union of Canada.  2009. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Davey, Frank. \\\"Schroeder, Andreas\\\". The Oxford Companion to Canadian Literature. Eugene Benson and William Toye (eds). Oxford University Press 2001. \"},{\"url\":\"https://www.worldcat.org/title/air-two/oclc/53868052&referer=brief_results\",\"citation\":\"Gadd, Maxine. air two. Vancouver: Air, 1971. \"},{\"url\":\"https://www.worldcat.org/title/lost-language-selected-poems/oclc/8919395&referer=brief_results\",\"citation\":\"Gadd, Maxine. Lost Language: Selected Poems. Daphne Marlatt and Ingrid Klassen (eds). Toronto: Coach House Press, 1982. \"},{\"url\":\"http://intermedia.vancouverartinthesixties.com/voices/012\",\"citation\":\"“Intermedia”. The Intermedia Catalogue. The Michael de Courcy Archive, 2009. \"},{\"url\":\"http://www.ccca.ca/history/ozz/english/authors/gadd_maxine.html\",\"citation\":\"(Maxine Gadd) “Maxine Gadd”. One Zero Zero: A Virtual Library of English Canadian Small Presses 1945-2044. Centre for Contemporary Canadian Art: York University, Toronto, 1997.  \"},{\"url\":\"http:// www.newstarbooks.com/author.php?author_id=3119\",\"citation\":\"“Maxine Gadd”. New Star Books website. Vancouver, British Columbia. \"},{\"url\":\"http://12or20questions.blogspot.com/2008/01/12-or-20-questions-with-maxine-gadd.html\",\"citation\":\"McLennan, Rob. “12 or 20 Questions: with Maxine Gadd”. Rob McLennan’s Blog. January 11, 2008.\"},{\"url\":\"http://www.vancouverartinthesixties.com/people/31\",\"citation\":\"“People: Maxine Gadd”. Ruins in Process: Vancouver Art in the Sixties. Digital Archive of Artwork, Ephemera and Film.\"},{\"url\":\"https://www.worldcat.org/title/ozone-minotaur/oclc/806554234&referer=brief_results\",\"citation\":\"Schroeder, Andreas. The Ozone Minotaur. Vancouver: Sono Nis Press, 1969. \"},{\"url\":\"https://www.worldcat.org/title/file-of-uncertainties-poems/oclc/421970309&referer=brief_results\",\"citation\":\"Schroeder, Andreas. File of Uncertainties: Poems. Vancouver: Sono Nis Press, 1971. \"},{\"url\":\"https://www.worldcat.org/title/late-man/oclc/654160621&referer=brief_results\",\"citation\":\"Schroeder, Andreas. The Late Man. Vancouver: Sono Nis Press, 1972. \"}]"],"_version_":1853670548949696512,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\" https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0109-1_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0109-1_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Gadd and Schroeder Tape Box 1 - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2015/01/I0006_11_0109-1_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0109-1_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Gadd and Schroeder Tape Box 1 - 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It'll be up to Andy. I'd like to introduce to you Andy Schroeder.\\n \\nAudience\\n00:00:15\\nApplause.\\n \\nAndreas Schroeder\\n00:00:40\\nRight. Normally they hang you after a reading. Jesus. I'm going to read from, oh, just kind of a merry jaunt through various books. I think what I'll do is I'll read some of the, some poetry first, and then I'll slip over into fiction. I've just, two days ago, published a book called The Late Man of short fictions and extended prose poems and so on. The work that I've done is gone cyclic in terms of form. I started out with prose poems and went into much more of a linear poetry, and then went back to a fiction which was kind of a half prose poem, half short story, half God knows, film script. And right now I'm working hard at both styles. First book I published was called The Ozone Minotaur, and it was more surreal than anything I'm doing now. I really get very excited about illusions, and I guess that's probably what most of my work is all about. At first I was very interested in surreal illusions; now I'm very interested in real illusions, and I'm not sure there's any difference. Here's a prose poem from way back called \\\"Introduction\\\".\\n \\nAndreas Schroeder\\n00:02:10\\nReads \\\"Introduction\\\" from The Ozone Minotaur.\\n \\nAndreas Schroeder\\n00:03:15\\nAfter I found out that you couldn't live by writing poetry, I took a job with CPAir [https://www.wikidata.org/wiki/Q986941]. That doesn't really sound like a very logical progression, but anyway, it was a teletype machine that they put me on, I think I lasted about four days, but I got a poem out of it, and it's entitled \\\"Cables\\\".\\n \\nAndreas Schroeder\\n00:03:35\\nReads \\\"Cables\\\" [from The Ozone Minotaur].\\n \\nAndreas Schroeder\\n00:05:29\\nThis next book, File of Uncertainties, I supposed was kind of created when I woke up one morning and was overwhelmed with my own ignorance, so I decided to write a book about it. [Audience laughter]. And then I figured the best way to do it was to go up north and I did that, and I spent a winter up in Alaska [https://www.wikidata.org/wiki/Q797]. And that was where I really got into this illusion thing, because, you know, all the different, very very strange things that happen there, like white-outs, which you probably are familiar with here, as well, where a man suddenly loses all sense of up and down and forward and backward. They have better ones than that, though. They have, until the snowmobile rolls around, when people used to mush with dogs, they'd continually have this happening: a man would set off from one village for another, with his dogs, and he'd be perfectly well-dressed and perfectly well-fed, and apparently perfectly sane, and the dogs would arrive, and the sled would arrive but the man wouldn't, and they possibly found him and possibly not. But no one could ever understand what would make a man suddenly step off his sleigh and walk off in an entirely different direction to die. When he certainly didn't have it on his list of things to do when he left. They still haven't figured that out. Maybe it has something to do with the fact that man's body is made up of such an incredible percentage of water, and very strange things happen to water up there. [Audience laughter]. Anyway, I almost got caught by an avalanche, so I thought I'd check into it and I'd find out what you do if you do get caught by one, cause I figured by that time that survival was probably a good thing. So, they said, one of the things you do is, if you get caught by an avalanche, you make swimming motions with your hands. I guess the idea is that kind of tends to keep you close to the surface, which is a good place to be. Now...[audience laughter] the lovely illusion part, which really intrigued me, was that a man can survive under the snow up to a depth of approximately six feet, but only for a certain period of time, and apparently the closer you are to the surface, the better your chances are, and the way they dig for, well, it's not necessarily logical up there, at least it didn't seem like it, but the way they dig for a man like this is they use sounding rods, and these are very sensitive rods, like, almost like tuning forks, and they walk along, in a very definite rhythm, it's almost like a musical score, and they ram these poles in, one foot deep, about a foot at a time, and attempt to hit somebody that's buried underneath it. And then they go back again and they do it at two feet, and then at three feet and four feet to six feet, they don't go any deeper. Now the peculiar part of it is that they of course can't hear anyone, but the poor bugger that's under the snow can hear very, very clearly. And, you know, and he'll hear people saying, like I wonder where, I think there's a place he might be, and he'll be shouting in there, saying, \\\"I'm here,\\\" you know, \\\"I'm here!\\\" and they can't hear him, and it's really quite terrifying. Sound only travels one way through an avalanche, I don't...[Audience laughter]. Anyway, I'll, let me read some poems about it, I'll...File of Uncertainties was written in a very short time and mostly about the same thing, and you'll find recurring images all the way through, stylistic things that are similar all the way through, and the poems, because they match together fairly tightly, I didn't even bother naming them, I just numbered them, because they're all part of the same sequence. This is number four. \\n \\nAndreas Schroeder\\n00:09:27\\nReads \\\"File of Uncertainties: #4\\\" from File of Uncertainties.\\n \\nAndreas Schroeder\\n00:10:25\\nReads \\\"File of Uncertainties: #3\\\" from File of Uncertainties.\\n\\nAndreas Schroeder\\n00:12:13\\nReads \\\"File of Uncertainties: #5\\\" from File of Uncertainties.\\n \\nAndreas Schroeder\\n00:12:54\\nReads \\\"File of Uncertainties: #8\\\" from File of Uncertainties.\\n \\nAndreas Schroeder\\n00:13:50\\nI took up sky-diving after I came back and, because...yeah, believe it or not, it had very similar illusions going for it again. When...it's much like the white-out. When you jump off an aircraft, and it banks away, generally to your left, then you suddenly lose all points of reference. And because the earth below you is much too far away to really mean anything, and your parachute is still on your back, in other words not opened, so you can't, you haven't got anything above you either, you suddenly get hit with this incredibly stony silence, and absolutely nothing happens. I mean, you don't fall, you're not moving, you're not even really thinking because it's so suddenly quiet. It seems like everything just freezes. And in fact you're falling at about three hundred feet a second, but you have no sense of it whatsoever. And you just stand there in the sky, and kind of look around, and nothing is going on. Which is why you're not supposed to be stoned when you skydive because, [audience laughter] sometimes people tend to forget, you know. So I wrote a poem about it, and, actually it's not...well anything. It's “#9”, is what it is. \\n \\nAndreas Schroeder\\n00:15:18\\nReads \\\"#9\\\" [from File of Uncertainties].\\n \\nAndreas Schroeder\\n00:17:31\\nAlright, here's another poem from the north--\\\"#12\\\".\\n \\nAndreas Schroeder\\n00:17:38\\nReads \\\"# 12\\\".\\n \\nAndreas Schroeder\\n00:18:29\\nI think I'll just let that go for a minute there and go into some prose and then I'll just read some unpublished poems. This first story that I'm going to read is entitled \\\"The Tree\\\", and I wrote it after I met a very lovely old man down in Australia [https://www.wikidata.org/wiki/Q408]. Very old. He was an aborigine, and we tried to communicate; he didn't know my language and I didn't know his, which is maybe why we got along so well, but anyway, I built a story up on him. This was on a coral island...of course all islands down there are coral islands. \\n \\nAnnotationAndreas Schroeder\\n00:19:19\\nReads \\\"The Tree\\\" [from The Late Man].\\n \\nAudience\\n00:25:45\\nApplause.\\n \\nAndreas Schroeder\\n00:25:54\\nHere's another short one, entitled \\\"The Pub\\\", sort of a frenzied affair. They don't--it's sort of illegal to have fights in pubs, and in Vancouver I was the very happy observer of one, finally. Pub fights have sort of a beautiful ritualistic thing as long as you're not involved, like if you're just kind of watching, and the Cecil Hotel staged one one night and after that I wrote this, although it has nothing to do with that. \\n \\nAndreas Schroeder\\n00:26:23\\nReads \\\"The Pub\\\" [from The Late Man].\\n \\nAudience\\n00:31:28\\nApplause.\\n \\nEND\\n00:31:32\\n[Unknown amount of time elapsed before start of next recording].\",\"notes\":\"Andreas Schroeder reads from The Late Man (SonoNis Press, 1971), The Ozone Minotaur (SoNoNis Press, 1969) and File of Uncertainties (SoNoNis Press, 1971).\\n\\n00:01- Introducer (George Bowering?) introduces Andreas Schroeder. (As Andy).\\n00:40- Andreas Schroeder introduces reading and “Introduction”. [INDEX: The Late Man, prose poetry, form, short fiction, linear poetry, film script (genres melding together), first book The Ozone Minotaur, surreal illusions; from The Ozone Minotaur (SoNoNis Press, 1969).]\\n02:10- Reads “Introduction”.\\n03:15- Introduces “Cables”. [INDEX: CPAir job, teletype machine; from The Ozone Minotaur (SoNoNis Press, 1969).]\\n03:35- Reads “Cables”.\\n05:29- Introduces “File of Uncertainties: IV” and his next book, File of Uncertainties    (SoNoNis Press, 1971). [INDEX: creation of File of Uncertainties, ignorance, spent a      \\twinter in Alaska, illusions, avalanche, survival of man in an avalanche, sounding rods; from File of Uncertainties, (SoNoNis Press, 1971).]\\n09:27- Reads “File of Uncertainties: IV”.\\n10:25- Reads “File of Uncertainties: III”.\\n12:13- Reads “File of Uncertainties: V”.\\n12:54- Reads “File of Uncertainties: VIII”.\\n13:50- Introduces “Number IX”. [INDEX: Sky-diving experiences.]\\n15:18- Reads “Number IX”.\\n17:42- Introduces “Number XII”. [INDEX: poem from the North.]\\n17:38- Reads “Number XII”.\\n18:29- Introduces “The Tree”. [INDEX: prose, Australia, aborigine, coral island; from The Late Man (SoNoNis Press, 1971).]\\n19:19- Reads “The Tree”.\\n25:54- Introduces “The Pub”. [INDEX: Vancouver: illegal pub fights, Cecil Hotel; from The Late Man (SoNoNis Press, 1971).]\\n26:23- Reads “The Pub”.\\n31:32.07- END OF RECORDING\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/andreas-schroeder-at-sgwu-1972/#1\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/andreas_schroeder_2_i006-11-109-4.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"andreas_schroeder_i006-11-109-4.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:15:24\",\"precision\":\"\",\"size\":\"37 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"andreas_schroeder_i006-11-109-4.mp3 [File 4 of 4]\\n \\nAndreas Schroeder\\n00:00:00\\nReads [“The Theft” from The Late Man]. \\n \\nAudience\\n00:05:03\\nApplause.\\n \\nAndreas Schroeder\\n00:05:09\\nRight, just one more. This one is, is quite different. Quite different. In fact, if there is such a thing as a manifesto, I guess that's what it is. Or let's say it's a map or something about roughly where I'm at. It's called \\\"The Cage\\\".\\n \\nAndreas Schroeder\\n00:05:32\\nReads \\\"The Cage\\\" [from The Late Man]. \\n \\nAndreas Schroeder\\n00:15:11\\nThat's all. \\n \\nAudience\\n00:15:12\\nApplause.\\n \\nAndreas Schroeder\\n00:15:19\\nI don't know how to get that off. \\n \\nEND\\n00:15:24\",\"notes\":\"Andreas Schroeder reads from The Late Man (SonoNis Press, 1971), The Ozone Minotaur (SoNoNis Press, 1969) and File of Uncertainties (SoNoNis Press, 1971).\\n\\n00:00- Recording begins suddenly with Andreas Schroeder, potential first line “The living room was littered with papers, pens, bottles...” (short story).    \\n05:09- Introduces “The Cage”. [INDEX: manifesto, map.]\\n05:32- Reads “The Cage”.\\n15:24.10- END OF RECORDING.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/andreas-schroeder-at-sgwu-1972/#2\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/maxine_gadd_i006-11-109-2.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"maxine_gadd_i006-11-109-2.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:38:37\",\"precision\":\"\",\"size\":\"92.7 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"maxine_gadd_i006-11-109-2.mp3 [File 2 of 4]\\n\\nMaxine Gadd\\n00:00:00\\nReads unnamed poem [recording begins abruptly].\\n \\nMaxine Gadd\\n00:02:20\\nReads unnamed poem.\\n \\nMaxine Gadd\\n00:11:10\\nThis is the thing that the guy that held onto the raft for fourteen days knew. This is what Armstrong [https://www.wikidata.org/wiki/Q1615], Collins [https://www.wikidata.org/wiki/Q104859] and Reilley [https://www.wikidata.org/wiki/Q739214] out there, those astronauts, this is what they saved up for. It had to be good. \\n \\nMaxine Gadd\\n00:11:29\\nReads unnamed poem.\\n \\nMaxine Gadd\\n00:23:31\\nThat's the end of that one. \\n \\nAudience\\n00:23:33\\nApplause.\\n \\nMaxine Gadd\\n00:23:40\\nI think I made enough noise for a while, huh? My voice is getting sort of sore, or, you know, like that was a trip, so. I got a lot of poems, but...Did you feel like reading now or should we have a break or what? Do you think...do you think we should read some more or what? I got...You want to read some more? \\n \\nUnknown\\n00:23:59\\nAmbient Sound [voices].\\n\\nRichard (Dick) Sommer\\n00:24:03\\nDo you want to read some more? \\n \\nMaxine Gadd\\n00:24:04\\nI don't know. I've not nothing in particular form, just bits, that's the problem. \\n \\nRichard (Dick) Sommer\\n00:24:12\\nYou can't do the one on the Goat-god....\\n \\nMaxine Gadd\\n00:24:13\\nOkay, I'll do the Goat-god. Well okay, do you want to try improvising to a trip that's here? I'll let you read it. \\n \\nRichard (Dick) Sommer\\n00:24:22\\nSeriously, I'll do that? \\n \\nMaxine Gadd\\n00:24:23\\nYeah. It's just going to be some sounds. \\n \\nRichard (Dick) Sommer\\n00:24:24\\nOkay. I don't know if I can…[unintelligible].\\n \\nMaxine Gadd\\n00:24:27\\nI gotta find it first. What's that? Are we on? Oh, sorry. God. \\n \\nUnknown\\n00:24:38\\nAmbient Sound [voices].\\n \\nMaxine Gadd\\n00:24:39\\nWhat? The flute? I think it's over there. For fun...the same message...I'm asking...Richard's going to make some noise with my flute. \\n \\nRichard (Dick) Sommer\\n00:24:55\\nI'll make some noise if you'll give me a microphone. \\n \\nMaxine Gadd\\n00:24:57\\nOkay. Which one do you want? Let's share it. \\n \\nRichard (Dick) Sommer\\n00:25:01\\nGive me the [unintelligible].\\n \\nMaxine Gadd\\n00:25:02\\nIt goes with the poem. \\n \\nRichard (Dick) Sommer\\n00:25:05\\nWhen'd you do that? \\n \\nMaxine Gadd\\n00:25:06\\nWhat?\\n \\nRichard (Dick) Sommer\\n00:25:07\\nThis, this knot. \\n \\nMaxine Gadd\\n00:25:08\\nI tied myself into it. \\n \\nRichard (Dick) Sommer\\n00:25:11\\nOh, here we go. \\n \\nMaxine Gadd\\n00:25:12\\nI don't even know if I can find it. All these little pieces, pieces, pieces. Oh, here it is. Now how it goes, you have to keep quiet until...let's see now. He's never done this before.  \\n \\nRichard (Dick) Sommer\\n00:25:40\\nWhat did, yeah, what do you want me to do with it? \\n \\nMaxine Gadd\\n00:25:42\\nOkay, this is called \\\"Shore Animals\\\" and it's a speech piece with flute, and the flute has to listen. It can speak too. [Laughter]. You have to listen to it. You never heard it\\n \\nRichard (Dick) Sommer\\n00:25:57\\nI think it's learning how to speak. \\n \\nMaxine Gadd\\n00:26:01\\nIt's called \\\"Shore Animals,\\\" it's a speech piece with flute. \\n \\nMaxine Gadd\\n00:26:07\\nReads \\\"Shore Animals\\\" accompanied by Richard Sommer on flute.\\n \\nAudience\\n00:30:13\\nAudience.\\n\\nMaxine Gadd\\n00:30:15\\nMaybe I'll try to try that one…[audience applause continues throughout].\\n\\nRichard (Dick) Sommer\\n00:30:24\\nI'll give you your microphone back. \\n \\nMaxine Gadd\\n00:30:25\\nYes. How many minutes we got? \\n \\nRichard (Dick) Sommer\\n00:30:29\\nI don't know. [Unintelligible]. \\n \\nMaxine Gadd\\n00:30:35\\nOkay, I'm going to read, I'm going to do, this one's totally mindless, okay? It's dedicated to my friend Gerry Gilbert [https://www.wikidata.org/wiki/Q5552756] who used to like to do those trips. And you can go to sleep or something, because that's what I want you to do. \\n \\nMaxine Gadd\\n00:30:51\\nReads \\\"Cantaloup, 29 cents\\\".\\n \\nAudience\\n00:38:33\\nApplause. \\n \\nEND\\n00:38:37\\n[Unknown amount of time elapsed before start of next recording].\",\"notes\":\"Maxine Gadd reads several poems that were later collected in Lost Language (Coach House Press, 1982), one poem from air two (Air, 1971), but it is likely that many other poems went unpublished.\\n\\n00:00- Maxine Gadd reads, recording starts immediately, possible first line “Big there lady all come together...” [INDEX: from unknown source.]\\n02:20- Potential first line or continuation of last poem: “I promised to Hackett, though the        memory’s gone, of all I thought worthy to tell you, the person”.\\n02:29- Reads unknown poem, first line “The glistening tower in the ozone...”\\n11:10- Introduces unknown poem, first line “I am obedient to every sign...” [INDEX:    Armstrong, Collins, Riley, astronauts; from unknown source.]\\n11:29- Reads first line “I am obedient to every sign...”\\n15:48- Continues with “At this point there’s a maniac treading the stairs above my head...”\\n19:49- Continues with “No burn- the doctor promised this won’t hurt...”\\n24:12- Richard (Sommer?) asks for poem to be read, they sort out a collaboration with Richard and a flute [INDEX: God-goat poem, improvisation: music and poetry]\\n25:42- Gadd introduces “Shore Animals” [INDEX: from unknown source]\\n26:07- Reads “Shore Animals”, flute played by Richard\\n30:13- Sorting out of microphones, etc.\\n30:35- Introduces “Cantaloup, 29 cents” [INDEX: Gerry Gilbert; from unknown source]\\n30:51- Reads “Cantaloup, 29 cents”\\n38:37.60- END OF RECORDING.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/maxine-gadd-at-sgwu-1972/#2\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/maxine_gadd_i006-11-109-1.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"maxine_gadd_i006-11-109-1.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:21:09\",\"precision\":\"\",\"size\":\"50.8 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"maxine_gadd_i006-11-109-1.mp3 [File 1 of 4]\\n \\nRichard (Dick)  Sommer\\n00:00:00\\nI'd like to introduce you to two poets who are Vancouver [https://www.wikidata.org/wiki/Q24639] friends of mine. Their poetry is quite different, as you'll discover. But from my own point of view, they...I owe both of them a debt that is similar in both cases though neither probably knows it. They've made me, in their own ways, rethink my own feelings about  what ought to constitute poetry and poems. And in the case of Maxine Gadd, this thinking went into a review which was then sent to the Firepoint which then folded. So you may never see that. And in the case of Andy Schroeder [https://www.wikidata.org/wiki/Q4755619], found its way into a long tape harangue between the two of us on the subject of form in poetry. Which I think is now in the Sir George Williams Library [https://www.wikidata.org/wiki/Q5159005], where any of you can endure it if you wish to. At any rate, the first of these poets to read will be Maxine Gadd. There will be a fifteen minute break, and then Andreas Schroeder will read. Maxine. \\n \\nAudience\\n00:01:32\\nApplause. \\n \\nRichard (Dick) Sommer\\n00:02:01\\nYou're plugged in. \\n \\nMaxine Gadd\\n00:02:03\\nOh boy. Can you hear me? I don't know how much projection to do. I don't know how much to talk about the poetry. My connection is very loose to the mainstream I guess, because, I don't know, I'm just not socially related to what's going on maybe in the poetry reading. I guess my identifications with words are somewhat with a West Coast hippie trip. And between the country and the city, the first feeling being, you know, the desire for purity, you know when you're seventeen or eighteen years old and you've figured the country life is it. And later coming to realize the necessity of the communal life and the city. So I think that's a task I'm going to try to set myself right here. I...this...I'm going to read first of all the second \\\"well\\\" poem, which I did, experienced in the country, living in the country. I remember the first \\\"well\\\" poem, I don't remember where it's gone, because it didn't get published. I disregarded its importance, you know. I tended to take the judgment of editors, and you know, people that set themselves up as authorities, and that's why I'm here, you know. I've kept close enough to them, I guess. I remember the first one went something like, \\\"Wanting pure water I went to the well/too wonderful\\\"...and there was something about the oracle as the bucket clacked. This is the “Second Well Poem”. \\n \\nMaxine Gadd\\n00:03:57\\nReads \\\"Second Well Poem\\\" [published later as “Well poem” in Lost Language].\\n\\nMaxine Gadd\\n00:04:41\\nWhich is about where I feel right now. But that's about where my connection to poetry is right now. I wonder if that...I wonder if that one's around. I don't think it is. I guess I'll just take it as it comes. There's some scheme in this. I guess, I got published by a cat, by bill bissett [https://www.wikidata.org/wiki/Q4911496] you might have heard, who did the thing, did the guru thing, the super-energy thing of getting a lot of work done, and getting a lot of people's work out, and a lot of his work out, a lot of it was real shit but he got it out, you know, and some of it worked and some of it didn't, but there was so much of it, you know...I'd like to have had that confidence, you know, I guess almost, most people write poetry, they've got it all in their trunk, you know, they don't get it out. But I guess that's what it takes. This is from one of his first, really cheap magazines. He put, he...it's typed, you know. Pretty good typing. His typing got worse, I get very angry, he makes lots of mistakes. But he did a lot of drawings and things, if anybody wants to look at it, you know.  I mean, he did it minimum, you know, he was living really poor. And a lot of people still read his stuff, so, I mean, to me he was a folk poet in that sense, a lot of people still read his stuff because he got the stuff out cheap, you know. \\\"Trip\\\".\\n \\nMaxine Gadd\\n00:06:05\\nReads \\\"Trip\\\".\\n \\nMaxine Gadd\\n00:07:47\\nI'm going to go over there. This one is to a poet who is in the, is in another world, okay? He looks like a silver lizard, and he's very beautiful, and he knows all about the Greek trip, and Eleusis, which is one's talking about in the first poem, okay, the oracles from under the ground, that belief you must start out with. It's called...and it's admiration, as well as a bit of terror.\\n \\nMaxine Gadd\\n00:08:22\\nReads unnamed poem. \\n \\nMaxine Gadd\\n00:10:19\\nLeary, I should have mentioned, was Timothy Leary. Oh, I should have explained that before, yeah. Oh yeah, this is where I met...now I don't like it okay? And it's probably not a good poem. But that's, that's...you know, that's...the kind of art form I'd like to have seen as a collective art form, was what I yearned and hoped for. Poetry is what people write in rooms alone, and I don't like...I don't, you know, that's what I was stuck with. And I worked for a while with a group in Vancouver called, named, we called it \\\"Intermedia\\\". And I had the experience of working with a group, at one point there were five of us poets, you know, or what we called poets. And we'd go around to various places, we went to Edmonton [https://www.wikidata.org/wiki/Q2096] one time, and we tried things, we tried chanting and wailing, like, was it...who was that crazy old lady. Sitwell, Edith Sitwell [https://www.wikidata.org/wiki/Q259921], remember her? And if you ever heard the sort of sing, the song, sing sing she used to do, you know, we tried that. And it really worked, you know, but you'd go around and you'd say, \\\"Do you dig the poems?\\\" and they'd say, \\\"I can't hear them, but we really like your voice.\\\" You know. [Audience laughter]. So, you know, left that, you got an ache in the gut or something.   \\n \\nMaxine Gadd\\n00:11:37\\nReads \\\"Ratio\\\".\\n \\nMaxine Gadd\\n00:12:48\\nI don't like it. I don't want to be there. Here's one from last year. I got into printing stuff myself, you know, and I do that--I wish, oh, you can't see it, can you? It was mimeograph, it was real cheap, you know? And you could take images, you could take newspaper articles, you could take scraps of anything you saw that you dug, you know, put 'em together, and to me that was a, that was a form of concrete poetry. Can't, of course, I don't know, you couldn't really say that one or any number of them. This one is half-said, okay. Behind it I put a map, I found a map of B.C. [https://www.wikidata.org/wiki/Q1974]and Minster Island [https://www.wikidata.org/wiki/Q21906024] was a map, was an island I found once when I was working on a ship as a mess girl, on a freighter. \\n \\nMaxine Gadd\\n00:13:46\\nReads unnamed poem.\\n \\nMaxine Gadd\\n00:15:33\\nAnd where that ended up was just over the name Bella Coola [https://www.wikidata.org/wiki/Q815765], which is sort of where they do, can fish. There's no escape, though, you know? And...so then I want to read about Kitsilano [https://www.wikidata.org/wiki/Q4179275], where most of...I happened, you know, I grew up. Kitsilano's a sort of slum district of Vancouver. And it's disintegrating, and you probably all experienced this, you know, being city people, you know, they're bulldozing the places, there's no more cheap places to live, and so your friends, you know, you can't live there anymore, your friends can't live there anymore, so whatever you had, which was sometimes very heavy, you know, community's really beautiful, you know? I used to go over and play music with my friends. We had to move out, you know, because the city's being destroyed, and only the people who are well-to-do, who have some sort of stake in the city, you know, who are supporting the structure can stay. And this poem is about somebody who I met one day on the street, you know, and her story, she's sort of sick, just on the street, everything's falling to pieces. \\n \\nMaxine Gadd\\n00:16:55\\nReads “bee-people on 4th avenue” [published later in Lost Language].\\n\\nMaxine Gadd\\n00:18:32\\nWho's singing out there? But here, on the next street, you know, I ran into a friend of mine. Her name's Martina. And, you know, we're about the same age, and we've been through a lot of things, and, we've been through some bad things, you know, lots of rejections and refusal, no, there's no food now, you can't have any, go away, you know, fighting over somebody or other. \\n \\nMaxine Gadd\\n00:18:58\\nReads “4th ave” [published later in Lost Language].\\n \\nMaxine Gadd\\n00:20:49\\nUs old ladies. Okay, but that's not entirely true. I got involved into all that magic stuff, you know, the Sufis, and into politics, and like this summer I hope I'm going to start some sort of woman's centre, back where I live, you know. \\n \\nEND\\n00:21:09\\n[Unknown amount of time elapsed before start of next recording].\",\"notes\":\"Maxine Gadd reads several poems that were later collected in Lost Language (Coach House Press, 1982), one poem from air two (Air, 1971), but it is likely that many other poems went unpublished. \\n\\n00:00- Unknown Introducer (George Bowering?) introduces Andreas Schroeder and Maxine Gadd [INDEX: Vancouver poets, Firepoint magazine, tape interview between Schroeder and Introducer found in the Sir George Williams Library (not there anymore).]\\n02:03- Maxine Gadd introduces “The Second Well Poem”.  [INDEX: mainstream poetry, poetry scene (being outside of), country vs. city life, role of editors; perhaps published as “Well Poem” in Lost Language (1982).]\\n03:57- Reads “The Second Well Poem”.\\n04:41- Introduces “Trip”. [INDEX: Gadd’s connection to poetry, bill bissett publishing her    book, publishing poetry; from unknown source.]\\n06:05- Reads “Trip”.\\n07:47- Introduces unknown poem, first line “Robin has the horse in hand...”. [INDEX: Greek trip, Eleusis, oracles; from unknown source.]\\n08:22- Reads unknown poem, first line “Robin has the horse in hand...”.\\n10:19- Introduces “Ratio”. [INDEX: explains “Leary” from previous poem is Timothy Leary, \\tcollective art forms, working with Intermedia in Vancouver, poetry group traveled to Edmonton, Edith Sitwell.]\\n11:37- Reads “Ratio”.\\n12:48- Introduces unknown poem, first line “Heading up to Minster Island”. [INDEX: self        publishing poems, collages, form of concrete poetry, map of B.C., worked as a mess girl on a freighter.]\\n13:46- Reads unknown poem, first line “Heading up to Minster Island”.\\n15:33- Introduces “bee-people on 4th avenue”. [INDEX: Bella Coola, fishing, Kitsilano where she grew up, poverty and destruction of Vancouver; from Lost Language]\\n16:55- Reads “bee-people on 4th avenue”. \\n18:32- Introduces “4th ave.” [INDEX: friend of Gadd’s named Martina; from air two and Lost Language.]\\n18:58- Reads “4th ave.”\\n20:49- Begins to introduce another poem, unknown. [INDEX: Sufism, politics, hopes to start a  women’s centre.]\\n21:09.94- END OF RECORDING\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/maxine-gadd-at-sgwu-1972/#1\"}]"],"score":1.8530173},{"id":"1299","cataloger_name":["Masoumeh,Zaare"],"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":["Christopher Levenson at Sir George Williams University, The Poetry Series, 10 March 1972 "],"item_title_source":["Cataloguer"],"item_title_note":["\"CHRIS LEVINSON TAPE #1 OF 2 MASTER I006-11-104.1\" written on the spine of the tape's box. CHRIS LEVINSON refers to Chris Levenson. LEVINSON is misspelled. \"I006-11-104.1\" written on sticker on the reel. \"CHRIS LEVENSON TAPE #1 OF 2 MASTER 3-72--012-7 3 3/4 ips 1/2 track I006/SR104.1\" written on the front of the tape's box.\n\n\"CHRIS LEVINSON TAPE #2 OF 2 MASTER I006-11-104.2\" written on the spine of the tape's box. CHRIS LEVINSON refers to Chris Levenson. LEVINSON is misspelled. \"I006-11-104.2\" written on sticker on the reel. \"CHRIS LEVENSON TAPE #2 OF 2 MASTER 3-72--012-7 3 3/4 ips 1/2 track I006/SR104.2\" written on the front of the tape's box."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 6"],"item_identifiers":["[I006-11-104.1, I006-11-104.2]"],"creator_names":["Levenson, Christopher"],"creator_names_search":["Levenson, Christopher"],"creators":["[{\"url\":\"http://viaf.org/viaf/33620164\",\"name\":\"Levenson, Christopher\",\"dates\":\"1934-\",\"notes\":\"Poet, editor and translator Christopher Levenson was born in London, England in 1934. He studied at Cambridge University, the University of Bristol and at the University of Iowa, where he received his Master’s degree in 1970. Levenson edited Poetry from Cambridge (Fortune Press) in 1958 and was a contributor to New Poets, 1959: Iain Chrichton Smith, Karen Gershon, Christopher Levenson (Eyre & Spottiswoode, 1959) for which he won an Eric Gregory Award in 1960. His first book of poetry, Cairns, was published in 1969 in England by Chatto & Windus Press, followed by Stills in 1972, published by the same press. Levenson emigrated to Canada in 1968 and taught Creative Writing and Comparative Literature at Carleton University until 1999, becoming an Adjunct Professor. He then published Into the Open (Golden Dog Press, 1977) and The Journey Back (Sesame Press, 1978) which won the Archibald Lampman Award. Levenson has spent much time living in the Netherlands and in Germany, and translated both Seeking Hearts Solace (Aliquando Press, 1981) and Light of the World (Netherlandic Press, 1982). Arc Magazine was founded in 1978 with Michael Gnarowski, and Levenson served as main editor until 1988. In 1981, Levenson founded the Arc Reading Series in Ottawa, which ran for ten years. Levenson then published Arriving at night (Mosaic Press, 1986), Half Truths (Wolsak & Wynn, 1990) and Duplicities: New and Selected Poems (Mosaic Press, 1993). Levenson co-founded and served as series editor of the Harbinger Poetry Series at Carleton University Press from 1994-1999, and was a Reviews Editor for Literary Review of Canada in 1997 and English Studies in Canada from 1998-2002.  After retiring from Carleton University in 1999, he has taught at the University of St Petersburg, Russia (2002) and Kohinoor Business School in Indian (2004-2005). His most recent publications include The Bridge (Buschek Books, 2000) and Local Time (StoneFlower Press, 2006).\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Production_Date":[1972],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"Master\",\"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\":\"\"},{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"Master\",\"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","Reel to Reel"],"physical_compositions":["Magnetic Tape","Magnetic Tape"],"recording_type":["Analogue","Analogue"],"AV_type":["Audio","Audio"],"playback_mode":["Mono","Mono"],"Dates":["[{\"date\":\"1972 3 10\",\"type\":\"Production Date\",\"notes\":\"Date specified in written announcement \\\"Georgian Happenings\\\"\",\"source\":\"Supplemental Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"Location specified in written announcement \\\"Georgian Happenings\\\"\",\"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":["Christopher Levenson reads from Cairns (Chatto and Windus, 1969) and Stills (Chatto and Windus, 1972), as well as poems published later in books like Into the Open (Golden Dog Press, 1977) and The Journey Back (Sesame Press, 1978)."],"contents":["chris_levenson_i006-11-104-1.mp3 [File 1 of 2]\n\nIntroducer\n00:00:00\nAbout seven years ago, our lives intersected for about two years at the University of Iowa [https://www.wikidata.org/wiki/Q182973], where Christopher [https://www.wikidata.org/wiki/Q5112730], along with two or three other poets suddenly arrived, in that middle state [https://www.wikidata.org/wiki/Q1546?wprov=srpw1_0] in the United States [https://www.wikidata.org/wiki/Q30?wprov=srpw1_0], with not just English accents, but a whole body of literatures and languages behind them. Christopher was not just in the poetry workshop, but was doing a lot of translations from German and Dutch, writing his own poetry, was a kind of formidable character with these obscure languages, at least obscure to me at the time. He has since come on, after doing his Ph.D. at Carleton [https://www.wikidata.org/wiki/Q1041737] where he is an Assistant Professor of English. His third book of poems, Stills, is being published in the next few weeks by Chatto and Windus [https://www.wikidata.org/wiki/Q3666843], and should be looked for at your bookstores. He's asked for it to come but it hasn't arrived yet. So without any further delay, Christopher Levenson. \n \nChristopher Levenson\n00:01:54\nGood evening. Trying to decide what I'm going to read this evening, presents the same sort of problems that it always does, when one's being asked to divide oneself up into certain sections, decide which poems you like best, and you know, you love them all, and don't want to make any choices. And to find some headings, some pigeonholes. Well, I'm not very good at this, but I'll start off with a few poems about the United States, about Canada [https://www.wikidata.org/wiki/Q16?wprov=srpw1_0], starting off with places, and then move on to some slightly more personal ones, before the interval. Alright, the first poem I want to read is called \"Modus Vivendi\", which, it sounds a bit affected, having a foreign language titles, but I felt this said a little bit more than simply 'way of life' because ‘modus vivendi’ implies something very transitory, and that was one of the aspects of my first impressions at least of American life, that struck me very forcibly, this really came out of my very first day in the States, traveling from New York [https://www.wikidata.org/wiki/Q60] to Chicago [https://www.wikidata.org/wiki/Q1297?wprov=srpw1_0] by train.\n \nChristopher Levenson\n00:03:42\nReads \"Modus Vivendi\" [from Cairns].\n \nChristopher Levenson\n00:05:20\nThen, a poem that will be in stills called \"Metropolis\". Well I think this is self-explanatory, and in fact one of reasons why I like reading aloud, is because a fair number of my poems are self-explanatory and don't have to say too much about them. So I won't. \"Metropolis\".\n \nChristopher Levenson\n00:05:49\nReads \"Metropolis\" [from Stills].\n \nChristopher Levenson\n00:06:57\nThat, I suppose, really brands me as--emotionally speaking, as a European, because it's different here in Montreal [https://www.wikidata.org/wiki/Q340]. I've not been to Quebec [https://www.wikidata.org/wiki/Q2145] yet, it's different in one or two places, but on the whole, you know, I find myself looking in vain for this sense of a centre. Now, a poem that I wrote not too long ago in Ottawa [https://www.wikidata.org/wiki/Q1930]. Called \"Office\", it's a shorter one. Sort this out a bit. Last time I gave a reading, somebody knocked water all over it. Here we go.\n \nChristopher Levenson\n00:07:54\nReads \"Office\".\n \nChristopher Levenson\n00:08:15\nAnd then one which is my main claim so far, I suppose, to writing a Canadian poem, \"Horse Sleigh\", certainly it's not one that I could have written anywhere else. One of the kids is at nursery school and they take them out each winter on a horse sleigh ride, and I went along. So, of course, it's not really about a horse sleigh.  One word- half way through, the word 'revenants' these are ghosts that come back to their own--literally, their old haunts. And can't seem to keep away from the place. \"Horse Sleigh\".\n \nChristopher Levenson\n00:09:07\nReads \"Horse Sleigh\".\n \nChristopher Levenson\n00:09:57\nThen, another poem, based pretty obviously I think on personal experience, in the States. It's called \"A Bad Trip\", not mine, somebody else's, but this would be, this I felt was sort of enough to keep me off it. Anyway, \"A Bad Trip\".\n \nChristopher Levenson\n00:10:34\nReads \"A Bad Trip\" [from Stills].\n \nChristopher Levenson\n00:12:26\nThen, one which came a long, long time after I was actually told of this incident by my wife in fact, and it must be something like 1956, actually it happened, a carnival referred to is a German carnival, and I guess things have changed quite a bit since then. \"Song of the Unmarried Mother\".\n \nChristopher Levenson\n00:13:00\nReads \"Song of the Unmarried Mother\".\n \nChristopher Levenson\n00:14:28\nThen maybe have a little bit of pseudo light relief before we go on. \"Ballad of the Psycho-Analyst\". Which is another, sort of relic, but again not a personal one, this started off as a fine number of my poems do from things people say to me. The first two lines here, \"They took me across the river, they laid me up the hill\", were almost exactly what somebody said. And I took it from there. Alright, \"The Ballad of the Psycho-Analyst\".\n \nChristopher Levenson\n00:15:07\nReads \"The Ballad of the Psycho-Analyst\" [from Cairns].\n \nChristopher Levenson\n00:16:54\nAnd, I'll read a couple more, sort of more personal ones, I guess. Well, this isn't really, this poem called \"Old Friend\".\n \nChristopher Levenson\n00:17:16\nReads \"Old Friend\" [from Stills].\n \nChristopher Levenson\n00:19:11\nAnd, \"Maps\". I've always been fascinated by maps and I find looking through my poems, certain images keep on recurring. One of them is that of maps, another one, as maybe you'll see later, is of stones, [unintelligible] and so on. And what I'm referring to in the first section here are these old maps where great chunks have come true and not known and so they just put in a zephyr, a wind, you know, or a dragon, or a dolphin or something like that to  make up for their ignorance. \"Maps\".\n \nChristopher Levenson\n00:19:58\nReads \"Maps\" [from Stills].\n \nChristopher Levenson\n00:21:29\nThen, a thing in this first part, I'll just read. One found poem, and then two excerpts from a sort of longer work in process. The found poem, I dedicate to Howard and [Marty (?)] Fink because that's where I found it. It's called the \"Bowfoot Scale\". The beaufort scale is simply an explanation in terms of miles per hour, I've left that column out, and in terms of symptoms so to speak of these words that you hear on the weather reports, calm, slight breeze and so forth. \"Beaufort Scale\".\n \nChristopher Levenson\n00:22:21\nReads \"Beaufort Scale\".\n \nChristopher Levenson\n00:23:31\n[Laughter]. I dare say it's a found poem. It's not really mine. I get a lot of fun out of finding poems. Now these next two excerpts are from a poem which is tentatively entitled, \"Hopkins in Piccadilly\", it won't be called that in the end, it's just, it started off thinking what Gerard Manley Hopkins [https://www.wikidata.org/wiki/Q313693] would think of contemporary London [https://www.wikidata.org/wiki/Q84], but it soon left that idea behind and what it's going to be now is a poem in several sections about various aspects of London. Trying to use as many words in my poems that I don't normally use in poems, you know, or that one does not normally see used in poems, and so a lot of, words which are not normally part of my poetic vocabulary. I'm not trying to be arch or archaic or anything like that, simply to expand my vocabulary and, hope to, therefore, I can say new things. Now the two that I've got semi finished, or at least enough to read, one's called \"Charing Cross Road\", if you know London, England [https://www.wikidata.org/wiki/Q21], you'll know that this is the road in which you find both some very good book shops and a lot of very sleazy so called hygienic stores, and it's this aspect I'm concentrating on there, and then the second one is on Hyde Park [https://www.wikidata.org/wiki/Q123738], with the idea of the public speakers and the orators. \"Charing Cross Road\" then.\n \nChristopher Levenson\n00:25:25\nReads \"Charing Cross Road\".\n \nChristopher Levenson\n00:26:34\nThat's as far as I've got with that bit so far. The next one, \"Hyde Park\", the Hyde Park Speaker's Corner [https://www.wikidata.org/wiki/Q510323] is what I'm thinking of particularly.\n \nChristopher Levenson\n00:26:47\nReads \"Hyde Park\".\n \nChristopher Levenson\n00:28:41\nIt's not really supposed to follow quite on from that, but a little bit later. \"But still at least we have our language...\"\n \nChristopher Levenson\n00:28:48\nResumes reading “Hyde Park”.\n \nChristopher Levenson\n00:29:08\nThat's as far as I've got with that section too for the moment. And I believe the custom is, sometimes, at least, here to have a sort of five or ten minute break and then we will have about another twenty minutes afterwards, if that's alright with you.\n\nUnknown\n00:30:22\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nChristopher Levenson\n00:30:23\nI'll read a few so called political poems, they're not really political in the normal sense, not sort of party political or anything like that, simply concerned about relationships between people in the community or sort of national attitudes, that sort of thing, more than specific political issues. Although this first one that I'm going to read, \"Terrorist\", comes, I think, fairly obviously from a particular situation, with which you here are particularly well acquainted. I was thinking, particularly of the FLQ [https://www.wikidata.org/wiki/Q1129564] crisis [https://www.wikidata.org/wiki/Q27702], but it could apply to any terrorist.\n \nChristopher Levenson\n00:31:31\nReads \"Terrorist\" [published later in The Journey Back].\n \nChristopher Levenson\n00:32:35\nI suppose if I have a recurring theme in these quasi-political poems, it is that, the tyranny of the ideal if you like, the way in which we force things to become what we want them to become. Force ourselves to see things so that they fit into our pre-selected beliefs. Alright, a rather different sort of poem called \"The Facts of Life\".  This too will be in the book.\n\nChristopher Levenson\n00:33:13\nReads \"The Facts of Life\" [from Stills].\n \nEND\n00:35:25\n\n\nchris_levenson_i006-11-104-2.mp3 [File 2 of 2] \n\nChristopher Levenson\n00:00:00\nResumes reading \"The Facts of Life\" [from Stills].\n \nChristopher Levenson\n00:00:59\nAnd another poem that comes from the same sort of period, as I said, I like finding poems, and this one I found in the window of a pharmacy, this time they had notices saying 'watch for these danger signs', they were danger signs of cancer, and I call this little poem, which is, as I say, a political poem, so I won't explain the metaphor any further, \"Introduction to Cancer Diagnosis\".\n \nChristopher Levenson\n00:01:32\nReads \"Introduction to Cancer Diagnosis\" [from Stills].\n \nChristopher Levenson\n00:02:17\nAnother poem, \"Epitaph for a Killer\", I think you will probably remember the incident this starts from. Charles Whitman [https://www.wikidata.org/wiki/Q453209] going up the University library tower [https://www.wikidata.org/wiki/Q28403236] in Austin [https://www.wikidata.org/wiki/Q16559], Texas and just picking a few people off with his telescopic lens gun. And the thing that struck me when I read these reports, as it so often happened with Richard Speck [https://www.wikidata.org/wiki/Q944350] and all those other sort of, mass killers, that people said, 'oh, but he was such a nice boy, such an ordinary boy' you know, 'such a decent lad'. You know, how could anyone so ordinary, you know if he had long hair, or if he'd been a hippie, we would have expected it. But you know, because they didn't go 'round the little- labels on them, they were expected to have conformed completely, and of course they didn't. \"Epitaph for a Killer\".\n \nChristopher Levenson\n00:03:32\nReads \"Epitaph for a Killer\" [from Stills].\n \nChristopher Levenson\n00:04:49\nI always forget until I finish reading that poem that that last line is not self-explanatory. It's a disease--I think it's called Sickle disease--Pardon? [audience member addresses Levenson]. Sickle Cell Disease [https://www.wikidata.org/wiki/Q185034], okay. Which apparently affects mainly African Negroes, and this is some sort of deficiency in the blood quite simply, but something which is totally inexplicable in the genes anyway. Alright, another, one more sort of pseudo or quasi political poem, this one is called \"Boreland Burlap\". Again, I don't know if you know exactly what I am referring to, but I think the poem explains it sufficiently, the way you get trees transplanted whole nowadays.\n \nChristopher Levenson\n00:06:05\nReads \"Boreland Burlap\".\n \nChristopher Levenson\n00:07:05\nAnd now, a section of poems, well, I've put ironically, self-ironically, \"The Solution\" I mean, having presented some political problems--of course, there are no solutions. What I've tried to do in some of the poems I'm going to read now is simply to capture certain textures, or to suggest certain qualities that I admire, or certain aspects of character. The first, well I think probably the only rock poem I'm going to read this evening, called \"Fossil\".\n \nChristopher Levenson\n00:07:57\nReads \"Fossil\" [from Cairns].\n \nChristopher Levenson\n00:08:50\nThen, a short little poem called \"Moss\", I've got to find it. Well, come back to that in a minute as they say on CBC [https://www.wikidata.org/wiki/Q461761]. Oh here we are, I think, no. Yes, there we are, \"Moss\".\n \nChristopher Levenson\n00:09:22\nReads \"Moss\".\n \nChristopher Levenson\n00:09:44\nAnd now, \"Skyscraper\".\n \nChristopher Levenson\n00:09:54\nReads \"Skyscraper\".\n \nChristopher Levenson\n00:10:22\n\"Mediation on Trees\". This too, part of it is found, so to speak, found of all places, in 'Life’ [https://www.wikidata.org/wiki/Q463198]. The magazine 'Life', an article about a Japanese wood carver, and I'll try to indicate by the tone of my voice, which are the quotations, the rest of it's me of course. \"Meditation on Trees\".\n \nChristopher Levenson\n00:11:03\nReads \"Meditation on Trees\" [published later in The Journey Back].\n \nChristopher Levenson\n00:12:57\nI just realized, I mentioned to one or two people that I was going to read a poem called \"Ottawa\" and I haven't read it, so I'll slip it in now.\n\nChristopher Levenson\n00:13:07\nReads \"Ottawa\".\n \nChristopher Levenson\n00:13:41\nAnother poem called \"The Face of Holland\", again concerned with certain characteristics, here I'm trying to identify national characteristics and the various sort of puns, hereto--I think the only thing I need to explain perhaps are the polders of course the land that originally reclaimed by the sea and now enclosed by dykes. I think the rest of it's self-explanatory.\n\nChristopher Levenson\n00:14:19\nReads \"The Face of Holland\" [published later in The Journey Back].\n \nChristopher Levenson\n00:15:47\nI think I'll read three more poems if you bear with me, these come under the general heading of 'Art', really the relationship of art to life, though this first one is at least, would-be light poem, called \"The Quartet\", to Carleton, where I teach now. We have a series of concerts in the winter, and most of them are pretty good but one particular one wasn't and it set me thinking about the whole marvelous artificiality of chamber music in a way.\n \nChristopher Levenson\n00:16:37\nReads \"The Quartet\" [from Stills].\n \nChristopher Levenson\n00:18:14\nThen, a poem called \"Watch the Birdie\" which is about the cost of art in human terms. If you know what a sea urchin is like in its natural and in its final state, final [unintelligible] state, it'll help. You know they're all, like, sort of hedgehogs or porcupines and you have to scrape all the spines off and then gauge the insides out, but that's described in lurid detail.\n\nChristopher Levenson\n00:19:02\nReads \"Watch the Birdie\" [from Stills].\n \nChristopher Levenson\n00:20:18\nThat sounds a bit pretentious, I'm afraid, those last four words in Latin, but it means \"you also\", or \"you likewise\", and I know gulls' cries don't really sound like that but, that seemed to me the briefest most concise way of making that point at the end of the poem. Finally, a poem which attempts to link love and art. Called \"Bathysphere\", or rather the kind of knowledge involved in both.\n \nChristopher Levenson\n00:21:11\nReads \"Bathysphere\" [published later in Into The Open].\n \nEND\n00:22:51\n"],"Note":["[{\"note\":\"Local connections: \\n\\nAccording to the transcript, Levenson and Fink met at the University of Iowa. Since moving to Canada, Levenson’s primary focus has been on the promotion and study of Canadian literature, and he has served on many editorial boards and organized reading series to strengthen the Canadian literary community.\",\"type\":\"General\"},{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Sarah MacDonell & Ali Barillaro\\n\",\"type\":\"Cataloguer\"},{\"note\":\"2 reel-to-reel tapes>CD>2 digital files\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"http://www.writersunion.ca/ww_profile.asp?mem=1141&L=\",\"citation\":\"“Christopher Levenson”. The Writer’s Union of Canada, Members’ Pages. September 16, 2009. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/christopher-levenson-at-sgwu-1972/#2\",\"citation\":\"“Georgian Happenings”. The Georgian. Montreal: Sir George Williams University, 10 March 1972.\\n\"},{\"url\":\"https://www.worldcat.org/title/cairns/oclc/729779089&referer=brief_results\",\"citation\":\"Levenson, Christopher. Cairns. London: Chatto and Windus, 1969. \"},{\"url\":\"https://www.worldcat.org/title/into-the-open-poems/oclc/3794830&referer=brief_results\",\"citation\":\"Levenson, Christopher. Into the Open. Ottawa: Golden Dog Press, 1977. \"},{\"url\":\"https://www.worldcat.org/title/stills/oclc/484767872&referer=brief_results\",\"citation\":\"Levenson, Christopher. Stills. London: Chatto and Windus, 1972. \"},{\"url\":\"https://www.worldcat.org/title/journey-back-and-other-poems/oclc/722588448&referer=brief_results\",\"citation\":\"Levenson, Christopher. The Journey Back. Windsor: Sesame Press, 1978. \"},{\"url\":\"https://www.worldcat.org/title/levenson-christopher-b-1934/oclc/4811302892&referer=brief_results\",\"citation\":\"Stevens, Peter. \\\"Levenson, Christopher\\\". The Oxford Companion to Canadian Literature. \"},{\"url\":\"\",\"citation\":\"\\\"Christopher Levenson.\\\" Contemporary Authors Online; Detroit: Gale, 2001. \"}]"],"_version_":1853670548953890816,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0104-1_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0104-1_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Christopher Levenson Tape Box 1 - 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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_0104-2_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0104-2_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Christopher Levenson 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/chris_levenson_i006-11-104-1.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"chris_levenson_i006-11-104-1.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:35:25\",\"precision\":\"\",\"size\":\"85 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"chris_levenson_i006-11-104-1.mp3 [File 1 of 2]\\n\\nIntroducer\\n00:00:00\\nAbout seven years ago, our lives intersected for about two years at the University of Iowa [https://www.wikidata.org/wiki/Q182973], where Christopher [https://www.wikidata.org/wiki/Q5112730], along with two or three other poets suddenly arrived, in that middle state [https://www.wikidata.org/wiki/Q1546?wprov=srpw1_0] in the United States [https://www.wikidata.org/wiki/Q30?wprov=srpw1_0], with not just English accents, but a whole body of literatures and languages behind them. Christopher was not just in the poetry workshop, but was doing a lot of translations from German and Dutch, writing his own poetry, was a kind of formidable character with these obscure languages, at least obscure to me at the time. He has since come on, after doing his Ph.D. at Carleton [https://www.wikidata.org/wiki/Q1041737] where he is an Assistant Professor of English. His third book of poems, Stills, is being published in the next few weeks by Chatto and Windus [https://www.wikidata.org/wiki/Q3666843], and should be looked for at your bookstores. He's asked for it to come but it hasn't arrived yet. So without any further delay, Christopher Levenson. \\n \\nChristopher Levenson\\n00:01:54\\nGood evening. Trying to decide what I'm going to read this evening, presents the same sort of problems that it always does, when one's being asked to divide oneself up into certain sections, decide which poems you like best, and you know, you love them all, and don't want to make any choices. And to find some headings, some pigeonholes. Well, I'm not very good at this, but I'll start off with a few poems about the United States, about Canada [https://www.wikidata.org/wiki/Q16?wprov=srpw1_0], starting off with places, and then move on to some slightly more personal ones, before the interval. Alright, the first poem I want to read is called \\\"Modus Vivendi\\\", which, it sounds a bit affected, having a foreign language titles, but I felt this said a little bit more than simply 'way of life' because ‘modus vivendi’ implies something very transitory, and that was one of the aspects of my first impressions at least of American life, that struck me very forcibly, this really came out of my very first day in the States, traveling from New York [https://www.wikidata.org/wiki/Q60] to Chicago [https://www.wikidata.org/wiki/Q1297?wprov=srpw1_0] by train.\\n \\nChristopher Levenson\\n00:03:42\\nReads \\\"Modus Vivendi\\\" [from Cairns].\\n \\nChristopher Levenson\\n00:05:20\\nThen, a poem that will be in stills called \\\"Metropolis\\\". Well I think this is self-explanatory, and in fact one of reasons why I like reading aloud, is because a fair number of my poems are self-explanatory and don't have to say too much about them. So I won't. \\\"Metropolis\\\".\\n \\nChristopher Levenson\\n00:05:49\\nReads \\\"Metropolis\\\" [from Stills].\\n \\nChristopher Levenson\\n00:06:57\\nThat, I suppose, really brands me as--emotionally speaking, as a European, because it's different here in Montreal [https://www.wikidata.org/wiki/Q340]. I've not been to Quebec [https://www.wikidata.org/wiki/Q2145] yet, it's different in one or two places, but on the whole, you know, I find myself looking in vain for this sense of a centre. Now, a poem that I wrote not too long ago in Ottawa [https://www.wikidata.org/wiki/Q1930]. Called \\\"Office\\\", it's a shorter one. Sort this out a bit. Last time I gave a reading, somebody knocked water all over it. Here we go.\\n \\nChristopher Levenson\\n00:07:54\\nReads \\\"Office\\\".\\n \\nChristopher Levenson\\n00:08:15\\nAnd then one which is my main claim so far, I suppose, to writing a Canadian poem, \\\"Horse Sleigh\\\", certainly it's not one that I could have written anywhere else. One of the kids is at nursery school and they take them out each winter on a horse sleigh ride, and I went along. So, of course, it's not really about a horse sleigh.  One word- half way through, the word 'revenants' these are ghosts that come back to their own--literally, their old haunts. And can't seem to keep away from the place. \\\"Horse Sleigh\\\".\\n \\nChristopher Levenson\\n00:09:07\\nReads \\\"Horse Sleigh\\\".\\n \\nChristopher Levenson\\n00:09:57\\nThen, another poem, based pretty obviously I think on personal experience, in the States. It's called \\\"A Bad Trip\\\", not mine, somebody else's, but this would be, this I felt was sort of enough to keep me off it. Anyway, \\\"A Bad Trip\\\".\\n \\nChristopher Levenson\\n00:10:34\\nReads \\\"A Bad Trip\\\" [from Stills].\\n \\nChristopher Levenson\\n00:12:26\\nThen, one which came a long, long time after I was actually told of this incident by my wife in fact, and it must be something like 1956, actually it happened, a carnival referred to is a German carnival, and I guess things have changed quite a bit since then. \\\"Song of the Unmarried Mother\\\".\\n \\nChristopher Levenson\\n00:13:00\\nReads \\\"Song of the Unmarried Mother\\\".\\n \\nChristopher Levenson\\n00:14:28\\nThen maybe have a little bit of pseudo light relief before we go on. \\\"Ballad of the Psycho-Analyst\\\". Which is another, sort of relic, but again not a personal one, this started off as a fine number of my poems do from things people say to me. The first two lines here, \\\"They took me across the river, they laid me up the hill\\\", were almost exactly what somebody said. And I took it from there. Alright, \\\"The Ballad of the Psycho-Analyst\\\".\\n \\nChristopher Levenson\\n00:15:07\\nReads \\\"The Ballad of the Psycho-Analyst\\\" [from Cairns].\\n \\nChristopher Levenson\\n00:16:54\\nAnd, I'll read a couple more, sort of more personal ones, I guess. Well, this isn't really, this poem called \\\"Old Friend\\\".\\n \\nChristopher Levenson\\n00:17:16\\nReads \\\"Old Friend\\\" [from Stills].\\n \\nChristopher Levenson\\n00:19:11\\nAnd, \\\"Maps\\\". I've always been fascinated by maps and I find looking through my poems, certain images keep on recurring. One of them is that of maps, another one, as maybe you'll see later, is of stones, [unintelligible] and so on. And what I'm referring to in the first section here are these old maps where great chunks have come true and not known and so they just put in a zephyr, a wind, you know, or a dragon, or a dolphin or something like that to  make up for their ignorance. \\\"Maps\\\".\\n \\nChristopher Levenson\\n00:19:58\\nReads \\\"Maps\\\" [from Stills].\\n \\nChristopher Levenson\\n00:21:29\\nThen, a thing in this first part, I'll just read. One found poem, and then two excerpts from a sort of longer work in process. The found poem, I dedicate to Howard and [Marty (?)] Fink because that's where I found it. It's called the \\\"Bowfoot Scale\\\". The beaufort scale is simply an explanation in terms of miles per hour, I've left that column out, and in terms of symptoms so to speak of these words that you hear on the weather reports, calm, slight breeze and so forth. \\\"Beaufort Scale\\\".\\n \\nChristopher Levenson\\n00:22:21\\nReads \\\"Beaufort Scale\\\".\\n \\nChristopher Levenson\\n00:23:31\\n[Laughter]. I dare say it's a found poem. It's not really mine. I get a lot of fun out of finding poems. Now these next two excerpts are from a poem which is tentatively entitled, \\\"Hopkins in Piccadilly\\\", it won't be called that in the end, it's just, it started off thinking what Gerard Manley Hopkins [https://www.wikidata.org/wiki/Q313693] would think of contemporary London [https://www.wikidata.org/wiki/Q84], but it soon left that idea behind and what it's going to be now is a poem in several sections about various aspects of London. Trying to use as many words in my poems that I don't normally use in poems, you know, or that one does not normally see used in poems, and so a lot of, words which are not normally part of my poetic vocabulary. I'm not trying to be arch or archaic or anything like that, simply to expand my vocabulary and, hope to, therefore, I can say new things. Now the two that I've got semi finished, or at least enough to read, one's called \\\"Charing Cross Road\\\", if you know London, England [https://www.wikidata.org/wiki/Q21], you'll know that this is the road in which you find both some very good book shops and a lot of very sleazy so called hygienic stores, and it's this aspect I'm concentrating on there, and then the second one is on Hyde Park [https://www.wikidata.org/wiki/Q123738], with the idea of the public speakers and the orators. \\\"Charing Cross Road\\\" then.\\n \\nChristopher Levenson\\n00:25:25\\nReads \\\"Charing Cross Road\\\".\\n \\nChristopher Levenson\\n00:26:34\\nThat's as far as I've got with that bit so far. The next one, \\\"Hyde Park\\\", the Hyde Park Speaker's Corner [https://www.wikidata.org/wiki/Q510323] is what I'm thinking of particularly.\\n \\nChristopher Levenson\\n00:26:47\\nReads \\\"Hyde Park\\\".\\n \\nChristopher Levenson\\n00:28:41\\nIt's not really supposed to follow quite on from that, but a little bit later. \\\"But still at least we have our language...\\\"\\n \\nChristopher Levenson\\n00:28:48\\nResumes reading “Hyde Park”.\\n \\nChristopher Levenson\\n00:29:08\\nThat's as far as I've got with that section too for the moment. And I believe the custom is, sometimes, at least, here to have a sort of five or ten minute break and then we will have about another twenty minutes afterwards, if that's alright with you.\\n\\nUnknown\\n00:30:22\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nChristopher Levenson\\n00:30:23\\nI'll read a few so called political poems, they're not really political in the normal sense, not sort of party political or anything like that, simply concerned about relationships between people in the community or sort of national attitudes, that sort of thing, more than specific political issues. Although this first one that I'm going to read, \\\"Terrorist\\\", comes, I think, fairly obviously from a particular situation, with which you here are particularly well acquainted. I was thinking, particularly of the FLQ [https://www.wikidata.org/wiki/Q1129564] crisis [https://www.wikidata.org/wiki/Q27702], but it could apply to any terrorist.\\n \\nChristopher Levenson\\n00:31:31\\nReads \\\"Terrorist\\\" [published later in The Journey Back].\\n \\nChristopher Levenson\\n00:32:35\\nI suppose if I have a recurring theme in these quasi-political poems, it is that, the tyranny of the ideal if you like, the way in which we force things to become what we want them to become. Force ourselves to see things so that they fit into our pre-selected beliefs. Alright, a rather different sort of poem called \\\"The Facts of Life\\\".  This too will be in the book.\\n\\nChristopher Levenson\\n00:33:13\\nReads \\\"The Facts of Life\\\" [from Stills].\\n \\nEND\\n00:35:25\\n\",\"notes\":\"Christopher Levenson reads from Cairns (Chatto and Windus, 1969) and Stills (Chatto and Windus, 1972), as well as poems published later in books like Into the Open (Golden Dog Press, 1977) and The Journey Back (Sesame Press, 1978).\\n\\n00:00- Unknown male Introduces Christopher Levenson [INDEX: University of Iowa, United  \\tStates, translations from German and Dutch, Ph.D., Carleton University- Assistant       \\tProfessor of English, Stills published by Chatto and Windus]\\n01:54- Christopher introduces “Modus Vivendi” [INDEX: selecting poems for reading, poems   about United States and Canada, traveling from New York to Chicago by train]\\n03:42- Reads “Modus Vivendi”.\\n05:20- Introduces “Metropolis” [INDEX: process of reading out loud]\\n05:49- Reads “Metropolis”\\n06:57- Introduces “Office” [INDEX: European sentimentality, Montreal, Ottawa]\\n07:54- Reads “Office”\\n08:15- Introduces “Horse Sleigh” [INDEX: 'Canadian poem']\\n09:07- Reads “Horse Sleigh”\\n09:57- Introduces “A Bad Trip”\\n10:34- Reads “A Bad Trip”\\n12:26- Introduces “Song of the Unmarried Mother” [INDEX: German Carnival]\\n13:00- Reads “Song of the Unmarried Mother”\\n14:28- Introduces “The Ballad of the Psychoanalyst”\\n15:07- Reads “The Ballad of the Psychoanalyst”\\n16:54- Introduces “Old Friend”\\n17:16- Reads “Old Friend”\\n19:11- Introduces “Maps” [INDEX: images in his poetry: maps and stones]\\n19:58- Reads “Maps”\\n21:29- Introduces “Bowfoot Scale” [INDEX: found poem, Howard and Marty Fink [?], weather reports]\\n22:21- Reads “Bowfoot Scale”\\n23:31- Introduces “Charing Cross Road” [excerpts from “Hopkins in Piccadilly”] [INDEX:   \\tGerald Manley Hopkins, London, poetic vocabulary]\\n25:25- Reads “Charing Cross Road”\\n26:34- Introduces “Hyde Park” [also excerpt from “Hopkins in Piccadilly”]\\n26:47- Reads “Hyde Park”\\n29:08- Calls a break\\n30:33- Resumes from break, introduces “Terrorist” [INDEX: ‘Political poems’, FLQ crisis]\\n31:31- Reads “Terrorist”\\n32:35- Introduces “The Facts of Life” [INDEX: quasi-political poems, tyranny of the ideal]\\n33:13- Reads “The Facts of Life”\\n35:25.57- END OF RECORDING\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/christopher-levenson-at-sgwu-1972/#1\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/chris_levenson_i006-11-104-2.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"chris_levenson_i006-11-104-2.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:22:51\",\"precision\":\"\",\"size\":\"54.9 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"chris_levenson_i006-11-104-2.mp3 [File 2 of 2] \\n\\nChristopher Levenson\\n00:00:00\\nResumes reading \\\"The Facts of Life\\\" [from Stills].\\n \\nChristopher Levenson\\n00:00:59\\nAnd another poem that comes from the same sort of period, as I said, I like finding poems, and this one I found in the window of a pharmacy, this time they had notices saying 'watch for these danger signs', they were danger signs of cancer, and I call this little poem, which is, as I say, a political poem, so I won't explain the metaphor any further, \\\"Introduction to Cancer Diagnosis\\\".\\n \\nChristopher Levenson\\n00:01:32\\nReads \\\"Introduction to Cancer Diagnosis\\\" [from Stills].\\n \\nChristopher Levenson\\n00:02:17\\nAnother poem, \\\"Epitaph for a Killer\\\", I think you will probably remember the incident this starts from. Charles Whitman [https://www.wikidata.org/wiki/Q453209] going up the University library tower [https://www.wikidata.org/wiki/Q28403236] in Austin [https://www.wikidata.org/wiki/Q16559], Texas and just picking a few people off with his telescopic lens gun. And the thing that struck me when I read these reports, as it so often happened with Richard Speck [https://www.wikidata.org/wiki/Q944350] and all those other sort of, mass killers, that people said, 'oh, but he was such a nice boy, such an ordinary boy' you know, 'such a decent lad'. You know, how could anyone so ordinary, you know if he had long hair, or if he'd been a hippie, we would have expected it. But you know, because they didn't go 'round the little- labels on them, they were expected to have conformed completely, and of course they didn't. \\\"Epitaph for a Killer\\\".\\n \\nChristopher Levenson\\n00:03:32\\nReads \\\"Epitaph for a Killer\\\" [from Stills].\\n \\nChristopher Levenson\\n00:04:49\\nI always forget until I finish reading that poem that that last line is not self-explanatory. It's a disease--I think it's called Sickle disease--Pardon? [audience member addresses Levenson]. Sickle Cell Disease [https://www.wikidata.org/wiki/Q185034], okay. Which apparently affects mainly African Negroes, and this is some sort of deficiency in the blood quite simply, but something which is totally inexplicable in the genes anyway. Alright, another, one more sort of pseudo or quasi political poem, this one is called \\\"Boreland Burlap\\\". Again, I don't know if you know exactly what I am referring to, but I think the poem explains it sufficiently, the way you get trees transplanted whole nowadays.\\n \\nChristopher Levenson\\n00:06:05\\nReads \\\"Boreland Burlap\\\".\\n \\nChristopher Levenson\\n00:07:05\\nAnd now, a section of poems, well, I've put ironically, self-ironically, \\\"The Solution\\\" I mean, having presented some political problems--of course, there are no solutions. What I've tried to do in some of the poems I'm going to read now is simply to capture certain textures, or to suggest certain qualities that I admire, or certain aspects of character. The first, well I think probably the only rock poem I'm going to read this evening, called \\\"Fossil\\\".\\n \\nChristopher Levenson\\n00:07:57\\nReads \\\"Fossil\\\" [from Cairns].\\n \\nChristopher Levenson\\n00:08:50\\nThen, a short little poem called \\\"Moss\\\", I've got to find it. Well, come back to that in a minute as they say on CBC [https://www.wikidata.org/wiki/Q461761]. Oh here we are, I think, no. Yes, there we are, \\\"Moss\\\".\\n \\nChristopher Levenson\\n00:09:22\\nReads \\\"Moss\\\".\\n \\nChristopher Levenson\\n00:09:44\\nAnd now, \\\"Skyscraper\\\".\\n \\nChristopher Levenson\\n00:09:54\\nReads \\\"Skyscraper\\\".\\n \\nChristopher Levenson\\n00:10:22\\n\\\"Mediation on Trees\\\". This too, part of it is found, so to speak, found of all places, in 'Life’ [https://www.wikidata.org/wiki/Q463198]. The magazine 'Life', an article about a Japanese wood carver, and I'll try to indicate by the tone of my voice, which are the quotations, the rest of it's me of course. \\\"Meditation on Trees\\\".\\n \\nChristopher Levenson\\n00:11:03\\nReads \\\"Meditation on Trees\\\" [published later in The Journey Back].\\n \\nChristopher Levenson\\n00:12:57\\nI just realized, I mentioned to one or two people that I was going to read a poem called \\\"Ottawa\\\" and I haven't read it, so I'll slip it in now.\\n\\nChristopher Levenson\\n00:13:07\\nReads \\\"Ottawa\\\".\\n \\nChristopher Levenson\\n00:13:41\\nAnother poem called \\\"The Face of Holland\\\", again concerned with certain characteristics, here I'm trying to identify national characteristics and the various sort of puns, hereto--I think the only thing I need to explain perhaps are the polders of course the land that originally reclaimed by the sea and now enclosed by dykes. I think the rest of it's self-explanatory.\\n\\nChristopher Levenson\\n00:14:19\\nReads \\\"The Face of Holland\\\" [published later in The Journey Back].\\n \\nChristopher Levenson\\n00:15:47\\nI think I'll read three more poems if you bear with me, these come under the general heading of 'Art', really the relationship of art to life, though this first one is at least, would-be light poem, called \\\"The Quartet\\\", to Carleton, where I teach now. We have a series of concerts in the winter, and most of them are pretty good but one particular one wasn't and it set me thinking about the whole marvelous artificiality of chamber music in a way.\\n \\nChristopher Levenson\\n00:16:37\\nReads \\\"The Quartet\\\" [from Stills].\\n \\nChristopher Levenson\\n00:18:14\\nThen, a poem called \\\"Watch the Birdie\\\" which is about the cost of art in human terms. If you know what a sea urchin is like in its natural and in its final state, final [unintelligible] state, it'll help. You know they're all, like, sort of hedgehogs or porcupines and you have to scrape all the spines off and then gauge the insides out, but that's described in lurid detail.\\n\\nChristopher Levenson\\n00:19:02\\nReads \\\"Watch the Birdie\\\" [from Stills].\\n \\nChristopher Levenson\\n00:20:18\\nThat sounds a bit pretentious, I'm afraid, those last four words in Latin, but it means \\\"you also\\\", or \\\"you likewise\\\", and I know gulls' cries don't really sound like that but, that seemed to me the briefest most concise way of making that point at the end of the poem. Finally, a poem which attempts to link love and art. Called \\\"Bathysphere\\\", or rather the kind of knowledge involved in both.\\n \\nChristopher Levenson\\n00:21:11\\nReads \\\"Bathysphere\\\" [published later in Into The Open].\\n \\nEND\\n00:22:51\\n\",\"notes\":\"Christopher Levenson reads from Cairns (Chatto and Windus, 1969) and Stills (Chatto and Windus, 1972), as well as poems published later in books like Into the Open (Golden Dog Press, 1977) and The Journey Back (Sesame Press, 1978).\\n \\n00:00- [Recording starts mid-sentence] Reads “Notes for Foreign Students”.\\n00:59- Introduces “Introduction to Cancer Diagnosis” [INDEX: found poems, ‘political poem’]\\n01:32- Reads “Introduction to Cancer Diagnosis”\\n02:17- Introduces “Epitaph for a Killer” [INDEX: Charles Whitman, Austin Texas, Richard  \\tSpeck, people’s impressions of serial killers]\\n03:32- Reads “Epitaph for a Killer”\\n04:49- Explains last line of “Epitaph for a Killer”, introduces “Boreland Burlap” [INDEX: \\tSickle Cell disease, transplantation of trees]\\n06:05- Reads “Boreland Burlap”\\n07:05- Introduces section of poems called “The Solution” and “Fossil”\\n07:57- Reads “Fossil”\\n08:50- Introduces “Moss” [INDEX: CBC]\\n09:22- Reads “Moss”\\n09:44- Reads “Skyscraper”\\n10:22- Introduces “Meditation on Trees” [INDEX: found poem, Life Magazine, article on a   \\tJapanese wood carver]\\n11:03- Reads “Meditation on Trees”\\n12:57- Introduces “Ottawa”\\n13:07- Reads “Ottawa”\\n13:41- Introduces “The Face of Holland” [INDEX: national characteristics, Dutch Polders]\\n14:19- Reads “The Face of Holland”\\n15:47- Introduces “The Quartet” [INDEX: ‘Art’, Carleton University’s series of concerts in   \\twinter, chamber music]\\n16:37- Reads “The Quartet”\\n18:14- Introduces “Watch the Birdie” [INDEX: cost of art in human terms, sea urchin,   hedgehogs, porcupines]\\n19:02- Reads “Watch the Birdie”\\n20:18- Explains last line of “Watch the Birdie”, introduces “Bathysphere” [INDEX: Latin         \\tdefinition, linking love and art]\\n21:11- Reads “Bathysphere”\\n22:51.34- END OF RECORDING\\n\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/christopher-levenson-at-sgwu-1972/#2\"}]"],"score":1.8530173},{"id":"1300","cataloger_name":["Masoumeh,Zaare"],"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":[" L.E. Sissman at Sir George Williams University, The Poetry Series, 7 April 1972"],"item_title_source":["Cataloguer"],"item_title_note":["\"TAPE #1 OF 1 L.E. SISSMAN MASTER I006/SR110\" written on the spine of the tape's box. \"I006-11-110\" written on sticker on the reel. \"L.E. SISSMAN APRIL 6/72 TAPE #1 OF 1 4-72--012-8 MASTER 3 3/4 ips 1/2 track\" written on the front of the tape's box"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 6"],"item_identifiers":["[]"],"creator_names":["Sissman, Louis Edward"],"creator_names_search":["Sissman, Louis Edward"],"creators":["[{\"url\":\"http://viaf.org/viaf/65248808\",\"name\":\"Sissman, Louis Edward\",\"dates\":\"1928-1976 \",\"notes\":\"Born on New Year’s Day of 1928, poet Louis Edward (L.E.) Sissman grew up in Detroit, Michigan. At the age of thirteen, Sissman won the National Spelling Bee in Washington and was aired on national radio as a Quiz Kid. He entered Harvard at the young age of sixteen in 1944. In 1946, however, he was dismissed, got a job as a stack boy in the Boston Public Library, and began writing poetry. Sissman and a few of his classmates founded a literary magazine, Halcyon, which only ran for two issues, but nevertheless received contributions from e.e. cummings and Wallace Stevens. Sissman was readmitted to Harvard in 1948 and received Harvard’s Garrison Poetry Prize. He graduated cum laude in 1949, elected class poet. He then moved to New York and worked as a copy editor, until returning to Boston in 1952. By this time, he had stopped writing poetry. Sissman worked as an aide to John F. Kennedy’s first Senate campaign as well as various smaller jobs. In 1956 he was hired as a copywriter for the advertising firm of Kenyon and Eckhardt. By 1969, he was the vice president and creative director of the same firm. In 1963, he started to write poetry again. Sissman was diagnosed with the then-incurable Hodgkin’s disease in 1965, encouraging him to write more and more verse. He was awarded the Guggenheim fellowship in 1968, a grant from the National Institute of Arts and Letters in 1969. Sissman published his first book of poetry in 1968, Dying: An Introduction (Little, Brown and Company), and Pursuit of Honor in 1971 (Little, Brown and Company). He began writing reviews for the New Yorker, and in 1975 Innocent Bystander: The Scene from the 70’s was published (Vanguard Press). L.E. Sissman wrote up until his death in 1976. His unpublished poems were collected with previously published poems in Hello, Darkness: The Collected Poems of L.E. Sissman (Little, Brown and Company) in 1978.\\n\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Hoffman, Stanton"],"contributors_names_search":["Hoffman, Stanton"],"contributors":["[{\"url\":\"\",\"name\":\"Hoffman, Stanton\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Presenter\"]}]"],"Presenter_name":["Hoffman, Stanton"],"Series_organizer_name":["Hoffman, Stanton"],"Performance_Date":[1972],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"Master\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"01:30:00\",\"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\":\"1972 4 7\",\"type\":\"Performance Date\",\"notes\":\"Date written on the front of the tape's box and in written announcement \\\"Georgian Happenings\\\"\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"Location specified in written announcement \\\"Georgian Happenings\\\"\",\"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":["L.E. Sissman reads from his first three books, Dying: An Introduction (Little, Brown 1968), Scattered Returns (Little, Brown 1969), and Pursuit of Honor (Little, Brown 1971), as well as poems that were new at the time and published posthumously in Hello, Darkness: The Collected Poems of L.E. Sissman (Little, Brown 1978)."],"contents":["le_sissman_i006-11-110.mp3\n\nStanton Hoffman\n00:00:00\nL.E. Sissman's three books of poems are Dying: An Introduction, Scattered Returns and Pursuit of Honor. The poet James Atlas made the following observation about Scattered Returns that it \"engages a voice so casual, so tuneless that the depression which pervades each page is in danger of being overlooked. Not the shrill agony of despair, but the flat surfaces of the unfulfilled or what characterizes his diction\". But also I'd like to take a line from a Sissman poem out of context, \"evidently, even desperation leads a charmed life\". Ladies and gentleman, L.E. Sissman.\n \nL.E. Sissman\n00:00:45\nThank you. Well let me begin by refuting one of those statements that Stanley just made, Stanton, I'm sorry, just made. I was not a singing vacuum cleaner salesman, that was a canard that was incorporated into my vita by my publisher, who misread a biographical note I wrote. I once worked for a vacuum cleaner company that made its salesmen sing pep songs before they went out to tackle the ladies in the neighbourhood, so we'd get up in the morning and sing all these ridiculous songs and then go out and try to sell vacuum cleaners but the two were not really related, it was just hyping oneself up for the gritty day of trying to sell these poor ladies on a vacuum cleaner. Now I've seen you've kindly reproduced, and incidentally you've been most kind here in Montreal, I've been received royally, more so than any place I've been lately to read poetry and I greatly appreciated, I feel it's kind of a homecoming since my mother is a Canadian, from Ontario [https://www.wikidata.org/wiki/Q1904], not Quebec [https://www.wikidata.org/wiki/Q176], but I've been in Montreal [https://www.wikidata.org/wiki/Q34] many times before and I'm very fond of this city and if I finally lose patience with the U. S. and A. [https://www.wikidata.org/wiki/Q30] as Walt Kelly [https://www.wikidata.org/wiki/Q933892] says in Pogo [https://www.wikidata.org/wiki/Q2100584] I'll migrate up here, I feel it an eminently sensible thing to do. So it's nice to have a pleasant reception here. And since you've kindly reproduced one of the poems from a group called \"Mouth Organ Tunes: the American Lost-and-Found\" on your mimeographed sheet, I thought I'd start off by reading that poem. I'm going to say a few words at the risk of being dull about what each one of these poems I'm going to read is for, what I meant it to mean. This particular one is talking about the well, kind of what James Atlas was talking about in his comment on my second book, this is in my third book, the terminal flatness and greyness of American life, United States life, and the attempts to alleviate this barrenness by all sorts of temporizing accommodations, going to Howard Johnson's [https://www.wikidata.org/wiki/Q5919997] on a Sunday, or having a kinky party in New York [https://www.wikidata.org/wiki/Q60] to show off one's new paintings or celebrating the death of a genuine antique American and New Englander and looking at the house that he lived in and so on. Anyway the tune is called, the poem is called \"Mouth Organ Tunes\", and I use the mouth organ as an instrument here to suggest the, well the mouth organ is something that can be played in a band, but is better not, it's a very solitary instrument and to me it always conveys the loneliness of an individual against insurmountable odds. The poem is called \"Mouth Organ Tunes: The American Lost-and-Found\" and the first section is called, as promised, \"In a Ho-Jo's by the River\".\n \nL.E. Sissman\n00:04:20\nReads \"Mouth Organ Tunes: The American Lost-and-Found, part 1: In a Ho-Jo's by the River\" from Pursuit of Honor. \n \nL.E. Sissman\n00:10:02\nLet me contrast that with a poem about Middle America in the best sense. The old Middle America of people who knew their own way and found their own way in the land, and lost their own way in recent years because of encroachments on the land. The poem is called \"The Big Rock Candy Mountain\" and it's dedicated to the memory of my half-brother, Winfield Shannon, itinerant farm worker, 1909-1969. And it has an epigraph by Basil Bunting [https://www.wikidata.org/wiki/Q2886803] which goes \"a mason times his mallet to a lark's twitter, ‘til the stone spells the name, naming none, a man abolished\".\n\nL.E. Sissman\n00:11:04\nReads \"The Big Rock Candy Mountain\",  parts 1-5 [from Pursuit of Honor].\n \nL.E. Sissman\n00:21:25\nLet me change to a slightly lighter vein, and read a poem that is a joke, essentially. It's called \"The Birdman of Cambridge, Mass.\" It's about a man I once roomed with in college, who was an Audobonophile, or whatever the word is, a bird nut and has since become a bird expert. Anyway, this is how the poem goes, it's called \"The Birdman of Cambridge, Mass.\".\n \nL.E. Sissman\n00:22:05\nReads \"The Birdman of Cambridge, Mass.\" [from Dying: An Introduction].\n \nL.E. Sissman\n00:22:55\nThat is also a description I should say, of the Least Bittern. This is another poem about being in college...good lord, twenty seven years ago, I can't believe this, 1945, yeah that is damn near twenty seven years ago. It's called \"A College Room, Lowell R-34\", a building at Harvard [https://www.wikidata.org/wiki/Q13371], 1945.\n \nL.E. Sissman\n00:23:26\nReads \"A College Room, Lowell R-34, 1945\" [from Dying: An Introduction].\n \nL.E. Sissman\n00:25:12\nAnd there's a footnote to this poem, dedicated to the maid, good lord, this is a long time ago, we had maids in those rooms. It was a very capable lady named Mrs. Circassian. And it's called \"Footnote, Mrs. Circassian\".\n \nL.E. Sissman\n00:25:28\nReads \"Footnote, Mrs. Circassian\" [from Dying: An Introduction].\n\nAudience\n00:26:07\nLaughter.\n\nL.E. Sissman\n00:26:10\nThank you, she was a very nice lady, and deserved a much less ironic tribute than that, she was a home away from home herself. Let's see now, I've got all sorts of possible choices here. Why don't I read a poem about a shattering experience I had which I think maybe all of you may have had at one time or another, going back to a place where you had lived as a kid, and finding how puny it was and how destroyed it was by the passage of time. This is a poem about a place in Detroit where I had lived in the 30's and went back to in 1964 when the poem was written. It's called \"East Congress and McDougall Streets, Detroit, May 25\".\n \nL.E. Sissman\n00:27:03\nReads \"East Congress and McDougall Streets, Detroit, May 25\" [from Dying: An Introduction].\n \nL.E. Sissman\n00:29:30\nAnd finally, one more poem from this rue, if I can find it, called \"The Museum of Comparative Zoology\" and it is about indeed falling in love with an old beat up museum of Comparative Zoology, and finding one's place in the philia.\n \nL.E. Sissman\n00:29:56\nReads \"The Museum of Comparative Zoology\" [from Dying: An Introduction].\n \nL.E. Sissman\n00:32:19\nLet me get onto a poem that is now again a little bit more serious, although not ultimately so, I hope. It's about being very sick at the hospital and knowing one is in good hands. It's called \"A Deathplace\".\n \nL.E. Sissman\n00:32:41\nReads \"A Death Place\" [from Scattered Returns].\n \nUnknown\n00:35:27\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nL.E. Sissman\n00:35:28\nReads “Small Space” [from Scattered Returns].\n \nL.E. Sissman\n00:36:12\nNot entirely and seriously...I think this might be time to call a five minute break during which I will smoke a cigarette and get my wind back and then we will proceed. Ok? \n[Audience applause]. Thank you. I won't take all this junk off, if I do I'll be in serious trouble.\n\nUnknown\n00:36:46\n[Cut or edit made in tape. Unknown amount of time elapsed].\n \nL.E. Sissman\n00:36:48\nThis is a poem about the same thing the last poem was about, called \"Getting On\", and I'll read only one part of it since that's all I've written so far. It's called \"Grave Expectations\".\n \nL.E. Sissman\n00:37:04\nReads \"Getting On: Grave Expectations\" [published later in Hello, Darkness: The Collected Poems of L.E. Sissman].\n \nL.E. Sissman\n00:39:15\nAnd this is a poem that is sort of mysterious and I'm not sure that I understand it either but I'll read it, called, if I can find the end of it, yeah. \"On Meeting No One in New York\". This is about doing a very daring thing in middle age, not taking a girl up on it. \"On Meeting No One in New York\".\n \nL.E. Sissman\n00:39:45\nReads \"The Mid-Forties: On Meeting No One in New York\" [published later in Hello, Darkness: The Collected Poems of L.E. Sissman].\n \nL.E. Sissman\n00:41:46\nAnd finally, not finally, there are two more I think. One is a true story, the other is a dream, but they are both nice to end on April 7th, even though there still may be snow on the ground, with a note of spring. This really happened to a friend of mine in Berlin [https://www.wikidata.org/wiki/Q64] in 1945 in April, and it's called \"A Comedy in Ruins\".\n \nL.E. Sissman\n00:42:24\nReads \"A Comedy in Ruins\" [published later in Hello, Darkness: The Collected Poems of L.E. Sissman].\n \nL.E. Sissman\n00:45:39\nAnd finally, an all nice sweet, pleasant poem, except for the passage of time which none of us can do anything about, based on a dream. It's called \"Cockaigne: A Dream\".\n \nL.E. Sissman\n00:45:56\nReads \"Cockaigne: A Dream\" [published later in Hello, Darkness: The Collected Poems of L.E. Sissman].\n\nL.E. Sissman\n00:50:38\nThank you.\n\nAudience\n00:50:39\nApplause [cut off].\n\nEND\n00:50:52\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nSissman’s second book of verse, Pursuit of Honor was published in 1971; he was writing reviews for The New Yorker and The Atlantic Monthly.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nNo direct connections known between L.E. Sissman and Sir George Williams University, however Sissman was an important and influential poet in the 1960’s and 1970’s.\",\"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://montreal.spokenweb.ca/sgw-poetry-readings/l-e-sissman-at-sgwu-1972-stanton-hoffman/\",\"citation\":\"“Georgian Happenings”. The Georgian. Montreal: Sir George Williams University, 14 January 1972. \"},{\"url\":\"https://www.worldcat.org/title/american-poets-since-world-war-ii/oclc/489670821&referer=brief_results\",\"citation\":\"Mann, James. “L(ouis) E(dward) Sissman”. American Poets Since World War II. Donald J. Greiner (ed). Dictionary of Literary Biography. Vol 5. Detroit: Gale Research, 1980. \"},{\"url\":\"https://www.worldcat.org/title/dying-an-introduction/oclc/741688820&referer=brief_results\",\"citation\":\"Sissman, L.E.. Dying: An Introduction. Boston: Little, Brown and Company, 1968. \"},{\"url\":\"https://www.worldcat.org/title/hello-darkness-the-collected-poems-of-lf-sissman/oclc/468986004&referer=brief_results\",\"citation\":\"Sissman, L.E.. Hello, Darkness: The Collected Poems of L.E. Sissman, Peter Davison (ed.). Boston: Little, Brown and Company, 1978. \"},{\"url\":\"https://www.worldcat.org/title/pursuit-of-honor-poems/oclc/136810&referer=brief_results\",\"citation\":\"Sissman, L.E.. Pursuit of Honor. Boston: Little, Brown and Company, 1971.\"},{\"url\":\"https://www.worldcat.org/title/scattered-returns-poems/oclc/59073716&referer=brief_results\",\"citation\":\"Sissman, L.E.. Scattered Returns. Boston: Little, Brown and Company, 1969. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/807465072&referer=brief_results\",\"citation\":\"Symons, Julian. \\\"Sissman, L(ouis) E(dward)\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ian Hamilton (ed). Oxford University Press, 1996.\"},{\"url\":\"\",\"citation\":\"“L.E. Sissman”. Poets of Cambridge, U.S.A.. Harvard Square Library, 2006.\"},{\"url\":\"\",\"citation\":\"“Poetry 6: Sir George Williams Poetry Series, Fifth Reading, L.E. Sissman”. Montreal: Sir George Williams University, 1972. Found in “The Stephen Morrissey Papers, 1963 - 1998”, McGill McLennan Library, Special Collections and Rare Books, Montreal, Quebec, Canada.\"}]"],"_version_":1853670548958085120,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0110_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0110_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"L.E. 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Sissman 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/le_sissman_i006-11-110.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"le_sissman_i006-11-110.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:50:52\",\"precision\":\"\",\"size\":\"122.1 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Stanton Hoffman\\n00:00:00\\nL.E. Sissman's three books of poems are Dying: An Introduction, Scattered Returns and Pursuit of Honor. The poet James Atlas made the following observation about Scattered Returns that it \\\"engages a voice so casual, so tuneless that the depression which pervades each page is in danger of being overlooked. Not the shrill agony of despair, but the flat surfaces of the unfulfilled or what characterizes his diction\\\". But also I'd like to take a line from a Sissman poem out of context, \\\"evidently, even desperation leads a charmed life\\\". Ladies and gentleman, L.E. Sissman.\\n \\nL.E. Sissman\\n00:00:45\\nThank you. Well let me begin by refuting one of those statements that Stanley just made, Stanton, I'm sorry, just made. I was not a singing vacuum cleaner salesman, that was a canard that was incorporated into my vita by my publisher, who misread a biographical note I wrote. I once worked for a vacuum cleaner company that made its salesmen sing pep songs before they went out to tackle the ladies in the neighbourhood, so we'd get up in the morning and sing all these ridiculous songs and then go out and try to sell vacuum cleaners but the two were not really related, it was just hyping oneself up for the gritty day of trying to sell these poor ladies on a vacuum cleaner. Now I've seen you've kindly reproduced, and incidentally you've been most kind here in Montreal, I've been received royally, more so than any place I've been lately to read poetry and I greatly appreciated, I feel it's kind of a homecoming since my mother is a Canadian, from Ontario [https://www.wikidata.org/wiki/Q1904], not Quebec [https://www.wikidata.org/wiki/Q176], but I've been in Montreal [https://www.wikidata.org/wiki/Q34] many times before and I'm very fond of this city and if I finally lose patience with the U. S. and A. [https://www.wikidata.org/wiki/Q30] as Walt Kelly [https://www.wikidata.org/wiki/Q933892] says in Pogo [https://www.wikidata.org/wiki/Q2100584] I'll migrate up here, I feel it an eminently sensible thing to do. So it's nice to have a pleasant reception here. And since you've kindly reproduced one of the poems from a group called \\\"Mouth Organ Tunes: the American Lost-and-Found\\\" on your mimeographed sheet, I thought I'd start off by reading that poem. I'm going to say a few words at the risk of being dull about what each one of these poems I'm going to read is for, what I meant it to mean. This particular one is talking about the well, kind of what James Atlas was talking about in his comment on my second book, this is in my third book, the terminal flatness and greyness of American life, United States life, and the attempts to alleviate this barrenness by all sorts of temporizing accommodations, going to Howard Johnson's [https://www.wikidata.org/wiki/Q5919997] on a Sunday, or having a kinky party in New York [https://www.wikidata.org/wiki/Q60] to show off one's new paintings or celebrating the death of a genuine antique American and New Englander and looking at the house that he lived in and so on. Anyway the tune is called, the poem is called \\\"Mouth Organ Tunes\\\", and I use the mouth organ as an instrument here to suggest the, well the mouth organ is something that can be played in a band, but is better not, it's a very solitary instrument and to me it always conveys the loneliness of an individual against insurmountable odds. The poem is called \\\"Mouth Organ Tunes: The American Lost-and-Found\\\" and the first section is called, as promised, \\\"In a Ho-Jo's by the River\\\".\\n \\nL.E. Sissman\\n00:04:20\\nReads \\\"Mouth Organ Tunes: The American Lost-and-Found, part 1: In a Ho-Jo's by the River\\\" from Pursuit of Honor. \\n \\nL.E. Sissman\\n00:10:02\\nLet me contrast that with a poem about Middle America in the best sense. The old Middle America of people who knew their own way and found their own way in the land, and lost their own way in recent years because of encroachments on the land. The poem is called \\\"The Big Rock Candy Mountain\\\" and it's dedicated to the memory of my half-brother, Winfield Shannon, itinerant farm worker, 1909-1969. And it has an epigraph by Basil Bunting [https://www.wikidata.org/wiki/Q2886803] which goes \\\"a mason times his mallet to a lark's twitter, ‘til the stone spells the name, naming none, a man abolished\\\".\\n\\nL.E. Sissman\\n00:11:04\\nReads \\\"The Big Rock Candy Mountain\\\",  parts 1-5 [from Pursuit of Honor].\\n \\nL.E. Sissman\\n00:21:25\\nLet me change to a slightly lighter vein, and read a poem that is a joke, essentially. It's called \\\"The Birdman of Cambridge, Mass.\\\" It's about a man I once roomed with in college, who was an Audobonophile, or whatever the word is, a bird nut and has since become a bird expert. Anyway, this is how the poem goes, it's called \\\"The Birdman of Cambridge, Mass.\\\".\\n \\nL.E. Sissman\\n00:22:05\\nReads \\\"The Birdman of Cambridge, Mass.\\\" [from Dying: An Introduction].\\n \\nL.E. Sissman\\n00:22:55\\nThat is also a description I should say, of the Least Bittern. This is another poem about being in college...good lord, twenty seven years ago, I can't believe this, 1945, yeah that is damn near twenty seven years ago. It's called \\\"A College Room, Lowell R-34\\\", a building at Harvard [https://www.wikidata.org/wiki/Q13371], 1945.\\n \\nL.E. Sissman\\n00:23:26\\nReads \\\"A College Room, Lowell R-34, 1945\\\" [from Dying: An Introduction].\\n \\nL.E. Sissman\\n00:25:12\\nAnd there's a footnote to this poem, dedicated to the maid, good lord, this is a long time ago, we had maids in those rooms. It was a very capable lady named Mrs. Circassian. And it's called \\\"Footnote, Mrs. Circassian\\\".\\n \\nL.E. Sissman\\n00:25:28\\nReads \\\"Footnote, Mrs. Circassian\\\" [from Dying: An Introduction].\\n\\nAudience\\n00:26:07\\nLaughter.\\n\\nL.E. Sissman\\n00:26:10\\nThank you, she was a very nice lady, and deserved a much less ironic tribute than that, she was a home away from home herself. Let's see now, I've got all sorts of possible choices here. Why don't I read a poem about a shattering experience I had which I think maybe all of you may have had at one time or another, going back to a place where you had lived as a kid, and finding how puny it was and how destroyed it was by the passage of time. This is a poem about a place in Detroit where I had lived in the 30's and went back to in 1964 when the poem was written. It's called \\\"East Congress and McDougall Streets, Detroit, May 25\\\".\\n \\nL.E. Sissman\\n00:27:03\\nReads \\\"East Congress and McDougall Streets, Detroit, May 25\\\" [from Dying: An Introduction].\\n \\nL.E. Sissman\\n00:29:30\\nAnd finally, one more poem from this rue, if I can find it, called \\\"The Museum of Comparative Zoology\\\" and it is about indeed falling in love with an old beat up museum of Comparative Zoology, and finding one's place in the philia.\\n \\nL.E. Sissman\\n00:29:56\\nReads \\\"The Museum of Comparative Zoology\\\" [from Dying: An Introduction].\\n \\nL.E. Sissman\\n00:32:19\\nLet me get onto a poem that is now again a little bit more serious, although not ultimately so, I hope. It's about being very sick at the hospital and knowing one is in good hands. It's called \\\"A Deathplace\\\".\\n \\nL.E. Sissman\\n00:32:41\\nReads \\\"A Death Place\\\" [from Scattered Returns].\\n \\nUnknown\\n00:35:27\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nL.E. Sissman\\n00:35:28\\nReads “Small Space” [from Scattered Returns].\\n \\nL.E. Sissman\\n00:36:12\\nNot entirely and seriously...I think this might be time to call a five minute break during which I will smoke a cigarette and get my wind back and then we will proceed. Ok? \\n[Audience applause]. Thank you. I won't take all this junk off, if I do I'll be in serious trouble.\\n\\nUnknown\\n00:36:46\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n \\nL.E. Sissman\\n00:36:48\\nThis is a poem about the same thing the last poem was about, called \\\"Getting On\\\", and I'll read only one part of it since that's all I've written so far. It's called \\\"Grave Expectations\\\".\\n \\nL.E. Sissman\\n00:37:04\\nReads \\\"Getting On: Grave Expectations\\\" [published later in Hello, Darkness: The Collected Poems of L.E. Sissman].\\n \\nL.E. Sissman\\n00:39:15\\nAnd this is a poem that is sort of mysterious and I'm not sure that I understand it either but I'll read it, called, if I can find the end of it, yeah. \\\"On Meeting No One in New York\\\". This is about doing a very daring thing in middle age, not taking a girl up on it. \\\"On Meeting No One in New York\\\".\\n \\nL.E. Sissman\\n00:39:45\\nReads \\\"The Mid-Forties: On Meeting No One in New York\\\" [published later in Hello, Darkness: The Collected Poems of L.E. Sissman].\\n \\nL.E. Sissman\\n00:41:46\\nAnd finally, not finally, there are two more I think. One is a true story, the other is a dream, but they are both nice to end on April 7th, even though there still may be snow on the ground, with a note of spring. This really happened to a friend of mine in Berlin [https://www.wikidata.org/wiki/Q64] in 1945 in April, and it's called \\\"A Comedy in Ruins\\\".\\n \\nL.E. Sissman\\n00:42:24\\nReads \\\"A Comedy in Ruins\\\" [published later in Hello, Darkness: The Collected Poems of L.E. Sissman].\\n \\nL.E. Sissman\\n00:45:39\\nAnd finally, an all nice sweet, pleasant poem, except for the passage of time which none of us can do anything about, based on a dream. It's called \\\"Cockaigne: A Dream\\\".\\n \\nL.E. Sissman\\n00:45:56\\nReads \\\"Cockaigne: A Dream\\\" [published later in Hello, Darkness: The Collected Poems of L.E. Sissman].\\n\\nL.E. Sissman\\n00:50:38\\nThank you.\\n\\nAudience\\n00:50:39\\nApplause [cut off].\\n\\nEND\\n00:50:52\\n\",\"notes\":\"L.E. Sissman reads from his first three books, Dying: An Introduction (Little, Brown 1968), Scattered Returns (Little, Brown 1969), and Pursuit of Honor (Little, Brown 1971), as well as poems that were new at the time and published posthumously in Hello, Darkness: The Collected Poems of L.E. Sissman (Little, Brown 1978).\\n\\n00:00- Introduction by Stanton Hoffman [INDEX: Dying: An Introduction, Scattered Ruins,Pursuit of Honor, Poet James Atlas]\\n00:45- Introduction by L.E. Sissman of “In A Ho-Jo’s by the River” [INDEX: Sissman’s      mother from Ontario, Walt Kelly: Pogo, “Mouth Organ Tunes: The American Lost and     Found”, American Life, Howard Johnson Restaurant and Hotel Chain]\\n04:20- Reads “In A Ho-Jo’s by the River”\\n10:02- Introduces “The Big Rock Candy Mountain” [INDEX: Middle America, Winfield     Shannon: Itinerant farm worker, Poet Basil Bunting]\\n11:04- Reads “The Big Rock Candy Mountain”\\n21:25- Introduces “The Bird-man of Cambridge, Mass.” [INDEX: Bird life, Cambridge      Massachusetts]\\n22:05- Reads “The Bird-man of Cambridge, Mass.”\\n22:55- Introduces “A College Room, Lowell R-34” [INDEX: Least Bittern Bird, Harvard 1945]\\n23:26- Reads “A College Room, Lowell R-34”\\n25:12- Introduces “Footnote, Mrs. Circassian”\\n25:28- Reads “Footnote, Mrs. Circassian”\\n26:10- Introduces “East Congress and McDougal Streets, Detroit, May 25”[INDEX: Detroit in 1920’s and 1930’s]\\n29:30- Reads “East Congress and McDougal Streets, Detroit, May 25”\\n29:30- Introduces “The Museum of Comparative Zoology” [INDEX: Museum of Comparative Zoology at Harvard]\\n29:56- Reads “The Museum of Comparative Zoology”\\n32:19- Introduces “A Death Place”\\n32:41- Reads “A Death Place”\\n35:28- Reads “Small Space”\\n36:48- Introduces “Grave Expectations”\\n37:04- Reads “Grave Expectations”\\n39:15- Introduces “On Meeting No One in New York”\\n39:45- Reads “On Meeting No One in New York”\\n41:46- Introduces “A Comedy in Ruins” [Berlin, 1945]\\n42:24- Reads “A Comedy in Ruins”\\n45:39- Introduces “Cockaigne: A Dream”\\n45:56- Reads “Cockaigne: A Dream”\\n50:52.51- END OF RECORDING\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/l-e-sissman-at-sgwu-1972-stanton-hoffman/\"}]"],"score":1.8530173},{"id":"1301","cataloger_name":["Masoumeh,Zaare"],"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":["George Bowering at Sir George Williams University, The Poetry Series, 25 January 1974"],"item_title_source":["Cataloguer"],"item_title_note":["\"ENGLISH I006/SR34\" written on the spine of the tape's box. \"I006-11-034\" written on sticker on the reel. \"POETRY RM 435 JAN. 25/74 POETRY READING 8856 H. FINK ENGLISH 25-1-74\" written on the front of the tape's box"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_identifiers":["[]"],"rights":["In Copyright Educational Use Permitted (InC-EDU)"],"access":["Streaming"],"creator_names":["Bowering, George"],"creator_names_search":["Bowering, George"],"creators":["[{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"Poet, novelist, anthologist and critic George Bowering was born in Penticton, British Columbia in 1935. In 1954 he served in the Royal Canadian Air Force until 1957, when he pursued a Bachelor’s degree in 1960 and a Master’s degree in 1963 from the University of British Columbia. With fellow poets Frank Davey, David Dawson, James Reid, Fred Wah and critic Warren Tallman, he founded Tish in 1961, a poetry newsletter which had monumental reverberations across Canada. This magazine, influenced by styles of the Black Mountain Poets and of the East Coast poetry of Louis Dudek, Raymond Souster and Irving Layton, brought a “new wave” of poetry to Canada. Bowering’s first collection of poetry began with Sticks and Stones (Tishbooks, 1962) with a preface written by Robert Creeley, and was followed by Points on the grid (Contact Press, 1964) and Man in Yellow Boots (El Corno Emplumado, 1965). Bowering also founded the magazine Imago (1964-1974), which featured critical essays and poetry, and he also contributed to Open Letter as an editor. Bowering then moved eastwards, teaching at the University of Calgary from 1963-1966, enrolled in the Ph.D. program at the University of Western Ontario. A year later, Bowering accepted a position as the writer-in-residence in 1967 at Sir George Williams University (now Concordia University) in Montreal, becoming a lecturer in 1967-1971. Bowering joined the Sir George Williams University Poetry Reading Series Committee in the fall of 1967, which was being run by Roy Kiyooka, Stanton Hoffman and Howard Fink. In 1972 he left Montreal and began a long career teaching at Simon Fraser University in British Columbia. He has published over fifty books of poetry, prose, short stories, essays, reviews, plays as well as pieces that combine and defy genres. A selection of his publications are as follows: Genève (Coach House Press, 1971), Autobiology (New Star Books, 1972), Curious (Coach House Press, 1973), In the Flesh (McClelland & Stewart, 1974), Allophanes (Coach House Press, 1976), Burning Water (Beaufort Books, 1980), Caprice (Penguin Books, 1988),  Harry’s Fragments (Coach House Press, 1990), Rewriting my Grandfather (Nomados, 2005), Baseball Love (Talonbooks, 2006) and Shall I compare: July 2006 (George Bowering, 2008). Bowering published his interview with Black Mountain poet Robert Duncan: An Interview (Coach House Press, 1971), a book-length study on Canadian poet Al Purdy: Al Purdy (Copp Clark, 1970), along with editing several anthologies such as Vibrations: Poems from Youth (Cage, 1970), Fiction of Contemporary Canada (Coach House Press, 1980) and Likely Stories: A Postmodern Sampler (Coach House Press, 1992). Bowering has won two Governor General's Awards for poetry,  for Rocky Mountain Foot (McClelland & Stewart, 1968) and The Gangs Kosmos (House of Anansi, 1969), and one for fiction in 1980 for Burning Water (Beaufort Books, 1980). George Bowering continues teaching, inspiring and writing at Simon Fraser University in British Columbia.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/1301/I0006_11_0034_front-300x300.jpg\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"Master\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"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\":\"1974 1 25\",\"type\":\"Performance Date\",\"notes\":\"Date written on the front of the tape's box\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-435\",\"notes\":\"Location specified in written announcement \\\"Bowering Back At SGWU\\\"\",\"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-435"],"City":["Montreal, Quebec"],"content_notes":["George Bowering reads from Autobiology (New Star Books, 1972) and Curious (Coach House Press, 1973), as well as a few poems from unknown sources."],"contents":["george_bowering_i006-11-034.mp3 \n\nIntroducer\n00:00:00\nAmbient Sound.\n \nGeorge Bowering\n00:01:54\nOh I just did a review of Al Purdy's [https://www.wikidata.org/wiki/Q4704621] new book of poems so maybe I'll just start off reading that. [Audience laughter]. I said I liked it Al. [Audience laughter]. I'm related to practically everybody here. I'll turn this off now. [Audience laughter].\n \nIntroducer\n00:04:12\n...I think that George Bowering  [https://www.wikidata.org/wiki/Q1239280] has read or done— or not done, or not written. On the back of [that book (?)], it says that he has two new books, one called Curious from Coach House Press [https://www.wikidata.org/wiki/Q5137585], and another In the Flesh, coming out with McClelland and Stewart [https://www.wikidata.org/wiki/Q6800322]. The one thing I can add to that is— has to do with baseball [https://www.wikidata.org/wiki/Q5369], about which I know much less than George. You still have your team?\n \nGeorge Bowering\n00:04:51\nYes.\n \nIntroducer\n00:04:54\nOkay, it's occurred to me that George understands one thing that is rather important to understand that is that the difference between stepping up to the plate and hitting the ball out of the park, and going [unintelligible], on the one hand, and on the other, stepping up to the plate and being there when the bat does what it's supposed to do and the ball takes itself out of the park. And this applies to baseball, and it also applies to poems. And that's what George understands.\n \nGeorge Bowering\n00:05:48\nFor those that live in California [https://www.wikidata.org/wiki/Q99], that's what Suzuki Roshi [https://www.wikidata.org/wiki/Q572599] calls Zen Baseball. I'm really excited to be back here, this is really a burn for me, because, can you hear me if I talk at this level? I'm hearing an echo, but I— can you hear me? [Audience laughter]. I'm reading for the next three weeks back and forth but this is the first one so I haven't got stale with any of this stuff yet in the east. And I'm going to come back in a few minutes to Autobiology, because I've never read it in the east although I started writing it in Montreal [https://www.wikidata.org/wiki/Q340] and finished it in Vancouver [https://www.wikidata.org/wiki/Q24639], but before I do I'm going to read a piece that is sort of representative of what I've been doing lately in Vancouver, called \"Desert Elm\", the desert being the Okanagan [https://www.wikidata.org/wiki/Q1812222] in this instance and the elm being the kind of tree that people planted there that wasn't there before and grew— they tried a lot of other ones and they didn't work. And it's a poem about my father and it deals with— it was begun with his heart attack he had in August and what happened after that, to me.\n \nGeorge Bowering\n00:07:22\nReads \"Desert Elm\".\n \nGeorge Bowering\n00:20:04\nThat's the longest one I'll read I think. I was going to go into Autobiology, but I'm just going to jump right now into one section of Curious, I'm going to read the Jack Spicer [https://www.wikidata.org/wiki/Q3805658] part for Artie [https://www.wikidata.org/wiki/Q4800979], and then I'll [unintelligible] Curious is a-—that's one of the books that's coming out this week, it's about, it's a book about poets, sort of, and this one's about Jack Spicer, who, Artie digs.\n \nGeorge Bowering\n00:20:43\nReads \"Jack Spicer\" from Curious.\n \nGeorge Bowering\n00:22:10\nHe was supposed to be moving— that was in the summer of '65, he was up in Vancouver and just decided to move up there so he wouldn't die, and because he would die if he stayed in San Francisco [https://www.wikidata.org/wiki/Q62], and then he said, well just before that I'll go down to the San Francisco Poetry Festival, and when that's over in three weeks I'll come up to Vancouver, and he died during the second week. Okay, this is— Autobiology is a book  that came out, two years ago this month, actually, 72, yeah. And I started writing it in Westmount [https://www.wikidata.org/wiki/Q139497] as they say and finished it in Kitsilano [https://www.wikidata.org/wiki/Q4179275]. I started writing it in an expensive flat in Westmount, and finished it in a commune on the edge of the water in Vancouver and it's a story about, as it suggests, it's a story, it's a book, it's poetry, it's prose, it's something about things that have changed me in terms of my head but first in terms of chemicals and physiologically, changed my body literally and so on. So I'll just, I'll read portions of it. I toyed with the idea of reading the whole book, it's the sort of thing we do in Vancouver, like we sit down and read the whole book, and this was published the same day as Stan Persky's [https://www.wikidata.org/wiki/Q2330087] The Day, a book called The Day, and it's the same length, about a hundred pages, and he read The Day and we took a break, and I read Autobiology and then we took a break of a couple of hours and he read The Day again. But that's sort of— that happens a little— it's a little easier to take when everybody is kind of a volunteer anyway, when everybody in the audience has known all the time that this was being written and that it was going to be read, the whole book. So I'll just read parts of it so you get a taste of it. Each section is about one and a quarter foolscap pages when it's handwritten, long, approximately so it turns out to be about two of these pages. \"Chapter One\"— there's forty-eight chapters. \"Chapter One: The Raspberries\".\n \nGeorge Bowering\n00:24:41 \nReads \"Chapter One: The Raspberries\" from Autobiology.\n \nGeorge Bowering\n00:26:06 \nDid that ever happen to--I'm sure these kinds of things must have happened to--the way I was telling [unintelligible] this afternoon that the way this book is written was I knew the general frame was things that changed me that way, from things put in my body, generally, or pieces of my body taken off, or whatever. Or pieces of my body going out into someone else's body or whatever. And I'd go home in my house in Westmount, from here, and I'd say 'I got it! Today I'm going to do the broken tool part' and I'd run home and I'd start controlling the thing and I'd throw it away, so all the pieces that are in here are the pieces that are not thrown away, the ones where I didn't know what I was going to write when I started writing. I have the sense that I tried to describe that afternoon as being simply equal to what was coming in the story. This is \"Chapter 2\", I'll read \"Chapter 1\" and 2 and 3 and 4 and then I'll skip. This is \"The Teeter Totter\".\n \nGeorge Bowering\n00:27:05\nReads \"Chapter 2: The Teeter Totter\" from Autobiology.\n \nGeorge Bowering\n00:28:22\nReads \"Chapter 3: The Pollywogs\" from Autobiology.\n \nGeorge Bowering\n00:29:31\n\"The Flying Dream\". This is the origin of why I decided to write poetry I think, or at least I've always made that connection. \"The Flying Dream\".\n \nGeorge Bowering\n00:29:40\nReads \"Chapter 4: The Flying Dream\" from Autobiology.\n \nGeorge Bowering\n00:30:54\nIt's the basis of that West Coast [https://www.wikidata.org/wiki/Q1974] elitism, Al. I— after I'd done this whole book I found out there's two chapters called \"The Breaks\", I'd totally forgotten that this chapter had written me this time. So this is the first chapter on “The Breaks”.\n \nGeorge Bowering\n00:31:15\nReads \"Chapter 8: The Breaks\" from Autobiology [audience laughter throughout].\n \nGeorge Bowering\n00:32:34\nGee, there's one I've never read before, I mean, out loud [audience laughter]. I'm not going to anyway, heck with it. Oh, here's one that every once in a while there's, it comes to, the thing comes to writing itself or talking about the writing of itself, so here's one called \"Composition\", for those that are worried about the problem it'll be totally clear. I think. It defines composition. \"Composition\".\n \nGeorge Bowering\n00:33:02\nReads \"Chapter 14: Composition\" from Autobiology.\n \nGeorge Bowering\n00:34:32\nHere's the other one called \"The Breaks\".\n \nGeorge Bowering \n00:34:35.49\nReads \"Chapter 20: The Breaks\" from Autobiology.\n \nGeorge Bowering\n00:35:53\nReads [“Chapter 21: Come’ from Autobiology].\n \nGeorge Bowering\n00:37:13\nThis is one that, this is a favourite amongst the [serifs (?)] in Vancouver. The— I live in a community now as different from the community I lived in a couple of years ago of all https://www.wikidata.org/wiki/Q5882404], Esalen [https://www.wikidata.org/wiki/Q5882404], encounters all the time and they're always talking about shrinkage and they're always telling me why don't you take shrinkage, and I say 'I don't feel like I need shrinkage' and they said 'that proves you need shrinkage'. Can't get out of it, you know, that's your problem— you don't think you need... So this one is sort of a reply to that, it's called \"The Childhood\".\n \nGeorge Bowering\n00:37:56\nReads \"Chapter 26: The Childhood\" from Autobiology.\n \nGeorge Bowering\n00:39:05\nThis one's about the literary world, it's called \"St. Louis\", where, St. Louis is where William Burroughs [https://www.wikidata.org/wiki/Q38022] and an earlier poet came from. T.S. Sandburn [https://www.wikidata.org/wiki/Q37767], I think his name was. [audience laughter.]\n \nGeorge Bowering\n00:39:21\nReads \"Chapter 27: St. Louis\" from Autobiology.\n \nGeorge Bowering\n00:40:49\nThen there's a whole series of pieces on towns that I lived in which I'll skip over. Skip that one, skip that one, get to these ones at the end. Here's one called \"The Flesh\", which I guess was involved with at the time, writing a book of poems about the flesh.\n \nGeorge Bowering\n00:41:23\nReads \"Chapter 43: The Flesh\" from Autobiology.\n \nGeorge Bowering\n00:42:43\nI think I'll read the last couple in this one, and then see what time it is. \"The Operations\" everybody is my chance, right? Every vessel, living in a house with my mother talking about operations the last couple of weeks and she couldn't really do it. So I get my chance now, ‘cause I don't really get the chance— that's my mother on the cover of the book by the way, that's my mother and that's me. There she is.\n \nGeorge Bowering\n00:43:14\nReads \"Chapter 45: The Operations\" from Autobiology.\n \nGeorge Bowering\n00:44:53\nAnd the last two, this is \"The Scars\".\n \nGeorge Bowering\n00:44:56\nReads \"Chapter 47: The Scars\" from Autobiology.\n \nGeorge Bowering\n00:46:24\nAnd the last one is called naturally, \"The Body\", Chapter 48.\n \nGeorge Bowering\n00:46:32\nReads \"Chapter 48: The Body\" from Autobiology.\n \nGeorge Bowering\n00:47:48\nThat was Autobiology, it's actually, can you imagine, a tetralogy. And the first volume was called Geneve and it was based on a found thing with the tarot pack [https://www.wikidata.org/wiki/Q583269] and with the Geneva version of the French pack, Marseilles pack. The second one was Autobiology and the third one was Curious and the fourth one is— Dwight Gardiner wrote it, in a book called the Book of the Occasional. I was going to write it but he wrote it, so I didn't have to. It's just absolutely beautiful and if you see a Book of the Occasional, you'll see what I mean. It's just a gorgeous, gorgeous book. Oh, gee, I'd love to read— how long can I have now?\n \nUnknown\n00:48:45\n[Cut or edit made in tape].\n \nGeorge Bowering\n00:48:46\n...Because I just suddenly remembered I'd love to read a piece I have called The Big Leagues. But then I also have a book called At War with the U.S. that I— was the first book of poems I've written in years, but maybe I'll just read The Big Leagues, that will probably take— and then maybe I'll read one or two pieces from Curious. This is a book—a thing called The Big Leagues and it's in a few- in five sections and maybe I'll get tired before I get to the fifth one, but I'll just see how— the first one is called \"The Detroit Tigers\" [https://www.wikidata.org/wiki/Q650855].\n \nGeorge Bowering\n00:49:21\nReads \"The Detroit Tigers\".\n \nGeorge Bowering\n00:51:57\nThat was written in South Slocan, B.C. [https://www.wikidata.org/wiki/Q18379776] I think this is my favourite one, it's called \"The Dallas Cowboys\" [https://www.wikidata.org/wiki/Q204862].\n \nGeorge Bowering\n00:52:09\nReads \"The Dallas Cowboys\".\n \nGeorge Bowering\n00:54:57\nThe next one's called \"The San Diego Padres\" [https://www.wikidata.org/wiki/Q721134] but I'm going to skip that one because it's about getting dope [https://www.wikidata.org/wiki/Q60168] into— what happens is that Chance is coming back, he's now wearing the uniform that Slim Chance had before he died, a U.S. Army uniform that says \"Chance\" on it and \"U.S. Army\" and they're sneaking some dope into San Diego and it has to do with some Padres whose clothes are taken off so they can use them to hide the dope and everything. The next one's called \"The Buffalo Sabres\" [https://www.wikidata.org/wiki/Q131206].\n \nGeorge Bowering\n00:55:32\nBegins reading \"The Buffalo Sabres\". \n\nGeorge Bowering\n00:55:37\nOh, by the way what happens is that I took four quotations from poetry, and three of them are taken from the normal Ohio academic American Poetry Anthology and one of them is taken from Robert Creeley [https://www.wikidata.org/wiki/Q918620] at the end, and you can tell. I can't even remember what poets I took from, like all those guys sorta have the same thing, you know, Donald Hall [https://www.wikidata.org/wiki/Q976924] Anthology Poets if you know what I mean.\n \nGeorge Bowering\n00:56:05\nResumes reading \"The Buffalo Sabres\".\n \nGeorge Bowering\n00:59:06\nAnd this one is for a lot of friends of mine, it's called \"The Minnesota Twins\" [https://www.wikidata.org/wiki/Q604879] and he's going on, he's leaving Buffalo [https://www.wikidata.org/wiki/Q40435] and going to— has anyone here been to— has anyone here been to Bemidji, Minnesota [https://www.wikidata.org/wiki/Q730430]? You know what they got there right? That great big, blue Ox and the great big Paul Bunyan [https://www.wikidata.org/wiki/Q7149597] carved about 30 feet high or something like that. And other than that, it's a beautiful town, you know, it has the— it looks like the underground of another town turn upside-down, so the bottom is up above the ground, right? \"The Minnesota Twins\".\n \nAnnotation\n00:59:39\nReads \"The Minnesota Twins\".\n \nGeorge Bowering\n01:02:26\nI think I'll read like for ten minutes and that'll be for a total of an hour, five minutes or something like that. I'll just, I'll pick, this is Curious, which is a— that other book's coming out, it's called In the Flesh and it's maybe the last book of occasional, magazine book verse poetry I ever do. It deals with the experience of being in your 30s and finding out that the world isn't round after all and how sad you can be and how strong emotions can be. It has an introduction called \"I Never Felt Such Love\". But it's mainly lyric poetry, and I just, I've read so much of that that it's got to be too easy to read and write and everything. So I'll read a few of these. The poets who are mentioned in Curious, it happens that there are a lot of my friends who aren't in the book. Because, again, I wrote it that way, if you know, if that person did not come up, excuse me, from the other side of the page or however that feeling is to be described, if the voice wasn't there or something, for instance I really wanted to do a Roy Kiyooka [https://www.wikidata.org/wiki/Q3445789] poem, and you know, I just couldn't and it didn't come and I had wanted to but if I had tried that it just would have been screwed up. Some of these are American, some are Canadians, a couple are English and maybe one or two other things. And the first one is, naturally, Charles Olson [https://www.wikidata.org/wiki/Q922978]. Olson, as you probably know, was about 6 ft 10 and weighed about 300 pounds. And I first met him— I was standing at the bottom of a flight of stairs and he was coming down them. So I said 'hello' to the knees of his sear-sucker suit.\n \nGeorge Bowering\n01:04:19\nReads \"Charles Olson\" from Curious.\n \nGeorge Bowering\n01:05:57\nI'll get some Canadians in here. Margaret Atwood [https://www.wikidata.org/wiki/Q183492], she's the first Canadian to appear in here.\n \nGeorge Bowering\n01:06:16\nReads \"Margaret Atwood\" from Curious.\n \nGeorge Bowering\n01:07:36\nThere are some poets in here that you won't know that are more specifically Vancouver-oriented poets perhaps that aren't as well known out here so I'll skip those. This is \"bp Nichol\". Everybody knows bpNichol [https://www.wikidata.org/wiki/Q4953105], or everybody is bpNichol.\n \nGeorge Bowering\n01:07:57\nReads \"bp Nichol\" from Curious.\n \nGeorge Bowering\n01:09:40\n\"Stephen Spender\" [https://www.wikidata.org/wiki/Q448764]. I was going to skip this one, but it has a few moments in it.\n \nGeorge Bowering\n01:09:53\nReads \"Stephen Spender\" from Curious.\n \nGeorge Bowering\n01:11:18\nThat's, boy, that's— like you're out on the West Coast where you've never seen a poet before in your life and the first one they bring you is this guy you've been reading in books and he's a white-haired— it's unbelievable. You know, John Newlove's [https://www.wikidata.org/wiki/Q6250356]? John Newlove, for those who know John Newlove.\n \nGeorge Bowering\n01:11:36\nReads \"John Newlove\" from Curious.\n \nGeorge Bowering\n01:13:08\nThat last part is from a title of one of his books. David McFadden [https://www.wikidata.org/wiki/Q5237344] is, this is the David McFadden piece and maybe I'll read it and a couple more. It's not my favourite but it's one that I like reading. David McFadden— well, it tells you what he's like, but David McFadden is a— he scared the hell out of Allen Ginsberg [https://www.wikidata.org/wiki/Q6711] because he writes really funny poems, like he literally has things, like he walks out into the backyard and sees the Archangel Gabriel [https://www.wikidata.org/wiki/Q81989] or a space man and just talks to it and talks about it in the story of the poem a paragraph after he's talked about going out and buying some cigarettes or something like that and Ginsberg thought, wow, what a weird spaced out guy, so Victor Coleman [https://www.wikidata.org/wiki/Q23882910] took him down to Hamilton [https://www.wikidata.org/wiki/Q133116] to see David, David— he's got, as he said in the note of one of his books, \"I was born in 1940 and I comb my hair straight back\", and in his house, he's got an electric pendulum clock and you know that sort of thing. And Ginsberg took one look and said [inaudible ‘scared’ sound], and ran away. Just couldn't believe it, you know, it's unbelievable. So, David McFadden.\n \nGeorge Bowering\n01:14:30\nReads \"David McFadden\" from Curious.\n \nGeorge Bowering\n01:16:24\nThere wasn't a comma in there, that was the Indian food coming back. Now let's see…\n\nAudience Member 1\n01:16:31\nAddresses George Bowering [unintelligible; requests poem].\n\nGeorge Bowering\n01:16:33\nNo, he didn't get in there either, and I'm very sad about that, just people that got in that I wish didn't get in and there's people that didn't get in that I wish did get in. \n\nAudience Member 2\n01:16:44\n[Unintelligible]...Raymond Souster [https://www.wikidata.org/wiki/Q304129].\n\nGeorge Bowering\n01:16:46\nYeah, I think I might have skipped over Raymond Souster, the Raymond Souster one is, as you might imagine the shortest one in the book.\n \nGeorge Bowering\n01:16:58\nReads \"Raymond Souster\" from Curious.\n \nGeorge Bowering\n01:17:59\nI got a Purdy one too, but Al weighs 210 pounds. No, I've always made it a policy not to read the ones of somebody that's there. I don't know if there are any other ones that I'm going to read.\n\nAudience Member 3\n01:18:25\nAddresses George Bowering [unintelligible; requests poem].\n\nGeorge Bowering\n01:18:26\nYeah, I don't know where the hell it is. I like the Lionel Kearns [https://www.wikidata.org/wiki/Q6555690] one actually...Oh I don't know what's happened to the Lionel Kearns one, it's one of my very favourites too. I think maybe, I'll see if I can find the Lionel one in a second then I'll read it and I'll finish off with the bill bissett [https://www.wikidata.org/wiki/Q4911496] one. If I just had the book with me it'd be a hell of a lot easier. I don't think I'm going to find the Kearns one. I can't find the Kearns one, it's all about how he can't find anything. This is the bissett one and then I'll finish off with that.\n \nGeorge Bowering\n01:19:30\nReads bill bissett\" from Curious.\n\nGeorge Bowering\n01:21:16\nThank you.\n\nAudience\n01:21:17\nApplause. \n\nEND\n01:21:29\n"],"Note":["[{\"note\":\"Year-specific Information:\\n\\nIn 1974, George Bowering had published At War with the U.S. (Talonbooks, 1974), Flycatcher & Other Stories (Oberon, 1974), In the Flesh (McClelland & Stewart, 1974) and the last issue of Imago: 20 (Talonbooks, 1974) and was teaching at Simon Fraser University.\",\"type\":\"General\"},{\"note\":\"Local connections:\\n\\nGeorge Bowering was very influential in promoting and enriching the Vancouver poetry scene in the early 1960s, through his magazines Tish and Imago as well as the hundreds of connections he made with other poets. His early connections with the Black Mountain Poets and the relationships he made with Canadian poets from Vancouver across Canada to Montreal have been essential because he bridged the gap of distance and made new types of poetry available to young poets. Montrealer Louis Dudek wrote that Bowering’s “most important contribution to the new generation of Montreal poets was the institution of a series of readings at Sir George [Williams University] which exposed them to the diverse experimentation that was taking place across Canada and the U.S.”\",\"type\":\"General\"},{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Faith Paré (2020) & Ali Barillaro (2021)\\n\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/george-bowering-at-sgwu-1974/\",\"citation\":\"“Bowering Back at SGWU”. The Georgian. Montreal: Sir George Williams University, 25 January 1974. \"},{\"url\":\"https://www.worldcat.org/title/autobiology/oclc/729975561&referer=brief_results\",\"citation\":\"Bowering, George. Autobiology. Vancouver: New Star Books, 1972. \"},{\"url\":\"https://www.worldcat.org/title/curious/oclc/912490228&referer=brief_results\",\"citation\":\"Bowering, George. Curious. Toronto: Coach House Press, 1973. \"},{\"url\":\"https://www.worldcat.org/title/contemporary-canadian-poem-anthology/oclc/802667762&referer=brief_results\",\"citation\":\"Bowering, George. (ed). The Contemporary Canadian Poem Anthology. Toronto: Coach House Press, 1984. \"},{\"url\":\"https://www.worldcat.org/title/from-there-to-here-a-guide-to-english-canadian-literature-since-1960/oclc/962929534&referer=brief_results\",\"citation\":\"Davey, Frank. From There to Here: A Guide to English-Canadian Literature Since 1960. \\nOntario: Press Porcepic, 1974.\"},{\"url\":\"https://www.worldcat.org/title/montreal-english-poetry-of-the-seventies/oclc/757254674&referer=brief_results\",\"citation\":\"Farkas, Andre & Ken Norris, ed. Montreal English Poetry of the Seventies. Montreal: Vehicule Press, 1977. \"},{\"url\":\"https://www.worldcat.org/title/15-canadian-poets-times-2/oclc/622296707&referer=brief_results\",\"citation\":\"Geddes, Gary (ed). Fifteen Canadian Poets Times Two. Toronto: Oxford University Press, 1990. \"},{\"url\":\"https://www.worldcat.org/title/poets-of-contemporary-canada-1960-1970-edited-and-with-an-introduction-by-eli-mandel/oclc/1202953921&referer=brief_results\",\"citation\":\"Mandel, Eli (ed). Poets of Contemporary Canada 1960-1970. Montreal: McClelland and Stewart, 1972. \"},{\"url\":\"https://www.worldcat.org/title/encyclopedia-of-post-colonial-literatures-in-english-volume-1/oclc/636622714&referer=brief_results\",\"citation\":\"Miki, Roy. “Bowering, George (1935-)”. Routledge Encyclopedia of Post-Colonial Literatures in English. Ed. Benson, Eugene; Conolly, L.W. London: Routledge, \\n1994. \"},{\"url\":\"https://www.worldcat.org/title/record-of-writing-an-annotated-and-illustrated-bibliography-of-george-bowering/oclc/797558365&referer=brief_results\",\"citation\":\"Miki, Roy. A Record of Writing: an annotated and illustrated bibliography of George Bowering. Vancouver: Talonbooks, 1990. \"},{\"url\":\"https://www.worldcat.org/title/canadian-writers-since-1960-first-series/oclc/883361320&referer=brief_results\",\"citation\":\"Quartermain, Peter and Meredith. \\\"George Bowering.\\\" Canadian Writers Since 1960: \\nFirst Series. Ed. William H. New. Dictionary of Literary Biography, Vol. 53. \\nDetroit: Gale Research, 1986. \"}]"],"_version_":1853670548960182272,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0034_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0034_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"George Bowering 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_0034_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0034_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"George Bowering 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_0034_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0034_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"George Bowering 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_0034_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0034_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"George Bowering 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/george_bowering_i006-11-034.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"george_bowering_i006-11-034.mp3 \",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:21:29\",\"precision\":\"\",\"size\":\"195.6 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Introducer\\n00:00:00\\nAmbient Sound.\\n \\nGeorge Bowering\\n00:01:54\\nOh I just did a review of Al Purdy's [https://www.wikidata.org/wiki/Q4704621] new book of poems so maybe I'll just start off reading that. [Audience laughter]. I said I liked it Al. [Audience laughter]. I'm related to practically everybody here. I'll turn this off now. [Audience laughter].\\n \\nIntroducer\\n00:04:12\\n...I think that George Bowering  [https://www.wikidata.org/wiki/Q1239280] has read or done— or not done, or not written. On the back of [that book (?)], it says that he has two new books, one called Curious from Coach House Press [https://www.wikidata.org/wiki/Q5137585], and another In the Flesh, coming out with McClelland and Stewart [https://www.wikidata.org/wiki/Q6800322]. The one thing I can add to that is— has to do with baseball [https://www.wikidata.org/wiki/Q5369], about which I know much less than George. You still have your team?\\n \\nGeorge Bowering\\n00:04:51\\nYes.\\n \\nIntroducer\\n00:04:54\\nOkay, it's occurred to me that George understands one thing that is rather important to understand that is that the difference between stepping up to the plate and hitting the ball out of the park, and going [unintelligible], on the one hand, and on the other, stepping up to the plate and being there when the bat does what it's supposed to do and the ball takes itself out of the park. And this applies to baseball, and it also applies to poems. And that's what George understands.\\n \\nGeorge Bowering\\n00:05:48\\nFor those that live in California [https://www.wikidata.org/wiki/Q99], that's what Suzuki Roshi [https://www.wikidata.org/wiki/Q572599] calls Zen Baseball. I'm really excited to be back here, this is really a burn for me, because, can you hear me if I talk at this level? I'm hearing an echo, but I— can you hear me? [Audience laughter]. I'm reading for the next three weeks back and forth but this is the first one so I haven't got stale with any of this stuff yet in the east. And I'm going to come back in a few minutes to Autobiology, because I've never read it in the east although I started writing it in Montreal [https://www.wikidata.org/wiki/Q340] and finished it in Vancouver [https://www.wikidata.org/wiki/Q24639], but before I do I'm going to read a piece that is sort of representative of what I've been doing lately in Vancouver, called \\\"Desert Elm\\\", the desert being the Okanagan [https://www.wikidata.org/wiki/Q1812222] in this instance and the elm being the kind of tree that people planted there that wasn't there before and grew— they tried a lot of other ones and they didn't work. And it's a poem about my father and it deals with— it was begun with his heart attack he had in August and what happened after that, to me.\\n \\nGeorge Bowering\\n00:07:22\\nReads \\\"Desert Elm\\\".\\n \\nGeorge Bowering\\n00:20:04\\nThat's the longest one I'll read I think. I was going to go into Autobiology, but I'm just going to jump right now into one section of Curious, I'm going to read the Jack Spicer [https://www.wikidata.org/wiki/Q3805658] part for Artie [https://www.wikidata.org/wiki/Q4800979], and then I'll [unintelligible] Curious is a-—that's one of the books that's coming out this week, it's about, it's a book about poets, sort of, and this one's about Jack Spicer, who, Artie digs.\\n \\nGeorge Bowering\\n00:20:43\\nReads \\\"Jack Spicer\\\" from Curious.\\n \\nGeorge Bowering\\n00:22:10\\nHe was supposed to be moving— that was in the summer of '65, he was up in Vancouver and just decided to move up there so he wouldn't die, and because he would die if he stayed in San Francisco [https://www.wikidata.org/wiki/Q62], and then he said, well just before that I'll go down to the San Francisco Poetry Festival, and when that's over in three weeks I'll come up to Vancouver, and he died during the second week. Okay, this is— Autobiology is a book  that came out, two years ago this month, actually, 72, yeah. And I started writing it in Westmount [https://www.wikidata.org/wiki/Q139497] as they say and finished it in Kitsilano [https://www.wikidata.org/wiki/Q4179275]. I started writing it in an expensive flat in Westmount, and finished it in a commune on the edge of the water in Vancouver and it's a story about, as it suggests, it's a story, it's a book, it's poetry, it's prose, it's something about things that have changed me in terms of my head but first in terms of chemicals and physiologically, changed my body literally and so on. So I'll just, I'll read portions of it. I toyed with the idea of reading the whole book, it's the sort of thing we do in Vancouver, like we sit down and read the whole book, and this was published the same day as Stan Persky's [https://www.wikidata.org/wiki/Q2330087] The Day, a book called The Day, and it's the same length, about a hundred pages, and he read The Day and we took a break, and I read Autobiology and then we took a break of a couple of hours and he read The Day again. But that's sort of— that happens a little— it's a little easier to take when everybody is kind of a volunteer anyway, when everybody in the audience has known all the time that this was being written and that it was going to be read, the whole book. So I'll just read parts of it so you get a taste of it. Each section is about one and a quarter foolscap pages when it's handwritten, long, approximately so it turns out to be about two of these pages. \\\"Chapter One\\\"— there's forty-eight chapters. \\\"Chapter One: The Raspberries\\\".\\n \\nGeorge Bowering\\n00:24:41 \\nReads \\\"Chapter One: The Raspberries\\\" from Autobiology.\\n \\nGeorge Bowering\\n00:26:06 \\nDid that ever happen to--I'm sure these kinds of things must have happened to--the way I was telling [unintelligible] this afternoon that the way this book is written was I knew the general frame was things that changed me that way, from things put in my body, generally, or pieces of my body taken off, or whatever. Or pieces of my body going out into someone else's body or whatever. And I'd go home in my house in Westmount, from here, and I'd say 'I got it! Today I'm going to do the broken tool part' and I'd run home and I'd start controlling the thing and I'd throw it away, so all the pieces that are in here are the pieces that are not thrown away, the ones where I didn't know what I was going to write when I started writing. I have the sense that I tried to describe that afternoon as being simply equal to what was coming in the story. This is \\\"Chapter 2\\\", I'll read \\\"Chapter 1\\\" and 2 and 3 and 4 and then I'll skip. This is \\\"The Teeter Totter\\\".\\n \\nGeorge Bowering\\n00:27:05\\nReads \\\"Chapter 2: The Teeter Totter\\\" from Autobiology.\\n \\nGeorge Bowering\\n00:28:22\\nReads \\\"Chapter 3: The Pollywogs\\\" from Autobiology.\\n \\nGeorge Bowering\\n00:29:31\\n\\\"The Flying Dream\\\". This is the origin of why I decided to write poetry I think, or at least I've always made that connection. \\\"The Flying Dream\\\".\\n \\nGeorge Bowering\\n00:29:40\\nReads \\\"Chapter 4: The Flying Dream\\\" from Autobiology.\\n \\nGeorge Bowering\\n00:30:54\\nIt's the basis of that West Coast [https://www.wikidata.org/wiki/Q1974] elitism, Al. I— after I'd done this whole book I found out there's two chapters called \\\"The Breaks\\\", I'd totally forgotten that this chapter had written me this time. So this is the first chapter on “The Breaks”.\\n \\nGeorge Bowering\\n00:31:15\\nReads \\\"Chapter 8: The Breaks\\\" from Autobiology [audience laughter throughout].\\n \\nGeorge Bowering\\n00:32:34\\nGee, there's one I've never read before, I mean, out loud [audience laughter]. I'm not going to anyway, heck with it. Oh, here's one that every once in a while there's, it comes to, the thing comes to writing itself or talking about the writing of itself, so here's one called \\\"Composition\\\", for those that are worried about the problem it'll be totally clear. I think. It defines composition. \\\"Composition\\\".\\n \\nGeorge Bowering\\n00:33:02\\nReads \\\"Chapter 14: Composition\\\" from Autobiology.\\n \\nGeorge Bowering\\n00:34:32\\nHere's the other one called \\\"The Breaks\\\".\\n \\nGeorge Bowering \\n00:34:35.49\\nReads \\\"Chapter 20: The Breaks\\\" from Autobiology.\\n \\nGeorge Bowering\\n00:35:53\\nReads [“Chapter 21: Come’ from Autobiology].\\n \\nGeorge Bowering\\n00:37:13\\nThis is one that, this is a favourite amongst the [serifs (?)] in Vancouver. The— I live in a community now as different from the community I lived in a couple of years ago of all https://www.wikidata.org/wiki/Q5882404], Esalen [https://www.wikidata.org/wiki/Q5882404], encounters all the time and they're always talking about shrinkage and they're always telling me why don't you take shrinkage, and I say 'I don't feel like I need shrinkage' and they said 'that proves you need shrinkage'. Can't get out of it, you know, that's your problem— you don't think you need... So this one is sort of a reply to that, it's called \\\"The Childhood\\\".\\n \\nGeorge Bowering\\n00:37:56\\nReads \\\"Chapter 26: The Childhood\\\" from Autobiology.\\n \\nGeorge Bowering\\n00:39:05\\nThis one's about the literary world, it's called \\\"St. Louis\\\", where, St. Louis is where William Burroughs [https://www.wikidata.org/wiki/Q38022] and an earlier poet came from. T.S. Sandburn [https://www.wikidata.org/wiki/Q37767], I think his name was. [audience laughter.]\\n \\nGeorge Bowering\\n00:39:21\\nReads \\\"Chapter 27: St. Louis\\\" from Autobiology.\\n \\nGeorge Bowering\\n00:40:49\\nThen there's a whole series of pieces on towns that I lived in which I'll skip over. Skip that one, skip that one, get to these ones at the end. Here's one called \\\"The Flesh\\\", which I guess was involved with at the time, writing a book of poems about the flesh.\\n \\nGeorge Bowering\\n00:41:23\\nReads \\\"Chapter 43: The Flesh\\\" from Autobiology.\\n \\nGeorge Bowering\\n00:42:43\\nI think I'll read the last couple in this one, and then see what time it is. \\\"The Operations\\\" everybody is my chance, right? Every vessel, living in a house with my mother talking about operations the last couple of weeks and she couldn't really do it. So I get my chance now, ‘cause I don't really get the chance— that's my mother on the cover of the book by the way, that's my mother and that's me. There she is.\\n \\nGeorge Bowering\\n00:43:14\\nReads \\\"Chapter 45: The Operations\\\" from Autobiology.\\n \\nGeorge Bowering\\n00:44:53\\nAnd the last two, this is \\\"The Scars\\\".\\n \\nGeorge Bowering\\n00:44:56\\nReads \\\"Chapter 47: The Scars\\\" from Autobiology.\\n \\nGeorge Bowering\\n00:46:24\\nAnd the last one is called naturally, \\\"The Body\\\", Chapter 48.\\n \\nGeorge Bowering\\n00:46:32\\nReads \\\"Chapter 48: The Body\\\" from Autobiology.\\n \\nGeorge Bowering\\n00:47:48\\nThat was Autobiology, it's actually, can you imagine, a tetralogy. And the first volume was called Geneve and it was based on a found thing with the tarot pack [https://www.wikidata.org/wiki/Q583269] and with the Geneva version of the French pack, Marseilles pack. The second one was Autobiology and the third one was Curious and the fourth one is— Dwight Gardiner wrote it, in a book called the Book of the Occasional. I was going to write it but he wrote it, so I didn't have to. It's just absolutely beautiful and if you see a Book of the Occasional, you'll see what I mean. It's just a gorgeous, gorgeous book. Oh, gee, I'd love to read— how long can I have now?\\n \\nUnknown\\n00:48:45\\n[Cut or edit made in tape].\\n \\nGeorge Bowering\\n00:48:46\\n...Because I just suddenly remembered I'd love to read a piece I have called The Big Leagues. But then I also have a book called At War with the U.S. that I— was the first book of poems I've written in years, but maybe I'll just read The Big Leagues, that will probably take— and then maybe I'll read one or two pieces from Curious. This is a book—a thing called The Big Leagues and it's in a few- in five sections and maybe I'll get tired before I get to the fifth one, but I'll just see how— the first one is called \\\"The Detroit Tigers\\\" [https://www.wikidata.org/wiki/Q650855].\\n \\nGeorge Bowering\\n00:49:21\\nReads \\\"The Detroit Tigers\\\".\\n \\nGeorge Bowering\\n00:51:57\\nThat was written in South Slocan, B.C. [https://www.wikidata.org/wiki/Q18379776] I think this is my favourite one, it's called \\\"The Dallas Cowboys\\\" [https://www.wikidata.org/wiki/Q204862].\\n \\nGeorge Bowering\\n00:52:09\\nReads \\\"The Dallas Cowboys\\\".\\n \\nGeorge Bowering\\n00:54:57\\nThe next one's called \\\"The San Diego Padres\\\" [https://www.wikidata.org/wiki/Q721134] but I'm going to skip that one because it's about getting dope [https://www.wikidata.org/wiki/Q60168] into— what happens is that Chance is coming back, he's now wearing the uniform that Slim Chance had before he died, a U.S. Army uniform that says \\\"Chance\\\" on it and \\\"U.S. Army\\\" and they're sneaking some dope into San Diego and it has to do with some Padres whose clothes are taken off so they can use them to hide the dope and everything. The next one's called \\\"The Buffalo Sabres\\\" [https://www.wikidata.org/wiki/Q131206].\\n \\nGeorge Bowering\\n00:55:32\\nBegins reading \\\"The Buffalo Sabres\\\". \\n\\nGeorge Bowering\\n00:55:37\\nOh, by the way what happens is that I took four quotations from poetry, and three of them are taken from the normal Ohio academic American Poetry Anthology and one of them is taken from Robert Creeley [https://www.wikidata.org/wiki/Q918620] at the end, and you can tell. I can't even remember what poets I took from, like all those guys sorta have the same thing, you know, Donald Hall [https://www.wikidata.org/wiki/Q976924] Anthology Poets if you know what I mean.\\n \\nGeorge Bowering\\n00:56:05\\nResumes reading \\\"The Buffalo Sabres\\\".\\n \\nGeorge Bowering\\n00:59:06\\nAnd this one is for a lot of friends of mine, it's called \\\"The Minnesota Twins\\\" [https://www.wikidata.org/wiki/Q604879] and he's going on, he's leaving Buffalo [https://www.wikidata.org/wiki/Q40435] and going to— has anyone here been to— has anyone here been to Bemidji, Minnesota [https://www.wikidata.org/wiki/Q730430]? You know what they got there right? That great big, blue Ox and the great big Paul Bunyan [https://www.wikidata.org/wiki/Q7149597] carved about 30 feet high or something like that. And other than that, it's a beautiful town, you know, it has the— it looks like the underground of another town turn upside-down, so the bottom is up above the ground, right? \\\"The Minnesota Twins\\\".\\n \\nAnnotation\\n00:59:39\\nReads \\\"The Minnesota Twins\\\".\\n \\nGeorge Bowering\\n01:02:26\\nI think I'll read like for ten minutes and that'll be for a total of an hour, five minutes or something like that. I'll just, I'll pick, this is Curious, which is a— that other book's coming out, it's called In the Flesh and it's maybe the last book of occasional, magazine book verse poetry I ever do. It deals with the experience of being in your 30s and finding out that the world isn't round after all and how sad you can be and how strong emotions can be. It has an introduction called \\\"I Never Felt Such Love\\\". But it's mainly lyric poetry, and I just, I've read so much of that that it's got to be too easy to read and write and everything. So I'll read a few of these. The poets who are mentioned in Curious, it happens that there are a lot of my friends who aren't in the book. Because, again, I wrote it that way, if you know, if that person did not come up, excuse me, from the other side of the page or however that feeling is to be described, if the voice wasn't there or something, for instance I really wanted to do a Roy Kiyooka [https://www.wikidata.org/wiki/Q3445789] poem, and you know, I just couldn't and it didn't come and I had wanted to but if I had tried that it just would have been screwed up. Some of these are American, some are Canadians, a couple are English and maybe one or two other things. And the first one is, naturally, Charles Olson [https://www.wikidata.org/wiki/Q922978]. Olson, as you probably know, was about 6 ft 10 and weighed about 300 pounds. And I first met him— I was standing at the bottom of a flight of stairs and he was coming down them. So I said 'hello' to the knees of his sear-sucker suit.\\n \\nGeorge Bowering\\n01:04:19\\nReads \\\"Charles Olson\\\" from Curious.\\n \\nGeorge Bowering\\n01:05:57\\nI'll get some Canadians in here. Margaret Atwood [https://www.wikidata.org/wiki/Q183492], she's the first Canadian to appear in here.\\n \\nGeorge Bowering\\n01:06:16\\nReads \\\"Margaret Atwood\\\" from Curious.\\n \\nGeorge Bowering\\n01:07:36\\nThere are some poets in here that you won't know that are more specifically Vancouver-oriented poets perhaps that aren't as well known out here so I'll skip those. This is \\\"bp Nichol\\\". Everybody knows bpNichol [https://www.wikidata.org/wiki/Q4953105], or everybody is bpNichol.\\n \\nGeorge Bowering\\n01:07:57\\nReads \\\"bp Nichol\\\" from Curious.\\n \\nGeorge Bowering\\n01:09:40\\n\\\"Stephen Spender\\\" [https://www.wikidata.org/wiki/Q448764]. I was going to skip this one, but it has a few moments in it.\\n \\nGeorge Bowering\\n01:09:53\\nReads \\\"Stephen Spender\\\" from Curious.\\n \\nGeorge Bowering\\n01:11:18\\nThat's, boy, that's— like you're out on the West Coast where you've never seen a poet before in your life and the first one they bring you is this guy you've been reading in books and he's a white-haired— it's unbelievable. You know, John Newlove's [https://www.wikidata.org/wiki/Q6250356]? John Newlove, for those who know John Newlove.\\n \\nGeorge Bowering\\n01:11:36\\nReads \\\"John Newlove\\\" from Curious.\\n \\nGeorge Bowering\\n01:13:08\\nThat last part is from a title of one of his books. David McFadden [https://www.wikidata.org/wiki/Q5237344] is, this is the David McFadden piece and maybe I'll read it and a couple more. It's not my favourite but it's one that I like reading. David McFadden— well, it tells you what he's like, but David McFadden is a— he scared the hell out of Allen Ginsberg [https://www.wikidata.org/wiki/Q6711] because he writes really funny poems, like he literally has things, like he walks out into the backyard and sees the Archangel Gabriel [https://www.wikidata.org/wiki/Q81989] or a space man and just talks to it and talks about it in the story of the poem a paragraph after he's talked about going out and buying some cigarettes or something like that and Ginsberg thought, wow, what a weird spaced out guy, so Victor Coleman [https://www.wikidata.org/wiki/Q23882910] took him down to Hamilton [https://www.wikidata.org/wiki/Q133116] to see David, David— he's got, as he said in the note of one of his books, \\\"I was born in 1940 and I comb my hair straight back\\\", and in his house, he's got an electric pendulum clock and you know that sort of thing. And Ginsberg took one look and said [inaudible ‘scared’ sound], and ran away. Just couldn't believe it, you know, it's unbelievable. So, David McFadden.\\n \\nGeorge Bowering\\n01:14:30\\nReads \\\"David McFadden\\\" from Curious.\\n \\nGeorge Bowering\\n01:16:24\\nThere wasn't a comma in there, that was the Indian food coming back. Now let's see…\\n\\nAudience Member 1\\n01:16:31\\nAddresses George Bowering [unintelligible; requests poem].\\n\\nGeorge Bowering\\n01:16:33\\nNo, he didn't get in there either, and I'm very sad about that, just people that got in that I wish didn't get in and there's people that didn't get in that I wish did get in. \\n\\nAudience Member 2\\n01:16:44\\n[Unintelligible]...Raymond Souster [https://www.wikidata.org/wiki/Q304129].\\n\\nGeorge Bowering\\n01:16:46\\nYeah, I think I might have skipped over Raymond Souster, the Raymond Souster one is, as you might imagine the shortest one in the book.\\n \\nGeorge Bowering\\n01:16:58\\nReads \\\"Raymond Souster\\\" from Curious.\\n \\nGeorge Bowering\\n01:17:59\\nI got a Purdy one too, but Al weighs 210 pounds. No, I've always made it a policy not to read the ones of somebody that's there. I don't know if there are any other ones that I'm going to read.\\n\\nAudience Member 3\\n01:18:25\\nAddresses George Bowering [unintelligible; requests poem].\\n\\nGeorge Bowering\\n01:18:26\\nYeah, I don't know where the hell it is. I like the Lionel Kearns [https://www.wikidata.org/wiki/Q6555690] one actually...Oh I don't know what's happened to the Lionel Kearns one, it's one of my very favourites too. I think maybe, I'll see if I can find the Lionel one in a second then I'll read it and I'll finish off with the bill bissett [https://www.wikidata.org/wiki/Q4911496] one. If I just had the book with me it'd be a hell of a lot easier. I don't think I'm going to find the Kearns one. I can't find the Kearns one, it's all about how he can't find anything. This is the bissett one and then I'll finish off with that.\\n \\nGeorge Bowering\\n01:19:30\\nReads bill bissett\\\" from Curious.\\n\\nGeorge Bowering\\n01:21:16\\nThank you.\\n\\nAudience\\n01:21:17\\nApplause. \\n\\nEND\\n01:21:29\\n\",\"notes\":\"George Bowering reads from Autobiology (New Star Books, 1972) and Curious (Coach House Press, 1973), as well as a few poems from unknown sources.\\n\\nList of Poems Read and Time Stamps:\\nPart 1\\n00:00 - Background noise, setting up microphone\\n01:54 - George Bowering introduces reading [INDEX: Al Purdy, review of his book of poems, Al Purdy in the audience]\\n04:12 - Unknown male introduces Bowering [INDEX: Curious published by Coach House Press; In the Flesh; baseball]\\n05:48 - George Bowering introduces “Desert Elm” [INDEX: California, Suzuki Roshi ‘Zen Baseball’; reading tour, Autobiology: written in Montreal, finished in Vancouver; Okanagan region in B.C., elm tree; father’s heart attack]\\n07:22 - Reads “Desert Elm”\\n20:04 - Introduces “Jack Spicer” from Curious [INDEX: Autobiology; reading from Curious, reading for Artie Gold, book about poets]\\n20:43 - Reads “Jack Spicer”\\n22:10 - Explains “Jack Spicer” and introduces “Chapter One: The Raspberries” from Autobiology. [INDEX: Jack Spicer, Summer of 1965, moving to Vancouver, San        \\tFrancisco Poetry Festival, Spicer’s death; Autobiology (about it), writing started in  \\tWestmount (Montreal) and finished in Kitsolano (Vancouver), published the same \\nday as Stan Perksy’s The Day, readings in Vancouver; handwritten page length of Autobiology]\\n24:41 - Reads “Chapter One: The Raspberries”\\n26:06 - Introduces “Chapter Two: The Teeter Totter” [INDEX: artistic process of writing Autobiology; Westmount]\\n27:05 - Reads “Chapter Two: The Teeter Totter”\\n28:22 - Reads “Chapter Three: The Pollywogs”\\n29:31 - Introduces “ Chapter Four: The Flying Dream” [INDEX: reason he started writing poetry]\\n29:40 - Reads “Chapter Four: The Flying Dream”\\n30:54 - Introduces “Chapter Eight: The Breaks” [INDEX: Two sections called “The Breaks”; West-Coast elitism]\\n31:15 - Reads “Chapter Eight: The Breaks”\\n32:24 - Introduces “Chapter Fourteen: Composition”\\n33:02 - Reads “Chapter Fourteen: Composition”\\n34:32 - Reads “Chapter Twenty: The Breaks” [First line “I broke my nose on a girl’s heel...”]\\n35:53 - Reads “Chapter Twenty-One: Come”\\n37:13 - Introduces “Chapter Twenty-Six: The Childhood” [INDEX: Vancouver, community living, Cold Mountain, Esalen, [?] shrinkage]\\n37:56 - Reads “Chapter Twenty-Six: The Childhood”\\n39:05 - Introduces “Chapter Twenty-Seven: St Louis” [INDEX: William Burroughs, T.S. Eliot]\\n39:21 - Reads “Chapter Twenty-Seven: St Louis”\\n40:49 - Introduces “Chapter Forty-Three: The Flesh” [INDEX: series of poems about towns \\tGeorge Bowering lived in]\\n41:23 - Reads “Chapter Forty-Three: The Flesh”\\n42:43 - Introduces “The Operations” [INDEX: Operations, chance, living with his mother; cover of the book is a photo of George and his mother]\\n43:14 - Reads “Chapter Forty-Five: The Operations”\\n44:53 - Reads “Chapter Forty-Seven: The Scars”\\n46:24 - Reads “Chapter Forty-Eight: The Body”\\n47:48 - Talks about Autobiology [INDEX: Tetrology: 1st volume: Geneve: based on a found poem in the Geneve version of the tarot card pack, 2nd volume: Autobiology, 3rd volume: written by Dwight Gardener Book of the Occasional]\\n48:45.59 - END OF RECORDING.\\n\\nPart 2\\n00:00 - George Bowering introduces “The Detroit Tigers” [INDEX: wants to read “The Big Leagues”, book At War with the U.S.; book Curious]\\n00:35 - Reads “The Detroit Tigers”\\n03:11 - Introduces “The Dallas Cowboys” [INDEX: “The Detroit Tigers” written in South       Slocan, B.C.]\\n03:23 - Reads “The Dallas Cowboys”\\n06:11 - Introduces “The Buffalo Sabers” [INDEX: “The San Diego Padres” about smuggling dope into San Diego, Slim Chance (Character), U.S. Army uniform]\\n06:46 - Reads “The Buffalo Sabers”\\n06:52 - Interrupts reading with explanation [INDEX: quotations taken from anthologies of       American poetry, Ohio, Great Anthology: New Poets of England and America edited by Donald Hall; Robert Creeley]\\n07:19 - Resumes reading “The Buffalo Sabers”.\\n10:21 - Introduces “The Minnesota Twins” [INDEX: leaving Buffalo going to Bemidji, Minnesota; Blue Ox and Paul Bunyan statues]\\n10:54 - Reads “The Minnesota Twins”\\n13:40 - Introduces “Charles Olson” from Curious. [INDEX: In the Flesh, Curious: book of the occasional, magazine verse, how strong emotions can be, Introduction: “I Never Felt Such Love”, about poets, how he chose what poets to put in the book, Roy Kiyooka, American, Canadian and British poets; Charles Olson and his first meeting with]\\n15:33 - Reads “Charles Olson”\\n17:11 - Introduces “Margaret Atwood” [INDEX: introduced as “Peggy Has”, Margaret Atwood]\\n17:31 - Reads “Margaret Atwood”\\n18:50 - Introduces “bp Nichol” [INDEX: Vancouver-oriented poets]\\n19:11 - Reads “bp Nichol”\\n20:55 - Introduces “Stephen Spender”\\n21:07 - Reads “Stephen Spender”\\n22:32 - Introduces “John Newlove” [INDEX: explains his first meeting with Stephen Spender]\\n24:23 - Reads “John Newlove”\\n24:23 - Introduces “David McFadden” [INDEX: tells story about how McFadden scared Allen Ginsberg, Victor Coleman]\\n25:44 - Reads “David McFadden”\\n27:28 - Introduces “Raymond Souster”\\n28:13 - Reads “Raymond Souster”\\n29:13 - Introduces “Bill Bissett” [INDEX: Al Purdy poem, Lionel Kearns]\\n30:44 - Reads “Bill Bissett”.\\n32:43.73 - END OF RECORDING.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/george-bowering-at-sgwu-1974/\"}]"],"score":1.8530173},{"id":"1303","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":["James Wright at Sir George Williams University, The Poetry Series, 13 December 1968"],"item_title_source":["Cataloguer"],"item_title_note":["\"I006/SR157 JAMES WRIGHT\" written on sticker on the spine of the tape box. \"I006-11-157\" written on sticker on the reel."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 3"],"item_identifiers":["[]"],"creator_names":["Wright, James"],"creator_names_search":["Wright, James"],"creators":["[{\"url\":\"http://viaf.org/viaf/12322205\",\"name\":\"Wright, James\",\"dates\":\"1927-1980\",\"notes\":\"American poet James Arlington Wright was born on December 13, 1927 in Martins Ferry, Ohio, an industrial town along the Ohio River. He began writing sonnets as a young child, was encouraged by his teachers to continue writing, though he suffered from a nervous breakdown in 1943. After graduation in 1946, Wright joined the U.S. Army, serving in Japan until 1948 when he returned to Ohio and enrolled in Kenyon College (where the influential John Crowe Ransom was teaching). His poetry was published in the Kenyon Review, Poetry (Chicago) and in The New Yorker.  In 1952 he married a high school classmate Liberty Kardules and spent the next year on a Fulbright Fellowship at the University of Vienna. His first child, Franz, was born in 1953, and Wright enrolled in graduate studies at the University of Washington in Seattle, where his teachers were Theodore Roethke and Stanley Kunitz. His first book, The Green Wall (Yale University Press, 1958) was published because of his submission to the Yale Series of Younger Poets competition, which W.H. Auden was judging. His second book, published in 1959 was Saint Judas (Wesleyan University Press), the same year he completed his Ph.D. dissertation on Charles Dickens. During the next few years, Wright’s marriage failed, and he was denied tenure at the University of Minnesota. Wright’s next publication, The Branch Will Not Break (Wesleyan University Press, 1963) proved to be groundbreaking, and was followed by Shall We Gather at the River (1968). Wright spent a few years at the Macalester College in St. Paul, Minnesota and was then awarded a Guggenheim Fellowship in 1965-66. Wright moved again, to New York City and took up a position at Hunter College in 1966. He met his second wife, Edith Anne Runk that same year. Wright was awarded both a Rockefeller Foundation Grant and an Ingram Merrill Foundation award for the publication of Shall We Gather at the River (Wesleyan University) in 1969. Wright was able to publish his Collected Poems (Wesleyan University, 1971) which won a Pulitzer Prize and a Fellowship of the Academy of American Poets, and was followed by Two Citizens (Farrar, Straus and Giroux, 1973) and To a Blossoming Pear Tree (Farrer, Straus and Giroux, 1977). Wright was diagnosed with cancer of the tongue, and died four months later, in New York City on March 25, 1980. This Journey (Random House, 1982), Collected Prose (University of Michigan Press, 1983) and Above the River: The Complete Poems (Farrar, Straus and Giroux, 1992) were all published posthumously.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[]"],"Performance_Date":[1968],"material_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\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"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\":\"1968 12 13\",\"type\":\"Performance Date\",\"notes\":\"Date referenced in \\\"Howard Fink Print Catalogue\\\"\",\"source\":\"Supplemental 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":["James Wright reads from The Branch Will Not Break (Wesleyan University Press, 1963), Saint Judas (Wesleyan University Press, 1959), and from Shall We Gather at the River (Wesleyan University Press, 1968)."],"contents":["james_wright_ i086-11-157.mp3\n\nJames Wright\n00:00:00\nWell, I feel about poetry in a curious way, I guess. I have a very strong classical streak in me, I think, I like poems that are very regular, and poems that rhyme, and poems that are passionately intellectual, and I think that I feel this way because the poems that are the most passionately intellectual have a way of spilling over into something which is completely free in its feeling. Oh here's a little poem by Ben Jonson [https://www.wikidata.org/wiki/Q193857]. It's called \"On My First Sonne\" [https://www.wikidata.org/wiki/Q7091055]. A little elegy. \n \nJames Wright\n00:00:52\nReads \"On My First Sonne\" by Ben Jonson.\n \nJames Wright\n00:01:55\nPoor old Ben Jonson, in a pig's eye. The next poem I would like to say is by an American poet, W.S. Merwin [https://www.wikidata.org/wiki/Q680368], who has just published his selected translations, and of course in addition to the very beautiful poems of his own that Merwin has, he's been a prolific translator, and he, he really does know the languages. I've loved his poetry always because he has such a beautiful ear, it was very interesting to me when I saw him in New York [https://www.wikidata.org/wiki/Q60] a few weeks ago, when he said that his Selected Translations were about to appear. I asked him if he remembered the transla--well of course he remembered, I just told him I always liked very much the poem he had translated, a later poem by Garcia Lorca [https://www.wikidata.org/wiki/Q41408]called \"Gacela of Unforseen Love\". What a weird thing! He didn't remember that he had done it. And it's not in his book. Well, I wish it were. \"Gacela of Unforseen Love\".\n \nJames Wright\n00:03:35\nReads \"Gacela of Unforseen Love\" by Federico Garcia Lorca and translated in English by W.S. Mervin.\n \nJames Wright\n00:04:30\nCan't imagine doing that in English and then forgetting that you've done it. Maybe it was frightening. Here in Montreal [https://www.wikidata.org/wiki/Q340] I've been thinking about what in the United States [https://www.wikidata.org/wiki/Q30] we hear about Montreal, about the English background, and the French background, and the Canadian, all of which are very vital and alive, but what do you make of the Irish up here? Are there any Irishmen in Canada [https://www.wikidata.org/wiki/Q16]? [pauses for response]. Just on March 17th. Only on March 17th, fine. My own family background is kind of complicated. I'm an Ohioan, which is a kind of hell in itself [audience laughter]. But both sides of my family have roots in the south, but they have a strong streak of Irish behind them; it wasn't until I was quite old that I found out about some of Irish literature, of course we've all of us read Yeats [https://www.wikidata.org/wiki/Q40213]. The son of a bitch. He not only did everything first but he did it best. We all feel that. But really he didn't do it all first. He may have done it best but there are some Irish things that I found that perhaps he grew out of it. Do you know for example, the poems of, of all people, Jonathan Swift [https://www.wikidata.org/wiki/Q41166]? Jonathan Swift is a wonderful poet. He published Gulliver's Travels [https://www.wikidata.org/wiki/Q181488] in 1725, and I found a little poem of his called \"On Burning a Dull Poem\". Of 1729. And it has a, it's a wonderful expression of the Irish art of the curse. I shouldn't lean on this. I don't mean the poem, I mean the lectern. [Audience laughter]. But it's a wonderful example of the Irish art of the curse, what is supposed to be very regular and it's almost like a prayer. The art here is that you should decide first of all whether or not what you feel annoyed by really is worthy of a curse. And then if it is, you should not come out and blast it directly, but exercise some indirection on it. So here we have Swift, \"On Burning a Dull Poem\".\n \nJames Wright\n00:07:29\nReads  \"On Burning a Dull Poem\" by Jonathan Swift.\n \nJames Wright\n00:08:25\nI can't help bringing that a little closer to our own time. We all know the very beautiful plays of John Millington Synge [https://www.wikidata.org/wiki/Q213447]. Perhaps people haven't so widely enjoyed his poems. He didn't write a great many, but to my mind he wrote enough. He also, he made a translation of Petrarch [https://www.wikidata.org/wiki/Q1401] into the same language as those people, as those women on the Aran Islands [https://www.wikidata.org/wiki/Q212893] who used to clean his room. He said he learned something about the rhythm of his language just by listening to them. So that in the sound of the Petrarch after Laura is dead and is appearing in heaven, and the angels are astonished by her beauty, the sestet of that sonnet, in Synge's translation, the angels see Laura and suddenly say, \"What rare beauty is that now? What rare beauty at all.\" So that those old women who cleaned his room on the Aran Islands have the voices of the angels. Well, after The Playboy of the Western World [https://www.wikidata.org/wiki/Q451517] was first produced, he was criticized and he wanted to write something about the criticism. He didn't know whether the, who the critic was, really, he didn't know anything about him, he didn't know whether or not the critic had a sister. But there was the poem, and since he realized, as Aristotle [https://www.wikidata.org/wiki/Q868] said, that “poetry is a higher and more philosophical thing than history”--history being limited to what is or was, and poetry having available to it what ought to be, what might be...Synge invented a sister, and he wrote a little poem called \"Upon the Sister of the Critic who Attacked the Playboy\". [Audience laughter]. This is a prayer. [Audience laughter]. And blasphemy also is a very delicate art. \"Lord\"...no I have to say, that you have to understand, really what \"Mountjoy\" is. Mountjoy is a place on the edge of Dublin [https://www.wikidata.org/wiki/Q1761], a kind of charity place where the Skid Rowers go.  \n \nJames Wright\n00:11:06\nReads \"Upon the Sister of the Critic who Attacked the Playboy\" by John Millington Synge.\n \nAudience\n00:11:32\nLaughter.\n \nJames Wright\n00:11:43\nI came to like those Irish poets, so much, because they enjoyed poetry. My God, you've got to do something, life is a mess. Well, alright, I want to say one more poem that I care about. I know I'm going on too long with this business. One more. Let me say it in English first, and you can't say that I'm translating at sight, but perhaps by ear, and it'll be very awkward, but it's not awkward in the German. When--it's a poem that doesn't have a title. I don't think I'll tell you who wrote it. The poem goes: \"When the clocks nearby strike as if their own hearts were beating, and things--that is, material objects-things, with hesitant voices say to me softly, ‘Are you there?’ Then I am not the same man who woke this morning, for the night has sent me a name which no one to whom I spoke by daylight can listen to without being deeply frightened. Every door in me opens, and then I know that nothing dies, neither gesture, nor prayer. Things are too heavy for that. My whole childhood stands always around me. I am never alone. Many who live before me, and many who spring forth from me”--which I would also, I suppose, translate as ‘many who spring forth out of my body'--”wove, wove into my being. And if I sit down opposite you and say, lightly, I have been suffering, do you hear? Who knows? Who murmurs that voice with me?\"\n\nJames Wright\n00:14:19\nReads untitled poem by Rainer Maria Rilke in German.\n \nJames Wright\n00:15:28\nOh, no that's corny, of course it's by Rilke [https://www.wikidata.org/wiki/Q76483]. I mean it's corny to hold back the name. It's one of those lyrics that Rilke wrote between those New Poems [https://www.wikidata.org/wiki/Q7011009] and the big terrible ones, the Duino Elegies [https://www.wikidata.org/wiki/Q688426] and the Sonnets. Well, let me proceed now to some poems of my own. The first one I think I will read is a poem called \"A Note left in Jimmy Leonard's Shack\". I've been thinking about that poem a little bit recently for a lot of reasons. I think I should tell you something about what's behind it. There was an old guy called Minnegan Leonard who, or maybe Francis Leonard, who grew up--no, [laughter] I mean he was old, I grew up--he was already there [audience laughter]. Back in Martins Ferry [https://www.wikidata.org/wiki/Q1018313], Ohio [https://www.wikidata.org/wiki/Q1397]. The story about him was that he had been a very well-educated man and he sort of deteriorated, everyone said. One night, a couple of friends and I found him in the, when the snow was starting to fall. And his, he wore a pair of overalls, the ones that cross behind, and they were too big, my friends and I helped him get home. We were very much afraid of his brother, Jimmy. Minnegan had drunk so much that his brain was practically gone, and he had nothing left to say to the universe except \"God bless my soul.\" We were stupid, we were afraid of his brother Jimmy, because his brother Jimmy, although drunk, was still mean. He still had some of his humanity left. And we were afraid of him. I thought about this poem as being spoken by a boy, I was about twelve years old. I also wanted to see if I could get away with swearing in a poem, and give the word, give the profanity some of its true force. The only thing that I deplore about the open use of profanity is that very soon, when the four-letter words are used commonly, they start to lose touch with their old, magical, dark force. When I was in the army, twenty years ago, I realized that this happened. You couldn't say \"fuck\" to refer to anything dark or anything interesting. It became a musical notation. Merely a musical notation, like a comma, when you were having chow. [Audience laughter]. But then there came those necessary moments when one absolutely needs to curse, and what does one do then? Then I saw all sorts of people around me, floundering, turning to what Wordsworth would have called the \"poetic diction,\" and finding that to say \"fuck\" had about as much effect on the release of one's feelings as the Finney crew had on anybody who was trying to read about fish in the end of the 18th century. Then I met a poetic genius named Mark W. Patrick from Crafton, Alabama [https://www.wikidata.org/wiki/Q173], who was not hobbled by this. Someone asked him once, no he had invention, true invention. He knew how to swear. My wife has heard this before. Alright, I'll say it again. Someone said to him, \"Where are you from?\" And he said, \"I come from so far back in the country, they have to fan the coon-farts out of the kitchen to keep from making.” [Audience laughter]. No, wait a minute, you didn't hear the rest of the conceit. Now listen to this carefully and think of it as in Shakespearian. \"I come from so far back in the country they have to fan the coon-farts out of the kitchen to keep from making ring-tailed biscuits.\" [Audience laughter]. I thought, let us somehow rescue through invention our power to curse. Well this poem is called, \"A Note Left in Jimmy Leonard's Shack\". It's about taking Minnegan Leonard home when he was helpless in the snow.\n \nJames Wright\n00:21:07\nReads \"A Note Left in Jimmy Leonard's Shack\" [from Saint Judas].\n \nUnknown\n00:22:43\nAmbient Sound. \n \nJames Wright\n00:22:58\nNow for a while I think I would like to read from my new book. There are a couple of city poems in this new book, well, more than a couple, and many of the things that I had written before were about the country, more or less, in Ohio, and in Minnesota [https://www.wikidata.org/wiki/Q1527]. But I developed a certain feeling about cities, I guess, and...I didn't have a very happy time in Minneapolis [https://www.wikidata.org/wiki/Q36091] and St. Paul [https://www.wikidata.org/wiki/Q28848], but I lived there for about eight years, and before I left I thought I ought to say farewell, somehow. I couldn't think of a title for this poem that would convey or suggest what I really felt, and the true title came to me. I wanted it to be a poem about, not only about Minneapolis but about many American cities, and what has been happening in them. Minneapolis is my favourite because I lived there for quite a while, and they had a very big Skid Row there, and the Skid Row was cleared out by the city administration, the last, the most recent one. It was a very big Skid Row, between the Great Northern Railroad Station and the Mississippi River [https://www.wikidata.org/wiki/Q1497], right a strip across there, several blocks wide. And they sort of flattened it. They put up an insurance building and the rest were parking lots. And it never occurred to them that the people who lived there would...well, even existed. And I know where those people went, they went down Nickolet Avenue, scattered down there. It's a very strange thing. Spiro T. Agnew [https://www.wikidata.org/wiki/Q203433], our new American Vice-President said, during the campaign, \"The reasons the slums are so over-crowded is that there are too many people in them.\" [Audience laughter]. Well, this is my city poem. It's called \"The Minneapolis Poem\".\n \nJames Wright\n00:26:11\nReads \"The Minneapolis Poem\" [from Shall We Gather at the River].\n \nJames Wright\n00:30:39\nThe next poem is called, \"In Terror of Hospital\"-- [cut or edit in tape] \"In Terror of Hospital Bills\".\n \nJames Wright\n00:30:51\nReads \"In Terror of Hospital Bills\" [from Shall We Gather at the River].   \n \nJames Wright\n00:32:36\nThis poem is called \"The Poor Washed Up by Chicago Winter\". It's about leaving Chicago [https://www.wikidata.org/wiki/Q1297]. I went down there for a long Thanksgiving weekend to visit a man whose poetry I had seen, I had never met him, I admired it very much. His name is Bill Mott. He has finally published a first book. He lived in an area down there where there were some sort of poor people...I don't mean poor people in the sense of being savagely poor, really really put down, but just sort of drifters, the guys who go into the, who go in on Thanksgiving and get a dinner there from the Salvation Army [https://www.wikidata.org/wiki/Q188307] and look at it and then sweep up and leave. \n \nJames Wright\n00:33:53\nReads \"The Poor Washed Up by Chicago Winter\" [from Shall We Gather at the River].\n \nJames Wright\n00:35:43\nYou know, George Orwell [https://www.wikidata.org/wiki/Q3335] remarked in Down and Out in Paris and London [https://www.wikidata.org/wiki/Q1355487] that when he got back to London [https://www.wikidata.org/wiki/Q84] from France [https://www.wikidata.org/wiki/Q142] where he'd been a dishwasher, he had so little money that he realized that he would have to beg, only somehow his clothes, ratty as they were, were still too good to beg with. And so he, he sold what clothes he had, or traded them, rather, for a really crummy suit of clothes, and when he got those old, really poor man's clothes on, he noticed all sorts of strange things. The way people looked at him. The way women looked at him. As well as other men. And the fact that he was poor had an effect on the way people's souls were shaped, somehow. I only had a very slight experience of that in my life, and I don't want any more of it. Because it's not very romantic. For a while I had a sort of, an account at a department store in Minneapolis, and I was behind in my payments. At that time I had an old green coat my father had given me, it didn't quite fit but a coat is a coat. So I had it, and I was, in order to keep myself going one way or another, I went up to the cashier's office at this department store and tried to cash a small cheque for twenty dollars, or something like that. There was a very beautiful girl there, the cashier, and she looked at me, and she disappeared for a moment and she came back with a fellow who had a crew cut. And he evidently was the Grand Vizier, or something. Well, they were about a foot and a half away from my face while I waited, and they talked about me, without paying any attention to me. And I realized something I had never realized before. That I'm, I am content simply to think about it, I don't want it to happen to me again  I thought, Jesus Christ, there are millions of people in this country who are treated like things, every single intimate moment of their lives. And it's not pretty. Well. \"Before a Cashier's Window in a Department Store\". The poem is in different parts and I think I'll indicate the numbers. \n \nJames Wright\n00:38:45\nReads \"Before a Cashier's Window in a Department Store\", Part 1 [from Shall We Gather at the River].\n \nJames Wright\n00:39:17\nReads \"Before a Cashier's Window in a Department Store\", Part 2 [from Shall We Gather at the River].\n \nJames Wright\n00:39:44\nReads \"Before a Cashier's Window in a Department Store\", Part 3 [from Shall We Gather at the River].\n \nJames Wright\n00:40:20\nReads \"Before a Cashier's Window in a Department Store”, Part 4 [from Shall We Gather at the River].\n \nJames Wright\n00:40:38\nReads \"Before a Cashier's Window in a Department Store\", Part 5 [from Shall We Gather at the River].\n \nJames Wright\n00:41:11\nI think that I'll read a couple of nature poems. Nature, in poetry and song. One of the parts of the United States that I like very much...I came to like, I've spoken kind of harshly about Minneapolis, and I have harsh feelings about that city, but actually I love the West, out at the edge of Minnesota, you have, there's Minnesota, North Dakota [https://www.wikidata.org/wiki/Q1207], and South Dakota [https://www.wikidata.org/wiki/Q1211], and that part of the country there is sort of the, it's not really flat, it's a little rolling, but it's the beginning of the prairie, and the prairie is a beautiful thing. I spent a summer up around Fargo [https://www.wikidata.org/wiki/Q34109], North Dakota, and I like Fargo, I like to walk there in the summer evenings, I would go even out to the other end of town, and, well it really is a real city, there are about eighty-thousand people, but you could walk out to the edge of town, and just a little beyond the town the prairie would begin. There is something about that sudden opening that I like.  his is called, \"Outside Fargo, North Dakota\".\n \nJames Wright\n00:42:45\nReads \"Outside Fargo, North Dakota\" [from Shall We Gather at the River].\n \nJames Wright\n00:43:07\nNo, may I start the poem again, I miss, I made a mistake. \n \nJames Wright\n00:43:11\nReads \"Outside Fargo, North Dakota” [from Shall We Gather at the River].\n \nJames Wright\n00:44:04\nNow this one is called \"A Poem Written under an Archway in a Discontinued Railway Station, Fargo, North Dakota\". I love those old trains, we were talking about this earlier, there's a certain thing about trains, especially in the West, west of Chicago. It's not true in the East. One of these days somebody's going to get a train from New York to Connecticut [https://www.wikidata.org/wiki/Q779] or something and that train will never return, it'll keep coming back, every forty years with ghosts on it, flying Dutchmen. But it's different in the West, and...there's a discontinued railroad station. \n \nJames Wright\n00:44:53\nReads \"A Poem Written under an Archway in a Discontinued Railway Station, Fargo, North Dakota\" [from Shall We Gather at the River].\n \nJames Wright\n00:46:30\nI think I'll read...I think I'll read just a few more very short poems, perhaps two or three, and they're kind of nature poems, I guess. Nature indeed, one of them is a love poem. This is called \"A Light in the Hallway\". \n \nJames Wright\n00:47:07\nReads \"A Light in the Hallway\" [published as “The Lights in the Hallway” in Shall We Gather at the River]. \n \nJames Wright\n00:48:06\nAnd then a couple out of my previous book. This poem is called \"Mary Bly\", it's for my goddaughter, and I stood up there in the church and they said, well, I went through the ceremony and I am her godfather, Mary Bly, it's the first child of my old friend, my old friends, Robert and Carol Bly. I feel very proud of this poem, but it's one of those times that, it signifies one of those times in my life when I really thought of something nice to do and did it. So many things I want to do that would be nice, and usually they turn out to be something either asinine or too late, or something. But I wrote this poem for little Mary's christening, and I had it, it's the only time I've ever done this, I had it specially printed on very nice paper and print and had it put in a little silver frame, and gave it to her mother, on the day of the christening. What a calm thing to pull on an audience, how can you help but like it. [Audience laughter]. If you don't like it, it means you don't like motherhood or small children, no. \"Mary Bly\".\n \nJames Wright\n00:49:51\nReads \"Mary Bly\" [from The Branch Will Not Break].\n\nJames Wright\n00:50:42\nAnd I think I will conclude with a poem which is just a description. There were some other descriptive poems in my last book which, for some weird reason, drove some reviewers to distraction. For example, in one poem, there was a poem about being at a bus stop at a place in Ohio and looking out the window and seeing a farmer at the beginning of a rain calling his cows in, and one reviewer got terribly upset about this and said, how...he's only stopping there on the bus, how did he know that there were a hundred black and white Holsteins. [Audience laughter]. And Robert Bly urged me and urged me to send the reviewer a postcard. I never did it, I wish I had. It was to have said, \"I counted the tits and divided by four.\" [Audience laughter]. Well, no but, just, I just want to present this poem. It's called \"A Blessing\", and for what it is, it's just a description of something. \n \nJames Wright\n00:52:28\nReads \"A Blessing\" [from The Branch Will Not Break].\n \nJames Wright\n00:54:02\nThank you. \n \nAudience\n00:54:03\nApplause. \n \nIntroducer\n00:54:21\nI'd just like to express all our thanks to James Wright [https://www.wikidata.org/wiki/Q6145850] for sharing his poetry and his curses and blessings with us tonight, and to remind you that the next reading in the series is by Muriel Rukeyser [https://www.wikidata.org/wiki/Q735177] on Friday, January 24th. \n \nEND\n00:54:38\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nWright was teaching at the Uptown Branch of Hunter College and published Shall We Gather at the River (Wesleyan Press) in 1968.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nJames Wright often taught summer courses at universities across the country, and he taught at Sir George Williams University sometime between 1967 and 1972.\",\"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/oxford-encyclopedia-of-american-literature/oclc/769478515&referer=brief_results\",\"citation\":\"Cambridge, Gerry. \\\"Wright, James”. The Oxford Encyclopedia of American Literature. Jay Parini (ed). Oxford University Press 2004.\"},{\"url\":\"https://www.worldcat.org/title/wild-perfection-the-selected-letters-of-james-wright/oclc/56085881?referer=di&ht=edition\",\"citation\":\"Wright, Anne & Saundra Rose Maley & Johnathan Blunk (eds). A Wild Perfection: The Selected Letters of James Wright. New York: Farrar, Strauss & Giroux, 2005.\"},{\"url\":\"https://www.worldcat.org/title/collected-poems-james-wright/oclc/1097023113&referer=brief_results\",\"citation\":\"Wright, James. Collected Poems. Connecticut: Wesleyan University Press, 1971. \"},{\"url\":\"https://www.worldcat.org/title/branch-will-not-break-poems-3-print/oclc/469778489&referer=brief_results\",\"citation\":\"Wright, James. The Branch Will Not Break. Connecticut: Wesleyan University Press, 1963. \"},{\"url\":\"https://www.worldcat.org/title/saint-judas-poems/oclc/898904265&referer=brief_results\",\"citation\":\"Wright, James. Saint Judas. Connecticut: Wesleyan University Press, 1959. \"},{\"url\":\"https://www.worldcat.org/title/shall-we-gather-at-the-river/oclc/492204830&referer=brief_results\",\"citation\":\"Wright, James. Shall We Gather at the River. Connecticut: Wesleyan University Press, 1968. \"},{\"url\":\"https://www.worldcat.org/title/two-citizens/oclc/795309054&referer=brief_results\",\"citation\":\"Wright, James. Two Citizens. New York: Farrar, Straus & Giroux. 1973. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-american-literature/oclc/54356940&referer=brief_results\",\"citation\":\"\\\"Wright, James [Arlington]\\\". The Oxford Companion to American Literature. James D. Hart (ed.), Phillip W. Leininger (rev). Oxford University Press 1995. \"}]"],"_version_":1853670548966473728,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0025_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0025_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"James Wright Box 1- Tape\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2011/01/I0006_11_0157_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0157_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"James Wright Box 1- Side\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2011/01/I0006_11_0157_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0157_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"James Wright Box 1- Front\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2011/01/I0006_11_0157_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0157_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"James Wright Box 1- Back\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/james_wright_i006-11-157.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"james_wright_ i086-11-157.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:54:38\",\"precision\":\"\",\"size\":\"131.1 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"James Wright\\n00:00:00\\nWell, I feel about poetry in a curious way, I guess. I have a very strong classical streak in me, I think, I like poems that are very regular, and poems that rhyme, and poems that are passionately intellectual, and I think that I feel this way because the poems that are the most passionately intellectual have a way of spilling over into something which is completely free in its feeling. Oh here's a little poem by Ben Jonson [https://www.wikidata.org/wiki/Q193857]. It's called \\\"On My First Sonne\\\" [https://www.wikidata.org/wiki/Q7091055]. A little elegy. \\n \\nJames Wright\\n00:00:52\\nReads \\\"On My First Sonne\\\" by Ben Jonson.\\n \\nJames Wright\\n00:01:55\\nPoor old Ben Jonson, in a pig's eye. The next poem I would like to say is by an American poet, W.S. Merwin [https://www.wikidata.org/wiki/Q680368], who has just published his selected translations, and of course in addition to the very beautiful poems of his own that Merwin has, he's been a prolific translator, and he, he really does know the languages. I've loved his poetry always because he has such a beautiful ear, it was very interesting to me when I saw him in New York [https://www.wikidata.org/wiki/Q60] a few weeks ago, when he said that his Selected Translations were about to appear. I asked him if he remembered the transla--well of course he remembered, I just told him I always liked very much the poem he had translated, a later poem by Garcia Lorca [https://www.wikidata.org/wiki/Q41408]called \\\"Gacela of Unforseen Love\\\". What a weird thing! He didn't remember that he had done it. And it's not in his book. Well, I wish it were. \\\"Gacela of Unforseen Love\\\".\\n \\nJames Wright\\n00:03:35\\nReads \\\"Gacela of Unforseen Love\\\" by Federico Garcia Lorca and translated in English by W.S. Mervin.\\n \\nJames Wright\\n00:04:30\\nCan't imagine doing that in English and then forgetting that you've done it. Maybe it was frightening. Here in Montreal [https://www.wikidata.org/wiki/Q340] I've been thinking about what in the United States [https://www.wikidata.org/wiki/Q30] we hear about Montreal, about the English background, and the French background, and the Canadian, all of which are very vital and alive, but what do you make of the Irish up here? Are there any Irishmen in Canada [https://www.wikidata.org/wiki/Q16]? [pauses for response]. Just on March 17th. Only on March 17th, fine. My own family background is kind of complicated. I'm an Ohioan, which is a kind of hell in itself [audience laughter]. But both sides of my family have roots in the south, but they have a strong streak of Irish behind them; it wasn't until I was quite old that I found out about some of Irish literature, of course we've all of us read Yeats [https://www.wikidata.org/wiki/Q40213]. The son of a bitch. He not only did everything first but he did it best. We all feel that. But really he didn't do it all first. He may have done it best but there are some Irish things that I found that perhaps he grew out of it. Do you know for example, the poems of, of all people, Jonathan Swift [https://www.wikidata.org/wiki/Q41166]? Jonathan Swift is a wonderful poet. He published Gulliver's Travels [https://www.wikidata.org/wiki/Q181488] in 1725, and I found a little poem of his called \\\"On Burning a Dull Poem\\\". Of 1729. And it has a, it's a wonderful expression of the Irish art of the curse. I shouldn't lean on this. I don't mean the poem, I mean the lectern. [Audience laughter]. But it's a wonderful example of the Irish art of the curse, what is supposed to be very regular and it's almost like a prayer. The art here is that you should decide first of all whether or not what you feel annoyed by really is worthy of a curse. And then if it is, you should not come out and blast it directly, but exercise some indirection on it. So here we have Swift, \\\"On Burning a Dull Poem\\\".\\n \\nJames Wright\\n00:07:29\\nReads  \\\"On Burning a Dull Poem\\\" by Jonathan Swift.\\n \\nJames Wright\\n00:08:25\\nI can't help bringing that a little closer to our own time. We all know the very beautiful plays of John Millington Synge [https://www.wikidata.org/wiki/Q213447]. Perhaps people haven't so widely enjoyed his poems. He didn't write a great many, but to my mind he wrote enough. He also, he made a translation of Petrarch [https://www.wikidata.org/wiki/Q1401] into the same language as those people, as those women on the Aran Islands [https://www.wikidata.org/wiki/Q212893] who used to clean his room. He said he learned something about the rhythm of his language just by listening to them. So that in the sound of the Petrarch after Laura is dead and is appearing in heaven, and the angels are astonished by her beauty, the sestet of that sonnet, in Synge's translation, the angels see Laura and suddenly say, \\\"What rare beauty is that now? What rare beauty at all.\\\" So that those old women who cleaned his room on the Aran Islands have the voices of the angels. Well, after The Playboy of the Western World [https://www.wikidata.org/wiki/Q451517] was first produced, he was criticized and he wanted to write something about the criticism. He didn't know whether the, who the critic was, really, he didn't know anything about him, he didn't know whether or not the critic had a sister. But there was the poem, and since he realized, as Aristotle [https://www.wikidata.org/wiki/Q868] said, that “poetry is a higher and more philosophical thing than history”--history being limited to what is or was, and poetry having available to it what ought to be, what might be...Synge invented a sister, and he wrote a little poem called \\\"Upon the Sister of the Critic who Attacked the Playboy\\\". [Audience laughter]. This is a prayer. [Audience laughter]. And blasphemy also is a very delicate art. \\\"Lord\\\"...no I have to say, that you have to understand, really what \\\"Mountjoy\\\" is. Mountjoy is a place on the edge of Dublin [https://www.wikidata.org/wiki/Q1761], a kind of charity place where the Skid Rowers go.  \\n \\nJames Wright\\n00:11:06\\nReads \\\"Upon the Sister of the Critic who Attacked the Playboy\\\" by John Millington Synge.\\n \\nAudience\\n00:11:32\\nLaughter.\\n \\nJames Wright\\n00:11:43\\nI came to like those Irish poets, so much, because they enjoyed poetry. My God, you've got to do something, life is a mess. Well, alright, I want to say one more poem that I care about. I know I'm going on too long with this business. One more. Let me say it in English first, and you can't say that I'm translating at sight, but perhaps by ear, and it'll be very awkward, but it's not awkward in the German. When--it's a poem that doesn't have a title. I don't think I'll tell you who wrote it. The poem goes: \\\"When the clocks nearby strike as if their own hearts were beating, and things--that is, material objects-things, with hesitant voices say to me softly, ‘Are you there?’ Then I am not the same man who woke this morning, for the night has sent me a name which no one to whom I spoke by daylight can listen to without being deeply frightened. Every door in me opens, and then I know that nothing dies, neither gesture, nor prayer. Things are too heavy for that. My whole childhood stands always around me. I am never alone. Many who live before me, and many who spring forth from me”--which I would also, I suppose, translate as ‘many who spring forth out of my body'--”wove, wove into my being. And if I sit down opposite you and say, lightly, I have been suffering, do you hear? Who knows? Who murmurs that voice with me?\\\"\\n\\nJames Wright\\n00:14:19\\nReads untitled poem by Rainer Maria Rilke in German.\\n \\nJames Wright\\n00:15:28\\nOh, no that's corny, of course it's by Rilke [https://www.wikidata.org/wiki/Q76483]. I mean it's corny to hold back the name. It's one of those lyrics that Rilke wrote between those New Poems [https://www.wikidata.org/wiki/Q7011009] and the big terrible ones, the Duino Elegies [https://www.wikidata.org/wiki/Q688426] and the Sonnets. Well, let me proceed now to some poems of my own. The first one I think I will read is a poem called \\\"A Note left in Jimmy Leonard's Shack\\\". I've been thinking about that poem a little bit recently for a lot of reasons. I think I should tell you something about what's behind it. There was an old guy called Minnegan Leonard who, or maybe Francis Leonard, who grew up--no, [laughter] I mean he was old, I grew up--he was already there [audience laughter]. Back in Martins Ferry [https://www.wikidata.org/wiki/Q1018313], Ohio [https://www.wikidata.org/wiki/Q1397]. The story about him was that he had been a very well-educated man and he sort of deteriorated, everyone said. One night, a couple of friends and I found him in the, when the snow was starting to fall. And his, he wore a pair of overalls, the ones that cross behind, and they were too big, my friends and I helped him get home. We were very much afraid of his brother, Jimmy. Minnegan had drunk so much that his brain was practically gone, and he had nothing left to say to the universe except \\\"God bless my soul.\\\" We were stupid, we were afraid of his brother Jimmy, because his brother Jimmy, although drunk, was still mean. He still had some of his humanity left. And we were afraid of him. I thought about this poem as being spoken by a boy, I was about twelve years old. I also wanted to see if I could get away with swearing in a poem, and give the word, give the profanity some of its true force. The only thing that I deplore about the open use of profanity is that very soon, when the four-letter words are used commonly, they start to lose touch with their old, magical, dark force. When I was in the army, twenty years ago, I realized that this happened. You couldn't say \\\"fuck\\\" to refer to anything dark or anything interesting. It became a musical notation. Merely a musical notation, like a comma, when you were having chow. [Audience laughter]. But then there came those necessary moments when one absolutely needs to curse, and what does one do then? Then I saw all sorts of people around me, floundering, turning to what Wordsworth would have called the \\\"poetic diction,\\\" and finding that to say \\\"fuck\\\" had about as much effect on the release of one's feelings as the Finney crew had on anybody who was trying to read about fish in the end of the 18th century. Then I met a poetic genius named Mark W. Patrick from Crafton, Alabama [https://www.wikidata.org/wiki/Q173], who was not hobbled by this. Someone asked him once, no he had invention, true invention. He knew how to swear. My wife has heard this before. Alright, I'll say it again. Someone said to him, \\\"Where are you from?\\\" And he said, \\\"I come from so far back in the country, they have to fan the coon-farts out of the kitchen to keep from making.” [Audience laughter]. No, wait a minute, you didn't hear the rest of the conceit. Now listen to this carefully and think of it as in Shakespearian. \\\"I come from so far back in the country they have to fan the coon-farts out of the kitchen to keep from making ring-tailed biscuits.\\\" [Audience laughter]. I thought, let us somehow rescue through invention our power to curse. Well this poem is called, \\\"A Note Left in Jimmy Leonard's Shack\\\". It's about taking Minnegan Leonard home when he was helpless in the snow.\\n \\nJames Wright\\n00:21:07\\nReads \\\"A Note Left in Jimmy Leonard's Shack\\\" [from Saint Judas].\\n \\nUnknown\\n00:22:43\\nAmbient Sound. \\n \\nJames Wright\\n00:22:58\\nNow for a while I think I would like to read from my new book. There are a couple of city poems in this new book, well, more than a couple, and many of the things that I had written before were about the country, more or less, in Ohio, and in Minnesota [https://www.wikidata.org/wiki/Q1527]. But I developed a certain feeling about cities, I guess, and...I didn't have a very happy time in Minneapolis [https://www.wikidata.org/wiki/Q36091] and St. Paul [https://www.wikidata.org/wiki/Q28848], but I lived there for about eight years, and before I left I thought I ought to say farewell, somehow. I couldn't think of a title for this poem that would convey or suggest what I really felt, and the true title came to me. I wanted it to be a poem about, not only about Minneapolis but about many American cities, and what has been happening in them. Minneapolis is my favourite because I lived there for quite a while, and they had a very big Skid Row there, and the Skid Row was cleared out by the city administration, the last, the most recent one. It was a very big Skid Row, between the Great Northern Railroad Station and the Mississippi River [https://www.wikidata.org/wiki/Q1497], right a strip across there, several blocks wide. And they sort of flattened it. They put up an insurance building and the rest were parking lots. And it never occurred to them that the people who lived there would...well, even existed. And I know where those people went, they went down Nickolet Avenue, scattered down there. It's a very strange thing. Spiro T. Agnew [https://www.wikidata.org/wiki/Q203433], our new American Vice-President said, during the campaign, \\\"The reasons the slums are so over-crowded is that there are too many people in them.\\\" [Audience laughter]. Well, this is my city poem. It's called \\\"The Minneapolis Poem\\\".\\n \\nJames Wright\\n00:26:11\\nReads \\\"The Minneapolis Poem\\\" [from Shall We Gather at the River].\\n \\nJames Wright\\n00:30:39\\nThe next poem is called, \\\"In Terror of Hospital\\\"-- [cut or edit in tape] \\\"In Terror of Hospital Bills\\\".\\n \\nJames Wright\\n00:30:51\\nReads \\\"In Terror of Hospital Bills\\\" [from Shall We Gather at the River].   \\n \\nJames Wright\\n00:32:36\\nThis poem is called \\\"The Poor Washed Up by Chicago Winter\\\". It's about leaving Chicago [https://www.wikidata.org/wiki/Q1297]. I went down there for a long Thanksgiving weekend to visit a man whose poetry I had seen, I had never met him, I admired it very much. His name is Bill Mott. He has finally published a first book. He lived in an area down there where there were some sort of poor people...I don't mean poor people in the sense of being savagely poor, really really put down, but just sort of drifters, the guys who go into the, who go in on Thanksgiving and get a dinner there from the Salvation Army [https://www.wikidata.org/wiki/Q188307] and look at it and then sweep up and leave. \\n \\nJames Wright\\n00:33:53\\nReads \\\"The Poor Washed Up by Chicago Winter\\\" [from Shall We Gather at the River].\\n \\nJames Wright\\n00:35:43\\nYou know, George Orwell [https://www.wikidata.org/wiki/Q3335] remarked in Down and Out in Paris and London [https://www.wikidata.org/wiki/Q1355487] that when he got back to London [https://www.wikidata.org/wiki/Q84] from France [https://www.wikidata.org/wiki/Q142] where he'd been a dishwasher, he had so little money that he realized that he would have to beg, only somehow his clothes, ratty as they were, were still too good to beg with. And so he, he sold what clothes he had, or traded them, rather, for a really crummy suit of clothes, and when he got those old, really poor man's clothes on, he noticed all sorts of strange things. The way people looked at him. The way women looked at him. As well as other men. And the fact that he was poor had an effect on the way people's souls were shaped, somehow. I only had a very slight experience of that in my life, and I don't want any more of it. Because it's not very romantic. For a while I had a sort of, an account at a department store in Minneapolis, and I was behind in my payments. At that time I had an old green coat my father had given me, it didn't quite fit but a coat is a coat. So I had it, and I was, in order to keep myself going one way or another, I went up to the cashier's office at this department store and tried to cash a small cheque for twenty dollars, or something like that. There was a very beautiful girl there, the cashier, and she looked at me, and she disappeared for a moment and she came back with a fellow who had a crew cut. And he evidently was the Grand Vizier, or something. Well, they were about a foot and a half away from my face while I waited, and they talked about me, without paying any attention to me. And I realized something I had never realized before. That I'm, I am content simply to think about it, I don't want it to happen to me again  I thought, Jesus Christ, there are millions of people in this country who are treated like things, every single intimate moment of their lives. And it's not pretty. Well. \\\"Before a Cashier's Window in a Department Store\\\". The poem is in different parts and I think I'll indicate the numbers. \\n \\nJames Wright\\n00:38:45\\nReads \\\"Before a Cashier's Window in a Department Store\\\", Part 1 [from Shall We Gather at the River].\\n \\nJames Wright\\n00:39:17\\nReads \\\"Before a Cashier's Window in a Department Store\\\", Part 2 [from Shall We Gather at the River].\\n \\nJames Wright\\n00:39:44\\nReads \\\"Before a Cashier's Window in a Department Store\\\", Part 3 [from Shall We Gather at the River].\\n \\nJames Wright\\n00:40:20\\nReads \\\"Before a Cashier's Window in a Department Store”, Part 4 [from Shall We Gather at the River].\\n \\nJames Wright\\n00:40:38\\nReads \\\"Before a Cashier's Window in a Department Store\\\", Part 5 [from Shall We Gather at the River].\\n \\nJames Wright\\n00:41:11\\nI think that I'll read a couple of nature poems. Nature, in poetry and song. One of the parts of the United States that I like very much...I came to like, I've spoken kind of harshly about Minneapolis, and I have harsh feelings about that city, but actually I love the West, out at the edge of Minnesota, you have, there's Minnesota, North Dakota [https://www.wikidata.org/wiki/Q1207], and South Dakota [https://www.wikidata.org/wiki/Q1211], and that part of the country there is sort of the, it's not really flat, it's a little rolling, but it's the beginning of the prairie, and the prairie is a beautiful thing. I spent a summer up around Fargo [https://www.wikidata.org/wiki/Q34109], North Dakota, and I like Fargo, I like to walk there in the summer evenings, I would go even out to the other end of town, and, well it really is a real city, there are about eighty-thousand people, but you could walk out to the edge of town, and just a little beyond the town the prairie would begin. There is something about that sudden opening that I like.  his is called, \\\"Outside Fargo, North Dakota\\\".\\n \\nJames Wright\\n00:42:45\\nReads \\\"Outside Fargo, North Dakota\\\" [from Shall We Gather at the River].\\n \\nJames Wright\\n00:43:07\\nNo, may I start the poem again, I miss, I made a mistake. \\n \\nJames Wright\\n00:43:11\\nReads \\\"Outside Fargo, North Dakota” [from Shall We Gather at the River].\\n \\nJames Wright\\n00:44:04\\nNow this one is called \\\"A Poem Written under an Archway in a Discontinued Railway Station, Fargo, North Dakota\\\". I love those old trains, we were talking about this earlier, there's a certain thing about trains, especially in the West, west of Chicago. It's not true in the East. One of these days somebody's going to get a train from New York to Connecticut [https://www.wikidata.org/wiki/Q779] or something and that train will never return, it'll keep coming back, every forty years with ghosts on it, flying Dutchmen. But it's different in the West, and...there's a discontinued railroad station. \\n \\nJames Wright\\n00:44:53\\nReads \\\"A Poem Written under an Archway in a Discontinued Railway Station, Fargo, North Dakota\\\" [from Shall We Gather at the River].\\n \\nJames Wright\\n00:46:30\\nI think I'll read...I think I'll read just a few more very short poems, perhaps two or three, and they're kind of nature poems, I guess. Nature indeed, one of them is a love poem. This is called \\\"A Light in the Hallway\\\". \\n \\nJames Wright\\n00:47:07\\nReads \\\"A Light in the Hallway\\\" [published as “The Lights in the Hallway” in Shall We Gather at the River]. \\n \\nJames Wright\\n00:48:06\\nAnd then a couple out of my previous book. This poem is called \\\"Mary Bly\\\", it's for my goddaughter, and I stood up there in the church and they said, well, I went through the ceremony and I am her godfather, Mary Bly, it's the first child of my old friend, my old friends, Robert and Carol Bly. I feel very proud of this poem, but it's one of those times that, it signifies one of those times in my life when I really thought of something nice to do and did it. So many things I want to do that would be nice, and usually they turn out to be something either asinine or too late, or something. But I wrote this poem for little Mary's christening, and I had it, it's the only time I've ever done this, I had it specially printed on very nice paper and print and had it put in a little silver frame, and gave it to her mother, on the day of the christening. What a calm thing to pull on an audience, how can you help but like it. [Audience laughter]. If you don't like it, it means you don't like motherhood or small children, no. \\\"Mary Bly\\\".\\n \\nJames Wright\\n00:49:51\\nReads \\\"Mary Bly\\\" [from The Branch Will Not Break].\\n\\nJames Wright\\n00:50:42\\nAnd I think I will conclude with a poem which is just a description. There were some other descriptive poems in my last book which, for some weird reason, drove some reviewers to distraction. For example, in one poem, there was a poem about being at a bus stop at a place in Ohio and looking out the window and seeing a farmer at the beginning of a rain calling his cows in, and one reviewer got terribly upset about this and said, how...he's only stopping there on the bus, how did he know that there were a hundred black and white Holsteins. [Audience laughter]. And Robert Bly urged me and urged me to send the reviewer a postcard. I never did it, I wish I had. It was to have said, \\\"I counted the tits and divided by four.\\\" [Audience laughter]. Well, no but, just, I just want to present this poem. It's called \\\"A Blessing\\\", and for what it is, it's just a description of something. \\n \\nJames Wright\\n00:52:28\\nReads \\\"A Blessing\\\" [from The Branch Will Not Break].\\n \\nJames Wright\\n00:54:02\\nThank you. \\n \\nAudience\\n00:54:03\\nApplause. \\n \\nIntroducer\\n00:54:21\\nI'd just like to express all our thanks to James Wright [https://www.wikidata.org/wiki/Q6145850] for sharing his poetry and his curses and blessings with us tonight, and to remind you that the next reading in the series is by Muriel Rukeyser [https://www.wikidata.org/wiki/Q735177] on Friday, January 24th. \\n \\nEND\\n00:54:38\\n\",\"notes\":\"James Wright reads from The Branch Will Not Break (Wesleyan University Press, 1963), Saint Judas (Wesleyan University Press, 1959), and from Shall We Gather at the River (Wesleyan University Press, 1968).\\n\\n00:00- James Wright introduces reading and poem by Ben Jonson “On My First Son”. [INDEX: poetry, classical poetry, rhyme, passionately intellectual, free feeling, poem by  Ben Jonson, elegy.]\\n00:52- Reads poem by Ben Jonson, “On My First Son”.\\n01:55- Introuces poem translated by W.S. Merwin, by Frederico Garcia Lorca, “Garcela of Unforseen Love”. [INDEX: American poet, W.S. Merwin, translations, New York,     Selected Translations (Antheneum, 1979), poem by Garcia Lorca.]\\n03:35- Reads poem translated by W.S. Merwin, by Frederico Garcia Lorca “Garcela of        Unforseen Love”.\\n04:30- Introduces poem by Jonathan Swift, “On Burning a Dull Poem”. [INDEX: Montreal, United States, English and French, Canadian, Irish, March 17th, family background, Ohioan, hell, Southern roots, Irish literature, Yeats, Jonathan Swift published Gulliver’s Travels in 1725, poem, expression of the Irish art of the curse, lecturn, prayer.]\\n07:29- Reads poem by Jonathan Swift, “On Burning a Dull Poem”.\\n08:25- Introduces poem by John Millington Synge “Upon the Sister of the Critic who Attacked the Playboy”. [INDEX: time, plays of John Millington Synge, poems, translation of Petrarch, of the women on Erin Islands who cleaned his room, learnt from listening to rhythm of language, Petrarch, Laura, heaven, angels, sestet of the sonnet, quote “What rare beauty is that now? What rare beauty at all”, play “The Playboy of the Western World” produced, criticism, wrote about criticism, critic’s sister, Aristotle quote ‘poetry is a higher and more philosophical thing than history’, prayer, blasphemy as a   \\tdelicate art, Mountjoy is a place on the edge of Dublin, skid row.]\\n11:06- Reads poem by John Millington Synge “Upon the Sister of the Critic who    \\tAttacked the Playboy”.\\n11:43- Introduces and reads poem by Rilke, first line “When the clocks nearby strike as if their own hearts were beating...”. [INDEX: Irish poet, English, German, awkward  \\ttranslation, untitled poem, reads entire poem.]\\n11:14- Reads in German poem by Rilke, first line “When the clocks nearby strike as if       their own hearts were beating...”.\\n15:28- Explains Rilke poem, introduces “A Note Left in Jimmy Leonard’s Shack”. [INDEX: Minnegan Leonard, Francis Leonard, Martin’s Ferry Ohio, well educated man,  \\tdeteriorated, snow, overalls, afraid of his brother Jimmy, drunk, humanity, poem spoken      by twelve years old boy, swearing in a poem, army, swear word as a musical notation,     Wordsworth, ‘poetic diction’, Finney crew, fish, 18th Century, poetic genius, quote from Mark W. Patrick from Crafton, Alabama, power to curse; from Saint Judas (Wesleyan    Press, 1959).]\\n21:07- Reads “A Note Left in Jimmy Leonard’s Shack”.\\n22:58- Introduces “The Minneapolis Poem”. [INDEX: read from new book, Ohio, Minnesota, St. Paul, lived for 8 years, poem about Minneapolis, American cities, skid row, Great Northern Railway Station, Mississippi River, Nickolet Avenue, Spiro T. Agneau American Vice-President,  quote, slums, city poem; from Shall We Gather at the River (Wesleyan University Press, 1968).]\\n26:11- Reads “The Minneapolis Poem”.\\n30:39- Cut/edit in recording, sentence begins and then continues, repeated at lower quality sound, perhaps a tape change?\\n30:50- James Wright introduces “In Terror of Hospital Bills”. [INDEX: from Shall We Gather at the River (Wesleyan University Press, 1968).]\\n30:51- Reads “In Terror of Hospital Bills”.\\n32:36- Introduces “The Poor Washed Up By Chicago Winter”. [INDEX: leaving Chicago,        Thanksgiving weekend, Bill Mott, published first book, Salvation Army; from Shall We  Gather at the River (Wesleyan University Press, 1968).]\\n33:53- Reads “The Poor Washed Up By Chicago Winter”.\\n35:34- Introduces “Before a Cashier’s Window in a Department Store”. [INDEX: George  Orwell quote from Down and Out in Paris and London, France, dishwasher, beg, clothes too good to beg in, sold clothes, effects of being poor, not romantic, account at a  \\tdepartment store, Minneapolis, behind in payments, father’s coat, cheque for twenty    dollars, cashier, Grand Vizier, never wanting to feel poor again; from Shall We Gather at      the River (Wesleyan University Press, 1968).] \\n38:45- Reads “Before a Cashier’s Window in a Department Store, Part I”.\\n39:17- Reads “Before a Cashier’s Window in a Department Store, Part II”.\\n39:44- Reads “Before a Cashier’s Window in a Department Store, Part III”.\\n40:20- Reads “Before a Cashier’s Window in a Department Store, Part IV”.\\n40:38- Reads “Before a Cashier’s Window in a Department Store, Part V”.\\n41:11- Introduces “Outside Fargo, North Dakota” [INDEX: nature poems, poetry, song,       United States, West, North Dakota, Minnesota, South Dakota, country, prairies, summer, city; from Shall We Gather at the River (Wesleyan University Press, 1968).]\\n42:45- Reads “Outside Fargo, North Dakota”.\\n44:04- Introduces “A Poem Written Under an Archway in a Discontinued Railway Station, Fargo, North Dakota”. [INDEX: old trains, West, Chicago, East, New York, Conneticut, ghost train, flying Dutchmen; from Shall We Gather at the River (Wesleyan University Press, 1968).]\\n44:53- Reads “A Poem Written Under an Archway in a Discontinued Railway Station,     Fargo, North Dakota”.\\n46:30- Introduces “A Light in the Hallway”. [INDEX: nature poems, short poems, love poem; published as “The Lights in the Hallway” in Shall We Gather at the River (Wesleyan University Press, 1968).]\\n47:07- Reads “A Light in the Hallway”.\\n48:06- Introduces “Mary Bly”. [INDEX: from previous book, for his goddaughter, church,        ceremony, Robert and Carol Bly, first child, proud, christening, poem as a gift, audience,        motherhood, small children; from The Branch Will Not Break (Wesleyan University     Press, 1963).]\\n49:51- Reads “Mary Bly”.\\n50:42- Introduces “A Blessing”. [INDEX: description, reviewers, bus stop, Ohio, farmer, rain, cows, holsteins, Robert Bly, sent reviewer postcard; from The Branch Will Not Break \\t(Wesleyan University Press, 1963).]\\n52:28- Reads “A Blessing”.\\n54:02- Thanks audience\\n54:21- Unknown introducer thanks James Wright and introduces next reading, Mary-Lou Kaiser [?] on January 24th.\\n00:54:38.42- END OF RECORDING.\\n \\nHoward Fink List of Poems: \\nJames Wright\\nI086-11-052=AC\\nInformation from the Howard Fink Print Catalogue, Concordia Archives:\\n \\nTitle: James Wright reading his own poetry at Sir George Williams University\\nDate: December 13, 1968    \\nSource: one two-track, mono, 5” reel, @ 3 ¾ ips, duration 1 hour\\n \\n1. a poem by Ben Jonson “On My First Son”\\n2. a poem by W. S. Merwin “Nobody understood the perfume…”\\n3. a poem by Jonathan Swift “On Burning a Dull Poem”\\n4. A poem by John Millington Sing “Upon the Sister of the Critic who Attacked the Playboy”\\n5. A poem by Rilke “When the clocks nearby…” (trans. James Wright)\\n6. Title: “Note left in Jimmy Leonard’s Shack”\\n    first line: “Near the dry river’s watermark…”\\n7. Title: from his book Minneapolis Poems\\n    first line: “I wonder how many old men…”\\n8. Title: In Terror of Hospital Bills\\n    first line: “I still have some money…”\\n9. Title: The Poor Washed Up by Chicago Winter\\n    first line: “Well I still have a train ticket”\\n10. Title: Before a Cashier’s Window in a Department Store\\n      first line: “The beautiful cashier’s face…”\\n11. Title: Outside Fargo, North Dakota\\n      first line: “Along the…”\\n12. Title: A Poem Written Under an Archway in a Discontinued Rail Road Station\\n      first line: “Outside the great…”\\n13. Title: The Light in the Hallway\\n      first line: “The light in the hallway…”\\n14. Title: Mary Bly\\n      first line: “I sit here…”\\n15. Title: A Blessing “Just off the highway…”\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/james-wright-at-sgwu-1968/\"}]"],"score":1.8530173},{"id":"1304","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":["Ron Loewinsohn and Robert Hogg at Sir George Williams University, The Poetry Series, 20 February 1970"],"item_title_source":["Cataloguer"],"item_title_note":["\"RON LOEWINSOHN I086-11-033\" written on stickers on the spine of the tape box and on the reel. \"RT 526\" written on the back and on sticker on the front of the tape box.\n\n\"ROBERT HOGG I086-11-023\" written on stickers on the spine of the tape box and on the reel. \"RT 534\" written on the back and on sticker on the front of the tape box."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 4"],"item_identifiers":["[I086-11-033, I086-11-023]"],"creator_names":["Loewinsohn, Ron","Hogg, Robert"],"creator_names_search":["Loewinsohn, Ron","Hogg, Robert"],"creators":["[{\"url\":\"http://viaf.org/viaf/85836314\",\"name\":\"Loewinsohn, Ron\",\"dates\":\"1937-2014\",\"notes\":\"Ron Loewinsohn was born in Iloilo, Philippines on December 15, 1937. His family moved to California in 1945, and he graduated from Abraham Lincoln High School in 1955 in San Francisco. Loewinsohn spent two years traveling the United States before marrying in 1957 and taking up a position as a lithographer that he held for the next twelve years. He completed an M.A. in 1967 at the University of California, Berkeley, and then an M.A. (1969) and Ph.D. (1971) from Harvard University, completing his doctoral dissertation on William Carlos Williams. He edited Sum magazine in 1974 with Canadian poet Fred Wah. Ron Loewinsohn became close friends with poets Robert Duncan, Jack Spicer, Philip Whalen, Gary Snyder, Robert Creeley, Denise Levertov and Charles Olson. His first collection of poems, Watermelons (Totem Press) was published in 1959 with an introduction by Allen Ginsberg, and a prefatory letter by Williams himself. The New American Poetry, 1945-1960 (Grove Press, 1960) anthologized Loewinsohn’s poetry and propelled him into popularity. His next collections, The World of the Lie (Change Press, 1963) which won a Poets Foundation Award, Against the Silences to Come (Four Seasons Foundation, 1965) and L’Autre (Black Sparrow Press, 1967) placed him securely in the Beat poetry movement. Loewinsohn published two collections of poetry in 1967, Lying Together, Turning the Head and Shifting the Weight, The Produce District and Other Places, Moving: A Spring Poem (Black Sparrow Press) and Three Backyard Dramas with Mamas (Unicorn Press), followed by The Sea, Around Us, and The Step in 1968 (both Black Sparrow Press). He collaborated with Diane Wakoski and Robert Kelly in 1968, publishing These Worlds Have Always Moved in Harmony (Black Sparrow Press). He won an Irving Stone Award from the Academy of American Poets in 1966, the University of California Scholar Award in 1967, a Woodrow Wilson Foundation graduate fellowship from 1967-8, a Harvard University fellowship from 1967-70, a National Education Association Fellowship in 1979 and 1986, and a Guggenheim Fellowship from 1984-5. Ron Loewinsohn began a career in teaching that spanned for more than thirty years at the University of California, Berkeley in 1970. His later works include Meat Air 1957-69 (Harcourt, Brace & World, 1970), followed by The Leaves (Black Sparrow Press, 1973) and Eight Fairy Tales (Black Sparrow Press, 1975) and his last volume of poetry, Goat Dances: Poems and Prose (Black Sparrow Press, 1976). Loewinsohn’s work has beeny anthologized in dozens of publications, including The Post Moderns: A New American Poetry Revised (1982), and published in periodicals including Poetry, Tri-Quarterly, Chicago Review and Occident. Loewinsohn authored two novels, Magnetic Fields (Knopf, 1983), and Where All the Ladders Start (Atlantic Monthly Press, 1987). Ron Loewinsohn retired from the University of California, Berkeley as professor emeritus in 2005. Loewinsohn died in 2014 at the age of 76.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]},{\"url\":\"http://viaf.org/viaf/91752751\",\"name\":\"Hogg, Robert\",\"dates\":\"1942-\",\"notes\":\"Robert Hogg was born in Edmonton, Alberta in 1942. His father was an accountant and his mother founded the Canadian Health League in 1948, and opened the first health food store in the Fraser Valley. After hearing Robert Duncan read from The Opening of the Field, in Vancouver with Frank Davey, he completed a BA at the University of British Columbia. There, he met the members of the newly formed Tish group, and became an integral part of the movement. George Bowering and Hogg published Robert Duncan: An Interview by George Bowering and Robert Hogg (Coach House Press, 1971), which was conducted in 1969. Hogg then went on to complete a Ph.D. from SUNY Buffalo in American Literature. Hogg and his family moved to Ottawa and bought a farm in Mountain Township and began organic farming. In 1968 Hogg began teaching Modern Poetry at Carleton University in Ottawa until he retired in 2005. Hogg’s published works include The connexions (Oyez Press, 1966), Standing back (Coach House Press, 1971), Of light (Coach House Press, 1978), Heat lightning (Black Moss Press, 1986), There is no falling (ECW Press, 1993) and most recently Hogg edited An English Canadian poetics (Talon Books, 2009) which he won a Marston Lafrance Research Fellowship award to write.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[]"],"Performance_Date":[1970],"material_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\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"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\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"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\":\"1970 2 20\",\"type\":\"Performance Date\",\"notes\":\"Date reference in \\\"Howard Fink List\\\"\",\"source\":\"Supplemental Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Mixed Lounge (H-651)\",\"notes\":\"Location referenced by previous researcher\",\"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 Mixed Lounge (H-651)"],"City":["Montreal, Quebec"],"content_notes":["Ron Loewinsohn reads from Meat Air: Poems 1957-1969 (Harcourt, Brace & World, 1970). Robert Hogg reads from The Connexions (Oyez Press, 1966),  as well as poems later published in Standing Back (Coach House Press, 1972), and others from unknown sources."],"contents":["ron_loewinsohn-i086-11-033.mp3 [File 1 of 2]\n \nRon Loewinsohn\n00:00:00\nI do want to try to read as much as I can from the more recent material, the book is called Meat Air, and the last section which is the collection of new stuff is called “Book of Ayres”. Let me start out with, let me start out with one called \"His Music's Like His 20 Children\".\n \nRon Loewinsohn\n00:00:30\nReads \"His Music's Like His 20 Children\" from Meat Air: Poems 1957-1969.\n \nRon Loewinsohn\n00:01:54\nReads [\"It Is to Be Bathed in Light\" from Meat Air: Poems 1957-1969].\n \nRon Loewinsohn\n00:04:25\nThis is called \"Song\".\n \nRon Loewinsohn\n00:04:30\nReads \"Song\" [from Meat Air: Poems 1957-1969, section “L’autre 1967”].\n \nRon Loewinsohn\n00:05:10\nAnd this one called, \"The Rain, The Rain\".\n \nRon Loewinsohn\n00:05:17\nReads \"The Rain, The Rain\" [from Meat Air: Poems 1957-1969].\n \nRon Loewinsohn\n00:06:20\nLet me, let me do one called \"Fuck You With Your Home Run Title\". That title had to be changed, it was originally \"Fuck You Roger Maris [https://www.wikidata.org/wiki/Q741023]\", but Harcourt Brace [https://www.wikidata.org/wiki/Q5654997] didn't want to be sued. It's not as if I can't afford it, it's just that it wouldn't do anybody any good. So this is \"Fuck You With Your Home Run Title\".\n \nRon Loewinsohn\n00:07:04\nReads \"Fuck You With Your Home Run Title\" [from Meat Air: Poems 1957-1969].\n \nRon Loewinsohn\n00:07:41\nThe quote \"thoughts of the party were in my head\" is from the World Champion Weight Lifter, who is a Communist Chinese, and after he had pressed some 5,000 lbs or something they said, you know \"You're fantastic, how did you do it?\". And he said \"Thoughts of the party were in my head\". This is called \"Vision of Childhood''.\n \nRon Loewinsohn\n00:08:15\nReads \"Vision of Childhood\" [from Meat Air: Poems 1957-1969].\n \nRon Loewinsohn\n00:10:33\nThis is called \"Lots of Lakes\".\n \nRon Loewinsohn\n00:10:37\nReads \"Lots of Lakes\" [from Meat Air: Poems 1957-1969].\n \nRon Loewinsohn\n00:12:03\nThis is called \"The Sea, Around Us\".\n \nRon Loewinsohn\n00:12:17\nReads \"The Sea, Around Us\" [from The Sea, Around Us].\n \nRon Loewinsohn\n00:15:59\nI want to read some, most of the poems from this section called \"Book of Ayres\", and I want to explain just a little bit about it if I can, I guess the most important thing to say is that they declared themselves as a book of poems, in the middle of a final exam, I was taking an exam and one of the things that we had to deal with was a poem by Emily Dickinson [https://www.wikidata.org/wiki/Q4441], which I will read to you, it's a marvelous poem, I'd never seen it before. And it's so clearly tied all of the poems I'd been working on for the past year or so together, into a bundle, into a package. Let me read to you the, this little statement which I'd written for the publication of the book, and I, simply to insist that they are before anything else, religious poems, and I, as prepossessing as I am about them now, because I think that I may have occasion later on in the reading to call that, or you may have occasion to call that to mind. That they take, as their focus, the making, the finding of the flesh in the word, that is that the word is flesh and it has to be found as such. But let me just read this statement and then I'll read you the Emily Dickinson poem, we'll go right into the “Book of Ayres”. I hope that they're, also, that they're fun, and then you say 'religion', people say, 'uh-oh', this is going to be very grim and very heavy, and in the old sense of heavy. But I hope we can have fun with them, but simply, let me do this. All the poems in the “Book of Ayres” section Meat Air, were written with the intention, though not entirely conscious ‘til rather late in the series, of making the word flesh. That is, when the poet speaks, his words are physically only air, yet they can afford us the most sensorially tangible of experiences. Further, the poem, though merely air, is what sustains us, what the soul feeds on. The poet speaks to keep the soul of man alive, that's Yeats [https://www.wikidata.org/wiki/Q40213] in  “John Kinsella's Lament for Mrs. Mary Moore”, it's interesting that as I was grabbing for something to, for support, picked that line, because the line continues, or rather the whole passage goes \"And oh, but she had stories, though not for the priest's ear, to keep the soul of man alive, to banish age and care, and being old, she put a skin on everything she said.\" Or as Williams [https://www.wikidata.org/wiki/Q178106] puts it, \"It is difficult, to get the news from poems, yet we die, every day, for lack of what is found there.\" Yet if the word seeks to take on the actuality of flesh, of substance, substance itself, as the poet apprehends it, in the merest of tales of his life, from day to day, seeks to take on the resonating actuality of speech, to realize itself in the actuality of the word. Love itself is both a word and a continuing act or process, both an idea and a tension in the chest, viscera and genitals, a pressure toward articulation so complex that it often stifles speech. About halfway through “The Book of Ayres”, I realized that many of the poems I'd written over the past twelve years or so, had been attempting with various degrees of success to effect these transubstantiations and so, this collection. \"The Dickinson Poem\", which if you want to take a look at it is in Thomas Johnson's editions, it's number “1651”.\n \nRon Loewinsohn\n00:20:02 \nReads \"Poem 1651\" by Emily Dickinson.\n \nRon Loewinsohn\n00:20:49\nAnd one last note before starting in the book has an epigraph from Jim St. Jim. \"I need to take a new tack, and sit on it.\" The first poem's called \"’These Worlds Have Always Moved in Harmony’\".\n \nRon Loewinsohn\n00:21:11\nReads \"’These Worlds Have Always Moved in Harmony’\" [from Meat Air: Poems 1957-1969].\n \nUnknown\n00:21:20\nAmbient Sound [bell].\n\nRon Loewinsohn\n00:21:22\nWhat the hell is that? I have this terrible recollection of this story I heard about a college in the Midwest in the United States [https://www.wikidata.org/wiki/Q30] where a visiting prof came out to give a lecture on Plato [https://www.wikidata.org/wiki/Q859] or something and had this bell go off every fifteen minutes and after, it really unnerved him, and after the end of the lecture, he asked one of the people, like, \"What is that bell going off?\" and the guy, the administrator said \"Oh, that's to keep the students awake.\" I--If that's the case, God bless you, I hope we can do better than that.\n \nRon Loewinsohn\n00:22:08\nReads \"These Worlds Have Always Moved in Harmony\".\n \nRon Loewinsohn\n00:23:34\nAnd this is called \"The Sipapu\". Don't worry about the title, it clears up.\n \nRon Loewinsohn\n00:23:52\nReads \"The Sipapu\" [from Meat Air: Poems 1957-1969].\n \nRon Loewinsohn\n00:27:51\nThis is called \"Settling\".\n \nRon Loewinsohn\n00:27:58\nReads \"Settling\" [from Meat Air: Poems 1957-1969].\n \nRon Loewinsohn\n00:29:48\nThis is called, this next poem is called \"Paean\" p-a-e-a-n, paean, and is a collaboration in a sense that it's the kind of poem in which a number of people get together and contribute lines, you give me three lines, and I'll give you two lines and eventually the poem gets written, and simply to give credit where credit where credit is due, to list the people who did contribute or help out in the writing of this poem, John Dryden [https://www.wikidata.org/wiki/Q213355], William Carlos Williams, and the Associated Press [https://www.wikidata.org/wiki/Q40469].\n \nRon Loewinsohn\n00:30:31\nReads \"Paean\" [from Meat Air: Poems 1957-1969].\n \nRon Loewinsohn\n00:32:12\nThe story goes that St. Cecilia [https://www.wikidata.org/wiki/Q80513] invented the organ, and when she was playing an angel passed and mistook earth for heaven because of this fantastic music. \"Went to her organ vocal breath was given\" says John Dryden. These are a couple of songs.\n \nRon Loewinsohn\n00:32:38\nReads “Song” [from Meat Air: Poems 1957-1969; third poem entitled “Song” published in “Book of Ayres” section].\n\nRon Loewinsohn\n00:32:48\nThis one also called \"Song\".\n \nRon Loewinsohn\n00:32:54\nReads “Song\" [from Meat Air: Poems 1957-1969; fourth poem entitled “Song” published in “Book of Ayres” section].\n \nRon Loewinsohn\n00:33:12\nAnd this one also called \"Song\".\n \nRon Loewinsohn\n00:33:18\nReads “Song\" [from Meat Air: Poems 1957-1969; fifth poem entitled “Song” published in “Book of Ayres” section].\n \nRon Loewinsohn\n00:33:57\nAnd this one called \"Air\".\n \nRon Loewinsohn\n00:34:01\nReads \"Air\"  [from Meat Air: Poems 1957-1969].\n \nRon Loewinsohn\n00:34:59\nAnd this one called \"Goat Dance\".\n \nRon Loewinsohn\n00:35:07\nReads \"Goat Dance\" [from Meat Air: Poems 1957-1969; first poem entitled “Goat Dance” published in “Book of Ayres” section].\n \nRon Loewinsohn\n00:36:30\nThis one called \"Two Airs\".\n \nRon Loewinsohn\n00:36:36\nReads \"Two Airs\" [from Meat Air: Poems 1957-1969].\n \nRon Loewinsohn\n00:37:31\nAnd another one called \"Goat Dance\".\n \nRon Loewinsohn\n00:37:35\nReads \"Goat Dance\" [from Meat Air: Poems 1957-1969; third poem entitled “Goat Song” published in “Book of Ayres” section].\n \nRon Loewinsohn\n00:38:48\nAnd this, title, may perhaps need a little bit of explanation. \"The Romaunt of the Rose\", a 13th century French dream vision poem, dream allegory, written actually in two halves by Jean de Meun [https://www.wikidata.org/wiki/Q544925] and Guillaume de Lorris [https://www.wikidata.org/wiki/Q544959] I'm not sure but Chaucer [https://www.wikidata.org/wiki/Q5683] translated the first part of it, and the title comes from his title, \"The Romaunt of the Rose\". The last line of the poem, “smoot right to the herte rote” is from Chaucer's translation and it's \"smitten right to the heart's root\". And the whole, the title of the poem is \"The Romaunt of the Rose Fuck\".\n \nRon Loewinsohn\n00:39:39\nReads \"The Romaunt of the Rose Fuck\" [from Meat Air: Poems 1957-1969].\n \nRon Loewinsohn\n00:40:22\nI'll just do two more, the first one called \"K. 282\". Koechel is--don't please, be insulted that I explain that title, I read the poem in New York [https://www.wikidata.org/wiki/Q60] and a graduate student at Columbia [https://www.wikidata.org/wiki/Q49088] asked me if it meant \"Circa 282\", like circa 282, like approximately 282, and it is of course the catalogue number for the Mozart [https://www.wikidata.org/wiki/Q254] piano sonata, and it's a piano sonata, I forget which, what key it's in.\n \nRon Loewinsohn\n00:41:04\nReads \"K. 282\" [from Meat Air: Poems 1957-1969].\n \nRon Loewinsohn\n00:42:02\nAnd the last poem is the title poem of the book, \"Meat Air\".\n \nRon Loewinsohn\n00:42:08\nReads \"Meat Air\" from Meat Air: Poems 1957-1969.\n \nEND\n00:43:00\n\n\nrobert_hogg_i086-11-023.mp3 [File 2 of 2]\n \nRobert Hogg\n00:00:00\nI'd like to open the reading with a poem that's really part of a verse-play that I wrote in 1963 or 64, a long time ago, a play that never really made it as a play, but fragments of which I've salvaged because I like, I like what they do. And so this is sort of called \"Fragments of an Imaginary Noh Play\", and this is the dream that one of the figures has. \n \nRobert Hogg\n00:00:26\nReads \"Fragments of an Imaginary Noh Play - Walkie's Dream\".\n \nRobert Hogg\n00:02:39\nI'd like to read a few selections from my book of poems The Connexions, which was printed in 1965. I'd like to begin with a poem entitled \"The Command\". I should just briefly mention that these poems were all written in a very short period of time between November and January, mostly, and a few poems written later on throughout that spring of 1965. That is, November 1964 through the early part of 1965. Most of them were written in New York and involved an experience I had there where I was very ill, and part of the time delirious. This poem was actually written a little later than some of the poems that follow. They're not spaced out chronologically in the book. \"The Command\".\n \nRobert Hogg\n00:03:34\nReads \"The Command\" from The Connexions.\n \nRobert Hogg\n00:06:20\nThis poem, written, actually, previous to the other, is entitled \"Eclipse\", and it was written without my own, without my knowledge, actually, at the time, that there was an eclipse taking place. It was on the eighteenth of December, 1964, written in New York City. This was a lunar eclipse. Isn't there a lunar eclipse about to...is that tonight? [Audience laughter]. It's a full moon tonight. Something's happening.\n \nRobert Hogg\n00:07:06\nReads \"Eclipse\" from The Connexions.\n \nRobert Hogg\n00:09:12\nThe she of that last stanza enters into this poem, which was originally entitled \"The Changing of Skin\". There's a good, considerable amount of snake imagery in these poems, all of which was the result of having hepatitis and the turning of colours. I had hepatitis rather badly, and relapsed twice with it, and each time I relapsed, of course, I turned bright yellow again. And it was quite an unusual experience, especially the first time, in which I was in the hospital, and the nurses, especially the young nurses, would come round and look at you with the most peculiar eyes, you know, as if you were really something from another world, having changed colour like that. \n \nRobert Hogg\n00:10:02\nReads unnamed poem [originally entitled “The Changing of Skin”].\n \nRobert Hogg\n00:14:08\nAnother poem connected with this quite closely, another dream poem, entitled \"The Cave\".\n \nRobert Hogg\n00:14:17\nReads \"The Cave\".\n \nRobert Hogg\n00:15:36\nAfter this there's a descent, a further descent down, as has been instructed in an earlier poem, called \"The Command,\" and then a coming-out again. And then a poem that remembers, really, it's quite different, I'm not sure how much this poem really belonged in The Connexions. Most of the poems definitely did belong in the book, I think, though some of them don't bear reading, I don't think, now. This poem bears reading, I think, but doesn't really belong in the book. How's that?\n \nRobert Hogg\n00:16:09\nReads unnamed poem from The Connexions.\n \nRobert Hogg\n00:16:55\nAnd another poem, which was originally titled, \"Poem to Out of This World and Soul Lies\", was really written with John Sinclair [https://www.wikidata.org/wiki/Q706977] in mind, whom I hope all of you keep in mind at times, specially now that he's in prison, in Michigan [https://www.wikidata.org/wiki/Q1166]. It was written to...not written really for him, but written with him in mind, listening to the record \"Out of This World and Soul Lies\" by John Coltrane [https://www.wikidata.org/wiki/Q7346].\n \nRobert Hogg\n00:17:23\nReads [\"Out of This World\" , originally entitled “Poem to Out of This World and Soul Lies”].\n \nRobert Hogg\n00:19:09\nAnd the last poem in the collection is entitled, simply, \"Song\".\n \nRobert Hogg\n00:19:16\nReads \"Song\" from The Connexions.\n\nUnknown \n00:19:33\nAmbient Sound [bell].\n\nRobert Hogg\n00:19:34\nHave to change my trunks...Now I'd like to read a few poems that were written not too far removed from the time of The Connexions, some of them, and then moving right on up to the present. This poem titled simply, \"Once\" and the \"once\" is really part of the poem.\n \nRobert Hogg\n00:20:01\nReads \"Once\" [published later in Standing Back]. \n \nRobert Hogg\n00:20:24\nAnd another little poem called \"Tropos\", which means, \"to turn\" in Greek, or \"turning\" in Greek.\n \nRobert Hogg\n00:20:34\nReads \"Tropos\".\n \nRobert Hogg\n00:20:50\nAnother short poem, written some time later, but in the same vein. \"A Fragment of Love\".\n \nRobert Hogg\n00:20:57\nReads \"A Fragment of Love\".\n \nRobert Hogg\n00:21:12\nThis poem was written about four or five years ago also, and was written after having given a tarot reading for a friend. And I take it that most of you will have some familiarity with the tarot cards, and anyway, the poem attempts in several places to explain, in other places just simply to give you the reading of the tarot as it was done out. And so I've just simply in parts just listed the cards that fell. It's simply called \"A Reading\".\n \nRobert Hogg\n00:21:48\nReads \"A Reading\".\n \nRobert Hogg\n00:24:03\nAnd now, a longer poem, a poem that really, in a sense, deals with the subject of poetry, and the subject of love, together. The poem is entitled \"Aries and Pisces Dream\". And really, I supposed, ought to be dedicated to Charles Olson [https://www.wikidata.org/wiki/Q922978].\n \nRobert Hogg\n00:24:30\nReads \"Aries and Pisces Dream\" [published later in Standing Back].\n \nRobert Hogg\n00:29:03\nA short, and rather lyrical poem, which was written in response to a letter, not in very good response to a letter, actually...in which the other person asked me if I wouldn't tell them about Psyche [https://www.wikidata.org/wiki/Q843382], what I've defined psyche, which I found was an absolutely impossible thing to do, and something that I hope I can--you could--you know, once you spend one's whole life, I suppose, trying to do it, God help you if you actually get it done, you know. There'd be nothing left to do. This poem is called \"Of Psyche\".\n \nRobert Hogg\n00:29:39\nReads \"Of Psyche\" [published later in Standing Back]. \n \nRobert Hogg\n00:30:26\nA recent poem, entitled \"To the Moon\". The moon gets into a lot of my poems, one way or another. This one woke us up the other night, rather nastily. \n \nRobert Hogg\n00:30:37\nReads \"To the Moon\".\n \nRobert Hogg\n00:31:12\nThis is an untitled poem, a happy poem, I hope, written in September, on the seventh of September, and it struck me, as it was the seventh of September, that in fact, in the Latin, that September is the seventh month, and was apparently the seventh month of the Roman calendar year. And so I was suddenly taken by that, because, you know, if you write dates very often, you probably use the typical numerical method of you know, putting, the day, and the month, and the year, in terms of numbers. And you usually think of September as the ninth month, which in fact it is, in our calendar, but the word is obviously, suggests, as October suggests the eighth month, September is the seventh. And so I was happy. It seemed like something new was happening. It was nice, because you know, in September, in northern, any part of Ottawa [https://www.wikidata.org/wiki/Q1930], Ottawa-area, or Ontario [https://www.wikidata.org/wiki/Q1904], or Quebec [https://www.wikidata.org/wiki/Q176], you know what's coming, eh? You know, it's still here. So you got to be happy while you can. And it was also, I should add, that even in old times, you know, the calendar year was divided into twelve months, and so the seventh month would, in a sense, be the beginning of a new cycle. It would be six months, and that would end the first half, and there would be six more months, and September would be the first of it again. And that also excited me. It felt like Spring. [Laughter]. But I'm crazy.\n \nRobert Hogg\n00:32:42\nReads untitled poem [published later in Standing Back]. \n \nRobert Hogg\n00:33:05\nAnd now a sad poem, for someone who has, who had cancer, and is apparently alright, which is kind of nice. I think I was pessimistic, I'm always terribly pessimistic about something like that, I don't find it easy to be optimistic in such situations, and optimism, the optimism that I now have again for this person is only as qualified, I dare say. The poem is entitled \"A Lifetime\", and the more I thought about that word--I didn't get the title easily, I had to work it out--and the more I thought about that word, the more it began to mean to me. I think if you really think about that word, lifetime, as one word, it's very peculiar. And then I thought, I was thinking about time-life [audience laughter]. And that really, that was really funny. It's strange, isn't it, that those, that, that corporation should own those two words, as they do. It's very difficult to use them. We can't just call it--like, can you imagine putting out a magazine called Life? You know. Or Poetry magazine. These are very good names for a magazine. Or Time, you know. That's pretty big stuff! [Audience laughter]. What could they--and look what they've done with it, you know. So reduction is still possible [Laughter]. \"A Lifetime\"...And one other thing [laughter] before I begin this one, it's not altogether this way, you've probably, you know, you've probably found that my lines, my poetry, has a tendency, especially in the earlier poems, to be, like they say, poetic, you know, to try to be a little, to try to sound pretty. It was something that meant a great deal to me earlier, and means a little less to me now than it did then, though beauty still means as much to me as ever. I have tried, I have looked for in my poetry--and one thing, it was very pleasant hearing Ron's [https://www.wikidata.org/wiki/Q2165471] poems tonight, is a quality of voice, a quality of language, that doesn't necessarily try to be pretty at all--that tries to use the language that we are actually living with. I don't mean to try to talk about the old problems of prose and poetry, or anything of the kind. But just that, language needn't necessarily be quote, poetic, unquote. We had kind of a talk about that last night, at the reading in Ottawa, it was pretty funny. And this poem, just at least its beginning, it has that colloquialism that I enjoy.\n \nRobert Hogg\n00:35:37\nReads \"A Lifetime\".\n \nRobert Hogg\n00:37:03\nAnd the last poem that I'd like to read is a poem that is really a freak poem. This poem has taken me at least two years to write, a little longer than two years to write, I think, and has been written over and over and over and over again, and like I said about time/life, this one has also suffered a phenomenal reduction, starting out as about six pages and ending up as three, which is usually a good sign. Originally there was a line in the poem, something about the presages of civilization, you know, are on my back or in my ear, or something like that, and it was a horrible line. Like a lot of the other lines it had to be excised, and rewritten, and so forth. But the thought of it, the thought of that word, the meaning of that word, contained, lived with me, and lived with my sense of the poem. And so I've entitled it simply, \"Presages\". And also, to make it a little more comprehensible, I've put a sort of bracket, subtitle, \"From a Sixth-Floor Apartment\". Actually, the poem was begun in Manhattan [https://www.wikidata.org/wiki/Q11299], not in Manhattan, I'm sorry, in Queens [https://www.wikidata.org/wiki/Q18424], New York, when I was staying at my in-laws' house a little over two years ago, just briefly, and was written from their sixth-floor apartment. It actually, the strange thing about this poem is it was mostly written since then, really re-written, although the first part is pretty much as it was originally.\n \nRobert Hogg\n00:38:24\nReads \"Presages: From a Sixth-Floor Apartment\" [published later in Standing Back].\n \nRobert Hogg\n00:40:40\nThank you.\n \nEND\n00:40:42\n[Cut off abruptly]."],"Note":["[{\"note\":\"\\nIn 1970, Ron Loewinsohn was teaching at the University of Berkeley (perhaps he only started in the Fall semester?), Meat Air was published in the same year and he finished his Ph.D. from Harvard in 1971.\\n\\nIn 1970, Robert Hogg was a professor of Modern Poetry at Carleton University and was most likely working on publishing Standing back (Coach House Press, 1971) and Robert Duncan: An Interview by George Bowering and Robert Hogg (Coach House Press, 1971). \",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nDirect connections from Loewinsohn to Montreal or Sir George Williams University are unknown, however, Loewinsohn was a heavy-hitter in the American poetry ring, befriending many members of the San Francisco Renaissance, Black Mountain and Beat groups.\\n\\nRobert Hogg met George Bowering (a SGWU Poetry Committee Member) in the 60’s in Vancouver, and became involved in the Tish group.\",\"type\":\"General\"},{\"note\":\"2 reel-to-reel tapes>2 CDs>2 digital files\",\"type\":\"Preservation\"},{\"note\":\"Original transcript, research, introduction andedits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/807465072&referer=brief_results\",\"citation\":\"Gray, Richard. \\\"Loewinsohn, Ron(ald William)\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ian Hamilton (ed). Oxford University Press, 1996.\"},{\"url\":\"https://www.worldcat.org/title/connexions/oclc/976690442&referer=brief_results\",\"citation\":\"Hogg, Robert. The Connexions. Berkeley: Oyez, 1966. \"},{\"url\":\"https://www.worldcat.org/title/standing-back/oclc/1125106352&referer=brief_results\",\"citation\":\"Hogg, Robert.  Standing Back. Toronto: Coach House Press, 1971. \"},{\"url\":\"https://www.worldcat.org/title/interview-by-george-bowering-robert-hogg/oclc/57411146?referer=di&ht=edition\",\"citation\":\"Hogg, Robert & George Bowering. Robert Duncan: an interview by George Bowering & Robert Hogg. Montreal: A Beaver Kosmos Folio, 1971.\"},{\"url\":\"https://www.worldcat.org/title/meat-air-poems-1957-1969/oclc/869016387&referer=brief_results\",\"citation\":\"Loewinsohn, Ron. Meat Air: Poems 1957-1969. New York: Harcourt, Brace & World, 1970. \"},{\"url\":\"https://talonbooks.com/authors/robert-hogg\",\"citation\":\"“Robert Hogg”. Talonbooks website: Vancouver, B.C.. \"},{\"url\":\"\",\"citation\":\"“Loewinsohn, Ron”. Literature Online Biography. Proquest, 2009. \"},{\"url\":\"\",\"citation\":\"“Research, Teaching and Professional Awards: Marston Lafrance Research Fellow (2004-2005)”. Carleton NOW, Carleton University: May 3, 2004. \"},{\"url\":\"\",\"citation\":\"“Robert Hogg”. ECW Press website, Biographies: Toronto, Ontario.\"},{\"url\":\"\",\"citation\":\"“Robert Hogg, Mountain Path Flours”. Eco Farm Day 2010: Canadian Organic Growers/ Cultivons Biologique Canada, Speakers. \"},{\"url\":\"\",\"citation\":\"\\\"Ron(ald) (William) Loewinsohn.\\\" Contemporary Authors Online. Detroit: Gale, 2001. \"}]"],"_version_":1853670548970668032,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0033_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0033_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Ron Loewinsohn 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_0033_front.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0033_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Ron Loewinsohn Tape Box - 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Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/robert_hogg_i086-11-023.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"robert_hogg_i086-11-023.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:40:42\",\"precision\":\"\",\"size\":\"97.7 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"robert_hogg_i086-11-023.mp3 [File 2 of 2]\\n \\nRobert Hogg\\n00:00:00\\nI'd like to open the reading with a poem that's really part of a verse-play that I wrote in 1963 or 64, a long time ago, a play that never really made it as a play, but fragments of which I've salvaged because I like, I like what they do. And so this is sort of called \\\"Fragments of an Imaginary Noh Play\\\", and this is the dream that one of the figures has. \\n \\nRobert Hogg\\n00:00:26\\nReads \\\"Fragments of an Imaginary Noh Play - Walkie's Dream\\\".\\n \\nRobert Hogg\\n00:02:39\\nI'd like to read a few selections from my book of poems The Connexions, which was printed in 1965. I'd like to begin with a poem entitled \\\"The Command\\\". I should just briefly mention that these poems were all written in a very short period of time between November and January, mostly, and a few poems written later on throughout that spring of 1965. That is, November 1964 through the early part of 1965. Most of them were written in New York and involved an experience I had there where I was very ill, and part of the time delirious. This poem was actually written a little later than some of the poems that follow. They're not spaced out chronologically in the book. \\\"The Command\\\".\\n \\nRobert Hogg\\n00:03:34\\nReads \\\"The Command\\\" from The Connexions.\\n \\nRobert Hogg\\n00:06:20\\nThis poem, written, actually, previous to the other, is entitled \\\"Eclipse\\\", and it was written without my own, without my knowledge, actually, at the time, that there was an eclipse taking place. It was on the eighteenth of December, 1964, written in New York City. This was a lunar eclipse. Isn't there a lunar eclipse about to...is that tonight? [Audience laughter]. It's a full moon tonight. Something's happening.\\n \\nRobert Hogg\\n00:07:06\\nReads \\\"Eclipse\\\" from The Connexions.\\n \\nRobert Hogg\\n00:09:12\\nThe she of that last stanza enters into this poem, which was originally entitled \\\"The Changing of Skin\\\". There's a good, considerable amount of snake imagery in these poems, all of which was the result of having hepatitis and the turning of colours. I had hepatitis rather badly, and relapsed twice with it, and each time I relapsed, of course, I turned bright yellow again. And it was quite an unusual experience, especially the first time, in which I was in the hospital, and the nurses, especially the young nurses, would come round and look at you with the most peculiar eyes, you know, as if you were really something from another world, having changed colour like that. \\n \\nRobert Hogg\\n00:10:02\\nReads unnamed poem [originally entitled “The Changing of Skin”].\\n \\nRobert Hogg\\n00:14:08\\nAnother poem connected with this quite closely, another dream poem, entitled \\\"The Cave\\\".\\n \\nRobert Hogg\\n00:14:17\\nReads \\\"The Cave\\\".\\n \\nRobert Hogg\\n00:15:36\\nAfter this there's a descent, a further descent down, as has been instructed in an earlier poem, called \\\"The Command,\\\" and then a coming-out again. And then a poem that remembers, really, it's quite different, I'm not sure how much this poem really belonged in The Connexions. Most of the poems definitely did belong in the book, I think, though some of them don't bear reading, I don't think, now. This poem bears reading, I think, but doesn't really belong in the book. How's that?\\n \\nRobert Hogg\\n00:16:09\\nReads unnamed poem from The Connexions.\\n \\nRobert Hogg\\n00:16:55\\nAnd another poem, which was originally titled, \\\"Poem to Out of This World and Soul Lies\\\", was really written with John Sinclair [https://www.wikidata.org/wiki/Q706977] in mind, whom I hope all of you keep in mind at times, specially now that he's in prison, in Michigan [https://www.wikidata.org/wiki/Q1166]. It was written to...not written really for him, but written with him in mind, listening to the record \\\"Out of This World and Soul Lies\\\" by John Coltrane [https://www.wikidata.org/wiki/Q7346].\\n \\nRobert Hogg\\n00:17:23\\nReads [\\\"Out of This World\\\" , originally entitled “Poem to Out of This World and Soul Lies”].\\n \\nRobert Hogg\\n00:19:09\\nAnd the last poem in the collection is entitled, simply, \\\"Song\\\".\\n \\nRobert Hogg\\n00:19:16\\nReads \\\"Song\\\" from The Connexions.\\n\\nUnknown \\n00:19:33\\nAmbient Sound [bell].\\n\\nRobert Hogg\\n00:19:34\\nHave to change my trunks...Now I'd like to read a few poems that were written not too far removed from the time of The Connexions, some of them, and then moving right on up to the present. This poem titled simply, \\\"Once\\\" and the \\\"once\\\" is really part of the poem.\\n \\nRobert Hogg\\n00:20:01\\nReads \\\"Once\\\" [published later in Standing Back]. \\n \\nRobert Hogg\\n00:20:24\\nAnd another little poem called \\\"Tropos\\\", which means, \\\"to turn\\\" in Greek, or \\\"turning\\\" in Greek.\\n \\nRobert Hogg\\n00:20:34\\nReads \\\"Tropos\\\".\\n \\nRobert Hogg\\n00:20:50\\nAnother short poem, written some time later, but in the same vein. \\\"A Fragment of Love\\\".\\n \\nRobert Hogg\\n00:20:57\\nReads \\\"A Fragment of Love\\\".\\n \\nRobert Hogg\\n00:21:12\\nThis poem was written about four or five years ago also, and was written after having given a tarot reading for a friend. And I take it that most of you will have some familiarity with the tarot cards, and anyway, the poem attempts in several places to explain, in other places just simply to give you the reading of the tarot as it was done out. And so I've just simply in parts just listed the cards that fell. It's simply called \\\"A Reading\\\".\\n \\nRobert Hogg\\n00:21:48\\nReads \\\"A Reading\\\".\\n \\nRobert Hogg\\n00:24:03\\nAnd now, a longer poem, a poem that really, in a sense, deals with the subject of poetry, and the subject of love, together. The poem is entitled \\\"Aries and Pisces Dream\\\". And really, I supposed, ought to be dedicated to Charles Olson [https://www.wikidata.org/wiki/Q922978].\\n \\nRobert Hogg\\n00:24:30\\nReads \\\"Aries and Pisces Dream\\\" [published later in Standing Back].\\n \\nRobert Hogg\\n00:29:03\\nA short, and rather lyrical poem, which was written in response to a letter, not in very good response to a letter, actually...in which the other person asked me if I wouldn't tell them about Psyche [https://www.wikidata.org/wiki/Q843382], what I've defined psyche, which I found was an absolutely impossible thing to do, and something that I hope I can--you could--you know, once you spend one's whole life, I suppose, trying to do it, God help you if you actually get it done, you know. There'd be nothing left to do. This poem is called \\\"Of Psyche\\\".\\n \\nRobert Hogg\\n00:29:39\\nReads \\\"Of Psyche\\\" [published later in Standing Back]. \\n \\nRobert Hogg\\n00:30:26\\nA recent poem, entitled \\\"To the Moon\\\". The moon gets into a lot of my poems, one way or another. This one woke us up the other night, rather nastily. \\n \\nRobert Hogg\\n00:30:37\\nReads \\\"To the Moon\\\".\\n \\nRobert Hogg\\n00:31:12\\nThis is an untitled poem, a happy poem, I hope, written in September, on the seventh of September, and it struck me, as it was the seventh of September, that in fact, in the Latin, that September is the seventh month, and was apparently the seventh month of the Roman calendar year. And so I was suddenly taken by that, because, you know, if you write dates very often, you probably use the typical numerical method of you know, putting, the day, and the month, and the year, in terms of numbers. And you usually think of September as the ninth month, which in fact it is, in our calendar, but the word is obviously, suggests, as October suggests the eighth month, September is the seventh. And so I was happy. It seemed like something new was happening. It was nice, because you know, in September, in northern, any part of Ottawa [https://www.wikidata.org/wiki/Q1930], Ottawa-area, or Ontario [https://www.wikidata.org/wiki/Q1904], or Quebec [https://www.wikidata.org/wiki/Q176], you know what's coming, eh? You know, it's still here. So you got to be happy while you can. And it was also, I should add, that even in old times, you know, the calendar year was divided into twelve months, and so the seventh month would, in a sense, be the beginning of a new cycle. It would be six months, and that would end the first half, and there would be six more months, and September would be the first of it again. And that also excited me. It felt like Spring. [Laughter]. But I'm crazy.\\n \\nRobert Hogg\\n00:32:42\\nReads untitled poem [published later in Standing Back]. \\n \\nRobert Hogg\\n00:33:05\\nAnd now a sad poem, for someone who has, who had cancer, and is apparently alright, which is kind of nice. I think I was pessimistic, I'm always terribly pessimistic about something like that, I don't find it easy to be optimistic in such situations, and optimism, the optimism that I now have again for this person is only as qualified, I dare say. The poem is entitled \\\"A Lifetime\\\", and the more I thought about that word--I didn't get the title easily, I had to work it out--and the more I thought about that word, the more it began to mean to me. I think if you really think about that word, lifetime, as one word, it's very peculiar. And then I thought, I was thinking about time-life [audience laughter]. And that really, that was really funny. It's strange, isn't it, that those, that, that corporation should own those two words, as they do. It's very difficult to use them. We can't just call it--like, can you imagine putting out a magazine called Life? You know. Or Poetry magazine. These are very good names for a magazine. Or Time, you know. That's pretty big stuff! [Audience laughter]. What could they--and look what they've done with it, you know. So reduction is still possible [Laughter]. \\\"A Lifetime\\\"...And one other thing [laughter] before I begin this one, it's not altogether this way, you've probably, you know, you've probably found that my lines, my poetry, has a tendency, especially in the earlier poems, to be, like they say, poetic, you know, to try to be a little, to try to sound pretty. It was something that meant a great deal to me earlier, and means a little less to me now than it did then, though beauty still means as much to me as ever. I have tried, I have looked for in my poetry--and one thing, it was very pleasant hearing Ron's [https://www.wikidata.org/wiki/Q2165471] poems tonight, is a quality of voice, a quality of language, that doesn't necessarily try to be pretty at all--that tries to use the language that we are actually living with. I don't mean to try to talk about the old problems of prose and poetry, or anything of the kind. But just that, language needn't necessarily be quote, poetic, unquote. We had kind of a talk about that last night, at the reading in Ottawa, it was pretty funny. And this poem, just at least its beginning, it has that colloquialism that I enjoy.\\n \\nRobert Hogg\\n00:35:37\\nReads \\\"A Lifetime\\\".\\n \\nRobert Hogg\\n00:37:03\\nAnd the last poem that I'd like to read is a poem that is really a freak poem. This poem has taken me at least two years to write, a little longer than two years to write, I think, and has been written over and over and over and over again, and like I said about time/life, this one has also suffered a phenomenal reduction, starting out as about six pages and ending up as three, which is usually a good sign. Originally there was a line in the poem, something about the presages of civilization, you know, are on my back or in my ear, or something like that, and it was a horrible line. Like a lot of the other lines it had to be excised, and rewritten, and so forth. But the thought of it, the thought of that word, the meaning of that word, contained, lived with me, and lived with my sense of the poem. And so I've entitled it simply, \\\"Presages\\\". And also, to make it a little more comprehensible, I've put a sort of bracket, subtitle, \\\"From a Sixth-Floor Apartment\\\". Actually, the poem was begun in Manhattan [https://www.wikidata.org/wiki/Q11299], not in Manhattan, I'm sorry, in Queens [https://www.wikidata.org/wiki/Q18424], New York, when I was staying at my in-laws' house a little over two years ago, just briefly, and was written from their sixth-floor apartment. It actually, the strange thing about this poem is it was mostly written since then, really re-written, although the first part is pretty much as it was originally.\\n \\nRobert Hogg\\n00:38:24\\nReads \\\"Presages: From a Sixth-Floor Apartment\\\" [published later in Standing Back].\\n \\nRobert Hogg\\n00:40:40\\nThank you.\\n \\nEND\\n00:40:42\\n[Cut off abruptly].\",\"notes\":\"Robert Hogg reads from The Connexions (Oyez Press, 1966),  as well as poems later published in Standing Back (Coach House Press, 1972), and others from unknown sources.\\n\\n00:00- Robert Hogg introduces reading and “Fragments of an Imaginary Noh Play”. [INDEX: poem, verse-play, written in 1963-4, fragments, dream.]\\n00:26- Reads “Fragments of an Imaginary Noh Play: Walkie’s Dream”. [INDEX: morning, wake, sleep, dream, water, sun, east, sea, swim, day, glass, window.]\\n02:39- Introduces “The Command”. [INDEX: selections from The Connexions, printed in     1965, written between November and January, spring of 1965, New York, ill, delirious, not chronological order.]\\n03:34- Reads “The Command”. [INDEX: snow, winter, unsaid, city, ice, wind, young, death, Erie, Great Lakes, place, New York, body, water, disease, sun, land, earth, memory, remembrance, mind, season, Eden, journey, snake.]\\n06:20- Introduces “Eclipse”. [INDEX: lunar eclipse, December 18, 1964, New York City, full moon the night of this reading.]\\n07:06- Reads “Eclipse”  [INDEX: earth, moon, fire, oracle, snake, body, naked, queen, sex, sperm, woman.]\\n09:12- Introduces unknown poem, first line “So it is empty, but for the animals...”. [INDEX: female from “Eclipse”, original title “The Changing of Skin”, snake imagery, hepatitis, relapsed, hospital, nurses.]\\n10:02- Reads unknown poem, first line “So it is empty, but for the animal...”  [INDEX:  New Testament, Judaism, Jew, Moses, Jesus, crucifixion, Mary Magdalene, vision, name, night, disease, illness, violence, snake, child, sex, mythology.]\\n14:08- Introduces “The Cave”. [INDEX: dream poem.]\\n14:17- Reads “The Cave”. [INDEX: child, cave, winter, day.]\\n15:36- Introduces unknown poem, first line “This much is remembered...”. [INDEX: descent down, “The Command”, memory, relevance in collection.]\\n16:09- Reads unknown poem, first line “This much is remembered...” [INDEX: memory,        remembrance, sea, man, land]\\n16:55- Introduces “Out of This World”. [INDEX: originally titled, “Poem to Out of This World and Soul Lies” written with John Sinclair, prison, Michigan, record “Out of this World and Soul Lies” by John Coltrane.]\\n17:23- Reads “Out of This World”. [INDEX: beginning, origin, eternity, birth, egg, snake,    woman, sex]\\n19:09- Introduces “Song” [INDEX: last poem in the collection]\\n19:16- Reads “Song”. [INDEX: sun, wind, tree, nature, bird, air, voice]\\n19:34- Introduces “Once”. [INDEX: poems written same time as The Connexions  up to the present]\\n20:01- Reads “Once”. [INDEX: poem, poet, poetry, love, line]\\n20:24- Introduces “Tropos”. [INDEX: Greek for ‘to turn’ or ‘turning’]\\n20:34- Reads “Tropos”. [INDEX: turning, couple, sight, beauty]\\n20:50- Introduces “A Fragment of Love”. [INDEX: short poem, same vein as “Tropos”]\\n20:57- Reads “A Fragment of Love”. [INDEX: winter, seasons, woman, nature]\\n21:12- Introduces “A Reading”. [INDEX: written 4-5 years previous, tarot reading, friend,     explain, cards.]\\n21:48- Reads “A Reading”. [INDEX: tarot, reading, fate, lover, magician, mother, father, night, child, blood, French, woman, friend, death, moon, sea, justice, sun, bilingual]\\n24:03- Introduces “Aries and Pisces Dream”. [INDEX: poetry, love, dedicated to Charles     Olson.] \\n24:30- Reads “Aries and Pisces Dream”. [INDEX: night, woman, awake, love, space, Charles Olson, moon, sun, earth, real, distance, bird, sleep, dance, word, world, measure, death]\\n29:03- Introduces “Of Psyche”. [INDEX: short, lyrical poem, response to a letter, Psyche, definition of Psyche.]\\n29:39- Reads “Of Psyche”. [INDEX: love, spring, Psyche, woman, man, beauty, window,      morning, dance.]\\n30:26- Introduces “To the Moon”. [INDEX: poems, moon, night.]\\n30:37- Reads “To the Moon”. [INDEX: moon, face, pain, woman, mother, light, night, laugh.]\\n31:12- Introduces Untitled Poem, first line “Fresh September...” [INDEX: written September 7th, Latin, Roman Calendar, numerical method of dates, October, Ottawa, Ontario, Quebec, happy, twelve months, new cycle, Spring.]\\n32:42- Reads Untitled Poem, first line “Fresh September...” [INDEX: nature, seasons, winter, spring, bird, sun, September]\\n33:05- Introduces “A Lifetime”. [INDEX: friend who had cancer, pessimistic, optimism, time, life, Life magazine, Poetry magazine, reduction, lines, beauty, Ron [Loewinsohn], quality of voice, quality of language, unpoetic language, Ottawa, colloquialism.]\\n35:37- Reads “A Lifetime”. [INDEX: idea, giving, time, rain, cancer, nothing, disease, death, dying, rose, tulip, growth, dark, waiting, silence.]\\n37:03- Introduces “Presages: From a Sixth-Floor Apartment”. [INDEX: freak poem, taken over two years to write, time, life, reduction of the text, six pages to three, original line in poem, presages of civilization, horrible line, rewriting, title, sub-title, begun in Queens New York, first part is original.]\\n38:24- Reads “Presages: From a Sixth-Floor Apartment”. [INDEX: city, New York, distance, apartment, earth, death, air, body, dream, river, sea, mind, time, soul, property, civilization, blood, fire, fish, Psyche, beach]\\n40:40- Robert Hogg thanks the audience.\\n40:42.66- END OF RECORDING.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/robert-hog-at-sgwu-1970/\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/ron_loewinsohn-i086-11-033.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"ron_loewinsohn-i086-11-033.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:43:00\",\"precision\":\"\",\"size\":\"103.2 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"ron_loewinsohn-i086-11-033.mp3 [File 1 of 2]\\n \\nRon Loewinsohn\\n00:00:00\\nI do want to try to read as much as I can from the more recent material, the book is called Meat Air, and the last section which is the collection of new stuff is called “Book of Ayres”. Let me start out with, let me start out with one called \\\"His Music's Like His 20 Children\\\".\\n \\nRon Loewinsohn\\n00:00:30\\nReads \\\"His Music's Like His 20 Children\\\" from Meat Air: Poems 1957-1969.\\n \\nRon Loewinsohn\\n00:01:54\\nReads [\\\"It Is to Be Bathed in Light\\\" from Meat Air: Poems 1957-1969].\\n \\nRon Loewinsohn\\n00:04:25\\nThis is called \\\"Song\\\".\\n \\nRon Loewinsohn\\n00:04:30\\nReads \\\"Song\\\" [from Meat Air: Poems 1957-1969, section “L’autre 1967”].\\n \\nRon Loewinsohn\\n00:05:10\\nAnd this one called, \\\"The Rain, The Rain\\\".\\n \\nRon Loewinsohn\\n00:05:17\\nReads \\\"The Rain, The Rain\\\" [from Meat Air: Poems 1957-1969].\\n \\nRon Loewinsohn\\n00:06:20\\nLet me, let me do one called \\\"Fuck You With Your Home Run Title\\\". That title had to be changed, it was originally \\\"Fuck You Roger Maris [https://www.wikidata.org/wiki/Q741023]\\\", but Harcourt Brace [https://www.wikidata.org/wiki/Q5654997] didn't want to be sued. It's not as if I can't afford it, it's just that it wouldn't do anybody any good. So this is \\\"Fuck You With Your Home Run Title\\\".\\n \\nRon Loewinsohn\\n00:07:04\\nReads \\\"Fuck You With Your Home Run Title\\\" [from Meat Air: Poems 1957-1969].\\n \\nRon Loewinsohn\\n00:07:41\\nThe quote \\\"thoughts of the party were in my head\\\" is from the World Champion Weight Lifter, who is a Communist Chinese, and after he had pressed some 5,000 lbs or something they said, you know \\\"You're fantastic, how did you do it?\\\". And he said \\\"Thoughts of the party were in my head\\\". This is called \\\"Vision of Childhood''.\\n \\nRon Loewinsohn\\n00:08:15\\nReads \\\"Vision of Childhood\\\" [from Meat Air: Poems 1957-1969].\\n \\nRon Loewinsohn\\n00:10:33\\nThis is called \\\"Lots of Lakes\\\".\\n \\nRon Loewinsohn\\n00:10:37\\nReads \\\"Lots of Lakes\\\" [from Meat Air: Poems 1957-1969].\\n \\nRon Loewinsohn\\n00:12:03\\nThis is called \\\"The Sea, Around Us\\\".\\n \\nRon Loewinsohn\\n00:12:17\\nReads \\\"The Sea, Around Us\\\" [from The Sea, Around Us].\\n \\nRon Loewinsohn\\n00:15:59\\nI want to read some, most of the poems from this section called \\\"Book of Ayres\\\", and I want to explain just a little bit about it if I can, I guess the most important thing to say is that they declared themselves as a book of poems, in the middle of a final exam, I was taking an exam and one of the things that we had to deal with was a poem by Emily Dickinson [https://www.wikidata.org/wiki/Q4441], which I will read to you, it's a marvelous poem, I'd never seen it before. And it's so clearly tied all of the poems I'd been working on for the past year or so together, into a bundle, into a package. Let me read to you the, this little statement which I'd written for the publication of the book, and I, simply to insist that they are before anything else, religious poems, and I, as prepossessing as I am about them now, because I think that I may have occasion later on in the reading to call that, or you may have occasion to call that to mind. That they take, as their focus, the making, the finding of the flesh in the word, that is that the word is flesh and it has to be found as such. But let me just read this statement and then I'll read you the Emily Dickinson poem, we'll go right into the “Book of Ayres”. I hope that they're, also, that they're fun, and then you say 'religion', people say, 'uh-oh', this is going to be very grim and very heavy, and in the old sense of heavy. But I hope we can have fun with them, but simply, let me do this. All the poems in the “Book of Ayres” section Meat Air, were written with the intention, though not entirely conscious ‘til rather late in the series, of making the word flesh. That is, when the poet speaks, his words are physically only air, yet they can afford us the most sensorially tangible of experiences. Further, the poem, though merely air, is what sustains us, what the soul feeds on. The poet speaks to keep the soul of man alive, that's Yeats [https://www.wikidata.org/wiki/Q40213] in  “John Kinsella's Lament for Mrs. Mary Moore”, it's interesting that as I was grabbing for something to, for support, picked that line, because the line continues, or rather the whole passage goes \\\"And oh, but she had stories, though not for the priest's ear, to keep the soul of man alive, to banish age and care, and being old, she put a skin on everything she said.\\\" Or as Williams [https://www.wikidata.org/wiki/Q178106] puts it, \\\"It is difficult, to get the news from poems, yet we die, every day, for lack of what is found there.\\\" Yet if the word seeks to take on the actuality of flesh, of substance, substance itself, as the poet apprehends it, in the merest of tales of his life, from day to day, seeks to take on the resonating actuality of speech, to realize itself in the actuality of the word. Love itself is both a word and a continuing act or process, both an idea and a tension in the chest, viscera and genitals, a pressure toward articulation so complex that it often stifles speech. About halfway through “The Book of Ayres”, I realized that many of the poems I'd written over the past twelve years or so, had been attempting with various degrees of success to effect these transubstantiations and so, this collection. \\\"The Dickinson Poem\\\", which if you want to take a look at it is in Thomas Johnson's editions, it's number “1651”.\\n \\nRon Loewinsohn\\n00:20:02 \\nReads \\\"Poem 1651\\\" by Emily Dickinson.\\n \\nRon Loewinsohn\\n00:20:49\\nAnd one last note before starting in the book has an epigraph from Jim St. Jim. \\\"I need to take a new tack, and sit on it.\\\" The first poem's called \\\"’These Worlds Have Always Moved in Harmony’\\\".\\n \\nRon Loewinsohn\\n00:21:11\\nReads \\\"’These Worlds Have Always Moved in Harmony’\\\" [from Meat Air: Poems 1957-1969].\\n \\nUnknown\\n00:21:20\\nAmbient Sound [bell].\\n\\nRon Loewinsohn\\n00:21:22\\nWhat the hell is that? I have this terrible recollection of this story I heard about a college in the Midwest in the United States [https://www.wikidata.org/wiki/Q30] where a visiting prof came out to give a lecture on Plato [https://www.wikidata.org/wiki/Q859] or something and had this bell go off every fifteen minutes and after, it really unnerved him, and after the end of the lecture, he asked one of the people, like, \\\"What is that bell going off?\\\" and the guy, the administrator said \\\"Oh, that's to keep the students awake.\\\" I--If that's the case, God bless you, I hope we can do better than that.\\n \\nRon Loewinsohn\\n00:22:08\\nReads \\\"These Worlds Have Always Moved in Harmony\\\".\\n \\nRon Loewinsohn\\n00:23:34\\nAnd this is called \\\"The Sipapu\\\". Don't worry about the title, it clears up.\\n \\nRon Loewinsohn\\n00:23:52\\nReads \\\"The Sipapu\\\" [from Meat Air: Poems 1957-1969].\\n \\nRon Loewinsohn\\n00:27:51\\nThis is called \\\"Settling\\\".\\n \\nRon Loewinsohn\\n00:27:58\\nReads \\\"Settling\\\" [from Meat Air: Poems 1957-1969].\\n \\nRon Loewinsohn\\n00:29:48\\nThis is called, this next poem is called \\\"Paean\\\" p-a-e-a-n, paean, and is a collaboration in a sense that it's the kind of poem in which a number of people get together and contribute lines, you give me three lines, and I'll give you two lines and eventually the poem gets written, and simply to give credit where credit where credit is due, to list the people who did contribute or help out in the writing of this poem, John Dryden [https://www.wikidata.org/wiki/Q213355], William Carlos Williams, and the Associated Press [https://www.wikidata.org/wiki/Q40469].\\n \\nRon Loewinsohn\\n00:30:31\\nReads \\\"Paean\\\" [from Meat Air: Poems 1957-1969].\\n \\nRon Loewinsohn\\n00:32:12\\nThe story goes that St. Cecilia [https://www.wikidata.org/wiki/Q80513] invented the organ, and when she was playing an angel passed and mistook earth for heaven because of this fantastic music. \\\"Went to her organ vocal breath was given\\\" says John Dryden. These are a couple of songs.\\n \\nRon Loewinsohn\\n00:32:38\\nReads “Song” [from Meat Air: Poems 1957-1969; third poem entitled “Song” published in “Book of Ayres” section].\\n\\nRon Loewinsohn\\n00:32:48\\nThis one also called \\\"Song\\\".\\n \\nRon Loewinsohn\\n00:32:54\\nReads “Song\\\" [from Meat Air: Poems 1957-1969; fourth poem entitled “Song” published in “Book of Ayres” section].\\n \\nRon Loewinsohn\\n00:33:12\\nAnd this one also called \\\"Song\\\".\\n \\nRon Loewinsohn\\n00:33:18\\nReads “Song\\\" [from Meat Air: Poems 1957-1969; fifth poem entitled “Song” published in “Book of Ayres” section].\\n \\nRon Loewinsohn\\n00:33:57\\nAnd this one called \\\"Air\\\".\\n \\nRon Loewinsohn\\n00:34:01\\nReads \\\"Air\\\"  [from Meat Air: Poems 1957-1969].\\n \\nRon Loewinsohn\\n00:34:59\\nAnd this one called \\\"Goat Dance\\\".\\n \\nRon Loewinsohn\\n00:35:07\\nReads \\\"Goat Dance\\\" [from Meat Air: Poems 1957-1969; first poem entitled “Goat Dance” published in “Book of Ayres” section].\\n \\nRon Loewinsohn\\n00:36:30\\nThis one called \\\"Two Airs\\\".\\n \\nRon Loewinsohn\\n00:36:36\\nReads \\\"Two Airs\\\" [from Meat Air: Poems 1957-1969].\\n \\nRon Loewinsohn\\n00:37:31\\nAnd another one called \\\"Goat Dance\\\".\\n \\nRon Loewinsohn\\n00:37:35\\nReads \\\"Goat Dance\\\" [from Meat Air: Poems 1957-1969; third poem entitled “Goat Song” published in “Book of Ayres” section].\\n \\nRon Loewinsohn\\n00:38:48\\nAnd this, title, may perhaps need a little bit of explanation. \\\"The Romaunt of the Rose\\\", a 13th century French dream vision poem, dream allegory, written actually in two halves by Jean de Meun [https://www.wikidata.org/wiki/Q544925] and Guillaume de Lorris [https://www.wikidata.org/wiki/Q544959] I'm not sure but Chaucer [https://www.wikidata.org/wiki/Q5683] translated the first part of it, and the title comes from his title, \\\"The Romaunt of the Rose\\\". The last line of the poem, “smoot right to the herte rote” is from Chaucer's translation and it's \\\"smitten right to the heart's root\\\". And the whole, the title of the poem is \\\"The Romaunt of the Rose Fuck\\\".\\n \\nRon Loewinsohn\\n00:39:39\\nReads \\\"The Romaunt of the Rose Fuck\\\" [from Meat Air: Poems 1957-1969].\\n \\nRon Loewinsohn\\n00:40:22\\nI'll just do two more, the first one called \\\"K. 282\\\". Koechel is--don't please, be insulted that I explain that title, I read the poem in New York [https://www.wikidata.org/wiki/Q60] and a graduate student at Columbia [https://www.wikidata.org/wiki/Q49088] asked me if it meant \\\"Circa 282\\\", like circa 282, like approximately 282, and it is of course the catalogue number for the Mozart [https://www.wikidata.org/wiki/Q254] piano sonata, and it's a piano sonata, I forget which, what key it's in.\\n \\nRon Loewinsohn\\n00:41:04\\nReads \\\"K. 282\\\" [from Meat Air: Poems 1957-1969].\\n \\nRon Loewinsohn\\n00:42:02\\nAnd the last poem is the title poem of the book, \\\"Meat Air\\\".\\n \\nRon Loewinsohn\\n00:42:08\\nReads \\\"Meat Air\\\" from Meat Air: Poems 1957-1969.\\n \\nEND\\n00:43:00\\n\",\"notes\":\"Ron Loewinsohn reads from Meat Air: Poems 1957-1969 (Harcourt, Brace & World, 1970).\\n\\n00:00- Ron Loewinsohn introduces “His Music’s Like His Twenty Children” [INDEX: Meat Air by Ron Loewinsohn, published by Harcourt Brace]\\n00:30- Reads “His Music’s Like His Twenty Children”\\n01:54- Reads “It Is to Be Bathed in Light”\\n04:25- Reads “Song”\\n05:20- Reads “The Rain, The Rain”\\n06:20- Introduces “Fuck You With Your Home Run Title” [INDEX: Roger Maris: baseball \\tplayer]\\n07:04- Reads “Fuck You With Your Home Run Title”\\n07:41- Explains a line from “Fuck You With Your Home Run Title” [INDEX: Communist  \\tChinese World Champion Weight Lifter]\\n08:15- Reads “Vision of Childhood”\\n10:33- Reads “Lots of Lakes”\\n12:03- Reads “The Sea Around Us”\\n15:59- Introduces section “Book of Ayres” and Emily Dickinson Poem, “Number        \\t1651” [INDEX: “Book of Ayres” section in Meat Air, Emily Dickinson Poem from         \\tThomas Johnson’s Collection #1651, Yeats’ poem “John Kinsella’s Lament for Mrs.     \\tMary Moore”, William Carlos Williams quote, religious poetry: words are flesh, epigraph    from Jim St. Jim [sp?]]\\n20:02- Reads “1651” by Emily Dickinson\\n20:49- Introduces epigraph in Meat Air\\n21:11- Reads “These Worlds Have Always Moved in Harmony”\\n21:22- Interrupted [INDEX: Mid-Western United States]\\n22:08- Re-starts “These Worlds Have Always Moved in Harmony”\\n23:34- Reads “The Sipapu” [INDEX: South Western Native American Tradition]\\n27:51- Reads “Settling”\\n28:48- Introduces “Paean” [INDEX: Collaborative poem: John Dryden, William Carlos Williams and the Associated Press]\\n30:31- Reads “Paean”\\n32:12- Explains “Paean” [INDEX: St. Cecilia invented Organ]\\n32:38- Reads “Song: I think of you through a pain in my throat...”\\n32:48- Reads “Song: Like two apples in a tree...”\\n33:12- Reads “Song: If there is nothing but the rhythm of tears...”\\n33:57- Reads “Air”\\n34:59- Reads “Goat Dance: You inspire me...”\\n36:30- Reads “Two Airs”\\n37:31- Reads “Goat Dance: 1. In the middle of the park...”\\n38:48- Introduces “The Romaunt of the Rose Fuck” [INDEX: 13th century French Dream   allegory poetry: by Jean de Meun, Guillaume de Lorris, translated by Chaucer into “The \\tRomaunt of the Rose”]\\n39:39- Reads “The Romaunt of the Rose Fuck”\\n40:22- Introduces “K. 282” [INDEX: Koechel: Mozart piano sonata k. 282]\\n41:04- Reads “K. 282”\\n42:02- Reads “Meat Air”\\n43:00.20- END OF RECORDING\\n\\nFrom the Howard Fink List of poems:\\n*Two separate and different typed pages in print sources...\\nPAGE 1) \\nFeb 20, 1970\\n5”, mono, single track, reel, @ 3 3/4 ips; lasting 50 mins.\\n1.  “His Music is Like His Twenty Children”\\n2.  “Song” first line: “Oh her lips swell...”\\n3.  “The Rain, The Rain”\\n4.  “Fuck You With Your Home-run Title”\\n5.  “Vision of Childhood”\\n6.  “Lots of Lakes”\\n7.  “The Sea Around Us”\\n8.  “A poem by E. Dickenson”\\n9.  first line: “Angelic spirits in a winter sky...”\\n10. first line: “But originally the real world...”\\n11. “Settling”\\n12. “Paean”\\n13. “Song” first line “I think of you through a pain...”\\n14. “Song” first line “Like two apples in a tree...”\\n15. “Song” first line “If there is nothing...”\\n16. “Air”\\n17. “Goat Dance” first line “You inspire me...”\\n18. “Two Airs”\\n19. “Goat Dance” first line “In the middle of the park...”\\n20. first line “In it’s tower of bone...”\\n21. first line “In the fullness...”\\n22. “Meat Air”\\nDiscrepancies on page 2)\\n2. It is To Be Bathed In Light\\n3. Song\\n4. The Rain, The Rain\\n5. Fuck You With Your Home-Run Title\\n6. Vision of Childhood\\n7. Lots of Lakes\\n8. The Sea Around Us\\n9. These Worlds Have Always Moved In Harmony\\n10. The Cee-pah-pooh (Where The Spirit Dwells)\\n11. Settling\\n12. Paean\\n13. I Think Of You With A Pain In My Throat\\n14. Song\\n15. Song\\n16. Air\\n17. Goat Dance\\n18.Two Airs\\n19. Goat Dance\\n20.The Ro-- Of The Rose\\n21. Kercshal 282\\n22. Meat Air\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/ron-loewinsohn-at-sgwu-1970-2/\"}]"],"score":1.8530173},{"id":"1286","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":["Frank Davey at Sir George Williams University, The Poetry Series, 6 February 1970"],"item_title_source":["Cataloguer"],"item_title_note":["\"FRANK DAVEY Recorded February 6, 1970 3.75 ips on 1 mil. tape, 1/2 track\" written on sticker on the back of the tape's box. \"FRANK DAVEY I006/SR48\" written on sticker on the spine of the tape's box. \"I006-11-048\" 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 4"],"item_identifiers":["[]"],"creator_names":["Davey, Frank"],"creator_names_search":["Davey, Frank"],"creators":["[{\"url\":\"http://viaf.org/viaf/5029235\",\"name\":\"Davey, Frank\",\"dates\":\"1940-\",\"notes\":\"Poet, critic and editor Frank Davey was born in Vancouver in 1940. He received his B.A. and M.A. from the University of British Columbia, where he co-founded and edited the influential Tish magazine from 1961-1969. Davey’s first book of poetry was published in 1963, called D-Day and after (Tishbooks), which was followed by Bridge force (Contact Press, 1965) and The scarred hull (Imago, 1966). Davey founded Open Letter, a journal of avant-garde writing and theory(which is still being published) in 1965. He then completed a Ph.D. in 1968 at the University of Southern California, with a thesis on the Black Mountain poetics. His poems from this period were collected and published in 1972 in L’an trentiesme: selected poems 1961-1970 (Community Press, 1970). Davey’s most influential poetry was produced in the early 70’s, with Weeds (Coach House Press, 1970), Four Myths for Sam Perry (Talon Books, 1970), King of swords (Talon Books, 1972), Arcana (Coach House Press, 1973), and The Clallam (Talon Books, 1973). Davey’s criticism of the period was collected in From There to Here: A Guide to English-Canadian Literature Since 1960 (Porcepic Press, 1974), his 1976 essay of the same title, published in Surviving the Paraphrase (Turnstone Press, 1983) and Reading Canadian reading (Turnstone, 1988). bp Nichol wrote an important introduction for Davey’s Selected poems: the arches (Talon Books, 1980). Davey has documented and written on Canadian authors such as Margaret Atwood, Earle Birney, Louis Dudek and Raymond Souster among others, focusing on Canadian small-press poets who would have been looked over by bigger presses. His own poetry appeared in Capitalistic affection (Coach House Press, 1982), Edward and Patricia (Coach House Press, 1984), The Louis Riel organ and piano company (Turnstone, 1985), The Abbotsford guide to India (Porcepic, 1986) and Popular narratives (Talon Books, 1991). Davey founded Swift Current, a literary journal database published from 1984 to 1990. Davey has taught in Montreal, Toronto’s York University, and was the Carl F. Klinck professor of Canadian Literature at the University of Western Ontario at the time of his retirement in 2005. His criticism and poetics of the 90‘s include Post-national arguments: the politics of the Anglophone-Canadian novel since 1967 (University of Toronto Press, 1993), Canadian literary power (NeWest, 1994), Reading ‘Kim’ Right (Talon Books, 1993) and Karla’s Web (Viking, 1994). He continues to publish poetry, Poems Suitable to Current Material Conditions (2014) and Motel Homage for Greg Curnoe (2014) being his most recent publications. \",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Fink, Howard"],"contributors_names_search":["Fink, Howard"],"contributors":["[{\"url\":\"http://viaf.org/viaf/6332801\",\"name\":\"Fink, Howard\",\"dates\":\"1934-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Presenter\"]}]"],"Presenter_name":["Fink, Howard"],"Series_organizer_name":["Fink, Howard"],"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 2 6\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the back of the tape's box\\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":["Frank Davey reads from Four Myths for Sam Perry (Talonbooks, 1970) and Weeds (Coach House Press, 1970), as well as poems published later in Arcana (Coach House Press, 1973)."],"contents":["frank_davey_i006-11-048.mp3\n \nHoward Fink\n00:00:00\nFrank's a West Coast poet, as you know if you've been reading the entertainment section of the Montreal Star [https://www.wikidata.org/wiki/Q3521910], editor of, founding editor of Tish [https://www.wikidata.org/wiki/Q2384384], and of the Open Letter, prolific poet, and poeticist. His last two books Four Myths for Sam Perry and Weeds are at the publishers', and Myths for Sam Perry will be appearing in a month or so. Without further introduction, Frank Davey [https://www.wikidata.org/wiki/Q1443126].\n \nFrank Davey\n00:00:36\nThe first poems I'm going to read this evening are ones which came out of my experiences in my first marriage. My own feeling about reading poetry is that the poem is exposed to the audience at a much faster rate than what the poem is when it's on the page, and excuse me, I'm going to give you a fair bit of background material on some of these poems. These are a collection of prose poems.\n \nFrank Davey\n00:01:20\nReads unnamed poem.\n \nFrank Davey\n00:02:13\nReads “Counting” [from Weeds].\n\nFrank Davey\n00:03:11\nReads \"The Bandit\" [from Weeds]. \n \nFrank Davey\n00:04:08\nTo me some of these poems are remarkable because at the time I didn't know this marriage was breaking up and some of the, some of the poems as you can see are about experiences other than marriage and suddenly I realize of course as these poems were progressing, in particular toward the end, that the message was certainly that there was something rather infertile in my whole life, I mean even in the next poem I'm going to read, I didn't catch on, I thought, 'oh well, I'll write this poem, I can't really show it to my wife, but you know, so what'.\n \nFrank Davey\n00:04:44\nReads \"Mealtimes\" [from Weeds].\n \nFrank Davey\n00:05:46\nReads \"The Place\" [from Weeds].\n \nFrank Davey\n00:06:39\nThese poems actually form a sequence, I'm only giving you certain examples of them and jumping ahead and now the cat is suddenly in the next poem as if it hadn't left.\n \nFrank Davey\n00:06:52\nReads \"The Calling\" [from Weeds].\n \nFrank Davey\n00:08:08\nWell by this point in the sequence, the message was beginning to become more available to me. I was, I admit beginning to understand what I was writing by this point. I've always felt that it's important to write a poem whether or not you realize its significance or its relevance to your own life that you go ahead and write the poem anyway. And in this particular sequence, my own faith that poetry can reveal things to you, that the process of writing poems is a process of discovery, that in fact poems teach the poet, rather than the poet teaching the poems. The poems are wiser than the poet, if you want to look at it that way. This was--seemed to be borne out. \n\nFrank Davey\n00:09:15\nReads \"Leaves\" [from Weeds].\n \nFrank Davey\n00:10:25\nReads \"A Letter\" [from Weeds].\n \nFrank Davey\n00:11:35\nReads \"Them Apples\" [from Weeds].\n \nFrank Davey\n00:12:39\nReads \"I Do Not Write Poems\" [from Weeds].\n \nFrank Davey\n00:13:40\nReads \"Red\" [from Weeds].\n \nFrank Davey\n00:14:41\nMany ways experience played into the hands of the poems, very nice that the most disastrous years of that marriage happened to begin in a summertime situation, and to end in winter, so that the seasonal, the cycle of the seasons could play its part in the poem. But on the other hand, perhaps that wasn't accidental. One doesn't want to question these things after they've worked for you. Group of poems that are collected in the book, which Howard Fink spoke about in his introduction, Four Myths for Sam Perry.\n \nFrank Davey\n00:15:39\nReads \"Sentences of Welcome\" from Four Myths for Sam Perry.\n \nFrank Davey\n00:17:00\nI had the fortune, I was going to say good fortune, I had the fortune of being in Los Angeles [https://www.wikidata.org/wiki/Q65] during the Watts Riots in 1965 [https://www.wikidata.org/wiki/Q377682], and living in the riot area. I was very busy at the time and that particular experience I haven't really even begun to deal with.\n \nFrank Davey\n00:17:26\nReads \"Watts, 1965\" [from Four Myths for Sam Perry].\n \nFrank Davey\n00:18:34.12\nAt that time, in Vietnam [https://www.wikidata.org/wiki/Q881], the most contested piece of property was Hill 488. And most of us know that mountains have a peculiar history of being sacred to human beings, Olympus [https://www.wikidata.org/wiki/Q80344], Fuji [https://www.wikidata.org/wiki/Q39231], Sinai [https://www.wikidata.org/wiki/Q377485], there's a mountain in China [https://www.wikidata.org/wiki/Q148] called Tai Shan [https://www.wikidata.org/wiki/Q216059], I believe Confucius [https://www.wikidata.org/wiki/Q4604] made a pilgrimage up this mountain, which is apparently so sacred that the Chinese had carved thousands of steps all the way up to the summit of the mountain. There are mountains, of course, in the Himalayas [https://www.wikidata.org/wiki/Q5451], which house monasteries and which monks so far have successfully prevented anyone from climbing.\n \nFrank Davey\n00:19:39\nReads \"Hill 488\" [from Four Myths for Sam Perry].\n \nFrank Davey\n00:20:27\nDrongo is a purple bird that is peculiar to Southeast Asia [https://www.wikidata.org/wiki/Q11708], one of the things which is never really thought of in times of conflict are all of the more, well very specific natural features of the landscape which of course are threatened by destruction in such times. We think of the problems of the defoliant in South Vietnam, when what they estimate now that more than 10% of the country has been treated with defoliant. We don't think of the individual examples of the flora and fauna which may be threatened with extinction because of this defoliation. Man of course is only one of the many inhabitants of this planet and although it is certainly a despicable thing that the biological function of human beings have been interfered with by the defoliation, children are being born malnourished, these are not the only sufferers. \n \nFrank Davey\n00:21:58\nReads \"The Drongo\" [from Four Myths for Sam Perry].\n \nUnknown\n00:23:27\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nFrank Davey\n00:23:28\nAnd of course in the middle of this, there are tankers sinking.\n \nFrank Davey\n00:23:35\nReads \"Torrey Canyon\" [from Four Myths for Sam Perry].\n \nFrank Davey\n00:24:29\nWell actually for the past three years I've been writing poems, from the tarot pack. I've been somewhat disappointed to learn that all kinds of other poets have been doing this at the same time. They're getting their stuff into print but I haven't bothered because I was going to do all 88 cards and publish them all at once. At any rate, I'm going to say some more about the tarot pack later but this particular poem comes out of the tarot pack from the Emperor card and has a peculiar affinity to the poems I've just been reading.\n \nFrank Davey\n00:25:20\nReads \"The Emperor\" [published later as “Manuscript, 4 December, 1970, title ‘The Emperor’” in Arcana].\n \nFrank Davey\n00:27:03\nReads \"When\" [from Four Myths for Sam Perry]\n \nFrank Davey\n00:27:56\nBut there is also of course, another side of the coin.\n \nFrank Davey\n00:27:59\nReads \"For her, a Spring\" [from Four Myths for Sam Perry].\n \nFrank Davey\n00:30:39\nThe next poem is entitled \"A Light Poem\". For lack of a better descriptive term, I might call myself an anti-humanist, this is of course the--it's almost become a category, I thought it was unique at one point, but it's become of late a category. I think more and more people are realizing that man is not capable of appointing himself as manager, or he's capable of appointing himself, he's not capable of acting out his self-appointment as manager of this planet. That in fact, his capabilities at managing certain areas create problems that are multiples of the ones he has solved. And that the humanist dream of man through his own rationality creating a nearly utopian existence, coming to understand the workings of the universe in such a way that he can bend them to his own use, but this dream has not going to come true. And of course, one of the ways that this feeling in men has been manifested has been his utilization of light and energy, and well, to the poem. \"A Light Poem\".\n \nFrank Davey\n00:32:25\nReads \"A Light Poem\" [from Four Myths for Sam Perry]..\n \nUnknown\n00:37:24\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nFrank Davey\n00:37:25\nRecently I have been writing poems from tarot cards. I have noticed a couple of things about the tarot cards that are very important for the poems. One of these is that the female symbol seems to be the most important symbol in the deck and it seems to suggest that the universe itself is essentially feminine in nature, that the fertility of the universe is feminine. Another aspect of the cards suggests that the nature of the universe is such that all sorts of mysterious things can happen to it without our understanding them. That there are all sorts of forces indicated in these cards that are essentially outside of our control. This poem, entitled \"To Win at Cards\". Tarot cards are not cards whose primary purpose is to play a game. The decks of cards with which we are all familiar with are cards where you play a game, the object of course of playing cards is to win at cards. And winning of course, is something which we are all brought up to wish, so one of the things about our competitive society that makes it work is that we all want to win. And card games help indoctrinate us in this direction. Cards, can also tell you things, this is the thing that the tarot cards have in common with poetry, is that people don't win in poetry, you don't write a better poem than somebody else in order to win prizes or to--you don't use poems in order to seduce a girl, or you don't use poems in order to accomplish any kind of end outside of the end of writing the poem. If you do, your allegiance is not to the poem and it's to something else and you're prostituting the poem. The only thing which can win at poetry is the poem itself, and this is where the poet ought to apply his effort to, is to helping the poem win.\n \nFrank Davey\n00:40:15\nReads \"To Win at Cards\" published later in Arcana].\n \nFrank Davey\n00:41:20\nThis poem, entitled \"The Hermit\", one of the figures on the cards. The card happened to cause me to recall a childhood memory of an earthquake.\n \nFrank Davey\n00:41:35\nReads \"The Hermit\" [published later in Arcana].\n \nFrank Davey\n00:42:49\nIt became very clear to me writing these Tarot poems that indeed there were many things outside of one's control and my wife and I were putting together a jigsaw puzzle of the moon, I think it was a satellite photograph of one side of the moon, and things started to go wrong.\n \nFrank Davey\n00:43:16\nReads [“Luna”, published later in Arcana].\n \nFrank Davey\n00:44:52\nThroughout history of course, men have been obsessed with the idea of being displaced by another man. Either in the seat--in the kingdom, or in the favors of the special woman in their lives. We have in mythology of course, many myths of Gods being displaced very often by their children. In Greek drama of course, the classical example is the Oedipus [https://www.wikidata.org/wiki/Q130890] myth where Laius [https://www.wikidata.org/wiki/Q463898] and Jocasta [https://www.wikidata.org/wiki/Q131445] have their married lives disrupted by their son, Oedipus. This is a poem about this particular fear. Fear of being displaced by someone younger, very often, fear of being displaced by one's own son, although that's not necessarily integral to the poem.\n \nFrank Davey\n00:45:53\nReads [\"Menelaus, To You\", published later in Arcana].\n \nFrank Davey\n00:47:19\nIf you choose to go to war with the natural environment, strange things happen. “King of Pentacles” is wrapped in a coat of binds.\n \nFrank Davey\n00:47:34\nReads \"King of Pentacles\" [published later in Arcana].\n \nFrank Davey\n00:48:44\nTimes when men do the right things, or seem to do the right things. A poem called \"The Caughnawaga Bell\".\n \nFrank Davey\n00:48:55\nReads \"The Caughnawaga Bell\" [published later in Arcana].\n \nFrank Davey\n00:50:32\nI'd like to conclude with a couple of poems about the whole problem of writing. It's always a problem for a poet to keep the process of writing going. One of the tricks of poets of course is always to write poems about the fact that the process of writing isn't going. I have a number of these. \"The Mountain\".\n \nFrank Davey\n00:51:06\nReads \"The Mountain\" [from Four Myths for Sam Perry].\n \nFrank Davey\n00:51:50\nOf course, the thing is, as soon as you begin to pay homage to the fact that you're having trouble writing a poem and express your will to, you are in fact being repaid. As soon as I remembered this myth of Popocatepetl [https://www.wikidata.org/wiki/Q1782392] and you know, the earth literally repaying the boy for his homage representing him with a mountain. If you couldn't grow corn on it, at least you could lure the Yankees down to look at. [Audience laughter].\n \nFrank Davey\n00:52:24\nReads \"The Bells\" [from Four Myths for Sam Perry].\n \nFrank Davey\n00:53:33\nThis poem, entitled \"The Making\".\n \nFrank Davey\n00:53:41\nReads \"The Making\" [from Four Myths for Sam Perry].\n \nFrank Davey\n00:55:34\nAnd so, I wish you all good winds!\n \nEND\n00:55:37\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1970, Frank Davey had written both Weeds and Four Myths for Sam Perry, and his poems were collected in L’an Trentiesme: Selected Poems 1961-1970, all published that year. He was the writer-in-residence at Sir George Williams University from 1969-1970.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nFrank Davey’s influence reaches farther than his numerous publications, as he was devoted to the publication of other new poets and to the little magazine in Canada. A founding member of Tish, along with Fred Wah and George Bowering (a magazine responsible for a re-birth of poetry in Vancouver and the publication of some of the most important figures in Canadian poetry today) and as a managing editor of Toronto’s Coach House Press, Davey has also documented his fellow poets through bibliographies and biographies. Davey and Bowering no doubt had a long history together, starting in Vancouver, and Bowering most likely invited Davey to Sir George Williams University to read in this series. \",\"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 tap>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/from-there-to-here-a-guide-to-english-canadian-literature-since-1960-ii-our-nature-our-voices/oclc/878901819&referer=brief_results\",\"citation\":\"Bowering, George. “Davey, Frank”. From There to Here: A Guide to English-Canadian Literature Since 1960, Our Nature-Our Voices II. Frank Davey.  Erin, Ontario: Press Porcepic, 1974. \"},{\"url\":\"https://www.worldcat.org/title/arcana/oclc/655182833&referer=brief_results\",\"citation\":\"Davey, Frank. Arcana. Toronto: Coach House Press, 1973. \"},{\"url\":\"https://www.worldcat.org/title/four-myths-for-sam-perry/oclc/422678742&referer=brief_results\",\"citation\":\"Davey, Frank. Four Myths for Sam Perry. Vancouver: Talonbooks, 1970. \"},{\"url\":\"https://www.worldcat.org/title/weeds-poems-by-frank-davey/oclc/639736215&referer=brief_results\",\"citation\":\"Davey, Frank. Weeds. Toronto: Coach House Press, 1970. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Scobie, Stephen. \\\"Davey, Frank\\\".  The Oxford Companion to Canadian Literature. Eugene Benson and William Toye (eds). Oxford University Press 2001. \"},{\"url\":\"https://www.worldcat.org/title/encyclopedia-of-post-colonial-literatures-in-english-vol2/oclc/1156824609&referer=brief_results\",\"citation\":\"Whiteman, Bruce. “Davey, Frank (1940-)”. Routledge Encyclopedia of Post-Colonial Literatures in English. Benson, Eugene; Conolly, L.W. (eds). London: Routledge, 1994. 2v. \"}]"],"_version_":1853670548974862336,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I006_11_0048_back.jpg\",\"file_path\":\"\",\"filename\":\"I006_11_0048_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Frank Davey 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/I006_11_0048_front.jpg\",\"file_path\":\"\",\"filename\":\"I006_11_0048_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Frank Davey 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/I006_11_0048_side.jpg\",\"file_path\":\"\",\"filename\":\"I006_11_0048_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Frank Davey Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I006_11_0048_tape.jpg\",\"file_path\":\"\",\"filename\":\"I006_11_0048_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Frank Davey 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/frank_davey_i006-11-048.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"frank_davey_i006-11-048.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:55:37\",\"precision\":\"\",\"size\":\"133.5 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Howard Fink\\n00:00:00\\nFrank's a West Coast poet, as you know if you've been reading the entertainment section of the Montreal Star [https://www.wikidata.org/wiki/Q3521910], editor of, founding editor of Tish [https://www.wikidata.org/wiki/Q2384384], and of the Open Letter, prolific poet, and poeticist. His last two books Four Myths for Sam Perry and Weeds are at the publishers', and Myths for Sam Perry will be appearing in a month or so. Without further introduction, Frank Davey [https://www.wikidata.org/wiki/Q1443126].\\n \\nFrank Davey\\n00:00:36\\nThe first poems I'm going to read this evening are ones which came out of my experiences in my first marriage. My own feeling about reading poetry is that the poem is exposed to the audience at a much faster rate than what the poem is when it's on the page, and excuse me, I'm going to give you a fair bit of background material on some of these poems. These are a collection of prose poems.\\n \\nFrank Davey\\n00:01:20\\nReads unnamed poem.\\n \\nFrank Davey\\n00:02:13\\nReads “Counting” [from Weeds].\\n\\nFrank Davey\\n00:03:11\\nReads \\\"The Bandit\\\" [from Weeds]. \\n \\nFrank Davey\\n00:04:08\\nTo me some of these poems are remarkable because at the time I didn't know this marriage was breaking up and some of the, some of the poems as you can see are about experiences other than marriage and suddenly I realize of course as these poems were progressing, in particular toward the end, that the message was certainly that there was something rather infertile in my whole life, I mean even in the next poem I'm going to read, I didn't catch on, I thought, 'oh well, I'll write this poem, I can't really show it to my wife, but you know, so what'.\\n \\nFrank Davey\\n00:04:44\\nReads \\\"Mealtimes\\\" [from Weeds].\\n \\nFrank Davey\\n00:05:46\\nReads \\\"The Place\\\" [from Weeds].\\n \\nFrank Davey\\n00:06:39\\nThese poems actually form a sequence, I'm only giving you certain examples of them and jumping ahead and now the cat is suddenly in the next poem as if it hadn't left.\\n \\nFrank Davey\\n00:06:52\\nReads \\\"The Calling\\\" [from Weeds].\\n \\nFrank Davey\\n00:08:08\\nWell by this point in the sequence, the message was beginning to become more available to me. I was, I admit beginning to understand what I was writing by this point. I've always felt that it's important to write a poem whether or not you realize its significance or its relevance to your own life that you go ahead and write the poem anyway. And in this particular sequence, my own faith that poetry can reveal things to you, that the process of writing poems is a process of discovery, that in fact poems teach the poet, rather than the poet teaching the poems. The poems are wiser than the poet, if you want to look at it that way. This was--seemed to be borne out. \\n\\nFrank Davey\\n00:09:15\\nReads \\\"Leaves\\\" [from Weeds].\\n \\nFrank Davey\\n00:10:25\\nReads \\\"A Letter\\\" [from Weeds].\\n \\nFrank Davey\\n00:11:35\\nReads \\\"Them Apples\\\" [from Weeds].\\n \\nFrank Davey\\n00:12:39\\nReads \\\"I Do Not Write Poems\\\" [from Weeds].\\n \\nFrank Davey\\n00:13:40\\nReads \\\"Red\\\" [from Weeds].\\n \\nFrank Davey\\n00:14:41\\nMany ways experience played into the hands of the poems, very nice that the most disastrous years of that marriage happened to begin in a summertime situation, and to end in winter, so that the seasonal, the cycle of the seasons could play its part in the poem. But on the other hand, perhaps that wasn't accidental. One doesn't want to question these things after they've worked for you. Group of poems that are collected in the book, which Howard Fink spoke about in his introduction, Four Myths for Sam Perry.\\n \\nFrank Davey\\n00:15:39\\nReads \\\"Sentences of Welcome\\\" from Four Myths for Sam Perry.\\n \\nFrank Davey\\n00:17:00\\nI had the fortune, I was going to say good fortune, I had the fortune of being in Los Angeles [https://www.wikidata.org/wiki/Q65] during the Watts Riots in 1965 [https://www.wikidata.org/wiki/Q377682], and living in the riot area. I was very busy at the time and that particular experience I haven't really even begun to deal with.\\n \\nFrank Davey\\n00:17:26\\nReads \\\"Watts, 1965\\\" [from Four Myths for Sam Perry].\\n \\nFrank Davey\\n00:18:34.12\\nAt that time, in Vietnam [https://www.wikidata.org/wiki/Q881], the most contested piece of property was Hill 488. And most of us know that mountains have a peculiar history of being sacred to human beings, Olympus [https://www.wikidata.org/wiki/Q80344], Fuji [https://www.wikidata.org/wiki/Q39231], Sinai [https://www.wikidata.org/wiki/Q377485], there's a mountain in China [https://www.wikidata.org/wiki/Q148] called Tai Shan [https://www.wikidata.org/wiki/Q216059], I believe Confucius [https://www.wikidata.org/wiki/Q4604] made a pilgrimage up this mountain, which is apparently so sacred that the Chinese had carved thousands of steps all the way up to the summit of the mountain. There are mountains, of course, in the Himalayas [https://www.wikidata.org/wiki/Q5451], which house monasteries and which monks so far have successfully prevented anyone from climbing.\\n \\nFrank Davey\\n00:19:39\\nReads \\\"Hill 488\\\" [from Four Myths for Sam Perry].\\n \\nFrank Davey\\n00:20:27\\nDrongo is a purple bird that is peculiar to Southeast Asia [https://www.wikidata.org/wiki/Q11708], one of the things which is never really thought of in times of conflict are all of the more, well very specific natural features of the landscape which of course are threatened by destruction in such times. We think of the problems of the defoliant in South Vietnam, when what they estimate now that more than 10% of the country has been treated with defoliant. We don't think of the individual examples of the flora and fauna which may be threatened with extinction because of this defoliation. Man of course is only one of the many inhabitants of this planet and although it is certainly a despicable thing that the biological function of human beings have been interfered with by the defoliation, children are being born malnourished, these are not the only sufferers. \\n \\nFrank Davey\\n00:21:58\\nReads \\\"The Drongo\\\" [from Four Myths for Sam Perry].\\n \\nUnknown\\n00:23:27\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nFrank Davey\\n00:23:28\\nAnd of course in the middle of this, there are tankers sinking.\\n \\nFrank Davey\\n00:23:35\\nReads \\\"Torrey Canyon\\\" [from Four Myths for Sam Perry].\\n \\nFrank Davey\\n00:24:29\\nWell actually for the past three years I've been writing poems, from the tarot pack. I've been somewhat disappointed to learn that all kinds of other poets have been doing this at the same time. They're getting their stuff into print but I haven't bothered because I was going to do all 88 cards and publish them all at once. At any rate, I'm going to say some more about the tarot pack later but this particular poem comes out of the tarot pack from the Emperor card and has a peculiar affinity to the poems I've just been reading.\\n \\nFrank Davey\\n00:25:20\\nReads \\\"The Emperor\\\" [published later as “Manuscript, 4 December, 1970, title ‘The Emperor’” in Arcana].\\n \\nFrank Davey\\n00:27:03\\nReads \\\"When\\\" [from Four Myths for Sam Perry]\\n \\nFrank Davey\\n00:27:56\\nBut there is also of course, another side of the coin.\\n \\nFrank Davey\\n00:27:59\\nReads \\\"For her, a Spring\\\" [from Four Myths for Sam Perry].\\n \\nFrank Davey\\n00:30:39\\nThe next poem is entitled \\\"A Light Poem\\\". For lack of a better descriptive term, I might call myself an anti-humanist, this is of course the--it's almost become a category, I thought it was unique at one point, but it's become of late a category. I think more and more people are realizing that man is not capable of appointing himself as manager, or he's capable of appointing himself, he's not capable of acting out his self-appointment as manager of this planet. That in fact, his capabilities at managing certain areas create problems that are multiples of the ones he has solved. And that the humanist dream of man through his own rationality creating a nearly utopian existence, coming to understand the workings of the universe in such a way that he can bend them to his own use, but this dream has not going to come true. And of course, one of the ways that this feeling in men has been manifested has been his utilization of light and energy, and well, to the poem. \\\"A Light Poem\\\".\\n \\nFrank Davey\\n00:32:25\\nReads \\\"A Light Poem\\\" [from Four Myths for Sam Perry]..\\n \\nUnknown\\n00:37:24\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nFrank Davey\\n00:37:25\\nRecently I have been writing poems from tarot cards. I have noticed a couple of things about the tarot cards that are very important for the poems. One of these is that the female symbol seems to be the most important symbol in the deck and it seems to suggest that the universe itself is essentially feminine in nature, that the fertility of the universe is feminine. Another aspect of the cards suggests that the nature of the universe is such that all sorts of mysterious things can happen to it without our understanding them. That there are all sorts of forces indicated in these cards that are essentially outside of our control. This poem, entitled \\\"To Win at Cards\\\". Tarot cards are not cards whose primary purpose is to play a game. The decks of cards with which we are all familiar with are cards where you play a game, the object of course of playing cards is to win at cards. And winning of course, is something which we are all brought up to wish, so one of the things about our competitive society that makes it work is that we all want to win. And card games help indoctrinate us in this direction. Cards, can also tell you things, this is the thing that the tarot cards have in common with poetry, is that people don't win in poetry, you don't write a better poem than somebody else in order to win prizes or to--you don't use poems in order to seduce a girl, or you don't use poems in order to accomplish any kind of end outside of the end of writing the poem. If you do, your allegiance is not to the poem and it's to something else and you're prostituting the poem. The only thing which can win at poetry is the poem itself, and this is where the poet ought to apply his effort to, is to helping the poem win.\\n \\nFrank Davey\\n00:40:15\\nReads \\\"To Win at Cards\\\" published later in Arcana].\\n \\nFrank Davey\\n00:41:20\\nThis poem, entitled \\\"The Hermit\\\", one of the figures on the cards. The card happened to cause me to recall a childhood memory of an earthquake.\\n \\nFrank Davey\\n00:41:35\\nReads \\\"The Hermit\\\" [published later in Arcana].\\n \\nFrank Davey\\n00:42:49\\nIt became very clear to me writing these Tarot poems that indeed there were many things outside of one's control and my wife and I were putting together a jigsaw puzzle of the moon, I think it was a satellite photograph of one side of the moon, and things started to go wrong.\\n \\nFrank Davey\\n00:43:16\\nReads [“Luna”, published later in Arcana].\\n \\nFrank Davey\\n00:44:52\\nThroughout history of course, men have been obsessed with the idea of being displaced by another man. Either in the seat--in the kingdom, or in the favors of the special woman in their lives. We have in mythology of course, many myths of Gods being displaced very often by their children. In Greek drama of course, the classical example is the Oedipus [https://www.wikidata.org/wiki/Q130890] myth where Laius [https://www.wikidata.org/wiki/Q463898] and Jocasta [https://www.wikidata.org/wiki/Q131445] have their married lives disrupted by their son, Oedipus. This is a poem about this particular fear. Fear of being displaced by someone younger, very often, fear of being displaced by one's own son, although that's not necessarily integral to the poem.\\n \\nFrank Davey\\n00:45:53\\nReads [\\\"Menelaus, To You\\\", published later in Arcana].\\n \\nFrank Davey\\n00:47:19\\nIf you choose to go to war with the natural environment, strange things happen. “King of Pentacles” is wrapped in a coat of binds.\\n \\nFrank Davey\\n00:47:34\\nReads \\\"King of Pentacles\\\" [published later in Arcana].\\n \\nFrank Davey\\n00:48:44\\nTimes when men do the right things, or seem to do the right things. A poem called \\\"The Caughnawaga Bell\\\".\\n \\nFrank Davey\\n00:48:55\\nReads \\\"The Caughnawaga Bell\\\" [published later in Arcana].\\n \\nFrank Davey\\n00:50:32\\nI'd like to conclude with a couple of poems about the whole problem of writing. It's always a problem for a poet to keep the process of writing going. One of the tricks of poets of course is always to write poems about the fact that the process of writing isn't going. I have a number of these. \\\"The Mountain\\\".\\n \\nFrank Davey\\n00:51:06\\nReads \\\"The Mountain\\\" [from Four Myths for Sam Perry].\\n \\nFrank Davey\\n00:51:50\\nOf course, the thing is, as soon as you begin to pay homage to the fact that you're having trouble writing a poem and express your will to, you are in fact being repaid. As soon as I remembered this myth of Popocatepetl [https://www.wikidata.org/wiki/Q1782392] and you know, the earth literally repaying the boy for his homage representing him with a mountain. If you couldn't grow corn on it, at least you could lure the Yankees down to look at. [Audience laughter].\\n \\nFrank Davey\\n00:52:24\\nReads \\\"The Bells\\\" [from Four Myths for Sam Perry].\\n \\nFrank Davey\\n00:53:33\\nThis poem, entitled \\\"The Making\\\".\\n \\nFrank Davey\\n00:53:41\\nReads \\\"The Making\\\" [from Four Myths for Sam Perry].\\n \\nFrank Davey\\n00:55:34\\nAnd so, I wish you all good winds!\\n \\nEND\\n00:55:37\\n\",\"notes\":\"Frank Davey reads from Four Myths for Sam Perry (Talonbooks, 1970) and Weeds (Coach House Press, 1970), as well as poems published later in Arcana (Coach House Press, 1973).\\n\\n00:00- Howard Fink introduces Frank Davey. [INDEX: West Coast poet, Montreal Star, founding editor of Tish, Open Letter, Four Myths for Sam Perry, Weeds in publication]\\n00:36- Frank Davey introduces poetry reading [INDEX: reading poetry, first marriage, prose poems]\\n01:20- Reads “How We Are” first line “How alone we are from each other...”\\n03:11- Reads “The Bandit”\\n04:08- Introduces next group of poems [INDEX: marriage, process of writing]\\n04:44- Reads “Meal Times”\\n05:46- Reads “The Place”\\n06:39- Explains that poems are in a sequence\\n06:52- Reads “The Calling”\\n08:08- Explains process of writing these poems [INDEX: process of writing]\\n09:15- Reads “Leaves”\\n10:25- Reads “A Letter”\\n11:35- Reads “Them Apples”\\n12:39- Reads “I Do Not Write Poems”\\n13:40- Reads “Red and Where is Love?”\\n14:41- Introduces group of poems from Four Myths for Sam Perry\\n15:39- Reads “Sentences of Welcome”\\n17:00- Introduces “Watts, 1965” [INDEX: Watts Riot in 1965, Los Angeles,]\\n17:26- Reads “Watts, 1965”\\n18:34- Introduces “Hill 488” [INDEX: Vietnam, Hill 488, Olympus, Fuji, Sinai, Tai Shan,        Confucius, Himalayas.]\\n19:39- Reads “Hill 488”\\n20:27- Introduces “The Drongo” [INDEX: Drongo bird, South East Asia, conflict, South       Vietnam, destruction of flora and fauna during war, defoliation]\\n21:58- Reads “The Drongo”\\n23:35- Reads “Torrey Canyon”\\n24:29- Introduces “The Emperor” [INDEX: tarot cards, Emperor card]\\n25:29- Reads “The Emperor”\\n27:03- Reads “When”\\n27:59- Reads “For Her, a Spring”\\n30:39- Introduces “A Light Poem” [INDEX: anti-humanism, light and energy]\\n32:25- Reads “A Light Poem”\\n37:25- Introduces “To Win at Cards” [INDEX: tarot cards]\\n40:15- Reads “To Win at Cards”\\n41:20- Introduces “The Hermit”\\n41:35- Reads “The Hermit”\\n42:49- Introduces “The Moon” first line “When the moon demanded that...” [INDEX: tarot    cards, moon]\\n43:16- Reads “The Moon”\\n44:52- Introduces “A Child” [INDEX: mythology of Oedipus]\\n45:53- Reads “A Child”\\n47:19- Introduces “King of Pentacles”\\n47:34- Reads “King of Pentacles”\\n48:44- Introduces “The Caughnawaga Bell”\\n48:55- Reads “The Caughnawaga Bell”\\n50:32- Introduces “The Mountain” [INDEX: process of writing’]\\n51:06- Reads “The Mountain”\\n51:50- Explains “The Mountain” [INDEX: myth of Popocatepetl ]\\n52:24- Reads “The Bells”\\n53:33- Reads “The Making”\\n55:37.72- END OF RECORDING\\n \\nHoward Fink List:\\nFrank Davey\\nRecorded Feb 6, 1970\\n \\n1.  “How Alone We Are”\\n2.  “Counting”\\n3.  “The Bandit”\\n4.  “Mealtimes”\\n5.  “The Place”\\n6.  “The Calling”\\n7.  “Leaves”\\n8.  “A Letter”\\n9.  “Them Apples”\\n10. “I Do Not Write Poems”\\n11. “Red”\\n12. “Sentences of Welcome”\\n13. “Watts- 1965”\\n14. “Hill 488”\\n15. “The Drongo”\\n16. “Tory Canyon”\\n17. “The Emperor”\\n18. “When”\\n19. “For Her A Spring” (serial poem)\\n20. “A Light Poem” (serial poem)\\n21. “To Win at Cards”\\n22. “The Hermit”\\n23. “The Moon”\\n24. “The Child”\\n25. “The Horned God”\\n26. (something missing) Vines...\\n27. “King of Pentacles”\\n28.“The Caughnawaga Bell”\\n29. “The Mountain”\\n30. “The Bell”\\n31.  “The Making”\\npg. 69\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/frank-davey-at-sgwu-1970-howard-fink/\"}]"],"score":1.8530173},{"id":"1287","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 Ball and Tom Raworth at Sir George Williams University, The Poetry Series, 4 March 1970"],"item_title_source":["Cataloguer"],"item_title_note":["\"David Ball and Tom Raworth Reading at Sir George Williams University, 1970\" written on sticker on the back of the tape's box: \"BALL & RAWORTH Recorded March 4, 1970 3.75 ips, 1/2 track on 1 mil tape\". \n\n\"Ball, the Raworth. Separated by leader\" also written on sticker on the back of the tape's box. BALL refers to David Ball. \n\n\"DAVID BALL & TOM RAWORTH I006/SR133\" written on sticker on the spine of the tape's box. \n\n\"GLADYS HINDMARCH I006-11-133\" written on sticker on the reel (possible mistake)."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 4"],"item_identifiers":["[]"],"creator_names":["Ball, David","Raworth, Tom"],"creator_names_search":["Ball, David","Raworth, Tom"],"creators":["[{\"url\":\"http://viaf.org/viaf/43626927\",\"name\":\"Ball, David\",\"dates\":\"1942-\",\"notes\":\"David Ball was born on February 27, 1937 in New York, New York. He received his B.A. from Brandeis University in 1959, studied at the Sorbonne, University of Paris, Licence et Lettres in 1964, Docteur en Littérature Générale et Comparée in 1971. He was a lecturer at Smith College, MA, from 1969-1971, an assistant professor from 1971 to 1976, and an associate professor of French from 1976-. In 1959 David Ball was a Fulbright scholar, won a French Government fellowship from 1967 to 1968, and the Eugene M. Warren Poetry Prize from Brandeis University in 1957. Ball’s work appeared in Jazz Poems, an anthology edited by Anselm Hollow in 1963. He also wrote poems and translations to journals including Locus Solus, World, Massachusetts Review, Atlantic Monthly, New Republic, Études Anglaises and Revue de Littérature  Comparée. He served as the editor of Blue Pig magazine. David Ball published a chapbook, We Just Wanted to Tell You with Anselm Hollo  in 1963 (Writers Forum). His first book of verse, Two Poems came out in 1964, published by Matrix Press in London. His books New Topoi, (Buffalo Press,1972), The Mutant Daughter, (Buffalo Press, 1975), Praise of Crazy, (Diana’s bimonthly,1975), The Garbage Poems: From the New Zone in 1976 (Burning Deck), and In Cities (Potato Clock Editions) in 2001 followed. David Ball translated and introduced Leda: In Praise of the Blessings of Darkness (Cheeloniideae Press), by Pierre Louys in 1985 and Darkness Moves: An Henri Michaux Anthology 1927-1984 (University of California Press) in 1994, which won MLA’s Scaglione Prize for Outstanding Translation of a Literary Work in 1996. Other translations include Pierre Loti’s Constantinople: The Way It Was (Unlem Press) and The Green Mosque at Bursa in 2006, and Abdourahman A. Waberi’s In the United States of Africa (University of Nebraska Press) in 2009. Most recently he translated Alfred Jarry’s Ubu the King in the spring of 2009. David Ball is a member of PEN American Center. \",\"nation\":[],\"role\":[\"Performer\",\"Author\"]},{\"url\":\"https://viaf.org/viaf/79047481\",\"name\":\"Raworth, Tom\",\"dates\":\"1938-2017\",\"notes\":\"Poet Tom Raworth was born in 1938 and grew up in the outskirts of London. Raworth left grammar school at sixteen and pursued many odd jobs, frequented all-night jazz clubs while writing a collaborative secret-agent novel in addition to his own poetry. He married in the late 50’s and had three children. In 1963 he was publishing and printing his own magazine, Outburst, meeting the likes of Michael Horowitz, Anselm Hollo, David Ball, publishing Robert Creeley, Ed Dorn, Charles Olson, LeRoi Jones and Gregory Corso. His first book of verse, The Minicab War (Matrix Press) was a collaboration with Hollo and Corso in 1961. Under Matrix Press, he published Dorn’s From Gloucester Out, and Hollo’s History. Raworth met Barry Hall and in 1965, they formed Goliard Press and published books by Charles Olson, and Ron Padgett. Jonathan Cape’s publishing house and Goliard merged in 1967, becoming Cape Goliard Press, publishing Olson’s The Maximus Poems in 1970. The Relation Ship (Cape Goliard Press) was published in 1966, re-printed in 1969, and drew the attention of Donald Davie and Dorn at University of Essex, who offered him the opportunity to continue his education. The Relation Ship won the Alice Hunt Bartlett prize in 1969. Raworth also published smaller collections of poetry, Continuation in 1966 (Goliard), Haiku (another collaboration with Hollo and John Esam) in 1968 (Trigram Press), and Betrayal in 1969. A Serial Biography (Fulcrum Press) published in 1969 spawned from a correspondence with Ed Dorn, and culminated with correspondences from letters with Park magazine. Written in 1968 while Raworth was studying Spanish at the University of Granada, (through the University of Essex), Lion Lion (Trigram Press) was published in 1970. Over the subsequent two decades, Raworth took up position as poet-in-residence at King’s College, Cambridge for a year, and published over a dozen other books, including Ace (The Figures Press, 1974), Cloister (Sand Project Press, 1975), Logbook (Poltroon Press, 1977), Nicht Wahr, Rosie? (Poltroon Press,1980), and Lazy Left Hand: Notes from 1970-1975 (Actual Size Press,1986). His poems were later compiled in Collected Poems (Carcanet, 2003). Raworth died in 2017.\",\"nation\":[],\"role\":[\"Performer\",\"Author\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"../Uploads/1461/Screen Shot 2020-10-05 at 6.02.21 PM.png\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"Master\",\"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 4\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the back of the tape's box. Previous researcher specifies March 2, 1970 as date. Possible mistake.\\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 Ball reads from unknown sources. Tom Raworth reads from The Relation Ship (Cape Goliard Press, 1969), The Big Green Day (Trigram, 1968),  Lion Lion (Trigram, 1970), as well as poems later published in Moving (Cape Goliard Press, 1971)."],"contents":["david_ball_tom_raworth_i006-11-133.mp3\n\nIntroducer\n00:00:00\nDavid Ball is currently a professor of French at Smith College [https://www.wikidata.org/wiki/Q49204], he has published his poetry in the Atlantic Monthly [https://www.wikidata.org/wiki/Q1542536], and Locus Solus [https://www.wikidata.org/wiki/Q6666062], Poor.Old.Tired.Horse [https://www.wikidata.org/wiki/Q64866104], Blue Pig which he was co-editor, Outburst, Jazz Poems, [The Wyvenhoe (?)] Park Review, etc, etc and a wide variety of publications. He has two tiny books that were published in London [https://www.wikidata.org/wiki/Q84], we just wanted to tell you, and two and he has two long, long poems that are published by the Matrix Press, and a long poem, titled “The Boring Poems”, which he will read tonight. This will also be published in Copenhagen [https://www.wikidata.org/wiki/Q1748] with a French title. David Ball has spent the last ten years in Paris [https://www.wikidata.org/wiki/Q90]. He has some other poem sequences which have been published along with Tom Raworth [https://www.wikidata.org/wiki/Q7817338] and others and he has worked with Tom Raworth on the translation of several of Rene Char's poems, one of which received an accolade from René Char [https://www.wikidata.org/wiki/Q315015] himself. We give you David Ball.\n\nDavid Ball\n00:01:40\nReads unnamed poem [series].\n\nDavid Ball\n00:11:34\nFrom Anti-Tish happenings, “The Second”. \n\nDavid Ball\n00:11:38\nReads \"The Second\".\n\nDavid Ball\n00:13:25\nThat's the end of the New Zone poems\n\nDavid Ball\n00:13:28\nReads unnamed poem [series].\n\nUnknown\n00:18:17\nSilence [cut or edit in tape].\n\nIntroducer\n00:18:26\nTom Raworth is a central figure in the emergence of the British Avant-Garde, he is also well represented in most forward North American publications, he was the editor of the underground Goliard Press before it was taken up as the revolutionary branch of Johnathan Cape [https://www.wikidata.org/wiki/Q3277534] books, and his own publications include The Relation Ship, The Big Green Day and most recently, Lion, Lion , poetry that along with that of Anselm Hollo [https://www.wikidata.org/wiki/Q252476], and Turnbull [https://www.wikidata.org/wiki/Q5516589] will define what happened in the British verse of the 60's. Cape Goliard has also published his Serial Biography which is a most exciting experiment on the British prose scene, and he is also one of the first poets to be heard on Steam Records, a series of LPs presenting leading American and British poets reading their works. This year, he is poet in residence at Essex [https://www.wikidata.org/wiki/Q1075104].\n\nTom Raworth\n00:19:40\nThis is a poem called \"My Face is My Own, I Thought\".\n\nTom Raworth\n00:19:44\nReads \"My Face is My Own, I Thought\" [from The Relation Ship].\n\nTom Raworth\n00:20:19\nThese are two poems about children, the first poem's called \"Three\".\n\nTom Raworth\n00:20:26\nReads \"Three\" [from The Relation Ship].\n\nTom Raworth\n00:20:51\nReads \"Morning\" from The Relation Ship. \n\nTom Raworth\n00:21:17\nReads \"The Third Retainer\" [from The Relation Ship]. \n\nTom Raworth\n00:21:54\nReads \"September Morning\" [from The Relation Ship]. \n\nTom Raworth\n00:22:40\nThis poem is called \"Shoes\".\n\nTom Raworth\n00:22:51\nReads \"Shoes\" [from The Big Green Day].\n\nTom Raworth\n00:23:35\nThis is a poem in eight parts called \"Love Poem\".\n\nTom Raworth\n00:23:43\nReads \"Love Poem\" [from The Big Green Day].\n\nTom Raworth\n00:25:06\nThis is a short poem called \"Georgia on My Mind\".\n\nTom Raworth\n00:25:10\nReads \"Georgia on My Mind\" [from The Big Green Day].\n\nTom Raworth\n00:25:32\nThis is a poem called \"Got Me\" which is difficult to read because the last part of the poem is the first part of it, corrected.\n\nTom Raworth\n00:25:43\nReads \"Got Me\" [from The Big Green Day].\n\nTom Raworth\n00:26:17\nThis poem is called \"Wham! The Race Begins\".\n\nTom Raworth\n00:26:24\nReads \"Wham! The Race Begins\" [from The Big Green Day].\n\nTom Raworth\n00:26:53\nReads \"Hot Day at the Races\" [from The Big Green Day].\n\nTom Raworth\n00:27:50\nI’ll just read a few poems from a book called Lion, Lion. The quote from the beginning is from an old poem from Gregory Corso [https://www.wikidata.org/wiki/Q470871]., called “Dementia in an African Apartment House”. \n\nTom Raworth\n00:28:02\nReads “Dementia in an African Apartment House” by Gregory Corso. \n\nTom Raworth\n00:28:10\nThe first poem is called \"Lion, Lion\".\n\nTom Raworth\n00:28:13\nReads \"Lion, Lion\" from Lion, Lion. \n\nTom Raworth\n00:28:27\nThis is a poem in four parts called \"Traveling\".\n\nTom Raworth\n00:28:35\nReads \"Traveling\" [from Lion, Lion].\n\nTom Raworth\n00:29:23\nReads \"The Plaza in the Flaming Orange Trees\" [from Lion, Lion].\n\nTom Raworth\n00:30:08\nThis poem is called \"Dear Sir, Flying Saucers, Flying Saucers, Flying Saucers\".\n\nTom Raworth\n00:30:14\nReads \"Dear Sir, Flying Saucers, Flying Saucers, Flying Saucers\" [from Lion, Lion].\n\nTom Raworth\n00:30:53\nThis is called \"King of the Snow\".\n\nTom Raworth\n00:30:58\nReads \"King of the Snow\" [from Lion, Lion].\n\nTom Raworth\n00:31:39\nReads \"South America\" [from Lion, Lion].\n\nTom Raworth\n00:33:00\nThis is a poem called \"Claudette Colbert by Billy Wilder”, and all the lines are just by Billy Wilder [https://www.wikidata.org/wiki/Q51547], they're from films that he made with Claudette Colbert https://www.wikidata.org/wiki/Q203819].\n\nTom Raworth\n00:33:15\nReads \"Claudette Colbert by Billy Wilder” [from Lion, Lion].\n\nTom Raworth\n00:34:12\nThe last poem in Lion, Lion is called \"Vensuramos\".\n\nTom Raworth\n00:34:16\nReads \"Vensuramos\" from Lion, Lion.\n\nTom Raworth\n00:34:46\nI'll just read a few poems from, that I've been working on recently, that's a sequence called “Into the Living Sea” from a poem by John Clare [https://www.wikidata.org/wiki/Q981572] called \"I Am\", the middle stanza of which goes \"Into the nothingness of scorn and noise, into the living sea of waking dream, where there is neither sense of life, nor joys, but the huge shipwreck of my own esteem, and all that's dear, even those that I love the best are strange, nay, they are stranger than the rest\". The first poem is called \"The Moon Upon the Waters\". \n\nTom Raworth\n00:35:27\nReads \"The Moon Upon the Waters\" [published later in Moving].\n\nTom Raworth\n00:36:35\nReads \"Reverse Map\" [published later in Moving].\n\nTom Raworth\n00:37:21\nReads \"Who Would True Valour See\" [published later in Moving].\n\nTom Raworth\n00:37:56\nReads \"The Corpse in My Head\" [published later in Moving].\n\nTom Raworth\n00:38:33\nThis is a poem called \"Helpston, £9,850 Stone Built Residence\".\n\nTom Raworth\n00:38:42\nReads \"Helpston, £9,850 Stone Built Residence\" [published later in Moving].\n\nTom Raworth\n00:39:26\nThis is just a short poem called \"The Stroboscopic Forest Light Plays\" .\n\nTom Raworth\n00:39:30\nReads \"The Stroboscopic Forest Light Plays\" [published later in Moving].\n\nTom Raworth \n00:39:40\nI'll just read two more poems. This one's called \"Purely Personal\".\n\nTom Raworth\n00:39:46\nReads \"Purely Personal\" [published later in Moving].\n\nTom Raworth\n00:40:19\nThe last poem's called \"Notes of the Song / Ain't Gonna Stay in This Town Long\".\n\nTom Raworth\n00:40:23\nReads \"Notes of the Song / Ain't Gonna Stay in This Town Long\" [published later in Moving].\n\nEND\n00:40:45\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nDavid Ball was a lecturer at Smith College, Massachusetts in 1970. \\n\\nTom Raworth was the poet-in-residence at the University of Essex. Lion Lion was also published in 1970. \",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nBall--Unknown connection to Canadian, Montreal, and Sir George Williams University poetry scene at this point.\\n\\nRaworth--No known connections to Canadian/Montreal/Concordia poetry scene, however he was connected to David Ball. Tom Raworth was an important poet and publisher of poetry and experimental works, publishing the work of Robert Creeley, Ed Dorn, Charles Olson, Anselm Hollo and Gregory Corso. \",\"type\":\"General\"},{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Faith Paré (2020) & Ali Barillaro (2021)\\n\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/big-green-day/oclc/640029679&referer=brief_results\",\"citation\":\"Raworth, Tom. The Big Green Day: Poems. London: Trigram Press, 1968. \"},{\"url\":\"https://www.worldcat.org/title/relation-ship-poems/oclc/23061569&referer=brief_results\",\"citation\":\"Raworth, Tom. The Relation Ship. London: Goliard Press, 1969. \"},{\"url\":\"\",\"citation\":\"\\\"David Ball.\\\" Contemporary Authors Online. Detroit: Gale, 2001. \"},{\"url\":\"\",\"citation\":\"Robinson, Kit. \\\"Thomas Moore Raworth.\\\" Poets of Great Britain and Ireland Since 1960. Ed. Vincent B. Sherry. Dictionary of Literary Biography. Vol. 40. Detroit: Gale Research, 1985. \"},{\"url\":\"https://www.worldcat.org/title/lion-lion/oclc/941047536&referer=brief_results\",\"citation\":\"Raworth, Tom. Lion Lion. London: Tigram Press, 1970. \"},{\"url\":\"https://www.worldcat.org/title/moving/oclc/154144?referer=di&ht=edition\",\"citation\":\"Raworth, Tom. Moving. London: Cape Goliard Press, 1971.\"}]"],"_version_":1853670548978008064,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0133_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0133_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Ball and Raworth 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_0133_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0133_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Ball and Raworth 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_0133_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0133_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Ball and Raworth Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0133_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0133_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Ball and Raworth 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/david_ball_tom_raworth_i006-11-133.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"david_ball_tom_raworth_i006-11-133.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:40:45\",\"precision\":\"\",\"size\":\"97.8 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Introducer\\n00:00:00\\nDavid Ball is currently a professor of French at Smith College [https://www.wikidata.org/wiki/Q49204], he has published his poetry in the Atlantic Monthly [https://www.wikidata.org/wiki/Q1542536], and Locus Solus [https://www.wikidata.org/wiki/Q6666062], Poor.Old.Tired.Horse [https://www.wikidata.org/wiki/Q64866104], Blue Pig which he was co-editor, Outburst, Jazz Poems, [The Wyvenhoe (?)] Park Review, etc, etc and a wide variety of publications. He has two tiny books that were published in London [https://www.wikidata.org/wiki/Q84], we just wanted to tell you, and two and he has two long, long poems that are published by the Matrix Press, and a long poem, titled “The Boring Poems”, which he will read tonight. This will also be published in Copenhagen [https://www.wikidata.org/wiki/Q1748] with a French title. David Ball has spent the last ten years in Paris [https://www.wikidata.org/wiki/Q90]. He has some other poem sequences which have been published along with Tom Raworth [https://www.wikidata.org/wiki/Q7817338] and others and he has worked with Tom Raworth on the translation of several of Rene Char's poems, one of which received an accolade from René Char [https://www.wikidata.org/wiki/Q315015] himself. We give you David Ball.\\n\\nDavid Ball\\n00:01:40\\nReads unnamed poem [series].\\n\\nDavid Ball\\n00:11:34\\nFrom Anti-Tish happenings, “The Second”. \\n\\nDavid Ball\\n00:11:38\\nReads \\\"The Second\\\".\\n\\nDavid Ball\\n00:13:25\\nThat's the end of the New Zone poems\\n\\nDavid Ball\\n00:13:28\\nReads unnamed poem [series].\\n\\nUnknown\\n00:18:17\\nSilence [cut or edit in tape].\\n\\nIntroducer\\n00:18:26\\nTom Raworth is a central figure in the emergence of the British Avant-Garde, he is also well represented in most forward North American publications, he was the editor of the underground Goliard Press before it was taken up as the revolutionary branch of Johnathan Cape [https://www.wikidata.org/wiki/Q3277534] books, and his own publications include The Relation Ship, The Big Green Day and most recently, Lion, Lion , poetry that along with that of Anselm Hollo [https://www.wikidata.org/wiki/Q252476], and Turnbull [https://www.wikidata.org/wiki/Q5516589] will define what happened in the British verse of the 60's. Cape Goliard has also published his Serial Biography which is a most exciting experiment on the British prose scene, and he is also one of the first poets to be heard on Steam Records, a series of LPs presenting leading American and British poets reading their works. This year, he is poet in residence at Essex [https://www.wikidata.org/wiki/Q1075104].\\n\\nTom Raworth\\n00:19:40\\nThis is a poem called \\\"My Face is My Own, I Thought\\\".\\n\\nTom Raworth\\n00:19:44\\nReads \\\"My Face is My Own, I Thought\\\" [from The Relation Ship].\\n\\nTom Raworth\\n00:20:19\\nThese are two poems about children, the first poem's called \\\"Three\\\".\\n\\nTom Raworth\\n00:20:26\\nReads \\\"Three\\\" [from The Relation Ship].\\n\\nTom Raworth\\n00:20:51\\nReads \\\"Morning\\\" from The Relation Ship. \\n\\nTom Raworth\\n00:21:17\\nReads \\\"The Third Retainer\\\" [from The Relation Ship]. \\n\\nTom Raworth\\n00:21:54\\nReads \\\"September Morning\\\" [from The Relation Ship]. \\n\\nTom Raworth\\n00:22:40\\nThis poem is called \\\"Shoes\\\".\\n\\nTom Raworth\\n00:22:51\\nReads \\\"Shoes\\\" [from The Big Green Day].\\n\\nTom Raworth\\n00:23:35\\nThis is a poem in eight parts called \\\"Love Poem\\\".\\n\\nTom Raworth\\n00:23:43\\nReads \\\"Love Poem\\\" [from The Big Green Day].\\n\\nTom Raworth\\n00:25:06\\nThis is a short poem called \\\"Georgia on My Mind\\\".\\n\\nTom Raworth\\n00:25:10\\nReads \\\"Georgia on My Mind\\\" [from The Big Green Day].\\n\\nTom Raworth\\n00:25:32\\nThis is a poem called \\\"Got Me\\\" which is difficult to read because the last part of the poem is the first part of it, corrected.\\n\\nTom Raworth\\n00:25:43\\nReads \\\"Got Me\\\" [from The Big Green Day].\\n\\nTom Raworth\\n00:26:17\\nThis poem is called \\\"Wham! The Race Begins\\\".\\n\\nTom Raworth\\n00:26:24\\nReads \\\"Wham! The Race Begins\\\" [from The Big Green Day].\\n\\nTom Raworth\\n00:26:53\\nReads \\\"Hot Day at the Races\\\" [from The Big Green Day].\\n\\nTom Raworth\\n00:27:50\\nI’ll just read a few poems from a book called Lion, Lion. The quote from the beginning is from an old poem from Gregory Corso [https://www.wikidata.org/wiki/Q470871]., called “Dementia in an African Apartment House”. \\n\\nTom Raworth\\n00:28:02\\nReads “Dementia in an African Apartment House” by Gregory Corso. \\n\\nTom Raworth\\n00:28:10\\nThe first poem is called \\\"Lion, Lion\\\".\\n\\nTom Raworth\\n00:28:13\\nReads \\\"Lion, Lion\\\" from Lion, Lion. \\n\\nTom Raworth\\n00:28:27\\nThis is a poem in four parts called \\\"Traveling\\\".\\n\\nTom Raworth\\n00:28:35\\nReads \\\"Traveling\\\" [from Lion, Lion].\\n\\nTom Raworth\\n00:29:23\\nReads \\\"The Plaza in the Flaming Orange Trees\\\" [from Lion, Lion].\\n\\nTom Raworth\\n00:30:08\\nThis poem is called \\\"Dear Sir, Flying Saucers, Flying Saucers, Flying Saucers\\\".\\n\\nTom Raworth\\n00:30:14\\nReads \\\"Dear Sir, Flying Saucers, Flying Saucers, Flying Saucers\\\" [from Lion, Lion].\\n\\nTom Raworth\\n00:30:53\\nThis is called \\\"King of the Snow\\\".\\n\\nTom Raworth\\n00:30:58\\nReads \\\"King of the Snow\\\" [from Lion, Lion].\\n\\nTom Raworth\\n00:31:39\\nReads \\\"South America\\\" [from Lion, Lion].\\n\\nTom Raworth\\n00:33:00\\nThis is a poem called \\\"Claudette Colbert by Billy Wilder”, and all the lines are just by Billy Wilder [https://www.wikidata.org/wiki/Q51547], they're from films that he made with Claudette Colbert https://www.wikidata.org/wiki/Q203819].\\n\\nTom Raworth\\n00:33:15\\nReads \\\"Claudette Colbert by Billy Wilder” [from Lion, Lion].\\n\\nTom Raworth\\n00:34:12\\nThe last poem in Lion, Lion is called \\\"Vensuramos\\\".\\n\\nTom Raworth\\n00:34:16\\nReads \\\"Vensuramos\\\" from Lion, Lion.\\n\\nTom Raworth\\n00:34:46\\nI'll just read a few poems from, that I've been working on recently, that's a sequence called “Into the Living Sea” from a poem by John Clare [https://www.wikidata.org/wiki/Q981572] called \\\"I Am\\\", the middle stanza of which goes \\\"Into the nothingness of scorn and noise, into the living sea of waking dream, where there is neither sense of life, nor joys, but the huge shipwreck of my own esteem, and all that's dear, even those that I love the best are strange, nay, they are stranger than the rest\\\". The first poem is called \\\"The Moon Upon the Waters\\\". \\n\\nTom Raworth\\n00:35:27\\nReads \\\"The Moon Upon the Waters\\\" [published later in Moving].\\n\\nTom Raworth\\n00:36:35\\nReads \\\"Reverse Map\\\" [published later in Moving].\\n\\nTom Raworth\\n00:37:21\\nReads \\\"Who Would True Valour See\\\" [published later in Moving].\\n\\nTom Raworth\\n00:37:56\\nReads \\\"The Corpse in My Head\\\" [published later in Moving].\\n\\nTom Raworth\\n00:38:33\\nThis is a poem called \\\"Helpston, £9,850 Stone Built Residence\\\".\\n\\nTom Raworth\\n00:38:42\\nReads \\\"Helpston, £9,850 Stone Built Residence\\\" [published later in Moving].\\n\\nTom Raworth\\n00:39:26\\nThis is just a short poem called \\\"The Stroboscopic Forest Light Plays\\\" .\\n\\nTom Raworth\\n00:39:30\\nReads \\\"The Stroboscopic Forest Light Plays\\\" [published later in Moving].\\n\\nTom Raworth \\n00:39:40\\nI'll just read two more poems. This one's called \\\"Purely Personal\\\".\\n\\nTom Raworth\\n00:39:46\\nReads \\\"Purely Personal\\\" [published later in Moving].\\n\\nTom Raworth\\n00:40:19\\nThe last poem's called \\\"Notes of the Song / Ain't Gonna Stay in This Town Long\\\".\\n\\nTom Raworth\\n00:40:23\\nReads \\\"Notes of the Song / Ain't Gonna Stay in This Town Long\\\" [published later in Moving].\\n\\nEND\\n00:40:45\\n\",\"notes\":\"David Ball reads from unknown sources. Tom Raworth reads from The Relation Ship (Cape Goliard Press, 1969), The Big Green Day (Trigram, 1968),  Lion Lion (Trigram, 1970), as well as poems later published in Moving (Cape Goliard Press, 1971).\\n\\nList of Poems Read and Time Stamps\\n00:00 - Unknown Male introduces David Ball [INDEX: David Ball-- Professor of French at\\nSmith College, Atlantic Monthly Magazine, Locus Solus Journal, Poor.Old.Tired.Horse Magazine, Blue Pig Press, Outburst Magazine, Jazz Poems Magazine, the Wyvenhoe Park Press, Matrix Press, The Boring Poems published in Copenhagen, Paris/ Tom Raworth-- Translation of Rene Char’s poetry\\n01:40 - David Ball reads first line “The Smell of printer’s ink was more than...”\\n11:38 - Reads “The Second” [INDEX: anti-tish happenings]\\n13:28 - Reads first line “One: Stone face of..” (series)\\n18:26 - Unknown Male introduces Tom Raworth [INDEX: Tom Raworth: British Avant Guard,Goliard Press, Johnathan Cape Books, books by: The Relation Ship, The big green day, Lion, Lion, Anslem Hollo, British Verse of the 60’s, Steam Records LP, Poet in residence at Essex (1971), Outburst Magazine]\\n19:44 - Tom Raworth reads “My Face is My Own, I Thought” [INDEX: The Relation Ship]\\n20:19 - Introduces “Three” and “Morning”\\n20:26 - Reads “Three” [INDEX: The Relation Ship]\\n20:51 - Reads “Morning” [INDEX: The Relation Ship]\\n21:17 - Reads “The Third Retainer” [INDEX: The Relation Ship]\\n21:54 - Reads “September Morning” [INDEX: The Relation Ship]\\n22:40 - Reads “Shoes” [INDEX: Into the Living Sea]\\n23:35 - Reads “Love Poem” [INDEX: Into the Living Sea]\\n25:06 - Reads “Georgia On My Mind” [INDEX: Into the Living Sea]\\n25:32 - Introduces “Got Me” [INDEX: Into the Living Sea]\\n25:43 - Reads “Got Me”\\n26:17- Reads “Wham! The Race Begins” [INDEX: Into the Living Sea]\\n26:53 - Reads “Hot Day at the Races” [INDEX: the big green day]\\n27:50 - Introduces “Lion Lion” [INDEX: poem “Dementia in an African Apartment House” \\nby Gregory Corso]\\n28:02 - Reads Gregory Corso poem, “Dementia in an African Apartment House”\\n28:10 - Reads “Lion, Lion”\\n28.27 - Reads “Traveling”\\n29:23 - Reads “The Plaza in the Flaming Orange Trees”\\n30:08 - Reads “Dear Sir, Flying Saucers, Flying Saucers, Flying Saucers”\\n30:53 - Reads “King of the Snow”\\n31:39 - Reads “South America”\\n33:00 - Introduces “Claudette Colbert by Billy Wilder”\\n33:15 - Reads “Claudette Colbert by Billy Wilder”\\n34:12 - Reads “Vensuramos”\\n34:46 - Introduces “The Moon Upon the Waters” [INDEX: Into the Living Sea, poem by Jon Clare “I Am”]\\n35:27 - Reads “The Moon Upon the Waters”\\n36:35 - Reads “Reverse Map” [INDEX: Into the Living Sea]\\n37:21 - Reads “Who Would True Valor See” [INDEX: Into the Living Sea]\\n37:56 - Reads “The Corpse in My Head” [INDEX: Into the Living Sea]\\n38:33 - Reads “Helpston,£9,850. Stone Built Residence” [INDEX: Into the Living Sea]\\n39:26 - Reads “The Stroboscopic Forest Light Plays” [INDEX: Into the Living Sea]\\n39:40 - Reads “Purely Personal” [INDEX: Into the Living Sea]\\n40:19 - Reads “Notes of the Song: Ain’t Gunna Stay in This Town Long” [INDEX: Into the Living Sea]\\n40:45 - END OF RECORDING\\n\\nHoward Fink list of poems:\\n4/3/70\\non one 5”, mono, single track, tape, @ 3 3/4 ips, lasting 65 mins.\\nDavid Ball:\\n1. First line “The smell of printers ink was more...”\\n2. “The Second”\\n3. First line “Stone face of...”\\n\\nTom Raworth:\\n1. “My Face is My Own Thought”\\n2. “Three”\\n3. “Morning”\\n4. “The Third Retainer”\\n5. “September Morning”\\n6. “Shoes”\\n7. “Love Poem”\\n8. “Georgia on My Mind”\\n9. “Got Me”\\n10. “Wham! The Race Begins”\\n11 .“Hot Day at the Races”\\n12. “Lion Lion”\\n13.“Travelling”\\n14.“The Plaza in the Flaming Orange Trees:\\n15.“Dear Sir, Flying Saucers, Flying Saucers, Flying Saucers.\\n16.“King of Snow”\\n17.“South America”\\n18.“Claud et Colbert” by Billy Wilder\\n19. First line “Death came as the lion spoke...”\\n20. “The Moon upon the Waters”\\n21. “Reverse Map”\\n22. First Line “Everything is done to the ticking of a clock...”\\n23.“The Corps in My Head”\\n24. First Line “The view is again...\\n25. First Line “Gentlt (?) the walk to the door...”\\n26.“Purely Personal”\\n27.“Notes of the Song: Ain’t going to stay in this town long”\\n\\n* Second page of Tom Raworth poems (discrepancies)\\n1. “My Face Is My Own, I Thought”\\n7. “Love Poem” (serial poem)\\n13. “Travelling” (serial poem)\\n14. “The Flowers Are In The Flaming Orange Trees”\\n16. “King of the Snow”\\n18. “Claudette Colbert”\\n19. “Vensuramos”\\n20. “Into The Living Sea”\\n21. “The Moon Upon the Waters”\\n22. “Who Would True Valor See”\\n23. “The Corps In My Head”\\n24. “Help....Stone Residence” (something lost)\\n25. “The Strob Light Blaze”\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/david-ball-tom-raworth/\"}]"],"score":1.8530173},{"id":"1288","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":[" Al Purdy at Sir George Williams University, The Poetry Series, 13 March 1970"],"item_title_source":["Cataloguer"],"item_title_note":["\"AL PURDY Recorded March 13, 1970 3.75 ips, 1/2 tracl on 1 mil. tape\" written on sticker on the back of the tape's box. \"AL PURDY I006/SR37.1\" written on sticker on the spine of the tape's box. \n"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 4"],"item_identifiers":["[]"],"creator_names":["Purdy, Alfred Wellington"],"creator_names_search":["Purdy, Alfred Wellington"],"creators":["[{\"url\":\"http://viaf.org/viaf/7398775\",\"name\":\"Purdy, Alfred Wellington\",\"dates\":\"1918-2000\",\"notes\":\"Canadian poet Al Purdy was born on December 30, 1918, in Wooler, Ontario of United Empire Loyalists. Purdy attended Dufferin Public school in Trenton, Albert Collegiate in Belleville and Trenton Collegiate Institute, writing poems along the way. During the Second World War, Purdy enrolled in the RCAF, serving most at the remote base Woodcock, on the Skeena River in northern British Columbia. Purdy married Eurithe Mary Jane Parkurst in 1941, and they had a son, Alfred. His first collection of poems was The Enchanted Echo (Clarke & Stuart Company, 1944), but it was his second collection, Pressed on Sand (Ryerson Press, 1955) that showcased Purdy’s literary accomplishment. Despite this, he worked odd jobs across the country, and published poems and short stories in magazines like North and The Beaver. Purdy received his first Canada Council grant in 1960, and published Poems for all the Annettes (Contact Press, 1962) and The Cariboo horses (McClelland & Stewart, 1965) which won a Governor General’s Award. His next publication, North of summer: poems from Baffin Island (McClelland & Stewart, 1967) came out of a second Canada Council Grant, which he spent in the Baffin Islands, and was followed by Wild Grape Wine (McClelland & Stewart, 1968). That year, Purdy also became an editor for the Tamarack Review, an anthology, The New Romans, and Fifteen Winds. Purdy has published dozens more collections of poetry along with writing in other genres, including In search of Owen Roblin (McClelland & Stewart, 1974), autobiographical essays, No Other Country (McClelland & Stewart, 1977), Being alive: poems 1958-78 (McClelland & Stewart, 1978), a memoir, Morning and it’s summer (1983), a collection of letters, The Bukowski/Purdy letters 1964-1984 (Quadrant Editions, 1983), his only novel A Splinter in the Heart (McClelland & Stewart, 1990), a selection of prose recollections, Reaching for the Beaufort Sea: an autobiography (Harbour Publishing,1993), and Starting from Ameliasburgh: the collected prose of Al Purdy (Harbour Publishing, 1995). Purdy’s The Collected Poems of Al Purdy, 1956-1986 (McClelland & Stewart, 1986) won his second Governor General’s Award, and he was appointed to the Order of Canada in 1982 and the Order of Ontario in 1987. Dividing most of his time between North Saanich, B.C. and Roblin Lake, Ontario, Purdy supported himself through his poetry, guest lecturing, readings and editing. Al Purdy died in North Saanich, on April 21, 2000. His last collection of poetry, Beyond Remembering: The Collected Poems of Al Purdy (Harbour Publishing, 2000) was released posthumously. The Voice of the Land Award was created to honour Purdy’s contributions to Canadian poetry.\",\"nation\":[],\"role\":[\"Performer\",\"Author\"]}]"],"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\":\"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 13\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the back of the tape's box. Date also specified in written announcement \\\"Poetry Four: Sir George Williams Poetry Series\\\"\\n\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"Location specified in written announcement \\\"Poetry Four: Sir George Williams Poetry Series\\\"\",\"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":["Al Purdy reads from a wide variety of his books, including Selected Poems (McClelland and Stewart, 1972), Love in a Burning Building (McClelland and Stewart, 1970), The Cariboo Horses (McClelland and Stewart, 1965), Poems for all the Annettes (Contact Press, 1962), and North of Summer (McClelland and Stewart, 1967)."],"contents":["al_purdy_i006-11-037-1.mp3\n\nGeorge Bowering\n00:00:00\nAs you know, the reader tonight is Al Purdy [https://www.wikidata.org/wiki/Q4704621], a man who's been described as, by Doug Featherling, as the most Canadian of all possible poets. And who has, as they say, paid his dues, and in that time, won all the prizes, like the President's Medal [https://www.wikidata.org/wiki/Q39089691], and the Governor General's Award [https://www.wikidata.org/wiki/Q283256], and countless numbers of Canada Council [https://www.wikidata.org/wiki/Q2993809] Grants and all those other things that come to you. [Laughter]. Currently, I don't know if whether or not I'm supposed to mention this or not, but currently making an excursion amongst the academics at...in other words, straightening people out at Simon Fraser University [https://www.wikidata.org/wiki/Q201603]. And a very welcome addition to our series. Al Purdy. \n \nUnknown\n00:00:55\n[Cut or edit in tape. Unknown amount of time elapsed]. \n \nAl Purdy\n00:00:56\nWhen I started to write poems about sixty-eight years ago, Bliss Carman [https://www.wikidata.org/wiki/Q3068116] was the only one writing. So I imitated Bliss Carman, and this first poem is a sort of imitation of Bliss Carman. [Audience laughter]. And there are hardly any new poems in there because it takes me two years to revise them for two years and then conclude them in a reading, and then besides which as George [https://www.wikidata.org/wiki/Q1239280] said, I've joined the academics because all the American members of the department at Simon Fraser have guilty consciences so they wanted a Canadian on staff [audience laughter].  \"About being a member of our armed forces\". This is, this is thirty years after I started to write poems. Remember--Oh, I should say, there are two, three phrases in this that would not ordinarily be understood by you people. \"Zombies,\" who were conscripts in the last war, and well, the CWACs were women members, Canadian Women's Army Corp [https://www.wikidata.org/wiki/Q5030688]. And during the early part of the last war, there were no rifles. So they used wooden rifles to drill with. \n \nAl Purdy\n00:02:09\nReads \"About Being a Member of Our Armed Forces\" [from Selected Poems; audience laughter throughout].\n \nAl Purdy\n00:03:29\nAs I said, I've become an academic lately, and one of the students in this class has asked for all my cigar tubes, little metal tubes that, you know, I get cigars in. He wants to put poems in them and float them down the North Saskatchewan River [https://www.wikidata.org/wiki/Q2237] [audience laughter]. And for some reason or other, this, that became the title of this particular poem. \"Floating Down the North Saskatchewan River\". [Audience laughter].\n \nAl Purdy\n00:04:01\nReads \"Floating Down the North Saskatchewan River\" [audience laughter throughout].\n \nAl Purdy\n00:04:40\nFunny, eh? [Audience laughter]. Something called \"Jubilate\", and I'm going to leave that out of there. \"Flight 17 Eastbound\". Ah...I keep revising some of these and I'm reading now from manuscript because I revised a lot of the poems here and I can't remember which ones I revised, so if they're in manuscript I'm sure they're either revised or that there's some reason for them being there. \n \nAl Purdy\n00:05:13\nReads \"Flight 17 Eastbound\".\n \nAl Purdy\n00:06:47\nI don't know what that means but it must be profound. [Audience laughter]. I'm getting together a collection of love poems, or I have gotten a collection of love poems together. They are, I am told, fairly hard-boiled love poems. Because when Jack McClelland [https://www.wikidata.org/wiki/Q6113965], of McClelland and Stewart [https://www.wikidata.org/wiki/Q6800322], heard about them they thought it was a good idea that Harold Town [https://www.wikidata.org/wiki/Q827127] should do some illustrations. But when they saw the poems, and of course it wasn't because they were bad poems, I'm sure, he didn't want to do the illustrations anymore, they said they were hard-boiled. As I said, they can't be bad poems. This was one of them. It's got...no, I don't think I'll read that anyway. I don't like it. However, here's another one along the same lines. [Audience laughter]. It's called \"With Words, Words\".\n \nAl Purdy\n00:07:51\nReads \"With Words, Words\" [from Love in a burning building].\n \nAl Purdy\n00:10:49\nI lived in Vancouver [https://www.wikidata.org/wiki/Q24639] for a while, and up till 1955 or 6. The first play I wrote for CBC [https://www.wikidata.org/wiki/Q461761] was accepted, and I thought I was a genius, and moved to Montreal  [https://www.wikidata.org/wiki/Q340] in order to reap the rewards of my genius. For a year in Montreal I think my...I sold a couple of adaptations to CBC. And eventually we moved to Roblin Lake [https://www.wikidata.org/wiki/Q22447801], near Ameliasburgh [https://www.wikidata.org/wiki/Q4742321] in Ontario [https://www.wikidata.org/wiki/Q1904], and built a house. And my wife having quit her job, she having decided that if I could get away without working she could too. So we sat down for a couple of years looking at each other, waiting for the other one, to see which one would break first. But this is a poem about that particular time, called \"One Rural Winter\".\n \nAl Purdy\n00:11:50\nReads \"One Rural Winter\" [from Selected Poems; audience laughter throughout].\n \nAl Purdy\n00:15:22\nI was in the Arctic [https://www.wikidata.org/wiki/Q25322] in '65, but this is a poem written long after that about the Arctic. And I suppose...certainly about the Canadian Arctic. I called it \"Arctic Romance\", but I think it should be just \"Arctic\", or something like that.\n \nAl Purdy\n00:15:46\nReads \"Arctic Romance\".\n \nAl Purdy\n00:17:13\nScrewed that up, I guess. You get tired of reading your own stuff, after a while. You forget what it sounded like the last time. This is a poem I kind of like but I keep revising it also, or have been several times in the last few years, called \"Dark Landscape\". It uses a couple of lines from an American poet who died thirty years ago called Vachel Lindsay [https://www.wikidata.org/wiki/Q1197667], whom probably nobody ever heard of. And it starts in a very prosy way, and is meant to sound that way, and then the rhythm quickens. \"Dark Landscape\".\n \nAl Purdy\n00:18:07\nReads \"Dark Landscape\".\n \nAl Purdy\n00:21:45\nIn case anybody is wondering about the particular Vachel Lindsay line, it was \"The spring comes on forever, and the Chinese nightingale\". And he also had \"Aladdin to the jinn\", except that Aladdin to the jinn, his jinn was J-I-N-N and mine was two J-I-N-N's, and one G-I-N. So that, always a little difficult to understand it without seeing it on the page. Kind of a sweet little poem, this was after we moved to Roblin Lake, and as I say, I sold a couple of plays and we bought a pile of used lumber with the proceeds and put the down payment on the lot and build this house. \n \nAl Purdy\n00:22:27\nReads \"Winter at Roblin Lake\" [from The Cariboo Horses].\n \nAl Purdy\n00:22:52\nAlso the same period, about building the house, or rather after the house was built. Trouble is, you can't, you can't smoke a cigar here, can you, something I...it always goes out. Anyway. \"Interruption\". \n \nAl Purdy\n00:23:13\nReads \"Interruption\" [from Selected Poems].\n \nAl Purdy\n00:24:49\nWhen I...when we first moved down to Ameliasburg, or to Roblin Lake, I should say, because Roblin Lake where we are is about a mile or so from Ameliasburg...I, after Montreal, and after the job I'd had in Vancouver, I suddenly had to become my own disciplinary straw boss, and it was quite difficult, and in other words, you know, I'd try to get up at a certain hour of the day and start writing. Which I could always, you know, I can always write prose, whenever I feel like it, but poems, I write them, well, I should say, I write poems whenever I feel like it, but you can, I can regimen my own prose, which I don't do much of these days. Anyway, when we moved to Roblin Lake, I wasn't physically regimented myself, so that I was waking up all hours of the day. And this is a short poem about that, but I also screwed up the poem, because I put lines at the end of, or words at the end of each line so that I don't know where the emphasis should be placed, even though I've read it dozens of times. It's called \"Late Rising at Roblin Lake\".\n \nAl Purdy\n00:25:57\nReads \"Late Rising at Roblin Lake\" [from The Cariboo Horses].\n \nAl Purdy\n00:26:47\nAnother poem about the same particular period, called \"Wilderness Gothic\". Uh...don't think there's a thing to say about this particular poem at all. \n \nAl Purdy\n00:27:03\nReads \"Wilderness Gothic\" [from Selected Poems].\n \nAl Purdy\n00:29:33\nWhen you read a bunch of poems over several years, I think you pick out the ones that you think will read the best, which is certainly what I do, because there are many of my own poems that I rarely read, or never read at all. In fact I, I never read this one. It's called \"Love Poem\".\n \nAl Purdy\n00:29:58\nReads \"Love Poem\" [from Poems for all the Annettes].\n \nAl Purdy\n00:31:40\nIn...This poem dates, the actual time of the poem dates about fifteen years ago. The poem itself was written about five years ago. At the time, a friend of mine was there also, which, other than his particular presence I might have acted a little bit differently than I did. You'll see what I mean in a, when I read the poem. Because nobody would take this chance in placing themselves in such a vulnerable position with a woman. \"Homemade Beer\".\n \nAl Purdy\n00:32:12\nReads \"Homemade Beer\" [from The Cariboo Horses].\n \nAudience\n00:33:48\nLaughter.\n \nUnknown\n00:33:51\n[Cut or edit in tape. Unknown amount of time elapsed].\n \nAl Purdy\n00:33:52\nOne called \"The Drunk Tank\". It's...Dates back two or three years ago when, after the time when I was in the Air Force [https://www.wikidata.org/wiki/Q25456], a friend of mine got out of the Air Force much later, so we celebrated. And...it was after quite a turbulent evening with my friend in Belleville [https://www.wikidata.org/wiki/Q34227], Ontario, we decided to get a couple of bottles of liquor and go out to the country where we wouldn't be disturbed, and drink it. But the farmer phoned the cops, and we were both thrown in jail. And this particular poem is about the first part of that experience, I mean the early part of being thrown in jail, more or less. But not the end of it, it turned into a sort of fantasy that means something other than I intended. \n \nAl Purdy\n00:34:43\nReads \"The Drunk Tank\" [from The Poems of Al Purdy].\n \nAl Purdy\n00:36:51\nThis is called \"Poem for Rita\", and about a couple of years ago in Toronto [https://www.wikidata.org/wiki/Q172], there was a couple of girls staying with myself, my wife and myself, and she kept asking me to write a poem. So after a while, I wrote this.\n \nAl Purdy\n00:37:10\nReads \"Poem for Rita\".\n \nAudience\n00:37:25\nLaughter.\n \nAl Purdy\n00:37:28\nThat's all. [Audience laughter]. I think it was actually kind of unkind on my part, because I was never sure whether she understood that or not, and I didn't know whether I wanted her to understand it. [Audience laughter]. There...when we first moved to Ameliasburg, as I mentioned, I was broke as hell. And after having lived in Vancouver, I learned how to make wine of one kind or another, and there was no way to, I didn't have enough money to make beer, so there were a lot of wild grapes around there and we made, I made wild grape wine, and one time, one particular season, I had about five hundred bottles. [Audience laughter]. I attribute the effects of this wine to having made me what I am today [audience laughter], if I could figure that out. But the poem eventually came out of it, called \"The Winemaker's Beatitude\".\n \nAl Purdy\n00:38:39\nReads \"The Winemaker's Beatitude\" [from Selected Poems].\n \nAl Purdy\n00:41:16\nIn '65, I went up to Baffin Island [https://www.wikidata.org/wiki/Q81178] on some government money, public money, rode a commercial airline plane from Montreal to Frobisher Bay [https://www.wikidata.org/wiki/Q1004067], hitchhiked a ride on what I thought was a DOT plane, but was a construction plane, a construction company charter, and then at Pangnirtung [https://www.wikidata.org/wiki/Q631747], which is on the Arctic Circle, the original administrator there arranged that I go along with an Eskimo family in their canoe to some islands in Cumberland Sound [https://www.wikidata.org/wiki/Q938327]. A year and a half after I got back from the Arctic, I got a bill for a hundred and ten dollars from the construction company that I thought I'd, whose plane I thought I'd hitchhiked on. Which I haven't paid. But anyway, all of these poems, except perhaps I think one or two, were written up there, written in the Arctic, except that after I got back from the Arctic I kept revising them. So you can make up your own mind whether they're written there or not. Among the poems here, there's one called \"At the Movies\".\n \nAl Purdy\n00:42:37\nReads \"At the Movies\" [from North of Summer].\n\n Al Purdy\n00:44:55\nThe business about the caribou draining in the bilge water was one of the reasons, I suppose, I found it so extraordinary that, perhaps, that Eskimos should enjoy these shoot-em-up movies, was that they had just come a hundred miles or so after shooting caribou, bringing them back to Pang, Pangnirtung on the, on the Sound, on the...jeez, my memory's failing, I can't even remember the fjord it was. But anyway, they had just shot them and come a hundred miles back with them, and yet...and they were draining in their Peterhead boats, and yet they found these movies so exciting--I suppose I shouldn't find that so unusual, but I do. A crappy Hollywood [https://www.wikidata.org/wiki/Q34006] movie. And here's one called \"The Sculptors\".\n \nAl Purdy\n00:45:50\nReads \"The Sculptors\" [from North of Summer].\n\nAl Purdy\n00:48:17\nI think I'm going to have about time for two more, so that I'd better...I could probably go on, oh I'd better make it three more  I'll give ya...this is, the trees in the Arctic are about, are very low, and well, this is treeless country on Baffin Island, where there, where practically nothing grows except moss and that, and the like of that, but I wrote a poem about trees at the Arctic Circle, and this is it....I see I'm getting, I'm only talking about the physical things about the Arctic, and I have some poems about the people, too, which, which I should read. Anyway, \"Trees at the Arctic Circle\".\n \nAl Purdy\n00:49:05\nReads \"Trees at the Arctic Circle\" [from North of Summer].\n \nAl Purdy\n00:51:07\nI want to read at least one about, about, about people there, because I used to, when I was on these islands, [inaudible] Islands in Cumberland Sound, the Eskimo women used to come over every day and drink tea. They could not speak any English and I could speak no Eskimo, and I would feed them tea and we would sit there, myself feeling about as silly as I could, so eventually I grew a bit desperate and I would read them poems and I would sing songs or I'd do any damn thing. However, eventually there was some kind of, I think, positive liking on my part. But this poem may express it as well as anything. \"Wash Day\".\n \nAl Purdy\n00:51:54\nReads \"Wash Day\" [from North of Summer].\n \nAl Purdy\n00:54:03\nTalking about shit, there's actually a poem that has a little bit to do with it here. The Arctic dogs have some qualities that are more pronounced and magnified in Arctic dogs than in southern dogs, that is, they like to eat the stuff. So that when you go, as all, everybody must go at some time or other in their lives, possibly once a day or not, one takes an Eskimo kid along to throw stones and keep the dogs off. When I came back from the Arctic I saw an hour-long film about the George River [https://www.wikidata.org/wiki/Q966023] Eskimos, and one scene in it showed about fifty Eskimos trying to get into a tent, and the Eskimos beating them into the tent, and the next thing you showed the same dogs trying to get out of the tent and the Eskimos beating them out of the tent. And the announcer said not one single word. And then I remembered that whenever the Eskimos leave a campsite, they use it for a privy, and then send the dogs in to clean up. So, actually, this is a poem about that.  \"When I Sat Down to Play the Piano\". [Audience laughter].\n \nAl Purdy\n00:55:10\nReads \"When I Sat Down to Play the Piano\" [from North of Summer; audience laughter throughout].\n\nAl Purdy\n00:58:23\nI've got one more poem if my voice can hold out. When Robert Kennedy  [https://www.wikidata.org/wiki/Q25310] was shot...I always think about anything that I'm interested and emotionally moved by, always, at least I have in the past, till I got to Simon Fraser, think about writing a poem about it. So the same thing was happening after Kennedy was shot and died, and I was thinking about writing a poem about it, and then the Star Weekly [https://www.wikidata.org/wiki/Q17112122] phoned up and asked me to write a poem about it. So this poem eventually got written. \"A Lament for Robert Kennedy\".\n \nAl Purdy\n00:59:06\nReads \"A Lament for Robert Kennedy\".\n\nAudience\n01:04:39\nApplause.\n \nEND\n01:04:55\n"],"Note":["[{\"note\":\"Original transcript and print catalogue by Rachel Kyne\\n\\nOriginal print catalogue, introduction, research and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\\n\",\"type\":\"Cataloguer\"},{\"note\":\"Year-Specific Information:\\n\\nIn 1970, Al Purdy published Love in a Burning Building (McClelland and Stewart). George Bowering’s study on Al Purdy came out that year, Al Purdy (Copp Clarke Co).\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nAl Purdy became an important figure in Canadian poetry, and was known as a “people’s poet”. He published over thirty books of poetry, but also published in dozens of other genres. Purdy was known as a generous mentor, and his work received several Governor General's Awards as well as other high Canadian honours. He lived in Vancouver, Montreal, and several locations in Ontario, and his poetry reflected Canadian landscape themes. Over the years he has been called the ‘most’ Canadian poet, the ‘first’ Canadian poet and the ‘last’ Canadian poet. In 1963, George Bowering convinced the University of British Columbia to invite Al Purdy to give a reading, where the two poets first met. Later on, Purdy was in contact with George Bowering, as he was completing a book about Purdy.\",\"type\":\"General\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.cbc.ca/archives/topic/al-purdy-an-uncommon-poet\",\"citation\":\"“Al Purdy, An Uncommon Poet”. CBC Digital Archives. Canadian Broadcasting Corporation, \\t2008.\"},{\"url\":\"https://www.worldcat.org/title/al-purdy/oclc/469555161&referer=brief_results\",\"citation\":\"“Al Purdy- The Voice of the Land”. Save Al Purdy’s Home. Harbour Publishing, 2009. \\nBowering, George. Al Purdy. Studies in Canadian Literature. Hugo McPherson and Gary Geddes (eds). Toronto: Copp Clarke Publishing Company, 1970. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Brown, Russel and George Woodcock. \\\"Purdy, Al\\\". The Oxford Companion to Canadian         Literature. Eugene Benson and William Toye (eds). Oxford University Press, 2001. \"},{\"url\":\"https://www.worldcat.org/title/15-canadian-poets-x2/oclc/40224711\",\"citation\":\"Geddes, Gary. “Al Purdy”. Fifteen Canadian Poets Times Two. Toronto: Oxford University Press, 1990. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/al-purdy-at-sgwu-1970-george-bowering\",\"citation\":\"“Poetry Four: Sir George Williams Poetry Series, Ninth Reading, Al Purdy”. Montreal, Quebec: Sir George Williams University, 1970. Found in “The Stephen Morrissey Papers, 1963 - 1998”, McGill McLennan Library, Special Collections and Rare Books, Montreal, Quebec, Canada. \"},{\"url\":\"https://www.worldcat.org/title/splinter-in-the-heart/oclc/47271421&referer=brief_results\",\"citation\":\"Purdy, Al. A Splinter in the Heart. Toronto: McClelland & Stewart, 2000.\"},{\"url\":\"https://www.worldcat.org/title/in-search-of-owen-roblin/oclc/245733376&referer=brief_results\",\"citation\":\"Purdy, Al. In Search of Owen Roblin. McClelland and Stewart, 1974. \"},{\"url\":\"https://www.worldcat.org/title/north-of-summer-poems-from-baffin-island/oclc/457913&referer=brief_results\",\"citation\":\"Purdy, Al. North of Summer. Toronto: McClelland and Stewart, 1967. \"},{\"url\":\"https://www.worldcat.org/title/poems-for-all-the-annettes/oclc/819106789&referer=brief_results\",\"citation\":\"Purdy, Al. Poems for all the Annettes. Toronto: Contact Press, 1962. \"},{\"url\":\"https://www.worldcat.org/title/selected-poems/oclc/637245&referer=brief_results\",\"citation\":\"Purdy, Al. Selected Poems. Toronto: McClelland and Stewart, 1972.\"},{\"url\":\"https://www.worldcat.org/title/cariboo-horses/oclc/869024275&referer=brief_results\",\"citation\":\"Purdy, Al. The Cariboo Horses. Toronto: McClelland and Stewart, 1965. \"},{\"url\":\"https://www.worldcat.org/title/poems-of-al-purdy/oclc/490247728&referer=brief_results\",\"citation\":\"Purdy, Al. The Poems of Al Purdy. Toronto: McClelland and Stewart, 1976. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/807465072&referer=brief_results\",\"citation\":\"Steele, James. \\\"Purdy, Al(fred) (Wellington)\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ian Hamilton (ed). Oxford University Press, 1996. \"}]"],"_version_":1853670548980105216,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0037-1_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0037-1_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"Al Purdy 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_0037-1_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0037-1_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Al Purdy 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_0037-1_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0037-1_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Al Purdy 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_0037-1_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0037-1_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Al Purdy 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/al_purdy_i006-11-037-1.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"al_purdy_i006-11-037-1.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:04:55\",\"precision\":\"\",\"size\":\"155.8 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"George Bowering\\n00:00:00\\nAs you know, the reader tonight is Al Purdy [https://www.wikidata.org/wiki/Q4704621], a man who's been described as, by Doug Featherling, as the most Canadian of all possible poets. And who has, as they say, paid his dues, and in that time, won all the prizes, like the President's Medal [https://www.wikidata.org/wiki/Q39089691], and the Governor General's Award [https://www.wikidata.org/wiki/Q283256], and countless numbers of Canada Council [https://www.wikidata.org/wiki/Q2993809] Grants and all those other things that come to you. [Laughter]. Currently, I don't know if whether or not I'm supposed to mention this or not, but currently making an excursion amongst the academics at...in other words, straightening people out at Simon Fraser University [https://www.wikidata.org/wiki/Q201603]. And a very welcome addition to our series. Al Purdy. \\n \\nUnknown\\n00:00:55\\n[Cut or edit in tape. Unknown amount of time elapsed]. \\n \\nAl Purdy\\n00:00:56\\nWhen I started to write poems about sixty-eight years ago, Bliss Carman [https://www.wikidata.org/wiki/Q3068116] was the only one writing. So I imitated Bliss Carman, and this first poem is a sort of imitation of Bliss Carman. [Audience laughter]. And there are hardly any new poems in there because it takes me two years to revise them for two years and then conclude them in a reading, and then besides which as George [https://www.wikidata.org/wiki/Q1239280] said, I've joined the academics because all the American members of the department at Simon Fraser have guilty consciences so they wanted a Canadian on staff [audience laughter].  \\\"About being a member of our armed forces\\\". This is, this is thirty years after I started to write poems. Remember--Oh, I should say, there are two, three phrases in this that would not ordinarily be understood by you people. \\\"Zombies,\\\" who were conscripts in the last war, and well, the CWACs were women members, Canadian Women's Army Corp [https://www.wikidata.org/wiki/Q5030688]. And during the early part of the last war, there were no rifles. So they used wooden rifles to drill with. \\n \\nAl Purdy\\n00:02:09\\nReads \\\"About Being a Member of Our Armed Forces\\\" [from Selected Poems; audience laughter throughout].\\n \\nAl Purdy\\n00:03:29\\nAs I said, I've become an academic lately, and one of the students in this class has asked for all my cigar tubes, little metal tubes that, you know, I get cigars in. He wants to put poems in them and float them down the North Saskatchewan River [https://www.wikidata.org/wiki/Q2237] [audience laughter]. And for some reason or other, this, that became the title of this particular poem. \\\"Floating Down the North Saskatchewan River\\\". [Audience laughter].\\n \\nAl Purdy\\n00:04:01\\nReads \\\"Floating Down the North Saskatchewan River\\\" [audience laughter throughout].\\n \\nAl Purdy\\n00:04:40\\nFunny, eh? [Audience laughter]. Something called \\\"Jubilate\\\", and I'm going to leave that out of there. \\\"Flight 17 Eastbound\\\". Ah...I keep revising some of these and I'm reading now from manuscript because I revised a lot of the poems here and I can't remember which ones I revised, so if they're in manuscript I'm sure they're either revised or that there's some reason for them being there. \\n \\nAl Purdy\\n00:05:13\\nReads \\\"Flight 17 Eastbound\\\".\\n \\nAl Purdy\\n00:06:47\\nI don't know what that means but it must be profound. [Audience laughter]. I'm getting together a collection of love poems, or I have gotten a collection of love poems together. They are, I am told, fairly hard-boiled love poems. Because when Jack McClelland [https://www.wikidata.org/wiki/Q6113965], of McClelland and Stewart [https://www.wikidata.org/wiki/Q6800322], heard about them they thought it was a good idea that Harold Town [https://www.wikidata.org/wiki/Q827127] should do some illustrations. But when they saw the poems, and of course it wasn't because they were bad poems, I'm sure, he didn't want to do the illustrations anymore, they said they were hard-boiled. As I said, they can't be bad poems. This was one of them. It's got...no, I don't think I'll read that anyway. I don't like it. However, here's another one along the same lines. [Audience laughter]. It's called \\\"With Words, Words\\\".\\n \\nAl Purdy\\n00:07:51\\nReads \\\"With Words, Words\\\" [from Love in a burning building].\\n \\nAl Purdy\\n00:10:49\\nI lived in Vancouver [https://www.wikidata.org/wiki/Q24639] for a while, and up till 1955 or 6. The first play I wrote for CBC [https://www.wikidata.org/wiki/Q461761] was accepted, and I thought I was a genius, and moved to Montreal  [https://www.wikidata.org/wiki/Q340] in order to reap the rewards of my genius. For a year in Montreal I think my...I sold a couple of adaptations to CBC. And eventually we moved to Roblin Lake [https://www.wikidata.org/wiki/Q22447801], near Ameliasburgh [https://www.wikidata.org/wiki/Q4742321] in Ontario [https://www.wikidata.org/wiki/Q1904], and built a house. And my wife having quit her job, she having decided that if I could get away without working she could too. So we sat down for a couple of years looking at each other, waiting for the other one, to see which one would break first. But this is a poem about that particular time, called \\\"One Rural Winter\\\".\\n \\nAl Purdy\\n00:11:50\\nReads \\\"One Rural Winter\\\" [from Selected Poems; audience laughter throughout].\\n \\nAl Purdy\\n00:15:22\\nI was in the Arctic [https://www.wikidata.org/wiki/Q25322] in '65, but this is a poem written long after that about the Arctic. And I suppose...certainly about the Canadian Arctic. I called it \\\"Arctic Romance\\\", but I think it should be just \\\"Arctic\\\", or something like that.\\n \\nAl Purdy\\n00:15:46\\nReads \\\"Arctic Romance\\\".\\n \\nAl Purdy\\n00:17:13\\nScrewed that up, I guess. You get tired of reading your own stuff, after a while. You forget what it sounded like the last time. This is a poem I kind of like but I keep revising it also, or have been several times in the last few years, called \\\"Dark Landscape\\\". It uses a couple of lines from an American poet who died thirty years ago called Vachel Lindsay [https://www.wikidata.org/wiki/Q1197667], whom probably nobody ever heard of. And it starts in a very prosy way, and is meant to sound that way, and then the rhythm quickens. \\\"Dark Landscape\\\".\\n \\nAl Purdy\\n00:18:07\\nReads \\\"Dark Landscape\\\".\\n \\nAl Purdy\\n00:21:45\\nIn case anybody is wondering about the particular Vachel Lindsay line, it was \\\"The spring comes on forever, and the Chinese nightingale\\\". And he also had \\\"Aladdin to the jinn\\\", except that Aladdin to the jinn, his jinn was J-I-N-N and mine was two J-I-N-N's, and one G-I-N. So that, always a little difficult to understand it without seeing it on the page. Kind of a sweet little poem, this was after we moved to Roblin Lake, and as I say, I sold a couple of plays and we bought a pile of used lumber with the proceeds and put the down payment on the lot and build this house. \\n \\nAl Purdy\\n00:22:27\\nReads \\\"Winter at Roblin Lake\\\" [from The Cariboo Horses].\\n \\nAl Purdy\\n00:22:52\\nAlso the same period, about building the house, or rather after the house was built. Trouble is, you can't, you can't smoke a cigar here, can you, something I...it always goes out. Anyway. \\\"Interruption\\\". \\n \\nAl Purdy\\n00:23:13\\nReads \\\"Interruption\\\" [from Selected Poems].\\n \\nAl Purdy\\n00:24:49\\nWhen I...when we first moved down to Ameliasburg, or to Roblin Lake, I should say, because Roblin Lake where we are is about a mile or so from Ameliasburg...I, after Montreal, and after the job I'd had in Vancouver, I suddenly had to become my own disciplinary straw boss, and it was quite difficult, and in other words, you know, I'd try to get up at a certain hour of the day and start writing. Which I could always, you know, I can always write prose, whenever I feel like it, but poems, I write them, well, I should say, I write poems whenever I feel like it, but you can, I can regimen my own prose, which I don't do much of these days. Anyway, when we moved to Roblin Lake, I wasn't physically regimented myself, so that I was waking up all hours of the day. And this is a short poem about that, but I also screwed up the poem, because I put lines at the end of, or words at the end of each line so that I don't know where the emphasis should be placed, even though I've read it dozens of times. It's called \\\"Late Rising at Roblin Lake\\\".\\n \\nAl Purdy\\n00:25:57\\nReads \\\"Late Rising at Roblin Lake\\\" [from The Cariboo Horses].\\n \\nAl Purdy\\n00:26:47\\nAnother poem about the same particular period, called \\\"Wilderness Gothic\\\". Uh...don't think there's a thing to say about this particular poem at all. \\n \\nAl Purdy\\n00:27:03\\nReads \\\"Wilderness Gothic\\\" [from Selected Poems].\\n \\nAl Purdy\\n00:29:33\\nWhen you read a bunch of poems over several years, I think you pick out the ones that you think will read the best, which is certainly what I do, because there are many of my own poems that I rarely read, or never read at all. In fact I, I never read this one. It's called \\\"Love Poem\\\".\\n \\nAl Purdy\\n00:29:58\\nReads \\\"Love Poem\\\" [from Poems for all the Annettes].\\n \\nAl Purdy\\n00:31:40\\nIn...This poem dates, the actual time of the poem dates about fifteen years ago. The poem itself was written about five years ago. At the time, a friend of mine was there also, which, other than his particular presence I might have acted a little bit differently than I did. You'll see what I mean in a, when I read the poem. Because nobody would take this chance in placing themselves in such a vulnerable position with a woman. \\\"Homemade Beer\\\".\\n \\nAl Purdy\\n00:32:12\\nReads \\\"Homemade Beer\\\" [from The Cariboo Horses].\\n \\nAudience\\n00:33:48\\nLaughter.\\n \\nUnknown\\n00:33:51\\n[Cut or edit in tape. Unknown amount of time elapsed].\\n \\nAl Purdy\\n00:33:52\\nOne called \\\"The Drunk Tank\\\". It's...Dates back two or three years ago when, after the time when I was in the Air Force [https://www.wikidata.org/wiki/Q25456], a friend of mine got out of the Air Force much later, so we celebrated. And...it was after quite a turbulent evening with my friend in Belleville [https://www.wikidata.org/wiki/Q34227], Ontario, we decided to get a couple of bottles of liquor and go out to the country where we wouldn't be disturbed, and drink it. But the farmer phoned the cops, and we were both thrown in jail. And this particular poem is about the first part of that experience, I mean the early part of being thrown in jail, more or less. But not the end of it, it turned into a sort of fantasy that means something other than I intended. \\n \\nAl Purdy\\n00:34:43\\nReads \\\"The Drunk Tank\\\" [from The Poems of Al Purdy].\\n \\nAl Purdy\\n00:36:51\\nThis is called \\\"Poem for Rita\\\", and about a couple of years ago in Toronto [https://www.wikidata.org/wiki/Q172], there was a couple of girls staying with myself, my wife and myself, and she kept asking me to write a poem. So after a while, I wrote this.\\n \\nAl Purdy\\n00:37:10\\nReads \\\"Poem for Rita\\\".\\n \\nAudience\\n00:37:25\\nLaughter.\\n \\nAl Purdy\\n00:37:28\\nThat's all. [Audience laughter]. I think it was actually kind of unkind on my part, because I was never sure whether she understood that or not, and I didn't know whether I wanted her to understand it. [Audience laughter]. There...when we first moved to Ameliasburg, as I mentioned, I was broke as hell. And after having lived in Vancouver, I learned how to make wine of one kind or another, and there was no way to, I didn't have enough money to make beer, so there were a lot of wild grapes around there and we made, I made wild grape wine, and one time, one particular season, I had about five hundred bottles. [Audience laughter]. I attribute the effects of this wine to having made me what I am today [audience laughter], if I could figure that out. But the poem eventually came out of it, called \\\"The Winemaker's Beatitude\\\".\\n \\nAl Purdy\\n00:38:39\\nReads \\\"The Winemaker's Beatitude\\\" [from Selected Poems].\\n \\nAl Purdy\\n00:41:16\\nIn '65, I went up to Baffin Island [https://www.wikidata.org/wiki/Q81178] on some government money, public money, rode a commercial airline plane from Montreal to Frobisher Bay [https://www.wikidata.org/wiki/Q1004067], hitchhiked a ride on what I thought was a DOT plane, but was a construction plane, a construction company charter, and then at Pangnirtung [https://www.wikidata.org/wiki/Q631747], which is on the Arctic Circle, the original administrator there arranged that I go along with an Eskimo family in their canoe to some islands in Cumberland Sound [https://www.wikidata.org/wiki/Q938327]. A year and a half after I got back from the Arctic, I got a bill for a hundred and ten dollars from the construction company that I thought I'd, whose plane I thought I'd hitchhiked on. Which I haven't paid. But anyway, all of these poems, except perhaps I think one or two, were written up there, written in the Arctic, except that after I got back from the Arctic I kept revising them. So you can make up your own mind whether they're written there or not. Among the poems here, there's one called \\\"At the Movies\\\".\\n \\nAl Purdy\\n00:42:37\\nReads \\\"At the Movies\\\" [from North of Summer].\\n\\n Al Purdy\\n00:44:55\\nThe business about the caribou draining in the bilge water was one of the reasons, I suppose, I found it so extraordinary that, perhaps, that Eskimos should enjoy these shoot-em-up movies, was that they had just come a hundred miles or so after shooting caribou, bringing them back to Pang, Pangnirtung on the, on the Sound, on the...jeez, my memory's failing, I can't even remember the fjord it was. But anyway, they had just shot them and come a hundred miles back with them, and yet...and they were draining in their Peterhead boats, and yet they found these movies so exciting--I suppose I shouldn't find that so unusual, but I do. A crappy Hollywood [https://www.wikidata.org/wiki/Q34006] movie. And here's one called \\\"The Sculptors\\\".\\n \\nAl Purdy\\n00:45:50\\nReads \\\"The Sculptors\\\" [from North of Summer].\\n\\nAl Purdy\\n00:48:17\\nI think I'm going to have about time for two more, so that I'd better...I could probably go on, oh I'd better make it three more  I'll give ya...this is, the trees in the Arctic are about, are very low, and well, this is treeless country on Baffin Island, where there, where practically nothing grows except moss and that, and the like of that, but I wrote a poem about trees at the Arctic Circle, and this is it....I see I'm getting, I'm only talking about the physical things about the Arctic, and I have some poems about the people, too, which, which I should read. Anyway, \\\"Trees at the Arctic Circle\\\".\\n \\nAl Purdy\\n00:49:05\\nReads \\\"Trees at the Arctic Circle\\\" [from North of Summer].\\n \\nAl Purdy\\n00:51:07\\nI want to read at least one about, about, about people there, because I used to, when I was on these islands, [inaudible] Islands in Cumberland Sound, the Eskimo women used to come over every day and drink tea. They could not speak any English and I could speak no Eskimo, and I would feed them tea and we would sit there, myself feeling about as silly as I could, so eventually I grew a bit desperate and I would read them poems and I would sing songs or I'd do any damn thing. However, eventually there was some kind of, I think, positive liking on my part. But this poem may express it as well as anything. \\\"Wash Day\\\".\\n \\nAl Purdy\\n00:51:54\\nReads \\\"Wash Day\\\" [from North of Summer].\\n \\nAl Purdy\\n00:54:03\\nTalking about shit, there's actually a poem that has a little bit to do with it here. The Arctic dogs have some qualities that are more pronounced and magnified in Arctic dogs than in southern dogs, that is, they like to eat the stuff. So that when you go, as all, everybody must go at some time or other in their lives, possibly once a day or not, one takes an Eskimo kid along to throw stones and keep the dogs off. When I came back from the Arctic I saw an hour-long film about the George River [https://www.wikidata.org/wiki/Q966023] Eskimos, and one scene in it showed about fifty Eskimos trying to get into a tent, and the Eskimos beating them into the tent, and the next thing you showed the same dogs trying to get out of the tent and the Eskimos beating them out of the tent. And the announcer said not one single word. And then I remembered that whenever the Eskimos leave a campsite, they use it for a privy, and then send the dogs in to clean up. So, actually, this is a poem about that.  \\\"When I Sat Down to Play the Piano\\\". [Audience laughter].\\n \\nAl Purdy\\n00:55:10\\nReads \\\"When I Sat Down to Play the Piano\\\" [from North of Summer; audience laughter throughout].\\n\\nAl Purdy\\n00:58:23\\nI've got one more poem if my voice can hold out. When Robert Kennedy  [https://www.wikidata.org/wiki/Q25310] was shot...I always think about anything that I'm interested and emotionally moved by, always, at least I have in the past, till I got to Simon Fraser, think about writing a poem about it. So the same thing was happening after Kennedy was shot and died, and I was thinking about writing a poem about it, and then the Star Weekly [https://www.wikidata.org/wiki/Q17112122] phoned up and asked me to write a poem about it. So this poem eventually got written. \\\"A Lament for Robert Kennedy\\\".\\n \\nAl Purdy\\n00:59:06\\nReads \\\"A Lament for Robert Kennedy\\\".\\n\\nAudience\\n01:04:39\\nApplause.\\n \\nEND\\n01:04:55\\n\",\"notes\":\"Al Purdy reads from a wide variety of his books, including Selected Poems (McClelland and Stewart, 1972), Love in a Burning Building (McClelland and Stewart, 1970), The Cariboo Horses (McClelland and Stewart, 1965), Poems for all the Annettes (Contact Press, 1962), and North of Summer (McClelland and Stewart, 1967).\\n\\n00:00- George Bowering introduces Al Purdy. [INDEX: Doug Featherling describes Purdy as“the most Canadian of all possible poets”, won the President’s Medal, Governor General’s award, Canada Council Grants, Simon Fraser University]\\n00:56- Al Purdy introduces the reading, and “About Being a Member of Our Armed Forces”. [INDEX: Bliss Carman as influence, Simon Fraser University, joining ‘academia’, conscripts in the war, CWAC: women members of the Canadian Women’s Army Corps, wooden drill rifles; from Selected Poems (McClelland and Stewart, 1972)].\\n02:09- Reads “About Being a Member of Our Armed Forces”.\\n03:29- Introduces “Floating Down the North Saskatchewan River”. [INDEX: student in his class, student’s poems in Purdy’s cigar tubes floating down the North Saskatchewan\\nRiver; read from unknown source].\\n04:01- Reads “Floating Down the North Saskatchewan River”.\\n04:40- Introduces “Flight 17 Eastbound”. [INDEX: revising his manuscript; from unknown source, could be known as “Jubilate on Flight 17, Eastbound”].\\n05:13- Reads “Flight 17 Eastbound”.\\n06:47- Introduces “With Words, Words”. [INDEX: collection of love poems, Jack McClelland and Stewart, Harold Town (illustrator); from Love in a burning building (McClelland and Stewart, 1970)].\\n07:51- Reads “With Words, Words”.\\n10:49- Introduces “One Rural Winter”. [INDEX: Vancouver, 1955-6, play for CBC accepted, moved to Montreal, Roblin Lake near Ameliasburg in Ontario, built house, *note that explanation is almost word-for-word identical as his explanation for the same poem, in the reading at the Vancouver Art Gallery (I086-11-042)*; from Selected Poems (1972)].\\n11:50- Reads “One Rural Winter”.\\n15:22- Introduces “Arctic Romance”. [INDEX: Arctic trip in 1965, naming of the poem; from unknown source; Howard Fink List “Arctic”].\\n15:46- Reads “Arctic Romance”.\\n17:13- Introduces “Dark Landscape”. [INDEX: reading, revising, lines from American pet\\nVachel Lindsay; from unknown source].\\n18:07- Reads “Dark Landscape”.\\n21:45- Explains Vachel Lindsay line, Introduces “Winter at Roblin Lake”. [INDEX: Vachel\\nLindsay line “The spring comes on forever, and the Chinese nightingale”, “Aladdin to the\\njinn”, changes Purdy made to the poem, Roblin lake, sold plays, building house of used\\nlumber; from The Cariboo Horses (McClelland and Stewart, 1965)].\\n22:27- Reads “Winter at Roblin Lake”.\\n22:52- Introduces “Interruption”. [INDEX: building house, smoking a cigar; from Selected\\nPoems (1972); not in Howard Fink List of poems].\\n23:13- Reads “Interruption”.\\n24:49- Introduces “Late Rising at Roblin Lake”. [INDEX: Ameliasburg, Montreal, Vancouver, discipline of writing, writing prose vs. writing poetry, process of reading many times; from The Cariboo Horses (1965)]\\n25:57- Reads “Late Rising at Roblin Lake”.\\n26:47- Introduces “Wilderness Gothic”. [INDEX: from Selected Poems (1972); Howard Fink List “One Ernest Gothic”].\\n27:03- Reads “Wilderness Gothic”.\\n29:33- Introduces “Love Poem”. [INDEX: preparing poems to be read, poems Purdy’s never read; from Poems for all the Annettes (Contact Press, 1962)].\\n29:58- Reads “Love Poem”.\\n31:40- Introduces “Homemade Beer”. [INDEX: poem dates five years prior; from The Cariboo Horses (1965)].\\n32:12- Reads “Homemade Beer”.\\n33:52- Introduces “The Drunk Tank”. [INDEX: Air Force, Belleville, Ontario, drinking with\\nfriend, cops called, thrown in jail, ending meaning something other than what was\\nintended; from The Poems of Al Purdy (McClelland and Stewart, 1976)].\\n34:43- Reads “The Drunk Tank”.\\n36:51- Introduces “Poem for Rita”. [INDEX: Toronto, girls staying with Purdy and his wife, girl asked him to write a poem; from unknown source, Howard Fink List “Poem for\\nEda”].\\n37:10- Reads “Poem for Rita”.\\n37:25- Introduces “The Winemaker’s Beat Etude”, and explains more about “Poem for Rita”. [INDEX: Ameliasburg, Vancouver, making homemade wine; from Selected Poems\\n(1972)].\\n38:39- Reads “The Winemaker’s Beat Etude”.\\n41:16- Introduces “At the Movies”. [INDEX: 1965, trip to Baffin Island on government money, plane from Montreal to Frobisher Bay, hitchhiked on DOT plane, construction company charter, Pangnirtung on Arctic Circle, “Eskimo” family’s canoe, bill for plane, Arctic poems; from North of Summer (McClelland and Stewart, 1967)].\\n42:36- Reads “At the Movies”.\\n44:55- Introduces “The Sculptors”. [INDEX: caribou draining, “Eskimos” shooting caribou then watching movies, Pangnirtung Sound, Peterhead boats, Hollywood movie; from North of Summer]\\n45:50- Reads “The Sculptors”.\\n48:17- Introduces “Trees at the Arctic Circle”. [INDEX: Trees on Baffin Island; from North of Summer].\\n49:05- Reads “Trees at the Arctic Circle”.\\n51:07- Introduces “Wash Day”. [INDEX: Cumberland Sound, Eskimo women, language\\nbarriers, tea, sing songs; from North of Summer].\\n51:54- Reads “Wash Day”.\\n54:03- Introduces “When I Sat Down to Play the Piano”. [INDEX: Arctic dogs, film about the George River Eskimos; from North of Summer].\\n55:10- Reads “When I Sat Down to Play the Piano”.\\n58:23- Introduces unknown poem “A Lament for Robert Kennedy”, perhaps actually “Death of John F. Kennedy”. [INDEX: Shooting of Robert Kennedy (John F?), Simon Fraser, writing poem about shooting, Star Weekly asked Purdy for a poem about it].\\n59:06- Reads “A Lament for Robert Kennedy”. [INDEX: perhaps “Death of John F.\\nKennedy”, found in The Cariboo Horses].\\n1:04:55- END OF RECORDING.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/al-purdy-at-sgwu-1970-george-bowering/\"}]"],"score":1.8530173},{"id":"1289","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":["Joel Oppenheimer at Sir George Williams University, The Poetry Series, 3 April 1970"],"item_title_source":["Cataloguer"],"item_title_note":["\"JOEL OPPENHEIMER Recorded April 3, 1970 3.75 ips, 1/2 track on 1 mil tape\" written on sticker on the back of the tape's box. \"JOEL OPPENHEIMER I006/SR12\" written on sticker on the spine of the tape's box. \"Speed 3 3/4 I006-11-012\" written on sticker on the reel"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 4"],"item_identifiers":["[]"],"creator_names":["Oppenheimer, Joel"],"creator_names_search":["Oppenheimer, Joel"],"creators":["[{\"url\":\"http://viaf.org/viaf/57449787\",\"name\":\"Oppenheimer, Joel\",\"dates\":\"1930-1988\",\"notes\":\"Born in 1930 in Yonkers, New York, Joel Oppenheimer lived in New York City until 1950 when he attended Black Mountain College in North Carolina. There, he was influenced by Charles Olson and colleagues such as Robert Creeley, Ed Dorn, Jonathan Williams and Fielding Dawson, forming the Black Mountain Poets. Visiting writer William Carlos Williams and e.e. cummings also greatly influenced Oppenheimer. Joel published The Dancer in 1951 (Sad Devil Press at Black Mountain College), The Dutiful Son in 1956 (Short Hills, Johnathan Cape), The Love Bit in 1962 (Totem Press) and Sirventes on a Sad Occasion in 1967 (The Perishable Press) while working in a printing shop. In 1966 he became the director of the Poetry Project at St Mark’s Church in-the-Bowery, a New York City reading series and by 1969, Oppenheimer became a columnist for the Village Voice. He then published In Time: Poems 1962-1968 (Bobbs-Merrill, 1969), and in 1973 published On Occasion: Some Births, Deaths, Weddings, Birthdays, Holidays, and Other Events, a book of occasional poems (Bobbs-Merrill). The Woman Poems (Bobbs-Merrill) was published in 1975, and Names, Dates & Places (Saint Andrew’s Press, 1973) chronicled the New York Mets. He also wrote a popular book about Marilyn Monroe, called Marilyn Lives! (Delilah, 1981). In 1984 Oppenheimer taught creative writing at New England College in Henniker, New Hampshire. His last published book of poetry was New Spaces: Poems 1975-1983 (Black Sparrow Press, 1985). Joel Oppenheimer died of lung cancer on October 11, 1988.\",\"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 4 3\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the back of the tape's box. Date also specified in previous written announcement \\\"Poetry Four: Sir George Williams Poetry Series\\\"\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"Location specified in previous written announcement \\\"Poetry Four: Sir George Williams Poetry Series,\\\" but not confirmed\",\"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":["Joel Oppeheimer reads from In Time: Poems 1962-1968 (Bobbs-Merrill,1969) as well as poems from Just Friends/Friends and Lovers (Jargon Society) which was only published in 1980."],"contents":["joel_oppenheimer_i006-11-012.mp3\n\nGeorge Bowering\n00:00:00\nI suppose everybody knows everything that everybody would say in an introduction to Joel Oppenheimer [https://www.wikidata.org/wiki/Q6213806] anyway, the Black Mountain [https://www.wikidata.org/wiki/Q2413277] blah blah blah, and the director of the St. Mark's Poetry Project [https://www.wikidata.org/wiki/Q7207506] blah blah blah but what I would like to mention specifically is that there's a big fat book called In Time with about 225 pages of Joel's poetry from the 1960's published by Bobbs-Merrill [https://www.wikidata.org/wiki/Q4934692] distributed by McClelland & Stewart [https://www.wikidata.org/wiki/Q6800322] in Canada [https://www.wikidata.org/wiki/Q16] if they ever get into bookstores in Montreal [https://www.wikidata.org/wiki/Q340]. Joel Oppenheimer, thank you.\n \nJoel Oppenheimer\n00:00:44\nI really didn't like, George [https://www.wikidata.org/wiki/Q1239280], being referred to as being a Black Mountain blah blah blah. I happen to be the finest softball pitcher Black Mountain ever had. And so that none of you lose any sleep tonight, the uniform is genuine United States [https://www.wikidata.org/wiki/Q30] Merchant Marine [https://www.wikidata.org/wiki/Q865132] uniform and the fifth stripe, the purple stripe denotes me as a chief poet, which I was appointed by three captains, two chief engineers and several assorted mates of United States lines and we invented the uniform one night and they threw in all the materials and my wife gave it to me for a Christmas present, so I am responsible for the moral, religious, emotional and sexual life of the crew while at sea. It's a very serious duty! The book that's out now is actually my fourth book of poems, the first to some of you may be familiar with some of the poems from The New American Poetry [https://www.wikidata.org/wiki/Q7753501]and so on, The Dutiful Son and The Love Bit. And In Time is the fourth book. The third book is a little known book because Jonathan Williams [https://www.wikidata.org/wiki/Q6274797] has been carrying it around in his briefcase for eight years and sends me postcards every six month saying he's bringing it out. I thought maybe since it probably will never get published I should read some poems from there, it's called Friends and Lovers and most of the poems have initialed inscriptions, some of which I will name to you, and some of which somebody going for his Master's thirty years from now will have to do a lot of research to figure out. It's divided into two parts, obviously in the first part is friends and in the second part is lovers. This is the dedicatory poem. \"Orpheus\" [https://www.wikidata.org/wiki/Q174353].\n \nJoel Oppenheimer\n00:02:52\nReads \"Orpheus\" [published later in Just Friends/Friends and Lovers].\n \nJoel Oppenheimer\n00:03:20\nThis is a poem called \"Lesson I\" and it's for Charles Olson [https://www.wikidata.org/wiki/Q922978]. It's also as sure you all recognize upon a parody on one of Pound's [https://www.wikidata.org/wiki/Q163366] Usury Cantos [https://www.wikidata.org/wiki/Q2701465] and it's based on an actual softball incident in which Charles was supposed to be coaching third base and instead was discussing Etruscan sculpture when I was rounding second on a long drive to left centre field.\n \nJoel Oppenheimer\n00:03:54\nReads \"Lesson I\".\n \nJoel Oppenheimer\n00:04:30\nCharles got very upset about that. This is a poem for Franz Kline [https://www.wikidata.org/wiki/Q374492]. Do I need to tell you who Franz was? Alright, if anybody doesn't know should ask the person next to them after the reading…”Pablo Nerruda--” It’s called “The Boys Whose Fathers\".\n \nJoel Oppenheimer\n00:04:57\nReads \"The Boys Whose Fathers\".\n \nJoel Oppenheimer\n00:08:31\nAnd this is for Cubby Selby [https://www.wikidata.org/wiki/Q551487] who wrote Last Exit to Brooklyn [https://www.wikidata.org/wiki/Q1400274]. “A Poem In Tune With Its Time”.\n \nJoel Oppenheimer\n00:08:39\nReads “A Poem In Tune With Its Time”.\n \nJoel Oppenheimer\n00:09:13\nThis is for Phillip Guston [https://www.wikidata.org/wiki/Q701952]. That's very strange, I find that now I can say the names. Philip is a still surviving member of the New York [https://www.wikidata.org/wiki/Q60] Abstract Expressionist school, or whatever they call it these days. And a marvelous painter.\n \nJoel Oppenheimer\n00:09:30\nReads \"A Grace for Painters\".\n \nJoel Oppenheimer\n00:11:21\nThis is another poem for Charles Olson. It's called \"Okay\". This is a funny book because it was written about 1961, as I say literally, it's been carried around in manuscript form for eight years and why I never pulled it back except that those damn postcards kept coming in so I kept saying, okay, six months more and it just was a scene I got into where I, personal poems to people became a thing that I was doing at that time. It's called \"Okay\".\n \nJoel Oppenheimer\n00:12:10\nReads \"Okay\".\n \nJoel Oppenheimer\n00:13:54\nThank you. I don't know how many of you knew Charles, that was a visit to New York and we did have a marvelous meal in New York's Chinatown [https://www.wikidata.org/wiki/Q866332] and I just said to the guy, you know, bring us so many dollars worth of food, and there were eleven of us, Ed Dorn [https://www.wikidata.org/wiki/Q5334756] and his wife were with us and LeRoi Jones [https://www.wikidata.org/wiki/Q354783] and his wife and Charles, and we sat there and they kept bringing dishes out everybody stuffed themselves and we were all sitting there and Charles, as most of you know was about 6'7” and about 250 pounds and after all this food had come out and been consumed, the guy came out with a sea bass about this big, and everybody sorta looked and Charles said, \"Oh, thank you Joel\" and proceeded to demolish this thing. Well, everybody just sitting...[audience laughter]. Ah, yes! I have a Canadian poem for you. I didn't even know that. This is a poem for Ed Dorn and it's called \"The Fourth Ark Royal\". One night at a bar called Dylan's, Ed and I had seen each other for the first time for about six years and a couple of sailors came in and they had Ark Royal on their caps and Canadian badges and finally after a couple of drinks I asked one of them what the Ark Royal was, and to their shame and my chagrin, and they really were abashed when they said it, it turns out now that the Ark Royal is now a Corvette, uh, after a long distinguished history and not that--I'm sure that it's a great Corvette, but still, a Corvette is a Corvette, you know.\n \nJoel Oppenheimer\n00:16:03\nReads \"The Fourth Ark Royal\".\n \nJoel Oppenheimer\n00:20:03\nDoes anybody know where the Fourth Ark Royal is anchored? I'll go see it tomorrow. I have to make a confession, I pulled a dreadful gaff yesterday and I'm sure that Stan and George are going to spread it around after I leave, so I'm going to confess it in public. I said \"Gee, we're going to be here for a couple of days and there's one thing I'd really like to see. And do you suppose somebody might, you know, give us a lift to the Plains of Abraham [https://www.wikidata.org/wiki/Q2726825]\", and they both looked at me and said \"It's 100 miles away in Quebec [https://www.wikidata.org/wiki/Q176]\" and I said \"Oh my god, you're right\" and then I got home, to the hotel, and I was reading through, what's the name of that lovely magazine they give you at the hotel? Canada Today or something, and I was reading through, and when I saw them today, I said \"Oh well, I was wrong about the Plains of Abraham, but we guys captured Montreal once\" and it made me feel much better. Of course, we didn't hold it very long, I think a day we were here. This is a thing called \"Spring Poem\". And let's hope that it gets here.\n \nJoel Oppenheimer\n00:21:24\nReads \"Spring Poem\".\n \nJoel Oppenheimer\n00:21:39\nAhah! Yes, gee, I don't know if you're liking these, but I'm so delighted, I really haven't looked at these poems in moons, and it's...this is a poem for Gil Sorrentino [https://www.wikidata.org/wiki/Q326773] called \"The Aces\", and it starts with a quote from Antony and Cleopatra [https://www.wikidata.org/wiki/Q606830]. And it's when, it's the speech that's always quoted where the death is announced to her, and everybody always quotes the crown he bestride the continents like [unintelligible] and crowns--the crown would drop from his pocket, but I always love the end of it, near the end, she says \"His delights were dolphin-like, they showed his back above the element they lived in\".\n \nJoel Oppenheimer\n00:22:28\nReads \"The Aces\".\n \nJoel Oppenheimer\n00:23:36\nFor J.C. Just to add a little mystery.\n \nJoel Oppenheimer\n00:23:56\nReads unnamed poem \"There are waterfalls pour straight down\".\n \nJoel Oppenheimer\n00:24:48\n\"La Revolución\", for J.S.\n \nJoel Oppenheimer\n00:24:51\nReads \"La Revolución\".\n \nJoel Oppenheimer\n00:25:55\nI think what I'll do is read one--this is kind of a long poem, are you up to a longish poem and then we'll call a break? \"A Little Mayan Head\", for E.W.\n \nJoel Oppenheimer\n00:26:23\nReads \"A Little Mayan Head\".\n\nUnknown\n00:30:22\n[Cut or edit made in tape. Unknown amount of time elapsed].\n \nJoel Oppenheimer\n00:30:23\nIt's titled \"N.B.\", but that isn't for a lady, that's Nota Bene, if I am correcting--if I am pronouncing that correctly, or correcting that pronouncedly.\n \nJoel Oppenheimer\n00:30:34\nReads \"N.B.\"\n \nJoel Oppenheimer\n00:31:10\n\"Poem for New Children\", for E. and L.\n \nJoel Oppenheimer\n00:31:14\nReads \"Poem for New Children\".\n \nJoel Oppenheimer\n00:31:35\n\"Peire Vidal at Thirty-Two\" and any of you who don't know Peire Vidal [https://www.wikidata.org/wiki/Q5269] are instructed to report to George Bowering on Monday morning and he will give you a lecture on Peire Vidal. And George, if you don't have a lecture prepared, you better by then. Peire Vidal was the most marvelous poet in the world, his vida begins, Peire Vidal was the son of a rich fourrier in Toulouse [https://www.wikidata.org/wiki/Q7880], he sang better than any man in the world and he wrote good songs and he was the biggest fool the world has ever known because he believed that what a woman told him in love was true. He also [audience laughter] wrote a poem, this will get an even bigger hit when he was an old man he wrote a gorgeous poem that I can't quote, and you can thank me for that, he wrote a gorgeous poem in which in the first stanza, he avowed his eternal love to four different chicks [audience laughter]. \n \nJoel Oppenheimer\n00:32:4\nReads \"Peire Vidal at Thirty-Two\".\n \nJoel Oppenheimer\n00:33:16\n\"The Truck Farmer\", for R. F.\n \nJoel Oppenheimer\n00:33:25\nReads \"The Truck Farmer\".\n \nJoel Oppenheimer\n00:35:01\n\"Dutch Interior: Sewing\", also for R.F. R.F. was my first wife.\n \nJoel Oppenheimer\n00:35:07\nReads \"Dutch Interior: Sewing\".\n \nJoel Oppenheimer\n00:35:36\n\"Clams on the Half-Shelf\" for M.M. And I must say I've been very disappointed, because everybody kept telling me what great seafood restaurants Montreal has and the only seafood I can really stand is fresh clams and every restaurant I go into says, \"Oh, yeah, we have oysters but we don't serve clams\". Does anyone know a restaurant where I can get fresh clams?...This is for M.M.\n \nJoel Oppenheimer\n00:36:09\nReads \"Clams on the Half-Shelf\".\n \nJoel Oppenheimer\n00:36:48\nI must confess to the ladies in the audience that my book has been branded by women's lib in New York as insulting to women, and I have great fights with all of them, I praise their bosoms, and they sort of calm down then, but they still keep putting up stickers on my book jackets. It's amazing what you can do to a women's lib chick if you just tell her that she has very nice tits, really. Immediately they desert the movement. \"New Blues for the Moon\" for D.D.\n \nJoel Oppenheimer\n00:37:34\nReads \"New Blues for the Moon\" [from In Time: 1962-1968].\n \nJoel Oppenheimer\n00:38:10\nIt took me four years after, I got the rhyme line to \"I know your door better than my own\" but now it's too late to write the blues, but if anybody's interested, it's \"And if you won't have me I still ain't goin' home.\" \"A Love Poem\" for M.S.\n \nJoel Oppenheimer\n00:38:33\nReads \"A Love Poem\".\n \nJoel Oppenheimer\n00:39:08\nOh yeah, that's a nice poem for today. \"Third of April\", for M.R.\n \nJoel Oppenheimer\n00:39:16\nReads \"Third of April\".\n \nJoel Oppenheimer\n00:39:59\n\"A Five Act Play\" for B.J.\n \nJoel Oppenheimer\n00:40:02\nReads \"A Five Act Play\".\n \nJoel Oppenheimer\n00:40:27\n\"Nature Boy\" for B.C. Helen, are you keeping notes on these initials?\n \nJoel Oppenheimer\n00:40:41\nReads \"Nature Boy\".\n \nJoel Oppenheimer\n00:41:22\n\"Flora\" for J.G.\n \nAnnotation\n00:41:31\nReads \"Flora\".\n \nJoel Oppenheimer\n00:42:04\nI'm not sure I like this poem but the story behind it is funny. The really, the fairest break-up, for very strange reasons, and this one literally broke up because the first day that the chick made me sunny-side up eggs, she mashed the yolk with her fork. [Audience laughter]. I knew that no matter how beautiful the scene had been I couldn't stay there anymore. It's called \"Purple Flowers\" and it's for S.G., wherever you might be.\n \nJoel Oppenheimer\n00:42:54\nReads \"Purple Flowers\" [audience laughter throughout].\n \nJoel Oppenheimer\n00:43:29\n\"The Apples\" for D.R.\n \nJoel Oppenheimer\n00:43:35\nReads \"The Apples\".\n \nJoel Oppenheimer\n00:44:10\nI have--this is the last poem in the book and if you want to hear some stuff from--this is a longish one, why don't we call a stop after this, and if people want to split, split and if people want to stay I'll read a little bit more from the new book. \"When What You Dream\" for F.E.\n \nJoel Oppenheimer\n00:44:45\nReads \"When What You Dream\".\n \nJoel Oppenheimer\n00:51:07\nThis book starts with a poem that was turned down by at least 37 little magazines, and I finally blackjacked it in as the introductory poem. It's called \"The Poem\".\n \nJoel Oppenheimer\n00:51:36\nReads \"The Poem\" [from In Time: 1962-1968].\n \nJoel Oppenheimer\n00:51:45\nNobody liked it. Dan Rice is the only person in the world I know that likes that poem. And I think it's the best poem I ever wrote. This is a poem for the other poet I have to most love for, Li Po [https://www.wikidata.org/wiki/Q7071], the Chinese poet from 700, 800, roughly. It's called \"shooting the moon\". Li Po, his particular distinctions were that he seduced the emperor of China's [https://www.wikidata.org/wiki/Q148] favourite courtesan, and showed up two hours late for the date, bombed out of his skull, and fell asleep on her bosom before doing anything, and the emperor was not terribly amused by it but at the same time he was impressed by the enormity of the action so he exiled him to the mountains but he gave him like 50 thousand acres and bread for life, it's just he was not to show up in court ever again. While there, he did several notable things, one of which is writing the best lush poem that's ever been written cause he got up on a beautiful spring day and was sitting out on his terrace and his servant brought him breakfast and he ate it and he started drinking some sake and the next thing he knew it was nine o'clock at night and like he had sorta missed spring so he started drinking again, and the last line of the poem is something like \"two hours later I was dancing with the moon\". So, he worked it out. The only problem was, that he was literally in love with the moon, and this image runs through his poem, and one night on the way home from a wine tavern, he decided finally to make it with the moon and he sat down at the edge of the river, left it under a rock with his clothes and dove in to screw the moon, literally, the reflection in the water, and drowned. And one hopes that--I don't know what the autopsy showed, but one hopes that he did make it before he drowned, you know, like, you have to love, you know, a guy like that.\n \nJoel Oppenheimer\n00:54:28\nReads \"Shooting the Moon\" [from In Time: 1962-1968].\n \nJoel Oppenheimer\n00:56:37\nHelen, do you remember, by any chance, where the other moon poem is? Hold on one--I think I have it. Marvelous picture in the Times [https://www.wikidata.org/wiki/Q9684] one day, the first time they took a--the first time one of the things went around the moon, and I wrote a very funny poem about it I think, if I can find it here. Oh well, while I'm looking for it, I'll read you \"Zeus, in May, Reflects on a Recent Letter from Astarte\".\n \nJoel Oppenheimer\n00:57:53\nReads \"Zeus, in May, Reflects on a Recent Letter from Astarte\" [from In Time: 1962-1968].\n \nJoel Oppenheimer\n00:58:37\nAm I allowed to read dirty poems here? Yeah? This is a poem called \"Poem in Praise of Perseverance\". And anybody who doesn't want to hear it should close their ears. This is another poem that was rejected by about 40 magazines.\n \nJoel Oppenheimer\n00:59:05\nReads \"Poem in Praise of Perseverance\" [from In Time: 1962-1968].\n \nJoel Oppenheimer\n00:59:34\nI really do want to find that damn moon poem. Alright, \"The New Standard Simplified American Cabala for Home Use\".\n \nJoel Oppenheimer\n00:59:53\nReads \"The New Standard Simplified American Cabala for Home Use\" [from In Time: 1962-1968].\n \nJoel Oppenheimer\n01:00:12\n\"The Three Old Ladies\".\n \nJoel Oppenheimer\n01:00:24\nReads \"The Three Old Ladies\" [from In Time: 1962-1968].\n \nJoel Oppenheimer\n01:01:14\nThat poem incidentally was because of a little incident in a college in Brooklyn [https://www.wikidata.org/wiki/Q18419] because they had a lady faculty member as a cop and she listened to me read and she objected to only one word in the entire reading and that was 'hard-on' and I suggested gently to the woman who called me about it that that might be that lady's problem, if she could listen to my--I found the moon poem, thank god--if that was the only word she found to object to that I really thought she might need a little help somewhere from somebody. \"Wrong Again\".\n \nJoel Oppenheimer\n01:02:11\nReads \"Wrong Again\" [from In Time: 1962-1968; audience laughter throughout].\n \nEND\n01:03:25\n[Cut off abruptly]."],"Note":["[{\"note\":\"Year-Specific Information:  \\n\\nIn Time: Poems 1962-1968 was published in 1969 while Joel Oppenheimer was writing columns for the Village Voice in New York City.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nNo direct connections to Montreal or Sir George Williams University are known, however Oppenheimer was an influential member of the Black Mountain group, and a director of the Poetry Project at St. Mark’s Church in-the-Bowery in New York. George Bowering’s name appears on the list of correspondences between 1969 and 1978, in Joel Oppenheimer’s Papers. (See Related Works).\",\"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/oxford-companion-to-twentieth-century-poetry-in-english/oclc/807465072&referer=brief_results\",\"citation\":\"Foster, Edward.\\\"Oppenheimer, Joel\\\". The Oxford Companion to Twentieth-Century Poetry in  English. Ian Hamilton (ed). Oxford University Press, 1996. \"},{\"url\":\"http://doddcentre.uconn.edu/           \\tfindaids/Oppenheimer/MSS19900056.html\",\"citation\":\"“Joel Oppenheimer Papers”. Archives & Special Collections at the Thomas J. Dodd Center, University of Connecticut, 2003.\"},{\"url\":\"https://www.worldcat.org/title/in-time-poems-1962-1968/oclc/48666?referer=di&ht=edition\",\"citation\":\"Oppenheimer, Joel. In Time: poems 1962-1968. Indianapolis: Bobbs-Merril, 1969.\"},{\"url\":\"https://www.worldcat.org/title/just-friendsfriends-and-lovers-poems-1959-1962/oclc/869017166&referer=brief_results\",\"citation\":\"Oppenheimer, Joel. Just Friends/Friends and Lovers. Asheville: Jargon Society, 1980.\"},{\"url\":\"\",\"citation\":\"“Oppenheimer, Joel”. Literature Online Biography. Proquest, 2008. \"},{\"url\":\"\",\"citation\":\"“Poetry Four: Sir George Williams Poetry Series, Ninth Reading, Al Purdy”. Montreal: Sir George Williams University, 1970. Found in “The Stephen Morrissey Papers, 1963 - 1998”, McGill McLennan Library, Special Collections and Rare Books, Montreal, Quebec, Canada.\"}]"],"_version_":1853670548984299520,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006-11-0012_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006-11-0012_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Joel Oppenheimer 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/I0006-11-0012_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006-11-0012_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Joel Oppenheimer 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/I0006-11-0012_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006-11-0012_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Joel Oppenheimer 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/I0006-11-0012_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006-11-0012_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Joel Oppenheimer 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/joel_oppenheimer_i006-11-012.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"joel_oppenheimer_i006-11-012.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:03:25\",\"precision\":\"\",\"size\":\"152.2 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"George Bowering\\n00:00:00\\nI suppose everybody knows everything that everybody would say in an introduction to Joel Oppenheimer [https://www.wikidata.org/wiki/Q6213806] anyway, the Black Mountain [https://www.wikidata.org/wiki/Q2413277] blah blah blah, and the director of the St. Mark's Poetry Project [https://www.wikidata.org/wiki/Q7207506] blah blah blah but what I would like to mention specifically is that there's a big fat book called In Time with about 225 pages of Joel's poetry from the 1960's published by Bobbs-Merrill [https://www.wikidata.org/wiki/Q4934692] distributed by McClelland & Stewart [https://www.wikidata.org/wiki/Q6800322] in Canada [https://www.wikidata.org/wiki/Q16] if they ever get into bookstores in Montreal [https://www.wikidata.org/wiki/Q340]. Joel Oppenheimer, thank you.\\n \\nJoel Oppenheimer\\n00:00:44\\nI really didn't like, George [https://www.wikidata.org/wiki/Q1239280], being referred to as being a Black Mountain blah blah blah. I happen to be the finest softball pitcher Black Mountain ever had. And so that none of you lose any sleep tonight, the uniform is genuine United States [https://www.wikidata.org/wiki/Q30] Merchant Marine [https://www.wikidata.org/wiki/Q865132] uniform and the fifth stripe, the purple stripe denotes me as a chief poet, which I was appointed by three captains, two chief engineers and several assorted mates of United States lines and we invented the uniform one night and they threw in all the materials and my wife gave it to me for a Christmas present, so I am responsible for the moral, religious, emotional and sexual life of the crew while at sea. It's a very serious duty! The book that's out now is actually my fourth book of poems, the first to some of you may be familiar with some of the poems from The New American Poetry [https://www.wikidata.org/wiki/Q7753501]and so on, The Dutiful Son and The Love Bit. And In Time is the fourth book. The third book is a little known book because Jonathan Williams [https://www.wikidata.org/wiki/Q6274797] has been carrying it around in his briefcase for eight years and sends me postcards every six month saying he's bringing it out. I thought maybe since it probably will never get published I should read some poems from there, it's called Friends and Lovers and most of the poems have initialed inscriptions, some of which I will name to you, and some of which somebody going for his Master's thirty years from now will have to do a lot of research to figure out. It's divided into two parts, obviously in the first part is friends and in the second part is lovers. This is the dedicatory poem. \\\"Orpheus\\\" [https://www.wikidata.org/wiki/Q174353].\\n \\nJoel Oppenheimer\\n00:02:52\\nReads \\\"Orpheus\\\" [published later in Just Friends/Friends and Lovers].\\n \\nJoel Oppenheimer\\n00:03:20\\nThis is a poem called \\\"Lesson I\\\" and it's for Charles Olson [https://www.wikidata.org/wiki/Q922978]. It's also as sure you all recognize upon a parody on one of Pound's [https://www.wikidata.org/wiki/Q163366] Usury Cantos [https://www.wikidata.org/wiki/Q2701465] and it's based on an actual softball incident in which Charles was supposed to be coaching third base and instead was discussing Etruscan sculpture when I was rounding second on a long drive to left centre field.\\n \\nJoel Oppenheimer\\n00:03:54\\nReads \\\"Lesson I\\\".\\n \\nJoel Oppenheimer\\n00:04:30\\nCharles got very upset about that. This is a poem for Franz Kline [https://www.wikidata.org/wiki/Q374492]. Do I need to tell you who Franz was? Alright, if anybody doesn't know should ask the person next to them after the reading…”Pablo Nerruda--” It’s called “The Boys Whose Fathers\\\".\\n \\nJoel Oppenheimer\\n00:04:57\\nReads \\\"The Boys Whose Fathers\\\".\\n \\nJoel Oppenheimer\\n00:08:31\\nAnd this is for Cubby Selby [https://www.wikidata.org/wiki/Q551487] who wrote Last Exit to Brooklyn [https://www.wikidata.org/wiki/Q1400274]. “A Poem In Tune With Its Time”.\\n \\nJoel Oppenheimer\\n00:08:39\\nReads “A Poem In Tune With Its Time”.\\n \\nJoel Oppenheimer\\n00:09:13\\nThis is for Phillip Guston [https://www.wikidata.org/wiki/Q701952]. That's very strange, I find that now I can say the names. Philip is a still surviving member of the New York [https://www.wikidata.org/wiki/Q60] Abstract Expressionist school, or whatever they call it these days. And a marvelous painter.\\n \\nJoel Oppenheimer\\n00:09:30\\nReads \\\"A Grace for Painters\\\".\\n \\nJoel Oppenheimer\\n00:11:21\\nThis is another poem for Charles Olson. It's called \\\"Okay\\\". This is a funny book because it was written about 1961, as I say literally, it's been carried around in manuscript form for eight years and why I never pulled it back except that those damn postcards kept coming in so I kept saying, okay, six months more and it just was a scene I got into where I, personal poems to people became a thing that I was doing at that time. It's called \\\"Okay\\\".\\n \\nJoel Oppenheimer\\n00:12:10\\nReads \\\"Okay\\\".\\n \\nJoel Oppenheimer\\n00:13:54\\nThank you. I don't know how many of you knew Charles, that was a visit to New York and we did have a marvelous meal in New York's Chinatown [https://www.wikidata.org/wiki/Q866332] and I just said to the guy, you know, bring us so many dollars worth of food, and there were eleven of us, Ed Dorn [https://www.wikidata.org/wiki/Q5334756] and his wife were with us and LeRoi Jones [https://www.wikidata.org/wiki/Q354783] and his wife and Charles, and we sat there and they kept bringing dishes out everybody stuffed themselves and we were all sitting there and Charles, as most of you know was about 6'7” and about 250 pounds and after all this food had come out and been consumed, the guy came out with a sea bass about this big, and everybody sorta looked and Charles said, \\\"Oh, thank you Joel\\\" and proceeded to demolish this thing. Well, everybody just sitting...[audience laughter]. Ah, yes! I have a Canadian poem for you. I didn't even know that. This is a poem for Ed Dorn and it's called \\\"The Fourth Ark Royal\\\". One night at a bar called Dylan's, Ed and I had seen each other for the first time for about six years and a couple of sailors came in and they had Ark Royal on their caps and Canadian badges and finally after a couple of drinks I asked one of them what the Ark Royal was, and to their shame and my chagrin, and they really were abashed when they said it, it turns out now that the Ark Royal is now a Corvette, uh, after a long distinguished history and not that--I'm sure that it's a great Corvette, but still, a Corvette is a Corvette, you know.\\n \\nJoel Oppenheimer\\n00:16:03\\nReads \\\"The Fourth Ark Royal\\\".\\n \\nJoel Oppenheimer\\n00:20:03\\nDoes anybody know where the Fourth Ark Royal is anchored? I'll go see it tomorrow. I have to make a confession, I pulled a dreadful gaff yesterday and I'm sure that Stan and George are going to spread it around after I leave, so I'm going to confess it in public. I said \\\"Gee, we're going to be here for a couple of days and there's one thing I'd really like to see. And do you suppose somebody might, you know, give us a lift to the Plains of Abraham [https://www.wikidata.org/wiki/Q2726825]\\\", and they both looked at me and said \\\"It's 100 miles away in Quebec [https://www.wikidata.org/wiki/Q176]\\\" and I said \\\"Oh my god, you're right\\\" and then I got home, to the hotel, and I was reading through, what's the name of that lovely magazine they give you at the hotel? Canada Today or something, and I was reading through, and when I saw them today, I said \\\"Oh well, I was wrong about the Plains of Abraham, but we guys captured Montreal once\\\" and it made me feel much better. Of course, we didn't hold it very long, I think a day we were here. This is a thing called \\\"Spring Poem\\\". And let's hope that it gets here.\\n \\nJoel Oppenheimer\\n00:21:24\\nReads \\\"Spring Poem\\\".\\n \\nJoel Oppenheimer\\n00:21:39\\nAhah! Yes, gee, I don't know if you're liking these, but I'm so delighted, I really haven't looked at these poems in moons, and it's...this is a poem for Gil Sorrentino [https://www.wikidata.org/wiki/Q326773] called \\\"The Aces\\\", and it starts with a quote from Antony and Cleopatra [https://www.wikidata.org/wiki/Q606830]. And it's when, it's the speech that's always quoted where the death is announced to her, and everybody always quotes the crown he bestride the continents like [unintelligible] and crowns--the crown would drop from his pocket, but I always love the end of it, near the end, she says \\\"His delights were dolphin-like, they showed his back above the element they lived in\\\".\\n \\nJoel Oppenheimer\\n00:22:28\\nReads \\\"The Aces\\\".\\n \\nJoel Oppenheimer\\n00:23:36\\nFor J.C. Just to add a little mystery.\\n \\nJoel Oppenheimer\\n00:23:56\\nReads unnamed poem \\\"There are waterfalls pour straight down\\\".\\n \\nJoel Oppenheimer\\n00:24:48\\n\\\"La Revolución\\\", for J.S.\\n \\nJoel Oppenheimer\\n00:24:51\\nReads \\\"La Revolución\\\".\\n \\nJoel Oppenheimer\\n00:25:55\\nI think what I'll do is read one--this is kind of a long poem, are you up to a longish poem and then we'll call a break? \\\"A Little Mayan Head\\\", for E.W.\\n \\nJoel Oppenheimer\\n00:26:23\\nReads \\\"A Little Mayan Head\\\".\\n\\nUnknown\\n00:30:22\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n \\nJoel Oppenheimer\\n00:30:23\\nIt's titled \\\"N.B.\\\", but that isn't for a lady, that's Nota Bene, if I am correcting--if I am pronouncing that correctly, or correcting that pronouncedly.\\n \\nJoel Oppenheimer\\n00:30:34\\nReads \\\"N.B.\\\"\\n \\nJoel Oppenheimer\\n00:31:10\\n\\\"Poem for New Children\\\", for E. and L.\\n \\nJoel Oppenheimer\\n00:31:14\\nReads \\\"Poem for New Children\\\".\\n \\nJoel Oppenheimer\\n00:31:35\\n\\\"Peire Vidal at Thirty-Two\\\" and any of you who don't know Peire Vidal [https://www.wikidata.org/wiki/Q5269] are instructed to report to George Bowering on Monday morning and he will give you a lecture on Peire Vidal. And George, if you don't have a lecture prepared, you better by then. Peire Vidal was the most marvelous poet in the world, his vida begins, Peire Vidal was the son of a rich fourrier in Toulouse [https://www.wikidata.org/wiki/Q7880], he sang better than any man in the world and he wrote good songs and he was the biggest fool the world has ever known because he believed that what a woman told him in love was true. He also [audience laughter] wrote a poem, this will get an even bigger hit when he was an old man he wrote a gorgeous poem that I can't quote, and you can thank me for that, he wrote a gorgeous poem in which in the first stanza, he avowed his eternal love to four different chicks [audience laughter]. \\n \\nJoel Oppenheimer\\n00:32:4\\nReads \\\"Peire Vidal at Thirty-Two\\\".\\n \\nJoel Oppenheimer\\n00:33:16\\n\\\"The Truck Farmer\\\", for R. F.\\n \\nJoel Oppenheimer\\n00:33:25\\nReads \\\"The Truck Farmer\\\".\\n \\nJoel Oppenheimer\\n00:35:01\\n\\\"Dutch Interior: Sewing\\\", also for R.F. R.F. was my first wife.\\n \\nJoel Oppenheimer\\n00:35:07\\nReads \\\"Dutch Interior: Sewing\\\".\\n \\nJoel Oppenheimer\\n00:35:36\\n\\\"Clams on the Half-Shelf\\\" for M.M. And I must say I've been very disappointed, because everybody kept telling me what great seafood restaurants Montreal has and the only seafood I can really stand is fresh clams and every restaurant I go into says, \\\"Oh, yeah, we have oysters but we don't serve clams\\\". Does anyone know a restaurant where I can get fresh clams?...This is for M.M.\\n \\nJoel Oppenheimer\\n00:36:09\\nReads \\\"Clams on the Half-Shelf\\\".\\n \\nJoel Oppenheimer\\n00:36:48\\nI must confess to the ladies in the audience that my book has been branded by women's lib in New York as insulting to women, and I have great fights with all of them, I praise their bosoms, and they sort of calm down then, but they still keep putting up stickers on my book jackets. It's amazing what you can do to a women's lib chick if you just tell her that she has very nice tits, really. Immediately they desert the movement. \\\"New Blues for the Moon\\\" for D.D.\\n \\nJoel Oppenheimer\\n00:37:34\\nReads \\\"New Blues for the Moon\\\" [from In Time: 1962-1968].\\n \\nJoel Oppenheimer\\n00:38:10\\nIt took me four years after, I got the rhyme line to \\\"I know your door better than my own\\\" but now it's too late to write the blues, but if anybody's interested, it's \\\"And if you won't have me I still ain't goin' home.\\\" \\\"A Love Poem\\\" for M.S.\\n \\nJoel Oppenheimer\\n00:38:33\\nReads \\\"A Love Poem\\\".\\n \\nJoel Oppenheimer\\n00:39:08\\nOh yeah, that's a nice poem for today. \\\"Third of April\\\", for M.R.\\n \\nJoel Oppenheimer\\n00:39:16\\nReads \\\"Third of April\\\".\\n \\nJoel Oppenheimer\\n00:39:59\\n\\\"A Five Act Play\\\" for B.J.\\n \\nJoel Oppenheimer\\n00:40:02\\nReads \\\"A Five Act Play\\\".\\n \\nJoel Oppenheimer\\n00:40:27\\n\\\"Nature Boy\\\" for B.C. Helen, are you keeping notes on these initials?\\n \\nJoel Oppenheimer\\n00:40:41\\nReads \\\"Nature Boy\\\".\\n \\nJoel Oppenheimer\\n00:41:22\\n\\\"Flora\\\" for J.G.\\n \\nAnnotation\\n00:41:31\\nReads \\\"Flora\\\".\\n \\nJoel Oppenheimer\\n00:42:04\\nI'm not sure I like this poem but the story behind it is funny. The really, the fairest break-up, for very strange reasons, and this one literally broke up because the first day that the chick made me sunny-side up eggs, she mashed the yolk with her fork. [Audience laughter]. I knew that no matter how beautiful the scene had been I couldn't stay there anymore. It's called \\\"Purple Flowers\\\" and it's for S.G., wherever you might be.\\n \\nJoel Oppenheimer\\n00:42:54\\nReads \\\"Purple Flowers\\\" [audience laughter throughout].\\n \\nJoel Oppenheimer\\n00:43:29\\n\\\"The Apples\\\" for D.R.\\n \\nJoel Oppenheimer\\n00:43:35\\nReads \\\"The Apples\\\".\\n \\nJoel Oppenheimer\\n00:44:10\\nI have--this is the last poem in the book and if you want to hear some stuff from--this is a longish one, why don't we call a stop after this, and if people want to split, split and if people want to stay I'll read a little bit more from the new book. \\\"When What You Dream\\\" for F.E.\\n \\nJoel Oppenheimer\\n00:44:45\\nReads \\\"When What You Dream\\\".\\n \\nJoel Oppenheimer\\n00:51:07\\nThis book starts with a poem that was turned down by at least 37 little magazines, and I finally blackjacked it in as the introductory poem. It's called \\\"The Poem\\\".\\n \\nJoel Oppenheimer\\n00:51:36\\nReads \\\"The Poem\\\" [from In Time: 1962-1968].\\n \\nJoel Oppenheimer\\n00:51:45\\nNobody liked it. Dan Rice is the only person in the world I know that likes that poem. And I think it's the best poem I ever wrote. This is a poem for the other poet I have to most love for, Li Po [https://www.wikidata.org/wiki/Q7071], the Chinese poet from 700, 800, roughly. It's called \\\"shooting the moon\\\". Li Po, his particular distinctions were that he seduced the emperor of China's [https://www.wikidata.org/wiki/Q148] favourite courtesan, and showed up two hours late for the date, bombed out of his skull, and fell asleep on her bosom before doing anything, and the emperor was not terribly amused by it but at the same time he was impressed by the enormity of the action so he exiled him to the mountains but he gave him like 50 thousand acres and bread for life, it's just he was not to show up in court ever again. While there, he did several notable things, one of which is writing the best lush poem that's ever been written cause he got up on a beautiful spring day and was sitting out on his terrace and his servant brought him breakfast and he ate it and he started drinking some sake and the next thing he knew it was nine o'clock at night and like he had sorta missed spring so he started drinking again, and the last line of the poem is something like \\\"two hours later I was dancing with the moon\\\". So, he worked it out. The only problem was, that he was literally in love with the moon, and this image runs through his poem, and one night on the way home from a wine tavern, he decided finally to make it with the moon and he sat down at the edge of the river, left it under a rock with his clothes and dove in to screw the moon, literally, the reflection in the water, and drowned. And one hopes that--I don't know what the autopsy showed, but one hopes that he did make it before he drowned, you know, like, you have to love, you know, a guy like that.\\n \\nJoel Oppenheimer\\n00:54:28\\nReads \\\"Shooting the Moon\\\" [from In Time: 1962-1968].\\n \\nJoel Oppenheimer\\n00:56:37\\nHelen, do you remember, by any chance, where the other moon poem is? Hold on one--I think I have it. Marvelous picture in the Times [https://www.wikidata.org/wiki/Q9684] one day, the first time they took a--the first time one of the things went around the moon, and I wrote a very funny poem about it I think, if I can find it here. Oh well, while I'm looking for it, I'll read you \\\"Zeus, in May, Reflects on a Recent Letter from Astarte\\\".\\n \\nJoel Oppenheimer\\n00:57:53\\nReads \\\"Zeus, in May, Reflects on a Recent Letter from Astarte\\\" [from In Time: 1962-1968].\\n \\nJoel Oppenheimer\\n00:58:37\\nAm I allowed to read dirty poems here? Yeah? This is a poem called \\\"Poem in Praise of Perseverance\\\". And anybody who doesn't want to hear it should close their ears. This is another poem that was rejected by about 40 magazines.\\n \\nJoel Oppenheimer\\n00:59:05\\nReads \\\"Poem in Praise of Perseverance\\\" [from In Time: 1962-1968].\\n \\nJoel Oppenheimer\\n00:59:34\\nI really do want to find that damn moon poem. Alright, \\\"The New Standard Simplified American Cabala for Home Use\\\".\\n \\nJoel Oppenheimer\\n00:59:53\\nReads \\\"The New Standard Simplified American Cabala for Home Use\\\" [from In Time: 1962-1968].\\n \\nJoel Oppenheimer\\n01:00:12\\n\\\"The Three Old Ladies\\\".\\n \\nJoel Oppenheimer\\n01:00:24\\nReads \\\"The Three Old Ladies\\\" [from In Time: 1962-1968].\\n \\nJoel Oppenheimer\\n01:01:14\\nThat poem incidentally was because of a little incident in a college in Brooklyn [https://www.wikidata.org/wiki/Q18419] because they had a lady faculty member as a cop and she listened to me read and she objected to only one word in the entire reading and that was 'hard-on' and I suggested gently to the woman who called me about it that that might be that lady's problem, if she could listen to my--I found the moon poem, thank god--if that was the only word she found to object to that I really thought she might need a little help somewhere from somebody. \\\"Wrong Again\\\".\\n \\nJoel Oppenheimer\\n01:02:11\\nReads \\\"Wrong Again\\\" [from In Time: 1962-1968; audience laughter throughout].\\n \\nEND\\n01:03:25\\n[Cut off abruptly].\",\"notes\":\"Joel Oppeheimer reads from In Time: Poems 1962-1968 (Bobbs-Merrill,1969) as well as poems from Just Friends/Friends and Lovers (Jargon Society) which was only published in 1980.\\n\\n00:00- Introduction for Joel Oppeheimer, by George Bowering [INDEX: Black Mountain,       director of the St. Mark’s Poetry Project, In Time published by Bobbs-Merrill distributed   by McCaulin Stewart.]\\n00:44- Joel Oppenheimer speaks, introduces “Orpheus” [INDEX: Black Mountain Softball pitcher, United States Merchant Marine uniform. The New American Poetry, The Dutiful Son, Love Bit, Johnathan Williams, Friends and Lovers, initialed inscriptions explained]\\n02:52- Reads “Orpheus” from Friends and Lovers\\n03:20- Introduces “Lesson I” [INDEX: Charles Olson, Ezra Pound’s Usury Cantos, Etruscan sculpture]\\n03:54- Reads “Lesson I”\\n04:30- Introduces “The Boys Whose Fathers” [INDEX: Franz Klein]\\n04:57- Reads “The Boys Whose Fathers”\\n08:31- Introduces “A Poem In Tune With Its Time” [INDEX: Cubby Selby’s Last Exit to               Brooklyn]\\n08:39- Reads “A Poem In Tune With Its Time”\\n09:13- Introduces “New York Abstract Expressionist School: For Philip Guston”, published as “A Grace for Painters” [INDEX: Philip Guston, New York Abstract Expressionist school]\\n09:30- Reads “A Grace for Painters”\\n11:21- Introduces “Okay” [INDEX: Charles Olson, written in 1961, personal poems for friends]\\n12:10- Reads “Okay”\\n13:54- Introduces “The Fourth Ark Royal” [Howard Fink List “The Fourthork Royal”]         [INDEX: Charles Olson, New York’s China Town. Ed Dorn, LeRoi Jones, Dylan’s Bar,              Forth ArK Royal sailors, Corvette]\\n16:03- Reads “The Fourth Ark Royal” [INDEX: Stan[ley Hoffman], George [Bowering],     Plains of Abraham, Quebec City, Canada Today magazine]\\n20:03- Introduces “Spring Poem”\\n21:24- Reads “Spring Poem”\\n21:39- Introduces “The Aces” [INDEX: Gil[bert] Sorrentino, Shakespeare’s “Anthony and     Cleopatra”]\\n22:28- Reads “The Aces”\\n23:36- Introduces poem for J.C, first line “There are waterfalls pour straight down...”\\n23:56- Reads first line “There are waterfalls pour straight down...”\\n24:48- Introduces “La Revolucion”\\n24:51- Reads “La Revolucion”\\n25:55- Introduces “A Little Mayan Head”\\n26:23- Reads “A Little Mayan Head”\\n30:23- Introduces “N.B.” [INDEX: “Nota Bene”]\\n30:34- Reads “N.B.”\\n31:10- Introduces “Poem for New Children” [INDEX: poem for children]\\n31:14- Reads “Poem for New Children”\\n31:35- Introduces “Peire Vidal at Thirty-Two” [Howard Fink List “Pervy Dahl at 32”]         [INDEX: George Bowering, Peire Vidal, Toulouse]\\n32:44- Reads “Peire Vidal at Thirty-Two”\\n33:16- Introduces “The Truck Farmer”\\n33:25- Reads “The Truck Farmer”\\n35:01- Introduces “Dutch Interior: Sewing” [INDEX: R.F. initial is his first wife]\\n35:07- Reads “Dutch Interior: Sewing”\\n35:36- Introduces “Clams on a Half-Shelf”\\n36:09- Reads “Clams on a Half-Shelf”\\n36:48- Introduces “New Blues for the Moon” [INDEX: Women’s Liberation Movement        branded as insulting to women]\\n37:34- Reads “New Blues for the Moon”\\n38:10- Introduces “A Love Poem”\\n38:33- Reads “A Love Poem”\\n39:08- Introduces “Third of April”\\n39:16- Reads “Third of April”\\n39:59- Introduces “A Five Act Play”\\n40:02- Reads “A Five Act Play”\\n40:27- Introduces “Nature Boy”\\n40:41- Reads “Nature Boy”\\n41:22- Introduces “Flora”\\n41:31- Reads “Flora”\\n42:04- Introduces “Purple Flowers”\\n42:54- Reads “Purple Flowers”\\n43:29- Introduces “The Apples”\\n43:35- Reads “The Apples”\\n44:10- Introduces “When What You Dream”\\n44:45- Reads “When What You Dream”\\n51:07- Introduces “the poem” from In Time Poems\\n51:36- Reads “the poem”\\n51:45- Introduces “shooting the moon” [INDEX: Dan Rice, Li Po seducing the moon, moon imagery]\\n54:28- Reads “shooting the moon”\\n56:37- Introduces “zeus, in may, reflects on a recent letter from astarte” [Howard Fink List: Xertes] [INDEX: Times magazine picture of the moon]\\n57:53- Reads “zeus in may, reflects on a recent letter from astarte”\\n58:37- Introduces “poem in praise of perseverance” [INDEX: “dirty” poems]\\n59:05- Reads “poem in praise of perseverance”\\n59:34- Introduces “the new standard simplified american cabala for home use”\\n59:53- Reads “the new standard simplified american cabala for home use”\\n1:00:12- Introduces “the three old ladies”\\n1:00:24- Reads “the three old ladies”\\n1:01:14- Introduces “wrong again” [INDEX: reading at a college in Brooklyn]\\n1:02:11- Reads “wrong again”\\n1:03:25- END OF RECORDING\\n \\nHoward Fink List:\\nIntroduction by George Bowering\\nRecorded April 3, 1970\\npage 77\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/joel-oppenheimer-at-sgwu-1970/\"}]"],"score":1.8530173},{"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":1.8530173},{"id":"1473","cataloger_name":["Emma,Telaro"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Alan Lord collection"],"source_collection_label":["Alan Lord collection"],"collection_contributing_unit":["SpokenWeb at Concordia University"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Alan Lord collection contains all the archives regarding the Ultimatum poetry readings and the Ultimatum & Ultimatum II festivals, including film, sound and documentation."],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Daniel Guimond at Ultimatum Festival 1985-05-01 "],"item_title_source":["Container and Brochure "],"item_title_note":["On tape \"U-1-1\" and festival schedule corroborated in brochure. "],"item_language":["English, French"],"item_production_context":["Documentary recording"],"item_series_title":["Alan Lord Collection"],"item_subseries_title":["Ultimatum [1]"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. Alan Lord has permission waivers. We may wish to seek permission from individual artists.  "],"creator_names":["Guimond, Daniel"],"creator_names_search":["Guimond, Daniel"],"creators":["[{\"url\":\"http://viaf.org/viaf/256764592\",\"name\":\"Guimond, Daniel \",\"dates\":\"1959-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors_names":["Lord, Alan"],"contributors_names_search":["Lord, Alan"],"contributors":["[{\"url\":\"http://viaf.org/viaf/80186482\",\"name\":\"Lord, Alan\",\"dates\":\"1954-\",\"notes\":\"Alan Lord has been designated Contributor when in the role of series organizer and Creator when in the role of Performer. \",\"nation\":[],\"role\":[\"Series organizer\"]}]"],"Series_organizer_name":["Lord, Alan"],"Performance_Date":[1985],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"Tracks 1-8\",\"image\":\"../Uploads/3588/Daniel Guimond Tape U-1-1.png\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Ampex 406\",\"generations\":\"Audio taken from original reel to reel 8 track tape.\",\"Conservation\":\"Perforation repairs. Baked. \",\"equalization\":\"NAB. 700Hz. -1db.\",\"playback_mode\":\"Mono\",\"playing_speed\":\"15 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"8 track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Tape box. Handwritten notes on front and back. Sticker identifying tape as U-1-1.\",\"other_physical_description\":\"Reel U-1-1\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://files.spokenweb.ca/concordia/alanlord/2/Deliverables/Audio_Deliverables/U-1-1/U-1-1_t08_preservation.wav\",\"file_path\":\"\",\"filename\":\"U-1-1_t08_preservation.wav\",\"channel_field\":\"Mono\",\"sample_rate\":\"96kHz\",\"duration\":\"00:16:09\",\"precision\":\"\",\"size\":\"279.2 MB\",\"bitrate\":\"2304000 \",\"encoding\":\"Waveform \",\"contents\":\"This is track 8 of 8 tracks on tape U-1-1 containing vocal track from Daniel Guimond performance. \",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/alanlord/2/Deliverables/Audio_Deliverables/U-1-1/U-1-1_t02_preservation.wav\",\"file_path\":\"\",\"filename\":\"U-1-1/U-1-1_t02_preservation.wav\",\"channel_field\":\"Mono\",\"sample_rate\":\"96kHz\",\"duration\":\"00:16:16\",\"precision\":\"\",\"size\":\"281.1 MB\",\"bitrate\":\"2304000\",\"encoding\":\"Waveform \",\"contents\":\"This is track 2 of 8 tracks on tape U-1-1 containing a backing track from Daniel Guimond performance. \",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/alanlord/2/Deliverables/Audio_Deliverables/U-1-1/U-1-1_t06_preservation.wav\",\"file_path\":\"\",\"filename\":\"U-1-1_t06_preservation.wav\",\"channel_field\":\"Mono\",\"sample_rate\":\"96kHz\",\"duration\":\"00:16:09\",\"precision\":\"\",\"size\":\"279.2 MB\",\"bitrate\":\"2304000 \",\"encoding\":\"Waveform \",\"contents\":\"This is track 6 of 8 tracks on tape U-1-1 containing a back track from Daniel Guimond performance. \",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/alanlord/2/Deliverables/Audio_Deliverables/U-1-1/U-1-1_t05_preservation.wav\",\"file_path\":\"\",\"filename\":\"U-1-1_t05_preservation.wav\",\"channel_field\":\"Mono\",\"sample_rate\":\"96kHz\",\"duration\":\"00:16:09\",\"precision\":\"\",\"size\":\"279.2 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Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/alanlord/2/Deliverables/Audio_Deliverables/U-1-1/U-1-1_t03_preservation.wav\",\"file_path\":\"\",\"filename\":\"U-1-1_t03_preservation.wav\",\"channel_field\":\"Mono\",\"sample_rate\":\"96kHz\",\"duration\":\"00:16:16\",\"precision\":\"\",\"size\":\"281.1 MB\",\"bitrate\":\"2304000 \",\"encoding\":\"Waveform \",\"contents\":\"This is track 3 of 8 tracks on tape U-1-1 from Daniel Guimond performance containing no signal. \",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/alanlord/2/Deliverables/Audio_Deliverables/U-1-1/U-1-1_t01_preservation.wav\",\"file_path\":\"\",\"filename\":\"U-1-1_t01_preservation.wav\",\"channel_field\":\"Mono\",\"sample_rate\":\"96kHz\",\"duration\":\"00:16:16\",\"precision\":\"\",\"size\":\"281.1 MB\",\"bitrate\":\"2304000 \",\"encoding\":\"Waveform \",\"contents\":\"This is Track 1 of 8 tracks on tape U-1-1 containing a vocal track from Daniel Guimond performance. \",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/alanlord/2/Deliverables/Audio_Deliverables/U-1-1/U-1-1_t07_preservation.wav\",\"file_path\":\"\",\"filename\":\"U-1-1_t07_preservation.wav\",\"channel_field\":\"Mono\",\"sample_rate\":\"96kHz\",\"duration\":\"00:16:09\",\"precision\":\"\",\"size\":\"279.2 MB\",\"bitrate\":\"2304000 \",\"encoding\":\"Waveform \",\"contents\":\"This is track 7 of 8 tracks on tape U-1-1 from Daniel Guimond performance. Weak signal.\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://drive.google.com/drive/u/1/folders/159po7gLf37T_uUBLTBk6flt9qZmR2LU3\",\"file_path\":\"\",\"filename\":\"Ultimatum_Mixdown_Daniel Guimond_U-1-1_T1_T2_T3_T4_T5_T6_T7_T8.mp3\",\"channel_field\":\"Mono\",\"sample_rate\":\"44.1kHz\",\"duration\":\"00:32:36\",\"precision\":\"\",\"size\":\"23.7 MB\",\"bitrate\":\"\",\"encoding\":\"mp3 \",\"contents\":\"Mixdown of Daniel Guimond at Ultimatum Festival 1985-05-01 consisting of tracks 1- 8, spanning xx:xx-of tape U-1-1. For full details on individual tracks see digital file descriptions. \\n\\nTIMESTAMPS\\n\",\"notes\":\"Mixdown created by Emma Telaro on audacity version... date..\",\"title\":\"Mixdown of Daniel Guimond at Ultimatum Festival 1985-05-01\",\"credit\":\"\",\"caption\":\"Mixdown of Daniel Guimond at Ultimatum Festival 1985-05-01\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1985-05-01\",\"type\":\"Performance Date\",\"notes\":\"According to brochure, performance began at 19:00. \",\"source\":\"Container, Brochure \"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1296620055\",\"venue\":\"Foufounes Électriques\",\"notes\":\"\",\"address\":\"87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5\",\"latitude\":\"45.5109472\",\"longitude\":\" -73.5640102\"}]"],"Address":["87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5"],"Venue":["Foufounes Électriques"],"City":["Montreal, Quebec"],"content_notes":["Bilingual \"Ultimatum Programme\" pamphlet describes performance as 'Poésie/Performance\" and \"Performance/Poetry\". \n\n"],"contents":["Ultimatum_Mixdown_Daniel Guimond_U-1-1_T1_T2_T3_T4_T5_T6_T7_T8  \n\nUnknown \n00:00:01.38 \nAmbient noise [high pitched whistle]    \n\nGuimond \n00:00:46.03 \nPerforms poem [underlying vocals can be heard throughout in English and French]. | Keywords: Drove; elusive; film; damage; skin; scar.  \n\nUnknown \n00:01:21.32 \nSilence [possible tape change].    \n\nGuimond \n00:02:25.57 \nPerforms piece. Underlying vocals throughout in English and French [sounds of electronic instrument or saxophone accompany]. | Keywords: Hair; dyed; darker; someone; elusive; rescue; scar; rupturing; integrity; exercise; contaminate; ramifications; cessation; hospital bed; overdose coma; older; ashtrays; bottles; gasping; air.     \n\nGuimond \n00:06:31.91 \nAmbient sounds [melodic recording and sounds of hitting/materials coming into contact]. Vocals can be heard unintelligibly.     \n\nGuimond \n00:08:02.60 \nFrench vocals.    \n\nGuimond \n00:11:01.69 \nMultilingual vocals (French and English) overlapping over electronic beat.    \n\nGuimond \n00:12:36.13 \nEnglish vocals. | Keyword: Mind; outset; responsible; stop; maintaining; invitation; skin; drugs; changed; spines; clear; reading; pages.  G\n\nGuimond \n00:15:14.57 \nVarious recorded sounds [recording of dogs or animals, voices running water, high pitched whistle] interspersed with French vocals.  \n\nGuimond \n00:16:23.06 \nFrench vocals.    \n\nGuimond \n00:21:45.02 \nVarious sounds [synthesizer, recordings; melodic, electric guitar, vocals (unintelligible)].  \n\nGuimond \n00:26:57.85 \nVarious sounds [recorded vocals (English and French), experimental electronics]. | Keywords: Waste; space; turn; job; easy; story; suicide; small.\n\nEND \n00:32:25.75 "],"Related_works":["[{\"url\":\"\",\"citation\":\"Cite secondary sources \\nPrimary sources by that performer \\nResearch involved in filling out entries for audio file \"},{\"url\":\"https://files.spokenweb.ca/concordia/alanlord/1/ALAN%20ARCHIVES%20DOCUMENTATION/07%20-%20ULTIMATUM/1%20-%20PHOTOS%20%26%20DOCUMENTATION/0%20-%20ULTIMATUM.pdf\",\"citation\":\"Ultimatum Program/me [Festival Pamphlet]\"},{\"url\":\"\",\"citation\":\"Pattibo. Contact sheets of photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-sheets. Concordia University Library, Special Collections, Montréal, QC.\"}]"],"_version_":1853670548991639552,"timestamp":"2026-01-07T14:59:53.477Z","Note":["[{\"note\":\"Media Preserve Metadata for Tape U-1-1.\\n\\n<MediaAsset>\\n<!-- Original Physical Asset and Transfer Details -->\\n<Original>\\n<Filename>U-1-1</Filename>\\n<Title>Daniel Guimond</Title>\\n<RunningTime>00:16:16</RunningTime>\\n<RecordDate>undated</RecordDate>\\n<FormatType>Open Reel</FormatType>\\n<StockBrand>Ampex</StockBrand>\\n<TapeModel>406</TapeModel>\\n<TapeWidth>1/4\\\"</TapeWidth>\\n<TapeType>Polyester</TapeType>\\n<ReelSize>7\\\"</ReelSize>\\n<TrackConfiguration>8 Track</TrackConfiguration>\\n<SoundField>Mono</SoundField>\\n<RecordingSpeed>15 ips</RecordingSpeed>\\n<NoiseReduction>None</NoiseReduction>\\n<Equalization>NAB</Equalization>\\n<PackOrientation>Heads 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"],"Note":["[]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"},{\"url\":\"\",\"citation\":\"Cite secondary sources \\nPrimary sources by that performer \\nResearch involved in filling out entries for audio file \"}]"],"_version_":1853670548995833856,"timestamp":"2026-01-07T14:59:53.477Z","score":1.8530173},{"id":"1476","cataloger_name":["Sadie,Barker"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Alan Lord collection"],"source_collection_label":["Alan Lord collection"],"collection_contributing_unit":["SpokenWeb at Concordia University"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Alan Lord collection contains all the archives regarding the Ultimatum poetry readings and the Ultimatum & Ultimatum II festivals, including film, sound and documentation."],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Christopher Dewdney at Ultimatum Festival 1985-05-02 "],"item_title_source":["Container and Brochure "],"item_title_note":["On tape \"U-2-1\", \"U-2-2\" and festival schedule corroborated in brochure. "],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["Alan Lord Collection"],"item_subseries_title":["Ultimatum [1]"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. Alan Lord has permission waivers. We may wish to seek permission from individual artists.  "],"creator_names":["Dewdney, Christopher"],"creator_names_search":["Dewdney, Christopher"],"creators":["[{\"url\":\"https://viaf.org/viaf/101952075/\",\"name\":\"Dewdney, Christopher\",\"dates\":\"1951-\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"contributors_names":["Lord, Alan"],"contributors_names_search":["Lord, Alan"],"contributors":["[{\"url\":\"http://viaf.org/viaf/80186482\",\"name\":\"Lord, Alan\",\"dates\":\"1954-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\"]}]"],"Series_organizer_name":["Lord, Alan"],"Performance_Date":[1985],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/3617/Screen Shot 2020-06-13 at 4.47.18 PM.png\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Ampex 460\",\"generations\":\"Audio taken from original reel to reel 8 track tape.\",\"Conservation\":\"Perforation repairs, baked.\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"15 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"8 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"],"digital_description":["[{\"file_url\":\"https://files.spokenweb.ca/concordia/alanlord/2/Deliverables/Audio_Deliverables/U-2-1/U-2-1_t05_preservation.wav\",\"file_path\":\"\",\"filename\":\"U-2-1_t05_preservation.wav\",\"channel_field\":\"Mono\",\"sample_rate\":\"96kHz\",\"duration\":\"00:16:04\",\"precision\":\"\",\"size\":\"85 MB\",\"bitrate\":\"2304000\",\"encoding\":\"Waveform \",\"contents\":\"This is track 5 of 8 tracks on tape U-2-1 containing a vocal track from Christopher Dewdney's performance. \\n\\nDewdney preforms [reads or recites] his poetry set. \",\"notes\":\"*Note for template: create one file description for each track, and use WAV form for entries.\\n\\nOnce final mixes are done, we will include a digital file description of the mix with a note of this sort: \\\"Above based upon mix of following tracks. 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"],"Related_works":["[{\"url\":\"https://files.spokenweb.ca/concordia/alanlord/1/ALAN%20ARCHIVES%20DOCUMENTATION/07%20-%20ULTIMATUM/1%20-%20PHOTOS%20%26%20DOCUMENTATION/0%20-%20ULTIMATUM.pdf\",\"citation\":\"Ultimatum pamphlet. \"},{\"url\":\"\",\"citation\":\"Pattibo. Contact sheets of photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-sheets. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Ultimatum Administrative Council. Various manuscript notes for Ultimatum, Apr. 1985–May 1986, Alan Lord fonds (F039), Box 1, folder AL-Folder1_ult. 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Lord Collection"],"item_subseries_title":["Ultimatum [1]"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. Alan Lord has permission waivers. We may wish to seek permission from individual artists.  "],"creator_names":["Konyves, Tom"],"creator_names_search":["Konyves, Tom"],"creators":["[{\"url\":\"http://viaf.org/viaf/28334185/#Konyves,_Tom\",\"name\":\"Konyves, Tom\",\"dates\":\"1947-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors_names":["Lord, Alan"],"contributors_names_search":["Lord, Alan"],"contributors":["[{\"url\":\"http://viaf.org/viaf/80186482\",\"name\":\"Lord, Alan\",\"dates\":\"1954-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\"]}]"],"Series_organizer_name":["Lord, Alan"],"Performance_Date":[1985],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/3638/Screen Shot 2020-06-16 at 12.00.32 PM.png\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Ampex 460\",\"generations\":\"Audio taken from original reel to reel 8 track tape.\",\"Conservation\":\"Perforation repairs, baked.\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"15 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"00:16:08\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"8 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"],"digital_description":["[{\"file_url\":\"https://files.spokenweb.ca/concordia/alanlord/2/Deliverables/Audio_Deliverables/U-2-2/U-2-2_t01_preservation.wav\",\"file_path\":\"\",\"filename\":\"U-2-2_t01_preservation.wav\",\"channel_field\":\"Mono\",\"sample_rate\":\"96kHz\",\"duration\":\"00:16:08\",\"precision\":\"\",\"size\":\"85.4 MB\",\"bitrate\":\"2304000\",\"encoding\":\"Waveform \",\"contents\":\"This is track 1 of 8 tracks on tape U-2-2 containing a backing track from Tom Konyve's performance. \\n\\nKonyves performance begins at 6:48 (the first half is Christopher Dewdney). Konyves reads/recites over computer-generated sounds. \",\"notes\":\"*Note for template: create one file description for each track, and use WAV form for entries.\\n\\nOnce final mixes are done, we will include a digital file description of the mix with a note of this sort: \\\"Above based upon mix of following tracks. 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Konyves reads/recites over computer-generated sounds. \",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/alanlord/2/Deliverables/Audio_Deliverables/U-2-2/U-2-2_t08_preservation.wav\",\"file_path\":\"\",\"filename\":\"U-2-2_t08_preservation.wav\",\"channel_field\":\"\",\"sample_rate\":\"96kHz\",\"duration\":\"00:16:08\",\"precision\":\"\",\"size\":\"85.4 MB\",\"bitrate\":\"2304000\",\"encoding\":\"Waveform\",\"contents\":\"This is track 8 of 8 tracks on tape U-2-2 containing a \\n vocal track from Tom Konyve's performance. \\n\\nKonyves performance ends at 4:24 (the second half of the track is Bill Bissett's performance). Konyves reads/recites over computer-generated sounds. \",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1985-05-02\",\"type\":\"Performance Date\",\"notes\":\"According to brochure, performance began at 8:00pm.\",\"source\":\"Container, Brochure \"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1296620055\",\"venue\":\"Foufounes Électriques\",\"notes\":\"\",\"address\":\"87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5\",\"latitude\":\"45.5109472\",\"longitude\":\" -73.5640102\"}]"],"Address":["87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5"],"Venue":["Foufounes Électriques"],"City":["Montreal, Quebec"],"contents":["Coming soon. "],"Related_works":["[{\"url\":\"https://files.spokenweb.ca/concordia/alanlord/1/ALAN%20ARCHIVES%20DOCUMENTATION/07%20-%20ULTIMATUM/1%20-%20PHOTOS%20%26%20DOCUMENTATION/0%20-%20ULTIMATUM.pdf\",\"citation\":\"Festival pamphlet.\"},{\"url\":\"\",\"citation\":\"Konyves, Tom. Performance plan, bionote, letter, and photo for Ultimatum, 1983–1985, Alan Lord fonds (F039), Box 1, folder AL-Folder2_kon. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Garnet, Eldon, and Tom Konyves. Typescript of \\\"Eldon Garnet 2:32 Ultimatum\\\" and \\\"'Be it resolved' Tom Konyves: $4:25,\\\" c. May [1985?], Alan Lord fonds (F039), Box 1, folder AL-Folder1_gar-kon. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Pattibo. Contact sheets of photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-sheets. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Ultimatum Administrative Council. Various manuscript notes for Ultimatum, Apr. 1985–May 1986, Alan Lord fonds (F039), Box 1, folder AL-Folder1_ult. Concordia University Library, Special Collections, Montréal, QC.\"}]"],"_version_":1853670548998979584,"timestamp":"2026-01-07T14:59:53.477Z","Note":["[{\"note\":\"Media Preserve Metadata for Tape U-2-2.\\n\\n<MediaAsset>\\n<!-- Original Physical Asset and Transfer Details -->\\n<Original>\\n<Filename>U-2-2</Filename>\\n<Title>Christopher Dewdney Tom Konyves Bill Bissett</Title>\\n<RunningTime>00:16:08</RunningTime>\\n<RecordDate>undated</RecordDate>\\n<FormatType>Open Reel</FormatType>\\n<StockBrand>Ampex</StockBrand>\\n<TapeModel>406</TapeModel>\\n<TapeWidth>1/4\\\"</TapeWidth>\\n<TapeType>Polyester</TapeType>\\n<ReelSize>7\\\"</ReelSize>\\n<TrackConfiguration>8 Track</TrackConfiguration>\\n<SoundField>Mono</SoundField>\\n<RecordingSpeed>15 ips</RecordingSpeed>\\n<NoiseReduction>None</NoiseReduction>\\n<Equalization>NAB</Equalization>\\n<PackOrientation>Heads 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"],"item_language":["English, French"],"item_production_context":["Documentary recording"],"item_series_title":["Alan Lord Collection"],"item_subseries_title":["Ultimatum [1]"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. Alan Lord has permission waivers. We may wish to seek permission from individual artists.  "],"creator_names":["Campo, Mario"],"creator_names_search":["Campo, Mario"],"creators":["[{\"url\":\"http://viaf.org/viaf/104028810\",\"name\":\"Campo, Mario\",\"dates\":\"1951-2006\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors_names":["Lord, Alan"],"contributors_names_search":["Lord, Alan"],"contributors":["[{\"url\":\"http://viaf.org/viaf/80186482\",\"name\":\"Lord, Alan\",\"dates\":\"1954-\",\"notes\":\"Alan Lord has been designated Contributor when in the role of series organizer and Creator when in the role of Performer. \",\"nation\":[],\"role\":[\"Series organizer\"]}]"],"Series_organizer_name":["Lord, Alan"],"Performance_Date":[1985],"material_description":["[{\"side\":\"Tracks 1-2. 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Sticker identifying tape as U-1-2.\",\"other_physical_description\":\"Reel U-1-2\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://files.spokenweb.ca/concordia/alanlord/2/Deliverables/Audio_Deliverables/U-1-2/U-1-2_t01_preservation.wav\",\"file_path\":\"\",\"filename\":\"U-1-2_t01_preservation.wav\",\"channel_field\":\"Mono\",\"sample_rate\":\"96kHz\",\"duration\":\"00:13:25\",\"precision\":\"\",\"size\":\"221.15 MB\",\"bitrate\":\"2304000 \",\"encoding\":\"Waveform \",\"contents\":\"This is track 1 of 8 tracks on tape U-1-2 containing backing track from Mario Campo performance. \\n\\nTrack 3 is silent. \",\"notes\":\"From Alan Lord on document file titled NOTES ON ULTIMATUM AUDIO TAPES AND MP3 FILES, \\\"Tracks U-1-2_t01 , U-1-2_t01 : the music tapes backing Mario Campo's reading. 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They were provided by Alan Lord, and is his electronic music plus, band Débris (Lord, Zilon, JM Mignault)\\\". \",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/alanlord/2/Deliverables/Audio_Deliverables/U-1-2/U-1-2_t04_preservation.wav\",\"file_path\":\"\",\"filename\":\"U-1-2_t04_preservation.wav\",\"channel_field\":\"Mono\",\"sample_rate\":\"96kHz\",\"duration\":\"00:13:25\",\"precision\":\"\",\"size\":\"221.15 MB\",\"bitrate\":\"2304000 \",\"encoding\":\"Waveform \",\"contents\":\"This is track 4 of 8 tracks on tape U-1-2 containing vocal track from Mario Campo performance. \\n\\nTrack 3 is silent. \",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1985-05-01\",\"type\":\"Performance Date\",\"notes\":\"According to brochure, performance began at 19:30. \",\"source\":\"Container. Brochure. \"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1296620055\",\"venue\":\"Foufounes Électriques\",\"notes\":\"\",\"address\":\"87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5\",\"latitude\":\"45.5109472\",\"longitude\":\" -73.5640102\"}]"],"Address":["87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5"],"Venue":["Foufounes Électriques"],"City":["Montreal, Quebec"],"content_notes":["Transcription by Emma Telaro\n\nBilingual \"Ultimatum Programme\" pamphlet describes performance as 'Poésie/Performance\" and \"Performance/Poetry\". "],"contents":["Ultimatum_Mixdown_Mario Campo_Tape U-1-2_T1_T2_T4.mp3\n\nThe following is a transcription of Mario Campo’s performance at Ultimatum, Monday May 1st, 1985 at the Foufounes Electriques. Campo reads, sings and chants poems to musical accompaniment. In his memoirs, Alan Lord writes how Campo first appeared onstage dressed in the head of an extraterrestrial, later changing into Bedouin headdress to perform Arabesque. This piece is included in the Ultimatum LP, which lists music and bass by Alan Lord, electronic percussions by Jean-Martin Mignault, vocals by Zilon and words and voice by Mario Campo. The performance is further referenced on Campo’s website, under the ‘biographie’ section, which provides a narrative account of his literary activities. Campo was a writer and poet involved with several alternative scenes, among some of his publications are the collections L’Anovulatoire (1978) and Coma Laudanum (1979). To access some of these writings and learn more about his biography, see his website dedicated to his art and memory, created by Alan Lord and Pierre Zovilé. \n\nTRANSCRIPT\n\nMario Campo \n00:00:00\nPerforms [electric sounds, poetry, drums] | Keywords: satellite, l’homme-singe, dinosaurs, ordinateurs, civilization.\n\nMario Campo\n00:02:28\nPerforms [transitions into new piece, electric sounds, poetry, drums] Keywords: miroir, humanoid, obsession, fixations, cure, piqûre, mercure. \n\nAudience \n00:04:38\nApplause [ambient sounds, cough]\n\nMario Campo \n00:05:03\nPerform “Arabesque” with electronic music by band Débris [electronic percussions, bass, vocals, music, chant, poetry] | Keywords: cité de minaret, fumé, fakir, kalif, saladin, baazar, balthazar, Koran, danse macabre, mosqué.  \n\nAudience\n00:08:30\nApplause\n\nMario Campo\n00:08:48\nPerforms [guitar, drums, electronic sounds, poetry] Keyword: Paris, flesh, danger, lust, love, syphilis, Verlaine, spleen, Baudelaire, pigale, Montparnasse. \n\nEND\n00:13:11 \nApplause\n"],"Related_works":["[{\"url\":\"https://files.spokenweb.ca/concordia/alanlord/1/ALAN%20ARCHIVES%20DOCUMENTATION/07%20-%20ULTIMATUM/1%20-%20PHOTOS%20%26%20DOCUMENTATION/0%20-%20ULTIMATUM.pdf\",\"citation\":\"Ultimatum Program/me [Pamphlet]\"},{\"url\":\"http://mario-campo-poete.com/mariocampo-ultimatum85.html\",\"citation\":\"Website dedicated to Mario Campo's art and memory, created by Alan Lord and Pierre Zovilé. \"},{\"url\":\"https://soundcloud.com/alan-lord-4/10-mario-campo-arabesque\",\"citation\":\"Soundcloud link, selected performances from Ultimatum 85. Mario Campo performs \\\"Arabesque\\\". \"},{\"url\":\"https://www.discogs.com/release/2341164-Various-Ultimatum\",\"citation\":\"Discogs entry Ultimatum LP.\"},{\"url\":\"\",\"citation\":\"Alan Lord unpublished memoirs \"},{\"url\":\"https://ici.radio-canada.ca/ohdio/premiere/emissions/plus-on-est-de-fous-plus-on-lit/segments/prestation/5447/jean-paul-daoust-mario-campo-poesie\",\"citation\":\"Radio-Canada coverage of Mario Campo [Jean-Paul Daoust]\"},{\"url\":\"https://numerique.banq.qc.ca/patrimoine/details/52327/4047154\",\"citation\":\"Digitized copy of Mario Campo's book \\\"L'anovulatoire\\\" [Bibliothèque et Archives nationales du Québec]. \"},{\"url\":\"https://e-artexte.ca/id/eprint/9222/\",\"citation\":\"Collection of interviews featuring Mario Campo and other italo-quebecois artists [e-artexte]. \"},{\"url\":\"\",\"citation\":\"Campo, Mario. Contract and partial résumé for Ultimatum, Mar. 1985, Alan Lord fonds (F039), Box 1, folder AL-Folder2_cam. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Pattibo. Contact sheets of photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-sheets. Concordia University Library, Special Collections, Montréal, QC.\"}]"],"_version_":1853670549002125312,"timestamp":"2026-01-07T14:59:53.477Z","Note":["[{\"note\":\"Multitrack Mix File Name: Ultimatum_Mixdown_Mario Campo_U-1-2_T1_T2_T4.mp3\",\"type\":\"General\"},{\"note\":\"Media Preserve Metadata for Tape U-1-2.\\n\\n<MediaAsset>\\n<!-- Original Physical Asset and Transfer Details -->\\n<Original>\\n<Filename>U-1-2</Filename>\\n<Title>Mario Campo Michel Lefebvre</Title>\\n<RunningTime>00:13:25</RunningTime>\\n<RecordDate>undated</RecordDate>\\n<FormatType>Open Reel</FormatType>\\n<StockBrand>Ampex</StockBrand>\\n<TapeModel>406</TapeModel>\\n<TapeWidth>1/4\\\"</TapeWidth>\\n<TapeType>Polyester</TapeType>\\n<ReelSize>7\\\"</ReelSize>\\n<TrackConfiguration>8 Track</TrackConfiguration>\\n<SoundField>Mono</SoundField>\\n<RecordingSpeed>15 ips</RecordingSpeed>\\n<NoiseReduction>None</NoiseReduction>\\n<Equalization>NAB</Equalization>\\n<PackOrientation>Heads 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Brochure.\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1296620055\",\"venue\":\"Foufounes Électriques\",\"notes\":\"\",\"address\":\"87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5\",\"latitude\":\"45.5109472\",\"longitude\":\" -73.5640102\"}]"],"Address":["87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5"],"Venue":["Foufounes Électriques"],"City":["Montreal, Quebec"],"content_notes":["Transcription by Emma Telaro. \n\nBilingual \"Ultimatum Programme\" pamphlet announces the performance of \"Les Tables de Babylone\". "],"contents":["Ultimatum_Mixdown_Michel Lefebvre_U-1-2_T5_T6_T8_U-1-3_T1_T2.mp3\n\nThe following is a transcription of Michel Lefebvre’s performance at Ultimatum, Monday May 1st, 1985 at the Foufounes Electriques. The Ultimatum festival program titles the performance as “Les Tables de Babylone” and Alan Lord describes the scene in his memoirs: “A quite visibly and audibly tipsy Michel Lefebvre dressed as a space alien, knocking over vials of liquid on a table, with a girl in a Hugo Ball costume hovering robotically nearby”. She is possibly the source of a woman’s voice in the recording, who chants and recites poetry as Lefebvre performs sounds, poems and various theatrical noises.\n\nTRANSCRIPTION\n\nMichel Lefebvre\n00:00:00\nPerforms as female voice chants and recites poetry throughout [electric guitar, music, chanting, yelling, recorded voices, human voices, female voice, poetry, electronic noises].\n\n[Unknown]\n00:3:57 \nPause [ambient sounds].\n\nMichel Lefebvre\n00:04:24\nContinues to perform sounds [chanting, poetry, drums, electronic sounds, vocal performance, group, female voice, drums, recorded voices, human voices] Keywords: orgueil, organe, bistoury, chirurgie.\n\nUnknown\n00:16:09\n[tape cut]\n\nMichel Lefebvre \n00:16:12\nContinues performance [recording cuts into electric guitar, human voices, singing, chanting, drums].\n\nUnknown\n00:18:53 \nPause [ambient sounds and mumbling into microphone]. \n\nMichel Lefebvre\n00:19:06\nPerforms instrumental [electric guitar].\n\nEND\n00:23:08\n"],"Related_works":["[{\"url\":\"https://files.spokenweb.ca/concordia/alanlord/1/ALAN%20ARCHIVES%20DOCUMENTATION/07%20-%20ULTIMATUM/1%20-%20PHOTOS%20%26%20DOCUMENTATION/0%20-%20ULTIMATUM.pdf\",\"citation\":\"Ultimatum Program/me [Pamphlet] \"},{\"url\":\"\",\"citation\":\"Alan Lord unpublished memoirs.\"},{\"url\":\"\",\"citation\":\"Lefebvre, Michel. Facsimiled copy of \\\"Les tables de Babylone,\\\" 1985, Alan Lord fonds (F039), Box 1, folder AL-Folder1_lef. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Lefebvre, Michel. Proposal and résumé for Ultimatum, 1984–1985, Alan Lord fonds (F039), Box 1, folder AL-Folder2_lef. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Pattibo. Contact sheets of photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-sheets. 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For full details on tracks see digital file descriptions\\\".\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/alanlord/2/Deliverables/Audio_Deliverables/U-2-2/U-2-2_t06_preservation.wav\",\"file_path\":\"\",\"filename\":\"U-2-2_t06_preservation.wav\",\"channel_field\":\"Mono\",\"sample_rate\":\"96kHz\",\"duration\":\"00:16:08\",\"precision\":\"\",\"size\":\" 85.4 MB\",\"bitrate\":\"2304000\",\"encoding\":\"\",\"contents\":\"This is track 6 of 8 tracks on tape U-2-2 containing a \\n vocal track from Bisset's performance.\\n\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/alanlord/2/Deliverables/Audio_Deliverables/U-2-2/U-2-2_t07_preservation.wav\",\"file_path\":\"\",\"filename\":\"U-2-2_t07_preservation.wav\",\"channel_field\":\"\",\"sample_rate\":\"96kHz\",\"duration\":\"00:16:08\",\"precision\":\"\",\"size\":\"85.4 MB\",\"bitrate\":\"2304000\",\"encoding\":\"\",\"contents\":\"This is track 7 of 8 tracks on tape U-2-2 containing a \\n vocal track from Bisset's performance.\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/alanlord/2/Deliverables/Audio_Deliverables/U-2-2/U-2-2_t08_preservation.wav\",\"file_path\":\"\",\"filename\":\"U-2-2_t08_preservation.wav\",\"channel_field\":\"Mono\",\"sample_rate\":\"96kHz\",\"duration\":\"00:16:08\",\"precision\":\"\",\"size\":\"85.4 MB\",\"bitrate\":\"2304000\",\"encoding\":\"\",\"contents\":\"This is track 8 of 8 tracks on tape U-2-2 containing a \\n vocal track from Bisset's performance.\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/alanlord/2/Deliverables/Audio_Deliverables/U-2-3/U-2-3_t03_preservation.wav\",\"file_path\":\"\",\"filename\":\"U-2-3_t03_preservation.wav\",\"channel_field\":\"Mono\",\"sample_rate\":\"96kHz\",\"duration\":\"00:15:41\",\"precision\":\"\",\"size\":\"83 MB\",\"bitrate\":\"2304000\",\"encoding\":\"\",\"contents\":\"This is track 3 of 8 tracks on tape U-2-3 containing a \\n vocal track from Bisset's performance.\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/alanlord/2/Deliverables/Audio_Deliverables/U-2-3/U-2-3_t04_preservation.wav\",\"file_path\":\"\",\"filename\":\"U-2-3_t04_preservation.wav\",\"channel_field\":\"Mono\",\"sample_rate\":\"96kHz\",\"duration\":\"00:15:41\",\"precision\":\"\",\"size\":\"83 MB\",\"bitrate\":\"2304000\",\"encoding\":\"\",\"contents\":\"This is track 4 of 8 tracks on tape U-2-3 containing a \\n vocal track from Bisset's performance.\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1985-05-02\",\"type\":\"Performance Date\",\"notes\":\"According to brochure, performance began at 8:30PM\",\"source\":\"Container. Brochure.\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1296620055\",\"venue\":\"Foufounes Électriques\",\"notes\":\"\",\"address\":\"87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5\",\"latitude\":\"45.5109472\",\"longitude\":\" -73.5640102\"}]"],"Address":["87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5"],"Venue":["Foufounes Électriques"],"City":["Montreal, Quebec"],"content_notes":["Rename mp3 to correct spelling of surname: bissett"],"contents":["Ultimatum_Mixdown_Bill Bisset_U-2-2_T5_T6_T7_T8_U-2-3_T3_T4.mp3  \n \n"],"Related_works":["[{\"url\":\"https://files.spokenweb.ca/concordia/alanlord/1/ALAN%20ARCHIVES%20DOCUMENTATION/07%20-%20ULTIMATUM/1%20-%20PHOTOS%20%26%20DOCUMENTATION/0%20-%20ULTIMATUM.pdf\",\"citation\":\"Festival pamphlet. \"},{\"url\":\"\",\"citation\":\"bissett, bill. Annotated trypescripts of poems for Ultimatum, [20?] Feb. 1985, Alan Lord fonds (F039), Box 1, folder AL-Folder1_bis. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"bissett, bill. Contract for Ultimatum, letters, poems, and press release, c. 20 Feb. 1985, Alan Lord fonds (F039), Box 1, folder AL-Folder2_bis. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Rosen, Allan. Photo of bill bissett, n.d., Alan Lord fonds (F039), Box 1, folder AL-Folder2_bis. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Strom, Millie. Photo of bill bissett, n.d., Alan Lord fonds (F039), Box 1, folder AL-Folder2_bis. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Pattibo. Contact sheets of photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-sheets. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Pattibo. Photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-photos. Concordia University Library, Special Collections, Montréal, QC.\"}]"],"_version_":1853670549008416768,"timestamp":"2026-01-07T14:59:53.477Z","Note":["[{\"note\":\"Media Preserve Metadata for Tape U-2-2. \\n\\n<MediaAsset>\\n<!-- Original Physical Asset and Transfer Details -->\\n<Original>\\n<Filename>U-2-2</Filename>\\n<Title>Christopher Dewdney Tom Konyves Bill Bissett</Title>\\n<RunningTime>00:16:08</RunningTime>\\n<RecordDate>undated</RecordDate>\\n<FormatType>Open Reel</FormatType>\\n<StockBrand>Ampex</StockBrand>\\n<TapeModel>406</TapeModel>\\n<TapeWidth>1/4\\\"</TapeWidth>\\n<TapeType>Polyester</TapeType>\\n<ReelSize>7\\\"</ReelSize>\\n<TrackConfiguration>8 Track</TrackConfiguration>\\n<SoundField>Mono</SoundField>\\n<RecordingSpeed>15 ips</RecordingSpeed>\\n<NoiseReduction>None</NoiseReduction>\\n<Equalization>NAB</Equalization>\\n<PackOrientation>Heads 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Brochure.\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"},{\"url\":\"https://www.openstreetmap.org/node/1296620055\",\"venue\":\"Foufounes Électriques\",\"notes\":\"\",\"address\":\"87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5\",\"latitude\":\"45.5109472\",\"longitude\":\" -73.5640102\"}]"],"Address":["87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5"],"Venue":["Foufounes Électriques"],"City":["Montreal, Quebec"],"contents":["Coming soon. "],"Related_works":["[{\"url\":\"https://files.spokenweb.ca/concordia/alanlord/1/ALAN%20ARCHIVES%20DOCUMENTATION/07%20-%20ULTIMATUM/1%20-%20PHOTOS%20%26%20DOCUMENTATION/0%20-%20ULTIMATUM.pdf\",\"citation\":\"Festival pamphlet. \"},{\"url\":\"\",\"citation\":\"Ultimatum Administrative Council. Various manuscript notes for Ultimatum, Apr. 1985–May 1986, Alan Lord fonds (F039), Box 1, folder AL-Folder1_ult. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Pattibo. Contact sheets of photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-sheets. 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"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["Alan Lord Collection"],"item_subseries_title":["Ultimatum [1]"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. Alan Lord has permission waivers. We may wish to seek permission from individual artists.  "],"creator_names":["Truhlar, Richard","Owen Sound","Dean, Michael","Smith, Steven"],"creator_names_search":["Truhlar, Richard","Owen Sound","Dean, Michael","Smith, Steven"],"creators":["[{\"url\":\"https://viaf.org/viaf/38165242\",\"name\":\"Truhlar, Richard\",\"dates\":\"1950-2013\",\"notes\":\"Band member of Owen Sound.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/1202154075979611860004\",\"name\":\"Owen Sound\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/832169261592509510009/\",\"name\":\"Dean, Michael\",\"dates\":\"\",\"notes\":\"Band member of Owen Sound.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Smith, Steven\",\"dates\":\"1945-\",\"notes\":\"Band member of Owen Sound.\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors_names":["Lord, Alan"],"contributors_names_search":["Lord, Alan"],"contributors":["[{\"url\":\"http://viaf.org/viaf/80186482\",\"name\":\"Lord, Alan\",\"dates\":\"1954-\",\"notes\":\"Alan Lord has been designated Contributor when in the role of series organizer and Creator when in the role of Performer. \",\"nation\":[],\"role\":[\"Series organizer\"]}]"],"Series_organizer_name":["Lord, Alan"],"Performance_Date":[1985],"material_description":["[{\"side\":\"Tracks 3 - 8\",\"image\":\"../Uploads/3671/Screen Shot 2020-07-01 at 6.09.29 PM.png\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Ampex 460\",\"generations\":\"Audio taken from original reel to reel 8 track tape.\",\"Conservation\":\"Perforation repairs. 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No specific indication.\\n\\n\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/alanlord/2/Deliverables/Audio_Deliverables/U-2-3/U-2-3_t06_preservation.wav\",\"file_path\":\"\",\"filename\":\"U-2-3_t06_preservation.wav\",\"channel_field\":\"Mono\",\"sample_rate\":\"96kHz\",\"duration\":\"00:15:41\",\"precision\":\"\",\"size\":\"83 MB\",\"bitrate\":\"2304000\",\"encoding\":\"Waveform\",\"contents\":\"This is track 6 of 8 tracks on tape U-2-3 from Owen Sound's performance. No specific indication.\\n\\nBrief description of audio. \",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/alanlord/2/Deliverables/Audio_Deliverables/U-2-3/U-2-3_t07_preservation.wav\",\"file_path\":\"\",\"filename\":\"U-2-3_t07_preservation.wav\",\"channel_field\":\"\",\"sample_rate\":\"96kHz\",\"duration\":\"00:15:41\",\"precision\":\"\",\"size\":\"83 MB\",\"bitrate\":\"2304000\",\"encoding\":\"Waveform\",\"contents\":\"This is track 7 of 8 tracks on tape U-2-3 from Owen Sound's performance. No signal.\\n\\n\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/alanlord/2/Deliverables/Audio_Deliverables/U-2-3/U-2-3_t08_preservation.wav\",\"file_path\":\"\",\"filename\":\"U-2-3_t08_preservation.wav\",\"channel_field\":\"\",\"sample_rate\":\"96kHz\",\"duration\":\"00:15:41\",\"precision\":\"\",\"size\":\"83 MB\",\"bitrate\":\"2304000\",\"encoding\":\"Waveform\",\"contents\":\"This is track 8 of 8 tracks on tape U-2-3 from Owen Sound's performance. No signal. \\n\\n\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/alanlord/2/Deliverables/Audio_Deliverables/U-2-3/U-2-3_t04_preservation.wav\",\"file_path\":\"\",\"filename\":\"U-2-3_t04_preservation.wav\",\"channel_field\":\"\",\"sample_rate\":\"96kHz\",\"duration\":\"00:15:41\",\"precision\":\"\",\"size\":\"83 MB\",\"bitrate\":\"2304000\",\"encoding\":\"Waveform\",\"contents\":\"This is track 4 of 8 tracks on tape U-2-3 from Owen Sound's performance. No specific indication. \\n\\n\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/alanlord/2/Deliverables/Audio_Deliverables/U-2-3/U-2-3_t03_preservation.wav\",\"file_path\":\"\",\"filename\":\"U-2-3_t03_preservation.wav\",\"channel_field\":\"Mono\",\"sample_rate\":\"96kHz\",\"duration\":\"00:15:41\",\"precision\":\"\",\"size\":\" 83 MB\",\"bitrate\":\"2304000 \",\"encoding\":\"Waveform \",\"contents\":\"This is track 3 of 8 tracks on tape U-2-3 from Owen Sound's performance. No specific indication.\\n\\n\",\"notes\":\"*Note for template: create one file description for each track, and use WAV form for entries.\\n\\nOnce final mixes are done, we will include a digital file description of the mix with a note of this sort: \\\"Above based upon mix of following tracks. For full details on tracks see digital file descriptions\\\".\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1985-05-02\",\"type\":\"Performance Date\",\"notes\":\"According to brochure, performance began at 9:30pm.\",\"source\":\"Container. Brochure.\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1296620055\",\"venue\":\"Foufounes Électriques\",\"notes\":\"\",\"address\":\"87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5\",\"latitude\":\"45.5109472\",\"longitude\":\" -73.5640102\"}]"],"Address":["87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5"],"Venue":["Foufounes Électriques"],"City":["Montreal, Quebec"],"contents":["Coming soon. "],"Related_works":["[{\"url\":\"https://files.spokenweb.ca/concordia/alanlord/1/ALAN%20ARCHIVES%20DOCUMENTATION/07%20-%20ULTIMATUM/1%20-%20PHOTOS%20%26%20DOCUMENTATION/0%20-%20ULTIMATUM.pdf\",\"citation\":\"Festival pamphlet. \"},{\"url\":\"\",\"citation\":\"Dean, Michael, Steven Smith, and Richard Truhlar. Owen Sound CV, bionotes, and performance plan for Ultimatum, c. May 1985, Alan Lord fonds (F039), Box 1, folder AL-Folder2_owe. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Westlake, Marilyn. Photos of Owen Sound, before May 1985, Alan Lord fonds (F039), Box 1, folder AL-Folder2_owe. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Gelinas, Daniel. Photo of Owen Sound band members Michael Dean and Steven Smith, 2 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_gel-photo. 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Brochure.\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1296620055\",\"venue\":\"Foufounes Électriques\",\"notes\":\"\",\"address\":\"87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5\",\"latitude\":\"45.5109472\",\"longitude\":\" -73.5640102\"}]"],"Address":["87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5"],"Venue":["Foufounes Électriques"],"City":["Montreal, Quebec"],"contents":["Coming soon. "],"Related_works":["[{\"url\":\"https://files.spokenweb.ca/concordia/alanlord/1/ALAN%20ARCHIVES%20DOCUMENTATION/07%20-%20ULTIMATUM/1%20-%20PHOTOS%20%26%20DOCUMENTATION/0%20-%20ULTIMATUM.pdf\",\"citation\":\"Festival pamphlet.  \"},{\"url\":\"\",\"citation\":\"Arteau, Gilles. Facsimiled copy of \\\"THE WOEURKS, OU MÊME LA MUSIQUE IMMONDE,\\\" after 9 May 1983, Alan Lord fonds (F039), Box 1, folder AL-Folder2_art. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Pattibo. Contact sheets of photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-sheets. 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Brochure.\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1296620055\",\"venue\":\"Foufounes Électriques\",\"notes\":\"\",\"address\":\"87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5\",\"latitude\":\"45.5109472\",\"longitude\":\" -73.5640102\"}]"],"Address":["87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5"],"Venue":["Foufounes Électriques"],"City":["Montreal, Quebec"],"contents":["Coming soon. "],"Related_works":["[{\"url\":\"https://files.spokenweb.ca/concordia/alanlord/1/ALAN%20ARCHIVES%20DOCUMENTATION/07%20-%20ULTIMATUM/1%20-%20PHOTOS%20%26%20DOCUMENTATION/0%20-%20ULTIMATUM.pdf\",\"citation\":\"Festival pamphlet. \"},{\"url\":\"\",\"citation\":\"Sanregret, Anonyme (Pierre Cornudet). Typescript of \\\"Microprocesseur\\\" for Ultimatum, c. May 1985, Alan Lord fonds (F039), Box 1, folder AL-Folder1_san. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Sanregret, Anonyme (Pierre Cornudet). Contract and copies of poems for Ultimatum, 20 Feb. 1985, Alan Lord fonds (F039), Box 1, folder AL-Folder2_san. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"VOLTICHENKÖ (Pierre Cornudet, aka Anonyme Sanregret). Arwork and invitation, 1985–1986, Alan Lord fonds (F039), Box 1, folder AL-Folder2_san. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Gagné, Daniel. Photo of Anonyme Sanregret (Pierre Cornudet), 1984, Alan Lord fonds (F039), Box 1, folder AL-Folder2_san. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Giorno, John, Anonyme Sanregret (Pierre Cornudet), and Geneviève Letarte. Typescript and manuscripts of \\\"Last night I gambled with my anger (and lost),\\\" \\\"Microprocesseur,\\\" and \\\"Petit Nuage et Betelgeuse,\\\" c. May 1985, Alan Lord fonds (F039), Box 1, folder AL-Folder1_gio-let-san. 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Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Campbell, Jocelyn Ann. \\\"Denis Vanier récidive avec un nouveau recueil de poèmes\\\" in La Criée, 5–12 Jun 1985, Alan Lord fonds (F039), Box 1, folder AL-Folder2_van. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Pattibo. Contact sheets of photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-sheets. Concordia University Library, Special Collections, Montréal, QC.\"}]"],"_version_":1853670549026242560,"timestamp":"2026-01-07T14:59:53.477Z","Note":["[{\"note\":\"Media Preserve Metadata for Tape U-4-1.\\n\\n<MediaAsset>\\n<!-- Original Physical Asset and Transfer Details -->\\n<Original>\\n<Filename>U-4-1</Filename>\\n<Title>Denis Vanier Janou St-Denis Andre etc.</Title>\\n<RunningTime>00:15:28</RunningTime>\\n<RecordDate>undated</RecordDate>\\n<FormatType>Open Reel</FormatType>\\n<StockBrand>Ampex</StockBrand>\\n<TapeModel>406</TapeModel>\\n<TapeWidth>1/4\\\"</TapeWidth>\\n<TapeType>Polyester</TapeType>\\n<ReelSize>7\\\"</ReelSize>\\n<TrackConfiguration>8 Track</TrackConfiguration>\\n<SoundField>Mono</SoundField>\\n<RecordingSpeed>15 ips</RecordingSpeed>\\n<NoiseReduction>None</NoiseReduction>\\n<Equalization>NAB</Equalization>\\n<PackOrientation>Heads 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Brochure.\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1296620055\",\"venue\":\"Foufounes Électriques\",\"notes\":\"\",\"address\":\"87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5\",\"latitude\":\"45.5109472\",\"longitude\":\" -73.5640102\"}]"],"Address":["87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5"],"Venue":["Foufounes Électriques"],"City":["Montreal, Quebec"],"contents":["Coming soon. "],"Related_works":["[{\"url\":\"https://files.spokenweb.ca/concordia/alanlord/1/ALAN%20ARCHIVES%20DOCUMENTATION/07%20-%20ULTIMATUM/1%20-%20PHOTOS%20%26%20DOCUMENTATION/0%20-%20ULTIMATUM.pdf\",\"citation\":\"Festival pamphlet.  \"},{\"url\":\"\",\"citation\":\"saint-denis, janou. Press release and poster for \\\"GALGAL OU LA ROUE DU FEU SECRET,\\\" Jan.–Apr. 1984, Alan Lord fonds (F039), Box 1, folder AL-Folder2_sai. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"saint-denis, janou. Contract and bionote for Ultimatum, 15 Feb. 1985, Alan Lord fonds (F039), Box 1, folder AL-Folder2_sai. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"saint-denis, janou. Copy of \\\"MANIFESTE DE LA PLACE AUX POETES,\\\" 1982, Alan Lord fonds (F039), Box 1, folder AL-Folder1_sai. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Pattibo. Contact sheets of photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-sheets. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Ultimatum Administrative Council. Various manuscript notes for Ultimatum, Apr. 1985–May 1986, Alan Lord fonds (F039), Box 1, folder AL-Folder1_ult. 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Brochure.\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1296620055\",\"venue\":\"Foufounes Électriques\",\"notes\":\"\",\"address\":\"87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5\",\"latitude\":\"45.5109472\",\"longitude\":\" -73.5640102\"}]"],"Address":["87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5"],"Venue":["Foufounes Électriques"],"City":["Montreal, Quebec"],"contents":["Coming soon. "],"Related_works":["[{\"url\":\"https://files.spokenweb.ca/concordia/alanlord/1/ALAN%20ARCHIVES%20DOCUMENTATION/07%20-%20ULTIMATUM/1%20-%20PHOTOS%20%26%20DOCUMENTATION/0%20-%20ULTIMATUM.pdf\",\"citation\":\"Festival pamphlet. \"},{\"url\":\"\",\"citation\":\"Tcetera, André (André Trottier). Typescript of \\\"Et sortent les loups\\\" for Ultimatum, 9 Jan. 1985, Alan Lord fonds (F039), Box 1, folder AL-Folder1_tce. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Tcetera, André (André Trottier). Typescript note and press kit after Ultimatum, after 3 May 1985, Alan Lord fonds (F039), Box 1, folder AL-Folder2_tce. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Bédard, Robert. Photo of André Tcetera (André Trottier) at Ultimatum, 3 May 1985, Alan Lord fonds (F039), Box 1, folder AL-Folder2_tce. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Pattibo. Contact sheets of photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-sheets. 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Brochure.\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1296620055\",\"venue\":\"Foufounes Électriques\",\"notes\":\"\",\"address\":\"87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5\",\"latitude\":\"45.5109472\",\"longitude\":\" -73.5640102\"}]"],"Address":["87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5"],"Venue":["Foufounes Électriques"],"City":["Montreal, Quebec"],"contents":["Coming soon. "],"Related_works":["[{\"url\":\"https://files.spokenweb.ca/concordia/alanlord/1/ALAN%20ARCHIVES%20DOCUMENTATION/07%20-%20ULTIMATUM/1%20-%20PHOTOS%20%26%20DOCUMENTATION/0%20-%20ULTIMATUM.pdf\",\"citation\":\"Festival pamphlet. \"},{\"url\":\"\",\"citation\":\"Pattibo. Contact sheets of photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-sheets. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Pattibo. Photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-photos. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Concept Variable. Contract signed by bandleader Sylvain Houde, group description, and lyrics for Ultimatum, 1 Mar. 1985, Alan Lord fonds (F039), Box 1, folder AL-Folder2_con. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Concept Variable. Annotated typescript of \\\"THE STORY OF BILLY MANICOTI\\\" for Ultimatum, c. May 1985, Alan Lord fonds (F039), Box 1, folder AL-Folder1_con. 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Brochure.\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1296620055\",\"venue\":\"Foufounes Électriques\",\"notes\":\"\",\"address\":\"87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5\",\"latitude\":\"45.5109472\",\"longitude\":\" -73.5640102\"}]"],"Address":["87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5"],"Venue":["Foufounes Électriques"],"City":["Montreal, Quebec"],"contents":["Coming soon. "],"Related_works":["[{\"url\":\"https://files.spokenweb.ca/concordia/alanlord/1/ALAN%20ARCHIVES%20DOCUMENTATION/07%20-%20ULTIMATUM/1%20-%20PHOTOS%20%26%20DOCUMENTATION/0%20-%20ULTIMATUM.pdf\",\"citation\":\"Festival pamphlet. \"},{\"url\":\"\",\"citation\":\"Red Shift. Two manuscript versions of \\\"This is the worst of love,\\\" c. May 1985, Alan Lord fonds (F039), Box 1, folder AL-Folder1_red. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Pattibo. Contact sheets of photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-sheets. 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Marketing and admissions materials for Ultimatum, c. May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_ult-marketing. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Pattibo. Contact sheets of photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-sheets. 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"],"Related_works":["[{\"url\":\"https://files.spokenweb.ca/concordia/alanlord/1/ALAN%20ARCHIVES%20DOCUMENTATION/07%20-%20ULTIMATUM/1%20-%20PHOTOS%20%26%20DOCUMENTATION/0%20-%20ULTIMATUM.pdf\",\"citation\":\"Ultimatum Program/me [Festival Pamphlet]\"},{\"url\":\"https://eldongarnet.com/\",\"citation\":\"Artist website. \"},{\"url\":\"\",\"citation\":\"Pattibo. Photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-photos. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Garnet, Eldon, and Tom Konyves. Typescript of \\\"Eldon Garnet 2:32 Ultimatum\\\" and \\\"'Be it resolved' Tom Konyves: $4:25,\\\" c. May [1985?], Alan Lord fonds (F039), Box 1, folder AL-Folder1_gar-kon. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Garnet, Eldon. Letter to Alan Lord, 11 Mar. 1985, Alan Lord fonds (F039), Box 1, folder AL-Folder2_gar. 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Brochure.\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1296620055\",\"venue\":\"Foufounes Électriques\",\"notes\":\"\",\"address\":\"87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5\",\"latitude\":\"45.5109472\",\"longitude\":\" -73.5640102\"}]"],"Address":["87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5"],"Venue":["Foufounes Électriques"],"City":["Montreal, Quebec"],"contents":["Coming soon. "],"Related_works":["[{\"url\":\"https://files.spokenweb.ca/concordia/alanlord/1/ALAN%20ARCHIVES%20DOCUMENTATION/07%20-%20ULTIMATUM/1%20-%20PHOTOS%20%26%20DOCUMENTATION/0%20-%20ULTIMATUM.pdf\",\"citation\":\"Ultimatum Program/me [Pamphlet]\"},{\"url\":\"http://web4.uwindsor.ca/rampike\",\"citation\":\"Rampike magazine edited by Karl Jirgens. \"},{\"url\":\"\",\"citation\":\"Pattibo. Contact sheets of photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-sheets. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Pattibo. Photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-photos. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Jirgens, Karl. Contract for Ultimatum, 23 Feb. 1985, Alan Lord fonds (F039), Box 1, folder AL-Folder2_jir. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Jirgens, Karl. Typescript with performance plan for Ultimatum and facsimiled excerpt from Jirgens's book Strappado, c. May 1985, Alan Lord fonds (F039), Box 1, folder AL-Folder1_jir. Concordia University Library, Special Collections, Montréal, QC.\"}]"],"_version_":1853670549047214080,"timestamp":"2026-01-07T14:59:53.477Z","Note":["[{\"note\":\"Media Preserve Metadata for Tape U-5-1.\\n\\n<MediaAsset>\\n<!-- Original Physical Asset and Transfer Details -->\\n<Original>\\n<Filename>U-5-1</Filename>\\n<Title>Paul Chamberland Eldon Garnet Karl Jirgens Sylvere Lotringer</Title>\\n<RunningTime>00:11:30</RunningTime>\\n<RecordDate>undated</RecordDate>\\n<FormatType>Open Reel</FormatType>\\n<StockBrand>Ampex</StockBrand>\\n<TapeModel>406</TapeModel>\\n<TapeWidth>1/4\\\"</TapeWidth>\\n<TapeType>Polyester</TapeType>\\n<ReelSize>7\\\"</ReelSize>\\n<TrackConfiguration>8 Track</TrackConfiguration>\\n<SoundField>Mono</SoundField>\\n<RecordingSpeed>15 ips</RecordingSpeed>\\n<NoiseReduction>None</NoiseReduction>\\n<Equalization>NAB</Equalization>\\n<PackOrientation>Heads 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No designation. \",\"notes\":\"Alan Lord indicates that Eldon Garnet joined Sylvère Lontringer on stage for these tracks. \",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/alanlord/2/Deliverables/Audio_Deliverables/U-5-1/U-5-1_t07_preservation.wav\",\"file_path\":\"\",\"filename\":\"U-5-1_t07_preservation.wav\",\"channel_field\":\"Mono\",\"sample_rate\":\"96kHz\",\"duration\":\"00:15:33\",\"precision\":\"\",\"size\":\" 82.3 MB\",\"bitrate\":\"2304000 \",\"encoding\":\"Waveform \",\"contents\":\"This is track 7 of 8 tracks on tape U-5-1 containing a vocal track from Lotringer's performance.\\n\\n\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1985-05-05\",\"type\":\"Performance Date\",\"notes\":\"According to brochure, performance began at 20:30.\",\"source\":\"Container. Brochure.\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1296620055\",\"venue\":\"Foufounes Électriques\",\"notes\":\"\",\"address\":\"87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5\",\"latitude\":\"45.5109472\",\"longitude\":\" -73.5640102\"}]"],"Address":["87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5"],"Venue":["Foufounes Électriques"],"City":["Montreal, Quebec"],"contents":["Coming soon. "],"Related_works":["[{\"url\":\"https://files.spokenweb.ca/concordia/alanlord/1/ALAN%20ARCHIVES%20DOCUMENTATION/07%20-%20ULTIMATUM/1%20-%20PHOTOS%20%26%20DOCUMENTATION/0%20-%20ULTIMATUM.pdf\",\"citation\":\"Ultimatum Program/me [Pamphlet]\"},{\"url\":\"http://semiotexte.com/?page_id=142\",\"citation\":\"Semiotext(e) website. Publiciation co-edited by Sylvère Lotringer, Chris Kraus, and Hedi El Kholti. \"},{\"url\":\"\",\"citation\":\"Ultimatum Administrative Council. Marketing and admissions materials for Ultimatum, c. May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_ult-marketing. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Pattibo. Contact sheets of photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-sheets. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Pattibo. Photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-photos. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Giorno, John. Event flyer and typescripts of \\\"Last night I gambled with my anger (and lost),\\\" Nov. 1984–May 1985, Alan Lord fonds (F039), Box 1, folder AL-Folder1_gio. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Ultimatum II production team. Contact information of various performers and video credits for Ultimatum II, 1987, Alan Lord fonds (F039), Box 2, folder AL-UIIWB-12_A. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Ultimatum II production team. Poster, programs, and press releases for Ultimatum II, Sept. 1987, Alan Lord fonds (F039), Box 2, folder AL-UIIPK. Concordia University Library, Special Collections, Montréal, QC.\"}]"],"_version_":1853670549049311232,"timestamp":"2026-01-07T14:59:53.477Z","Note":["[{\"note\":\"Media Preserve Metadata for Tape U-5-1.\\n\\n<MediaAsset>\\n<!-- Original Physical Asset and Transfer Details -->\\n<Original>\\n<Filename>U-5-1</Filename>\\n<Title>Paul Chamberland Eldon Garnet Karl Jirgens Sylvere Lotringer</Title>\\n<RunningTime>00:11:30</RunningTime>\\n<RecordDate>undated</RecordDate>\\n<FormatType>Open Reel</FormatType>\\n<StockBrand>Ampex</StockBrand>\\n<TapeModel>406</TapeModel>\\n<TapeWidth>1/4\\\"</TapeWidth>\\n<TapeType>Polyester</TapeType>\\n<ReelSize>7\\\"</ReelSize>\\n<TrackConfiguration>8 Track</TrackConfiguration>\\n<SoundField>Mono</SoundField>\\n<RecordingSpeed>15 ips</RecordingSpeed>\\n<NoiseReduction>None</NoiseReduction>\\n<Equalization>NAB</Equalization>\\n<PackOrientation>Heads 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Brochure.\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1296620055\",\"venue\":\"Foufounes Électriques\",\"notes\":\"\",\"address\":\"87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5\",\"latitude\":\"45.5109472\",\"longitude\":\" -73.5640102\"}]"],"Address":["87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5"],"Venue":["Foufounes Électriques"],"City":["Montreal, Quebec"],"content_notes":["Contents field [transcription] by Emma Telaro. \n\n"],"contents":["Ultimatum_Mixdown_Richard Martel_U-5-2_T5_T6_T7_T8.mp3\n\nThe following is a transcription of Richard Martel’s performance at Ultimatum, Sunday May 5th, 1985 at the Foufounes Electriques. The Ultimatum festival pamphlet notes Martel’s role as the editor of Intervention magazine, a Quebec-based journal of international repute also known as ‘Inter’. Since 1979, Inter has published articles on all forms of contemporary art, questioning the role of art in society, politics and culture. Martel is the author and editor of a number of articles and books on performance art. As a curator and multimedia artist he has organized and participated in various art events and festivals. His own practice centers on art and the social. At the beginning of his Ultimatum set, Martel introduces the 3 pieces he will perform, \"Subordination\", \"Insubordination\" and \"L'expérience de l'art comme disponibilité du temps” which consist of sound and poetry.\n\nTRANSCRIPTION\n\nRichard Martel \n00:00:00\nMicrophone test.\n\nRichard Martel \n00:00:17\nIntroduces title of performance pieces \"Subordination\", \"Insubordination\" and \"L'expérience de l'art comme disponibilité du temps\". \n\nStage\n00:00:40\nAmbient sound [clanging noise throughout].\n\nRichard Martel\n00:00:52\nPerforms \"Subordination\" [chant] | Keywords: Guttenberg, stigmate, typographie, visuelle. \n\nAudience\n00:03:18\nApplause [tape cut]. Ambient sound [end of clanging].\n\nRichard Martel\n00:03:38\nPerforms \"Insubordination\" [tape cuts in while performance in progress]. [Martel, Various noises, grunting, additional audio tape]. \n\nAudience\n00:08:43\nApplause\n\nRichard Martel\n00:09:12\n\"On peut-y-aller\". \n\nRichard Matel\n00:09:25\nPerforms \"L'expérience de l'art comme disponibilité du temps\". Ambient sounds [audio, fan, friction, voice] and poetry. | Keywords: langage, art, \"L'experience de l'art comme disponibilité du temps\", avions, Québec, formalisme, Nietszche, Lewis Carroll, Karl Marx, Félix Potin, dada, concrete poetry, [cuts out].\n\nEND\n00:15:54\n[cuts out]\n\n"],"Related_works":["[{\"url\":\"https://files.spokenweb.ca/concordia/alanlord/1/ALAN%20ARCHIVES%20DOCUMENTATION/07%20-%20ULTIMATUM/1%20-%20PHOTOS%20%26%20DOCUMENTATION/0%20-%20ULTIMATUM.pdf\",\"citation\":\"Ultimatum Program/me [Festival Pamphlet]\"},{\"url\":\"https://www.erudit.org/en/journals/inter/\",\"citation\":\"Inter journal\"},{\"url\":\"https://inter-lelieu.org/le-lieu/equipe/\",\"citation\":\"Le lieu webpage \"},{\"url\":\"https://inter-lelieu.org/revue-inter/a-propos/\",\"citation\":\"Information about Inter journal on le lieu webpage.\"},{\"url\":\"https://www.discogs.com/artist/965090-Richard-Martel\",\"citation\":\"Discogs entry Richard Martel \"},{\"url\":\"https://e-artexte.ca/view/artists/Martel,_Richard.htmlhttps://www.google.com/url?q=https://e-artexte.ca/view/artists/Martel,_Richard.html&sa=D&source=docs&ust=1649188287726748&usg=AOvVaw2KmMZmQ9mvFsduN9QCd9-M\",\"citation\":\"List of items on e-artexte related to Richard Martel.\"},{\"url\":\"\",\"citation\":\"Martel, Richard. Contract, bionote, poem, and performance plan for Ultimatum, c. May 1985, Alan Lord fonds (F039), Box 1, folder AL-Folder2_mar. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Various authors. Newsclippings about Richard Martel, Feb.–Nov. 1985, Alan Lord fonds (F039), Box 1, folder AL-Folder2_mar. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Pattibo. Photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-photos. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Pattibo. Contact sheets of photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-sheets. 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Transcription and related works by Emma Telaro. \",\"type\":\"Cataloguer\"}]"],"score":1.8530173},{"id":"1498","cataloger_name":["Sadie,Barker"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Alan Lord collection"],"source_collection_label":["Alan Lord collection"],"collection_contributing_unit":["SpokenWeb at Concordia University"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Alan Lord collection contains all the archives regarding the Ultimatum poetry readings and the Ultimatum & Ultimatum II festivals, including film, sound and documentation."],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Jean-Paul Curtay at Ultimatum Festival 1985-05-05"],"item_title_source":["Container and Brochure "],"item_title_note":["On tape \"U-5-3\" and festival schedule corroborated in brochure. "],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["Alan Lord Collection"],"item_subseries_title":["Ultimatum [1]"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. Alan Lord has permission waivers. We may wish to seek permission from individual artists.  "],"creator_names":["Curtay, Jean-Paul"],"creator_names_search":["Curtay, Jean-Paul"],"creators":["[{\"url\":\"http://viaf.org/viaf/29532386/#Curtay,_Jean-Paul\",\"name\":\"Curtay, Jean-Paul\",\"dates\":\"1951-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors_names":["Lord, Alan"],"contributors_names_search":["Lord, Alan"],"contributors":["[{\"url\":\"http://viaf.org/viaf/80186482\",\"name\":\"Lord, Alan\",\"dates\":\"1954-\",\"notes\":\"Alan Lord has been designated Contributor when in the role of series organizer and Creator when in the role of Performer. \",\"nation\":[],\"role\":[\"Series organizer\"]}]"],"Series_organizer_name":["Lord, Alan"],"Performance_Date":[1985],"material_description":["[{\"side\":\"Tracks 1-4 \",\"image\":\"../Uploads/5876/Screen Shot 2020-11-08 at 8.11.39 PM.png\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Ampex 460\",\"generations\":\"Audio taken from original reel to reel 8 track tape.\",\"Conservation\":\"Perforation repairs. 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Brochure.\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1296620055\",\"venue\":\"Foufounes Électriques\",\"notes\":\"\",\"address\":\"87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5\",\"latitude\":\"45.5109472\",\"longitude\":\" -73.5640102\"}]"],"Address":["87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5"],"Venue":["Foufounes Électriques"],"City":["Montreal, Quebec"],"content_notes":["Contents field [transcription] by Emma Telaro. \n\n"],"contents":["Ultimatum_Mixdown_Jean-Paul Curtay_U-5-3_T1_T2_T3_T4\n\nThe following is a transcription of the Jean-Paul Curtay set at Ultimatum, Sunday May 5th, 1985 at the Foufounes Électriques. The Ultimatum festival program lists the performance as “Sound Super Writing.” Curtay was a member of the French avant-garde Lettrist movement and provided vital sonic and written contributions to its exegesis (see Body Music and Hypegraphic Music). In his memoirs, Alan Lord describes how, in this performance, Curtay wraps his mouth around the microphone to produce the sounds of his Sound Super Writing. The recording ends with an audio excerpt of the film “Framed” by Montreal filmmaker [(?)] Napoléon Moffat, a go-between Curtay’s set and the John Giorno band. \n\nFor more on French Lettrism, see Curtay’s performances and publications.\n\nTRANSCRIPT\n\nJean-Paul Curtay\n00:00:00\nPerforms sound [tape or computer audio, barking, gurgling, recorded human voices, speech sounds, stomping, stepping, mouth sounds, sound super writing]. | Keywords: occupy, action\n\nUnknown\n00:03:05\nAmbient Sound [pause in performance, silence, microphone feedback]. \n\nJean-Paul Curtay\n00:03:25\nPerforms sound [warbling, speech sounds, mouth sounds, nonsense, words, echo, vibrations, yelling]. | Keywords: power, rights, El Salvador, schools, what if, et si. \n\nAudience\n00:10:23\nApplause\n\nJean-Paul Curtay \n00:10:42\nPerforms sound [tape or computer audio, fan, speech sounds, mouth sounds, electronic sounds, murmuring, gurgling]. | Keywords: copie. \n\nUnknown\n00:15:38\nSilence [tape cut]\n\nJean-Paul Curtay\n00:15:42\nPerforms sound [slurping, muffled music, mouth sounds, recorded human voices, engine sound, electronic sounds, mouth noises]. | Keywords: what are you doing, save the baby birds.\n\nJean-Paul Curtay\n00:21:13\nSilence [Pause] \n\nJean-Paul Curtay\n00:21:23\nPerforms sound [pre-recorded sounds fade in, vocals, warbling, mouth sounds, speech sounds, yelling, screaming, tape or computer audio, electronic sounds]. | Keywords: man, animal, manimal.\n\nAudience\n00:24:31\nAmbient sounds audible throughout the end of the piece [\"bravo\", applause, banter]. \n\nJean-Paul Curtay\n00:21:24\nContinues to perform sound. \n\nAudience\n00:27:38\nApplause [sounds from Curtay set fade out]. \n\nAlan Lord\n00:28:18\nAnnounces the John Giorno band as the following set and introduces cinematic interlude, the film “Framed” by Napoléon Moffat, while technicians exit stage. | Keywords: bonsoir, the John Giorno band, Napoleon Moffat, the John Giorno Band, poésie visuelle.\n\n[Sound from film]\n00:29:43\nMusic and narration from Napoleon Moffat film \"Framed\" [cuts out].\n\n"],"Related_works":["[{\"url\":\"https://files.spokenweb.ca/concordia/alanlord/1/ALAN%20ARCHIVES%20DOCUMENTATION/07%20-%20ULTIMATUM/1%20-%20PHOTOS%20%26%20DOCUMENTATION/0%20-%20ULTIMATUM.pdf\",\"citation\":\"Ultimatum Program/me [Festival Pamphlet]\"},{\"url\":\"https://www.discogs.com/Jean-Paul-Curtay-Body-Music-1/release/7365316\",\"citation\":\"Discogs entry for Body Music. \"},{\"url\":\"https://www.tate.org.uk/art/archive/items/tga-200414-7-3-2-30/audio-arts-published-supplement-jean-paul-curtay-body-music\",\"citation\":\"Supplement from Body Music for Tate Museum Archive. \"},{\"url\":\"https://monoskop.org/images/0/09/Visible_Language_17_3_Lettrisme_Into_the_Present_1983.pdf\",\"citation\":\"Jean-Paul Curtay contribution to Lettrism special issue (“Chronology” of Lettrism and article “Super Writing 1983 – America 1683”)\\n\"},{\"url\":\"https://monoskop.org/images/2/29/Curtay_Jean-Paul_La_poesie_lettriste_1974.pdf\",\"citation\":\"Jean-Paul Curtay anthology on La Poésie Lettriste (1974).\"},{\"url\":\"https://www.worldcat.org/title/posie-lettriste/oclc/1050063824\",\"citation\":\"Worldcat entry for Jean-Paul Curtay anthology on La Poésie Lettriste (1974). \"},{\"url\":\"https://www.worldcat.org/title/letterism-and-hypergraphics-the-unknown-avant-garde-1945-1985/oclc/13537381\",\"citation\":\"Jean-Paul Curtay book Letterism and Hypergraphics: the unknown avant-garde, 1945-1985. \"},{\"url\":\"\",\"citation\":\"Curtay, Jean-Paul. Letter to Alan Lord, copy of poem, and event flyers for Ultimatum, 27 Feb. 1985, Alan Lord fonds (F039), Box 1, folder AL-Folder2_cur. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Photo of Jean-Paul Curtay (uncredited photographer), n.d., Alan Lord fonds (F039), Box 1, folder AL-Folder2_cur. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Janicot, Françoise. Photo of Jean-Paul Curtay, n.d., Alan Lord fonds (F039), Box 1, folder AL-Folder2_cur. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Zimmerman, Ann. Photo of Jean-Paul Curtay, n.d., Alan Lord fonds (F039), Box 1, folder AL-Folder2_cur. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Pattibo. Contact sheets of photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-sheets. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Ultimatum Administrative Council. Various manuscript notes for Ultimatum, Apr. 1985–May 1986, Alan Lord fonds (F039), Box 1, folder AL-Folder1_ult. Concordia University Library, Special Collections, Montréal, QC.\"}]"],"_version_":1853670549053505536,"timestamp":"2026-01-07T14:59:53.477Z","Note":["[{\"note\":\"Media Preserve Metadata for Tape U-5-3.\\n\\n<MediaAsset>\\n<!-- Original Physical Asset and Transfer Details -->\\n<Original>\\n<Filename>U-5-3</Filename>\\n<Title>Jean-Paul Curtsy</Title>\\n<RunningTime>00:03:09</RunningTime>\\n<RecordDate>undated</RecordDate>\\n<FormatType>Open Reel</FormatType>\\n<StockBrand>Ampex</StockBrand>\\n<TapeModel>406</TapeModel>\\n<TapeWidth>1/4\\\"</TapeWidth>\\n<TapeType>Polyester</TapeType>\\n<ReelSize>7\\\"</ReelSize>\\n<TrackConfiguration>8 Track</TrackConfiguration>\\n<SoundField>Stereo</SoundField>\\n<RecordingSpeed>15 ips</RecordingSpeed>\\n<NoiseReduction>None</NoiseReduction>\\n<Equalization>NAB</Equalization>\\n<PackOrientation>Heads 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Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Pattibo. Photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-photos. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Pattibo. Contact sheets of photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-sheets. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Ultimatum Administrative Council. Marketing and admissions materials for Ultimatum, c. May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_ult-marketing. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Giorno, John, Anonyme Sanregret (Pierre Cornudet), and Geneviève Letarte. Typescript and manuscripts of \\\"Last night I gambled with my anger (and lost),\\\" \\\"Microprocesseur,\\\" and \\\"Petit Nuage et Betelgeuse,\\\" c. May 1985, Alan Lord fonds (F039), Box 1, folder AL-Folder1_gio-let-san. 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Brochure.\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1296620055\",\"venue\":\"Foufounes Électriques\",\"notes\":\"\",\"address\":\"87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5\",\"latitude\":\"45.5109472\",\"longitude\":\" -73.5640102\"}]"],"Address":["87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5"],"Venue":["Foufounes Électriques"],"City":["Montreal, Quebec"],"contents":["Ultimatum_Mixdown_Herbert Huncke_U-5-5_T5_T6_T7  \n\nAudience \n00:00:03.70 \nApplause  \n\nAlan Lord \n00:00:07.19 \nIntroduces Herbert Huncke in French. | Keywords: Beat generation; Kerouac [https://www.wikidata.org/wiki/Q160534]; Ginsberg [https://www.wikidata.org/wiki/Q6711]; Burroughs [https://www.wikidata.org/wiki/Q188176].    \n\nAudience \n00:00:25.50 \nApplause  \n\nHerbert Huncke \n00:00:31.09 \nRefers to previous act (\"a hard act to follow\"). Discusses sound and lighting. \n   \nHerbert Huncke \n00:01:12.72 \nIntroduces first piece \"Cuba\". | Keywords: General theme; creative people; festival; young people; encouraging; strange story; individual; sorry.    \n\nHerbert Huncke \n00:02:21.53 \nReads \"Cuba.\" | Keywords: hustler; contraband; eggs; meat; pants; hair; contact; ten year sentence; paroled; deported; New York; prison; summer; scars; shower; tan; skin; symmetrical; medallion; mother; resenting; lover; job; mess hall; cigarettes; smokes; kind; favours; gambles; state prison; hospital.    \n\nAudience \n00:09:36.78 \nApplause    \n\nHerbert Huncke \n00:09:48.92 \nAddresses audience while searching for poem \"Alverez\". | Keywords: intended; start; sad story.    \n\nHerbert Huncke \n00:10:13.24 \nReads \"Alverez\" | Keywords: Knot; shoulders; body; toes; vomited; bile; moaning; police headquarters; fingerprinted; photographed; frisked; cold shower; cell; city prison; trial; junkie; cuffed; cell; bail; detective; courtroom; shivering; doctor; daylight; outside; weak; sleep; keys; Maria; Rita; Lola; collapsed; guard; Saturday; sadness; flesh; bunk; dead.    \n\nAudience \n00:24:54.97 \nApplause    \n\nHerbert Huncke \n00:25:33.40 \nReads \"Russian Blackie\" | Keywords: Bar; 42nd St. and 8th Ave; drunk; handsome; gloves; intoxicated; dapper; characters; hustlers; friends; hotels; exploits; underworld; thieves; favour; illegal; hipster; invitation; companion; exploits; love; reserve; hardness; wife; Frank; trust; danger; Frank Junior; babysitting.   \n\nAudience \n00:40:53.72 \nApplause    \n\nUnknown \n00:41:34.29 \nSpeaker addresses audience and references Alan Lord in French.    \n\nEND \n00:41:34.29 \n"],"Related_works":["[{\"url\":\"https://files.spokenweb.ca/concordia/alanlord/1/ALAN%20ARCHIVES%20DOCUMENTATION/07%20-%20ULTIMATUM/1%20-%20PHOTOS%20%26%20DOCUMENTATION/0%20-%20ULTIMATUM.pdf\",\"citation\":\"Ultimatum Program/me [Festival Pamphlet].\"},{\"url\":\"\",\"citation\":\"Ultimatum Administrative Council. Marketing and admissions materials for Ultimatum, c. May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_ult-marketing. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Pattibo. Contact sheets of photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-sheets. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Lord, Alan. Assorted materials regarding events Alan Lord helped produce, 1983–1986, Alan Lord fonds (F039), Box 2, folder AL-P. Concordia University Library, Special Collections, Montréal, QC.\"}]"],"_version_":1853670549058748416,"timestamp":"2026-01-07T14:59:53.477Z","Note":["[{\"note\":\"Media Preserve Metadata for Tape U-5-5.\\n\\n<MediaAsset>\\n<!-- Original Physical Asset and Transfer Details -->\\n<Original>\\n<Filename>U-5-5</Filename>\\n<Title>John Giorno Band Herbert Huneke</Title>\\n<RunningTime>00:14:15</RunningTime>\\n<RecordDate>undated</RecordDate>\\n<FormatType>Open Reel</FormatType>\\n<StockBrand>Ampex</StockBrand>\\n<TapeModel>406</TapeModel>\\n<TapeWidth>1/4\\\"</TapeWidth>\\n<TapeType>Polyester</TapeType>\\n<ReelSize>7\\\"</ReelSize>\\n<TrackConfiguration>8 Track</TrackConfiguration>\\n<SoundField>Mono</SoundField>\\n<RecordingSpeed>15 ips</RecordingSpeed>\\n<NoiseReduction>None</NoiseReduction>\\n<Equalization>NAB</Equalization>\\n<PackOrientation>Heads 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"],"item_language":["French"],"item_production_context":["Documentary recording"],"item_series_title":["Alan Lord Collection"],"item_subseries_title":["Ultimatum [1]"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. Alan Lord has permission waivers. We may wish to seek permission from individual artists.  "],"creator_names":["Montambault, Steve"],"creator_names_search":["Montambault, Steve"],"creators":["[{\"url\":\"\",\"name\":\"Montambault, Steve\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors_names":["Lord, Alan"],"contributors_names_search":["Lord, Alan"],"contributors":["[{\"url\":\"http://viaf.org/viaf/80186482\",\"name\":\"Lord, Alan\",\"dates\":\"1954-\",\"notes\":\"Alan Lord has been designated Contributor when in the role of series organizer and Creator when in the role of Performer. \\n\\n\",\"nation\":[],\"role\":[\"Series organizer\"]}]"],"Series_organizer_name":["Lord, Alan"],"Performance_Date":[1985],"material_description":["[{\"side\":\"Tracks 1-3. Tracks 5, 7.  \",\"image\":\"../Uploads/5879/TAPES-U-1-3 IMG.png\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Ampex 406\",\"generations\":\"Audio taken from original reel to reel 8 track tape.\",\"Conservation\":\"Perforation repairs. Baked. \",\"equalization\":\"NAB. \",\"playback_mode\":\"Mono\",\"playing_speed\":\"15 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"8 track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Tape box. Handwritten notes on front and back. Sticker identifying tape as U-1-3.\",\"other_physical_description\":\"Reel U-1-3\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://files.spokenweb.ca/concordia/alanlord/2/Deliverables/Audio_Deliverables/U-1-3/U-1-3_t01_preservation.wav\",\"file_path\":\"\",\"filename\":\"U-1-3_t01_preservation.wav\",\"channel_field\":\"Mono\",\"sample_rate\":\"96kHz\",\"duration\":\"00:24:27\",\"precision\":\"\",\"size\":\"403.11 MB\",\"bitrate\":\"2304000 \",\"encoding\":\"Waveform \",\"contents\":\"This is track 1 of 8 tracks on tape U-1-3 containing a backing track from Steve Montambault. \",\"notes\":\"Notes from Alan Lord file \\\"ULTIMATUM - BANDE U-1-3.pdf\\\" :\\n\\nULTIMATUM - PISTES SUR LA BANDE U-1-3\\n\\nU-1-3_t01_LEFEBVRE-BT_MONTAMBAULT-BT_1\\nPiste musique de fond Lefebvre - jusqu'à 9:03\\nPiste musique de fond Montambault - débute à 9:48 jusqu'à la fin, à 24:28\\nmais avec un long vide au milieu\\n\\nU-1-3_t02_LEFEBVRE-BT_MONTAMBAULT-BT_2\\nPiste musique de fond Lefebvre - 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débute à 9:48 jusqu'à la fin, à 24:28\\nmais avec un long vide au milieu\\n\\nU-1-3_t02_LEFEBVRE-BT_MONTAMBAULT-BT_2\\nPiste musique de fond Lefebvre - jusqu'à 9:03\\nPiste musique de fond Montambault - débute à 9:48 jusqu'à la fin, à 24:28\\nmais avec un faible signal à partir de 15:36\\n\\nU-1-3_t03_MONTAMBAULT-VT\\nPiste voix - Steve Montambault - débute à 6:56 jusqu'à la fin, à 24:28\\n\\nU-1-3_t04_LEFEBVRE-VT\\nPiste voix - Michel Lefebvre\\nPiste micro de Lefebvre, mais qui capte bande de fond, jusqu'à 5:40 Piste vide de 5:40 jusqu'à la fin, à 24:28\\n\\nU-1-3_t05_MONTAMBAULT-BT_LETARTE-BT\\nPiste musique de fond Montambault - jusqu'à 5:56\\nPiste musique de fond Geneviève Letarte - débute à 6:25 jusqu'à la fin, à 24:03\\n\\nU-1-3_t06_LETARTE-BT\\nPiste musique de fond - Geneviève Letarte Du début à la fin, à 24:03\\n\\nU-1-3_t07_MONTAMBAULT-VT_LETARTE-BT\\nPiste voix Montambault - jusqu'à 5:56\\nPiste musique de fond Geneviève Letarte - débute à 6:13 jusqu'à la fin, à 24:03\\n\\nU-1-3_t08_LETARTE-VT\\nPiste voix - Geneviève Letarte\\nDébute à 7:45 - jusqu'à la fin de la bande, 24:03\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/alanlord/2/Deliverables/Audio_Deliverables/U-1-3/U-1-3_t07_preservation.wav\",\"file_path\":\"\",\"filename\":\"U-1-3_t07_preservation.wav\",\"channel_field\":\"Mono\",\"sample_rate\":\"96kHz\",\"duration\":\"00:24:02\",\"precision\":\"\",\"size\":\"396.33 MB\",\"bitrate\":\"2304000 \",\"encoding\":\"Waveform \",\"contents\":\"This is track 7 of 8 tracks on tape U-1-3 containing a vocal track from Steve Montambault. \",\"notes\":\"Notes from Alan Lord file \\\"ULTIMATUM - BANDE U-1-3.pdf\\\" :\\n\\nULTIMATUM - PISTES SUR LA BANDE U-1-3\\n\\nU-1-3_t01_LEFEBVRE-BT_MONTAMBAULT-BT_1\\nPiste musique de fond Lefebvre - jusqu'à 9:03\\nPiste musique de fond Montambault - débute à 9:48 jusqu'à la fin, à 24:28\\nmais avec un long vide au milieu\\n\\nU-1-3_t02_LEFEBVRE-BT_MONTAMBAULT-BT_2\\nPiste musique de fond Lefebvre - jusqu'à 9:03\\nPiste musique de fond Montambault - débute à 9:48 jusqu'à la fin, à 24:28\\nmais avec un faible signal à partir de 15:36\\n\\nU-1-3_t03_MONTAMBAULT-VT\\nPiste voix - Steve Montambault - débute à 6:56 jusqu'à la fin, à 24:28\\n\\nU-1-3_t04_LEFEBVRE-VT\\nPiste voix - Michel Lefebvre\\nPiste micro de Lefebvre, mais qui capte bande de fond, jusqu'à 5:40 Piste vide de 5:40 jusqu'à la fin, à 24:28\\n\\nU-1-3_t05_MONTAMBAULT-BT_LETARTE-BT\\nPiste musique de fond Montambault - jusqu'à 5:56\\nPiste musique de fond Geneviève Letarte - débute à 6:25 jusqu'à la fin, à 24:03\\n\\nU-1-3_t06_LETARTE-BT\\nPiste musique de fond - Geneviève Letarte Du début à la fin, à 24:03\\n\\nU-1-3_t07_MONTAMBAULT-VT_LETARTE-BT\\nPiste voix Montambault - jusqu'à 5:56\\nPiste musique de fond Geneviève Letarte - débute à 6:13 jusqu'à la fin, à 24:03\\n\\nU-1-3_t08_LETARTE-VT\\nPiste voix - Geneviève Letarte\\nDébute à 7:45 - jusqu'à la fin de la bande, 24:03\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1985-05-D01\",\"type\":\"Performance Date\",\"notes\":\"According to brochure, performance began at 20:30. \",\"source\":\"Container. Brochure.\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1296620055\",\"venue\":\"Foufounes Électriques\",\"notes\":\"\",\"address\":\"87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5\",\"latitude\":\"45.5109472\",\"longitude\":\" -73.5640102\"}]"],"Address":["87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5"],"Venue":["Foufounes Électriques"],"City":["Montreal, Quebec"],"content_notes":["Transcription by Emma Telaro.\n\nNotes from Alan Lord file \"ULTIMATUM - BANDE U-1-3.pdf\" :\n\nULTIMATUM - PISTES SUR LA BANDE U-1-3\n\nU-1-3_t01_LEFEBVRE-BT_MONTAMBAULT-BT_1\nPiste musique de fond Lefebvre - jusqu'à 9:03\nPiste musique de fond Montambault - débute à 9:48 jusqu'à la fin, à 24:28\nmais avec un long vide au milieu\n\nU-1-3_t02_LEFEBVRE-BT_MONTAMBAULT-BT_2\nPiste musique de fond Lefebvre - jusqu'à 9:03\nPiste musique de fond Montambault - débute à 9:48 jusqu'à la fin, à 24:28\nmais avec un faible signal à partir de 15:36\n\nU-1-3_t03_MONTAMBAULT-VT\nPiste voix - Steve Montambault - débute à 6:56 jusqu'à la fin, à 24:28\n\nU-1-3_t04_LEFEBVRE-VT\nPiste voix - Michel Lefebvre\nPiste micro de Lefebvre, mais qui capte bande de fond, jusqu'à 5:40 Piste vide de 5:40 jusqu'à la fin, à 24:28\n\nU-1-3_t05_MONTAMBAULT-BT_LETARTE-BT\nPiste musique de fond Montambault - jusqu'à 5:56\nPiste musique de fond Geneviève Letarte - débute à 6:25 jusqu'à la fin, à 24:03\n\nU-1-3_t06_LETARTE-BT\nPiste musique de fond - Geneviève Letarte Du début à la fin, à 24:03\n\nU-1-3_t07_MONTAMBAULT-VT_LETARTE-BT\nPiste voix Montambault - jusqu'à 5:56\nPiste musique de fond Geneviève Letarte - débute à 6:13 jusqu'à la fin, à 24:03\n\nU-1-3_t08_LETARTE-VT\nPiste voix - Geneviève Letarte\nDébute à 7:45 - jusqu'à la fin de la bande, 24:03"],"contents":["Ultimatum_Mixdown_Steve Montambault_U-1-3_T1_T2_T3_T4_U-1-3_T5_T6_T7.mp3\n\nThe following is a transcription of Steve Montambault’s performance at Ultimatum, Wednesday May 1th, 1985. The Ultimatum festival pamphlet lists Montambault’s performance as “Poésie Sonore” or “Sound Poetry”. The recording features electronic sounds, poetry, vocal performances and microphone distortions. \n\nTRANSCRIPT\n\nSteve Montambault\n00:00:00\nPerforms Sound Poetry [sound effects, electronic sounds, bilingual words, alien voice, microphone distortions].\n\nAudience\n00:02:16\nApplause\n\nSteve Montambault\n00:02:49\nContinues performance [voice distortion, sound effects, electronic sounds, poetry].\n\nAudience\n00:08:41\nApplause \n\nSteve Montambault\n00:09:02\nPerforms English poem [voice distortion from microphone]. Keywords: hometown, car, key, people.\n\nAudience\n00:13:41\nLaughter and applause.\n\nSteve Montambault\n00:13:44\nContinues performance [electronic sounds and voice distortion from microphone]. \n\nUnknown\n00:17:30\nPause \n\n00:17:41\nPerforms electronic sounds [vocal repetition].\n\nEND\n00:23:03\n"],"Related_works":["[{\"url\":\"https://files.spokenweb.ca/concordia/alanlord/1/ALAN%20ARCHIVES%20DOCUMENTATION/07%20-%20ULTIMATUM/1%20-%20PHOTOS%20%26%20DOCUMENTATION/0%20-%20ULTIMATUM.pdf\",\"citation\":\"Ultimatum Program/me [Pamphlet]\"},{\"url\":\"\",\"citation\":\"Pattibo. Contact sheets of photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-sheets. Concordia University Library, Special Collections, Montréal, QC.\"}]"],"_version_":1853670549060845568,"timestamp":"2026-01-07T14:59:53.477Z","Note":["[{\"note\":\"Multitrack Mix File Name: Ultimatum_Mixdown_Steve Montambault_U-1-3_T1_T2_T3_T4_U-1-3_T5_T6_T7.mp3\",\"type\":\"General\"},{\"note\":\"Media Preserve Metadata for Tape U-1-3.\\n\\n<MediaAsset>\\n<!-- Original Physical Asset and Transfer Details -->\\n<Original>\\n<Filename>U-1-3</Filename>\\n<Title>Michel Lefebvre Steve Montanbantt Genvieve Letarte</Title>\\n<RunningTime>00:24:27</RunningTime>\\n<RecordDate>undated</RecordDate>\\n<FormatType>Open Reel</FormatType>\\n<StockBrand>Ampex</StockBrand>\\n<TapeModel>406</TapeModel>\\n<TapeWidth>1/4\\\"</TapeWidth>\\n<TapeType>Polyester</TapeType>\\n<ReelSize>7\\\"</ReelSize>\\n<TrackConfiguration>8 Track</TrackConfiguration>\\n<SoundField>Mono</SoundField>\\n<RecordingSpeed>15 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Brochure.\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1296620055\",\"venue\":\"Foufounes Électriques\",\"notes\":\"\",\"address\":\"87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5\",\"latitude\":\"45.5109472\",\"longitude\":\" -73.5640102\"}]"],"Address":["87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5"],"Venue":["Foufounes Électriques"],"City":["Montreal, Quebec"],"content_notes":["Transcription by Emma Telaro. \n\nNotes from Alan Lord file \"ULTIMATUM - BANDE U-1-3.pdf\" :\n\nULTIMATUM - PISTES SUR LA BANDE U-1-3\n\nU-1-3_t01_LEFEBVRE-BT_MONTAMBAULT-BT_1\nPiste musique de fond Lefebvre - jusqu'à 9:03\nPiste musique de fond Montambault - débute à 9:48 jusqu'à la fin, à 24:28\nmais avec un long vide au milieu\n\nU-1-3_t02_LEFEBVRE-BT_MONTAMBAULT-BT_2\nPiste musique de fond Lefebvre - jusqu'à 9:03\nPiste musique de fond Montambault - débute à 9:48 jusqu'à la fin, à 24:28\nmais avec un faible signal à partir de 15:36\n\nU-1-3_t03_MONTAMBAULT-VT\nPiste voix - Steve Montambault - débute à 6:56 jusqu'à la fin, à 24:28\n\nU-1-3_t04_LEFEBVRE-VT\nPiste voix - Michel Lefebvre\nPiste micro de Lefebvre, mais qui capte bande de fond, jusqu'à 5:40 Piste vide de 5:40 jusqu'à la fin, à 24:28\n\nU-1-3_t05_MONTAMBAULT-BT_LETARTE-BT\nPiste musique de fond Montambault - jusqu'à 5:56\nPiste musique de fond Geneviève Letarte - débute à 6:25 jusqu'à la fin, à 24:03\n\nU-1-3_t06_LETARTE-BT\nPiste musique de fond - Geneviève Letarte Du début à la fin, à 24:03\n\nU-1-3_t07_MONTAMBAULT-VT_LETARTE-BT\nPiste voix Montambault - jusqu'à 5:56\nPiste musique de fond Geneviève Letarte - débute à 6:13 jusqu'à la fin, à 24:03\n\nU-1-3_t08_LETARTE-VT\nPiste voix - Geneviève Letarte\nDébute à 7:45 - jusqu'à la fin de la bande, 24:03"],"contents":["Ultimatum_Mixdown_Geneviève Letarte_U-1-3_T5_T6_T7_T8_U-1-4_T1_T2_T3_T4.mp3\n\nThe following is a transcription of Genevieve Letarte’s performance at Ultimatum, Monday May 1st, 1985. Letarte is an interdisciplinary artist from Montréal, Québec, Canada, writing under various modes and capacities: she is the author of 4 novels, among them, Souvent la nuit tu te reveilles (2002) and Les Vertiges Molino (1996), a poet, singer and songwriter. Her most recent publication is a poetry collection entitled Mes Ailleurs (2020). Her performances often combine text, song and music, as does the following multimodal performance from Ultimatum ’85, which mixes sound, song and poetry. The Ultimatum LP features “Petite Nuage Et Betelgeueuse” from this set, with electronic percussion by Bernard Poirier, music by Trafic D’Influences, synthesizer and trombone by Claude Saint-Jean, and word and voice by Geneviève Letarte. \n\nGeneviève Letarte\n00:00:00\nPerforms [music, drums, instruments, electronic instruments, saxophone, chanting, singing, poetry, electronic sounds, vocal performance] | Keywords: répeter, texte, geste, oublier. \n\nGeneviève Letarte\n00:02:53\nPerforms [poetry, singing, music, keyboard, electronic sounds] | Keywords: reincarnation, négociation, ville, harpie, voyage, vide, magie, Afrique, café, Parisien, crash, cochonnes, silence.\n\nGeneviève Letarte\n00:07:55\nPerforms [poetry, electronic sounds] | Keywords: Saturne, dommage, Américaniser, absence, retrouvailles.  \n\nGeneviève Letarte\n00:11:01\nPerforms [poetry, music, electronic sounds, guitar] | Keywords: cheval, enfant, amour, laboratoire, tranquille, texte, peau, livre, bouche, téléphone, stylo, vacances, tendresse, chagrin, distance.\n\nUnknown\n00:17:48\nTape cut \n\nGeneviève Letarte\n00:17:51\nPerforms [poetry, singing, music, saxophone, electronic sounds] | Keywords: chair, peur, baiser, marcher, idoles, amant, coeur, théorie, train, maison. \n\nAudience\n00:21:40\nApplause \n\nEnd\n00:22:01\n\n"],"Related_works":["[{\"url\":\"https://files.spokenweb.ca/concordia/alanlord/1/ALAN%20ARCHIVES%20DOCUMENTATION/07%20-%20ULTIMATUM/1%20-%20PHOTOS%20%26%20DOCUMENTATION/0%20-%20ULTIMATUM.pdf\",\"citation\":\"Ultimatum Program/me [Pamphlet]\"},{\"url\":\"http://www.edhexagone.com/genevieve-letarte/auteur/leta1003\",\"citation\":\"Geneviève Letarte bio on l'Hexagone [Québecor Média]\"},{\"url\":\"https://www.supermusique.qc.ca/fr/artistes/letarte_ge\",\"citation\":\"Artist bio, audio, and events on supermusique.ca.ca\"},{\"url\":\"https://www.discogs.com/artist/591749\",\"citation\":\"Discogs entry Geneviève Letarte\"},{\"url\":\"https://actuellecd.com/fr/artiste/letarte_ge/Genevi%C3%A8ve_Letarte\",\"citation\":\"Artist bio, press, and web links. \"},{\"url\":\"https://www.renaud-bray.com/Livres_Produit.aspx?id=3293463&def=Mes+ailleurs%2CLETARTE%2C+GENEVI%C3%88VE%2C9782896454013\",\"citation\":\"Link to purchase novel by Geneviève Letarte, \\\"Mes ailleurs\\\". \"},{\"url\":\"\",\"citation\":\"Letarte, Geneviève. Typescript of \\\"Petit Nuage et Betelgeuse,\\\" for Ultimatum, c. 1985 May, Alan Lord fonds (F039), Box 1, folder AL-Folder1_let. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Letarte, Geneviève. Contract for Ultimatum, 12 Apr. 1985, Alan Lord fonds (F039), Box 1, folder AL-Folder2_let. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Butterfield, Sarah. Photo of Geneviève Letarte, n.d., Alan Lord fonds (F039), Box 1, folder AL-Folder2_let. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Maheux, Camille. Photo of Geneviève Letarte, n.d., Alan Lord fonds (F039), Box 1, folder AL-Folder2_let. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Ultimatum Administrative Council. Various manuscript notes for Ultimatum, Apr. 1985–May 1986, Alan Lord fonds (F039), Box 1, folder AL-Folder1_ult. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Ultimatum Administrative Council. Miscellaneous organizational material for Ultimatum, Feb.–Jun. 1985, Alan Lord fonds (F039), Box 1, folder AL-Folder2_ult. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Pattibo. Contact sheets of photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-sheets. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Giorno, John, Anonyme Sanregret (Pierre Cornudet), and Geneviève Letarte. Typescript and manuscripts of \\\"Last night I gambled with my anger (and lost),\\\" \\\"Microprocesseur,\\\" and \\\"Petit Nuage et Betelgeuse,\\\" c. May 1985, Alan Lord fonds (F039), Box 1, folder AL-Folder1_gio-let-san. 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Brochure.\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1296620055\",\"venue\":\"Foufounes Électriques\",\"notes\":\"\",\"address\":\"87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5\",\"latitude\":\"45.5109472\",\"longitude\":\" -73.5640102\"}]"],"Address":["87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5"],"Venue":["Foufounes Électriques"],"City":["Montreal, Quebec"],"content_notes":["Transcription by Emma Telaro. \n\nPerformance of \"Poésie Guerrière\" according to bilingual \"Ultimatum Programme\" pamphlet. "],"contents":["Ultimatum_Mixdown_Jack V_U-1-4_T1_T2_T3_T4.mp3\n\nThe following is a transcription of Jack V performance of “Poésie Guerrière” at Ultimatum, Monday May 1st, 1985 at the Foufounes Electriques. Alan Lord provides a description and interpretation of the performance in his memoirs: \n\n“For his performance—called Poésie guerrière—Jack read a few texts, then smashed a mirror, invoking \"seven years of bad luck!\" He then stripped down to the waist and smeared war paint on his face. He started dancing, prancing and swaying in abandon like a wild man, and soon a regiment of a dozen drummers joined him onstage one by one—a post-punk marching band—martially rat-tatting their snares. Jack was feline and menacing, irresistibly magnetic. This was poetry beyond words, like Alex nodding you his glass of Moloko Plus in A Clockwork Orange. When we watch Jack's clip we feel the shock of realizing his performance anticipates by some 35 years that of Joaquin Phoenix dancing down the stairs in Joker.”\n\nJack V entered the alternative scene by playing bass for Roro d’Haïti and later for Monty Casin, in First Aid Brigade. Lord determines that ultimately, Jack V “gave the most memorable performance of the festival”. \n\nTRANSCRIPT\n\nJack V\n00:00:00\nPerforms “Poésie Guerrière” [acapella singing, chanting and poetry over buzzing sound]. \n\nJack V\n00:58:00\nSmashes mirror, “7 ans de malheur!”.\n\nJack V\n00:01:02\nPerforms “Poésie Guerrière” [reads poem over musical track and electronic sounds] | Keywords: religieuse, avortement, écoliers, couronne, chagrin, intestin, l’inderteminable, absolu, chien, révolution, ange, violence, peur, alcohol, rock ’n roll, corps, tête, spectateur, sexe. \n\nJack V\n00:10:08\nContinues performance of “Poésie Guerrière” [chanting, singing, robot sounds, electronic sounds, human voices, poetry] | Keywords: trance, chapeau, taureau, habit, moine, guerre, sauvage, Zorro, Don Quixote, Pepino, radio. \n\nJack V\n00:13:12\nContinues performance of “Poésie Guerrière” [Jack V says a few words into the mic while music plays. Dancing, electronic sounds, drums, bass, guitar, keyboard] | Keywords: Rock n’Roll, Madonna.\n\nJack V\n00:16:52\nContinues performance of  “Poésie Guerrière” [repeats variations of “allons à la guerre” over sustained drum roll, keyboard and electronic sounds]. | Keywords: guerre, cause d’honneur, riche, pauvre, ridicule. \n\nEND\n00:19:02\nDrums and snares fade out. \n\n"],"Related_works":["[{\"url\":\"https://files.spokenweb.ca/concordia/alanlord/1/ALAN%20ARCHIVES%20DOCUMENTATION/07%20-%20ULTIMATUM/1%20-%20PHOTOS%20%26%20DOCUMENTATION/0%20-%20ULTIMATUM.pdf\",\"citation\":\"Ultimatum Program/me [Pamphlet]\"},{\"url\":\"\",\"citation\":\"Alan Lord unpublished memoirs. \"},{\"url\":\"https://www.youtube.com/watch?v=dp5RbILEQpc\",\"citation\":\"Jack V performance at Ultimatum uploaded by Alan Lord on YouTube. \"},{\"url\":\"https://www.discogs.com/release/435530-Monty-Cantsin-First-Aid-Brigade-Mass-Media\",\"citation\":\"Discogs entry for Mounty Cantsin [Jack V on bass]. \"},{\"url\":\"\",\"citation\":\"Pattibo. Contact sheets of photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-sheets. 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"],"item_language":["French"],"item_production_context":["Documentary recording"],"item_series_title":["Alan Lord Collection"],"item_subseries_title":["Ultimatum [1]"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. Alan Lord has permission waivers. We may wish to seek permission from individual artists.  "],"creator_names":["Tougas, Colette"],"creator_names_search":["Tougas, Colette"],"creators":["[{\"url\":\"http://viaf.org/viaf/50700299\",\"name\":\"Tougas, Colette \",\"dates\":\"1950-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors_names":["Lord, Alan"],"contributors_names_search":["Lord, Alan"],"contributors":["[{\"url\":\"http://viaf.org/viaf/80186482\",\"name\":\"Lord, Alan\",\"dates\":\"1954-\",\"notes\":\"Alan Lord has been designated Contributor when in the role of series organizer and Creator when in the role of Performer. \\n\",\"nation\":[],\"role\":[\"Series organizer\"]}]"],"Series_organizer_name":["Lord, Alan"],"Performance_Date":[1985],"material_description":["[{\"side\":\"Tracks 7-8. \",\"image\":\"../Uploads/5881/Screen Shot 2020-11-07 at 1.17.54 PM.png\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Ampex 406\",\"generations\":\"Audio taken from original reel to reel 8 track tape.\",\"Conservation\":\"Perforation repairs. 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Brochure.\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1296620055\",\"venue\":\"Foufounes Électriques\",\"notes\":\"\",\"address\":\"87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5\",\"latitude\":\"45.5109472\",\"longitude\":\" -73.5640102\"}]"],"Address":["87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5"],"Venue":["Foufounes Électriques"],"City":["Montreal, Quebec"],"content_notes":["According to festival pamphlet \"Ultimatum Programme\", Colette Tougas performs \"Clara la Brune\". Corroborated in listening.\n\nTranscription by Emma Telaro.  "],"contents":["Ultimatum_Mixdown_Colette Tougas_U-1-4_T7_T8.mp3\n\nThe following is a transcription of the Colette Tougas set at Ultimatum, Wednesday May 1st, 1984 at the Foufounes Électriques. Tougas performs “Clara La Brune”, an alluring, dramatic monologue with a refrain sung throughout. In his memoirs, Alan Lord counts the performance as one of the festival highlights, recalling “Writer Colette Tougas singing a capella the sultry Modesty in her smoldering breathy voice, which I just had to put on the festival's documentary LP...” Colette Tougas is a translator, writer of fiction and of essays, recently contributing art criticism to the online magazine, Ciel Variable. She is the author of Le Porphyre de la Rue Dezery (1985).  \n\nTRANSCRIPT\n\nAudience\n00:00:00\nAmbient Sounds [voices and laughter audible throughout]. \n\nColette Tougas\n00:00:04\nIntroduces performance “Clara La Brune”. | Keywords: Clara La Brune, seduction.\n\nColette Tougas\n00:00:13\nPerforms “Clara La Brune”. Sings refrain throughout ‘On m’appelle Clara La Brune, on m’appelle la dame qui fume des cigarettes russes’. \n\nColette Tougas \n00:00:28\nPerforms “Clara La Brune”. | Keywords: tigane, Roumanie, Adam, Ève, Clara, femme fictive, nounours, malaise, moderne, amour, Paris.  \n\n[Unknown]\n00:03:37\nLaughter. \n\nColette Tougas \n00:03:39\nSpeaks “Merci”.\n\nColette Tougas \n00:03:43\nContinues “Clara La Brune”. \n\nColette Tougas \n00:03:51\nSings in Italian. Repeated throughout. Keywords: prima volta, uomo, tanto bello.\n\nColette Tougas\n00:04:10\nContinues “Clara La Brune”. |  Keywords: automne, chien Kiki, homme.  \n\n[Unknown]\n00:04:24\nLaughter. \n\nColette Tougas\n00:04:26\nSings Italian refrain. \n\nColette Tougas\n00:04:44 \nContinues “Clara La Brune”. | Keywords: mondaine, Roumanie, Italienne. \n\nColette Tougas \n00:05:13\nSings Italian refrain. \n\nColette Tougas\n00:05:31\nContinues “Clara La Brune”. | Keywords: chien Kiki, Paris, homme. \n\nColette Tougas\n00:05:48\nSings Italian refrain. \n\nColette Tougas\n00:06:10\nContinues performance. | Keywords: Amour, Cinéma, alcohol, fumée, russe, cinéaste, chat, beau, laid, bonheur, prince, novembre, séduction, âme, beurrier, obsession, malaise, désir, amoureux.\n\n[Unknown]\n00:11:10\nClaps preemptively. \n\nColette Tougas\n00:11:12 \n“J’ai pas fini j’m’excuse” [laughs].\n\nColette Tougas\n00:11:17\nSings “Modesty”. | Keywords: diamonds, neck, lip, mink coat, fur, pur, presents, Rolls Royce.\n\nAudience\n00:13:46\nApplause \n\nColette Tougas \n00:13:58\nSpeaks “Merci”.\n\nColette Tougas \n00:14:01\nContinues “Clara La Brune”. | Keywords: désir, volonté, corps, veille de Noël, potins, flirt, l’art de la séduction, l’autre, regard, cigarette, boisson, passion. \n\nColette Tougas \n00:17:06\nSings French refrain, “On m’appelle Clara La Brune, on m’apelle la dame qui fume des cigarettes russes”. \n,\nColette Tougas\n00:17:16\nContinues “Clara La Brune”. | Keywords: femme fatale, sentimentale, banal, verticale. \n\nColette Tougas\n00:17:31\nSings French refrain.\n\nColette Tougas \n00:17:41\nContinues “Clara La Brune”. | Keywords: caserne, pompiers, escaliers, ascension, vanité, pâtissier, infini.\n\nColette Tougas\n00:18:06\nSings French refrain. \n\nColette Tougas\n00:18:17\nContinues “Clara La Brune”. \n\nColette Tougas \n00:18:31 \nSings French refrain.\n\nAudience \n00:18:42 \nApplause. \n"],"Related_works":["[{\"url\":\"http://cielvariable.ca/en/auteurscv/tougas-colette-en/\",\"citation\":\"Contributions to the online magazine \\\"Ciel Variable\\\". \\n\"},{\"url\":\"\",\"citation\":\"Title of piece performed, \\\"Clara la Brune\\\". \"},{\"url\":\"https://files.spokenweb.ca/concordia/alanlord/1/ALAN%20ARCHIVES%20DOCUMENTATION/07%20-%20ULTIMATUM/1%20-%20PHOTOS%20%26%20DOCUMENTATION/0%20-%20ULTIMATUM.pdf\",\"citation\":\"Ultimatum Program/me [Pamphlet]\"},{\"url\":\"https://soundcloud.com/alan-lord-4/05-colette-tougas-modesty\",\"citation\":\"Alan Lord soundcloud. Recording of Colette Tougas singing \\\"Modesty\\\". \"},{\"url\":\"\",\"citation\":\"Alan Lord unpublished memoirs. \"},{\"url\":\"https://www.discogs.com/release/2341164-Various-Ultimatum\",\"citation\":\"Ultimatum LP on discogs. \"},{\"url\":\"https://www.pleinelune.qc.ca/titre/255/le-porphyre-de-la-rue-dezery\",\"citation\":\"Le porphyre de la rue Dézéry, novel by Colette Tougas.\"},{\"url\":\"\",\"citation\":\"Tougas, Colette. Contract, bionote, and performance plan for Ultimatum, 25 Feb. 1985, Alan Lord fonds (F039), Box 1, folder AL-Folder2_tou. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Pattibo. Contact sheets of photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-sheets. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Tougas, Colette. Typescript and manuscript versions of \\\"Modesty\\\" for Ultimatum, c. 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"],"item_language":["English, French"],"item_production_context":["Documentary recording"],"item_series_title":["Alan Lord Collection"],"item_subseries_title":["Ultimatum [1]"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. Alan Lord has permission waivers. We may wish to seek permission from individual artists.  "],"creator_names":["Lord, Alan"],"creator_names_search":["Lord, Alan"],"creators":["[{\"url\":\"http://viaf.org/viaf/80186482\",\"name\":\"Lord, Alan\",\"dates\":\"1954-\",\"notes\":\"Alan Lord has been designated Contributor when in the role of series organizer and Creator when in the role of Performer. \\n\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors_names":["Lord, Alan"],"contributors_names_search":["Lord, Alan"],"contributors":["[{\"url\":\"http://viaf.org/viaf/80186482\",\"name\":\"Lord, Alan\",\"dates\":\"1954-\",\"notes\":\"Alan Lord has been designated Contributor when in the role of series organizer and Creator when in the role of Performer. \\n\\n\",\"nation\":[],\"role\":[\"Series organizer\"]}]"],"Series_organizer_name":["Lord, Alan"],"Performance_Date":[1985],"material_description":["[{\"side\":\"Tracks 1-4. \",\"image\":\"../Uploads/5884/Screen Shot 2020-11-07 at 4.35.29 PM.png\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Ampex 406\",\"generations\":\"Audio taken from original reel to reel 8 track tape.\",\"Conservation\":\"Perforation repairs. 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Sticker identifying tape as ALAN LORD.\",\"other_physical_description\":\"Reel AL-1\"}]"],"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"],"digital_description":["[{\"file_url\":\"https://files.spokenweb.ca/concordia/alanlord/2/Deliverables/Audio_Deliverables/U-1-5/U-1-5_t01_preservation.wav\",\"file_path\":\"\",\"filename\":\"U-1-5_t01_preservation.wav\",\"channel_field\":\"Mono\",\"sample_rate\":\"96kHz\",\"duration\":\"00:16:55\",\"precision\":\"\",\"size\":\"278.80 MB\",\"bitrate\":\"2304000 \",\"encoding\":\"Waveform \",\"contents\":\"This is track 1 of 8 tracks on tape U-1-5 containing a backing track from Alan Lord. \",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/alanlord/2/Deliverables/Audio_Deliverables/U-1-5/U-1-5_t03_preservation.wav\",\"file_path\":\"\",\"filename\":\"U-1-5_t03_preservation.wav\",\"channel_field\":\"Mono\",\"sample_rate\":\"96kHz\",\"duration\":\"00:16:55\",\"precision\":\"\",\"size\":\"278.80 MB\",\"bitrate\":\"2304000 \",\"encoding\":\"Waveform \",\"contents\":\"This is track 3 of 8 tracks on tape U-1-5 containing a vocal track from Alan Lord.\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/alanlord/2/Deliverables/Audio_Deliverables/U-1-5/U-1-5_t02_preservation.wav\",\"file_path\":\"\",\"filename\":\"U-1-5_t02_preservation.wav\",\"channel_field\":\"Mono\",\"sample_rate\":\"96kHz\",\"duration\":\"00:16:55\",\"precision\":\"\",\"size\":\"278.80 MB\",\"bitrate\":\"2304000 \",\"encoding\":\"Waveform \",\"contents\":\"This is track 2 of 8 tracks on tape U-1-5 containing a backing track from Alan Lord.\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/alanlord/2/Deliverables/Audio_Deliverables/U-1-5/U-1-5_t04_preservation.wav\",\"file_path\":\"\",\"filename\":\"U-1-5_t04_preservation.wav\",\"channel_field\":\"Mono\",\"sample_rate\":\"96kHz\",\"duration\":\"00:16:55\",\"precision\":\"\",\"size\":\"278.80 MB\",\"bitrate\":\"2304000 \",\"encoding\":\"Waveform \",\"contents\":\"This is track 4 of 8 tracks on tape U-1-5 containing a vocal track from Alan Lord.\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Document\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1985-05-01\",\"type\":\"Performance Date\",\"notes\":\"According to brochure, performance began at 22:30.\",\"source\":\"Container. Brochure.\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1296620055\",\"venue\":\"Foufounes Électriques\",\"notes\":\"\",\"address\":\"87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5\",\"latitude\":\"45.5109472\",\"longitude\":\" -73.5640102\"}]"],"Address":["87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5"],"Venue":["Foufounes Électriques"],"City":["Montreal, Quebec"],"content_notes":["Transcription by Emma Telaro\n\nPerformance of \"Ignoring the Future Today\" according to festival pamphlet \"Ultimatum Programme\". "],"contents":["Ultimatum_Mixdown_Alan Lord_U-1-5_T1_T2_T3_T4.mp3\n\nThe following is a transcription of Alan Lord’s performance at Ultimatum, Wednesday May 1st, 1985. Alan Lord is the festival organizer and creator of Ultimatum. He is a Canadian musician, writer and engineer, and was a member of the bands Vex, the Marauders, Vent du Mont Scharr and Alan Lord & the Falling Men. An important figure for Montreal’s alternative punk scene, he is featured in Erik Cimon’s documentary “Mtl Punk -- The first wave” (2011). \n\nDuring his Ultimatum set, he performed four song-poems, including “Ignoring the Future Today '' and “Too Much Money” with accompanying electronic music tapes by Jean-Luc Bonspiel and computer graphics videos done by Boris Wanowitch. The Ultimatum LP features “Ignore the Future Today” with music by Jean-Luc Bonspiel and words and vocals by Alan Lord. \n\nTRANSCRIPT\n\nUnknown\n00:00:00\nAmbient sounds\n\nAlan Lord \n00:00:39\n“Ok on peut-y aller”\n\nAlan Lord\n00:01:01\nSpeaks\n\nAlan Lord\n00:01:06\nPerforms song [music, singing, speech, poetry, drum set, electric keyboard, electronic sounds] | Keywords: too much money, banks, stock exchange, secret deals, criminal, dream, wealth.\n\nAudience\n00:04:47\nApplause\n\nAlan Lord\n00:04:52\nSpeaks\n\nAlan Lord\n00:04:57\nPerforms song [cymbals, electronic sounds, electronic keyboard, bass, guitar, instruments, singing, poetry, speech] Keywords: career, media misery, starvation, sensation, fix, missiles, people, assassinate.\n\nAudience\n00:08:45 \nApplause\n\nAlan Lord \n00:08:47\nSpeaks\n\nAlan Lord\n00:08:49\nPerforms song [music, electronic sounds, bass, drum set, guitar, electric keyboard, singing, speech] | Keywords: everybody, stranger, change, universe, world. \n\nAudience\n00:11:44\nApplause\n\nAlan Lord\n00:11:58\nAnnounces upcoming performance on Friday [Boys du Severe] and performs song [electronic sounds, electric keyboard, bass, drum set, guitar, spoken word, speech] | Keywords: ecstatic, wind, sidewalk cracks, obstacles, work, cup of coffee, luxury, business, nation, egg, kid, philosophy, credibility, future. \n\nAudience \n00:16:25\nApplause \n\nAlan Lord\n00:16:38\nThanks the audience in French and explains his choice to write songs in English.\n"],"Related_works":["[{\"url\":\"https://files.spokenweb.ca/concordia/alanlord/1/ALAN%20ARCHIVES%20DOCUMENTATION/07%20-%20ULTIMATUM/1%20-%20PHOTOS%20%26%20DOCUMENTATION/0%20-%20ULTIMATUM.pdf\",\"citation\":\"Ultimatum Program/me [Pamphlet]\\n\\n\"},{\"url\":\"https://www.discogs.com/release/2341164-Various-Ultimatum\",\"citation\":\"Discogs entry Ultimatum LP.\"},{\"url\":\"https://www.discogs.com/artist/1868386-Alan-Lord\",\"citation\":\"Discogs entry Alan Lord.\"},{\"url\":\"\",\"citation\":\"Alan Lord unpublished memoirs.\"},{\"url\":\"https://www.guernicaeditions.com/author/1005\",\"citation\":\"Guernica editions website: links, bio, and books by Alan Lord.\"},{\"url\":\"https://soundcloud.com/alan-lord-4/04-alan-lord-ignoring-the\",\"citation\":\"Select performances from Ultimatum 85 on Alan Lord Soundcloud. Track: Ignoring the Future Today by Alan Lord. \"},{\"url\":\"https://en.wikipedia.org/wiki/Alan_Lord\",\"citation\":\"Alan Lord wikipedia page.\"},{\"url\":\"https://montrealgazette.com/entertainment/mtl-punk-the-first-wave-captures-the-original-punk-scene-here\",\"citation\":\"Gazette article by Brendan Kelly on Erik Cimon’s documentary \\\"Mtl Punk – The First Waves\\\" which features Alan Lord.\"},{\"url\":\"https://minorliteratures.com/2019/03/22/burroughs-makes-it-to-the-foufounes-electriques-alan-lord/#\",\"citation\":\"Article \\\"Burroughs Makes It to The Foufounes Électriques\\\" by Alan Lord. \"},{\"url\":\"https://voir.ca/chroniques/mines-darchives/2019/06/06/alan-lord-gourou-paien-de-lunderground-quebecois/\",\"citation\":\"Article \\\"ALAN LORD, GOUROU PAÏEN DE L’UNDERGROUND QUÉBÉCOIS\\\" by Félix B. Desfossés. \"},{\"url\":\"https://vimeo.com/ondemand/punk1\",\"citation\":\"\\\"MTL PUNK - The First Wave\\\", by Érik Cimon and Alain Cliche (version anglaise)\"},{\"url\":\"\",\"citation\":\"Lord, Alan. Typescript of \\\"Ignoring The Future Today\\\" for Ultimatum, 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_lor-poem. Concordia University Library, Special Collections, Montréal, QC.\"}]"],"_version_":1853670549073428480,"timestamp":"2026-01-07T14:59:53.477Z","Note":["[{\"note\":\"Multitrack Mix File Name: \\nUltimatum_Mixdown_Alan Lord_U-1-5_T1_T2_T3_T4.mp3\",\"type\":\"General\"},{\"note\":\"Media Preserve Metadata for Tape U-1-5.\\n\\n<MediaAsset>\\n<!-- Original Physical Asset and Transfer Details -->\\n<Original>\\n<Filename>U-1-5</Filename>\\n<Title>Alan Lord Open Mouth</Title>\\n<RunningTime>00:16:55</RunningTime>\\n<RecordDate>undated</RecordDate>\\n<FormatType>Open Reel</FormatType>\\n<StockBrand>Ampex</StockBrand>\\n<TapeModel>406</TapeModel>\\n<TapeWidth>1/4\\\"</TapeWidth>\\n<TapeType>Polyester</TapeType>\\n<ReelSize>7\\\"</ReelSize>\\n<TrackConfiguration>8 Track</TrackConfiguration>\\n<SoundField>Mono</SoundField>\\n<RecordingSpeed>15 ips</RecordingSpeed>\\n<NoiseReduction>None</NoiseReduction>\\n<Equalization>NAB</Equalization>\\n<PackOrientation>Heads 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Brochure.\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1296620055\",\"venue\":\"Foufounes Électriques\",\"notes\":\"\",\"address\":\"87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5\",\"latitude\":\"45.5109472\",\"longitude\":\" -73.5640102\"}]"],"Address":["87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5"],"Venue":["Foufounes Électriques"],"City":["Montreal, Quebec"],"content_notes":["Pamphlet describes performance as \"Text/Computer Music\" with performers: Tristan Renaud, Gaetan Gravel, Corrina Viereck. "],"contents":["Coming soon. "],"Related_works":["[{\"url\":\"https://files.spokenweb.ca/concordia/alanlord/1/ALAN%20ARCHIVES%20DOCUMENTATION/07%20-%20ULTIMATUM/1%20-%20PHOTOS%20%26%20DOCUMENTATION/0%20-%20ULTIMATUM.pdf\",\"citation\":\"Ultimatum Program/me [Pamphlet]\"},{\"url\":\"https://www.discogs.com/Various-Ultimatum/release/2341164\",\"citation\":\"Ultimatum LP discogs entry. \"},{\"url\":\"\",\"citation\":\"Pattibo. Contact sheets of photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-sheets. 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Sainte-Catherine E, Montréal, QC H2X 1K5\",\"latitude\":\"45.5109472\",\"longitude\":\" -73.5640102\"}]"],"Address":["87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5"],"Venue":["Foufounes Électriques"],"City":["Montreal, Quebec"],"content_notes":["Festival pamphlet describes performance as \"poetry/electronic tapes\". \n"],"contents":["Coming soon."],"Related_works":["[{\"url\":\"https://files.spokenweb.ca/concordia/alanlord/1/ALAN%20ARCHIVES%20DOCUMENTATION/07%20-%20ULTIMATUM/1%20-%20PHOTOS%20%26%20DOCUMENTATION/0%20-%20ULTIMATUM.pdf\",\"citation\":\"Ultimatum Program/me [Pamphlet]\"},{\"url\":\"\",\"citation\":\"Pattibo. 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"],"contents":["Coming soon."],"Related_works":["[{\"url\":\"https://files.spokenweb.ca/concordia/alanlord/1/ALAN%20ARCHIVES%20DOCUMENTATION/07%20-%20ULTIMATUM/1%20-%20PHOTOS%20%26%20DOCUMENTATION/0%20-%20ULTIMATUM.pdf\",\"citation\":\"Ultimatum Program/me [Pamphlet]\"},{\"url\":\"\",\"citation\":\"Pattibo. Contact sheets of photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-sheets. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Tcetera, André (André Trottier). Typescript note and press kit after Ultimatum, after 3 May 1985, Alan Lord fonds (F039), Box 1, folder AL-Folder2_tce. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Toppings, Mike (Michael). Photo of Mike Toppings, n.d., Alan Lord fonds (F039), Box 1, folder AL-Folder2_top. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Toppings, Michael. Typescript of \\\"boom,\\\" n.d., Alan Lord fonds (F039), Box 1, folder AL-Folder1_top. 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"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["Alan Lord Collection"],"item_subseries_title":["Ultimatum [1]"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. Alan Lord has permission waivers. We may wish to seek permission from individual artists.  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We may wish to seek permission from individual artists and Drew Duncan, the videographer."],"creator_names":["Battson, Jill","Dembowski, Nancy","Rogal, Stan","O'Connor, Mike","Gotham, Lee"],"creator_names_search":["Battson, Jill","Dembowski, Nancy","Rogal, Stan","O'Connor, Mike","Gotham, Lee"],"creators":["[{\"url\":\"https://viaf.org/viaf/53412899\",\"name\":\"Battson, Jill\",\"dates\":\"1958-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/16764896\",\"name\":\"Dembowski, Nancy\",\"dates\":\"1956-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/67938613\",\"name\":\"Rogal, Stan\",\"dates\":\"1950-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/73440225\",\"name\":\"O'Connor, Mike\",\"dates\":\"1968-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/106179112\",\"name\":\"Gotham, Lee\",\"dates\":\"1962-\",\"notes\":\"Lee Gotham was also the MC of this event.\",\"nation\":[],\"role\":[\"Series organizer\",\"Producer\"]}]"],"contributors_names":["Ferrier, Ian","Duncan, Drew"],"contributors_names_search":["Ferrier, Ian","Duncan, Drew"],"contributors":["[{\"url\":\"https://viaf.org/viaf/91437046\",\"name\":\"Ferrier, Ian\",\"dates\":\"1954-\",\"notes\":\"Non-performing; appearance at end.\",\"nation\":[],\"role\":[]},{\"url\":\"\",\"name\":\"Duncan, Drew\",\"dates\":\"\",\"notes\":\"Videographer.\",\"nation\":[],\"role\":[\"Recordist\"]}]"],"Recordist_name":["Duncan, Drew"],"Performance_Date":[1995],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/1460/Enough_Said-VHS_It_came_from_the_401-19950626.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Video\",\"tape_brand\":\"TDK EHG\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"120 minutes\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"VHS\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Tape box. Handwritten labels on front and side.\",\"other_physical_description\":\"VHS asset #It_came_from_the_401.\"}]"],"material_designations":["VHS"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Video"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:v:/g/personal/carlosa_pittella_concordia_ca/EST4b1QQahlKpDtYsxLsgVMBOSF_orGOOLIo_5rRnA0bSA\",\"file_path\":\"\",\"filename\":\"Enough_Said-19950626-It_came_from_the_401.mp4\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:15:10\",\"precision\":\"\",\"size\":\"2.12 GB on disk\",\"bitrate\":\"2304Kbps (original); 256Kbps (master)\",\"encoding\":\"MPEG-4 movie\",\"contents\":\"This is file 1 of 1 containing an AV recording of the event \\\"It came from the 401\\\" as part of the Enough Said series, organized by Lee Gotham and with performances by Jill Battson, Nancy Dembowski, Mike O'Connor, and Stan Rogal.\",\"notes\":\"Dimensions: 640 × 480.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Video Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1995-06-26\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Asset\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/2428619734\",\"venue\":\"Bistro 4\",\"notes\":\"Bistro 4 (pronounced Bistro Quatre), no longer in existence.\",\"address\":\"4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada\",\"latitude\":\"45.5169628\",\"longitude\":\"-73.5796147\"}]"],"Address":["4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada"],"Venue":["Bistro 4"],"City":["Montreal, Quebec"],"content_notes":["Event recording starts at 00:00:00:00 of physical asset."],"Note":["[{\"note\":\"VHS #It_came_from_the_401 asset. The asset was digitized, generating both uncompressed and compressed video files. Metadata entries based on the compressed file.\",\"type\":\"General\"},{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/oclc/971595607\",\"citation\":\"Battson, Jill, and Geoff Kulawick, eds. Word up [CD]. Virgin/EMI Music Canada, 1995.\"},{\"url\":\"https://www.worldcat.org/oclc/317604604\",\"citation\":\"Footman, Jennifer, ed. An Invisible Accordion: A Canadian Poetry Association Anthology. Fredericton, NB: Broken Jaw Press, 1995. [Includes most of Battson’s “A Morphine Headache,” pp. 22–23]\"},{\"url\":\"https://www.worldcat.org/oclc/632961914\",\"citation\":\"Battson, Jill. Hard Candy: Poems. Toronto: Insomniac Press, 1997. [Includes “I burnt the ridges of my fingerprints smooth,” published as “Kathy,” p. 17; “A Morphine Headache,” pp. 48–49; “Painting with Noël,” p. 79]\"},{\"url\":\"https://www.worldcat.org/oclc/329858982\",\"citation\":\"Cabico, Regie, and Todd Swift, eds. Poetry Nation: The North American Anthology of Fusion Poetry. Montréal: Véhicule Press, 1998. [Includes Dembowski’s “Life on Venus,” p. 222]\"},{\"url\":\"https://www.worldcat.org/oclc/632638889\",\"citation\":\"Dembowski, Nancy. Only the Ghost Has Lasted: Poems. Toronto: Insomniac Press, 2000. [Includes “Living with Shirley in Georgetown,” pp. 11–12; “Sweets,” p. 19; “Life on Venus Avenue,” p. 77; “Ghosts,” pp. 25–26]\"},{\"url\":\"https://www.worldcat.org/oclc/33332234\",\"citation\":\"Battson, Jill, and Ken Norris, eds. Word Up: Spoken Word Poetry in Print. Toronto: Key Porter Books, 1995. [Includes Battson’s “I burnt the ridges of my fingerprints smooth,” published as “Kathy,” p. 9; Dembowski’s “Living with Shirley in Georgetown,” pp. 31–32]\"},{\"url\":\"https://www.worldcat.org/oclc/30972751\",\"citation\":\"O’Connor, Mike, ed. Playing in the Asphalt Garden. Toronto: Insomniac Press, 1994. [Includes Battson’s “The tartness prickling my tongue,” published as “Nicked,” p. 32–33; “S&M,” p. 12]\"},{\"url\":\"https://www.worldcat.org/oclc/636752323\",\"citation\":\"Rogal, Stan. The Imaginary Museum. Toronto: ECW Press, 1993. [Includes “Postcard from Home,” p. 9; “Hourglass,” pp. 48–49]\"},{\"url\":\"https://www.worldcat.org/oclc/39150582\",\"citation\":\"Rogal, Stan. Personations. Toronto: Exile Editions, 1997. [Includes “Personations: 7,” p. 37; “Personations: 24,” p. 64]\"},{\"url\":\"\",\"citation\":\"Ryder, Lisa [dir.]. Cafe Naked [play]. Bald Ego Productions, 1994. [Includes Stan Rogal's “Personations: 24.”]\"}]"],"_version_":1853670549088108544,"timestamp":"2026-01-07T14:59:53.477Z","contents":["[Bistro 4 stage]\n00:00:15\nVideo Description: Colour video, medium closeup of the stage at Bistro 4 (Quatre) (4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada). A single mic stand. The stage, slightly below street level, is set against a full-wall sliding window looking out onto the St. Laurent Blvd. traffic—with pedestrians and vehicles regularly passing by. The venue windows are wide open, which impacts the audio quality. The windows from across the street (4067 St. Laurent) are also visible.\n\nLee Gotham\n00:00:16\n[Ambient sound. Audio muffled at first] Well, nice to see so many new faces among the old, and everyone else here on The Main, a beautiful… is it Monday?, it’s always Monday isn’t it?, it’s a silly question, Monday night, thanks for coming out. It’s almost like a last instalment of Enough Said, I suppose, although it’s really something distinct. It’s an independent production, it’s a special presentation, it’s my way of returning the favour that our Toronto cousins, Jill Battson and company, did us a week and a half ago, by hosting a number of us Montréal washed, unwashed, bright poets. This evening we’re presenting “It Came from the 401,” or at least (what is?) the 401, somewhere in the midst of it. | Video Description: Medium closeup of Gotham making introductory remarks on stage. Gotham wears a grey t-shirt, stud earring (perhaps two earrings) on the left lobe, sunglasses used as a headband, and long hair. \n\nLee Gotham\n00:01:15\nJill Battson, Nancy Dembowski, Stan Rogal, and Mike O’Connor will be joining us. A number of canine, feline friends are probably dropping from time to time as well. [Laughter]. | Video Description: Medium closeup of Lee Gotham continuing with introductory remarks. The ears of a dog or cat become visible over Gotham’s right shoulder, through the window, causing audience laughter until Gotham turns back to acknowledge the animal’s presence.\n\nLee Gotham\n00:01:28\nAnd we are all going to have a hell of a time here, so please just sit back, order your drinks as you see fit, you know, poets are not the highly sensitive types they are made out to be. It means the vending is doing better, the series is going longer, anything like it, well, I think they’ll understand the clinking of glasses, requisite in wetting your whistles. | Video Description: Medium closeup of Lee Gotham continuing with introductory remarks.\n\nLee Gotham\n00:01:53\nIn any case, without too much further ado, I’d like to introduce you to a woman who for many of you won’t require introduction, but I’ll give it to you in any case. Jill Battson is the program coordinator for The Poets’ Refuge reading series and has produced the Word Up video series for MuchMusic, (bravo?), and co-produced the CD for Virgin Records (Virgin/EMI Music Canada, 1995). Jill’s poetry is published in Playing in the Asphalt Garden, Insomniac Press (1994). She has produced The Poetry Express, a poet’s and playwright’s reading series at Fringe Festival of Toronto, Wordapalooza, the spoken-word stage for the Toronto portion of the North American Lolapalooza tour, and the first festival of the spoken word. Jill’s now working on going from high priestess to poetry goddess status in 1995. Please welcome the first one reading this evening, Jill Battson. [Applause.] | Video Description: Medium closeup of Lee Gotham introducing the first reader.\n\nJill Battson\n00:03:00\n(?) when I become goddess, I’m gonna be Madonna of poetry, that’s what I’ll be aiming for; a legend in my own mind. Reads “The tartness prickling my tongue” (published as “Nicked” in Playing in the Asphalt Garden, edited by Mike O’Connor, Insomniac Press, 1994). Three-second silence at the end of the poem, followed by applause.] | Video Description: Medium closeup of Jill Battson making brief introductory remarks, then reading while holding a pack of printed pages. Battson wears a leaf-patterned black-and-white vest over a white t-shirt and pixie-cut red hair with bangs. Camera zooms out and in a few times.\n\nJill Battson\n00:05:00\n[Explains that the next poem was written during an Action Poetry three-week retreat with thirty poets, at the Banff Centre for the Arts, in 1994. Reads (“Bivouac”?), beginning with the line “I watched the progression.” Four-second silence at the end of the poem, followed by applause.] | Video Description: Medium shot, then zoom into a medium closeup of Jill Battson introducing and reading a poem.\n\nJill Battson\n00:07:09\n[Contextualizes the series of poems called “The Apology Letters” and reads one of them, beginning “I don’t know you very well.” Laughter and applause.] | Video Description: Zoom from medium shot into a medium closeup of Jill Battson contextualizing and reading a poem.\n\nJill Battson\n00:09:33\n[Introduces the next poem, written in Jamaica, about British playwright Noël Coward. Reads poem beginning with the line “We are up” (published as “Painting with Noël” in Hard Candy, Insomniac Press, 1997). Shout from audience member, then applause.] | Video Description: Medium closeup of Jill Battson contextualizing and reading a poem.\n\nJill Battson\n00:11:16\n[Reads “I burnt the ridges of my fingerprints smooth” (published as “Kathy” in Word Up, edited by Jill Battson and Ken Norris, Key Porter Books, 1995; and later in Hard Candy, Insomniac Press, 1997). Three-second silence at the end of the poem, followed by applause.] | Video Description: Medium closeup of Jill Battson contextualizing and reading a poem.\n\nJill Battson\n00:12:29\n[Dedicates the poem to a friend who died from AIDS-related causes. Reads “Morphine Headache” (partially published as “A Morphine Headache” in An Invisible Accordion, edited by Jennifer Footman, Broken Jaw Press, 1996; and, later, in complete form, in Hard Candy, Insomniac Press, 1997). Applause.] | Video Description: Medium closeup of Jill Battson contextualizing and reading a poem.\n\nJill Battson\n00:14:01\n[Reads “S&M” (published in Playing in the Asphalt Garden, edited by Mike O’Connor, Insomniac Press, 1994). Three-second silence at the end of the poem, followed by applause.] | Video Description: Camera zooms out and in, settling into a medium shot of Jill Battson, who contextualizes and reads a poem.\n\nJill Battson\n00:15:12\n[Reads “Sea Grapes.” Applause.] | Video Description: Medium shot of Jill Battson reading a poem.\n\nAudience\n00:16:52\n[Applause.] | Video Description: As Jill Battson leaves the stage amid applause, the camera zooms out while panning to the right, then pans to the left, taking in the dozens of seated audience members at Bistro 4. Full house.\n\nLee Gotham\n00:17:06\n[Thanks Jill Battson and introduces Nancy Dembowski. Highlights that Dembowski was included in the aforementioned Word Up CD co-produced by Jill Battson (Virgin/EMI Music Canada, 1995) . Applause.] | Video Description: Camera zooms into a medium closeup of Lee Gotham, who introduces the next performer, Nancy Dembowski. Zoom out to track Dembowski walking towards the stage.\n\nNancy Dembowski\n00:18:00\n[Performs poem beginning with the line “Turbaned guy keeping guard outside that Indian dive” (published as “Living with Shirley in Georgetown” in  Word Up, edited by Jill Battson and Ken Norris, Key Porter Books, 1995; and later in Only the Ghost Has Lasted, Insomniac Press, 2000). Applause.] | Video Description: Camera tracks Nancy Dembowski walking towards the stage and carrying a glass and some papers. Dembowski wears a black-and-white patterned dress, shoulder-length dark hair, and a necklace. Camera zooms into a closeup, as Dembowski smiles to the audience and immediately starts performing a poem from memory. Mid-performance, the camera zooms out to a medium shot. Dembowski frequently adjusts her hair back, away from her face.\n\nNancy Dembowski\n00:21:11\n[Performs from memory a poem beginning with the line “The waiter cracks an egg” (published as “Sweets” in Only the Ghost Has Lasted, Insomniac Press, 2000). The Bistro landline rings mid-performance. Applause.] | Video Description: Closeup then medium closeup of Nancy Dembowski performing a poem.\n\nNancy Dembowski\n00:22:40\n[Explains that the next piece is a found poem, from the first paragraph of “The Sea-Hare” fairy tale collected by the Brothers Grimm. Performs from memory a poem beginning with the line “It was once upon a time a princess.” Applause.] | Video Description: Closeup of Nancy Dembowski performing a poem. During the applause, the camera zooms out to a medium shot of Dembowski drinking from a glass.\n\nNancy Dembowski\n00:25:00\n[Reads poem beginning with the line “Ran out of gas” (published as “Life on Venus” in Poetry Nation, edited by Cabico and Swift, Véhicule Press, 1998; and, with some variations, as “Life on Venus Avenue” in Only the Ghost Has Lasted, Insomniac Press, 2000). Applause.] | Video Description: Medium closeup of Nancy Dembowski reading a poem.\n\nNancy Dembowski\n00:26:20\n[Reads “Never” (published, with small variations, in Only the Ghost Has Lasted, Insomniac Press, 2000). Three-second silence at the end of the poem, followed by applause.] | Video Description: Zoom into closeup of Nancy Dembowski reading a poem.\n\nNancy Dembowski\n00:27:30\n[Reads (“Bastille”?). Three-second silence at the end of the poem, followed by applause.] | Video Description: Closeup of Nancy Dembowski reading a poem.\n\nNancy Dembowski\n00:28:57\n[Reads “Ghosts” (published, with small variations, in Only the Ghost Has Lasted, Insomniac Press, 2000). Applause.] | Video Description: Medium closeup of Nancy Dembowski reading a poem. During the applause, Dembowski drinks from a glass.\n\nNancy Dembowski\n00:32:00\n[Reads “Borders.” Applause.] | Video Description: Medium closeup of Nancy Dembowski reading a poem.\n\nAudience\n00:34:14\n[Applause.] | Video Description: As Nancy Dembowski leaves the stage amid applause, the camera zooms out while panning to the left, tracking Dembowski, then pans to the right before zooming in back into the stage. We see dozens of seated audience members, one of them smoking while clapping, and two other people leaving the venue through the full-wall window.\n\nLee Gotham\n00:34:25\n[Lee Gotham announces a break and starts announcing upcoming events, when the recording skips ahead]. | Video Description: Camera zooms into a medium closeup of Lee Gotham at the stage, making announcements. Cut to long shot of the audience, then pan to the left and to the right before cutting again.\n\nLee Gotham\n00:35:33\n[Lee Gotham introduces Mike O’Connor]. | Video Description: Medium closeup. Lee Gotham at the stage, introducing the next performer.\n\nMike O’Connor\n00:35:55\n[Introduces the first piece as a “Toronto poem” inspired by a Victorian house. Reads the piece, beginning with the line “Cool, clean, coloured walls.” Applause.]. | Video Description: Medium closeup of Lee Gotham leaving the stage and Mike O’Connor entering the frame. Zoom into a closeup. O’Connor wears a greyish open button-down shirt atop a black t-shirt with a partially visible white illustration and short black hair. O’Connor reads a piece.\n\nMike O’Connor\n00:39:22\n[Introduces and reads “Not Irish.” Applause. | Video Description: Camera zooms into a medium closeup. Mike O’Connor reads a poem, then drinks from a glass.\n\nMike O’Connor\n00:41:58\n[Introduces and reads “Holding Hands.” Applause. | Video Description: Camera zooms out into a medium shot. Mike O’Connor reads a poem, then drinks from a glass.\n\nMike O’Connor\n00:43:42\n[Introduces and reads “Home.” Applause, as well as approval shouting and whistling from the audience. | Video Description: Medium shot. Mike O’Connor reads a poem, then drinks from a glass.\n\nMike O’Connor\n00:45:35\n[Introduces and reads “Magnetic Poetry Kit.” Applause. | Video Description: Medium closeup. Mike O’Connor reads a poem, then drinks from a glass.\n\nMike O’Connor\n00:48:06\n[Introduces and reads “Dream Poem.” Audience laughs multiple times throughout the reading. Applause. | Video Description: Camera zooms out to a medium shot. Mike O’Connor reads a poem, then smiles and waves at the audience, leaving the stage amid applause.\n\nAudience\n00:50:46\n[Applause.] | Video Description: After Mike O’Connor leaves the stage amid applause, the camera zooms out while panning slightly to the left, then to the right before zooming in back into the stage. We see dozens of seated audience members.\n\nLee Gotham\n00:51:01\n[Thanks Mike O’Connor. Announces the upcoming Vox Hunt poetry slam, featuring Fortner Anderson, Carol Davison, and Fluffy Pagan Echoes. Distributes a pack of printed poems by Joe Blades, printed by Rob McLennan. Introduces Stan Rogal]. | Video Description: Camera zooms into a medium closeup of Lee Gotham at the stage, making remarks, distributing printed poems, and introducing the next performer. As Gotham leaves the stage, the camera zooms out into a medium long shot.\n\nStan Rogal\n00:54:29\n[Interacts with the audience. Introduces and reads “Postcard from Home” (published in The Imaginary Museum, ECW Press, 1993). Frequently interrupts the reading with ad lib comments, provoking laughter. Applause.] | Video Description: Zoom into closeup as Stan Rogal enters the stage and adjusts the mic. Rogal wears shorts, a black open short-sleeved shirt atop a black graphic t-shirt with two faces in white and the words “BALD EGO,” trimmed beard, and temple hair. Rogal reads a poem, then drinks from a glass.\n\nStan Rogal\n00:58:22\n[Introduces and reads “Hourglass” (published in The Imaginary Museum, ECW Press, 1993). Applause. | Video Description: Medium shot, then zoom into a medium closeup. Stan Rogal reads a poem.\n\nStan Rogal\n01:01:35\n[Introduces “Personations: 7” as a piece close to a “language poem,” from a book titled Personations (later published by Exile Editions, 1997). Reads “Personations: 7.” Applause. | Video Description: Camera zooms out to a medium shot then into a medium closeup. Stan Rogal reads a poem.\n\nStan Rogal\n01:03:17\n[Introduces and reads “Personations: 24” as a poem written for Café Naked, a play (directed by Lisa Ryder, Bald Ego Productions, 1994; the poem was later published in Personations, Exile Editions, 1997). Applause. | Video Description: Medium shot. Stan Rogal reads a poem.\n\nStan Rogal\n01:05:25\n[Introduces and recites from memory “Bone Lady.” Twice Rogal forgets his lines mid-performance, so he checks a piece of paper; laughter. Applause. | Video Description: Camera zooms out then immediately into a closeup. Stan Rogal performs a poem.\n\nStan Rogal\n01:07:00\n[Introduces and recites from memory “Classical Joint Coffee, (Jazz in the Rocks?).” Applause. | Video Description: Medium shot. Stan Rogal performs a poem.\n\nStan Rogal\n01:09:18\n[Introduces and reads “It Was Suddenly As If” twice: first as Rogal wrote it, then as magazine editors published it, altering the meaning of the poem. Laughter. Applause. | Video Description: Medium shot, then zoom into a medium closeup. Stan Rogal reads a poem twice, then walks off stage.\n\nLee Gotham\n01:11:50\nThanks performers and makes announcements, mentioning the the Enough Said would resume in October. | Video Description: Long shot of audience clapping and Lee Gotham entering the stage. Zoom into a closeup of Gotham, who thanks the performers and makes announcements. Camera zooms out and pans left and right, showing the audience.\n\nIan Ferrier\n01:13:28\nA voice offscreen says “alright, go for it.” Ambient sounds and laughter. | Video Description: Cut to a long shot outside Bistro 4 but still inside the main building. Ian Ferrier skates with roller blades towards the camera, which pans to follow Ferrier, who does an 180; Ferrier then repeats the move toward the other end of a corridor. Ferrier has short hair and wears khakis and a jacket over a red shirt. A person with shorts, white t-shirt, socks and sandals gesticulates by Ferrier while smoking.\n\nEND\n01:13:51\n[End of recording.]"],"score":1.8530173},{"id":"1461","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Lee Gotham collection"],"source_collection_label":["Lee Gotham collection"],"collection_contributing_unit":["Spokenweb at Concordia University"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Lee Gotham collection contains the AV recordings regarding the Enough Said series, including readings, performances, open-mic, and spoken-word events that took place at Bistro 4 and other Montreal venues between December 1994 and June 1996."],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Enough Said 1995-02-27, Skarstedt and Suderman"],"item_title_source":["Asset"],"item_title_note":["Ephemera accompanying asset, corroborated by Lee Gotham, who introduces the two event headliners."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["Lee Gotham collection"],"item_subseries_title":["Enough Said"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. We may wish to seek permission from individual artists and Drew Duncan, the videographer."],"creator_names":["Gotham, Lee","Skarstedt, Sonja A.","Suderman, Lynn"],"creator_names_search":["Gotham, Lee","Skarstedt, Sonja A.","Suderman, Lynn"],"creators":["[{\"url\":\"https://viaf.org/viaf/106179112\",\"name\":\"Gotham, Lee\",\"dates\":\"1962-\",\"notes\":\"Lee Gotham was also the MC of this event.\",\"nation\":[],\"role\":[\"Series organizer\",\"Producer\"]},{\"url\":\"https://viaf.org/viaf/6660966\",\"name\":\"Skarstedt, Sonja A.\",\"dates\":\"1960-2009\",\"notes\":\"Headliner.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Suderman, Lynn\",\"dates\":\"\",\"notes\":\"Headliner.\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors_names":["Duncan, Drew","McGrail, Justin","Edgar, Stephen","Jeppesen, Sandra","Miller, Mitsiko","Ingrid?","Juliane? duo","Landesman, Jacob","Mark"],"contributors_names_search":["Duncan, Drew","McGrail, Justin","Edgar, Stephen","Jeppesen, Sandra","Miller, Mitsiko","Ingrid?","Juliane? duo","Landesman, Jacob","Mark"],"contributors":["[{\"url\":\"\",\"name\":\"Duncan, Drew\",\"dates\":\"\",\"notes\":\"Videographer.\",\"nation\":[],\"role\":[\"Recordist\"]},{\"url\":\"https://viaf.org/viaf/106255768\",\"name\":\"McGrail, Justin\",\"dates\":\"1968-\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/105784995\",\"name\":\"Edgar, Stephen\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/46469687\",\"name\":\"Jeppesen, Sandra\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/106148863\",\"name\":\"Miller, Mitsiko\",\"dates\":\"1971-\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Ingrid?\",\"dates\":\"\",\"notes\":\"Open-mic performer. Identified as Unknown_Reader1 in the transcription.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Juliane? duo\",\"dates\":\"\",\"notes\":\"Open-mic performing duo. Identified as Unknown_Reader3 (Juliane?) and Unknown_Reader4 in the transcription. \",\"nation\":[],\"role\":[]},{\"url\":\"\",\"name\":\"Landesman, Jacob\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Mark\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]}]"],"performer_name":["McGrail, Justin","Edgar, Stephen","Jeppesen, Sandra","Miller, Mitsiko","Ingrid?","Landesman, Jacob","Mark"],"Recordist_name":["Duncan, Drew"],"Performance_Date":[1995],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/1461/Enough_Said-VHS3-19950213_19950220_19950227_19950306.jpg\",\"other\":\"Event recording starts at 03:04:23:36 of VHS #3 asset, which contains multiple events.\",\"extent\":\"\",\"AV_types\":\"Video\",\"tape_brand\":\"TDK EHG\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"120 minutes\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"VHS\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Tape box. Handwritten label on side. Ephemera accompanying asset.\",\"other_physical_description\":\"VHS #3 asset. Contains recordings of multiple events.\"}]"],"material_designations":["VHS"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Video"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://drive.google.com/drive/u/2/folders/1yYh3KGSD46680nfzq5LOz_PMGjyd2gPe\",\"file_path\":\"\",\"filename\":\"FINAL-Enough_Said-19950227-Skarstedt_Suderman.mp4\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:47:40\",\"precision\":\"\",\"size\":\"3.11 GB on disk\",\"bitrate\":\"2304Kbps (original); 256Kbps (master)\",\"encoding\":\"MPEG-4 movie\",\"contents\":\"This is file 1 of 1 containing an AV recording of the event featuring Sonja A. Skarstedt and Lynn Suderman as part of the Enough Said series, organized by Lee Gotham, with extra open-mic performances by Justin McGrail, Sandra Jeppesen, Stephen Edgar, Mitsiko Miller, and others.\",\"notes\":\"Dimensions: 640 × 480.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Video Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1995-02-27\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Asset\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/2428619734\",\"venue\":\"Bistro 4\",\"notes\":\"Bistro 4 (pronounced Bistro Quatre), no longer in existence.\",\"address\":\"4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada\",\"latitude\":\"45.5169628\",\"longitude\":\"-73.5796147\"}]"],"Address":["4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada"],"Venue":["Bistro 4"],"City":["Montreal, Quebec"],"content_notes":["Event recording starts at 03:04:23:36 of VHS #3 asset, which contains multiple events."],"Note":["[{\"note\":\"VHS #3 asset. Contains recordings of multiple events: (1) Enough Said 1995-02-13, Benefit Part 2; (2) Enough Said 1995-02-20, Backo and Groupe de Poésie Moderne; (3) Enough Said 1995-02-27, Skarstedt and Suderman; and (4) Enough Said 1995-03-06, Phineas Flower Trio and Godin Part 1. The asset was digitized, generating both uncompressed and compressed video files; the compressed files were then split into events to facilitate the transcription work. Metadata entries based on events.\",\"type\":\"General\"},{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"https://worldcat.org/title/22512788\",\"citation\":\"Skarstedt, Sonja A. Mythographies. Empyreal Press, 1990.\"},{\"url\":\"https://worldcat.org/title/42682921\",\"citation\":\"Skarstedt, Sonja A. Saint Francis of Esplanade: a play. Montréal: Empyreal Press, 2001. [Later version of short story “Heaven and Hell”]\"},{\"url\":\"https://worldcat.org/title/37372322\",\"citation\":\"Anderson, Fortner (Ed.). Oralpalooza 94 Montreal. ga press, c1994, https://archive.org/details/oralpalooza_1994.\"},{\"url\":\"https://worldcat.org/title/50440932\",\"citation\":\"Salah, Trish. Wanting in Arabic. TSAR, 2002.\"},{\"url\":\"https://www.worldcat.org/oclc/174100461\",\"citation\":\"Skarstedt, Sonja A. \\\"Zymergy: From the Neo-Ephemeral to the Odd Imbroglio.\\\" In Language Acts: Anglo-Québec Poetry, 1976 to the 21st Century, edited by Jason Camlot and Todd Swift, 179–93, 404–06. Montréal: Véhicule Press, 2007.\"}]"],"_version_":1853670549089157120,"timestamp":"2026-01-07T14:59:53.477Z","contents":["[Bistro 4 stage]\n00:00:01\nVideo Description: Colour video, medium closeup of the stage at Bistro 4 (Quatre) (4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada). A single mic stand. The stage, slightly below street level, is set against a full-wall window looking out onto the St. Laurent Blvd. traffic—with both pedestrians and vehicles regularly passing by. On the windows, the words “enough said.” When the camera zooms out, other decals become visible, with words from the menu such as “DEJEUNER,” “CAPPUCCINO,” and “TISANE.”\n\nLee Gotham\n00:00:11\n(?) Twenty-seventh of February, the last edition of Enough Said for the second month of the year. Nothing auspicious in that, but in the performers being presented this evening I have nothing but unbounded enthusiasm and pleasure in presenting both our lead-off readers, Sonja Skarstedt, the author of Mythographies (Empyreal Press, 1990), a volume of her poetry put out [Gotham hiccups] not only through sheer will and talent and ingenuity on her own small press Empyreal, but this evening reading to us from a collection of short stories in the works—and we will all anticipate that publication in the nearest possible futures. Sonja will lead off, as I say. We have a second feature performer in Lynn Suderman, whom I will describe, I hope, with some articulation, a little bit later. But, as we will have the open-mic segment most likely deferred to the end of the evening, perhaps one segment in-between the two performers if that list grows any longer. Yeah, I’ll just encourage everybody to get themselves comfortable and keep themselves refreshed. A little bit out of every coffee and beer sold goes to keeping this little series running. And… jee!… enjoy the evening’s offerings. Sonja Skarstedt, can you kick us off please? | Video Description: Extreme closeup of Lee Gotham on stage, then zoom out, with the camera alternating between a medium shot and various degrees of closeup. Gotham wears a black turtleneck, stud earrings on the left lobe, hair tied under a black skullcap with a folded visor, and a beard. Gotham makes introductory remarks, often scratching his right eye. \n\nSonja Skarstedt\n00:02:03\n[Tests mic, thanks Gotham, and reads the short story “Heaven and Hell” (later published as part of the play “Saint Francis of Esplanade,” Empyreal Press, 2001).] | Video Description: Medium closeup, then zoom in and out, oscillating between extreme closeup and medium shot. Lee Gotham adjusts the mic as Sonja Skarstedt walks onto the stage. Skarstedt has blond hair with a mullet haircut, dangle earrings, sweater with an eight-point-star pattern. Skarstedt reads from a manuscript.\n\nSonja Skarstedt\n00:18:58\n[Exclaims “Poor Lord!” and the audience laughs.] | Video Description: Medium closeup. Sonja Skarstedt reads. \n\nSonja Skarstedt\n00:19:02\n[Resumes reading of “Heaven and Hell” after audience laughter. Applause.] | Video Description: Alternating medium closeup and closeup. Skarstedt continues reading. At the end, walks off stage amid applause as the camera zooms out to a medium long shot.\n\n[No signal]\n00:35:10\n[Ambient sounds (white noise).] | Video Description: Black screen with static. \n\nLee Gotham\n00:35:25\nWhat can we say? One of the first women of spoken-word in Montréal, Lynn Suderman is going to regale us with the part two of an ongoing saga of spoken word… we won’t say madness, well, I guess we said it—spoken word with a vengeance. Please welcome to the microphone Lynn Suderman. [Applause.] | Video Description: Extreme closeup then medium closeup of Lee Gotham introducing the next performer.\n\nLynn Suderman\n00:35:54\nMy friend Mary brought me a Bible for this [Laughter]. [Tells a story about her first tattoo and people asking the same two questions about it: does it hurt, and is it permanent? Then presents these questions as a motto for our times, applicable to government budgets, haircuts, and wakes.] So, this is my wake, for February and for the fact that I quit smoking and February is the worst month to quit smoking and I’m not doing very well. | Video Description: Medium shot as Lee Gotham leaves and Lynn Suderman walks onto the stage. Short black hair tucked behind ears and black long-sleeved blouse. Suderman drinks from a glass and holds a Bible and a pack of pages. After setting the glass down, tells a story, brandishes the Bible and settles it down to read.\n\nLynn Suderman\n00:37:35\n[Reads “Wake up,” beginning with the line, “I went on a long drive one summer’s day.” Occasional unscripted interruptions to interact with the audience. Frequent bursts of laughter.] | Video Description: Alternating closeup and medium closeup. Lynn Suderman reads and interacts with the audience. \n\nLynn Suderman\n00:44:50\n[Interrupts the reading to ask her friend Mary to help search for a Bible passage. Starts reciting from memory when Mary finds the passage] | Video Description: Closeup then medium closeup of Lynn Suderman on stage. Suderman interrupts the reading and walks to the audience to ask her friend to search for a Bible passage.]\n\nLynn Suderman\n00:45:26\n[Continues performing “Wake Up.” Friend hands her the bible. Suderman reads from the bible and her pages. Makes one more unscripted interruption, causing a burst of laughter among the audience. Applause] | Video Description: Alternating medium and extreme closeups. Lynn Suderman reads. Zoom out to a medium shot as Suderman leaves the stage.\n\nLee Gotham\n00:46:26\nExcellent. Excellent? (?) Jeez, I almost feel like short shrift, no encores I guess, right? No… Lynn Suderman, readily available on… [Laughter] cassette tape as part of the Wired on Words recording series, radiating from the depths of CKUT [FM radio] and through the joint efforts of many of the participants of this series. Also part of the Oralpalooza (ga press, c1994) chapbook collection of performances this past summer on the Word Up stage during that festival. Wow, what can I say? We’re gonna take just the shortest of breaks once again, and then we’re going to give our nine open-mic participants their hour or so in the sun… in the halogen sunlight of Bistro 4. Please make yourselves comfortable, refresh yourselves, and we’ll be back very shortly. Thanks once again [applause]. | Video Description: Medium shot of Lee Gotham entering the stage, clapping and smoking. Zoom into an extreme closeup then out to a closeup as Gotham makes remarks and announces a break.\n\nSpokenWeb notes\n00:47:36\nThe following performance contains sexual content, descriptions of alcohol abuse, and descriptions of sexual abuse.\n\nUnknown_Reader1 (Ingrid?)\n00:47:40\n[Cut to off-stage voice, probably from a recording, reciting a piece beginning with the line, “My mother was banging pots in the kitchen.” CW: sexual content, alcohol abuse, sexual abuse. Applause.] | Video Description: Cut to medium shot of lone mic, with the performer audible but off-camera during the whole piece. Mid-performance, a person passes a few times times in front of the camera.\n\nLee Gotham\n00:55:43\nWow, thank you very much, Ingrid, for overcoming all technical difficulties. This was an exception. I don’t want to encourage anyone else who may merely be faint of heart to bring a new (recording?) but I think that was well worth a listen. Ok, next on the roster, Justin McGrail, can you make your way up, please? Justin, one of the good contingent of Fluffy Pagan People here this evening. Go to it, my friend.] | Video Description: Medium shot of Lee Gotham entering the stage applauding. Zoom into an extreme closeup. Gotham makes remarks and introduces the next performer.\n\nJustin McGrail\n00:56:27\n[Announces a show on Wednesday at Phoenix Café with Lee Gotham as the headliner. Performs “Leave a forwarding address.” Applause.] | Video Description: Medium shot of Lee Gotham adjusting the mic. Justin McGrail enters the stage. Short black hair, very short goatee and moustache, plaid brown-and-red shirt with rolled-up sleeves, bracelets and wrist watch. Performs a piece from memory, gesticulating.\n\nLee Gotham\n01:01:42\n[Thanks Justin McGrail.] | Video Description: Medium shot of Lee Gotham entering the stage. Zoom into an extreme closeup then out to a medium closeup as Gotham speaks into the mic.\n\n[SpokenWeb edits]\n01:02:03\nVideo Description: Black screen with white text that reads \"Five minutes of this video have been removed.\"\n\nLee Gotham\n01:02:09\n[Introduces the next open-mic performer, Sandra Jeppesen.] | Video Description: Zoom into an extreme closeup as Gotham adjusts the mic and announces the next performer.\n\nSandra Jeppesen \n01:02:28\n[Shares “an insecurity”—her “ugly boots”—explaining that it doesn’t snow in Toronto as it does in Montréal. Reads the short story “Bohunk.” Applause.] | Video Description: Extreme closeup as Sandra Jeppesen enters the stage. Long blond hair, glasses, black sweater over a white shirt. Medium and extreme closeups as Jeppesen reads.\n\nLee Gotham\n01:07:04\n[Remarks on the time constraints of the open-mic and announces the next performer.] | Video Description: Extreme closeup as Lee Gotham enters the stage, adjusts the mic, and announces the next performer.\n\nStephen Edgar\n01:07:45\n[Explains he is back from London, Ontario, and displays a magazine he edits (One X?), saying there are enough copies for all to buy, $1 only. Reads “Going going gone.” Scattered laughter at the end.] | Video Description: Medium shot as Stephen Edgar enters the stage. Short light hair, round thin glasses, dangle earring on the right lobe and stud on the left; black pants, long unbuttoned button-down brown shirt atop a white shirt and ochre V-neck sweater. Medium closeup as Edgar holds a magazine for the audience to see. He briefly leaves the stage to set the magazines down then returns to read; the camera zooms out to a medium shot.\n\nStephen Edgar\n01:09:31\n[Reads “Please don’t honk your horn, please.”] | Video Description: Medium shot as Stephen Edgar reads.\n\nStephen Edgar\n01:09:55\n[Reads “Sex Ed, 16/27, 1995,” dedicating it to his little brother. Frequent audience laughter. Applause.] | Video Description: Medium shot as Stephen Edgar reads, placing his left hand inside his pants pocket.\n\nLee Gotham\n01:14:10\n[States he can make out only part of the name of the next open-mic performer and announces (Jacob Landesman?), unsure of how to pronounce it.] | Video Description: Medium shot as Lee Gotham enters the stage holding a cigarette, adjusts the mic and announces the next performer, straining to read their name on the board.\n\nJacob Landesman\n01:14:41\n[Explains this is their first time performing in an open-mic. Reads a piece beginning with the line “Sophia descends the white-cotton corridor,” after dedicating it to “Lisa, my saving grace.” Applause] | Video Description: Extreme closeup as Landesman enters the stage and tests the mic. Red bandana and grey long-sleeve shirt with the sleeves rolled up. Various degrees of closeup as the performer recites, mostly from memory, with eyes closed.\n\nLee Gotham\n01:22:20\n[Thanks Jacob and announces the next open-mic performer, Mark.] | Video Description: Medium shot as Lee Gotham enters the stage holding a glass and a cigarette. Adjusts the mic and announces the next performer.\n\nMark\n01:22:37\n[Reads “The flycatcher,” with an epigraph by Robert Frost. Applause.] | Video Description: Zoom out to a medium shot as Mark enters the stage. Shoulder-length black wavy hair, white t-shirt with a round grey maze. Various degrees of closeup as Mark reads.\n\n[Bistro 4 stage] and Mitsiko Miller\n01:30:42\n[Ambient sounds, voices, applause.] | Video Description: Medium shot of the lone mic as Mitsiko Miller crosses the stage.\n\n[No signal]\n01:30:48\n[Ambient sounds (white noise).] | Video Description: Black screen with static.\nLee Gotham\n01:30:50\n[Announces the next open-mic performer, (Juliane?). A voice near the camera, likely the videographer, asks Gotham to reposition the mic cable so it doesn’t stand in the way of the recording.] | Video Description: Medium shot of Lee Gotham at the stage. Fast zoom into an extreme closeup as he announces the next performer. Gotham walks towards the camera to talk to the videographer, then repositions the mic cable and leaves the stage.\n\nUnknown_Reader3 and Unknown_Reader4\n01:31:34\n[Read “Who’s in charge”. Applause.] | Video Description: Medium shot. Two readers enter the stage holding loose pieces of paper. Unknown_Reader3 has neck-length light hair and black sweater with white details around the collar and a small pendant. Unknown_Reader4 has short light hair, a black long-sleeve blouse, and two pendants. Alternating medium shot and medium closeup as the duo reads.\n\nMitsiko Miller\n01:36:23\n[Ambient sounds, voices, applause.] | Video Description: Medium shot of the lone mic as Mitsiko Miller crosses the stage one more time.\n\n[SpokenWeb edits]\n01:36:36\nVideo Description: Black screen with white text that reads \"Three minutes of this video have been removed.\"\n\nLee Gotham\n01:36:41\n[Gotham announces the last performer of the evening, Mitsiko Miller.] | Video Description: Medium shot of Lee Gotham entering the stage smoking and clapping. Gotham adjusts the mic and announces the last performer.\n\nMitsiko Miller\n01:36:56\n[Asks if everybody understands French. Applause. Reads “Christ existe (en?) ciel,” opening with the line “Passé simple, passé composé.” Applause.] | Video Description: Medium shot then extreme closeup as Mitsiko Miller enters the stage. Short blond hair, hoop and stud earrings, leather jacket. Extreme closeup as Miller performs while chewing gum.\n\nMitsiko Miller\n01:38:23\n[States she is Francophone and that her English is very slangy. Explains she does not call her pieces “poems.” Reads “Why because,” opening with the line “Can you feel it?” Applause.] | Video Description: Closeup of Mitsiko Miller performing, still chewing gum.\n\nMitsiko Miller\n01:40:24\nWait, let me get rid of this. [Laughter.] | Video Description: Closeup of Mitsiko Miller, interrupting the reading to throw away her bubble gum.\n\nMitsiko Miller\n01:40:29\n[Resumes the reading of “Why because.” Applause.] | Video Description: Closeup of Mitsiko Miller performing.\n\nLee Gotham\n01:41:07\n[Thanks Miller. Displaying (One X?), the magazine Stephen Edgar edits, and Pawn, edited by Gotham. Announces upcoming events featuring Steve Godin and Adeena Karasick.] | Video Description: Medium closeup of Lee Gotham. Enters the stage smoking then makes final remarks. A the end, zoom out to a medium shot.\n\nEND\n01:42:29     \n[End of recording.]"],"score":1.8530173},{"id":"1511","cataloger_name":["Emma,Telaro"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Alan Lord collection"],"source_collection_label":["Alan Lord collection"],"collection_contributing_unit":["SpokenWeb at Concordia University"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Alan Lord collection contains all the archives regarding the Ultimatum poetry readings and the Ultimatum & Ultimatum II festivals, including film, sound and documentation."],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Thomas Renix at Ultimatum Festival 1985-05-03"],"item_title_source":["Container and Brochure "],"item_title_note":["On tape \"U-3-3\" and festival schedule corroborated in brochure. "],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["Alan Lord Collection"],"item_subseries_title":["Ultimatum [1]"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. Alan Lord has permission waivers. We may wish to seek permission from individual artists.  "],"creator_names":["Renix, Thomas"],"creator_names_search":["Renix, Thomas"],"creators":["[{\"url\":\"http://viaf.org/viaf/316942938\",\"name\":\"Renix, Thomas \",\"dates\":\"1956-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors_names":["Lord, Alan"],"contributors_names_search":["Lord, Alan"],"contributors":["[{\"url\":\"http://viaf.org/viaf/80186482\",\"name\":\"Lord, Alan\",\"dates\":\"1954-\",\"notes\":\"Alan Lord has been designated Contributor when in the role of series organizer and Creator when in the role of Performer. \",\"nation\":[],\"role\":[\"Series organizer\"]}]"],"Series_organizer_name":["Lord, Alan"],"Performance_Date":[1985],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"Tracks 1-8.\",\"image\":\"../Uploads/5895/Screen Shot 2020-11-08 at 9.41.02 PM.png\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Ampex 406\",\"generations\":\"Audio taken from original reel to reel 8 track tape.\",\"Conservation\":\"Perforation repairs. Baked. \",\"equalization\":\"NAB.\",\"playback_mode\":\"Mono\",\"playing_speed\":\"15 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"8 track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"U-3-3\",\"other_physical_description\":\"Reel \"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://files.spokenweb.ca/concordia/alanlord/2/Deliverables/Audio_Deliverables/U-3-3/https://files.spokenweb.ca/concordia/alanlord/2/Deliverables/Audio_Deliverables/U-3-3/U-3-3_t01_preservation.wav\",\"file_path\":\"\",\"filename\":\"U-3-3_t01_preservation.wav\",\"channel_field\":\"Mono\",\"sample_rate\":\"96kHz\",\"duration\":\"00:13:58\",\"precision\":\"\",\"size\":\"230.20 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"],"contents":["Coming soon."],"Related_works":["[{\"url\":\"https://files.spokenweb.ca/concordia/alanlord/1/ALAN%20ARCHIVES%20DOCUMENTATION/07%20-%20ULTIMATUM/1%20-%20PHOTOS%20%26%20DOCUMENTATION/0%20-%20ULTIMATUM.pdf\",\"citation\":\"Ultimatum Program/me [Festival Pamphlet]\"},{\"url\":\"\",\"citation\":\"Pattibo. Contact sheets of photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-sheets. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Pattibo. Photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-photos. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Renix, Thomas. Contract, bionote, performance plan, and photo for Ultimatum, 27 Feb. 1985, Alan Lord fonds (F039), Box 1, folder AL-Folder2_ren. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Renix, Thomas. Typescript of \\\"OTHER HEAD,\\\" n.d., Alan Lord fonds (F039), Box 1, folder AL-Folder1_ren. 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"],"item_language":["French"],"item_production_context":["Documentary recording"],"item_series_title":["Alan Lord Collection"],"item_subseries_title":["Ultimatum [1]"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. Alan Lord has permission waivers. We may wish to seek permission from individual artists.  "],"creator_names":["Bonspiel, Jean-Luc","Mignault, Jean-Martin","Thibeault, Josée","Wanowitch, Boris","Lord, Alan"],"creator_names_search":["Bonspiel, Jean-Luc","Mignault, Jean-Martin","Thibeault, Josée","Wanowitch, Boris","Lord, Alan"],"creators":["[{\"url\":\"http://viaf.org/viaf/59159397449519301861\",\"name\":\"Bonspiel, Jean-Luc \",\"dates\":\"1960-\",\"notes\":\"From correspondence with Alan: \\\"The music you hear is by the band Boys du Sèvère (JL Bonspiel, Josée Thibeault, JM Mignault) - I only joined them to do the song \\\"The Wrong Way\\\". 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Boris did the occasional art performance, but was mainly a computer artist. The \"poésie des yeux\" referred to the computer animations he did on the videos which accompanied their performance. Boris and JL Bonspiel took turns reading a text being printed randomly live on a dot-matrix printer. Then Boris sat in a chair reading a paper while Josée Thibeault gave him a haircut, with the buzzing electric clipper amplified by microphones\". \n\n\"The music you hear is by the band Boys du Sèvère (JL Bonspiel, Josée Thibeault, JM Mignault) - I only joined them to do the song \"The Wrong Way\". As stated previously, Boris W joined them and they called their JOINT performance \"Misère Plus\"."],"contents":["Coming soon."],"Related_works":["[{\"url\":\"https://www.discogs.com/Various-Ultimatum/release/2341164\",\"citation\":\"Discogs entry for Ultimatum LP.\"},{\"url\":\"\",\"citation\":\"Notes from Alan Lord (correspondence). \"},{\"url\":\"https://files.spokenweb.ca/concordia/alanlord/1/ALAN%20ARCHIVES%20DOCUMENTATION/07%20-%20ULTIMATUM/1%20-%20PHOTOS%20%26%20DOCUMENTATION/0%20-%20ULTIMATUM.pdf\",\"citation\":\"Ultimatum Program/me [Pamphlet]\"},{\"url\":\"\",\"citation\":\"Boys du Sévère. Manuscript of \\\"Jésus\\\" for Ultimatum, c. 1985, Alan Lord fonds (F039), Box 1, folder AL-Folder1_boys. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Pattibo. Contact sheets of photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-sheets. 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"],"creator_names":["Daoust, Jean-Paul"],"creator_names_search":["Daoust, Jean-Paul"],"creators":["[{\"url\":\"http://viaf.org/viaf/7405391/#Daoust,_Jean-Paul\",\"name\":\"Daoust, Jean-Paul\",\"dates\":\"1946-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors_names":["Lord, Alan"],"contributors_names_search":["Lord, Alan"],"contributors":["[{\"url\":\"http://viaf.org/viaf/80186482\",\"name\":\"Lord, Alan\",\"dates\":\"1954-\",\"notes\":\"Alan Lord has been designated Contributor when in the role of series organizer and Creator when in the role of Performer. \",\"nation\":[],\"role\":[\"Series organizer\"]}]"],"Series_organizer_name":["Lord, Alan"],"Performance_Date":[1985],"material_description":["[{\"side\":\"Tracks 6 - 7 \",\"image\":\"../Uploads/6000/Screen Shot 2021-01-12 at 2.31.08 PM.png\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Ampex 460\",\"generations\":\"Audio taken from original reel to reel 8 track tape.\",\"Conservation\":\"Perforation repairs. 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Brochure.\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1296620055\",\"venue\":\"Foufounes Électriques\",\"notes\":\"\",\"address\":\"87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5\",\"latitude\":\"45.5109472\",\"longitude\":\" -73.5640102\"}]"],"Address":["87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5"],"Venue":["Foufounes Électriques"],"City":["Montreal, Quebec"],"contents":["Coming soon. "],"Related_works":["[{\"url\":\"https://files.spokenweb.ca/concordia/alanlord/1/ALAN%20ARCHIVES%20DOCUMENTATION/07%20-%20ULTIMATUM/1%20-%20PHOTOS%20%26%20DOCUMENTATION/0%20-%20ULTIMATUM.pdf\",\"citation\":\"Festival pamphlet. \"},{\"url\":\"\",\"citation\":\"Pattibo. Contact sheets of photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-sheets. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Pattibo. Photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-photos. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Harvey, Pauline. Photos of Pauline Harvey, n.d., Alan Lord fonds (F039), Box 1, folder AL-Folder2_har. Concordia University Library, Special Collections, Montréal, QC.\"}]"],"_version_":1853670549123760128,"timestamp":"2026-01-07T14:59:53.772Z","Note":["[{\"note\":\"Media Preserve Metadata for Tape U-3-6/U-4-1.\\n\\n<MediaAsset>\\n<!-- Original Physical Asset and Transfer Details -->\\n<Original>\\n<Filename>U-3-6_(U-4-1)</Filename>\\n<Title>Boys du Severe (Misere Plus) Claude Beausoleil + Michael Delisle</Title>\\n<RunningTime>00:10:01</RunningTime>\\n<RecordDate>undated</RecordDate>\\n<FormatType>Open Reel</FormatType>\\n<StockBrand>Ampex</StockBrand>\\n<TapeModel>406</TapeModel>\\n<TapeWidth>1/4\\\"</TapeWidth>\\n<TapeType>Polyester</TapeType>\\n<ReelSize>7\\\"</ReelSize>\\n<TrackConfiguration>8 Track</TrackConfiguration>\\n<SoundField>Mono</SoundField>\\n<RecordingSpeed>15 ips</RecordingSpeed>\\n<NoiseReduction>None</NoiseReduction>\\n<Equalization>NAB</Equalization>\\n<PackOrientation>Heads 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Contact sheets of photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-sheets. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Weiss, A.M. (Anne-Marie). Contract, bionote, performance plan of \\\"Belle Laide,\\\" and photo for Ultimatum, 20 Feb. 1985, Alan Lord fonds (F039), Box 1, folder AL-Folder2_wei. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Weiss, A.M. (Anne-Marie). Manuscripts of \\\"BELLE LAIDE\\\" for Ultimatum, c. May 1985, Alan Lord fonds (F039), Box 1, folder AL-Folder1_wei. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Weiss, A.M. (Anne-Marie). Typescript of \\\"BELLE LAIDE,\\\" 1985, Alan Lord fonds (F039), Box 1, folder AL-BL. 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Électriques\",\"notes\":\"\",\"address\":\"87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5\",\"latitude\":\"45.5109472\",\"longitude\":\" -73.5640102\"}]"],"Address":["87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5"],"Venue":["Foufounes Électriques"],"City":["Montreal, Quebec"],"content_notes":["Bilingual \"Ultimatum Programme\" festival pamphlet describes performance as 'Poésie/Performance\" and \"Performance/Poetry\". Specification that artist is \"de/from Québec\". \n\nContents field [transcription] by Emma Telaro. "],"contents":["Ultimatum_Mixdown_Alain Martin Richard_U-3-4_T5_T6_T7_T8_U-3-5_T1_T2_T3_T4.mp3\n\nThe following is a transcription of the Alain-Martin Richard set at Ultimatum, Friday May 3rd, 1985 at the Foufounes Électriques. Richard is a multidisciplinary artist, editor and critic from Québec, Canada, active since the late 70s, touring and presenting at festivals and events across North America, Europe and Japan. Previously, he was a member of the defunct international collective The Nomads and of INTER/Le Lieu from Quebec City. More recently, he has been involved with the collective Les Causes Perdues and Folie/Culture, having co-created the poetic game, “L’atopie textutelle est une cause qui se perd” for the first. He co-edited Performance in/au Canada 1970-1990 with Clive Robertson, the book Territoires Nomades and various catalogues and publications on art and performance. His experimental practice questions the social and the everyday, postmodernism, space and identity. \n\nTRANSCRIPT\n\n[Unknown]\n00:00:00\nAmbient sounds [music cuts out]\n\nAlain-Martin Richard \n00:00:07\nIntroduces performance. | Keywords: texte charnelle, ordinateur, voix, imprimante, toast melba, popsicle. \n\nAlain-Martin Richard\n00:00:42\nPerforms vocal and electronic sounds [reads, chants, pants and moans over pre-recorded sounds and voices]. Keywords: peaux, plaisir, chair, frénésie, orgasme, crâne, recherche, remplace. \n\n[Unknown]\n00:07:23\nPause [silence].\n\nAlain-Martin Richard \n00:07:26\nContinues performance.\n\nAudience\n00:09:41\nApplause [electronic sound fades out]\n"],"Related_works":["[{\"url\":\"https://artpublicmontreal.ca/artiste/richard-alain-martin/\",\"citation\":\"Art Public Montréal page on Alain-Martin Richard \"},{\"url\":\"https://files.spokenweb.ca/concordia/alanlord/1/ALAN%20ARCHIVES%20DOCUMENTATION/07%20-%20ULTIMATUM/1%20-%20PHOTOS%20%26%20DOCUMENTATION/0%20-%20ULTIMATUM.pdf\",\"citation\":\"Ultimatum Program/me [Pamphlet]\"},{\"url\":\"https://artpublicmontreal.ca/en/artiste/richard-alain-martin/\",\"citation\":\"Art Public Montréal\"},{\"url\":\"https://artpublicmontreal.ca/en/artiste/richard-alain-martin/\",\"citation\":\"Au numérique, préférer la chair [Mois Multi] by Alain Martin Richard. \\n\"},{\"url\":\"http://www.performanceart.ca/index.php?m=people_details&id=117\",\"citation\":\"FADO Performance Art Centre\"},{\"url\":\"http://www.performanceart.ca/index.php?m=program&id=171\",\"citation\":\"\\\"Route to Rosa\\\" performance piece by Alain Martin Richard.\"},{\"url\":\"https://www.fondation-langlois.org/html/e/page.php?NumPage=326\",\"citation\":\"Foundation Langlois, bio and list of publications. \"},{\"url\":\"https://www.fondation-langlois.org/html/e/page.php?NumPage=325\",\"citation\":\"\\\"L'atopie textuelle est une cause qui se perd\\\" (2001) by Alain Martin Richard. \"},{\"url\":\"\",\"citation\":\"Richard, Alain-Martin. Performance plan of \\\"LA MEMOIRE DU CORPS\\\" for Ultimatum, 4 Mar. 1985, Alan Lord fonds (F039), Box 1, folder AL-Folder2_ric. Concordia University Library, Special Collections, Montréal, QC.\"}]"],"_version_":1853670549142634496,"timestamp":"2026-01-07T14:59:53.772Z","Note":["[{\"note\":\"Multitrack Mix File Name:\\nUltimatum_Mixdown_Alain Martin Richard_U-3-4_T5_T6_T7_T8_U-3-5_T1_T2_T3_T4.mp3\",\"type\":\"General\"},{\"note\":\"Media Preserve Metadata for Tape U-3-4.\\n\\n<MediaAsset>\\n<!-- Original Physical Asset and Transfer Details -->\\n<Original>\\n<Filename>U-3-4</Filename>\\n<Title>Ian Stephens A.M. 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\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1296620055\",\"venue\":\"Foufounes Électriques\",\"notes\":\"\",\"address\":\"87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5\",\"latitude\":\"45.5109472\",\"longitude\":\" -73.5640102\"}]"],"Address":["87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5"],"Venue":["Foufounes Électriques"],"City":["Montreal, Quebec"],"content_notes":["Bilingual \"Ultimatum Programme\" festival pamphlet describes performance as 'Poésie/Performance\" and \"Performance/Poetry\". 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Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Gagnon, Jean-Claude. Handmade booklet \\\"Beurk Tisselard au 'Festival D'IN(TER)VENTION(S)\\\", 1984, Alan Lord fonds (F039), Box 1, folder AL-Folder1_gag. 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Handwritten label on side.\",\"other_physical_description\":\"VHS #5 asset. Contains recordings of multiple events.\"}]"],"material_designations":["VHS"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Video"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:v:/g/personal/carlosa_pittella_concordia_ca/EY_KHghO9Z5AsYPQ2qPR5DYBDWyIh2QpcRVNCmfVDITjOQ\",\"file_path\":\"\",\"filename\":\"Enough_Said-19950410-ga_press.mp4\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:26:02\",\"precision\":\"\",\"size\":\"2.43 GB on disk\",\"bitrate\":\"2304Kbps (original); 256Kbps (master)\",\"encoding\":\"MPEG-4 movie\",\"contents\":\"This is file 1 of 1 containing an AV recording of the event in celebration of ga press's first anniversary. While part of the Enough Said series, organized by Lee Gotham, the event was co-produced by Gotham, Colin Christie and Corey Frost, featuring performances by Christie and Frost, as well as readings by Golda Fried, Sandra Jeppesen, and Chris Bell.\",\"notes\":\"Dimensions: 640 × 480.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Video Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1995-04-10\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Asset\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/2428619734\",\"venue\":\"Bistro 4\",\"notes\":\"Bistro 4 (pronounced Bistro Quatre), no longer in existence.\",\"address\":\"4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada\",\"latitude\":\"45.5169628\",\"longitude\":\"-73.5796147\"}]"],"Address":["4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada"],"Venue":["Bistro 4"],"City":["Montreal, Quebec"],"content_notes":["Event recording starts at 00:00:00:00 of VHS #5 asset, which contains multiple events."],"Note":["[{\"note\":\"VHS #5 asset. Contains recordings of multiple events: (1) Enough Said 1995-04-10, ga press; (2) Enough Said 1995-04-17, Joseph; and (3) Enough Said 1995-05-01, Stephens, Suderman, Diamond and McGrail. The asset was digitized, generating both uncompressed and compressed video files; the compressed files were then split into events to facilitate the transcription work. Metadata entries based on events.\",\"type\":\"General\"},{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org//oclc/1016985619\",\"citation\":\"Bruck, Julie. The End of Travel. London, ON: Brick Books, 1999.\"},{\"url\":\"https://www.worldcat.org/oclc/933580644\",\"citation\":\"Jeppesen, Sandra. Blister in the Sun [chapbook]. Montréal: ga press, 1995.\"},{\"url\":\"https://www.worldcat.org/oclc/933560695\",\"citation\":\"Bell, Chris. Tales of the Lost Cheebah-ha. Montréal: ga press, 1995.\"},{\"url\":\"https://www.worldcat.org/oclc/174100461\",\"citation\":\"Frost, Corey. “Eating Our Own Words: Spoken Word in Montreal.” In Language Acts: Anglo-Québec Poetry, 1976 to the 21st Century, edited by Jason Camlot and Todd Swift, 165–78 & 403–04. Montréal: Véhicule Press, 2007.\"}]"],"_version_":1853670549153120256,"timestamp":"2026-01-07T14:59:53.772Z","contents":["[Bistro 4 stage]\n00:00:15\nVideo Description: Color video, medium long shot of the stage at Bistro 4 (Quatre) (4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada) and a dozen or so seated audience members. A single mic stand. The stage, slightly below street level, is set against a full-wall window looking out onto the St. Laurent Blvd. traffic—with both pedestrians and vehicles regularly passing by. The windows from across the street (4067 St. Laurent) are also visible. Several big spheric lamps hanging over the stage and draped orange curtains almost entirely raised, covering little of the windows. Against the windows, a vertical rectangular banner with the name “ga press / MONTREAL,” as well as a series of smaller separate posters with numbers on them: 86, 99, 116, and 235.\n\nLee Gotham\n00:00:16\nGood evening, one and all. Thank you so much for coming back out to yet another instalment of EnoughSaid. We have a wonderfully eclectic offering for everyone here this evening, ga press’ first anniversary, [singing] Happy birthday ga press, happy [interrupts himself] no. (?) their first anniversary and, among other things, we are launching their first (boatload?) novel, Chris Bell’s work will be available, is in fact available, along with many other ga press authors at the table location outside the door, when everyone has a moment, stop by, please leaf through this stuff, it is a lot of fun. Ok [video skips ahead] …forge straight into things, just remind everyone that here and in the same time slot, this time next week, Clifton Joseph, radical, political, rap-rhyme writer, taking part with a lot of poets’ performances at the Rialto next week, so, yes, (?), next week, Clifton Joseph, don’t miss him, he is something special, in your face but in such a sweet way, you’ll love him. I have (?) the week after that we’ll move down the street to Woodstock (Caf?), the bar, for Clifford Duffy’s Invention of God. Come back here the week after, on the first to wrap it all up, for the last of the regular weekly series of events, Monday nights here at Bistro 4. We’ll be doing things, independent things, once a month of so, throughout the summer, but as for this wonderful (experiences?) near and dear to my heart, it will come to a finish on the first of May. In any case, without a whole lot more blather, EnoughSaid is pleased to present to you the progenitors of ga press, ga’s (little?) ones, Colin Christie and Corey Frost, may we have you [applause] | Video Description: Medium long shot of Lee Gotham on stage. Gotham wears a dark open jacket, a t-shirt with different shades of brown, a full beard, and hair tied in a bun. Camera zooms in and out several times.\n\nColin Christie and Corey Frost\n00:02:31\nHi, I just wanted to say before I started that I am really honoured to be reading for ga press’ birthday, they’ve impressed me (?) over and over again, (with?) both the material they’ve chosen and their layouts, and I’m really glad (?) (upcoming?) writers (?). And the piece I’m gonna be doing is called “Blue toenails” (?). [Reads “Blue toenails.”] | Video Description: Medium long shot of Golda Fried walking to the stage. Fried wears jeans, a blouse, an open long jacket, and loose long hair. Camera zooms in and out several times while Fried reads, remaining most of the time in a closeup.\n\nColin Christie and Corey Frost\n00:05:33\n[Background music stops. Ambient sound, with Colin Christie and Corey Frost repeating “Gah” at odd intervals. TV audio, mostly inaudible, introducing the next performer, Golda Fried. Laughter. Applause.] | Video Description: Colin Christie and Corey Frost hold their TVs back up, playing different videoclips in which their recorded selves appear. The camera zooms in and out of each TV set, panning in between them. Christie and Frost put their TVs down. Applause.\n\nGolda Fried\n00:09:00\nHi, I just wanted to say before I started that I am really honoured to be reading for ga press’ birthday, they’ve impressed me (?) over and over again, (with?) both the material they’ve chosen and their layouts, and I’m really glad (?) (upcoming?) writers (?). And the piece I’m gonna be doing is called “Blue toenails” (?). [Reads “Blue toenails.”] | Video Description: Medium long shot. Golda Fried walks to the stage, wearing loose long hair, jeans, a blouse, and an open long jacket. Camera zooms in and out several times while Fried reads, remaining most of the time in a closeup.\n\nColin Christie and Corey Frost\n00:20:05\n[Ambient sound. TV plays a recording of “Blister in the Sun” by Violent Femmes. Song fades into background, and the TV audio, mostly inaudible, introduces the next performer, Sandra Jeppesen. Applause.] | Video Description: Colin Christie and Corey Frost come back to the stage to set up AV equipment. They each hold up a TV set in front of their faces, playing a different videoclip: Christie wearing the same striped shirt and dancing, Frost talking in front of a brick wall.\n\nSandra Jeppesen\n00:22:10\nHey, this is fun, is everyone having fun? Ok, I’m gonna read two pieces; the first one is a bit longer than the second one, and the second one is the piece that the ga guys have made into a chapbook, and I think they’ve done a really good job, and I think they’re great. So, I’m glad that they wanted to publish my chapbook. [noises from adjusting the mic] (?) make allowances for short people. Ok, my first piece is about how (art?) is sometimes difficult to write, it’s called “Go to hell, Margaret Atwood.” [Laughter. Reads “Go to hell, Margaret Atwood” and “Mister and his son, or how to go insane in 10 easy steps.”] | Video Description: Medium long shot of Sandra Jeppesen walking to the stage. Jeppesen wears black pants and blouse, round glasses, several types of earrings (including a nose piercing and dangle-cross earrings), three different necklaces (one with a yin yang pendant), and an asymmetrical haircut with temple shave. Camera zooms in and out several times, remaining most of the time in a closeup. Jeppesen adjusts the mic and reads; while reading, Jeppesen removes the glasses. After reading the first piece, the camera zooms out to a medium long shot and registers applause, as well as Jeppesen drinking water by the edge of the frame.\n\nSandra Jeppesen\n00:34:10\n[Reads “Mister and his son, or how to go insane in 10 easy steps,” mentioning ga press published it as a chapbook (Blister in the Sun, ga press, 1995).] | Video Description: Medium long shot. While Jeppesen reads, Colin Christie and Corey Frost hold up a TV set each, displaying video with the numbers corresponding to each part of the poem. Jeppesen leaves the stage amid applause.\n\n\nSandra Jeppesen\n00:40:39 \nI always like to run away (?) readings. Colin and Corey are now going to do a performance of something by Julie Bruck, who I know is another ga press publishee. Here they are. | Video Description: Jeppesen returns to the stage to introduce the next act, while Colin Christie and Corey Frost tweak with the AV equipment. Frost removed his sweater and now wears only a polo shirt.\n\nColin Christie and Corey Frost\n00:41:00\n“Perceived threat” by Julie Bruck; layout by ga. [Read “Perceived threat,” by Julie Bruck (later published in The End of Travel, Brick Books, 1999). First, Frost reads the poem leaving out the final words from each line; then, Christie reads just those final words; then together, interweaving their parts, they read the full poem. Telephone rings mid-performance and Frost ad libs an extra line to the piece, “Every dreaded phone call.” Applause.] | Video Description: Medium shot, then closeup. Colin Christie and Corey Frost pass back and forth a miniature book while reading the piece.\n\nLee Gotham\n00:43:01\nAll right, well that is half of ga’s first birthday party, and please stick around for the second half, which will follow almost directly. We’re gonna take a very short break, allow everyone to get up, stretch their legs, have another drink, every drink has 25 cents towards the (aid?) of the series, what else do you need to know? Yeah, come on up, same time, same place next week, radical, political, rap-rhyme writer Clifton Joseph, gonna (flow?) and give us some lyrical phrases. Ok, so, I’ve noticed there has been twice as many people on the left-hand side of the open mic board and half as many on the right-hand side before we got underway here; now the half that has disappeared from the left is a result of people leaning against the board; well, these things happen, if you remember existing at one point in history on the left-hand side of this board, you might want to put yourself back in there. Unfortunately, there are at least half again as many people as we need on the right-hand side of the board [video skips ahead] | Video Description: Medium long shot. Lee Gotham adjusts the mic. Camera zooms in to a closeup. Gotham speaks while scratching the right temple.\n\nLee Gotham\n00:44:16\nWelcome back, my friends. (?) Thanks for hanging out, hope everyone is refreshed, we are just about ready to forge into the second half of ga’s offerings. Corey and Colin are ready to reveal to you yet more wondrous mysteries of the workings of ga press. They will kick off the second half of the act themselves. Please come back out next weekend (to hear?) this fellow Clifton Joseph, he’s really a kick-ass performer, and I would hate to bring him in from Toronto without a crowd to welcome him. In any case, I’m sympathetic to the students doing good student things, (hanging?) in and studies, so if that’s the case, well, hang. Lots of luck with it. Without further ado, Corey and Colin and, later, Chris Bell. | Video Description: Closeup. Lee Gotham adjusts mic. Camera zooms out to a medium shot, then in to closeup.\n\nColin Christie and Corey Frost \n00:45:21\n[Ambient sound. Colin Christie and Corey Frost alternate reading dozens of short passages from different ga press publications, with long silences in between.] | Video Description: Medium long shot. Colin Christie and Corey Frost return to the stage and stand in silence; through gestures alone, one asks what the other is holding, which turns out to be various ga press’ publications. They agree on one of the books to begin with and then alternate reading dozens of short passages, each from a different ga press publication. Camera zooms in and out a few times, remaining most of the time in a medium shot.\n\nColin Christie and Corey Frost\n00:54:53\n[Ambient sound. Lee Gotham asks what were Colin Christie and Corey Frost reading from in the previous act. Christie answers they were volumes published by ga press and advertises the books for sale at the entrance of the venue. Laughter. Christie explains they cannot play the video they recorded to introduce Chris Bell, so he introduces Bell himself, describing the video the audience would have seen, and stating that “Tales of the Lost Cheebah-ha” is Bell’s first published novel and ga’s first novel published. Laughter. The video eventually works, playing the recorded introduction to Chris Bell. Applause.] | Video Description: Camera zooms out to medium long shot. Colin Christie adjust AV equipment and walks over to the mic to have a conversation with Lee Gotham (who is off-screen). Camera zooms in to a medium closeup. Christie introduces the next reader, Chris Bell. Camera zooms out to medium long shot and we see Corey Frost adjusting the AV. Christie and Frost lift each a TV set playing a video-introduction to Chris Bell. Camera zooms in to video-recording playing a demonstration of Christie putting a band and a sleeve on Bell’s book.\n\nChris Bell\n01:01:17\n[Chris Bell’s introductory remarks are mostly inaudible until Lee Gotham asks him to adjust the mic. Bell reads from “Tales of the Lost Cheebah-ha” (ga press, 1995). Applause.] | Video Description: Camera zooms in to a medium closeup. Bell wears glasses, a black suit, a black dress shirt with a layer of glimmering dots (perhaps a separate half-vest), and a dress-shirt stud with a silvery bull head. Bell reads while holding a copy of “Tales of the Lost Cheebah-ha” with his left hand. Applause. Camera zooms out to medium long shot; we see Bell exit and Lee Gotham join the stage applauding.\n\nColin Christie and Corey Frost \n01:22:56\n[Corey Frost thanks Chris Bell for reading and explains that Bell’s novel comprises five chapbooks, each telling parts of the story in different ways, with different styles. Frost adds the book is selling for $5. Colin Christie thanks a series of people.] | Video Description: Camera zooms in to a medium closeup. Colin Christie and Corey Frost alternate using the mic to do final remarks and acknowledgments. Applause. Camera zooms out to medium long shot.\n\nLee Gotham\n01:25:49\nThank you ga press, Colin and Corey collectively. | Video Description: Medium long shot of Lee Gotham at the stage.\n\nEND\n01:25:56\n[Cut out]"],"score":1.8530173},{"id":"1564","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Lee Gotham collection"],"source_collection_label":["Lee Gotham collection"],"collection_contributing_unit":["Spokenweb at Concordia University"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Lee Gotham collection contains the AV recordings regarding the Enough Said series, including readings, performances, open-mic, and spoken-word events that took place at Bistro 4 and other Montreal venues between December 1994 and June 1996."],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Enough Said 1995-05-01, Stephens, Suderman, Diamond, and McGrail"],"item_title_source":["Asset"],"item_title_note":["On tape labels and corroborated by Lee Gotham, who introduces the event headliners."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["Lee Gotham collection"],"item_subseries_title":["Enough Said"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. We may wish to seek permission from individual artists and Drew Duncan, the videographer."],"creator_names":["Gotham, Lee","Stephens, Ian","Suderman, Lynn","Diamond, Ann","McGrail, Justin"],"creator_names_search":["Gotham, Lee","Stephens, Ian","Suderman, Lynn","Diamond, Ann","McGrail, Justin"],"creators":["[{\"url\":\"https://viaf.org/viaf/106179112\",\"name\":\"Gotham, Lee\",\"dates\":\"1962-\",\"notes\":\"Lee Gotham was also the MC of this event.\",\"nation\":[],\"role\":[\"Series organizer\",\"Producer\",\"Performer\"]},{\"url\":\"https://viaf.org/viaf/48507771\",\"name\":\"Stephens, Ian\",\"dates\":\"1954–1996\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Suderman, Lynn\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/29585299\",\"name\":\"Diamond, Ann\",\"dates\":\" 1951–\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"https://viaf.org/viaf/106255768\",\"name\":\"McGrail, Justin\",\"dates\":\"1968-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors_names":["Duncan, Drew"],"contributors_names_search":["Duncan, Drew"],"contributors":["[{\"url\":\"\",\"name\":\"Duncan, Drew\",\"dates\":\"\",\"notes\":\"Videographer.\",\"nation\":[],\"role\":[\"Recordist\"]}]"],"Recordist_name":["Duncan, Drew"],"Performance_Date":[1995],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/1564/Enough_Said-VHS5-19950410_19950417_19950501.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Video\",\"tape_brand\":\"TDK SHG\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"120 minutes\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"VHS\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Tape box. Handwritten label on side.\",\"other_physical_description\":\"VHS #5 asset. Contains recordings of multiple events.\"}]"],"material_designations":["VHS"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Video"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:v:/g/personal/carlosa_pittella_concordia_ca/EUmnbvvG6u1MgbrcSKwiBu4BKfes6AJKM1CCfGWwWSV1NA\",\"file_path\":\"\",\"filename\":\"Enough_Said-19950501-Stephens_Suderman_Diamond_McGrail.mp4\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:18:31\",\"precision\":\"\",\"size\":\"2.22 GB on disk\",\"bitrate\":\"2304Kbps (original); 256Kbps (master)\",\"encoding\":\"MPEG-4 movie\",\"contents\":\"This is file 1 of 1 containing an AV recording of an event in the Enough Said series, organized by Lee Gotham, featuring performances by himself, Ian Stephens, Lynn Suderman, Ann Diamond & Justin McGrail.\",\"notes\":\"Dimensions: 640 × 480.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Video Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1995-05-01\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Asset\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/2428619734\",\"venue\":\"Bistro 4\",\"notes\":\"Bistro 4 (pronounced Bistro Quatre), no longer in existence.\",\"address\":\"4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada\",\"latitude\":\"45.5169628\",\"longitude\":\"-73.5796147\"}]"],"Address":["4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada"],"Venue":["Bistro 4"],"City":["Montreal, Quebec"],"content_notes":["Event recording starts at 03:54:16:01 of VHS #5 asset, which contains multiple events."],"Note":["[{\"note\":\"VHS #5 asset. Contains recordings of multiple events: (1) Enough Said 1995-04-10, ga press; (2) Enough Said 1995-04-17, Joseph; and (3) Enough Said 1995-05-01, Stephens, Suderman, Diamond and McGrail. The asset was digitized, generating both uncompressed and compressed video files; the compressed files were then split into events to facilitate the transcription work. Metadata entries based on events.\",\"type\":\"General\"},{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/diary-of-a-trademark/oclc/1137025178\",\"citation\":\"Stephens, Ian. Diary of a Trademark. Ste-Anne-de-Bellevue, QC: The Muses’ Co., 1995.\"},{\"url\":\"https://www.worldcat.org/oclc/78176690\",\"citation\":\"Stephens, Ian. Wining Dining Drilling [album]. Montréal: En Guard Records, 1993.\"},{\"url\":\"https://www.worldcat.org/oclc/937539986\",\"citation\":\"Disappointed a Few People. Dead in Love [album]. Montréal: Psyche Records, 1986.\"},{\"url\":\"https://www.worldcat.org/oclc/636521014\",\"citation\":\"Diamond, Ann. Terrorist Letters. Montréal: Signal Editions (Véhicule Press), 1992.\"}]"],"_version_":1853670549154168832,"timestamp":"2026-01-07T14:59:53.772Z","contents":["[Bistro 4 stage]\n00:00:00\nVideo Description: Colour video, medium closeup of the stage at Bistro 4 (Quatre) (4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada). A single mic stand. The stage, slightly below street level, is set against a full-wall window looking out onto the St. Laurent Blvd. traffic—with both pedestrians and vehicles regularly passing by. We see the windows slide open and close a few times. The windows from across the street (4067 St. Laurent) are also visible, including a sign that reads, “ESPACE / À LOUER / 845 0136.” People frequently pass in front of the camera.\n\nLee Gotham\n00:00:26\nBienvenue mes amis, bonsoir, thanks so much for coming back out. Last instalment of Enough Said, (?), for the season. We’ll be back in the fall. “Apocalypse whimper.” How many people wondered about that if they saw it even listed. But it’s something of an apology, and it’s directed to, well, immediately after thanks, thanks and more thanks to Danielle and the staff from the Bistro 4 [applause]. Immediately thereafter follows my apology, “Apocalypse whimper.” The whimper is directed toward yourselves. It goes something like this. It’s a little something I wrote myself. | Video Description: Camera zooms in and settles into a medium closeup of Lee Gotham walking to the stage smoking a cigarette and adjusting the mic. Gotham wears a grey open sweater with leaf details over a t-shirt with the words “RACISM / 100% PURE / IGNORANCE,” full beard, and hair tied in a bun. Gotham makes introductory remarks.\n\nLee Gotham\n00:02:22\n[Performs “Apocalypse whimper”: the first part by whimpering, then parts two and three by reciting from memory.] | Video Description: Medium closeup. Lee Gotham performs “Apocalypse whimper” by, first, lifting his arms as in a brief adoration dance, then dropping to the floor, where the camera cannot find him. Gotham then stands up and recites the second and third parts of the piece, looking at the palm of his own right hand as if it were a mirror.\n\nLee Gotham\n00:04:59\nAnd that was my apology and for the end of the season, you know, a lot of real (fond?) events, and I thank you very kindly, one and all, once again for supporting us and everyone surrounding us at this moment. If you have a TV (?), everyone is aware I’m sure that (?) smile from coast to coast this evening [laughter]. Alright, without further ado [applause] I do have—I do have one other tidbit, actually have (about?) six but gotta choose one because we can’t afford it this early in the evening. We’re going to just roll, straight through this evening events, no break, no open mic, I apologize again to any enthusiastic openmikers, but, as we’ve got so much material to get through this evening in such a short period of time, I’d like to forge straight ahead with it. [Briefly leaves the stage] Thank you very much, Danielle, for that very useful technical advice, everyone else bear it in mind as well. (And now I’m?) under the lights, how’s that? We’ll move the wire in a little, in a little while. In any case, to stay tuned to the literary scene, as it really is coming to fruition, you know, it’s really coming together out here, in venues like this, I would really like to encourage everyone to pick up a copy for example of “Index”; it’s a superb creative and informative guide to the literary scene here in town. Don’t buy into the petty politicking that’s been going on around us. It’s a terrific service provided by open-minded individuals of the utmost integrity [audience member shouts “Right on!” Applause]. | Video Description: Medium closeup. Lee Gotham makes more remarks about the event and goes off camera.\n\nLee Gotham\n00:07:10\nNow I have the immense pleasure of introducing someone who, at least to us local fans as well as people that are interested in poetry of import from coast to coast, someone who doesn’t need that introduction, a very important part of our literary scene, Ian Stephens, if I can ask you to come up and give us once again your words, I would be as appreciative as possible [applause and laughter]. | Video Description: Medium closeup. Lee Gotham returns to the stage and introduces the next performer.\n\nIan Stephens\n00:07:43\n[Applause. Thanks Lee Gotham for the introduction and for the season of poetry all enjoyed. More applause. Performs “Christmas Eve, 93” (titled “24/12/93” in Diary of a Trademark, The Muses’ Co., 1995).] | Video Description: Alternating medium closeup and closeup of Ian Stephens at the stage. Stephens wears wears a wine-coloured button-down shirt unbuttoned at the top over a wine-colour t-shirt, short hair, a stud on the left earlobe, and a multicolour bead necklace. Stephens adjusts the mic, which was set too short for him, and performs a poem by heart.\n\nIan Stephens\n00:10:25\n[Performs “Queer in America” (recorded as a song in Wining Dining Drilling, En Guard Records, 1993). The performance frequently verges on to melody.] | Video Description: Medium closeup then medium shot of Ian Stephens at the stage, performing a poem by heart, verging into song.\n\nIan Stephens\n00:13:15\n[Performs “The Hustler’s Song, or I Am a Busboy” (recorded as “Ecstasy” in two LPs: Dead in Love, by Disappointed a Few People, Psyche Records, 1986; and Wining Dining Drilling, En Guard Records, 1993)] | Video Description: Alternating medium shot and medium closeup of Ian Stephens at the stage, performing a poem by heart. \n\nIan Stephens\n00:15:39\n[Performs a peace opening with the line “Oklahoma, where the (men?) are marching now,” which Stephen sings, then adds: “Something very xenophobic about this whole thing.” Stephens uses a heavy mocking accent as a commentary on xenophobia, which causes bursts of laughter among the audience.] | Video Description: Medium closeup of Ian Stephens at the stage, performing a poem by heart.\n\nIan Stephens\n00:16:40\n[Having recited the previous pieces by heart, Stephens consults a book to perform “They AIDS guy” and states, “Eventually, I’ll get this down by heart.” Someone in the audience exclaims, “You better,” to which Stephens responds, “Yeah, for my memorial.” Uncomfortable laughter. Stephens adds, “That’s a joke.” Begins performing “They AIDS guy” (published in Diary of a Trademark, The Muses’ Co., 1995).] | Video Description: Alternating medium closeup and medium long shot of Ian Stephens at the stage, performing a poem while consulting a book.\n\nIan Stephens\n00:18:37\n[During the performance of “The AIDS guy,” after reading the word “crossed,” Stephen ad libs, in a whisper, “That’s true,” to which the audience erupts into laughter for 10 seconds.] | Video Description: Medium closeup of Ian Stephens at the stage.\n\nIan Stephens\n00:21:05\n[Dramatic pause in the middle of the performance of “The AIDS guy,” lasting 15 seconds. The audience is so silent that one hears part of a phone conversation in the background, between a Bistro 4 employee and a customer who called the bistro’s landline.] | Video Description: Closeup of Ian Stephens at the stage.\n\nIan Stephens\n00:21:20\n[Resumes the performance of “They AIDS guy.” Applause.] | Closeup of Ian Stephens at the stage, performing a poem while consulting a book. At the end of the performance, the camera zooms out to a medium long shot; before leaving the stage and after thanking the audience, Stephens raises his right fist amid applause, then stores his book inside a black messenger bag.\n\nLee Gotham\n00:22:03\n[Lee Gotham thanks Ian Stephens and announces three more performers for the evening. Explaining the next act needs a few minutes to set up, Gotham says they will play some music. The ambient sounds are so loud that the music is not recognizable except for muffled drums.] | Video Description: Medium closeup of Lee Gotham, now wearing nothing over his t-shirt. Gotham updates the audience about the evening’s schedule, raising his right arm as a makeshift visor to block the stage light from his eyes. Gotham leaves the stage; the camera stays on the lone mic, registering multiple people passing by.\n\nLee Gotham\n00:25:21\n[Returns to the stage, shouting to get the audience’s attention. Announces the next performer as Lynn Suderman and, after asking if anyone else is hot, opens the sliding window.]  Video Description: Medium closeup. Lee Gotham returns to the stage and makes more remarks with his right arm raised to block stage light. Slides the main window open.\n\nLynn Suderman\n00:26:47\n[Loud noise of a chainsaw. Laughter and applause. Lynn Suderman enters the stage though the window, carrying a running chainsaw, and starts reciting a piece even before switching the engine off: “I was just a kid when I fell in love with horror movies.” The text seems to be part of “Meltdown,” which is the third part of a larger project, as Lee Gotham later explains.] | Video Description: Medium long shot, then camera following the performer’s entrance and trembles, before settling into a medium closeup. Lynn Suderman enters the stage through the window while holding a chainsaw and a construction helmet with attached visor and ear mufflers. Suderman wears black pants and a black unbuttoned rain jacket over a buttoned down plaid blue shirt. Suderman first removes the helmet, revealing short black hair, then removes the rain jacket, revealing a large wristwatch with golden details on the left arm, and finally puts on a baseball cap with the initials “MF,” for the Massey Ferguson machinery company. Suderman frequently interrupts the reading to gift objects to the audience, including patches and paper bags with different kinds of seeds.\n\nLynn Suderman\n00:37:04\n[Performs what seems to be an independent piece, titled “The Boyfriend Piece,” with frequent unscripted interruptions to interact with the audience.] | Video Description: Medium closeup of Lynn Suderman, performing a poem while consulting a printout, with frequent ad libbing. \n\nLynn Suderman\n00:39:12\n[Performs a piece beginning with the line, “A swather cuts the ripe grain and piles it into windrows”, perhaps still part of Meltdown. As Suderman reads the opening line, there is noise from a coffee-making machine, which the performer acknowledges as “more equipment.” Laughter.] | Video Description: Medium shot then medium closeup of Lynn Suderman performing. After the set, the camera zooms out to a medium long shot; we see Suderman collecting equipment into a large duffel bag and kissing Lee Gotham on the cheek before leaving the stage.\n\nLee Gotham\n00:40:19\n[Ambient sounds, voices. Lee Gotham explains that the piece Lynn Suderman performed, titled “Meltdown,” was the third part of a larger epic project. Gotham then announces two more performers, Ann Diamond and Justin McGrail, coming after a 10-minute happy-hour break, in which beer would be only $2.50.] | Video Description: Medium closeup of Lee Gotham, who updates the audience regarding the evening’s program and announces a break. Gotham scratches his left clavicle, fixes his hair behind his right ear, and frequently raises his right arm to block the stage light from his eyes. The video cuts mid-sentence to the lone mic, still in a medium closeup.\n\nLee Gotham\n00:42:32\n[Ambient sounds, loud voices. When Gotham returns to the stage after the break, he introduces the next performer, Ann Diamond, emphasizing Diamond was one of the earliest performers in the series. Gotham explains Diamond will read from the volume Terrorist Letters (Signal Editions/Véhicule Press, 1992). Applause.] | Video Description: Medium closeup of lone mic. Gotham returns to the stage, again wearing a sweater over his t-shirt. Gotham announces the next performer while holding the Ann Diamond’s book “Terrorist Letters” with his left hand, frequently lifting the left arm and book to block stage light.\n\nAnn Diamond\n00:44:48\n[Applause. Makes a few remarks and reads a series of short pieces from Terrorist Letters (Signal Editions/Véhicule Press, 1992): “Recession,” “The Unthinkable,” “How I Became a Terrorist,” “It Was Another Hellish Summer,” “Shoe Salesman,” “Finn De Leone,” “Laboratory,” “A Man Is an Insane Woman,” and “Vanishing Point.” Diamond also ad libs, sometimes mid-poem, causing laughter among the audience. Applause.] | Video Description: Medium long shot while Ann Diamond enters the stage, soon zooming into a closeup and later into a medium shot. Diamond wears a jean jacket over a grey cowl-neck sweater and pixie-cut blond hair with bangs. Diamond holds a book with the left hand and a large and almost full beer mug with the right.\n\nLee Gotham\n01:01:44\n[Thanks Ann Diamond and announces another 10-minute break before Justin McGrail’s performance. Before the break, Gotham advertises an upcoming event: “Of Fire and Sword, a Highlander’s tale, an evening of dance and the spoken word,” a collaboration of Cameron MacMaster’s Duodance Company with Justin McGrail and (Jean?) Alison Hackney.] | Video Description: Zoom in from medium long shot to medium closeup as Lee Gotham enters the stage. Gotham updates the audience regarding the evening’s program and upcoming events, then announces a break. The video cuts mid-sentence to the audience applauding before panning to a medium closeup of the lone mic.\n\nJustin McGrail\n01:03:07\n[Applause and ambient sound. An audience member says, “I like your kilt” and Justin McGrail thanks them. Laughter. McGrail performs “The dream day” against a potpourri of background music playing through the boombox; one of the background music pieces is recognizable as “Cravo Canela” performed by The Charlie Rouse Band. Applause.] | Video Description: Medium long shot of Justin McGrail placing the strap of a boombox around his neck, then zoom into a medium shot. McGrail wears a kilt, grey-and-white striped button-down shirt with sleeves rolled up, wrist watch on his left arm, two shiny pendants, and short black hair. McGrail performs while swaying to the sound of background music playing through the boombox; McGrail frequently gesticulates, nods, and massages his temples.\n\nLee Gotham\n01:14:19\n[Thanks Drew Duncan, the videographer of Enough Said and host of the Ear of the Beholder music program at CKUT radio. Announces plans to make a video compilation of Enough Said. An audience member thanks Lee, prompting general applause. Gotham also announces a Vox Hunt poetry slam event on May 9 and a cabaret event on May 11, 1995. Lastly, Gotham thanks the audience.] | Video Description: Medium closeup of Lee Gotham at the stage, making final remarks while holding a single piece of paper. As Gotham leaves the stage, the camera zooms out, showing the audience applauding.\n\nEND\n01:17:31\n[End of recording.]"],"score":1.8530173},{"id":"1565","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Lee Gotham collection"],"source_collection_label":["Lee Gotham collection"],"collection_contributing_unit":["Spokenweb at Concordia University"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Lee Gotham collection contains the AV recordings regarding the Enough Said series, including readings, performances, open-mic, and spoken-word events that took place at Bistro 4 and other Montreal venues between December 1994 and June 1996."],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Enough Said 1995-03-06, Phineas Flower Trio and Godin"],"item_title_source":["Asset"],"item_title_note":["Ephemera accompanying asset, corroborated by Lee Gotham, who introduces the two event headliners."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["Lee Gotham collection"],"item_subseries_title":["Enough Said"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. We may wish to seek permission from individual artists and Drew Duncan, the videographer."],"creator_names":["Gotham, Lee","Phineas Flower Trio","Godin, S. (Steve)"],"creator_names_search":["Gotham, Lee","Phineas Flower Trio","Godin, S. (Steve)"],"creators":["[{\"url\":\"https://viaf.org/viaf/106179112\",\"name\":\"Gotham, Lee\",\"dates\":\"1962-\",\"notes\":\"Lee Gotham was also the MC of this event.\",\"nation\":[],\"role\":[\"Series organizer\",\"Producer\"]},{\"url\":\"\",\"name\":\"Phineas Flower Trio\",\"dates\":\"\",\"notes\":\"Headliner.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/105712077\",\"name\":\"Godin, S. (Steve)\",\"dates\":\"1956-\",\"notes\":\"Headliner.\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors_names":["Duncan, Drew","Miller, Mitsiko","Elfassy, Ran","Larkey?","Guy?","McGrail, Justin"],"contributors_names_search":["Duncan, Drew","Miller, Mitsiko","Elfassy, Ran","Larkey?","Guy?","McGrail, Justin"],"contributors":["[{\"url\":\"\",\"name\":\"Duncan, Drew\",\"dates\":\"\",\"notes\":\"Videographer.\",\"nation\":[],\"role\":[\"Recordist\"]},{\"url\":\"https://viaf.org/viaf/106148863\",\"name\":\"Miller, Mitsiko\",\"dates\":\"1971-\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/105951166\",\"name\":\"Elfassy, Ran\",\"dates\":\"1972-\",\"notes\":\"Open-mic performer. One of the five members of Fluffy Pagan Echoes.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Larkey?\",\"dates\":\"\",\"notes\":\"Open-mic performer. Identified as Unknown_Reader1 in the transcription.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Guy?\",\"dates\":\"\",\"notes\":\"Open-mic performer. Identified as Unknown_Reader2 in the transcription.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/106255768\",\"name\":\"McGrail, Justin\",\"dates\":\"1968-\",\"notes\":\"Open-mic performer. One of the five members of Fluffy Pagan Echoes.\",\"nation\":[],\"role\":[\"Performer\"]}]"],"performer_name":["Miller, Mitsiko","Elfassy, Ran","Larkey?","Guy?","McGrail, Justin"],"Recordist_name":["Duncan, Drew"],"Performance_Date":[1995],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/1461/Enough_Said-VHS3-19950213_19950220_19950227_19950306.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Video\",\"tape_brand\":\"TDK EHG\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"120 minutes\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"VHS\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Tape box. Handwritten label on side. Ephemera accompanying asset.\",\"other_physical_description\":\"VHS #3 asset. Contains recordings of multiple events.\"},{\"side\":\"\",\"image\":\"Uploads/1565/Enough_Said-VHS4-19950306_19950313_19950320_19950327_19950403.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Video\",\"tape_brand\":\"TDK EHG\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"120 minutes\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"VHS\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Tape box. Handwritten labels on sides. Ephemera accompanying asset.\",\"other_physical_description\":\"VHS #4 asset. Contains recordings of multiple events.\"}]"],"material_designations":["VHS","VHS"],"physical_compositions":["Magnetic Tape","Magnetic Tape"],"recording_type":["Analogue","Analogue"],"AV_type":["Video","Video"],"playback_mode":["Mono","Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:v:/g/personal/carlosa_pittella_concordia_ca/EW6UwoRr8N1Hk0Uazc6b29IBGQ02qTHRqvJTpbk29q8ImQ\",\"file_path\":\"\",\"filename\":\"Enough_Said-19950306-PFT_Godin_Part2.mp4\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:48:16\",\"precision\":\"\",\"size\":\"1.36 GB on disk\",\"bitrate\":\"2304Kbps (original); 256Kbps (master)\",\"encoding\":\"MPEG-4 movie\",\"contents\":\"This is file 2 of 2 containing an AV recording of the event featuring the Phineas Flower Trio and Steve Godin as part of the Enough Said series, organized by Lee Gotham, with extra open-mic performances by Justin McGrail, Mitsiko Miller, and others.\",\"notes\":\"Dimensions: 640 × 480.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Video Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:v:/g/personal/carlosa_pittella_concordia_ca/EXF2T9GijiVIl7k_NT1beSABATEpT2UoFq4F6VP_wA8dLQ\",\"file_path\":\"\",\"filename\":\"Enough_Said-19950306-PFT_Godin_Part1.mp4\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:39:29\",\"precision\":\"\",\"size\":\"1.11 GB on disk\",\"bitrate\":\"2304Kbps (original); 256Kbps (master)\",\"encoding\":\"MPEG-4 movie\",\"contents\":\"This is file 1 of 2 containing an AV recording of the event featuring the Phineas Flower Trio and Steve Godin as part of the Enough Said series, organized by Lee Gotham, with extra open-mic performances by Justin McGrail, Mitsiko Miller, and others.\",\"notes\":\"Dimensions: 640 × 480.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Video Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1995-03-06\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Asset\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/2428619734\",\"venue\":\"Bistro 4\",\"notes\":\"Bistro 4 (pronounced Bistro Quatre), no longer in existence.\",\"address\":\"4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada\",\"latitude\":\"45.5169628\",\"longitude\":\"-73.5796147\"}]"],"Address":["4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada"],"Venue":["Bistro 4"],"City":["Montreal, Quebec"],"content_notes":["Part 1 of event recording starts at 04:54:40:25 of VHS #3 asset. Part 2 starts at 00:00:00:00 of VHS #4 asset. Both assets contain multiple events."],"Note":["[{\"note\":\"VHS #3 asset. Contains recordings of multiple events: (1) Enough Said 1995-02-13, Benefit Part 2; (2) Enough Said 1995-02-20, Backo and Groupe de Poésie Moderne; (3) Enough Said 1995-02-27, Skarstedt and Suderman; and (4) Enough Said 1995-03-06, Phineas Flower Trio and Godin Part 1. The asset was digitized, generating both uncompressed and compressed video files; the compressed files were then split into events to facilitate the transcription work. Metadata entries based on events.\",\"type\":\"General\"},{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"},{\"note\":\"VHS #4 asset. Contains recordings of multiple events: (1) Enough Said 1995-03-06, Phineas Flower Trio and Godin Part 2; (2) Enough Said 1995-03-13, Karasick; (3) Enough Said 1995-03-20, Fluffy Pagan Echoes; and (4) Enough Said 1995-03-27, Farkas and Nuttall; and (5) Enough Said 1995-04-03, Smith. The asset was digitized, generating both uncompressed and compressed video files; the compressed files were then split into events to facilitate the transcription work. Metadata entries based on events.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670549155217408,"timestamp":"2026-01-07T14:59:53.772Z","contents":["[Part 1/2 of Event]\n\n[Bistro 4]\n00:00:00\nVideo Description: Color video, medium shot of the stage at Bistro 4 (Quatre) (4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada). Diagonal perspective of the stage with a mic stand, capturing a corner of the café as well as some of the audience members. The stage, slightly below street level, is set against a full-wall window looking out onto the St. Laurent Blvd. traffic—with both pedestrians and vehicles often passing by. The windows from across the street are sometimes visible, including an outdoor sign with the word “JETHRO.”  On the windows of Bistro 4, the word “said” (from “Enough Said”) becomes visible when the camera zooms out, as well as decals with words from the menu, such as “DEJEUNER,” “CAPPUCCINO,” and “TISANE.”\n\nLee Gotham\n00:00:01\n[Ambient sounds. Mic feedback noise, with Lee Gotham humming to the same pitch.] Good evening one and all and thanks once again for coming out to another evening of Enough Said. Just a short (?) of things underway this evening, a couple of items of interest, in the very near future. I have the grand pleasure of presenting this (one?): Adeena Karasick, this next Monday. Adeena is a performance poet, language-centred writing, tender concerns front and centre, and is a wonderful act; she has toured all over the world, read with everyone from Ginsberg and Creeley to Nichols (?). It’s a wonderful pleasure to present her. The week after, this is another pet project of mine, that I’ve only plugged very discreetly up until now, but it’s called Pawn, and it’s a cultural magazine that it’s growing out of a pretty eclectic literary bag, that we managed to get together as a bunch of undergrad students at Concordia two or three years back. Still literature as an undeniable emphasis, and a real strong lineup, and I’m not gonna talk anything about any of the people (involved?). We will be launching this magazine, and some of those people involved will be here, not next Monday but the Monday after. So, that’s a couple of items in the near future. In the nearest future, I have the equal pleasure in presenting this evening two very interesting acts: the first of them the Phineas Flower Trio. | Video Description: Medium long shot of the stage then zoom into different degrees of closeup as the camera adjusts frame and focus. Lee Gotham walks to the mic. Gotham wears a long button-down shirt atop a t-shirt and a taqiyah-style skullcap. Gotham signals to someone out of the frame (presumably the sound technician), makes announcements, and introduces the performers of the event.\n\nPhineas Flower Trio\n00:01:58\n[Voice interrupts Gotham from out of the frame] Just get on with it, man! | Video Description: Zoom out from Lee Gotham and pan left to the Phineas Flower Trio.\n\nLee Gotham\n00:02:00\nI believe want you to keep your distance during their act, they want lots of space, so just stay where you are [laughter]. A little later in the evening we will have Steve Godin. Steve Godin is going to do something that will set everyone’s teeth on edge [laughter]. It’s not true; Steve is a wonderfully amenable type and he’s gonna be here with us before very long. And in the meantime please welcome Phineas Flower. Stay where you are. [Applause].  | Medium long shot panning between Lee Gotham, standing, and the Phineas Flower Trio, sitting, one of them smoking. Gotham finishes his remarks and introduces the Phineas Flower Trio.\n\nPhineas Flower Trio\n00:02:39\n[Drummer interrupts the applause] No clapping, we are serious jazz musicians. [Laughter] | Video Description: Medium long shot of Lee Gotham leaving the stage and the Phineas Flower Trio walking to their instruments and places. Before sitting by the drums, the drummer goes to the mic. The drummer wears a long green coat over a black turtleneck and buzz-cut hair. The camera zooms into a closeup of the mic, and the guitar player gets his instrument caught on the mic cable, almost knocking the stand down.\n\nPhineas Flower Trio\n00:03:01\n[The band spends an unnecessarily long time tuning and making adjustments, seemingly to irritate the audience.] | Video Description: Zoom out to a medium long shot of the stage, panning left and right, showing the Phineas Flower Trio: the drummer on right of the screen, further to the back behind the mic stand; the guitar player in the middle putting his lit cigar on his guitar head among the tuning keys; and the bass player on the left smoking. The guitar player wears a grey Henley shirt with sleeves rolled-up to the elbow, short hair, a thin moustache, and a goatee. The bass player wears a black and red coat atop a patterned button-down shirt, long hair, a Van-Dyke beard, and sunglasses.\n\nPhineas Flower Trio and Unknown_Audience_Member\n00:04:15\n[Unknown_Audience_Member] Let’s go, eh?! [Two band members, aggressively] Back off! What the fuck was that? Why don’t you shut up?! | Video Description: Medium long shot of the stage, panning left and right, showing the Phineas Flower Trio.\n\nPhineas Flower Trio\n00:05:32\n[A vocalist joins the Phineas Flower Trio to plays their first song, a spoken-word piece against a jazzy groove. One one of the first lines is “(Dereliction?) and (pain?), corrupted by ambient (rain?).” At the end of the first piece, the vocalist says, “Thank you very much, we are the Phineas Flower Trio.”] | Video Description: Medium long shot of vocalist leaving the audience to join the Phineas Flower Trio, sitting on a bar stool, higher than the other band members. The vocalist wears short curly hair, sunglasses, and a grey sweater over a flowery dress. He is smoking and carrying a beverage. The camera zooms in and out, settling on a medium shot of the vocalist, with the drummer partially visible behind, the latter playing while smoking. The vocalist takes a sip, then puts both glass and cigarette down to perform.\n\nPhineas Flower Trio\n00:07:40\n[Performs a second spoken-word-jazz fusion piece, beginning with the line “(Motorway?) superhighway, a massive feat of evolution in engineering.”] | Video Description: Medium closeup alternating with a medium long shot of the Phineas Flower Trio performing.\n\nPhineas Flower Trio\n00:11:00\n[Performs a third spoken-word-jazz piece. One of the first lines is “Richard Carlyle (?) among the wreckage.” Applause.] | Video Description: Medium closeup panning among the band members of Phineas Flower Trio, who perform another piece. At the end of the piece, medium long shot of the guitarist and vocalist, with the drummer partially visible; the vocalist smokes between songs.\n\nPhineas Flower Trio and Unknown_Audience_Member\n00:12:21\n[The vocalist, shouting] Hey! [Unknown_Audience_Member, half-mockingly] No clapping. [The vocalist] We’re serious fucking jazz musicians up here. | Video Description: Medium long shot of the guitarist and vocalist, with the drummer partially visible.\n\nPhineas Flower Trio and Unknown_Audience_Member\n00:12:30\n[Unknown_Audience_Member] I didn’t fucking clap. [The vocalist] Good. What’s next, (Zanny?)?] | Video Description: Medium long shot of the guitarist and vocalist, with the drummer partially visible; then pan left to the bass player.\n\nPhineas Flower Trio\n00:12:35\n[The bass player states the title of the next piece, which is incomprehensible, then the band performs it. One of the first lines is “As the last drops of (glucose?) (?) (Cola?) go down his throat.”] | Video Description: Medium long shot of the Phineas Flower Trio, panning left and right among the band members. Zoom into a closeup of the vocalist, who drinks from a glass before the next song; then zoom out to a medium shot as the band performs, ending in a medium closeup.\n\nPhineas Flower Trio\n00:15:45\n[The Phineas Flower Trio performs a piece beginning, “Somewhere, somewhere higher than the sky.” At the end of the piece, the vocalist repeats what he said at the end of the first song, “Thank you very much, we are the Phineas Flower Trio.”] | Video Description: Medium closeup of the vocalist, as the band performs. At the end of the piece, the vocalist drinks from a glass.\n\nPhineas Flower Trio and Unknown_Audience_Member\n00:16:10\n[The vocalist, after thanking the audience] That sucked. [Unknown_Audience_Member] What kind of noise is this? [The vocalist] Bad noise! [The drummer] Wait, man, I don’t like this dialogue going on. Can’t anyone straighten this young lady out? [Vocalist] Let’s play the next song. [Guitar player] Ok, who’s the fucking pinhead who said that? [Vocalist] Yo (Zanny?), what’s the next song? [As the bass player starts to answer, the guitarist, aggressively] Pinheads, raise your fucking head. [Drummer] Get ’em, boy! [Vocalist] Alright, let’s play the song. [Guitarist] You’re lucky I’m in a good mood. | Video Description: Medium shot, panning left and right, of the band members interacting with each other and with the audience.\n\nPhineas Flower Trio\n00:16:41\n[The Phineas Flower Trio performs a piece, opening with a looping drum-bass riff. The vocalist burps into the mic before singing the first lines: “(You’re usually?) flapping its wings, a bee flies across the field (and fell?) searching frantically for food, gasping for breath.” Mid-performance, the drummer screams in the background. At the end of the piece, with the instrumentalists still playing, he vocalist repeats, “Thank you very much, we are the Phineas Flower Trio.”] | Video Description: Medium shot of the band, with the vocalist unbuttoning and taking off his sweater, so now his flower dress is entirely visible. Then zoom into a closeup of the vocalist as he starts singing while holding a cigarette, sometimes smoking between lines. Mid-performance, the camera zooms out and alternates between a medium shot and medium long shot.\n \nPhineas Flower Trio and Unknown_Audience_Member\n00:20:04\n[The vocalist, after thanking the audience] Next. [Unknown_Audience_Member] Don’t say thank you, we’re a serious fucking audience. [Vocalist] Alright! [Guitar player] You’re a really fucking funny guy, man. [Vocalist] Let’s go, next song! [Scattered laughter and incomprehensible heckling between band and audience] | Video Description: Medium shot, panning left and right, of the band members interacting with each other and with the audience.\n\nPhineas Flower Trio and Unknown_Audience_Member\n00:20:42\n[Vocalist] In case you didn’t notice, this is an artistic (event?). [Unknown_Audience_Member] If you didn’t (pack your lip?) it would be better. [Vocalist] Go for it. [Guitarist] Better than what? | Video Description: Closeup of the vocalist interacting with the band members and the audience.\n\nPhineas Flower Trio\n00:20:53\nThe Phineas Flower Trio performs a piece, opening with a looping guitar riff, then a sudden pause, when the vocalist says “Hey.”] | Video Description: Zoom into an extreme closeup of the vocalist, smoking, then performing.\n\nPhineas Flower Trio\n00:22:31\n[The band suddenly stops playing, and the drummer says to the guitarist, both out of the frame] Hey man, it’s you. [Guitarist] No, it’s you. [Drummer] You fucked up twice there. [Vocalist, trying to intervene] Let’s take it, let’s just take it… [Guitarist] (?) you have, like, no sense of time (?). [Laughter, while the argument continues, until the vocalist commands] Play! | Video Description: Closeup of the vocalist, drinking from a glass and trying to resume the performance while the band argues.\n\nPhineas Flower Trio\n00:22:54\n[The band resumes playing the same piece]. | Video Description: Closeup of the vocalist, often sipping from a glass, while the band performs. Towards the end of the piece, the camera zooms out to a medium long shot, so the drummer and guitarist also become visible.\n\nPhineas Flower Trio\n00:23:44\n[Bassist states the name of the next song] Next song is “Disgusting family.” [Vocalist announces] Alright, this is our last piece and then you will be rid of us once and for all. You can clap for that if you want! [Laughter] [Drummer] Disgusting family? [Vocalist] Wow, I don’t know, if Zanny’s standing up for this one, gotta mean something. [Laughter, shouts] [Vocalist] Zanny’s a studio musician, does a lot of uppers and stuff. | Video Description: Medium long shot, panning left and right between the bassist and vocalist, then zoom unto an extreme closeup of the vocalist. The bassist stands up and the camera pans left to show him. As the band starts performing, the camera pans back right and zooms into a medium closeup of the vocalist.\n\nPhineas Flower Trio\n00:27:15\n[Vocalist interrupting the song to address the guitarist] Yo Kevin? Kevin? What the fuck is this? It’s just such fucking shitty noise (which you just made with that?) guitar, man. How much talent does it take to stick a fucking patch cord into a guitar anyway? [Many talk at once and the argument continues until the Vocalist suggests] Or just keep doing what you’re doing. Alright, here we go, it’s your noise! | Video Description: Closeup of the vocalist interrupting the piece to complain about the guitarist. The camera pans to the drummer and the guitarist then back to the vocalist.\n\nPhineas Flower Trio\n00:27:56\n[The band resumes playing the same piece, and the vocalists speaks the last lines while the band is still playing]. Thanks for nothing. We’re the Phineas Flower Bar Mitzvah Quartet. We play weddings, funerals, bar mitzvahs, birthday parties. T-shirts and CDs are available at the door. [Applause] | Video Description: Closeup and extreme closeup of the vocalist, while the band performs. Towards the end of the piece, the camera zooms out to a medium long shot and pans left and right, so the other band members become visible as they stand up and leave the stage.\n\nLee Gotham\n00:29:22\nThanks for the (angst?), guys. The Phineas Flower Trio, thanks, in general. Ok, what we’re gonna do with this break between acts is that the first three of open-mic participants, if they’re ready to roll, and we’ll do that in a half a second. [Audio becomes incomprehensible then skips]. | Video Description: Medium long shot as Lee Gotham enters the stage as the Phineas Flower Trio leaves. Gotham holds a beverage and announces the next portion of the evening program.\n\nLee Gotham\n00:29:52\n[Recording resumes mid-sentence]…this evening, Steve Godin. Texts also on the back by Steve Godin, and Ran is gonna read us number one of the series of three. | Video Description: Medium closeup of Lee Gotham making remarks and announcing the next performer, while holding a glass.\n\nRan Elfassy\n00:30:02\n[Mockingly, parodying the Phineas Flower Trio] Hello? Hello? Hi! This is serious poetry. You don’t clap. [Reads text written by Steve Godin, beginning with the sentence, “The human mind and soul can be in conflict with the ideal architecture that (reveals?) the True Self.”] | Video Description: | Medium closeup of Ran Elfassy, who joins the stage wearing a buzz-cut hair and a long-sleeve green Henley shirt over a grey turtle neck. Elfassy reads from a flyer.\n\nRan Elfassy\n00:31:09\n[Announces that they will read two pieces. Asks the audience to clap to the rhythm of cha-cha during the performance of the first piece. Someone in the audience asks “How does it go?” and Ran Elfassy demonstrates. Ran Elfassy performs a piece titled “Indulge me.” The audience keeps the rhythm all the way through.] | Video Description: | Medium closeup then closeup of Ran Elfassy performing.\n\nRan Elfassy\n00:33:45\n[Reads a story beginning with the phrases, “By window and the yellow curtain, by the brass hooks.” Ran Elfassy thanks the audience amid applause.] | Video Description: | Alternating extreme closeup and medium closeup of Ran Elfassy. Elfassy takes the mic from the stand to perform a second piece, then puts it back on the stand amid applause.\n\nEND\n00:38:34\n[End of recording.]\n\n[Part 2/2 of Event]\n\n[Bistro 4]\n00:00:17\nVideo Description: Color video, medium shot of the stage at Bistro 4 (Quatre) (4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada). A single mic stand. The stage, slightly below street level, is set against a full-wall window looking out onto the St. Laurent Blvd. traffic—with both pedestrians and vehicles regularly passing by. The windows from across the street are also visible, including an outdoor sign with the word “JETHRO.”  On the windows of Bistro 4, the word “said” (from “Enough Said”) becomes visible when the camera zooms out, as well as decals with words from the menu, such as “DEJEUNER,” “CAPPUCCINO,” and “TISANE.”\n\nUnknown_Reader1\n00:00:17\n[Recording starts mid-performance, with the sentence fragment “(demonic self?), we can draw a relative conclusion of the instinct of demonic and the monic survival.” Applause. Laughter.] | Video Description: Zoom out to a medium shot of Unknown_Reader1 reading from a book and a flyer. Unknown_Reader1 wears a pink sweater, long curly, a moustache, and glasses atop their head. Suddenly leaves the frame and quickly returns saying “thank you.” Laughter, as camera zooms into an extreme closeup.\n\nUnknown_Reader1\n00:00:45\n[Performs a rhymed piece beginning with the line “We are brainless, mindless, totally insane.” Laughter after the final end rhyme, “heavy metal.”] | Video Description: Extreme closeup, then zoom out to a closeup of Unknown_Reader1 performing. Camera zooms in and out a few times.\n\nUnknown_Reader1\n00:02:00\n[Performs a rhymed piece beginning with the line “There once was a farmer who commuted from city.” Laughter at some of the rhymes.] | Video Description: Medium closeup of Unknown_Reader1 performing. At the end of the piece, zoom into a closeup.\n\nUnknown_Reader1\n00:02:33\n[Performs a rhymed piece beginning with the line “There was a time when Jesus and (?) consumed wine.”] | Video Description: Closeup of Unknown_Reader1 performing.\n\nUnknown_Reader1\n00:03:15\n[Performs a rhymed piece beginning with the line “Aqua doesn’t matter, we have a swamp anyhow.”] | Video Description: Closeup of Unknown_Reader1 performing.\n\nUnknown_Reader1\n00:03:30\n[Performs a piece beginning with the line “(?) pocks lips of golden temper.” Applause.] | Video Description: Closeup of Unknown_Reader1 performing. Camera zooms out and pans left, tracking the performer leaving the stage.\n\nLee Gotham\n00:03:54\nThanks, (Larkey?). Alright, OK, third participant, Mitsiko, did you pick up card number 3? There’s a series of three illustrations on everyone’s table pertaining to our second feature performance tonight, Steve Godin’s performance. If you bring that out with you and read it, it would be great. (?) Ok, good, Mitsiko. | Video Description: Medium long shot of the stage. Lee Gotham walks to the microphone. Gotham wears a long button-down shirt over a t-shirt and hair half-tucked into a Taqiyah-style skullcap. Camera zooms into a closeup. Gotham makes brief remarks and announces the next performer.\n\nMitsiko Miller\n00:04:30\n[Ambient sounds. Reads one of the three illustrations Gotham referred to, beginning with the line “By use of archetypal shadow.”] | Video Description: Closeup of mic being lowered. Camera zooms out and in a few times, settling into a closeup. Miller enters the stage chewing bubble gum, smoking, and holding a pile of papers. Miller wears a black leather jacket over a black-and-grey patterned button-down dress, pixie-cut blonde hair, a necklace and earrings. Miller throws away the gum as the camera zooms into an extreme closeup.\n\nMitsiko Miller\n00:05:55\n[Introduces and performs a poem in French beginning with the line “Click Clock.”] | Video Description: Extreme closeup. Mitsiko reads a piece. Applause.\n\nMitsiko Miller\n00:07:33\n[Reads a bilingual English-French piece titled “Silly putty.”] | Video Description: Extreme closeup. Miller reads.\n\nMitsiko Miller\n00:08:46\nVideo Description: Pauses the poem mid-performance to puff on a cigarette.\n\nMitsiko Miller\n00:08:49\n[Resumes the performance of “Silly putty.”] | Video Description: Extreme closeup. Miller continues reading a piece. Applause, during which the camera zooms out to a closeup and we see the performer smoking a cigarette.\n\nMitsiko Miller\n00:09:15\n[Asks if everyone knows the song “Creep” by Radiohead. Performs “The subway glare.”] | Video Description: Closeup. Miller smokes and makes remarks, then removes the leather jacket. Reads a piece. Camera zooms out to a medium shot then into a medium closeup. Applause, as Miller leaves the stage and camera zooms out to a medium long shot.\n\nLee Gotham\n00:13:05\nThank you, Mitsiko. Alright then, we’re very near the second half of our feature performance for the evening. The second feature performer of the evening, Steve Godin. I’m just going to do a couple more plugs in a hurry here: Enough Said is going to co-present a couple things outside of the present venue; the nearest is on the 25th of March; it will take place at Building Dance, I believe it's 55 Pine Avenue East, just east of the Main, Pine Avenue; Wired on Words are presenting a new cassette of Ian Stephens’s spoken-word readings; in the month thereafter, the 24th of April, Woodstock, the new and improved Clifford Duffy offering, “Nietzsche’s Daughter is Deceased and The Invention of God” will be presented on that evening. In any case, give me two quick minutes to clear away this conventional microphone setup, and Steve Godin will let you know all about what you’ve been wondering about perhaps from the beginning of the evening, and I hope everyone will enjoy it thoroughly. | Video Description: Medium long shot as Lee Gotham enters the stage, then zoom into a closeup. Gotham makes remarks and, at the end, as he adjusts the microphone for the next performer, the camera zooms out to a medium shot and the recording skips.\n\nSteve Godin\n00:14:33\n[Announces an upcoming collective arts exhibit, featuring Nadia Jenefsky, Scott Ellis, among others.] | Video Description: Camera shakes and settles into a medium shot of Steve Godin sitting on a chair on the stage, holding a microphone. Godin wears dark pants, a black leather jacket and shoulder-length grey hair. As he waves to the camera, his papers fall on the floor. The camera then alternates between closeup and medium closeup. Godin makes remarks.\n\nSteve Godin\n00:16:03\n[Reads text beginning with the phrase, “For some time I was pondering theoretically on a compromise revolving around the ritual existence of…” The text refers to Antonin Artaud, William S. Burroughs, and Gérard de Nerval, among others. One minute into the reading, a distorted slow-moving instrumental music becomes audible in the background and gradually increases in volume.] | Video Description: Alternating medium closeup and closeup of Steve Godin seating, reading while holding the mic.\n\nSteve Godin\n00:23:05\t\nBut where is the guide? [After the question, Godin sighs into the mic, observing a pause of about 20 seconds during which we hear the background music and ambient noises.] | Video Description: Camera zooms out to a medium shot, as Godin continues to perform.\n\nSteve Godin\n00:23:30\n[Resumes reading with an increased reverb effect on the voice. The instrumental background music, now louder, approaches the volume of Godin’s voice.] | Video Description: Alternating medium shot and closeup, as Godin continues to perform.\n\nSteve Godin\n00:28:18\n[Pauses. The background music also stops for a few seconds, before resuming, developing different looping patterns. Applause.] | Video Description: Alternating medium closeup, medium shot, and closeup, as Godin continues to perform. Camera zooms out to a medium long shot, as Godin stands up to leave the stage, amid applause, and hands the mic to Lee Gotham.\n\nLee Gotham\n00:35:09\n[Thanks Godin and announces a break and reiterates upcoming events.] | Video Description: Medium long shot then medium closeup of Lee Gotham, standing while making announcements. Video skips.\n\nLee Gotham\n00:36:29\n[Announces the next open-mic performer.] | Video Description: Medium closeup then medium shot of Lee Gotham, announcing the next performer.\n\nUnknown_Reader2 \n00:37:20\n[Reads a series of short pieces or poetic fragments; the first begins with the line “Even on this day I give to you my most eloquent treasure.”] | Video Description: Medium long shot as Unknown_Reader2 enters the stage. Unknown_Reader2 wears jeans, a beige fisherman sweater, a black necklace, and blond hair in a ponytail. Camera zooms into a closeup and medium closeup as Unknown_Reader2 reads.\n\nUnknown_Reader2\n00:38:48\n[Applause as Unknown_Reader2 starts to introduce the next piece. Reads the one-line piece “Bachelor tourism.” Applause.] | Video Description: Closeup of Unknown_Reader2 reading.\n\nUnknown_Reader2\n00:39:05\n[Introduces and reads a short poem beginning with the line “The back of her head was shaped beautifully.”] | Video Description: Closeup of Unknown_Reader2 reading.\n\nUnknown_Reader2\n00:39:22\n[Reads a piece beginning with the phrase “Sensation, elation, (incatenation?).”] | Video Description: Closeup of Unknown_Reader2 reading.\n\nUnknown_Reader2\n00:39:33\n[Reads a piece beginning with the phrase “(Blighting?) mystery with the light of day.”] | Video Description: Closeup of Unknown_Reader2 reading.\n\nUnknown_Reader2\n00:40:05\n[Reads “State of junk.” Applause and laughter.] | Video Description: Video Description: Closeup of Unknown_Reader2 reading.\n\nUnknown_Reader2\n00:41:36\n[Reads “Kisses (?) truism: (a tone?) with the metaphysical frequency of ontological-biological experience.”] | Video Description: Closeup of Unknown_Reader2 reading.\n\nUnknown_Reader2\n00:42:04\n[Reads “A Hangover.” Applause.] | Video Description: Closeup of Unknown_Reader2 reading. Zoom out to a medium shot as Unknown_Reader2 leaves the stage.\n\nLee Gotham\n00:42:25\nThanks, (Guy?). (Kibble?), haven’t used that word in ages; used to be one of my personal favourites. Well, you know, this is like a slim night for open mic, I don’t know. [A voice near the camera—and hence louder than Gotham’s—states, “Ooo, bad (?)”; and Lee seems to react to that with his next sentence.] Quality, not quantity. Speaking thereof, Justin, another Fluffy Pagan Echo[es] member, come on up and see us out of the evening, if you will, please. Justin McGrail. | Video Description: Medium shot as Lee Gotham enters the stage, applauding and smoking a cigarette. Gotham makes remarks and introduces the next performer. As Gotham leaves the stage, the camera zooms into an extreme closeup.\n\nJustin McGrail\n00:43:00\n[Tells a story about how the thistle became Scotland’s national emblem. Laughter and applause.] | Video Description: Extreme closeup of Justin McGrail’s left hand grabbing the mic; a silver ring on the pinky. Zoom out to a medium shot of McGrail on the stage. McGrail wears blue jeans, black belt, a brown plaid shirt over a long-sleeve black-and-white t-shirt, a greenish Breton cap facing backwards, and short hair. McGrail holds the mic while telling a story. Camera zooms in and alternates between medium and extreme closeups. As McGrail replaces the mic on its stand and leaves the stage, camera zooms out to a medium shot.\n\nLee Gotham\n00:47:49\nThank you, my (?). Well, what a wondrous closure to yet another evening of Enough Said. Jee, you know, I have stuff to wave in your faces, remind you all of things upcoming. I (prod?) along about them earlier; next week, amazing performer, Adeena Karasick, honestly if you have the chance [video ends mid-sentence]. | Video Description: Camera zooms into a closeup as Lee Gotham adjusts the mic. Camera zooms out to a medium long shot as Gotham makes final remarks and we see a coffee cup and a lighter atop a table before the recording cuts out.\n\nEND\n00:48:15\n[End of recording.]"],"score":1.8530173},{"id":"3976","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Lee Gotham collection"],"source_collection_label":["Lee Gotham collection"],"collection_contributing_unit":["Spokenweb at Concordia University"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Lee Gotham collection contains the AV recordings regarding the Enough Said series, including readings, performances, open-mic, and spoken-word events that took place at Bistro 4 and other Montreal venues between December 1994 and June 1996."],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Enough Said 1995-04-17, Joseph"],"item_title_source":["Asset"],"item_title_note":["On tape labels and corroborated by Lee Gotham, who introduces the event headliner."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["Lee Gotham collection"],"item_subseries_title":["Enough Said"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. We may wish to seek permission from individual artists and Drew Duncan, the videographer."],"creator_names":["Gotham, Lee","Joseph, Clifton"],"creator_names_search":["Gotham, Lee","Joseph, Clifton"],"creators":["[{\"url\":\"https://viaf.org/viaf/106179112\",\"name\":\"Gotham, Lee\",\"dates\":\"1962-\",\"notes\":\"Lee Gotham was also the MC of this event.\",\"nation\":[],\"role\":[\"Series organizer\",\"Producer\"]},{\"url\":\"https://viaf.org/viaf/104182171\",\"name\":\"Joseph, Clifton\",\"dates\":\"1957-\",\"notes\":\"Headliner.\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors_names":["Duncan, Drew","Marcel (?)","Nawrocki, Norman","McGrail, Justin","Hawley, Steve (Liquid)","Sabrina","Paco W.","Andy","Unknown Performer","Ed","Lion Man","Christine","Godin, Steve","Simon","Tom","David J.","Mark"],"contributors_names_search":["Duncan, Drew","Marcel (?)","Nawrocki, Norman","McGrail, Justin","Hawley, Steve (Liquid)","Sabrina","Paco W.","Andy","Unknown Performer","Ed","Lion Man","Christine","Godin, Steve","Simon","Tom","David J.","Mark"],"contributors":["[{\"url\":\"\",\"name\":\"Duncan, Drew\",\"dates\":\"\",\"notes\":\"Videographer.\",\"nation\":[],\"role\":[\"Recordist\"]},{\"url\":\"\",\"name\":\"Marcel (?)\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"https://viaf.org/viaf/34063513\",\"name\":\"Nawrocki, Norman\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/106255768\",\"name\":\"McGrail, Justin\",\"dates\":\"1968-\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/106300281\",\"name\":\"Hawley, Steve (Liquid)\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Sabrina\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Paco W.\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Andy\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Unknown Performer\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Ed\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Lion Man\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Christine\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"https://viaf.org/viaf/105712077\",\"name\":\"Godin, Steve\",\"dates\":\"1956-\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Simon\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Tom\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"David J.\",\"dates\":\"\",\"notes\":\"Open-mic performer. Referred to as \\\"David Jaeger\\\" on the label of #SpokenWord_Sampler asset.\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Mark\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Reader\"]}]"],"performer_name":["Nawrocki, Norman","McGrail, Justin","Hawley, Steve (Liquid)"],"Recordist_name":["Duncan, Drew"],"Reader_name":["Marcel (?)","Sabrina","Paco W.","Andy","Unknown Performer","Ed","Lion Man","Christine","Godin, Steve","Simon","Tom","David J.","Mark"],"Performance_Date":[1995],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/1563/Enough_Said-VHS5-19950410_19950417_19950501.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Video\",\"tape_brand\":\"TDK SHG\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"120 minutes\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"VHS\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Tape box. Handwritten label on side.\",\"other_physical_description\":\"VHS #5 asset. Contains recordings of multiple events.\"}]"],"material_designations":["VHS"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Video"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:v:/g/personal/carlosa_pittella_concordia_ca/EbglSQmBIXFFnO0aC_QgYuMBfiv0DqqcFLnOFTPpCIJOVQ\",\"file_path\":\"\",\"filename\":\"Enough_Said-19950417-Joseph.mp4\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"02:28:14\",\"precision\":\"\",\"size\":\"4.18 GB on disk\",\"bitrate\":\"2304Kbps (original); 256Kbps (master)\",\"encoding\":\"MPEG-4 movie\",\"contents\":\"This is file 1 of 1 containing an AV recording of the event featuring Clifton Joseph as part of the Enough Said series, organized by Lee Gotham, with extra open-mic performances by Norman Nawrocki, Justin McGrail, Steve Godin, Steve \\\"Liquid\\\" Hawley, and others.\",\"notes\":\"Dimensions: 640 × 480.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Video Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1995-04-17\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Asset\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/2428619734\",\"venue\":\"Bistro 4\",\"notes\":\"Bistro 4 (pronounced Bistro Quatre), no longer in existence.\",\"address\":\"4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada\",\"latitude\":\"45.5169628\",\"longitude\":\"-73.5796147\"}]"],"Address":["4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada"],"Venue":["Bistro 4"],"City":["Montreal, Quebec"],"content_notes":["Event recording starts at at 01:26:02:01 of VHS #5 asset, which contains multiple events."],"Note":["[{\"note\":\"VHS #5 asset. Contains recordings of multiple events: (1) Enough Said 1995-04-10, ga press; (2) Enough Said 1995-04-17, Joseph; and (3) Enough Said 1995-05-01, Stephens, Suderman, Diamond and McGrail. The asset was digitized, generating both uncompressed and compressed video files; the compressed files were then split into events to facilitate the transcription work. Metadata entries based on events.\",\"type\":\"General\"},{\"note\":\"Faith Paré\",\"type\":\"Cataloguer\"},{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/757290350\",\"citation\":\"Nawrocki, Norman. Rebel Moon: @narchist Rants & Poems. Edinburgh: AK Press, 1997.\"},{\"url\":\"https://www.worldcat.org/title/15946845\",\"citation\":\"Joseph, Clifton. Metropolitan blues. Toronto: Domestic Bliss, c1983.\"},{\"url\":\"https://www.worldcat.org/title/755015866\",\"citation\":\"Zetlin, Liz, & Myke Dyer (directors). Words Aloud : the spoken word festival, 2007 [DVD]. Markdale, ON & Mississauga, ON.: McNabb Connolly, 2009 [Includes performances by Clifton Joseph].\"}]"],"_version_":1853670549157314560,"timestamp":"2026-01-07T14:59:53.772Z","contents":["[Bistro 4 stage]\n00:00:04\nVideo description: Colour video. Long-shot of host Lee Gotham on the stage of the venue Bistro 4 (Quatre), addressing audience with opening remarks. Stage is juxtaposed with four large windowpanes that look onto vehicles and passerby on Saint-Laurent Boulevard. Evening. A large orb-shaped light hangs above the stage. Orange curtains are draped at the top of the windows. A number of unknown audience members are visible in the initial camera view. \n\nLee Gotham\n00:00:05\nEvening, peoples, peoples, peoples. Thank you very much, once again, for coming out, taking in some of the sights and sounds of the Main on a Monday evening in spring. We've got a hot show for you guys tonight. [Laughs] It'll be a lot of fun, gonna be some serious fun as well. To get into things without blabbing about local events, as I'll probably find ample opportunity to do so during various points during the evening, I'd like to just say, well, you know, thanks for coming. Clifton's really going to dig it, I know you're going to dig him and, um, I got a couple special surprises, the first of who I'll introduce right now. It's Norman Nawrocki. Can you welcome Norman, he's going to kick things off for us. [Audience applause]. | Video Description: Camera zooms in as Lee Gotham addresses audience while adjusting microphone stand. Gotham wears a white collared shirt atop a graphic t-shirt, long brown hair in bun, and a beard. Gotham introduces Norman Nawrocki, and adjusts microphone.\n\nNorman Nawrocki\n00:00:57\n[Addresses audience. Introduces \"Soldiers for Jesus, Get Off!\" (later published in Rebel Moon: Anarchist Rants and Poems, AK Press, 1997). Audience laughter and applause throughout.] | Video Description: Norman Nawrocki enters via stage left. Narrocki wears a hoodie atop a collared shirt and short blond/brown hair. C. Lee Gotham exits frame.\n\nNorman Nawrocki\n00:01:30\n[Performs \"Soldiers for Jesus.\" Audience snapping, stomping, and laughter throughout. Audience applause at the end.] | Video Description: Norman Nawrocki reads poem from a sheet of paper, snapping fingers to lead audience. After performing, Nawrocki exits via stage left. Lee Gotham passes through camera view. Various unknown audience members pass back and forth through camera view, briefly blocking Gotham.\n\nLee Gotham\n00:03:40\n[Introduces Marcel (?). Audience applause.] | Video Description: Lee Gotham addresses audience. Lee Gotham introduces Marcel and exits stage left.\n\nMarcel\n00:04:17\n[Addresses audience. Reads in French and then translates to English a few lines from Victor Hugo's \"La Function du poète,\" beginning with \"Peuples ! Écoutez le poète !\"] | Video Description: Marcel enters from stage right. Marcel wears a white turtleneck, short brown hair, and a grey beard.  Addresses audience through microphone then reads poem from book.\n\nMarcel\n00:05:07\n[Addresses audience and reads \"Poem,\" beginning with the line \"There's a rustling in the silence.\" Audience applause.] | Video Description: Marcel addresses audience while flipping through publications, then reads poem from held publication.\n\nMarcel\n00:07:20\n[Addresses audience and performs Unnamed Poem 2, in English. Audience applause.] | Marcel briefly addresses audience and reads poem from publication, pacing back and forth on stage, projecting voice without using microphone. \n\nMarcel\n00:09:00\n[Performs Unnamed Poem 3, beginning in French then switching to English mid-poem. Audience applause]. | Video Description: Marcel shuffles through papers and publications then performs Unnamed Poem 3, moving from stage left to stage right throughout. Nods at audience, gathers pages and publications; then nods to Lee Gotham who walks onto stage from stage left. Marcel and Gotham briefly interact and Marcel exits stage right. \n\nLee Gotham\n00:13:26\n[Addresses audience. Introduces Mark.] | Video Description: Lee Gotham addresses audience at microphone. Introduces Mark and exits stage left. \n\nMark\n00:14:21\n[Addresses audience. Promotes Inkling Magazine. Introduces \"The Man in the Street\".] | Video Description: Mark enters stage left and addresses audience. Mark wears a black graphic t-shirt and long curly black hair.\n\nMark\n00:15:00\n[Reads \"The Man in the Street.\"] | Video Description: Mark reads short story from a stack of pages.\n\nMark \n00:22:45\n[Interacts with Lee Gotham, saying \"almost.\" Addresses audience. Resumes reading \"The Man in the Street\". Audience applause.] | Video Description: Lee Gotham leans into camera view, saying something to Mark. Mark and Gotham briefly interact. Gotham exits frame. Mark addresses audience and finishes reading, before exiting stage left.\n\nLee Gotham\n00:26:45\n[Addresses audience. Introduces Justin McGrail, from Fluffy Pagan Echoes.] | Video Description: Lee Gotham adjusts microphone stand and addresses audience. Lee Gotham walks off via stage left. \n\nJustin McGrail\n00:27:36\n[Interacts with an offscreen audience member. Addresses audience. Introduces the dance-poetry show \"Of Fire and Sword\" as context for his first piece.] | Video Description: Justin McGrail walks on stage from stage left. McGrail wears a brown coat or blazer with pins on collar and short brown hair. McGrail briefly interacts with unseen audience member before addressing audience through microphone.\n\nJustin McGrail\n00:28:13\n[Begins performing \"Of Fire and Sword\" but immediately laughs and addresses audience. Audience laughter. Resumes performing \"Of Fire and Sword.\" Audience applause.] | Video Description: Justin McGrail closes eyes and recites words. Turns face away and mutters before laughing. Then addresses audience into microphone and resumes reciting the poem.\n\nJustin McGrail\n00:29:45\n[Addresses audience. Introduces and performs \"Circle\". Thanks audience. Audience applause. | Video Description: Camera zooms in on Justin McGrail addressing audience. McGrail reads poem from piece of paper. Addresses audience before exiting via stage left.\n\nLee Gotham\n00:31:02\n[Addresses audience. Promotes next edition of Enough Said. Announces fifteen-minute break.] | Video Description: Lee Gotham enters stage via stage right and addresses audience. Lee Gotham adjusts microphone. Audience members passing in front of camera briefly obscures view.\n\n[Bistro 4 stage]\n00:31:55\nAmbient sounds, voices. | Video Description: Camera cuts to a close up shot of the lone mic.\n\nLee Gotham\n00:31:57\n[Addresses audience. Promotes Norman Nawrocki's Human Life International counterprotests. Introduces Clifton Joseph. Audience applause.] | Video Description: Lee Gotham walks onto stage via stage right and addresses audience at microphone.\n\nClifton Joseph\n00:34:16\n[Interacts with Lee Gotham. Addresses audience. Audience laughter throughout.] | Video Description: Clifton Jospeh enters stage via stage left, drinking from glass. Joseph wears a brown button-up vest atop a light green short-sleeved shirt, black-framed glasses, and short black hair. Lee Gotham adjusts microphone to Clifton Joseph's height. Clifton Joseph addresses audience.\n\nClifton Joseph\n00:35:57\n[Recites from Samuel Taylor Coleridge's \"The Rime of the Ancient Mariner.\" Addresses audience throughout. Audience laughter throughout.] | Video Description: Clifton Joseph addresses audience and recites poetry, making occasional gestures that emphasize portions of the poem.\n\nClifton Joseph\n00:36:30\n[Laughs. Addresses audience, mentioning Allen Ginsberg, John Giorno, Jack Kerouac, LeRoi Jones/Amiri Baraka, Jayne Cortez, bill bissett, and The Four Horsemen (sound poetry group), among others. Audience laughter throughout.] | Video Description: Clifton Joseph addresses audience.\n\nClifton Joseph\n00:41:25\n[Performs poem beginning with singing and the line, \"When I look at the situation\".] | Video Description: Clifton Joseph performs poem, occasionally using pointing, snaps, and other gestures to emphasize the performance.\n\nClifton Joseph\n00:42:26\n[Performs a poem with vocalizing a melody and the line \"See, you never know what a man may do\". Audience clapping along to beat.] | Video Description: Clifton Joseph performs poem.\n\nClifton Joseph\n00:43:07\n[Performs poem beginning with the line \"Damn, damn, damn, what a scam, what a sham\". Addresses audience. Audience laughter and applause.] | Video Description: Clifton Joseph performs poem. Sips from glass. Addresses audience.\n\nClifton Joseph\n00:44:11\n[Imitates R&B singing group. Sings from \"Harlem Blues\". Addresses audience. Asks audience for lighter. Audience laughter throughout.] | Video Description: Clifton Joseph addresses audience. Clifton Joseph takes out a pack of cigarettes and lights one with a match from an audience member.\n\nClifton Joseph\n00:46:30\n[Resumes addressing audience. Introduces and performs \"I Remember Back Home\". Audience applause.] | Video Description: Clifton Joseph addresses audience. Performs poem. Ashes cigarette and drinks from glass. \n\nClifton Joseph\n00:49:30\n[Performs \"Pimps.\"] | Video Description: Clifton Joseph performs poem. \n\nClifton Joseph\n00:52:05\n[Initiates call-and-response with audience.] | Video description: Cups hand to ear.\n\nClifton Joseph\n00:53:29\n[Addresses audience. Audience applause; audience laughter throughout.] | Video Description: Clifton Joseph smokes cigarette and crushes it under foot. Drinks from glass. Addresses audience.\n\nClifton Joseph\n00:55:35\n[Performs \"Chuckie Prophesy\". Audience applause. Addresses audience. Audience laughter.] | Video Description: Clifton Joseph performs poem. Drinks from water glass. Addresses audience.\n\nAudience_Member1\n00:58:10\n[Interacts with Clifton Joseph.] | Video Description: Audience_Member1 interacts with Clifton Joseph.\n\nClifton Joseph\n00:58:16\n[Addresses audience.] | Video Description: Camera zooms out as Clifton Joseph addresses audience.\n\nClifton Joseph\n00:59:13\n[Performs \"Slo-Mo\". Audience applause.] | Video Description: Clifton Joseph performs poem. Drinks from glass. \n\nClifton Joseph\n01:04:00\n[Begins performing \"A Chant for Monk\". Interacts with unknown audience member off-screen. Laughs. Audience laughter. Resumes performing \"A Chant for Monk\".] | Video Description: Clifton Joseph performs poem. Camera zooms in as Clifton Joseph interacts briefly with offscreen audience member.\n\nClifton Joseph\n01:08:08\n[Initiates audience call-and-response. Resumes performing \"A Chant for Monk\".] | Video Description: Clifton Joseph performs, with gestures that accentuate performance. \n\nClifton Joseph\n01:09:12\n[Finishes performing \"A Chant for Monk\". Audience applause.] | Video Description: Clifton Joseph interacts with Lee Gotham. Clifton Joseph bows for audience applause.\n\nLee Gotham\n01:09:51\n[Addresses audience. Promotes upcoming events, including Clifford Duffy’s \"The Invention of God.\"] | Video Description: Camera zooms in as Lee Gotham adjusts microphone and addresses audience. \n\nLee Gotham\n01:11:06\n[Introduces Clifton Joseph's second set. Audience applause.] | Video Description: Jump cut. Extreme close-up on Lee Gotham addressing audience. \n\nClifton Joseph\n01:12:14\n[Addresses audience. Audience applause and laughter throughout.] | Video Description: Camera zooms in and out on Clifton Joseph speaking into microphone, addressing audience. \n\nClifton Joseph\n01:13:32\n[Introduces and performs \"Lookin' for a Job.\" Audience laughter. Audience applause.] | Video Description: Clifton Joseph drinks from a glass in front of the microphone, then continues addressing audience. Camera zooms in and out on Clifton Joseph performing. Joseph improvises various gesticulations for emphasis, such as raising glasses off his face on the word \"sight.\" \n\nClifton Joseph\n01:16:06\n[Addresses audience. Interacts with audience member. Audience laughter throughout. Introduces and performs \"(Metropolitan Blues?).\" Audience applause.] | Video Description: Clifton Joseph walks around the microphone to drink from a glass. Camera zooms in and out on Clifton Joseph performing and laughing into microphone.\n\nClifton Joseph\n01:24:00\n[Briefly performs from \"Special Request\" before addressing audience.] | Video Description: Clifton Joseph walks around the microphone to drink from a glass. Briefly gesticulates as he performs lines from a song. Adjusts and speaks into microphone.\n\nClifton Joseph\n01:24:45\n[Performs poem beginning with the line \"It is dumb, dumb, dumb.\" Concludes with audience call-and-response. Audience applause.] | Video Description: Clifton Joseph performing into microphone. Clifton Joseph points toward audience to initiate call-and-response.\n\nClifton Joseph\n01:26:13\n[Addresses audience, interacting with individual audience members throughout. Audience laughter throughout.] | Video Description: Clifton Joseph walks around the microphone to drink from a glass. Camera zooms in and out as Clifton Joseph addresses audience. Accepts glass from unseen audience member and drinks from it. \n\nClifton Joseph\n01:30:27\n[Performs poem beginning with loud vocalizations that turn from singing to screaming. Audience applause.] | Video Description: Camera zooms out as Clifton Joseph removes microphone from stand, places down glass, and holds microphone in hand. Camera pans across stage as Clifton Joseph performs, facing away from audience. Joseph turns toward audience and places microphone in stand. Lee Gotham briefly adjusts microphone as Joseph performs. Joseph moves microphone stand to stage right. Camera follows Joseph as he walks through audience performing. Audience applauds. Joseph wipes face with hand and walks through the crowd, exiting the camera's view. Camera pans back toward the stage. Lee Gotham enters frame and approaches microphone from stage left.\n\nLee Gotham\n01:34:23\n[Addresses audience. Audience applause.] | Video Description: Camera zooms in on Lee Gotham, who speaks into microphone and claps along with audience. He exits the frame. Camera pans across audience applauding. Joseph reenters frame. Camera pans, following Joseph walking toward the stage. Camera zooms in as Lee Gotham and Joseph embrace, and Joseph dances on stage. Joseph bows.\n\nClifton Joseph\n01:35:00\n[Addresses audience. Audience laughter.] | Video Description: Clifton Joseph speaks into microphone, addressing audience. Drinks from glass before walking off stage via stage left. Lee Gotham walks to stage.\n\nLee Gotham\n01:35:21\n[Addresses audience and announces break. Laughs.] | Video Description: Lee Gotham adjusts microphone stand and addresses audience. Brief VCR static.\n\nLee Gotham\n01:36:02\n[Addresses audience. Reads from Unnamed Periodical. Addresses audience member (\"See you later, Bob\") and resumes addressing audience. Announces open mic and its first performer, Steve Hawley.] | Video Description: Close-up on Lee Gotham speaking into microphone and reading from a periodical. Lee Gotham exits frame and returns with a dictionary. Waves to an audience member off-screen before addressing audience again. \n\nSteve \"Liquid\" Hawley\n01:37:38\n[Addresses audience. Addresses Audience_Member2.] | Video Description: Lee Gotham moves out of frame. Steve \"Liquid\" Hawley enters stage from stage left. Hawley wears a black sweatshirt and backward baseball cap on short dark hair. Hawley holds a cigarette. Hawley lifts microphone from stand and holds it close to mouth while addressing audience. Camera zooms out, revealing Hawley holding a glass.\n\nSteve \"Liquid\" Hawley\n01:38:21\n[Performs a piece beginning with the line \"We got (?) children's candy.] | Video Description: Steve \"Liquid\" Hawley raps into microphone.\n\nSteve \"Liquid\" Hawley\n01:38:46\n[Addresses audience. Interacts with unknown audience member. Introduces and performs piece beginning with the line \"I see people on a mission every day of their lives\". Laughs; audience laughter.] | Video Description: Steve \"Liquid\" Hawley speaks to audience and briefly dances while making a joke. Places down glass. Camera zooms in to close-up as Hawley introduces and performs next piece. Hawley raps into microphone, briefly laughs, and continues performing.\n\nSteve \"Liquid\" Hawley\n01:41:14\n[Introduces and performers piece beginning with the line \"It's rough, growing up without peers.\" Addresses audience. Audience applause.] | Video Description: Steve \"Liquid\" Hawley raps into microphone. Camera zooms out as Hawley exits frame. Lee Gotham claps while walking up to microphone.\n\nLee Gotham\n01:43:27\n[Addresses audience. Announces Sabrina. Audience applause.] | Video Description: Lee Gotham adjusts microphone. Camera zooms in as Gotham speaks to audience. Sabrina moves across screen, walking toward stage. Gotham adjusts microphone to Sabrina's height and exits stage left. \n\nSabrina\n01:43:45\n[Addresses audience. Introduces and performs \"(?) Blues.\" Laughs and addresses audience mid-poem. Audience laughter and applause.] | Video Description: Camera zooms in and out as Sabrina addresses audience. Sabrina wears a dark jacket, patterned scarf around neck, and brown, shoulder-length hair with a clip. Reads poem from a piece of paper. Looks toward applauding audience members off-screen. Stops reading and addresses audience, making \"finger-gun\" motions. Laughs and looks behind left shoulder, away from audience, then recites the rest of the poem. Walks out of frame.\n\nLee Gotham\n01:47:35\n[Addresses audience. Announces Andy. Interacts with Andy, before announcing Paco W.] | Video Description: Sabrina moves across camera view as Lee Gotham arrives at microphone. Lee Gotham addresses audience. Gotham exits frame.\n\nPaco W.\n01:48:31\n[Reads a piece beginning with the line \"I will telling of nothing, nothing, I'll tell you.\" Audience applause.] | Video Description: Paco walks to microphone and makes brief \"sign of the horns\" gesture. Paco wears a collared shirt, an earring in left ear, and short brown hair. Paco adjusts microphone before reading poem from a stack of pages.\n\nPaco W.\n01:50:26\n[Introduces and reads from \"Fragments of Our (Kin?).\" Audience applause.] | Video Description: Paco steps briefly away from microphone. Passing audience member obscures camera view. Paco looks down toward pages and steps back in front of microphone. Reads into microphone from stack of pages. Walks off-screen. Lee Gotham returns to microphone and adjusts stand.\n\nLee Gotham\n01:51:51\n[Addresses Andy. Introduces Andy. Audience applause.] | Video Description: Lee Gotham addresses Andy (who is off-screen) before walking off-screen.\n\nAndy\n01:52:13\n[Addresses audience. Reads Unnamed Piece. Audience applause.] | Video Description: Camera tilts upward as Andy walks to microphone. Andy wears a red shirt, black toque, a necklace, and curly chin-length hair. Andy reads from notebook.\n\nAndy\n01:53:35\n[Reads \"Quiet.\" Audience laughter throughout. Audience applause.] | Video Description: Andy closes notebook and turns around to grab a piece of paper before speaking into microphone. Looks down at page while reading. Moves away from microphone and walks out-of-frame via stage left. Lee Gotham moves to microphone.\n\nLee Gotham\n01:55:20\n[Addresses and introduces David J.] | Video Description: Lee Gotham speaks into microphone addressing David J. (who is off-screen) before exiting stage-left, out of frame. \n\nDavid J.\n01:55:29\n[Addresses audience. Introduces and reads \"Who Do?\" Audience laughter, applause.] | Video Description: David J. walks to microphone and addresses audience. J. wears a black sweater atop a grey collared shirt and short black hair. Camera zooms out as David speaks to audience while flipping through a notebook. Reads from notebook.\n\nDavid J.\n01:56:10\n[Introduces \"Cadillac Bomb.\" Audience applause.] | Video Description: David J. speaks to audience while flipping through notebook. Reads from notebook. \n\nDavid J.\n01:56:55\nIntroduces and reads \"The Devil's Got the Goods\". Audience applause.] | Video Description: David J. steps away from microphone and flips through notebook. Speaks, inaudibly, to off-screen audience member. Addresses audience. Camera zooms in as David reads from notebook. David steps away from microphone and nods to audience, before walking stage left, off-screen. Lee Gotham approaches microphone.\n\nLee Gotham\n01:58:42\n[Addresses audience. Asks about Jeff, then invites Unknown_Reader1 to the stage.] | Video Description: Lee Gotham speaks to audience. An unnamed audience member briefly passes in front of Lee Gotham. \n\nUnknown_Reader1\n01:59:23\n[Introduces and reads (\"Also Badge\"?).] | Video Description: Unknown_Reader1 approaches microphone with a stack of papers. Unknown_Reader1 wears a pink t-shirt and long straight brown hair. Reads from stack of papers.\n\nUnknown_Reader1\n01:59:55\n[Introduces and reads \"For Salman\" (Salman Rushdie). Audience applause.] | Video Description: Unknown_Reader1 briefly steps away from microphone before introducing another poem. Reads from stack of papers.\n\nUnknown_Reader1\n02:00:32\n[Introduces and reads Unnamed Poem. Thanks audience. Audience applause.] | Video Description: Unknown_Reader1 briefly steps away from microphone before introducing another poem. Reads from stack of papers. Addresses audience and walks from microphone, exiting stage left. Camera zooms out as Lee Gotham approaches microphone.\n\nLee Gotham\n02:01:41\n[Addresses audience. Interacts with Ed.] | Video Description: Lee Gotham speaks to audience before interacting briefly with Ed off-screen. Ed enters from stage left as Lee Gotham adjusts microphone. Camera zooms in as Ed moves toward microphone and Lee Gotham exits stage left.\n\nEd\n02:01:59\n[Introduces and reads \"Open Hand, Empty Hand.\" Thanks audience. Audience applause.] | Video Description: Ed addresses audience. Ed wears a dark trench coat atop a collared shirt and brown hair in bowl-cut style. Reads poem. Addresses audience and exits stage left. Lee Gotham enters and moves to microphone.\n\nLee Gotham\n02:04:06\n[Addresses audience. Announces Lion Man.] | Video Description: Lee Gotham speaks into microphone, addressing audience and Lion Man. Gotham adjusts microphone as Lion Man enters frame from stage right.\n\nLion Man\n02:04:25\n[Makes purring noise into microphone. Audience laughter.] | Video Description: Lion Man addresses audience. Lion man wears an emerald green vest, a brown collared shirt, and straight chin-length brown hair. \n\nLion Man\n02:04:30\n[Performs \"Impropaganda.\" Audience applause.] | Video Description: Lion Man recites poem into the microphone.\n\nLion Man\n02:06:28\n[Addresses audience. Audience laughter. Introduces and reads Unnamed Poem, about \"if water and plant life could speak to us.\" Audience applause.] | Video Description: Lion Man steps away from microphone and smiles. Addresses audience. Flips through notebook before addressing audience. Reads poem from notebook. Closes notebook and steps away from microphone, exiting stage right. Camera zooms out as Lee Gotham enters from stage left, clapping, and walks up to microphone.\n\nLee Gotham\n02:09:33\n[Thanks Lion Man. Announces Christine. Promotes upcoming event, Clifford Duffy’s \"The Invention of God,\" at the Woodstock Bar.] | Video Description: Lee Gotham addresses audience, speaking into microphone. Christine enters frame from stage left and flips through papers. Gotham adjusts microphone and walks off-camera, exiting stage left.\n\nChristine\n02:10:04\n[Addresses audience. Audience response. Laughs and resumes addressing audience.] | Video Description: Christine stands to the side of microphone, flipping through pages. Christine wears a black collared shirt, light-wash jeans with a large belt buckle, and short blonde hair. Christine walks up to the microphone and addresses audience. Christine laughs at and flips through pages. \n\nChristine\n02:10:43\n[Reads a poem beginning with the line \"Why do I feel so (?) like a little girl.\" Audience applause.] | Video Description: Camera zooms in and out on Christine reading from notebook. Looks down away from audience. Camera zooms out as Christine flips to a new page.\n\nChristine\n02:11:52\n[Reads a poem beginning with the line \"Okay, it's all over now.\" Audience applause.] | Video Description: Christine reads from notebook. Flips through notebook pages before settling on a new page.\n\nChristine\n02:13:30\n[Reads from \"Unfinished Poems.\" Audience applause.] | Video Description: Christine reads from notebook. Walks from microphone and off-screen via stage left. Christine is seen again passing through camera's view. Lee Gotham enters from stage left and walks to microphone.\n\nLee Gotham\n02:14:37\n[Addresses audience. Thanks Christine. Announces Steve Godin.] | Video Description: Lee Gotham addresses audience. An unknown audience member passes briefly through camera view. Gotham exits as Steve Godin walks toward the microphone from stage right.\n\nSteve Godin\n02:14:57\n[Addresses audience. Introduces and reads Unnamed Poem 1. Audience applause. Thanks audience.] | Video Description: Steve Godin addresses audience while looking through pages. Godin wears a black leather jacket atop a black t-shirt and long grey straight hair. Reads from a stack of pages. Addresses audience and exits via stage right. Lee Gotham approaches microphone from stage left.\n\nLee Gotham\n02:18:47\n[Thanks Steve Godin. Announces Simon.] | Video Description: Lee Gotham addresses audience and exits stage left. \n\nSimon\n02:19:05\n[Addresses audience. Introduces and reads \"Pulling Me In.\" Audience applause.] | Video Description: Camera tilts down as Simon approaches microphone. Simon wears a blue long sleeve t-shirt, round glasses, and collar-length straight brown hair. Camera zooms in as Simon addresses audience. Simon reads into the microphone.\n\nSimon\n02:19:50\n[Addresses audience. Introduces and reads \"The Day with the Face.\" Thanks audience. Audience applause.] | Video Description: Simon steps briefly away from microphone before stepping back and addressing audience. Simon raises stack of pages higher, into frame. Reads from stack of pages. Steps away from microphone and looks down. Speaks briefly into microphone before exiting stage left. Camera zooms out as Lee Gotham approaches microphone from stage right. Gotham takes cigarette out of mouth.\n\nLee Gotham\n02:23:43\n[Thanks Simon. Interacts with off-screen audience member (Jean-Luc). Introduces Tom. Audience applause.] | Video Description: Lee Gotham addresses audience, laughing throughout. Gotham moves from microphone and exits stage right. \n\nTom\n02:24:31\n[Addresses audience. Audience laughter] Introduces and performs \"Call Before You Dig.\"] | Video Description: Tom enters from stage left. Tom wears a navy flannel jacket, black backwards baseball cap, and blond hair. Reads from pages.\n\nTom\n02:26:20\n[Addresses audience. Audience applause. Introduces and reads \"The Conspiracy of the (?) Dentist.\" Laughs. Addresses audience. Audience laughter and applause.] | Video Description: Tom steps away from microphone and shuffles through pages. Approaches microphone and addresses audience. Reads from pages. Then exits stage left. Camera zooms out as Lee Gotham approaches microphone clapping. Lee Gotham adjusts microphone.\n\nLee Gotham\n02:27:56\n[Addresses audience with concluding remarks.] | Video Description: Lee Gotham addresses audience, removes cigarette from mouth, and resumes speaking. An audience member briefly passes through camera view.\n\nEND\n02:28:05\n[End of recording.]"],"score":1.8530173},{"id":"3980","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Lee Gotham collection"],"source_collection_label":["Lee Gotham collection"],"collection_contributing_unit":["Spokenweb at Concordia University"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Lee Gotham collection contains the AV recordings regarding the Enough Said series, including readings, performances, open-mic, and spoken-word events that took place at Bistro 4 and other Montreal venues between December 1994 and June 1996."],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Enough Said 1995-01-16, bissett and Nelson"],"item_title_source":["Asset"],"item_title_note":["Ephemera accompanying asset, corroborated by Lee Gotham, who introduces the two event headliners."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["Lee Gotham collection"],"item_subseries_title":["Enough Said"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. We may wish to seek permission from individual artists and Drew Duncan, the videographer."],"creator_names":["Gotham, Lee","bissett, bill","Nelson, Sharon H."],"creator_names_search":["Gotham, Lee","bissett, bill","Nelson, Sharon H."],"creators":["[{\"url\":\"https://viaf.org/viaf/106179112\",\"name\":\"Gotham, Lee\",\"dates\":\"1962-\",\"notes\":\"Lee Gotham was also the MC of this event.\",\"nation\":[],\"role\":[\"Series organizer\",\"Producer\"]},{\"url\":\"https://viaf.org/viaf/96127023\",\"name\":\"bissett, bill\",\"dates\":\"1939-\",\"notes\":\"Headliner.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/108207169\",\"name\":\"Nelson, Sharon H.\",\"dates\":\"1948-2016\",\"notes\":\"Headliner.\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors_names":["Duncan, Drew","Phil","Duncan, Scott","Berger, Halina","McGrail, Justin","Paul","Unknown_Reader1","Bro","Unknown_Reader2","Unknown_Reader3"],"contributors_names_search":["Duncan, Drew","Phil","Duncan, Scott","Berger, Halina","McGrail, Justin","Paul","Unknown_Reader1","Bro","Unknown_Reader2","Unknown_Reader3"],"contributors":["[{\"url\":\"\",\"name\":\"Duncan, Drew\",\"dates\":\"\",\"notes\":\"Videographer.\",\"nation\":[],\"role\":[\"Recordist\"]},{\"url\":\"\",\"name\":\"Phil\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/135986318\",\"name\":\"Duncan, Scott\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Berger, Halina\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/106255768\",\"name\":\"McGrail, Justin\",\"dates\":\"1968-\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Paul\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Unknown_Reader1\",\"dates\":\"\",\"notes\":\"Open-mic performer. Identified as Unknown_Reader1 in the transcription.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Bro\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Unknown_Reader2\",\"dates\":\"\",\"notes\":\"Open-mic performer. Identified as Unknown_Reader2 in the transcription.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Unknown_Reader3\",\"dates\":\"\",\"notes\":\"Open-mic performer. Identified as Unknown_Reader3 in the transcription.\",\"nation\":[],\"role\":[\"Performer\"]}]"],"performer_name":["Phil","Duncan, Scott","Berger, Halina","McGrail, Justin","Paul","Unknown_Reader1","Bro","Unknown_Reader2","Unknown_Reader3"],"Recordist_name":["Duncan, Drew"],"Performance_Date":[1995],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/3980/Enough_Said-VHS2-19950116_19950130_19950206_19950213.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Video\",\"tape_brand\":\"TDK EHG\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"120 minutes\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"VHS\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Tape box. Handwritten label on side. Ephemera accompanying asset (note and poster).\",\"other_physical_description\":\"VHS #2 asset. Contains recordings of multiple events.\"}]"],"material_designations":["VHS"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Video"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:v:/g/personal/carlosa_pittella_concordia_ca/EYDa-ZjscPRJkywPZjj5wM8BVyNzPPBs9_bD6fgGcIKVKQ?e=DUoweY\",\"file_path\":\"\",\"filename\":\"Enough_Said-19950116-bissett_Nelson.mp4\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:53:22\",\"precision\":\"\",\"size\":\"3.2 GB on disk\",\"bitrate\":\"2304Kbps (original); 256Kbps (master)\",\"encoding\":\"MPEG-4 movie\",\"contents\":\"This is file 1 of 1 containing an AV recording of the event featuring bill bissett and Sharon H. Nelson as part of the Enough Said series, organized by Lee Gotham, with extra open-mic performances by Justin McGrail, Scott Duncan, Halina Berger, and others.\",\"notes\":\"Dimensions: 640 × 480.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Video Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:b:/g/personal/carlosa_pittella_concordia_ca/ES6KwHDTCzlNk-T8yYdfS5wBw9IsHM_2bg74jsWfKgyupw?e=mNricO\",\"file_path\":\"\",\"filename\":\"Enough_Said-19950116-Bisset_Nelson-poster.pdf\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"1.7 MB on disk\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"1 poster: black ink printed on blue paper, with handwritten yellow-marker highlights.\",\"notes\":\"The poster features a photograph of bill bissett credited to Jamie Vandermoer and the following text: \\\"bill bisett | 'enough said' presents! | poetry reeding (sic) | place: BISTRO 4, 4040 St. Laurent | time: 9 pm. Monday Jan 16 '95\\\"\",\"title\":\"bill bissett\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Document\",\"featured\":\"Yes\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1995-01-16\",\"type\":\"Performance Date\",\"notes\":\"Though in Asset VHS #2, this event happened in between the Swifty-Lazar event and the Wiernik-and-Anderson event, both recorded in VHS #1.\",\"source\":\"Asset\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/2428619734\",\"venue\":\"Bistro 4\",\"notes\":\"Bistro 4 (pronounced Bistro Quatre), no longer in existence.\",\"address\":\"4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada\",\"latitude\":\"45.5169628\",\"longitude\":\"-73.5796147\"}]"],"Address":["4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada"],"Venue":["Bistro 4"],"City":["Montreal, Quebec"],"content_notes":["Event recording starts at 00:00:00:00 of VHS #2 asset, which contains multiple events."],"Note":["[{\"note\":\"Faith Paré\",\"type\":\"Cataloguer\"},{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"},{\"note\":\"VHS #2 asset. Contains recordings of multiple events: (1) Enough Said 1995-01-16, bissett and Nelson; (2) Enough Said 1995-01-30, Stanton and Stephens; (3) Enough Said 1995-02-06, Brulé; and (4) Enough Said 1995-02-13, Benefit Part 1. The asset was digitized, generating both uncompressed and compressed video files; the compressed files were then split into events to facilitate the transcription work. Metadata entries based on events.\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"https://worldcat.org/en/title/30817502\",\"citation\":\"bissett, bill. Inkorrect Thots. Vancouver, BC: Talonbooks, 1992.\"},{\"url\":\"https://worldcat.org/en/title/35317870\",\"citation\":\"bissett, bill. Th Influenza uv Logik. Vancouver, BC: Talonbooks, 1995.\"},{\"url\":\"https://worldcat.org/en/title/1035975435\",\"citation\":\"bissett, bill. Th last photo uv th human soul. Vancouver, BC: Talonbooks, 1993.\"},{\"url\":\"https://worldcat.org/en/title/18641644\",\"citation\":\"bissett, bill. What We Have. Vancouver, BC: Talonbooks, 1988.\"},{\"url\":\" https://worldcat.org/en/title/49305136\",\"citation\":\"Nelson, Sharon H. This Flesh, These Words. Victoria, BC: Ekstasis Editions, 2002.\"},{\"url\":\"https://worldcat.org/title/27851248\",\"citation\":\"Nelson, Sharon H. Grasping men's metaphors. Dorion, QC: Muses' Co. = Compagnie des Muses, 1993.\"}]"],"_version_":1853670549161508864,"timestamp":"2026-01-07T14:59:53.772Z","contents":["[Bistro 4 stage]\n00:00:16\n[Ambient sounds (movement, conversation).] | Video Description: Colour video. Camera view at first rocks, unstable, as it repositions. Long shot of the Bistro 4 (Quatre) stage, with audience members before it sitting at tables and chairs also in view. The stage is slightly below street level, with numerous large window panes that face Saint-Laurent Boulevard. Vague shapes of cars, streetlights, and passerby are visible through the window. Yellow curtains frame the windows, and a large light hangs from the ceiling above the audience. A painting or illustration is on the wall adjacent to stage right. Event organizer and host Lee Gotham is in the camera foreground, speaking to an unknown audience member and pointing at something out-of-frame. Gotham wears a green shirt and light brown shoulder-length hair. Behind Lee Gotham, bill bissett stands facing audience on the stage. bissett wears a graphic t-shirt, thick-framed glasses, and chin-length hair. \n\nbill bissett \n00:00:19\n[Performs Unnamed Poem 1 with chant-like vocalizations and maraca including the line \"I got a feeling we're going to make (?) strong.\"] | Video Description: Camera zooms into closeup on bill bissett performing a piece and keeping rhythm with a maraca. bissett wears a black and white patterned vest over a blue tie-dye shirt with a white graphic on the front, large square plastic-framed glasses, and shoulder-length light brown hair with a receding hairline. Camera zooms in and out between closeup and medium closeup on bissett and his maraca. Lee Gotham briefly passes through camera view.\n\nbill bissett \n00:06:39\n[Finishes Unnamed Poem 1. Audience applause. bill bissett addresses audience.] | Video Description: bill bissett stops the rhythm and brings the maraca to his lips. Camera zooms out into a long shot as bissett puts maraca in his back pocket and picks up a binder with multiple documents inside. Audience members applaud. bissett addresses audience.\n\nbill bissett \n00:06:58\n[Reads “n e c k s” (from Th last photo uv th human soul, Talonbooks, 1993). Audience laughter throughout.] | Video Description: Camera zooms in and out between long shot, medium long shot, and closeup on bill bissett reading poem from lifted binder. \n\nbill bissett\n00:11:07\n[Finishes reading “n e c k s”. Audience applause. bill bissett introduces Sharon H. Nelson. Audience laughter and applause.] Video Description: bill bissett closes binder and rubs hand across forehead. Camera pans across the room, capturing a full venue of applauding audience members. Camera zooms into closeup on bissett addressing audience. bill bissett begins walking off stage via stage left. \n\nSharon H. Nelson\n00:11:48\n[Ambient sounds (voices).] | Video Description: Nelson stands up from audience and places hand on bissett’s shoulder before moving by him. Nelson speaks to an audience member out-of-frame (bissett?) before walking to the microphone stand on stage.\n\nSharon H. Nelson\n00:11:59\n[Addresses audience. Interacts with bill bissett. Audience laughter. Addresses audience, introducing Unnamed Poem 1 as a response to bissett's \"(ken and heath made for life?).\" Audience laughter.] | Video Description: Sharon H. Nelson speaks into the microphone, which is set significantly higher on the stand than their height. Nelson wears a green and orange patterned dress, long dark hair, and a necklace. Nelson addresses bill bissett (off-screen). Nelson addresses audience. An unseen audience member adjusts microphone stand to Nelson's height. Nelson spits out gum and looks for place to put chewed wad. An unseen audience member stretches out palm in front of Nelson. Nelson addresses audience before glancing down at the pages they hold.\n\nSharon H. Nelson\n00:13:28\n[Reads poem beginning with the line \"I hear the geese before I see them.\" Audience laughter throughout.] | Video Description: Camera zooms in and out on Sharon H. Nelson reading from pages. Nelson breaks from reading to address audience before returning to reading.\n\nSharon H. Nelson and bill bissett\n00:17:09\n[Finishes Unnamed Poem 1. Audience applause. bill bissett addresses audience. Sharon H. Nelson interacts with bill bissett. Audience laughter.] | Video Description: Sharon H. Nelson puts down sheets of paper on the floor and walks off via stage left. Camera zooms out to long shot, capturing applauding audience members. bill bissett walks up to microphone stand via stage left. bissett addresses audience and adjusts microphone stand height. Camera pans right. Nelson addresses bissett. Audience members laugh. Lee Gotham is at one of the large window panes, adjusting a fixture. Camera pans left, back toward bissett on stage. Audience members briefly pass through camera view. bissett adjusts glasses, opens binder, and flips through pages.\n\nbill bissett\n00:18:00\n[Reads Unnamed Poem 2 beginning with the line \"Vapours, don't blame it on the dog.\"] | Video Description: Medium shot of bissett reading a poem from a lifted binder\n\nbill bissett\n00:20:51 \n[Finishes Unnamed Poem 2. Audience applause. bill bissett thanks audience.] | Video Description: bill bissett flips page and addresses audience.\n\nbill bissett\n00:21:01\n[Reads “unmatching phenomena” (from Inkorrect Thots, Talonbooks, 1992). Audience laughter throughout.] | Video Description: billl bissett reads from binder. Audience members briefly pass through camera view. \n\nbill bissett\n00:23:06\n[Finishes “unmatching phenomena”. Audience applause. bill bissett thanks audience. Audience laughter. Begins poem before breaking off to address audience. Audience laughter.] | Video Description: bill bissett lowers binder and glances down, flipping through it. bill bissett lifts binder again and addresses audience. bissett smiles at audience laughter and addresses audience, lifting hand.\n\nbill bissett\n00:23:21\n[Resumes reading “last nite I had a nitemare abt free trade” (from Inkorrect Thots). Audience laughter throughout.] | Video Description: bill bissett resumes reading from binder.\n\nbill bissett\n00:25:09\n[Finishes “last nite I had a nitemare abt free trade”. Audience applause. bill bissett thanks audience.] | Video Description: Camera zooms in and out as bill bissett lowers binder and flips through its pages. bissett addresses audience.\n\nbill bissett\n00:25:22\n[Begins reading Unnamed Poem 3 beginning with the line \"Who wrote the script though? Don't you always wonder that?\" before breaking off to addresses audience. Audience laughter. Resumes reading poem before addressing audience and interacting with Unknown_Audience_Member. Audience laughter. bill bissett interacts with another Unknown_Audience_Member. Audience laughter. Resumes reading poem. Audience laughter and applause throughout.] | Video Description: bill bissett begins reading from binder before addressing audience, raising hand. bissett resumes reading before addressing audience again. An unseen audience member addresses bissett and they interact. bissett interacts with another unseen audience member. bissett resumes reading from binder.\n\nbill bissett\n00:27:44\n[Finishes Unnamed Poem 3. Audience applause. bill bissett thanks audience. Unknown_Audience_Member and bissett interact.] | Video Description: Camera zooms out to long shot as bill bissett lowers binder and flips through pages. Camera pans across audience members applauding. bill bissett addresses audience. bissett interacts with an unseen audience member.\n\nbill bissett\n00:28:06\n[Reads “reflex blu” (from What We Have, Talonbooks, 1988, https://worldcat.org/en/title/18641644).] | Video Description: Camera zooms in and out between closeup and medium closeup on bill bissett reading from binder. \n\nbill bissett\n00:30:38\n[Finishes “reflex blu”. Audience applause. Introduces Sharon H. Nelson. Audience applause.] | Video Description: bill bissett lowers binder and adjusts glasses, looking out at audience. bill bissett addresses audience. bill bissett walks toward Sharon H. Nelson stage-left and they shake hands and exchange a kiss. Nelson walks toward microphone stand. bissett takes seat adjacent to stage left.]\n\nSharon H. Nelson\n00:31:16 \n[Addresses audience. Addresses Unknown_Audience_Member. Addresses audience. Introduces \"Form and Structure\" (from Grasping Men's Metaphors, Muses' Co., 1993) mentioning Dorothy Parker. Audience laughter.] | Video Description: Camera zooms into a closeup on Sharon H. Nelson tilting microphone downward and addressing audience. An unknown audience member walks into the frame, kneeling to adjust microphone stand to Nelson's height. Nelson addresses unknown audience member.\n\nSharon H. Nelson\n00:32:29\n[Reads “Form and Structure”. Audience laughter throughout.] | Video Description: Sharon H. Nelson reads to the audience, with gestures to accentuate the poem’s humour.\n\nSharon H. Nelson\n00:33:04\n[Finishes “Form and Structure”. Audience applause. Introduces “On the Success of a Middle-Aged Poet”. Audience laughter.]  | Video Description: Sharon H. Nelson smiles at the audience as camera zooms out into a medium long shot. Nelson flips through the book in their hands. Nelson addresses audience.\n\nSharon H. Nelson\n00:33:39\n[Reads “On the Success of a Middle-Aged Poet”.] | Video Description: Camera zooms into a closeup on Sharon H. Nelson reading from book.\n\nSharon H. Nelson\n00:34:17\n[Audience laughter. Audience applause. Sharon H. Nelson introduces Unnamed Poem 2 in the style of nursery rhymes, and mentioning playing show-and-tell in school. Sharon H. Nelson begins to read Unnamed Poem 2 beginning with the line \"When we were little children and playing show-and-tell,\" breaking off to address audience. Audience members respond.] | Video Description: Sharon H. Nelson nods.  Addresses audience. Looks down to read, before glancing up and address audience.\n\nSharon H. Nelson\n00:34:49\n[Resumes reading Unnamed Poem 2. Audience laughter throughout. Addresses audience member resuming reading poem.] | Video Description: Sharon H. Nelson glances down and reads from book. Glances up to address audience before resuming reading.\n\nSharon H. Nelson\n00:36:17\n[Pauses. Audience applause.] | Video Description: Sharon H. Nelson smiles, raises a finger, and addresses audience (inaudible). \n\nSharon H. Nelson\n00:36:25\n[Resumes Unnamed Poem 3. Audience laughter throughout.] | Video Description: Sharon H. Nelson resumes reading poem.\n\nSharon H. Nelson\n00:37:01\n[Finishes Unnamed Poem 3. Audience laughter and applause. Introduces bill bissett.] | Video Description: Sharon H. Nelson puts down book and smiles at audience. Gestures toward and addresses offscreen audience member (bill bissett?). Camera zooms out into medium long shot as Nelson exits via stage left. Backs of audience members' heads. Nelson and bissett interact off-screen. bissett approaches microphone via stage left.\n\nbill bissett\n00:37:28\n[Ambient sounds (voices, movement).] | Video Description: bill bissett adjusts microphone stand height. bissett flips and sorts through pages, putting one briefly in his mouth. An unknown audience member briefly passes through camera view. bissett selects a page, places something down, and turns back toward the microphone.\n\nbill bissett \n00:38:27\n[Performs “evreewun needs a gud fuck n th rest is bullshit jack sd” (from Inkorrect Thots). Audience laughter throughout.] | Video Description: Camera zooms out and in between extreme closeup and medium long shot on bill bissett performs and vocalizes into microphone. bissett holds up and references pages throughout the performance, occasionally flipping. \n\nbill bissett \n00:45:11\n[Finishes “evreewun needs a gud fuck n th rest is bullshit jack sd”. Audience applause. Thanks audience. Addresses audience, talking about quinine, TV detectives, and murder mysteries. Audience laughter throughout.] | Video Description: bill bissett goes silent and slowly lowers outstretched arms. Camera zooms out to long shot of applauding audience members in front of the stage, with one unknown audience member in an orange sweater moving through the crowd. Lee Gotham approaches the stage via stage left and interacts with bissett before returning to his seat. bissett picks up binder and flips through pages. Camera zooms in as bissett addresses audience. bissett drinks from a glass, puts it on the floor, and flips through binder.\n\nbill bissett \n00:46:32\n[Reads Unnamed Poem 4 beginning with the line \"Mr. and Mrs. Ridge of Venus Land\". Audience laughter throughout.] | Video Description: bill bissett reads from binder.\n\nbill bissett \n00:47:45\n[Laughs. Audience laughter.] | Video Description: bill bissett laugh before looking back down at binder.\n\nbill bissett \n00:47:51\n[Resumes reading Unnamed Poem 4. Audience laughter throughout.] | Video Description: Camera zooms into closeup on bill bissett reading from binder.\n\nbill bissett \n00:49:23\n[Finishes Unnamed Poem 4. Audience laughter and applause. Introduces Sharon H. Nelson.] | Video Description: bill bissett lowers and closes binder. Gestures to offscreen audience member (Sharon H. Nelson). bissett addresses audience and applauds along with them. bissett begins exiting via stage left. bissett and Nelson embrace and address one another as Nelson walks toward microphone stand.\n\nSharon H. Nelson\n00:49:44\n[Addresses audience. Addresses bill bissett.] | Video Description: Sharon H. Nelson addresses audience and looks over to bill bissett to address him. An unknown audience member briefly obscures camera view. \n\nSharon H. Nelson\n00:46:49\n[Ambient sounds (voices, movement).] | Sharon H. Nelson flips through pages, and an unknown audience member adjusts the microphone stand to Nelson’s height. Nelson addresses audience member adjusting microphone stand and thanks them. Camera zooms into a closeup on Nelson.\n\nSharon H. Nelson\n00:50:29\n[Addresses audience, discussing bissett’s artwork. Audience laughter. Introduces “Because of Everything: Dissolving Critical Distance (bill bissett’s iconography, ‘Dancing Magic Animals: Hearts and Rings,’ acrylic on canvas, 18x24”, 1991).”] | Video Description: Sharon H. Nelson addresses audience.\n\nSharon H. Nelson\n00:52:15\n[Reads “Because of Everything: Dissolving Critical Distance (bill bissett’s iconography, ‘Dancing Magic Animals: Hearts and Rings,’ acrylic on canvas, 18x24”, 1991)”.] | Video Description: Sharon H. Nelson reads from pages.\n\nSharon H. Nelson\n00:56:32\n[Finishes “Because of Everything: Dissolving Critical Distance (bill bissett’s iconography, ‘Dancing Magic Animals: Hearts and Rings,’ acrylic on canvas, 18x24”, 1991)”. Audience applause. Sharon H. Nelson addresses audience. Introduces “The Best Minds of My Generation” (from This Flesh These Words, Ekstasis Editions, 2002), mentioning the piece is dedicated to bill bissett and to George (Predelli?), a former Catholic priest. Audience laughter. Sharon H. Nelson addresses audience.] | Video Description: Camera zooms out into long shot as Sharon H. Nelson gathers pages and nods toward audience. Camera pans across applauding audience members. Nelson addresses audience and flips through pages.\n\nSharon H. Nelson\n00:57:49\n[Coughs. Introduces and reads “The Best Minds of My Generation”.] | Video Description: Sharon H. Nelson coughs into fist. An audience member briefly obscures view of stage. Nelson reads from pages. \n\nSharon H. Nelson\n01:02:18\n[Thanks audience. Audience applause.] | Video Description: Sharon H. Nelson addresses audience. Sharon H. Nelson picks pages up from floor and exits stage via stage left. Camera pans across applauding audience members. Sharon H. Nelson sits in audience as bill bissett returns to the microphone stand on stage. bill bissett adjusts microphone stand height. \n\nbill bissett \n01:02:50\n[Addresses audience. Audience applause.] | Video Description: bill bissett addresses audience. bill bissett raises glass to offscreen audience member (Sharon H. Nelson?) and sips from it. \n\nbill bissett\n01:03:04\n[Ambient sounds (voices, movement).] | Video Description: Camera zooms out into medium long shot as bill bissett adjusts glasses and flips through pages. Lee Gotham passes through camera view, glancing right into the lens. \n\nbill bissett \n01:03:24\n[Reads “why dew we feer change feer uv th unknown” (from Th Influenza uv Logik, Talonbooks, 1995).] | Video Description: bill bissett reads from binder. Camera zooms in and out between closeup on bissett and long shot of bissett on stage, panning across the audience members listening to the reading and smoking. \n\nbill bissett\n01:08:11\n[Finishes \"why dew we feer change feer uv th unknown.\" Audience applause. Thanks audience.] | Video Description: bill bissett briefly closes binder before opening it again. \n\nAudience\n01:08:23\n[Ambient sounds (voices).] | Video Description: Camera begins to zoom out to a long shot revealing applauding audience members. bissett turns to an unknown audience member upstage left and interacts with them. The unknown audience member holds bissett's binder as bissett searches for a page inside it. Camera pans across audience members sitting adjacent to stage left.\n\nbill bissett\n01:08:34\n[Performs Unnamed Poem 5 beginning with the line \"Jennifer Rawlins.\"] | Video Description: bill bissett performs and vocalizes into microphone, holding sheet of paper.\n\nbill bissett\n01:11:34\n[Finishes Unnamed Poem 5. Audience applause. Thanks audience. Thanks Sharon H. Nelson. Addresses audience.] | Video Description: Camera pans over applauding audience members throughout the room. bill bissett addresses audience. Lee Gotham moves through crowd and approaches stage. bissett is given his binder by the unknown audience member holding it. Gotham and bissett hug. bissett addresses audience before exiting stage left as Gotham approaches the microphone stand.\n\nLee Gotham\n01:12:16\nWow, I think we need—Woo! Just a little time to cool down now after that. Geez, you know, I can’t, I can’t say how happy I am to, you know, be a part of something that involves not only a generous helping of spectacle but, you know, a whole lotta love, and just generally rejuvenating experience. I think what I’d like to do is, like I said, take a little break. Any of the open-mikers who’ve hung out and are still up for it are more than welcome to have their day in the rain in a moment or two. I can’t encourage people enough, as well, to come over to the corner at some point if you’re going hang out for a bit. We’ve got loads of books, both Sharon’s, bill’s, and some small press offerings of various natures. You know, when I first bill, I was doing my degree at Concordia. I went down to the stacks in what was at that time the Norris Library. Do you know there are 41 titles of bill’s in that library? Several of Sharon’s as well. But 41—you’re not going to find a lot of them in the bookstores anymore, but bill is part of a very, very vital scene, going back a good twenty odd years. [Sharon H. Nelson interacts (“Pushing thirty!”)] Pushing thirty! And they’re all still in the stacks, you know? You go down to what’s now the Webster Library, or over to the Redpath, or any other incredible institution of those varieties, you can check the stuff out because I tell you, a whole lot of innovation went into the years between then and now. Okay, so—enjoy, hang out. I should mention the coming weeks. Second in the series, Wired Words—spoken word documents prepared by Corey Frost, Colin Christie, and ga Press, that’s featuring Fortner Anderson and Neil Wiernik next week, same time, same place. I’d like to send a thought out to my future performer for the week after, Ian Stephens, is not very well and I think with all the love in the air here this evening maybe we can all share a thought with Ian. And yeah, hang out, please, as long as you’d like, and we’ll get right to a little impromptu reading in a moment. Thanks. [Audience applause].  | Video Description: Lee Gotham addresses audience while adjust microphone stand height. Gotham addresses audience and at one point addresses Sharon H. Nelson (off-screen) before returning his focus to the audience. Gotham begins walking off off via stage right.\n\nAudience\n01:15:11\n[Ambient sounds (voices, movement).] | Video Description: Camera cuts to unknown audience members flipping through copies of bill bissett’s books. Camera pans downward to a table full of glasses and a stack of books. In the foreground, an unknown audience member (face out of frame) holds a stack of pages with poems on them. Camera zooms into the stack of books that reads “bill bissett” and “Talonbooks” on the spine. Camera pans up and zooms into audience members holding bissett’s book open in their hands as they read. Camera pans across tables full of audience members sitting, smoking, drinking, and chatting at tables.\n\nLee Gotham\n01:16:10 \n[Addresses audience.].| Video Description: Camera zooms into audience members sitting at table, in chairs, and at the bar, some of who turn toward the stage (off-screen) at the sound of Lee Gotham’s voice.\n\nUnknown_Reader1\n01:16:29\n[Cut to Unknown_Reader 1 reading a poem including the line \"Warms my heart, always one step below.\"] | Video Description: Sudden cut. Camera quickly zooms in from long shot to close up on Unknown_Reader1 reading from pages. Unknown_Reader1 wears a maroon sweater and curly chin-length brown hair. An audience member briefly passes through camera view.\n\nUnknown_Reader1\n01:17:22\n[Finishes poem. Audience applause. Introduces \"Token Golden Showpiece\".] | Video Description: Unknown_Reader1 lowers pages to flip through them. An audience member partially obstructs camera view when sitting down. Unknown_Reader1 addresses audience.\n\nUnknown_Reader1\n01:17:33\n[Reads “Token Golden Showpiece”.] | Video Description: Unknown_Reader1 reads from pages. \n\nUnknown_Reader1\n01:19:14\n[Finishes “Token Golden Showpiece”. Audience applause.] | Video Description: Unknown_Reader1 glances up and begins walking away from microphone. Unknown_Reader1 smiles at the audience applause. They exit via stage left. \n\nUnknown_Reader2\n01:19:19\n[Thanks audience. Addresses audience. Audience laughter. Introduces \"The Prisoner's Song\".] | Video Description: Unknown_Reader2 fishes pieces of paper out of the front pocket of their shirt. Unknown_Reader2 wears a black and grey flannel shirt atop a graphic t-shirt, and a brown ponytail. Unknown_Reader2 addresses audience.\n\nUnknown_Reader2\n01:19:52\n[Reads “The Prisoner’s Song”.] | Video Description: Unknown_Reader2 reads from piece of paper.\n\nUnknown_Reader2\n01:23:10\n[Finishes “The Prisoner’s Song”. Audience applause.] | Video Description: Unknown_Reader2 exits via stage right. Camera zooms out to reveal Lee Gotham, clapping and rising from his seat to go to microphone. Lee Gotham addresses audience. \n\nLee Gotham\n01:23:22\n[Addresses audience member (Scott Duncan). Introduces Scott Duncan. Audience applause. Promotes \"Pawn to Infinity\" (magazine). Introduces Scott Duncan. Audience applause.] | Video Description: Lee Gotham adjusts microphone and addresses audience member. Camera zooms out and pans to the left, toward the back of the venue. Audience members clap and walk through the back of the venue. Camera pans slowly right, toward the stage. Audience members listen and chat at their tables.\n\nScott Duncan\n01:24:16\n[Addresses audience.] | Video Description: Scott Duncan (short dark hair, black t-shirt with white graphic, black flatcap) approaches microphone via stage left. Scott Duncan addresses audience.\n\nScott Duncan \n01:24:29\n[Begins performing piece, repeatedly spelling out \"P-O-M.\" Audience laughter. Unknown audience member interacts with Duncan. Resumes performing piece. Audience laughter throughout.] | Video Description: Camera zooms into closeup on Scott Duncan as he recites poem from memory. Scott Duncan pauses briefly and looks over toward off-screen audience member who interacts with him. Duncan resumes performing. Then Duncan lifts shirt to reveal and rub his abdomen marked with the same letters that he spells out in the poem, \"P O M\". Duncan resumes performing. Lee Gotham passes briefly through camera view. Duncan lifts shirt again, which he does throughout the performance.\n\nScott Duncan\n01:27:26\n[Finishes piece. Audience applause.] | Video Description: Scott Duncan smiles at audience and exits stage via stage left. Lee Gotham rises from seat and approaches microphone. Camera pans toward the left, following Scott Duncan moving to his seat and sitting down.\n\nLee Gotham\n01:27:35\n[Addresses audience. Addresses Scott Duncan. Scott Duncan interacts with Lee Gotham. Promotes Fluffy Pagan Echoes performance series. Introduces Phil. Audience applause.] | Video Description: Camera pans back toward stage where Lee Gotham speaks into the microphone. Gotham addresses Scott Duncan before addressing audience. Camera pans toward the left and zooms into Phil, the next open mic performer, rising from their seat.\n\nPhil\n01:28:10\n[Ambient sounds (voices, movement).]  | Video Description: Phil takes guitar out of case at the back of the venue as tables of audience members chat and drink. Phil moves to the stage and sets down a sheet of paper on a music stand. Phil puts guitar strap over shoulder and adjusts microphone stand.\n\nPhil\n01:28:55\n[Addresses audience. Audience laughter. Unknown audience member addresses Phil, and they interact. Audience laughter.] | Video Description: Phil addresses audience. Phil wears  a white long-sleeved shirt and a shaved head. Phil interacts with an audience member (offscreen). Phil rests slightly back on a ledge on stage and looks down at the piece of paper.\n\nPhil\n01:29:40\n[Performs composition beginning with the line \"And all the while.\" Audience laughter throughout. Bistro 4 landline rings.] | Video Description: Phil performs a composition, picking guitar strings with one hand while glancing occasionally at a piece of paper in the other hand. Passersby look into the venue through the large-paned windows.\n\nPhil\n01:32:25\n[Finishes composition. Audience applause.] | Video Description: Phil stands and takes guitar strap off of shoulder. Phil leaves the stage via stage right. Camera pans to follow Phil walking toward the back of the venue to return to seat. \n\nLee Gotham\n01:32:38\n[Announces Halina Berger. Audience applause.] | Video Description: Lee Gotham calls out for Halina Berger via the microphone. Berger confirms attendance (offscreen) and Lee Gotham announces their set. Lee Gotham addresses an audience member (offscreen) who sits adjacent to stage left, before sitting. Berger (short brown hair, red blouse) enters the stage via stage right.\n\nHalina Berger\n01:32:55\n[Addresses audience. Reads poem beginning with the line \"If I could be at peace with everybody.\"] | Video Description: Halina Berger addresses audience. Berger wears a red blouse and short brown hair. An audience member briefly obstructs camera view. Berger reads from a piece of paper in hand.\n\nHalina Berger\n01:34:30\n[Finishes poem. Audience applause.] | Video Description: Halina Berger looks up from piece of paper and nods at audience. Berger exits stage via stage right. Lee Gotham, clapping, rises from seat and approaches microphone.\n\nLee Gotham\n01:34:39\n[Thanks Halina Berger. Addresses Justin McGrail. Announces Justin McGrail. Audience applause.] | Video Description: Lee Gotham addresses Halina Berger. Lee Gotham steps toward stage right, looking for someone toward the back of the venue. Gotham addresses Justin McGrail and then addresses audience. Gotham returns to seat. McGrail (short brown hair, button-down shirt with rolled-up sleeves, suspenders, grey trousers, ear piercing) enters stage via stage right. McGrail cups hands over mouth before turning toward microphone.\n\nJustin McGrail\n01:34:59\n[Performs poem beginning with the line \"The trick is, was, used to be seem to be seen as structurally strict\".] | Video Description: Justin McGrail performs poem from memory, with gestures to accentuate language. McGrail wears a white button-down shirt with sleeves rolled-up to elbows, green pants with suspenders, and short dark brown hair.\n\nJustin McGrail\n01:36:44\n[Finishes poem. Audience applause.] | Video Description: Justin McGrail walks off via stage right. Lee Gotham enters frame, clapping, and stands in front of microphone.\n\nLee Gotham\n01:36:57\n[Addresses audience. Promotes Fluffy Pagan Echoes.] | Video Description: Lee Gotham addresses audience.\n\n[Bistro 4 stage]\n01:37:03\nVideo Description: Sudden cut. The tilted camera captures the yellow curtains lining the windows behind the stage.\n\nUnknown_Reader3\n01:37:06\n[Performs poem beginning with the line \"X-Factor (?) and sub-atomic fumes.\"] | Video Description: Camera zooms out and resets its angle to capture the stage. Camera zooms in from long shot to closeup on Unknown_Reader3 reading from a piece of paper. Unknown_Reader3 wears a white long-sleeved shirt with sleeves rolled-up to elbows and short brown hair.\n\nUnknown_Reader3\n01:39:04\n[Finishes poem. Audience applause.] | Video Description: Unknown_Reader3 lowers piece of paper and exits via stage right. Lee Gotham enters frame applauding and adjusts microphone.\n\nLee Gotham\n01:39:12\n[Addresses audience. Announces Paul. Audience applause.] | Video Description: Lee Gotham addresses audience. Camera tilts upward toward windows.\n\nPaul\n01:39:23\n[Addresses audience. Audience laughter. Unknown audience member interacts with Paul. Audience laughter. Paul thanks unknown audience member.] | Video Description: Camera resets angle back toward stage. Paul addresses audience. Paul wears a grey sweater, fleece vest, buzzed dark hair, and a goatee. Paul laughs at unknown audience member's (offscreen) comment. Paul looks down at pages and then addresses unknown audience member.\n\nPaul\n01:39:44\n[Reads “Tell Us”. Briefly interjects to announce title, before resuming reading.] | Video Description: Paul reads poem pieces of paper. Paul briefly addresses audience before resuming reading, occasionally turning pages.\n\nPaul\n01:41:35\n[Finishes “Tell Us”. Addresses audience. Audience laughter and applause. Introduces “Egg”. Audience laughter.] | Video Description: Paul addresses audience and smiles.\n\nPaul\n01:41:52\n[Reads “Egg”.] | Video Description: Paul reads poem from pages, occasionally flipping pages.\n\nPaul\n01:43:40\n[Ambient sounds (movement, voices).] | Video Description: Paul trails off and blinks at pages. Paul rocks back and forth, trying to hold onto microphone stand, and stumbles out of frame. Camera pans slightly to the right. Lee Gotham’s shoulder is seen, as well as the slight view his head turning to look toward the stage. Gotham rushes toward stage. Camera zooms out, revealing Gotham and multiple unknown audience members assisting Paul stand up. Paul blinks and touches chest.\n\nPaul\n01:43:59\n[Addresses audience. Audience laughter and applause. Addresses audience. Audience laughter and applause.] | Video Description: Paul addresses audience. Unknown audience members assisting tend to Paul as Paul picks up spilled pages from the floor. Paul is handed a glass and they drink. Paul speaks into the microphone and holds up pages. Gotham pats Paul on the back as assisting audience members return to their seats. Gotham claps as he returns to his seat. Paul is handed additional pages.\n\nPaul\n01:44:28\n[Resumes reading “Egg”.] | Video Description: Paul reads from pages.\n\nPaul\n01:45:00\n[Finishes “Egg”. Audience applause.] | Video Description: Paul exits via stage left and returns to their seat. Lee Gotham takes to the microphone. \n\nLee Gotham\n01:45:13\n[Addresses Paul. Audience laughter. Thanks Paul. Calls next performer.] | Video Description: Lee Gotham addresses Paul. Gotham calls out for and addresses next performer. The next performer moves through tables toward the stage. Gotham pats them on the back as they pass each other. \n\n“Bro”\n01:45:51\n[Addresses audience. Audience laughter. Promotes gig at Bar L'Exterieur. Introduces themself as Bro. Introduces \"The Way of Zen\" (?).] | Video Description: Bro addresses audience and flips through pages in hand. Bro wears a black t-shirt, glasses, dark shoulder-length hair with male pattern baldness, and a dark thick beard beginning to go white.  \n“Bro”\n01:46:33\n[Reads “The Way of Zen” (?). Audience laughter.] | Video Description: “Bro” reads poem from pages.\n\n“Bro”\n01:47:38\n[Finishes “The Way of Zen” (?). Audience laughter and applause. Addresses audience. Audience laughter. Introduces Unnamed Poem 1 (“The story of my life can be summed up very briefly…”).] | Video Description: “Bro” sheafs through pages and tilts microphone. Armstrong addresses audience. \n\n“Bro”\n01:47:55\n[Reads poem beginning with the line \"The story of my life can be summed up very briefly.\"] | Video Description: Bro reads from pages.\n\n“Bro”\n01:49:03\n[Finishes poem. Audience applause. Addresses audience. Introduces another unnamed poet’s work, “For Henry”. ] | Video Description: “Bro” lowers pages to sheaf through them, placing toothpick (?) in their mouth. Armstrong addresses audience. \n\n“Bro”\n01:49:37\n[Reads another unnamed poet’s work, “For Henry”.] | Video Description: “Bro” reads from pages.\n\n“Bro”\n01:51:49\n[Finishes “For Henry”. Audience applause.] | Video Description: “Bro” lowers pages and exits via stage left. Lee Gotham rises from seat and approaches microphone stand.\n\nLee Gotham\n01:51:55\n[Thanks, Bro. Addresses audience. Announces end of event. Promotes following week’s event (Fortner Anderson and Neil Wiernik, and Wired on Word cassette launch) and the upcoming Pawn’s magazine launch. Audience applause.] | Video Description: Lee Gotham addresses audience. Camera pans toward the left across venue, with audience members applauding, rising from their seats, drinking, and putting on coats.\n\nEND\n01:53:04\n[End of recording.]"],"score":1.8530173},{"id":"3981","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Lee Gotham collection"],"source_collection_label":["Lee Gotham collection"],"collection_contributing_unit":["Spokenweb at Concordia University"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Lee Gotham collection contains the AV recordings regarding the Enough Said series, including readings, performances, open-mic, and spoken-word events that took place at Bistro 4 and other Montreal venues between December 1994 and June 1996."],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Enough Said 1995-03-25, Performance Poetry Party"],"item_title_source":["Asset"],"item_title_note":["On tape labels, corroborated by Lee Gotham, who refers to the event as such."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["Lee Gotham collection"],"item_subseries_title":["Enough Said"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. We may wish to seek permission from individual artists and Drew Duncan, the videographer."],"creator_names":["Anderson, Fortner","Ferrier, Ian","Gotham, Lee","Farkas, Endre","Swift, Todd","Christie, Colin","Frost, Corey","Groupe de Poésie Moderne","Fluffy Pagan Echoes (Groupe)","Smith, Dee","Nawrocki, Norman","Stephens, Ian","Unknown Reader 1","Walsh, Tom"],"creator_names_search":["Anderson, Fortner","Ferrier, Ian","Gotham, Lee","Farkas, Endre","Swift, Todd","Christie, Colin","Frost, Corey","Groupe de Poésie Moderne","Fluffy Pagan Echoes (Groupe)","Smith, Dee","Nawrocki, Norman","Stephens, Ian","Unknown Reader 1","Walsh, Tom"],"creators":["[{\"url\":\"https://viaf.org/viaf/106026246/\",\"name\":\"Anderson, Fortner\",\"dates\":\"1955-\",\"notes\":\"Fortner Anderson was also one of the three MCs of this event.\",\"nation\":[],\"role\":[\"Producer\"]},{\"url\":\"https://viaf.org/viaf/91437046\",\"name\":\"Ferrier, Ian\",\"dates\":\"1954-\",\"notes\":\"Ian Ferrier was also one of the three MCs of this event.\",\"nation\":[],\"role\":[\"Producer\"]},{\"url\":\"https://viaf.org/viaf/106179112\",\"name\":\"Gotham, Lee\",\"dates\":\"1962-\",\"notes\":\"Lee Gotham was also one of the three MCs of this event.\",\"nation\":[],\"role\":[\"Series organizer\",\"Producer\",\"Performer\"]},{\"url\":\"https://viaf.org/viaf/115673614/\",\"name\":\"Farkas, Endre\",\"dates\":\"1948-\",\"notes\":\"Guest performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/41039443/\",\"name\":\"Swift, Todd\",\"dates\":\"1966-\",\"notes\":\"Guest performer, one-half of Swifty Lazar.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/44235997\",\"name\":\"Christie, Colin\",\"dates\":\"\",\"notes\":\"Guest performer, one-half of ga press.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/76001655\",\"name\":\"Frost, Corey\",\"dates\":\"1972-\",\"notes\":\"Guest performer, one-half of ga press.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Groupe de Poésie Moderne\",\"dates\":\"\",\"notes\":\"Guest performers. The group consisted of seven performing members on this event.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/135986318/\",\"name\":\"Fluffy Pagan Echoes (Groupe)\",\"dates\":\"\",\"notes\":\"Guest performers. The group consists of five members: Ran Elfassy, Victoria Stanton, Scott Duncan, Vince Tinguely, and Justin McGrail.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Smith, Dee\",\"dates\":\"\",\"notes\":\"Guest performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/34063513/\",\"name\":\"Nawrocki, Norman\",\"dates\":\"\",\"notes\":\"Guest performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/48507771\",\"name\":\"Stephens, Ian\",\"dates\":\"1954–1996\",\"notes\":\"Guest performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Unknown Reader 1\",\"dates\":\"\",\"notes\":\"Guest performer. Identified as Unknown_Reader1 in the transcription.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Walsh, Tom\",\"dates\":\"\",\"notes\":\"Guest performer, one-half of Swifty Lazar.\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors_names":["Duncan, Drew","Hieronymus Borscht Nonet"],"contributors_names_search":["Duncan, Drew","Hieronymus Borscht Nonet"],"contributors":["[{\"url\":\"\",\"name\":\"Duncan, Drew\",\"dates\":\"\",\"notes\":\"Videographer.\",\"nation\":[],\"role\":[\"Recordist\"]},{\"url\":\"\",\"name\":\"Hieronymus Borscht Nonet\",\"dates\":\"\",\"notes\":\"Musical interludes during the event, including guitarist Sam Shalabi and a pianist (Adam Evans?).\",\"nation\":[],\"role\":[\"Performer\"]}]"],"performer_name":["Hieronymus Borscht Nonet"],"Recordist_name":["Duncan, Drew"],"Performance_Date":[1995],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/3981/Enough_Said-VHS_Performance_Poetry_Party-19950325.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Video\",\"tape_brand\":\"FUJI HQ T-120 (General Purpose, NFL branded)\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"120 minutes\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"VHS\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Tape box. Handwritten labels on front and side.\",\"other_physical_description\":\"VHS asset #Performance_Poetry_Party.\"}]"],"material_designations":["VHS"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Video"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:v:/g/personal/carlosa_pittella_concordia_ca/ERc8XUGfPLxIvn_UIDzRgWgB2YuC9zQZ0-UwhgP3AlFcaA?e=uj3Lix\",\"file_path\":\"\",\"filename\":\"Enough_Said-19950325-Performance_Poetry_Party.mp4\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:51:37\",\"precision\":\"\",\"size\":\"3.15 GB on disk\",\"bitrate\":\"2304Kbps (original); 256Kbps (master)\",\"encoding\":\"MPEG-4 movie\",\"contents\":\"This is file 1 of 1 containing an AV recording of the event \\\"Performance Poetry Party,\\\" an Enough Said/Wired on Words co-presentation, organized by Lee Gotham, Fortner Anderson, and Ian Ferrier, with performances by Endre Farkas, Swifty Lazar, ga press, Groupe de Poésie Moderne, Fluffy Pagan Echoes, Dee Smith, Norman Nawrocki, and Ian Stephens, among others.\",\"notes\":\"Dimensions: 640 × 480.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Video Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1995-03-25\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Asset\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/476659837\",\"venue\":\"Building Dance\",\"notes\":\"The \\\"Building Dance\\\" is no longer at 55 Avenue des Pins Est and seems to have had different addresses throughout the 1990s: 77 Mont-Royal O. circa 1990s; 55 Avenue des Pins E. (2nd floor) between 1994-1995; and 4152 Boul. St. Laurent by 1998.\",\"address\":\"55 Avenue des Pins Est, Montréal, QC, H2W 1N6, Canada\",\"latitude\":\"45.5156338\",\"longitude\":\"-73.5747599\"}]"],"Address":["55 Avenue des Pins Est, Montréal, QC, H2W 1N6, Canada"],"Venue":["Building Dance"],"City":["Montreal, Quebec"],"content_notes":["Event recording starts at 00:00:00:00 of physical asset."],"Note":["[{\"note\":\"VHS #Performance_Poetry_Party. The asset was digitized, generating both uncompressed and compressed video files. Metadata entries based on the compressed file.\",\"type\":\"General\"},{\"note\":\"Faith Paré\",\"type\":\"Cataloguer\"},{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/1124089316\",\"citation\":\"Farkas, Endre. Surviving Words. Ste-Anne-de-Bellevue, QC: The Muses’ Co., 1994.\"},{\"url\":\"https://www.worldcat.org/title/1137025178\",\"citation\":\"Stephens, Ian. Diary of a Trademark. Ste-Anne-de-Bellevue, QC: The Muses’ Co., 1995.\"},{\"url\":\"https://www.worldcat.org/title/49065916\",\"citation\":\"Stephens, Ian. Diary of a Trademark [Music Cassette]. Montréal: Wired on words, 1995.\"}]"],"_version_":1853670549164654592,"timestamp":"2026-01-07T14:59:53.772Z","contents":["[Building Danse stage]\n00:00:11\n[Ambient sounds (voices).] | Video Description: Colour video. A plain performance space (55 Avenue des Pins East, 2nd floor, Montreal, QC, H2W 1N6), with a large stage (as revealed later in clip) with a microphone and long, grey curtains hanging from a rafter in the background. \n\nEndre Farkas\n00:00:12\n[Addresses audience. Audience laughter. Introduces set and first poem, \"For Those Who Deny the Holocaust\" (from Surviving Words, The Muses' Co., 1994), mentioning neo-nazi Ernie Zundel.] | Video Description: Closeup of Endre Farkas addressing audience. Farkas wears a leather jacket, short salt-and-pepper hair, fedora.\n\nEndre Farkas\n00:01:12\n[Reads “For Those Who Deny the Holocaust”. Audience laughter throughout.] | Video Description: Endre Farkas reads, glancing down occasionally, then back up to look across the audience.\n\nEndre Farkas\n00:02:24\n[Thanks audience. Audience applause. Introduces “The Missing Link” (from Surviving Words).] | Video Description: Endre Farkas addresses audience, introducing the next poem.\n\nEndre Farkas\n00:02:48\n[Reads “The Missing Link”.] | Video Description: Endre Farkas reads.\n\nEndre Farkas\n00:05:30\n[Thanks audience. Audience applause. Introduces “O Canada.”] | Video Description: Endre Farkas puts an unseen object down, before addressing audience.\n\nEndre Farkas\n00:05:59\n[Reads “O Canada”.] | Video Description: Camera zooms out to medium closeup on Endre Farkas reading, then zooms into closeup.\n\nEndre Farkas\n00:10:48\n[Thanks audience. Audience applause. Dog barks.] | Video Description: Endre Farkas addresses audience and steps away from microphone. Camera zooms out as Farkas walks across the stage, exiting on the right-side of the frame. \n\n[No signal]\n00:10:52\n[Ambient sounds (white noise).] | Video Description: Black screen with static.\n\nUnknown_Reader1\n00:10:56\n[Addresses audience. Audience member interacts with Unknown_Reader1 (howls like a dog). Audience laughter. Introduces Unknown Poem 1.] | Video Description: Closeup on Unknown_Reader1 addressing audience. Unknown_Reader1 wears rectangular-shaped glasses, short light hair under toque, moustache, and beard.\n\nUnknown_Reader1\n00:11:12\n[Reads piece beginning with the line \"Yes, our time passes and only dreams save us\").] | Video Description: Unknown_Reader1 reads. Camera zooms out to medium closeup, revealing Unknown Performer 1 reading from paper in an open binder.\n\nUnknown_Reader1\n00:12:12\n[Thanks audience. Addresses audience, encouraging applause for “the boys” (likely to mean organizers Ian Ferrier and Lee Gotham). Audience applause.] | Video Description: Unknown_Reader1 looks up to audience and addresses them. Applauds along with audience . Camera shakes while zooming out to medium shot. Unknown_Reader1 walks from microphone toward stage right.\n\n[No signal]\n00:12:19\n[Ambient sounds (white noise).] | Video Description: Black screen with static.\n\nFortner Anderson\n00:12:24\nNow I don't know how many of you have been around Saint Lawrence street over the last several years. Is Chancey here? Chancey? [Audience member responds.] Still in the room? Oh, he just stepped out. Well, there were a couple of readings that have gone on up and down Saint Lawrence street over the several years. Off the Boulevard, Chancey and Peter worked on for a long time. The current incarnation is a wonderful series of readings that occur each Monday night around 9 o'clock at the Bistro 4, that's the corner of Duluth and Saint Lawrence. They're curated, managed, put together by our next reader, Lee Gotham, hailing from Britain, here in Montreal now five years. I'd like you all to welcome Lee. [Audience applause. Ambient sounds (voices). | Video Description: Closeup on event host, Fortner Anderson, looking to audience and addressing them through microphone. Anderson wears dark collared shirt, black browline glasses, and short grey hair. Anderson briefly diverts attention off-stage before resuming addressing audience. Nods at conclusion of introductory marks to Lee Gotham, exiting via the left side of the frame. \n[Building Danse stage]\n00:13:17\nCamera zooms out to a medium long shot on the lone microphone, bathed in the glow of a spotlight hanging on stage right. \n\nLee Gotham\n00:13:20\nVideo Description: Lee Gotham enters the stage via stage right. Gotham wears a loose shirt, dark trousers, long brown hair tied in bun, and a beard,. Camera zooms into medium closeup as Gotham picks up microphone and unravels cord from around stand, moving the stand away to stage left.\n\nLee Gotham\n00:13:44\n[Performs poem beginning with the line \"The problem is we get wasted in alleyways\").] | Video Description: Camera zooms into medium closeup shot on Lee Gotham pacing slowly across the stage and reading into microphone.\n\nLee Gotham\n00:15:01\n[Pauses. Addresses audience. Vocalizes. Audience members briefly interact.] | Video Description: Lee Gotham breathes before addressing audience. Camera zoom into closeup as Gotham pauses and closes eyes. Gotham hums into microphone. \n\nLee Gotham\n00:15:30\n[Performs poem beginning with the line \"Those wheels\").] | Video Description: Lee Gotham performs, pacing around the stage. Camera zooms in and out between medium closeup and extreme closeup on Gotham.\n\nLee Gotham\n00:15:57\n[Transitions into addressing audience. Audience laughter. Audience applause. Addresses videographer Drew Duncan. Audience laughter. Addresses audience, causing more audience laughter and applause.] | Video Description: Lee Gotham addresses audience. Lee Gotham laughs and smiles at the applause. Camera zooms into closeup on Lee Gotham, who looks into camera lens and addresses videographer Drew Duncan. Gotham addresses audience, walking toward stage right. \n\nFortner Anderson\n00:15:35\nThat’s a strong conclusion to our first set. [Audience laughter.] But he’ll be back, he’ll be back, he’s promised to come back in the third set. He’s poring over his texts as we speak. [Audience laughter.] Now, I’d like to remind you all that the recession is now officially over, and you can spend your hard-earned money back at the beer fountain, each and every one of you should drink two or three. [Audience laughter, ambient sounds (voices)]. Now I’d like to introduce our musical interlude with the Hieronymus Borscht Nonet, and we’ll be back in about fifteen-twenty minutes for our second set. It’s going to be all groups. [Ambient sounds (tuning instrument). Audience interaction (whistle).] | Video Description: Camera zooms in and out on Fortner Anderson addressing audience, pacing across the stage. Camera pans across stage, ceiling, and floor of venue.\n\n[No signal]\n00:17:23\n[Ambient sounds (white noise).] | Video Description: Black screen with static.\n\nHieronymus Borscht Nonet\n00:17:28\n[Performs Unknown Composition. Ambient noise (voices).] | Video Description: Camera zooms into closeup on guitarist, Sam Shalabi, glancing between sheet music and guitar, chewing something. Shalabi wears a yellow shirt, short dark hair, and glasses. Camera zooms out to medium shot of the two musicians, including an unknown pianist next to amps on stools and sitting before two large-paned windows. Unknown_Musician1 wears a  patterned shirt, white pants, short dark hair. Camera zooms into closeup on Unknown_Musician1 who reads sheet music while playing. An audience member briefly passes in front of the camera’s view. Camera continues to pan between Shalabi and Unknown_Musician1, and zoom in and out. \n\n[No signal]\n00:18:48\n[Ambient sounds (white noise).] | Video Description: Black screen with static.\n\nLee Gotham\n00:18:52\n[Vocalizes (mic check).] | Video Description: Camera cuts to closeup on the side profile of Lee Gotham, speaking into microphone and facing stage-right. \n\nLee Gotham\n00:18:54\nWelcome back, one and all, to our second set. Please, all hecklers, remember that you had your chance earlier, so just mellow for a moment. Okay, in the second set of our presentation, we have for you some amazing groups. We have Swifty Lazarus, Corey, Colin Frost (Corey Frost and Colin Christie) from ga press, le Groupe de Poésie Moderne, and the Fluffy Pagan Echoes, all in one very nice package. [Audience laughter.] Before we get to all that, I’m making amends for my little false start. And as I have a microphone in front of me, as well as text— [Audience laughter. Lee Gotham laughs.] I’ll go for it. | Video Description: Lee Gotham addresses audience. An audience member briefly passes in front of camera view. Gotham briefly glances down at pieces of paper while addressing audience. \n\nLee Gotham\n00:19:53\n[Reads poem beginning with the line \"The problem is we get wasted in alleyways\").] | Video Description: Camera zooms in and out between extreme closeup and medium closeup on Lee Gotham, who wraps a hand around the microphone and performs poem, occasionally glancing down at pages.\n\nLee Gotham\n00:21:48\n[Pauses. Ambient noise (paper).] | Video Description: Lee Gotham briefly pauses performance to flip a page.\n\nLee Gotham\n00:21:51\n[Resumes reading.] Applause. | Video Description: Lee Gotham resumes performing poem. Camera zooms out between medium long shot and medium shot of Lee Gotham.\n\nLee Gotham\n00:24:14\n[Addresses audience. Introduces Swifty Lazarus. Audience applause.] | Video Description: Lee Gotham addresses audience before putting stack of pages down on the stage. Camera zooms out to medium long shot as Lee Gotham reaches over to grab another piece of paper, and walks back to microphone. Gotham glances down at paper and addresses audience.\n\nSwifty Lazarus (Todd Swift and Tom Walsh)\n00:25:05\nVideo Description: Camera pans away from Lee Gotham to stage right, where synthesizer player Tom Walsh and performer Todd Swift are setting up. Both wear black suit jackets over white button-down shirts, grey dress pants, bowties, glasses, and dark hair. There is a synthesizer, a music stand, and a microphone. A ceiling fan above them is briefly seen, as well as an unknown audience member sitting on the sill of one of the large-paned windows. Lee Gotham briefly passes through the camera’s view, walking off stage right.\n\nSwifty Lazarus (Todd Swift and Tom Walsh)\n00:25:08\n[Applause. Recording of unknown broadcast plays.] | Video Description: Camera zooms into a medium shot on Todd Swift putting on headphones. Camera zooms out, revealing Tom Walsh programming the synthesizers. Todd Swift puts a cigarette in mouth. Camera zooms into a medium shot of Tom Walsh, also putting on headphones. Camera pans between the performers. \n\nSwifty Lazarus\n00:26:57\n[Perform series of unknown compositions.] | Video Description: Tom Walsh presses a key on synthesizer, cueing a new audio clip. Camera zooms into Todd Swift lifting a stack of pages and beginning to perform. Camera zooms in and out and pans between the performers. Occasionally the performers sit or squat on stage to sip from glasses, or employ various objects to enhance the performance, such as a handheld radio or newspaper. \n\nSwifty Lazarus\n00:41:42\n[Finishes compositions. Audience applause.] | Video Description: Todd Swift and Tom Walsh bow and walk away from their equipment. \n\n[No signal]\n00:41:51\n[Ambient sounds (white noise).] | Video Description: Black screen with static.\n\nga press (Colin Christie and Corey Frost)\n00:41:55\n[Ambient noise (footsteps, movement). Performs piece beginning with the line “Well, the sun’s gone down on a Rhine valley town”). Audience laughter throughout.] Video Description: Camera cuts to a medium long shot of Colin Christie and Corey Frost on stage, looking at each other. Christie wears grey t-shirt over long-sleeved shirt and short, brown hair. Frost wears a white t-shirt, light wash jeans, long black hair, and glasses. A physical ‘dialogue’ solely using movement and gestures is acted out by the performers. Colin Christie walks in a circle before arriving at a second microphone set up on stage. Colin Christie pulls out something from back pocket as Corey Frost stands upstage left. Colin Christie takes out a harmonica from a case and plays it. Corey Frost picks up the microphone out of the free stand and begins reciting a poem. Camera zooms into a closeup on Corey Frost. Camera zooms out to a medium long shot and pans to also capture Colin Christie. Corey Frost and Colin Christie pace around the stage and gesture throughout to accentuate the performance.\n\nga press\n00:49:45\n[Audience applause. Corey Frost promotes the upcoming ga press book launch at Enough Said, featuring new work by Sandra Jeppesen and Chris Bell. Audience laughter. Colin Christie addresses audience. Corey Frost resumes promoting ga press catalogue. Audience applause.] | Video Description: Colin Christie and Corey Frost step away from microphones, bow, and then reapproach them. Colin Christie and Corey Frost address audience. They step away from microphones and exit via stage left.\n\n[No signal]\n00:51:06\n[Ambient sounds (white noise).] | Video Description: Black screen with static.\n\nGroupe de Poésie Moderne (GPM)\n00:51:11\n[Ambient sounds (voices; footsteps; opening and closing door; dog barking.) Unknown_Member2 of GPM addresses Unknown_Member1 and the audience. Ambient sounds (opening and closing door; footsteps).] | Video Description: Camera cuts to a long shot of an open stage area, a black grimy wall as a background and white floor, with a microphone stand downstage centre, a black milk crate upstage centre, and a ladder and building materials pushed to the side. Camera pans toward the right, revealing multiple audience members sitting along the side of the stage, and Unknown_GPMMember1. Unknown_GPMMember1 wears a black turtleneck, black pants, dark hair in two braids, large belt buckle, and lipstick. Unknown_GPMMember1 closes a door behind them and walks onto the stage. Unknown_GPMMember1 lifts a piece of paper to read as they step up on the milk crate. Camera zooms into a medium long shot of Unknown_GPMMember1. Unknown_GPMMember2 enters the frame via stage left, holding a cue card in their left hand. Unknown_GPMMember2 wears a black turtleneck, black pants, and long dark hair pulled into a ponytail. They address Unknown_GPMMember1 and the audience, before taking position facing away from the audience upstage left. Slowly, other members of the group, each wearing the same all-black outfit, enter through the door and taking position across the stage, facing away from the audience.\n\nGroupe de Poésie Moderne (GPM)\n00:52:30\n[Perform Unknown Composition 1. Audience laughter throughout.] | Video Description: Camera zooms into a closeup on the member standing on the milk crate beginning the performance, reading from the piece of paper and swivelling to address everyone in the room. Camera zooms in and out throughout and pans to follow other members of the group, who perform a series of dramatic skits. \n\n[Building Danse stage]\n01:02:20\nVideo Description: A dog casually walks across the stage as the group performs, exiting stage left.\n\nGroupe de Poésie Moderne (GPM)\n01:07:05\n[Unknown_Member3 thanks audience. Audience applause.] | Video Description: The group ends in neutral standing positions, and Unknown_Member3 addresses audience. 5 of the 7 members of GPM walk into a single line downstage centre, while two remain upstage, facing away from the audience. The two upstage members walk downstage and kneel into positions behind the line, facing stage left and stage right, respectively. \n\nGroupe de Poésie Moderne (GPM)\n01:07:30\n[Ambient sounds (dog barking). Performs Unknown Composition 2. Audience laughter throughout.] | Video Description: The GPM assumes new dramatic positions and perform their second dramatic skit.\n\n[Building Danse stage]\n01:07:51 \nThe previous dog walks across the stage behind the performers, exiting stage left. Camera zooms in and out and pans throughout to follow the performers moving across the stage.\n\nGroupe de Poésie Moderne (GPM)\n01:10:47\n[Finish Unknown Composition 2. Audience applause. Ambient sounds (dog barking).] | Video Description: The GPM filters one-by-one off the stage, exiting stage left. Camera pans right, capturing the members leaving through a door. Camera continues panning right across the applauding audience, who fill the room right to the back wall. Camera sharply pans left toward the stage, empty except for the black milk crate and a microphone stand.\n\n[No signal]\n01:11:01\n[Ambient sounds (white noise).] | Video Description: Black screen with static.\n\nFluffy Pagan Echoes\n01:11:05\n[Audience applause. Vocalizing (repeating \"toy boat\" at different volumes and tones). Ambient sounds (movement, dog barking). Vocalizing begins to cohere at the same volume and rhythm.] | Video Description: Camera cuts to a long shot of the open stage area, with the black milk crate in the centre of the stage. An unknown audience member walks across the stage. An unknown person moves a microphone stand closer to centre stage. Camera pans toward them as they exit stage right. Two people enter the stage from stage right. Camera pans toward the right, where another set of performers is seen running and walking into the stage area. Members of the Fluffy Pagan Echoes move around the stage, each doing different actions, such as stomping, speaking into different microphones, or examining different parts of the stage. They assemble downstage centre, moving microphones closer to centre stage. Camera zooms into a medium closeup on Victoria Stanton. Stanton wears a black vest over a long-sleeved grey shrt and shoulder-length brown hair. The camera pans right to capture each Fluffy Pagan Echoes member. Ran Elfassy wears a white graphic t-shirt, green shorts over white pants, a necklace, and black toque. Vincent 'Vince' Tinguely wears a white graphic t-shirt, jeans, chin-length white hair, and glasses. Scott Duncan wears a flannel shirt and short curly brown hair. Justin McGrail wears a yellow patterned shirt over graphic t-shirt, short brown hair, and necklaces. \n\nFluffy Pagan Echoes\n01:12:21\n[Address audience (introduces each member: Ran Elfassy, Victoria Stanton, Scott Duncan, Vince Tinguely, and Justin McGrail).] | Video Description: The Fluffy Pagan Echoes address audience. The camera zooms into an extreme closeup on Ran Elfassy, looking toward the other members and counting them in. \n\nFluffy Pagan Echoes\n01:12:42\n[Perform “Resistance is Reasonable”.] | Video Description: Fluffy Pagan Echoes perform “Resistance is Reasonable”. Camera zooms into first a medium closeup, then an extreme closeup, on Victoria Stanton, who performs a solo during the piece into microphone. Camera zooms out into long shot of the entire group. \n\nFluffy Pagan Echoes\n01:16:34\n[Finish “Resistance is Reasonable”. Audience applause. Ambient sounds (voices, movement).] | Video Description: Fluffy Pagan Echoes members bow. Ran Elfassy picks up an object from the floor (a hat?). The group exits via stage right. \n\nLee Gotham\n01:16:51\n[Audience laughter. Addresses audience. Announces ten-minute break and upcoming set, including Ian Stephens. Promotes merchandise table.] | Video Description: Camera zooms into extreme closeup on microphone stand on stage left. Lee Gotham leaps into frame and addresses audience into microphone. Lee Gotham reads final set from a piece of paper.]\n\n[No signal]\n01:17:22\n[Ambient sounds (white noise).] | Video Description: Black screen with static.\n\nDee Smith\n01:17:26\n[Introduces poem. Addresses audience. Audience laughter.] | Video Description: Camera cuts to closeup on the side profile of Dee Smith addressing the audience. Smith wears a white shirt, patterned vest, necklace, earrings, rings, and short dark curly hair with headband. \n\nDee Smith\n01:17:36\n[Performs poem beginning with the line \"Talking 'bout you lovin' me this way\").] | Video Description: Dee Smith reads poem.\n\nDee Smith\n01:18:34\n[Finishes poem. Audience applause. Addresses audience.] | Video Description: Dee Smith flips through pages. Camera zooms into extreme closeup as Dee Smith addresses audience.\n\nDee Smith\n01:18:43\n[Performs poem beginning with the line \"You see, man and woman have it, some choose to spread it\").] | Video Description: Camera zooms out into closeup on Dee Smith performing, occasionally glancing down to read from pages.\n\nDee Smith\n01:19:35\n[Finishes poem. Unseen audience member interacts. Audience applause. Introduces poem and addresses audience. Audience snaps and stomps to a rhythm.] | Video Description: Dee Smith addresses audience. Dee Smith directs audience to keep rhythm by snapping.\n\nDee Smith\n01:19:58\n[Performs poem beginning with the line \"What the hell, what the hell, what a situation.\" Audience snaps and stomps alongside.] | Video Description: Camera zooms out to medium closeup on Dee Smith performing, glancing down occasionally at their notebook.\n\nDee Smith\n01:21:20\n[Finishes poem. Audience applause. Addresses audience. Audience laughter. Dedicates next poem. Audience laughter. Introduces poem.] | Video Description: Dee Smith flips through notebook and addresses audience.\n\nDee Smith\n01:22:00\n[Performs poem in Jamaican dialect, beginning with the line \"Woman, are you alone\".] | Video Description: Dee Smith performs poem written in notebook.\n\nDee Smith\n01:23:53\n[Thanks audience. Audience applause.] | Video Description: Dee Smith closes notebook and thanks audience. Camera zooms out to medium long shot as Dee Smith tilts microphone stand down and walks off stage via stage left. \n\n[No signal]\n01:23:58\n[Ambient sounds (white noise).] | Video Description: Black screen with static.\n\nIan Ferrier\n01:23:59\nThank you very much, Dee Smith. Dee will also be appearing at part of the Enough Said series on April 3rd, if anybody wants to catch that, so please come out for that. Our next performer has been touring all over the place. He's about to head to Europe, he's been touring North America with a show called The Men's Show. He's a vital part of a group called Rhythmactivism (?), and he's an amazing performer, Mr. Norman Nawrocki. [Audience applause.] | Video Description: Camera zooms into extreme closeup on Ian Ferrier addressing audience. Ferrier wears a dark collared long-sleeved shirt, black jacket, and drk chin-length hair. Ian Ferrier looks up and tilts microphone down before exiting the frame via the left. Camera zooms out to a medium long shot on the lone microphone on stage.\n\nNorman Nawrocki\n01:24:37\n[Addresses audience. Addresses Ian Stephens. Audience applause. Ambient sounds (dog barking). Introduces “Hey, Garçon! Another Hotdog, Right Here!”.] | Video Description: Norman Nawrocki enters via stage left. Norman Nawrocki wears a long-sleeved black sweatshirt and short brown hair with fringe. Camera zooms in and out on Norman Nawrocki adjusting microphone and addressing audience. Norman Nawrocki turns toward stage right to address off-screen audience member (Ian Stephens). Camera zooms into extreme closeup on Norman Nawrocki introducing poem.\n\nNorman Nawrocki\n01:25:08\n[Performs “Hey, Garçon! Another Hotdog, Right Here!”. Audience laughter throughout.] | Video Description: Camera zooms in and out on Norman Nawrocki performing poem, glancing down to read from paper.\n\nNorman Nawrocki\n01:28:11\n[Thanks audience. Audience applause.] | Video Description: Norman Nawrocki nods and thanks audience. Camera zooms out to long shot as Norman Nawrocki exits via stage left.  Ian Ferrier, with a cigarette and piece of paper in hand, approaches microphone via stage right. An audience member briefly passes through camera view.\n\nIan Ferrier\n01:28:23\n[Addresses Norman Nawrocki. Promotes upcoming poetry events: Enough Said with Endre Farkas (March 27, 1995); Vox Hunt poetry slam (hosted by Todd Swift, Tuesday, April 4, 1995, Maître (?) Renard Blues Bar, 4910 Saint-Laurent Boulevard). Introduces Fortner Anderson. Audience applause.] | Video Description: Ian Ferrier addresses Norman Nawrocki (off-screen). Ian Ferrier addresses audience. Ian Ferrier exits via stage right.\n\nFortner Anderson\n01:29:16\n[Ambient sounds (movement).] | Video Description: Camera zooms out into medium long shot as Fortner Anderson enters via stage left. Fortner Anderson picks up microphone and unravels cord from around stand. Anderson puts hand to chin and steps sideways, facing stage left. Camera zooms into an extreme closeup as Fortner Anderson looks toward audience.\n\nFortner Anderson\n01:29:30\n[Performs poem beginning with the line \"I hate these poems. They stink of the Good Book\". Audience laughter throughout.] | Video Description: Fortner Anderson performs Unknown Poem 1, pacing throughout the stage, occasionally making gestures to accentuate performance and add humour.\n\nFortner Anderson \n01:34:25\n[Finishes poem. Audience applause.] | Video Description: Fortner Anderson puts microphone back onto stand and nods to the audience. Camera zooms out as Fortner Anderson exits via stage right.\n\n[No signal]\n01:34:40\n[Ambient sounds (white noise).] | Video Description: Black screen with static.\n\nIan Ferrier\n01:34:46\n[Audience laughter. Addresses audience. Introduces medley recording from Ian Stephens’ newest cassette (from Wired on Words Productions) and Ian Stephens. Audience applause.] | Video Description: Cut to camera zooming into extreme closeup on side profile of Ian Ferrier standing at microphone, addressing audience. Ferrier exits via stage right. Camera zooms out to long shot of the lone microphone on stage.\n\nIan Stephens\n01:35:31\n[Ambient sounds (voices, coughs, movement, dog barking). Recording of unknown Ian Stephens' medley fades in and plays, beginning with the line \"23-12-91 under the bridge.\" Ian Stephens performs a piece.] | Video Description: Camera tilts before positioning upright again. Ian Stephens walks on via stage right carrying a chair, putting it down centre stage. Ian Stephens wears a brown jacket, darkwash jeans, black hooded sweatshirt, and a backward baseball cap. Ian Stephens places a bottle on the black milk crate behind the chair. Ian Stephens points and nods to an audience member (off-screen). Stephens takes off brown jacket and drops it next to the black milk crate. Ian Stephens walks up to the chair, takes out a book, drops it on the floor in front of him, and searches pockets. Ian Stephens walks back to brown jacket and searches it for a yellow object.\n\nIan Stephens\n01:36:31\n[Ian Stephens continues performing a piece. Towards the end, he repeats the line \"Thinking about cracks.\"] | Video Description: Camera tilts up and zooms into closeup to capture Ian Stephens removing hat, dropping it on the floor, and putting hoodie over his head. Stephens begins wrapping his head in yellow caution tape. Ian Stephens takes out a set of bottom veneers from sweatshirt pocket. Camera zooms into an extreme closeup as Stephens places the veneers in his mouth, attempting to chew and breathe through a small slit between the tape. Camera zooms out to a long shot and pans up and down to capture Ian Stephens' entire figure on stage, with caution tape draping to the floor. Stephens bends and limps, sitting in the chair centre-stage, making himself smaller and smaller. Camera zooms into a closeup of the fingerless gloves on Ian Stephens' hands. Ian Stephens twitches to certain words in the recording. Ian Stephens stands, waving his arms around him, and approaches the microphone stand. Camera zooms into extreme closeup as Ian Stephens holds onto the microphone stand and vocalizes into microphone.\n\nIan Stephens\n01:41:35\n[Thanks audience. Audience applause.] | Video Description: Ian Stephens addresses audience before stepping away from microphone stand. Ian Stephens unravels caution tape from around head and pops out veneer. Ian Stephens adjusts microphone and stares out at audience. \n\nIan Stephens\n01:41:56\n[Performs a piece beginning with the line \"If I can't have you\".] | Video Description: Camera zooms in and out on Ian Stephens performing into the microphone.\n\nIan Stephens\n01:43:21\n[Live instrumentation (guitar (?), bass (?), piano) fades in. Audience laughter throughout.] | Video Description: Ian Stephens nods head at an unknown musician (off-screen) as he continues to perform. Ian Stephens lifts microphone from stand and performs pacing across the stage, camera panning and zooming in and out to follow his movements.\n\nIan Stephens\n01:46:28\n[Thanks audience. Audience applause.] | Video Description: Ian Stephens thanks audience and walks toward centre stage. Ian Stephens places microphone in stand and picks book off of floor. Ian Stephens flips through book.\n\nIan Stephens\n01:46:49\n[Addresses audience. Thanks Fortner Anderson and Ian Ferrier. Audience applause. Thanks Endre Farkas for assistance with Diary of a Trademark (The Muses Co., 1995). Introduces “Do You Want a Colour TV?” from Diary of a Trademark. | Video Description: Ian Stephens addresses audience into the microphone. Stephens thanks Fortner Anderson and Ian Ferrier, applauding along with audience. Stephens addresses audience.\n\nIan Stephens\n01:47:33\n[Reads “Do you Want a Colour TV?”.] | Video Description: Ian Stephens reads from book in his hand into the microphone, glancing up occasionally at the audience.\n\nIan Stephens\n01:49:02\n[Thanks audience. Audience applause.] | Video Description: Ian Stephens addresses audience and starts to walk off stage. Stephens collects items from floor and unwraps caution tape from around his shoulders. Camera pans to follow Stephens walking off via stage right. Camera pans back to a long shot of the stage. Camera zooms into a closeup as Ian Ferrier enters via stage right, approaching the microphone. \n\nIan Ferrier\n01:49:25\n[Thanks Ian Stephens. Addresses audience. Audience member (Ian Stephens?) interacts (calling out “buy it!”). Audience laughter. Ian Ferrier promotes Ian Stephens’ cassette. Introduces Aidan (?) Evans. Announces end of event, mentioning that the pianist of the Hieronymus Borscht Nonet will keep playing the piano while the bar remains open. Audience applause.] | Video Description: Ian Ferrier addresses audience. Ferrier laughs at unseen audience member’s (Ian Stephens?) remark and resumes addressing audience. Ian Ferrier waves to audience and exits via stage right. Camera quickly pans across applauding audience. \n\nHieronymus Borscht Nonet\n01:49:58\n[The pianist of the Hieronymus Borscht Nonet plays unknown composition on piano.] | Video description: Camera shifts downward and blurs from the speed of its movement. Audience members’ feet and stools.\n\n[No signal]\n01:50:00\n[Ambient sounds (white noise).] | Video Description: Black screen with static.\n\nEND\n01:51:37\n[End of recording.]"],"score":1.8530173},{"id":"4569","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Lee Gotham collection"],"source_collection_label":["Lee Gotham collection"],"collection_contributing_unit":["Spokenweb at Concordia University"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Lee Gotham collection contains the AV recordings regarding the Enough Said series, including readings, performances, open-mic, and spoken-word events that took place at Bistro 4 and other Montreal venues between December 1994 and June 1996."],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Enough Said 1995-03-20, Fluffy Pagan Echoes"],"item_title_source":["Asset"],"item_title_note":["Ephemera accompanying asset, corroborated by Lee Gotham, who introduces the event headliners."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["Lee Gotham collection"],"item_subseries_title":["Enough Said"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. We may wish to seek permission from individual artists and Drew Duncan, the videographer."],"creator_names":["Fluffy Pagan Echoes (Groupe)","Gotham, Lee"],"creator_names_search":["Fluffy Pagan Echoes (Groupe)","Gotham, Lee"],"creators":["[{\"url\":\"https://viaf.org/viaf/135986318/\",\"name\":\"Fluffy Pagan Echoes (Groupe)\",\"dates\":\"\",\"notes\":\"The group consists of five members: Ran Elfassy, Victoria Stanton, Scott Duncan, Vince Tinguely, and Justin McGrail.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/106179112\",\"name\":\"Gotham, Lee\",\"dates\":\"1962-\",\"notes\":\"Lee Gotham was also one of the MCs of this event.\",\"nation\":[],\"role\":[\"Series organizer\",\"Producer\"]}]"],"contributors_names":["Duncan, Drew","McGrail, Justin","Elfassy, Ran","Stanton, Victoria","Tinguely, Vincent (Vince)","Duncan, Scott","Edith’s Mission","Alsterlund, Kate","Chamberlain, Tom"],"contributors_names_search":["Duncan, Drew","McGrail, Justin","Elfassy, Ran","Stanton, Victoria","Tinguely, Vincent (Vince)","Duncan, Scott","Edith’s Mission","Alsterlund, Kate","Chamberlain, Tom"],"contributors":["[{\"url\":\"\",\"name\":\"Duncan, Drew\",\"dates\":\"\",\"notes\":\"Videographer.\",\"nation\":[],\"role\":[\"Recordist\"]},{\"url\":\"https://viaf.org/viaf/106255768\",\"name\":\"McGrail, Justin\",\"dates\":\"1968-\",\"notes\":\"One of the five members of Fluffy Pagan Echoes.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/105951166\",\"name\":\"Elfassy, Ran\",\"dates\":\"1972-\",\"notes\":\"One of the five members of Fluffy Pagan Echoes.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/1975942\",\"name\":\"Stanton, Victoria\",\"dates\":\"1970-\",\"notes\":\"One of the five members of Fluffy Pagan Echoes.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/36425179\",\"name\":\"Tinguely, Vincent (Vince)\",\"dates\":\"1959-\",\"notes\":\"One of the five members of Fluffy Pagan Echoes.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/2021159474212827661705\",\"name\":\"Duncan, Scott\",\"dates\":\"1970-\",\"notes\":\"One of the five members of Fluffy Pagan Echoes.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Edith’s Mission\",\"dates\":\"\",\"notes\":\"Opening act. Musical duo: Ibolya (Ibi) Kaslik and Amy Millan.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Alsterlund, Kate \",\"dates\":\"\",\"notes\":\"Opening act.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Chamberlain, Tom\",\"dates\":\"\",\"notes\":\"Opening act.\",\"nation\":[],\"role\":[\"Performer\"]}]"],"performer_name":["McGrail, Justin","Elfassy, Ran","Stanton, Victoria","Tinguely, Vincent (Vince)","Duncan, Scott","Edith’s Mission","Alsterlund, Kate ","Chamberlain, Tom"],"Recordist_name":["Duncan, Drew"],"Performance_Date":[1995],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/1565/Enough_Said-VHS4-19950306_19950313_19950320_19950327_19950403.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Video\",\"tape_brand\":\"TDK EHG\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"120 minutes\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"VHS\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Tape box. Handwritten labels on sides. Ephemera accompanying asset.\",\"other_physical_description\":\"VHS #4 asset. Contains recordings of multiple events.\"}]"],"material_designations":["VHS"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Video"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:v:/g/personal/carlosa_pittella_concordia_ca/Ecc5U1M9bXZLjyXZn-oaG7ABEXc1jnAGzeVTO_dfBm8trQ?e=ca5MeL\",\"file_path\":\"\",\"filename\":\"Enough_Said-19950320-Fluffy_Pagan_Echoes.mp4\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:00:26\",\"precision\":\"\",\"size\":\"1.71 GB on disk\",\"bitrate\":\"2304Kbps (original); 256Kbps (master)\",\"encoding\":\"MPEG-4 movie\",\"contents\":\"This is file 1 of 1 containing an AV recording of the event featuring the Fluffy Pagan Echoes group as part of the Enough Said series, organized by Lee Gotham, with extra performances by Edith’s Mission and others.\",\"notes\":\"Dimensions: 640 × 480.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Video Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1995-03-20\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Asset\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/2428619734\",\"venue\":\"Bistro 4\",\"notes\":\"Bistro 4 (pronounced Bistro Quatre), no longer in existence.\",\"address\":\"4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada\",\"latitude\":\"45.5169628\",\"longitude\":\"-73.5796147\"}]"],"Address":["4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada"],"Venue":["Bistro 4"],"City":["Montreal, Quebec"],"content_notes":["Event recording starts at 02:26:25:95 of VHS #4 asset, which contains multiple events."],"Note":["[{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"},{\"note\":\"VHS #4 asset. Contains recordings of multiple events: (1) Enough Said 1995-03-06, Phineas Flower Trio and Godin Part 2; (2) Enough Said 1995-03-13, Karasick; (3) Enough Said 1995-03-20, Fluffy Pagan Echoes; and (4) Enough Said 1995-03-27, Farkas and Nuttall; and (5) Enough Said 1995-04-03, Smith. The asset was digitized, generating both uncompressed and compressed video files; the compressed files were then split into events to facilitate the transcription work. Metadata entries based on events.\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"https://worldcat.org/title/47991112\",\"citation\":\"Stanton, Victoria, & Vincent Tinguely. Impure. Reinventing the Word: the Theory, Practice, and Oral History of Spoken Word in Montreal. Montreal: Conundrum Press, 2001.\"},{\"url\":\"https://www.worldcat.org/oclc/35887680\",\"citation\":\"Fluffy Pagan Echoes. A word circus. Montreal: Egg Sandwich Press = Editions sandwich aux oeufs, c. 1994.\"}]"],"_version_":1853670549166751744,"timestamp":"2026-01-07T14:59:53.772Z","contents":["[SpokenWeb edits]\n00:00:00\nVideo Description: Black screen with white text that reads \"One minute of this video has been removed.\"\n\n[Bistro 4 stage]\n00:00:06\nVideo Description: Colour video, medium long shot, then zoom into medium closeup of the stage at Bistro 4 (Quatre) (4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada). A single mic stand. The stage, slightly below street level, is set against a full-wall window looking out onto the St. Laurent Blvd. traffic—with both pedestrians and vehicles regularly passing by. On the windows, the words “enough said.”\n\nEdith’s Mission (Ibolya \"Ibi\" Kaslik and Amy Milan)\n00:00:06\n[Ibolya (“Ibi”) Kaslik  announces the duo will perform unplugged. Amy Millan corrects the pronunciation of her last name. Kaslik introduces their first piece is titled “Show me” and is an original composition. The duo performs “Show me,” with Kaslik leading the vocals. Applause.] | Video Description: Medium shot as the duo Edith’s Mission enters the stage, sits, picks up their guitars, and plays a first song. Ibi Kaslik holds a black acoustic guitar and wears black long-sleeved shirt, long light-brown hair parted in the middle, two hair clips. Amy Millan holds a light brown acoustic guitar and wears a gray long-sleeved shirt and long dark hair.\n\nEdith’s Mission (Ibolya \"Ibi\" Kaslik and Amy Milan)\n00:02:56\n[Duo performs UnknownSong1, beginning with the line “Well, today,” with Amy Milan now leading the vocals. Applause.] | Video Description: Medium shot as the duo Edith’s Mission performing UnknownSong1.\n\nEdith’s Mission (Ibolya \"Ibi\" Kaslik and Amy Milan)\n00:05:35\n[Duo performs UnknownSong2, with the chorus line, “I know he’s somewhere out there,” with Ibi Kaslik leading the vocals this time. Applause.] | Video Description: Medium shot as the duo Edith’s Mission performing UnknownSong2.\n\nEdith’s Mission (Ibolya \"Ibi\" Kaslik and Amy Milan)\n00:07:42\n[Duo performs a last song, called “Every Day,” Ibi Kaslik leading the vocals. Applause.] | Video Description: Medium shot as the duo Edith’s Mission performing “Every Day.” The duo then stands up and leaves the stage while carrying their guitars.\n\n[SpokenWeb edits]\n00:10:00\nVideo Description: Black screen with white text that reads \"One minute of this video has been removed.\"\n\nKate Alsterlund\n00:10:07\n[Vocalizes and grunts into the mic, performing a piece beginning with the lines, “I’ve got this thing on my. Don’t mind me. I’ve just got this grinder sitting on my shoulder.” Applause.] | Video Description: Medium closeup then closeup as Kate Alsterlund enters the stage and performs a piece. Alsterlund wears a long-sleeved white turtleneck-style blouse with a cutout between neck and bust, neck-length light brown hair, and round dangle earrings.\n\nTom Chamberlain\n00:16:17\n[Noise of a bench being dragged. Introduces himself and announces he will read some poems, the first one about someone reading a poem at a café, titled “No poems about sex, please.” It has end rhymes. Applause.]  | Video Description: Closeup as Tom Chamberlain drags a bench to the mic, sits on it, then performs a poem. Chamberlain wears a red-and-blue plaid shirt over a white t-shirt, and short blond hair. \n\nTom Chamberlain\n00:17:14\nThis is a deconstructionist poem, so feel free to take it apart [laughter]. It’s called, “This poem contains content” [laughter]. It’s like those sex ads at night, where the woman comes on TV and says, “Are you lonely? We are” [laughter]. [Performs “This poem contains content.” Laughter throughout. Applause. Thanks the audience.] | Video Description: Closeup as Tom Chamberlain performs a piece.\n\nTom Chamberlain\n00:18:54\nThis is a poem about how Montreal winters can affect you, (?) drive inside your apartment, inside yourself. You implode and then it’s spring, so. It is spring. Tonight it turns spring while we’re sitting here. (?) This is called “The winter of my discount tent” (sic.). [Performs “The winter of my discount tent.” Thanks audience. Applause.] | Video Description: Closeup as Tom Chamberlain performs a piece.\n\n[SpokenWeb edits]\n00:19:59\nVideo Description: Black screen with white text that reads \"Thirty seconds of this video have been removed.\"\n\nLee Gotham\n00:20:05\n[Video resumes mid-sentence] manifestation of their worldly business. So, I’m gonna bring the lights down. I want everybody to sit down and enjoy the Fluffy Pagan Echoes. [Applause.] | Video Description: Cut to medium long shot of the stage, with Lee Gotham standing by the members of the Fluffy Pagan Echoes (Justin McGrail, Vince Tinguely, Scott Duncan, Victoria Stanton, and Ran Elfassy), plus an audience member helping set up equipment. Gotham wears a dark button-down long-sleeved shirt and shoulder length light brown hair. \n\nFluffy Pagan Echoes and Ran Elfassy\n00:20:30\n[Ambient noise (audience talking.) Ran Elfassy shouts “OK! I’ve got something to say” and initiates a collective poem, with each member of Fluffy Pagan Echoes repeating the line “The solstice came at nine-fourteen this evening.”] | Video Description: Medium long shot as the five members of Fluffy Pagan Echoes stand side by side and perform a collective piece without mic.\n\nRan Elfassy and Fluffy Pagan Echoes\n00:21:30\n[Salutes the audience, asking several people “How are you.” Breathes into the mic. Sets up his piece as if in a play, saying “Now, a young man enters, stands, takes his space.” Performs the first part of a piece inspired by television, beginning with the line, “The television surveys the audience.”] | Video Description: Medium long shot of Ran Elfassy as he picks up some papers and walks to the mic to salute the audience. Elfassy wears a long-sleeved striped shirt atop a darker t-shirt and buzz cut hair. Walks away and then back to the mic, as an actor entering the stage in a play. Performs a piece while the four other members of Fluffy Pagan Echoes, side by side, stand behind him. Elfassy gesticulates as if pressing a remote control towards the audience.\n\nRan Elfassy and Fluffy Pagan Echoes\n00:25:35\n[Performs the second part of his piece, beginning with the dedication, “This is for all of those of you who bleed.” Scattered laughter after some lines.] | Video Description: Medium long shot of Ran Elfassy performing the second part of his piece. Elfassy often gesticulates, acting out lines of the piece.\n\nRan Elfassy and Fluffy Pagan Echoes\n00:25:53\n[Performs the third part of his piece, beginning with the line, “If you don’t believe in abortions, you shouldn’t have one.”] | Video Description: Medium long shot of Ran Elfassy performing the third part of his piece.\n\nRan Elfassy and Fluffy Pagan Echoes\n00:27:34\n[Performs the fourth and last part of his piece, beginning with the dedication, “Slogans passing out.” Scattered laughter after some lines. Applause.] | Video Description: Medium long shot of Ran Elfassy performing the fourth and last part of his piece. Walks back into the row of Fluffy Pagan Echoes members standing upstage.\n\nFluffy Pagan Echoes\n00:29:01\n[Ambient sounds, scattered audience laughter.] | Video Description: Medium long shot as Justin McGrail takes off his beret and puts on a jacket borrowed from Scott Duncan, while the other four members of Fluffy Pagan Echoes leave the Bistro 4 through the full-wall window and start making funny faces at the audience.\n\nJustin McGrail and Fluffy Pagan Echoes\n00:29:29\n[Performs a piece beginning with the line “In viewing the castles of (Paris?).” Audience laughter throughout. Applause.] | Video Description: Medium long shot of Justin McGrail performing a piece. McGrail wears a black blazer over a white shirt and dark brown hair. The other four members of Fluffy Pagan Echoes make funny faces and gestures at the audience, right outside the full-wall window of Bistro 4. The camera zooms into and pans from right to left, showing the performers behind the window. At some point we see Ran Elfassy making faces at a pedestrian passing by. At the end of the piece, McGrail turns to the window and bows to the performers, who bow back from behind the window.\n\nFluffy Pagan Echoes, Justin McGrail, and Scott Duncan\n00:30:45\n[Ambient sounds, scattered audience laughter.] | Video Description: Medium long shot as Justin McGrail returns the blazer to Scott Duncan, while the other four members of Fluffy Pagan Echoes file back into the Bistro 4 and form a row behind Duncan. Duncan searches for something in the pockets of the blazer and finds a folded piece of paper.\n\nScott Duncan and Fluffy Pagan Echoes\n00:31:04\n[Performs a piece beginning with the line “I love art, I hate art galleries.” Audience laughter throughout. Applause.] | Video Description: Medium long shot as Scott Duncan performs a piece. Duncan wears a black blazer atop a plaid button-down shirt and short curly dark brown hair The four other members of Fluffy Pagan Echoes, side by side, stand behind him; at some point, Ran Elfassy sits down on the stage. \n\nScott Duncan and Fluffy Pagan Echoes\n00:31:26\n[Performs a piece beginning with the line “Dear Scott” and a quote from Barbara Woodhouse: “Never pat a dog on its forehead; such activity will result in the dog developing a superiority complex.” Audience laughter. Following Woodhouse’s quote, Duncan reads what appears to be the piece’s subtitle, “Gaudí’s cathedral postscriptum.” Applause.] | Video Description: Zoom into medium shot as Scott Duncan performs a piece, while some members of Fluffy Pagan Echoes remain visible, standing side by side, behind him. At the end of the piece, the camera zooms out as Duncan folds and returns the piece of paper to his blazer pocket, then rejoins the row of Fluffy Pagan Echoes members upstage.\n\nFluffy Pagan Echoes\n00:43:53\n[The collective performs a sound-poetry chorus by repeating the words “Toy Boat,” each member initially reciting it in different speeds and tones, then gradually converging. Applause.] | Video Description: Medium long shot as the five members of Fluffy Pagan Echoes stand side by side and perform a sound-poetry collective piece without mic.\n\nVince Tinguely and Fluffy Pagan Echoes\n00:35:38\n[Introduces piece by quoting Ann Diamond, from a May 1992 issue of the Books in Canada magazine: “If ignorance is bliss, then Hell, with a capital H, is consciousness.” Following the quote, the piece begins with the lines, “This made me ask some questions: how conscious is conscience?” Applause.] | Video Description: Medium long shot as Vince Tinguely performs a piece, while the four other members of Fluffy Pagan Echoes, side by side, stand behind him. Tinguely wears a white plain t-shirt, round glasses, and white short dishevelled hair. Upstage, Justin McGrail passes a glass of water to Scott Duncan, who in turns passes it to Victoria Stanton. The camera zooms into a medium short, alternating it with different degrees of closeup as Tinguely performs. Tinguely uses several paper bags as props, wearing them as hats and gloves, and drawing different symbols on them (e.g., a hammer and sickle, a swastika, a gender female sign) to represent different types of consciousness.  At the end of the piece, Tinguely rejoins the row of Fluffy Pagan Echoes members upstage as the camera zooms out to a medium long shot.\n\nRan Elfassy and Fluffy Pagan Echoes\n00:39:03\n[The group performs a sound-poetry chorus by repeating the word “seesaw” in different speeds and tones. As a solo against that background chorus, Ran Elfassy then performs a piece, beginning with the line “I swear I saw it with my own eyes.” After Elfassy finishes his piece, the background chorus continues for a few more beats. Applause.] | Video Description: Alternating medium long shot and medium shot as four members of Fluffy Pagan Echoes stand side by side and perform a sound-poetry collective piece without mic. In front of the group, Ran Elfassy performs a solo piece against the background chorus. Elfassy wears a black and white striped long-sleeved shirt over a brown high-necked shirt and dark buzzed hair. Both Elfassy and Justin McGrail use hand gestures as if conducting the audience. At the end of the piece, Elfassy tilts his head down, in silence, while the background chorus continues for a few more beats.\n\nVictoria Stanton and Fluffy Pagan Echoes\n00:41:10\n[Ambient sounds (voices.) Victoria Stanton performs a RAP piece beginning with the lines “Smash the windows, take the clothes / don’t deny me the right to my fashion freedom.” The other members of Fluffy Pagan Echoes join Stanton in reciting the repetitions of the opening line, as a refrain. At some point, Justin McGrail starts beatboxing in the background. Applause.] | Video Description: Closeup as Victoria Stanton sips water and talks to Vince Tinguely. Stanton wears a dark sweater and neck-length dark hair with bangs and a hair clip. Alternating medium long shot and different degrees of closeup as Victoria Stanton performs a piece, while the four other members of Fluffy Pagan Echoes, side by side, stand behind her; some of them nod with the beat of the poem. At some point, Justin McGrail starts beatboxing in the background.\n\nFluffy Pagan Echoes\n00:44:15\n[The five members of Fluffy Pagan Echoes say each other’s first names, amid applause: Justin, Vincent, Scott, Victoria, and Ran.] | Video Description: Medium long shot as the five members of Fluffy Pagan Echoes stand side by side and introduce each other by rotating who speaks at the mic: after the first person on the left is introduced by the second, the first walks behind the group to the fifth position, until all are introduced.\n\nJustin McGrail and Fluffy Pagan Echoes\n00:44:50\n[Performs a piece opening with the line, “It was a crucifix, (but?) it was made of star.” Applause.] | Video Description: Alternating medium long shot then different degrees of closeup as Justin McGrail performs a piece. McGrail wears a long button-down white shirt, two rings on the left hand, earring on the left lobe, and short dishevelled dark hair. The four other members of Fluffy Pagan Echoes, side by side, stand behind him. \n\nFluffy Pagan Echoes and Ran Elfassy\n00:46:24\n[The group performs a collective piece. Each member says the line “It’s all about” and completes the sentence with a different final word; when Ran Elfassy adds, “And letters,” the collective interjects “Eh?” Elfassy then leaves the stage, walks among the audience, and returns to the group asking, “See? Did you get it?” A dialogue ensues, about the possible meanings of the sound “C/See.” The group then plays several games with different parts of the audience, before returning upstage and saying, in unison, “What we have here is a Café. Resistance is reasonable. Thank you for your cooperation.” Applause.] | Video Description: Zoom out to a medium shot as the five members of Fluffy Pagan Echoes perform a collective piece. At first, each member says one line, then Ran Elfassy leaves the stage, walks among the audience, and returns to the group, at which point the piece becomes a dialogue between Elfassy and the other four members of the group. The group then moves about the stage, playing several games with different parts of the audience, then returns to a row upstage to thank the audience. The camera zooms out to a medium long shot as the some members of the group drink water amid applause, then the group leaves the stage.\n\nJustin McGrail\n00:50:24\n[Asks where Lee (Gotham) is. Someone in the audience says, “What are you waiting for?,” which McGrail repeats into the mic.] | Video Description: Cut to Medium long shot as Justin McGrail speaks into the mic while several Fluffy Pagan Echoes members block the camera’s view while leaving the stage. \n\nLee Gotham\n00:50:32\n[Thanks Fluffy Pagan Echoes, citing their book, “A word circus” (Montreal: Egg Sandwich/Sandwich aux oeufs, 1994). Thanks the audience and makes announcements.] | Video Description: Cut to a zoom into Lee Gotham on stage. Long-sleeved kimono-style wine patterned shirt, long brown loose hair, beard. Gotham makes final remarks, first looking at Vince Tinguely, who is gathering objects on stage. Zoom out to a medium closeup, with Gotham holding a glass while continuing his remarks, with Tinguely visible behind him.\n\nEND\n00:51:41\n[End of recording.]"],"score":1.8530173},{"id":"5167","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Lee Gotham collection"],"source_collection_label":["Lee Gotham collection"],"collection_contributing_unit":["Spokenweb at Concordia University"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Lee Gotham collection contains the AV recordings regarding the Enough Said series, including readings, performances, open-mic, and spoken-word events that took place at Bistro 4 and other Montreal venues between December 1994 and June 1996."],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Enough Said 1995-01-30, Stanton and Stephens"],"item_title_source":["Asset"],"item_title_note":["Ephemera accompanying asset, corroborated by Lee Gotham, who introduces the event headliners."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["Lee Gotham collection"],"item_subseries_title":["Enough Said"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. We may wish to seek permission from individual artists and Drew Duncan, the videographer."],"creator_names":["Gotham, Lee","Stanton, Victoria","Stephens, Ian"],"creator_names_search":["Gotham, Lee","Stanton, Victoria","Stephens, Ian"],"creators":["[{\"url\":\"https://viaf.org/viaf/106179112\",\"name\":\"Gotham, Lee\",\"dates\":\"1962-\",\"notes\":\"Lee Gotham was also the MC of this event.\",\"nation\":[],\"role\":[\"Series organizer\",\"Producer\"]},{\"url\":\"https://viaf.org/viaf/1975942\",\"name\":\"Stanton, Victoria\",\"dates\":\"1970-\",\"notes\":\"Headliner. One of the five members of the Fluffy Pagan Echoes collective.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/48507771\",\"name\":\"Stephens, Ian\",\"dates\":\"1954–1996\",\"notes\":\"Headliner. Stephens also introduces a guest performer, briefly playing the role of MC.\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors_names":["Duncan, Drew","Peter","Bishop-Stall, Shaughnessy","Phil","McGrail, Justin","Godin, S. (Steve)","Christine?","Legault, Matthew","Harris, Thoth"],"contributors_names_search":["Duncan, Drew","Peter","Bishop-Stall, Shaughnessy","Phil","McGrail, Justin","Godin, S. (Steve)","Christine?","Legault, Matthew","Harris, Thoth"],"contributors":["[{\"url\":\"\",\"name\":\"Duncan, Drew\",\"dates\":\"\",\"notes\":\"Videographer.\",\"nation\":[],\"role\":[\"Recordist\"]},{\"url\":\"\",\"name\":\"Peter\",\"dates\":\"\",\"notes\":\"Guest performer, invited to the stage by Ian Stephens.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/21541137\",\"name\":\"Bishop-Stall, Shaughnessy\",\"dates\":\"1974-\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Phil\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/106255768\",\"name\":\"McGrail, Justin\",\"dates\":\"1968-\",\"notes\":\"Open-mic performer. One of the five members of Fluffy Pagan Echoes.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/105712077\",\"name\":\"Godin, S. (Steve)\",\"dates\":\"1956-\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Christine?\",\"dates\":\"\",\"notes\":\"Open-mic performer. Identified as \\\"Christine\\\" in the transcription.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Legault, Matthew\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Harris, Thoth\",\"dates\":\"\",\"notes\":\"Open-mic performer. Identified as \\\"Harris\\\" in the transcription.\",\"nation\":[],\"role\":[\"Performer\"]}]"],"performer_name":["Peter","Bishop-Stall, Shaughnessy","Phil","McGrail, Justin","Godin, S. (Steve)","Christine?","Legault, Matthew","Harris, Thoth"],"Recordist_name":["Duncan, Drew"],"Performance_Date":[1995],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/3980/Enough_Said-VHS2-19950116_19950130_19950206_19950213.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Video\",\"tape_brand\":\"TDK EHG\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"120 minutes\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"VHS\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Tape box. Handwritten label on side. Ephemera accompanying asset.\",\"other_physical_description\":\"VHS #2 asset. Contains recordings of multiple events.\"}]"],"material_designations":["VHS"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Video"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:v:/g/personal/carlosa_pittella_concordia_ca/EXSvxyIpS2dMj9F6eMjDA8IBdouuPQ6cn6GoTMOWHEvDyw\",\"file_path\":\"\",\"filename\":\"Enough_Said-19950130-Stanton_Stephens.mp4\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:58:35\",\"precision\":\"\",\"size\":\"3.35 GB on disk\",\"bitrate\":\"2304Kbps (original); 256Kbps (master)\",\"encoding\":\"MPEG-4 movie\",\"contents\":\"This is file 1 of 1 containing an AV recording of the event featuring Victoria Stanton and Ian Stephens as part of the Enough Said series, organized by Lee Gotham, with extra open-mic performances by Steve Godin, Justin McGrail, and others.\",\"notes\":\"Dimensions: 640 × 480.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Video Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1995-01-30\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Asset\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/2428619734\",\"venue\":\"Bistro 4\",\"notes\":\"Bistro 4 (pronounced Bistro Quatre), no longer in existence.\",\"address\":\"4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada\",\"latitude\":\"45.5169628\",\"longitude\":\"-73.5796147\"}]"],"Address":["4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada"],"Venue":["Bistro 4"],"City":["Montreal, Quebec"],"content_notes":["Event recording starts at 01:53:22:01 of VHS #2 asset, which contains multiple events."],"Note":["[{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"},{\"note\":\"VHS #2 asset. Contains recordings of multiple events: (1) Enough Said 1995-01-16, bissett and Nelson; (2) Enough Said 1995-01-30, Stanton and Stephens; (3) Enough Said 1995-02-06, Brulé; and (4) Enough Said 1995-02-13, Benefit Part 1. The asset was digitized, generating both uncompressed and compressed video files; the compressed files were then split into events to facilitate the transcription work. Metadata entries based on events.\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/diary-of-a-trademark/oclc/1137025178\",\"citation\":\"Stephens, Ian. Diary of a Trademark. Ste-Anne-de-Bellevue, QC: The Muses’ Co., 1995.\"},{\"url\":\"https://www.worldcat.org/oclc/78176690\",\"citation\":\"Stephens, Ian. Wining Dining Drilling [album]. Montréal: En Guard Records, 1993.\"},{\"url\":\"https://www.worldcat.org/oclc/937539986\",\"citation\":\"Disappointed a Few People. Dead in Love [album]. Montréal: Psyche Records, 1986.\"},{\"url\":\"https://worldcat.org/title/47991112\",\"citation\":\"Stanton, Victoria, & Vincent Tinguely. Impure. Reinventing the Word: the Theory, Practice, and Oral History of Spoken Word in Montreal. Montreal: Conundrum Press, 2001.\"},{\"url\":\"https://doi.org/10.7202/041297ar\",\"citation\":\"Zarov, Stéphane. \\\"Mort d’un dramaturge en devenir : Ian Stephens (1954-1996).\\\" In L'Annuaire théâtral, no. 19-20, pp. 207–208, 1996.\"},{\"url\":\"https://headlightanthology.ca/archive/n02/backyard/\",\"citation\":\"Bishop-Stall, Shaughnessy. \\\"Backyard.\\\" In Headlight Anthology, no. 2, 1999, pp. 82-83.\"}]"],"_version_":1853670549169897472,"timestamp":"2026-01-07T14:59:53.772Z","contents":["[Bistro 4 stage]\n00:00:04\nVideo Description: Colour video, medium closeup of the stage at Bistro 4 (Quatre) (4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada). A single mic stand. The stage, slightly below street level, is set against a full-wall window looking out onto the St. Laurent Blvd. traffic—with both pedestrians and vehicles regularly passing by. The windows from across the street (4067 St. Laurent) are also visible, including an outdoor sign with the word “JETHRO.” People frequently pass in front of the camera. When the camera zooms out, a series of decals become visible, with words from the menu such as “DEJEUNER,” “CAPPUCCINO,” and “TISANE.”\n\nLee Gotham\n00:00:05\nCheck check. Bonsoir, tout le monde. Bienvenue encore une fois. Thanks for coming back to yet another evening of Enough Said. Well, we have a lot signed up as always. I guess I can just try and clarify for any who haven't sussed it out: the first half, three quarters of the room has to remain smoke-free this evening. Please cooperate [scattered applause]. Thank you very much. And, if you need a smoke, yeah, right back to the bar or maybe out to the foyer would be just as good in-between acts or something of that nature. Ok, well, it's going to be an eventful evening. I don't need to do any introductions, I'm told, it's wonderful. I could just mention that-at another point in the evening I will tell you all about what's happening come February and March. And, yeah, without further ado, we're gonna forge straight into things. So, enjoy, yeah, for those who haven't overcome the oral phase, bare with us [laughter] until (it?) breaks, ok? | Video Description: Camera zooms into a medium closeup as Lee Gotham adjusts the mic. Gotham wears a dark sweater with snowflake motifs, rolled-up sleeves, black baseball cap turned back, stubble, and shoulder-length hair. Gotham makes introductory remarks as the camera adjusts the focus tries various degrees of closeups. Gotham then closes the sliding window.\n\nLee Gotham\n00:01:33\n[Calls Victoria Stanton to the stage.] | Video Description: Medium closeup as Lee Gotham invites the first performer to the stage.\n\nVictoria Stanton\n00:01:55\n[Victoria Stanton sings the word \"poetry\" into the mic, then decides to go a cappella. Performs piece. Applause.] | Video Description: Medium closeup as Victoria Stanton approaches the mic and salutes the audience. Stanton wears a long light brown jacket over a black blouse, chin-length dark hair with bangs, and hoop earrings. Briefly talks to Lee Gotham. Opens her mouth wide several times, stretching the jaw, as the camera zooms into a closeup. Removes mic from stand. Opens mouth widely a few more times. Sings into the mic but then decides to go a cappella, returning the mic to the stand. Performs a song.\n\nVictoria Stanton\n00:07:39\n[Performs a piece beginning with the line, “Though I wish I could draw a map of perspective.”] | Video Description: Closeup as Victoria Stanton performs a spoken-word piece.\n\nVictoria Stanton\n00:12:03\n[Breaks into song again, beginning with the word “classroom.”] | Video Description: Closeup as Victoria Stanton sings.\n\nVictoria Stanton\n00:12:19\n[Resumes spoken piece, with the line, “My teacher, professor, stands in the front to the room and professes.” ] | Video Description: Closeup as Victoria Stanton performs a spoken-word piece.\n\nVictoria Stanton\n00:13:17\n[Breaks into song again, beginning with the word “classroom.”] | Video Description: Closeup as Victoria Stanton sings.\n\nVictoria Stanton\n00:13:47\n[Resumes spoken piece, with the line, “What you can’t see, can’t hurt you.” Thanks the audience. Applause.] | Video Description: Closeup as Victoria Stanton performs a spoken-word piece. Camera zooms out during the applause.\n\nLee Gotham\n00:14:36\n[Introduces Ian Stephens.] | Video Description: Medium long shot as Lee Gotham talks to Ian Stephens, who is masked and sitting upstage. Zoom into a closeup as Gotham goes to the mic and invites Ian Stephens to the stage.\n\nIan Stephens\n00:15:30\n[Calls for Peter. Reads an epistolary poem to Peter. Invites Peter to the stage.] | Video Description: Zoom into a closeup as Ian Stephens interacts with the audience and reads a poem directed to an audience member. Stephens wears a brown jacket atop a t-shirt with the words \"BAD RELIGION\" partially visible, a black scarf with red and grey stripes, and a buzz haircut.\n\nPeter\n00:17:22\n[Reads \"Science Fiction,\" beginning with the line \"I live in a very old beautiful home.\" Applause. Calls Ian Stephens to the stage.] | Video Description: Zoom out to a medium closeup as Peter enters the stage. Peter wears a plaid brown shirt with rolled-up sleeves atop a white shirt, black scarf, black beanie hat, and a close-trimmed beard. Peter reads a piece.\n\nIan Stephens\n00:21:01\n[Organizes objects on stage, in front of him. Introduces “Regan's mind #2, or, Regan remembers.” Continues setting up the stage. Puts on a cowboy hat. Sits down. Explains that, in this piece, he is Regan’s mind. Puts on fake eyeballs, one larger than the other.] | Video Description: Medium closeup as Ian Stephens sets the stage.\n\nIan Stephens\n00:24:03\n[Performs “Regan's mind #2, or, Reagan remembers.\" The piece is spoken against the background recording of a radio that keeps switching between stations; Stephens frequently comments upon the different pieces of music. Applause. Thanks the audience.] | Video Description: Medium closeup as Ian Stephens performs a piece while sitting down and holding the mic. After the opening the line, the fake eyeballs fall. Stephens readjusts them, but they fall multiple times. Stephens holds props during the performance, including a doll. At the end of the piece, amid applause, Stephens removes the cowboy hat.\n\nIan Stephens\n00:40:30\n[Introduces and reads “The holy city,” crediting the music to Kevin Komoda (Stephen’s collaborator in the Wining Dining Drilling musical group). Performs “The holy city,” against background music by Kevin Komoda. Thanks the audience. Applause.] | Video Description: Medium shot, then zoom into a closeup as Ian Stephens introduces and performs a piece. Stephens stands up to perform, holding a notebook and the mic; the camera zooms out and back into a medium closeup, following Stephens.\n\nIan Stephens\n00:48:07\n[Announces he wants to try something different at the end, opening space for questions from the audience. Introduces “a few sweet terror poems,” adding that it is tricky but not impossible to read them (referring to the fact he’s wearing a mask). Before reading, names objects from what he calls “Reagan’s mind’s desk,” including a book titled “Guilt Free.” Adds that Reagan is a lucky man to have Alzheimer’s.] | Video Description: Medium closeup as Ian Stephens leafs through a notebook, talks with the audience, then puts on a skeleton mask.\n\nIan Stephens\n00:50:15\n[Reads a poem from the “Let’s be dead” sequence, beginning with the line, “I drew a picture of my coffin.” Explains it was not included in the book (Diary of a Trademark, The Muses’ Co., 1995) because it was “too deadly.”] | Video Description: Medium closeup as Ian Stephens performs a piece.\n\nIan Stephens\n00:51:13\n[Reads “Let’s be dead,” opening with the line “I know the club where you got the blow-job” (with slight differences from the version published in Diary of a Trademark, The Muses’ Co., 1995). Thanks audience. Applause.] | Video Description: Medium closeup as Ian Stephens performs a poem. Removes the mask mid-performance.\n\nIan Stephens\n00:58:34\n[Introduces “I Started to get sick in New York” mentioning it is also from the book (Diary of a Trademark, The Muses’ Co., 1995) and another piece with music by Kevin Komoda. States the piece is dedicated to David Wojnarowicz. Performs piece, with significant differences from the version published in the book. Thanks the audience. Applause.] | Video Description: Medium shot then zoom into a medium closeup as Ian Stephens introduces and performs a piece.\n\nIan Stephens\n01:05:10\n[Asks the audience if they have any questions.] | Video Description: Medium shot then zoom into a medium closeup as Ian Stephens welcomes questions from the audience.\n\nAudienceMember1\n01:05:24\n[Asks, “Did I know you in Lennoxville in 1972?” Laughter.] | Video Description: Zoom into a medium closeup as Ian Stephens listens to a question from the audience.\n\nIan Stephens\n01:05:30\n[Responds, “A hypothetical question. Yes.” Laughter.] | Video Description: Medium closeup as Ian Stephens answers the question.\n\nLee Gotham\n01:05:48\n…speaking about a journalist, and we had a difference of opinion of your work, and she said, in spite of frequent irony, it wasn’t rescued, that there was something wrong with it [laughter]; and I thought, well, it’s more just sort of brute reality of it that appeals to me, more often than not, above and beyond all the crap and whatnot. What do you say, when someone has this adverse sort of reaction? | Video Description: Medium closeup then zoom out to a medium shot as Ian Stephens listens to a question from Lee Gotham.\n\nIan Stephens\n01:06:21\nI don’t care. [Laughter. Asks if anybody has another question.] | Video Description: Medium shot as Ian Stephens receives the mic back from Lee Gotham then zoom into a closeup as Stephens answers Gotham’s question.\n\nAudienceMember2\n01:06:45\n[Asks if Stephens is happy to be back in Montreal]. | Video Description: Medium closeup as Ian Stephens listens to a question from the audience.\n\nIan Stephens\n01:06:52\nOh yeah, I love Montreal, my home, I was born here, raised here. Everything I see around here resonates. (Certain little memories?). (?) I lived here Montreal was a province unto itself. | Video Description: Medium closeup as Ian Stephens answers to the question.\n\nLee Gotham\n01:07:15\n[Asks about other performers or events that Ian Stephens would like see throughout the town.] | Video Description: Medium closeup as Ian Stephens listens to a question from Lee Gotham.\n\nIan Stephens\n01:07:31\nI think things are moving in a half-decent pace. [Lee Gotham interrupts.] I think the spoken word is getting passé. You have to make the leap into performance and you do that by getting out of the text; I’m still going through transition. But once you get beyond the text, it becomes performance poetry, which is a leap a lot of poets can’t do. The academics cannot do it. And I think that’s the litmus test. The academics, they wonder why their books don’t sell, they are unpopular, or whatever. You have to make that leap, I think. If you want to work with an audience, other than a very limited book reader. Ok, no more questions. Thank you very much. | Video Description: Medium closeup as Ian Stephens answers Gotham’s question. Zoom out to a medium long shot as Stephens puts scarf on and organizes objects amid applause.\n\nLee Gotham\n01:08:40\n[Thanks Ian Stephens. Announces break.] | Video Description: Zoom into a medium closeup as Lee Gotham takes the mic and announces a break.\n\nLee Gotham\n01:09:10\n[Makes remarks and introduces the first open-mic performer.] | Video Description: Cut to a medium closeup of Lee Gotham making remarks and introducing the first open-mic performer.\n\nMatthew Legault\n01:09:46\n[Introduces piece as \"a conversation between two people.\" Reads piece, opening with the line \"No, no, I'm not talking to you.\" Applause.] | Video Description: Medium closeup as Legault enters the stage and picks up mic. Legault wears a black turtleneck, short hair, and a goatee. Zoom out to a medium shot as Legault performs a piece.\n\nMatthew Legault\n01:13:34\n[Reads “Wolf Billie,” beginning with the line “And now, ladies and gentleman, a little story about Wolf Billie.” Applause.] | Video Description: Medium shot as Legault performs a piece.\n\nMatthew Legault\n01:15:55\n[Reads “In the room with yellow walls,” beginning with the line “I’m sitting on a chair; across from me is a sofa; on the sofa, the cat.” Applause.] | Video Description: Medium closeup as Legault searches for a paper and performs a piece.\n\nLee Gotham\n01:17:15\n[Thanks Legault. Calls the next open-mic performer to the stage.] | Video Description: Medium closeup of Lee Gotham entering the stage. Zoom out to a medium shot of Gotham introducing the next performer.\n\nShaughnessy Bishop-Stall\n01:17:44\n[Reads \"Grandfather blues.\" Applause.] | Video Description: Medium shot of Shaughnessy Bishop-Stall entering the stage. Bishop-Stall wears a black button-down shirt, a thin necklace, ear-length wavy hair, and stubble. Zoom to a closeup as Bishop-Stall reads a poem.\n\nShaughnessy Bishop-Stall\n01:19:55\n[Reads piece beginning with the lines “I don’t know to talk, to walk. I don’t know my feet from a flower.” Applause.] | Video Description: Zoom out to a medium closeup as Bishop-Stall reads a poem.\n\nShaughnessy Bishop-Stall\n01:21:25\n[Reads “Body politic” (later published as “Backyard” in Headlight Anthology no. 2, 1999). Applause.] | Video Description: Zoom out to a medium shot then into a closeup as Bishop-Stall reads a poem.\n\nLee Gotham\n01:23:25\n[Calls the next open-mic performer to the stage.] | Video Description: Medium closeup as Lee Gotham introduces the next performer.\n\nThoth Harris\n01:23:39\n[Reads \"Daydreams of an amputator.\" Scattered laughter throughout. Applause.] | Video Description: Medium closeup as a Harris enters the stage. Zoom into a closeup as Harris reads a piece. Harris wears a grey sweater with red and blue lozenges over a white-collared shirt over a black t-shirt, short hair, and sideburns. \n\nThoth Harris\n01:27:10\n[Reads “(Don’t wait?).” Applause.] | Video Description: Medium closeup as Harris reads a piece.\n\nLee Gotham\n01:32:27\n[Thanks Thoth. Announces a series of upcoming events, including: E.J. Brulé (Feb 6); a Benefit for En Marge, a street-kids safety-net organization (Feb 13); Groupe de Poésie Moderne (Feb 20); Sonja Skarstedt (Feb 27); Steve Godin (March 6); and Adeena Karasick (March 13). Calls the next open-mic performer to the stage.] | Video Description: Cut to a medium closeup of Lee Gotham. As Gotham speaks, something bumps into the camera, which shakes.\n\nPhil\n01:34:27\n[Tells a story about the previous week. Reads a piece in German, opening with various repetitions of the first line. Applause.] | Video Description: Zoom out to a medium shot as Phil enters stage and adjusts the mic stand while holding a guitar. Phil wears a brown plaid shirt and shaved head except for a top hair tuft. Video cuts briefly into static. Phil tells a story then reads a piece.\n\nPhil\n01:37:35\n[Performs a song including the lines, \"Nowhere is real, man\" and \"And the people are sheep\". Applause.] | Video Description: Medium shot as Phil performs a song.\n\nLee Gotham\n01:42:20\n[Announces upcoming event with Steve Godin and calls him onto the stage.] | Video Description: Medium shot as Lee Gotham calls Steve Godin onto the stage.\n\nSteve Godin\n01:43:06\n[Introduces and reads a piece dialoguing with the Beauty and the Beast, titled \"Beauty (of beings?) and beginning with the line, \"In mythology there is a wish to return as a hero.\" Applause.] | Video Description: Medium shot as Steve Godin walks onto the stage and removes his scarf and messenger bag. Godin wears a black leather jacket atop a black-and-blue t-shirt and neck-length greying hair with long bangs. Zoom into a closeup as Godin introduces and reads a piece.\n\nSteve Godin\n01:47:40\n[Reads untitled poem. Applause.] | Video Description: Medium closeup as Steve Godin introduces and reads a poem.\n\nLee Gotham\n01:51:00\n[Thanks Steve Godin. Calls on Justin McGrail to the stage to close the event with a “showstopper.”] | Video Description: Closeup as Lee Gotham thanks Steve Godin and invites the last open-mic performer to the stage.\n\nJustin McGrail\n01:51:22\n[Reads piece titled \"For the window washers (?).\"] | Video Description: Closeup as Justin McGrail enters the stage. Zoom out to a medium closeup as McGrail introduces and performs a piece. McGrail wears a black t-shirt with a white skeleton torso over a long-sleeved white-shirt, cargo pants, and short black hair,. Zoom out to a medium shot as McGrail performs, playing with and stretching the straps of his suspenders. At the end of the performance, he clips the straps back on.\n\nLee Gotham\n01:55:00\n[Calls a last “surprise” performer to the stage.] | Video Description: Medium shot as Lee Gotham talks with Christine and enters the stage to invite an extra open-mic performer to the stage.\n\nChristine?\n01:55:20\n[Introduces and reads a poem (low mumbled audio). Applause.] | Video Description: Medium closeup as Christine walks up to the microphone and addresses audience. Christine wears a brown vest atop a black turtleneck shirt, light-wash jeans, and short blond hair. Christine introduces and reads a poem.\n\nLee Gotham\n01:57:20\n[Thanks and reminds audience of the upcoming Benefit event for En Marge, with a “stellar cast of poets.”] | Video Description: Medium closeup of Lee Gotham at the stage, making final remarks. Zoom out to a medium long shot as Gotham leaves the stage; some empty chairs and audience members applauding.\n\nEND\n01:58:14\n[End of recording.]"],"score":1.8530173},{"id":"5183","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Lee Gotham collection"],"source_collection_label":["Lee Gotham collection"],"collection_contributing_unit":["Spokenweb at Concordia University"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Lee Gotham collection contains the AV recordings regarding the Enough Said series, including readings, performances, open-mic, and spoken-word events that took place at Bistro 4 and other Montreal venues between December 1994 and June 1996."],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Enough Said 1994-12-19, Gotham and Diamond"],"item_title_source":["Asset"],"item_title_note":["On ephemera and corroborated by Lee Gotham, who introduces the event headliners."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["Lee Gotham collection"],"item_subseries_title":["Enough Said"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. We may wish to seek permission from individual artists and Drew Duncan, the videographer."],"creator_names":["Diamond, Ann","Gotham, Lee"],"creator_names_search":["Diamond, Ann","Gotham, Lee"],"creators":["[{\"url\":\"https://viaf.org/viaf/29585299\",\"name\":\"Diamond, Ann\",\"dates\":\" 1951–\",\"notes\":\"Event headliner.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/106179112\",\"name\":\"Gotham, Lee\",\"dates\":\"1962-\",\"notes\":\"Lee Gotham was also the MC and one of the headliners of this event.\",\"nation\":[],\"role\":[\"Series organizer\",\"Producer\",\"Performer\"]}]"],"contributors_names":["Duncan, Drew","Tinguely, Vincent (Vince)","Elfassy, Ran","Duncan, Scott","McGrail, Justin","Olds, Graham","Harris, Thoth","Berger, Halina","Harpy?","Brian","Frankel, Jen","Williamson, Beau","Unknown_Musician1","Unknown_Musician2","Anna","Elfassy, Ran","Vaughan, R.M."],"contributors_names_search":["Duncan, Drew","Tinguely, Vincent (Vince)","Elfassy, Ran","Duncan, Scott","McGrail, Justin","Olds, Graham","Harris, Thoth","Berger, Halina","Harpy?","Brian","Frankel, Jen","Williamson, Beau","Unknown_Musician1","Unknown_Musician2","Anna","Elfassy, Ran","Vaughan, R.M."],"contributors":["[{\"url\":\"\",\"name\":\"Duncan, Drew\",\"dates\":\"\",\"notes\":\"Videographer.\",\"nation\":[],\"role\":[\"Recordist\"]},{\"url\":\"https://viaf.org/viaf/36425179\",\"name\":\"Tinguely, Vincent (Vince)\",\"dates\":\"1959-\",\"notes\":\"Open-mic performer. One of the five members of Fluffy Pagan Echoes.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/105951166\",\"name\":\"Elfassy, Ran\",\"dates\":\"1972-\",\"notes\":\"Open-mic performer. One of the five members of Fluffy Pagan Echoes.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/2021159474212827661705\",\"name\":\"Duncan, Scott\",\"dates\":\"1970-\",\"notes\":\"Open-mic performer. One of the five members of Fluffy Pagan Echoes.\",\"nation\":[],\"role\":[]},{\"url\":\"https://viaf.org/viaf/106255768\",\"name\":\"McGrail, Justin\",\"dates\":\"1968-\",\"notes\":\"Performer. One of the five members of Fluffy Pagan Echoes.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Olds, Graham\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Harris, Thoth\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Berger, Halina\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Harpy?\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Brian\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Frankel, Jen\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Williamson, Beau\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Unknown_Musician1\",\"dates\":\"\",\"notes\":\"Played during Gotham's performance.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Unknown_Musician2\",\"dates\":\"\",\"notes\":\"Played during Gotham's performance.\",\"nation\":[],\"role\":[]},{\"url\":\"\",\"name\":\"Anna\",\"dates\":\"\",\"notes\":\"Surprise performer; she translates from Greek to English what Ann Diamond sings; then she sings and Ann Diamond translates. Also speaks briefly in the audience during Diamond's performance.\",\"nation\":[],\"role\":[\"Performer\",\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/105951166\",\"name\":\"Elfassy, Ran\",\"dates\":\"1972-\",\"notes\":\"Open mic performer. One of the five members of Fluffy Pagan Echoes.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/en/viaf/7305363\",\"name\":\"Vaughan, R.M.\",\"dates\":\"1965-2020\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]}]"],"performer_name":["Tinguely, Vincent (Vince)","Elfassy, Ran","McGrail, Justin","Olds, Graham","Harris, Thoth","Berger, Halina","Harpy?","Brian","Frankel, Jen","Williamson, Beau","Unknown_Musician1","Anna","Elfassy, Ran","Vaughan, R.M."],"Recordist_name":["Duncan, Drew"],"Speaker_name":["Anna"],"Performance_Date":[1994],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/5183/Enough_Said-VHS1-19941219_19950123_19950109.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Video\",\"tape_brand\":\"TDK SHG\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"120 minutes\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"VHS\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Tape box. Handwritten label on side. Ephemera accompanying asset.\",\"other_physical_description\":\"VHS #1 asset. Contains recordings of multiple events.\"}]"],"material_designations":["VHS"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Video"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:v:/g/personal/carlosa_pittella_concordia_ca/EWB7uJ0YVR9PnrxIMZIsLoMB-X2eyJekHlUZTnGv-uwsZQ\",\"file_path\":\"\",\"filename\":\"Enough_Said-19941219-Gotham_Diamond.mp4\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"02:31:09\",\"precision\":\"\",\"size\":\"4.26 GB on disk\",\"bitrate\":\"2304Kbps (original); 256Kbps (master)\",\"encoding\":\"MPEG-4 movie\",\"contents\":\"This is file 1 of 1 containing an AV recording of an event in the Enough Said series, organized by Lee Gotham, featuring performances by himself, Ann Diamond, Vince Tinguely, Julie Crysler, Ran Elfassy,  Halina Berger, Justin McGrail, and others.\",\"notes\":\"Dimensions: 640 × 480.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Video Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1994-12-19\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Asset\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/2428619734\",\"venue\":\"Bistro 4\",\"notes\":\"Bistro 4 (pronounced Bistro Quatre), no longer in existence.\",\"address\":\"4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada\",\"latitude\":\"45.5169628\",\"longitude\":\"-73.5796147\"}]"],"Address":["4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada"],"Venue":["Bistro 4"],"City":["Montreal, Quebec"],"content_notes":["Event recording starts at 00:00:00:00 of VHS #1 asset, which contains multiple events."],"Note":["[{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"},{\"note\":\"VHS #1 asset. Contains recordings of multiple events: (1) Enough Said 1994-12-19, Gotham and Diamond; (2) Enough Said 1995-01-23, Wiernik and Anderson; and (3) Enough Said 1995-01-09, Swifty Lazar. Note the recordings in VHS #1 are not in chronological order. The asset was digitized, generating both uncompressed and compressed video files; the compressed files were then split into events to facilitate the transcription work. Metadata entries based on events.\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/oclc/636521014\",\"citation\":\"Diamond, Ann. Terrorist Letters. Montréal: Signal Editions (Véhicule Press), 1992.\"}]"],"_version_":1853670549171994624,"timestamp":"2026-01-07T14:59:53.772Z","contents":["[Bistro 4 stage]\n00:00:15\nVideo Description: Color video of the stage with mic stand at Bistro 4 (Quatre) (4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada). The stage, slightly below street level, is set against a full-wall window looking out onto the St. Laurent Blvd. traffic—with both pedestrians and vehicles often passing by. The windows from across the street are sometimes visible, including an outdoor sign with the word “JETHRO.”  On the windows of Bistro 4, the word “said” (from “Enough Said”) becomes visible when the camera zooms out, as well as decals with words from the menu, such as “DEJEUNER,” “CAPPUCCINO,” and “TISANE.”\n\nLee Gotham \n00:00:16\nInstallment of Enough Said, performative word event series. Um, don't be put off by all the musical acrobatics, we're definitely going to be concentrating on words as always. Um, we're going to start off as always also with a couple open mic participants. I see Brian's up first. Um, well, let me just wish everybody a Merry Christmas in case I forget a little later on, um, remind everyone that the series will run for the foreseeable future in the new year, um, starting back on the 9th, the second Monday in January. Come on out, see the likes of bill bissett, Ian Stephens, number of other word (?). And. Brian, I think if uh, you're in the house and ready to go, I think it's (?) there he is, jumping up in his seat. (?) going to come up and start the evening off for us, so please, make yourselves comfortable, and enjoy the evening. [Brief pause.] Suppose I should mention that the featured performer tonight is Anne Diamond and the second feature performer (?). If anyone is particularly enamored by those individuals, please hang out, they'll be up here before long. | Video Description: Closeup zooms out to long shot as Gotham speaks into the mic, then zooms into medium shot as Gotham adjusts stage equipment for Brian and speaks into the mic again. Gotham wears a grey collared shirt with sleeves rolled to elbows atop a white collared shirt, black taqiyah-style hat with a small folded visor, and shoulder length brown hair. \n\nBrian Campbell\n00:01:56\n[Asks audience if they can hear him. Says he will read \"quiet poems\" tonight. Introduces and performs piece titled \"Andrea's Christmas\" by Toronto author Henry [Nimuth?]. Applause.] | Video Description: Medium long shot as Campbell bends down to pick up large black folder. Campbell wears a light blue sweater atop a medium blue collared shirt, dark hair, dark inch-long beard, and wire-rimmed glasses. Zooms into medium closeup as Campbell speaks into the mic, and zooms out to medium shot as Brian performs a piece.\n\nBrian\n00:04:47\n[Introduces and performs piece titled \"For E. P.\", written for Ezra Pound. Explains Pound's \"ABCs of Poetry\" (note: Campbell misspoke, and book's title is \"ABCs of Reading\"). Applause. Says something indiscernible into the mic.] | Video Description: Medium shot as Campbell picks up red folder from floor, speaks into the mic, performs a piece, and speaks into the mic again.\n\nLee Gotham\n00:08:19\n[Thanks Brian. Invites Beau Williamson to the stage.] | Video Description: Medium shot zooms into medium closeup as Gotham speaks into the mic. \n\nBeau Williamson\n00:08:34 \n[Introduces the piece, though indiscernible due to low speaking level and high background noise in the audience and on the tape. Performs piece beginning with the line \"I had a beautiful hour of naked day that I wish to describe.\"] | Video Description: Medium closeup as Williamson speaks into the mic and performs a piece. Williamson wears a white \"Rocky Horror Picture Show\" graphic t-shirt with red lettering and black trim, long light brown hair, and large glasses. \n\nBeau Williamson\n00:09:25\n[Introduces and performs piece titled “Pictures of the Same Person.”] | Video Description: Medium closeup zooms into medium closeup and zooms out again as Williamson performs a piece. \n\nBeau Williamson\n00:09:52\n[Performs piece beginning with the line “Tired hands greet the limp phallus of joy.”] | Video Description: Medium closeup as Williamson performs a piece. \n\nBeau Williamson\n00:10:03\n[Mentions that Yule is coming and decided to write and perform a poem about the month of May anyways. Introduces and performs poem titled “May.” Applause.] | Video Description: Medium shot as Williamson performs a piece.\n\nLee Gotham \n00:12:17\n[Announces that there will be one more open mic performer before the first feature. Invites Jen Frankel to the stage. Applause.] | Video Description: Medium closeup as Gotham speaks into the mic and lowers it.\n\nJen Frankel\n00:12:41\n[Says they have no sense of time and brought a clock. Seems to discuss with Gotham (off-screen) how long they can perform. Introduces and performs a piece titled \"Ode to Beauty.\" Applause.] | Video Description: Camera tilts down to a medium shot as Frankel speaks into the mic. Frankel wears a loose black button-down shirt and short medium brown hair pulled back with a thick black bandana. Loose closeup as Frankel seems to talk to Gotham off-screen. Camera angles alternate between medium shots and medium closeups as Frankel speaks into the mic again and performs a piece.\n\nJen Frankel\n00:16:32\n[Introduces and performs two chapters titled “A Clockwork Cat” and “Cathedrals and Crashing in Seas Without Shores” from a longer prose piece titled “Susan by Greyhound.”] | Video Description: Medium closeup as Frankel speaks into the mic and performs a piece.\n\nLee Gotham\n00:23:58\n[Announces that the 1995 season will be more structured with time limits for open mic performers. Announces a break.] | Video Description: Medium closeup zooms out to medium shot as Gotham speaks into the mic. \n\nUnknown_Musician1 and Sam Shalabi\n00:24:39\n[Cuts to Unknown_Musician1 quietly and sporadically playing snare drum and cymbal with brushes and Sam Shalabi fingerpicking jazz chords on guitar. Audience chatter in the background.] | Video Description: Long shot as Unknown_Musician1 plays small drum kit with brushes and Sam Shalabi finger picks an electric guitar. Unknown_Musician1 wears a blue and white argyle sweater with sleeves rolled up to elbows, a silver watch, glasses, and short curly dark brown hair. Sam Shalabi wears a red button-down shirt with sleeves rolled up to elbows, large metal-rimmed glasses, and thinning dark brown hair. Zooms into extreme closeup of Sam Shalabi looking around, chewing gum, and talking to individuals off-screen.\n\n[Bistro 4 stage]\n00:25:07\nVideo Description: Extreme closeup of mic with no one behind it. \n\nLee Gotham\n00:25:24\n[Exclaims that the open mic sign-up board is full. Introduces himself as the first feature performer. Says Unknown_Musician1 and Sam Shalabi are performing with himself for the first time. Introduces a piece as definitely not poetry. Audience collectively exclaims “aw.”] | Video Description: Out-of-focus extreme closeup focuses and zooms out to closeup as Gotham speaks into the mic. Zooms out to long shot of Gotham speaking into mic, and Unknown_Musician1 and Sam Shalabi behind their instruments not playing. Zooms into closeup as Gotham speaks into the mic, turns towards 1 and 2 and says something inaudible, and continues speaking into the mic. \n\n[SpokenWeb notes]\n00:27:08 \nGotham performs a long poem without announcing any section breaks. To enhance readability, this transcription will break when Gotham pauses for a significant period, denoted by the phrase “Gotham pauses” or “Gotham Gotham and music by Unknown_Musician1 and Sam Shalabi pauses.”] \n\nLee Gotham \n00:27:13\n[Begins performing a piece either titled or beginning with the line “Attention project proposals, explorations grants competition, Canada Arts Council.”] | Video Description: Closeup as Gotham begins performing a piece. Zooms into extreme closeup as Gotham says the line “one idea is a death of experience.” Looks over to Unknown_Musician1 and Sam Shalabi.\n\nUnknown_Musician1 and Sam Shalabi\n00:27:41\n[Strike a discordant cord.] | Video Description: Off-screen. \n\nLee Gotham\n00:27:43\n[Resumes performing piece. Gotham pauses.] | Video Description: Extreme closeup zooms out to medium closeup as Gotham resumes performing a piece. \n\nLee Gotham\n00:29:00\n[Resumes performing piece with the line “No, musicians should play as they see fit.”] | Video Description: Medium closeup as Gotham resumes performing a piece. \n\nUnknown_Musician1 and Sam Shalabi\n00:29:04\n[Quietly playing uncertain chords and sparse drumming as Gotham continues performing.] | Video Description: Off-screen.\n\nLee Gotham\n00:29:07\n[Resumes performing piece with the line “The performer picks up a hammer.” Music by Unknown_Musician1 and Sam Shalabi continues in background. Gotham pauses.] | Video Description: Medium closeup zooms out to long shot as Gotham picks up hammer from off-screen. In between lines, dramatically hits a wooden block on stand to his right with hammer. \n\nLee Gotham\n00:29:46\n[Resumes performing piece with the line “There can be no pause for the cause.” Music by Unknown_Musician1 and Sam Shalabi continues in background. Gotham pauses.] | Video Description: Camera angle alternates between closeups and medium shots of Gotham performing a piece and long shots of Gotham performing a piece, Unknown_Musician1 playing drums, and Sam Shalabi playing guitar. \n\nLee Gotham\n00:32:04\n[Resumes performing piece with the line “The performer is blurting out opinions to strangers.” Music by Unknown_Musician1 and Sam Shalabi begins quietly but becomes more prominent in background. Gotham pauses.] | Video Description: Camera alternates between medium closeups and extreme closeups of Gotham performing a piece. \n\nLee Gotham\n00:34:38\n[Resumes performing piece with the line “Opinions again: that’s what I call using your head.” Music by Unknown_Musician1 and Sam Shalabi begins quietly but becomes more prominent in background. Gotham pauses.] | Video Description: Extreme closeup zooms out to medium closeup as Gotham performs a piece. \n\nLee Gotham\n00:35:35\n[Resumes performing piece with the line “It’s a milk and honey mid-September, an [?] Indian coffee and cigarette summer” Music by Unknown_Musician1 and Sam Shalabi becomes louder and more complex in background. Gotham pauses.] | Video Description: Long shot as Gotham performs a piece. Zooms into medium shot partway through.\n\nLee Gotham\n00:37:18\n[Resumes performing piece with the line “I went to the doctor for the first time in twelve years.” Music by Unknown_Musician1 and Sam Shalabi softens in background. Gotham pauses.] | Video Description: Medium shot as Gotham performs a piece.\n\nLee Gotham\n00:37:48\n[Resumes performing piece with the line “Less about what you think, I still don’t get it.” Music by Unknown_Musician1 and Sam Shalabi becomes louder in background with staccato chords. Asks Unknown_Musician1 and Sam Shalabi to play more soothingly. Laughter. Says “or ignore him.”] | Video Description: Closeup as Gotham performs a piece. Looks over to Unknown_Musician1 and Sam Shalabi, who are off-screen.\n\nUnknown_Musician1 and Sam Shalabi\n00:38:17\n[Sam Shalabi continues to play complex drum beat, Unknown_Musician1 softens chord attack but plays complex progression.] | Video Description: Off-screen. \n\nLee Gotham\n00:38:29\nVideo Description: Medium shot as Gotham sits down on something unseen and, holding the mic away from him, mouths something unseen to Unknown_Musician1 and Sam Shalabi.\n\nUnknown_Musician1 and Sam Shalabi\n00:38:31\n[Play calmer jazz music.] | Video Description: Camera pans to long shot of Unknown_Musician1 playing drums with brushes and Sam Shalabi playing guitar.\n\nLee Gotham\n00:38:36\n[Resumes performing piece with the line “We were still sitting there on the beach listening to the crazy old Indian.” Music by Unknown_Musician1 and Sam Shalabi continues in background. Gotham and music by Unknown_Musician1 and Sam Shalabi pauses.] | Video Description: Camera pans to medium closeup as Gotham performs a piece sitting down. Camera alternates between closeups, medium shots and medium closeups as Gotham performs a piece.\n\nLee Gotham\n00:41:25\n[Resumes performing piece with the line “Well, there wasn’t a lot of story to it.” Music by Unknown_Musician1 and Sam Shalabi resumes in major key. Gotham pauses.] | Video Description: Closeup zooms out to medium closeup as Gotham performs a piece. Gotham stands up. Zooms out to longshot as Gotham picks up hammer on his left and pretends to hit himself on the head with it in between lines. Zooms into medium closeup. \n\nLee Gotham\n00:44:38\n[Resumes performing piece with the line “That’s good, that’s just fine, now we’ll just relax” delivered in a deeper tone than previously. Music by Unknown_Musician1 and Sam Shalabi barely audible in background. Gotham pauses.] | Video Description: Medium closeup as Gotham performs a piece.\n\nLee Gotham\n00:45:31\n[Resumes performing piece with the line “An escaped convict fell into a deep hole someone had dug beside the roadway.” Music reminiscent of middle-Eastern music by Unknown_Musician1 and Sam Shalabi plays in background. Sam Shalabi stops playing guitar part way through. Gotham pauses.] | Video Description: Medium closeup as Gotham leans backwards on something unseen and performs a piece. Zooms into closeup part way through. Zooms out to medium shot as Gotham stands up and continues performing piece.\n\nUnknown_Musician1 and Sam Shalabi\n00:49:17\n[Music by Unknown_Musician1 and Sam Shalabi continues in background.] | Video Description: Zooms out to show Unknown_Musician1 and Sam Shalabi playing their instruments beside Gotham. \n\nLee Gotham\n00:49:21\n[Resumes performing piece with the line “The water’s run out.” Music by Unknown_Musician1 and Sam Shalabi becomes busier in the background.] Video Description: Long shot as Gotham performs a piece. \n\nSam Shalabi\n00:49:38\nVideo Description: Zooms into medium shot of Sam Shalabi playing guitar and chewing.  \n\nUnknown_Musician1\n00:49:57\nVideo Description: Pans to medium shot of Unknown_Musician1 playing drums. Gotham is visible on the right side of screen. \n\nLee Gotham \n00:50:05\n[Resumes performing piece. Music by Unknown_Musician1 and Sam Shalabi continues in background. Gotham pauses.] | Video Description: Medium shot zooms into medium closeup as Gotham performs piece. Zooms out to medium shot part way through. Gotham expands arms like flying bird while performing. \n\nLee Gotham \n00:51:31\n[Resumes performing piece with the line “Well now, where were we. You wanted to talk about sex today?” Music by Unknown_Musician1 and Sam Shalabi continues in background. Gotham Gotham and music by Unknown_Musician1 and Sam Shalabi pause.] | Video Description: Medium closeup as Gotham performs piece. Camera alternates between medium closeups and medium shots throughout . \n\nLee Gotham\n00:55:10\n[Resumes performing piece with the line “I’d like to make it reasonably clear that I’m a frightened man.” Sombre music by Unknown_Musician1 and Sam Shalabi continues in background. Gotham pauses.] | Video Description: Medium shot as Gotham performs a piece.\n\nLee Gotham\n00:57:29\n[Resumes performing piece with the line “The performer gradually regains his composure.” Music by Unknown_Musician1 and Sam Shalabi continues in background. Gotham and music by Unknown_Musician1 and Sam Shalabi pause.] | Video Description: Medium closeup as Gotham sips water and performs a piece. Zooms into closeup part way through, then zooms out to medium shot. \n\nLee Gotham\n01:01:44\n[Resumes performing piece with the line “Failure to recognize boundaries between self and the world outside.” Music by Unknown_Musician1 and Sam Shalabi ceases in the background. Thanks audience. Applause. Thanks audience and announces break before Ann Diamond’s performance] | Video Description: Medium shot as Gotham performs a piece. Takes cigarette package out of pocket. Zooms out to long shot during applause. Zooms into medium shot when Gotham resumes speaking into mic. \n \nLee Gotham\n01:03:36\n[Cuts to Gotham inviting Ann Diamond to the stage. Applause.] | Video Description: Medium shot of Gotham speaking into the microphone. \n\nAnn Diamond\n01:03:47\n[Says she planned to improvise but got nervous as she approached the venue. Introduces and reads from a pamphlet found outside the venue titled \"A Free Lecture on Past Life Regression, Reincarnation, and Karma.\"] | Video Description: Medium shot zooms into medium closeup as Diamond speaks into the mic and reads from pink pamphlet. Diamond wears a dark graphic t-shirt with the word \"MAUDITE\" and an orange devil printed on it atop a reddish-brown cowl neck sweater with sleeves rolled up to elbows, hanging earrings, and short medium brown hair.  Puts down pamphlet.\n\nAnn Diamond \n01:06:01\n[Asks audience “do you believe that?” Laughter. Introduces and asks the audience a series of true or false questions beginning with “We are all survivors. True or false?” Audience shouts out a mixture of “true” and “false” after each.] | Video Description: Closeup as Diamond sips beer. Closeup zooms out to medium closeup as Diamond reads from thick spiral notebook. \n\nAnn Diamond\n01:07:15\n[Tells story about being kidnapped by the Rolling Stones and being taken to Ste-Anne-de-Bellevue. Invites Anna, who is in the audience, to ask question.] | Video Description: Medium closeup as Diamond tells a story. \n\nAnna\n01:09:10\nWas this a dream? \n\nAnn Diamond\n01:09:11\nI’m not gonna tell you. \n\nAudience\n01:09:12\nLaughter. \n\nAnn Diamond \n01:09:20\n[Resumes telling story about being kidnapped by the Rolling Stones and being taken to Ste-Anne-de-Bellevue.] | Video Description: Medium closeup of Diamond telling story. \n\nAnn Diamond \n01:12:03\n[Says it was a dream. Explains how under hypnosis people believe that dreams are real memories. Says she was on the national news with the next story that is not a memory or a dream. Tells a story about getting into a car accident during a hurricane on Poxy Island near Prince Edward Island with a short aside about Leonard Cohen. Audience laughter throughout.] | Camera angles vary between medium closeups and long shots as Diamond speaks into the mic and tells a story. \n\nAnn Diamond \n01:24:55\n[Asks the audience a series of true or false questions about her trip to the Caribbean with Mick Jagger among other topics. Audience shouts out a mixture of “true” and “false” after each.] | Video Description: Extreme closeup zooms out to medium closeup as Diamond asks the audience questions and pauses as they respond.\n\nAnn Diamond\n01:27:42\n[Mentions that she wants to launch a project titled “Canada: The Untold Story” about recovering memories.] | Video Description: Medium closeup zooms out to medium shot as Diamond speaks into the mic. \n\nLee Gotham \n01:30:50 \n[Thanks Ann Diamond. Announces Enough Said will return for a new season on January 9th, 1995 with performances by bill bisset and Sharon Nelson, as well as the second cassette launch of Wired on Words series on the 23rd. Announces the event is over. Thanks audience for attending and wishes everyone a Merry Christmas.] | Video Description: Long shot zooms into medium closeup as Lee Gotham speaks into the mic. \n\nLee Gotham \n01:32:14\n[Cuts to Gotham inviting Vince Tinguely to the stage.] | Video Description: Long shot of Gotham speaking into the mic. \n\nVince Tinguely \n01:32:31\n[Introduces and performs a piece beginning with the line “[At the height of the?] Cuban Missile Crisis and a bowl of clean water.” Applause.] | Video Description: White t-shirt, large wire-rimmed glasses, and thin white hair. Medium closeup of Tinguely speaking into the mic zooms out to medium shot as Tinguely performs a piece. \n\nLee Gotham\n01:34:10\n[Thanks Vince. Invites Amanda Blush to the stage. After a few seconds of no one responding, invites [inaudible] to the stage. After a few seconds of no one responding, invites Graham Olds to the stage. Applause.] | Video Description: Medium closeup of Gotham speaking into the mic. \n\nGraham Olds\n01:35:11\n[Mentions he is from British Columbia which is very concerned with the environment. Introduces and performs a piece titled \"If Elvis Was an Environmentalist.\" Applause.] | Video Description: Camera angles vary between medium closeups and medium shots as Olds speaks into the mic and performs a piece. Olds wears a red graphic t-shirt with black geometric designs and a face printed on the front, chin-length medium brown hair, and a thin moustache.\n\nGraham Olds \n01:37:14\n[Talks about riding bike from Tofino to Port Alberni. Performs a piece beginning with the line “When waves of adrenaline excrete from the renal cortex of your kidneys.”] | Video Description: Medium closeup as Olds speaks into the mic and performs a piece. \n\nGraham Olds \n01:38:40\n[Performs untitled piece beginning with the line “I’m a cappuccino cowboy.” Applause.] | Video Description: Medium shot as Olds speaks into the mic and performs a piece. \n\nGraham Olds \n01:39:54\n[Praises the Montreal metro system. Performs a piece beginning with the line “Never been the biggest fan of riding the bus.” Invites Julie Crysler to the stage.] | Video Description: Medium closeup zooms out to medium shot as Olds speaks into the mic, performs a piece, and speaks into the mic again.\n\n[SpokenWeb edits]\n01:41:01\nVideo Description: Black screen with white text that reads \"Two minutes of this video have been removed.\"\n\nLee Gotham\n01:41:07\n[Invites Ran Elfassy to the stage.] | Video Description: Long shot as Gotham speaks into the mic. \n\nRan Elfassy\n01:41:14\n[Says \"hi\" to the audience. Says his poem is not about fucking Leonard Cohen. Performs a piece beginning with the line \"I was a lover last night, last night I was alone with a lover.\" Breaks midperformance to mention that the second half of the piece is titled \"Crisis.\" Resumes performing. Applause.] | Video Description: Long shot zooms into medium closeup as Elfassy speaks into the mic, performs a piece, speaks into the mic briefly, and resumes performing. Elfassy wears a white t-shirt, beaded necklace with square gold pendant, and dark hair in a small bun at the crown of his head. \n\nLee Gotham \n01:48:08\n[Thanks Elfassy. Invites Thoth Harris to the stage.] | Video Description: Long shot zooms into medium closeup as Gotham speaks into the mic. \n\nThoth Harris\n01:48:25\n[Says he will give an autobiographical statement before performing, stating that he is from Vancouver, that he was abused as a child, that his abuser recently died, and his girlfriend recently gave birth. Introduces and performs a piece titled \"Breathing Space.\"] | Video Description: Medium closeup to medium shot as Harris speaks into the mic and performs a piece. Harris wears a pinkish-grey plaid atop a white shirt, grey and white striped scarf, and a grey toque with ear flaps and strings. Zooms into closeup part way through. Zooms out to medium shot as piece concludes.\n\nThoth Harris\n01:53:45\n[Introduces and performs a piece titled [“Samson’s Lost Beach”?] [“Sam’s on Glass Beach”?]. Applause.] | Video Description: Medium shot as Harris puts mic back on stand. Medium closeup as Harris performs a piece. Zooms out to medium shot as the piece concludes.\n\nThoth Harris\n01:56:40\n[Introduces and performs a piece titled “Damage Counter #1.” Applause.] | Video Description: Medium shot zooms into medium closeup as Harris speaks into the mic and performs a piece. \n\nLee Gotham\n01:58:24\nVideo Description: Long shot as Gotham walks to microphone. \n\n[No signal]\n01:58:26\n[Ambient sounds (white noise).] | Video Description: Black screen with static. \n\nHalina Berger\n01:58:40\n[Cuts to Berger in medias res performing a piece including the line \"like being afraid of falling asleep, like going, like being.\"] Applause.] | Video Description: Medium shot zooms into medium closeup as Berger performs a piece. Berger wears a dusty rose button-down cardigan, thick gold chain, and short medium brown hair. \n\nLee Gotham \n2:00:45\n[Thanks Berger. Invites R. M. Vaughan to the stage.] | Video Description: Long shot zooms into medium closeup as Gotham speaks into the mic. \n\nR. M. Vaughan \n02:02:47\n[Asks audience if they are bored by performers mentioning their place of birth. Mentions that he lives in Toronto and is from the east coast. Mentions he runs the Buddies in Bad Times Theatre Company. Mentions that all pieces he will read are from a series titled \"Seven Sentences from Balzac's ‘A Murky Business' and ‘All of my Life'\" and each include a Balzac quote. Performs a piece that, after the quote, begins with the line \"Unless he's very large and the laws of perspective have bent for me.\"] | Video Description: Medium shot zooms into medium closeup as Vaughan speaks into the mic. Vaughan wears a dark red and grey long sleeve button-down plaid, wire-rimmed glasses, and medium brown hair in a buzzcut. Medium closeup zooms out to medium shot as Vaughan performs a piece. Briefly zooms in on Vaughan's left arm gesticulating as the piece concludes.\n\nR. M. Vaughan \n02:03:25\n[Dedicates next work to [?] Beddington who runs a queer publishing company that does not publish queer work. Performs a piece that begins with the line “You and me and politics.”]\n| Video Description: Extreme closeup zooms out to medium closeup as Vaughan speaks into the mic. Medium closeup as Vaughan performs a piece. \n\nR. M. Vaughan \n02:04:33\n[Performs piece including the line “remember you and I are not supposed, our bodies little principalities.” Pauses intermittently throughout due to people loudly laughing and talking on the street.] | Video Description: Medium closeup as Vaughan performs a piece, occasionally stopping and turning to his right and left, looking off-screen. \n\nR. M. Vaughan \n02:06:29\n[Performs piece beginning with the line“Wholesome boy, gift from whatever gods rule that particular patch of cloud.” Pauses intermittently throughout due to people loudly laughing and talking on the street.] | Video Description: Medium closeup as Vaughan performs a piece, occasionally stopping and turning to his right and left, looking off-screen.\n\nR. M. Vaughan \n02:07:47\n[Introduces and performs a piece titled “[Lined?] Poem, Three Lines Long, About Hate.” Applause.] | Video Description: Medium shot zooms into medium closeup as Vaughan performs a piece. \n\nLee Gotham\n02:10:08\n[Thanks Vaughan. Encourages audience to see Buddies in Bad Times in Toronto. Invites [Harpy?] to the stage.] | Video Description: Medium closeup as Gotham adjusts the mic and speaks into it. \n\n[Harpy?]\n02:10:36\n[Introduces and performs piece beginning with the line \"It's the end of the semester, as you can see.\" Applause.] | Video Description: Medium shot as [Harpy?] speaks into the mic and performs a piece. Harpy wears a grey-striped sweater without a zipper atop a white shirt, single hoop earring, and short curly hair. \n\nScott Duncan \n02:13:37\n[Asks everyone to think of leaf cutting ants in preparation for Fluffy Pagan Echoes' event at Phoenix Cafe the week after. Performs a piece titled \"The Bus Driver's Mona Lisa.\" Applause.] | Video Description: Long shot zooms into medium closeup as Duncan speaks into the mic. Duncan wears a white cable knit sweater atop a brown collared shirt, light wash baggy jeans, and dark brown messy hair. Medium closeup as Duncan performs a piece.\n\nJustin McGrail\n02:17:24\n[Performs a piece beginning with the line \"It is a sense of defeat that crawls over shoulders.\" Applause.] | Video Description: Medium closeup as McGrail speaks into the mic and performs a piece. McGrail wears a black baggy t-shirt with the English flag printed on the left sleeve, long chain, and a light brown newsboy cap turned backwards with medium brown hair curling out the front. Zooms into closeup partway through.\n\nLee Gotham\n02:24:17\n[Encourages audience to go to Fluffy Pagan Echoes show. Announces a special surprise.] | Video Description: Long shot zooms into medium closeup as Gotham speaks into the mic. \n\nAnna and Ann Diamond \n02:24:28\nVideo Description: Medium closeup as Anna and Diamond walk on stage. Anna wears a lapelled leather jacket atop a black turtleneck sweater and short dark brown hair. Diamond wears the same outfit as during her feature but also wears an oversized grey jacket and a yellow, red, and black patterned scarf. \n\nAnna\n02:24:36\n[Says this will be an example of how sometimes speech in another language sounds serious when it is not and vice versa.] | Video Description: Medium closeup as Anna lights a cigarette and speaking into the mic.\n\nAnn Diamond\n02:25:02\nI will sing in Greek.\n\nAnna\n02:25:04\nAnd I will translate. \n\nAnn Diamond \n02:25:08\n[Sings in Greek.] | Video Description: Medium closeup zooms out to medium shot as Diamond sings into the microphone and then pushes the mic to Anna \n\nAnna\n02:25:16\n[Translates the words Diamond sang. Laughter.] | Video Description: Medium shot as Anna speaks into the mic. \n\nAnn Diamond\n02:25:26\nI didn't know it meant that. [Resumes singing.] | Video Description: Medium shot as Diamond speaks into the mic, sings into the mic, and then pushes the mic to Anna. \n\nAnna \n02:25:35\n[Translates the words Diamond sang. Laughter. Announces she will do the other part. Sings.] | Video Description: Medium closeup as Anna speaks into the mic, then takes off jacket. Zooms into closeup as Anna sings into the mic. \n\nAnn Diamond \n02:26:45\n[Explains that she thinks it means “I love your beautiful eyes and I love your hair and get a job and don’t run after the whores.” Laughter.] | Medium closeup as Diamond speaks into the mic and then pushes the mic to Anna. \n\nAnna\n02:27:06\n[Explains that it means “I don’t want you to give me palaces and castles, I don’t want you to give me riches like all the other sluts that you give them too, just feel sorry for the little parts of my heart, and just tell me that you love me.” Applause.] | Video Description: Closeup as Anna speaks into the mic. \n\nLee Gotham \n02:26:43\n[Thanks Anna and Ann Diamond. Thanks the audience. Announces the end of the event.] | Video Description: Long shot as Gotham speaks into the mic.] \n\nAudience\n02:28:03\n[Sombre recorded symphonic music in background.] | Video Description: Long shot of audience putting on jackets and chatting. \n\n[Bistro 4 stage]\n02:28:22\n[Sombre recorded symphonic music in background.] Video Description: Cuts to open mic sign-up blackboard with “enough said” written across the top and a list of participants’ names below. \n\n[Bistro 4 stage]\n02:28:52\nVideo Description: Cuts to closeup of Christmas tree with multicoloured lights, zooms out to show tree is inside Bistro 4 and camera is outside. Words such as “biere,” “fut,” “cafe,” and “tisane” are visible on the window. Zooms in on sign inside the venue that reads “Bistro 4.”\n\nEND\n02:29:24\n[End of recording.]"],"score":1.8530173},{"id":"5184","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Lee Gotham collection"],"source_collection_label":["Lee Gotham collection"],"collection_contributing_unit":["Spokenweb at Concordia University"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Lee Gotham collection contains the AV recordings regarding the Enough Said series, including readings, performances, open-mic, and spoken-word events that took place at Bistro 4 and other Montreal venues between December 1994 and June 1996."],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Enough Said 1995-01-09, Swifty Lazarus"],"item_title_source":["Asset"],"item_title_note":["On ephemera and corroborated by Lee Gotham, who introduces the event headliners."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["Lee Gotham collection"],"item_subseries_title":["Enough Said"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. We may wish to seek permission from individual artists and Drew Duncan, the videographer."],"creator_names":["Swift, Todd","Gotham, Lee","Walsh, Tom"],"creator_names_search":["Swift, Todd","Gotham, Lee","Walsh, Tom"],"creators":["[{\"url\":\"https://viaf.org/viaf/41039443/\",\"name\":\"Swift, Todd\",\"dates\":\"1966-\",\"notes\":\"Event headliner; one-half of Swifty Lazar.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/106179112\",\"name\":\"Gotham, Lee\",\"dates\":\"1962-\",\"notes\":\"Lee Gotham was also the MC of this event.\",\"nation\":[],\"role\":[\"Series organizer\",\"Producer\",\"Performer\"]},{\"url\":\"\",\"name\":\"Walsh, Tom\",\"dates\":\"\",\"notes\":\"Event headliner; one-half of Swifty Lazar.\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors_names":["Duncan, Drew","Berger, Halina","Flemming, Susan"],"contributors_names_search":["Duncan, Drew","Berger, Halina","Flemming, Susan"],"contributors":["[{\"url\":\"\",\"name\":\"Duncan, Drew\",\"dates\":\"\",\"notes\":\"Videographer.\",\"nation\":[],\"role\":[\"Recordist\"]},{\"url\":\"\",\"name\":\"Berger, Halina\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Flemming, Susan \",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]}]"],"performer_name":["Berger, Halina","Flemming, Susan "],"Recordist_name":["Duncan, Drew"],"Performance_Date":[1995],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/5183/Enough_Said-VHS1-19941219_19950123_19950109.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Video\",\"tape_brand\":\"TDK SHG\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"120 minutes\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"VHS\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Tape box. Handwritten label on side. Ephemera accompanying asset.\",\"other_physical_description\":\"VHS #1 asset. Contains recordings of multiple events.\"}]"],"material_designations":["VHS"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Video"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:v:/g/personal/carlosa_pittella_concordia_ca/ER_C-dTQXhZFqUB3yZtmqe0B_8eWTxOAgZafp9qp6aFW9g\",\"file_path\":\"\",\"filename\":\"Enough_Said-19950109-Swifty_Lazar.mp4\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:12:06\",\"precision\":\"\",\"size\":\"2.03 GB on disk\",\"bitrate\":\"2304Kbps (original); 256Kbps (master)\",\"encoding\":\"MPEG-4 movie\",\"contents\":\"This is file 1 of 1 containing an AV recording of an event in the Enough Said series, organized by Lee Gotham, featuring performances by Swifty Lazar and others.\",\"notes\":\"Dimensions: 640 × 480.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Video Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1995-01-09\",\"type\":\"Performance Date\",\"notes\":\"Though the Swifty-Lazar event happened before the Wiernik-and-Anderson event, their chronology is switched in VHS #1.\",\"source\":\"Asset\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/2428619734\",\"venue\":\"Bistro 4\",\"notes\":\"Bistro 4 (pronounced Bistro Quatre), no longer in existence.\",\"address\":\"4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada\",\"latitude\":\"45.5169628\",\"longitude\":\"-73.5796147\"}]"],"Address":["4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada"],"Venue":["Bistro 4"],"City":["Montreal, Quebec"],"content_notes":["Event recording starts at 02:31:09:17 of VHS #1 asset, which contains multiple events."],"Note":["[{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"},{\"note\":\"VHS #1 asset. Contains recordings of multiple events: (1) Enough Said 1994-12-19, Gotham and Diamond; (2) Enough Said 1995-01-23, Wiernik and Anderson; and (3) Enough Said 1995-01-09, Swifty Lazar. Note the recordings in VHS #1 are not in chronological order. The asset was digitized, generating both uncompressed and compressed video files; the compressed files were then split into events to facilitate the transcription work. Metadata entries based on events.\",\"type\":\"General\"},{\"note\":\"Jade Palmer\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/oclc/82772021\",\"citation\":\"Camlot, Jason, and Todd Swift (Eds.). Language Acts: Anglo-Québec Poetry, 1976 to the 21st Century. Montréal: Véhicule Press, 2007.\"}]"],"_version_":1853670549173043200,"timestamp":"2026-01-07T14:59:53.772Z","contents":["[Bistro 4 stage]\n00:00:00\nVideo Description: Colour video, different degrees of closeup of the stage at Bistro 4 (Quatre) (4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada). A single mic stand. The stage, slightly below street level, is set against a full-wall window looking out onto the St. Laurent Blvd. traffic—with both pedestrians and vehicles regularly passing by. The windows from across the street are also visible. People frequently pass in front of the camera. White spherical lights hang from the ceiling. Long shot as two individuals set up technical equipment and reading materials on the stage, and audience members talk to each other. \n\nLee Gotham\n00:00:49\nOkay, thank you very much for your patience. Merci, de la rester (?) encore. For this evening we’re going to begin as we’re wont to do with a very short section of open mic participation. Open mic participation, i.e., people like yourselves, who are willing to come up, regale us with your thoughts, emotions, and anything else they’re willing to part with. I can read “Halina” and I guess at (?) behind the black (?) on the board. So Halina, you can come up and join us, we’ll be off and running. | Video Description: Camera gradually zooms from long shot to closeup as Gotham speaks into the mic. Gotham wears a black zippered sweater with unknown white graphics on the back, a small white logo on the front left side, and sleeves rolled up to the elbows; black rimmed cap; and hair in a ponytail through the hole in the back. \n\nHalina Berger \n00:01:48\n[Says they have never read in front of this many people before. Reads a piece beginning with the line “Springtime just before winter.” Volume level very low. Applause.] | Video Description: Closeups and extreme closeups as Berger reads a piece. Berger wears a red V-neck long-sleeved shirt with a few buttons at the top, silver chain around her neck, small hoop earrings, and short dark brown hair. \n\nLee Gotham \n00:04:14\n[Encourages open mic participants to speak clearly and strongly into the mic, reminds them that the time limit is five to seven minutes, and that polite applause is not allowed. Invites Susan Flemming to the stage.] | Video Description: Medium shot to loose closeup as Gotham speaks into the mic. \n\nSusan Flemming\n00:05:44 \n[Says they thought Gotham meant that there were things that open-mic performers could not talk about. Asked Gotham if people were allowed to clap. Recalled when someone at a previous poetry event said they were taught not to laugh at poetry. Recalled, in a Toronto restaurant, when someone said not to get the $10.99 special or else the poet will want to sleep with you. Explains that they wrote this poem about how poets talk about sex more than they have it. Begins to perform a piece titled “Supper is Served.” Pauses and remarks how they can move around more. Recommences.] | Video Description: Closeup as Flemming begins to perform a piece, pauses to take the microphone off the stand, continues performing. Flemming wears a loose-fitting black jacket atop a white shirt, a yellow scarf with black and white patterns, circular wire-rimmed glasses, and short medium-brown hair with bangs. \n\nSusan Flemming\n00:08:00\n[Performs a piece titled “What the Poet Does.”] | Video Description: Loose closeup as Flemming performs a piece.\n\nSusan Flemming\n00:08:36\n[Asks the audience if anyone is married. No response. Introduces and performs a piece titled “Two Married Women: Rules for the Affair.”] | Video Description: Closeup as Flemming introduces and performs a piece. \n\nSusan Flemming \n00:09:46\n[Tells a joke about orgasms. Brief laughter. Asks if anyone has had sex on the beach lately. Lists a cocktail recipe. Performs a piece beginning with the line “When you touch me, a constellation of stars quiver in the night.”] | Video Description: Closeup as Flemming introduces and performs a piece.\n\nSusan Flemming \n00:11:20\n[Introduces and performs a piece titled “Mary of Jane.” Applause.] | Video Description: Medium shots and closeups as Flemming introduces and performs a piece.\n\nLee Gotham \n00:12:32\n[Apologizes to Flemming for the time constraints. Mentions that there will be one more “brief pause” before Swifty Lazarus. Sudden cut in audio.] | Video Description: Gotham speaks briefly into the mic. Sudden cut in video.\n\nSwifty Lazarus \n00:13:08\n[Recording of ambient music with choral elements plays in background. Audience chatter. Sudden cut in audio suggests the feed was stopped and recommenced. Another sudden cut in audio.] | Video Description: Walsh suspends microphone from tall microphone stand branching to the right. Sudden cut in video suggests the feed was cut and recommenced. Zoom in on microphone. Todd Swift, wearing headphones, tests mic inaudibly. Another sudden cut in video. Todd Swift wears a black suit jacket over a white button-down shirt with a black bowtie, black rectangular glasses, and dark hair close cropped on the sides and parted just off-centre. Tom Walsh wears a leather vest with decorative zippers over a black long-sleeved shirt and short dark hair.\n\nLee Gotham \n00:17:15\n[Introduces Swifty Lazarus.] | Video Description: Varying degrees of closeup as Gotham speaks into the mic.\n\nSwifty Lazarus \n00:17:55\n[Recording of cinematic music with harp and horns plays. Swift performs a piece beginning with the line “After the end of the world, there is much work to be done.”] | Video Description: Loose closeup as Swift performs a piece. \n\nSwifty Lazarus\n00:19:38\n[Recording of uneasy and discordant string instrument music plays. Shifts to cacophonous horn and percussion sounds and screeching. Swift performs a piece titled “(?) Barbershop.” Brief applause and laughing.] | Video Description: Swift stands perpendicular to the mic. Walsh stands up. Swift approaches the mic and performs a piece. Loose closeup throughout. \n\nSwifty Lazarus\n00:21:31\n[Recording of cinematic string and horn music plays. In a radio-esque transatlantic accent, a recorded voice delivers monologue that includes the line, “the hearts of men, a shadow now.”] | Video Description: Loose closeup of Swift holding up a white handheld cassette tape player to the mic, looking at watch, and taking tape player away from mic.\n\nSwifty Lazarus\n00:22:32\n[Recording of spare xylophone music plays. In a muted, mid-twentieth-century-radio tone, Swift performs a piece beginning with the line, “The theory of tunnel (work?) is a powerful distinction between a (ledger?) and employment.” Music gradually adds both cinematic and discordant strings reminiscent of earlier musical sections.] | Video Description: Loose closeup to closeup as Smith performs a piece with a trumpet mute up to their lips.\n\nSwifty Lazarus\n00:25:37\n[Recording of discordant string music and vocalization plays. Swift performs a piece beginning with the line “The shadowy man (has guilt inside?) (? and sighs?). Moscow.”.] | Video Description: Medium shot as Swift turns away from the mic. Closeup as Swift turns back and performs a piece, reading off a newspaper. \n\nSwifty Lazarus\n00:27:30\n[Recording of up-beat jazz music with xylophone and horns plays. “History is dead and the full weight of the present (?)” Laughter periodically throughout. The music and Swift’s delivery gets faster and more chaotic partway through. Music suddenly cuts seemingly on purpose and Swift continues reading. Music recommences. Applause] | Video Description: Closeup and extreme closeup as Swift performs a piece. \n\nSwifty Lazarus\n00:31:09 \n[Recording of a single unknown string or horn instrument playing seemingly random notes plays. A recording of two voices conversing plays.] | Video Description: Varying degrees of closeup as Swift holds a white handheld cassette tape player to the mic. Nods and smiles along with the audio. \n\nSwifty Lazarus\n00:32:35\n[Recording of simple snare and bass drum beat plays, in which short guitar or horn melodies quip periodically. Swift performs a piece beginning with the line “So much rain in one hat band.”] | Video Description: Medium shots and loose closeups as Swift performs a piece. \n\nSwifty Lazarus\n00:35:23\n[Old recording of a two-voice conversation plays. Swift softly delivers a piece. Uneasy vintage horror movie music begins partway through.] | Video Description: Walsh stands and lights a cigarette. Closeup as Swift performs a piece. \n\nSwifty Lazarus\n00:36:55\n[Old recording of a two-voice phone conversation plays. The first verse of a child choir singing “Oh Canada” plays. A recording of steady gong or cymbal hits plays. Swift performs a piece beginning with the line “One softness (?) going, the sea turns like glass.” Recording of staccato pulses of unknown instruments begin partway through.] | Video Description: Closeup as Swift performs a piece.\n\nSwifty Lazarus\n00:39:55\n[Old recording of a newscast beginning with the line, “The Nazi war criminal died” plays. Swift performs a piece beginning with the line, “But when the Berlin Wall fell five years ago, it was a signal.” A recording of raucous percussion plays after the first line, evolves into quiet sirens.] | Video Description: Closeup of the microphone while Swift smokes a cigarette off-camera. Closeup as Swift performs a piece.\n\nSwifty Lazarus\n00:41:49\n[Recording of hopeful and content piano and drum music plays. Swift strongly performs a piece beginning with the line, “There’s one thing I remember right from childhood. From the beginning. And it is the smell of roses.” Music slowly shifts to high-pitched and discordant electric organ chords with periodic driving percussion. Applause] | Video Description: Closeup as Swift performs a piece. \n\nSwifty Lazarus\n00:52:11\n[Long pause.] | Video Description: Medium shot and closeup as Swift faces away from the mic checking watch and adjusting headphones, sometimes out of frame. \n\nSwifty Lazarus\n00:53:12\n[Recording of ominous stringed instrument music plays. Swift performs a piece beginning with the line “What happened to you when you were murdered?”] | Video Description: Closeup as Swift performs a piece, ending with an extreme closeup. \n\nSwifty Lazarus\n00:56:09\n[Recording of unknown screeching instrument plays. Recording of one person pleading “no” and “stop” and another person talking sinisterly plays. Recording of a two-voice conversation plays.] Video Description: Extreme closeup as Swift holds up a white handheld cassette tape player to the mic. Swift’s face reacts to the dialogue in the recordings. \n\nSwifty Lazarus\n00:58:01\n[Recording of intense large wind instrument and large drums plays. Swift performs a piece beginning with the line “The architect of the future.”] | Video Description: Closeup as Swift performs a piece. \n\nSwifty Lazarus\n01:01:36\n[Recording of ominous ambient music plays. Swift performs a piece beginning with the line “I’ve seen a man stagger with a thousand arrows in his back.” Applause.] | Video Description: Closeup as Swift performs a piece. \n\nSwifty Lazarus\n01:04:53 \n[Swift announces, “this is the last one.” Recording of happy horn and drum music plays, cuts suddenly, and recommences. Swift performs a piece that may be titled “Ten Rose Songs.” Music cuts and recommences in different styles rapidly and repeatedly throughout performance. Laughter throughout. Applause.] | Video Description: Walsh stands up, leans over to Swift, sits back down. Closeup as Swift performs a piece. \n\nSwifty Lazarus\n01:08:44\n[Walsh introduces Swift and themselves. Explains that the name of their group is inspired by “Hollywood’s greatest entrepreneur,” Irving Paul \"Swifty\" Lazar. | Video Description: Medium shot as Swift and Walsh stand side by side. Closeup as Walsh speaks into the mic. \n\nLee Gotham\n01:09:50\n[Hopes everyone “soaked that up.” Encourages people to stay after the show. Mentions that bill bissett is next week’s performer. Mentions further future events. Applause.] | Video Description: Loose closeup to extreme closeup as Gotham speaks into the mic. \n\n[No signal]\n01:11:21\n[Ambient sounds (white noise).] | Video Description: Black screen with static. \n\nEND\n01:12:06\n[End of recording.]"],"score":1.8530173},{"id":"5186","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Headlight Anthology Collection"],"source_collection_label":["Headlight Anthology Collection"],"collection_contributing_unit":[""],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Manahil Bandukwala in Headlight 24, 2023"],"item_title_source":["Asset"],"item_title_note":["As published in Headlight Anthology."],"item_language":["English"],"item_production_context":["Home recording"],"item_series_title":["Headlight 24"],"item_subseries_title":["Headlight 24 Pieces"],"item_identifiers":["[]"],"rights":["In Copyright Educational Use Permitted (InC-EDU)"],"rights_notes":["Copyright by Headlight Anthology and contributor. Online reproduction and archiving allowed. Republications under different publishers must be authorized by the contributor."],"creator_names":["Bandukwala, Manahil"],"creator_names_search":["Bandukwala, Manahil"],"creators":["[{\"url\":\"http://viaf.org/viaf/13165392151521250897\",\"name\":\"Bandukwala, Manahil\",\"dates\":\"\",\"notes\":\"Manahil Bandukwala is a writer and visual artist originally from Pakistan and now settled in Canada. She works as Coordinating Editor for Arc Poetry Magazine, and is Digital Content Editor for Canthius. She is a member of Ottawa-based collaborative writing group VII. Her debut poetry collection is MONUMENT (Brick Books).\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Elbanhawy, Sherine","Eastwood, Miranda","Pittella, Carlos A.","Andrews, Olive","Affonso, Alexandre","Ruby, Ariella"],"contributors_names_search":["Elbanhawy, Sherine","Eastwood, Miranda","Pittella, Carlos A.","Andrews, Olive","Affonso, Alexandre","Ruby, Ariella"],"contributors":["[{\"url\":\"\",\"name\":\"Elbanhawy, Sherine\",\"dates\":\"\",\"notes\":\"Co-managing editor of Headlight 24.\\n\\n\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Eastwood, Miranda\",\"dates\":\"\",\"notes\":\"Sound editor of Headlight 24.\",\"nation\":[],\"role\":[\"Producer\",\"Recordist\"]},{\"url\":\"https://viaf.org/viaf/97149659658506830525\",\"name\":\"Pittella, Carlos A.\",\"dates\":\"1983-\",\"notes\":\"Co-managing editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Andrews, Olive\",\"dates\":\"\",\"notes\":\"Poetry editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Affonso, Alexandre\",\"dates\":\"\",\"notes\":\"Nonfiction editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Ruby, Ariella\",\"dates\":\"\",\"notes\":\"Fiction editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]}]"],"Producer_name":["Elbanhawy, Sherine","Eastwood, Miranda","Pittella, Carlos A.","Andrews, Olive","Affonso, Alexandre","Ruby, Ariella"],"Recordist_name":["Eastwood, Miranda"],"Publication_Date":[2023],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Digital\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"recording_type":["Digital"],"AV_type":["Audio"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:u:/g/personal/carlosa_pittella_concordia_ca/EWZdwizoVj5GsrXLDKd9LMoBMXg4dru-j-E8zG0G07nsKw\",\"file_path\":\"\",\"filename\":\"Headlight24-Bandukwala.wav\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:04:48\",\"precision\":\"\",\"size\":\"50.8 MB\",\"bitrate\":\"1411 kbps\",\"encoding\":\"WAV\",\"contents\":\"This is file 1 of 1 containing an audio-recording of the piece \\\"Turning Twenty-Four on the Rise of the Sturgeon Moon,\\\" by Manahil Bandukwala, as published in Headlight Anthology, no. 24.\",\"notes\":\"\",\"title\":\"Turning Twenty-Four on the Rise of the Sturgeon Moon\",\"credit\":\"Manahil Bandukwala\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:u:/g/personal/carlosa_pittella_concordia_ca/Ebmbo7PKcmdAuAL0nWyWg3oBHVKvMks_XlVTPOYOE5zS7Q\",\"file_path\":\"\",\"filename\":\"Headlight24-Bandukwala.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:04:48\",\"precision\":\"\",\"size\":\"2.3 MB\",\"bitrate\":\"145-185 kbps\",\"encoding\":\"MP3\",\"contents\":\"This is file 1 of 1 containing an audio-recording of the piece \\\"Turning Twenty-Four on the Rise of the Sturgeon Moon,\\\" by Manahil Bandukwala, as published in Headlight Anthology, no. 24.\",\"notes\":\"MP3 also available at https://headlightanthology.ca/archive/n24/turning-twenty-four-on-the-rise-of-the-sturgeon-moon/, accessed on June 9, 2023.\",\"title\":\"Turning Twenty-Four on the Rise of the Sturgeon Moon\",\"credit\":\"Manahil Bandukwala\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"2023-06-02\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"Headlight website\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1192154219\",\"venue\":\"Concordia University, Department of English\",\"notes\":\"Headlight Anthology operates out of Concordia’s graduate English Literature & Creative Writing department.\",\"address\":\"1455 Boul. de Maisonneuve O., LB 641, Montréal, QC, H3G 1M8\",\"latitude\":\"45.4969331\",\"longitude\":\"-73.5783742\"}]"],"Address":["1455 Boul. de Maisonneuve O., LB 641, Montréal, QC, H3G 1M8"],"Venue":["Concordia University, Department of English"],"City":["Montreal, Quebec"],"contents":["Turning Twenty-Four on the Rise of the Sturgeon Moon\n\nby Manahil Bandukwala\n\nA sturgeon, smiling, or swimming. River level rises in late summer. Waist-high. Once it might have engulfed me. Salt. I forgot to look over my shoulder two weeks ago and luck now eludes me.\n\n*\n\nWas I dreaming or is every sky pinker than the last. Snow catches fire five-hundred kilometres north-west of here. Here the sturgeon smiles, and swims. A full moon\n\nmorphed, elongated, swishing water and mud at the lake end.\n\nThink hard about wishes\nbefore blowing out\nthe candles,\n\ncareful not to waste any.\n\n*\n\nA wish is selfish. I wish for luck. To wish for time, or for more wishes. \n\n                          Sturgeon. \n                                            Wolf. \n                                                      Hungry. \n\n                                                                   Hungering.\n*\n\nThink back to last month, how every day felt thick. The month before, how the moon was beautiful and bloody. Get used to blood and red and copper. The reddest solstice of our lives so far, the pinkest the sky has been.\n\nLick the sturgeon eggs beneath the lake, a mingling of smoke and salt. Hints of cream cheese frosting between the wax.\n\n*\n\nThree birthday cakes and each candle on each cake is the same wish. As if the third time is when it sticks.\n\n*\n\nAs if elongating the moment between the song and blowing out all the candles in a single breath will pause the smoke, sturgeons, surging water. Live\n\nat the cusp of the full sturgeon moon. An abundance of fish in the lakes and rivers of this hemisphere.\n\nThe wind carries faint howls, and hunger.\n\n*\n\nAsk me of time. Birth time. Of the time the moon will be at its fullest but daylight floods the sky.\n\n*\n\nThe sun is the sole witness to the moon this month \n\n                                           but if not the sun’s flood then smoke, then water \n                                           waist-high, then the opaque film \n                                           of blood. \n*\n\nHad I looked over my shoulder on the new moon I might have caught a moment of luck in my net. As though luck could, like a sturgeon, swim out of the haze. Now all I am left with are wishes. Effective as luck, as elusive.\n\nThe net is torn, a tangle of string.\n\n*\n\nSo many names for the same thing, dependent on the latitude and the angle at which\nthe body is turned to the sky. So many signs point to the end ahead. \n\n                             Fewer sturgeons swimming each lake. \n                                            Each summer day a new film of smoke. \n                                                          Fire and fire and fire and fire and fire and— \n*\n\nCicadas scream, each day louder than the last. Screaming to find a mate while there is still time. This might be the last cycle of mating they have\n\nor they might emerge thirteen years later and find all the smoke cleared away and August’s sturgeons leaping against the silhouette of a full moon\n\n(but sturgeons are not fish that leap up against full moons.\n\nThis is the imagined future where imagination runs).\n\n*\n\nRiver rising. Summer more than halfway through. Was I dreaming or did snow really catch fire outside my window. Snow falls in summer, somewhere. How else to explain all this smoke.\n\n*\n\nI made twenty-four wishes.\n\n                                                           Each wish\nthe same.\n\nIn essence, to survive, to survive,\nto survive."],"Note":["[{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"https://headlightanthology.ca/archive/n24/turning-twenty-four-on-the-rise-of-the-sturgeon-moon/\",\"citation\":\"Bandukwala, Manahil. Turning Twenty-Four on the Rise of the Sturgeon Moon. Headlight Anthology, no. 24, 2023, pp. 11–15.\"}]"],"_version_":1853670549176188928,"timestamp":"2026-01-07T14:59:53.772Z","score":1.8530173},{"id":"5188","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Lee Gotham collection"],"source_collection_label":["Lee Gotham collection"],"collection_contributing_unit":["Spokenweb at Concordia University"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Lee Gotham collection contains the AV recordings regarding the Enough Said series, including readings, performances, open-mic, and spoken-word events that took place at Bistro 4 and other Montreal venues between December 1994 and June 1996."],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Enough Said 1995-01-23, Wiernik and Anderson"],"item_title_source":["Asset"],"item_title_note":["Corroborated by Lee Gotham, who introduces the event headliners."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["Lee Gotham collection"],"item_subseries_title":["Enough Said"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. We may wish to seek permission from individual artists and Drew Duncan, the videographer."],"creator_names":["Gotham, Lee","Wiernik, Neil (aka Naw)","Anderson, Fortner"],"creator_names_search":["Gotham, Lee","Wiernik, Neil (aka Naw)","Anderson, Fortner"],"creators":["[{\"url\":\"https://viaf.org/viaf/106179112\",\"name\":\"Gotham, Lee\",\"dates\":\"1962-\",\"notes\":\"Lee Gotham was also the MC and one of the headliners of this event.\",\"nation\":[],\"role\":[\"Series organizer\",\"Producer\",\"Performer\"]},{\"url\":\"https://viaf.org/viaf/814159474065427660323\",\"name\":\"Wiernik, Neil (aka Naw)\",\"dates\":\"\",\"notes\":\"Event headliner. At the time presented as \\\"Neil Wiernik.\\\" \",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/106026246/\",\"name\":\"Anderson, Fortner\",\"dates\":\"1955-\",\"notes\":\"Event headliner.\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors_names":["Duncan, Drew","Stanton, Victoria","Tinguely, Vincent (Vince)","Duncan, Scott","Stephens, Ian","Phil","Unknown_Reader1","Ian","Mike","Natasha","Sophie","Tom","Joelle Ciona and Monique","McGrail, Justin"],"contributors_names_search":["Duncan, Drew","Stanton, Victoria","Tinguely, Vincent (Vince)","Duncan, Scott","Stephens, Ian","Phil","Unknown_Reader1","Ian","Mike","Natasha","Sophie","Tom","Joelle Ciona and Monique","McGrail, Justin"],"contributors":["[{\"url\":\"\",\"name\":\"Duncan, Drew\",\"dates\":\"\",\"notes\":\"Videographer.\",\"nation\":[],\"role\":[\"Recordist\"]},{\"url\":\"https://viaf.org/viaf/1975942\",\"name\":\"Stanton, Victoria\",\"dates\":\"1970-\",\"notes\":\"Guest performer. Opening act, with the collaboration of Scott Duncan and Vince Tinguely (all three performers part of the group Fluffy Pagan Echoes).\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/36425179\",\"name\":\"Tinguely, Vincent (Vince)\",\"dates\":\"1959-\",\"notes\":\"Opening act, with the collaboration of Victoria Stanton and Scott Duncan (all three performers part of the group Fluffy Pagan Echoes).\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/2021159474212827661705\",\"name\":\"Duncan, Scott\",\"dates\":\"1970-\",\"notes\":\"Opening act, with the collaboration of Victoria Stanton and Vince Tinguely (all three performers part of the group Fluffy Pagan Echoes).\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/48507771\",\"name\":\"Stephens, Ian\",\"dates\":\"1954–1996\",\"notes\":\"Guest performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Phil\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Unknown_Reader1\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Ian\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Mike\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Natasha\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Sophie\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Tom\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Joelle Ciona and Monique\",\"dates\":\"\",\"notes\":\"Guest performers. Opening-act.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/106255768\",\"name\":\"McGrail, Justin\",\"dates\":\"1968-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]}]"],"performer_name":["Stanton, Victoria","Tinguely, Vincent (Vince)","Duncan, Scott","Stephens, Ian","Phil","Unknown_Reader1","Ian","Mike","Natasha","Sophie","Tom","Joelle Ciona and Monique","McGrail, Justin"],"Recordist_name":["Duncan, Drew"],"Performance_Date":[1995],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/5183/Enough_Said-VHS1-19941219_19950123_19950109.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Video\",\"tape_brand\":\"TDK SHG\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"120 minutes\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"VHS\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Tape box. Handwritten label on side. Ephemera accompanying asset.\",\"other_physical_description\":\"VHS #1 asset. Contains recordings of multiple events.\"}]"],"material_designations":["VHS"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Video"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:v:/g/personal/carlosa_pittella_concordia_ca/EQvogXjNcFBHkVsYrp8kR3ABU1yG4J5lVtWncjbLqV7-JQ\",\"file_path\":\"\",\"filename\":\"Enough_Said-19950123-Wiernik_Anderson.mp4\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:40:51\",\"precision\":\"\",\"size\":\"2.84 GB on disk\",\"bitrate\":\"2304Kbps (original); 256Kbps (master)\",\"encoding\":\"MPEG-4 movie\",\"contents\":\"This is file 1 of 1 containing an AV recording of an event in the Enough Said series, organized by Lee Gotham, featuring performances by Neil Wiernik, Fortner Anderson, Ian Stephens, Victoria Stanton, and others.\",\"notes\":\"Dimensions: 640 × 480.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Video Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1995-01-23\",\"type\":\"Performance Date\",\"notes\":\"Though the Wiernik-and-Anderson event happened after the Swifty-Lazar event, their chronology is switched in VHS #1.\",\"source\":\"Asset\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/2428619734\",\"venue\":\"Bistro 4\",\"notes\":\"Bistro 4 (pronounced Bistro Quatre), no longer in existence.\",\"address\":\"4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada\",\"latitude\":\"45.5169628\",\"longitude\":\"-73.5796147\"}]"],"Address":["4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada"],"Venue":["Bistro 4"],"City":["Montreal, Quebec"],"content_notes":["Event recording starts at 02:31:09:17 of VHS #1 asset, which contains multiple events."],"Note":["[{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"},{\"note\":\"VHS #1 asset. Contains recordings of multiple events: (1) Enough Said 1994-12-19, Gotham and Diamond; (2) Enough Said 1995-01-23, Wiernik and Anderson; and (3) Enough Said 1995-01-09, Swifty Lazar. Note the recordings in VHS #1 are not in chronological order. The asset was digitized, generating both uncompressed and compressed video files; the compressed files were then split into events to facilitate the transcription work. Metadata entries based on events.\",\"type\":\"General\"},{\"note\":\"Jade Palmer\",\"type\":\"Cataloguer\"}]"],"Related_works":["[]"],"_version_":1853670549178286080,"timestamp":"2026-01-07T14:59:53.772Z","contents":["[Bistro 4 stage]\n00:00:00 \nVideo Description: Color video of the stage with mic stand at Bistro 4 (Quatre) (4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada). The stage, slightly below street level, is set against a full-wall window looking out onto the St. Laurent Blvd. traffic—with both pedestrians and vehicles often passing by. The windows from across the street are sometimes visible, including an outdoor sign with the word “JETHRO.”  On the windows of Bistro 4, the word “said” (from “Enough Said”) becomes visible when the camera zooms out, as well as decals with words from the menu, such as “DEJEUNER,” “CAPPUCCINO,” and “TISANE.”\n\nLee Gotham \n00:00:01\nThank you so much for coming out. Well, welcome to, I’m losing count, but the next and last, most recent, not last, most recent evening of Enough Said spoken word event series. Gee, you know, we’re in for a miracle, I’ve got a mouthful just introducing it all, maybe I’ll gloss it over a bit. We’re launching a cassette among other things, Broken Spoken features Neil Wiernik and Fortner Anderson, both of whom you’ll see up here before long. Before them, we have a couple of other treats, and I hope everyone is more or less comfortable, and if they’re not, that they take the initiative, wander up to the bar, pick what you’d like. Because of the crowds, of course, you won’t see a waiter with any regularity. And yeah so it’s a wonderful crowd, it’s nice to see everybody here, and let’s just kind of segue into the evening. There will be a brief pause, but don’t despair, everything will happen before very long. | Video Description: Camera varies between loose closeups and medium shots as Gotham speaks into the mic. Gotham wears a black sweater, sunglasses with clear frames and black lenses on head, with shoulder-length hair loose. \n\nJoelle Ciona and Monique\n00:01:39\n[Ciona performs a piece beginning with the line “Sometimes I just can’t stand the city. There’s too many people.” No microphone, so volume is low. Partway through, Ciona and Monique alternate who is delivering the piece. Laughter throughout. Applause.] | Video description: Medium shot as Ciona pours steaming hot liquid from brown pitcher into a cup and begins performing a piece. Monique enters and sits on a chair on the stage while Ciona wanders through the audience, passing out white bowls and filling them from the pitcher. Ciona wears a black long-sleeved shirt with sleeves rolled up to the elbows, black gloves, grey denim jeans, a black belt with a large silver buckle, silver and black glasses, and short blonde hair. Monique wears a white t-shirt with thin black stripes, black pants, and medium brown hair with bangs. Ciona stops at the stage to clean Monique’s hand with a white washcloth and trim their nails while delivering the piece. Closeup as Ciona begins biting Monique’s nails, periodically spitting out the pieces. Monique takes over delivering the piece. Ciona puts down Monique’s hand and resumes delivering the piece. The two performers go back and forth delivering the piece, with Ciona chewing Monique’s nails and sucking or licking Monique’s fingers when they are not speaking. Long shot to show (Johnathon Ascensio?) and (Angela Dora?) in fairy wings holding glowing lanterns approach the window outside, bite their nails, and attempt to fog up the window with breath. Closeup on the figures outside as the piece ends.\n\nLee Gotham\n00:07:50\n[Says he hopes the audience in the back “wasn’t completely disappointed,” assuming they were unable to hear. Mentions Ciona is a performance artist. Apologizes for not knowing the second performer’s name. Monique shouts from the audience, “Monique!” Laughter. Sees Ciona approaching the stage from the audience to collect props from the stage and asks if they want to explain the piece.] | Video Description: Closeup zooms out to medium shot zooms out to long shot as Gotham speaks into the mic.\n\nJoelle Ciona\n00:08:34\n[Explains that their nail-biting habit inspired the work. Credits (Johnathon Ascensio?) and (Angela Dora?) as the “angels” outside. Applause.] | Video Description: Long shot zooms out to medium shot as Ciona speaks into the mic that Gotham holds.  \n\nLee Gotham\n00:09:04\n[Invites “resident favourite” and Fluffy Pagan Echoes member, Victoria Stanton, to the stage.] | Video Description: Long shot as Gotham speaks into the mic. \n\nFluffy Pagan Echoes (Victoria Stanton, Scott Duncan, and Vince Tinguely)\n00:09:29 \n[Stanton explains they will perform with two other Fluffy Pagan Echoes members, Scott Duncan and Vince Tinguely. Tinguely begins reading what seems to be a scientific journal article titled “Compatible Quirks: How Yeast (?) Cold Virus Replication.” Stanton and Duncan interrupt with a dialogue about sickness. All three performers repeat “too much vomiting.” Stanton and Duncan repeat “mucous and puke” quietly as Tinguely resumes reading the journal article. Applause.] | Video Description: Closeup as Stanton speaks into the mic zooms out to medium shot as Tinguely reads from a white paper. Duncan, on Tinguely’s right, and Stanton, on Tinguely’s left, alternate delivering a dialogue piece with no microphone. Stanton wears a black button-down shirt with sleeves rolled up to elbows atop a black shirt, black pants, and a dark bob with bangs parted in the middle. Duncan wears a plaid button-down shirt with sleeves rolled up to the elbows, grey trousers, and short dark brown hair. Tinguely wears a white t-shirt, dark pants, and white wispy hair. Tinguely gradually steps back from the mic. Stanton holds up a white sign that reads, “TOO MUCH VOMITING.” Tinguely resumes reading from the paper as Stanton and Duncan recede into the background.\n\nLee Gotham \n00:13:10\n[Cuts to Gotham mid-speech] wider applications of what we’re saying of spoken work performance, but some of its roots as well, I think I can safely say. So as first the widest applications of (poetry?) then the root, it feels I could take the opportunity to expound upon what I think happens here. Enough Said implies that the words that we’ve all been taking in perhaps aren’t enough, that they require some delivery, some engaging accompaniment or just the expression involved, so they’re accompanied with images. Now, that image is perhaps evocative at best, but like words, not the ideal vehicle or a good true representation. An image can represent a human being, inaccurately at best, and well, like a government can represent a people, inaccurately at best. Representations have been a problem it seems, so why can’t we just present ourselves more often? I suppose that there perhaps aren’t enough born anarchists and we’re too fond of our image, anyways, the representation. We aren’t looking at ourselves, we like looking at representations of ourselves. This is great, and a great problem simultaneously, I think. So it’s really nice when here, I find a whole lot of wonderful words accompanied by often just as many thought-provoking and engaging images, and yet there’s still space, although it may be hard to grasp the concept with the number of us all here in one room, but space between those images and those words nonetheless, and in that space I think there’s room for that presentation, there’s a community of sorts and that’s what I’m finding most magical about Enough Said. [Introduces Neil Wiernick as a performance and radio artist.] | Video Description: Skips to long shot zooming into varying degrees of closeup as Gotham speaks into the mic. Neil Wiernick sets up a stereo in the background. Zooms into stereo and a medium shot of Wiernick momentarily \n\nNeil Wiernick\n00:16:13\n[Ambient noise. Music plays from stereo. Tests handheld mic that seems to be connected to stereo. Speaks into mic and stereo squeals and distorts voice.] | Video Description: Medium and long shots as Wiernick sets up microphone in front of stereo and tests the microphone. Wiernick wears a grey long-sleeved button-down shirt over a grey t-shirt, glasses, and dark brown thinning hair with long sideburns.\n\nNeil Wiernick \n00:20:16\n[Introduces and performs a piece including the line, “are you listening to me?” with the stereo squealing throughout. Audio becomes suddenly clear at the line “This is language, language you can understand.” Distortion resumes for the remainder of the piece. Intentionally plays static from the stereo. Resumes performing. Intentionally plays static again.] | Video Description: Closeup and medium shot as Wiernick introduces and performs a piece. Periodically activates and deactivates static sound using controls on back of stereo.\n\nNeil Wiernick \n00:22:59\n[Explains that the next two pieces are dedicated to a philosopher and artist whose name is indiscernible in the video. Performs piece beginning with stuttering fragments of the word “spectacular,” beginning with “s” and adding a letter or syllable periodically, until full word is said.] | Video Description: Medium shot to closeup to medium shot as Wiernick performs a piece.\n\nNeil Wiernick   \n00:24:28\n[Stereo squeals. Static. Plays recording of a voice repeating an indiscernible word, gradually increasing in volume, until ceasing. Plays recording of a conversation very quietly along with alarm-like sounds. Static. Volume of all parts gradually decreases.] | Video Description: Long and medium shots as Wiernick adjusts something on the back of the stereo, then sits on a chair on the left side of the stereo.\n\nNeil Wiernick \n00:26:44\n[Stereo plays recording of a voice repeating the same few indiscernible words overlayed with static and distortion. Volume gradually decreases. Applause.] | Video Description: Closeup as Wiernick rises from chair and picks up stereo. Medium shot zooms out to long shot as the camera follows Wiernick carrying stereo through the crowd towards the back of the venue. \n\nLee Gotham \n00:27:39\n[Skips to audience applause. Announces that Ian Stephens will perform before Fortner Anderson. Invites Ian to the stage.] | Video Description: Skips to medium shot as Wiernick leaves the stage, Gotham adjusts the mic, and speaks into it. \n\nIan Stephens\n00:29:13 \n[Introduces and performs a piece titled “(Reegan’s?) Mind”. Laughter throughout. Applause.] | Video Description: Loose closeup of Stephens on stage. Stephens wears a black parka over a black sweater; a red, black, and yellow scarf; a white cloth face mask tied around his head; red nail polish on some fingernails; and close-cropped light-brown hair. Medium shot of Stephens taking off parka and putting up hood of sweater. Closeup zooms into extreme closeup as Stephens places two fake eyes over his eyelids and squints to keep them in place. Varying degrees of closeup as Stephens performs a piece. Gestures close to face throughout. Takes off hood partway through. Medium shot zooms out to long shot as Stephens extends arms upwards, finishes the piece, and puts on parka.\n\nLee Gotham\n00:35:58\n[Introduces Fortner Anderson as the “other half of ‘Broken Spoken.’” Promotes cassettes and publications for sale. Invites Anderson to the stage. Applause.] | Video Description: Varying degrees of closeup as Gotham speaks into the mic. \n\nFortner Anderson\n00:37:11\n[Performs a piece beginning with the line “I’m a man. I’m a good man.” Laughter throughout. Applause.] | Video Description: Closeup as Anderson takes mic off stand, turns away from the camera briefly, and turns back to perform the piece. Anderson wears a dark grey suit jacket atop a black button-down shirt, black leather belt, black and gold glasses, and dark brown hair that sweeps across forehead and waves away from face. Zooms into medium shot as Anderson casually walks around the stage. Turns away from the camera and pauses after piece concludes.\n\nFortner Anderson \n00:42:35\n[Performs a piece beginning with the line “Every day, I don’t care, and I will never care.” Applause.] | Video Description: Camera alternates between long shots and medium shots as Anderson performs a piece and casually walks around the stage. Walks out of frame for a moment partway through. Turns away from the camera and pauses after piece concludes.\n\nFortner Anderson \n00:45:52\n[Performs a piece beginning with the line “Sometimes I think I’m a young boy staring into a distant, sepia-toned future.” Alternates between full voice, whispering, and shouting. Applause.] | Video Description: Camera alternates between medium shots and loose closeups as Anderson performs a piece and casually walks around the stage. Turns away from the camera and pauses after piece concludes.\n\nFortner Anderson\n00:54:59\n[Performs a piece beginning with the line “I got hurt so bad today.” Applause.] | Video Description: Medium shot as Anderson performs a piece and casually walks around the stage.\n\nFortner Anderson\n00:59:18\n[Thanks Ian, Neil, Joelle, and the Fluffy Pagan Echoes. Directs audience to table to buy “souvenirs.” Applause.] | Video Description: Long shot zooms into medium shot as Anderson speaks into the mic. Places mic on stool. \n\nLee Gotham\n00:59:45\n[Thanks Anderson for “the climax of the evening’s offerings.” Announces brief pause and that the open mic will continue afterwards.] | Video Description: Medium shot as Gotham puts mic back on stand and speaks into it while smoking a cigarette. \n\nUnknown_Reader1 \n01:00:20\n[Skips to Unknown_Reader1 performing a piece ending with the line “fantasies, hot fucking, same difference.” Applause.] | Video Description: Skips to medium closeup of Unknown_Reader1 performing a piece. Unknown_Reader1 wears a black outerwear jacket with pink lining and a light brown hood atop a black shirt, rectangular wire-rimmed glasses, and short dark hair.\n\nUnknown_Reader1\n01:00:30\n[Mentions they are used to the audience laughing more. Performs a piece beginning with the line “When the thick sticky glob of ovulation is there for me to remove with my fingers, I like to hold it.” Laughter throughout. Applause.] Video Description: Medium closeup as Unknown_Reader1 performs a piece. Zooms out to longshot as Unknown_Reader1 turns away from the camera and pauses after piece concludes.\n\nUnknown_Reader1\n01:02:51\n[Says they will get serious because the audience is. Performs a piece beginning with the line “I’m not kidding, I’m not kidding, I’m not kidding anyone anymore.” Applause.] | Video Description: Camera zooms into medium closeup as Unknown_Reader1 performs a piece and turns away from the camera and pauses after piece concludes.\n\nUnknown_Reader1 \n01:04:41\n[Thanks audience. Introduces and performs a piece titled “One Twenty Two Ninety Five.” Applause. Thanks audience again.] | Video Description. Medium closeup as Unknown_Reader1 speaks into the mic, performs a piece, and speaks into the mic again.\n\nLee Gotham\n01:07:02\n[Says he “hope[s] that’s only a debut.” Invites Ian and Mike to the stage.] | Video Description: Medium closeup as Gotham speaks into the mic. \n\nIan\n01:07:19\n[Introduces and performs a piece titled “Remembrance Day.”] Video Description: Camera alternates between medium shots and closeups as Ian introduces a piece, sits down far from mic, and performs a piece. Ian wears a grey and black long-sleeved plaid shirt atop a black and white graphic t-shirt, and a short afro. Gotham adjusts the mic from Ian’s left partway through.\n\nIan \n01:08:01\n[Introduces and performs a piece titled “Town Square” about west Indian culture. Applause.] | Video Description: Closeup as Ian introduces and performs a piece. Gotham adjusts the mic from Ian’s left partway through.\n\nMike\n01:08:46 \n[Mike walks on stage. Gotham quickly adjusts mic from Mike’s left. Mike begins speaking and promptly clears throat. While introducing piece titled “Crazy,” glass smashes off-screen. Laughter. Says “good job, opener,” or “job opening.” Performs piece. Stutters and mentions that they’re “nervous” and “shaking.” Resumes performing. Applause.] | Video Description: Medium shot zooms into closeup as Mike pulls papers from inner pocket of coat, speaks into mic, and performs a piece. Mike wears an oversized black coat over a black sweater with a rolled collar and a grey flat cap backwards with brown hair only slightly visible on the sides. \n\nMike\n01:10:47\n[Introduces and performs a piece titled “Christmas Fears.” Applause.] | Video Description: Medium closeup as Mike performs a piece. \n\nLee Gotham \n01:11:52\n[Thanks Mike and Ian. Asks (Julian?) (Jillian?) and Bill to read next open mic performer’s name on list. Next performer not present. Invites Sophie to stage.] Video Description: Medium closeup as Gotham speaks into the mic.\n\nSophie\n01:12:21\n[Performs a piece beginning with the line “I dream of you a day after you leave for Florida.” Unknown metallic rattling sound in background during first two lines. Applause.] | Video Description: Medium shot zooms into closeup as Sophie adjusts the mic and performs a piece. Sophie wears a brown striped sweater over a white shirt, a hoop earring with a gem in left ear, and a very short buzz cut. \n\nSophie\n01:13:25\n[Mentions that all poems are untitled. Begins performing piece. Stumbles. Resumes performing piece beginning with the line “The (speech?) twenty minutes southwest of Tel Aviv is nondescript enough to remain unnamed.” Applause.] | Video Description: Closeup as Sophie speaks into the mic, begins performing a piece, sticks out tongue momentarily, and resumes performing. \n\nSophie \n01:14:24\n[Mentions next poem is part of a series exploring “how shitty everything is in winter.” Performs a piece beginning with the line “This far North is cold, (raw?), and slushy this far into December.” Applause. | Video Description: Closeup as Sophie performs a piece.  \n\nLee Gotham \n01:15:34\n[Thanks Sophie. Invites Natasha, the open mic performer who was previously called but not present, to the stage.] | Video Description: Medium closeup as Gotham speaks into the mic.\n\nNatasha \n01:16:03\n[Mentions first poem is about a roommate who “split recently.” Performs a piece titled \"Jay.” Pauses intentionally throughout for a jerky effect. Applause.] | Video Description: Closeup as Natasha speaks into the mic and performs a piece. Natasha wears a white button-down shirt, rings, bronze nail polish, a necklace with large dark beads, small hoop earrings, and long dark brown hair parted in the middle. \n\nNatasha \n01:16:58\n[Performs a piece titled “Madonna.” Applause.] | Video Description: Closeup as Natasha performs a piece. \n\nNatasha \n01:17:34\n[Dedicates last poem to their dad. Performs a piece titled “Union Solidarity.” Applause.] | Video Description: Closeup as Natasha performs a piece. \n\nLee Gotham\n01:19:13\n[Announces that featured reader on February 6th’s event wants to collaborate with poets interested in rap who want their readings accompanied with “beats.” Encourages those interested to come out. Invites Phil to the stage.] | Video Description: Medium closeup as Gotham speaks into the mic. Rubs outer corner of right eye with thumb of right hand throughout. \n\nPhil\n01:20:26\n[Mentions he hasn’t decided what he wants to read. Pauses at length. Mutters. Performs a piece that begins with the line “Riding backwards, flying skywards.” Silence. Delayed applause.] | Video Description: Medium closeup zooms into closeup as Phil peaks into the mic, adjusts mic, pauses, and flips through papers off-screen. Phil wears a dark plaid button-down shirt with a hood over a white t-shirt and a very short buzzcut with a receding hairline. Performs a piece. Turns away from camera, going off-screen.\n\nSpokenWeb notes\n01:22:40\nThe following performance contains suggestions and descriptions of sexual violence.\n\nPhil\n01:22:44\n[Mentions that they write about things that are “too real” because “the more I deny it the more real it becomes.” Performs a piece beginning with the line “Destroy it, destroy, big boy.” CW: sexual violence. Laughter throughout.] | Video Description: Closeup as Phil performs a piece.\n\nAudience_Member1 \n01:24:49\nFuck me! [Yelling loudly.]\n\nAudience\n01:24:51\nLaughter.\n\nPhil \n01:24:55\n[Addresses Audience_Member1] Not you.\n\nAudience_Member1\n01:24:58\nPlease! [Yelling loudly.]\n\nPhil\n01:24:59\n[Resumes performing. Laughter throughout. Applause.] | Video Description: Closeup as Phil performs a piece. Pauses. Smiles. Speaks into the microphone. Resumes performing. Turns away from camera, going off-screen. \n\nPhil \n01:26:03\n[Mentions that the last poem was “not supposed to be funny.” Laughter. Long pause. Performs a piece beginning with the line “A man is there for (fucking?), or so the story goes.” Audio cuts midperformance.] | Video Description: Closeup as Phil speaks into the mic, turns away from camera, licks lips, claps six times, and performs a piece. Video cuts midperformance.\n\n[SpokenWeb edits]\n1:27:55\nVideo Description: Black screen with white text that reads \"Six minutes of this video have been removed.\"\n\nLee Gotham \n01:28:02\n[Invites Justin McGrail to the stage.] | Video Description: Medium shot zooms into medium closeup as Gotham speaks into the mic. Holds left forearm to forehead to shield eyes from light. \n\nJustin McGrail \n01:28:10\n[Promotes Fluffy Pagan Echoes event at Café Phoenix. Performs a piece beginning with the line “Out eastern, flowing, dapples sowing, tread gashes, behind heel, head, cloistered lashes.” Applause.] | Video Description: Medium shot as McGrail speaks into mic, wipes face, and performs a piece, gesturing with both hands. McGrail wears a white hooded jacket with two large pockets, no zipper, and sleeves rolled up to elbows, black suspenders, a watch, gold bracelet, grey newsboy cap with decorative pins on the front, brown hair poking out from edges.\n\nLee Gotham \n01:30:31\n[Thanks Justin. Invites Tom to the stage.] | Video Description: Medium shot as Gotham speaks into the mic. Holds left forearm to forehead to shield eyes from light. \n\nTom \n01:30:54\n[Makes a joke about musical group The Eagles. Laughter. Introduces and performs piece titled “Call Before You Dig,” about “taking too many art history classes.” Applause.] | Video Description: Medium shot zooms into medium closeup as Tom speaks into the mic and performs a piece. Tom wears a dark brown cable-knit sweater with sleeves rolled up to elbows, backwards dark brown newsboy cap, light brown hair poking out the sides. \n\nTom\n01:32:50\n[Introduces and performs a piece titled “The Sun Always Rises on One Side of my Head.” Laughter throughout. Applause.] | Video Description: Medium closeup as Tom speaks into the mic and performs a piece. \n\n[No signal]\n01:33:44\n[Ambient sounds (white noise).] | Video Description: Black screen with static. \n\nTom\n01:33:55\n[Skips to Tom in medias res performing a piece including the line “I am their link to the joys and the harrows of an experiential world.”] | Video Description: Camera zooms in from medium closeup to extreme closeup and back again as Tom performs a piece.\n\nEND \n01:35:14\n[End of recording.]"],"score":1.8530173},{"id":"5193","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Headlight Anthology Collection"],"source_collection_label":["Headlight Anthology Collection"],"collection_contributing_unit":[""],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Ari Mazur in Headlight 24, 2023"],"item_title_source":["Asset"],"item_title_note":["As published in Headlight Anthology."],"item_language":["English"],"item_production_context":["Studio recording"],"item_series_title":["Headlight 24"],"item_subseries_title":["Headlight 24 Pieces"],"item_identifiers":["[]"],"rights":["In Copyright Educational Use Permitted (InC-EDU)"],"rights_notes":["Copyright by Headlight Anthology and contributor. Online reproduction and archiving allowed. Republications under different publishers must be authorized by the contributor."],"creator_names":["Mazur, Ari"],"creator_names_search":["Mazur, Ari"],"creators":["[{\"url\":\"\",\"name\":\"Mazur, Ari\",\"dates\":\"\",\"notes\":\"Ari Mazur is a recent graduate of Concordia University’s creative writing program. She finds joy in writing, walking around, and apartment hunting. She hopes to continue pursuing these hobbies for a long time.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Elbanhawy, Sherine","Eastwood, Miranda","Pittella, Carlos A.","Andrews, Olive","Affonso, Alexandre","Ruby, Ariella"],"contributors_names_search":["Elbanhawy, Sherine","Eastwood, Miranda","Pittella, Carlos A.","Andrews, Olive","Affonso, Alexandre","Ruby, Ariella"],"contributors":["[{\"url\":\"\",\"name\":\"Elbanhawy, Sherine\",\"dates\":\"\",\"notes\":\"Co-managing editor of Headlight 24.\\n\\n\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Eastwood, Miranda\",\"dates\":\"\",\"notes\":\"Sound editor of Headlight 24.\",\"nation\":[],\"role\":[\"Producer\",\"Recordist\"]},{\"url\":\"https://viaf.org/viaf/97149659658506830525\",\"name\":\"Pittella, Carlos A.\",\"dates\":\"1983-\",\"notes\":\"Co-managing editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Andrews, Olive\",\"dates\":\"\",\"notes\":\"Poetry editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Affonso, Alexandre\",\"dates\":\"\",\"notes\":\"Nonfiction editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Ruby, Ariella\",\"dates\":\"\",\"notes\":\"Fiction editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]}]"],"Producer_name":["Elbanhawy, Sherine","Eastwood, Miranda","Pittella, Carlos A.","Andrews, Olive","Affonso, Alexandre","Ruby, Ariella"],"Recordist_name":["Eastwood, Miranda"],"Publication_Date":[2023],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Digital\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"recording_type":["Digital"],"AV_type":["Audio"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:u:/g/personal/carlosa_pittella_concordia_ca/EapEUjCgXmNElKmdxliBoRUBz7F1-N6ZHXE_3RTxiIgyaw\",\"file_path\":\"\",\"filename\":\"Headlight24-Mazur.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:09:40\",\"precision\":\"\",\"size\":\"5.9 MB\",\"bitrate\":\"145-185 kbps\",\"encoding\":\"MP3\",\"contents\":\"This is file 1 of 1 containing an audio-recording of the piece \\\"A&W,\\\" by Ari Mazur, as published in Headlight Anthology, no. 24.\",\"notes\":\"MP3 also available at https://headlightanthology.ca/archive/n24/aw/, accessed on June 15, 2023.\",\"title\":\"A&W\",\"credit\":\"Ari Mazur\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"\"},{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:u:/g/personal/carlosa_pittella_concordia_ca/EdV871owpSpPi4NH3GBlWYkBFazWsHUPgRJzYhX2BqMGOA\",\"file_path\":\"\",\"filename\":\"Headlight24-Mazur.wav\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:09:40\",\"precision\":\"\",\"size\":\"102.4 MB\",\"bitrate\":\"1411 kbps\",\"encoding\":\"WAV\",\"contents\":\"This is file 1 of 1 containing an audio-recording of the piece \\\"A&W,\\\" by Ari Mazur, as published in Headlight Anthology, no. 24.\",\"notes\":\"\",\"title\":\"A&W\",\"credit\":\"Ari Mazur\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"2023-06-02\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"Headlight website\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1192154219\",\"venue\":\"Concordia University, Department of English\",\"notes\":\"Headlight Anthology operates out of Concordia’s graduate English Literature & Creative Writing department.\",\"address\":\"1455 Boul. de Maisonneuve O., LB 641, Montréal, QC, H3G 1M8\",\"latitude\":\"45.4969331\",\"longitude\":\"-73.5783742\"}]"],"Address":["1455 Boul. de Maisonneuve O., LB 641, Montréal, QC, H3G 1M8"],"Venue":["Concordia University, Department of English"],"City":["Montreal, Quebec"],"Note":["[{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"https://headlightanthology.ca/archive/n24/aw/\",\"citation\":\"Mazur, Ari. A&W. Headlight Anthology, no. 24, 2023, pp. 25–33.\"}]"],"_version_":1853670549179334656,"timestamp":"2026-01-07T14:59:53.772Z","contents":["A&W\n\nby Ari Mazur\n\nI don’t recognize my face when I look in the mirror. I’m standing in the piss-covered bathroom of the twenty-four-hour A&W. There are about half a dozen fentanyl-addled homeless people who’ve ordered one root beer between them just outside the door. I can hear them laughing about me. Gruff French-Canadian laughs, sharp reedy cackles. They are laughing at me. My heart is racing. I’ve just crushed fifty mg of Adderall. My face doesn’t look like mine because I hate this woman looking back at me, and I don’t hate myself.\n\nHave I ever been this drunk before? That bitch from the bar put something in my drink, I swear to God.\n\nThey’re laughing because the one in the top hat—the one I give cigarettes to on the regular, mind you—grabbed my ass on my way into the bathroom. He’s never getting another fucking smoke off me.\n\nI have to call Sayed back. He called me four times already. He’s worried. It’s ringing.\n\nIt’s the eyes I don’t recognize. Why are they so sullen? She looks so guilty. Guilt makes people ugly. I hate ugly people.\n\n“Hello?”\n\n“Can you come pick me up?”\n\n“Where are you?”\n\n“Bathroom. I hate ugly, guilty people. Top Hat grabbed my ass. He grabbed it and I didn’t even do or say anything about it. I just took the Adderall your brother gave me.”\n\n“What the fuck are you saying? You’re not making any sense. Cami, where are you?”\n\n“Uh—A&W. I just said.”\n\n“No you didn—which one?”\n\n“I dunno. Three blocks east of mine?”\n\n“I’ll be there as soon as I can, okay? I’m calling an Uber right now.”\n\n“Hurry. They’re laughing at me.”\n\n“Um, okay. Stay put. Do you want to stay on the phone?”\n\nI hang up on Sayed. He’s so nice even though he has no personality. It’s crazy how people can go through life having no opinions on anything. Well, he has an opinion on me. He thinks he’s going to save me. I would prefer if someone else wanted to save me.\n\nI have to get out of the bathroom. I push open the door. They don’t even notice. Top Hat is showing the others something on his phone. I sit down at the table closest to the exit and put my head down. Nobody can see me now. I’m safe in a fort made of my own arms. It’s like an igloo in here.\n\n“Uh—excuse me. You can’t sleep here.”\n\nThe employee. He looks to be about seventeen. Pimply. His face doesn’t look guilty.\n\n“Oh, I’m not—I’m not sleeping. I just took a bunch of Adderall. And something else before that, I think.”\n\nHe gives me a look. Like a mix of pity and not caring whether I live or die.\n\n“Can I—”\n\nI make a motion mimicking my arm fort.\n\nHe shrugs.\n\nI collapse back onto the table.\n\nI’m being shaken out of the safety of my little cave by Sayed a few minutes later.\n\n“Did you fall asleep here, Cam? It’s not safe.”\n\nHe gestures toward the general vicinity of the homeless.\n\n“That’s presumptuous. Just because they’re homeless doesn’t mean—”\n\n“Oh, shut up Cam. You know what I mean.”\n\n“The one in the top hat grabbed my ass.”\n\n“What? Are you fucking serious?”\n\n“It’s fine. Whatever.”\n\n“It’s not fine. That’s fucked up.”\n\nHe looks like he’s about to do something about it.\n\n“Don’t do anything about it. Please.”\n\n“He can’t just do that.”\n\nSayed is walking over to the group and I’m suddenly—well, I’m not sure that it actually happened. The grabbing. Sometimes I make things like that up. I think I might have been dramatizing for the sake of making life a little more exciting. Top Hat is nice. He was just laughing with his friends about whatever it is that he’s always watching on his phone. I don’t think he’s ever even touched me. Sayed’s walking over there, though. I could say something.\n\nNo words are coming out.\n\nThere seems to be a verbal altercation. Some pointing in my direction. Then—there it is again—the laughing. It’s fucking incessant. Top Hat spits in Sayed’s direction and Sayed looks about ready to hit him. He won’t, though—he hasn’t got it in him. He does knock the phone out of Top Hat’s grasp, and it slides a few feet across the filthy linoleum. More than I ever thought him capable of. Sayed turns and starts walking back toward me. I see Top Hat get up.\n\n“Sayed.” I’m trying to warn him.\n\nBut it’s too late. Before he can turn around or react, Top Hat’s shoving him onto the floor. Sayed hits his head on a chair on his way down. Top Hat picks up his phone and walks back to the group. They’re still laughing. Sayed isn’t getting up. Why isn’t he getting up?\n\n“Is he okay?”\n\nThe employee is asking. Oh God, the employee is gonna call the cops. I’m not fit to be around cops right now.\n\n“Uh.”\n\nI suppose I should go and check on him. I get up from the comfort of my seat. He’s breathing, which I suppose is good.\n\n“Sayed? Hey. Hey. Are you alive?” I’m poking him.\n\nNo response.\n\n“Um, yeah. I think he’ll be fine,” I’m hearing myself shout to the cashier.\n\n“Doesn’t look fine to me.”\n\nThe laughter has ceased. At some point, they became aware of the severity of the situation. They’re looking over here. Top Hat stands.\n\n“Ah, fuck.”\n\nHe’s coming over.\n\n“Is he fuckin’ dead?”\n\n“No, no. Look he’s breathing. I mean—look. He’s breathing, right?”\n\nI thought I had seen Sayed breathe before but now I wasn’t too sure. Top Hat kneels by Sayed.\n\n“Yeah. He’s breathing, thank fuck. He’s knocked out pretty good, though. You should call an ambulance.”\n\n“Um. I don’t think that’s really—”\n\n“I already called one.”\n\nThe cashier called an ambulance. Since when did kids get so responsible? Fuck.\nI don’t want to be here when the paramedics come. I don’t want to go with him to the hospital and watch his face light up when he sees that I’m by his side. He’s the kindest person I’ve ever known. I stand.\n\n“Where you goin’?”\n\nTop Hat looks to me for a response.\n\n“I have to—get some air.”\n\nI stagger out into the cold night. I hardly process that I’m wearing nothing more than a thin hoodie until I start shivering. I stand outside and watch people gather around Sayed. He’s woken up, it seems. Top Hat is giving him water from a cup. The cashier looks bored. He’s watching TikToks, picking at his acne, and barely registering the situation. I hear the sirens then. It looks like Sayed might be protesting their arrival—he’s waving his arms and getting up. He’s looking around the restaurant—for me, presumably.\n\nI walk away. I’m walking home, I think. Sometimes I just walk until my legs get tired but it’s particularly cold tonight. I’m walking home. I hear the door of the A&W slam open and a shout.\n\nIt’s Sayed.\n\n“Cam? Cami?”\n\nI walk faster. Oh, God. I’m going to throw up. I can feel it. The cocktail of substances isn’t meshing well. I grab ahold of the wall nearest to me and next thing I know I’m on my knees throwing up on someone’s Christmas lawn ornaments. Little snowmen getting absolutely massacred. I hear footsteps behind me. Sayed. Fuck.\n\n“Cami, Cami, oh my God, are you okay?”\n\nI’m throwing up so I can’t answer.\n\n“God, that was so fucked up in there. I can’t believe how hard I hit my head.”\n\nI’m still throwing up.\n\n“Did you see they called the paramedics? I thought that was, like, unnecessary. Like—I’m fine. But you don’t seem fine. It’s more than just Adderall. What did you take before?”\n\nI’ve momentarily stopped throwing up.\n\n“I stole something from Ada’s purse at the bar earlier.”\n\nI throw up some more.\n\n“Okay, um, Cam? I actually think you might need to go to the hospital.”\n\n“I’m FINE.”\n\nHow can one person throw up this much? I try and swallow it back so that Sayed thinks I’m done vomiting, but it comes back up twice as strong. Putrid.\n\n“Cami. Stay right here, okay? I’ll go get the paramedics.”\n\nI need to lie down for a second, then I’ll keep walking home. I just need to settle in this little patch of snow at the corner right here and close my eyes for a second. Then I’ll run home as fast as possible.\n\nTwo strong men are lifting me up while Sayed explains the situation. It’s like he’s excited by this. If he were a dog his tail would be wagging.\n\n“Yeah, for sure Adderall, alcohol, probably some benzos, and I’m not sure what else.”\n\nThere is nothing else, I want to say. But I’m so comfortable not speaking while they carry me. It’s so lovely floating like a cloud away from the vomit-covered snowmen I’ve grown so used to. Goodbye, little snowmen.\n\n“I should probably come in the ambulance with her, no? I mean, it was called for me, wasn’t it?”\n\nHe chortles. This turn of events amuses Sayed.\n\n“And she really doesn’t have anyone else…”\n\nThe paramedics grunt back in response. Apparently, a grunt of acquiescence because in the next instant, I’m strapped into a gurney by a female paramedic while Sayed fusses over me.\n\nThis paramedic is nice. I think of her as a mother. She calls me sweetie.\n\n“Cami, is it?”\n\nI nod.\n\n“Camille.”\n\nSayed is answering for me now apparently.\n\n“Okay, Camille, honey, can you tell me what you’ve taken tonight? We’re gonna run some tests on you in a second but anything you can remember will help.”\n\nSayed starts to answer for me again but she cuts him off.\n\n“Look, I know you’re worried for your girlfriend, but I need to hear this information from her.”\n\nI like her. I have to say something.\n\n“Not his girlfriend.”\n\nI mumble.\n\n“What was that, sweetie?”\n\n“I’m not his girlfriend.”\n\nSayed scoffs.\n\n“Well, we’re not labelling it but it’s pretty much as confirmed as it can be. I mean, we do all the couple things together. Like, we’re in love and shit.”\n\n“Okay, well whatever you are to each other, I need Camille to answer some questions without your help.”\n\nHe sighs.\n\n“Okay, yeah. Whatever.”\n\n“Now, hun, tell me what you remember.”\n\n“Well… I remember Sayed hitting his head. On that chair. And I was really worried. I felt so sad.”\n\n“That’s natural, honey. I’m sure it was scary to see that happen. But I need you to tell me what you remember taking.”\n\n“No, I mean. I was so sad because. Because I was hoping he’d hit his head way harder, and that he wouldn’t wake up. But then he was breathing, and he’s fine now. That made me so sad.”"],"score":1.8530173},{"id":"5194","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Headlight Anthology Collection"],"source_collection_label":["Headlight Anthology Collection"],"collection_contributing_unit":[""],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Susi Lovell in Headlight 24, 2023"],"item_title_source":["Asset"],"item_title_note":["As published in Headlight Anthology."],"item_language":["English"],"item_production_context":["Studio recording"],"item_series_title":["Headlight 24"],"item_subseries_title":["Headlight 24 Pieces"],"item_identifiers":["[]"],"rights":["In Copyright Educational Use Permitted (InC-EDU)"],"rights_notes":["Copyright by Headlight Anthology and contributor. Online reproduction and archiving allowed. Republications under different publishers must be authorized by the contributor."],"creator_names":["Lovell, Susi"],"creator_names_search":["Lovell, Susi"],"creators":["[{\"url\":\"\",\"name\":\"Lovell, Susi\",\"dates\":\"\",\"notes\":\"Originally from England, Susi Lovell worked her way around the world before settling in Montreal. A movement artist-educator, choreographer and past dance critic for the Montreal Gazette, Susi’s stories have appeared in The New Quarterly, Stand Magazine, carte blanche, Grain, Fiddlehead and other journals.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Elbanhawy, Sherine","Eastwood, Miranda","Pittella, Carlos A.","Andrews, Olive","Affonso, Alexandre","Ruby, Ariella"],"contributors_names_search":["Elbanhawy, Sherine","Eastwood, Miranda","Pittella, Carlos A.","Andrews, Olive","Affonso, Alexandre","Ruby, Ariella"],"contributors":["[{\"url\":\"\",\"name\":\"Elbanhawy, Sherine\",\"dates\":\"\",\"notes\":\"Co-managing editor of Headlight 24.\\n\\n\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Eastwood, Miranda\",\"dates\":\"\",\"notes\":\"Sound editor of Headlight 24.\",\"nation\":[],\"role\":[\"Producer\",\"Recordist\"]},{\"url\":\"https://viaf.org/viaf/97149659658506830525\",\"name\":\"Pittella, Carlos A.\",\"dates\":\"1983-\",\"notes\":\"Co-managing editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Andrews, Olive\",\"dates\":\"\",\"notes\":\"Poetry editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Affonso, Alexandre\",\"dates\":\"\",\"notes\":\"Nonfiction editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Ruby, Ariella\",\"dates\":\"\",\"notes\":\"Fiction editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]}]"],"Producer_name":["Elbanhawy, Sherine","Eastwood, Miranda","Pittella, Carlos A.","Andrews, Olive","Affonso, Alexandre","Ruby, Ariella"],"Recordist_name":["Eastwood, Miranda"],"Publication_Date":[2023],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Digital\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"recording_type":["Digital"],"AV_type":["Audio"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:u:/g/personal/carlosa_pittella_concordia_ca/EQ1SBmGXq8ZNrHf0QNXqgDMBE1UtjddZb6l-liIQXGKWRA\",\"file_path\":\"\",\"filename\":\"Headlight24-Lovell.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:02:08\",\"precision\":\"\",\"size\":\"1.2 MB\",\"bitrate\":\"145-185 kbps\",\"encoding\":\"MP3\",\"contents\":\"This is file 1 of 1 containing an audio-recording of the piece \\\"Unsafe in Large Doses,\\\" by Susi Lovell, as published in Headlight Anthology, no. 24.\",\"notes\":\"MP3 also available at https://headlightanthology.ca/archive/n24/unsafe-in-large-doses/, accessed on June 15, 2023.\",\"title\":\"Unsafe in Large Doses\",\"credit\":\"Susi Lovell\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"\"},{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:u:/g/personal/carlosa_pittella_concordia_ca/EYND7dWB6OtIjsM1DfqcapYB98M_yd_oHi-Uqt_ubNO6bQ\",\"file_path\":\"\",\"filename\":\"Headlight24-Lovell.wav\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:02:08\",\"precision\":\"\",\"size\":\"22.7 MB\",\"bitrate\":\"1411 kbps\",\"encoding\":\"WAV\",\"contents\":\"This is file 1 of 1 containing an audio-recording of the piece \\\"Unsafe in Large Doses,\\\" by Susi Lovell, as published in Headlight Anthology, no. 24.\",\"notes\":\"\",\"title\":\"Unsafe in Large Doses\",\"credit\":\"Susi Lovell\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"2023-06-02\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"Headlight website\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1192154219\",\"venue\":\"Concordia University, Department of English\",\"notes\":\"Headlight Anthology operates out of Concordia’s graduate English Literature & Creative Writing department.\",\"address\":\"1455 Boul. de Maisonneuve O., LB 641, Montréal, QC, H3G 1M8\",\"latitude\":\"45.4969331\",\"longitude\":\"-73.5783742\"}]"],"Address":["1455 Boul. de Maisonneuve O., LB 641, Montréal, QC, H3G 1M8"],"Venue":["Concordia University, Department of English"],"City":["Montreal, Quebec"],"contents":["Unsafe in Large Doses\n\nby Susi Lovell\n\nmy feet follow the path, my boots unwilling.\n                 I regret the incident on the yacht. I agree\n                                       to toggle pride. I forget—a problem of age. I regret\n                                                   my age, a grim milestone. Also the photo I couldn’t\n                                                                   forget, the one with the boa. I regret the horse.\n                                                                                  It was so huge and fierce with such long \n                                                                                                      yellow teeth, I felt tiny and timid.\n                                                            I regret the yacht, the horse, the boa. My \n                                unwilling boots groan as I set them on the path.\n                At my age, I thought. Armed with boots, boa, age, I set out on the path.\nRegret is a treat, the luxury of thinking there are\n                            other possibilities. Regret is a yacht, a luminous boat\n                                          of pride, the assumption one could have done better.\n                                                     Regret is a photo left in the bottom drawer of the tallboy \n                                                                 beneath the old duvets, moth eaten\n                                                                             and musty, next to the bow tie that made him\n                                                                                        look the cat’s whiskers. Regret is a groan\n                                                                                                       of recognition—failed\n                                                                                                                                                        again.\n                                                                                                             Regret is the uncertain terrain\n                                                                                of the fens, mosquito infested, full of the\n                                  sulphurous smell of decomposed sphagnum. Regret is toggling\n                       what was with what is and trying to weasel out\n            of what you’ve become.\nRegret is a feather boa floating around your neck (the bird, the bird…. that dawn,\n                            the emu, the bird that can’t fly, flying long-legged across the red-lit\n                                         red sands of the Nullabor Desert.) Regret is age, an unfortunate\n                                                                 fact when it’s too late to rewrite what’s been written.\n                                                                                       Regret is rue, the woody yellow-flowered\n                            ruta graveolens of evil smell and bitter taste,\n                perennial, invasive, but beneficial\n                                           for headaches, arthritis, fevers\n                                                                                   of heart. Rue—herb-of-grace.\n                                                                                                                Unsafe in large doses."],"Note":["[{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"https://headlightanthology.ca/archive/n24/unsafe-in-large-doses/\",\"citation\":\"Lovell, Susi. Unsafe in Large Doses. Headlight Anthology, no. 24, 2023, pp. 34–35.\"}]"],"_version_":1853670549180383232,"timestamp":"2026-01-07T14:59:53.772Z","score":1.8530173},{"id":"5195","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Headlight Anthology Collection"],"source_collection_label":["Headlight Anthology Collection"],"collection_contributing_unit":[""],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Paz O’Farrell in Headlight 24, 2023"],"item_title_source":["Asset"],"item_title_note":["As published in Headlight Anthology. \n*Genre: nonfiction, CNF."],"item_language":["English"],"item_production_context":["Studio recording"],"item_series_title":["Headlight 24"],"item_subseries_title":["Headlight 24 Pieces"],"item_identifiers":["[]"],"rights":["In Copyright Educational Use Permitted (InC-EDU)"],"rights_notes":["Copyright by Headlight Anthology and contributor. Online reproduction and archiving allowed. Republications under different publishers must be authorized by the contributor."],"creator_names":["O’Farrell, Paz"],"creator_names_search":["O’Farrell, Paz"],"creators":["[{\"url\":\"\",\"name\":\"O’Farrell, Paz\",\"dates\":\"\",\"notes\":\"Paz O’Farrell is a writer from Buenos Aires pursuing a Creative Writing Master’s at Concordia. Her work has been published in the Scripps Journal and In Media Res, selected as a finalist for the DISQUIET non-fiction prize and the Adroit Prose Prize. She has received the Hollfelder Award.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Elbanhawy, Sherine","Eastwood, Miranda","Pittella, Carlos A.","Andrews, Olive","Affonso, Alexandre","Ruby, Ariella"],"contributors_names_search":["Elbanhawy, Sherine","Eastwood, Miranda","Pittella, Carlos A.","Andrews, Olive","Affonso, Alexandre","Ruby, Ariella"],"contributors":["[{\"url\":\"\",\"name\":\"Elbanhawy, Sherine\",\"dates\":\"\",\"notes\":\"Co-managing editor of Headlight 24.\\n\\n\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Eastwood, Miranda\",\"dates\":\"\",\"notes\":\"Sound editor of Headlight 24.\",\"nation\":[],\"role\":[\"Producer\",\"Recordist\"]},{\"url\":\"https://viaf.org/viaf/97149659658506830525\",\"name\":\"Pittella, Carlos A.\",\"dates\":\"1983-\",\"notes\":\"Co-managing editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Andrews, Olive\",\"dates\":\"\",\"notes\":\"Poetry editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Affonso, Alexandre\",\"dates\":\"\",\"notes\":\"Nonfiction editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Ruby, Ariella\",\"dates\":\"\",\"notes\":\"Fiction editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]}]"],"Producer_name":["Elbanhawy, Sherine","Eastwood, Miranda","Pittella, Carlos A.","Andrews, Olive","Affonso, Alexandre","Ruby, Ariella"],"Recordist_name":["Eastwood, Miranda"],"Publication_Date":[2023],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Digital\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"recording_type":["Digital"],"AV_type":["Audio"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:u:/g/personal/carlosa_pittella_concordia_ca/ERuTHOhj0npPiBquhhtxZ6gBdhzrPDrFuaPsX4u1gMVR2A\",\"file_path\":\"\",\"filename\":\"Headlight24-O'Farrell.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:11:19\",\"precision\":\"\",\"size\":\"6 MB\",\"bitrate\":\"145-185 kbps\",\"encoding\":\"MP3\",\"contents\":\"This is file 1 of 1 containing an audio-recording of the piece \\\"I don’t even know what to do about all this,\\\" by Paz O’Farrell, as published in Headlight Anthology, no. 24.\",\"notes\":\"MP3 also available at https://headlightanthology.ca/archive/n24/i-dont-even-know-what-to-do-about-all-this/, accessed on June 15, 2023.\",\"title\":\"I don’t even know what to do about all this\",\"credit\":\"Paz O’Farrell\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"\"},{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:u:/g/personal/carlosa_pittella_concordia_ca/EWn4qg1PYMpJnWX-t-tg9bkBLAGJLoqALxDoG-BVduaZ7g\",\"file_path\":\"\",\"filename\":\"Headlight24-O'Farrell.wav\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:11:19\",\"precision\":\"\",\"size\":\"119.8 MB\",\"bitrate\":\"1411 kbps\",\"encoding\":\"WAV\",\"contents\":\"This is file 1 of 1 containing an audio-recording of the piece \\\"I don’t even know what to do about all this,\\\" by Paz O’Farrell, as published in Headlight Anthology, no. 24.\",\"notes\":\"\",\"title\":\"I don’t even know what to do about all this\",\"credit\":\"Paz O’Farrell\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"2023-06-02\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"Headlight website\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1192154219\",\"venue\":\"Concordia University, Department of English\",\"notes\":\"Headlight Anthology operates out of Concordia’s graduate English Literature & Creative Writing department.\",\"address\":\"1455 Boul. de Maisonneuve O., LB 641, Montréal, QC, H3G 1M8\",\"latitude\":\"45.4969331\",\"longitude\":\"-73.5783742\"}]"],"Address":["1455 Boul. de Maisonneuve O., LB 641, Montréal, QC, H3G 1M8"],"Venue":["Concordia University, Department of English"],"City":["Montreal, Quebec"],"content_notes":["*CW: eating disorders"],"Note":["[{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"},{\"note\":\"Genre should be updated to \\\"Reading: nonfiction\\\" or \\\"Reading: CNF\\\" when one of this options is available.\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"https://headlightanthology.ca/archive/n24/i-dont-even-know-what-to-do-about-all-this/\",\"citation\":\"O’Farrell, Paz. I don’t even know what to do about all this. Headlight Anthology, no. 24, 2023, pp. 37–47.\"}]"],"_version_":1853670549180383233,"timestamp":"2026-01-07T14:59:53.772Z","contents":["I don’t even know what to do about all this\n\nby Paz O’Farrell\n\n*CW: eating disorders\n\nEvery fact I have learned about food, since that little pyramid diagram from primary, has been against my will. Even the useful ones, like how one should order tomato juice on airplanes for maximum hydration. Now I can’t bear to ask for any other drink when they roll down the carts through the carpeted aisles, even though the whole time I watch them approach, slowly, like a menace, I’m thinking I’d kill for a 7UP.\n\nAnother liquid example is beer. A German exchange student I met one autumn night of my life, walking down the Quebecois streets, chose to spend that time telling me about how back home they call beer “liquid bread.” The next few hours I glared at a pitcher of IPA. At my thighs. At the machine that charged me 11 CAD, because everyone is charged individually in Canada. Not at him because he was happy. Liquid bread. I think about this every time my lips kiss the neck of a bottle or I hear a can crack like ice.\n\nMy ex-roommate (freshman year in California, got sent to the hospital that first weekend on account of tequila inexperience) told me avocados are healthy fats. Never mind the “healthy”—I can’t get over the fat part. I used to love putting them in my salads.\n\nMe and my salads. The fucking salads. I am a Sisyphus of kale.\n\n*\n\nHere’s the best one: pineapples eat you back.\n\n*\n\nI know no one really wants to hear about it, but that’s never really been a deterrent in any regard of my life, has it?\n\n*\n\nThese holidays I heard a phrase I hadn’t heard in a while: hacerse la flaca. It means to act like you are skinny, either by pretence or as flaunting. Both are dangerous. Weight has weight back home.\n\n*\n\nI have fruit every now and then. I delight in sugar, but I can’t have too much of it because it’ll make me freak out, so it’s not really delight. It’s like having sex with someone you know you shouldn’t, and you are left with all the bad parts as they keep snoring in the morning. Or like the ring of grime in a bathtub.\n\nYou know, I once had a birthday party where we all sat at a long table and decorated cupcakes. I still remember the purple sprinkles. This must have been eleven years ago. The day after Valentine’s day, a sweltering summer in Buenos Aires made tolerable by the icy pool (refrigerated by a formidable araucaria), the chlorine was drying in our hair—blonde girls turning green—and we dipped our fingers in whipped egg whites and sugar, dulce de leche, melted milk chocolate. I can guarantee I licked all my fingers, and this was all before the birthday cake.\n\n*\n\nThe same girls, two years later, would have a different outlook on cupcakes. The first year of middle school, three classmates of mine had to miss the three-day trip to San Clemente del Tuyú because they had been diagnosed as anorexic. I wasn’t really sure how anorexia would prevent them from whale watching, yet I have to say I remember the sticks they had for legs under the tunics we had to wear. I’d watch them walking down the hallway and imagine them tripping and shattering. It was hard not to. I thought of it as fragility then. My views have changed too.\n\n*\n\nI think potatoes are okay. A dermatologist told me grains break you out. The ex-college roommate said the same about dairy. Everything is bad for something.\n\n*\n\nI know it’s not original to write about eating and its disorders. How it’s bourgeois, even. Hunger as a choice when the world is consuming itself. I’m not sure what defence there is, other than pain. A weak defence. I’d like a moat.\n\nWe know it’s not really about vanity. We know it’s not even about my body! We all know that, like most people, I hated myself and so I designed a daily mechanism to exercise cruelty—figurative flagellation, femininity and catholicism being important factors to consider in light of the virtue of restriction. My American friend who did ballet and is still under its grip tried to convince me that I was alimentally fucked up like her, and I told her: “If that’s true, everyone I know back home has an eating disorder.”\n\nWhat worries me is this: Argentina is #2 in anorexia cases, internationally. Japan has us beat. I think it’s quite literally the opposite end of the world from where I’m writing this, although we are united by a fictional thread that crosses the Earth’s nucleus. #1. God help the Japanese.\n\n*\n\nLet me tell you about my collarbones. Let me tell you about feeling confident most items in the dressing room will look good on my little body. Let me tell you how people break their backs to help me out and buy me drinks. Let me tell you about getting my period about every 110 days and always worrying I’ve gotten fat when I do, and that no one else will ever get me a gin tonic or lift up my suitcase up a step or smile at me in the street or want to hold my hand, quietly, at night, just to feel me.\n\n*\n\nI know a man who got an operation where they cut off half his intestine, or they shrunk his stomach the way grapes get shrivelled. I’m not sure. Something violent and clinical and cosmetic. He did lose weight, but, apparently, every three months he has to pass a stone. My uncle just went on a fishing trip with him and they had to drive him to the hospital two nights in a row.\n\n*\n\nHave you heard about the K-pop idol diet? An apple for glucose, a protein bar for self-explanatory reasons, a potato. Why the fuck do I hold myself to the standard of a Korean pop star, you may wonder, as I do sometimes. And then sometimes I find a lot of comfort in the idea that I am a normal person, allowed to have some garlic butter. Or, obscenely, a slice of carrot cake, with icing, and the world does not swallow me whole.\n\nSince I left Argentina to go north and then even further north, I would throw in a line or two about my weight to my psychologist. Like a report, like a bone, before we moved on to my actual problems, which I had several of (not in the scope of this edible clusterfuck). We didn’t video-call, so it’s not like she saw my flesh and bones and had any grounds to be worried or suspicious. Pick a reason: I didn’t want to magnify it, it wasn’t a big deal, I didn’t want anyone to stop me.\n\nI really liked making myself skinny; it was something I could do as opposed to the aforementioned Actual Problems.\n\nUntil I didn’t and some months it felt excruciating because I had to eat and have a body every single day. I was tired. I am tired. To my bones, visible and near. When my psychologist saw me in person for the first time in years, that was that.\n\n*\n\nNot my mom, though. She didn’t congratulate me explicitly but you should hear the way she glows with pride when she says “this is my daughter” these days. She didn’t sound like that when I was fifteen and fat, I will tell you that. Seven years ago, the best way to get me to smile was an Oreo McFlurry.\n\n*\n\nSomeone explained to me what their keto cousin ate and I had a moment of recognition, except I knew what I had and it sounded like the cousin didn’t. If it isn’t a disguised disorder, what is it with keto? Moral superiority? Masochism?\n\nI used to tell people bread was my favourite food when I was younger. Any kind. I didn’t even put butter on it. Bread and circus, all I needed. I read a poem about bread being inevitable and I think about it like a prayer, as forgiveness, a caloric mantra.\n\n*\n\nDid you know that apparently my mother forbade my sisters from commenting on my weight? I think about that a lot. The sick sense of validation I predicted I’d get from her when my ribs started showing like the arches of the neighbourhood church. Being proven right. Then again, sometimes she frowns at the way a shirt hangs on me, or if I turn down ice cream.\n\nI’ve never understood the woman.\n\n*\n\nI’ve lived with someone who has a similar story. It’s hers to tell. She saw it in me.\n\nCooking for her was one of my favourite things to do. I spent an inflatable-mattress summer in San Francisco doing nothing but planning our meals, scouting recipes, going to the Safeway across the street daily. Bitching when she bitched that I got gluten free flour. Going to the treadmill most mornings.\n\nShe told me, you know, I never want to say anything about your weight (I knew where this was going), but you’re really very skinny. You could use a hamburger.\n\nI spouted some lie about endorphins.\n\nI did not feel really very skinny. I felt monstrous. Vile. I don’t think I saw my reflection that entire summer.\n\nShe said: it’s not on your body, it’s in your head. She tapped her temple twice.\n\nThat helped. But then she too will call me and tell me about gaining weight, mainly in her stomach but not her limbs, so that she feels like a spider. This is objectively funny. I just wish she could hold a mirror to the kind and wise things she tells me about the bullshit we share.\n\n*\n\nThe respect I have for people who don’t worry about any of this. For not applying these ridiculous standards to their body, for living outside of the mental chokehold. It rivals the respect I have for anyone thinner than I am. Our intimate acquaintance with the pain of restriction, like an invisible mutual friend in the room.\n\n*\n\nAt some point I looked at the kind strangers around me and I realized: These people are congratulating me on being thin.\n\nThen I realized further: It’s the discipline. My work ethic.\n\nLastly I realized that if my body is mine and not theirs, then I can look however I want. I can be ugly! I can have acne! I can have a bad haircut! I can even have meat and fat on my bones! And I’m trying to congratulate myself for knowing that, except, you know, everything you’ve read.\n\n*\n\nI haven’t read Delphine de Vigan so if she writes about any of this I’m sorry, it’s not on purpose.\n\n*\n\nLast week I wrote the worst essay of my life on Samuel Beckett and self consumption. Tomorrow I will watch the Timothée Chalamet cannibal movie. For years, one of my favourite stories to tell has been about the Chilean plane crash survivors, who report that human meat tastes like chicken.\n\nI am twenty-two and I am eating myself alive, like my loved ones before me.\n\n*\n\nThe anorexic ex-ballerina who now does pole, a bulimic former high school athlete, and I walk into a Korean barbecue joint. It’s the start of a joke and its punchline too.\n\n*\n\nAt the beach, I pulled out the saltines and offered them to said people. The bulimic said my diet was saltines and gum and I said that’s all you need to live. Are you okay, said the anorexic. A question I had gotten used to after shaving my head the week before. My hip bones were filed and I wore them like accessories. I laughed as a response.\n\n*\n\nI clock anyone skinnier than me. It’s an odd mix of fear and resentment and kinship. One April day I skimmed and scanned the entire populace at Disneyland with satisfaction, given I was the skinniest person at the rat amusement park. Until 5 PM, on the way out. A girl with toothpick legs. She was far younger than me and in a wheelchair. She looked like she was on her Make a Wish foundation trip or something. I don’t know what the fuck was wrong with me, being jealous of that unhealthiness. I wanted to apologize to her. I still do.\n\n*\n\nI remember which part of my tongue to send teriyaki sauce to, which glands thrive with ginger, the sector that blooms with the sweetness of peaches. One of these days I will have chocolate."],"score":1.8530173},{"id":"5196","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Headlight Anthology Collection"],"source_collection_label":["Headlight Anthology Collection"],"collection_contributing_unit":[""],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Benjamin Bush Anderson in Headlight 24, 2023"],"item_title_source":["Asset"],"item_title_note":["As published in Headlight Anthology."],"item_language":["English"],"item_production_context":["Studio recording"],"item_series_title":["Headlight 24"],"item_subseries_title":["Headlight 24 Pieces"],"item_identifiers":["[]"],"rights":["In Copyright Educational Use Permitted (InC-EDU)"],"rights_notes":["Copyright by Headlight Anthology and contributor. Online reproduction and archiving allowed. 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Anderson, as published in Headlight Anthology, no. 24.\",\"notes\":\"\",\"title\":\"THIS THAT\",\"credit\":\"Benjamin Bush Anderson\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"2023-06-02\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"Headlight website\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1192154219\",\"venue\":\"Concordia University, Department of English\",\"notes\":\"Headlight Anthology operates out of Concordia’s graduate English Literature & Creative Writing department.\",\"address\":\"1455 Boul. de Maisonneuve O., LB 641, Montréal, QC, H3G 1M8\",\"latitude\":\"45.4969331\",\"longitude\":\"-73.5783742\"}]"],"Address":["1455 Boul. de Maisonneuve O., LB 641, Montréal, QC, H3G 1M8"],"Venue":["Concordia University, Department of English"],"City":["Montreal, Quebec"],"contents":["Weeknight\n\nby Julie Triganne\n\nCircling the grocery store aisles.\nWe move like a slow moon settling.\n \nUnder retail lighting we tell ourselves\nto buy discount, or that it’s okay to indulge\n \nin premium peanut butter, pre-cut vegetables.\nCaramel pecan ice cream. \n \nThe week ordered by expiry dates.\nConsider what curdles.\n \nNerves run blue at day’s end. \nJudicial, the way you raise an eyebrow.\n \nMy intentions are good.\nIf I fail you, let’s call it poor planning.\n \nIn the checkout line we debate\namounts due, credit card balances.\n \nWhat we owe is incalculable, without origin.\nOur life, sutured with conditions.\n \nUnprepared to rid ourselves of the things\nthat affix to us, demand allegiance:\n \nour deliveries, our liabilities.\nOur Bluetooth tracker‐clad suitcases.\n \nIndulgence burrows in our jowls.\nI rack up debt and blame my childhood.\n \nHaving learned one can in fact purchase contentment.\nThat a nice shirt will sometimes suffice.\n \nOnce, I ate from your palm. Stood next to you,\nenamoured in a parking lot. Judged no one.\n \nThat’s what love is. Temperature swings, ice\nbreaking on the river. Thuds that imitate a whale call.\n\nYears falter. They’re not to be trusted\nLike weather, they sever expectations.\n \nBeg me open. I will be merciful.\nWhat bargains we have made to be here."],"Note":["[{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"https://headlightanthology.ca/archive/n24/this-that/\",\"citation\":\"Bush Anderson, Benjamin.  THIS THAT. Headlight Anthology, no. 24, 2023, pp. 50–53.\"}]"],"_version_":1853670549183528960,"timestamp":"2026-01-07T14:59:53.772Z","score":1.8530173},{"id":"5197","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Headlight Anthology Collection"],"source_collection_label":["Headlight Anthology Collection"],"collection_contributing_unit":[""],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Malaea Ergina in Headlight 24, 2023"],"item_title_source":["Asset"],"item_title_note":["As published in Headlight Anthology."],"item_language":["English"],"item_production_context":["Studio recording"],"item_series_title":["Headlight 24"],"item_subseries_title":["Headlight 24 Pieces"],"item_identifiers":["[]"],"rights":["In Copyright Educational Use Permitted (InC-EDU)"],"rights_notes":["Copyright by Headlight Anthology and contributor. Online reproduction and archiving allowed. Republications under different publishers must be authorized by the contributor."],"creator_names":["Ergina, Malaea"],"creator_names_search":["Ergina, Malaea"],"creators":["[{\"url\":\"\",\"name\":\"Ergina, Malaea\",\"dates\":\"\",\"notes\":\"Malaea Ergina is a writer from Tiohtià:ke/Montreal, where she is currently pursuing an MA in Creative Writing at Concordia University.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Elbanhawy, Sherine","Eastwood, Miranda","Pittella, Carlos A.","Andrews, Olive","Affonso, Alexandre","Ruby, Ariella"],"contributors_names_search":["Elbanhawy, Sherine","Eastwood, Miranda","Pittella, Carlos A.","Andrews, Olive","Affonso, Alexandre","Ruby, Ariella"],"contributors":["[{\"url\":\"\",\"name\":\"Elbanhawy, Sherine\",\"dates\":\"\",\"notes\":\"Co-managing editor of Headlight 24.\\n\\n\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Eastwood, Miranda\",\"dates\":\"\",\"notes\":\"Sound editor of 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condensation,\n\nunruly, when the body is lost,\nthe hair is still present, still growing,\n\nstill clinging wetly as I brush by it,\nuncoiling down the wall,\n\nknotted, grasping, infinitely growing,\ninfinitely hungry, uncontained\n\nanimal longing, uncontained\nanimal filth.\n\n2.\nlike leftover crepe paper streamers,\nthe moth webs trail down from the ceiling\n\nsticky, gray, multiplying,\ndust and more dust, shivering,\n\nwrithing as the moths burst out—\nin the bed, body webbed and sticky\n\nwith pain, there’s something else moving too,\na soft and ceaseless motion, the unwilling\n\nmovement of life in a dim room filled with\ninsect castings and unwashed laundry.\n\n3.\nthe flowers on the shelf are just dead things\nthat don’t know they’re dead yet meanwhile\n\nthe spider plant is dying in the corner\nand the things you acquired for nurturing\n\nare brown and dead meanwhile you pull\nyour body along behind you on a leash\n\nwhich is sometimes very long and sometimes very\nshort, your body so close you can feel\n\nits breath on your face, another\nthing to feed and water, another unbearable thing."],"Note":["[{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"https://headlightanthology.ca/archive/n24/triptych/\",\"citation\":\"Ergina, Malaea. triptych. Headlight Anthology, no. 24, 2023, pp. 56–57.\"}]"],"_version_":1853670549184577536,"timestamp":"2026-01-07T14:59:53.772Z","score":1.8530173},{"id":"5198","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Headlight Anthology Collection"],"source_collection_label":["Headlight Anthology Collection"],"collection_contributing_unit":[""],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Lauren Smith in Headlight 24, 2023"],"item_title_source":["Asset"],"item_title_note":["As published in Headlight Anthology. \n*Genre: nonfiction, CNF."],"item_language":["English"],"item_production_context":["Studio recording"],"item_series_title":["Headlight 24"],"item_subseries_title":["Headlight 24 Pieces"],"item_identifiers":["[]"],"rights":["In Copyright Educational Use Permitted (InC-EDU)"],"rights_notes":["Copyright by Headlight Anthology and contributor. Online reproduction and archiving allowed. Republications under different publishers must be authorized by the contributor."],"creator_names":["Smith, Lauren"],"creator_names_search":["Smith, Lauren"],"creators":["[{\"url\":\"\",\"name\":\"Smith, Lauren\",\"dates\":\"\",\"notes\":\"Lauren Smith is a Concordia student by day and an artist by night. She enjoys late nights printmaking in the darkroom and sitting on park benches typing her thoughts in her phone’s Notes app.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Elbanhawy, Sherine","Eastwood, Miranda","Pittella, Carlos A.","Andrews, Olive","Affonso, Alexandre","Ruby, Ariella"],"contributors_names_search":["Elbanhawy, Sherine","Eastwood, Miranda","Pittella, Carlos A.","Andrews, Olive","Affonso, Alexandre","Ruby, Ariella"],"contributors":["[{\"url\":\"\",\"name\":\"Elbanhawy, Sherine\",\"dates\":\"\",\"notes\":\"Co-managing editor of Headlight 24.\\n\\n\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Eastwood, Miranda\",\"dates\":\"\",\"notes\":\"Sound editor of Headlight 24.\",\"nation\":[],\"role\":[\"Producer\",\"Recordist\"]},{\"url\":\"https://viaf.org/viaf/97149659658506830525\",\"name\":\"Pittella, Carlos A.\",\"dates\":\"1983-\",\"notes\":\"Co-managing editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Andrews, Olive\",\"dates\":\"\",\"notes\":\"Poetry editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Affonso, Alexandre\",\"dates\":\"\",\"notes\":\"Nonfiction editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Ruby, Ariella\",\"dates\":\"\",\"notes\":\"Fiction editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]}]"],"Producer_name":["Elbanhawy, Sherine","Eastwood, Miranda","Pittella, Carlos A.","Andrews, Olive","Affonso, Alexandre","Ruby, Ariella"],"Recordist_name":["Eastwood, Miranda"],"Publication_Date":[2023],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Digital\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"recording_type":["Digital"],"AV_type":["Audio"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:u:/g/personal/carlosa_pittella_concordia_ca/Ecx89VM23BFBmb1VsDtifzQBiBK7eF5niMdwHZRRxZdAgw\",\"file_path\":\"\",\"filename\":\"Headlight24-Smith.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:06:56\",\"precision\":\"\",\"size\":\"4.1 MB\",\"bitrate\":\"145-185 kbps\",\"encoding\":\"MP3\",\"contents\":\"This is file 1 of 1 containing an audio-recording of the piece \\\"Unspoken,\\\" by Lauren Smith, as published in Headlight Anthology, no. 24.\",\"notes\":\"MP3 also available at https://headlightanthology.ca/archive/n24/unspoken/, accessed on June 15, 2023.\",\"title\":\"Unspoken\",\"credit\":\"Lauren Smith\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"\"},{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:u:/g/personal/carlosa_pittella_concordia_ca/EXlxWtIbDXNNnVNWGbPrOJIBDawzETv6ySJZwffPZzoFEw\",\"file_path\":\"\",\"filename\":\"Headlight24-Smith.wav\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:06:56\",\"precision\":\"\",\"size\":\"73.5 MB\",\"bitrate\":\"1411 kbps\",\"encoding\":\"WAV\",\"contents\":\"This is file 1 of 1 containing an audio-recording of the piece \\\"Unspoken,\\\" by Lauren Smith, as published in Headlight Anthology, no. 24.\",\"notes\":\"\",\"title\":\"Unspoken\",\"credit\":\"Lauren Smith\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"2023-06-02\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"Headlight website\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1192154219\",\"venue\":\"Concordia University, Department of English\",\"notes\":\"Headlight Anthology operates out of Concordia’s graduate English Literature & Creative Writing department.\",\"address\":\"1455 Boul. de Maisonneuve O., LB 641, Montréal, QC, H3G 1M8\",\"latitude\":\"45.4969331\",\"longitude\":\"-73.5783742\"}]"],"Address":["1455 Boul. de Maisonneuve O., LB 641, Montréal, QC, H3G 1M8"],"Venue":["Concordia University, Department of English"],"City":["Montreal, Quebec"],"Note":["[{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"},{\"note\":\"Genre should be updated to \\\"Reading: nonfiction\\\" or \\\"Reading: CNF\\\" when one of this options is available.\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"https://headlightanthology.ca/archive/n24/unspoken/\",\"citation\":\"Smith, Lauren. Unspoken. Headlight Anthology, no. 24, 2023, pp. 58–62.\"}]"],"_version_":1853670549184577537,"timestamp":"2026-01-07T14:59:53.772Z","contents":["Unspoken\n\nby Lauren Smith\n\nIt was just before Christmas when the omicron variant spread, and the city of Montréal was once again inflamed with infection. I was sitting with my friend Alison and her flatmate Rosa on the tattered couches in the living room of their apartment, as we awaited the arrival of our friend Oskar, who lived on the floor below. He entered the door with a bag from which he pulled out three parcels wrapped in patterned paper and proceeded to hand one to each of us. In exchange, he received three smiles, perhaps the most rewarding being Rosa’s. As her fingers touched the paper, her mouth stretched so wide that Alison and I couldn’t help but giggle, joining in her pure delight.\n\n“This is my first time getting a Christmas present!” Rosa said with kilojoules of energy coursing through her veins; still, she handled the gift so delicately. She tilted it back and forth, examining it as if she wanted to remember every detail, from the creases where the paper was folded to the feel of the smooth plastic ribbon between her fingers. I could tell this would be one of those distinctive moments for her, vivid in her memory. It was certainly vivid in mine. Hidden within the festive paper of my gift was a sturdy, thread-bound journal in an olive green and a card with a few verses of poetry written in Italian.\n\nGrowing up I had an extensive collection of notebooks, each for a different purpose, my favourite being dedicated to the research and planning involved in catching Santa Claus on video. I was often gifted notebooks, such as the one I received from my childhood best friend with a note that said, “One day you will write like Hemingway” (the only famous author she’d heard of at the age of 10, but most certainly hadn’t read). Then there were the many others my dad would bring back from work, my dog’s sharp bark indicating his arrival. I’d enter the kitchen and be pleased to find a new notebook laying on the counter, each time with a different law firm’s contact information on the front. He would offer me a few candies as well, unfolding his palm to reveal Starbursts and with a grin asking, “Do you want a little burst of sunshine?” They were usually slightly warm from being kept in his pocket, but I always accepted them because the notebooks and candies were our way of communication.\n\nWith time, his offerings became increasingly rare. Weeks passed without a word shared until one quiet evening in May, I received a notebook again. Its vibrant red colour stood out against the contrasting bright blue of our laminate countertops. I was surprised to find a message on the front, handwritten in blue ink on a yellow sticky-note that read, “Lolo, for all of your deep thoughts.” Despite his efforts at communication, he wasn’t around that night for me to thank him. Just like he wasn’t around to pick me up from dance practice, or church, or watch me win the school board’s speech competition back when I wasn’t afraid to use my voice.\n\nHe could’ve been at Joe’s again, wasting the hours of daylight drinking in that dingy garage. Maybe he was at the pub. Maybe he was somewhere we wouldn’t have guessed but would later learn the address from a parking ticket mailed to our house. I never told him how I felt about his habits. It’d be a waste of breath. Not even my mom could get him to attend the 12-step program, and he persistently ran from doctors. We all wanted to help him. I’ll never understand why he didn’t want to help himself.\n\nA loud rip brought my attention to the pain in my chest. My throbbing heart tore like the gift wrap that was now scattered around the carpet in crumbled balls. With a deep breath I remembered my surroundings. A room full of cheap plastic lights in red, yellow, blue, and green, obnoxiously blinking at me as if to cheer me up. They didn’t. But it didn’t matter because the excitement had passed for us all. Rosa’s childlike bliss had faded, and we sat, without saying a word, as we listened to the sounds of distant cars passing through the crack of the opened window. It was as if a gust of melancholy had blown in. We couldn’t ignore the news reports. Another lockdown would be coming.\n\nOskar lit a cigarette and glanced across the room at Alison. She was staring at the paper balls amongst her feet, kicking them around. I picked at the frayed upholstery of the cushion beneath me, twirling the dark blue threads around my pointer finger. Rosa sat upright with rigid posture; her shoulders tensed as she looked at us with troubled eyes. She then shifted her gaze downwards and in a somber voice she murmured, “Did you hear about the suicide at the station today?”\n\nUnsettled by the break in silence, Oskar took a long drag of his cigarette. I watched Rosa sink back into the couch as she explained what she had witnessed. The metro abruptly stopping, the rush of people evacuating the train car, and her impulse to glance back at the tracks, which she regrets. She saw the body. Further description was withheld, but that didn’t do much. I could already see the deformed face, so mutilated it appeared nonhuman. Most haunting were the limp legs and droopy arms possessing a kind of motionlessness that should’ve been unsettling yet seemed almost peaceful.\n\nThe images in my mind slowly melded with my reality as I looked down at the journal in my lap and thought back to the little red book I had unexpectedly received from my dad. That was the last of all the notebooks he would give me, its final page torn out and used to write a letter. A collection of unspoken words enclosed within the thin lined paper, folded three times to fit in the palm of a hand. I can still see it sitting on the table beside the hospital bed where he laid, his yellow and sagging skin rendering him unrecognizable. I was told a nurse read it to him, but I’m not sure if he could still hear at that point.\n\nI thought he would survive long enough to answer my final questions, or at least the question I pondered most as Rosa finished her story. Is that what he always wanted? My grandma believes he gave his answer when he tried to pull the oxygen mask off his face. But what authority do we have to speak for him?\n\nMy arms shivered under my knit cardigan, but, before I could ask, Alison stood up to shut the window. Trembling, I brought my knees to my chest, hugging the notebook still in my lap. Rosa moved from across the room to sit beside me. Oskar ashed his cigarette into an empty bottle from the previous night’s party. Alison connected her phone to a speaker. The Christmas lights stopped flickering, my heart settled and the remaining smoke in the room froze in time as Françoise Hardy’s voice lulled the night. The sun rose late the next morning."],"score":1.8530173},{"id":"5199","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Headlight Anthology Collection"],"source_collection_label":["Headlight Anthology Collection"],"collection_contributing_unit":[""],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Tina Wayland in Headlight 24, 2023"],"item_title_source":["Asset"],"item_title_note":["As published in Headlight Anthology. \n*Genre: nonfiction, CNF."],"item_language":["English"],"item_production_context":["Studio recording"],"item_series_title":["Headlight 24"],"item_subseries_title":["Headlight 24 Pieces"],"item_identifiers":["[]"],"rights":["In Copyright Educational Use Permitted (InC-EDU)"],"rights_notes":["Copyright by Headlight Anthology and contributor. Online reproduction and archiving allowed. Republications under different publishers must be authorized by the contributor."],"creator_names":["Wayland, Tina"],"creator_names_search":["Wayland, Tina"],"creators":["[{\"url\":\"\",\"name\":\"Wayland, Tina\",\"dates\":\"\",\"notes\":\"Tina Wayland is completing her Creative Writing MA at Concordia University, where she won the department’s 2021 McKeen Award for “Where the Light Gets In.” She’s been published in such places as carte blanche and Open Door Magazine. Tina’s story “The Tending of Small Gardens” made the 2021 CBC Non-Fiction Prize longlist and “Foxholes” was shortlisted in Room Magazine’s 2022 Short Forms Contest.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Elbanhawy, Sherine","Eastwood, Miranda","Pittella, Carlos A.","Andrews, Olive","Affonso, Alexandre","Ruby, Ariella"],"contributors_names_search":["Elbanhawy, Sherine","Eastwood, Miranda","Pittella, Carlos A.","Andrews, Olive","Affonso, Alexandre","Ruby, Ariella"],"contributors":["[{\"url\":\"\",\"name\":\"Elbanhawy, Sherine\",\"dates\":\"\",\"notes\":\"Co-managing editor of Headlight 24.\\n\\n\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Eastwood, Miranda\",\"dates\":\"\",\"notes\":\"Sound editor of Headlight 24.\",\"nation\":[],\"role\":[\"Producer\",\"Recordist\"]},{\"url\":\"https://viaf.org/viaf/97149659658506830525\",\"name\":\"Pittella, Carlos A.\",\"dates\":\"1983-\",\"notes\":\"Co-managing editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Andrews, Olive\",\"dates\":\"\",\"notes\":\"Poetry editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Affonso, Alexandre\",\"dates\":\"\",\"notes\":\"Nonfiction editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Ruby, Ariella\",\"dates\":\"\",\"notes\":\"Fiction editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]}]"],"Producer_name":["Elbanhawy, Sherine","Eastwood, Miranda","Pittella, Carlos A.","Andrews, Olive","Affonso, Alexandre","Ruby, Ariella"],"Recordist_name":["Eastwood, Miranda"],"Publication_Date":[2023],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Digital\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"recording_type":["Digital"],"AV_type":["Audio"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:u:/g/personal/carlosa_pittella_concordia_ca/EZvY8IQrR8FJu999FNqk5NsBYck5NNjRu5uqajBXMqtSSA\",\"file_path\":\"\",\"filename\":\"Headlight24-Wayland.wav\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:09:56\",\"precision\":\"\",\"size\":\"157.8 MB\",\"bitrate\":\"1411 kbps\",\"encoding\":\"WAV\",\"contents\":\"This is file 1 of 1 containing an audio-recording of the piece \\\"The Tending of Small Gardens,\\\" by Tina Wayland, as published in Headlight Anthology, no. 24.\",\"notes\":\"\",\"title\":\"The Tending of Small Gardens\",\"credit\":\"Tina Wayland\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:u:/g/personal/carlosa_pittella_concordia_ca/EcJp2bh8fddKmD7A3BO4nSMByRwvNwSNwT-IkJ0aJc1MoQ\",\"file_path\":\"\",\"filename\":\"Headlight24-Wayland.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:09:56\",\"precision\":\"\",\"size\":\"6.7 MB\",\"bitrate\":\"145-185 kbps\",\"encoding\":\"MP3\",\"contents\":\"This is file 1 of 1 containing an audio-recording of the piece \\\"The Tending of Small Gardens,\\\" by Tina Wayland, as published in Headlight Anthology, no. 24.\",\"notes\":\"MP3 also available at https://headlightanthology.ca/archive/n24/the-tending-of-small-gardens/, accessed on June 15, 2023.\",\"title\":\"The Tending of Small Gardens\",\"credit\":\"Tina Wayland\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"2023-06-02\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"Headlight website\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1192154219\",\"venue\":\"Concordia University, Department of English\",\"notes\":\"Headlight Anthology operates out of Concordia’s graduate English Literature & Creative Writing department.\",\"address\":\"1455 Boul. de Maisonneuve O., LB 641, Montréal, QC, H3G 1M8\",\"latitude\":\"45.4969331\",\"longitude\":\"-73.5783742\"}]"],"Address":["1455 Boul. de Maisonneuve O., LB 641, Montréal, QC, H3G 1M8"],"Venue":["Concordia University, Department of English"],"City":["Montreal, Quebec"],"Note":["[{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"},{\"note\":\"Genre should be updated to \\\"Reading: nonfiction\\\" or \\\"Reading: CNF\\\" when one of this options is available.\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"https://headlightanthology.ca/archive/n24/the-tending-of-small-gardens/\",\"citation\":\"Wayland, Tina. The Tending of Small Gardens. Headlight Anthology, no. 24, 2023, pp. 84–91.\"}]"],"_version_":1853670549185626112,"timestamp":"2026-01-07T14:59:53.772Z","contents":["The Tending of Small Gardens\n\nby Tina Wayland\n\nIn late winter we walked through a neighbourhood in lockdown, my daughter and me, her 10-year-old hand in mine. In those early days a tendril of fear ran through everything, grew wild and sudden and unexpected like weeds in the thinnest, most impossible of cracks. We walked, scarves pulled up like masks, avoiding people, pacing up and down the same streets, over and over. Caught in a loop.\n\nThis tree, that park, those stairs.\n\nIt was sometime in mid-March, snow still on the ground, when we found our way behind the rows of the neighbourhood’s three-storey homes, those red- and yellow-brick houses with their winding, black-iron staircases. The Montreal of postcards. We stepped from the quiet of the street into somewhere else entirely—an alley, hidden, running the length of the block, covered in fresh snow.\n\nSafe.\n\nAnd filled with signs of life.\n\nMy daughter stepped forward and broke the crust with her boot, then reached for me to follow. We ducked, avoiding the grey branches of leafless trees hanging low into the alley, heavy, scattering snow as we passed. There were wood planks to peek through, wire fences, the backs of old storage sheds built flush against the alley, dirty windows revealing summer storage. I pointed out snow-covered deck chairs and mounds of wintering gardens and Christmas lights left up, months later, casting colour and light into the gloom.\n\nAs we slipped past houses the occupants would look up from tables and sinks full of dishes, watch us walk past as they stood in doorways smoking cigarettes, sipping coffee, housecoats billowing in the winter air. It was like walking in on some secret, shared between alley neighbours, no one saying a thing.\n\nOnce, my daughter handed me her gloves and we walked with palms stuck together in the late-March thaw. At her insistence we began to explore more of these places, finding our way in between row houses, learning how to access the back of every block. She began to venture out ahead, showing me alley treasures that had started to peek out from the snow: an empty insect house awaiting its spring tenants, a blue plastic rain barrel, a painted sign pointing the way to Paris and London and Miami.\n\nSome days we’d walk further to find new alleys, leaving the confines of our own streets for the uncertainty and distraction of something—anything—different. Other days we retraced our steps closer to home. It became our ritual, a way to break up identical days, to keep the fear away, to hold my daughter close. We didn’t need to restrict ourselves to sidewalks or step out of a stranger’s path. Instead, there was freedom of space, of movement, a way to pass by someone on either side of the alley, with plenty of room between. There were no cars to watch for, no delivery trucks to maneuver around. It was a path meant only for people, and it was mostly just the two of us.\n\nDays and weeks passed and yards began to emerge from hibernation, soil soaked in winter runoff, water puddling between the rows. When the sun was out the neighbours opened their windows a crack, filling the air with music and conversation and a trail of arguments, bits of life escaping from confinement. My daughter put her finger to her lips, listening, as some song I’d never heard escaped from an upstairs window. She walked down the path ahead of me, singing all the words.\n\nOn our walks we discovered a ruelle verte, marked with a rusty blue-and-green sign—a communal space tended by neighbours, filled with box planters and benches and walls of vines that had just begun to bud. Even in the pre-spring mud with the branches still so bare we could see these were different; we knew—in just weeks—they were going to be special. I felt a wave of anticipation and sadness for all that was about to change.\n\nAlmost overnight the weather warmed, rousing magnolia flowers that filled the bare trees with thick petals of pink and white before they fell and covered the ground like a carpet, making way for their leaves. Next came the tips of tulips growing long and green until they finally opened to reveal their colours. It became a game to guess which ones would emerge red or white or yellow, finding our way back down the alley to see who was right. Sometimes we’d be surprised with an orange tulip, or one with pointed petals, or a row of tulips so purple they were almost black, set against a wall of old bricks. Everything blooming, everything crumbling.\n\nSoon we switched our boots for shoes and balanced our way across puddles and along fences, my daughter’s spring coat suddenly too short, shoes too tight. I reached out to catch myself and she grabbed my arm with a hand that was so much bigger than I remembered. How had I missed this—this hand I’d held every day, this child whose head was now as high as my shoulders, legs sprouting out from pants two sizes too small?\n\nI placed a palm on the top of her head—hatless, hot from the spring sun—to get a feel for her height. To pause, to stop this moment. But she reached her hand up, pushed her fingers through the cracks of mine. Incapable of standing still.\n\nBack doors began to open, spilling new sounds into the alleyways—music, voices, the clanging of dishes and rattling of patio furniture pulled outdoors. The air filled with the smells of spring cleaning, lemon and pine and bleach. Now neighbours leaned against railings, lazily dangling cigarettes in the late afternoon sun, ashes falling and drifting in the warm spring wind.\n\nWe knew each back path by heart now, my daughter and me. Knew every inch of every alley. Yet everything around us was changing. The trees began to grow their leaves, in moments when we weren’t looking, turning bare branches into thick canopies that hung over our heads. The grey tentacles of wild vines that crisscrossed fences and walls were now a canvas of green with the brightest bursts of flowers, here pink, there white with flecks of blue. Dirt plots were turned and fertilized with fistfuls of compost and manure and crushed bone, a scent that clung to our noses and turned our stomachs.\n\nIn what felt like only days the gardens began to grow, and we peeked through metal fences and between slats for a glimpse at the life pushing up from the soil. These were not the ample lawns of the suburbs, with gardens neatly planted in one corner of pruned grass. These were yards in one of the city’s oldest neighbourhoods, built on land that was uneven and shifting, pierced with the roots of century-old trees that lifted and cracked everything in their path. Here gardens grew where they could—in plots pushed up against the fence where the light got in, in bright plastic buckets, old crates, clawfoot tubs that once washed families of eight or nine or ten children in a row.\n\nWe wondered how many had planted their gardens here before, generation after generation, each layer growing and maturing and dying to feed the ones that came next. Wondered who had been here before there were even gardens to tend. My daughter said these had probably been around since I was born, and I answered they’d been here much longer, our perceptions separated by an undergrowth of time.\n\nAs the days grew warm and long there was new life everywhere we looked. Box gardens were filled with neat rows of romaine and arugula. Pots on stoops and back stairs held tomato plants that threatened to drop ripe fruit against the trestles that held them in place. Squirrels gathered raspberries that climbed up thorny vines, tucking them into their cheeks, oblivious to the shiny metal plates planted on sticks to chase them away.\n\nAnd everywhere, everywhere the ivy grew and curled around everything, its green-and-white leaves fitting into even the smallest of spaces, clinging to fences knee-high, then eye level, finally reaching the top and breaking free to the other side. Once, I twisted a stray strand around my fist, tugged, trying to pull it, wield it to my will, then tucking it back into the yard it had come from. But the next day it had escaped, untameable, into the alley.\n\nThen spring became summer, and we walked the alleys in our bare legs, scraping against spiky milkweed pods and lily leaves, kicking pinecones with our feet. Sometimes my daughter would stop to lean on me and empty the rocks from her shoes, balancing on one foot as I reached out to steady her. Her fingers on my shoulder were so much bigger now, long and lean, nails no longer caked in the dirt that once seemed to never wash off, now tended to in her own private moments.\n\nNow back yards sprouted elderly men in wide-brimmed hats, lazy grey-bearded dogs, children in paddle pools. Neighbours typed on laptops in the sunshine, talked over fences. Everywhere we looked there was life, growing between cracks and around buildings, reaching up into trees and around telephone poles that had been planted here decades ago. We kicked up clouds as we walked, remnants of dirt and old brick dust that settled over everything, pieces of the past unearthed until the rain washed it all away again.\n\nOne day a familiar path we’d walked many times before had changed, overnight. A layer of green grass now covered the alley, fresh cut and even, the scent of it heavy, almost overwhelming in the air. Someone had laid stones down the middle, and we stepped from one to the next, each spaced perfectly for even the smallest of feet. There were old crates filled with newly planted flowers, herbs, and cucumbers, their yellow blossoms a promise of new growth to come. Plastic chairs in every colour had been set at each side, with tree stumps for tables covered in coffee cup rings and chipped saucers filled with ash. This was a country scene in the heart of the city, our alley oasis, grown out of the snow and the mud of the seasons into this landscape that reshaped the concrete foundations, taking up room, finding a life of its own. In our months of walking together, of escaping the confinement and weeding out the fear, exploring the spaces behind the scenes, these alleys had grown on us. Around us.\n\nI reached for my daughter’s hand, but she’d already moved away."],"score":1.8530173},{"id":"5200","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Headlight Anthology Collection"],"source_collection_label":["Headlight Anthology Collection"],"collection_contributing_unit":[""],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Sophia Cirignano in Headlight 24, 2023"],"item_title_source":["Asset"],"item_title_note":["As published in Headlight Anthology."],"item_language":["English"],"item_production_context":["Studio recording"],"item_series_title":["Headlight 24"],"item_subseries_title":["Headlight 24 Pieces"],"item_identifiers":["[]"],"rights":["In Copyright Educational Use Permitted (InC-EDU)"],"rights_notes":["Copyright by Headlight Anthology and contributor. Online reproduction and archiving allowed. Republications under different publishers must be authorized by the contributor."],"creator_names":["Cirignano, Sophia"],"creator_names_search":["Cirignano, Sophia"],"creators":["[{\"url\":\"\",\"name\":\"Cirignano, Sophia\",\"dates\":\"\",\"notes\":\"Sophia Cirignano is a recent Religious Studies graduate (MA) from Concordia University, with a focus on queer studies, writing, and teaching. 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24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Andrews, Olive\",\"dates\":\"\",\"notes\":\"Poetry editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Affonso, Alexandre\",\"dates\":\"\",\"notes\":\"Nonfiction editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Ruby, Ariella\",\"dates\":\"\",\"notes\":\"Fiction editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]}]"],"Producer_name":["Elbanhawy, Sherine","Eastwood, Miranda","Pittella, Carlos A.","Andrews, Olive","Affonso, Alexandre","Ruby, Ariella"],"Recordist_name":["Eastwood, Miranda"],"Publication_Date":[2023],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Digital\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"recording_type":["Digital"],"AV_type":["Audio"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:u:/g/personal/carlosa_pittella_concordia_ca/ET5tCJHk6fNBtHQNRpRxGhsBbeQudR5rq0oMI1mONcow_w\",\"file_path\":\"\",\"filename\":\"Headlight24-Cirignano.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:01:03\",\"precision\":\"\",\"size\":\"0.55 MB\",\"bitrate\":\"145-185 kbps\",\"encoding\":\"MP3\",\"contents\":\"This is file 1 of 1 containing an audio-recording of the piece \\\"Giverny,\\\" by Sophia Cirignano, as published in Headlight Anthology, no. 24.\",\"notes\":\"MP3 also available at https://headlightanthology.ca/archive/n24/giverny/, accessed on June 16, 2023.\",\"title\":\"Giverny\",\"credit\":\"Sophia Cirignano\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"\"},{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:u:/g/personal/carlosa_pittella_concordia_ca/EZfbWpVhn51IgMo43XK1qewBCrWdY_MBS1hm-MLMlwy91w\",\"file_path\":\"\",\"filename\":\"Headlight24-Cirignano.wav\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:01:03\",\"precision\":\"\",\"size\":\"11.2 MB\",\"bitrate\":\"1411 kbps\",\"encoding\":\"WAV\",\"contents\":\"This is file 1 of 1 containing an audio-recording of the piece \\\"Giverny,\\\" by Sophia Cirignano, as published in Headlight Anthology, no. 24.\",\"notes\":\"\",\"title\":\"Giverny\",\"credit\":\"Sophia Cirignano\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"2023-06-02\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"Headlight website\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1192154219\",\"venue\":\"Concordia University, Department of English\",\"notes\":\"Headlight Anthology operates out of Concordia’s graduate English Literature & Creative Writing department.\",\"address\":\"1455 Boul. de Maisonneuve O., LB 641, Montréal, QC, H3G 1M8\",\"latitude\":\"45.4969331\",\"longitude\":\"-73.5783742\"}]"],"Address":["1455 Boul. de Maisonneuve O., LB 641, Montréal, QC, H3G 1M8"],"Venue":["Concordia University, Department of English"],"City":["Montreal, Quebec"],"contents":["Giverny\n\nby Sophia Cirignano\n\nAfter the hour walk in the sun \n              down the trembling \npath that appears around each \n              bend like a vision test \nthrough the pale lemon dining \n              room and bronze pans \nlined against the azure wall the \n              goops of imitation oils\nand the patterned garden with \n              its crowds of milky-haired \nwomen and their iphones poised \n              the perfect distance from \nreading glasses and past misted \n              armpits and hands gripping \ncherry coke, after all that and the \n              countless petal formations \nwe give new names to—jaundice \n              blush, luminous duster—\nwe take the time to look up in a \n              dark wide-irised moment \nto the rustle of a large oak whose \n              dull dull color and odorless \nlinen skin act as a digestive a \n              damp towel a cure to\nthe affliction of flowers."],"Note":["[{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"https://headlightanthology.ca/archive/n24/giverny/\",\"citation\":\"Cirignano, Sophia. Giverny. Headlight Anthology, no. 24, 2023, pp. 83.\"}]"],"_version_":1853670549186674688,"timestamp":"2026-01-07T14:59:53.772Z","score":1.8530173},{"id":"5201","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Headlight Anthology Collection"],"source_collection_label":["Headlight Anthology Collection"],"collection_contributing_unit":[""],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Nadia Trudel in Headlight 24, 2023"],"item_title_source":["Asset"],"item_title_note":["As published in Headlight Anthology."],"item_language":["English"],"item_production_context":["Studio recording"],"item_series_title":["Headlight 24"],"item_subseries_title":["Headlight 24 Pieces"],"item_identifiers":["[]"],"rights":["In Copyright Educational Use Permitted (InC-EDU)"],"rights_notes":["Copyright by Headlight Anthology and contributor. Online reproduction and archiving allowed. Republications under different publishers must be authorized by the contributor."],"creator_names":["Trudel, Nadia"],"creator_names_search":["Trudel, Nadia"],"creators":["[{\"url\":\"\",\"name\":\"Trudel, Nadia\",\"dates\":\"\",\"notes\":\"Nadia Trudel is a Tiohtià:ke/Montreal based writer, culture journalist, audio storyteller, one-time playwright, and general attention seeker.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Elbanhawy, Sherine","Eastwood, Miranda","Pittella, Carlos A.","Andrews, Olive","Affonso, Alexandre","Ruby, Ariella"],"contributors_names_search":["Elbanhawy, Sherine","Eastwood, Miranda","Pittella, Carlos A.","Andrews, Olive","Affonso, Alexandre","Ruby, Ariella"],"contributors":["[{\"url\":\"\",\"name\":\"Elbanhawy, Sherine\",\"dates\":\"\",\"notes\":\"Co-managing editor of Headlight 24.\\n\\n\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Eastwood, Miranda\",\"dates\":\"\",\"notes\":\"Sound editor of Headlight 24.\",\"nation\":[],\"role\":[\"Producer\",\"Recordist\"]},{\"url\":\"https://viaf.org/viaf/97149659658506830525\",\"name\":\"Pittella, Carlos A.\",\"dates\":\"1983-\",\"notes\":\"Co-managing editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Andrews, Olive\",\"dates\":\"\",\"notes\":\"Poetry editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Affonso, Alexandre\",\"dates\":\"\",\"notes\":\"Nonfiction editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Ruby, Ariella\",\"dates\":\"\",\"notes\":\"Fiction editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]}]"],"Producer_name":["Elbanhawy, Sherine","Eastwood, Miranda","Pittella, Carlos A.","Andrews, Olive","Affonso, Alexandre","Ruby, Ariella"],"Recordist_name":["Eastwood, Miranda"],"Publication_Date":[2023],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Digital\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"recording_type":["Digital"],"AV_type":["Audio"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:u:/g/personal/carlosa_pittella_concordia_ca/EfX2tlMWKbRKnd5FCMC3RAgBcjWVFoyQJz6ivm7xu60ufA\",\"file_path\":\"\",\"filename\":\"Headlight24-Trudel.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:18:28\",\"precision\":\"\",\"size\":\"10.4 MB\",\"bitrate\":\"145-185 kbps\",\"encoding\":\"MP3\",\"contents\":\"This is file 1 of 1 containing an audio-recording of the piece \\\"Goblin,\\\" by Nadia Trudel, as published in Headlight Anthology, no. 24.\",\"notes\":\"MP3 also available at https://headlightanthology.ca/archive/n24/goblin/, accessed on June 16, 2023.\",\"title\":\"Goblin\",\"credit\":\"Nadia Trudel\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"\"},{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:u:/g/personal/carlosa_pittella_concordia_ca/EfeiKMcE419JhF46SNcQI_0Bxa2IjaIh0DH2mJt_amr7Uw\",\"file_path\":\"\",\"filename\":\"Headlight24-Trudel.wav\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:18:28\",\"precision\":\"\",\"size\":\"293.2 MB\",\"bitrate\":\"1411 kbps\",\"encoding\":\"WAV\",\"contents\":\"This is file 1 of 1 containing an audio-recording of the piece \\\"Goblin,\\\" by Nadia Trudel, as published in Headlight Anthology, no. 24.\",\"notes\":\"\",\"title\":\"Goblin\",\"credit\":\"Nadia Trudel\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"2023-06-02\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"Headlight website\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1192154219\",\"venue\":\"Concordia University, Department of English\",\"notes\":\"Headlight Anthology operates out of Concordia’s graduate English Literature & Creative Writing department.\",\"address\":\"1455 Boul. de Maisonneuve O., LB 641, Montréal, QC, H3G 1M8\",\"latitude\":\"45.4969331\",\"longitude\":\"-73.5783742\"}]"],"Address":["1455 Boul. de Maisonneuve O., LB 641, Montréal, QC, H3G 1M8"],"Venue":["Concordia University, Department of English"],"City":["Montreal, Quebec"],"Note":["[{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"https://headlightanthology.ca/archive/n24/goblin/\",\"citation\":\"Trudel, Nadia. Goblin. Headlight Anthology, no. 24, 2023, pp. 65–82.\"}]"],"_version_":1853670549187723264,"timestamp":"2026-01-07T14:59:53.772Z","contents":["Goblin\n\nby Nadia Trudel\n\nWendy Kaufman is dead.\nIt feels so good to get that off my chest. I could just… shout it from the rooftop.\nBut I won’t.\nBecause then the people parked outside Wendy Kaufman’s house would hear.\nWendy Kaufman is dead, and it’s a secret. Only two people in the world know.\nI shouldn’t write this down. What if Beth decides to get nosey or a stalker breaks in?\n\nThe reason it’s still a secret is that we haven’t talked about it since we decided. And by we, I mean Ivy. But maybe I’m avoiding responsibility. My therapist said so.\n\nMy therapist doesn’t know Wendy Kaufman is dead. Because I am Wendy Kaufman. So I talk about a friend I lost named Maria. That’s Wendy’s real name.\n\nI tell Dr. Grant that I miss Maria. That I feel guilty. That I feel angry.\n\nI’ve never told Dr. Grant that I am also glad. Relieved. That Maria—Wendy Kaufman—is dead.\n\nDr. Grant suggested that I write a letter to Maria. Maybe I will. What could I say? Sorry you died and I agreed to be you so people could keep profiting off Wendy Kaufman? But I’m deflecting blame again; I profited the most.\n\n*\n\nI used to be able to go months without thinking about how Wendy Kaufman is dead. I grieved, but Wendy Kaufman has a busy lifestyle. Exciting. So it was easy to get caught up in things, forget that I wasn’t really Wendy Kaufman and that she had died. Things have slowed down though and I’m getting older.\n\nNowadays she’s all I can think about. She’s in my dreams. We look identical but I can just sense it’s her.\n\nI guess we won’t be identical someday. I keep getting older and she’s forever nineteen. Lucky bitch.\n\n*\n\nI thought about it more and I guess we’re already no longer identical. She must be like a skeleton by now, right?\n\n*\n\nI keep having nightmares of falling. Like Wendy. I think she fell 12 feet.\nI didn’t see her body, but I imagine it.\n\nI see our body on the floor, all twisted up as if we’ve been possessed by a demon, pooling blood creating a red halo around our delicate skull. She’s either completely alone or surrounded by flashing cameras. Subtle, right?\n\nDid she know she was dying?\nDid she think of me?\n\nThe big question is: what would she think of me being Wendy Kaufman? Of course, we’d like to think she’d be happy that I am maintaining and furthering her legacy or whatever, and that I finished her album.\n\nAnd then continued to make albums…\n\nBut I’m also Maria. Her parents don’t know Wendy Kaufman is dead, so they don’t know Maria is dead.\n\nI resent them for not being able to tell the difference between their daughter and a stranger.\n\nI guess it’s okay; we have that in common.\n\n*\n\nDr. Grant asked me today what would give me closure. And it was sort of funny because there’s nothing more closed or final than death. But maybe if I could visit a grave… leave flowers or something that would be nice. I’m not sure what happened to her body after she died; I didn’t think to ask then.\n\nIf she had a burial, did they put her real name on her gravestone? Probably not, her real name is on the internet.\n\nSo an alias then.\nAnother one.\nYou could lose track if you weren’t paying attention.\n\nOkay, so no grave visit like in the movies. There was the letter, like Dr. Grant suggested but… I don’t know, it feels silly.\n\n*\n\nI’m 27. How am I supposed to compare to a dead nineteen-year-old?\n\n*\n\nI’m listening to Wendy Kaufman’s albums. Her voice has changed.\nBecause women’s voices get a bit deeper when they get older.\nAnd Wendy Kaufman has smoked cigarettes since she was fourteen.\nAnd Wendy Kaufman is dead, and I am Wendy Kaufman now.\nI wonder which one of us is a better singer.\nWe’ve each won a Grammy.\nHers was for New Artist. Mine was for Best Impression.\nIt’s okay if Wendy Kaufman is a better singer than I am.\nDeep down I’m really an actress.\n\n*\n\nWhen you think about it, who’s really Wendy Kaufman? She was Wendy Kaufman for three years. I’ve been Wendy Kaufman for eight and I might be for eighty. Does time dictate ownership?\n\nWendy Kaufman is an African artifact, and I am the British Museum. I stole it and because it’s been so long, I refuse to give it back. Without the stolen artifacts, the British Museum has nothing.\n\n*\n\nI sort of lied earlier. Wendy Kaufman and I are not totally identical. Almost.\n\nPeople don’t know Wendy Kaufman is dead, but they do know Wendy Kaufman got in a big accident eight years ago. She was in the hospital for two months.\n\nThe accident explains for any slight changes. Besides, everyone knows fame changes you.\n\n*\n\nShe has a few tattoos. Paradise on her wrist, her parents’ birthdays on her ankles, her dead dog Mickey on her arm. But the one I hate the most is the cross on her back. I’m not a Christian.\n\nSince her death, Wendy Kaufman has gotten an angel tattooed on her arm.\n\nAfter the Black Dahlia era, Wendy Kaufman also got a tattoo of her alter ego’s floral namesake.\n\nWendy Kaufman and I went to the movies once. I think it was the only semi-normal hangout we ever had. They were playing a gory, experimental indie drama about the real Black Dahlia. The one who was murdered, you know?\n\nWe took a walk after and I just listened to Wendy talk about the Black Dahlia.\n\n“Isn’t it kinda awful that we never call her by her real name?” she asked. “The journalists just made that name up; she never gave permission.”\n\nShe thought about it more, “It is a pretty name though. Romantic. Glamorous.”\n“Wendy, she was murde—”\n“Cut in half. I mean it’s sick, totally, but, it’s also weirdly poetic, don’t you think?”\n“Uh…”\n“I don’t know… two names, two halves… kinda like us,” she smiled.\n\nThen a fan walked over and asked me, Wendy Kaufman, for a photo. Her, Wendy Kaufman, took the picture.\n\nI don’t know much but I’m pretty sure Wendy would have liked that I thought to use that name for the one album. A break from being Wendy Kaufman. She’d like the tattoo too.\n\n*\n\nToday I got an M tattooed on my hand.\nMaria.\nAnd Melissa.\nI’m Melissa.\nI was Melissa.\nMaria and Melissa.\nFunny coincidence.\nBoth dead.\nNo one remembers either.\nAt least I remember Maria.\nI forget about Melissa.\nPoor Melissa.\n\n*\n\nWhy should I feel guilty?\nIt’s not like I pushed her.\nShe died all on her own.\nThomas Paine said, “It is the living, and not the dead, that are to be accommodated.”\n\n*\n\nI had a panic attack today. Like Wendy Kaufman.\nThey were outside the dance studio waiting, then they followed me home.\n\nThey used to follow Wendy Kaufman more, but then she stopped going out. Whenever she’s not working, she’s at home. I started getting anxious being in big crowds, so no parties or clubs. Wendy Kaufman is still okay with concerts because she is above them all in her own little world and they just watch. The edge of the stage is lined with yellow tape.\n\nI only saw Wendy Kaufman have a panic attack once. She was in a limo. She was meant to go on a carpet, but it happened before she got there. I got a call and I had to clock in. We changed clothes in the limo with a small team in our company.\n\nI felt bad for her. She had no dignity, but they managed to take even more. She was naked and still crying when Wendy Kaufman got out of the limo fully dressed.\n\n“Close your eyes, I don’t want anyone to look at me.”\n\nIt’s uncanny. My body doing this thing. Her big weakness. The reason I was found, the reason I exist.\n\nUltimately the panic attack itself freaks me out more than what actually caused the panic attack.\n\n*\n\nI had good intentions at first. I wanted to protect Wendy Kaufman. She was a sweet girl. Shy. She’d started getting panic attacks because of all the attention. So they just hired me to distract or fill in occasionally. That’s all. An innocent body double. You know how it goes.\n\n*\n\nI wish I’d never met Wendy Kaufman.\nIt would’ve been so much easier if she’d been a stranger.\nBut we were friends.\nAt least I thought so.\nBut maybe she was just being nice.\nWendy Kaufman was a people pleaser.\n\n*\n\nWhen I first met Wendy Kaufman, I thought she was beautiful.\nAnd it was weird because I’d never looked at myself and thought that I was beautiful.\n\nWe were both giddy the day we met. We got ice cream, and I went to the studio with her.\n\nWe laughed when I tried imitating her singing.\nWe kept touching each other, checking to see if the other one was real.\nShe said it was a miracle. She believed in those kinds of things.\nShe also believed in things like sin and karma and hell.\n\n*\n\nIvy told me at rehearsals today that she’s worried about me. She said Wendy Kaufman looked tired and I told her I haven’t been able to sleep. When I do, I have nightmares. Ivy didn’t ask what my nightmares were about. She knows. But I wish she would ask. I wish we could share this load on our shoulders. But we were never partners in crime.\n\nSometimes I wonder if Ivy has forgotten that I’m not Wendy Kaufman, or that I wasn’t always Wendy Kaufman. Does she miss Wendy Kaufman? Did she grieve her like I did?\n\nWhat if Ivy never knew? Did I imagine that conversation? The one that happened in the hospital.\n\n*\n\nWendy Kaufman had a boyfriend when she died. River. He was a movie star.\nWe—I—was scared that it would be too obvious if I broke up with him right away.\nI cried after we had sex.\nHe didn’t notice anything, or he just didn’t care enough to say something. Tits are tits.\nRiver and his wife died a few years ago. I don’t remember why.\nTragic.\n\n*\n\nI never thought it would go on for this long.\nBut why did I say yes if I thought I’d get caught?\nMaybe I want to get caught; maybe I did from the start.\nI always ask myself why I said yes.\n\nA choice was presented but really it was an illusion. Who could say no to being Wendy Kaufman? If I wasn’t going to be Wendy Kaufman I wouldn’t exist.\n\nSomeone has to be Wendy Kaufman. Might as well be someone convincing.\n\n*\n\nWhat if they get rid of me?\n\n*\n\nWendy Kaufman is very busy nowadays. She feels better when she’s working.\n\nAnd it makes Wendy Kaufman’s fans happy when she makes music and she performs and when she’s pretty and skinny and smiling.\n\nThis is why I’m Wendy Kaufman.Wendy Kaufman wouldn’t mind. She’d be grateful really. Pat me on the back. One day she will pat me on the back. She’ll kiss me right on the mouth.\n\n*\n\nI can just sense that Wendy Kaufman’s next album will change the world.\n\nBecause I’m going to show them who I really am.\nWho I really am.\nWho Wendy Kaufman really is.\nWho… that other girl really is.\nHer name is on the tip of my tongue.\n\n*\n\nI’m the Pied Piper\nFollow the sound of my song\nCome here darling, I’m your paradise\nPlease don’t reject me\nI’m here to save you, here to ruin you\nPlease forgive me because we can’t live without each other\nYou can’t ever escape this maze\n\n*\n\nI dreamed about her again last night. Both of us.\nWe were wearing matching red jester outfits. Bells and all.\n\nI was holding a white rose and she was carrying a bindle. And there was this tiny white dog following us, yapping and nipping at our heels. I kept pricking my finger on the thorns but she told me I had to keep it. We were arguing about it and didn’t notice we were falling off a cliff. But then, as we were falling, the setting changed and we weren’t alone outside. We were surrounded by people, stage diving, and we looked at each other and smiled.\n\nAt the last second, the crowd disappeared, and she hit the ground. I saw her bleeding and I got scared because I couldn’t save myself. I woke up as I hit the floor.\n\n*\n\nI saw my parents today.\nI missed them.\nThey complain that I don’t come home often enough.\n\nMy mom asks me if it’s true I’m dating Swan. She reads everything about me. So do I. I’m Wendy Kaufman’s biggest fan.\n\nMy dad gave me an old diary with song lyrics. I used to always write my own songs.\n“You’d keep us up at night playing piano,” he says.\nDid I? I guess so. The grand piano in my house is gorgeous but decorative.\nWhen they hug me goodbye my mom says, “I love you, Maria.”\nMaria’s parents. Not mine. My inheritance.\nI wonder where my parents are. Have they forgotten me too?\n\nBut, well, if it mattered, then I’d know. If Melissa mattered at all she wouldn’t be dead and forgotten either.\n\n*\n\nI should try writing lyrics again.\n\nTurning distress and negativity into art sounds like something that therapist would tell me to do.\n\nOr write that letter.\n\n*\n\nGiven or Taken?\nGiven or Taken?\nGiven or Taken?\n\nBlessed or Cursed?\nBlessed or Cursed?\nBlessed or Cursed?\n\nStar, Saint or Sinner?\nStar, Saint or Sinner?\nStar, Saint or Sinner?\n\n*\n\nVictory was inherited, a secret in plain sight, ugly, under stage lights.\nI’m dancing in the marionette’s square.\nFor her, for you.\n\n*\n\nI bought blackout curtains for all the windows.\nI wish I could burn out their eyes like some kind of biblical revenge.\n\n*\n\nCan’t you see me?\n\n*\n\nWendy…\n\nWendy of loneliness.\nWendy of jealousy.\nBeautiful Wendy.\nInsecure Wendy.\nMint-choco flavoured Wendy.\nWendy the fraud.\nWendy underground.\nWendy in stripes.\nIt’s all Wendy.\n\nWendy, Wendy, Wendy.\nWendy, Wendy, Wendy.\n\n*\n\nTell me the name lingering on my lips.\nPlease call my name.\n\n*\n\nDear Wendy,\n\nI am sorry that you are dead. But you are so lucky to have me. You came back from the dead. You’re a vampire.\n\nI’m trying to be a good Wendy. A good girl. So please be on my side.\n\nI hope you didn’t suffer too much when you died. But maybe Ivy had mercy and just smothered you in the hospital bed. I think she’s out to get me too now, so I don’t sleep. She’s probably found another Wendy Kaufman, or maybe Ivy is switching it up and she’s found another Black Dahlia.\n\nI wonder if you were a good person. Please write me back to let me know if you’re upstairs or downstairs so I know where to go. I want to see you and hear all your names.\n\nLove,\nMaria\n\n*\n\nI think Melissa is evil.\nI’m scared of her.\nI think she wants to kill me.\n\n*\n\nThe show must go on.\n \nForever\n        \tand ever\n                    \t       and ever\n \n           1. for the money.\n           2. for the show\n           3. we get ready\n           4. we go\n*\n\nI have to burn the diary."],"score":1.8530173},{"id":"5202","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Headlight Anthology Collection"],"source_collection_label":["Headlight Anthology Collection"],"collection_contributing_unit":[""],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Jade Palmer in Headlight 24, 2023"],"item_title_source":["Asset"],"item_title_note":["As published in Headlight Anthology."],"item_language":["English"],"item_production_context":["Studio recording"],"item_series_title":["Headlight 24"],"item_subseries_title":["Headlight 24 Pieces"],"item_identifiers":["[]"],"rights":["In Copyright Educational Use Permitted (InC-EDU)"],"rights_notes":["Copyright by Headlight Anthology and contributor. Online reproduction and archiving allowed. Republications under different publishers must be authorized by the contributor."],"creator_names":["Palmer, Jade"],"creator_names_search":["Palmer, Jade"],"creators":["[{\"url\":\"\",\"name\":\"Palmer, Jade\",\"dates\":\"\",\"notes\":\"Jade Palmer (she/her) is pursuing a BA Honours in English and creative writing and a minor in sexuality studies at Concordia University in Tiohtià:ke/Montreal. She served as co-editor-in-chief of Soliloquies Anthology, Concordia’s undergraduate literary journal, during the 2022-2023 academic year. Her work has previously been published in long con magazine, and is forthcoming in yolk.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Elbanhawy, Sherine","Eastwood, Miranda","Pittella, Carlos A.","Andrews, Olive","Affonso, Alexandre","Ruby, Ariella"],"contributors_names_search":["Elbanhawy, Sherine","Eastwood, Miranda","Pittella, Carlos A.","Andrews, Olive","Affonso, Alexandre","Ruby, Ariella"],"contributors":["[{\"url\":\"\",\"name\":\"Elbanhawy, Sherine\",\"dates\":\"\",\"notes\":\"Co-managing editor of Headlight 24.\\n\\n\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Eastwood, Miranda\",\"dates\":\"\",\"notes\":\"Sound editor of Headlight 24.\",\"nation\":[],\"role\":[\"Producer\",\"Recordist\"]},{\"url\":\"https://viaf.org/viaf/97149659658506830525\",\"name\":\"Pittella, Carlos A.\",\"dates\":\"1983-\",\"notes\":\"Co-managing editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Andrews, Olive\",\"dates\":\"\",\"notes\":\"Poetry editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Affonso, Alexandre\",\"dates\":\"\",\"notes\":\"Nonfiction editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Ruby, Ariella\",\"dates\":\"\",\"notes\":\"Fiction editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]}]"],"Producer_name":["Elbanhawy, Sherine","Eastwood, Miranda","Pittella, Carlos A.","Andrews, Olive","Affonso, Alexandre","Ruby, Ariella"],"Recordist_name":["Eastwood, Miranda"],"Publication_Date":[2023],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Digital\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"recording_type":["Digital"],"AV_type":["Audio"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:u:/g/personal/carlosa_pittella_concordia_ca/EQYYfYCOh_hJrLRSisrgtZAB3XIMxUUpxHRzcfnLnDwe7w\",\"file_path\":\"\",\"filename\":\"Headlight24-Palmer.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:01:29\",\"precision\":\"\",\"size\":\"0.97 MB\",\"bitrate\":\"145-185 kbps\",\"encoding\":\"MP3\",\"contents\":\"This is file 1 of 1 containing an audio-recording of the piece \\\"Onyx and Rose Gold,\\\" by Jade Palmer, as published in Headlight Anthology, no. 24.\",\"notes\":\"MP3 also available at https://headlightanthology.ca/archive/n24/onyx-and-rose-gold/, accessed on June 16, 2023.\",\"title\":\"Onyx and Rose Gold\",\"credit\":\"Palmer, Jade\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"\"},{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:u:/g/personal/carlosa_pittella_concordia_ca/EeTgNpfhKL9GgF-_SSlV0z0BXd555yM0XZMYx6TPnNTyog\",\"file_path\":\"\",\"filename\":\"Headlight24-Palmer.wav\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:01:29\",\"precision\":\"\",\"size\":\"15.8 MB\",\"bitrate\":\"1411 kbps\",\"encoding\":\"WAV\",\"contents\":\"This is file 1 of 1 containing an audio-recording of the piece \\\"Onyx and Rose Gold,\\\" by Jade Palmer, as published in Headlight Anthology, no. 24.\",\"notes\":\"\",\"title\":\"Onyx and Rose Gold\",\"credit\":\"Jade Palmer\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"2023-06-02\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"Headlight website\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1192154219\",\"venue\":\"Concordia University, Department of English\",\"notes\":\"Headlight Anthology operates out of Concordia’s graduate English Literature & Creative Writing department.\",\"address\":\"1455 Boul. de Maisonneuve O., LB 641, Montréal, QC, H3G 1M8\",\"latitude\":\"45.4969331\",\"longitude\":\"-73.5783742\"}]"],"Address":["1455 Boul. de Maisonneuve O., LB 641, Montréal, QC, H3G 1M8"],"Venue":["Concordia University, Department of English"],"City":["Montreal, Quebec"],"contents":["Onyx and Rose Gold\n\nby Jade Palmer\n\nWhen Grandma Flo says, “here, before you go, I want you to have this,” I think, oh no, not another useless trinket that will be stacked in the ever-closed closet of my childhood bedroom, she thinks she can sluff off all her old stuff on me just because she is about to d- and then she pulls out a rose gold pocket mirror with an Art Nouveau girl embossed on the top and puts it in my hand and it’s really quite ornate so I say, “wow, Grandma, this is really beautiful, thank you so much,” and then the Art Nouveau girl says, “you are going to have to write a poem for her funeral someday,” and I say, “I know,” and Grandma Flo says, “what,” and I say, “what,” and then actually in my head this time I think, oh fuck, and that’s when I notice Grandpa Wilson’s watery dementia eyes that are onyx and unmoving from the leather armchair in the corner and then the Art Nouveau girl says, “maybe he knows the most out of all of us,” and I kind of think she’s right even though I don’t say it but then Grandma Flo says, “what a shame Wilson’s great mind has escaped him,” pursing her lips and shaking her head staring right into the stones and I think, wow that was pretty cold-hearted, and the metal bottom of the mirror heats up in my palm and I feel a slender hand slither up my throat and I say, “have a good day, Wilson,” and Grandpa Wilson’s mouth hangs open a hundred leagues deep a well with no water at the bottom just a waft of old-meat-on-the-counter smell coming from his maw then Grandma Flo says, “lovely to see you, take care,” and I say, “lovely to see you too, Grandma,” and I kind of mean it I guess and then the door is swinging close close close and Grandpa Will says, “thank you,” and Grandma Flo looks at him and I look at him and the Art Nouveau girl sighs and the knob clicks shut."],"Note":["[{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"https://headlightanthology.ca/archive/n24/onyx-and-rose-gold/\",\"citation\":\"Palmer, Jade. Onyx and Rose Gold. Headlight Anthology, no. 24, 2023, pp. 63–64.\"}]"],"_version_":1853670549188771840,"timestamp":"2026-01-07T14:59:53.772Z","score":1.8530173},{"id":"5189","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Lee Gotham collection"],"source_collection_label":["Lee Gotham collection"],"collection_contributing_unit":["Spokenweb at Concordia University"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Lee Gotham collection contains the AV recordings regarding the Enough Said series, including readings, performances, open-mic, and spoken-word events that took place at Bistro 4 and other Montreal venues between December 1994 and June 1996."],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Enough Said 1995-02-06, Brulé"],"item_title_source":["Asset"],"item_title_note":["Ephemera accompanying asset, corroborated by Lee Gotham, who introduces the two event headliners."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["Lee Gotham collection"],"item_subseries_title":["Enough Said"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. We may wish to seek permission from individual artists and Drew Duncan, the videographer."],"creator_names":["Brulé, E.J.","Gotham, Lee"],"creator_names_search":["Brulé, E.J.","Gotham, Lee"],"creators":["[{\"url\":\"https://viaf.org/viaf/317000493\",\"name\":\"Brulé, E.J.\",\"dates\":\"\",\"notes\":\"Headliner.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/106179112\",\"name\":\"Gotham, Lee\",\"dates\":\"1962-\",\"notes\":\"Lee Gotham also MCs and performs at this event.\",\"nation\":[],\"role\":[\"Series organizer\",\"Producer\",\"Performer\"]}]"],"contributors_names":["Duncan, Drew","Unknown_Reader1","Walsh, Tom","Audience_Member1","Audience_Member2","Audience_Member3","Audience_Member4","Hawley, Steve \"Liquid\""],"contributors_names_search":["Duncan, Drew","Unknown_Reader1","Walsh, Tom","Audience_Member1","Audience_Member2","Audience_Member3","Audience_Member4","Hawley, Steve \"Liquid\""],"contributors":["[{\"url\":\"\",\"name\":\"Duncan, Drew\",\"dates\":\"\",\"notes\":\"Videographer.\",\"nation\":[],\"role\":[\"Recordist\"]},{\"url\":\"\",\"name\":\"Unknown_Reader1\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Walsh, Tom\",\"dates\":\"\",\"notes\":\"Speaks to performers from the audience, not visible. \",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Audience_Member1\",\"dates\":\"\",\"notes\":\"Speaks to performers from the audience, not visible.\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Audience_Member2\",\"dates\":\"\",\"notes\":\"Speaks to performers from the audience, not visible.\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Audience_Member3\",\"dates\":\"\",\"notes\":\"Speaks to performers from the audience, not visible.\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Audience_Member4\",\"dates\":\"\",\"notes\":\"Speaks to performers from the audience, not visible.\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"https://viaf.org/viaf/106300281\",\"name\":\"Hawley, Steve \\\"Liquid\\\"\",\"dates\":\"\",\"notes\":\"Open mic performer.\",\"nation\":[],\"role\":[\"Performer\"]}]"],"performer_name":["Unknown_Reader1","Hawley, Steve \"Liquid\""],"Recordist_name":["Duncan, Drew"],"Speaker_name":["Walsh, Tom","Audience_Member1","Audience_Member2","Audience_Member3","Audience_Member4"],"Performance_Date":[1995],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/3980/Enough_Said-VHS2-19950116_19950130_19950206_19950213.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Video\",\"tape_brand\":\"TDK EHG\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"120 minutes\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"VHS\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Tape box. Handwritten label on side. Ephemera accompanying asset.\",\"other_physical_description\":\"VHS #2 asset. Contains recordings of multiple events.\"}]"],"material_designations":["VHS"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Video"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:v:/g/personal/carlosa_pittella_concordia_ca/EeThGn6x4VhNmOhUqNQ9xiQB5DskoKL8GCpvcsvP59EY2Q\",\"file_path\":\"\",\"filename\":\"Enough_Said-19950206-Brulé.mp4\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"1:05:24\",\"precision\":\"\",\"size\":\"1.85 GB on disk\",\"bitrate\":\"2304Kbps (original); 256Kbps (master)\",\"encoding\":\"MPEG-4 movie\",\"contents\":\"This is file 1 of 1 containing an AV recording of the event featuring E.J. Brulé as part of the Enough Said series, organized by Lee Gotham, with performances by Gotham himself and several open-mic participants.\",\"notes\":\"Dimensions: 640 × 480.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Video Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1995-02-06\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Asset\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/2428619734\",\"venue\":\"Bistro 4\",\"notes\":\"Bistro 4 (pronounced Bistro Quatre), no longer in existence.\",\"address\":\"4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada\",\"latitude\":\"45.5169628\",\"longitude\":\"-73.5796147\"}]"],"Address":["4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada"],"Venue":["Bistro 4"],"City":["Montreal, Quebec"],"content_notes":["Event recording starts at 03:51:57:01 of VHS #2 asset, which contains multiple events."],"Note":["[{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"},{\"note\":\"VHS #2 asset. Contains recordings of multiple events: (1) Enough Said 1995-01-16, bissett and Nelson; (2) Enough Said 1995-01-30, Stanton and Stephens; (3) Enough Said 1995-02-06, Brulé; and (4) Enough Said 1995-02-13, Benefit Part 1. The asset was digitized, generating both uncompressed and compressed video files; the compressed files were then split into events to facilitate the transcription work. Metadata entries based on events.\",\"type\":\"General\"},{\"note\":\"Jade Palmer\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"https://worldcat.org/oclc/938096272\",\"citation\":\"Brulé, E.J. Alternative Scat-Singer [vinyl]. Montréal: Transmission Records, 1986.\"},{\"url\":\"https://worldcat.org/oclc/1006543875\",\"citation\":\"Brulé, E.J. Freedom of Speech [music cassette]. Montréal: E.J. Brulé [self-published], [1989?].\"}]"],"_version_":1853670549188771841,"timestamp":"2026-01-07T14:59:53.772Z","contents":["[Bistro 4 stage]\n00:00:03\nVideo Description: Color video of the stage with mic stand at Bistro 4 (Quatre) (4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada). The stage, slightly below street level, is set against a full-wall window looking out onto the St. Laurent Blvd. traffic—with both pedestrians and vehicles often passing by. The windows from across the street are sometimes visible, including an outdoor sign with the word “JETHRO.”  On the windows of Bistro 4, the word “said” (from “Enough Said”) becomes visible when the camera zooms out, as well as decals with words from the menu, such as “DEJEUNER,” “CAPPUCCINO,” and “TISANE.”\n\nE.J. Brulé\n00:00:04\n[Skips to Brulé midperformance, mouth percussing a slow hip hop beat. Says he will introduce new band. Introduces the drummer and mouth percusses a fast drum solo. Vocally mimics an upright bass playing walking jazz bassline and introduces bass player. Introduces the “hardcore guitar” player and vocally mimics a heavily distorted guitar holding a low note.] | Video Description. Medium closeup as Brulé mouth percusses drumbeat with his back turned to camera. Brulé wears a white button-down shirt with thin vertical stripes, a purple scarf with fringe at both ends wrapped once around neck, dark pants with a dark belt, reddish beard and mustache, short reddish hair with one piece curling on forehead, and a headset mic, holding a long scoop shovel with a handle on one end, a wooden shaft, and a black plastic blade.  Zooms out to medium shot then zoom into closeup as Brulé speaks into mic. Zooms out to medium long shot as Brulé, turned away from camera, mouth percusses drumbeat. Turns back, and vocally mimics an upright bass while pretending to play upright bass with shovel. Vocally mimics a guitar while pretending to play guitar with shovel, shaking the shaft of the shovel quickly.\n\nE.J. Brulé\n00:00:57\n[Explains that “the digital” (which seems to be a looping machine) was cold when he was warming up, it has a memory time of eight seconds which slows down when it is cold, but it warms up when everyone is in the room.] | Video Description: Medium long shot as Brulé speaks to audience while turning knobs on a large grey machine that is on his right with knobs and switches and ¼ inch and XLR cables plugged into the top. Zooms into medium shot.\n\nE.J. Brulé\n00:01:40\n[Mouth percusses same slow hip hop beat, records on looper, looper plays back. Performs a piece beginning with the line “The people by (?) tell me who can say.” Vocally mimics a guitar playing a fill in between lines. Recites line “I need a manager” that the looper repeats twice. Vocally mimics a trumpet playing a short melody, records on looper, looper plays back. Vocally mimics a trumpet playing a higher melody that harmonizes with the first, records on looper, looper plays back. Changes delivery of piece; lines become closer together with less space in between. Stumbles and recovers. Applause. Thanks the audience.] | Video Description: Medium shot as Brulé mouth percusses and adjusts knobs on looper. Picks up something behind him. Zooms out to medium long shot as Brulé pretends to play guitar with shovel. Performs a piece, while playing shovel in between lines. Pretends to play a trumpet. Periodically adjusts knobs on looper. Zooms into medium shot and closeup as the lines get closer together, then zooms out to medium long shot as the piece concludes.\n\nAudience_Member1\n00:04:54\n[Loud crashing sound.] | Video Description: Black baggy sweater with collar, beige pants, nearly completely shaved head. Holding a video camera, walks behind Brulé and equipment from Brulé’s right to left as if stepping over something. Knocks over something not visible. \n\nE.J. Brulé \n00:04:57\n[Addresses Audience_Member1, saying “no problem.” Explains he doesn’t perform at comedy clubs anymore because “they don’t know anything about music.” Suggests that pop music has gotten worse, while he has gotten better. Notes he is influenced by blues, bebop, and jazz.] | Video Description: Medium long shot as Brulé talks to audience and gestures. Lee Gotham can be seen in the audience on the bottom left corner of the frame taking his jacket off and adjusting in chair.\n\nAudience_Member1\n00:06:09 \nVideo Description: Walks behind Brulé again, this time from Brulé’s left to right, carrying more camera equipment. \n\nE.J. Brulé \n00:06:17 \n[Asks Gotham if he wants to plug in another mic to Brulé’s left.] | Video Description: Medium long shot as Brulé speaks to Gotham who is in the audience, gesturing to the mic cable hanging from ceiling. \n\nLee Gotham \n00:06:20\nVideo Description: Medium long shot as Gotham gets up from chair, walks across stage, and stands on chair to reach mic cable hanging from ceiling. Gotham wears a black unzipped sweater atop a yellow shirt, black pants, black taqiyah-style hat with a small folded visor, and shoulder-length brown hair.\n\nE.J. Brulé\n00:06:22\n[Scores Gotham setting up mic by vocally mimicking a guitar and then a trumpet playing a circus-like melody.] | Video Description: Medium long shot as Brulé speaks to audience. Turns to look at Gotham. Pretends to play guitar on shovel. Gestures as if he were playing a trumpet. \n\nLee Gotham\n00:06:54\nVideo Description: Smiles while walking off stage on the right side of the frame.\n\nE.J. Brulé\n00:06:54\n[Vocally mimics a guitar playing a driving riff that repeats the same note in quick succession.] | Video Description: Medium long shot as Brulé pretends to play guitar on shovel, shaking the shaft of shovel gradually more violently. \n\nE.J. Brulé\n00:07:17\n[Criticizes how people “get the gig” if they can play Led Zeppelin or Pink Floyd. Encourages people to write their own music.] | Video Description: Medium long shot as Brulé speaks to audience. Adjusts knobs on the looper. \n\nE.J. Brulé\n00:07:26\n[Vocally mimics guitar playing single notes with reverb. Makes a popping sound that the looper repeats to resemble a steady driving bass drumbeat. Vocally mimics a guitar playing a simple upbeat hard rock riff in a major key. Performs a piece beginning with the line “I’m young, I’m white, and I’m stupid,” vocally mimicking the guitar riff in between lines. Periodically stops the looper, recreates the drumbeat, and resumes performing piece. Repeats the line “How do you do? Tell it to you.” Resumes performing piece. Applause.] | Video Description: Medium long shot as Brulé pretends to play guitar with shovel. Puts hand over mouth to make popping sound. Adjusts knobs on looper. Performs a piece while pretending to play guitar on shovel. Periodically returns to looper to recreate drumbeat. Momentarily grabs mic and stand on his left and leans it towards an audience member while repeating one line. \n\nLee Gotham \n00:10:02\nVideo Description: Medium long shot as Gotham tests mic, talks to someone slightly out of frame, and walks away.\n\nE.J. Brulé \n00:10:02\n[Mentions that he has a selection of beats that can accompany open mic performers’ readings. Vocally mimics a guitar playing a fast punk song into standing mic.] Video Description: Medium long shot as Brulé sips water. Grabs paper from off-screen. Gestures with it while talking to audience. Walks over to mic. Tests it. Walks back to looper then back to mic. Zooms into medium shot as Brulé vocally mimics a guitar. Accidentally pulls cord out of mic. \n\nLee Gotham \n00:11:12\n[Apologizes for technical “quandries.” Thanks venue employees. Says they will “continue this as long as possible.” Announces they will request cash from audience next week to donate to En Marge, a homeless youth shelter below St. Catherine, and that over ten poets, including Raymond Filip and Endre Farkas, will perform. Announces the break. Mentions that the Peter Turret Trio plays every Friday and Saturday night. Mentions a film and video evening that a Concordia group hosts events every second Sunday. Mentions they have no open mic participants and encourages people to sign up. Brulé mouth percusses a jazz beat and vocally mimics a jazz bassline periodically throughout.] | Video Description: Medium shot as Gotham plugs cord back into mic. Tests it. Picks up notebook from off-stage. Adjusts mic. Zooms into medium closeup as Gotham speaks into mic. \n\nE.J. Brulé\n00:14:53\n[Encourages audience to applaud Gotham. Explains his selection of beats that can accompany open mic performers’ readings. Vocally mimics a bass playing a simple Motown bassline.] | Video Description: Medium shot as Brulé speaks to audience and gestures with a pad of paper. Vocally mimics a bass while pretending to play the upright bass with shovel. \n\nLee Gotham\n00:16:32\nI want to do the slow wuthering gospel. | Video Description: Gotham off-screen. Medium shot as Brulé looks into audience and walks back to looper. \n\nE.J. Brulé\n00:16:34\n[Says he will prepare the sample. Mouth percusses a galloping rhythm, records it on looper, looper plays back. Slows tempo on looper. Vocally mimics a heavily distorted guitar holding long low notes.] | Video Description: Medium long shot as Brulé mouth percusses and vocally mimics guitar while adjusting the knobs on the looper. \n\nLee Gotham \n00:16:56 \n[Says “I see no reason why we shouldn’t embrace chaos” citing the frequency of burning buildings and ambulances.] | Video Description: Medium long shot as Gotham speaks into mic while holding a piece of paper while Brulé, on Gotham’s left, adjusts knobs on looper. \n\nE.J. Brulé\n00:17:02\n[Tells Gotham “slower, slower.”] | Video Description: Medium long shot as Brulé steps towards Gotham, who is on his right, and points at Gotham’s sheet of paper. \n\nLee Gotham \n00:17:05\n[Explains to Brulé that he is doing a preamble, not reading yet.] Video Description: Medium long shot as Gotham speaks to Brulé and gestures with his hands. \n\nE.J. Brulé\n00:17:07\n[Remarks that Gotham’s preamble sounded “deep.” Slows tempo on looper. Resumes vocally mimicking a heavily distorted guitar holding long low notes.] | Video Description: Medium long shot as Brulé pulls the papers in Gotham’s hand towards himself, speaks to Gotham, and turns back to looper.\n\nLee Gotham \n00:17:22\n[Says it is a short piece so he will read slowly. Performs a piece beginning with the line “Breaking broken buried remnants hiding from the sky.” Repeats the same collection of lines three times, each with differing deliveries. Thanks audience. Applause. Remarks how easy it is, encourages audience to participate.] | Video Description: Medium long shot gradually zooms into medium closeup as Gotham performs a piece. Zooms out to medium long shot as Gotham leaves stage. Gotham returns, speaks into the mic, adjusts it, and leaves stage again. \n\nAudience_Member2\n00:19:30\n[Asks for examples of Brulé’s beats.] \n\nE.J. Brulé \n00:17:07\n[Agrees, says he wants to “earn the respect of the mentally elite” poets in the room. Mouth percusses a sultry jazz drumbeat, records on looper, looper plays back. Vocally mimics a trumpet playing a sparse line with reverb. Performs a piece in French. Vocally mimics a bass playing a simple ascending line.] | Video Description: Medium long shot zooms into closeup as Brulé speaks into the mic. Zooms out to medium shot as Brulé mouth percusses and vocally mimics instruments while adjusting knobs on looper. Zooms out to medium long shot as Brulé vocally mimics a trumpet. Performs piece.\n\nE.J. Brulé\n00:21:10\n[Says that’s the farthest he has gotten in writing the song. Audience begins applauding, but he says “no, no.” Offers punk film score music, an RnB (bop?), and New York art school jazz as beats to accompany open mic performers’ readings. Prepares to play another song.] | Video Description: Medium long shot as Brulé speaks to audience, picks up pad of white paper, sips water, and prepares to play another song. \n\nVarious Audience Members\n[Ask Brulé to play a punk beat.]\n\nE.J. Brulé\n00:22:11 \n[Vocally mimics guitar playing a fast punk riff. Explains that these are the kinds of things he would improvise while an open mic performer was performing.] | Video Description: Medium long shot as Brulé vocally mimics guitar and speaks with a group in the audience. Returns briefly to looper. Leans slightly out of frame to talk to group in audience again, who seem to be looking at his list of beats.\n\nAudience_Member3\n00:22:39\nBo Diddley. \n\nE.J. Brulé\n00:22:40\n[Vocally mimics guitar playing a Bo Diddley riff. Asks audience if they remember his mentors, the duo Deja Voodoo. Resumes vocally mimicking guitar playing a Bo Diddley riff, records on looper, looper plays back improperly. Records again. Performs a piece beginning with the line “Out in the swamp near Montreal.”] | Video Description: Medium long shot as E.J. Brulé vocally mimics a guitar while pretending to play guitar with shovel. Adjusts knobs on looper. Talks to audience. Resumes vocally mimicking a guitar while pretending to play guitar with shovel. Adjusts knobs on looper. Zooms into medium closeup as Brulé performs a piece. \n\nAudience_Member4\n00:24:00\n[To the tune of “I Want Candy” (The Strangeloves, single, Bang Records, 1965)] I want candy. I want candy.\n\nE.J. Brulé\n00:24:12\n[Says people think the riff was made up five years ago.] | Video Description: Medium closeup as Brulé talks to audience, walking around stage and gesturing. \n\nSteve \"Liquid\" Hawley\n00:24:31 \nVideo Description: Hawley rises from seat.\n\nE.J. Brulé \n00:24:40\n[Asks Hawley if they want “a slow slow rap.” Introduces song written for a hairy woman. Says he imagined if Prince produced a song for Leonard Cohen. Mouth percusses a Prince-like drumbeat, records on looper, looper plays back. Performs a piece beginning with the line “You don’t have to [rip?] your lip” and vocally mimics a standup bass playing a Prince-like bass fill in between stanzas. Vocally mimics a trumpet playing a quick motif. Mouth percusses a shaker playing eighth notes. Vocally mimics a bass fill to end song. Applause.] | Video Description: Medium long shot as Brulé vocally mimics many instruments, speaks to audience, and adjusts knobs on looper. Performs a piece while pretending to play guitar with shovel. Zooms into medium shot partway through. \n\nE.J. Brulé  \n00:27:09\n[Says he has been saving his favourite beat. Pauses. Mouth percusses an upbeat 90s hip hop beat.] | Video Description: Medium long shot as Brulé sips water, accidentally knocks mic battery pack out of pocket, and resituates it. Mouth percusses a drumbeat while adjusting knobs on looper and pretending to play guitar with shovel. \n\nSteve \"Liquid\" Hawley\n00:27:46\n[Says he wrote poetry before he started singing but no one wanted to hear it.] | Video Description: Medium long shot as Hawley walks to stage, shakes Brulé’s hand, and speaks into mic. Hawley wears an oversized black sweater with a hood, no zipper, and white and red logo on the left side of chest that reads “TW SHOW,” dark pants, and a black bandana with white accents tied around head. \n\nE.J. Brulé \n00:28:04\n[Says he can play the beat slower or faster. Beat speeds up to comical level. Says “no, a little slower.” Beat slows down to comical level. Audience laughter throughout.] | Video Description: Brulé off-screen. Medium long shot zooms into closeup as Hawley smiles and laughs into mic. \n\nSteve \"Liquid\" Hawley\n00:28:30\n[Introduces and performs piece about a bumblebee beginning with the line “Fly, come and fly with me.” Says partway though that it is freestyle. Resumes performing. Applause.] | Video Description: Medium closeup as Hawley speaks into mic and performs a piece. \n\nE.J. Brulé\n00:30:53\n[Says people can improvise, but asks that if someone brings a prewritten piece, to let him look. Says that people think one needs to be young, black, and misogynistic to be a rapper. Says he had to think about how to tackle accusations of cultural appropriation. Mouth percusses a faster version of the same 90s hip hop beat that Hawley performed over, records on looper, looper plays back. Vocally mimics a more complex bassline. Performs a piece titled “How Can You Be So White (And Be So Funky?) (Freedom of Speech, self-released audio cassette, 1989). Vocally mimics guitar playing fills between the verses. Audience laughter throughout. Applause.] | Video Description: Medium long shot zooms into medium shot as Brulé speaks to audience. Mouth percusses drumbeat and vocally mimics bass while adjusting knobs on looper. Performs a piece while pretending to play guitar with shovel.  \n\nE.J. Brulé\n00:34:19\n[Says he can never get the samples right for Led Zeppelin. Vocally mimics the bass and guitar line for Led Zeppelin’s “Immigrant Song,” records on looper, looper plays back. Stops looper and says he needs someone to do Robert Plant’s scream in “Immigrant Song.”] | Video Description: Medium shot as Brulé speaks to audience. Vocally mimics instruments while adjusting knobs on looper and pretending to play guitar with shovel. Makes a “come hither” motion with hand towards audience member. Throws up hands exasperatedly. \n\nLee Gotham\n00:35:32\nVideo Description: Medium shot as Gotham hugs Brulé and stands on his left. \n\nE.J. Brulé\n00:35:40\n[Resumes vocally mimicking the bass and guitar line for Led Zeppelin’s “Immigrant Song,” records on looper, looper plays back. Tells Gotham to get close to his headset mic.] | Video Description: Medium shot zooms into closeup as Brulé vocally mimics instruments, adjusts knobs on the looper, and talks to Gotham.\n\nLee Gotham\n00:36:00\n[Imitates Robert Plant’s scream in Led Zeppelin’s “Immigrant Song.” Audience cheers. Looper replays only small part of Gotham’s scream.] | Video Description: Closeup as Gotham screams into Brulé’s mic, mouth wide open.\n\nE.J. Brulé\n00:36:13\n[Tells Gotham to not “do it so long this time.”] | Video Description: Medium long shot as Brulé speaks to Gotham, who is off-screen, making a “come hither” motion with hand toward Gotham. \n\nLee Gotham\n00:36:22\nVideo Description: Medium long shot as Gotham walks back on stage on Brulé’s left, holding up his shirt with one hand and gyrating hips seductively, seemingly looking at one audience member.\n\nE.J. Brulé\n00:36:36\n[Resumes vocally mimicking the bass and guitar line for Led Zeppelin’s “Immigrant Song,” records on looper, looper plays back.] | Video Description: Medium long shot zooms into closeup as Brulé vocally mimics bass and guitar while pretending to play the guitar with shovel. Motions for Gotham to come closer. \n\nLee Gotham\n00:36:43\n[Imitates Robert Plant’s scream in Led Zeppelin’s “Immigrant Song.” Looper replays only small part of Gotham’s scream.] | Video Description: Closeup as Gotham screams into Brulé’s mic, mouth wide open.\n\nE.J. Brulé\n00:36:36\n[Apologizes to audience, saying Gotham “fucked [him] up with the start of that.”] | Medium long shot as Brulé speaks to audience and adjusts knobs on looper. \n\nLee Gotham \n00:36:52\nVideo Description: Medium shot as Gotham walks away from Brulé and hovers in front of the camera, nodding his head to the beat. \n\nE.J. Brulé\n00:37:01\n[Asks Lee to do one more.] | Video Description: Medium shot as Brulé adjusts knobs on looper and gestures for Lee to return to stage. \n\nLee Gotham \n00:37:02\nVideo Description: Medium shot zooms into closeup caused by Gotham walking towards camera, sips drink, hops back towards stage and stretches arms upwards. \n\nE.J. Brulé\n00:37:14\n[Tells Gotham to “not get so close to the mic.” Resumes vocally mimicking the bass and guitar line for Led Zeppelin’s “Immigrant Song,” records on looper, looper plays back.] | Video Description: Medium long shot zooms into closeup as Brulé vocally mimics bass and guitar while pretending to play guitar with shovel. \n\nLee Gotham\n00:37:23\n[Imitates Robert Plant’s scream in Led Zeppelin’s “Immigrant Song.” Looper replays only small part of Gotham’s scream.] | Video Description: Closeup as Gotham screams into Brulé’s mic, mouth wide open.\n\nE.J. Brulé\n00:37:30\n[Says “that’s a little more like it” and slows down tempo which lowers the pitch of Gotham’s recorded scream. Vocally mimics a bass playing a slow simple bassline, records on looper, looper plays back.] | Video Description: Medium long shot as Brulé adjusts knobs on looper and vocally mimics a bass while pretending to play guitar with shovel.\n\nLee Gotham \n00:37:45\nVideo Description: Medium long shot as Gotham walks up to mic. Directs a questioning look at Brulé. Walks away from mic. \n\nE.J. Brulé\n00:37:52\n[Speaks to Gotham, indiscernible.] | Video Description: Medium long shot as Brulé speaks to Gotham as Gotham passes. \n\nLee Gotham\n00:38:04\n[Returns to mic and performs a piece beginning with the line “The dubious occasion I recall I said.”] | Medium long shot zooms into medium closeup as Gotham returns to mic and performs a piece. Directs a look at Brulé.\n\nE.J. Brulé\n00:38:27\n[Slows down looper’s playback.] \n\nLee Gotham\n00:38:29\n[Resumes performing a piece. Gradually delivers piece more rhythmically and song-like on Brulé’s beat.] | Video Description: Medium closeup as Gotham performs a piece. Directs a look at Brulé. \n\nE.J. Brulé\n00:38:27\n[Speeds up looper’s playback.] \n\nLee Gotham \n00:38:56\n[Resumes performing a piece.] | Video Description: Medium closeup as Gotham performs a piece. \n\nE.J. Brulé\n00:39:14\n[Mouth percusses a 90s hip hop drumbeat, records on looper, looper plays back overtop previous beat. Repeating one of Gotham’s last lines, says “rhythmic demise, that’s what that sounds like.”] | Video Description: Brulé off-screen. Loose closeup as Gotham smiles and nods. \n\nLee Gotham\n00:39:20\n[Asks Brulé to “do it one more time.” Performs same piece again, with a very rhythmic, rap-like delivery to Brulé’s beat. Applause. Tells audience that making a fool of yourself on stage is “good for the soul.”] | Video Description: Loose closeup as Gotham performs a piece zooms out to medium long shot as Gotham speaks into mic.\n\nE.J. Brulé\n00:40:49\n[Addressing unheard audience member, says “no more covers.”] | Video Description: Medium long shot as Brulé addresses unseen audience member and adjusts knobs on looper. \n\nTom Walsh\n00:40:57\nHow about “Land of 1000 Dances”? (Chris Kenner, single, Instant Records, 1962).\n\nE.J. Brulé\n00:40:58\n[Pauses to think, says a long drawn-out “oh.”] | Video Description: Medium long shot as Brulé thinks. \n\nSteve \"Liquid\" Hawley\n00:40:58\nVideo Description: Walks to Brulé. \n\nE.J. Brulé\n00:41:05 \n[Speaks to Hawley. Vocally mimics bassline from “Land of 1000 Dances,” records on looper, looper plays back. Asks Walsh “something like that?”] | Video Description: Medium long shot as Brulé speaks to Hawley, vocally mimics a bass, and speaks to Walsh.\n\nSteve \"Liquid\" Hawley\n00:41:14\nVideo Description: Dances in front of the camera, smiling widely. \n\nE.J. Brulé\n00:41:27\n[Mouth percusses a horse galloping, records on looper, looper plays back. Performs piece beginning with the line “Got a new horse.” Vocally mimics a standup bass playing a solo. Asks Audience_Member5 if they have any “barnyard epics.”] | Video Description: Medium long shot as Brulé mouth percusses and adjusts knobs on looper. Zooms into closeup as Brulé pretends to play the upright bass with shovel. Speaks to Audience_Member5. \n\nAudience_Member5\n00:42:03\nNo, I don’t think so. \n\nE.J. Brulé\n00:42:15\n[Asks Walsh if he wants a Motown beat.] | Video Description: Medium closeup as Brulé talks to Walsh. \n\nTom Walsh\n00:42:21\nUh, yeah! \n\nE.J. Brulé\n00:42:22\n[Laughs, asks Walsh if he has a woman in his life because he also says “yeah” like that when he is confused. Mouth percusses a drumbeat with a strong snare backbeat. Vocally mimics a guitar playing sparse single low notes. Asks Walsh if he wants to perform.] | Video Description: Zooms out to medium long shot as Brulé speaks to Walsh. Adjusts knobs on looper. Mouth percusses a drumbeat, records on looper. Pretends to play guitar on shovel. Zooms into medium closeup as Brulé speaks to Walsh. \n\nTom Walsh\n00:43:15\nOh no I’m not-\n\nE.J. Brulé\n00:43:16\n[Cutting Walsh off, says he can’t request a beat and not perform. Vocally mimics a guitar playing a simple low riff. Says he won’t improvise unless an open mic participant performs. Talks to audience about how people are worried he will “represent[] them” if he “gets somewhere.” Says musical comedy duo Bowser and Blue are representing anglophone Montrealers on the world stage. Mentions alternative band Doughboys.] | Video Description: Medium shot as Brulé speaks to Walsh. Vocally mimics a guitar playing a simple low riff. Speaks to audience.\n\nSteve \"Liquid\" Hawley\n00:44:10\n[Says “Tom Walsh is a poet.”] | Video Description: Medium shot zooms into closeup as Hawley walks up to mic and speaks into it, smiling.\n\nE.J. Brulé\n00:44:21\n[Mouth percusses an upbeat hip hop drumbeat, records on looper, looper plays back. Vocally mimics a distorted guitar playing a pentatonic riff, records on looper, looper plays back.] | Video Description: Brulé off-camera. Closeup of Hawley smiling and preparing to perform. \n\nLee Gotham \n00:44:25\n[From the crowd] Tom’s in the house! \n\nSteve \"Liquid\" Hawley\n00:44:36\n[Says “this is improv.” Asks Brulé to slow down the beat.] | Video Description: Closeup as Hawley addresses audience and then Brulé. \n\nE.J. Brulé\n00:44:41\n[Slows down looper’s playback.] | Video Description: Brulé off-camera. Closeup of Hawley preparing to perform. \n\nSteve \"Liquid\" Hawley\n00:44:48\n[Improvises a piece beginning with the line “Lonely child, now check it, lonely child.” Applause.] | Video Description: Closeup as Hawley improvises a piece while holding a beer and a cigarette. Zooms out to medium shot as Hawley takes mic off stand and continues performing. \n\nE.J. Brulé\n00:48:30\n[Encourages audience to further applaud Hawley. Explains how he was inspired by Tibetan throat singers. Mouth percusses drum beat with shaker. Vocally mimics distorted guitar playing simple distorted pentatonic riff. Performs a piece titled “St. Thomas’ Mantra” (Freedom of Speech, self-released audio cassette, 1989) with heavy reverb on voice, mouth percussing and vocally mimicking guitar between lines. Applause.] | Video Description: Medium closeup as Brulé speaks to audience. Adjusts mic that unclipped from lapel. Mouth percusses drum beat and vocally mimics guitar. Performs a piece while pretending to play guitar with shovel. Zooms into closeup as piece concludes. \n\nE.J. Brulé\n00:52:55\n[Thanks audience. Vocally mimics distorted guitar playing a simple rock riff, records on looper, looper plays back. Mouth percusses a drumbeat with emphasis on beat three, records on looper, looper plays back. Performs a piece beginning with the line “Let me tell you about the cruelest thing that I have ever done,” in which first stanzas are rhythmically tied to the beat, and are later conversationally spoken. Applause.] | Video Description: Medium shot as Brulé speaks to audience. Vocally mimics guitar and adjusts knobs on looper. Mouth percusses a drumbeat and adjusts knobs on looper. Performs piece while pretending to play guitar with shovel. Partway through, pretends that shovel is a baseball bat. \n\nE.J. Brulé\n01:00:11\n[Speaks to audience member about them performing.] | Medium long shot as Brulé leans down to talk to audience member. \n\nSteve \"Liquid\" Hawley\n01:00:25\nVideo Description: Medium long shot as Hawley approaches Brulé and asks a question. Brulé nods affirmatively. \n\n\nE.J. Brulé\n01:00:50\n[Mouth percusses a reggae drumbeat, records on looper, looper plays back.] | Video Description: Medium shot as Brulé mouth percusses a drumbeat and adjusts knobs on looper. \n\nUnknown_Reader1\n01:01:09\n[Greets audience, asks “is everybody cool?” Heavy Jamaican accent. Performs a piece overtop Brulé’s beat. Applause.] | Video Description: Oversized leather jacket atop a white button-down shirt, a large leather top hat/baseball cap hybrid with red accents, large silver rings with jewels. Holds black mittens in one hand and the mic in the other. Loose closeup as Unknown_Reader1 speaks to audience and performs a piece. Dancing audience member briefly obscures camera. \n\nLee Gotham\n01:04:44\n[Asks audience whether they want a break. Announces a break.] | Video Description: Medium long shot zooms into medium closeup as Gotham speaks to the audience. \n\nEND \n01:05:24\n[End of recording.]"],"score":1.8530173},{"id":"5190","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Headlight Anthology Collection"],"source_collection_label":["Headlight Anthology Collection"],"collection_contributing_unit":[""],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Julie Triganne in Headlight 24, 2023"],"item_title_source":["Asset"],"item_title_note":["As published in Headlight Anthology."],"item_language":["English"],"item_production_context":["Studio recording"],"item_series_title":["Headlight 24"],"item_subseries_title":["Headlight 24 Pieces"],"item_identifiers":["[]"],"rights":["In Copyright Educational Use Permitted (InC-EDU)"],"rights_notes":["Copyright by Headlight Anthology and contributor. Online reproduction and archiving allowed. Republications under different publishers must be authorized by the contributor."],"creator_names":["Triganne, Julie"],"creator_names_search":["Triganne, Julie"],"creators":["[{\"url\":\"\",\"name\":\"Triganne, Julie\",\"dates\":\"\",\"notes\":\"Julie Triganne is from Tiohtià:ke/Montréal. She is currently completing a master’s degree in creative writing at Concordia University.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Elbanhawy, Sherine","Eastwood, Miranda","Pittella, Carlos A.","Andrews, Olive","Affonso, Alexandre","Ruby, Ariella"],"contributors_names_search":["Elbanhawy, Sherine","Eastwood, Miranda","Pittella, Carlos A.","Andrews, Olive","Affonso, Alexandre","Ruby, Ariella"],"contributors":["[{\"url\":\"\",\"name\":\"Elbanhawy, Sherine\",\"dates\":\"\",\"notes\":\"Co-managing editor of Headlight 24.\\n\\n\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Eastwood, Miranda\",\"dates\":\"\",\"notes\":\"Sound editor of Headlight 24.\",\"nation\":[],\"role\":[\"Producer\",\"Recordist\"]},{\"url\":\"https://viaf.org/viaf/97149659658506830525\",\"name\":\"Pittella, Carlos A.\",\"dates\":\"1983-\",\"notes\":\"Co-managing editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Andrews, Olive\",\"dates\":\"\",\"notes\":\"Poetry editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Affonso, Alexandre\",\"dates\":\"\",\"notes\":\"Nonfiction editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Ruby, Ariella\",\"dates\":\"\",\"notes\":\"Fiction editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]}]"],"Producer_name":["Elbanhawy, Sherine","Eastwood, Miranda","Pittella, Carlos A.","Andrews, Olive","Affonso, Alexandre","Ruby, Ariella"],"Recordist_name":["Eastwood, Miranda"],"Publication_Date":[2023],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Digital\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"recording_type":["Digital"],"AV_type":["Audio"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:u:/g/personal/carlosa_pittella_concordia_ca/EWuEjtORUAZPhmCj7KESTAQBWoaNag-zVL-U4erBag0VRQ\",\"file_path\":\"\",\"filename\":\"Headlight24-Triganne.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:02:18\",\"precision\":\"\",\"size\":\"1.6 MB\",\"bitrate\":\"145-185 kbps\",\"encoding\":\"MP3\",\"contents\":\"This is file 1 of 1 containing an audio-recording of the piece \\\"Weeknight,\\\" by Julie Triganne, as published in Headlight Anthology, no. 24.\",\"notes\":\"MP3 also available at https://headlightanthology.ca/archive/n24/weeknight/, accessed on June 15, 2023.\",\"title\":\"Weeknight\",\"credit\":\"Julie Triganne\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"\"},{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:u:/g/personal/carlosa_pittella_concordia_ca/EUKgj4VgwK9At9mI2q4khNwBNCXHJMZ37sXvCSUJIV1lCQ\",\"file_path\":\"\",\"filename\":\"Headlight24-Triganne.wav\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:02:18\",\"precision\":\"\",\"size\":\"12.2 MB\",\"bitrate\":\"1411 kbps\",\"encoding\":\"WAV\",\"contents\":\"This is file 1 of 1 containing an audio-recording of the piece \\\"Weeknight,\\\" by Julie Triganne, as published in Headlight Anthology, no. 24.\",\"notes\":\"\",\"title\":\"Weeknight\",\"credit\":\"Julie Triganne\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"2023-06-02\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"Headlight website\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1192154219\",\"venue\":\"Concordia University, Department of English\",\"notes\":\"Headlight Anthology operates out of Concordia’s graduate English Literature & Creative Writing department.\",\"address\":\"1455 Boul. de Maisonneuve O., LB 641, Montréal, QC, H3G 1M8\",\"latitude\":\"45.4969331\",\"longitude\":\"-73.5783742\"}]"],"Address":["1455 Boul. de Maisonneuve O., LB 641, Montréal, QC, H3G 1M8"],"Venue":["Concordia University, Department of English"],"City":["Montreal, Quebec"],"contents":["Weeknight\n\nby Julie Triganne\n\nCircling the grocery store aisles.\nWe move like a slow moon settling.\n \nUnder retail lighting we tell ourselves\nto buy discount, or that it’s okay to indulge\n \nin premium peanut butter, pre-cut vegetables.\nCaramel pecan ice cream. \n \nThe week ordered by expiry dates.\nConsider what curdles.\n \nNerves run blue at day’s end. \nJudicial, the way you raise an eyebrow.\n \nMy intentions are good.\nIf I fail you, let’s call it poor planning.\n \nIn the checkout line we debate\namounts due, credit card balances.\n \nWhat we owe is incalculable, without origin.\nOur life, sutured with conditions.\n \nUnprepared to rid ourselves of the things\nthat affix to us, demand allegiance:\n \nour deliveries, our liabilities.\nOur Bluetooth tracker‐clad suitcases.\n \nIndulgence burrows in our jowls.\nI rack up debt and blame my childhood.\n \nHaving learned one can in fact purchase contentment.\nThat a nice shirt will sometimes suffice.\n \nOnce, I ate from your palm. Stood next to you,\nenamoured in a parking lot. Judged no one.\n \nThat’s what love is. Temperature swings, ice\nbreaking on the river. Thuds that imitate a whale call.\n\nYears falter. They’re not to be trusted\nLike weather, they sever expectations.\n \nBeg me open. I will be merciful.\nWhat bargains we have made to be here."],"Note":["[{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"https://headlightanthology.ca/archive/n24/weeknight/\",\"citation\":\"Triganne, Julie. Weeknight. Headlight Anthology, no. 24, 2023, pp. 16–17.\"}]"],"_version_":1853670549192966144,"timestamp":"2026-01-07T14:59:53.772Z","score":1.8530173},{"id":"5191","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Headlight Anthology Collection"],"source_collection_label":["Headlight Anthology Collection"],"collection_contributing_unit":[""],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Misha Solomon in Headlight 24, 2023"],"item_title_source":["Asset"],"item_title_note":["As published in Headlight Anthology."],"item_language":["English"],"item_production_context":["Studio recording"],"item_series_title":["Headlight 24"],"item_subseries_title":["Headlight 24 Pieces"],"item_identifiers":["[]"],"rights":["In Copyright Educational Use Permitted (InC-EDU)"],"rights_notes":["Copyright by Headlight Anthology and contributor. Online reproduction and archiving allowed. Republications under different publishers must be authorized by the contributor."],"creator_names":["Solomon, Misha"],"creator_names_search":["Solomon, Misha"],"creators":["[{\"url\":\"https://viaf.org/viaf/19160208386348620534\",\"name\":\"Solomon, Misha\",\"dates\":\"\",\"notes\":\"Misha Solomon (he/him) is a homosexual poet in and of Tiohtià:ke/Montréal. He is the author of two chapbooks, FLORALS (above/ground press, 2020) and Full Sentences (Turret House Press, 2022), and his work has appeared or is forthcoming in Best Canadian Poetry 2024, The /tƐmz/ Review, Yolk, and Vallum.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Elbanhawy, Sherine","Eastwood, Miranda","Pittella, Carlos A.","Andrews, Olive","Affonso, Alexandre","Ruby, Ariella"],"contributors_names_search":["Elbanhawy, Sherine","Eastwood, Miranda","Pittella, Carlos A.","Andrews, Olive","Affonso, Alexandre","Ruby, Ariella"],"contributors":["[{\"url\":\"\",\"name\":\"Elbanhawy, Sherine\",\"dates\":\"\",\"notes\":\"Co-managing editor of Headlight 24.\\n\\n\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Eastwood, Miranda\",\"dates\":\"\",\"notes\":\"Sound editor of Headlight 24.\",\"nation\":[],\"role\":[\"Producer\",\"Recordist\"]},{\"url\":\"https://viaf.org/viaf/97149659658506830525\",\"name\":\"Pittella, Carlos A.\",\"dates\":\"1983-\",\"notes\":\"Co-managing editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Andrews, Olive\",\"dates\":\"\",\"notes\":\"Poetry editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Affonso, Alexandre\",\"dates\":\"\",\"notes\":\"Nonfiction editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Ruby, Ariella\",\"dates\":\"\",\"notes\":\"Fiction editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]}]"],"Producer_name":["Elbanhawy, Sherine","Eastwood, Miranda","Pittella, Carlos A.","Andrews, Olive","Affonso, Alexandre","Ruby, Ariella"],"Recordist_name":["Eastwood, Miranda"],"Publication_Date":[2023],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Digital\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"recording_type":["Digital"],"AV_type":["Audio"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:u:/g/personal/carlosa_pittella_concordia_ca/ESqbAkKY2NRPsu4tuyhXI-wBV7JHhxFBIJNoKhTKvghQMw\",\"file_path\":\"\",\"filename\":\"Headlight24-Solomon.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:03:20\",\"precision\":\"\",\"size\":\"2.2 MB\",\"bitrate\":\"145-185 kbps\",\"encoding\":\"MP3\",\"contents\":\"This is file 1 of 1 containing an audio-recording of the piece \\\"Tubes,\\\" by Misha Solomon, as published in Headlight Anthology, no. 24.\",\"notes\":\"MP3 also available at https://headlightanthology.ca/archive/n24/tubes/, accessed on June 15, 2023.\",\"title\":\"Tubes\",\"credit\":\"Misha Solomon\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"\"},{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:u:/g/personal/carlosa_pittella_concordia_ca/EeGekM3q1cRFmowTo126n-sBLQVWtIMoDJArltSS5vvu2Q\",\"file_path\":\"\",\"filename\":\"Headlight24-Solomon.wav\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:03:20\",\"precision\":\"\",\"size\":\"35.4 MB\",\"bitrate\":\"1411 kbps\",\"encoding\":\"WAV\",\"contents\":\"This is file 1 of 1 containing an audio-recording of the piece \\\"Tubes,\\\" by Misha Solomon, as published in Headlight Anthology, no. 24.\",\"notes\":\"\",\"title\":\"Tubes\",\"credit\":\"Misha Solomon\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"2023-06-02\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"Headlight website\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1192154219\",\"venue\":\"Concordia University, Department of English\",\"notes\":\"Headlight Anthology operates out of Concordia’s graduate English Literature & Creative Writing department.\",\"address\":\"1455 Boul. de Maisonneuve O., LB 641, Montréal, QC, H3G 1M8\",\"latitude\":\"45.4969331\",\"longitude\":\"-73.5783742\"}]"],"Address":["1455 Boul. de Maisonneuve O., LB 641, Montréal, QC, H3G 1M8"],"Venue":["Concordia University, Department of English"],"City":["Montreal, Quebec"],"contents":["Tubes\n\nby Misha Solomon\n\nI.\nThe Om Argan + Tucuma Lip Butter is a tube that contains another tube.\n\nPhoto of tube of Om Argan + Tucuma Lip Butter.\nRather, the Om Argan + Tucuma Lip Butter is a tube contained inside another tube, but this latter outer tube carries the inner tube’s name.\n\nPhoto of open tube of Om Argan + Tucuma Lip Butter.\n\nThe outer tube can be manipulated (opened, twisted) to reveal the inner tube, but the inner tube’s identity is always plainly identified upon the outer tube. The outer tube can lie, in that at any point in time the inner tube could be depleted and yet the outer tube would still advertise its contents. The inner tube, again, is the Om Argan + Tucuma Lip Butter and yet the inner tube can also not be the Om Argan + Tucuma Lip Butter, in that it can be used up entirely. The outer tube, again, carries only the name of the Om Argan + Tucuma Lip Butter, and therefore is not truly the Om Argan + Tucuma Lip Butter, and yet the outer tube can never not be the Om Argan + Tucuma Lip Butter, in that it always carries its name. It should also be noted that the Om Argan + Tucuma Lip Butter is applied to lips, which are essentially two tubes embedded in the flesh between the nose and the chin, two tubes that, when separated, allow access to a long inner tube that in turn connects to a near-endless system of inner tubes.\n\nII.\nThe Aesop Resurrection Aromatique Hand Balm is a tube in name only. Before use, the Aesop Resurrection Aromatique Hand Balm more closely resembles a conventional tube, but the object continues to be called a tube even as it is flattened and warped.\n\nPhoto of tube of Aesop Resurrection Aromatique Hand Balm.\n\nThe Aesop Resurrection Aromatique Hand Balm, rather, is a viscous liquid contained in a tube that bears its name. This outer tube, upon application of pressure, extrudes the liquid in the shape of tube.\n\nPhoto of open tube of Aesop Resurrection Aromatique Hand Balm.\n\nThe Aesop Resurrection Aromatique Hand Balm, however, quickly loses its tubal shape as it is extruded and applied to the hand. This would not be an apt time to mention that the hand is home to five tubes, known as fingers, and contains a number of tubes in the form of bones, veins, and tendons. Even less apt would be the mention of pores. The inner/outer dilemma, heretofore known as the Inner/Outer Dilemma, as explained in the discussion of Om Argan + Tucuma Lip Butter, applies here as well.\n\nIII.\nThe India Mahdavi Caran d’Ache Swiss-Made Pen is a tube contained in a tube.\n\nPhoto of tube of India Mahdavi Caran d’Ache Swiss-Made Pen.\n\nBoth the inner tube, the India Mahdavi Caran d’Ache Swiss-Made Pen, and its outer tube, the pen’s protective and decorative case, carry the name of said inner tube.\n\nPhoto of open tube of India Mahdavi Caran d’Ache Swiss-Made Pen.\n\nComplicating matters is the fact that the India Mahdavi Caran d’Ache Swiss-Made Pen almost definitely contains another tube, which in turn contains ink. Further complicating matters is the fact that the India Mahdavi Caran d’Ache Swiss-Made Pen has a golden tube, which, when pressed, reveals another pointed tube used to spread the ink, which is contained in the tube inside the tube. The doubly inner tube almost definitely does not carry the name of the tube, whereas the outer tube does carry the name of the tube. Is it relevant to add that the tube and its tube were given to me on the topmost storey of a large building, a rectangular tube, if you will, by a woman (remember the lips and hands, the tubes) who collects such tubes and who handed this tube over to me, her tubes grazing my tubes, after I remarked on the beauty of the tube, and that she did this likely because of her guilt over the dismal state of my grandfather’s finances? Guilt is in itself a tube, but I don’t know how or why."],"Note":["[{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"https://headlightanthology.ca/archive/n24/tubes/\",\"citation\":\"Solomon, Misha. Weeknight. Headlight Anthology, no. 24, 2023, pp. 18–21.\"}]"],"_version_":1853670549192966145,"timestamp":"2026-01-07T14:59:53.772Z","score":1.8530173},{"id":"5192","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Headlight Anthology Collection"],"source_collection_label":["Headlight Anthology Collection"],"collection_contributing_unit":[""],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Kim Poirier in Headlight 24, 2023"],"item_title_source":["Asset"],"item_title_note":["As published in Headlight Anthology."],"item_language":["English"],"item_production_context":["Studio recording"],"item_series_title":["Headlight 24"],"item_subseries_title":["Headlight 24 Pieces"],"item_identifiers":["[]"],"rights":["In Copyright Educational Use Permitted (InC-EDU)"],"rights_notes":["Copyright by Headlight Anthology and contributor. Online reproduction and archiving allowed. Republications under different publishers must be authorized by the contributor."],"creator_names":["Poirier, Kim"],"creator_names_search":["Poirier, Kim"],"creators":["[{\"url\":\"\",\"name\":\"Poirier, Kim\",\"dates\":\"\",\"notes\":\"Kim Poirier is a Montreal-based writer, poor person and globally-recognized eater of spaghetti. She was the 2021 recipient of the Dawson College SPACE Award for Short Fiction, and her work has appeared in OFIC Magazine, Soliloquies Anthology, Oranges Journal, Beaver Magazine and others.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Elbanhawy, Sherine","Pittella, Carlos A.","Andrews, Olive","Affonso, Alexandre","Ruby, Ariella","Eastwood, Miranda"],"contributors_names_search":["Elbanhawy, Sherine","Pittella, Carlos A.","Andrews, Olive","Affonso, Alexandre","Ruby, Ariella","Eastwood, Miranda"],"contributors":["[{\"url\":\"\",\"name\":\"Elbanhawy, Sherine\",\"dates\":\"\",\"notes\":\"Co-managing editor of Headlight 24.\\n\\n\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"https://viaf.org/viaf/97149659658506830525\",\"name\":\"Pittella, Carlos A.\",\"dates\":\"1983-\",\"notes\":\"Co-managing editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Andrews, Olive\",\"dates\":\"\",\"notes\":\"Poetry editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Affonso, Alexandre\",\"dates\":\"\",\"notes\":\"Nonfiction editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Ruby, Ariella\",\"dates\":\"\",\"notes\":\"Fiction editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Eastwood, Miranda\",\"dates\":\"\",\"notes\":\"Sound editor of Headlight 24.\",\"nation\":[],\"role\":[\"Producer\",\"Recordist\"]}]"],"Producer_name":["Elbanhawy, Sherine","Pittella, Carlos A.","Andrews, Olive","Affonso, Alexandre","Ruby, Ariella","Eastwood, Miranda"],"Recordist_name":["Eastwood, Miranda"],"Publication_Date":[2023],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Digital\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"recording_type":["Digital"],"AV_type":["Audio"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:u:/g/personal/carlosa_pittella_concordia_ca/Ea_d9sY1fpZDkqHIe6ISEBMBhPxmGtp6VhneCPF4rhj75g\",\"file_path\":\"\",\"filename\":\"Headlight24-Poirier.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:01:09\",\"precision\":\"\",\"size\":\"0.61 MB\",\"bitrate\":\"145-185 kbps\",\"encoding\":\"MP3\",\"contents\":\"This is file 1 of 1 containing an audio-recording of the poems \\\"montreality\\\" and \\\"greening,\\\" by Kim Poirier, as published in Headlight Anthology, no. 24.\",\"notes\":\"MP3 also available at https://headlightanthology.ca/archive/n24/two-poems/, accessed on June 15, 2023.\",\"title\":\"montreality and greening\",\"credit\":\"Kim Poirier\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"\"},{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:u:/g/personal/carlosa_pittella_concordia_ca/EaK6DPkriKZPrh7m2aVRfIkBr3tED53OVByHHep21UdyuQ\",\"file_path\":\"\",\"filename\":\"Headlight24-Poirier.wav\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:01:09\",\"precision\":\"\",\"size\":\"12.3 MB\",\"bitrate\":\"1411 kbps\",\"encoding\":\"WAV\",\"contents\":\"This is file 1 of 1 containing an audio-recording of the poems \\\"montreality\\\" and \\\"greening,\\\" by Kim Poirier, as published in Headlight Anthology, no. 24.\",\"notes\":\"\",\"title\":\"montreality and greening\",\"credit\":\"Kim Poirier\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"2023-06-02\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"Headlight website\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1192154219\",\"venue\":\"Concordia University, Department of English\",\"notes\":\"Headlight Anthology operates out of Concordia’s graduate English Literature & Creative Writing department.\",\"address\":\"1455 Boul. de Maisonneuve O., LB 641, Montréal, QC, H3G 1M8\",\"latitude\":\"45.4969331\",\"longitude\":\"-73.5783742\"}]"],"Address":["1455 Boul. de Maisonneuve O., LB 641, Montréal, QC, H3G 1M8"],"Venue":["Concordia University, Department of English"],"City":["Montreal, Quebec"],"contents":["two poems\n\nby Kim Poirier\n\nI. montreality\n\nA light blue metro car travels down a cannibal’s throat\nThe Place Ville Marie searchlight swivels\nLeonard Cohen’s look of faint play adjudicates\nthe cold and hookery street.\nI am so vanishingly small beneath the hot, perfervid red shadow\nof the Mt Royal crucifix;\nMy cry in the concrete,\nMy cry in the bottleglass,\nMy cry in the frost:\nNot the gestalt of the thing,\nbut some slice.\n\nII. greening\n\nThere is a green wildfire of mint in a terracotta pot\nand there is a sheath of summer-smelling parsley woven against the ground\n\nThere is a you—on the yellow seat with wine.\nYou, who gathered african violets in her arms and stole them,\nwith rushing, nervy steps from their greening-golding continent,\nand there is a toothpick tilted against your lips, inert levantine wood, droll and unassuming.\n\nYour body screams yes god and your the-irish-were-oppressed-you-know green eyes are zambian-mined and dollar-minted and your Fashion Nova clothes come from nowhere all."],"Note":["[{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"https://headlightanthology.ca/archive/n24/two-poems/\",\"citation\":\"Poirier, Kim. montreality and greening. Headlight Anthology, no. 24, 2023, pp. 22–23.\"}]"],"_version_":1853670549194014720,"timestamp":"2026-01-07T14:59:53.772Z","score":1.8530173},{"id":"6342","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Headlight Anthology Collection"],"source_collection_label":["Headlight Anthology Collection"],"collection_contributing_unit":[""],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Headlight 24 Launch at De Stiil, 2023-06-22"],"item_title_source":["Event Flyers"],"item_title_note":["As promoted on the event flyers. *Add genre: \"Reading: nonfiction.\""],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["Headlight 24"],"item_subseries_title":["Headlight 24 Events"],"item_identifiers":["[]"],"rights":["In Copyright Educational Use Permitted (InC-EDU)"],"rights_notes":["Copyright by Headlight Anthology and contributors. Online reproduction and archiving allowed. Republications under different publishers must be authorized by the contributors. All editors and contributors recorded have given their formal consent to be archived by SpokenWeb under those terms."],"creator_names":["Triganne, Julie","Solomon, Misha","Mazur, Ari","Lovell, Susi","Bush Anderson, Benjamin","Cirignano, Sophia","Wayland, Tina","Palmer, Jade"],"creator_names_search":["Triganne, Julie","Solomon, Misha","Mazur, Ari","Lovell, Susi","Bush Anderson, Benjamin","Cirignano, Sophia","Wayland, Tina","Palmer, Jade"],"creators":["[{\"url\":\"\",\"name\":\"Triganne, Julie\",\"dates\":\"\",\"notes\":\"Julie Triganne is from Tiohtià:ke/Montréal. She is currently completing a master’s degree in creative writing at Concordia University.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/19160208386348620534\",\"name\":\"Solomon, Misha\",\"dates\":\"\",\"notes\":\"Misha Solomon (he/him) is a homosexual poet in and of Tiohtià:ke/Montréal. He is the author of two chapbooks, FLORALS (above/ground press, 2020) and Full Sentences (Turret House Press, 2022), and his work has appeared or is forthcoming in Best Canadian Poetry 2024, The /tƐmz/ Review, Yolk, and Vallum.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Mazur, Ari\",\"dates\":\"\",\"notes\":\"Ari Mazur is a recent graduate of Concordia University’s creative writing program. She finds joy in writing, walking around, and apartment hunting. She hopes to continue pursuing these hobbies for a long time.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Lovell, Susi\",\"dates\":\"\",\"notes\":\"Originally from England, Susi Lovell worked her way around the world before settling in Montreal. A movement artist-educator, choreographer and past dance critic for the Montreal Gazette, Susi’s stories have appeared in The New Quarterly, Stand Magazine, carte blanche, Grain, Fiddlehead and other journals.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Bush Anderson, Benjamin\",\"dates\":\"\",\"notes\":\"Benjamin Bush Anderson is a poet and novelist born in Mi’kma’ki/Nova Scotia. He currently resides in Tiohtià:ke/Montréal, where he writes and pursues a living.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Cirignano, Sophia\",\"dates\":\"\",\"notes\":\"Sophia Cirignano is a recent Religious Studies graduate (MA) from Concordia University, with a focus on queer studies, writing, and teaching. Her poems have appeared in Ovunque Siamo, Apeiron Review, Gasher Journal, and elsewhere.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Wayland, Tina\",\"dates\":\"\",\"notes\":\"Tina Wayland is completing her Creative Writing MA at Concordia University, where she won the department’s 2021 McKeen Award for “Where the Light Gets In.” She’s been published in such places as carte blanche and Open Door Magazine. Tina’s story “The Tending of Small Gardens” made the 2021 CBC Non-Fiction Prize longlist and “Foxholes” was shortlisted in Room Magazine’s 2022 Short Forms Contest.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Palmer, Jade\",\"dates\":\"\",\"notes\":\"Jade Palmer (she/her) is pursuing a BA Honours in English and creative writing and a minor in sexuality studies at Concordia University in Tiohtià:ke/Montreal. She served as co-editor-in-chief of Soliloquies Anthology, Concordia’s undergraduate literary journal, during the 2022-2023 academic year. Her work has previously been published in long con magazine, and is forthcoming in yolk.\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors_names":["Eastwood, Miranda","Elbanhawy, Sherine","Andrews, Olive","Pittella, Carlos A.","Affonso, Alexandre","Ruby, Ariella"],"contributors_names_search":["Eastwood, Miranda","Elbanhawy, Sherine","Andrews, Olive","Pittella, Carlos A.","Affonso, Alexandre","Ruby, Ariella"],"contributors":["[{\"url\":\"\",\"name\":\"Eastwood, Miranda\",\"dates\":\"\",\"notes\":\"Sound editor of Headlight 24. Introduces a few readers.\",\"nation\":[],\"role\":[\"Recordist\",\"Speaker\"]},{\"url\":\"\",\"name\":\"Elbanhawy, Sherine\",\"dates\":\"\",\"notes\":\"Co-managing editor of Headlight 24. One of the two MCs of the event.\\n\\n\",\"nation\":[],\"role\":[\"Producer\",\"Speaker\"]},{\"url\":\"\",\"name\":\"Andrews, Olive\",\"dates\":\"\",\"notes\":\"Poetry editor of Headlight 24. Introduces a few readers.\",\"nation\":[],\"role\":[\"Producer\",\"Speaker\"]},{\"url\":\"https://viaf.org/viaf/97149659658506830525\",\"name\":\"Pittella, Carlos A.\",\"dates\":\"1983-\",\"notes\":\"Co-managing editor of Headlight 24. One of the two MCs of the event.\",\"nation\":[],\"role\":[\"Producer\",\"Speaker\",\"Recordist\"]},{\"url\":\"\",\"name\":\"Affonso, Alexandre\",\"dates\":\"\",\"notes\":\"Nonfiction editor of Headlight 24. Introduces a few readers.\",\"nation\":[],\"role\":[\"Producer\",\"Speaker\"]},{\"url\":\"\",\"name\":\"Ruby, Ariella\",\"dates\":\"\",\"notes\":\"Fiction editor of Headlight 24. Introduces a reader.\",\"nation\":[],\"role\":[\"Producer\",\"Speaker\"]}]"],"Producer_name":["Elbanhawy, Sherine","Andrews, Olive","Pittella, Carlos A.","Affonso, Alexandre","Ruby, Ariella"],"Recordist_name":["Eastwood, Miranda","Pittella, Carlos A."],"Speaker_name":["Eastwood, Miranda","Elbanhawy, Sherine","Andrews, Olive","Pittella, Carlos A.","Affonso, Alexandre","Ruby, Ariella"],"Performance_Date":[2023],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/6342/Headlight-Launch-2023Jun22o.jpeg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Digital\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"recording_type":["Digital"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"2023-06-22\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Event flyers\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/2428618284\",\"venue\":\"De Stiil Booksellers\",\"notes\":\"\",\"address\":\"351 Av. Duluth E, Montréal, QC - H2W 1J3, Canada\",\"latitude\":\"45.5203378\",\"longitude\":\"-73.5764109\"}]"],"Address":["351 Av. Duluth E, Montréal, QC - H2W 1J3, Canada"],"Venue":["De Stiil Booksellers"],"City":["Montreal, Quebec"],"contents":["Weeknight, by Julie Triganne\nCan you blame me (unpublished), by Julie Triganne\nTubes, by Misha Solomon\nPoem from Full Sentences chapbook, by Misha Solomon\nA&W, by Ari Mazur\nUnsafe in large doses, by Susi Lovell\nTHIS THAT, by Benjamin Bush Anderson\nOther poem (unpublished), by Benjamin Bush Anderson\nOnyx and Rose Gold, by Jade Palmer\nGiverny, by Sophia Cirignano\nOther poem (unpublished), by Sophia Cirignano\nThe tending of small gardens, by Tina Wayland"],"Note":["[{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"https://headlightanthology.ca/archive/n24/\",\"citation\":\"Headlight Anthology, no. 24, 2023.\"}]"],"_version_":1853670549194014721,"timestamp":"2026-01-07T14:59:53.772Z","digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:i:/g/personal/carlosa_pittella_concordia_ca/EfEMthojexxDrMt8OjUHkocB23SvpMdBR9gS1iQlA3uxLA\",\"file_path\":\"\",\"filename\":\"Headlight-Launch-2023Jun22.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"4 MB on disk\",\"bitrate\":\"\",\"encoding\":\"JPG\",\"contents\":\"Flyer announcing the launch of headlight 24, displaying: a rectangular pixelated image of headlights; the text \\\"launch | June 22 7pm | at De Stiil | 351 Ave. Duluth E.\\\"; and the list of readers: Julie Triganne, Misha Solomon, Ari Mazur, Susi Lovell, Benjamin Bush Anderson, Emily Zuberec, Jade Palmer, Sophia Cirignano, and Tina Wayland.\",\"notes\":\"Though on the bill, Emily Zuberec did not attend the launch event.\",\"title\":\"\",\"credit\":\"Cover image by Avalon O'Henley; flyer by Carlos A. Pittella\",\"caption\":\"headlight 24\\nlaunch\\nJune 22 7pm\\nat De Stiil\\n351 Ave. Duluth E.\\n\\nJulie Triganne\\nMisha Solomon\\nAri Mazur\\nSusi Lovell\\nBenjamin Bush Anderson\\nEmily Zuberec\\nJade Palmer\\nSophia Cirignano\\nTina Wayland\\n\\nJoin us to launch the new issue of Concordia's grad lit journal!\",\"content_type\":\"Poster\",\"featured\":\"Yes\",\"public_access_url\":\"\"},{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:u:/g/personal/carlosa_pittella_concordia_ca/EQxmMWPvoURKnc4C6F2lRg4BKQRHRfXSQjlh0m4qbLn7KA\",\"file_path\":\"\",\"filename\":\"H24_Launch-20230622-Mic.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"01:35:14\",\"precision\":\"\",\"size\":\"55.9 MB on disk\",\"bitrate\":\"145-185 kbps\",\"encoding\":\"MP3\",\"contents\":\"This is file 1 of 1 containing an audio-recording of the first launch event of Headlight 24, at De Stiil Booksellers, on June 22, 2023, featuring performances by Julie Triganne, Misha Solomon, Ari 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Wayland.\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"score":1.8530173},{"id":"6881","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Lee Gotham collection"],"source_collection_label":["Lee Gotham collection"],"collection_contributing_unit":["Spokenweb at Concordia University"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Lee Gotham collection contains the AV recordings regarding the Enough Said series, including readings, performances, open-mic, and spoken-word events that took place at Bistro 4 and other Montreal venues between December 1994 and June 1996."],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Enough Said 1995-04-03, Smith"],"item_title_source":["Asset"],"item_title_note":["Ephemera accompanying assets, corroborated by Lee Gotham, who introduces the event headliner."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["Lee Gotham collection"],"item_subseries_title":["Enough Said"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. We may wish to seek permission from individual artists and Drew Duncan, the videographer."],"creator_names":["Gotham, Lee","Smith, Dee"],"creator_names_search":["Gotham, Lee","Smith, Dee"],"creators":["[{\"url\":\"https://viaf.org/viaf/106179112\",\"name\":\"Gotham, Lee\",\"dates\":\"1962-\",\"notes\":\"Lee Gotham was also one of the MCs of this event.\",\"nation\":[],\"role\":[\"Series organizer\",\"Producer\"]},{\"url\":\"\",\"name\":\"Smith, Dee\",\"dates\":\"\",\"notes\":\"Event headliner. Note the headliner was the second act of the night, though it appears first in the recording, which was copied to the VHS tape in such sequence.\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors_names":["Duncan, Drew","De Paul, Joe","Bill"],"contributors_names_search":["Duncan, Drew","De Paul, Joe","Bill"],"contributors":["[{\"url\":\"\",\"name\":\"Duncan, Drew\",\"dates\":\"\",\"notes\":\"Videographer.\",\"nation\":[],\"role\":[\"Recordist\"]},{\"url\":\"\",\"name\":\"De Paul, Joe\",\"dates\":\"\",\"notes\":\"Opening act. Note that, though this performer opened for the event headliner, it appears after the headliner on the VHS tape, which was copied in such order.\",\"nation\":[],\"role\":[\"Storyteller\"]},{\"url\":\"\",\"name\":\"Bill\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]}]"],"performer_name":["Bill"],"Recordist_name":["Duncan, Drew"],"Storyteller":["De Paul, Joe"],"Performance_Date":[1995],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/1565/Enough_Said-VHS4-19950306_19950313_19950320_19950327_19950403.jpg\",\"other\":\"Note the event was copied to the VHS tape not in chronological order (act 2, act 1, act 3).\",\"extent\":\"\",\"AV_types\":\"Video\",\"tape_brand\":\"TDK EHG\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"120 minutes\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"VHS\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Tape box. Handwritten labels on sides. Ephemera accompanying asset.\",\"other_physical_description\":\"VHS #4 asset. Contains recordings of multiple events.\"}]"],"material_designations":["VHS"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Video"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:v:/g/personal/carlosa_pittella_concordia_ca/EVfY-7_Yi3JKhHQpX7kCVp8BFTx5UHzzSDu4JJaeLD52Bw\",\"file_path\":\"\",\"filename\":\"Enough_Said-19950403-Smith.mp4\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:13:04\",\"precision\":\"\",\"size\":\"2.06 GB on disk\",\"bitrate\":\"2304Kbps (original); 256Kbps (master)\",\"encoding\":\"MPEG-4 movie\",\"contents\":\"This is file 1 of 1 containing an AV recording of the event featuring Dee Smith as part of the Enough Said series, organized by Lee Gotham, with extra performances by Joe De Paul. \",\"notes\":\"Dimensions: 640 × 480. Note the event was copied to the VHS tape not in chronological order, and the digitized file preserves such sequence: act 2 (event headliner); act 1 (opening acts); act 3 (open-mic).\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Video Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1995-04-03\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Asset\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/2428619734\",\"venue\":\"Bistro 4\",\"notes\":\"Bistro 4 (pronounced Bistro Quatre), no longer in existence.\",\"address\":\"4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada\",\"latitude\":\"45.5169628\",\"longitude\":\"-73.5796147\"}]"],"Address":["4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada"],"Venue":["Bistro 4"],"City":["Montreal, Quebec"],"content_notes":["Event recording starts at 04:10:51:59 of VHS #4 asset, which contains multiple events."],"Note":["[{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"},{\"note\":\"VHS #4 asset. Contains recordings of multiple events: (1) Enough Said 1995-03-06, Phineas Flower Trio and Godin Part 2; (2) Enough Said 1995-03-13, Karasick; (3) Enough Said 1995-03-20, Fluffy Pagan Echoes; and (4) Enough Said 1995-03-27, Farkas and Nuttall; and (5) Enough Said 1995-04-03, Smith. The asset was digitized, generating both uncompressed and compressed video files; the compressed files were then split into events to facilitate the transcription work. Metadata entries based on events.\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"https://worldcat.org/title/36693682\",\"citation\":\"Bansfield, Anthony, ed. The N'X step: hochelaga and the diasporic African poets—a collection of performance poetry by a Montreal-based black writers group. Montréal: RevWord Press, 1995.\"},{\"url\":\"https://www.worldcat.org/oclc/329858982\",\"citation\":\"Cabico, Regie, and Todd Swift, eds. Poetry Nation: The North American Anthology of Fusion Poetry. Montréal: Véhicule Press, 1998.\"}]"],"_version_":1853670549195063296,"timestamp":"2026-01-07T14:59:53.772Z","contents":["[Bistro 4 stage]\n00:00:00\nVideo Description: Colour video, medium shot of the stage at Bistro 4 (Quatre) (4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada). A single mic stand. The stage, slightly below street level, is set against a full-wall window looking out onto the St. Laurent Blvd. traffic—with both pedestrians and vehicles regularly passing by. The windows from across the street are also visible, including an outdoor “JETHRO” sign. People frequently pass in front of the camera. On the café windows, some decals are partially visible, with words from the menu such as “DÉJEUNER,” “CAPPUCCINO,” and “TISANE.”\n\n[SpokenWeb notes]\n00:00:00\nThe event was copied to the VHS tape not in chronological order, and the digitized file preserves such sequence: act 2 (event headliner); act 1 (opening acts); act 3 (open-mic).\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\n\nLee Gotham\n00:00:03\nOk. I have to apologize, I don’t think I’ve ever had so much trouble with the cassette deck (?). Wasn’t much on the way of a half-time entertainment. But, with a second-act like I have this evening for us, I’ll cut the apology short because I know the wait is gonna be worth the while. And, I’d just like to introduce anyone in the room unfamiliar with Dee Smith to herself and her work, a wonderful emerging of dub poetry and the versifying of her own make (sic). Please join me in welcoming Dee Smith to the microphone. [Applause.] | Video Description: Medium shot of Lee Gotham walking on stage and adjusting the mic. Gotham wears an open sweater with abstract details over a v-neck t-shirt, full beard, and long hair tied in a bun. Different degrees of zoom as Gotham introduces Dee Smith as the second act of the evening. Note the event was copied to the VHS tape not in chronological order, and the digitized file preserves such sequence: act 2 (event headliner); act 1 (opening acts); act 3 (open-mic).\n\nDee Smith\n00:01:03\n[Thanks the audience for waiting. Says she’ll read a couple of pieces, some of them in “Jamaican Dialect” (Jamaican Patois), others in standard English. Asks the audience if they’d like her to start with something nice and sweet or some real radical stuff. Applause.] | Video Description: Medium closeup as Dee Smith enters stage and Lee Gotham adjusts the mic. Smith wears a green short-sleeved shirt over a black long-sleeved turtleneck, black Breton cap, pendant necklace, flower earrings, stud nose ring, plus several finger rings.\n\nDee Smith\n00:02:15\n[Invites the audience to snap their fingers or tap their toes, then demonstrates the rhythm they should keep while she performs. Performs a piece opening with the line, “What da hell, what da hell, what a situation.” Applause. Smith explains the title is “Shituation Critical” (sic).] | Video Description: Medium closeup of Dee Smith snapping fingers to demonstrate to the audience the rhythm they should keep while she performs. Performs a piece. At the end of the piece, zoom into a closeup as Smith makes remarks.\n\nDee Smith\n00:04:30\n[Introduces the next piece as dedicated to “some sisters” Dee Smith used to work with and some of which “didn’t have a strong sense of self, of who they were.” Performs piece titled “As Nubian as.” Applause.] | Video Description: Closeup of Dee Smith performing a piece.\n\nDee Smith\n00:06:00\nSo, this one is a little riddle. At the end of it, you tell me what you think it’s all about, and that’s the title of it. [Performs riddle piece. Applause. Remarks on the piece.] | Video Description: Medium shot of Dee Smith introducing a piece, then medium closeup as Smith performs it. At the end, closeup as Smith comments on the piece.\n\nDee Smith\n00:07:27\n[Introduces and performs “a funny little piece” about hair. Applause.] | Video Description: Closeup then extreme closeup as Dee Smith introduces and performs a piece.\n\nDee Smith\n00:08:45\n[Introduces and performs a political piece about, in Smith’s words, “some of the things I’ve seen some of my Black sisters going through.” Smith alternates between Jamaican Patois and standard English. Applause.] | Video Description: Closeup of Dee Smith performing a piece.\n\nDee Smith\n00:11:27\n[Introduces a piece saying “some people might think this is about smoking, but there’s a hidden message in it somewhere.” Performs piece titled “Herbs: Ganja, Marijuana, (Cannabis?).” Applause.] | Video Description: Closeup of Dee Smith performing a piece.\n\nDee Smith\n00:13:22\nThe next piece is a two-part piece; and it was written after the last craziness that took place at Carifiesta, you know, the holiday when Black people get in the streets and get all crazy. Well, I was rather upset the last time something like this happened. [Performs “Carifiesta daytime” (Part 1) and then “Carifiesta nighttime” (Part 2).] | Video Description: Closeup of Dee Smith performing a piece.\n\nDee Smith\n00:15:20\n[Introduces and performs “Declare war,” primarily in Jamaican Patois. Applause.] | Video Description: Closeup of Dee Smith performing a piece.\n\nDee Smith\n00:17:45\n[Introduces and performs “Reality.” Applause.] | Video Description: Medium shot of Dee Smith performing a piece.\n\nDee Smith\n00:19:18\n[Introduces and performs “Cool but deadly.” Applause.] | Video Description: Medium closeup of Dee Smith performing a piece.\n\nDee Smith\n00:20:57\n[Introduces and performs “Some kind of love thing” as a love piece. Minute-long silence between introduction and performance, as Smith looks for the piece among papers. Applause.] | Video Description: Various degrees of closeup of Dee Smith performing a piece.\n\nDee Smith\n00:25:10\n[Introduces and performs another love piece opening with the line “Come away with me, beautiful lover.” Applause.] | Video Description: Various degrees of closeup of Dee Smith performing a piece.\n\nDee Smith\n00:27:35\n[Introduces and performs a piece beginning with the line “Brother to brother” repeated several times. Applause.] | Video Description: Closeup of Dee Smith performing a piece.\n\nDee Smith\n00:29:26\n[Introduces and performs a piece about procrastination. Applause.] | Video Description: Closeup of Dee Smith performing a piece.\n\nDee Smith\n00:30:50\n[Introduces and performs a piece “for all the women in the house tonight,” opening with, “If I said I didn’t like the politics.” Applause. Thanks the audience.] | Video Description: Various degrees of closeup of Dee Smith performing a last piece.\n\nLee Gotham\n00:33:08\n[Thanks Dee Smith and announces a break. Sudden cut.] | Video Description: Various degrees of closeup as Lee Gotham walks to stage and makes remarks. Video suddenly cuts.\n\n[SpokenWeb edits]\n00:33:57\nVideo Description: Black screen with white text that reads \"Fourteen minutes of this video have been removed.\"\n\nLee Gotham\n00:34:04\nVideo Description: Medium shot of Gotham adjusting mic stand for Joe De Paul.\n\nJoe De Paul\n00:34:09\n[Tells a story with surreal turns about his father being fired from his job, before directing his children to create a vegetable garden with ulterior motives. Applause.] | Video Description: Medium shot as Joe De Paul enters the stage. Joe De Paul wears a purple sweater, buzz cut with receding high hairline, stubble goatee and mustache, and a small hoop earring on right lobe. Various degrees of closeup as Joe De Paul tells a story.\n\nLee Gotham\n00:47:00\n[Cut to Lee Gotham announcing the open-mic portion of the evening, then inviting Bill to the stage.] Video Description: Cut to a closeup of Lee Gotham making remarks and inviting an open-mic participant to the stage, while smoking a cigarrete. \n\nBill\n00:47:32\n[Introduces and performs a piece opening with the line, “Among the mountains, we start the day like every day.” Applause.] | Video Description: Closeup of Bill entering the stage while smoking a cigarette. Bill wears a suit jacket over a button-down shirt and long curly hair. Various degrees of closeup as Bill introduces and performs a piece.\n\nBill\n00:48:38\n[Performs a piece opening with the line, “The gratitude of savages.” Applause.] | Video Description: Medium closeup as Bill performs a piece.\n\nBill\n00:49:51\n[Performs “Why.” Applause.] | Video Description: Extreme closeup as Bill performs a piece.\n\nBill\n00:50:43\n[Introduces and performs “Seams.” Applause.] | Video Description: Extreme closeup as Bill performs a piece.\n\nBill\n00:51:18\n[Performs a piece opening with the line, “Come on frolic in my playground.” Applause.] | Video Description: Medium closeup as Bill performs a piece.\n\nBill\n00:52:12\n[Performs a piece opening with the line, “Glazed stare, disemboweled display.” Applause.] | Video Description: Medium closeup as Bill performs a piece.\n\nBill\n00:53:11\n[Performs a piece opening with the line, “The forgiving sun again visits.” Late thinning applause.] | Video Description: Medium closeup as Bill performs a piece.\n\nBill\n00:53:46\nThis was written on a Christmas night, at a therapy house. [Laughter. Performs a piece opening with the line, “Living still among the crystal night.” Applause.] | Video Description: Closeup as Bill performs a piece.\n\nBill\n00:55:09\n[Performs a piece opening with the line, “And if I gaze into the future.” Applause.] | Video Description: Extreme closeup as Bill performs a piece.\n\nBill\n00:55:56\n[Performs a piece opening with the line, “If for this day, for this moment, me.” Applause.] | Video Description: Extreme closeup as Bill performs a piece.\n\nBill\n00:56:38\n[Performs a piece, opening with the line, “And, in the middle of my misery, my sanctity diminished.” Applause.] | Video Description: Medium closeup as Bill performs a piece.\n\nBill\n00:57:35\n[Introduces and performs “Conformity.” Thanks the audience. Applause.] | Video Description: Medium closeup as Bill performs a last piece.\n\n[No signal]\n00:58:41\n[Ambient sounds (white noise).] | Video Description: Black screen with static. \n\nEND\n01:00:24\n[End of recording.]"],"score":1.8530173},{"id":"6882","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Lee Gotham collection"],"source_collection_label":["Lee Gotham collection"],"collection_contributing_unit":["Spokenweb at Concordia University"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Lee Gotham collection contains the AV recordings regarding the Enough Said series, including readings, performances, open-mic, and spoken-word events that took place at Bistro 4 and other Montreal venues between December 1994 and June 1996."],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Enough Said 1996-02-14, Lollapalooza Book Launch"],"item_title_source":["Asset"],"item_title_note":["Ephemera accompanying asset."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["Lee Gotham collection"],"item_subseries_title":["Enough Said"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. We may wish to seek permission from individual artists and Drew Duncan, the videographer."],"creator_names":["Karasick, Adeena","Battson, Jill","Gotham, Lee"],"creator_names_search":["Karasick, Adeena","Battson, Jill","Gotham, Lee"],"creators":["[{\"url\":\"https://viaf.org/viaf/76188856\",\"name\":\"Karasick, Adeena\",\"dates\":\"1965-\",\"notes\":\"Event headliner.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/53412899\",\"name\":\"Battson, Jill\",\"dates\":\"1958-\",\"notes\":\"Event headliner\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/106179112\",\"name\":\"Gotham, Lee\",\"dates\":\"1962-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Producer\",\"Performer\"]}]"],"contributors_names":["Duncan, Drew"],"contributors_names_search":["Duncan, Drew"],"contributors":["[{\"url\":\"\",\"name\":\"Duncan, Drew\",\"dates\":\"\",\"notes\":\"Videographer.\",\"nation\":[],\"role\":[\"Recordist\"]}]"],"Recordist_name":["Duncan, Drew"],"Performance_Date":[1996],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/6882/Enough_Said-VHS_Lollapalooza-19960214.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Video\",\"tape_brand\":\"FUJI HQ T-120 (NFL branded)\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"120 minutes\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"VHS\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Tape box. Handwritten labels on sides.\",\"other_physical_description\":\"VHS #Lollapalooza asset. Contains extraneous materials after the event recording.\"}]"],"material_designations":["VHS"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Video"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:b:/g/personal/carlosa_pittella_concordia_ca/EctaLo4SqbRLvyZrWwQ5oEEBwSYmDtX-PqxQxXZiIKhDtg\",\"file_path\":\"\",\"filename\":\"Enough_Said-19960214-Fetish_Cafe-poster.pdf\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"0.85 MB on disk\",\"bitrate\":\"\",\"encoding\":\"PDF\",\"contents\":\"1 poster printed in color.\",\"notes\":\"The poster features photographs of a high-heeled foot and of an open-mouthed face with either projected or tattooed ideograms, as well as logos from Enough Said and Lollapalooza, and the following text: \\\"Valentine's Day at the Fetish Café | a book-launch for | REVIVAL SPOKEN WORD FROM LOLLAPALOOZA 94 | Video-art and live performances from Adeena Karasick, Lee Gotham, Fortner Anderson, Jill Battson, Jonathan Goldstein, Golda Fried, and music by Priya Thomas.\\\"\",\"title\":\"Valentine's Day at the Fetish Café\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Document\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://drive.google.com/drive/u/2/folders/1yYh3KGSD46680nfzq5LOz_PMGjyd2gPe\",\"file_path\":\"\",\"filename\":\"FINAL-Enough_Said-19960214-Lollapalooza_Fetish_Cafe.mp4\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:23:01\",\"precision\":\"\",\"size\":\"0.76 GB on disk\",\"bitrate\":\"2304Kbps (original); 256Kbps (master)\",\"encoding\":\"MPEG-4 movie\",\"contents\":\"This is file 1 of 1 containing an AV recording of a special event organized by Lee Gotham as part of the Enough Said series, branded as a Revival of Spoken-word from the Lollapalooza 94, featuring performances by Adeena Karasick, Jonathan Goldstein, Lee Gotham himself, and others.\",\"notes\":\"Dimensions: 640 × 480.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Video Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1996-02-14\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Asset\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/4852683788\",\"venue\":\"Fetish Café\",\"notes\":\"Café no longer extant. Today the address is occupied by L'Euguélionne Bookstore.\",\"address\":\"1426 Rue Beaudry, Montréal, QC, H2L3E5, Canada\",\"latitude\":\"45.5189691\",\"longitude\":\"-73.5563723\"}]"],"Address":["1426 Rue Beaudry, Montréal, QC, H2L3E5, Canada"],"Venue":["Fetish Café"],"City":["Montreal, Quebec"],"content_notes":["Event recording starts at 00:00:00:00 of VHS #Lollapalooza Asset. Event ends at 00:26:57:04 in Asset; the videotape editors added extraneous Fetish-Café videos after the event recording."],"Note":["[{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"},{\"note\":\"VHS #Lollapalooza asset. Contains extraneous recordings added after the event. The asset was digitized, generating both uncompressed and compressed video files; the compressed file was then trimmed to include solely the event in question. Metadata entries based on the event.\",\"type\":\"General\"},{\"note\":\"Though the event poster also lists the names of Fortner Anderson, Golda Fried, and Priya Thomas, the recording does not include their performances.\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/757697991\",\"citation\":\"Torrez, Juliette, Liz Belile, Mud Baron, & Jennifer Joseph (Eds.). Revival: Spoken Word from Lollapalooza 94. San Francisco: Manic D Press, 1995.\"},{\"url\":\"https://www.worldcat.org/title/25549150\",\"citation\":\"Karasick, Adeena. The Empress Has No Closure. Vancouver: Talonbooks, 1992.\"},{\"url\":\"https://www.worldcat.org/title/34324838\",\"citation\":\"Karasick, Adeena.  Mêmewars. Vancouver: Talonbooks, 1994.\"},{\"url\":\"https://www.worldcat.org/title/36648038\",\"citation\":\"Karasick, Adeena. Genrecide. Burnaby, B.C.: Talonbooks, 1996.\"}]"],"_version_":1853670549196111872,"timestamp":"2026-01-07T14:59:53.772Z","contents":["[Enough Said edits]\n00:00:11\nVideo Description: Black screen with white text that reads “Spoken Words\".\n\n[Fetish Café stage]\n00:00:21\nVideo Description: Black-and-white video, medium closeup of the stage at Fetish Café (1426 Rue Beaudry, Montréal, QC, H2L3E5, Canada). Diagonal shot of a single mic stand, capturing the right side of performers. The stage is set against a corner: walls with a pattern of unfinished circles (either chalk or wall-paper imitating chalk), large wooden-framed mirror, a wall-mounted antique lamp. The mirror reflects the lamp and the wall-paper. Sometimes the camera zooms out showing audience members.\n\nJill Battson\n00:00:22\n[Recording starts mid performance, as Jill Battson reads poem with the line “cast aside my white-woman’s ways.” Applause.] | Video Description: Medium closeup as Jill Battson reads a poem. Battson wears partially visible outfit with thin straps, stud earrings, choker necklace, and short tousled hair. After reading, Battson thanks the audience.\n\nLee Gotham\n00:01:10\n[Cut to Lee Gotham advertising the anthology “Playing in the Asphalt Garden” (edited by O’Connor, Insomniac Press, 1994). Gotham explains Jill Battson is part of that anthology and that there are books for sale. Gotham then advertises “Revival: Spoken Word from Lollapalooza 94” (edited by Torrez et al., Manic D Press, 1995.)]. | Video Description: Medium closeup of Lee Gotham displaying books for sale. Gotham wears an oversized feathery scarf over a leather bodice with spiky straps and choker, heavy makeup, and an updo ponytail,. \n\nLee Gotham\n00:01:44\n[Performs “Second half of the meditation,” which is interrupted by a telephone ringing.] | Video Description: Medium closeup of Lee Gotham performing a poem.\n\n[SpokenWeb edit]\n00:03:15 \nVideo Description: Black screen with white text that reads \"Four minutes of this video have been removed.\"\n\nLee Gotham\n00:03:20\n[Cut to Lee Gotham introducing Adeena Karasick, mentioning her two books published with Talon books and adding that she is finishing her PhD at Concordia.] | Video Description: Medium closeup of Lee Gotham introducing the next performer.\n\nAdeena Karasick\n00:05:05\n[Performs an untitled piece beginning with an incantation and including the line “I came to you.” Applause.] | Video Description: Medium closeup of Adeena Karasick performing a piece. Karasick wears an open leather jacket over a bra-top with spikes, a thick choker necklace, and  shoulder-length dark hair. \n\nAdeena Karasick\n00:06:58 \n[Performs a second untitled piece, with the line “just a little bit harder.” Applause.] | Video Description: Medium closeup of Adeena Karasick performing another piece. Towards the end of the piece, zoom into a closeup.\n\nAdeena Karasick\n00:10:58\n[Performs a third untitled piece, with the line “keep your eyes on the road.” Applause.] | Video Description: Medium closeup of Adeena Karasick performing another piece while gesticulating and dancing. Video skips mid-performance, seemingly resuming during the same piece. Drinks from a glass of water amid applause.\n\nAdeena Karasick\n00:12:50 \n[Introduces and performs a fourth piece, mentioning it was published in the latest issue of the Index magazine. The piece opens with the line “(erogenous in the genres?)” and includes the expression “post-imperial grammar.” Applause. Thanks audience.] | Video Description: Extreme closeup then medium closeup of Adeena Karasick performing another piece while gesticulating. Drinks from a glass of water and thanks audience amid applause.\n\nAdeena Karasick\n00:16:26\n[Introduces and performs a fifth and final piece, reading it from the Revival anthology. Applause.] | Video Description: Medium closeup then closeup of Adeena Karasick reading a piece while holding a copy of the Revival anthology, gesticulating and dancing.\n\nLee Gotham\n00:18:43\n[Thanks Adeena. Introduces and performs a piece dedicated to poet Ian Stephens, who was hospitalized. Applause.] | Video Description: Medium long shot as Lee Gotham walks onto the stage, now wearing only a dress. Zoom into a medium closeup as Gotham performs a piece.\n\nEND\n00:23:00\n[End of recording.]"],"score":1.8530173},{"id":"6883","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Lee Gotham collection"],"source_collection_label":["Lee Gotham collection"],"collection_contributing_unit":["Spokenweb at Concordia University"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Lee Gotham collection contains the AV recordings regarding the Enough Said series, including readings, performances, open-mic, and spoken-word events that took place at Bistro 4 and other Montreal venues between December 1994 and June 1996."],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Enough Said, Highlights Part 1"],"item_title_source":["Asset"],"item_title_note":["Ephemera accompanying assets. \"Hilights\" (sic) on Part 1, but \"Highlights\" on Part 2."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["Lee Gotham collection"],"item_subseries_title":["Enough Said"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. We may wish to seek permission from individual artists and Drew Duncan, the videographer."],"creator_names":["Gotham, Lee"],"creator_names_search":["Gotham, Lee"],"creators":["[{\"url\":\"https://viaf.org/viaf/106179112\",\"name\":\"Gotham, Lee\",\"dates\":\"1962-\",\"notes\":\"Lee Gotham selected and edited these highlights. Gotham is also featured as a performer.\",\"nation\":[],\"role\":[\"Series organizer\",\"Producer\",\"Performer\"]}]"],"contributors_names":["Duncan, Drew","Walsh, Tom","Swift, Todd","bissett, bill","Stephens, Ian","Anderson, Fortner","Allen, Robert","Isaac, Douglas (Doug)","Christie, Colin","Frost, Corey","Ferrier, Ian","Luxton, Steve","Filip, Raymond","Nelson, Sharon H."],"contributors_names_search":["Duncan, Drew","Walsh, Tom","Swift, Todd","bissett, bill","Stephens, Ian","Anderson, Fortner","Allen, Robert","Isaac, Douglas (Doug)","Christie, Colin","Frost, Corey","Ferrier, Ian","Luxton, Steve","Filip, Raymond","Nelson, Sharon H."],"contributors":["[{\"url\":\"\",\"name\":\"Duncan, Drew\",\"dates\":\"\",\"notes\":\"Videographer.\",\"nation\":[],\"role\":[\"Recordist\"]},{\"url\":\"\",\"name\":\"Walsh, Tom\",\"dates\":\"\",\"notes\":\"One-half of Swifty Lazar.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/41039443/\",\"name\":\"Swift, Todd\",\"dates\":\"1966-\",\"notes\":\"One-half of Swifty Lazar.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/96127023\",\"name\":\"bissett, bill\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/48507771\",\"name\":\"Stephens, Ian\",\"dates\":\"1954-1996\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/106026246/\",\"name\":\"Anderson, Fortner\",\"dates\":\"1955-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/22416596/\",\"name\":\"Allen, Robert\",\"dates\":\"1946-2006\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/26783067/\",\"name\":\"Isaac, Douglas (Doug)\",\"dates\":\"1946-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/44235997\",\"name\":\"Christie, Colin\",\"dates\":\"\",\"notes\":\"One-half of ga press.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/76001655\",\"name\":\"Frost, Corey\",\"dates\":\"1972-\",\"notes\":\"One-half of ga press.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/91437046\",\"name\":\"Ferrier, Ian\",\"dates\":\"1954-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/45701800\",\"name\":\"Luxton, Steve\",\"dates\":\"1946-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/11150531/\",\"name\":\"Filip, Raymond\",\"dates\":\"1950-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/108207169\",\"name\":\"Nelson, Sharon H.\",\"dates\":\"1948-2016\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]}]"],"performer_name":["Walsh, Tom","Swift, Todd","bissett, bill","Stephens, Ian","Anderson, Fortner","Allen, Robert","Isaac, Douglas (Doug)","Christie, Colin","Frost, Corey","Ferrier, Ian","Luxton, Steve","Filip, Raymond","Nelson, Sharon H."],"Recordist_name":["Duncan, Drew"],"Production_Date":[1996],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/6883/Enough_Said-VHS_Highlights_Part1.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Video\",\"tape_brand\":\"FUJI SUPER HG T-120 (NFL branded)\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"120 minutes\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"VHS\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Tape box. Handwritten labels on sides.\",\"other_physical_description\":\"VHS #Highlights_1 asset.\"}]"],"material_designations":["VHS"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Video"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:v:/g/personal/carlosa_pittella_concordia_ca/EZqRGcc6dflKkkGyuItbFQUBqh_jgswUaeBvFt1T6YkLnQ\",\"file_path\":\"\",\"filename\":\"Enough_Said-Feature_Highlights-Part1.mp4\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"04:56:03\",\"precision\":\"\",\"size\":\"8.36 GB on disk\",\"bitrate\":\"2304Kbps (original); 256Kbps (master)\",\"encoding\":\"MPEG-4 movie\",\"contents\":\"This is file 1 of 1 containing highlights from the Enough Said series, selected by Lee Gotham.\",\"notes\":\"Dimensions: 640 × 480.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Video Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1996\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"Asset\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/2428619734\",\"venue\":\"Bistro 4\",\"notes\":\"Bistro 4 (pronounced Bistro Quatre), no longer in existence.\",\"address\":\"4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada\",\"latitude\":\"45.5169628\",\"longitude\":\"-73.5796147\"}]"],"Address":["4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada"],"Venue":["Bistro 4"],"City":["Montreal, Quebec"],"content_notes":["Event recording starts at 00:00:00:00 of VHS #Highlights_1 Asset."],"Note":["[{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"},{\"note\":\"VHS #Highlights_1 asset. The asset was digitized, generating both uncompressed and compressed video files. Metadata based on the compressed file.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670549197160448,"timestamp":"2026-01-07T14:59:53.772Z","contents":["The tape includes excerpts from six different events: (1) Enough Said 1994-12-19, Gotham and Diamond; (2) Enough Said 1995-01-09, Swifty Lazarus; (3) Enough Said 1995-01-16, bissett and Nelson; (4) Enough Said 1995-01-23, Wiernik and Anderson; (5) Enough Said 1995-01-30, Stanton and Stephens; and (6) Enough Said 1995-02-13, Benefit.\n\n[No signal] \n00:00:17\n[Ambient sounds (white noise).]  | Video Description: Black screen with white text that reads \"ENOUGH SAID!\"\n\nLee Gotham\n00:00:24\n[Cuts to Gotham saying Unknown_Musician1 and Sam Shalabi are performing with himself for the first time.] | Video Description: Out-of-focus extreme closeup focuses and zooms out to closeup as Gotham speaks into the mic standing beside Unknown_Musician1 and Sam Shalabi. Gotham wears a grey collared shirt with sleeves rolled to elbows atop a white collared shirt, black taqiyah-style hat with a small folded visor, and shoulder length brown hair. Unknown_Musician1 wears a blue and white argyle sweater with sleeves rolled up to elbows, a silver watch, glasses, and short curly dark brown hair. Sam Shalabi wears a red button-down shirt with sleeves rolled up to elbows, large metal-rimmed glasses, and thinning dark brown hair.\n\n[Cataloguer note: Gotham performs a long poem without announcing any section breaks. To enhance readability, this transcription will break when Gotham pauses for a significant period, denoted by the phrase “Gotham pauses” or “Gotham Gotham and music by Unknown_Musician1 and Sam Shalabi pauses.”] \n\nLee Gotham \n00:00:46\n[Begins performing a piece beginning with the line “Attention project proposals, explorations grants competition, Canada Arts Council.”] | Video Description: Closeup as Gotham begins performing a piece. Zooms into extreme closeup as Gotham says the line “one idea is a death of experience.” Looks over to Unknown_Musician1 and Sam Shalabi.\n\nUnknown_Musician1 and Sam Shalabi\n00:01:14\n[Strike a discordant cord.] | Video Description: Off-screen. \n\nLee Gotham\n00:01:15\n[Resumes performing piece. Gotham pauses.] | Video Description: Extreme closeup zooms out to medium closeup as Gotham resumes performing a piece. \n\nLee Gotham\n00:02:33\n[Resumes performing piece with the line “No, musicians should play as they see fit.”] | Video Description: Medium closeup as Gotham resumes performing a piece. \n\nUnknown_Musician1 and Sam Shalabi\n00:02:34\n[Quietly playing uncertain chords and sparse drumming as Gotham continues performing.] | Video Description: Off-screen.\n\nLee Gotham\n00:02:40\n[Resumes performing piece with the line “The performer picks up a hammer.” Music by Unknown_Musician1 and Sam Shalabi continues in background. Gotham pauses.] | Video Description: Medium closeup zooms out to long shot as Gotham picks up hammer from off-screen. In between lines, dramatically hits a wooden block on stand to his right with hammer. \n\nLee Gotham\n00:03:19     \n[Resumes performing piece with the line “There can be no pause for the cause.” Music by Unknown_Musician1 and Sam Shalabi continues in background. Gotham pauses.] | Video Description: Camera angle alternates between closeups and medium shots of Gotham performing a piece and long shots of Gotham performing a piece, Unknown_Musician1 playing drums, and Sam Shalabi playing guitar. \n\nLee Gotham\n00:05:38       \n[Resumes performing piece with the line “The performer is blurting out opinions to strangers.” Music by Unknown_Musician1 and Sam Shalabi begins quietly but becomes more prominent in background. Gotham pauses.] | Video Description: Camera alternates between medium closeups and extreme closeups of Gotham performing a piece. \n\nLee Gotham\n00:08:11\n[Resumes performing piece with the line “Opinions again: that’s what I call using your head.” Music by Unknown_Musician1 and Sam Shalabi begins quietly but becomes more prominent in background. Gotham pauses.] | Video Description: Extreme closeup zooms out to medium closeup as Gotham performs a piece. \n\nLee Gotham\n00:09:08\n[Resumes performing piece with the line “It’s a milk and honey mid-September, an [?] Indian coffee and cigarette summer” Music by Unknown_Musician1 and Sam Shalabi becomes louder and more complex in background. Gotham pauses.] | Video Description: Long shot as Gotham performs a piece. Zooms into medium shot partway through.\n\nLee Gotham\n00:10:51\n[Resumes performing piece with the line “I went to the doctor for the first time in twelve years.” Music by Unknown_Musician1 and Sam Shalabi softens in background. Gotham pauses.] | Video Description: Medium shot as Gotham performs a piece.\n\nLee Gotham\n00:11:22\n[Resumes performing piece with the line “Less about what you think, I still don’t get it.” Music by Unknown_Musician1 and Sam Shalabi becomes louder in background with staccato chords. Asks Unknown_Musician1 and Sam Shalabi to play more soothingly. Laughter. Says “or ignore him.”] | Video Description: Closeup as Gotham performs a piece. Looks over to Unknown_Musician1 and Sam Shalabi, who are off-screen.\n\nUnknown_Musician1 and Sam Shalabi\n00:11:50\n[Sam Shalabi continues to play complex drum beat, Unknown_Musician1 softens chord attack but plays complex progression.] | Video Description: Off-screen. \n\nLee Gotham\n00:11:57\nVideo Description: Medium shot as Gotham sits down on something unseen and, holding the mic away from him, mouths something unseen to Unknown_Musician1 and Sam Shalabi.\n\nUnknown_Musician1 and Sam Shalabi\n00:12:03\n[Play calmer jazz music.] | Video Description: Camera pans to long shot of Unknown_Musician1 playing drums with brushes and Sam Shalabi playing guitar.\n\nLee Gotham\n00:12:04\n[Resumes performing piece with the line “We were still sitting there on the beach listening to the crazy old Indian.” Music by Unknown_Musician1 and Sam Shalabi continues in background. Gotham and music by Unknown_Musician1 and Sam Shalabi pauses.] | Video Description: Camera pans to medium closeup as Gotham performs a piece sitting down. Camera alternates between closeups, medium shots and medium closeups as Gotham performs a piece.\n\nLee Gotham\n00:14:58\n[Resumes performing piece with the line “Well, there wasn’t a lot of story to it.” Music by Unknown_Musician1 and Sam Shalabi resumes in major key. Gotham pauses.] | Video Description: Closeup zooms out to medium closeup as Gotham performs a piece. Gotham stands up. Zooms out to longshot as Gotham picks up hammer on his left and pretends to hit himself on the head with it in between lines. Zooms into medium closeup. \n\nLee Gotham\n00:18:11\n[Resumes performing piece with the line “That’s good, that’s just fine, now we’ll just relax” delivered in a deeper tone than previously. Music by Unknown_Musician1 and Sam Shalabi barely audible in background. Gotham pauses.] | Video Description: Medium closeup as Gotham performs a piece.\n\nLee Gotham\n00:19:04\n[Resumes performing piece with the line “An escaped convict fell into a deep hole someone had dug beside the roadway.” Music reminiscent of middle-Eastern music by Unknown_Musician1 and Sam Shalabi plays in background. Sam Shalabi stops playing guitar part way through. Gotham pauses.] | Video Description: Medium closeup as Gotham leans backwards on something unseen and performs a piece. Zooms into closeup part way through. Zooms out to medium shot as Gotham stands up and continues performing piece.\n\nUnknown_Musician1 and Sam Shalabi\n00:22:47\n[Music by Unknown_Musician1 and Sam Shalabi continues in background.] | Video Description: Zooms out to show Unknown_Musician1 and Sam Shalabi playing their instruments beside Gotham. \n\nLee Gotham\n00:22:54\n[Resumes performing piece with the line “The water’s run out.” Music by Unknown_Musician1 and Sam Shalabi becomes busier in the background.] Video Description: Long shot as Gotham performs a piece. \n\nSam Shalabi\n00:23:15\nVideo Description: Zooms into medium shot of Sam Shalabi playing guitar and chewing.  \n\nUnknown_Musician1\n00:23:31\nVideo Description: Pans to medium shot of Unknown_Musician1 playing drums. Gotham is visible on the right side of screen. \n\nLee Gotham \n00:23:38\n[Continues performing piece. Music by Unknown_Musician1 and Sam Shalabi continues in background. Gotham pauses.] | Video Description: Medium shot zooms into medium closeup as Gotham continues performing a piece. Zooms out to medium shot part way through. Gotham expands arms like flying bird while performing. \n\nLee Gotham \n00:25:04\n[Continues performing piece with the line “Well now, where were we. You wanted to talk about sex today?” Music by Unknown_Musician1 and Sam Shalabi continues in background. Gotham Gotham and music by Unknown_Musician1 and Sam Shalabi pause.] | Video Description: Medium closeup as Gotham performs piece. Camera alternates between medium closeups and medium shots throughout . \n\nLee Gotham\n00:28:43\n[Continues performing piece with the line “I’d like to make it reasonably clear that I’m a frightened man.” Sombre music by Unknown_Musician1 and Sam Shalabi continues in background. Gotham pauses.] | Video Description: Medium shot as Gotham performs a piece.\n\nLee Gotham\n00:31:09\n[Continues performing piece with the line “The performer gradually regains his composure.” Music by Unknown_Musician1 and Sam Shalabi continues in background. Gotham and music by Unknown_Musician1 and Sam Shalabi pause.] | Video Description: Medium closeup as Gotham sips water and performs a piece. Zooms into closeup part way through, then zooms out to medium shot. \n\nLee Gotham\n00:35:18\n[Continues performing piece with the line “Failure to recognize boundaries between self and the world outside.” Music by Unknown_Musician1 and Sam Shalabi ceases in the background. Thanks audience. Applause. Thanks audience and announces break before Ann Diamond’s performance] | Video Description: Medium shot as Gotham performs a piece. Takes cigarette package out of pocket. Zooms out to long shot during applause. Zooms into medium shot when Gotham resumes speaking into mic. \n \n[No signal] \n00:37:00\n[Ambient sounds (white noise).] | Video Description: Black screen with static. \n\nLee Gotham\n00:37:11\n[Cuts to Gotham introducing Swifty Lazarus.] | Video Description: Varying degrees of closeup as Gotham speaks into the mic. Gotham wears a black zippered sweater with unknown white graphics on the back, a small white logo on the front left side, and sleeves rolled up to the elbows; black rimmed cap; and hair in a ponytail through the hole in the back.\n\nSwifty Lazarus \n00:37:55\n[Recording of cinematic music with harp and horns plays. Todd Swift performs a piece beginning with the line “After the end of the world, there is much work to be done.”] | Video Description: Loose closeup as Swift performs a piece. Todd Swift wears a black suit jacket atop a white button-down shirt with a black bowtie, black rectangular glasses, and dark hair close cropped on the sides and parted just off-centre. Tom Walsh wears a leather vest with decorative zippers atop a black long-sleeved shirt and short dark hair.\n\nSwifty Lazarus\n00:39:32\n[Recording of uneasy and discordant string instrument music plays. Shifts to cacophonous horn and percussion sounds and screeching. Swift performs a piece titled “(?) Barbershop.” Brief applause and laughing. Video Description: Swift stands perpendicular to the mic. Walsh stands up. Swift approaches the mic and performs a piece. Loose closeup throughout. \n\nSwifty Lazarus\n00:41:28\n[Recording of cinematic string and horn music plays. In a radio-esque transatlantic accent, a recorded voice delivers monologue that includes the line “the hearts of men, a shadow now.”] | Video Description: Swift holds up a white handheld cassette tape player to the mic. Looks at watch. Takes tape player away from mic. Loose closeup throughout.\n\nSwifty Lazarus\n00:42:25\n[Recording of spare xylophone music plays. In a muted, mid-twentieth-century-radio tone, Swift performs a piece beginning with the line, “The theory of tunnel (work?) is a powerful distinction between a (ledger?) and employment.” Music gradually adds both cinematic and discordant strings reminiscent of earlier musical sections.] | Video Description: Loose closeup to closeup as Smith performs a piece with a trumpet mute up to their lips.\n\nSwifty Lazarus\n00:45:38\n[Recording of discordant string music and vocalization plays. Swift performs a piece beginning with the line “The shadowy man (has guilt inside?) (? and sighs?). Moscow.”.] | Video Description: Medium shot as Swift turns away from the mic. Closeup as Swift turns back and performs a piece, reading off a newspaper. \n\nSwifty Lazarus\n00:47:38\n[Recording of up-beat jazz music with xylophone and horns plays. Swift performs a piece beginning with the line, “History is dead and the full weight of the present (?)” Laughter periodically throughout. The music and Swift’s delivery gets faster and more chaotic partway through. Music suddenly cuts seemingly on purpose and Swift continues reading. Music recommences. Applause] | Video Description: Closeup and extreme closeup as Swift performs a piece. \n\nSwifty Lazarus\n00:51:04\n[Recording of a single unknown string or horn instrument playing seemingly random notes plays. A recording of two voices conversing plays.] | Video Description: Varying degrees of closeup as Swift holds a white handheld cassette tape player to the mic. Nods and smiles along with the audio. \n\nSwifty Lazarus\n00:52:35\n[Recording of simple snare and bass drum beat plays, in which short guitar or horn melodies quip periodically. Swift performs a piece beginning with the line “So much rain in one hat band.”] | Video Description: Medium shots and loose closeups as Swift performs a piece. \n\nSwifty Lazarus\n00:55:17\n[Old recording of a two-voice conversation plays. Swift softly delivers a piece. Uneasy vintage horror movie music begins partway through.] | Video Description: Walsh stands and lights a cigarette. Closeup as Swift performs a piece. \n\nSwifty Lazarus\n00:56:53\n[Old recording of a two-voice phone conversation plays. The first verse of a child choir singing “Oh Canada” plays. A recording of steady gong or cymbal hits plays. Swift performs a piece beginning with the line “One softness (?) going, the sea turns like glass.” Recording of staccato pulses of unknown instruments begin partway through.] | Video Description: Closeup as Swift performs a piece.\n\nSwifty Lazarus\n00:59:48\n[Old recording of a newscast beginning with the line “The Nazi war criminal died” plays. Swift performs a piece beginning with the line “But when the Berlin Wall fell five years ago, it was a signal.” A recording of raucous percussion plays after the first line, evolves into quiet sirens.] | Video Description: Closeup of the microphone while Swift smokes a cigarette off-camera. Closeup as Swift performs a piece.\n\nSwifty Lazarus\n01:01:45\n[Recording of hopeful and content piano and drum music plays. Swift strongly performs a piece beginning with the line “There’s one thing I remember right from childhood. From the beginning. And it is the smell of roses.” Music slowly shifts to high-pitched and discordant electric organ chords with periodic driving percussion. Applause] | Video Description: Closeup as Swift performs a piece. \n\nSwifty Lazarus\n01:11:58\n[Long pause.] | Video Description: Medium shot and closeup as Swift faces away from the mic checking watch and adjusting headphones, sometimes out of frame. \n\nSwifty Lazarus\n01:13:06\n[Recording of ominous stringed instrument music plays. Swift performs a piece beginning with the line “What happened to you when you were murdered?”] | Video Description: Closeup as Swift performs a piece, ending with an extreme closeup. \n\nSwifty Lazarus\n01:16:21\n[Recording of unknown screeching instrument plays. Recording of one person pleading “no” and “stop” and another person talking sinisterly plays. Recording of a two-voice conversation plays.] Video Description: Extreme closeup as Swift holds up a white handheld cassette tape player to the mic. Swift’s face reacts to the dialogue in the recordings. \n\nSwifty Lazarus\n01:18:15\n[Recording of intense large wind instrument and large drums plays. Swift performs a piece beginning with the line “The architect of the future.”] | Video Description: Closeup as Swift performs a piece. \n\nSwifty Lazarus\n01:20:40\n[Recording of ominous ambient music plays. Swift performs a piece beginning with the line “I’ve seen a man stagger with a thousand arrows in his back.” Applause.] | Video Description: Closeup as Swift performs a piece. \n\nSwifty Lazarus\n01:24:55\n[Swift announces, “this is the last one.” Recording of happy horn and drum music plays, cuts suddenly, and recommences. Swift performs a piece that may be titled “Ten Rose Songs.” Music cuts and recommences in different styles rapidly and repeatedly throughout performance. Laughter throughout. Applause.] | Video Description: Walsh stands up, leans over to Swift, sits back down. Closeup as Swift performs a piece. \n\nSwifty Lazarus\n01:28:58\n[Walsh introduces Swift and themselves. Explains that the name of their group is inspired by “Hollywood’s greatest entrepreneur,” Irving Paul \"Swifty\" Lazar. | Video Description: Medium shot as Swift and Walsh stand side by side. Closeup as Walsh speaks into the mic. \n\nLee Gotham\n01:29:46\n[Hopes everyone “soaked that up.” Encourages people to stay after the show. Mentions that bill bisset is next week’s performer. Mentions further future events. Applause.] | Video Description: Loose closeup to extreme closeup as Gotham speaks into the mic. \n\n[Bistro 4]\n01:31:04\nVideo Description: Camera zooms out from closeup to long shot of the lone mic on stage. \n\n[No signal] \n01:31:15\n[Ambient sounds (white noise).] | Video Description: Black screen with static.\n\nbill bissett\n01:31:18\n[Cuts to bissett performing Unknown Composition 1.] | Video Description: Camera zooms into closeup on bill bissett, vocalizing and singing into the microphone and keeping rhythm with a maraca. Camera zooms in and out between closeup and medium closeup on bissett and his maraca. bissett wears thick-framed glasses, chin-length hair, and a graphic t-shirt. Lee Gotham briefly passes through camera view. He wears a green collared shirt and long brown hair.\n\nbill bissett \n01:37:37\n[Finishes Unknown Composition 1. Audience applause. bill bissett addresses audience.] | Video Description: bill bissett stops the rhythm and brings the maraca to his lips. Camera zooms out into a long shot as bissett puts maraca in his back pocket and picks up a binder with multiple documents inside. Audience members applaud. bissett addresses audience.\n\nbill bissett \n01:37:58\n[Reads “n e c k s” (from Th last photo uv th human soul, Talonbooks, 1993). Audience laughter throughout.] | Video Description: Camera zooms in and out between long shot, medium long shot, and closeup on bill bissett reading poem from lifted binder. \n\nbill bissett\n01:42:06\n[Finishes reading “n e c k s”. Audience applause. bill bissett introduces Sharon H. Nelson. Audience laughter and applause.] Video Description: bill bissett closes binder and rubs hand across forehead. Camera pans across the room, capturing a full venue of applauding audience members. Camera zooms into closeup on bissett addressing audience. bill bissett begins walking off stage via stage left. \n\nSharon H. Nelson\n01:42:48\n[Ambient sounds (voices).] | Video Description: Nelson stands up from audience and places hand on bissett’s shoulder before moving by him. Nelson speaks to an audience member out-of-frame (bissett?) before walking to the microphone stand on stage.\n\nSharon H. Nelson\n01:42:59\n[Addresses audience. Interacts with bill bissett. Audience laughter. Addresses audience, introducing Unknown Poem 1 as a response to bissett’s “(ken and heath made for life?).” Audience laughter.] | Video Description: Sharon H. Nelson speaks into the microphone, which is set significantly higher on the stand than their height. Nelson wears green and orange patterned dress, long dark hair, and a necklace. Nelson addresses bill bissett (off-screen). Nelson addresses audience. An unseen audience member adjusts microphone stand to Nelson’s height. Nelson spits out gum and looks for place to put chewed wad. An unseen audience member stretches out palm in front of Nelson. Nelson addresses audience before glancing down at the pages they hold.\n\nSharon H. Nelson\n01:44:28\n[Reads Unknown Poem 1. Audience laughter throughout.] | Video Description: Camera zooms in and out on Sharon H. Nelson reading from pages. Nelson breaks from reading to address audience before returning to reading.\n\nSharon H. Nelson\n01:48:09\n[Finishes Unknown Poem 1. Audience applause. bill bissett addresses audience. Sharon H. Nelson interacts with bill bissett. Audience laughter.] | Video Description: Sharon H. Nelson puts down sheets of paper on the floor and walks off via stage left. Camera zooms out to long shot, capturing applauding audience members. bill bissett walks up to microphone stand via stage left. bissett addresses audience and adjusts microphone stand height. Camera pans right. Nelson addresses bissett. Audience members laugh. Lee Gotham is at one of the large window panes, adjusting a fixture. Camera pans left, back toward bissett on stage. Audience members briefly pass through camera view. bissett adjusts glasses, opens binder, and flips through pages.\n\nbill bissett\n01:49:00\n[Reads Unknown Poem 1 (“vapours / don’t blame it on the dog / are you barking?…”). Audience laughter throughout.] | Video Description: bill bissett reads from binder. Camera shakes, panning from stage and over various audience members, before panning back and zooming in and out on bissett. \n\nbill bissett\n01:51:50\n[Finishes Unknown Poem 1. Audience applause. bill bissett thanks audience.] | Video Description: bill bissett flips page and addresses audience.\n\nbill bissett\n01:52:03\n[Reads “unmatching phenomena” (from Inkorrect Thots, Talonbooks, 1992). Audience laughter throughout.] | Video Description: billl bissett reads from binder. Audience members briefly pass through camera view. \n\nbill bissett\n01:54:05\n[Finishes “unmatching phenomena”. Audience applause. bill bissett thanks audience. Audience laughter. Begins poem before breaking off to address audience. Audience laughter.] | Video Description: bill bissett lowers binder and glances down, flipping through it. bill bissett lifts binder again and addresses audience. bissett smiles at audience laughter and addresses audience, lifting hand.\n\nbill bissett\n01:54:32\n[Resumes reading “last nite I had a nitemare abt free trade” (from Inkorrect Thots). Audience laughter throughout.] | Video Description: bill bissett resumes reading from binder.\n\nbill bissett\n01:56:10\n[Finishes “last nite I had a nitemare abt free trade”. Audience applause. bill bissett thanks audience.] | Video Description: Camera zooms in and out as bill bissett lowers binder and flips through its pages. bissett addresses audience.\n\nbill bissett\n01:56:22\n[Begins reading Unknown Poem 2 (“who wrote the script though? / don’t you always wonder that…”) before breaking off to addresses audience. Audience laughter. Resumes reading Unknown Poem 2 before addressing audience and interacting with Unknown Audience Member 1. Audience laughter. bill bissett interacts with Unknown Audience Member 2. Audience laughter. Resumes reading Unknown Poem 2. Audience laughter and applause throughout.] | Video Description: bill bissett begins reading from binder before addressing audience, raising hand. bissett resumes reading before addressing audience again. An unseen audience member addresses bissett and they interact. bissett interacts with another unseen audience member. bissett resumes reading from binder.\n\nbill bissett\n01:58:44\n[Finishes Unknown Poem 2. Audience applause. bill bissett thanks audience. Unknown Audience Member 3 and bissett interact.] | Video Description: Camera zooms out to long shot as bill bissett lowers binder and flips through pages. Camera pans across audience members applauding. bill bissett addresses audience. bissett interacts with an unseen audience member.\n\nbill bissett\n01:59:06\n[Reads “reflex blu” (from What We Have, Talonbooks, 1988).] | Video Description: Camera zooms in and out between closeup and medium closeup on bill bissett reading from binder. \n\nbill bissett\n02:01:40\n[Finishes “reflex blu”. Audience applause. Introduces Sharon H. Nelson. Audience applause.] | Video Description: bill bissett lowers binder and adjusts glasses, looking out at audience. bill bissett addresses audience. bill bissett walks toward Sharon H. Nelson stage-left and they shake hands and exchange a kiss. Nelson walks toward microphone stand. bissett takes seat adjacent to stage left.]\n\nSharon H. Nelson\n02:02:14\n[Addresses audience. Addresses Unknown Audience Member 4. Addresses audience. Introduces “Form and Structure” (from Grasping Men’s Metaphors, Muses’ Co., 1993) mentioning Dorothy Parker. Audience laughter.] | Video Description: Camera zooms into a closeup on Sharon H. Nelson tilting microphone downward and addressing audience. An unknown audience member walks into the frame, kneeling to adjust microphone stand to Nelson’s height. Nelson addresses unknown audience member.\n\nSharon H. Nelson\n02:03:20\n[Reads “Form and Structure”. Audience laughter throughout.] | Video Description: Sharon H. Nelson reads to the audience, with gestures to accentuate the poem’s humour.\n\nSharon H. Nelson\n02:04:02\n[Finishes “Form and Structure”. Audience applause. Introduces “On the Success of a Middle-Aged Poet”. Audience laughter.]  | Video Description: Sharon H. Nelson smiles at the audience as camera zooms out into a medium long shot. Nelson flips through the book in their hands. Nelson addresses audience.\n\nSharon H. Nelson\n02:04:38\n[Reads “On the Success of a Middle-Aged Poet”.] | Video Description: Camera zooms into a closeup on Sharon H. Nelson reading from book.\n\nSharon H. Nelson\n02:05:18\n[Audience laughter. Audience applause. Sharon H. Nelson introduces Unknown Poem 2, in the style of nursery rhymes, and mentioning playing show-and-tell in school. Sharon H. Nelson begins to read Unknown Poem 2, breaking off to address audience. Audience members respond.] | Video Description: Sharon H. Nelson nods.  Addresses audience. Looks down to read, before glancing up and address audience.\n\nSharon H. Nelson\n02:05:48\n[Resumes reading Unknown Poem 2. Audience laughter throughout. Addresses audience member resuming reading Unknown Poem 2.] | Video Description: Sharon H. Nelson glances down and reads from book. Glances up to address audience before resuming reading.\n\nSharon H. Nelson\n02:07:17\n[Pauses. Audience applause.] | Video Description: Sharon H. Nelson smiles, raises a finger, and addresses audience (inaudible). \n\nSharon H. Nelson\n02:07:25\n[Resumes Unknown Poem 2. Audience laughter throughout.] | Video Description: Sharon H. Nelson resumes reading Unknown Poem 2.\n\nSharon H. Nelson\n02:08:01\n[Finishes Unknown Poem 2. Audience laughter and applause. Introduces bill bissett.] | Video Description: Sharon H. Nelson puts down book and smiles at audience. Gestures toward and addresses offscreen audience member (bill bissett?). Camera zooms out into medium long shot as Nelson exits via stage left. Backs of audience members’ heads. Nelson and bissett interact off-screen. bissett approaches microphone via stage left.\n\nbill bissett\n02:08:27\n[Ambient sounds (voices, movement).] | Video Description: bill bissett adjusts microphone stand height. bissett flips and sorts through pages, putting one briefly in his mouth. An unknown audience member briefly passes through camera view. bissett selects a page, places something down, and turns back toward the microphone.\n\nbill bissett \n02:09:26\n[Performs “evreewun needs a gud fuck n th rest is bullshit jack sd” (from Inkorrect Thots). Audience laughter throughout.] | Video Description: Camera zooms out and in between extreme closeup and medium long shot on bill bissett performs and vocalizes into microphone. bissett holds up and references pages throughout the performance, occasionally flipping. \n\nbill bissett \n02:16:11\n[Finishes “evreewun needs a gud fuck n th rest is bullshit jack sd”. Audience applause. Thanks audience. Addresses audience, talking about quinine, TV detectives, and murder mysteries. Audience laughter throughout.] | Video Description: bill bissett goes silent and slowly lowers outstretched arms. Camera zooms out to long shot of applauding audience members in front of the stage, with one unknown audience member in an orange sweater moving through the crowd. Lee Gotham approaches the stage via stage left and interacts with bissett before returning to his seat. bissett picks up binder and flips through pages. Camera zooms in as bissett addresses audience. bissett drinks from a glass, puts it on the floor, and flips through binder.\n\nbill bissett \n02:17:30\n[Reads Unknown Poem 3 (“Mr. and Mrs. Ridge of Venus Land…”). Audience laughter throughout.] | Video Description: bill bissett reads from binder. \n\nbill bissett \n02:18:44\n[Laughs. Audience laughter.] | Video Description: bill bissett laugh before looking back down at binder.\n\nbill bissett \n02:18:50\n[Resumes reading Unknown Poem 3. Audience laughter throughout.] | Video Description: Camera zooms into closeup on bill bissett reading from binder.\n\nbill bissett \n02:20:22\n[Finishes Unknown Poem 3. Audience laughter and applause. Introduces Sharon H. Nelson.] | Video Description: bill bissett lowers and closes binder. Gestures to offscreen audience member (Sharon H. Nelson). bissett addresses audience and applauds along with them. bissett begins exiting via stage left. bissett and Nelson embrace and address one another as Nelson walks toward microphone stand.\n\nSharon H. Nelson\n02:20:40\n[Addresses audience. Addresses bill bissett.] | Video Description: Sharon H. Nelson addresses audience and looks over to bill bissett to address him. An unknown audience member briefly obscures camera view. \n\nSharon H. Nelson\n02:20:43\n[Ambient sounds (voices, movement).] | Sharon H. Nelson flips through pages, and an unknown audience member adjusts the microphone stand to Nelson’s height. Nelson addresses audience member adjusting microphone stand and thanks them. Camera zooms into a closeup on Nelson.\n\nSharon H. Nelson\n02:21:21\n[Addresses audience, discussing bissett’s artwork. Audience laughter. Introduces “Because of Everything: Dissolving Critical Distance (bill bissett’s iconography, ‘Dancing Magic Animals: Hearts and Rings,’ acrylic on canvas, 18x24”, 1991).”] | Video Description: Sharon H. Nelson addresses audience.\n\nSharon H. Nelson\n02:23:14\n[Reads “Because of Everything: Dissolving Critical Distance (bill bissett’s iconography, ‘Dancing Magic Animals: Hearts and Rings,’ acrylic on canvas, 18x24”, 1991)”.] | Video Description: Sharon H. Nelson reads from pages.\n\nSharon H. Nelson\n02:27:31\n[Finishes “Because of Everything: Dissolving Critical Distance (bill bissett’s iconography, ‘Dancing Magic Animals: Hearts and Rings,’ acrylic on canvas, 18x24”, 1991)”. Audience applause. Sharon H. Nelson addresses audience. Introduces “The Best Minds of My Generation” (from This Flesh These Words, Ekstasis Editions, 2002), mentioning the piece is dedicated to bill bissett and to George (Predelli?), a former Catholic priest. Audience laughter. Sharon H. Nelson addresses audience.] | Video Description: Camera zooms out into long shot as Sharon H. Nelson gathers pages and nods toward audience. Camera pans across applauding audience members. Nelson addresses audience and flips through pages.\n\nSharon H. Nelson\n02:28:45\n[Coughs. Reads “The Best Minds of My Generation”.] | Video Description: Sharon H. Nelson coughs into fist. An audience member briefly obscures view of stage. Nelson reads from pages. \n\nSharon H. Nelson\n02:33:18\n[Thanks audience. Audience applause.] | Video Description: Sharon H. Nelson addresses audience. Sharon H. Nelson picks pages up from floor and exits stage via stage left. Camera pans across applauding audience members. Sharon H. Nelson sits in audience as bill bissett returns to the microphone stand on stage. bill bissett adjusts microphone stand height. \n\nbill bissett \n02:33:29\n[Addresses audience. Audience applause.] | Video Description: bill bissett addresses audience. bill bissett raises glass to offscreen audience member (Sharon H. Nelson?) and sips from it. \n\nbill bissett\n02:34:04\n[Ambient sounds (voices, movement).] | Video Description: Camera zooms out into medium long shot as bill bissett adjusts glasses and flips through pages. Lee Gotham passes through camera view, glancing right into the lens. \n\nbill bissett \n02:34:22\n[Reads “why dew we feer change feer uv th unknown” (from Th Influenza uv Logik, Talonbooks, 1995).] | Video Description: bill bissett reads from binder. Camera zooms in and out between closeup on bissett and long shot of bissett on stage, panning across the audience members listening to the reading and smoking. \n\nbill bissett\n02:39:11\n[Finishes \"why dew we feer change feer uv th unknown.\" Audience applause. Thanks audience.] | Video Description: bill bissett briefly closes binder before opening it again. \n\nAudience\n02:08:23\n[Ambient sounds (voices).] | Video Description: Camera begins to zoom out to a long shot revealing applauding audience members. bissett turns to an unknown audience member upstage left and interacts with them. The unknown audience member holds bissett's binder as bissett searches for a page inside it. Camera pans across audience members sitting adjacent to stage left.\n\nbill bissett\n02:39:33\n[Performs Unknown Poem 4 (“Jennifer Rawlins”?).] | Video Description: bill bissett performs and vocalizes into microphone, holding sheet of paper. \n\nbill bissett\n02:42:34\n[Finishes Unknown Poem 4. Audience applause. Thanks audience. Thanks Sharon H. Nelson. Addresses audience.] | Video Description: Camera pans over applauding audience members throughout the room. bill bissett addresses audience. Lee Gotham moves through crowd and approaches stage. bissett is given his binder by the unknown audience member holding it. Gotham and bissett hug. bissett addresses audience before exiting stage left as Gotham approaches the microphone stand.\n\nLee Gotham\n02:43:15\nWow, I think we need—Woo! Just a little time to cool down now after that. Geez, you know, I can’t, I can’t say how happy I am to, you know, be a part of something that involves not only a generous helping of spectacle but, you know, a whole lotta love, and just generally rejuvenating experience. I think what I’d like to do is, like I said, take a little break. Any of the open-mikers who’ve hung out and are still up for it are more than welcome to have their day in the rain in a moment or two. I can’t encourage people enough, as well, to come over to the corner at some point if you’re going hang out for a bit. We’ve got loads of books, both Sharon’s, bill’s, and some small press offerings of various natures. You know, when I first bill, I was doing my degree at Concordia. I went down to the stacks in what was at that time the Norris Library. Do you know there are 41 titles of bill’s in that library? Several of Sharon’s as well. But 41—you’re not going to find a lot of them in the bookstores anymore, but bill is part of a very, very vital scene, going back a good twenty odd years. [Sharon H. Nelson interacts (“Pushing thirty!”)] Pushing thirty! And they’re all still in the stacks, you know? You go down to what’s now the Webster Library, or over to the Redpath, or any other incredible institution of those varieties, you can check the stuff out because I tell you, a whole lot of innovation went into the years between then and now. Okay, so—enjoy, hang out. | Video Description: Lee Gotham addresses audience while adjust microphone stand height. Gotham addresses audience and at one point addresses Sharon H. Nelson (off-screen) before returning his focus to the audience. \n\n[No signal] \n02:45:13\n[Ambient sounds (white noise).] | Video Description: Black screen with static. \n\nIan Stephens\n02:45:16\n[Cuts to Stephens introducing and performing a piece titled “(Reegan’s?) Mind”. Laughter throughout. Applause.] | Video Description: Stephens wears a black parka atop a black sweater, a red, black, and white scarf, a white cloth face mask tied around his head, red nail polish on some fingernails, and close-cropped light-brown hair. Loose closeup as Stephens takes off parka and puts up hood of sweater. Closeup zooms into extreme closeup as Stephens places two fake eyes over his eyelids and squints to keep them in place. Varying degrees of closeup as Stephens performs a piece. Gestures close to face throughout. Takes off hood partway through. Medium shot zooms out to long shot as Stephens extends arms upwards, finishes the piece, and puts on parka.\n\nLee Gotham\n02:51:58\n[Thanks Ian and the audience for attending. Introduces Fortner Anderson as the “other half of ‘Broken Spoken.’” Promotes cassettes and publications for sale. Invites Anderson to the stage. Applause.] | Video Description: Varying degrees of closeup as Gotham speaks into the mic. \n\nFortner Anderson\n02:53:00\n[Performs a piece beginning with the line “I’m a man. I’m a good man.” Laughter throughout. Applause.] | Video Description: Closeup as Anderson takes mic off stand, turns away from the camera briefly, and turns back to perform the piece. Fortner wears a dark grey suit jacket atop a black button-down shirt, black leather belt, black and gold glasses, and dark brown hair that sweeps across forehead and waves away from face. Zooms into medium shot as Anderson casually walks around the stage. Turns away from the camera and pauses after piece concludes. \n\nFortner Anderson \n02:58:24\n[Performs a piece beginning with the line “Every day, I don’t care, and I will never care.” Applause.] | Video Description: Camera alternates between long shots and medium shots as Anderson performs a piece and casually walks around the stage. Walks out of frame for a moment partway through. Turns away from the camera and pauses after piece concludes.\n\nFortner Anderson \n03:01:41\n[Performs a piece beginning with the line “Sometimes I think I’m a young boy staring into a distant, sepia-toned future.” Alternates between full voice, whispering, and shouting. Applause.] | Video Description: Camera alternates between medium shots and loose closeups as Anderson performs a piece and casually walks around the stage. Turns away from the camera and pauses after piece concludes.\n\nFortner Anderson\n03:10:48\n[Performs a piece beginning with the line “I got hurt so bad today.” Applause.] | Video Description: Medium shot as Anderson performs a piece and casually walks around the stage.\n\nFortner Anderson\n03:15:08\n[Thanks Ian, Neil, Joelle, and the Fluffy Pagan Echoes. Directs audience to table to buy “souvenirs.” Applause.] | Video Description: Long shot zooms into medium shot as Anderson speaks into the mic. Places mic on stool. \n\nLee Gotham\n03:15:39\n[Thanks Anderson for “the climax of the evening’s offerings.” Announces brief pause and that the open mic will continue afterwards.] | Video Description: Medium shot as Gotham puts mic back on stand and speaks into it while smoking a cigarette. \n\n[No signal]\n03:16:09\n[Ambient sounds (white noise).] | Video Description: Black screen with static. \n\nLee Gotham\n03:16:16\n[Cuts to Gotham introducing Ian Stephens.] | Video Description: Medium long shot as Lee Gotham talks to Ian Stephens, who is masked and sitting upstage. Gotham wears a dark sweater with snowflake motifs, rolled-up sleeves, black baseball cap turned back, stubble, long hair. Zoom into a closeup as Gotham goes to the mic and invites Ian Stephens to the stage.\n\nIan Stephens\n03:16:50\n[Calls for Peter. Reads an epistolary poem to Peter. Invites Peter to the stage.] | Video Description: Zoom into a closeup as Ian Stephens interacts with the audience and reads a poem directed to an audience member. Stephens wears a brown jacket atop a t-shirt with the words “BAD RELIGION” partially visible, a black scarf with red and grey stripes, buzz haircut.\n\nPeter\n03:18:44\n[Reads “Science Fiction,” beginning with the line “I live in a very old beautiful home.” Applause. Calls Ian Stephens to the stage.] | Video Description: Zoom out to a medium closeup as Peter enters the stage. Peter wears a plaid brown shirt with rolled-up sleeves atop a white shirt, black scarf, black beanie hat, close-trimmed beard. Peter reads a piece.\n\nIan Stephens\n03:22:20\n[Organizes objects on stage, in front of him. Introduces “Regan's mind #2, or, Reagan remembers.” Continues setting up the stage. Puts on a cowboy hat. Sits down. Explains that, in this piece, he is Reagan’s mind. Puts on fake eyeballs, one larger than the other.] | Video Description: Medium closeup as Ian Stephens sets the stage.\n\nIan Stephens\n03:25:22\n[Performs “Regan's mind #2, or, Regan remembers.” The piece is spoken against the background recording of a radio that keeps switching between stations; Stephens frequently comments upon the different pieces of music. Applause. Thanks the audience.] | Video Description: Medium closeup as Ian Stephens performs a piece while sitting down and holding the mic. After the opening the line, the fake eyeballs fall. Stephens readjusts them, but they fall multiple times. Stephens holds props during the performance, including a doll. At the end of the piece, amid applause, Stephens removes the cowboy hat.\n\nIan Stephens\n03:41:43\n[Introduces and reads “The holy city,” crediting the music to Kevin Komoda (Stephen’s collaborator in the Wining Dining Drilling musical group). Performs “The holy city,” against background music by Kevin Komoda. Thanks the audience. Applause.] | Video Description: Medium shot, then zoom into a closeup as Ian Stephens introduces and performs a piece. Stephens stands up to perform, holding a notebook and the mic; the camera zooms out and back into a medium closeup, following Stephens.\n\nIan Stephens\n03:49:37\n[Announces he wants to try something different at the end, opening space for questions from the audience. Introduces “a few sweet terror poems,” adding that it is tricky but not impossible to read them (referring to the fact he’s wearing a mask). Before reading, names objects from what he calls “Reagan’s mind’s desk,” including a book titled “Guilt Free.” Adds that Reagan is a lucky man to have Alzheimer’s.] | Video Description: Medium closeup as Ian Stephens leafs through a notebook, talks with the audience, then puts on a skeleton mask.\n\nIan Stephens\n03:51:37\n[Reads a poem from the “Let’s be dead” sequence, beginning with the line, “I drew a picture of my coffin.” Explains it was not included in the book (Diary of a Trademark, The Muses’ Co., 1995) because it was “too deadly.”] | Video Description: Medium closeup as Ian Stephens performs a piece.\n\nIan Stephens\n03:52:30\n[Reads “Let’s be dead,” opening with the line “I know the club where you got the blow-job” (with slight differences from the version published in Diary of a Trademark, The Muses’ Co., 1995). Thanks audience. Applause.] | Video Description: Medium closeup as Ian Stephens performs a poem. Removes the mask mid-performance.\n\nIan Stephens\n04:00:11\n[Introduces “I Started to get sick in New York” mentioning it is also from the book (Diary of a Trademark, The Muses’ Co., 1995) and another piece with music by Kevin Komoda. States the piece is dedicated to David Wojnarowicz. Performs piece, with significant differences from the version published in the book. Thanks the audience. Applause.] | Video Description: Medium shot then zoom into a medium closeup as Ian Stephens introduces and performs a piece.\n\nIan Stephens\n04:06:35\n[Asks the audience if they have any questions.] | Video Description: Medium shot then zoom into a medium closeup as Ian Stephens welcomes questions from the audience.\n\nAudience_Member1\n04:06:42\nDid I know you in Lennoxville in 1972? [Laughter.] | Video Description: Zoom into a medium closeup as Ian Stephens listens to a question from the audience.\n\nIan Stephens\n04:06:48\nA hypothetical question. Yes. [Laughter.] | Video Description: Medium closeup as Ian Stephens answers the question.\n\nLee Gotham\n04:07:03\n…speaking about a journalist, and we had a difference of opinion of your work, and she said, in spite of frequent irony, it wasn’t rescued, that there was something wrong with it [laughter]; and I thought, well, it’s more just sort of brute reality of it that appeals to me, more often than not, above and beyond all the crap and whatnot. What do you say, when someone has this adverse sort of reaction? | Video Description: Medium closeup then zoom out to a medium shot as Ian Stephens listens to a question from Lee Gotham.\n\nIan Stephens\n04:07:41\nI don’t care. [Laughter. Asks if anybody has another question.] | Video Description: Medium shot as Ian Stephens receives the mic back from Lee Gotham then zoom into a closeup as Stephens answers Gotham’s question.\n\nAudience_Member2\n04:08:03\n[Asks if Stephens is happy to be back in Montreal]. | Video Description: Medium closeup as Ian Stephens listens to a question from the audience.\n\nIan Stephens\n04:08:10\nOh yeah, I love Montreal, my home, I was born here, raised here. Everything I see around here resonates. (Certain little memories?). (?) Montreal was a province unto itself. | Video Description: Medium closeup as Ian Stephens answers to the question.\n\nLee Gotham\n04:08:33\n[Asks about other performers or events that Ian Stephens would like see throughout the town.] | Video Description: Medium closeup as Ian Stephens listens to a question from Lee Gotham.\n\nIan Stephens\n04:08:48\nI think things are moving in a half-decent pace. [Lee Gotham interrupts.] I think the spoken word is getting passé. You have to make the leap into performance and you do that by getting out of the text; I’m still going through transition. But once you get beyond the text, it becomes performance poetry, which is a leap a lot of poets can’t do. The academics cannot do it. And I think that’s the litmus test. The academics, they wonder why their books don’t sell, they are unpopular, or whatever. You have to make that leap, I think. If you want to work with an audience, other than a very limited book reader. Ok, no more questions. Thank you very much. | Video Description: Medium closeup as Ian Stephens answers Gotham’s question. Zoom out to a medium long shot as Stephens puts scarf on and organizes objects amid applause.\n\nLee Gotham\n04:10:00\n[Thanks Ian Stephens. Announces break.] | Video Description: Zoom into a medium closeup as Lee Gotham takes the mic and announces a break.\n\n[No signal]\n04:10:15\n[Ambient sounds (white noise).] | Video Description: Black screen with static. \n\nLee Gotham\n04:10:20\n[Cuts to Gotham introducing Robert Allen as one of his favourite profs from Concordia. Invites Allen to the stage to read from novels, poetry collections, and Moosehead Anthologies he has been a part of. Mentions Allen is a new editor at Matrix Magazine. Gotham wears a black and white knit sweater with geometric designs and sleeves rolled up to elbows and straight shoulder-length hair down.\n\nRobert Allen\n04:11:30\n[Thanks Gotham. Introduces and performs a piece titled “The Arnold Schwarzenegger and Maria Shriver Wedding Poem.”] | Video Description: Medium closeup as Allen introduces and performs a piece. Allen wears a grey long-sleeve plaid shirt with black buttons and a black hood, and slightly curly light brown chin-length hair.\n\nRobert Allen\n04:13:17\n[Explains that the next piece is about the plane crash of a French rugby team in the Andes mountains and it involves cannibalism. Introduces and performs a piece titled “Rugby Players Stranded in the Andes.” Applause.] | Video Description: Closeup as Allen introduces and performs a piece. \n\nRobert Allen\n04:16:34\n[Explains that the next piece is about the mail order pornography business. Introduces and performs a piece titled “Late Romantics.”] | Video Description: Closeup as Allen introduces and performs a piece. \n\nRobert Allen \n04:18:03\n[Explains that the next piece encapsulates nineteenth-century Russian literature in five lines. Introduces and performs a piece titled “A Sadder Scene Than You Know at Tolstoy(’s?) Station.”] | Video Description: Closeup as Allen introduces and performs a piece. \n\nRobert Allen\n04:18:48\n[Mentions he lives in the country with Anne Stone. Introduces and performs a piece titled “Mount Cloud.” Applause. Hard cut.] | Video Description: Closeup as Allen introduces and performs a piece. Zooms out to long shot as Allen leaves stage. Hard cut. \n\nLee Gotham\n04:21:00\nIntroduces Doug Isaac. Mentions Isaac’s poetry collection Past, Present: Tense will be published with Imperial (Note: book actually published with BuschekBooks.) Applause.] | Video Description: Closeup zooms out to medium shot as Gotham speaks into the mic. \n\nDouglas (Doug) Isaac\n04:21:30\n[Introduces piece titled “Centres of Treatment” that is in part a homeless man’s verbatim dialogue, while the other half is dialogue written by Isaac. Says he will use different voices for each character.] | Video Description: Closeup as Isaac lowers the mic and speaks to the audience. Isaac wears a black button-down shirt with sleeves rolled up to elbows atop a white shirt that has an indiscernible pattern, and medium brown hair pushed back from face. \n\nSpokenWeb notes \n04:22:39\nAt 04:23:30 and 00:23:43, Isaac says a racial slur. \n\nDouglas (Doug) Isaac\n04:22:44\n[Performs \"Centres of Treatment.\" Applause.] | Video Description: Zooms out to medium shot as Isaac performs a piece, alternating between performing into the mic and stepping slightly away from it. \n\nLee Gotham\n04:33:33\n[Thanks Douglas (Doug) Isaac.] | Video Description: Medium shot of Gotham speaking into the mic.\n\n[No signal]\n04:33:43\nAmbient sounds (white noise).] | Video Description: Black screen with static.\n\nColin Christie and Corey Frost\n04:33:53\n[Cuts to Colin Christie and Corey Frost performing a piece about suicide. Alternate between singing songs such as “Crimson and Clover” by Tommy James & The Shondells (Roulette, single, 1968), vocally imitating vehicles, and performing the piece. Play the children’s clapping game “Miss Mary Mack.” Applause.] | Video Description: Long shot of Christie and Frost performing a piece without mics, singing, walking around the stage area, gesturing, and becoming different characters for an embodied and theatrical performance. Christie wears a light blue long-sleeved plaid shirt open atop a black shirt, a necklace, and light brown hair. Frost wears a plaid vest atop a medium blue plaid shirt, a necklace with a large gold ring, and long curly dark brown hair.\n\nLee Gotham \n04:39:01\n[Thanks Colin Christie and Corey Frost.] Video Description: Long shot of Bistro 4 and Gotham speaking into the mic.]\n\n[No signal]\n04:40:03\n[Ambient sounds (white noise).] | Video description: Black screen with white text that reads \"-0:00:32.\"\n\nLee Gotham\n04:40:07\n[Cuts to Gotham inviting Ian Ferrier to the stage.] | Video Description: Medium closeup zooms out to medium long shot as Gotham speaks into the mic.\n\nIan Ferrier \n04:41:09\n[Introduces and performs a piece titled “St. Valentine’s Day Massacre.” Laughter throughout. Applause.] Video Description: Medium shot zooms into closeup as Ferrier adjusts the mic, speaks into the mic, and performs a piece. Ferrier wears an unzipped black winter jacket atop a black graphic t-shirt with a white logo, dark brown hair with a strip shaved out of it from above left eye to crown of head.\n\nIan Ferrier \n04:44:57\n[Introduces and performs a piece titled “The Theatre of Three AM.” Applause.] | Video Description: Closeup as Ian Ferrier speaks into the mic and performs a piece. \n\nIan Ferrier\n04:46:24\n[Introduces and performs a piece titled “Politician.” Laughter throughout. Applause.] | Video Description: Closeup as Ian Ferrier speaks into the mic and performs a piece. \n\n[Bistro 4]\n04:49:00\n[Ambient noise, applause.] | Closeup zooms out to a long shot of the lone mic on the stage. \n\n[No signal] \n04:49:11\n[Ambient sounds (white noise).] | Video Description: Black screen with static.\n\nSteve Luxton\n04:49:15\n[Cuts to Luxton introducing and performing a piece titled “Sweeney Todd.” Applause.] | Video Description: Medium shot zooms into loose closeup as Luxton speaks into the mic and performs a piece. Luxton wears a red button-down shirt, round metal-rimmed glasses, wavy blonde ear-length hair.\n\n[Bistro 4]\n04:52:38\n[Ambient noise, applause.] | Closeup zooms out to a long shot of the lone mic on the stage.\n\n[No signal]\n04:52:45\n[Ambient sounds (white noise).] | Video Description: Black screen with static. \n\nSpokenWeb notes\n04:52:50\nIn the following performance, Raymond Filip uses an outdated term in reference to a cross-dressing man.\n\nRaymond Filip\n04:52:50\n[Cuts to Filip reading “Transvestite at his Toilette.” Applause.] | Video Description: Cut to medium shot as Filip performs a piece. Filip wears a dark plaid sport coat atop a brown button-down shirt, brown shaggy hair, mustache, and chin beard.\n\n[No signal]\n04:54:56\n[Ambient sounds (white noise).] | Video Description: Black screen with static.\n\nEND\n04:56:03\n[End of recording.]"],"score":1.8530173},{"id":"6884","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Lee Gotham collection"],"source_collection_label":["Lee Gotham collection"],"collection_contributing_unit":["Spokenweb at Concordia University"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Lee Gotham collection contains the AV recordings regarding the Enough Said series, including readings, performances, open-mic, and spoken-word events that took place at Bistro 4 and other Montreal venues between December 1994 and June 1996."],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Enough Said, Highlights Part 2"],"item_title_source":["Asset"],"item_title_note":["Ephemera accompanying asset."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["Lee Gotham collection"],"item_subseries_title":["Enough Said"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. We may wish to seek permission from individual artists and Drew Duncan, the videographer."],"creator_names":["Gotham, Lee"],"creator_names_search":["Gotham, Lee"],"creators":["[{\"url\":\"https://viaf.org/viaf/106179112\",\"name\":\"Gotham, Lee\",\"dates\":\"1962-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Producer\",\"Performer\"]}]"],"contributors_names":["Duncan, Drew","Ferrier, Trevor John","Backo, Njacko","Groupe de Poésie Moderne","Skarstedt, Sonja A.","Suderman, Lynn","Phineas Flower Trio","Godin, S. (Steve)","Karasick, Adeena"],"contributors_names_search":["Duncan, Drew","Ferrier, Trevor John","Backo, Njacko","Groupe de Poésie Moderne","Skarstedt, Sonja A.","Suderman, Lynn","Phineas Flower Trio","Godin, S. (Steve)","Karasick, Adeena"],"contributors":["[{\"url\":\"\",\"name\":\"Duncan, Drew\",\"dates\":\"\",\"notes\":\"Videographer.\",\"nation\":[],\"role\":[\"Recordist\"]},{\"url\":\"https://viaf.org/viaf/134163706522529420680/\",\"name\":\"Ferrier, Trevor John\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/106408843/\",\"name\":\"Backo, Njacko\",\"dates\":\"1958-\",\"notes\":\"There is a redundant VIAF entry for the same person: https://viaf.org/viaf/3790168740912279530004\",\"nation\":[],\"role\":[\"Storyteller\"]},{\"url\":\"\",\"name\":\"Groupe de Poésie Moderne\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/6660966\",\"name\":\"Skarstedt, Sonja A.\",\"dates\":\"1960-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Suderman, Lynn\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Phineas Flower Trio\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/105712077\",\"name\":\"Godin, S. (Steve)\",\"dates\":\"1956-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/76188856\",\"name\":\"Karasick, Adeena\",\"dates\":\"1965-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]}]"],"performer_name":["Ferrier, Trevor John","Groupe de Poésie Moderne","Skarstedt, Sonja A.","Suderman, Lynn","Phineas Flower Trio","Godin, S. (Steve)","Karasick, Adeena"],"Recordist_name":["Duncan, Drew"],"Storyteller":["Backo, Njacko"],"Production_Date":[1996],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/6884/Enough_Said-VHS_Highlights_Part2.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Video\",\"tape_brand\":\"FUJI HQ T-120 (NFL branded)\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"120 minutes\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"VHS\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Tape box. Handwritten labels on sides. Ephemera accompanying asset.\",\"other_physical_description\":\"VHS #Highlights_2 asset.\"}]"],"material_designations":["VHS"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Video"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:v:/g/personal/carlosa_pittella_concordia_ca/EW5MXQ3QFXVGsojN8m3ejkABijEJ4dxXXLDLT6iZkvV-eA\",\"file_path\":\"\",\"filename\":\"Enough_Said-Feature_Highlights-Part2.mp4\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"03:24:34\",\"precision\":\"\",\"size\":\"5.78 GB on disk\",\"bitrate\":\"2304Kbps (original); 256Kbps (master)\",\"encoding\":\"MPEG-4 movie\",\"contents\":\"This is file 1 of 1 containing highlights from the Enough Said series, selected by Lee Gotham.\",\"notes\":\"Dimensions: 640 × 480.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Video Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1996\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"Asset\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/2428619734\",\"venue\":\"Bistro 4\",\"notes\":\"Bistro 4 (pronounced Bistro Quatre), no longer in existence.\",\"address\":\"4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada\",\"latitude\":\"45.5169628\",\"longitude\":\"-73.5796147\"}]"],"Address":["4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada"],"Venue":["Bistro 4"],"City":["Montreal, Quebec"],"content_notes":["Event recording starts at 00:00:00:00 of VHS #Highlights_2 Asset."],"Note":["[{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"},{\"note\":\"VHS #Highlights_2 asset. The asset was digitized, generating both uncompressed and compressed video files. Metadata based on the compressed file.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670549201354752,"timestamp":"2026-01-07T14:59:53.772Z","contents":["The tape includes excerpts from four different events: (1) Enough Said 1995-02-20, Backo and Groupe de Poésie Moderne; (2) Enough Said 1995-02-27, Skarstedt and Suderman; (3) Enough Said 1995-03-06, Phineas Flower Trio and Godin; (4) Enough Said 1995-03-13, Karasick.\n\n[Bistro 4]\n00:00:14\nVideo Description: Colour video, different degrees of closeup of the stage at Bistro 4 (Quatre) (4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada). A single mic stand. The stage, slightly below street level, is set against a full-wall window looking out onto the St. Laurent Blvd. traffic—with both pedestrians and vehicles regularly passing by. The windows from across the street are also visible, including an outdoor “JETHRO” sign. People frequently pass in front of the camera. On the café windows, some decals are partially visible, with words from the menu such as “DÉJEUNER,” “CAPPUCCINO,” and “TISANE.”\n\nTrevor Ferrier\n00:00:15\n[Cuts to Ferrier playing drums while telling a story in English, opening with the line “Some have seen it and wish they hadn’t.” Applause.] | Video Description: Medium shot of Trevor Ferrier entering the stage and picking up his percussion instrument from the floor. Ferrier wears a red Henley shirt with the sleeves rolled up, shaved head, and thin moustache. Different degrees of closeup as Ferrier tells a story while playing percussion.\n\nTrevor Ferrier\n00:16:03\n[Plays the sanza while telling another story in English, opening with the line “Once on the far side of yesterday there lived a little girl who wanted to know the future.” Applause.] | Video Description: Medium shot of Trevor Ferrier picking up the sanza.  Different degrees of closeup as Ferrier tells a story while playing the sanza. At some point the camera zooms into an extreme closeup of his hands playing. \n\nLee Gotham\n00:35:10\n[Thanks Trevor Ferrier and announces a break.] | Video Description: Lee Gotham walks to stage and makes remarks. Gotham wears a grey button-down shirt with sleeves a bit rolled up and tucked into jeans, black leather belt, full beard, and long hair tied in a ponytail. \n\nLee Gotham\n00:35:29\n[Cut to Lee Gotham introducing Njacko Backo.] | Video Description: Medium long shot from the other side of the stage, now capturing the performers slightly from a diagonal left. \n\nNjacko Backo\n00:35:40\n[Salutes the audience in French and tells a story titled “Macaco.” Applause.] | Video Description: Closeup of Njacko Backo entering the stage. Backo wears a dark sweater, neck-length braided hair, and a large beaded necklace. As Backo tells a story, the camera alternates among different degrees of closeup and pans from side to side to accompany Backo on stage. At some point, Backo balances a percussion instrument (the same one Ferrier drummed) on his head, acting out part of the story. Backo incorporates call-and-responses and a choruses with the audience into the storytelling.\n\nLee Gotham\n00:48:36\n[Applause.] | Video Description: Zoom to a medium closeup as Lee Gotham walks on stage, clapping and smoking. \n\n[No signal]\n00:48:42\n[Ambient sounds (white noise).] | Video Description: Black screen with static. \n\nGroupe de Poésie Moderne\n00:48:46\n[Cuts to the Groupe performing a spoken-word piece, alternating solos with choruses. Audience laughter as a group member repeats the line “Ce soir.” Applause.] | Video Description: Cut to medium shot of the Groupe de Poésie Moderne. All wear black shirts and pants. Six members of the group stand in a circular formation, all facing the stage, with the centre apparently empty. As the group performs, the camera zooms in and out of various degrees of closeup. At some point, a seventh performer emerges from the centre of the group formation, going up and down several times. Later on, the group briefly breaks the formation, acting out an argument.\n\nGroupe de Poésie Moderne\n00:55:20\n[The Groupe performs a second spoken-word piece, opening with the line “Bonsoir, nous sommes le Groupe de Poésie Moderne!” Applause.] | Video Description: Medium shot of the Groupe de Poésie Moderne. The seven group members now stand in a loose row, all facing the stage. Save by one performer, who reads, all members perform from memory. Zoom in and out of various degrees of closeup.\n\nGroupe de Poésie Moderne\n01:01:18\n[The Groupe performs a third piece, opening with the line “Bonjour, ma très belle, je suis inquiet pour toi.” Applause.] | Video Description: Medium shot of the Groupe de Poésie Moderne performing. The piece opens with only two members dialoguing and facing the audience, while the others stand on either side of the duo, with their backs to the camera. A third member turns to the audience and stands in front of the duo, addressing the audience. At the end, all other members turn to salute the audience, amid applause. \n\nLee Gotham\n01:03:38\n[Thanks the Groupe de Poésie Moderne. Announces the open mic, as well as upcoming events.] | Video Description: Medium long shot then closeup as Lee Gotham thanks the performers and makes announcements.\n\n[No signal]\n01:03:50\n[Ambient sounds (white noise).] | Video Description: Black screen with static.\n\nSonja Skarstedt\n01:03:58\n[Cuts to Skarstedt reading the short story “Heaven and Hell” (later published as part of the play “Saint Francis of Esplanade,” Empyreal Press, 2001).] | Video Description: Medium closeup, then zoom in and out, oscillating between extreme closeup and medium shot. Skarstedt wears a sweater with an eight-point-star pattern, dangle earrings, and a blonde mullet. Lee Gotham adjusts the mic as Sonja Skarstedt walks onto the stage. Gotham wears a black turtleneck, stud earrings on the left lobe, hair tied under a black Taqiyah-style skullcap with a folded visor, and a beard. Skarstedt reads from a manuscript.\n\nSonja Skarstedt\n00:18:58\n[Exclaims “Poor Lord!” and the audience laughs.] | Video Description: Medium closeup. Sonja Skarstedt reads. \n\nSonja Skarstedt\n00:19:02\n[Resumes reading of “Heaven and Hell” after audience laughter. Applause.] | Video Description: Alternating medium closeup and closeup. Skarstedt continues reading. At the end, walks off stage amid applause as the camera zooms out to a medium long shot.\n\n[No signal]\n01:36:57\n[Ambient sounds (white noise).] | Video Description: Black screen with static.\n\nLee Gotham \n01:37:05\n[Cuts to ambient sounds, voices.] | Video description: Medium shot of Gotham adjusting the mic and standing in front of the camera.\n\nLynn Suderman\n01:37:15 \nMy friend Mary brought me a Bible for this [Laughter]. [Tells a story about her first tattoo and people asking the same two questions about it: does it hurt, and is it permanent? Then presents these questions as a motto for our times, applicable to government budgets, haircuts, and wakes.] So, this is my wake, for February and for the fact that I quit smoking and February is the worst month to quit smoking and I’m not doing very well. | Video Description: Medium shot as Lee Gotham leaves and Lynn Suderman walks onto the stage. Suderman wears a black long-sleeved blouse and short black hair tucked behind ears. Suderman drinks from a glass and holds a Bible and a pack of pages. After setting the glass down, tells a story, brandishes the Bible and settles it down to read.\n\nLynn Suderman\n01:38:43\n[Reads “Wake up,” beginning with the line, “I went on a long drive one summer’s day.” Occasional unscripted interruptions to interact with the audience. Frequent bursts of laughter.] | Video Description: Alternating closeup and medium closeup. Lynn Suderman reads and interacts with the audience. \n\nLynn Suderman\n01:46:04\n[Interrupts the reading to ask her friend Mary to help search for a Bible passage. Starts reciting from memory when Mary finds the passage] | Video Description: Closeup then medium closeup of Lynn Suderman on stage. Suderman interrupts the reading and walks to the audience to ask her friend to search for a Bible passage.]\n\nLynn Suderman\n01:46:25\n[Continues performing “Wake Up.” Friend hands her the bible. Suderman reads from the bible and her pages. Makes one more unscripted interruption, causing a burst of laughter among the audience. Applause] | Video Description: Alternating medium and extreme closeups. Lynn Suderman reads. Zoom out to a medium shot as Suderman leaves the stage.\n\n[No signal]\n01:47:29\n[Ambient sounds (white noise).] | Video Description: Black screen with static.\n\nLee Gotham\n01:47:37\n[Cuts to Gotham introducing the Phineas Flower Trio.] | Video Description: Closeup of Gotham speaking into the mic. Gotham wears a Taqiyah-style skullcap, and long button-down shirt over a t-shirt. \n\nPhineas Flower Trio\n01:47:44\n[Voice interrupts Gotham from out of the frame] Just get on with it, man! | Video Description: Zoom out from Lee Gotham and pan left to the Phineas Flower Trio.\n\n\nLee Gotham\n01:47:45\nI believe want you to keep your distance during their act, they want lots of space, so just stay where you are [laughter]. A little later in the evening we will have Steve Godin. Steve Godin is going to do something that will set everyone’s teeth on edge [laughter]. It’s not true; Steve is a wonderfully amenable type and he’s gonna be here with us before very long. And in the meantime please welcome Phineas Flower. Stay where you are. [Applause].  | Medium long shot panning between Lee Gotham, standing, and the Phineas Flower Trio, sitting, one of them smoking. Gotham finishes his remarks and introduces the Phineas Flower Trio.\n\nPhineas Flower Trio\n01:48:25\n[Drummer interrupts the applause] No clapping, we are serious jazz musicians. [Laughter] | Video Description: Medium long shot of Lee Gotham leaving the stage and the Phineas Flower Trio walking to their instruments and places. Before sitting by the drums, the drummer goes to the mic. The drummer wears a long green coat over a black turtleneck and buzz-cut hair. The camera zooms into a closeup of the mic, and the guitar player gets his instrument caught on the mic cable, almost knocking the stand down.\n\nPhineas Flower Trio\n01:48:51\n[The band spends an unnecessarily long time tuning and making adjustments, seemingly to irritate the audience.] | Video Description: Zoom out to a medium long shot of the stage, panning left and right, showing the Phineas Flower Trio: the drummer on right of the screen, further to the back, behind the mic stand; the guitar player in the middle, putting his lit cigar on his guitar head, among the tuning keys; and the bass player on the left, smoking. The guitar player wears a grey Henley shirt with sleeves rolled-up to the elbow, short hair, a thin moustache, and a goatee. The bass player wears a black and red coat atop a patterned button-down shirt, long hair, a Van-Dyke beard, and sunglasses.\n\nPhineas Flower Trio and Audience\n01:50:01\n[A voice from the audience says, “Let’s go, eh?!”; two band members reply aggressively, “Back off!” “What the fuck was that? Why don’t you shut up?!”] | Video Description: Medium long shot of the stage, panning left and right, showing the Phineas Flower Trio.\n\nPhineas Flower Trio\n01:51:17\n[A vocalist joins the Phineas Flower Trio to plays their first song, a spoken-word piece against a jazzy groove. One one of the first lines is “(Dereliction?) and (pain?), corrupted by ambient (rain?).” At the end of the first piece, the vocalist says, “Thank you very much, we are the Phineas Flower Trio.”] | Video Description: Medium long shot of vocalist leaving the audience to join the Phineas Flower Trio, sitting on a bar stool, higher than the other band members. The vocalist wears short curly hair, sunglasses, and a grey sweater over a flowery dress. He is smoking and carrying a beverage. The camera zooms in and out, settling on a medium shot of the vocalist, with the drummer partially visible behind, the latter playing while smoking. The vocalist takes a sip, then puts both glass and cigarette down to perform.\n\nPhineas Flower Trio\n01:53:37\n[Performs a second spoken-word-jazz fusion piece, beginning with the line “(Motorway?) superhighway, a massive feat of evolution in engineering.”] | Video Description: Medium closeup alternating with a medium long shot of the Phineas Flower Trio performing.\n\nPhineas Flower Trio\n01:57:05\n[Performs a third spoken-word-jazz piece. One of the first lines is “Richard Carlyle (?) among the wreckage.” Applause.] | Video Description: Medium closeup panning among the band members of Phineas Flower Trio, who perform another piece. At the end of the piece, medium long shot of the guitarist and vocalist, with the drummer partially visible; the vocalist smokes between songs.\n\nPhineas Flower Trio and Audience\n01:58:06\n[The vocalist shouts] Hey! [Someone from the audience responds, half-mockingly] No clapping. [The vocalist adds] We’re serious fucking jazz musicians up here. [Someone else from the audience protests] I didn’t fucking clap. [The vocalist responds and asks a question to the bass player] Good. What’s next, (Zanny?)?] | Video Description: Medium long shot of the guitarist and vocalist, with the drummer partially visible; then pan left to the bass player.\n\nPhineas Flower Trio\n01:58:22\n[The bass player states the title of the next piece, which is incomprehensible, then the band performs it. One of the first lines is “As the last drops of (glucose?) (?) (Cola?) go down his throat.”] | Video Description: Medium long shot of the Phineas Flower Trio, panning left and right among the band members. Zoom into a closeup of the vocalist, who drinks from a glass before the next song; then zoom out to a medium shot as the band performs, ending in a medium closeup.\n\nPhineas Flower Trio\n00:15:45\n[The Phineas Flower Trio performs a piece beginning, “Somewhere, somewhere higher than the sky.” At the end of the piece, the vocalist repeats what he said at the end of the first song, “Thank you very much, we are the Phineas Flower Trio.”] | Video Description: Medium closeup of the vocalist, as the band performs. At the end of the piece, the vocalist drinks from a glass.\n\nPhineas Flower Trio and Audience\n02:01:57\n[Right after thanking the audience, the vocalist adds, looking at the band] That sucked. [Someone from the audience asks] What kind of noise is this? [The vocalist responds] Bad noise! [The drummer interjects] Wait, man, I don’t like this dialogue going on. Can’t anyone straighten this young lady out? [Vocalist states] Let’s play the next song. [Guitar player asks] Ok, who’s the fucking pinhead who said that? [Vocalist asks the bass player] Yo (Zanny?), what’s the next song? [As the bass player starts to answer, the guitarist commands, aggressively] Pinheads, raise your fucking head. [Drummer, out of the frame] Get ’em, boy! [Vocalist] Alright, let’s play the song. [Guitarist] You’re lucky I’m in a good mood. | Video Description: Medium shot, panning left and right, of the band members interacting with each other and with the audience.\n\nPhineas Flower Trio\n02:02:26\n[The Phineas Flower Trio performs a piece, opening with a looping drum-bass riff. The vocalist burps into the mic before singing the first lines: “(You’re usually?) flapping its wings, a bee flies across the field (and fell?) searching frantically for food, gasping for breath.” Mid-performance, the drummer screams in the background. At the end of the piece, with the instrumentalists still playing, he vocalist repeats, “Thank you very much, we are the Phineas Flower Trio.”] | Video Description: Medium shot of the band, with the vocalist unbuttoning and taking off his sweater, so now his flower dress is entirely visible. Then zoom into a closeup of the vocalist as he starts singing while holding a cigarette, sometimes smoking between lines. Mid-performance, the camera zooms out and alternates between a medium shot and medium long shot.\n \nPhineas Flower Trio and Audience\n02:05:50\n[Right after thanking the audience, the vocalist adds, looking at the band] Next. [Someone from the audience interjects] Don’t say thank you, we’re a serious fucking audience. [Vocalist] Alright! [Guitar player adds, pointing at the audience] You’re a really fucking funny guy, man. [Vocalist] Let’s go, next song! [Scattered laughter and incomprehensible heckling between band and audience] | Video Description: Medium shot, panning left and right, of the band members interacting with each other and with the audience.\n\nPhineas Flower Trio and Audience\n02:06:26\n[Vocalist, with the guitarist interrupting the last word with a loud chord] In case you didn’t notice, this is an artistic (event?). [An audience member] If you didn’t (pack your lip?) it would be better. [Vocalist] Go for it. [Guitarist, out of the frame] Better than what? | Video Description: Closeup of the vocalist interacting with the band members and the audience.\n\nPhineas Flower Trio\n02:06:39\nThe Phineas Flower Trio performs a piece, opening with a looping guitar riff, then a sudden pause, when the vocalist says “Hey.”] | Video Description: Zoom into an extreme closeup of the vocalist, smoking, then performing.\n\nPhineas Flower Trio\n02:08:17\n[The band suddenly stops playing, and the drummer says to the guitarist, both out of the frame] Hey man, it’s you. [Guitarist] No, it’s you. [Drummer] You fucked up twice there. [Vocalist, trying to intervene] Let’s take it, let’s just take it… [Guitarist] (?) you have, like, no sense of time (?). [Laughter, while the argument continues, until the vocalist commands] Play! | Video Description: Closeup of the vocalist, drinking from a glass and trying to resume the performance while the band argues.\n\nPhineas Flower Trio\n02:08:43\n[The band resumes playing the same piece]. | Video Description: Closeup of the vocalist, often sipping from a glass, while the band performs. Towards the end of the piece, the camera zooms out to a medium long shot, so the drummer and guitarist also become visible.\n\nPhineas Flower Trio\n02:09:30\n[Bassist states the name of the next song] Next song is “Disgusting family.” [Vocalist announces] Alright, this is our last piece and then you will be rid of us once and for all. You can clap for that if you want! [Laughter] [Drummer] Disgusting family? [Vocalist] Wow, I don’t know, if Zanny’s standing up for this one, gotta mean something. [Laughter, shouts] [Vocalist] Zanny’s a studio musician, does a lot of uppers and stuff. | Video Description: Medium long shot, panning left and right between the bassist and vocalist, then zoom unto an extreme closeup of the vocalist. The bassist stands up and the camera pans left to show him. As the band starts performing, the camera pans back right and zooms into a medium closeup of the vocalist.\n\nPhineas Flower Trio\n02:13:00\n[Vocalist interrupting the song to address the guitarist] Yo Kevin? Kevin? What the fuck is this? It’s just such fucking shitty noise (which you just made with that?) guitar, man. How much talent does it take to stick a fucking patch cord into a guitar anyway? [Many talk at once and the argument continues until the Vocalist suggests] Or just keep doing what you’re doing. Alright, here we go, it’s your noise! | Video Description: Closeup of the vocalist interrupting the piece to complain about the guitarist. The camera pans to the drummer and the guitarist then back to the vocalist.\n\nPhineas Flower Trio\n01:47:41\n[The band resumes playing the same piece, and the vocalists speaks the last lines while the band is still playing]. Thanks for nothing. We’re the Phineas Flower Bar Mitzvah Quartet. We play weddings, funerals, bar mitzvahs, birthday parties. T-shirts and CDs are available at the door. [Applause] | Video Description: Closeup and extreme closeup of the vocalist, while the band performs. Towards the end of the piece, the camera zooms out to a medium long shot and pans left and right, so the other band members become visible as they stand up and leave the stage.\n\n[No signal]\n02:15:08\n[Ambient sounds (white noise).] | Video Description: Black screen with static.\n\nSteve Godin\n02:15:16\n[Cut to Godin reading piece beginning with the phrase, “For some time I was pondering theoretically on a compromise revolving around the ritual existence of…” The text refers to Antonin Artaud, William S. Burroughs, and Gérard de Nerval, among others. One minute into the reading, a distorted slow-moving instrumental music becomes audible in the background and gradually increases in volume.] | Video Description: Alternating medium closeup and closeup of Steve Godin seating, reading while holding the mic. Godin wears a black leather jacket and shoulder-length grey hair.\n\nSteve Godin\n02:22:22\t\nBut where is the guide? [After the question, Godin sighs into the mic, observing a pause of about 20 seconds during which we hear the background music and ambient noises.] | Video Description: Camera zooms out to a medium shot, as Godin continues to perform.\n\nSteve Godin\n02:22:45\n[Resumes reading with an increased reverb effect on the voice. The instrumental background music, now louder, approaches the volume of Godin’s voice.] | Video Description: Alternating medium shot and closeup, as Godin continues to perform.\n\nSteve Godin\n02:27:30\n[Pauses. The background music also stops for a few seconds, before resuming, developing different looping patterns. Applause.] | Video Description: Alternating medium closeup, medium shot, and closeup, as Godin continues to perform. Camera zooms out to a medium long shot, as Godin stands up to leave the stage, amid applause, and hands the mic to Lee Gotham.\n\n[No signal]\n02:34:14\n[Ambient sounds (white noise).] | Video Description: Black screen with static.\n\nLee Gotham\n02:34:15\n[Cuts to Gotham introducing Adeena Karasick. Applause.] | Video Description: Closeup of Gotham speaking into the mic. Gotham wears a yellow long-sleeved shirt and a matching yellow bandana tied around head. Gotham adjusts the mic.\n\nAdeena Karasick \n02:34:34\n[Performs a piece beginning with chanting and followed by the line “Once, upon, I came to you when I could not be integrated” Applause.] | Video Description: Varying degrees of closeups as Karasick performs a piece. Karasick wears a black zippered vest over a black long-sleeved shirt, gold dangling earrings, and shoulder length black hair that is loose and slightly curled. \n\nAdeena Karasick\n02:26:30\n[Thanks the audience. Explains that she will be reading pieces from multiple works, and that some relationships are only good for two things; “a poem at the beginning, and a poem at the end.” Laughter. Performs a piece beginning with the line “Incidentally accidental, it was an accident.” Laughter throughout. Applause.] | Video Description: Varying degrees of closeups as Karasick introduces the piece, until maintaining a medium closeup while Karasick performs. \n\nAdeena Karasick\n02:40:24\n[Explains the Poetry Express project in Toronto, in which poets performed on a bus. Performs a piece beginning with the line “Keep your eyes on the road.” Applause.] | Video Description: Medium shot as Karasick flips through papers on a blue box atop a trolley cart, which also holds an almost full glass beer bottle. Medium closeup as Karasick performs a piece.\n\nAdeena Karasick \n02:43:00\n[Introduces and performs an excerpt of a longer work called Archetorture (Wave7Press, 1990) that, Karasick explains, explores memory and her mother’s death. Applause.] | Video Description: Flips through papers on trolley. Sips beer. Flips through papers again. Medium closeup as Karasick performs a piece. \n\nAdeena Karasick\n02:48:30\n[Tells story about travelling in Germany. Performs a piece beginning with chanting and followed by the line, “And I go in to take the (?) to Meine, to Meine,” which contains both English and German. Karasick interrupts the poem to explain how food vocabulary is often the first words picked up in a new language, and then continues performing. Laughter throughout. Applause.] | Video Description: Sips beer. Shows audience an illustration in one of her collections (cover unidentifiable.) Performs a piece. The camera maintains a medium closeup. Closes books, sips beer, and it overflows with foam. Exits the stage and the frame. \n\n[No signal]\n02:54:44\n[Ambient sounds (white noise).] | Video Description: Black screen with static.\n\nAdeena Karasick and Lee Gotham\n02:54:50\n[Cuts to ambient sounds, voices.] | Video Description: Medium shot as Karasick and Gotham have an inaudible conversation.\n\nAdeena Karasick\n02:55:19\n[Performs a piece beginning with chanting and followed by the line “When the word is bound (?)” Applause.] | Video Description: Reorganizes papers on trolley. Asks Gotham for something indiscernible with gesturing. Medium shot and extreme closeup as Karasick performs a piece. \n\nAdeena Karasick\n02:56:36\n[Performs a piece titled “Autobahn Cruise” (Mêmewars, Talonbooks, 1994). Applause.] | Video Description: Medium shot as Karasick performs a piece. \n\nAdeena Karasick \n02:59:20\n[Performs a chanting piece that includes the line “just a little bit harder” from an unknown project called Squalor. Pauses performance. Says, “I’ve lost my page.” Recommences. Laughter throughout. Applause]. | Video Description: Medium closeups and medium shots as Karasick performs a piece. Partway through, looks through folders of papers on the trolley to find another page. Recommences. \n\nLee Gotham \n03:03:30\nVideo Description: Readjusts the microphone that has begun to tilt downwards. \n\nAdeena Karasick\n03:03:47\n[Introduces and performs a piece called “Parasite Maintenance.” Applause.] | Video Description: Medium shots and extreme closeups as Karasick reorganizes papers on trolley and performs a piece. \n\nAdeena Karasick\n03:08:53\n[Introduces and performs a piece titled “Aghast” (The Empress Has No Closure, Talonbooks, 1992). Shortly after starting to perform, briefly pauses and laughs. Applause.] | Video Description: Medium shot as Karasick performs a piece, pausing briefly to laugh near the beginning. \n\nAdeena Karasick \n03:08:52\n[Introduces and performs a chanting piece beginning with the line “can’t get enough serotonin.” Applause.] | Video Description: Reorganizes papers on trolley. Medium shot as Karasick performs a piece. Gathers papers and water glass and leaves the stage. \n\nLee Gotham\n01:03:32\n[Encourages the audience to ask for an encore. Applause.] | Video Description: Gotham speaks briefly into the mic and claps. \n\n[No signal]\n03:13:38\n[Ambient sounds (white noise).] | Video Description: Black screen with static.\n\nAdeena Karasick\n03:13:44\n[Cuts to Karasick explaining that “things are more uptight in Toronto.” Audience laughs at something unknown, Karasick asks, “what?” Performs a chanting piece beginning with the line, “Ululate pullulations, exhorting (Mortimer?) writhed in (bendable?) straddles.” Applause.] | Video Description: Medium shot as Karasick introduces and performs a piece.\n\n[No signal]\n03:16:29\n[Ambient sounds (white noise).] | Video Description: Black screen with static.\n\nLee Gotham\n03:16:35\n[Cuts to ambient noise and applause.] | Video Description: Medium shot of Gotham leaving the stage.\n\nDavid Jager \n03:16:36\n[Introduces and performs a piece called “Words.” Applause.] | Video Description: Closeups as David Jager performs a piece. David Jager wears a light brown striped button-down shirt with sleeves rolled up to the elbow, dark brown hair falling onto forehead in strands. \n\nDavid Jager\n03:18:25\n[Asks the audience if they want to hear an angry poem. Cheering. Introduces and performs a piece called “Smoke Eat Drive.” Applause.] | Video Description: Closeups as David Jager performs a piece. Applause and cheering throughout. \n\nDavid Jager\n03:19:48\n[Introduces and performs a piece called “Missing.” Applause.] | Video Description: Medium closeups and medium shots as David Jager performs a piece.\n\nDavid Jager\n03:26:45\n[Looks through papers. Mumbles. Introduces and performs a piece called “Dream Chicken.” Applause.] | Video Description: Looks through papers. Loose and regular closeups as David Jager introduces and performs a piece. \n\n[No signal]\n03:23:02\n[Ambient sounds (white noise).] | Video Description: Black screen with static.\n\nClifton Joseph \n03:23:12\n[Cuts to Joseph performing an unknown piece. Audience clapping along with Joseph.] | Video Description: Medium long shot of Joseph performing a piece, gesturing and stomping his foot in rhythm. Joseph wears a brown button-up vest atop a light green short-sleeved shirt, black-framed glasses, and short black hair. \n\nAnne Diamond\n03:23:42\n[Cuts to Anne Diamond performing a piece titled \"Shoe Salesman.\"] | Video Description: Medium shot of Anne Diamond performing a piece. Diamond wears a jean jacket over a grey cowl-neck sweater and pixie-cut blond hair with bangs. \n\nClifton Joseph \n03:23:45\n[Cuts to Joseph performing the same unknown piece. Audience clapping along with Joseph.] | Video Description: Medium long shot of Joseph performing a piece, gesturing and stomping his foot in rhythm. \n\n[No signal]\n03:24:01\n[Ambient sounds (white noise).] | Video Description: Black screen with static.\n\nEND \n03:24:24\n[End of recording.]"],"score":1.8530173},{"id":"6885","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Lee Gotham collection"],"source_collection_label":["Lee Gotham collection"],"collection_contributing_unit":["Spokenweb at Concordia University"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Lee Gotham collection contains the AV recordings regarding the Enough Said series, including readings, performances, open-mic, and spoken-word events that took place at Bistro 4 and other Montreal venues between December 1994 and June 1996."],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Enough Said, SpokenWord Sampler"],"item_title_source":["Asset"],"item_title_note":["Ephemera accompanying asset."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["Lee Gotham collection"],"item_subseries_title":["Enough Said"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. We may wish to seek permission from individual artists and Drew Duncan, the videographer."],"creator_names":["Gotham, Lee"],"creator_names_search":["Gotham, Lee"],"creators":["[{\"url\":\"https://viaf.org/viaf/106179112\",\"name\":\"Gotham, Lee\",\"dates\":\"1962-\",\"notes\":\"Lee Gotham selected and edited the sampler. Gotham is also the one who introduces the video, besides being featured as a performer.\",\"nation\":[],\"role\":[\"Series organizer\",\"Producer\",\"Performer\"]}]"],"contributors_names":["Duncan, Drew","Walsh, Tom","Swift, Todd","bissett, bill","Stephens, Ian","Karasick, Adeena","Groupe de Poésie Moderne","Ferrier, Trevor John","Suderman, Lynn","Joseph, Clifton","Diamond, Ann","Smith, Dee","David J."],"contributors_names_search":["Duncan, Drew","Walsh, Tom","Swift, Todd","bissett, bill","Stephens, Ian","Karasick, Adeena","Groupe de Poésie Moderne","Ferrier, Trevor John","Suderman, Lynn","Joseph, Clifton","Diamond, Ann","Smith, Dee","David J."],"contributors":["[{\"url\":\"\",\"name\":\"Duncan, Drew\",\"dates\":\"\",\"notes\":\"Videographer.\",\"nation\":[],\"role\":[\"Recordist\"]},{\"url\":\"\",\"name\":\"Walsh, Tom\",\"dates\":\"\",\"notes\":\"One-half of Swifty Lazar.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/41039443/\",\"name\":\"Swift, Todd\",\"dates\":\"1966-\",\"notes\":\"One-half of Swifty Lazar.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/96127023\",\"name\":\"bissett, bill\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/48507771\",\"name\":\"Stephens, Ian\",\"dates\":\"1954-1996\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/76188856\",\"name\":\"Karasick, Adeena\",\"dates\":\"1965-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Groupe de Poésie Moderne\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/134163706522529420680/\",\"name\":\"Ferrier, Trevor John\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Suderman, Lynn\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/104182171\",\"name\":\"Joseph, Clifton\",\"dates\":\"1957-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/29585299\",\"name\":\"Diamond, Ann\",\"dates\":\"1951–\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Smith, Dee\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"David J.\",\"dates\":\"\",\"notes\":\"Referred to as \\\"David Jaeger\\\" on the label of #SpokenWord_Sampler asset.\",\"nation\":[],\"role\":[\"Performer\"]}]"],"performer_name":["Walsh, Tom","Swift, Todd","bissett, bill","Stephens, Ian","Karasick, Adeena","Groupe de Poésie Moderne","Ferrier, Trevor John","Suderman, Lynn","Joseph, Clifton","Diamond, Ann","Smith, Dee","David J."],"Recordist_name":["Duncan, Drew"],"Production_Date":[1996],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/6885/Enough_Said-VHS_SpokenWord_Sampler.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Video\",\"tape_brand\":\"FUJI HQ T-120 (NFL branded)\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"120 minutes\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"VHS\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Tape box. Handwritten labels on sides.\",\"other_physical_description\":\"VHS #SpokenWord_Sampler asset.\"}]"],"material_designations":["VHS"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Video"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:v:/g/personal/carlosa_pittella_concordia_ca/ESgT1SwWoVBNir9hsZnhRkYBWgN-DCzAa3N_PHJVEgfjpA\",\"file_path\":\"\",\"filename\":\"Enough_Said-SpokenWord_Sampler.mp4\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:17:29\",\"precision\":\"\",\"size\":\"0.49 GB on disk\",\"bitrate\":\"2304Kbps (original); 256Kbps (master)\",\"encoding\":\"MPEG-4 movie\",\"contents\":\"This is file 1 of 1 containing samples from the Enough Said series, selected by Lee Gotham.\",\"notes\":\"Dimensions: 640 × 480.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Video Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1996\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"Asset\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/2428619734\",\"venue\":\"Bistro 4\",\"notes\":\"Bistro 4 (pronounced Bistro Quatre), no longer in existence.\",\"address\":\"4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada\",\"latitude\":\"45.5169628\",\"longitude\":\"-73.5796147\"}]"],"Address":["4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada"],"Venue":["Bistro 4"],"City":["Montreal, Quebec"],"content_notes":["Event recording starts at 00:00:00:00 of VHS #SpokenWord_Sampler Asset."],"Note":["[{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"},{\"note\":\"VHS #SpokenWord_Sampler asset. The asset was digitized, generating both uncompressed and compressed video files. Metadata based on the compressed file.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670549203451904,"timestamp":"2026-01-07T14:59:53.772Z","contents":["Besides an introduction by Lee Gotham recorded especially for this sampler, the tape includes excerpts from the following events: (1) Enough Said 1995-03-13, Karasick; (2) Enough Said 1994-12-19, Gotham and Diamond; (3) Enough Said 1995-02-20, Backo and Groupe de Poésie Moderne; (4) Enough Said 1995-02-27, Skarstedt and Suderman; (5) Enough Said 1995-01-09, Swifty Lazarus; (6) Enough Said 1995-04-17, Joseph; (7) Enough Said 1995-05-01, Stephens, Suderman, Diamond, and McGrail; (8) Enough Said 1995-04-03, Smith; and (9) Enough Said 1995-01-16, bissett and Nelson.\n\nBistro 4\n00:00:17\nVideo Description: Colour video of the sidewalk at night outside of Bistro 4 (Quatre) (4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada). Closeup of a poster that reads \"Enough said\" with a logo above it looking into the window zooms out to a shot of the whole window. Window has horizontal blinds on the inside and various newspaper clippings taped to the outside.\n\nLee Gotham\n00:00:23\nEnough Said. Spoken word performance event series, here in Montreal. Weekly, for six months, full houses, people coming out to hear poetry, on a Monday night, consistently for six months. Spoken word, though, spoken word. Something, between the library stacks and the reading from the lectern approach of the traditional reading series, and, uh, the television, perhaps, side of the equation, the fast food delivery of a poetry slam, spoken word's, there's a lot of room created like a community, I think in a spoken word uh, uh, event where you see a lot of interactive action you see a lot of work coming out of the presentation of work, spoken words, so, blah, blah blah, let's watch some spoken word. [Jazz music plays in the background, seemingly coming live from Bistro 4.] | Video Description: Camera pans right to a closeup of Lee Gotham speaking, then zooms into a closeup of the Enough Said poster. \n\nAdeena Karasick\n00:01:22\n[Cut to Karasick performing a piece beginning with chanting and followed by the line, “And I go in to take the (?) to Meine, to Meine,” which contains both English and German. Karasick interrupts the poem to exclaim \"I can't believe I wrote that.\" Laughter.] | Video Description: Medium shot of Karasick reading from a book. Karasick wears a black zippered vest atop a black long-sleeved shirt, gold dangling earrings, and shoulder length black hair that is loose and slightly curled. Pauses performance to speak into the mic. Laughter. \n\nLee Gotham\n00:02:24\n[Cut to Gotham performing a piece including the line, \"In life, there are misleaders and the mistaken.\" Live jazz music plays in the background.] | Video Description: Long shot of Gotham performing a piece, Sam Shalabi sitting and playing guitar, and Unknown_Musician1 playing the drum kit. Gotham wears a grey collared shirt with sleeves rolled to elbows atop a white collared shirt, black taqiyah-style hat with a small folded visor, and shoulder length brown hair. Shalabi wears a red button-down shirt with sleeves rolled up to elbows, large metal-rimmed glasses, and thinning dark brown hair. Unknown_Musician1 wears a blue and white argyle sweater with sleeves rolled up to elbows, a silver watch, glasses, and short curly dark brown hair. \n\nSam Shalabi \n00:02:40\nVideo Description: Zooms into medium shot of Sam Shalabi playing guitar and chewing.\n\nUnknown_Musician1\n00:02:57\nVideo Description: Pans to medium shot of Unknown_Musician1 playing drums. Gotham is visible on the right side of screen.\n\nLee Gotham\n00:03:05\n[Continues performing piece. Music by Unknown_Musician1 and Sam Shalabi continues in background. Gotham pauses.] | Video Description: Medium shot zooms into medium closeup as Gotham continues performing a piece. Zooms out to medium shot part way through. Gotham expands arms like flying bird while performing.\n\nGroupe de Poésie Moderne\n00:03:18\n[Cut to Groupe de Poésie Moderne performing a spoken-word piece mixed with group singing. A group member repeats the line “Ce soir.” Various members speak in succession. Laughter throughout.] | Video Description: Cut to medium shot of the Groupe de Poésie Moderne. Six members of the group stand in a circular formation, all facing the stage, with the centre apparently empty. All wear black shirts and pants. A seventh performer repeatedly emerges from the centre of the group formation, going up and down several times. Various performers speak.\n\nTrevor Ferrier\n00:04:15\n[Cut to Ferrier drumming while telling a story including the line “The banshee is known to sit wailing (?) the side of the tree.”] | Video Description: Long shot of Trevor Ferrier sitting and telling a story while playing percussion. Ferrier wears a red Henley shirt with the sleeves rolled up, shaved head, and a thin moustache.\n\nLynn Suderman\n00:05:17\n[Cut to Suderman asking her friend Mary to help search for a Bible passage. Starts reciting from memory when Mary finds the passage. Reads from the bible. Audience laughter throughout. Applause.] | Video Description: Medium shot of Suderman talking to someone off-screen. Suderman wears a black long-sleeved blouse and short black hair tucked behind ears. Takes the bible from Mary and starts reading from it. Camera zooms into extreme closeup, then a longshot as Suderman leaves the stage. \n\nSwifty Lazarus (Todd Swift and Tom Walsh)\n00:06:28\n[Cut to Swift performing a piece beginning with the line “I’ve seen a man stagger with a thousand arrows in his back.” Recording of ominous ambient music plays. Applause.] | Video Description: Closeup of the mic on a radio-style stand hanging down. Swift enters the frame and performs a piece into the mic. Swift wears a black suit jacket atop a white button-down shirt with a black bowtie, black rectangular glasses, and dark hair close cropped on the sides and parted just off-centre.\n\nNjacko Backo\n00:08:24\n[Cut to Njacko Backo performing Untitled Poem. Audience clapping along to beat.] | Video Description: Medium long shot of Clifton Joseph performing poem, stomping foot and gesturing. Joseph wears a brown button-up vest atop a light green short-sleeved shirt, black-framed glasses, and short black hair. \n\nAnn Diamond \n00:09:33\n[Cut to Ann Diamond performing a piece titled \"Shoe Salesman.\" Applause.] | Video Description: Medium shot of Ann Diamond performing a piece. Diamond wears pixie-cut blond hair with bangs and a jean jacket over a grey cowl-neck sweater. \n\nIan Stephens\n00:10:28\n[Cut to Ian Stephens introducing and performing “Christmas Eve, 93” (titled “24/12/93” in Diary of a Trademark, The Muses’ Co., 1995).] | Video Description: Alternating medium closeup and closeup of Ian Stephens at the stage. Stephens wears a wine-colour button-down shirt unbuttoned at the top atop a wine-colour t-shirt, a stud on the left earlobe, a multicolour bead necklace, and short hair. Medium closeup of Stephens performing a poem by heart.\n\nDee Smith \n00:11:45\n[Cut to Dee Smith introducing and performing a piece beginning with the line “Brother to brother” repeated several times. Applause.] | Video Description: Closeup of Dee Smith performing a piece. Smith wears a green short-sleeve shirt atop a black long-sleeve turtleneck, black Breton cap, pendant necklace, flower earrings, stud nose ring, plus several finger rings.\n\nbill bissett\n00:13:26\n[Cut to bill bissett performing Unknown Composition 1, vocalizing and singing into the microphone. Maraca in the background.] | Video Description: Camera zooms into closeup on bill bissett performing a piece and keeping rhythm with a maraca. Camera zooms in and out between closeup and medium closeup on bissett and his maraca. bissett wears thick-framed glasses, chin-length hair, and a graphic t-shirt. \n\nDavid Jager\n00:14:47\n[Cut to David Jager introducing and performing \"Smoke, Eat, Drive.\" Video Description: Closeups as David Jager performs a piece. Applause and cheering throughout. Jager wears a light brown striped button-down shirt with sleeves rolled up to the elbow, dark brown hair falling onto forehead in strands.\n\nEnough Said edits\n00:16:00\nVideo Description: Cut to a digital graphic of the Enough Said poster seen on the window at the beginning of the recording. \n\nNo signal\n00:16:12\n[Ambient sounds (white noise).] | Video Description: Black screen with static.\n\nEND \n00:17:29\n[End of recording.] "],"score":1.8530173},{"id":"6343","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Lee Gotham collection"],"source_collection_label":["Lee Gotham collection"],"collection_contributing_unit":["Spokenweb at Concordia University"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Lee Gotham collection contains the AV recordings regarding the Enough Said series, including readings, performances, open-mic, and spoken-word events that took place at Bistro 4 and other Montreal venues between December 1994 and June 1996."],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Enough Said 1995-02-13, Benefit"],"item_title_source":["Asset"],"item_title_note":["Ephemera accompanying assets, corroborated by Lee Gotham, who introduces the event as such."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["Lee Gotham collection"],"item_subseries_title":["Enough Said"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. We may wish to seek permission from individual artists and Drew Duncan, the videographer."],"creator_names":["Gotham, Lee"],"creator_names_search":["Gotham, Lee"],"creators":["[{\"url\":\"https://viaf.org/viaf/106179112\",\"name\":\"Gotham, Lee\",\"dates\":\"1962-\",\"notes\":\"Lee Gotham was also the MC of this event.\",\"nation\":[],\"role\":[\"Series organizer\",\"Producer\"]}]"],"contributors_names":["Duncan, Drew","John","Allen, Robert","Isaac, Douglas (Doug)","Stone, Anne","Filip, Raymond","Christie, Colin","Frost, Corey","Farkas, Endre","Luxton, Steve","Skarstedt, Sonja A.","Audience_Member1","Audience_Member2","Audience_Member3","Nelson, Sharon H.","Ferrier, Ian"],"contributors_names_search":["Duncan, Drew","John","Allen, Robert","Isaac, Douglas (Doug)","Stone, Anne","Filip, Raymond","Christie, Colin","Frost, Corey","Farkas, Endre","Luxton, Steve","Skarstedt, Sonja A.","Audience_Member1","Audience_Member2","Audience_Member3","Nelson, Sharon H.","Ferrier, Ian"],"contributors":["[{\"url\":\"\",\"name\":\"Duncan, Drew\",\"dates\":\"\",\"notes\":\"Videographer.\",\"nation\":[],\"role\":[\"Recordist\"]},{\"url\":\"\",\"name\":\"John\",\"dates\":\"\",\"notes\":\"Liaison with the En Marge organization. John reads a few pieces by youth served by En Marge.\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"https://viaf.org/viaf/22416596/\",\"name\":\"Allen, Robert\",\"dates\":\"1946-2006\",\"notes\":\"Guest performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/26783067/\",\"name\":\"Isaac, Douglas (Doug)\",\"dates\":\"1946-\",\"notes\":\"Guest performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/39017213/\",\"name\":\"Stone, Anne\",\"dates\":\"1969-\",\"notes\":\"Guest performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/11150531/\",\"name\":\"Filip, Raymond\",\"dates\":\"1950-\",\"notes\":\"Guest performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/44235997\",\"name\":\"Christie, Colin\",\"dates\":\"\",\"notes\":\"Guest performer; one half of ga press.\\n\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/76001655\",\"name\":\"Frost, Corey\",\"dates\":\"1972-\",\"notes\":\"Guest performer; one half of ga press.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/115673614/\",\"name\":\"Farkas, Endre\",\"dates\":\"1948-\",\"notes\":\"Guest performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/45701800\",\"name\":\"Luxton, Steve\",\"dates\":\"1946-\",\"notes\":\"Guest performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/6660966\",\"name\":\"Skarstedt, Sonja A.\",\"dates\":\"1960-2009\",\"notes\":\"Guest performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Audience_Member1\",\"dates\":\"\",\"notes\":\"Face briefly on screen as they walk in front of camera. \",\"nation\":[],\"role\":[]},{\"url\":\"\",\"name\":\"Audience_Member2\",\"dates\":\"\",\"notes\":\"Speaks from audience, not visible.\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Audience_Member3\",\"dates\":\"\",\"notes\":\"Speaks from audience, not visible.\",\"nation\":[],\"role\":[]},{\"url\":\"https://viaf.org/viaf/108207169\",\"name\":\"Nelson, Sharon H.\",\"dates\":\"1948-2016\",\"notes\":\"Guest performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/91437046\",\"name\":\"Ferrier, Ian\",\"dates\":\"1954-2023\",\"notes\":\"Guest performer.\",\"nation\":[],\"role\":[\"Performer\"]}]"],"performer_name":["Allen, Robert","Isaac, Douglas (Doug)","Stone, Anne","Filip, Raymond","Christie, Colin","Frost, Corey","Farkas, Endre","Luxton, Steve","Skarstedt, Sonja A.","Nelson, Sharon H.","Ferrier, Ian"],"Recordist_name":["Duncan, Drew"],"Reader_name":["John"],"Speaker_name":["John","Audience_Member2"],"Performance_Date":[1995],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/6343/Enough_Said-VHS3-19950213_19950220_19950227_19950306.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Video\",\"tape_brand\":\"TDK EHG\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"120 minutes\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"VHS\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Tape box. Handwritten label on side. Ephemera accompanying asset.\",\"other_physical_description\":\"VHS #3 asset. Contains recordings of multiple events.\"},{\"side\":\"\",\"image\":\"Uploads/6343/Enough_Said-VHS2-19950116_19950130_19950206_19950213.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Video\",\"tape_brand\":\"TDK EHG\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"120 minutes\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"VHS\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Tape box. Handwritten label on side. Ephemera accompanying asset.\",\"other_physical_description\":\"VHS #2 asset. Contains recordings of multiple events.\"}]"],"material_designations":["VHS","VHS"],"physical_compositions":["Magnetic Tape","Magnetic Tape"],"recording_type":["Analogue","Analogue"],"AV_type":["Video","Video"],"playback_mode":["Mono","Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:v:/g/personal/carlosa_pittella_concordia_ca/EYkvSI9-KGhPqiYKgNZwaLoBKosIKKYB_SgScGShEw7xuQ\",\"file_path\":\"\",\"filename\":\"Enough_Said-19950213-Benefit_Part1.mp4\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:49:16\",\"precision\":\"\",\"size\":\"1.39 GB on disk\",\"bitrate\":\"2304Kbps (original); 256Kbps (master)\",\"encoding\":\"MPEG-4 movie\",\"contents\":\"This is file 1 of 2 containing an AV recording of the benefit event for En Marge (a street-kids safety-net organization) organized by Lee Gotham as part of the Enough Said series, featuring performances by Sharon H. Nelson, Endre Farkas, Ian Ferrier, Colin Christie, Corey Frost, and others.\",\"notes\":\"Dimensions: 640 × 480.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Video Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:v:/g/personal/carlosa_pittella_concordia_ca/Ed76PScOzEdAnc1iRHgCkbgBrnv3FJM7BMtMa_tnpRNuiA\",\"file_path\":\"\",\"filename\":\"Enough_Said-19950213-Benefit_Part2.mp4\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:54:16\",\"precision\":\"\",\"size\":\"3.22 GB on disk\",\"bitrate\":\"2304Kbps (original); 256Kbps (master)\",\"encoding\":\"MPEG-4 movie\",\"contents\":\"This is file 2 of 2 containing an AV recording of the benefit event for En Marge (a street-kids safety-net organization) organized by Lee Gotham as part of the Enough Said series, featuring performances by Sharon H. Nelson, Endre Farkas, Ian Ferrier, Colin Christie, Corey Frost, and others.\",\"notes\":\"Dimensions: 640 × 480.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Video Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1995-02-13\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Asset\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/2428619734\",\"venue\":\"Bistro 4\",\"notes\":\"Bistro 4 (pronounced Bistro Quatre), no longer in existence.\",\"address\":\"4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada\",\"latitude\":\"45.5169628\",\"longitude\":\"-73.5796147\"}]"],"Address":["4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada"],"Venue":["Bistro 4"],"City":["Montreal, Quebec"],"content_notes":["Part 1 of event recording starts at 04:57:21:66 of VHS #2 asset. Part 2 starts at 00:00:00:00 of VHS #3 asset. Both assets contain multiple events."],"Note":["[{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"},{\"note\":\"VHS #2 asset. Contains recordings of multiple events: (1) Enough Said 1995-01-16, bissett and Nelson; (2) Enough Said 1995-01-30, Stanton and Stephens; (3) Enough Said 1995-02-06, Brulé; and (4) Enough Said 1995-02-13, Benefit Part 1. The asset was digitized, generating both uncompressed and compressed video files; the compressed files were then split into events to facilitate the transcription work. Metadata entries based on events.\",\"type\":\"General\"},{\"note\":\"VHS #3 asset. Contains recordings of multiple events: (1) Enough Said 1995-02-13, Benefit Part 2; (2) Enough Said 1995-02-20, Backo and Groupe de Poésie Moderne; (3) Enough Said 1995-02-27, Skarstedt and Suderman; and (4) Enough Said 1995-03-06, Phineas Flower Trio and Godin Part 1. The asset was digitized, generating both uncompressed and compressed video files; the compressed files were then split into events to facilitate the transcription work. Metadata entries based on events.\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/54693086\",\"citation\":\"Isaac, Douglas. Past, present: tense. Ottawa: BuschekBooks, 2004.\"},{\"url\":\"https://www.worldcat.org/title/31331446\",\"citation\":\"Filip, Raymond. Flowers in magnetic fields. Toronto: Guernica, 1994.\"},{\"url\":\"https://search.worldcat.org/title/20266383\",\"citation\":\"Mouré, Erin. WSW: West South West. Montréal, Véhicule Press, 1998.\"},{\"url\":\"https://search.worldcat.org/title/29390326\",\"citation\":\"Loewen, Grant: Brick: Looking Up. Montréal, DC Books, 1992. \"},{\"url\":\"https://search.worldcat.org/title/31901990\",\"citation\":\"Luxton, Steve. Iridium. Montréal, DC Books, 1993.\"},{\"url\":\"https://search.worldcat.org/title/29909339\",\"citation\":\"Conn, Jan. What Dante Did With Loss. Montréal, Véhicule Press, 1994. \\n\"},{\"url\":\"https://search.worldcat.org/title/756953515\",\"citation\":\"Leslie, Mark. Dying with AIDS/Living with AIDS: 1991-1992. Dorion, Muses’ Company, 1993.\\n\"},{\"url\":\"https://www.vehiculepress.com/q.php?EAN=9781550650150\",\"citation\":\"Godin, Gérard. Evenings at Loose Ends. Translated by Judith Cowan, Montréal, Véhicule Press, 1991. \"},{\"url\":\"\",\"citation\":\"Tommy James & The Shondells. \\\"Crimson and Clover.\\\" Roulette, 1968.\"},{\"url\":\"https://search.worldcat.org/title/25965125?oclcNum=25965125\",\"citation\":\"Henderson, Keith. The Beekeeper. Montreal: DC Books, 1990. \"},{\"url\":\"https://www.worldcat.org/title/31331446\",\"citation\":\"Filip, Raymond. After the Fireworks. Montreal: Guernica, 1989.\"},{\"url\":\"https://search.worldcat.org/title/1975386\",\"citation\":\"Farkas, Endre. Szerbusz. Montreal: DaVinci Press, 1974.\"},{\"url\":\"https://search.worldcat.org/title/10156570\",\"citation\":\"Farkas, Endre. From Here to Here. Ste-Anne-de-Bellevue, The Muses' Company, 1982.\"},{\"url\":\"https://search.worldcat.org/title/34624725\",\"citation\":\"Farkas, Endre. Surviving Words. Ste-Anne-de-Bellevue, 1994. \"},{\"url\":\"https://search.worldcat.org/title/24374983?oclcNum=24374983\",\"citation\":\"Nelson, Sharon. The Work of Our Hands. Dorion: The Muses' Company, 1992. \"},{\"url\":\"https://search.worldcat.org/title/27851248\",\"citation\":\"Nelson, Sharon. Grasping Men's Metaphors. Dorion: The Muses' Company, 1993.\"},{\"url\":\"https://search.worldcat.org/title/35055789\",\"citation\":\"Skarstedt, Sonja A. Demolition Symphony. Unknown: Empyreal Press, 1995. \"}]"],"_version_":1853670549324038144,"timestamp":"2026-01-07T14:59:53.966Z","contents":["PART 1\n\n[Bistro 4 stage]\n00:00:00\nVideo Description: Color video of the stage with mic stand at Bistro 4 (Quatre) (4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada). The stage, slightly below street level, is set against a full-wall window looking out onto the St. Laurent Blvd. traffic—with both pedestrians and vehicles often passing by. The windows from across the street are sometimes visible, including an outdoor sign with the word “JETHRO.”  On the windows of Bistro 4, the word “said” (from “Enough Said”) becomes visible when the camera zooms out, as well as decals with words from the menu, such as “DEJEUNER,” “CAPPUCCINO,” and “TISANE.”\n\n[SpokenWeb notes]\n00:00:01\nLee Gotham and Audience_Member2 misspeak. Michael Longley is misnomered as Michael Langley, and Ciaran Carson is misnomered as Ciaran Colours.\n\nLee Gotham \n00:00:01\n[Thanks audience. Explains that the event is a benefit for En Marge, a street kids shelter. Explains there will be opportunities to buy a raffle ticket for a bundle of three to five collections of poetry. Explains that ticket stubs also serve as a raffle ticket for “small press prizes.” Announces that Michael Langley will perform at Concordia University’s Hall Building on February 16th. Announces Ciaran Colours will perform on March 6th.] | Video Description: Medium shot zooms into medium closeup as Gotham speaks into the mic while holding and occasionally reading from a small notebook. Gotham wears a black-and-white knit sweater with geometric designs and sleeves rolled up to elbows and straight shoulder-length hair.\n\nAudience_Member1\n00:03:09\nVideo Description: Extreme closeup as Audience_Member1 walks in front of camera. Side profile of face takes up whole shot. \n\nAudience_Member2\n00:03:11\n[Corrects Gotham that the aforementioned poet’s name is “Longley” not “Langley.” Repeats date and venue details. Mentions that Longley won the Whitbread Poetry Prize. Mentions that Ciaran Colours won the first T.S. Eliot Prize.] | Video Description: Audience_Member2 off-screen. Extreme closeup as Audience_Member1 moves forward and back, making their head periodically obscure the screen again. \n\nLee Gotham\n00:03:34\n[Says those are some “serious verses.” Mentions that “assistant” in a red bandana will be walking around selling raffle tickets for poetry collection bundles from The Muses’ Company, Véhicule Press, and DC Books, including Steve Luxton and Robert Allen’s works. Introduces Robert Allen as one of his favourite alumni from Concordia. Invites Allen to the stage to read from novels, poetry collections, and Moosehead Anthologies he has been a part of. Mentions Allen is a new editor at Matrix Magazine.] | Video Description: Medium closeup as Gotham speaks into the mic, reading from a notebook.\n\nRobert Allen\n00:05:48\n[Thanks Gotham. Introduces and performs a piece titled “The Arnold Schwarzenegger and Maria Shriver Wedding Poem.”] | Video Description: Medium closeup as Allen introduces and performs a piece. Allen wears a grey long-sleeve plaid shirt with black buttons and a black hood, and slightly curly light brown chin-length hair. \n\nRobert Allen\n00:07:43\n[Explains that the next piece is about the plane crash of a French rugby team in the Andes mountains and it involves cannibalism. Introduces and performs a piece titled “Rugby Players Stranded in the Andes.” Applause.] | Video Description: Closeup as Allen introduces and performs a piece. \n\nRobert Allen\n00:10:59\n[Explains that the next piece is about the mail order pornography business. Introduces and performs a piece titled “Late Romantics.”] | Video Description: Closeup as Allen introduces and performs a piece. \n\nRobert Allen \n00:12:31\n[Explains that the next piece encapsulates nineteenth-century Russian literature in five lines. Introduces and performs a piece titled “A Sadder Scene Than You Know at Tolstoy(’s?) Station.”] | Video Description: Closeup as Allen introduces and performs a piece. \n\nRobert Allen\n00:13:12\n[Mentions he lives in the country with Anne Stone. Introduces and performs a piece titled “Mount Cloud.” Applause.] | Video Description: Closeup as Allen introduces and performs a piece. Zooms out to long shot as Allen leaves stage.\n\nLee Gotham\n00:15:19\n[Thanks Robert. Explains again how buying raffle tickets works. Introduces John, liaison to En Marge, to explain services. Invites John to the stage.] | Video Description: Long shot zooms into closeup as Gotham speaks to the audience. \n\nJohn \n00:16:46\n[Thanks everyone. Explains that En Marge works with youth experiencing “family and social rupture” to give unconditional acceptance in difficult times. Explains that many of the kids write poems, and he will read some to shed light on their experience. Introduces and performs a piece titled “Little Candle” by fifteen-year-old Amanda.] | Video Description: Closeup as John adjusts mic, speaks to audience, and performs piece. John wears a light pink t-shirt, black snapback hat with a beige brim worn backwards, full beard one inch long, and slightly curly hair past shoulders. \n\nJohn \n00:20:10\n[Mentions that drugs are a big part of street culture and larger culture, and that it can be a solution with consequences. Introduces and performs a piece written by seventeen-year-old Caroline titled “Junk Sick,” about trying to quit heroin. Applause.] | Video Description: Closeup as John speaks to audience and performs piece. \n\nJohn \n00:21:38\n[Introduces and performs piece written by an Indigenous fourteen year old named Cindy in French. Performs again in English. Thanks audience. Applause.] | Video Description: Closeup as John speaks to audience, performs a piece, and speaks to audience again.\n\nLee Gotham\n00:23:01\n[Thanks John. Introduces Doug Isaac. Mentions Isaac’s poetry collection Past, Present: Tense will be published with Imperial (Note: book actually published with BuschekBooks, 2004.) Applause.] | Video Description: Closeup zooms out to medium shot as Gotham speaks into the mic. \n\nDouglas (Doug) Isaac\n00:23:51\n[Introduces piece titled “Centres of Treatment” that is in part a homeless man’s verbatim dialogue, while the other half is dialogue written by Isaac. Says he will use different voices for each character.] | Video Description: Closeup as Isaac lowers the mic and speaks to the audience. Isaac wears a black button-down shirt with sleeves rolled up to elbows atop a white shirt that has an indiscernible pattern, and medium brown hair pushed back from face. \n\n[SpokenWeb notes]\n00:25:00\nAt 00:25:51 and 00:26:04, Isaac says a racial slur. \n\nDouglas (Doug) Isaac\n00:25:05\n[Performs \"Centres of Treatment.\" Applause.] | Video Description: Zooms out to medium shot as Isaac performs a piece, alternating between performing into the mic and stepping slightly away from it. \n\nLee Gotham \n00:35:52\n[Thanks Isaac. Announces the prizes for the raffle. Calls someone from off screen to help on stage. Lists prizes, such as one copy each of Moosehead Anthology issue 13 and the “Forbidden Fiction” issue, one copy of Don Coles’ Little Bird (Signal Editions, [Véhicule Press],1991), and one copy of Erin Mouré’s West South West (Signal Editions, [Véhicule Press],1988? 1989?). Announces winner. Applause] | Video Description: Long shot zooms into medium shot as Gotham speaks into the mic. Reads titles from books. Picks raffle number from person off-screen. \n\nLee Gotham\n00:37:54\n[Lists more prizes, such as one copy of Grant Loewen’s Brick: Looking Up (DC Books, 1992.), one copy of Steve Luxton’s Iridium (DC Books, 1993), one copy of Moosehead Anthology’s “Forbidden Fiction” issue, and one copy of Jan Conn’s What Dante Did With Loss (Signal Editions, [Véhicule Press], 1994). Announces winner. Applause.] Video Description: Camera zooms out to long shot. Raffle assistant now visible. Grey plaid button-down shirt with sleeves rolled up to elbows, large wire-rimmed glasses, and blonde hair pushed back from face. Gotham reads titles from more books. Picks raffle number from person now visible on stage. Announces winner.\n\nLee Gotham\n00:38:57\n[Lists more prizes, such as one copy of Mark Leslie’s Dying with AIDS/living with AIDS: 1991-1992 (The Muses' Company, 1992), one copy of Steve Luxton’s Iridium (DC Books, 1993), one copy of Moosehead Anthology’s issue 13, and one copy of Gérard Godin’s Evenings at Loose Ends (Signal Editions, [Véhicule Press], 1991). Announces winner.] | Video Description: Gotham reads titles from more books. Picks raffle number. Announces winner. \n\nLee Gotham \n00:39:53\n[Announces another draw from the door prize tickets. Announces winner. Announces prizes from Pawn Press and ga press. Notes there will be a total of four door prize raffles. Introduces Anne Stone. Applause.] | Video Description: Medium shot as Gotham picks raffle number from a white plastic tub and announces winner. Zooms into closeup as Gotham introduces Anne Stone.\n\nAnne Stone \n00:41:41\n[Introduces and performs piece titled “Desire is a Lodger.” Applause.] | Video Description: Loose closeup as Stone speaks into mic and performs a piece. Stone wears a burgundy vest atop a white long-sleeve shirt, an oversized newsboy cap, and no hair showing underneath it.  \n\nAnne Stone \n00:44:14\n[Introduces and performs piece titled “Calf’s Head Soup.” Applause.] | Video Description: Loose closeup as Stone speaks into mic and performs a piece. \n\nAnne Stone\n00:45:43\n[Introduces and performs piece titled “Carrying off the (?)” Applause.] | Video Description: Loose closeup as Stone speaks into mic and performs a piece. \n\nLee Gotham\n00:48:41\nVideo Description: Medium long shot as Gotham approaches the mic. \n\n[No signal]\n00:48:44\n[Ambient sounds (white noise).] | Video Description: Black screen with static. \n\nEND \n00:49:16\n[End of recording.] \n\nPART 2\n\n[Bistro 4 stage]\n00:00:14\nVideo Description: Color video of the stage with mic stand at Bistro 4 (Quatre) (4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada). The stage, slightly below street level, is set against a full-wall window looking out onto the St. Laurent Blvd. traffic—with both pedestrians and vehicles often passing by. The windows from across the street are sometimes visible, including an outdoor sign with the word “JETHRO.”  On the windows of Bistro 4, the word “said” (from “Enough Said”) becomes visible when the camera zooms out, as well as decals with words from the menu, such as “DEJEUNER,” “CAPPUCCINO,” and “TISANE.”\n\nLee Gotham \n00:00:15\n[Reads obituary for Manuel Betanzos Santos.] | Video Description: Medium shot zooms into closeup as Gotham speaks into the mic. Gotham wears a black-and-white knit sweater with geometric designs and sleeves rolled up to elbows and straight shoulder-length hair.\n\nLee Gotham \n00:02:25\n[Apologizes for talking about the raffle so much. Encourages people to buy tickets because there are many prizes. Introduces Raymond Filip. Applause.] | Video Description: Closeup as Gotham speaks into the mic, takes white card from off-screen, and reads from it.\n\nRaymond Filip\n00:04:17\n[Mentions he was just at Manuel’s funeral. Reminisces about choking Devil’s Disciples member Michael French in the sixth grade. Explains childhood in Pointe-St-Charles and Verdun. Introduces and performs a piece titled “Flower Fights in the [?] Freight Yards”  from the collection “Flowers in Magnetic Fields” (Guernica Editions, 1994.)] | Video Description: Varying between medium shots and closeups as Filip speaks into the mic. Medium shot as Filip performs a piece, ending on an extreme closeup. Filip wears a dark plaid sport coat atop a brown button-down shirt, brown shaggy hair, mustache, and chin beard. \n\n[SpokenWeb notes]\n0:09:34\t\nIn the following performance, Raymond Filip uses an outdated term in reference to a cross-dressing man.\n\nRaymond Filip\n00:09:34\n[Explains more about growing up in Pointe-St-Charles. Introduces and performs piece called “Transvestite at his Toilette.” Applause.] | Video Description: Closeup zooms out to medium shot as Filip speaks into the mic and flips through the copy of “Flowers in Magnetic Fields.”  Medium shot as Filip performs a piece. \n\nRaymond Filip\n00:14:36\n[Explains that Lithuania is a long-suffering country that inspired his self-described “oratorial” about the story of God. Performs piece. Applause.] | Video Description: Medium shot as Filip speaks into mic and shows the audience large prints of the Hill of Crosses in Lithuania and other places in the country. Zooms into closeup as Filip performs a piece. \n\nLee Gotham \n00:21:55\n[Thanks Filip. Announces a break. Begins to announce next raffle draw.] | Video Description: Loose closeup zooms out to long shot as Gotham speaks into the mic. \n\nColin Christie and Corey Frost\n00:27:37\n[Colin Christie and Corey Frost in media res performing a piece about suicide. Alternate between singing songs such as “Crimson and Clover” by Tommy James & The Shondells (Roulette, single, 1968), vocally imitating vehicles, and performing the piece. Play the children’s clapping game “Miss Mary Mack.” Applause.] | Video Description: Long shot of Christie and Frost performing a piece without mics, singing, walking around the stage area, gesturing, and becoming different characters for an embodied and theatrical performance. Christie wears a light blue long-sleeved plaid shirt open atop a black shirt, a necklace, and light brown hair. Frost wears a plaid vest atop a medium blue plaid shirt, a necklace with a large gold ring, and long curly dark brown hair. \n\nLee Gotham \n00:28:45\n[Announces raffle draw. Thanks audience for coming out. Lists prizes, including one copy of Keith Henderson’s The Beekeeper (DC Books, 1990), one copy of Raymond Filip’s After the Fireworks (Guernica, 1989), [?] [Norris?] collection, and rocks between the dead (?). Announces Endre Farkas will perform next. Invites Farkas to the stage.] | Video Description: Long shot zooms into medium shot as Gotham speaks into mic. Reads titles from books. Zooms into loose closeup as Gotham introduces Endre Farkas. \n\nEndre Farkas \n00:31:09\n[Announces a collaborative performance with Suzanne Nuttall on March 27th, 1995 at Enough Said. Mentions that a reporter Juliet Waters of The Montreal Mirror called him a “literary sperm salesman.” Says he will defend himself by reading the letter he wrote to The Montreal Mirror. Reads letter beginning with the line “Not only is Miss Waters ignorant in referring to the Muses [Farkas’ publishing company, The Muses’ Company] as ‘literary sperm salesmen’ but she is also a sexist [Sal?]” Applause.] | Video Description: Loose closeup of Farkas speaking into the mic. Zooms into closeup as Farkas reads letter. Farkas wears a black, long-sleeved collared shirt and a dark moustache, and is balding on top of head. \n\nSharon H. Nelson \n00:33:37\nCan I read my letter? | Video Description: Off-screen.\n\nEndre Farkas \n00:33:45\n[Addressing Nelson] Oh, you wanna do it now? | Video Description: Loose closeup as Farkas speaks to Nelson. \n\nSharon H. Nelson \n00:33:47\n[Announces she will deliver her letter to The Montreal Mirror. | Video Description: Loose closeup as Nelson adjusts mic and speaks into it. Nelson wears a dark brown vest a top a floral print collared shirt a top a white shirt, thin silver chain, medium brown hair in a loose ponytail. \n\nAudience_Member3\n00:34:01\n[Addressing Nelson] Why is this happening now? | Video Description: Off-screen.\n\nSharon H. Nelson\n00:34:03\n[Addressing Audience_Member3] I don’t know, because Endre started it. | Video Description: Loose closeup as Nelson speaks into the mic. \n\nAudience_Member3\n00:34:05\n[Addressing Nelson] This isn’t The Mirror’s [evening?] | Video Description: Off-screen\n\nSharon H. Nelson\n00:34:08\n[Addressing Audience_Member3] Um, it is in a way. | Video Description: Closeup zooms into extreme closeup as Nelson speaks into the mic. \n\nLee Gotham\n00:34:11\nWell, the notice was specifically about this evening. | Video Description: Off-screen. \n\nSharon H. Nelson \n00:34:14\n[Reads letter to The Montreal Mirror beginning with the line “Juliette Waters described participants in the February 13th En Marge benefit at Bistro Quatre as ‘literary sperm salesmen.’” Applause.] | Loose closeup zooms into closeup as Nelson speaks into the mic. \n\nEndre Farkas \n00:36:23\n[Mentions he will read love poetry. Performs a piece titled “Wandering Gypsy” from his collection “Szerbusz” (DaVinci Press, 1974). Applause.] | Video Description: Loose closeup as Farkas speaks into the mic and performs a piece. \n\nEndre Farkas\n00:38:13\n[Introduces and performs “A Vegetarian Ear Eater” dedicated to professional wrestler Killer Kowalski. Applause.] | Video Description: Medium shot as Farkas speaks into the mic and performs a piece.\n\nEndre Farkas\n00:41:58\n[Introduces and performs prose poem from his collection From Here to Here (The Muses' Company, 1982) beginning with the line “To get there, you take all sorts of roads.” Applause] | Video Description: Medium shot as Farkas speaks into the mic. Zooms into loose closeup as Farkas performs a piece.\n\nEndre Farkas \n00:45:50\n[Introduces and performs piece for his daughter Katherine titled “Why I Didn’t Write You a Poem on Your Birthday.” Applause.] | Video Description: Loose closeup as Farkas speaks into mic and performs a piece. \n\nEndre Farkas \n00:47:29\n[Introduces and performs a parody of Ginsberg’s “Sunflower Sutra” called “Maple Leaf Rag.” Applause.] | Video Description: Loose closeup as Farkas speaks into mic and performs a piece. \n\nEndre Farkas\n00:51:26\n[Introduces and performs piece titled “Heirloom” dedicated to A.M. Klein from new collection titled Surviving Words (The Muses' Company, 1994.) Applause.] | Video Description: Loose closeup as Farkas speaks into mic and performs a piece. \n\nLee Gotham \n00:54:16\n[Skips to Gotham introducing Steve Luxton.] | Video Description: Loose closeup zooms into closeup as Gotham speaks into mic. \n\nSteve Luxton \n00:55:08\n[Introduces and performs piece titled “Hermit Crab Song.” Applause.] | Video Description: Loose closeup zooms out to medium shot as Luxton speaks into mic and performs a piece. Luxton wears a red button-down shirt, round metal-rimmed glasses, wavy blonde ear-length hair. \n\nSteve Luxton\n00:56:19\n[Introduces and performs piece titled “Bedouin Song.”] | Video Description: Loose closeup as Luxton speaks into mic and performs a piece. \n\nSteve Luxton \n00:58:32\n[Introduces and performs piece titled “[Joining?] on de Bullion Street.” Applause.] | Video Description: Loose closeup as Luxton speaks into mic and performs a piece. \n\nSteve Luxton\n01:00:11\n[Mentions he went to an American school for writing under the “founding confessionalist poet” W.D. Snodgrass. Performs a piece beginning with the line “The writer is middle age.” Applause.] | Video Description: Closeup zooms out to medium shot as Luxton speaks into the mic and performs a piece. \n\nSteve Luxton\n01:02:22\n[Introduces and performs a piece titled “Sweeney Todd.” Applause.] | Video Description: Medium shot zooms into loose closeup as Luxton speaks into the mic and performs a piece. \n\nLee Gotham \n01:05:52\n[Announces there will be two more raffle draws and two more door prize draws. Introduces Sharon H. Nelson to the stage. Applause.] | Video Description: Medium long shot of Gotham speaking into the mic. \n\nSharon H. Nelson \n01:07:01\n[Thanks Gotham. Introduces and performs piece titled “How to Read a Poem” from her collection A Room of One’s Own (unable to find this collection online.) Applause] | Video Description: Medium shot zooms into closeup as Nelson speaks into the mic and performs a piece. \n\nSharon H. Nelson \n01:10:15\n[Introduces and performs piece titled “Sometimes I Think of You” about Montreal artist Seymour Segal, who designed the covers for Nelson’s collections The Work of Our Hands (The Muses' Company, 1992) and Grasping Men’s Metaphors. Applause.] | Closeup as Nelson speaks into the mic, shows the audience two books, and performs a piece. \n\nSharon H. Nelson \n01:18:36\n[Seems to ask Gotham how long she has left to read.] | Video Description: Off-screen. \n\nLee Gotham\n01:18:40\n[Says Nelson should do one more.] | Video Description: Off-screen.\n\nSharon H. Nelson\n01:18:47\n[Introduces and performs piece inspired by “Last Dance at the Four Penny” by Leonard Cohen titled “Freylekh” from her collection Grasping Men’s Metaphors (The Muses' Company, 1993). Applause.] | Video Description: Closeup as Nelson speaks into the mic and performs a piece. \n\nLee Gotham\n01:26:23\n[Thanks Nelson. Invites Ian Ferrier to the stage.] | Video Description: Medium closeup zooms out to medium long shot as Gotham speaks into the mic. \n\nIan Ferrier \n01:26:47\n[Introduces and performs a piece titled “St. Valentine’s Day Massacre.” Laughter throughout. Applause.] Video Description: Unzipped black winter jacket atop a black graphic t-shirt with a white logo, dark brown hair with a strip shaved out of it from above left eye to crown of head. Medium shot zooms into closeup as Ferrier adjusts the mic, speaks into the mic, and performs a piece.\n\nIan Ferrier \n01:31:36\n[Introduces and performs a piece titled “The Theatre of Three AM.” Applause.] | Video Description: Closeup as Ian Ferrier speaks into the mic and performs a piece. \n\nIan Ferrier\n01:33:03\n[Introduces and performs a piece titled “Politician.” Laughter throughout. Applause.] | Video Description: Closeup as Ian Ferrier speaks into the mic and performs a piece. \n\n[Bistro 4 stage]\n01:35:40\n[Ambient noise, applause.] | Closeup zooms out to a long shot of the lone mic on the stage. \n\nLee Gotham \n01:35:55\n[Announces the last two raffle draws. Lists prizes, including one copy of Gary Geddes’ Light of Burning Towers (Signal Editions, [Véhicule Press],1990), one copy of Raymond Filip’s After the Fireworks, one copy of Moosehead Anthology, and one copy of Keith Henderson’s The Beekeeper. Announces winning number. Gives winner prizes.] | Video Description: Medium shot as Gotham speaks into mic, reads number off of piece of paper, and gives raffle winner a stack of books. \n\nLee Gotham\n01:38:05\n[Lists prizes, including one tape of ga press poetry performances and one copy of issue one and one copy of issue two of Pawn Press’s literary/cultural journal. Announces winning number. Gives winner prizes.] | Video Description: Medium shot as Gotham speaks into the mic while holding a casette and two thin volumes, reads number off of piece of paper, and gives raffle winner prizes. \n\nLee Gotham \n01:39:32\n[Introduces Sonja Skarstedt. Mentions that she is the editor of Empyreal Press. Applause throughout.] | Video Description: Medium shot as Gotham speaks into the mic. \n\nAudience_Member1\n01:40:05\nCan you introduce Sonja first, please? She has waited so long. | Video Description: Off-screen. \n\nLee Gotham\n01:40:08\n[Introduces Skarstedt again. Invites her to the stage.] | Video Description: Medium shot as Gotham speaks into the mic. \n\nAudience_Member1\n01:40:21\nAnd a damn fine poet in her own right. | Video Description: Off-screen. \n\nLee Gotham\n01:40:22\n[Echoes Unknown_Audience1. Notes that first edition of Empyreal's existence will be read from.] | Video Description: Loose closeup as Gotham speaks into the mic. \n\nSonja Skarstedt\n01:40:46\n[Introduces and performs ekphrastic piece titled “Blue Teardrop” written about a painting by a seven-year-old girl.] | Video Description: Medium shot zooms into medium closeup as Skarstedt speaks into the mic. Skarstedt wears a purple sweater, striped scarf in various shades of purple, light brown shoulder length hair tucked behind ears, and long hanging earrings. \n\nSonja Skarstedt\n01:43:20\n[Introduces and performs titular piece from second manuscript titled Demolition Symphony (Empyreal Press, 1995). Applause.] | Video Description: Medium closeup as Skarstedt speaks into the mic and performs a piece. \n\nSonja Skarstedt\n01:46:35\n[Introduces and performs “voyeuristic” piece titled “Rue de l’Esplanade: Voyeurs.” | Video Description: Medium closeup as Skarstedt speaks into the mic and performs a piece.\n\nSonja Skarstedt\n01:48:55\nAm I running out of time? | Video Description: Medium closeup as Skarstedt speaks into the mic. \n\nLee Gotham \n01:48:57\nDo another! [Applause.] | Video Description: Off-screen.\n\nSonja Skarstedt\n01:49:05\n[Introduces and performs a “typical Montreal poem” about the Montreal International Jazz Festival titled “Street Fest in the Key of J.” Applause.] | Video Description: Medium closeup as s introduces a piece. Zooms into closeup as Skarstedt performs a piece. \n\nLee Gotham\n01:52:57\n[Thanks Skarstedt. Announces Skarstedt will perform with Lynn Suderman next month. Thanks performers and audience for attending.] | Video Description: Medium closeup as Gotham runs left hand through hair and speaks into the mic.\n\n[Audience]\n01:54:02\nVideo Description: Zooms out to show audience putting on jackets and talking to each other. \n\n[No signal]\n01:54:08\n[Ambient sounds (white noise).] | Video Description: Black screen with static. \n\nEND \n01:54:16\n[End of recording.] "],"score":1.8530173},{"id":"6367","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Lee Gotham collection"],"source_collection_label":["Lee Gotham collection"],"collection_contributing_unit":["Spokenweb at Concordia University"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Lee Gotham collection contains the AV recordings regarding the Enough Said series, including readings, performances, open-mic, and spoken-word events that took place at Bistro 4 and other Montreal venues between December 1994 and June 1996."],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Enough Said 1995-02-20, Backo and Groupe de Poésie Moderne"],"item_title_source":["Asset"],"item_title_note":["Ephemera accompanying assets, corroborated by Lee Gotham, who introduces the event headliners."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["Lee Gotham collection"],"item_subseries_title":["Enough Said"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. We may wish to seek permission from individual artists and Drew Duncan, the videographer."],"creator_names":["Gotham, Lee","Backo, Njacko","Groupe de Poésie Moderne"],"creator_names_search":["Gotham, Lee","Backo, Njacko","Groupe de Poésie Moderne"],"creators":["[{\"url\":\"https://viaf.org/viaf/106179112\",\"name\":\"Gotham, Lee\",\"dates\":\"1962-\",\"notes\":\"Lee Gotham was also the MC of this event.\",\"nation\":[],\"role\":[\"Series organizer\",\"Producer\"]},{\"url\":\"https://viaf.org/viaf/106408843/\",\"name\":\"Backo, Njacko\",\"dates\":\"1958-\",\"notes\":\"Event headliner. There is a redundant VIAF entry for the same person: https://viaf.org/viaf/3790168740912279530004\",\"nation\":[],\"role\":[\"Storyteller\"]},{\"url\":\"\",\"name\":\"Groupe de Poésie Moderne\",\"dates\":\"\",\"notes\":\"Event headliner.\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors_names":["Duncan, Drew","Ferrier, Trevor John"],"contributors_names_search":["Duncan, Drew","Ferrier, Trevor John"],"contributors":["[{\"url\":\"\",\"name\":\"Duncan, Drew\",\"dates\":\"\",\"notes\":\"Videographer.\",\"nation\":[],\"role\":[\"Recordist\"]},{\"url\":\"https://viaf.org/viaf/134163706522529420680/\",\"name\":\"Ferrier, Trevor John\",\"dates\":\"\",\"notes\":\"Opening act.\",\"nation\":[],\"role\":[\"Performer\",\"Storyteller\"]}]"],"performer_name":["Ferrier, Trevor John"],"Recordist_name":["Duncan, Drew"],"Storyteller":["Ferrier, Trevor John"],"Performance_Date":[1995],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/1461/Enough_Said-VHS3-19950213_19950220_19950227_19950306.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Video\",\"tape_brand\":\"TDK EHG\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"120 minutes\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"VHS\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Tape box. Handwritten label on side. Ephemera accompanying asset.\",\"other_physical_description\":\"VHS #3 asset. Contains recordings of multiple events.\"}]"],"material_designations":["VHS"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Video"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:v:/g/personal/carlosa_pittella_concordia_ca/EUBwG6_A8jlOoheyvgIfAmABD_v87inUaQJWyn-m6Y4f3w\",\"file_path\":\"\",\"filename\":\"Enough_Said-19950220-Backo_GPM.mp4\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:10:07\",\"precision\":\"\",\"size\":\"1.98 GB on disk\",\"bitrate\":\"2304Kbps (original); 256Kbps (master)\",\"encoding\":\"MPEG-4 movie\",\"contents\":\"This is file 1 of 1 containing an AV recording of the event featuring Njacko Backo and the Groupe de Poésie Moderne as part of the Enough Said series, organized by Lee Gotham, with an opening act by Trevor Ferrier.\",\"notes\":\"Dimensions: 640 × 480.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Video Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1995-02-20\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Asset\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/2428619734\",\"venue\":\"Bistro 4\",\"notes\":\"Bistro 4 (pronounced Bistro Quatre), no longer in existence.\",\"address\":\"4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada\",\"latitude\":\"45.5169628\",\"longitude\":\"-73.5796147\"}]"],"Address":["4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada"],"Venue":["Bistro 4"],"City":["Montreal, Quebec"],"content_notes":["Event recording starts at 01:54:16:33 of VHS #3 asset, which contains multiple events."],"Note":["[{\"note\":\"VHS #3 asset. Contains recordings of multiple events: (1) Enough Said 1995-02-13, Benefit Part 2; (2) Enough Said 1995-02-20, Backo and Groupe de Poésie Moderne; (3) Enough Said 1995-02-27, Skarstedt and Suderman; and (4) Enough Said 1995-03-06, Phineas Flower Trio and Godin Part 1. The asset was digitized, generating both uncompressed and compressed video files; the compressed files were then split into events to facilitate the transcription work. Metadata entries based on events.\",\"type\":\"General\"},{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"https://worldcat.org/title/1111695171\",\"citation\":\"Backo, Njacko, & Trevor Ferrier. Lode yeuk [music CD]. Montréal: Alias Records, 1999.\"},{\"url\":\" https://worldcat.org/title/49167767\",\"citation\":\"Backo, Njacko, & Kalimba Kalimba. Nkoni [music CD]. Montréal: Alias Records, 1996.\"},{\"url\":\"https://worldcat.org/title/937406337\",\"citation\":\"Villeray, with the participation of Le Groupe de Poésie Moderne. Vents et marées [music CD]. Vents et Marées. Montréal: Productions Villeray, 1995.\"}]"],"_version_":1853670549327183872,"timestamp":"2026-01-07T14:59:53.966Z","contents":["[Bistro 4 stage]\n00:00:07\nVideo Description: Colour video, different degrees of closeup of the stage at Bistro 4 (Quatre) (4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada). A single mic stand. The stage, slightly below street level, is set against a full-wall window looking out onto the St. Laurent Blvd. traffic—with both pedestrians and vehicles regularly passing by. The windows from across the street are also visible, including an outdoor “JETHRO” sign. People frequently pass in front of the camera. On the café windows, some decals are partially visible, with words from the menu such as “DÉJEUNER,” “CAPPUCCINO,” and “TISANE.”\n\nTrevor Ferrier\n00:00:08\n[Testing the mic and sound system, playing the sanza. Then ambient sounds, audience voices.] | Video Description: Diagonal angle of the stage, capturing the performer from their right side. Medium shot of Trevor Ferrier sitting in front of the mic, playing the sanza on his lap, testing the mic. Ferrier wears a red Henley shirt with the sleeves rolled up, shaved head, and thin moustache. Zoom into a closeup as Ferrier finishes the sound check and leaves the stage. We see the reflex on the window of Ferrier hugging and talking to Lee Gotham. Then the camera remains stationary on part of the stage and the windows, with parked cars, falling snow, and the outdoor “À LOUER” sign across the street visible.\n\nLee Gotham\n00:01:30\n[Recording skips to Lee Gotham speaking, mid-sentence] In one, (so?), three offerings. On vous présente ce soir toutes sortes de lectures. Enfin, c’est l’essai de comprendre l’histoire, peut-être, de “le mot dit,” de l’origine. On commence avec deux raconteurs traditionnels. We’ve got a couple of traditional storytellers and, in the second half of the evening, we have the Groupe de Poésie Moderne to do something amazing with language and, I think it’s safe to say, something representative of more or less the contemporary and… And I’d suggest… (?) did you ever think of the “Groupe de Poésie Post-Moderne”? Anyway, (all the way from?) the traditional (brand?) and, two varieties, two different languages represented: Njacko Backo, who’ll be up presently, is a storyteller and musician who comes from Cameroon, un conteur traditionnel camerounais; and Trevor Ferrier, who will open the night’s entertainments… he uses African percussion. And I think we’ll all appreciate perhaps the contrast between a tradition of storytelling wherein the performer is basically the only vehicle for that tradition and, the other end of the spectrum, the Groupe de Poésie Moderne, a little later on. So, without a whole lot more chatter, I’m going to introduce Trevor Ferrier to you. Bon, faites comme vous voulez, c’est chez toi, chez vous, ce soir. I should mention that every coffee and beer sold goes a little way to helping the series continue, and I’ll leave it at that. Trevor, if we may, please. Trevor Ferrier. [Applause]. | Video Description: Cut to a medium closeup of Lee Gotham making introductory remarks at the mic. Gotham wears a grey button-down shirt with sleeves a bit rolled up and tucked into jeans, black leather belt; full beard, long hair tied in a ponytail. Different degrees of closeup as Gotham makes introductory remarks, often gently scratching the corner of his right eye.\n\nTrevor Ferrier\n00:03:55\n[Drums while telling a story in English, opening with the line “Some have seen it and wish they hadn’t.” Applause.] | Video Description: Medium shot of Trevor Ferrier entering the stage and picking up his percussion instrument from the floor. Different degrees of closeup as Ferrier tells a story while playing percussion.\n\nTrevor Ferrier\n00:20:00\n[Plays the sanza while telling another story in English, opening with the line “Once on the far side of yesterday there lived a little girl who wanted to know the future.” Applause.] | Video Description: Medium shot of Trevor Ferrier picking up the sanza.  Different degrees of closeup as Ferrier tells a story while playing the sanza. At some point the camera zooms into an extreme closeup of his hands playing. \n\nLee Gotham\n00:39:26\n[Thanks Trevor Ferrier and announces a break.] | Video Description: Lee Gotham walks to stage and makes remarks.\n\nLee Gotham\n00:39:44\n[Cut to Lee Gotham introducing Njacko Backo.] | Video Description: Medium long shot from the other side of the stage, now capturing the performers slightly from a diagonal left. \n\nNjacko Backo\n00:39:52\n[Salutes the audience in French and tells a story titled “Macaco.” Applause.] | Video Description: Closeup of Njacko Backo entering the stage. Backo wears a dark sweater, neck-length braided hair, and a large beaded necklace. As Backo tells a story, the camera alternates among different degrees of closeup and pans from side to side to accompany Backo on stage. At some point, Backo balances a percussion instrument (the same one Ferrier drummed) on his head, acting out part of the story. Backo incorporates call-and-responses and a choruses with the audience into the storytelling.\n\nLee Gotham\n00:52:52\n[Thanks Njacko Backo amid applause. Announces the next performers.] | Video Description: Zoom to a medium closeup as Lee Gotham walks on stage, clapping and smoking. Gotham makes remarks and introduces the next performers.\n\nLee Gotham and Groupe de Poésie Moderne\n00:54:15\n[Ambient sounds, voices]. | Video Description: Cut to a medium long shot as Lee Gotham, cigarette dangling from his mouth, climbs up a chair to tinker with cables, his back turned to the audience. On stage, we see the members of the Groupe de Poésie Moderne standing in a circular formation, all facing the stage, with the centre apparently empty.\n\nGroupe de Poésie Moderne\n00:54:33\n[The Groupe performs a spoken-word piece, alternating solos with choruses. Audience laughter as a group member repeats the line “Ce soir.” Applause.] | Video Description: Cut to medium shot of the Groupe de Poésie Moderne. All wear black shirts and pants. Six members of the group stand in a circular formation, all facing the stage, with the centre apparently empty. As the group performs, the camera zooms in and out of various degrees of closeup. At some point, a seventh performer emerges from the centre of the group formation, going up and down several times. Later on, the group briefly breaks the formation, acting out an argument.\n\nGroupe de Poésie Moderne\n01:01:00\n[The Groupe performs a second spoken-word piece, opening with the line “Bonsoir, nous sommes le Groupe de Poésie Moderne!” Applause.] | Video Description: Medium shot of the Groupe de Poésie Moderne. The seven group members now stand in a loose row, all facing the stage. Save by one performer, who reads, all members perform from memory. Zoom in and out of various degrees of closeup.\n\nGroupe de Poésie Moderne\n01:07:00\n[The Groupe performs a third piece, opening with the line “Bonjour, ma très belle, je suis inquiet pour toi.” Applause.] | Video Description: Medium shot of the Groupe de Poésie Moderne performing. The piece opens with only two members dialoguing and facing the audience, while the others stand on either side of the duo, with their backs to the camera. A third member turns to the audience and stands in front of the duo, addressing the audience. At the end, all other members turn to salute the audience, amid applause. \n\nLee Gotham\n01:09:24\n[Thanks the Groupe de Poésie Moderne. Announces an open mic (not part of this recording), as well as upcoming events.] | Video Description: Medium long shot then closeup as Lee Gotham thanks the performers and makes announcements.\n\nEND\n01:10:07\n[End of recording.]"],"score":1.8530173},{"id":"6368","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Lee Gotham collection"],"source_collection_label":["Lee Gotham collection"],"collection_contributing_unit":["Spokenweb at Concordia University"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Lee Gotham collection contains the AV recordings regarding the Enough Said series, including readings, performances, open-mic, and spoken-word events that took place at Bistro 4 and other Montreal venues between December 1994 and June 1996."],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Enough Said 1995-03-13, Karasick"],"item_title_source":["Asset"],"item_title_note":["Ephemera accompanying assets, corroborated by Lee Gotham, who introduces the event headliner."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["Lee Gotham collection"],"item_subseries_title":["Enough Said"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. We may wish to seek permission from individual artists and Drew Duncan, the videographer."],"creator_names":["Gotham, Lee","Karasick, Adeena"],"creator_names_search":["Gotham, Lee","Karasick, Adeena"],"creators":["[{\"url\":\"https://viaf.org/viaf/106179112\",\"name\":\"Gotham, Lee\",\"dates\":\"1962-\",\"notes\":\"Lee Gotham was also one of the MCs of this event.\",\"nation\":[],\"role\":[\"Series organizer\",\"Producer\"]},{\"url\":\"https://viaf.org/viaf/76188856\",\"name\":\"Karasick, Adeena\",\"dates\":\"1965-\",\"notes\":\"Event headliner.\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors_names":["Duncan, Drew","Tinguely, Vincent (Vince)","Miller, Mitsiko","David J.","Sabrina","Rondo","Kevin","Audience_Member1","Holmes, D.","McGrail, Justin"],"contributors_names_search":["Duncan, Drew","Tinguely, Vincent (Vince)","Miller, Mitsiko","David J.","Sabrina","Rondo","Kevin","Audience_Member1","Holmes, D.","McGrail, Justin"],"contributors":["[{\"url\":\"\",\"name\":\"Duncan, Drew\",\"dates\":\"\",\"notes\":\"Videographer.\",\"nation\":[],\"role\":[\"Recordist\"]},{\"url\":\"https://viaf.org/viaf/36425179\",\"name\":\"Tinguely, Vincent (Vince)\",\"dates\":\"1959-\",\"notes\":\"Open-mic performer. One of the five members of Fluffy Pagan Echoes.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/106148863\",\"name\":\"Miller, Mitsiko\",\"dates\":\"1971-\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"David J.\",\"dates\":\"\",\"notes\":\"Open-mic performer. Referred to as \\\"David Jaeger\\\" on the label of #SpokenWord_Sampler asset.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Sabrina\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Rondo\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Kevin\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Audience_Member1\",\"dates\":\"\",\"notes\":\"Makes a comment off-stage at 00:00:39. \",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Holmes, D.\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/106255768\",\"name\":\"McGrail, Justin\",\"dates\":\"1968-\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]}]"],"performer_name":["Tinguely, Vincent (Vince)","Miller, Mitsiko","David J.","Sabrina","Rondo","Kevin","Holmes, D.","McGrail, Justin"],"Recordist_name":["Duncan, Drew"],"Speaker_name":["Audience_Member1"],"Performance_Date":[1995],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/1565/Enough_Said-VHS4-19950306_19950313_19950320_19950327_19950403.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Video\",\"tape_brand\":\"TDK EHG\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"120 minutes\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"VHS\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Tape box. Handwritten labels on sides. Ephemera accompanying asset.\",\"other_physical_description\":\"VHS #4 asset. Contains recordings of multiple events.\"}]"],"material_designations":["VHS"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Video"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:v:/g/personal/carlosa_pittella_concordia_ca/EaL56mow5cxKne5HQyh-VXQBnfKj_xo13LV_E06gX10E6w\",\"file_path\":\"\",\"filename\":\"Enough_Said-19950313-Karasick.mp4\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:38:09\",\"precision\":\"\",\"size\":\"2.77 GB on disk\",\"bitrate\":\"2304Kbps (original); 256Kbps (master)\",\"encoding\":\"MPEG-4 movie\",\"contents\":\"This is file 1 of 1 containing an AV recording of the event featuring Adeena Karasick as part of the Enough Said series, organized by Lee Gotham, with extra open-mic performances by Vince Tinguely, Mitsiko Miller, and others.\",\"notes\":\"Dimensions: 640 × 480.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Video Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1995-03-13\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Asset\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/2428619734\",\"venue\":\"Bistro 4\",\"notes\":\"Bistro 4 (pronounced Bistro Quatre), no longer in existence.\",\"address\":\"4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada\",\"latitude\":\"45.5169628\",\"longitude\":\"-73.5796147\"}]"],"Address":["4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada"],"Venue":["Bistro 4"],"City":["Montreal, Quebec"],"content_notes":["Event recording starts at 00:48:16:00 of VHS #4 asset, which contains multiple events."],"Note":["[{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"},{\"note\":\"VHS #4 asset. Contains recordings of multiple events: (1) Enough Said 1995-03-06, Phineas Flower Trio and Godin Part 2; (2) Enough Said 1995-03-13, Karasick; (3) Enough Said 1995-03-20, Fluffy Pagan Echoes; and (4) Enough Said 1995-03-27, Farkas and Nuttall; and (5) Enough Said 1995-04-03, Smith. The asset was digitized, generating both uncompressed and compressed video files; the compressed files were then split into events to facilitate the transcription work. Metadata entries based on events.\",\"type\":\"General\"},{\"note\":\"Jade Palmer (Contents and Related Works) \",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/34324838\",\"citation\":\"Karasick, Adeena. Mêmewars. Vancouver: Talonbooks, 1994.\"},{\"url\":\" https://www.worldcat.org/title/25549150\",\"citation\":\"Karasick, Adeena. The Empress Has No Closure. Vancouver: Talonbooks, 1992.\"},{\"url\":\"https://www.worldcat.org/title/51837966?oclcNum=51837966\",\"citation\":\"Karasick, Adeena. Archetorture. Vancouver: Wave7Press, 1990.  \"}]"],"_version_":1853670549328232448,"timestamp":"2026-01-07T14:59:53.966Z","contents":["[Bistro 4 stage]\n00:00:00\nVideo Description: Colour video, different degrees of closeup of the stage at Bistro 4 (Quatre) (4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada). A single mic stand. The stage, slightly below street level, is set against a full-wall window looking out onto the St. Laurent Blvd. traffic—with both pedestrians and vehicles regularly passing by. The windows from across the street are also visible. People frequently pass in front of the camera. A decal of the word “said,” as a fragment of “enough said,” is visible on the window.\n\nLee Gotham\n00:00:01\nAnd glad to see the enthusiasm hasn’t waned. As everyone is more or less comfortable and ready and not grumbling and over-ready we’re gonna forge straight right into the evening’s offerings. I have a lot, all of a sudden, of open mic participants, half of which I’m going to insert between the two sets our feature performer will give us this evening, and without [long pause midsentence.] | Video Description: A medium shot of Lee Gotham in front of the microphone, making introductory remarks. Gotham wears a yellow long-sleeved shirt and a matching yellow bandana tied around head. The camera zooms in for an extreme closeup as Gotham pauses.\n\nAudience_Member1\n00:00:39\nFurther ado? \n\nLee Gotham\n00:00:40\nWell, I’m just making sure there isn’t any further ado, but uh, I suppose (?) without any further ado, in this corner, hailing from Toronto, Ontario, published doubly with Talonbooks, Mêmewars and The Empress Has No Closure, both of which, among other items, by the way, are available in this corner, and anyway, during the evening, just come on over, acquaint yourselves with Adeena Karasick. Would you all please welcome Adeena. [Applause.] | Video Description: Extreme closeup zooms out to a medium shot as Gotham introduces Karasick. Gotham adjusts the mic.\n\nAdeena Karasick \n00:01:22\n[Performs a piece beginning with chanting and followed by the line “Once, upon, I came to you when I could not be integrated” Applause.] | Video Description: Varying degrees of closeups as Karasick performs a piece. Karasick wears a black zippered vest atop a black long-sleeved shirt, gold dangling earrings, and shoulder length black hair that is loose and slightly curled. \n\nAdeena Karasick\n00:03:24\n[Thanks the audience. Explains that she will be reading pieces from multiple works, and that some relationships are only good for two things; “a poem at the beginning, and a poem at the end.” Laughter. Performs a piece beginning with the line “Incidentally accidental, it was an accident.” Laughter throughout. Applause.] | Video Description: Varying degrees of closeups as Karasick introduces the piece, until maintaining a medium closeup while Karasick performs. \n\nAdeena Karasick\n00:07:04\n[Explains the Poetry Express project in Toronto, in which poets performed on a bus. Performs a piece beginning with the line “Keep your eyes on the road.” Applause.] | Video Description: Medium shot as Karasick flips through papers on a blue box atop a trolley cart, which also holds an almost full glass beer bottle. Medium closeup as Karasick performs a piece.\n\nAdeena Karasick \n00:09:38\n[Introduces and performs an excerpt of a longer work called Archetorture (Wave7Press, 1990) that, Karasick explains, explores memory and her mother’s death. Applause.] | Video Description: Flips through papers on trolley. Sips beer. Flips through papers again. Medium closeup as Karasick performs a piece. \n\nAdeena Karasick\n00:15:09\n[Tells story about travelling in Germany. Performs a piece beginning with chanting and followed by the line, “And I go in to take the (?) to Meine, to Meine,” which contains both English and German. Karasick interrupts the poem to explain how food vocabulary is often the first words picked up in a new language, and then continues performing. Laughter throughout. Applause.] | Video Description: Sips beer. Shows audience an illustration in one of her collections (cover unidentifiable.) Performs a piece. The camera maintains a medium closeup. Closes books, sips beer, and it overflows with foam. Exits the stage and the frame. \n\nLee Gotham \n00:21:41\nWell, for any and all of those down on Toronto, there’s one very good reason we might reconsider, at least momentarily, for the evening, the value of our sister city. Okay, we are going to segue into, segue, word for the evening, into a short open mic segment. As we have a number, we’ll dispose of the first four of them. Number of things on the horizon in the spoken word genre here in Montreal in the near future, first of which [pause] for immediate release, Saturday twenty fifth of this month, that’s a little more than a week away, Building Dance just east of St Laurent on Pine Avenue, Wired on Words, the set release of spoken word projects number three, Ian Stephens, Diary of a Trademark on audio cassette, with a number of local support performers. Come on out, Saturday March twenty fifth, Building Dance, just east of des Pins. Building Danse (?) cool presentation, I may add. Okay, let’s do this open mic thing. Please get up, stretch your legs, get to the bar, every drink counts to keep the ball rolling (with?) Enough Said, Vince Tinguely, Vince, my fellow Fluffy (?) friend, come on up to the microphone, please.] | Video Description: Adjusts mic and introduces next segment. Pauses and reaches to his left to grab a folded up piece of white paper. Reads from it. Calls someone to the stage. Medium shots and extreme closeups throughout. \n\nVince Tinguely\n00:23:43\n[Explains a dream he had involving Donald Sutherland who said, “I like to write as if I am reading.” The audience collectively says, “I love you” in response to Tinguely’s balloon prompts (see video description.) Vince says, “thank you.” Applause.] | Video Description: Camera varies between medium shots and extreme closeups as Tinguely sets up unblown balloons and addresses the audience. Tinguely wears large wire-rimmed glasses, a black t-shirt, and white hair. Introduces the piece. Tinguely blows up a pink balloon, invites the audience to say the word “I” that is written on the balloon by waving it above his head. Continues with varying colours and sizes of balloons, each with one word printed on them to spell out the phrase, “I love you.” Tinguely leaves the stage. \n\nLee Gotham\n00:25:19\n[Asks an unknown person to move away so the blackboard is visible (off-camera), which assumingly has bears the names of the open mic performers. Invites Kevin, the next open mic performer, to the stage.] | Video description: A medium shot as Gotham speaks into the mic briefly, gesturing for something to be moved out of the way, and introducing the next performer.\n\nKevin\n00:25:47\n[Explains that an old love poem to a lamprey eel and a collage of a lamprey eel were discovered while cleaning. Performs a piece titled “Lamprey, d’amour, My Life is Complete.” Finishes the piece and continues to explain the relationship with the lamprey eel. Applause.] | Video Description: Closeups and medium shots as Kevin introduces a piece, performs a piece, continues explaining the piece afterwards. Kevin wears a black long-sleeved sweater and short light brown hair. Kevin holds a large sketchbook that features a collage of a lamprey eel. \n\nLee Gotham\n00:30:58\n[Thanks Kevin, invites Sabrina to the stage.] | Video Description: Medium closeup as Gotham speaks briefly into the mic and adjusts it.\n\nSabrina\n00:31:20\n[Introduces and begins performing a piece beginning with the line “images hanging in fountains.” Pauses.] | Video Description: Medium shot as Sabrina adjusts the mic and it tilts downwards. Sabrina wears a patterned black and white long-sleeved shirt and long medium brown hair with bangs swept to the side. Sabrina begins to perform, then pauses. \n\nLee Gotham\n00:31:32\nVideo Description: Lowers the mic.\n\nSabrina \n00:31:33\n[Says to Gotham that she “will just be loud” and that she will likely “flail” and knock the microphone off its stand anyways. Continues to perform the aforementioned piece.] | Video Description: Medium shot as Sabrina speaks with Gotham who is off-camera, then an extreme closeup zooms out to a medium closeup as Sabrina performs piece with her arms crossed, periodically looking at a small piece of paper tucked in her right hand tucked under her left elbow. \n\nSabrina\n00:34:16\n[Introduces and performs a “travelling poem” beginning with the line “I knew you were bound for the USA,” dedicated to a member of the audience. Applause.] | Video Description: Medium closeup to extreme closeup as Sabrina performs a piece. \n\nSabrina\n00:36:06\n[Introduces and performs an “angry woman poem” beginning with the line “I’m a woman agonized by a torturous itch.” Applause.] | Video Description: Medium closeup as Sabrina performs a piece. \n\nSabrina \n00:36:50\n[Performs a piece beginning with the line “I put my foot on an oil can.” Applause.] | Video Description: Closeup as Sabrina performs a piece. \n\nLee Gotham\n00:37:40\n[Thanks Sabrina, invites Rondo to the stage.] | Video Description: Medium shot as Gotham speaks briefly into the mic and adjusts it.\n\nRondo\n00:38:09\n[Introduces and performs a piece about Crad Kilodney titled “Crad.” Applause.] | Video Description: Loose and extreme closeups as Rondo performs a piece. Rondo wears a black open cardigan overtop a black shirt, short dark hair pulled back with bangs loose, two thin dark necklaces. \n\n[No signal]\n00:42:53\n[Ambient sounds (white noise).] | Video Description: Black screen with static.\n\nLee Gotham\n00:43:04\n[Announces upcoming literary events. Reintroduces Adeena Karasick. Applause.] | Video Description: Medium shot as Gotham speaks into the mic. \n\nAdeena Karasick\n00:44:42\n[Performs a piece beginning with chanting and followed by the line “When the word is bound (?)” Applause.] | Video Description: Reorganizes papers on trolley. Asks Gotham for something indiscernible with gesturing. Medium shot and extreme closeup as Karasick performs a piece. \n\nAdeena Karasick\n00:46:27\n[Performs a piece titled “Autobahn Cruise” (Mêmewars, Talonbooks, 1994). Applause.] | Video Description: Medium shot as Karasick performs a piece. \n\nAdeena Karasick \n00:49:22\n[Performs a chanting piece that includes the line “just a little bit harder” from an unknown project called Squalor. Pauses performance. Says, “I’ve lost my page.” Recommences. Laughter throughout. Applause]. | Video Description: Medium closeups and medium shots as Karasick performs a piece. Partway through, looks through folders of papers on the trolley to find another page. Recommences. \n\nLee Gotham \n00:53:25\nVideo Description: Readjusts the microphone that has begun to tilt downwards. \n\nAdeena Karasick\n00:53:33\n[Introduces and performs a piece called “Parasite Maintenance.” Applause.] | Video Description: Medium shots and extreme closeups as Karasick reorganizes papers on trolley and performs a piece. \n\nAdeena Karasick\n00:58:46\n[Introduces and performs a piece titled “Aghast” (The Empress Has No Closure, Talonbooks, 1992). Shortly after starting to perform, briefly pauses and laughs. Applause.] | Video Description: Medium shot as Karasick performs a piece, pausing briefly to laugh near the beginning. \n\nAdeena Karasick \n01:00:22\n[Introduces and performs a chanting piece beginning with the line “can’t get enough serotonin.” Applause.] | Video Description: Reorganizes papers on trolley. Medium shot as Karasick performs a piece. Gathers papers and water glass and leaves the stage. \n\nLee Gotham\n01:03:32\n[Encourages the audience to ask for an encore. Applause.] | Video Description: Gotham speaks briefly into the mic and claps. \n\nAdeena Karasick \n01:04:12\n[Explains that “things are more uptight in Toronto.” Audience laughs at something unknown, Karasick asks, “what?” Performs a chanting piece beginning with the line, “Ululate pullulations, exhorting (Mortimer?) writhed in (bendable?) straddles.” Applause.] | Video Description: Medium shot as Karasick introduces and performs a piece.\n\nLee Gotham\n01:06:55\n[Notes that the last piece Karasick performed will be featured in an issue of Pawn. Mentions that Karasick’s books are for sale at the back. Mentions it is his birthday. Audience begins singing “Happy Birthday,” banging on tables, and clapping. Lee invites D. Holmes to the stage.] | Video Description: Extreme closeups and medium shots as Gotham speaks briefly into the mic. Stands back and smiles as the audience sings. Speaks into the mic again. \n\nD. Holmes\n01:09:06\n[Performs a piece beginning with the line, “Large V8, large grapefruit juice, cup of coffee.” Applause.] | Video Description: Medium shots and medium closeups as Holmes performs a piece. Holmes wears a red sweater over a grey collared shirt and short light brown hair swept to the left.\n\nD. Holmes\n01:15:57\n[Performs a piece beginning with the line, “What do you find more in, the lake, do you find more in.” Applause.] | Video Description: Seems to ask someone off stage whether he can perform a little longer. Medium shots and extreme closeups as Holmes performs a piece.\n\nLee Gotham\n01:17:19\n[Thanks Holmes.] | Video Description: Medium shot as Gotham speaks briefly into the mic.\n\n[SpokenWeb edits]\n01:17:28\nVideo Description: Black screen with white text that reads \"Four minutes of this video have been removed.\"\n\nLee Gotham\n01:17:34\n[Mentions that the Fluffy Pagan Echoes will perform next week. Invites David Jager to the stage. Applause.] | Video Description: Medium shot as Gotham speaks briefly into the mic.\n\nDavid Jager\n01:18:15\n[Introduces and performs a piece called “Words.” Applause.] | Video Description: Closeups as David Jager performs a piece. J. wears a light brown striped button-down shirt with sleeves rolled up to the elbow and dark brown hair falling onto forehead in strands. \n\nDavid Jager\n01:20:00\n[Asks the audience if they want to hear an angry poem. Cheering. Introduces and performs a piece called “Smoke, Eat, Drive.” Applause.] | Video Description: Closeups as David Jager performs a piece. Applause and cheering throughout. \n\nDavid Jager\n01:21:24\n[Introduces and performs a piece called “Missing.” Applause.] | Video Description: Medium closeups and medium shots as David Jager performs a piece.\n\nDavid Jager\n01:22:30\n[Introduces a piece called “Dream Chicken.” Mumbles while looking through papers. Performs piece. Applause.] | Video Description: Looks through papers. Loose and regular closeups as David Jager introduces and performs a piece. \n\nLee Gotham\n01:24:39\n[Sudden cut to Gotham mentioning Endre Farkas will perform in the coming weeks. Invites Mitsiko Miller to the stage.] | Video Description: Extreme closeup zooms out to medium shot as Gotham speaks into the mic. \n\nMitsiko Miller\n01:25:16\n[Mentions that “this is a very good evening.” Mentions song by Anita Franco. Introduces and performs a piece called “Ennui” in French. Applause.] | Video Description: Medium shot as Mitsiko addresses audience and chews gum. Miller wears a black blazer over a black-and-white horizontal-striped shirt, black pants, and bleached hair in a shaggy pixie cut. Miller takes off denim jacket and reveals a black cardigan underneath. Medium shots and extreme closeups as Miller introduces and performs a piece. \n\nMitsiko Miller \n01:27:12 \n[Introduces and performs a piece titled “Seguir Adelante, But Going Nowhere” Applause.] | Video Description: Closeups as Miller introduces and performs a piece. \n\nLee Gotham\n01:29:40\n[Reminds audience that the Fluffy Pagan Echoes will perform the next week. Notes that the next performer is part of the group. Invites Justin McGrail to the stage. Applause.] | Video Description: Medium shot as Gotham speaks briefly into the mic, adjusts the microphone, and pushes the trolley out of the way.\n\nJustin McGrail\n01:30:36\n[Mentions the Toronto Star trolley “freaks him out.” Introduces and performs an untitled piece beginning with the line “It’s not about who’s around, secret whispers exclusive soundings.” Applause.] | Video Description: Medium shot of Justin McGrail addressing the audience. Camera pans down to show outfit. McGrail wears white button-down shirt with sleeves rolled up to the elbow and a small collar, a dark plaid kilt falling just below the knees with a sporran on a chain in front, tight black pants, white hiking socks scrunched up above black lace-up boots, a bracelet on each wrist, a necklace with a pendant, and short dark hair falling onto forehead. Medium shot to extreme closeup and back again as McGrail performs a piece. \n\nLee Gotham \n01:32:57\n[Thanks Adeena Karasick. Tells audience to buy books. Thanks Danielle “and company” for the venue. Reminds audience of event on des Pins mentioned earlier. Cut off mid-sentence.] | Video Description: Medium shot as Gotham speaks briefly into the mic. Video suddenly ends. \n\nEND\n01:34:07\n[End of recording.]"],"score":1.8530173},{"id":"6880","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Lee Gotham collection"],"source_collection_label":["Lee Gotham collection"],"collection_contributing_unit":["Spokenweb at Concordia University"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Lee Gotham collection contains the AV recordings regarding the Enough Said series, including readings, performances, open-mic, and spoken-word events that took place at Bistro 4 and other Montreal venues between December 1994 and June 1996."],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Enough Said 1995-03-27, Farkas and Nuttall"],"item_title_source":["Asset"],"item_title_note":["Ephemera accompanying assets, corroborated by Lee Gotham, who introduces the event headliners."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["Lee Gotham collection"],"item_subseries_title":["Enough Said"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. We may wish to seek permission from individual artists and Drew Duncan, the videographer."],"creator_names":["Gotham, Lee","Farkas, Endre","Nuttall, Suzanne"],"creator_names_search":["Gotham, Lee","Farkas, Endre","Nuttall, Suzanne"],"creators":["[{\"url\":\"https://viaf.org/viaf/106179112\",\"name\":\"Gotham, Lee\",\"dates\":\"1962-\",\"notes\":\"Lee Gotham was also one of the MCs of this event.\",\"nation\":[],\"role\":[\"Series organizer\",\"Producer\"]},{\"url\":\"https://viaf.org/viaf/115673614/\",\"name\":\"Farkas, Endre\",\"dates\":\"1948-\",\"notes\":\"Event headliner, performing together with Suzanne Nuttall.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Nuttall, Suzanne\",\"dates\":\"\",\"notes\":\"Event headliner, performing together with Endre Farkas.\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors_names":["Duncan, Drew"],"contributors_names_search":["Duncan, Drew"],"contributors":["[{\"url\":\"\",\"name\":\"Duncan, Drew\",\"dates\":\"\",\"notes\":\"Videographer.\",\"nation\":[],\"role\":[\"Recordist\"]}]"],"Recordist_name":["Duncan, Drew"],"Performance_Date":[1995],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/1565/Enough_Said-VHS4-19950306_19950313_19950320_19950327_19950403.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Video\",\"tape_brand\":\"TDK EHG\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"120 minutes\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"VHS\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Tape box. Handwritten labels on sides. Ephemera accompanying asset.\",\"other_physical_description\":\"VHS #4 asset. Contains recordings of multiple events.\"}]"],"material_designations":["VHS"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Video"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:v:/g/personal/carlosa_pittella_concordia_ca/EX4bnn8qZ71LvgmVIY9t-JwB9CwteOyLG3-v7ybiKND3GQ\",\"file_path\":\"\",\"filename\":\"Enough_Said-19950327-Farkas_Nuttall.mp4\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:44:00\",\"precision\":\"\",\"size\":\"1.24 GB on disk\",\"bitrate\":\"2304Kbps (original); 256Kbps (master)\",\"encoding\":\"MPEG-4 movie\",\"contents\":\"This is file 1 of 1 containing an AV recording of the event featuring Endre Farkas and Suzanne Nuttall as part of the Enough Said series, organized by Lee Gotham.\",\"notes\":\"Dimensions: 640 × 480.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Video Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1995-03-27\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Asset\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/2428619734\",\"venue\":\"Bistro 4\",\"notes\":\"Bistro 4 (pronounced Bistro Quatre), no longer in existence.\",\"address\":\"4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada\",\"latitude\":\"45.5169628\",\"longitude\":\"-73.5796147\"}]"],"Address":["4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada"],"Venue":["Bistro 4"],"City":["Montreal, Quebec"],"content_notes":["Event recording starts at 03:26:51:01 of VHS #4 asset, which contains multiple events."],"Note":["[{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"},{\"note\":\"VHS #4 asset. Contains recordings of multiple events: (1) Enough Said 1995-03-06, Phineas Flower Trio and Godin Part 2; (2) Enough Said 1995-03-13, Karasick; (3) Enough Said 1995-03-20, Fluffy Pagan Echoes; and (4) Enough Said 1995-03-27, Farkas and Nuttall; and (5) Enough Said 1995-04-03, Smith. The asset was digitized, generating both uncompressed and compressed video files; the compressed files were then split into events to facilitate the transcription work. Metadata entries based on events.\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"https://www.discogs.com/release/3430983-Bare-Bones-Elusive\",\"citation\":\"Bare Bones. Elusive (album). Montréal: En Guard Records, 1994.\"},{\"url\":\"https://worldcat.org/title/938022325\",\"citation\":\"Bare Bones, Elusive lancement du nouvel album [poster]. Montréal (Café Campus): En Guard Records, [1994?].\"},{\"url\":\"https://worldcat.org/title/34624725\",\"citation\":\"Farkas, Endre. Surviving words. Ste. Anne de Bellevue, QC: The Muses' Company, 1994.\"}]"],"_version_":1853670549329281024,"timestamp":"2026-01-07T14:59:53.966Z","contents":["[Bistro 4 stage]\n00:00:05\nVideo Description: Colour video, different degrees of closeup of the stage at Bistro 4 (Quatre) (4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada). A single mic stand. The stage, slightly below street level, is set against a full-wall window looking out onto the St. Laurent Blvd. traffic—with both pedestrians and vehicles regularly passing by. The windows from across the street are also visible, including an outdoor “À LOUER” sign. People frequently pass in front of the camera. When the camera zooms out, the words “enough said” become visible, as decals on the window.\n\nLee Gotham\n00:00:06\nBonsoir, mes chers amis, and welcome back to yet another segment of Enough Said. Nice to see everyone out (?). In nearly spring, I have the immense pleasure this evening presenting two fine artists of various disciplinary persuasions. I would like to know that everyone is comfortable, as we have a real treat (?). We have, this evening, a cabaret of poetry. And the participants---and your performers---are Endre Farkas and Suzanne Nuttall. Endre Farkas started creating sound-text-movement poetry-performance pieces in the late 70s, before the spoken word was a glint in anyone's imagination. Endre worked with collaborators from different disciplines across Canada. He's also published seven books of poetry. His most recent book is Surviving Words (The Muses' Company, 1994) and is available along with the Bare Bones cassette (En Guard Records, 1994), pertaining to Suzanne Nuttall, who is one half of Bare Bones. They've just returned from a successful tour out West and in the Yukon. They've two cassettes and a CD to their credit. I think I see both CDs and cassettes, is that right (?), in your corner. Just on your way out, or on your way in, you can have a look at this stuff, because they're beautiful offerings. So, Bare's most recent CD-cassette is called Elusive and is available here this evening. So, both Surviving Words and Elusive---anytime, during the evening, you might wanna choose the intermission, but anytime, (on your left just before the?) door. And now, welcome to the cabaret! [Applause.] | Video Description: Camera zooms out to a medium closeup as Lee Gotham adjusts the mic. Gotham wears a red button-down shirt atop a black t-shirt; full beard, long hair tied in a bun. Gotham makes introductory remarks. Camera zooms out to a medium shot at the end.\n\nEndre Farkas\n00:02:13\n[Thanks the audience. Introduces and performs \"as the breath is the journey i move and it is imperceptible as is the breath just breathed in and out.\" The piece begins with sounds of breathing into the mic, followed by vocalizations of each word that forms the title. Applause.] | Video Description: Medium shot zooms into a closeup as Endre Farkas approaches the mic and thanks the audience. Farkas wears a light striped button-down shirt, red suspenders, thick eyebrows, and short grey hair with hairline receding. Performs the piece.\n\nEndre Farkas and Suzanne Nuttall\n00:05:37\n[Suzanne Nuttall says the “naked” off-camera, which Endre Farkas repeats as Nuttall walks to join him on stage. Each repeats the word many more times, sometimes in unison, then Farkas begins reciting a piece opening with the line, “Against the world and without time to be innocent,” which proceeds as a dialogue between the performers. Applause at the end.] | Video Description: Zoom out to a medium long shot as Endre Farkas stands at the mic and Suzanne Nuttall walks to join him on stage. Nuttall wears dark pants, a long-sleeved white button-down shirt with black details on both sides of the buttons, short dark hair combed up, and one dangle earring on the right lobe. They perform a piece while standing side by side, with the mic stand between them. At some point they dramatize searching for something and switch sides on stage, then briefly hold hands. Zoom out to a medium long shot as Farkas drinks water and Nuttall leaves the stage.\n\nEndre Farkas\n00:12:00\n[Introduces and performs “Au Canada.” Applause.] | Video Description: Medium long shot then zoom into different degrees of closeup as Endre Farkas introduces and performs a piece.\n\nSuzanne Nuttall and Endre Farkas\n00:18:10\n[They perform a piece opening with the line “I love you, as a way to (start?) the bone.” Mid-performance, Nuttall starts singing. Then, Nuttall and Farkas resume the spoken-word dialogue.] | Video Description: Medium shot as Suzanne Nuttall walks onto the stage to perform a piece with Endre Farkas, both standing, the mic  between them. Mid-piece, Nuttall starts singing while Farkas stands looking at her. They then resume the dialogue piece.\n\nSuzanne Nuttall\n00:20:45\n[Performs a  solo passage opening with the line “It is what we cannot have that is erotic.” At some point, a prolonged silence suggests Nuttall forgot a line. Audience laughter, followed by Farkas saying “Your turn!”] | Video Description: Zoom out to a medium long shot as Suzanne Nuttall walks to each side of the stage, addressing the audience, while Endre Farkas stands to the side. The camera zooms into a medium closeup and pans, accompanying Nuttall from side to side. Mid-performance, Nuttall forgets a line and signals to Farkas, smiling and asking for help.\n\nEndre Farkas and Suzanne Nuttall\n00:22:15\n[They perform a piece opening with Farkas breathing loudly into the mic. Applause.] | Video Description: Medium shot as Zoom Endre Farkas and Suzanne Nuttall stand side by side, near the mic, performing a piece.\n\nEndre Farkas\n00:24:08\n[Speaks amid applause.] We will take a five-minute break and we’ll be back with “Murders.” Thank you. | Video Description: Medium long shot as Farkas makes remarks.\n\nLee Gotham\n00:24:22\n[Makes announcements of upcoming Enough Said events, including Clifford Duffy’s “The Invention of God,” at a different venue, and Dee Smith at Bistro 4. Introduces the second half of the poetic cabaret. Background music and ambient sounds.] | Video Description: Cut to a medium long shot then zoom into a closeup as Lee Gotham makes remarks while holding a cup, introducing the second part of the show. The camera zooms out to Gotham and Farkas making final preparations for the second act.\n\nEndre Farkas and Suzanne Nuttall\n00:27:02\n[Background music and ambient sounds as Farkas and Nuttall make final preparations for “Murders.”] | Video Description: Cut to a medium long shot of the stage, now with Endre Farkas sitting alone at a table upstage, while Suzanne Nuttall, now wearing a suit coat, walks towards the camera then past it. Farkas stands up and also walks towards the camera, then back to his table on stage, drinks from a cup, then stands and walks towards the camera one more time.\n\nEndre Farkas and Suzanne Nuttall\n00:28:00\n[Background music, ambient sounds. As the music ends, Endre Farkas and Suzanne Nuttall perform a one-act play titled “Murders.” At the end, Farkas thanks the audience amid applause and states, “If you have any mysteries, we’d be glad to solve them.”] | Video Description: Cut again to a medium long shot of the stage. Endre Farkas sits alone at a table holding a cup. The camera slowly zooms in to and out of him, settling into a medium long shot during most of the performance. Suzanne Nuttall walks into view and stands by a flipchart to announce “Chapter one”; Nuttall then describes the setting of the “Welcome Café,” where the drama takes place. Farkas stands up and puts on a detective trench coat and hat. Farkas and Nuttall perform a one-act play. Mid-performance, Farkas walks amid the audience. At the end, Farkas undoes his trench coat while thanking the audience.\n\nEND\n00:44:00\n[End of recording.]"],"score":1.8530173}]