[{"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":4.3497663},{"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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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":4.3497663},{"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":4.3497663},{"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":4.3497663},{"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":4.3497663}]