[{"id":"1291","cataloger_name":["Bindu,Reddy"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Ted Berrigan Reading at Sir George Williams University, The Poetry Series, 4 December 1970"],"item_title_source":["Cataloguer"],"item_title_note":["\"RT 551 TED BERRIGAN Recorded December 4, 1970 at Sir George Williams University 3.75 ips on 1. mil tape, 1/2 track\" written on sticker on the back of the tape box. \"RT 551\" written on sticker on the front of the tape box. \"TED BERRIGAN I086-11-004\" written on spine of the tape box. \"TED BERRIGAN I086-11-004\" and \"RT 551\" written on stickers on the reel.\n\nWrong tape and information photographed ??"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 5"],"item_identifiers":["[]"],"creator_names":["Berrigan, Ted"],"creator_names_search":["Berrigan, Ted"],"creators":["[{\"url\":\"http://viaf.org/viaf/64027570\",\"name\":\"Berrigan, Ted\",\"dates\":\"1934-1983\",\"notes\":\"Poet and editor Ted Berrigan was born in Providence, Rhode Island on November 15, 1934. He studied briefly at Providence College until 1954 when he joined the US army, which he served three years, an eighteen months of which were spent in the Korean War. Berrigan returned to the US and completed a Bachelor’s degree in English literature at the University of Tulsa, Oklahoma in 1595. It was there that he met Ron Padgett and Joe Brainard. Berrigan completed his MA in 1962, and soon after, with a number of friends from Tulsa, went north to the Lower East Side of New York City. By 1963, Berrigan had established C: A Journal of Poetry, which published not only the work of his friends, but the poetry of the older generation of New York poets and artists like Andy Warhol. In 1964, Berrigan published his most accomplished collection of poems, The Sonnets (Lorenz & Ellen Gude, 1964). Berrigan also taught at the St. Mark’s Poetry Project at its conception by Paul Blackburn, helping to shape the project and its programmes in its early days. He also lectured at the State University of Michigan, University of Iowa, Yale University, the University of Michigan, and at the Jack Kerouac School of Disembodied Poetics at Naropa Institute in Boulder, Colorado. A selection of his publications include A Lily for My Love (Self published, 1959), In the Early Morning Rain (Cape Goliard Press, 1970), Red Wagon (Yellow Press, 1976), Galileo; or Finksville a play (1964) and Bean Spasms (Kulchur Press, 1967) written with Ron Padgett. Ted Berrigan died on July 4, 1983. The most comprehensive collection of his poetry can be found in So Going Around Cities: New and Selected Poems 1958-1979 (Blue Wind Press, 1980).\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Bowering, George"],"contributors_names_search":["Bowering, George"],"contributors":["[{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Presenter\"]}]"],"Presenter_name":["Bowering, George"],"Series_organizer_name":["Bowering, George"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1970 12 4\",\"type\":\"Performance Date\",\"notes\":\"Date reference on tape box\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["Ted Berrigan reads from In the Early Morning Rain (Cape Goliard, 1970), The Sonnets (Grove Press, 1964), Many Happy Returns (Corinth, 1969) and poems later collected in So Going Around Cities (Berkley, 1980) as well as a few unknown poems."],"contents":["ted_berrigan_i086-11-004.mp3\n\nGeorge Bowering\n00:00:00\nWelcome to at last the second reading in the series, for this year.  As you probably know, the series that we have, it might be loosely called a kind of an avant-garde series, and in the, this is our fifth year, and this is the first time we've ever had anybody from the New York School [https://www.wikidata.org/wiki/Q1972942]--it's not going to be the last time, we're going to have Kenneth Koch [https://www.wikidata.org/wiki/Q2708628] in the spring, and we're looking for Tom Clarke [https://www.wikidata.org/wiki/Q7815337] next fall. Berrigan [https://www.wikidata.org/wiki/Q2399732] is I guess now, one of the, say the halfback, I supposed, or quarterback of the New York School. Many of you have probably seen...[laughter] yeah, linebacker! When you ask when you're a little thin... And most of you have probably seen the propaganda sheet that's been around, downstairs and so on, and so you've heard the words that some of his confreres have said about him. I'd just like to add a little bit, in addition to those earlier books such as The Sonnets, and Bean Spasms, there's a couple of new books that have just appeared, one's called In the Early Morning Rain, which will be available here because it's a Cape Goliard book, and it's distributed in Canada [https://www.wikidata.org/wiki/Q16] by one of the big Toronto [https://www.wikidata.org/wiki/Q172] publishers, and another one with a Kraut title that I can't read that's bilingual, half-German and half-English that I'm sure we'll hear some from....\n \nTed Berrigan\n00:01:31\nThe title's [unintelligible] Guillaume Apollinaire [https://www.wikidata.org/wiki/Q133855] ist ...\n \nGeorge Bowering\n00:01:34\nOh I see, yeah right.\n \nTed Berrigan\n00:01:35\nHowever I don't have any available, only in Berlin [https://www.wikidata.org/wiki/Q64].\n \nGeorge Bowering\n00:01:38\nRight, so if you happen to be in Berlin, snap up a copy of Guillaume Apollinaire ist tot und Anders. So I'd like to mention that Ted Berrigan is going to read one set, and then he wants to stop for a very short intermission, say like a five-minute intermission, and then haul you back in again and do a second set. So ladies and gentlemen, etcetera, Ted Berrigan.\n \nAudience\n00:02:05\nApplause. \n \nUnknown\n00:02:07\n[Cut or edit made in tape. Unknown amount of time elapsed]. \n \nTed Berrigan\n00:02:08\nIn the first set I'm going to read mostly poems I've written over the last four or five years. Actually, longer than that, some going back to 1962, or '61. I don't know how long this set'll be. It'll, should be less than a half-hour. In the second set I'll read poems I've written over the last year or two. However I want to start with a poem that I wrote about two years ago. It's called \"Heroin\" I read this in high schools in Ann Arbor [https://www.wikidata.org/wiki/Q485172] which I went to read in a program called Poetry Ann Arbor, and I wanted, I read the title and then I wanted to, I read the title and then I wanted to, I found it real funny because it was called \"Heroin,\" and I wanted to disclaim that it was a pro-heroin poem. So I said, this poem is not a pro-heroin poem.Then I realized there wasn't an anti-heroin poem either.  So I ended them, it was just sort of an on-heroin poem. [Audience laughter]. All my poems are pretty much alike, and this is fairly typical of what you'll be hearing the rest of the evening. \n \nTed Berrigan\n00:03:19\nReads \"Heroin\".\n \nTed Berrigan\n00:04:22\nThis poem is called \"Frank O'Hara's Question\". Frank O'Hara [https://www.wikidata.org/wiki/Q951010] is a poet from New York [https://www.wikidata.org/wiki/Q60], who's dead, he died when he was forty years old a couple of years ago in an automobile accident. The title doesn't have too much to do with the poem, except that it sort of states something that Frank O'Hara evidently had to say, and so it says something that I have to say too in my own way, not that I have to say it the same way that Frank did. \n \nTed Berrigan\n00:04:56\nReads \"Frank O’Hara’s Question\".\n \nTed Berrigan\n00:05:42\nThis is a poem I wrote in 1962. It's called \"Words for Love\". It's a bit rhetorical, but it's the best I could do in 1962, and I still like it a lot, albeit I wonder at some of it.  \"Words for Love\". It was written, actually, at a very difficult time in my life, and I guess I felt the need to make some sort of statement.\n \nTed Berrigan\n00:06:09\nReads \"Words for Love\".\n \nTed Berrigan\n00:08:07\nReads [\"I wake up 11:30, back aching\"].\n \nTed Berrigan\n00:09:23\nReads “Personal Poem #7. \n \nTed Berrigan\n00:10:23\nReads “Personal Poem”.\n \nAudience\n00:11:08\nApplause.\n\nTed Berrigan\n00:11:10\nThank you. Charlie Stanton liked that one too. [Audience laughter]. This is the last one of those kind of poems [audience laughter]. \n \nTed Berrigan\n00:11:21\nReads “Personal Poem #9”.\n\nTed Berrigan\n00:12:32\nI've always liked that poem. [Laughter]. All of those are written around 1962, 61 and 62.  I want to skip up to around 1967. I wrote this poem called \"Things to do in New York City\". I was leaving New York, and this poem, like many of my poems, was written for a specific occasion. It was for someone's birthday. And the poem, it's just my poem, it's not about the other person's birthday, it's just a present for him on his birthday. \n \nTed Berrigan\n00:13:24\nReads \"Things to do in New York City\".\n \nTed Berrigan\n00:14:20\nThis poem is called \"Ten Things I do Every Day,\" which is...it's true, as a matter of fact, in a way. In a manner of speaking. But it's not true that it's ten things. Alas. But that was just the title, like the ten greatest movies of the year. \n \nTed Berrigan\n00:14:40\nReads \"Ten Things I do Every Day\".\n\nAudience\n00:15:16\nLaughter.\n \nTed Berrigan\n00:15:21\nThat's what you do in New York. [Audience laughter]. I'll read this poem called \"Resolution\". \n \nTed Berrigan\n00:15:35\nReads \"Resolution”.\n \nTed Berrigan\n00:15:58\nI don't know what I'll do about it if you do, but...something. All those dramatic poems. \n \nTed Berrigan\n00:16:06\nReads “Sonnet XXXVII”.\n \nTed Berrigan\n00:17:08\nI want to move around a little and not do exactly what I said. This is a poem I wrote last summer in London [https://www.wikidata.org/wiki/Q84], it's dedicated to the poet Tom Raworth [https://www.wikidata.org/wiki/Q7817338] and his wife. They lived in Colchester [https://www.wikidata.org/wiki/Q184163], which is an hour or two train-ride from London, and I was supposed to go down and see them, and I didn't go. And by way of apologies, I wrote this poem to Tom and to his wife, Val.\n \nTed Berrigan\n00:17:33\nReads \"Apologies to Val and Tom\".\n \nTed Berrigan\n00:19:05\nI'll read this one for George Bowering's old lady, [audience laughter] Mrs. Angela Bowering. It's called \"Things to do on Speed\". [Audience laughter].\n \nTed Berrigan\n00:19:19\nReads \"Things to do on Speed\" [audience laughter throughout].\n \nTed Berrigan\n00:20:58 [Laughter] I forgot about that one.  \n\nAudience \n00:21:01\nLaughter.\n \nTed Berrigan\n00:21:03\nResumes reading \"Things to do on Speed\".\n \nTed Berrigan\n00:22:21\nI wrote that one courtesy of The New York Times [https://www.wikidata.org/wiki/Q9684]. Okay, one more this set. This is called, \"Things to do in Providence\". [Audience laughter]. Which is, Providence [https://www.wikidata.org/wiki/Q18383], Rhode Island [https://www.wikidata.org/wiki/Q1387], or whatever else you can make of it.\n \nTed Berrigan\n00:22:50\nReads \"Things to do in Providence\".\n \nAudience\n00:26:23\nLaughter.\n \nTed Berrigan\n00:26:29\nResumes reading \"Things to do in Providence\".\n \nAudience\n00:27:46\nApplause.\n \nTed Berrigan\n00:27:52\n[Unintelligible].\n \nUnknown\n00:27:55\n[Cut or edit made in tape. Unknown amount of time elapsed].\n \nGeorge Bowering\n00:27:55\nHere he is again, terrible Ted Berrigan. \n \nTed Berrigan\n00:28:01\nAll the poems I'm going to read in this set are from my book, In the Early Morning Rain.  The title of this book I got from Gordon Lightfoot [https://www.wikidata.org/wiki/Q359552], the Canadian folk singer-songwriter, and I didn't know, I made, I decided to use that title before Bobby Dylan's [https://www.wikidata.org/wiki/Q392] album Self-Portrait [https://www.wikidata.org/wiki/Q634569] came out, so I didn't know that Bobby was going to record this song. I would have used it anyway, I'm sure. But, I mean if Dylan can steal it, I can steal it. And this book is a collection of poems of mine from over the last ten years, and I'm just going to read around in it. I wrote a lot of different kind of poems. I don't very often try for...I mean, I just take my poems where they come. This poem is called \"Hello\". \n \nTed Berrigan\n00:28:51\nReads \"Hello\" from In the Early Morning Rain.\n \nTed Berrigan\n00:29:06\nNow I'm going to read two or three poems that are from a section of this book called \"Life of a Man\".  \"Life of a Man\" is a book of poems in Italian by an Italian poet, a very great Italian poet who died not too long ago called Giuseppe Ungaretti [https://www.wikidata.org/wiki/Q311802]. There's a little story behind these. A lady poet named Barbara Guest [https://www.wikidata.org/wiki/Q807448] once asked my friend Ron Patchett and I, would we translate some of Ungaretti's poems, because Ungaretti was coming to America [https://www.wikidata.org/wiki/Q30]. And she thought it would be nice if we would translate them as a sort of homage to him. And so I told her, I said, “Barbara, but we don't understand Italian,” and she said, “Oh, I'm sure you can do it, you two are marvelous”.  And she said, “Just get a dictionary, and you can look up the words”. So I looked at Ron and he looked at me, and we said, yeah, we can translate 'em, sure, but we don't want to get any dictionaries. So we just translated 'em without any dictionaries. [Audience laughter]. And we never showed them to Ungaretti but we showed them to Barbara Guest and she had the horrors. The first one is called \"Matinee\". \n \nTed Berrigan\n00:30:16\nReads \"Matinee\" from In the Early Morning Rain [audience laughter throughout].\n\nTed Berrigan\n00:30:26\nThe next one is called \"December\" [audience laughter].\n \nTed Berrigan\n00:30:30\nReads \"December\" from In the Early Morning Rain [audience laughter throughout].\n \nTed Berrigan\n00:30:38\nAnd this one is called \"The Reply to the Fragile.\" \n \nTed Berrigan\n00:30:42\nReads \"The Reply to the Fragile\" from In the Early Morning Rain.\n \nTed Berrigan\n00:30:53\nThat one's a little, that's rated X. [Audience laughter]. And this is the last one, it's called “Corporal Pellegrini”. If any of you know Italian, you can understand where all these words came from [audience laughter].\n \nTed Berrigan\n00:31:09\nReads \"Corporal Pellegrini\" from In the Early Morning Rain.\n \nTed Berrigan\n00:31:38\nI think Ungaretti would've liked them. [Audience laughter]. He probably would have retranslated them and gotten some new ones. This next work is a translation too and it's a translation I did from French, which I understand some. And so this time I only had to leave certain words. This time I translated a lot of it accurately. But it's called \"Life among the woods\". And it's a translation of a page from a grammar book, some kind of book written in the French language. After I'd gotten this much done I decided it was over. Anyway, it's called \"Life Among the Woods\".\n \nTed Berrigan\n00:32:20\nReads \"Life Among the Woods\" from In the Early Morning Rain.\n \nTed Berrigan\n00:34:30.58\nPretty interesting family. This is a poem called \"In Four Parts.\"\n \nTed Berrigan\n00:34:40.14\nReads \"In Four Parts\" from In the Early Morning Rain.\n \nTed Berrigan\n00:35:22\nThat was four sentences from the New York Times. They had this secret continuity. [Laughter]. This is a poem called \"March 17th, 1970\".\n \nTed Berrigan\n00:35:35\nReads \"March 17th, 1970\" from In the Early Morning Rain.\n \nTed Berrigan\n00:36:03\nAnd you'd better believe it. Only not right now, right then. I don't know if I can subject you to this poem. I guess I will anyway. This is called \"The Ten Greatest Books of the Year, 1968\".\n \nTed Berrigan\n00:36:28\nReads \"The Ten Greatest Books of the Year, 1968\" from In the Early Morning Rain [audience laughter throughout].\n \nTed Berrigan\n00:38:02\nYou people that are laughing are getting it.\n\nTed Berrigan\n00:38:04\nResumes reading \"The Ten Greatest Books of the Year, 1968\" from In the Early Morning Rain. \n\nAudience\n00:38:14\nLaughter.\n\nTed Berrigan\n00:38:17\nThis is a poem called \"Thirty\".\n \nTed Berrigan\n00:38:18\nReads \"Thirty\" from In the Early Morning Rain\n \nTed Berrigan\n00:38:24\nThat's for all of you guys that did thirty. This poem is called \"Things to do in Anne's Room\".\n \nTed Berrigan\n00:38:34\nReads \"Things to do in Anne's Room\" from In the Early Morning Rain\n \nTed Berrigan\n00:39:42\nThis is called \"The Great Genius\".\n \nTed Berrigan\n00:39:45\nReads \"The Great Genius\" from In the Early Morning Rain.\n \nTed Berrigan\n00:39:56\nThis is called \"Anti-War Poem\". It's another New Year's poem, actually.\n \nTed Berrigan\n00:40:03\nReads \"Anti-War Poem\" from In the Early Morning Rain.\n \nTed Berrigan\n00:40:41\nAnd this poem is called \"Tough Brown Coat\".\n \nTed Berrigan\n00:40:43\nReads \"Tough Brown Coat\" from In the Early Morning Rain.\n \nTed Berrigan\n00:41:04\nThis poem is called \"Babe Rainbow\".\n \nTed Berrigan\n00:41:08\nReads \"Babe Rainbow\" from In the Early Morning Rain.\n \nTed Berrigan\n00:41:25\nAnd this is called \"In My Room\".\n \nTed Berrigan\n00:41:30\nReads \"In My Room\" from In the Early Morning Rain.\n \nTed Berrigan\n00:41:54\nThis is called \"Ann Arbor Elegy\". It was written for a girl who was killed in an automobile accident. September 27th, 1969. The funny thing about this poem is it was written before she was killed. And when I looked at it after she was dead, I saw that I didn't have to write an elegy for her, that somehow I'd written one already. \n \nTed Berrigan\n00:42:17\nReads \"Ann Arbor Elegy - For Franny Winston\" from In the Early Morning Rain.\n \nTed Berrigan\n00:43:13\nAnd this is a sort of berserk work, which I wrote called \"Wake Up,\" which is about all it says, really.\n \nTed Berrigan\n00:43:23\nReads \"Wake up\" from In the Early Morning Rain.\n \nTed Berrigan\n00:44:18\nI have another poem which I'd like to read but I won't, but it's a series of aphorisms from the works of Francis Picabia [https://www.wikidata.org/wiki/Q157321], the French poet and painter. And this friend Jim Carroll [https://www.wikidata.org/wiki/Q444806] and I translated these from French. I'll read you my favourite one, in any case, which Jim Carroll translated. It says, \"Spinoza [https://www.wikidata.org/wiki/Q35802] is the one who threw a pass to move Spinoza.\" I really...in this book I put some poems by some of my friends so I wouldn't have to read all my works. Though when I read I never read theirs, I notice. This poem is called \"In Bed\".\n \nTed Berrigan\n00:44:56\nReads \"In Bed\" from In the Early Morning Rain.\n \nTed Berrigan\n00:45:12\nThat's an example of saying nothing. [Audience laughter]. This poem is called \"Easy Living\". It's dedicated to a boy named David Henderson, a poet who was a friend of mine, whom I once took a trip to Pittsburgh [https://www.wikidata.org/wiki/Q1342] with. Had a very nice time. \n \nTed Berrigan\n00:45:33\nReads \"Easy Living\" from In the Early Morning Rain.\n \nTed Berrigan\n00:46:25\nThis is a poem I wrote, it's called \"Like Poem\". A friend of mine wrote a love poem to this girl, and I thought I should do that too. But I only wanted to write a like poem to her, because I don't want to have any obligations. [Audience laughter]. No, that isn't the reason why, but that's what came out. This is called \"Like Poem,\" it's to Joan Fagan, who's the wife of my friend Larry Fagan [https://www.wikidata.org/wiki/Q95906997], the poet. \n \nTed Berrigan\n00:46:50\nReads \"Like Poem\" from In the Early Morning Rain.\n \nTed Berrigan\n00:47:06\nThis poem is called \"Ann Arbor Song\". This poem I actually tried to write a poem out of a very corny feeling that I'd had, which nevertheless is very genuine. It starts at a poetry reading in Ann Arbor, but it's really about being in Ann Arbor and realizing I was leaving soon, and thinking about all the things that wouldn't happen to me again, because this trip was going to be over.  Even though, I'm--it's not all that sentimental, I mean I knew I might go to Ann Arbor again and all that, it was just that this particular trip was going to be over. I also wrote it with the idea in mind of reading it at a poetry reading too.  \"Ann Arbor Song\".\n \nTed Berrigan\n00:47:45\nReads \"Ann Arbor Song\" from In the Early Morning Rain.\n \nTed Berrigan\n00:49:22\nI'm going to read two more. First one's called \"Peace\".\n \nTed Berrigan\n00:49:29 \nReads \"Peace\" from In the Early Morning Rain.\n\nTed Berrigan\n00:50:37\nAlright, and this is the last poem. I hate to end heavy, but there's no place to read this poem but at the end. This poem is called \"People Who Died\". It's just a list. \"People Who Died\".\n \nTed Berrigan\n00:50:55\nReads \"People Who Died\" from In the Early Morning Rain.\n \nAudience\n00:52:48\nApplause.\n \nTed Berrigan\n00:52:53\nNot the most, uh...[laughter].\n \nEND\n00:52:59\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1970, Ted Berrigan published In the Early Morning Rain (Cape Goliard Press), and also privately published Scorpion, Eagle & Dove.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nTed Berrigan’s connection to Sir George Williams University is unclear at the moment, but Berrigan was part of the so called ‘Second Beat’ movement, as well as part of the ‘New York School’ of poetry. In this recording, he dedicates a poem to Angela Bowering, (George Bowering’s wife) so he either had met her before this reading or because of the occasion.\",\"type\":\"General\"},{\"note\":\"Original transcript and print catalogue by Rachel Kyne\\n\\nOriginal print catalogue, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\\n\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/in-the-early-morning-rain/oclc/563054848&referer=brief_results\",\"citation\":\"Berrigan, Ted. In the Early Morning Rain. London: Cape Goliard, 1970. \"},{\"url\":\"https://www.worldcat.org/title/sonnets/oclc/934480499&referer=brief_results\",\"citation\":\"Berrigan, Ted. The Sonnets. New York: Grove Press, 1964. \"},{\"url\":\"https://www.worldcat.org/title/many-happy-returns-poems/oclc/564000383&referer=brief_results\",\"citation\":\"Berrigan, Ted. Many Happy Returns. New York: Corinth Press, 1969. \"},{\"url\":\"https://www.worldcat.org/title/so-going-around-cities-new-and-selected-poems-1958-1979/oclc/255865532&referer=brief_results\",\"citation\":\"Berrigan, Ted. So Going Around Cities. Los Angeles: Berkley Press, 1980. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/937869379&referer=brief_results\",\"citation\":\"Horning, Ron. \\\"Berrigan, Ted\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ed. Ian Hamilton. Oxford University Press, 1996. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-american-literature/oclc/54356940&referer=brief_results\",\"citation\":\"\\\"Berrigan, Ted (Edmund J.M. Berrigan, Jr.)\\\". The Oxford Companion to American Literature. James D. Hart, ed., rev. Phillip W. Leininger. Oxford University Press 1995. \"},{\"url\":\"\",\"citation\":\"Pursglove, Glyn. “Berrigan, Ted”. Literature Online Biography. 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As you probably know, the series that we have, it might be loosely called a kind of an avant-garde series, and in the, this is our fifth year, and this is the first time we've ever had anybody from the New York School [https://www.wikidata.org/wiki/Q1972942]--it's not going to be the last time, we're going to have Kenneth Koch [https://www.wikidata.org/wiki/Q2708628] in the spring, and we're looking for Tom Clarke [https://www.wikidata.org/wiki/Q7815337] next fall. Berrigan [https://www.wikidata.org/wiki/Q2399732] is I guess now, one of the, say the halfback, I supposed, or quarterback of the New York School. Many of you have probably seen...[laughter] yeah, linebacker! When you ask when you're a little thin... And most of you have probably seen the propaganda sheet that's been around, downstairs and so on, and so you've heard the words that some of his confreres have said about him. I'd just like to add a little bit, in addition to those earlier books such as The Sonnets, and Bean Spasms, there's a couple of new books that have just appeared, one's called In the Early Morning Rain, which will be available here because it's a Cape Goliard book, and it's distributed in Canada [https://www.wikidata.org/wiki/Q16] by one of the big Toronto [https://www.wikidata.org/wiki/Q172] publishers, and another one with a Kraut title that I can't read that's bilingual, half-German and half-English that I'm sure we'll hear some from....\\n \\nTed Berrigan\\n00:01:31\\nThe title's [unintelligible] Guillaume Apollinaire [https://www.wikidata.org/wiki/Q133855] ist ...\\n \\nGeorge Bowering\\n00:01:34\\nOh I see, yeah right.\\n \\nTed Berrigan\\n00:01:35\\nHowever I don't have any available, only in Berlin [https://www.wikidata.org/wiki/Q64].\\n \\nGeorge Bowering\\n00:01:38\\nRight, so if you happen to be in Berlin, snap up a copy of Guillaume Apollinaire ist tot und Anders. So I'd like to mention that Ted Berrigan is going to read one set, and then he wants to stop for a very short intermission, say like a five-minute intermission, and then haul you back in again and do a second set. So ladies and gentlemen, etcetera, Ted Berrigan.\\n \\nAudience\\n00:02:05\\nApplause. \\n \\nUnknown\\n00:02:07\\n[Cut or edit made in tape. Unknown amount of time elapsed]. \\n \\nTed Berrigan\\n00:02:08\\nIn the first set I'm going to read mostly poems I've written over the last four or five years. Actually, longer than that, some going back to 1962, or '61. I don't know how long this set'll be. It'll, should be less than a half-hour. In the second set I'll read poems I've written over the last year or two. However I want to start with a poem that I wrote about two years ago. It's called \\\"Heroin\\\" I read this in high schools in Ann Arbor [https://www.wikidata.org/wiki/Q485172] which I went to read in a program called Poetry Ann Arbor, and I wanted, I read the title and then I wanted to, I read the title and then I wanted to, I found it real funny because it was called \\\"Heroin,\\\" and I wanted to disclaim that it was a pro-heroin poem. So I said, this poem is not a pro-heroin poem.Then I realized there wasn't an anti-heroin poem either.  So I ended them, it was just sort of an on-heroin poem. [Audience laughter]. All my poems are pretty much alike, and this is fairly typical of what you'll be hearing the rest of the evening. \\n \\nTed Berrigan\\n00:03:19\\nReads \\\"Heroin\\\".\\n \\nTed Berrigan\\n00:04:22\\nThis poem is called \\\"Frank O'Hara's Question\\\". Frank O'Hara [https://www.wikidata.org/wiki/Q951010] is a poet from New York [https://www.wikidata.org/wiki/Q60], who's dead, he died when he was forty years old a couple of years ago in an automobile accident. The title doesn't have too much to do with the poem, except that it sort of states something that Frank O'Hara evidently had to say, and so it says something that I have to say too in my own way, not that I have to say it the same way that Frank did. \\n \\nTed Berrigan\\n00:04:56\\nReads \\\"Frank O’Hara’s Question\\\".\\n \\nTed Berrigan\\n00:05:42\\nThis is a poem I wrote in 1962. It's called \\\"Words for Love\\\". It's a bit rhetorical, but it's the best I could do in 1962, and I still like it a lot, albeit I wonder at some of it.  \\\"Words for Love\\\". It was written, actually, at a very difficult time in my life, and I guess I felt the need to make some sort of statement.\\n \\nTed Berrigan\\n00:06:09\\nReads \\\"Words for Love\\\".\\n \\nTed Berrigan\\n00:08:07\\nReads [\\\"I wake up 11:30, back aching\\\"].\\n \\nTed Berrigan\\n00:09:23\\nReads “Personal Poem #7. \\n \\nTed Berrigan\\n00:10:23\\nReads “Personal Poem”.\\n \\nAudience\\n00:11:08\\nApplause.\\n\\nTed Berrigan\\n00:11:10\\nThank you. Charlie Stanton liked that one too. [Audience laughter]. This is the last one of those kind of poems [audience laughter]. \\n \\nTed Berrigan\\n00:11:21\\nReads “Personal Poem #9”.\\n\\nTed Berrigan\\n00:12:32\\nI've always liked that poem. [Laughter]. All of those are written around 1962, 61 and 62.  I want to skip up to around 1967. I wrote this poem called \\\"Things to do in New York City\\\". I was leaving New York, and this poem, like many of my poems, was written for a specific occasion. It was for someone's birthday. And the poem, it's just my poem, it's not about the other person's birthday, it's just a present for him on his birthday. \\n \\nTed Berrigan\\n00:13:24\\nReads \\\"Things to do in New York City\\\".\\n \\nTed Berrigan\\n00:14:20\\nThis poem is called \\\"Ten Things I do Every Day,\\\" which is...it's true, as a matter of fact, in a way. In a manner of speaking. But it's not true that it's ten things. Alas. But that was just the title, like the ten greatest movies of the year. \\n \\nTed Berrigan\\n00:14:40\\nReads \\\"Ten Things I do Every Day\\\".\\n\\nAudience\\n00:15:16\\nLaughter.\\n \\nTed Berrigan\\n00:15:21\\nThat's what you do in New York. [Audience laughter]. I'll read this poem called \\\"Resolution\\\". \\n \\nTed Berrigan\\n00:15:35\\nReads \\\"Resolution”.\\n \\nTed Berrigan\\n00:15:58\\nI don't know what I'll do about it if you do, but...something. All those dramatic poems. \\n \\nTed Berrigan\\n00:16:06\\nReads “Sonnet XXXVII”.\\n \\nTed Berrigan\\n00:17:08\\nI want to move around a little and not do exactly what I said. This is a poem I wrote last summer in London [https://www.wikidata.org/wiki/Q84], it's dedicated to the poet Tom Raworth [https://www.wikidata.org/wiki/Q7817338] and his wife. They lived in Colchester [https://www.wikidata.org/wiki/Q184163], which is an hour or two train-ride from London, and I was supposed to go down and see them, and I didn't go. And by way of apologies, I wrote this poem to Tom and to his wife, Val.\\n \\nTed Berrigan\\n00:17:33\\nReads \\\"Apologies to Val and Tom\\\".\\n \\nTed Berrigan\\n00:19:05\\nI'll read this one for George Bowering's old lady, [audience laughter] Mrs. Angela Bowering. It's called \\\"Things to do on Speed\\\". [Audience laughter].\\n \\nTed Berrigan\\n00:19:19\\nReads \\\"Things to do on Speed\\\" [audience laughter throughout].\\n \\nTed Berrigan\\n00:20:58 [Laughter] I forgot about that one.  \\n\\nAudience \\n00:21:01\\nLaughter.\\n \\nTed Berrigan\\n00:21:03\\nResumes reading \\\"Things to do on Speed\\\".\\n \\nTed Berrigan\\n00:22:21\\nI wrote that one courtesy of The New York Times [https://www.wikidata.org/wiki/Q9684]. Okay, one more this set. This is called, \\\"Things to do in Providence\\\". [Audience laughter]. Which is, Providence [https://www.wikidata.org/wiki/Q18383], Rhode Island [https://www.wikidata.org/wiki/Q1387], or whatever else you can make of it.\\n \\nTed Berrigan\\n00:22:50\\nReads \\\"Things to do in Providence\\\".\\n \\nAudience\\n00:26:23\\nLaughter.\\n \\nTed Berrigan\\n00:26:29\\nResumes reading \\\"Things to do in Providence\\\".\\n \\nAudience\\n00:27:46\\nApplause.\\n \\nTed Berrigan\\n00:27:52\\n[Unintelligible].\\n \\nUnknown\\n00:27:55\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n \\nGeorge Bowering\\n00:27:55\\nHere he is again, terrible Ted Berrigan. \\n \\nTed Berrigan\\n00:28:01\\nAll the poems I'm going to read in this set are from my book, In the Early Morning Rain.  The title of this book I got from Gordon Lightfoot [https://www.wikidata.org/wiki/Q359552], the Canadian folk singer-songwriter, and I didn't know, I made, I decided to use that title before Bobby Dylan's [https://www.wikidata.org/wiki/Q392] album Self-Portrait [https://www.wikidata.org/wiki/Q634569] came out, so I didn't know that Bobby was going to record this song. I would have used it anyway, I'm sure. But, I mean if Dylan can steal it, I can steal it. And this book is a collection of poems of mine from over the last ten years, and I'm just going to read around in it. I wrote a lot of different kind of poems. I don't very often try for...I mean, I just take my poems where they come. This poem is called \\\"Hello\\\". \\n \\nTed Berrigan\\n00:28:51\\nReads \\\"Hello\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:29:06\\nNow I'm going to read two or three poems that are from a section of this book called \\\"Life of a Man\\\".  \\\"Life of a Man\\\" is a book of poems in Italian by an Italian poet, a very great Italian poet who died not too long ago called Giuseppe Ungaretti [https://www.wikidata.org/wiki/Q311802]. There's a little story behind these. A lady poet named Barbara Guest [https://www.wikidata.org/wiki/Q807448] once asked my friend Ron Patchett and I, would we translate some of Ungaretti's poems, because Ungaretti was coming to America [https://www.wikidata.org/wiki/Q30]. And she thought it would be nice if we would translate them as a sort of homage to him. And so I told her, I said, “Barbara, but we don't understand Italian,” and she said, “Oh, I'm sure you can do it, you two are marvelous”.  And she said, “Just get a dictionary, and you can look up the words”. So I looked at Ron and he looked at me, and we said, yeah, we can translate 'em, sure, but we don't want to get any dictionaries. So we just translated 'em without any dictionaries. [Audience laughter]. And we never showed them to Ungaretti but we showed them to Barbara Guest and she had the horrors. The first one is called \\\"Matinee\\\". \\n \\nTed Berrigan\\n00:30:16\\nReads \\\"Matinee\\\" from In the Early Morning Rain [audience laughter throughout].\\n\\nTed Berrigan\\n00:30:26\\nThe next one is called \\\"December\\\" [audience laughter].\\n \\nTed Berrigan\\n00:30:30\\nReads \\\"December\\\" from In the Early Morning Rain [audience laughter throughout].\\n \\nTed Berrigan\\n00:30:38\\nAnd this one is called \\\"The Reply to the Fragile.\\\" \\n \\nTed Berrigan\\n00:30:42\\nReads \\\"The Reply to the Fragile\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:30:53\\nThat one's a little, that's rated X. [Audience laughter]. And this is the last one, it's called “Corporal Pellegrini”. If any of you know Italian, you can understand where all these words came from [audience laughter].\\n \\nTed Berrigan\\n00:31:09\\nReads \\\"Corporal Pellegrini\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:31:38\\nI think Ungaretti would've liked them. [Audience laughter]. He probably would have retranslated them and gotten some new ones. This next work is a translation too and it's a translation I did from French, which I understand some. And so this time I only had to leave certain words. This time I translated a lot of it accurately. But it's called \\\"Life among the woods\\\". And it's a translation of a page from a grammar book, some kind of book written in the French language. After I'd gotten this much done I decided it was over. Anyway, it's called \\\"Life Among the Woods\\\".\\n \\nTed Berrigan\\n00:32:20\\nReads \\\"Life Among the Woods\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:34:30.58\\nPretty interesting family. This is a poem called \\\"In Four Parts.\\\"\\n \\nTed Berrigan\\n00:34:40.14\\nReads \\\"In Four Parts\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:35:22\\nThat was four sentences from the New York Times. They had this secret continuity. [Laughter]. This is a poem called \\\"March 17th, 1970\\\".\\n \\nTed Berrigan\\n00:35:35\\nReads \\\"March 17th, 1970\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:36:03\\nAnd you'd better believe it. Only not right now, right then. I don't know if I can subject you to this poem. I guess I will anyway. This is called \\\"The Ten Greatest Books of the Year, 1968\\\".\\n \\nTed Berrigan\\n00:36:28\\nReads \\\"The Ten Greatest Books of the Year, 1968\\\" from In the Early Morning Rain [audience laughter throughout].\\n \\nTed Berrigan\\n00:38:02\\nYou people that are laughing are getting it.\\n\\nTed Berrigan\\n00:38:04\\nResumes reading \\\"The Ten Greatest Books of the Year, 1968\\\" from In the Early Morning Rain. \\n\\nAudience\\n00:38:14\\nLaughter.\\n\\nTed Berrigan\\n00:38:17\\nThis is a poem called \\\"Thirty\\\".\\n \\nTed Berrigan\\n00:38:18\\nReads \\\"Thirty\\\" from In the Early Morning Rain\\n \\nTed Berrigan\\n00:38:24\\nThat's for all of you guys that did thirty. This poem is called \\\"Things to do in Anne's Room\\\".\\n \\nTed Berrigan\\n00:38:34\\nReads \\\"Things to do in Anne's Room\\\" from In the Early Morning Rain\\n \\nTed Berrigan\\n00:39:42\\nThis is called \\\"The Great Genius\\\".\\n \\nTed Berrigan\\n00:39:45\\nReads \\\"The Great Genius\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:39:56\\nThis is called \\\"Anti-War Poem\\\". It's another New Year's poem, actually.\\n \\nTed Berrigan\\n00:40:03\\nReads \\\"Anti-War Poem\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:40:41\\nAnd this poem is called \\\"Tough Brown Coat\\\".\\n \\nTed Berrigan\\n00:40:43\\nReads \\\"Tough Brown Coat\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:41:04\\nThis poem is called \\\"Babe Rainbow\\\".\\n \\nTed Berrigan\\n00:41:08\\nReads \\\"Babe Rainbow\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:41:25\\nAnd this is called \\\"In My Room\\\".\\n \\nTed Berrigan\\n00:41:30\\nReads \\\"In My Room\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:41:54\\nThis is called \\\"Ann Arbor Elegy\\\". It was written for a girl who was killed in an automobile accident. September 27th, 1969. The funny thing about this poem is it was written before she was killed. And when I looked at it after she was dead, I saw that I didn't have to write an elegy for her, that somehow I'd written one already. \\n \\nTed Berrigan\\n00:42:17\\nReads \\\"Ann Arbor Elegy - For Franny Winston\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:43:13\\nAnd this is a sort of berserk work, which I wrote called \\\"Wake Up,\\\" which is about all it says, really.\\n \\nTed Berrigan\\n00:43:23\\nReads \\\"Wake up\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:44:18\\nI have another poem which I'd like to read but I won't, but it's a series of aphorisms from the works of Francis Picabia [https://www.wikidata.org/wiki/Q157321], the French poet and painter. And this friend Jim Carroll [https://www.wikidata.org/wiki/Q444806] and I translated these from French. I'll read you my favourite one, in any case, which Jim Carroll translated. It says, \\\"Spinoza [https://www.wikidata.org/wiki/Q35802] is the one who threw a pass to move Spinoza.\\\" I really...in this book I put some poems by some of my friends so I wouldn't have to read all my works. Though when I read I never read theirs, I notice. This poem is called \\\"In Bed\\\".\\n \\nTed Berrigan\\n00:44:56\\nReads \\\"In Bed\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:45:12\\nThat's an example of saying nothing. [Audience laughter]. This poem is called \\\"Easy Living\\\". It's dedicated to a boy named David Henderson, a poet who was a friend of mine, whom I once took a trip to Pittsburgh [https://www.wikidata.org/wiki/Q1342] with. Had a very nice time. \\n \\nTed Berrigan\\n00:45:33\\nReads \\\"Easy Living\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:46:25\\nThis is a poem I wrote, it's called \\\"Like Poem\\\". A friend of mine wrote a love poem to this girl, and I thought I should do that too. But I only wanted to write a like poem to her, because I don't want to have any obligations. [Audience laughter]. No, that isn't the reason why, but that's what came out. This is called \\\"Like Poem,\\\" it's to Joan Fagan, who's the wife of my friend Larry Fagan [https://www.wikidata.org/wiki/Q95906997], the poet. \\n \\nTed Berrigan\\n00:46:50\\nReads \\\"Like Poem\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:47:06\\nThis poem is called \\\"Ann Arbor Song\\\". This poem I actually tried to write a poem out of a very corny feeling that I'd had, which nevertheless is very genuine. It starts at a poetry reading in Ann Arbor, but it's really about being in Ann Arbor and realizing I was leaving soon, and thinking about all the things that wouldn't happen to me again, because this trip was going to be over.  Even though, I'm--it's not all that sentimental, I mean I knew I might go to Ann Arbor again and all that, it was just that this particular trip was going to be over. I also wrote it with the idea in mind of reading it at a poetry reading too.  \\\"Ann Arbor Song\\\".\\n \\nTed Berrigan\\n00:47:45\\nReads \\\"Ann Arbor Song\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:49:22\\nI'm going to read two more. First one's called \\\"Peace\\\".\\n \\nTed Berrigan\\n00:49:29 \\nReads \\\"Peace\\\" from In the Early Morning Rain.\\n\\nTed Berrigan\\n00:50:37\\nAlright, and this is the last poem. I hate to end heavy, but there's no place to read this poem but at the end. This poem is called \\\"People Who Died\\\". It's just a list. \\\"People Who Died\\\".\\n \\nTed Berrigan\\n00:50:55\\nReads \\\"People Who Died\\\" from In the Early Morning Rain.\\n \\nAudience\\n00:52:48\\nApplause.\\n \\nTed Berrigan\\n00:52:53\\nNot the most, uh...[laughter].\\n \\nEND\\n00:52:59\\n\",\"notes\":\"Ted Berrigan reads from In the Early Morning Rain (Cape Goliard, 1970), The Sonnets (Grove Press, 1964), Many Happy Returns (Corinth, 1969) and poems later collected in So Going Around Cities (Berkley, 1980) as well as a few unknown poems.\\n\\n(Rachel has indexed individual poems)\\n00:00- George Bowering introduces Ted Berrigan. [INDEX: second reading in the series in 1970, series called ‘avant-garde series’, fifth year, first reader from the ‘New York School’, Kenneth Coke, Tom Clarke, quarterback of the school, ‘propaganda’ (advertisement) paper of reading, The Sonnets (1967), Bean Spasms (Kulchur Press, 1967, In the Early Morning Rain (Cape Goliard, 1970), Cape Goliard, distributed by big Toronto publisher, ‘Kraut’ title, half German, half English, Guillaume Apollinaire ist tot und Anders (sp?), Berlin.]\\n02:08- Ted Berrigan introduces “Heroin”. [INDEX: poems read from last 4-5 years, in first set   some read from 1961-62, in second set poems read from year or two before, poem read in high schools in Ann Arbour, program called Poetry Ann Arbour, not a pro-heroin poem, not anti-heroin poem either, ‘on-heroin poem’; from In the Early Morning Rain (Cape Goliard, 1970).]\\n03:19- Reads “Heroin”. [INDEX: list, heroin, photograph, Kerouac, Anne, heart, light, streets.]\\n04:22- Introduces “Frank O’Hara’s Question”. [INDEX: O’Hara: dead poet from new York, car accident, significance of title; from In the Early Mornin Rain (Cape Goliard, 1970).]\\n04:56- Reads “Frank O’Hara’s Question”. [INDEX: Frank O'Hara, list, sky, letter, Isaac        Dennison, high, happy, long poem, art, guard, mess, message.]\\n05:42- Introduces “Words for Love”. [INDEX: written in 1962, rhetorical; from Many Happy Returns (Corinth, 1969).]\\n06:09- Reads “Words for Love”. [INDEX: winter, snow, read, poetry, weakness, obsession, Jackson Pollock, Rilke, Benedict Arnold, psyche, high, drugs, poems, list, words, time, lady of the lake, God, heart]\\n08:07- Reads first line “I wake up at 11:30, back aching...”. [INDEX: confessional, New York, Pat, Ron, birthday, Pepsi, high, class, book, Juan Gris, poems, ballad, sonnet, Shakespeare, Auden, Spenser, Stevens, Pound, Frank O'Hara, Jan, Helen, Babe, David, ego, self, wonder, toilet paper; poem not indicated on Howard Fink Poem List.]\\n09:23- Reads “Personal Poem #7”. [INDEX: confessional, New York, drugs, sex, John   Ashbery, food, write, stealing; from Many Happy Returns (Corinth, 1969); poems not    \\tindicated on Howard Fink Poem List.]\\n10:23- Reads “Personal Poem #8”. [INDEX: confessional, diary, journal, love, Ray Joss, New York, court, wife, police, John Stanton; from Many Happy Returns (Corinth, 1969); poems not indicated on Howard Fink Poem List.]\\n11:07- Introduces first line “Personal Poem #9”. [INDEX: Charlie Stanton; from Many Happy   Returns (Corinth, 1969); poems not indicated on Howard Fink Poem List.]\\n11:21- Reads first line “Personal Poem #9”. [INDEX: confessional, journal, diary,      \\tBrooklyn, New York, Pepsi, food, memory, book.]\\n12:32- Explains last selection of poems, introduces “Things to do in New York City”. [INDEX: selection written in 1961-2, “Things to do in New York City” written around 1967, leaving New York, written for a birthday present.]\\n13:24- Reads “Things to do in New York City”. [INDEX: confessional, occasional poem, city, New York, By the Waters of Manhattan, drugs, cigarette, read, break, girls, love, death, birth, friends, departure; from Many Happy Returns (Corinth, 1969).]\\n14:20- Introduces “Ten Things I do Every Day”. [INDEX: title; from Many Happy    \\tReturns (Corinth, 1969).]\\n14:40- Reads “Ten Things I do Every Day”.  [INDEX: New York, waking, smoking, pot, love, eating, food, cat, sound, song, streets, read, children, friends, Pepsi.]\\n15:21- Introduces “Resolution”. [INDEX: New York City; from Many Happy  \\tReturns (Corinth, 1969).]\\n15:35- Reads “Resolution”. [INDEX: city, New York, snow, winter, New Year's, driving]\\n15:58- Introduces “Sonnet XXXVII”. [INDEX: from The Sonnets (Grove Press, 1964).] \\n16:06- Reads “Sonnet XXXVII”. [INDEX: night, sleep, Guillaume Apollinaire, poem, dream, crying, song, library, tear, light]\\n17:08- Introduces “Apologies to Val and Tom”. [INDEX: written last summer in London, dedicated to poet Tom Raworth and his wife, Colchester, London, apology; from unknown source.]\\n17:33- Reads “Apologies to Val and Tom”. [INDEX: place, London, apology, night, city, memory, remembrance, New York, friend, poem, visit.]\\n19:05- Introduces “Things to do on Speed”. [INDEX: for Angela Bowering, George Bowering; from the section “How We Live in the Jungle 1969-1970 in So Going Around Cities (Berkley, 1980).]\\n19:19- Reads “Things to do on Speed”. [INDEX: list, typewriter, mind, writing, book, desk, Pepsi, sleep, dream, paper, song, sickness, drugs, imperative, talking, New York, city, work, hallucination, high, sex, heroin, speed]\\n22:21- Explains “Things to do on Speed” and introduces “Things to do in Providence. [INDEX: New York Times, Providence, Rhode Island.]\\n22:50- Reads “Things to do in Providence”. [INDEX: confessional, place, Providence, Rhode Island, city, drugs, imperative, list, food, TV, war, Texas, movie, Western, tear, cowboy, New York, drunk, children, phone, talk, family, mother, birth, work, cigarette, hippie, teenager, home, car, death, grandmother, heart, stranger, sleep; from the section “Buffalo Days: Summer 1970 in So Going Around Cities (Berkley, 1980).]\\n27:55- After a break (cut in recording), George Bowering introduces Ted Berrigan again.\\n28:01- Ted Berrigan introduces “Hello”. [INDEX: poems read from In the Early Morning Rain, title from Gordon Lightfoot: Canadian Folk singer-songwriter, Bob Dylan’s Self Portrait Album, stealing titles, collection from last ten years; from In the Early Mornin Rain (Cape Goliard, 1970).] \\n28:51- Reads “Hello”. [INDEX: hello, etymology, health.]\\n29:06- Introduces section of book, “Life of a Man”, and poem “Matinee”. [INDEX: Italian poet Giuseppe Ungaretti, poet Barbara Guest, Ron Patchett, translate Ungaretti’s poems, translation without dictionary; from In the Early Mornin Rain (Cape Goliard, 1970).]  \\n30:16- Reads “Matinee”. [INDEX: translation, morning.]\\n30:26- Reads “December” [INDEX: translation, farewell, mother, brother, sister, sex, heart; from In the Early Morning Rain (Cape Goliard, 1970).]\\n30:38- Reads “Reply to the Fragile”. [INDEX: translation, bite, pain, sex, breasts; from In the Early Morning Rain (Cape Goliard, 1970).]\\n30:53- Introduces “Corporal Pellegrini”. [INDEX: Italian; from In the Early Mornin Rain    (Cape Goliard, 1970).]\\n31:09- Reads “Corporal Pellegrini”. [INDEX: translation, corporal, sex, horse, soldier, death.]\\n31:38- Introduces “Life Among the Woods”. [INDEX: Ungaretti, retranslated to make new poems, translation from French, from grammar book; from In the Early Mornin Rain  (Cape Goliard, 1970).] \\n32:20- Reads “Life Among the Woods”. [INDEX: translation, Paris, boat, woods, family, children, rich, house, garden, cooking, list.]\\n34:30- Reads “In Four Parts”.  [INDEX: beach, Israel, Mayor Frank X. Graves, Allen    Ginsberg, marijuana, news, William Carlos Williams, poet, American, New York Times;  \\tfrom In the Early Mornin Rain (Cape Goliard, 1970).]\\n35:22- Explains “In Four Parts”, introduces “March 17th, 1970”. [INDEX: sentences from the New York Times, secret continuity.] \\n35:35- Reads “March 17th, 1970”. [INDEX: love, like, phone, wire, listening, kill.]\\n36:03- Introduces “The Ten Greatest Books of the Year, 1968”.\\n36:28- Reads “The Ten Greatest Books of the Year, 1968”. [INDEX: book, list, William Carlos Williams, Charles Olson, Chicago Review, dictionary, Aristotle, language, Frank O'Hara, Ralph Conners, zodiac, consciousness, names, rank, sonnet; from In the Early Mornin Rain (Cape Goliard, 1970).]\\n38:13- Introduces “30”. [INDEX: from In the Early Morning Rain (Cape Goliard, 1970).]\\n38:18- Reads “30”.\\n38:34- Introduces “Things to do in Anne’s Room”.\\n38:34- Reads “Things to do in Anne’s Room”.  [INDEX: room, house, place, imperative, list, sex, couple, book, Moby Dick, Planet of the Apes, clothes, bed, alone, death; from In the Early Morning Rain (Cape Goliard, 1970).]\\n39:42- Reads “The Great Genius”. [INDEX: man, crazy; from In the Early Morning Rain (Cape Goliard, 1970).]\\n39:56- Introduces “Anti-War Poem”. [INDEX: New Year’s poem; from In the Early Morning Rain (Cape Goliard, 1970)\\n40:03- Reads “Anti-War Poem”. [INDEX: peace, war, resolution, New Year's Eve, 1968, Iowa City, city, memory, remembrance, death.]\\n40:41- Reads “Tough Brown Coat”. [INDEX: coat, description, clothes, death; from In the Early Morning Rain (Cape Goliard, 1970).]\\n41:04- Reads “Babe Rainbow”. [INDEX: smoke, cigarette, burn, bed, read; from In the Early Morning Rain (Cape Goliard, 1970)\\n41:25- Reads “In My Room”. [INDEX: place, house, room, list, Thanksgiving.]\\n42:17- Introduces “Ann Arbor Elegy”. [INDEX: girl killed in automobile accident on \\tSeptember 27, 1969, written before her accident; from In the Early Morning Rain (Cape   Goliard, 1970).]\\n42:17- Reads “Ann Arbor Elegy”. [INDEX: for Franny Winston, party, night, drinking, alcohol, high, girl, place, Ann Arbor, death, morning, sky, food, news.]\\n43:13- Reads “Wake Up”. [INDEX: morning, wake, bed, girl, work, Jim Dine, day, list, imperative; from In the Early Morning Rain (Cape Goliard, 1970).]\\n44:15- Introduces “In Bed”. [INDEX: series of aphorisms, Francis Picabia French poet and painter, Jim Carroll, translation from French, placing other poet’s work in his books; from In the Early Morning Rain (Cape Goliard, 1970).] \\n44:56- Reads “In Bed”. [INDEX: girl, bed, sex.]\\n45:12- Introduces “Easy Living”. [INDEX: dedicated to boy named David Henderson,    Pittsburgh; from In the Early Morning Rain (Cape Goliard, 1970).] \\n45:33- Reads “Easy Living”.   [INDEX: travel, Africa, time, rain, heat, weather, David    Henderson, Pittsburgh.]\\n46:25- Introduces “Like Poem”. [INDEX: friend wrote love poem, to Joan Fagan, wife of poet Larry Fagan; in the section “In the Wheel: Winter 1969” in So Going Around Cities (Berkley, 1980).]\\n46:50- Reads “Like Poem”. [INDEX: couple, drugs, Joan Fagan, like.]\\n47:06- Introduces “Ann Arbor Song”. [INDEX: feeling, poetry reading in Ann Arbor, trip.]\\n47:45- Reads “Ann Arbor Song”.  [INDEX: place, Ann Arbor, poetry, poetry reading, poem, boredom, Jack, Anne, high, drugs, friends, time, memory, remembrance.]\\n49:22- Reads “Peace”. [INDEX: heart, day, east, west, peace, couple, love, woman; unknown source.]\\n50:53- Introduces “People Who Died”. [INDEX: heavy poem, end of reading, list; from In the Early Morning Rain (Cape Goliard, 1970).]\\n50:55- Reads “People Who Died”. [INDEX: death, list, dates, friends, accidents, cancer, suicide, Neal Cassidy, Frank O'Hara, Ann Kepler, Franny Winston, Jack Kerouac.]\\n52:59.60- END OF RECORDING.\\n \\nPoems with Time Stamps and Duration                         \\tTime           \\tDuration (mins.)\\n“Heroin”                                                                             \\t00:03:19      \\t01:02  \\n“Frank O’Hara’s Question”            \\t                                \\t           00:04:56      \\t00:44\\n“Words For Love”                                                              \\t00:06:09      \\t01:57\\n[“I wake up 11:30, back aching”]                                       \\t00:08:07      \\t01:13\\n“Personal Poem #7                                                             \\t00:09:23      \\t00:58\\n“Personal Poem” (#8?)                                                       \\t00:10:23      \\t00:42\\n“Personal Poem #9                                                             \\t00:11:21      \\t01:08\\n“Things To Do in New York City”            \\t                       \\t00:13:24      \\t00:55\\n“Ten Things I Do Every Day”                                                    00:14:40      \\t00:35\\n“Resolution”                                                                       \\t00:15:35      \\t00:17\\n“Sonnet XXXVII”  \\t        \\t                                            \\t00:16:06      \\t01:01\\n“Apologies to Val And Tom”                                             \\t00:17:33      \\t01:31\\n“Things To Do On Speed”                                                 \\t00:19:19      \\t02:58\\n“Things To Do In Providence”                                           \\t00:22:50      \\t04:55\\n“Hello”                                                                                \\t00:28:51      \\t00:15\\n“Matinee”                                                                           \\t00:30:16      \\t00:09\\n“December”                                                                        \\t00:30:30      \\t00:07\\n“Reply to the Fragile”                                                        \\t00:30:42      \\t00:10\\n“Corporal Pelegrini”                                                           \\t00:31:09      \\t00:28\\n“Life Among the Woods”                                                   \\t00:32:20      \\t02:09\\n“In Four Parts”                                                                    \\t00:34:40      \\t00:40\\n“March 17, 1970”                                                               \\t00:35:35      \\t00:28\\n“The Ten Greatest Books of the Year – 1968”                  \\t00:36:28      \\t01:45\\n“Thirty”                                                                              \\t00:38:18      \\t00:06\\n“Things To Do In Anne’s Room”                                      \\t00:38:34      \\t01:09\\n“The Great Genius”                                                            \\t00:39:45      \\t00:10\\n“Anti-War Poem”                                                               \\t00:40:03      \\t00:37  \\n“Tough Brown Coat”                                                          \\t00:40:43      \\t00:20\\n“Babe Rainbow”                                                                 \\t00:41:08      \\t00:16\\n“In My Room”                                                                    \\t00:41:30      \\t00:23\\n“Ann Arbor Elegy”                                                             \\t00:42:17      \\t00:57\\n“Wake Up”                                                                         \\t00:43:23      \\t00:56\\n “In Bed”                                                                             \\t00:44:56      \\t00:15\\n“Easy Living”                                                                     \\t00:45:33      \\t00:50\\n“Like Poem”                                               \\t                    \\t00:46:50      \\t00:16\\n“Ann Arbor Song”                                                              \\t00:47:45      \\t01:46\\n“Peace”                                                                               \\t00:49:29      \\t01:07\\n“People Who Died”                                                            \\t00:50:55      \\t01:51\\n \\nHoward Fink List of Poems:\\n“Ted Berrigan”\\nIntroduction by George Bowering\\nRecorded December 4, 1970\\nNote: “Personal Poems” do not appear on this list, and an extra first line in between “Wake Up” and “In Bed” reads “Spinoza is the one who threw a pass...”.\\npg. 66\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/ted-berrigan-at-sgwu-1970/\"}]"],"score":2.9979138},{"id":"1293","cataloger_name":["Bindu,Reddy"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["David McFadden and Gerry Gilbert at Sir George Williams University, The Poetry Series, 15 January 1971"],"item_title_source":["Cataloguer"],"item_title_note":["\"DAVID McFADDEN AND GERRY GILBERT Recorded January 15, 1971 3.75 ips on 1 mil. tape, 1/2 track Quality: Fair to poor. Poems read alternately\" written on sticker on the back of the tape's box. \"DAVID McFADDEN GERRY GILBERT I006/SR19\" written on sticker on the spine of the tape's box. \"I006-11-019\" written on sticker on the reel.\n"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 5"],"item_identifiers":["[]"],"creator_names":["McFadden, David","Gilbert, Gerry"],"creator_names_search":["McFadden, David","Gilbert, Gerry"],"creators":["[{\"url\":\"http://viaf.org/viaf/7405434\",\"name\":\"McFadden, David\",\"dates\":\"1940-2018\",\"notes\":\"Writer David McFadden was born in 1940, in Hamilton, Ontario, where he spent his first thirty-nine years. He started Mountain, a mimeographed magazine in 1962, and his early work appeared in tish, Is, Evidence, Weed, and Talon. He became a proofreader for the Hamilton Spectator in 1962 and a reporter for the same in 1970. David McFadden’s first collections of poems were published in Letters from the earth to the earth in 1968 (Coach House Press), Poems worth knowing in 1971 (Coach House Press) and Intense pleasure in 1972 (McClelland and Stewart). His first novel was The great Canadian sonnet, published in 1970 (Coach House Press). In 1976 he resigned from the Hamilton Spectator to focus on freelance writing and editing. McFadden continued to publish his poems in A knight in dried plums in 1975 (McClelland and Stewart), and On the road again in 1978 (McClelland and Stewart). His short stories and novels include three from the ‘Great Lakes Series’, published from 1980 to 1988 (Coach House Press), and Animal spirits: stories to live by in 1983 (Coach House Press). McFadden has published over fifteen other novels and collections of poems from 1967 to 1995, which include My Body was Eaten by Dogs (McClelland and Stewart, 1981), selected poems edited and introduced by George Bowering, and The Art of Darkness (McClelland Stewart, 1984). Be Calm Honey (Mansfield Press, 2008) was a finalist for the 2009 Governor General’s Award and his final published book, What's the Score? (Mansfield Press, 2012) won the 2013 Canadian Griffin Poetry Prize. McFadden died in 2018.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]},{\"url\":\"http://viaf.org/viaf/13554305\",\"name\":\"Gilbert, Gerry\",\"dates\":\"1936-2009\",\"notes\":\"Canadian poet and photographer Gerry Gilbert, born in 1936, was one of the most experimental writers from Vancouver in the 60’s. He started as a television cameraman, and then concentrated on writing poetry. Gilbert founded and edited The B.C. Monthly, which published literary and political criticism. He was also the editor of Radio Free Rain Forest, published out of Vancouver. Gilbert’s publications are numerous, and include artful self-published books of poetry. White lunch: poems was published by Periwinkle Press in 1964, followed by The milk (Minimedia, 1967), Quote, New York, July 1965 (Ganglia Press, 1969), Phone book (Weed/Flower, 1969), On my face (G.Gilbert, 1970), The (Probable Latitude 76 ̊15' Longitude 113 ̊10'E, London, 1970), a film Doi,ngng (NFB, Ottawa, 1970), And a place in mind... (Hesheitworks, 1971), Apr. 35, 1978 (Hesheitworks, 1971), And (Blewointmentpress, 1971), Money (York Street Commune, 1971), Lease (Coach House Press, 1971), Journal to the East (Blewointmentpress, 1974), Bicycle (Caledonia Writing Series, 1977), New and used poems (G.Gilbert, 1980), Moby Jane (Coach House Press, 1987), The 1/2 of it (Wave 7 Press, 1989), Azure blues (Talon Books, 1991), Year off  (BC Monthly, 2001), and Poetrees (BC Monthly, 2006). Gilbert died in Vancouver in 2009.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Bowering, George"],"contributors_names_search":["Bowering, George"],"contributors":["[{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Presenter\"]}]"],"Presenter_name":["Bowering, George"],"Series_organizer_name":["Bowering, George"],"Performance_Date":[1971],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1971 1 15\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the back of the tape's box and in written announcement\\n\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["David McFadden reads from The Great Canadian Sonnet (Coach House Press, 1970), as well as poems published later in Poems Worth Knowing (Coach House Press, 1971) and Intense Pleasure (McClelland and Stewart, 1972). Gerry Gilbert reads from Money (York Street Commune, 1971) and Phone Book (Weed/Flower, 1969) and And (Blewointmentpress, 1971) as well as some poems from unknown sources."],"contents":["david_mcfadden_gerry_gilbert_i006-11-019.mp3\n\nGeorge Bowering\n00:00:08\nWe have two readers tonight, both Canadian poets, as you know, and, but in most cases when we have two poets as we did last time, we generally have one poet read for a while, then have a break, and then have the other poet read for a while, but we're not going to do it that way tonight. We're just going to throw the thing open to both David McFadden [https://www.wikidata.org/wiki/Q5237344] and Gerry Gilbert [https://www.wikidata.org/wiki/Q5552756] and they will work it out as it seems to work out for them. This makes a lot of sense, although they've never read together before, they're both published by the same publishing house, and published in the same magazines and know each other as they used to say in the old days in the ivy league by reputation. Gerry Gilbert is, as a lot of people we've had this year, is from the West Coast and has been involved for quite a while with an outfit in the coast that gobbles up your tax money called Intermedia [https://www.wikidata.org/wiki/Q39079179], that's why the screen is there, something might happen there occasionally. Gerry was at one time the editor of a seminal West Coast publishing venture called Radio Free Rain Forest, and is the author of a series of books and things that are like books, as for instance, White Lunch which came out several years ago in Vancouver [https://www.wikidata.org/wiki/Q24639] and Telephone Book which is published by Coach House Press, I think, no, Weed/Flower, sorry. David's also been published by Weed/Flower and the Coach House Press, and his forthcoming book is the second volume of the Big/Little Book novel, called The Great Canadian Sonnet with illustrations by a little-known London [https://www.wikidata.org/wiki/Q92561] artist named Greg Curnoe [https://www.wikidata.org/wiki/Q5605459]. His next book is going to be called Poems Worth Knowing, a title that anyone from Ontario [https://www.wikidata.org/wiki/Q1904] or British Columbia [https://www.wikidata.org/wiki/Q1974] will know. What we're going to do is they're going to operate for a little while, and then when they feel the need for a break there will be a short intermission, like about ten minutes, then we'll proceed again with what, as they say, the second set. So I'm not going to be able to say that somebody's reading first and somebody's reading second but what I will be able to say is that the readers will be David McFadden and Gerry Gilbert.\n \nUnknown\n00:02:39\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nDavid McFadden\n00:02:40\nReads unnamed poem. \n\nUnknown\n00:06:02\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nGerry Gilbert\n00:06:03\nReads \"Her white face where I have seen Her ride the last bus, before\" [from Money].\n \nGerry Gilbert\n00:07:14\nReads \"A moving picture moves, it's the truth about movies\" [from Money].\n \nDavid McFadden\n00:07:33\nReads unnamed poem. \n \nGerry Gilbert\n00:08:20\nReads \"I REMEMBER TOOTSIE ROLLS when they were only in American comic books\" [from Money].\n \nDavid McFadden\n00:09:46\nReads [“The Slippery Wig” published later in Intense Pleasure and collected in Why Are You So Sad?]. \n \nGerry Gilbert\n00:10:38\nReads \"London 1964\" [from Money]\n \nDavid McFadden\n00:12:28\nReads unnamed poem. \n \nGerry Gilbert\n00:13:37\nReads \"waitress calls the man in the corner, HARRY” [from Money].\n \nDavid McFadden\n00:14:30\nReads unnamed poem. \n \nGerry Gilbert\n00:14:53\nReads \"the pleasure. I said” [from Money].\n \nDavid McFadden\n00:16:14\nReads [“Titles I Have Heard Of But Not Read” published later in Intense Pleasure and collected in Why Are You So Sad?].\n \nGerry Gilbert\n00:18:26\nReads [\"Single Mens Unit\" from Money].\n \nDavid McFadden\n00:19:05\nReads unnamed poem. \n \nDavid McFadden\n00:21:03\nReads unnamed poem.\n \nGerry Gilbert\n00:23:13\nReads \"Goodness and mercy are following me across the lake\" [from Money].\n\nGerry Gilbert\n00:24:10\nReads \"Bicycle\" [from Money].\n \nGerry Gilbert\n00:24:55\nReads \"on the bed” [from Money].\n \nDavid McFadden\n00:25:32\nReads unnamed poem. \n \nDavid McFadden\n00:26:05\nReads unnamed poem.\n \nDavid McFadden\n00:26:18\nReads unnamed poem.\n \nGerry Gilbert\n00:26:49\nReads unnamed poem.\n \nGerry Gilbert\n00:28:03\nReads \"bone ring on my finger\" [from Money].\n \nDavid McFadden\n00:28:34\nReads unnamed poem. \n \nDavid McFadden\n00:31:05\nReads unnamed poem.\n \nGerry Gilbert\n00:32:10\nWe're reading Canadian history. A few of the poems from Phone Book.\n \nGerry Gilbert\n00:32:28\nReads untitled poem from Phone Book.\n \nGerry Gilbert\n00:33:05\nReads untitled poem from Phone Book.\n \nGerry Gilbert\n00:33:42\nReads untitled poem from Phone Book.\n \nGerry Gilbert\n00:34:31\nReads untitled poem from Phone Book.\n \nGerry Gilbert\n00:35:25\nReads untitled poem from Phone Book.\n \nGerry Gilbert\n00:36:37\nReads untitled poem from Phone Book.\n \nGerry Gilbert\n00:36:58\nReads untitled poem from Phone Book.\n \nGerry Gilbert\n00:37:29\nThis poem's called \"Garden\".\n \nGerry Gilbert \n00:37:35\nReads \"Garden\" [from Money].\n \nDavid McFadden\n00:38:38\nReads [“Journey To Love” published later in Poems Worth Knowing].\n \nDavid McFadden\n00:39:21\nReads [“A Poem Without A Title Is Like A Letter Without A Stamp” published later in Poems Worth Knowing].\n \nGerry Gilbert\n00:39:50\nReads \"find your birds\" [from Money].\n \nDavid McFadden\n00:41:32\nReads [“Art’s Variety” published later in Poems Worth Knowing].\n \nGerry Gilbert\n00:42:04\nReads \"sometimes I miss\" [from Money].\n \nDavid McFadden\n00:42:18\nReads [“Another Revolution” published later in Poems Worth Knowing].\n \nDavid McFadden\n00:42:57\nReads [“Chapter One” from The Great Canadian Sonnet].\n \nGerry Gilbert\n00:47:06\nDid I hear you say 'boiled skunks'? This is a little tale. \n\nGerry Gilbert\n00:49:24\nReads unnamed poem. \n\nGerry Gilbert\n00:49:45\nReads unnamed poem. \n \nGerry Gilbert\n00:51:42\nReads unnamed poem.\n \nDavid McFadden\n00:53:02\nReads \"Vital Statistics: Distances from Hamilton To...\" [from The Great Canadian Sonnet]. \n \nGerry Gilbert\n00:54:52\nReads unnamed poem.\n \nDavid McFadden\n00:54:52\nReads unnamed poem. \n \nDavid McFadden\n00:55:52\nReads unnamed poem [audience laughter throughout]. \n \nGerry Gilbert\n00:56:52\nReads [“SQUEEZE THRU THE TUBE” from And].\n\nGerry Gilbert\n00:57:08\nReads [“24.11.70. TORONTO” from And].\n\nGerry Gilbert\n00:57:59\nThe following is a Rochdale College [https://www.wikidata.org/wiki/Q14875408] council meeting. 23rd of November, 1970.\n\nGerry Gilbert\n00:58:08\nReads [“ROCHDALE COUNCIL MEETING 23.11.70” and other untitled sections from And].\n \nDavid McFadden\n01:01:24\nReads unnamed poem. \n \nDavid McFadden\n01:01:39\nReads unnamed poem. \n\nUnknown\n01:09:59\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nGerry Gilbert\n01:10:01\nReads [“QUIET” from And].\n\nGerry Gilbert\n01:10:28\nReads untitled poem [from And].\n\nGerry Gilbert\n01:10:41\nReads [“THE WEST IS ALONE SEA” from And].\n\nGerry Gilbert\n01:10:57\nReads “TICKET” [from And].\n\nGerry Gilbert\n01:11:33\nReads [“2.1.71” from And]. \n\nGerry Gilbert\n01:12:44\nReads [“49th week 1970” from And].\n\nGerry Gilbert\n01:12:49\nReads “FRIED EGG SANDWICH ON BROWN” [from And].\n\nDavid McFadden\n01:13:54\nReads unnamed poem. \n \nGerry Gilbert\n01:23:26\nReads [first section of “Babyland Blues” from Money]. \n \nGerry Gilbert\n01:27:05\nReads unnamed poem. \n \nGerry Gilbert\n01:27:52\nReads [section of “Babybland Blues from Money].\n \nGerry Gilbert\n01:28:44\nReads unnamed poem.\n \nGerry Gilbert\n01:29:04\nReads [final section of “Babyland Blues from Money].\n \nEND\n01:29:19\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1971, at the time of the reading, David McFadden was a reporter for the Hamilton Spectator, and his collection of poems, Poems Worth Knowing was to be published the same year. His novel, The Great Canadian Sonnet was published the year before, in 1970.\\n\\nIn 1971, Gerry Gilbert published And a place in mind... (Hesheitworks, 1971), Apr. 35, 1978 (Hesheitworks, 1971), And (Blewointmentpress, 1971), Money (York Street Commune, 1971), and Lease (Coach House Press, 1971).\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nMcFadden was heavily invested in Canadian writing, and lived his whole life in Ontario and British Columbia. He had connections with George Bowering, as Bowering published an interview with McFadden in 1971. McFadden and Bowering had met while Bowering was at the University of Western Ontario, between 1966 and 1967.\\n\\nGerry Gilbert was an important avant-garde poet and publisher in Vancouver in the 60’s through to today. His press, Blewointmentpress published poetry by other Canadian poets such as Maxine Gadd, bill bissett and bp Nichol. His direct connections to Sir George Williams University are unknown, however George Bowering or Roy Kiyooka might have known Gilbert from the Vancouver scene.\",\"type\":\"General\"},{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>2 CDs>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/contemporary-canadian-poem-anthology/oclc/476332314&referer=brief_results\",\"citation\":\"Bowering, George, ed. The Contemporary Canadian Poem Anthology. Toronto: Coach House Press, 1984\"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/1229534811&referer=brief_results\",\"citation\":\"Berry, Reg. \\\"McFadden, David\\\".  The Oxford Companion to Twentieth-Century Poetry in        English. Ian Hamilton. Oxford University Press, 1996. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/858858596&referer=brief_results\",\"citation\":\"Davey, Frank. \\\"McFadden, David\\\", The Oxford Companion to Canadian Literature. Eugene Benson and William Toye. Oxford University Press 2001. \"},{\"url\":\"https://www.worldcat.org/title/from-there-to-here-a-guide-to-english-canadian-literature-since-1960-ii-our-nature-our-voices/oclc/878901819&referer=brief_results\",\"citation\":\"Davey, Frank. “Gerry Gilbert”. From There to Here: A Guide to English-Canadian Literature Since 1960, Our Nature-Our Voices II. Erin, Ontario: Press Porcepic, 1974. \"},{\"url\":\"https://www.worldcat.org/title/from-there-to-here-a-guide-to-english-canadian-literature-since-1960-ii-our-nature-our-voices/oclc/878901819&referer=brief_results\",\"citation\":\"Davey, Frank. “David McFadden”. From There to Here: A Guide to English-Canadian Literature Since 1960, Our Nature-Our Voices II. Erin, Ontario: Press Porcepic, 1974.\\n\"},{\"url\":\"https://www.worldcat.org/title/money/oclc/427223207&referer=brief_results\",\"citation\":\"Gilbert, Gerry. Money. Vancouver: York Street Commune Press, 1971.\"},{\"url\":\"https://www.worldcat.org/title/phone-book/oclc/92241&referer=brief_results\",\"citation\":\"Gilbert, Gerry. Phone Book. Toronto: Weed/Flower Press, 1969. \"},{\"url\":\"https://www.worldcat.org/title/white-lunch-poems/oclc/869020598&referer=brief_results\",\"citation\":\"Gilbert, Gerry. White Lunch, Poems. Vancouver: Periwinkle Press, 1964. \"},{\"url\":\"https://www.worldcat.org/title/grounds-poems/oclc/1087483441&referer=brief_results\",\"citation\":\"Gilbert, Gerry. Grounds. Vancouver: Talonbooks, 1976. \"},{\"url\":\"https://www.worldcat.org/title/lease/oclc/729960668?referer=di&ht=edition\",\"citation\":\"Gilbert, Gerry. Lease. Toronto: Coach House Press, 1972. \"},{\"url\":\"https://www.worldcat.org/title/and/oclc/1005955202&referer=brief_results\",\"citation\":\"Gilbert, Gerry. And. Vancouver: Blewointmentpress, 1971.\"},{\"url\":\"https://www.worldcat.org/title/great-canadian-sonnet/oclc/301438651&referer=brief_results\",\"citation\":\"McFadden, David. The Great Canadian Sonnet. Toronto: Coach House Press, 1970. \"},{\"url\":\"https://www.worldcat.org/title/great-canadian-sonnet-the-great-canadian-sonnet/oclc/15750598&referer=brief_results\",\"citation\":\"McFadden, David. The Great Canadian Sonnet. Toronto: Coach House Press, 1974. \"},{\"url\":\"https://www.worldcat.org/title/great-lakes-suite/oclc/37490622?referer=di&ht=edition\",\"citation\":\"McFadden, David. Great Lakes Suite. Vancouver, Talonbooks, 1997. \"},{\"url\":\"https://www.worldcat.org/title/intense-pleasure/oclc/421732872&referer=brief_results\",\"citation\":\"McFadden, David. Intense Pleasure. Toronto: McClelland and Stewart, 1972. \\n\"},{\"url\":\"https://www.worldcat.org/title/poems-worth-knowing/oclc/422697370&referer=brief_results\",\"citation\":\"McFadden, David. Poems Worth Knowing. Toronto: Coach House Press, 1971. \"},{\"url\":\"https://www.worldcat.org/title/why-are-you-so-sad/oclc/899150333&referer=brief_results\",\"citation\":\"McFadden, David. Why Are You So Sad? Toronto: Insomniac Press, 2007. \"},{\"url\":\"\",\"citation\":\"“Poetry Readings”. OP-ED. Montreal: Sir George Williams University, 6 October 1967, page 6. \"}]"],"_version_":1853670548930822144,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0019_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0019_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"McFadden and Gilbert Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0019_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0019_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"McFadden and Gilbert Tape Box - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0019_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0019_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"McFadden and Gilbert Tape Box - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0019_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0019_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"McFadden and Gilbert Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/david_mcfadden_gerry_gilbert_i006-11-019.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\" david_mcfadden_gerry_gilbert_i006-11-019.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:29:19\",\"precision\":\"\",\"size\":\"214.4 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"George Bowering\\n00:00:08\\nWe have two readers tonight, both Canadian poets, as you know, and, but in most cases when we have two poets as we did last time, we generally have one poet read for a while, then have a break, and then have the other poet read for a while, but we're not going to do it that way tonight. We're just going to throw the thing open to both David McFadden [https://www.wikidata.org/wiki/Q5237344] and Gerry Gilbert [https://www.wikidata.org/wiki/Q5552756] and they will work it out as it seems to work out for them. This makes a lot of sense, although they've never read together before, they're both published by the same publishing house, and published in the same magazines and know each other as they used to say in the old days in the ivy league by reputation. Gerry Gilbert is, as a lot of people we've had this year, is from the West Coast and has been involved for quite a while with an outfit in the coast that gobbles up your tax money called Intermedia [https://www.wikidata.org/wiki/Q39079179], that's why the screen is there, something might happen there occasionally. Gerry was at one time the editor of a seminal West Coast publishing venture called Radio Free Rain Forest, and is the author of a series of books and things that are like books, as for instance, White Lunch which came out several years ago in Vancouver [https://www.wikidata.org/wiki/Q24639] and Telephone Book which is published by Coach House Press, I think, no, Weed/Flower, sorry. David's also been published by Weed/Flower and the Coach House Press, and his forthcoming book is the second volume of the Big/Little Book novel, called The Great Canadian Sonnet with illustrations by a little-known London [https://www.wikidata.org/wiki/Q92561] artist named Greg Curnoe [https://www.wikidata.org/wiki/Q5605459]. His next book is going to be called Poems Worth Knowing, a title that anyone from Ontario [https://www.wikidata.org/wiki/Q1904] or British Columbia [https://www.wikidata.org/wiki/Q1974] will know. What we're going to do is they're going to operate for a little while, and then when they feel the need for a break there will be a short intermission, like about ten minutes, then we'll proceed again with what, as they say, the second set. So I'm not going to be able to say that somebody's reading first and somebody's reading second but what I will be able to say is that the readers will be David McFadden and Gerry Gilbert.\\n \\nUnknown\\n00:02:39\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nDavid McFadden\\n00:02:40\\nReads unnamed poem. \\n\\nUnknown\\n00:06:02\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nGerry Gilbert\\n00:06:03\\nReads \\\"Her white face where I have seen Her ride the last bus, before\\\" [from Money].\\n \\nGerry Gilbert\\n00:07:14\\nReads \\\"A moving picture moves, it's the truth about movies\\\" [from Money].\\n \\nDavid McFadden\\n00:07:33\\nReads unnamed poem. \\n \\nGerry Gilbert\\n00:08:20\\nReads \\\"I REMEMBER TOOTSIE ROLLS when they were only in American comic books\\\" [from Money].\\n \\nDavid McFadden\\n00:09:46\\nReads [“The Slippery Wig” published later in Intense Pleasure and collected in Why Are You So Sad?]. \\n \\nGerry Gilbert\\n00:10:38\\nReads \\\"London 1964\\\" [from Money]\\n \\nDavid McFadden\\n00:12:28\\nReads unnamed poem. \\n \\nGerry Gilbert\\n00:13:37\\nReads \\\"waitress calls the man in the corner, HARRY” [from Money].\\n \\nDavid McFadden\\n00:14:30\\nReads unnamed poem. \\n \\nGerry Gilbert\\n00:14:53\\nReads \\\"the pleasure. I said” [from Money].\\n \\nDavid McFadden\\n00:16:14\\nReads [“Titles I Have Heard Of But Not Read” published later in Intense Pleasure and collected in Why Are You So Sad?].\\n \\nGerry Gilbert\\n00:18:26\\nReads [\\\"Single Mens Unit\\\" from Money].\\n \\nDavid McFadden\\n00:19:05\\nReads unnamed poem. \\n \\nDavid McFadden\\n00:21:03\\nReads unnamed poem.\\n \\nGerry Gilbert\\n00:23:13\\nReads \\\"Goodness and mercy are following me across the lake\\\" [from Money].\\n\\nGerry Gilbert\\n00:24:10\\nReads \\\"Bicycle\\\" [from Money].\\n \\nGerry Gilbert\\n00:24:55\\nReads \\\"on the bed” [from Money].\\n \\nDavid McFadden\\n00:25:32\\nReads unnamed poem. \\n \\nDavid McFadden\\n00:26:05\\nReads unnamed poem.\\n \\nDavid McFadden\\n00:26:18\\nReads unnamed poem.\\n \\nGerry Gilbert\\n00:26:49\\nReads unnamed poem.\\n \\nGerry Gilbert\\n00:28:03\\nReads \\\"bone ring on my finger\\\" [from Money].\\n \\nDavid McFadden\\n00:28:34\\nReads unnamed poem. \\n \\nDavid McFadden\\n00:31:05\\nReads unnamed poem.\\n \\nGerry Gilbert\\n00:32:10\\nWe're reading Canadian history. A few of the poems from Phone Book.\\n \\nGerry Gilbert\\n00:32:28\\nReads untitled poem from Phone Book.\\n \\nGerry Gilbert\\n00:33:05\\nReads untitled poem from Phone Book.\\n \\nGerry Gilbert\\n00:33:42\\nReads untitled poem from Phone Book.\\n \\nGerry Gilbert\\n00:34:31\\nReads untitled poem from Phone Book.\\n \\nGerry Gilbert\\n00:35:25\\nReads untitled poem from Phone Book.\\n \\nGerry Gilbert\\n00:36:37\\nReads untitled poem from Phone Book.\\n \\nGerry Gilbert\\n00:36:58\\nReads untitled poem from Phone Book.\\n \\nGerry Gilbert\\n00:37:29\\nThis poem's called \\\"Garden\\\".\\n \\nGerry Gilbert \\n00:37:35\\nReads \\\"Garden\\\" [from Money].\\n \\nDavid McFadden\\n00:38:38\\nReads [“Journey To Love” published later in Poems Worth Knowing].\\n \\nDavid McFadden\\n00:39:21\\nReads [“A Poem Without A Title Is Like A Letter Without A Stamp” published later in Poems Worth Knowing].\\n \\nGerry Gilbert\\n00:39:50\\nReads \\\"find your birds\\\" [from Money].\\n \\nDavid McFadden\\n00:41:32\\nReads [“Art’s Variety” published later in Poems Worth Knowing].\\n \\nGerry Gilbert\\n00:42:04\\nReads \\\"sometimes I miss\\\" [from Money].\\n \\nDavid McFadden\\n00:42:18\\nReads [“Another Revolution” published later in Poems Worth Knowing].\\n \\nDavid McFadden\\n00:42:57\\nReads [“Chapter One” from The Great Canadian Sonnet].\\n \\nGerry Gilbert\\n00:47:06\\nDid I hear you say 'boiled skunks'? This is a little tale. \\n\\nGerry Gilbert\\n00:49:24\\nReads unnamed poem. \\n\\nGerry Gilbert\\n00:49:45\\nReads unnamed poem. \\n \\nGerry Gilbert\\n00:51:42\\nReads unnamed poem.\\n \\nDavid McFadden\\n00:53:02\\nReads \\\"Vital Statistics: Distances from Hamilton To...\\\" [from The Great Canadian Sonnet]. \\n \\nGerry Gilbert\\n00:54:52\\nReads unnamed poem.\\n \\nDavid McFadden\\n00:54:52\\nReads unnamed poem. \\n \\nDavid McFadden\\n00:55:52\\nReads unnamed poem [audience laughter throughout]. \\n \\nGerry Gilbert\\n00:56:52\\nReads [“SQUEEZE THRU THE TUBE” from And].\\n\\nGerry Gilbert\\n00:57:08\\nReads [“24.11.70. TORONTO” from And].\\n\\nGerry Gilbert\\n00:57:59\\nThe following is a Rochdale College [https://www.wikidata.org/wiki/Q14875408] council meeting. 23rd of November, 1970.\\n\\nGerry Gilbert\\n00:58:08\\nReads [“ROCHDALE COUNCIL MEETING 23.11.70” and other untitled sections from And].\\n \\nDavid McFadden\\n01:01:24\\nReads unnamed poem. \\n \\nDavid McFadden\\n01:01:39\\nReads unnamed poem. \\n\\nUnknown\\n01:09:59\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nGerry Gilbert\\n01:10:01\\nReads [“QUIET” from And].\\n\\nGerry Gilbert\\n01:10:28\\nReads untitled poem [from And].\\n\\nGerry Gilbert\\n01:10:41\\nReads [“THE WEST IS ALONE SEA” from And].\\n\\nGerry Gilbert\\n01:10:57\\nReads “TICKET” [from And].\\n\\nGerry Gilbert\\n01:11:33\\nReads [“2.1.71” from And]. \\n\\nGerry Gilbert\\n01:12:44\\nReads [“49th week 1970” from And].\\n\\nGerry Gilbert\\n01:12:49\\nReads “FRIED EGG SANDWICH ON BROWN” [from And].\\n\\nDavid McFadden\\n01:13:54\\nReads unnamed poem. \\n \\nGerry Gilbert\\n01:23:26\\nReads [first section of “Babyland Blues” from Money]. \\n \\nGerry Gilbert\\n01:27:05\\nReads unnamed poem. \\n \\nGerry Gilbert\\n01:27:52\\nReads [section of “Babybland Blues from Money].\\n \\nGerry Gilbert\\n01:28:44\\nReads unnamed poem.\\n \\nGerry Gilbert\\n01:29:04\\nReads [final section of “Babyland Blues from Money].\\n \\nEND\\n01:29:19\\n\",\"notes\":\"David McFadden reads from The Great Canadian Sonnet (Coach House Press, 1970), as well as poems published later in Poems Worth Knowing (Coach House Press, 1971) and Intense Pleasure (McClelland and Stewart, 1972). Gerry Gilbert reads from Money (York Street Commune, 1971) and Phone Book (Weed/Flower, 1969) and And (Blewointmentpress, 1971) as well as some poems from unknown sources.\\n00:00- Unknown Male introduces David McFadden and Gerry Gilbert [INDEX: Gerry Gilbert: West Coast, radiofreerainforest, Intermedia, White Lunch, Vancouver, Phone Book published by Weed/Flower Press. David McFadden: Coach House Press, Weed/Flower Press, Big Little Book novel, The Great Canadian Sonnet with illustrations by Greg Curnoe, Poems Worth Knowing, Ontario, British Columbia]\\n02:40- David McFadden reads first line “They try to teach you things so fast in school...”\\n06:03- Gerry Gilbert reads first line “Her right face, where I have seen her ride the last bus before...”\\n07:14- Gerry Gilbert reads first line “A moving picture moves...” [INDEX: in the section “For Crying Out Loud” in Money]\\n07:33- David McFadden reads first line “At the vending machine, Garfield got a bag of...”\\n08:20- Gerry Gilbert reads first line “I remember tootsie rolls were only in American comic books...” [INDEX: in the section “For Crying Out Loud” in Money]\\n09:46- David McFadden reads first line “I sat next to her on the bus. She kept adjusting her black wig...”\\n10:38- Gerry Gilbert reads “London 1964” [INDEX: in the section “For Crying Out Loud”, in Money]\\n12:28- David McFadden reads “Received your postcard today and dropped it...”\\n13:37- Gerry Gilbert reads “The waitress calls the man in the corner Harry...” [INDEX: in the section “For Crying Out Loud” in Money]\\n14:30- David McFadden reads first line “Nine inches from navel to vulva...”\\n14:53- Gerry Gilbert reads first line “The pleasure, I said, I dreamed I was in    Vietnam...” [INDEX: in the section “For Crying Out Loud” in Money]\\n16:14- David McFadden reads first line “Dreams have become so full of intricate detail...”\\n18:26- Gerry Gilbert reads “Single Mens Unit” [INDEX: in Money]\\n19:05- David McFadden reads first line “The Bursby Police are a fine group of men...”\\n21:03- David McFadden reads first line “Napanee home for the aged Japanese Canadians...”\\n23:13- Gerry Gilbert reads first line “Goodness and Mercy are following me...” [INDEX: in the section “For Crying Out Loud” in Money]\\n24:10- Gerry Gilbert reads “Bicycle” [INDEX: in Money]\\n24:55- Gerry Gilbert reads first line “On the bed, we held, two hands a pot...”\\n25:32- David McFadden reads first line “The successful young alderman of ambition...”\\n26:05- David McFadden reads first line “The tub was dirty so I washed it out...”\\n26:18- David McFadden reads first line “I’m leaving on Saturday, Harry the sweeper talking...”\\n26:49- Gerry Gilbert reads first line “Blow by blow, solid, solid, short...”\\n28:03- Gerry Gilbert reads first line “Bone, ring on my finger, bell...” [INDEX: in section “For Crying Out Loud” in Money]\\n28:34- David McFadden reads first line “Spitting out the used up toothpaste...”\\n31:05- David McFadden reads first line “If you’re lucky enough to be there when your name is called...”\\n32:28- Gerry Gilbert reads first line “Mirror, mirror from Middle English...” [INDEX: in    \\tPhone Book]\\n33:05- Gerry Gilbert reads first line “Stabit, she’s big, her mom sed...” [INDEX: in Phone    Book]\\n33:42- Gerry Gilbert reads first line “Conductor, CN Conductor...” [INDEX: in Phone Book]\\n35:25- Gerry Gilbert reads first line “It began to rain, we sat on the hill...” [INDEX: in Phone Book]\\n36:37- Gerry Gilbert reads first line “The killer is at the top window...” [INDEX: in Phone    Book]\\n36:58- Gerry Gilbert reads first line “Can’t see the key, you have to reach...” [INDEX: in     Phone Book]\\n37:29- Gerry Gilbert reads “Garden” [INDEX: in Money]\\n38:38- David McFadden reads first line “No one knows his own potential for evil...”\\n39:21- David McFadden reads first line “I made a left turn from Houston onto King...”\\n39:50- Gerry Gilbert reads first line “Find your birds, ladies and gentlemen...” [INDEX: in the section “For Crying Out Loud” in Money]\\n41:32- David McFadden reads first line “She was small and pretty, my heart broke...”\\n42:04- Gerry Gilbert reads first line “Sometimes I miss the times I miss...” [INDEX: in the   section “For Crying Out Loud” in Money]    \\n42:18- David McFadden reads first line “Elege [sp?] expands to fill the vacuum left by loss of spirit...”\\n42:57- David McFadden reads first line “I’m Alabama-bound, my brain is firming round...”\\n47:24- END OF RECORDING\\n\\n00:02- Gerry Gilbert reads first line “I rolled down the slime trail after slug...”\\n01:59- Gerry Gilbert reads first line “Semitic origin, these etymological discussions...”\\n02:21- Gerry Gilbert reads “Spadina Salvation Army, December 1969”\\n04:27- David McFadden reads first line “Vital statistics, distances from Hamilton to \\tBoston...”\\n05:38- Gerry Gilbert reads first line “A place in mind clicks, switch...”\\n07:27- David McFadden reads first line “Joan was telling me how she was driving...”\\n08:28- David McFadden reads first line “The dog across the street is a little Pekinese...”\\n09:28- Gerry Gilbert reads series of poems starting with first lines “I was in Ottawa...” and “Matches, I never saw Eddie...”\\n10:09- Gerry Gilbert reads series of poems starting with first lines “I can’t find the sky...” and “I see you and baby...” and “9 or 10 council men and women...”\\n14:00- David McFadden reads first line “Collier's Encyclopedia says...”\\n14:15- David McFadden reads first line “Joan said she was miserable that day...”\\n22:35- Gerry Gilbert reads of series of short poems with first lines “Buddha, somebody stole...”, “I jacked-off..”, “We’ve been having technical...”, “Go sooner than you   expect...”. “If you like lots of food...”, “Ticket, way West...”, “Pictures of windows...”, “Pencil, don’t dry out...”, “Each a life, eat your wife...”, “Fried egg sandwich...”, “The world is so young...”, “Your own, a better night...”, “She loved me...”, “Hair, hooked behind my ears...”, “Your first is something nobody...”\\n26:29- David McFadden reads first line “The car was running very well...”\\n36:01- Gerry Gilbert reads first line “I know what I’m doing...”\\n39:40- Gerry Gilbert reads first line “Eagle, hear me coming...”\\n40:28- Gerry Gilbert reads first line “Water the garden after...”\\n41:19- Gerry Gilbert reads first line “Each size, big places...”\\n41:40- Gerry Gilbert reads first line “Sweet, sweet babyland bird...”\\n41:55.46- END OF RECORDING\\n \\n*Note about Transcript: because both readers read their work without any extra-poetic speech, there are no ‘annotated’ notes. The text that is spoken by the poets is marked by quotation marks. Poem titles are indicated, when available, in the [Indexed] sections. \",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/david-mcfadden-and-gerry-gilbert-at-sgwu-1971/\"}]"],"score":2.9979138},{"id":"1294","cataloger_name":["Bindu,Reddy"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Kenneth Koch at Sir George Williams University, The Poetry Series, 19 February 1971"],"item_title_source":["Cataloguer "],"item_title_note":["\"KENNETH KOCH Recorded February 19, 1971 3.75 ips on 1 mil. tape, 1/2 track Fair quality\" written on sticker on the back of the tape's box. KENNETH KOCH I006/SR39 written on sticker on the spine of the tape's box. I006-11-039 written on sticker on the reel.\n"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 5"],"item_identifiers":["[]"],"creator_names":["Koch, Kenneth"],"creator_names_search":["Koch, Kenneth"],"creators":["[{\"url\":\"http://viaf.org/viaf/110467351\",\"name\":\"Koch, Kenneth\",\"dates\":\"1925-2002\",\"notes\":\"Poet, playwright, author and teacher Kenneth Koch was born on February 27, 1925 in Cincinnati, Ohio. In 1943, after completing high school, Koch served in the United States Army until 1945. He then enrolled at Harvard University, and received his B.A. degree in 1948 in English literature and writing. Koch then entered the Ph.D. program at Columbia University in New York City, through which he traveled on a Fulbright scholarship to France to study avant-garde poetry. In New York, he met poets John Ashbery and Frank O’Hara, the three of whom would be coined the New York School of Poets. Koch published his first collection of poetry, Poems (Tibor de Nagy Gallery, 1953), and wrote a play, Little Red Riding Hood (1953), followed by Ko; or, A Season on Earth (Grove Press, 1959).  During this time Koch taught at Rutgers and Brooklyn Colleges before he completed his Ph.D. in 1959. Koch’s second play, Bertha, debuted in 1960, along with a third collection of poetry, Permanently (Tiber Press, 1960). In the early 60’s, Koch published plays, including George Washington Crossing the Delaware, The Construction of Boston (both in 1962), Guinevere; or, The Death of the Kangaroo, (1964). Koch was also a brilliant teacher, creating poetry and reading programs for grade school students in New York City public schools, which he won a Harbison Award for teaching. He published his experiences in Wishes, Lies and Dreams: Teaching Children to Write Poetry (Chelsea House, 1970) and Rose, Where Did You Get That Red?: Teaching Great Poetry to Children (Random House, 1973), which won a Ohioana Book Award and a Christopher Book Award. He also launched a similar program for the elderly, as described in I Never Told Anybody: Teaching Poetry Writing in a Nursing Home (Random House, 1977). During this time Koch published numerous books of verse, namely The Pleasures of Peace and Other Poems (Grove Press, 1969), When the Sun Tries to Go On (Black Sparrow, 1969), Sleeping with Women (Black Sparrow Press, 1969), the highly praised The Art of Love (Random House, 1975) which won the National Institute of Arts and Letters award in 1976, The Burning Mystery of Anna in 1951 (Random House, 1979). A prolific writer, Koch wrote over forty books and plays, including Days and Nights (Random House, 1982), On the Edge (Alfred A. Knopf, 1986) which won an Award of Merit for Poetry from the American Academy and Institute of Arts and Letters, Selected Poems, 1950-1982 (Random House, 1985), a book of short dramatic selections One Thousand Avant-garde Plays (Knopf, 1988) won a National Book Critic’s Circle nomination, Selected Poems, (Carcanet, 1991), On the Great Atlantic Rainway: Selected Poems, 1950-1988 (Knopf, 1994) and his last book, New Addresses (Knopf, 2000). 1995 was a big year for Koch, as he was awarded the Bollingen Prize for a lifetime achievement to poetry, and was elected to the American Academy of Arts and Letters. Subsequently, Koch received the Rebekah Johnson Bobbitt National Prize for Poetry in 1996, the Chevalier de l’ordre des arts et des lettres in France in 1999, and the Phi Beta Kappa Poetry Award. Kenneth Koch died of leukemia on July 6, 2002 in New York City.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Bowering, George"],"contributors_names_search":["Bowering, George"],"contributors":["[{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Presenter\"]}]"],"Presenter_name":["Bowering, George"],"Series_organizer_name":["Bowering, George"],"Performance_Date":[1971],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1971 2 19\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the back of the tape's box and in written announcement \\\"What Goes On!\\\"\\n\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["Kenneth Koch reads from Thank You and Other Poems (Grove Press, 1962), The Pleasures of Peace and Other Poems (Grove Press, 1969), works published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971 (Random House, 1973) and from other unknown sources."],"contents":["kenneth_koch_i006-11-039.mp3\n\nGeorge Bowering\n00:00:00\nMost people will have seen, probably, the little promo sheet that went out about Kenneth [https://www.wikidata.org/wiki/Q2708628] talking about all his various books et cetera, so I'll keep this very short. Those that have been involved in reading American poetry over the past few years will naturally know who Kenneth Koch is, that he along with Frank O'Hara [https://www.wikidata.org/wiki/Q951010] probably invented modern American poetry in New York City [https://www.wikidata.org/wiki/Q60], and it's, and he's also been in the news lately in the various, Slick magazine in the United States [https://www.wikidata.org/wiki/Q30] as a teacher of poetry, a very important teacher of poetry to kids in schools. And he's the only man I know who's been able to write what I think is probably an epic in the American language. So I'd like to make this as fast as I can and introduce Mr. Kenneth Koch.\n \nAudience\n00:00:58\nApplause.\n \nUnknown\n00:01:03\n[Cut or edit in tape. Unknown amount of time elapsed].\n \nKenneth Koch\n00:01:04\nThe first poem I'll read is called \"Spring\". \n \nKenneth Koch\n00:01:08\nReads \"Spring\" [from Thank You and Other Poems].\n \nKenneth Koch\n00:02:36\nThe next poem I want to read is called \"Variations on a Theme by William Carlos Williams\". I love Williams' [https://www.wikidata.org/wiki/Q178106] work, and I usually only write parodies of people whose work I like a lot. This parody is based on a poem of Williams, well, actually, on a certain characteristic I saw in Williams' work for a long time which I like, which is sort of, the idea that if you really like something enough and if you want to do it enough, it's okay to do it. And I saw certain insane possibilities of this viewpoint. This is specifically a parody of a poem which goes, \"This is just to say I've eaten the plums in the icebox and which you were probably saving for breakfast. Forgive me, they were so cold and so delicious\". It's really a nice poem, but it seemed to me there was a little streak of insanity running through it. It's called, \"Variations on a Theme by William Carlos Williams\".\n \nKenneth Koch\n00:03:28\nReads \"Variations on a Theme by William Carlos Williams\" [from Thank You and Other Poems].\n \nKenneth Koch\n00:04:33\nI'd like to read another short poem, this is called \"You Were Wearing\".\n \nKenneth Koch\n00:04:38\nReads \"You Were Wearing\" [from Thank You and Other Poems].\n \nKenneth Koch\n00:06:37\nI'm trying to find the ideal lights still, it’s--okay, I think that's probably a bit better. The next thing that I want to read is a play called \"E.KOLOGY\". It's...E.KOLOGY is the name of the hero, it's like capital \"E,\" period, capital \"KOLOGY.\" I'd like to say something about this play. I read it at the University of Chicago [https://www.wikidata.org/wiki/Q131252] last year, and some students thought that I was making fun of the ecology movement. I'm not, and I would see to it that if it were produced that that was not the case. It just seemed to me that the ecology movement was such a, like a natural cause for pleasure that it wouldn't really do to be totally solemn about it. The, I wrote this to be performed on Earth Day [https://www.wikidata.org/wiki/Q124473], in New York last year in April, but they were supposed to have all these things in Union Square [https://www.wikidata.org/wiki/Q110007] and it just ended up being a lot of light shows and speeches, I think, because they couldn't get the actors together and the lights and the stage and everything. It was done in Philadelphia [https://www.wikidata.org/wiki/Q1345], did anyone see it, by any chance? Probably not. I didn't see it. I didn't even know it was done. In any case. E.KOLOGY. \n \nKenneth Koch\n00:07:44\nReads E.KOLOGY - Act One, Scene One [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:09:38\nReads E.KOLOGY - Act One, Scene Two [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:11:19\nReads E.KOLOGY - Act One, Scene Three [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:12:06\nReads E.KOLOGY - Act Two [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:13:54\nReads E.KOLOGY - Act Three, Scene One [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:14:24\nReads E.KOLGOY - Act Three, Scene Two [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:16:04\nReads E.KOLOGY - Act Four [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:17:30\nReads E.KOLOGY - Act Five [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nAudience\n00:19:34\nApplause.\n \nKenneth Koch\n00:19:44\nWhile you're in the mood for theatre, I'll read a film script I wrote which I'd be delighted if someone would do. No one's ever done it. Apparently it would cost a great deal to do this, although it's very simple. It's called “Youth”.\n \nKenneth Koch\n00:19:57\nReads \"Youth\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:21:36\nI don't hear any takers unless...Let's see. This is a very short poem called, \"Poem\".\n \nKenneth Koch\n00:21:53\nReads \"Poem\" [from The Pleasures of Peace and Other Poems].\n \nKenneth Koch\n00:22:11\nThis, this poem is called \"Ma Provence\", and my interest in writing it was the different way that French and English sound to me. \"Ma Provence\".\n \nKenneth Koch\n00:22:23\nReads \"Ma Provence\" [from The Pleasures of Peace and Other Poems].\n \nKenneth Koch\n00:22:52\nI usually translate the French, but I guess here I don't really have to. I'll read a...the French is very banal, it means, \"In my Provence the wheat is always green, the girls are pretty, they love me madly, they never die in my Provence\". This poem is called \"Great Beauty\". \n \nKenneth Koch\n00:23:14\nReads \"Great Beauty\".\n \nKenneth Koch\n00:23:31\nThis poem is called \"Little Known Historical Fact\".\n \nKenneth Koch\n00:23:35\nReads \"Little Known Historical Fact\".\n \nKenneth Koch\n00:23:48\nCharlemagne [https://www.wikidata.org/wiki/Q3044] is an Italian. [Audience laughter]. This is called...\"Getting Back on Land\".\n \nKenneth Koch\n00:24:06\nReads \"Getting Back on Land\".\n \nAudience\n00:24:22\nLaughter. \n \nKenneth Koch\n00:24:29\nThis, the next thing I want to read is part of a long poem I've been writing in the last year. George [https://www.wikidata.org/wiki/Q1239280] mentioned an epic poem I wrote called “Ko”, which I wrote about, oh twelve or fourteen years ago, and it's a poem...that's “Ko”, there it is, and it's about a hundred and twenty pages, it's in ottava rima, which is a stanza that Ariosto [https://www.wikidata.org/wiki/Q48900] used in Orlando Furioso [https://www.wikidata.org/wiki/Q48922] and it's also the stanza that Byron [https://www.wikidata.org/wiki/Q5679] used in Don Juan [https://www.wikidata.org/wiki/Q1245187]. It rhymes ABABABCC. And...I really like “Ko” a lot. It's a poem about a, the main character is a Japanese baseball player, a pitcher, who throws the ball so hard he knocks the grandstand down with every pitch. And there are a lot of other characters in it. When I wrote the poem I really was very happy, I was living in Florence [https://www.wikidata.org/wiki/Q2044], in a villino, and, sort of outside of town on the Viale Michelangelo, and what I tried to do in “Ko” is like to put in every pleasant thing I'd ever experienced in my life, and the poem is kind of happy and optimistic. And I always wanted to continue it, because I liked writing that way. And I never could, because the continuation was always sort of in the style of “Ko” exactly and not as good. It sort of lost that particular feeling. Then I finally was able to start doing it again, recently, but I noticed as I went on writing the poem that it had changed a good deal, that my idea about life and the world was not quite the same, naturally, partly because it changes in me, and partly because it changes in the world, but I don't want to get into metaphysical questions. In any case, the first thing I want to read from this poem is the, like the “Prologue”, which explains my problems in continuing this very happy poem fourteen years afterwards. The only, I think the only thing that needs explaining that I haven't explained is that “Ko” ends with the line, \"Huddle, meanwhile, was flaking at the knees.\" Now Huddle is a, like an Englishman in “Ko” who dies of mold fever in Rome [https://www.wikidata.org/wiki/Q220], and when he dies he turns into a statue which is set up near the Villa Giulia [https://www.wikidata.org/wiki/Q964499] in Rome. And all of the other characters that have been killed sort of turn into statues and start coming back to life, and this is a sign that Huddle is coming back to life but he's flaking at the knees. In any case, that's referred to at the beginning of the “Prologue”.\n \nKenneth Koch\n00:27:00\nReads \"Prologue\".\n \nKenneth Koch\n00:34:08\nThat's the end of the “Prologue”. I want to read the first episode in the poem, now. I realize there was another, perhaps incomprehensible thing in the “Prologue”. Pana Grady...Pana Grady's apartment was a place on...Central Park West [https://www.wikidata.org/wiki/Q2738041] where a lot of parties were held for Upper and Lower Bohemia in the days...well, it was about five or six years ago. Anyway. That's the end of the “Prologue”, which I'm not sure I'm finally going to attach to the poem, since I usually eliminate prologues. And this is the beginning of the poem. \n \nKenneth Koch\n00:34:55\nReads [\"Episode I”].\n \nKenneth Koch\n00:41:07\nThat's the end of the first part. To tell you what happens in this poem would take as long as reading the whole poem, which I don't have time to do. I think I'd like to read some brief, improvisational plays. I wrote these plays to be done at The Living Theatre [https://www.wikidata.org/wiki/Q1202416], though I knew they wouldn't do them. Somebody asked me to write some improvisational plays, it's really, it's really great, you know, writes it with some actors that want to do it, and I'd, I'd seen some improvisational plays and it seemed to me that the only emotions that actors could improvise were...let's see, passion, nostalgia, self-hatred, anxiety, and then make narcissism and then make topical references, and I decide to really throw sort of a curve at actors and give them something that would really be hard to improvise. My penalty has been that these plays have never been done. The first one I'd like to read...I'd be very glad if they were, could be given a premiere here in Canada [https://www.wikidata.org/wiki/Q16]. \"Mexico City\".\n \nKenneth Koch\n00:42:18\nReads \"Mexico City\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:43:13\nThe next one is called \"The Lost Feed\".\n \nKenneth Koch\n00:43:16\nReads \"The Lost Feed\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:44:12\nThe next play is called \"Coil Supreme\".\n \nKenneth Koch\n00:44:17\nReads \"Coil Supreme\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:44:48\nThe last improvisational play I'll read is the one that has always moved me the most at the thought of production. It's called \"The Gold Standard\".\n \nKenneth Koch\n00:44:57\nReads \"The Gold Standard\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:45:54\nI think I'd like to read a rather long poem called...my present plan, which--I don't want to really ruin people's evening, since I didn't start until 9:30, I think the poems that I would like to read will last until 11. So, it's twenty-five after ten now, I don't want to keep anybody up to late or anything. [Audience laughter]. If...Don't feel bad about leaving if you have to go, I want to read these two rather long poems. This is called \"The Pleasures of Peace\". I should say something about this poem, I wrote it...I started to write it, oh, three years ago, or whenever it was, maybe it was four years ago, but it took me a long time to write it. I guess about three years ago I started. It was at the moment of the, when there really was a lot of happiness in the peace movement in the United States. And it was like the first Peace Marches on Fifth Avenue, and people were jumping up and down for peace, and dancing for peace, and it really seemed as though what people were doing was going to do some good. And I remember feeling very excited in the first set of mass peace activities I was in because, being a poet, and having been brought up in America and everything and like almost all the other poets and artists I knew I sort of felt like a social outcast a little bit. And then I found, in the midst of the peace movement, like there were hundreds of thousands of people who sort of felt the same way about a lot of things, it was nice. And there was something very sort of grand and exciting about the peace movement which does not have anything to do with the issues at all, it was just a lot of fun. In a way it was sort of...it was very pleasant. There were a few other things that motivated this poem. One was I was very annoyed at a lot of my fellow-poets who were going around, giving, in groups to colleges, giving poetry readings for peace. Now there were two things about this that annoyed me, three things. One was that I wasn't doing it. But that, I think, was a minor thing  A second thing was that...who did they really think they were trying to convert, like college students who came to poetry readings? I mean, college students who come to poetry readings are not usually in favour of war. And in the second-place, all the poems they read for peace were the sort of things that would make you want to go out and kill people, like \"Lyndon Johnson [https://www.wikidata.org/wiki/Q9640], you, fuck the pregnant woman who's lying with her guts streaming out,\" [audience laughter] and they weren't, they didn't really...they didn't really seem like peace poems to me. It...And I felt it was sort of exploitative on their part to do that. So I wanted to write a--I'd never written a political poem and I wanted very much to write a poem, I had very strong feelings about the Vietnam War [https://www.wikidata.org/wiki/Q8740], and I wanted to write a poem against the war but which really, was really a poem, a positive poem about peace. I found it terribly hard to do, and I never worked so long on any poem. The fact that I worked so long on it does not mean that it's any better than anything else I ever wrote, but it was just hard, because I kept trying to put in sort of, things about suffering and so on, and they would jump out of the poem the way an artificial heart, I mean the way a transferred heart is sometimes rejected by the body. And I realized I was sort of stuck with writing a poem that was, like, one of my poems, it was really sort of a positive poem about peace. Another problem is that if you write a poem about the pleasures of peace it means you're writing a poem about the pleasures of life. And it's endless, in any case. That's about enough of that for now. It took me over a year to write, it was mainly the last part I couldn't write, since I didn't want to have sort of a literary copout at the end, and I didn't want to sort of end up, oh well, anyway. It's just a poem. The only thing--I got varied reactions to the poem. One...some dopey poet friend of mine came over and said, \"Boy, you really put the peace movement down\". And I haven't spoken to him very much since then. But then, a better reaction was that I got, some guy called me up and asked me if he could use this poem as his draft resistance statement. And I said you're going to languish in prison for a long time because, you know, judges don't like poetry. But anyway. Now just forget everything I've said [audience laughter] and I'll read this poem. And there's a pause. \"The Pleasures of Peace\". Oh! Another thing. [Audience laughter]. I read this poem in London [https://www.wikidata.org/wiki/Q84] last year, and I got this dopey review in the Times [https://www.wikidata.org/wiki/Q50008] by, who was it....I'm not sure. And he said, \"Kenneth Koch's 'Pleasures of Peace' is a very interesting poem but since he mentions the name of all his friends which we can't be expected to know”--like about 90% of the people in this poem are imaginary. They, they're not my friends. [Audience laughter]. Okay. Like Georgio Finogo is not a real person, okay?. \"The Pleasures of Peace\".\n \nKenneth Koch\n00:51:15\nReads \"The Pleasures of Peace\" [from The Pleasures of Peace and Other Poems].\n \nAudience\n01:11:09\nApplause. \n \nKenneth Koch\n01:11:15\nThank you. \n \nKenneth Koch\n01:11:22\nI want to read another poem which will take about seven minutes, but just to rest up I'll read a short poem...I can't find one short enough...Oh, this is called \"An X-Ray of Utah\".\n \nKenneth Koch\n01:12:00\nReads \"An X-Ray of Utah\" [from The Pleasures of Peace and Other Poems].\n \nKenneth Koch\n01:12:08\nWell that's the shortest poem I ever wrote. [Audience laughter]. Except, there's one that's not in any of my books which is called \"Tennis\", which is the same length. \n \nKenneth Koch\n01:12:19\nReads \"Tennis\".\n \nKenneth Koch\n01:12:29\nOh, I think I'll read a few movie scripts. I'll just read a few. This is really for, this is from something called \"Ten Films\", but I'll just read a few of them, which are my favourites. One of the films is called \"Sheep Harbour\".\n \nKenneth Koch\n01:12:44\nReads \"Sheep Harbour\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n01:12:57\nLike, the camera could sort of show this for a long time.\n \nKenneth Koch\n01:13:03\nReads \"Oval Gold\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n01:13:19\nI'll just read one more of these films. This is called \"The Cemetery\".\n \nKenneth Koch\n01:13:24\nReads \"The Cemetery\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n01:13:49\nI'll read this one last poem which is called \"Sleeping with Women”.  \"Sleeping with Women\".\n \nKenneth Koch\n01:13:54\nReads \"Sleeping with Women\" [from The Pleasures of Peace and Other Poems].\n\nEND\n01:22:37\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nDuring this time, Koch published Wishes, Lies and Dreams: Teaching Children to Write Poetry (Chelsea House, 1970) and Rose, Where Did You Get That Red?: Teaching Great Poetry to Children (Random House, 1973), recounting his teaching experiences.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nDirect connections to Kenneth Koch and Sir George Williams University are unknown, but Koch was an important and influential New York poet and educator.\",\"type\":\"General\"},{\"note\":\"Original transcript by Rachel Kyne\\n\\nOriginal print catalogue, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\\n\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>2 CDs>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/change-of-hearts-plays-films-and-other-dramatic-works/oclc/469682283&referer=brief_results\",\"citation\":\"Koch, Kenneth. A Change of Hearts: Plays, Films and Other Dramatic Works, 1951-1971. New York: Random House, 1973. \"},{\"url\":\"https://www.worldcat.org/title/pleasures-of-peace-and-other-poems/oclc/256034641&referer=brief_results\",\"citation\":\"Koch, Kenneth. The Pleasures of Peace and Other Poems. New York: Grove Press, Inc, 1969. \"},{\"url\":\"https://www.worldcat.org/title/thank-you-and-other-poems/oclc/256035573&referer=brief_results\",\"citation\":\"Koch, Kenneth. Thank You and Other Poems. New York: Grove Press, Inc, 1962. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-american-literature/oclc/54356940&referer=brief_results\",\"citation\":\"\\\"Koch, Kenneth [Jay]\\\". The Oxford Companion to American Literature. James D. Hart (ed.), Phillip W. Leininger (rev.). Oxford University Press 1995.\"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/kenneth-koch-at-sgwu-1971/\",\"citation\":\"“What Goes On!”. The Georgian. Montreal: Sir George Williams University, 18 February 1971.\"},{\"url\":\"\",\"citation\":\"“Koch, Kenneth, 1925-”. Literature Online Biography. Cambridge: Chadwyck-Healey, Proquest, 2005.\"}]"],"_version_":1853670548932919296,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0039_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0039_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Kenneth Koch Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0039_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0039_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Kenneth Koch Tape Box - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0039_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0039_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Kenneth Koch Tape Box - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0039_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0039_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Kenneth Koch Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/kenneth_koch_i006-11-039.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"kenneth_koch_i006-11-039.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:22:37\",\"precision\":\"\",\"size\":\"103.7 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"George Bowering\\n00:00:00\\nMost people will have seen, probably, the little promo sheet that went out about Kenneth [https://www.wikidata.org/wiki/Q2708628] talking about all his various books et cetera, so I'll keep this very short. Those that have been involved in reading American poetry over the past few years will naturally know who Kenneth Koch is, that he along with Frank O'Hara [https://www.wikidata.org/wiki/Q951010] probably invented modern American poetry in New York City [https://www.wikidata.org/wiki/Q60], and it's, and he's also been in the news lately in the various, Slick magazine in the United States [https://www.wikidata.org/wiki/Q30] as a teacher of poetry, a very important teacher of poetry to kids in schools. And he's the only man I know who's been able to write what I think is probably an epic in the American language. So I'd like to make this as fast as I can and introduce Mr. Kenneth Koch.\\n \\nAudience\\n00:00:58\\nApplause.\\n \\nUnknown\\n00:01:03\\n[Cut or edit in tape. Unknown amount of time elapsed].\\n \\nKenneth Koch\\n00:01:04\\nThe first poem I'll read is called \\\"Spring\\\". \\n \\nKenneth Koch\\n00:01:08\\nReads \\\"Spring\\\" [from Thank You and Other Poems].\\n \\nKenneth Koch\\n00:02:36\\nThe next poem I want to read is called \\\"Variations on a Theme by William Carlos Williams\\\". I love Williams' [https://www.wikidata.org/wiki/Q178106] work, and I usually only write parodies of people whose work I like a lot. This parody is based on a poem of Williams, well, actually, on a certain characteristic I saw in Williams' work for a long time which I like, which is sort of, the idea that if you really like something enough and if you want to do it enough, it's okay to do it. And I saw certain insane possibilities of this viewpoint. This is specifically a parody of a poem which goes, \\\"This is just to say I've eaten the plums in the icebox and which you were probably saving for breakfast. Forgive me, they were so cold and so delicious\\\". It's really a nice poem, but it seemed to me there was a little streak of insanity running through it. It's called, \\\"Variations on a Theme by William Carlos Williams\\\".\\n \\nKenneth Koch\\n00:03:28\\nReads \\\"Variations on a Theme by William Carlos Williams\\\" [from Thank You and Other Poems].\\n \\nKenneth Koch\\n00:04:33\\nI'd like to read another short poem, this is called \\\"You Were Wearing\\\".\\n \\nKenneth Koch\\n00:04:38\\nReads \\\"You Were Wearing\\\" [from Thank You and Other Poems].\\n \\nKenneth Koch\\n00:06:37\\nI'm trying to find the ideal lights still, it’s--okay, I think that's probably a bit better. The next thing that I want to read is a play called \\\"E.KOLOGY\\\". It's...E.KOLOGY is the name of the hero, it's like capital \\\"E,\\\" period, capital \\\"KOLOGY.\\\" I'd like to say something about this play. I read it at the University of Chicago [https://www.wikidata.org/wiki/Q131252] last year, and some students thought that I was making fun of the ecology movement. I'm not, and I would see to it that if it were produced that that was not the case. It just seemed to me that the ecology movement was such a, like a natural cause for pleasure that it wouldn't really do to be totally solemn about it. The, I wrote this to be performed on Earth Day [https://www.wikidata.org/wiki/Q124473], in New York last year in April, but they were supposed to have all these things in Union Square [https://www.wikidata.org/wiki/Q110007] and it just ended up being a lot of light shows and speeches, I think, because they couldn't get the actors together and the lights and the stage and everything. It was done in Philadelphia [https://www.wikidata.org/wiki/Q1345], did anyone see it, by any chance? Probably not. I didn't see it. I didn't even know it was done. In any case. E.KOLOGY. \\n \\nKenneth Koch\\n00:07:44\\nReads E.KOLOGY - Act One, Scene One [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:09:38\\nReads E.KOLOGY - Act One, Scene Two [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:11:19\\nReads E.KOLOGY - Act One, Scene Three [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:12:06\\nReads E.KOLOGY - Act Two [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:13:54\\nReads E.KOLOGY - Act Three, Scene One [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:14:24\\nReads E.KOLGOY - Act Three, Scene Two [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:16:04\\nReads E.KOLOGY - Act Four [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:17:30\\nReads E.KOLOGY - Act Five [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nAudience\\n00:19:34\\nApplause.\\n \\nKenneth Koch\\n00:19:44\\nWhile you're in the mood for theatre, I'll read a film script I wrote which I'd be delighted if someone would do. No one's ever done it. Apparently it would cost a great deal to do this, although it's very simple. It's called “Youth”.\\n \\nKenneth Koch\\n00:19:57\\nReads \\\"Youth\\\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:21:36\\nI don't hear any takers unless...Let's see. This is a very short poem called, \\\"Poem\\\".\\n \\nKenneth Koch\\n00:21:53\\nReads \\\"Poem\\\" [from The Pleasures of Peace and Other Poems].\\n \\nKenneth Koch\\n00:22:11\\nThis, this poem is called \\\"Ma Provence\\\", and my interest in writing it was the different way that French and English sound to me. \\\"Ma Provence\\\".\\n \\nKenneth Koch\\n00:22:23\\nReads \\\"Ma Provence\\\" [from The Pleasures of Peace and Other Poems].\\n \\nKenneth Koch\\n00:22:52\\nI usually translate the French, but I guess here I don't really have to. I'll read a...the French is very banal, it means, \\\"In my Provence the wheat is always green, the girls are pretty, they love me madly, they never die in my Provence\\\". This poem is called \\\"Great Beauty\\\". \\n \\nKenneth Koch\\n00:23:14\\nReads \\\"Great Beauty\\\".\\n \\nKenneth Koch\\n00:23:31\\nThis poem is called \\\"Little Known Historical Fact\\\".\\n \\nKenneth Koch\\n00:23:35\\nReads \\\"Little Known Historical Fact\\\".\\n \\nKenneth Koch\\n00:23:48\\nCharlemagne [https://www.wikidata.org/wiki/Q3044] is an Italian. [Audience laughter]. This is called...\\\"Getting Back on Land\\\".\\n \\nKenneth Koch\\n00:24:06\\nReads \\\"Getting Back on Land\\\".\\n \\nAudience\\n00:24:22\\nLaughter. \\n \\nKenneth Koch\\n00:24:29\\nThis, the next thing I want to read is part of a long poem I've been writing in the last year. George [https://www.wikidata.org/wiki/Q1239280] mentioned an epic poem I wrote called “Ko”, which I wrote about, oh twelve or fourteen years ago, and it's a poem...that's “Ko”, there it is, and it's about a hundred and twenty pages, it's in ottava rima, which is a stanza that Ariosto [https://www.wikidata.org/wiki/Q48900] used in Orlando Furioso [https://www.wikidata.org/wiki/Q48922] and it's also the stanza that Byron [https://www.wikidata.org/wiki/Q5679] used in Don Juan [https://www.wikidata.org/wiki/Q1245187]. It rhymes ABABABCC. And...I really like “Ko” a lot. It's a poem about a, the main character is a Japanese baseball player, a pitcher, who throws the ball so hard he knocks the grandstand down with every pitch. And there are a lot of other characters in it. When I wrote the poem I really was very happy, I was living in Florence [https://www.wikidata.org/wiki/Q2044], in a villino, and, sort of outside of town on the Viale Michelangelo, and what I tried to do in “Ko” is like to put in every pleasant thing I'd ever experienced in my life, and the poem is kind of happy and optimistic. And I always wanted to continue it, because I liked writing that way. And I never could, because the continuation was always sort of in the style of “Ko” exactly and not as good. It sort of lost that particular feeling. Then I finally was able to start doing it again, recently, but I noticed as I went on writing the poem that it had changed a good deal, that my idea about life and the world was not quite the same, naturally, partly because it changes in me, and partly because it changes in the world, but I don't want to get into metaphysical questions. In any case, the first thing I want to read from this poem is the, like the “Prologue”, which explains my problems in continuing this very happy poem fourteen years afterwards. The only, I think the only thing that needs explaining that I haven't explained is that “Ko” ends with the line, \\\"Huddle, meanwhile, was flaking at the knees.\\\" Now Huddle is a, like an Englishman in “Ko” who dies of mold fever in Rome [https://www.wikidata.org/wiki/Q220], and when he dies he turns into a statue which is set up near the Villa Giulia [https://www.wikidata.org/wiki/Q964499] in Rome. And all of the other characters that have been killed sort of turn into statues and start coming back to life, and this is a sign that Huddle is coming back to life but he's flaking at the knees. In any case, that's referred to at the beginning of the “Prologue”.\\n \\nKenneth Koch\\n00:27:00\\nReads \\\"Prologue\\\".\\n \\nKenneth Koch\\n00:34:08\\nThat's the end of the “Prologue”. I want to read the first episode in the poem, now. I realize there was another, perhaps incomprehensible thing in the “Prologue”. Pana Grady...Pana Grady's apartment was a place on...Central Park West [https://www.wikidata.org/wiki/Q2738041] where a lot of parties were held for Upper and Lower Bohemia in the days...well, it was about five or six years ago. Anyway. That's the end of the “Prologue”, which I'm not sure I'm finally going to attach to the poem, since I usually eliminate prologues. And this is the beginning of the poem. \\n \\nKenneth Koch\\n00:34:55\\nReads [\\\"Episode I”].\\n \\nKenneth Koch\\n00:41:07\\nThat's the end of the first part. To tell you what happens in this poem would take as long as reading the whole poem, which I don't have time to do. I think I'd like to read some brief, improvisational plays. I wrote these plays to be done at The Living Theatre [https://www.wikidata.org/wiki/Q1202416], though I knew they wouldn't do them. Somebody asked me to write some improvisational plays, it's really, it's really great, you know, writes it with some actors that want to do it, and I'd, I'd seen some improvisational plays and it seemed to me that the only emotions that actors could improvise were...let's see, passion, nostalgia, self-hatred, anxiety, and then make narcissism and then make topical references, and I decide to really throw sort of a curve at actors and give them something that would really be hard to improvise. My penalty has been that these plays have never been done. The first one I'd like to read...I'd be very glad if they were, could be given a premiere here in Canada [https://www.wikidata.org/wiki/Q16]. \\\"Mexico City\\\".\\n \\nKenneth Koch\\n00:42:18\\nReads \\\"Mexico City\\\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:43:13\\nThe next one is called \\\"The Lost Feed\\\".\\n \\nKenneth Koch\\n00:43:16\\nReads \\\"The Lost Feed\\\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:44:12\\nThe next play is called \\\"Coil Supreme\\\".\\n \\nKenneth Koch\\n00:44:17\\nReads \\\"Coil Supreme\\\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:44:48\\nThe last improvisational play I'll read is the one that has always moved me the most at the thought of production. It's called \\\"The Gold Standard\\\".\\n \\nKenneth Koch\\n00:44:57\\nReads \\\"The Gold Standard\\\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:45:54\\nI think I'd like to read a rather long poem called...my present plan, which--I don't want to really ruin people's evening, since I didn't start until 9:30, I think the poems that I would like to read will last until 11. So, it's twenty-five after ten now, I don't want to keep anybody up to late or anything. [Audience laughter]. If...Don't feel bad about leaving if you have to go, I want to read these two rather long poems. This is called \\\"The Pleasures of Peace\\\". I should say something about this poem, I wrote it...I started to write it, oh, three years ago, or whenever it was, maybe it was four years ago, but it took me a long time to write it. I guess about three years ago I started. It was at the moment of the, when there really was a lot of happiness in the peace movement in the United States. And it was like the first Peace Marches on Fifth Avenue, and people were jumping up and down for peace, and dancing for peace, and it really seemed as though what people were doing was going to do some good. And I remember feeling very excited in the first set of mass peace activities I was in because, being a poet, and having been brought up in America and everything and like almost all the other poets and artists I knew I sort of felt like a social outcast a little bit. And then I found, in the midst of the peace movement, like there were hundreds of thousands of people who sort of felt the same way about a lot of things, it was nice. And there was something very sort of grand and exciting about the peace movement which does not have anything to do with the issues at all, it was just a lot of fun. In a way it was sort of...it was very pleasant. There were a few other things that motivated this poem. One was I was very annoyed at a lot of my fellow-poets who were going around, giving, in groups to colleges, giving poetry readings for peace. Now there were two things about this that annoyed me, three things. One was that I wasn't doing it. But that, I think, was a minor thing  A second thing was that...who did they really think they were trying to convert, like college students who came to poetry readings? I mean, college students who come to poetry readings are not usually in favour of war. And in the second-place, all the poems they read for peace were the sort of things that would make you want to go out and kill people, like \\\"Lyndon Johnson [https://www.wikidata.org/wiki/Q9640], you, fuck the pregnant woman who's lying with her guts streaming out,\\\" [audience laughter] and they weren't, they didn't really...they didn't really seem like peace poems to me. It...And I felt it was sort of exploitative on their part to do that. So I wanted to write a--I'd never written a political poem and I wanted very much to write a poem, I had very strong feelings about the Vietnam War [https://www.wikidata.org/wiki/Q8740], and I wanted to write a poem against the war but which really, was really a poem, a positive poem about peace. I found it terribly hard to do, and I never worked so long on any poem. The fact that I worked so long on it does not mean that it's any better than anything else I ever wrote, but it was just hard, because I kept trying to put in sort of, things about suffering and so on, and they would jump out of the poem the way an artificial heart, I mean the way a transferred heart is sometimes rejected by the body. And I realized I was sort of stuck with writing a poem that was, like, one of my poems, it was really sort of a positive poem about peace. Another problem is that if you write a poem about the pleasures of peace it means you're writing a poem about the pleasures of life. And it's endless, in any case. That's about enough of that for now. It took me over a year to write, it was mainly the last part I couldn't write, since I didn't want to have sort of a literary copout at the end, and I didn't want to sort of end up, oh well, anyway. It's just a poem. The only thing--I got varied reactions to the poem. One...some dopey poet friend of mine came over and said, \\\"Boy, you really put the peace movement down\\\". And I haven't spoken to him very much since then. But then, a better reaction was that I got, some guy called me up and asked me if he could use this poem as his draft resistance statement. And I said you're going to languish in prison for a long time because, you know, judges don't like poetry. But anyway. Now just forget everything I've said [audience laughter] and I'll read this poem. And there's a pause. \\\"The Pleasures of Peace\\\". Oh! Another thing. [Audience laughter]. I read this poem in London [https://www.wikidata.org/wiki/Q84] last year, and I got this dopey review in the Times [https://www.wikidata.org/wiki/Q50008] by, who was it....I'm not sure. And he said, \\\"Kenneth Koch's 'Pleasures of Peace' is a very interesting poem but since he mentions the name of all his friends which we can't be expected to know”--like about 90% of the people in this poem are imaginary. They, they're not my friends. [Audience laughter]. Okay. Like Georgio Finogo is not a real person, okay?. \\\"The Pleasures of Peace\\\".\\n \\nKenneth Koch\\n00:51:15\\nReads \\\"The Pleasures of Peace\\\" [from The Pleasures of Peace and Other Poems].\\n \\nAudience\\n01:11:09\\nApplause. \\n \\nKenneth Koch\\n01:11:15\\nThank you. \\n \\nKenneth Koch\\n01:11:22\\nI want to read another poem which will take about seven minutes, but just to rest up I'll read a short poem...I can't find one short enough...Oh, this is called \\\"An X-Ray of Utah\\\".\\n \\nKenneth Koch\\n01:12:00\\nReads \\\"An X-Ray of Utah\\\" [from The Pleasures of Peace and Other Poems].\\n \\nKenneth Koch\\n01:12:08\\nWell that's the shortest poem I ever wrote. [Audience laughter]. Except, there's one that's not in any of my books which is called \\\"Tennis\\\", which is the same length. \\n \\nKenneth Koch\\n01:12:19\\nReads \\\"Tennis\\\".\\n \\nKenneth Koch\\n01:12:29\\nOh, I think I'll read a few movie scripts. I'll just read a few. This is really for, this is from something called \\\"Ten Films\\\", but I'll just read a few of them, which are my favourites. One of the films is called \\\"Sheep Harbour\\\".\\n \\nKenneth Koch\\n01:12:44\\nReads \\\"Sheep Harbour\\\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n01:12:57\\nLike, the camera could sort of show this for a long time.\\n \\nKenneth Koch\\n01:13:03\\nReads \\\"Oval Gold\\\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n01:13:19\\nI'll just read one more of these films. This is called \\\"The Cemetery\\\".\\n \\nKenneth Koch\\n01:13:24\\nReads \\\"The Cemetery\\\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n01:13:49\\nI'll read this one last poem which is called \\\"Sleeping with Women”.  \\\"Sleeping with Women\\\".\\n \\nKenneth Koch\\n01:13:54\\nReads \\\"Sleeping with Women\\\" [from The Pleasures of Peace and Other Poems].\\n\\nEND\\n01:22:37\\n\",\"notes\":\"Kenneth Koch reads from Thank You and Other Poems (Grove Press, 1962), The Pleasures of Peace and Other Poems (Grove Press, 1969), works published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971 (Random House, 1973) and from other unknown sources.\\n\\n00:00- George Bowering introduces Kenneth Koch. [INDEX: ‘promo sheet’, American poetry, Frank O’Hara, modern American poetry in New York City, Slick magazine, teacher of poetry, epic in the American Language.]\\n01:04- Kenneth Koch introduces “Spring”. [INDEX: from Thank You and Other Poems (Grove Press, 1962).]\\n01:08- Reads “Spring”.\\n02:36- Introduces “Variations on a Theme by William Carlos Williams”. [INDEX: parodies, Williams poem “This is Just to Say”, insanity; from Thank You and Other Poems (Grove Press, 1962).]\\n03:28- Reads “Variations on a Theme by William Carlos Williams”.\\n04:33- Introduces “You Were Wearing”. [INDEX: short poem from Thank You and Other    Poems (Grove Press, 1962).]\\n04:38- Reads “You Were Wearing”.\\n06:37- Introduces “E. KOLOGY”. [INDEX: play, hero, capital letters, read at the University of Chicago, ecology movement, performed on Earth Day in New York in April, Union Square, Philadelphia; from A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971 (Random House, 1973).]\\n07:44- Reads “E.KOLOGY”- Act 1 Scene 1.\\n09:38- Reads “E.KOLOGY”- Act 1 Scene 2.\\n11:19- Reads “E.KOLOGY”- Act 1 Scene 3.\\n12:06 -Reads “E.KOLOGY”- Act 2.\\n13:54- Reads “E.KOLOGY”- Act 3 Scene 1.\\n14:24- Reads “E.KOLOGY”- Act 3 Scene 2.\\n16:04- Reads “E.KOLOGY”- Act 4.\\n17:30- Reads “E.KOLOGY”- Act 5.\\n19:44- Introduces “Youth”. [INDEX: theatre, film script, costly to produce; from  A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971 (Random House, 1973).]\\n19:57- Reads “Youth”.\\n21:36- Introduces “Poem”. [INDEX: short poem; perhaps from The Pleasures of Peace and Other Poems (Grove Press, 1969)]\\n21:53- Reads “Poem”.\\n22:11- Introduces “Ma Provence”. [INDEX: interest in writing, English and French sound; from The Pleasures of Peace and Other Poems (Grove Press, 1969).]\\n22:23- Reads “Ma Provence”.\\n22:52- Explains “Ma Provence”, introduces “Great Beauty”. [INDEX: translate to english,  here he reads in french; from unknown source.]\\n23:14- Reads “Great Beauty”.\\n23:31- Introduces “Little Known Historical Fact”. [INDEX: from unknown source]\\n23:35- Reads “Little Known Historical Fact”.\\n23:48- Explains “Little Known Historical Fact”, introduces “Getting Back on Land”. [INDEX: Charlemagne, Italian, from unknown source.]          \\n24:06- Reads “Getting Back on Land”.\\n24:29- Introduces “Prologue”. [INDEX: George Bowering, epic poem “Ko”, written 12-14    years before, 120 pages, ottava rima: stanza Ariosto used in Orlando Furioso, Byron’s   Don Juan, rhyme scheme ABABABCC, main character Japanese baseball player, pitcher, ball, grandstand, pitch, characters, happy, living in Florence, villino, town outside the Viale Michelangelo, happy and optimistic poem, continuation, change, life, end lie of “Ko”: “Huddle, meanwhile, was flaking at the knees”, Englishman, mold fever, Rome, killed, statues; from unknown source.]\\n27:00- Reads “Prologue”.\\n34:08- Explains “Prologue”, introduces beginning of “Long poem, episode 1”. [INDEX: Pana Grady’s apartment on Central Park West, parties for Upper and Lower Bohemia, \\tuncertainty about publishing “Prologue”; from unknown source.]\\n34:55- Reads “Long Poem, Episode 1”.\\n41:07- Introduces “Mexico City”. [INDEX: long poem, improvisational plays, Living Theatre, actors, emotions, passion, nostalgia, self-hatred, anxiety, narcissism, penalty, premiere in Canada; from “Six Inspirational Plays” in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971 (Random House, 1973).]\\n42:18- Reads “Mexico City”.\\n43:13.69- END OF RECORDING.\\n\\n00:00- Kenneth Koch introduces “The Lost Feed”. [INDEX: play; in “Six Improvisational     Plays”, from A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971 \\t(Random House, 1973).]\\n00:03- Reads “The Lost Feed”.\\n00:59- Introduces “Coil Supreme”. [INDEX: play; in “Six Improvisational Plays”, from A     Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971 (Random House, 1973.]\\n01:03- Reads “Coil Supreme”.\\n01:34- Introduces “The Gold Standard”. [INDEX: improvisational play, production; in “Six        Improvisational Plays” from A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971 (Random House, 1973).]\\n01:43- Reads selection from “The Gold Standard”.\\n02:41- Introduces “The Pleasures of Peace”. [INDEX: reading started at 9:30, reading last until 11pm, started writing 3 or 4 years ago, peace movement in the United States, Peach Marches on Fifth Avenue, social outcast, fun, poetry readings for peace, college students, poems read like “Lyndon Johnson, you, fuck the pregnant woman who’s lying with her guts streaming out”, peace poems, exploitative, political poem, Vietnam War, positive poem about peace, working hard and long on a poem, suffering, artificial heart, rejected by the body, pleasures of life, literary copout, varied reactions, draft resistance statement, prison, London, review in the Times, made up names, Georgia Finogo; from The Pleasures of Peace and Other Poems (Grove Press, 1969).]\\n08:01- Reads “The Pleasures of Peace”.\\n28:09- Introduces “An X-Ray of Utah”. [INDEX: short poem; from the poem “Three Short   Poems” in The Pleasures of Peace and Other Poems (Grove Press, 1969).]\\n28:46- Reads “An X-Ray of Utah”.\\n28:55- Explains “An X-Ray of Utah” introduces “Tennis”. [INDEX: shortest poem, “Tennis” not in any books.]\\n29:05- Reads “Tennis”.\\n29:15- Introduces “Sheep Harbor”. [INDEX: movie script, reads favourites; from “Ten Films” in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971 (Random House, 1973).]\\n29:30- Reads “Sheep Harbour”. [INDEX: from “Ten Films” in A Change of Hearts: Plays,   Films, and Other Dramatic Works 1951-1971 (Random House, 1973).]\\n29:49- Reads “Oval Gold”. [INDEX: from “Ten Films” in A Change of Hearts: Plays, Films, \\tand Other Dramatic Works 1951-1971 (Random House, 1973).]\\n30:10- Reads “The Cemetery”. [INDEX: from “Ten Films” in A Change of Hearts: Plays,     Films, and Other Dramatic Works 1951-1971 (Random House, 1973).]\\n30:40- Reads “Sleeping with Women” [INDEX: from The Pleasures of Peace and Other Poems (Grove Press, 1969).]\\n39:23.67- END OF RECORDING.\\n \\nHoward Fink List of Poems\\n“Kenneth Koch”\\nIntroduction by George Bowering\\nRecorded February 19, 1971.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/kenneth-koch-at-sgwu-1971/\"}]"],"score":2.9979138},{"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":2.9979138},{"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":2.9979138}]