[{"id":"1257","cataloger_name":["Mahtab,Banihashemi"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Roy Kiyooka and Richard (Dick) Sommer at Sir George Williams University, The Poetry Series, 2 December 1966"],"item_title_source":["Cataloguer"],"item_title_note":["\"R. KIYOOKA 2/12/66\" written on the spine of the tape's box. \"Roy Kiyooka (2 tracls 3 3/4) and I086-11-030\" also written on reel and the tape's box.\n\n\"Dick Sommer Sides 1 & 2  3 3/4\"/sec 2/12/66\" handwriitten on the back of the tape's box. \"I086-11-046\" and \"RT 500\" also written."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 1"],"item_identifiers":["[I086-11-030, I086-11-046]"],"access":["Streaming"],"creator_names":["Sommer, Richard","Kiyooka, Roy"],"creator_names_search":["Sommer, Richard","Kiyooka, Roy"],"creators":["[{\"url\":\"https://viaf.org/viaf/46769463/#Sommer,_Richard\",\"name\":\"Sommer, Richard\",\"dates\":\"1934-2012\",\"notes\":\"Richard Sommer was born on August 27, 1934 in St. Paul, Minnesota. He graduated with a B.A. summa cum laude from the University of Minnesota in 1956, then went on to receive an A.M. in 1957 and a Ph.D. in 1962 from Harvard University. In 1961 Sommer married Gillian Taylor, but remarried Victoria Tansey in 1969, with whom he had two children. Sommer won the American-Scandinavian Foundation fellowship for research in Norway in 1958-9, and published The Odyssey and Primitive Religion in 1962 (Norwegian Universities Press). That same year, he was hired at Sir George Williams College (now Concordia University) as an assistant professor from 1962 to 1967, when he became an associate professor of English in 1967. His second publication, Strangers and Pilgrims: An Essay on the Metaphor of Journey, was published in 1964, written with Georg Roppen (Humanities Press). Sommer’s collections of poetry that have been published by Delta Canada include Homage to Mr. MacMullin (Delta Canada, 1969), The Blue Sky Notebook (New Delta, 1972), Milarepa (New Delta, 1976), Left Hand Mind (New Delta, 1976), The Other Side of Games (New Delta, 1977), and Selected and New Poems (1983) published by Vehicule Press. After Sommer retired from Sir George Williams University, he became increasingly active in environmental conservation, leading the conservation effort of Pinnacle Mountain in Quebec, which was documented in an NFB film, The Poet and the Pinnacle (1995). In the early 2000s, Richard Sommer was diagnosed with prostate cancer and, shortly before his death in 2012, he published Cancer Songs (Signature Editions 2011), a mix of verse and journaling exploring his experiences living with the illness.\",\"nation\":[],\"role\":[\"Performer\",\"Author\",\"Series organizer\"]},{\"url\":\"http://viaf.org/viaf/30784426\",\"name\":\"Kiyooka, Roy\",\"dates\":\"1926-1994\",\"notes\":\"Roy Kiyooka was born in Moose Jaw, Saskatchewan in 1926. Sculptor, painter, photographer, poet, film-maker and teacher, he was influential in many important literary and artistic scenes all across Canada. Kiyooka studied fine art at the Provincial Institute of Art and Technology in Alberta, the Institute Allende in Mexico, the University of Saskatchewan, Emma Lake Workshops. He married Monica Dealtry Barker in 1955 and had three children.  He has exhibited his works in numerous cities, including Edmonton, Calgary, San Miguel D’Allende, Saskatoon, Regina, Vancouver, Toronto, New York and Montreal. Kiyooka’s work was shown at the National Gallery of Canada and the Museum of Modern Art in Washington, D.C. He won the silver medal representing Canada at the Sao Paulo Biennial in 1966. Kiyooka taught at various institutions, including Regina College, where he worked from 1956 to 1960, the Vancouver School of Art (Now Emily Carr Institute of Art + Design) from 1960-1965, Sir George Williams University (now Concordia University) from 1966 to 1969 and the University of British Columbia from 1972 to his retirement. During the 60’s, Kiyooka played a crucial role in the artistic renaissance of Vancouver poetry and art, and served to connect the Vancouver scene with the Coach House Press group in Toronto. It was around this time that he began writing poetry, publishing Kyoto airs in 1964 (Periwinkle Press), illustrating Daphne Marlatt’s The unquiet bed in 1967, Nevertheless these eyes also in 1967 (Coach House Press), Stoned gloves in 1970 (Coach House Press), Transcanada letters in 1975 (Talon Books), The Fontainebleau dream machine: 18 frames from a book in 1977 (Coach House Press), and Of seasonal pleasures and small hindrances in 1978 (B.C. Monthly). Pacific windows: collected poems of Roy Kiyooka came out in 1974 (Talon Books), and included a biography, bibliography and notes on his poetry. Pear tree poems came out almost a decade later in 1988 (Coach House Press) and was nominated for a Governor General’s Award. More recently he published Mothertalk: Life Stories of Mary Kiyoshi Kiyooka in 1997(NeWest Press), edited by Daphne Marlatt. Roy Kiyooka died in 1994.\",\"nation\":[],\"role\":[\"Author\",\"Performer\",\"Series organizer\"]}]"],"contributors_names":["Hoffman, Stanton"],"contributors_names_search":["Hoffman, Stanton"],"contributors":["[{\"url\":\"\",\"name\":\"Hoffman, Stanton\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Speaker\"]}]"],"Series_organizer_name":["Hoffman, Stanton"],"Speaker_name":["Hoffman, Stanton"],"Performance_Date":[1966],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"BASF\",\"generations\":\"Duplicate\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"2 track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Kodak\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"00:50:00\",\"physical_condition\":\"\",\"track_configuration\":\"2 track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel","Reel to Reel"],"physical_compositions":["Magnetic Tape","Magnetic Tape"],"recording_type":["Analogue","Analogue"],"AV_type":["Audio","Audio"],"playback_mode":["Mono","Mono"],"Dates":["[{\"date\":\"1966 12 2\",\"type\":\"Performance Date\",\"notes\":\"Date written on the tape box and on a sticker on the tape reel\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Basement Theatre\",\"notes\":\"Location specified in printed announcement \\\"Georgantics\\\" by Bob Simco (Supplemental material)\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Basement Theatre"],"City":["Montreal, Quebec"],"content_notes":["Roy Kiyooka reads from Kyoto Airs (Periwinkle Press, 1964) and poems published later in Nevertheless These Eyes (Coach House Press, 1967). Richard (Dick) Sommer reads poems from an unknown selection of books. "],"contents":["roy_kiyooka_i086-11-030.mp3 [File 1 of 2]\n\nStanton Hoffman\n00:00:00\nOn behalf of the Poetry Reading Committee of Sir George Williams University [https://www.wikidata.org/wiki/Q326342] I wish to welcome you to this, the fifth, in a series of poetry readings, given at this University during 1966-67. Tonight there will be readings by two poets living in Montreal [https://www.wikidata.org/wiki/Q340], and members of the faculty of this university. There will be a fifteen minute intermission in between each reading. Roy Kiyooka [https://www.wikidata.org/wiki/Q3445789] was born in Moose Jaw [https://www.wikidata.org/wiki/Q1019496], Saskatchewan [https://www.wikidata.org/wiki/Q1989], he studied at the Provincial Institute of Technology and Art, the Instituto Allende [https://www.wikidata.org/wiki/Q17989128] in Mexico [https://www.wikidata.org/wiki/Q96], and the University of Saskatchewan [https://www.wikidata.org/wiki/Q1514848] Emma Lake Workshops. He has had one-man exhibitions in Edmonton [https://www.wikidata.org/wiki/Q2096], Calgary [https://www.wikidata.org/wiki/Q36312], San Miguel de Allende [https://www.wikidata.org/wiki/Q4063467], Saskatoon [https://www.wikidata.org/wiki/Q10566], Regina [https://www.wikidata.org/wiki/Q2123], Toronto [https://www.wikidata.org/wiki/Q172], Vancouver [https://www.wikidata.org/wiki/Q24639], Victoria [https://www.wikidata.org/wiki/Q2132], New York City [https://www.wikidata.org/wiki/Q60] and Montreal. He exhibited at the Sao Paulo Biennial [https://www.wikidata.org/wiki/Q653360], where he was one of four painters representing Canada [https://www.wikidata.org/wiki/Q16], and where he received honourable mention and a Silver Medal. His most recent show was held last month at the Laing Galleries [https://www.wikidata.org/wiki/Q28846441] in Toronto. In 1964, his first volume of poems, Kyoto Airs, was published by the Periwinkle Press in Vancouver. His second volume, Nevertheless These Eyes is being published this month, in Montreal by Bev Leech. Ladies and Gentlemen, Mr. Roy Kiyooka.\n \nUnknown\n00:01:24\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nRoy Kiyooka\n00:01:25\n--want to start off this evening by reading a few poems from my earlier book, the one that Stan mentioned. These poems were written as a result of a summer in Japan [https://www.wikidata.org/wiki/Q17], and they are very much occasional poems, they address themselves to the particular occasion of having been there, and they were meant in part to account for that experience of having been there, to my numerable friends in Vancouver. I'll begin by reading three very short little poems, they all relate to, what should we call it, the various contexts in which I saw the sculptured image of the Buddha. The first one is called \"Waiting Out the Rain\".\n \nRoy Kiyooka\n00:02:51\nReads \"Waiting Out the Rain\" [from Kyoto Airs].\n \nRoy Kiyooka\n00:03:13\nThis is \"Buddha in the Garden\". Again, very brief.\n \nRoy Kiyooka\n00:03:23\nReads \"Buddha in the Garden\" [from Kyoto Airs].\n \nRoy Kiyooka\n00:03:47\nThis is \"Sunday at the Temple\".\n \nRoy Kiyooka\n00:03:53\nReads \"Sunday at the Temple\" [from Kyoto Airs].\n \nRoy Kiyooka\n00:04:20\nAnd this is the image of a Buddha seen in the Kyoto Museum, a reclining figure.\n \nRoy Kiyooka\n00:04:30\nReads unnamed poem [from Kyoto Airs].\n \nRoy Kiyooka\n00:05:01\nNow the next is a sequence of four little poems, very much like the traditional Japanese poems called the Haiku. This is a sequence, the title of which is \"The Stone Garden of Ryoanji\". The first one goes like this:\n \nRoy Kiyooka\n00:05:27\nReads “The Stone Garden of Ryoanji\", part 1 [from Kyoto Airs].\n \nRoy Kiyooka\n00:05:45\nReads “The Stone Garden of Ryoanji\", part 2 [from Kyoto Airs].\n \nRoy Kiyooka\n00:06:07\nReads “The Stone Garden of Ryoanji\", part 3 [from Kyoto Airs].\n \nRoy Kiyooka\n00:06:24\nReads “The Stone Garden of Ryoanji\", part 4 [from Kyoto Airs].\n \nRoy Kiyooka\n00:06:49\nNow this one is called \"Children's Shrine\". Throughout most of the cities and towns and villages all over Japan you'll find way-side shrines, they're frequently just built into the wall in a very narrow street and people on whatever religious occasion come to worship there. This is a shrine particularly for children. And it goes like this:\n \nRoy Kiyooka\n00:07:24\nReads \"Children's Shrine\" [from Kyoto Airs].\n \nRoy Kiyooka\n00:08:41\nWell this is rather a long sequence, once more very short poems, there are eleven of them, and the title of the sequence is simply \"Higashiyama\", now 'higashiyama' means, in English, 'east mountain'.\n \nRoy Kiyooka\n00:09:22\nReads \"Higashiyama\", part 1 [from Kyoto Airs].\n \nRoy Kiyooka\n00:09:39\nReads \"Higashiyama\", part 2 [from Kyoto Airs].\n \nRoy Kiyooka\n00:10:04\nReads \"Higashiyama\", part 3 [from Kyoto Airs].\n \nRoy Kiyooka\n00:10:20\nReads \"Higashiyama\", part 4 [from Kyoto Airs].\n \nRoy Kiyooka\n00:10:38\nReads \"Higashiyama\", part 5 [from Kyoto Airs].\n \nRoy Kiyooka\n00:10:54\nReads \"Higashiyama\", part 6 [from Kyoto Airs].\n \nRoy Kiyooka\n00:11:13\nReads \"Higashiyama\", part 7 [from Kyoto Airs].\n \nRoy Kiyooka\n00:11:38\nReads \"Higashiyama\", part 8 [from Kyoto Airs].\n \nRoy Kiyooka\n00:11:55\nReads \"Higashiyama\", part 9 [from Kyoto Airs].\n \nRoy Kiyooka\n00:12:17\nReads \"Higashiyama\", part 10 [from Kyoto Airs].\n \nRoy Kiyooka\n00:12:43\nReads \"Higashiyama\", part 11 [from Kyoto Airs].\n \nRoy Kiyooka\n00:13:01\nWell I'll go on to the last poem in the book, this is an attempt, as it were, to sum up the varied experiences that I had there. The poem is called \"Itinerary of a View\".\n \nRoy Kiyooka\n00:13:29\nReads \"Itinerary of a View\" [from Kyoto Airs].\n \nRoy Kiyooka\n00:17:07\nI think I need to say a few words about this next group of poems, they were, they're from the book that I am having done at the moment, I started these poems in June 1965 in Montreal when I first came here. I don't know how to tell you this, except that at the time I came, I stayed with Alfred Pinsky [https://www.wikidata.org/wiki/Q21997094], or rather I stayed at his home, at his invitation, while I was looking for a place to live. Now, this took me about two weeks, it was very hot, and in the evenings I used to go through his library and pick up things and scanned them. One evening I came across this book, which was a biography of the English painter, Stanley Spencer [https://www.wikidata.org/wiki/Q1282413]. Spencer, we could say is perhaps the co-partner in the origin and the form and the content of this book. The book is in three parts, the first part is called the mirror, \"The Song the Mirror Sang at Midnight\", and it is prefaced by a quotation from Spencer, which goes like this: \"I am meeting you all the time, and sending my longing for you into chaos, into the darkness, beyond these walls\". I may add that these poems, likewise, are on the whole, very brief, though some are longer.\n \nRoy Kiyooka\n00:19:31\nReads \"The Song the Mirror Sang at Midnight\", part 1 [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:20:34\nReads \"The Song the Mirror Sang at Midnight\", part 2 [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:21:55\nReads \"The Song the Mirror Sang at Midnight\", part 3 published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:22:49\nReads \"The Song the Mirror Sang at Midnight\", part 4 [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:23:23\nReads \"The Song the Mirror Sang at Midnight\", part 5 [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:24:18\nReads \"The Song the Mirror Sang at Midnight\", part 6 [published later in Nevertheless These Eyes].\n\nRoy Kiyooka\n00:24:46\nReads \"The Song the Mirror Sang at Midnight\", part 7 [published later in Nevertheless These Eyes].\n\nRoy Kiyooka\n00:25:24\nReads \"The Song the Mirror Sang at Midnight\", part 8 [published later in Nevertheless These Eyes].\n\nRoy Kiyooka\n00:25:51\nReads \"The Song the Mirror Sang at Midnight\", part 9 [published later in Nevertheless These Eyes].\n\nRoy Kiyooka\n00:26:27\nReads \"The Song the Mirror Sang at Midnight\", part 10 [published later in Nevertheless These Eyes].\n\nRoy Kiyooka\n00:27:02\nReads \"The Song the Mirror Sang at Midnight\", part 11 [published later in Nevertheless These Eyes].\n\nRoy Kiyooka\n00:27:26\nReads \"The Song the Mirror Sang at Midnight\", part 12 [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:28:06\nReads \"The Song the Mirror Sang at Midnight\", part 13 [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:28:36\nReads \"The Song the Mirror Sang at Midnight\", part 14 [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:29:21\nReads \"The Song the Mirror Sang at Midnight\", part 15 [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:30:05\nThe last one in this section.\n \nRoy Kiyooka\n00:30:11\nReads \"The Song the Mirror Sang at Midnight\", part 16 [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:30:53\nThere's a terrible draft coming in from the back, I think you're right Dick, we're going to end up with arthritic ankles. Well, this is the second section, and it is called \"The Proposal\". Once more, prefaced with a remark from Stanley Spencer, a very beautiful one. They are set down, as I found them in the book, I have used them in the context of this section of the book and these four poems, taken from his writings are meant to define certain of her attributes. Now I have given a title to each one of these four poems, and I hope they will clarify the context in which they belong here. \"Portrait of the Beloved\".\n \nRoy Kiyooka\n00:32:06\nReads \"Portrait of the Beloved\" [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:32:56\nThis I called \"The Marriage\".\n \nRoy Kiyooka\n00:33:05\nReads \"The Marriage\" [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:33:37\nThis is called \"The Separation\".\n \nRoy Kiyooka\n00:33:45\nReads \"The Separation\" [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:34:07\nAnd this, is \"Her Apotheosis\".\n \nRoy Kiyooka\n00:34:17\nReads \"Her Apotheosis\" [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:35:23\nThat incidentally, is a description he wrote to a friend about a painting that he in fact had made. From your response, I gathered, it has a comic element, but I don't think that he himself made it that way. [Laughter].\n \nRoy Kiyooka\n00:36:05\nReads unnamed poem.\n \nRoy Kiyooka\n00:38:04\nReads unnamed poem.\n \nRoy Kiyooka\n00:38:36\nThe first stanza of this two-stanza poem is from Spencer, once again.\n \nRoy Kiyooka\n00:38:43\nReads unnamed poem.\n \nRoy Kiyooka\n00:39:34\nThe reference in this poem is to an exemplary sculptor who died many years ago, who obsessionally sculpted the human female form, his name is Gaston Lachaise [https://www.wikidata.org/wiki/Q1495586].\n \nRoy Kiyooka\n00:40:02\nReads unnamed poem.\n\nRoy Kiyooka\n00:40:59.50\nThe title of this poem is the same as the title of the second section, it's \"The Proposal\".\n \nRoy Kiyooka\n00:41:14\nReads \"The Proposal\" [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:42:27\nThis one is called \"The Dance\".\n \nRoy Kiyooka\n00:42:33\nReads \"The Dance\" [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:43:59\nThe title of this poem is called \"Her Admonition\".\n \nRoy Kiyooka\n00:44:06\nReads \"Her Admonition\" [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:45:28\nNow the following five poems are called \"Poems of Resurrection\".\n \nRoy Kiyooka\n00:45:46\nReads \"Poems of Resurrection\", part 1 [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:47:27\nSecond \"Resurrection\" poem.\n \nRoy Kiyooka\n00:47:28\nReads \"Poems of Resurrection\", part 2 [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:48:33\nReads \"Poems of Resurrection\", part 3 [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:49:07\nReads \"Poems of Resurrection\", part 4 [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:49:49\nThe last Resurrection poem, which concludes with a very brief, two-line coda.\n \nRoy Kiyooka\n00:50:01\nReads \"Poems of Resurrection\", part 5 [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:50:51\nNow, the second to last poem is called \"The Visitation\".\n \nRoy Kiyooka\n00:51:16\nReads \"The Visitation\" [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:53:14\nAnd finally,\n \nRoy Kiyooka\n00:53:22\nReads unnamed poem.\n \nRoy Kiyooka\n00:53:56\nWell, this is the final section. This is called \"Nevertheless These Eyes\" and briefly, and again from Spencer, a preface that goes like this: \"I am on this side of angels and dirt\".\n \nRoy Kiyooka\n00:55:25\nReads \"Nevertheless These Eyes\" [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n01:00:20\nAnd finally, by way of acknowledging the nature of this book.\n \nRoy Kiyooka\n01:00:31\nReads unnamed poem [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n01:00:57\nThank you very much--\n\nUnknown\n01:00:59\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nRoy Kiyooka\n01:01:00\n--and I were reading together, decided we should write one for the occasion, so we have each come up with a haiku. This is my haiku, it's especially for Dick. I have in brackets here, \"A gentle admonition to the audience following my reading, and preceding his\" and it goes like this: \"Let the stone tell how /snow-covered in whiteness, /these words, when his words come.\"\n \nEND\n01:01:42\n\n\nrichard_sommer_i086-11-046.mp3 [File 2 of 2]\n\nStanton Hoffman\n00:00:00\nThe second reader of this evening, Dick Sommer, was born in St. Paul [https://www.wikidata.org/wiki/Q28848], Minnesota [https://www.wikidata.org/wiki/Q1527], and educated at the University of Minnesota [https://www.wikidata.org/wiki/Q238101] where he most recently returned as a visiting Assistant Professor of English, and at Harvard [https://www.wikidata.org/wiki/Q13371]. In 1958 he was a recipient of the Academy of American Poets [https://www.wikidata.org/wiki/Q282096] Prize, and over a period of several years published his poems in the Harvard Advocate. He has given readings in Cambridge [https://www.wikidata.org/wiki/Q49111], Minneapolis [https://www.wikidata.org/wiki/Q36091], and in Oslo [https://www.wikidata.org/wiki/Q585]. Also, he does not want me to mention his scholarly publications: Dash, Which Are, Strangers and Pilgrims, an essay on the Metaphor of the Journey written with Georg Roppen [https://www.wikidata.org/wiki/Q23944662] and published by the Humanities Press [https://www.wikidata.org/wiki/Q97958829] in New York City, as well as by the Norwegian University's Press, in Norway [https://www.wikidata.org/wiki/Q20] and A Monograph, the Odyssey and Primitive Religion, published by the University of Bergen [https://www.wikidata.org/wiki/Q204457] in 1962. Ladies and gentlemen, Mr. Dick Sommer.\n \nRichard (Dick) Sommer\n00:01:02\nI didn't want him to mention those. Oh I've got the deal with Roy, as well. So this is a haiku with, which you'll be glad to know also has seventeen syllables in the title. \"The Haiku to Roy Kiyooka\", in reply to his haiku to me.\n \nRichard (Dick) Sommer\n00:01:31\nReads \"The Haiku to Roy Kiyooka\".\n \nRichard (Dick) Sommer\n00:01:50\nAnd this is the Haiku that began the mess, this was the one that I originally threatened to read to him, and naturally will carry out my threat. Which has a slightly different title, \"Haiku at Roy Kiyooka\"\n \nRichard (Dick) Sommer\n00:02:07\nReads \"Haiku at Roy Kiyooka\".\n \nRichard (Dick) Sommer\n00:02:27\nAnd then there's the one that I think you have on that broadsheet, which as I looked at it, in all of its mimeographed splendor, struck me as sounding a bit, now, like the theme song of the Central Intelligence Agency [https://www.wikidata.org/wiki/Q37230], but I'm sorry about that, I didn't mean it that way when I wrote it.\n \nRichard (Dick) Sommer\n00:02:55\nReads unnamed haiku.\n \nRichard (Dick) Sommer\n00:03:13\nI'm as you've heard, I'm responsible for having written some criticism, sorry about that, but I hope to make it up with the next poem, which is also on your broadsheet. Called the meaning of- \"The Meaning of Poetry\".\n \nRichard (Dick) Sommer\n00:03:36\nReads \"The Meaning of Poetry\".\n \nRichard (Dick) Sommer\n00:04:19\nAnd this next poem, you'll be very happy to know I have my wife's permission to read.\n\nRichard (Dick) Sommer\n00:04:26\nReads unnamed poem.\n \nRichard (Dick) Sommer\n00:05:02\nYou're going to be out of luck if you don't play chess, for this next one. You may be out of luck if you do, but that has more to do with the poem than your ability at chess.\n \nRichard (Dick) Sommer\n00:05:23\nReads unnamed poem. \n \nRichard (Dick) Sommer\n00:06:27\nRoy's given us a series of poems in praise of 'her', I don't know who 'her' is, but I have another name for her myself, she's called the Lady of Situations, and that's the title of this poem. You know, situations in the sense of she's always getting involved, or people are always getting involved. This is that Lady of Situation. And, oh yes, there's some erudition in this one too, there's a marvelous drawing taken from the tomb of Tuthmosis [https://www.wikidata.org/wiki/Q1320491], which appears in the Skera, Egyptian Painting Volume, and you might look it up because she appears there as a tree, a breasted tree, and giving suck to a Pharaoh, it's quite interesting as a painting, anyway, that's in here too.\n \nRichard (Dick) Sommer\n00:07:34\nReads \"Lady of Situation\".\n \nRichard (Dick) Sommer\n00:09:29\nThe, I noticed that the Brotherhood of Railroad Engineers has arranged to have separate drinking glasses, or they're trying to get themselves put into the sanitary code, I think this is Roy's. This must be mine, still water. This next one, I wrote the day following my seeing of a movie that I hope many of you are familiar with, it's the Russian version of Don Quixote [https://www.wikidata.org/wiki/Q49612156], a lovely film, beautiful adaptation of the myth of Don Quixote, and Sancho Panza [https://www.wikidata.org/wiki/Q630823] in the terms of the revolution to come, and I was particularly fascinated to the title that was given to Don Quixote, in this film, so I used it for the title of the poem.\n \nRichard (Dick) Sommer\n00:10:54\nReads \"Don Quixote de la Manchesky\".\n \nRichard (Dick) Sommer\n00:13:25\nThis next one takes its title, this is another area of that reference, takes its title from a little known and very important folk ballad, I had to put something in ethnic here, so this is it. It's, the title is \"The Other Side of the Mountain\", and it comes from that little song that begins \"The bear climbed over the mountain to see what he could see, but the other side of the mountain was all that he could see\".\n \nRichard (Dick) Sommer\n00:14:05\nReads \"The Other Side of the Mountain\".\n \nRichard (Dick) Sommer\n00:17:15\nIncidentally, you must not get the idea that the mountain, you know, came entirely from the, from the, from the song. It, you can find it on the Greater Barrington Quadrangle, for the appropriate section of the Massachusetts [https://www.wikidata.org/wiki/Q771] of the US [https://www.wikidata.org/wiki/Q30] geological survey, it's right on the map. It's really there, it's got position. This poem is in four sections, there are three narrative sections and then there's a short epilogue. And it's called \"My Loveliest Enemies\". I don't think there's any point in keeping you in suspense about this, my loveliest enemies are birds. And that's the punchline, so now you know it and you can listen to the poem.\n \nRichard (Dick) Sommer\n00:18:24\nReads \"My Loveliest Enemies\" [parts 1-3].\n \nRichard (Dick) Sommer\n00:33:12\nAnd here's the epilogue.\n \nRichard (Dick) Sommer\n00:33:19\nReads \"Epilogue\" of \"My Loveliest Enemies\".\n \nRichard (Dick) Sommer\n00:35:52\nIt's a race against not time but against the creeping gelatination, I think is the word of my lower extremities, and I'm sure the creeping sleepiness that is likely to affect you. This next, excuse me, here's to you! This next poem requires an erudite explanation too and I'm sorry for that. I hope, actually, it's not necessary. Alcuin [https://www.wikidata.org/wiki/Q154332], the Charles the King, Alcuin was an 8th century scholar who was brought from his, from the York [https://www.wikidata.org/wiki/Q42462] diocese, to the court of Charlemagne [https://www.wikidata.org/wiki/Q3044], and there became the principal architect of Charlemagne's attempt to bring Latin and Latin culture to the Francs. You might say, I suppose, that he was the first of, first great humanist, but we'll see what his Latin is worth in this poem. This is a letter, written by Alcuin, actually it was written by me, presumably written by Alcuin, to Charles the King.\n \nRichard (Dick) Sommer\n00:37:33\nReads \"Letter written by Alcuin, to Charles the King\".\n \nRichard (Dick) Sommer\n00:41:46\nAnd this poem is, has a title, and a subtitle. The title is \"Concentration\" the subtitle, \"Homage to Eva Jerome\".\n\nEND\n00:42:12\n[Cut off abruptly]."],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1966, Kiyooka was working on Nevertheless these eyes (1967) and was teaching at Sir George Williams University. He was part of the Reading Series Committee.\\n\\nIn 1966, Richard Sommer was teaching at Sir George Williams University.\\n\\n\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nRoy Kiyooka had many connections all across Canada: he was involved in the poetry renaissance in Vancouver in the 60’s, he was connected to the Coach House poetry group in Toronto, thus he was most likely influential in the communication between Sir George Williams Reading Series and other Canadian poets.\\n\\nRichard Sommer became an important influence and player in Montreal poetry in the 1970’s, associated with Vehicule Press and poets Artie Gold, Ken Norris and Stephen Morrissey.\",\"type\":\"General\"},{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"},{\"note\":\"2 reel-to-reel tapes>2 CDs>2 digital files\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.thecanadianencyclopedia.ca/en/article/poetry-in-english\",\"citation\":\"Barbour, Douglas. “Poetry in English: The New Generation: After 1960”. The Canadian Encyclopedia. Historica-Dominion, 2009. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/gary-snyder-at-sgwu-1971/#1\",\"citation\":\"Boxer, Avi and Bryan McCarthy and Graham Seal. “Re: Reverend Richard J. Sommer”. The Georgian. Montreal: Sir George Williams University, 12 November 1971, page 4. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/gary-snyder-at-sgwu-1971/#1\",\"citation\":\"Boxer, Avi and Bryan McCarthy and Graham Seal. “Get Your Shit Together...”. The Georgian. Montreal: Sir George Williams University, 19 November 1971, page 4. \"},{\"url\":\"https://www.worldcat.org/title/montreal-english-poetry-of-the-seventies/oclc/1072194565&referer=brief_results\",\"citation\":\"Farkas, Andre & Ken Norris (eds). Montreal English Poetry of the Seventies. Montreal: Vehicule Press, 1977. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Hancock, Geoff. \\\"Kiyooka, Roy\\\". The Oxford Companion to Canadian Literature. Eugene Benson and William Toye (eds). Oxford University Press, 2001. \"},{\"url\":\"https://www.worldcat.org/title/kyoto-airs/oclc/70783779&referer=brief_results\",\"citation\":\"Kiyooka, Roy. Kyoto Airs. Vancouver: Periwinkle Press, 1964. \"},{\"url\":\"https://www.worldcat.org/title/nevertheless-these-eyes/oclc/1138698061&referer=brief_results\",\"citation\":\"Kiyooka, Roy. Nevertheless These Eyes. Toronto: Coach House Press, 1967.\"},{\"url\":\"\",\"citation\":\"“Poetry Reading Info”. OP-ED. Montreal: Sir George Williams University, 25 November 1966, page 7. \"},{\"url\":\"\",\"citation\":\"“Poetry Readings”. Post-Grad. Montreal: Sir George Williams University, Spring 1967, page 13.\"},{\"url\":\"https://www.concordia.ca/content/dam/concordia/offices/archives/docs/the-georgian/The%20Georgian_Vol%2031%20no%2010_1967-10-17.pdf\",\"citation\":\"“Prism Awards For Literature”. The Georgian. Montreal: Sir George Williams University, 17 October 1967, page 11.\"},{\"url\":\"\",\"citation\":\"Marlatt, Daphne. “Roy Kiyooka: from eminence to immanence”. West Coast Line: A Journal of Contemporary Writing & Criticism. No. 38.3 (Winter 2005), page 39.\"},{\"url\":\"\",\"citation\":\"\\\"Roy (Kenzie) Kiyooka.\\\" Contemporary Authors Online. Detroit: Gale, 2003.\"},{\"url\":\"\",\"citation\":\"\\\"Richard J(erome) Sommer.\\\" Contemporary Authors Online. Detroit: Gale, 2001. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/roy-kiyooka-at-sgwu-1966-stanton-hoffman/\",\"citation\":\"Simco, Bob. “Georgantics”. The Georgian. Montreal: Sir George Williams University, 2 December 1966. \"},{\"url\":\"https://www.worldcat.org/title/4-montreal-poets-peter-van-toorn-marc-plourde-arty-gold-richard-sommer/oclc/622296821&referer=brief_results\",\"citation\":\"Solway, David. 4 Montreal poets: Peter van Toorn, Marc Plourde, Arty Gold and Richard       Sommer. Fredericton, N.B., Fiddlehead Poetry Books, 1973. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Stevens, Peter. \\\"Sommer, Richard\\\". The Oxford Companion to Canadian Literature. Eugene Benson and William Toye (eds). Oxford University Press, 2001.  \"},{\"url\":\"http://www.jrank.org/literature/pages/8722/Richard-Sommer.html#ixzz0Zb3DRqFx\",\"citation\":\"Stevens, Peter. “Richard Sommer Biography- (b.1934), The Poet and the Pinnacle, Blue sky notebook, The other side of games”. Literature Reference: American Literature, English Literature, Classics & Modern Fiction. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/roy-kiyooka-at-sgwu-1966-stanton-hoffman/\",\"citation\":\"Stock, Sandra. “Kiyooka Examined”. The Georgian. Montreal: Sir George Williams University, 4 November 1966. \"}]"],"_version_":1853670548665532416,"timestamp":"2026-01-07T14:59:53.264Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0030_side.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0086_11_0030_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Roy Kiyooka Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0030_back.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0086_11_0030_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Roy Kiyooka Tape Box - 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Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/richard_sommer_i086-11-046.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"richard_sommer_i086-11-046.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:42:12\",\"precision\":\"\",\"size\":\"101.3 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"richard_sommer_i086-11-046.mp3 [File 2 of 2]\\n\\nStanton Hoffman\\n00:00:00\\nThe second reader of this evening, Dick Sommer, was born in St. Paul [https://www.wikidata.org/wiki/Q28848], Minnesota [https://www.wikidata.org/wiki/Q1527], and educated at the University of Minnesota [https://www.wikidata.org/wiki/Q238101] where he most recently returned as a visiting Assistant Professor of English, and at Harvard [https://www.wikidata.org/wiki/Q13371]. In 1958 he was a recipient of the Academy of American Poets [https://www.wikidata.org/wiki/Q282096] Prize, and over a period of several years published his poems in the Harvard Advocate. He has given readings in Cambridge [https://www.wikidata.org/wiki/Q49111], Minneapolis [https://www.wikidata.org/wiki/Q36091], and in Oslo [https://www.wikidata.org/wiki/Q585]. Also, he does not want me to mention his scholarly publications: Dash, Which Are, Strangers and Pilgrims, an essay on the Metaphor of the Journey written with Georg Roppen [https://www.wikidata.org/wiki/Q23944662] and published by the Humanities Press [https://www.wikidata.org/wiki/Q97958829] in New York City, as well as by the Norwegian University's Press, in Norway [https://www.wikidata.org/wiki/Q20] and A Monograph, the Odyssey and Primitive Religion, published by the University of Bergen [https://www.wikidata.org/wiki/Q204457] in 1962. Ladies and gentlemen, Mr. Dick Sommer.\\n \\nRichard (Dick) Sommer\\n00:01:02\\nI didn't want him to mention those. Oh I've got the deal with Roy, as well. So this is a haiku with, which you'll be glad to know also has seventeen syllables in the title. \\\"The Haiku to Roy Kiyooka\\\", in reply to his haiku to me.\\n \\nRichard (Dick) Sommer\\n00:01:31\\nReads \\\"The Haiku to Roy Kiyooka\\\".\\n \\nRichard (Dick) Sommer\\n00:01:50\\nAnd this is the Haiku that began the mess, this was the one that I originally threatened to read to him, and naturally will carry out my threat. Which has a slightly different title, \\\"Haiku at Roy Kiyooka\\\"\\n \\nRichard (Dick) Sommer\\n00:02:07\\nReads \\\"Haiku at Roy Kiyooka\\\".\\n \\nRichard (Dick) Sommer\\n00:02:27\\nAnd then there's the one that I think you have on that broadsheet, which as I looked at it, in all of its mimeographed splendor, struck me as sounding a bit, now, like the theme song of the Central Intelligence Agency [https://www.wikidata.org/wiki/Q37230], but I'm sorry about that, I didn't mean it that way when I wrote it.\\n \\nRichard (Dick) Sommer\\n00:02:55\\nReads unnamed haiku.\\n \\nRichard (Dick) Sommer\\n00:03:13\\nI'm as you've heard, I'm responsible for having written some criticism, sorry about that, but I hope to make it up with the next poem, which is also on your broadsheet. Called the meaning of- \\\"The Meaning of Poetry\\\".\\n \\nRichard (Dick) Sommer\\n00:03:36\\nReads \\\"The Meaning of Poetry\\\".\\n \\nRichard (Dick) Sommer\\n00:04:19\\nAnd this next poem, you'll be very happy to know I have my wife's permission to read.\\n\\nRichard (Dick) Sommer\\n00:04:26\\nReads unnamed poem.\\n \\nRichard (Dick) Sommer\\n00:05:02\\nYou're going to be out of luck if you don't play chess, for this next one. You may be out of luck if you do, but that has more to do with the poem than your ability at chess.\\n \\nRichard (Dick) Sommer\\n00:05:23\\nReads unnamed poem. \\n \\nRichard (Dick) Sommer\\n00:06:27\\nRoy's given us a series of poems in praise of 'her', I don't know who 'her' is, but I have another name for her myself, she's called the Lady of Situations, and that's the title of this poem. You know, situations in the sense of she's always getting involved, or people are always getting involved. This is that Lady of Situation. And, oh yes, there's some erudition in this one too, there's a marvelous drawing taken from the tomb of Tuthmosis [https://www.wikidata.org/wiki/Q1320491], which appears in the Skera, Egyptian Painting Volume, and you might look it up because she appears there as a tree, a breasted tree, and giving suck to a Pharaoh, it's quite interesting as a painting, anyway, that's in here too.\\n \\nRichard (Dick) Sommer\\n00:07:34\\nReads \\\"Lady of Situation\\\".\\n \\nRichard (Dick) Sommer\\n00:09:29\\nThe, I noticed that the Brotherhood of Railroad Engineers has arranged to have separate drinking glasses, or they're trying to get themselves put into the sanitary code, I think this is Roy's. This must be mine, still water. This next one, I wrote the day following my seeing of a movie that I hope many of you are familiar with, it's the Russian version of Don Quixote [https://www.wikidata.org/wiki/Q49612156], a lovely film, beautiful adaptation of the myth of Don Quixote, and Sancho Panza [https://www.wikidata.org/wiki/Q630823] in the terms of the revolution to come, and I was particularly fascinated to the title that was given to Don Quixote, in this film, so I used it for the title of the poem.\\n \\nRichard (Dick) Sommer\\n00:10:54\\nReads \\\"Don Quixote de la Manchesky\\\".\\n \\nRichard (Dick) Sommer\\n00:13:25\\nThis next one takes its title, this is another area of that reference, takes its title from a little known and very important folk ballad, I had to put something in ethnic here, so this is it. It's, the title is \\\"The Other Side of the Mountain\\\", and it comes from that little song that begins \\\"The bear climbed over the mountain to see what he could see, but the other side of the mountain was all that he could see\\\".\\n \\nRichard (Dick) Sommer\\n00:14:05\\nReads \\\"The Other Side of the Mountain\\\".\\n \\nRichard (Dick) Sommer\\n00:17:15\\nIncidentally, you must not get the idea that the mountain, you know, came entirely from the, from the, from the song. It, you can find it on the Greater Barrington Quadrangle, for the appropriate section of the Massachusetts [https://www.wikidata.org/wiki/Q771] of the US [https://www.wikidata.org/wiki/Q30] geological survey, it's right on the map. It's really there, it's got position. This poem is in four sections, there are three narrative sections and then there's a short epilogue. And it's called \\\"My Loveliest Enemies\\\". I don't think there's any point in keeping you in suspense about this, my loveliest enemies are birds. And that's the punchline, so now you know it and you can listen to the poem.\\n \\nRichard (Dick) Sommer\\n00:18:24\\nReads \\\"My Loveliest Enemies\\\" [parts 1-3].\\n \\nRichard (Dick) Sommer\\n00:33:12\\nAnd here's the epilogue.\\n \\nRichard (Dick) Sommer\\n00:33:19\\nReads \\\"Epilogue\\\" of \\\"My Loveliest Enemies\\\".\\n \\nRichard (Dick) Sommer\\n00:35:52\\nIt's a race against not time but against the creeping gelatination, I think is the word of my lower extremities, and I'm sure the creeping sleepiness that is likely to affect you. This next, excuse me, here's to you! This next poem requires an erudite explanation too and I'm sorry for that. I hope, actually, it's not necessary. Alcuin [https://www.wikidata.org/wiki/Q154332], the Charles the King, Alcuin was an 8th century scholar who was brought from his, from the York [https://www.wikidata.org/wiki/Q42462] diocese, to the court of Charlemagne [https://www.wikidata.org/wiki/Q3044], and there became the principal architect of Charlemagne's attempt to bring Latin and Latin culture to the Francs. You might say, I suppose, that he was the first of, first great humanist, but we'll see what his Latin is worth in this poem. This is a letter, written by Alcuin, actually it was written by me, presumably written by Alcuin, to Charles the King.\\n \\nRichard (Dick) Sommer\\n00:37:33\\nReads \\\"Letter written by Alcuin, to Charles the King\\\".\\n \\nRichard (Dick) Sommer\\n00:41:46\\nAnd this poem is, has a title, and a subtitle. The title is \\\"Concentration\\\" the subtitle, \\\"Homage to Eva Jerome\\\".\\n\\nEND\\n00:42:12\\n[Cut off abruptly].\",\"notes\":\"Richard (Dick) Sommer reads poems from an unknown selection of books. \\n\\n00:00- Stanton Hoffman introduces Richard/Dick Sommer [INDEX: St. Paul, Minnesota,         University of Minnesota, Harvard, published in Harvard Advocate, Academy of    American Poets Prize, Readings in Cambridge, Minneapolis, Oslo, Strangers and    Pilgrims: an essay on the Metaphor of Journey by Richard Sommer and Georg Roppen,  published by Humanities Press in New York City and by the Norwegian University Press, Monograph, the Odyssey and Primitive Religion by Richard Sommer, published by University of Bergen 1962, Criticism: Dash, Which Are]\\n01:02- Introduces “The Haiku to Roy Kiyooka” [INDEX: Haiku Battle with Roy Kiyooka]\\n01:31- Reads “The Haiku to Roy Kiyooka”\\n01:50- Introduces “Haiku at Roy Kiyooka”\\n02:07- Reads “Haiku at Roy Kiyooka”\\n02:27- Introduces first line haiku “The little known eye...” [INDEX: C.I.A.]\\n02:55- Reads first line “The little known eye...”\\n03:13- Introduces “The Meaning of Poetry” [INDEX: Writing criticism]\\n03:36- Reads “The Meaning of Poetry”\\n04:19- Introduces first line “The figure eight....”\\n04:26- Reads first line “The figure eight...”\\n05:02- Introduces first line “How much wildness in that horseman’s eye...” [INDEX: Chess]\\n05:23- Reads “How much wildness in that horseman’s eye...”\\n06:27- Introduces “Lady of Situation” [INDEX: Tomb of Tuthmosis, Skera- Egyptian Painting Volume, Pharaoh]\\n07:34- Reads “Lady of Situation”\\n09:29- Introduces “Don Quixote de la Manchesky” [INDEX: Brotherhood of Railroad   Engineers, Don Quixote: Russian Film “Don Kikhot”, Sancho Panza]\\n10:54- Reads “Don Quixote de la Manchesky”\\n13:25- Introduces “The Other Side of the Mountain” [INDEX: Folk ballads]\\n14:05- Reads “The Other Side of the Mountain”\\n17:15- Introduces “My Loveliest Enemies” [INDEX: Greater Barrington Quadrangle]\\n18:24- Reads “My Loveliest Enemies” parts 1-3\\n33:19- Reads “Epilogue” from “My Loveliest Enemies”\\n35:52- Introduces “Letter Written by Alcuin, to Charles the King” [INDEX: Alcuin \\t, Charlemange, 8th Century Scholars, Latin; Howard Fink List “Great Lord”.]\\n37:33- Reads “Letter Written by Alcowen, to Charles the King” [sp?]\\n41:46- Introduces “Concentration: Homage to Eva Jerome” (poem is never read)\\n42:12.32- END OF RECORDING\\n\\nHoward Fink List: 2/12/66\\n 3 3/4, on one 5” reel, two tracks mono, 50 mins\\n \\n1.  Haiku for Roy Kiyooka first line “the snow melts...”\\n2.  Haiku at Roy Kiyooka first line “I hear Roy speak...”\\n3.  Haiku first line “The little known eye...”\\n4.  “The Meaning of Poetry”\\n5.  first line “The figure eight...:\\n6.  first line “How much wilderness in that horses eye...”\\n7.   “The Lady of Situations”\\n8.  “Don Quixote de la Manchasky”\\n9.  “The Other Side of the Mountain”\\n10.  A poem in four sections: “My Loveliest Enemies” parts of section one missing\\n11. first line “Great Lord...”\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/richard-dick-sommer-at-sgwu-1966-stanton-hoffman/\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/roy_kiyooka_i086-11-030.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"roy_kiyooka_i086-11-030.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:01:42\",\"precision\":\"\",\"size\":\"148.1 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"roy_kiyooka_i086-11-030.mp3 [File 1 of 2]\\n\\nStanton Hoffman\\n00:00:00\\nOn behalf of the Poetry Reading Committee of Sir George Williams University [https://www.wikidata.org/wiki/Q326342] I wish to welcome you to this, the fifth, in a series of poetry readings, given at this University during 1966-67. Tonight there will be readings by two poets living in Montreal [https://www.wikidata.org/wiki/Q340], and members of the faculty of this university. There will be a fifteen minute intermission in between each reading. Roy Kiyooka [https://www.wikidata.org/wiki/Q3445789] was born in Moose Jaw [https://www.wikidata.org/wiki/Q1019496], Saskatchewan [https://www.wikidata.org/wiki/Q1989], he studied at the Provincial Institute of Technology and Art, the Instituto Allende [https://www.wikidata.org/wiki/Q17989128] in Mexico [https://www.wikidata.org/wiki/Q96], and the University of Saskatchewan [https://www.wikidata.org/wiki/Q1514848] Emma Lake Workshops. He has had one-man exhibitions in Edmonton [https://www.wikidata.org/wiki/Q2096], Calgary [https://www.wikidata.org/wiki/Q36312], San Miguel de Allende [https://www.wikidata.org/wiki/Q4063467], Saskatoon [https://www.wikidata.org/wiki/Q10566], Regina [https://www.wikidata.org/wiki/Q2123], Toronto [https://www.wikidata.org/wiki/Q172], Vancouver [https://www.wikidata.org/wiki/Q24639], Victoria [https://www.wikidata.org/wiki/Q2132], New York City [https://www.wikidata.org/wiki/Q60] and Montreal. He exhibited at the Sao Paulo Biennial [https://www.wikidata.org/wiki/Q653360], where he was one of four painters representing Canada [https://www.wikidata.org/wiki/Q16], and where he received honourable mention and a Silver Medal. His most recent show was held last month at the Laing Galleries [https://www.wikidata.org/wiki/Q28846441] in Toronto. In 1964, his first volume of poems, Kyoto Airs, was published by the Periwinkle Press in Vancouver. His second volume, Nevertheless These Eyes is being published this month, in Montreal by Bev Leech. Ladies and Gentlemen, Mr. Roy Kiyooka.\\n \\nUnknown\\n00:01:24\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nRoy Kiyooka\\n00:01:25\\n--want to start off this evening by reading a few poems from my earlier book, the one that Stan mentioned. These poems were written as a result of a summer in Japan [https://www.wikidata.org/wiki/Q17], and they are very much occasional poems, they address themselves to the particular occasion of having been there, and they were meant in part to account for that experience of having been there, to my numerable friends in Vancouver. I'll begin by reading three very short little poems, they all relate to, what should we call it, the various contexts in which I saw the sculptured image of the Buddha. The first one is called \\\"Waiting Out the Rain\\\".\\n \\nRoy Kiyooka\\n00:02:51\\nReads \\\"Waiting Out the Rain\\\" [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:03:13\\nThis is \\\"Buddha in the Garden\\\". Again, very brief.\\n \\nRoy Kiyooka\\n00:03:23\\nReads \\\"Buddha in the Garden\\\" [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:03:47\\nThis is \\\"Sunday at the Temple\\\".\\n \\nRoy Kiyooka\\n00:03:53\\nReads \\\"Sunday at the Temple\\\" [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:04:20\\nAnd this is the image of a Buddha seen in the Kyoto Museum, a reclining figure.\\n \\nRoy Kiyooka\\n00:04:30\\nReads unnamed poem [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:05:01\\nNow the next is a sequence of four little poems, very much like the traditional Japanese poems called the Haiku. This is a sequence, the title of which is \\\"The Stone Garden of Ryoanji\\\". The first one goes like this:\\n \\nRoy Kiyooka\\n00:05:27\\nReads “The Stone Garden of Ryoanji\\\", part 1 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:05:45\\nReads “The Stone Garden of Ryoanji\\\", part 2 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:06:07\\nReads “The Stone Garden of Ryoanji\\\", part 3 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:06:24\\nReads “The Stone Garden of Ryoanji\\\", part 4 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:06:49\\nNow this one is called \\\"Children's Shrine\\\". Throughout most of the cities and towns and villages all over Japan you'll find way-side shrines, they're frequently just built into the wall in a very narrow street and people on whatever religious occasion come to worship there. This is a shrine particularly for children. And it goes like this:\\n \\nRoy Kiyooka\\n00:07:24\\nReads \\\"Children's Shrine\\\" [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:08:41\\nWell this is rather a long sequence, once more very short poems, there are eleven of them, and the title of the sequence is simply \\\"Higashiyama\\\", now 'higashiyama' means, in English, 'east mountain'.\\n \\nRoy Kiyooka\\n00:09:22\\nReads \\\"Higashiyama\\\", part 1 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:09:39\\nReads \\\"Higashiyama\\\", part 2 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:10:04\\nReads \\\"Higashiyama\\\", part 3 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:10:20\\nReads \\\"Higashiyama\\\", part 4 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:10:38\\nReads \\\"Higashiyama\\\", part 5 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:10:54\\nReads \\\"Higashiyama\\\", part 6 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:11:13\\nReads \\\"Higashiyama\\\", part 7 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:11:38\\nReads \\\"Higashiyama\\\", part 8 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:11:55\\nReads \\\"Higashiyama\\\", part 9 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:12:17\\nReads \\\"Higashiyama\\\", part 10 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:12:43\\nReads \\\"Higashiyama\\\", part 11 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:13:01\\nWell I'll go on to the last poem in the book, this is an attempt, as it were, to sum up the varied experiences that I had there. The poem is called \\\"Itinerary of a View\\\".\\n \\nRoy Kiyooka\\n00:13:29\\nReads \\\"Itinerary of a View\\\" [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:17:07\\nI think I need to say a few words about this next group of poems, they were, they're from the book that I am having done at the moment, I started these poems in June 1965 in Montreal when I first came here. I don't know how to tell you this, except that at the time I came, I stayed with Alfred Pinsky [https://www.wikidata.org/wiki/Q21997094], or rather I stayed at his home, at his invitation, while I was looking for a place to live. Now, this took me about two weeks, it was very hot, and in the evenings I used to go through his library and pick up things and scanned them. One evening I came across this book, which was a biography of the English painter, Stanley Spencer [https://www.wikidata.org/wiki/Q1282413]. Spencer, we could say is perhaps the co-partner in the origin and the form and the content of this book. The book is in three parts, the first part is called the mirror, \\\"The Song the Mirror Sang at Midnight\\\", and it is prefaced by a quotation from Spencer, which goes like this: \\\"I am meeting you all the time, and sending my longing for you into chaos, into the darkness, beyond these walls\\\". I may add that these poems, likewise, are on the whole, very brief, though some are longer.\\n \\nRoy Kiyooka\\n00:19:31\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 1 [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:20:34\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 2 [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:21:55\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 3 published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:22:49\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 4 [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:23:23\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 5 [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:24:18\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 6 [published later in Nevertheless These Eyes].\\n\\nRoy Kiyooka\\n00:24:46\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 7 [published later in Nevertheless These Eyes].\\n\\nRoy Kiyooka\\n00:25:24\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 8 [published later in Nevertheless These Eyes].\\n\\nRoy Kiyooka\\n00:25:51\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 9 [published later in Nevertheless These Eyes].\\n\\nRoy Kiyooka\\n00:26:27\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 10 [published later in Nevertheless These Eyes].\\n\\nRoy Kiyooka\\n00:27:02\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 11 [published later in Nevertheless These Eyes].\\n\\nRoy Kiyooka\\n00:27:26\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 12 [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:28:06\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 13 [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:28:36\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 14 [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:29:21\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 15 [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:30:05\\nThe last one in this section.\\n \\nRoy Kiyooka\\n00:30:11\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 16 [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:30:53\\nThere's a terrible draft coming in from the back, I think you're right Dick, we're going to end up with arthritic ankles. Well, this is the second section, and it is called \\\"The Proposal\\\". Once more, prefaced with a remark from Stanley Spencer, a very beautiful one. They are set down, as I found them in the book, I have used them in the context of this section of the book and these four poems, taken from his writings are meant to define certain of her attributes. Now I have given a title to each one of these four poems, and I hope they will clarify the context in which they belong here. \\\"Portrait of the Beloved\\\".\\n \\nRoy Kiyooka\\n00:32:06\\nReads \\\"Portrait of the Beloved\\\" [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:32:56\\nThis I called \\\"The Marriage\\\".\\n \\nRoy Kiyooka\\n00:33:05\\nReads \\\"The Marriage\\\" [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:33:37\\nThis is called \\\"The Separation\\\".\\n \\nRoy Kiyooka\\n00:33:45\\nReads \\\"The Separation\\\" [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:34:07\\nAnd this, is \\\"Her Apotheosis\\\".\\n \\nRoy Kiyooka\\n00:34:17\\nReads \\\"Her Apotheosis\\\" [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:35:23\\nThat incidentally, is a description he wrote to a friend about a painting that he in fact had made. From your response, I gathered, it has a comic element, but I don't think that he himself made it that way. [Laughter].\\n \\nRoy Kiyooka\\n00:36:05\\nReads unnamed poem.\\n \\nRoy Kiyooka\\n00:38:04\\nReads unnamed poem.\\n \\nRoy Kiyooka\\n00:38:36\\nThe first stanza of this two-stanza poem is from Spencer, once again.\\n \\nRoy Kiyooka\\n00:38:43\\nReads unnamed poem.\\n \\nRoy Kiyooka\\n00:39:34\\nThe reference in this poem is to an exemplary sculptor who died many years ago, who obsessionally sculpted the human female form, his name is Gaston Lachaise [https://www.wikidata.org/wiki/Q1495586].\\n \\nRoy Kiyooka\\n00:40:02\\nReads unnamed poem.\\n\\nRoy Kiyooka\\n00:40:59.50\\nThe title of this poem is the same as the title of the second section, it's \\\"The Proposal\\\".\\n \\nRoy Kiyooka\\n00:41:14\\nReads \\\"The Proposal\\\" [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:42:27\\nThis one is called \\\"The Dance\\\".\\n \\nRoy Kiyooka\\n00:42:33\\nReads \\\"The Dance\\\" [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:43:59\\nThe title of this poem is called \\\"Her Admonition\\\".\\n \\nRoy Kiyooka\\n00:44:06\\nReads \\\"Her Admonition\\\" [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:45:28\\nNow the following five poems are called \\\"Poems of Resurrection\\\".\\n \\nRoy Kiyooka\\n00:45:46\\nReads \\\"Poems of Resurrection\\\", part 1 [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:47:27\\nSecond \\\"Resurrection\\\" poem.\\n \\nRoy Kiyooka\\n00:47:28\\nReads \\\"Poems of Resurrection\\\", part 2 [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:48:33\\nReads \\\"Poems of Resurrection\\\", part 3 [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:49:07\\nReads \\\"Poems of Resurrection\\\", part 4 [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:49:49\\nThe last Resurrection poem, which concludes with a very brief, two-line coda.\\n \\nRoy Kiyooka\\n00:50:01\\nReads \\\"Poems of Resurrection\\\", part 5 [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:50:51\\nNow, the second to last poem is called \\\"The Visitation\\\".\\n \\nRoy Kiyooka\\n00:51:16\\nReads \\\"The Visitation\\\" [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:53:14\\nAnd finally,\\n \\nRoy Kiyooka\\n00:53:22\\nReads unnamed poem.\\n \\nRoy Kiyooka\\n00:53:56\\nWell, this is the final section. This is called \\\"Nevertheless These Eyes\\\" and briefly, and again from Spencer, a preface that goes like this: \\\"I am on this side of angels and dirt\\\".\\n \\nRoy Kiyooka\\n00:55:25\\nReads \\\"Nevertheless These Eyes\\\" [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n01:00:20\\nAnd finally, by way of acknowledging the nature of this book.\\n \\nRoy Kiyooka\\n01:00:31\\nReads unnamed poem [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n01:00:57\\nThank you very much--\\n\\nUnknown\\n01:00:59\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nRoy Kiyooka\\n01:01:00\\n--and I were reading together, decided we should write one for the occasion, so we have each come up with a haiku. This is my haiku, it's especially for Dick. I have in brackets here, \\\"A gentle admonition to the audience following my reading, and preceding his\\\" and it goes like this: \\\"Let the stone tell how /snow-covered in whiteness, /these words, when his words come.\\\"\\n \\nEND\\n01:01:42\\n\",\"notes\":\"Roy Kiyooka reads from Kyoto Airs (Periwinkle Press, 1964) and poems published later in Nevertheless These Eyes (Coach House Press, 1967).\\n\\n00:00- Introducer (Stanton Hoffman) introduces Roy Kiyooka [INDEX: Fifth reader in the       1966-67 Poetry Reading Series, Moose Jaw, Provincial Institute of Technology and Art, \\tInstituto Allende in Mexico, University of Saskatchewan: Emma Lake Workshop, One         man exhibitions in: Calgary, San Miguel D’Allende, Saskatoon, Toronto, Regina,        \\tMontreal, Vancouver, Victoria, New York City, Sao Paulo Biennial: Silver Medal     \\trepresenting Canada, Lane [or Ling?] Gallery in Toronto, Kyoto Airs by Roy Kiyooka, 1964, Periwinkle Press, Vancouver, [Unknown A1] Nevertheless These Eyes by Roy Kiyooka (1966), published by Bev Leech in Montreal, written in June 1965 in Montreal\\n01:25- Roy Kiyooka introduces Kyoto Airs and “Waiting Out the Rain” [INDEX: Occasional poetry in Japan, sculptured image of the Buddha, Japan]\\n02:51- Reads “Waiting Out the Rain”\\n03:13- Reads “Buddha in the Garden”\\n03:47- Reads “Sunday at the Temple”\\n04:20- Introduces first line “Hovering, he is hovering, his eyes closed...”\\n04:30- Reads first line “Hovering, he is hovering, his eyes closed...”\\n05:01- Introduces “The Stone Garden of Ryoanji” [INDEX: series of four haikus, stone      gardens in Royanji, Japan]\\n05:27- Reads haikus 1-4 of “The Stone Garden of Ryoanji Series”\\n06:49- Introduces “Children’s Shrine” [INDEX: Shrines in Japan]\\n07:24- Reads “Children’s Shrine”\\n08:41- Introduces “Higashiyama” sequence of eleven poems.\\n09:22- Reads “Higashiyama, 1-11”\\n13:01- Introduces “Itinerary of a View”\\n13:29- Reads “Itinerary of a View”\\n17:07- Introduces poems 1-15 of the section “The Song the Mirror Sang at Midnight” from Nevertheless These Eyes. [INDEX: Sequence poems, Higashiyama Mountain Japan, Alfred Pinsky, English Painter Stanley Spencer]\\n19:31- Reads poems 1-16 from “The Song the Mirror Sang at Midnight”\\n30:53- Introduces poems from the second section “The Proposal” from Nevertheless These Eyes. [INDEX: English Painter Stanley Spencer]\\n32:06- Reads “Portrait of the Beloved”\\n32:56- Reads “The Marriage”\\n33:37- Reads “The Separation”\\n34:07- Reads “Her Apotheosis”\\n35:23- Explains “Her Apotheosis”\\n36:05- Reads first line “The grotesque flash...”\\n38:04- Reads first line “The beloved is resilient...”\\n38:36- Introduces first line “The women say what I like...” [INDEX: English Painter Stanley Spencer]\\n38:43- Reads first line “The women say what I like...”\\n39:34- Introduces first line “Gaston Lachaise...”\\n40:02- Reads first line “Gaston Lachaise...”\\n40:59- Reads “The Proposal”\\n42:27- Reads “The Dance”\\n43:59- Reads “Her Admonition”\\n45:28- Introduces five poems called “Five Poems of Resurrection”\\n45:46- Reads 1-5 poems of “Five Poems of Resurrection”\\n50:51- Reads “The Visitation”\\n53:22- Reads first line “What the beloved said...”\\n53:56- Introduces “Nevertheless These Eyes”\\n55:25- Reads “Nevertheless These Eyes”\\n1:00:31- Reads first line “The figure in the poems are his...”\\n1:00:57- Introduces and reads haiku written for this reading [see transcript for entire poem] [INDEX: Haiku to Dick Sommers]\\n1:01:42.65- END OF RECORDING\\n\\nHoward Fink List of Poems:\\n2/12/66\\n one 5” @ 3 3/4 time: 1 hr 10 mins\\n \\nA)From Kyoto Airs about his experience in Japan\\n1. “Waiting Out the Rain”\\n2. “Buddha in the Garden”\\n3. “Sunday at the Temple”\\nFrom series- “The Stone Garden of Ryoanji” (first lines only)\\n4. “hovering, he is hovering...\\n5. “they whisper...”\\n6. “the boards...”\\n7. “white sand...”\\n8.  “when...”\\n9.  title: “Children’s Shrine” sequence of eleven poems\\n10. titled “Higashiyama” (first lines only) “kneeling, she...”\\n11.  “o the white pigeon...”\\n12.  “you raise up...”\\n13.  “she call’d...”\\n14.  “small comfort...”\\n15.  “on Higashiyama...”\\n16.   “tonight...”\\n17.  “beyond...”\\n18.  “put stone...”\\n19.  “tell me, Cid...”\\n20.  “I have left...”\\n21.   Title: “Itinerary of a View” (a poem summing up his experience in Japan)\\nB)  from Nevertheless These Eyes; a collection which was motivated from Kiyooka’s reading the biography of the English writer/sculptor Stanley Spencer. -  poems from section one; The song the mirror sang at midnight (first lines)\\n22.  “Climbing into the mirror...”\\n23.  “ Behind my eyes...”\\n24.  “The image of her...”\\n25.  “At least...”\\n26.  “Since you asked me...”\\n27.  “The distance...”\\n28.  “Moonch...”\\n29.  “My hand covets...”\\n30.  “The other face...”\\n31.  “Turning away...”\\n32.  “The mirror...”\\n33.  “In all this space...”\\n34.  “In a room...”\\n35.  “It is the vision of her...\\n36.  “Now, other faces appear...”\\n37.  “Who, among you...” four poems from the second section, “The Proposal”\\n38.  “Portrait of the Beloved”\\n39.  “The Marriage”\\n40.  “The Separation”\\n41.  “Her Apotheosis”\\n42.  first line- “The grotesque flash...”\\n43.  first line- “The beloved is...”\\n44.  first line- “The women say...”\\n45.  first line- “Gaston Lachaise”\\n46.  “The Proposal”\\n47.  “The Dance”\\n48.  “Her Admonition” series of five, from Poems of Resurrection\\n49.  first line “the way...”\\n50.  first line “the Fallen have risen”\\n51.  first line “the moon...”\\n52.  first line “Stanley Spencer painted...”\\n53.  first line “The resurrected flesh...”\\n54.  “The Visitation”\\n55.  first line “what the beloved said...” from section three Nevertheless These Eyes\\n56.  first line “Nevertheless these eyes”\\n57. a haiku composed for the reading by Kiyooka\\n\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/richard-dick-sommer-at-sgwu-1966-stanton-hoffman/\"}]"],"score":4.4357758},{"id":"1264","cataloger_name":["Masoumeh,Zaare"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Barbara Howes at Sir George Williams University, The Poetry Series, 3 November 1967"],"item_title_source":["Cataloguer"],"item_title_note":["\"Barbara Howes Poetry Reading Nov 3, 1967\" written on sticker on the front of the tape's box. \"RT 521\" written on sticker on the front of the tape's box. \"Howes Poetry Nov 3/67\" written on sticker on the reel. \"Barbara Howes 3/11/67 I068-11-024\" also written on the spine of the tape's box"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 2"],"item_identifiers":["[]"],"creator_names":["Howes, Barbara"],"creator_names_search":["Howes, Barbara"],"creators":["[{\"url\":\"http://viaf.org/viaf/38160442\",\"name\":\"Howes, Barbara\",\"dates\":\"1914-1996\",\"notes\":\"American poet, short story writer, essayist, editor and translator Barbara Howes was born in New York in 1914, and adopted into a family in Boston. She enrolled at Bennington College in Vermont before moving to New York City upon her graduation. Howes then worked as an editor of Chimera: A Literary Magazine between 1944 and 1947. She married poet William Jay Smith, and they lived in England and Italy for a short while. Her first collection of poetry was published in 1948, named The Undersea Farmer (Banyan Press), which was followed by In the Cold Country (Bonaci & Saul in association with Grove Press, 1954), both of which drew critical acclaim and praise. She then published Light and Dark (Wesleyan University Press, 1959), Looking Up at Leaves (Knopf, 1966), The Blue Garden (Wesleyan University Press, 1972) and A Private Signal: Poems New and Selected (Wesleyan University Press, 1977). Howes divorced in the 60’s and traveled to the Caribbean, which inspired her to edit two anthologies of Caribbean and Latin American writing: From the Green Antilles: Writings of the Caribbean (Macmillan, 1966) and The Eye of the Heart: Short Stories from Latin America (Bobbs-Merrill, 1973). Howes also edited 23 Modern Stories, (Vintage, 1963), The Sea-Green Horse with her son Gregory Jay Smith (Macmillan, 1970), The Road Commissioner and Other Stories (Stinehour Press, 1983). She published two final collections of poetry, Moving (Elysian Press, 1983) and The Collected Poems of Barbara Howes, 1945-1990 (University of Arkansas Press, 1995), which was nominated for the 1995 National Book Award. Her poetry can be found in dozens of periodicals and literary magazines. Barbara Howes died at the age of 81 in Pownal, Vermont in 1996.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Hoffman, Stanton"],"contributors_names_search":["Hoffman, Stanton"],"contributors":["[{\"url\":\"\",\"name\":\"Hoffman, Stanton\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Presenter\",\"Series organizer\"]}]"],"Presenter_name":["Hoffman, Stanton"],"Series_organizer_name":["Hoffman, Stanton"],"Performance_Date":[1967],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Ampex\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"Tape\",\"physical_condition\":\"\",\"track_configuration\":\"2 track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1967 11 3\",\"type\":\"Performance Date\",\"notes\":\"Date written three times on the reel and tape's box\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Basement Theatre\",\"notes\":\"Previous researcher\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Basement Theatre"],"City":["Montreal, Quebec"],"content_notes":["Barbara Howes reads from Light and Dark (Wesleyan University Press, 1959), Looking Up at Leaves (Knopf, 1966), and From the Green Antilles: Writings of the Caribbean, (Macmillan, 1966) as well as some poems from unknown sources."],"contents":["barbara_howes_i086-11-024.mp3\n\nStanton Hoffman\n00:00:00\nThe reading this evening is by Miss Barbara Howes [https://www.wikidata.org/wiki/Q4858990[. Miss Barbara Howes was born in Boston [https://www.wikidata.org/wiki/Q100] and educated at Bennington College [https://www.wikidata.org/wiki/Q817902]. She has published four volumes of poems: The Undersea Farmer, which was published in 1948 by the Banyan Press; In the Cold Country, which was was published by Bonaci and Saul in cooperation with Grove Press [https://www.wikidata.org/wiki/Q3777164] in 1954, Light and Dark, which was published by Wellesley University [https://www.wikidata.org/wiki/Q49205] Press in 1959, and the recent Looking up at Leaves, which was published by Knopf [https://www.wikidata.org/wiki/Q1431868] in 1966 and which was nominated for the National Book Awards. She has been the editor of a volume of writings of the Carribean which was published by MacMillan [https://www.wikidata.org/wiki/Q2108217]in 1966 and Twenty-three Modern Stories published in 1963 by Vintage Books [https://www.wikidata.org/wiki/Q3560313]. In 1949, she won the Bess Hokin Prize of Poetry Magazine, in 1955 she held a Guggenheim Fellowship [https://www.wikidata.org/wiki/Q1316544], and in 1957, she won the Brandeis Poetry Award. Her poems have appeared in many journals, such as Harper's Bazaar [https://www.wikidata.org/wiki/Q654606], New World Writing [https://www.wikidata.org/wiki/Q7012606], Poetry [https://www.wikidata.org/wiki/Q7207482], Suani Review, New Republic [https://www.wikidata.org/wiki/Q1329873], and so forth. And next week in New York City [https://www.wikidata.org/wiki/Q60], Miss Howes will be reading as part of series, or brothers, as part of reading, as part of a reading by fifteen or so other poets, as part of a Poets for Peace, sponsored by the Compassionate Art of the Fellowship of Reconciliation. Ladies and gentlemen, Miss Barbara Howes. \n \nAudience\n00:01:48\nApplause.\n \nBarbara Howes\n00:02:17\nThank you very much, Mr. Hoffman, I'm delighted to be here. If you can't hear me, raise your hands or let me know by some other device. Is this a microphone or does this have to do with this machine? Well I'll try to be clear. I thought rather than read a kind of segmented, like a string of sausages, series of poems, going on and on and on, which gives one very little hope that it'll ever end, it'd be better to say that I'm going to have a beginning, a middle, and an end, and that would be...and so I've arranged the poems in this way, so you will have hope that I won't continue forever, which has been done, in the annals of poetry. I wanted to write, read some poems that have to do with place, because I've thought a lot about the effect of place on poems, and to what extent the place you're in influences what you write. One's imagination would never become extended in certain directions if you hadn't happened to live in a certain place. I was very conscious of that when we lived in Florence [https://www.wikidata.org/wiki/Q2044] for two years and when my older boy was born, and subsequently for another two years. And I would never--because we--I would never possibly have been able to think, I mean this is obvious in a way, but it gets more complicated, of...Some of the imaginative happenings that occurred would, could never have happened, well in Massachusetts [https://www.wikidata.org/wiki/Q771] or anywhere else, and also even in, I mean in Vermont [https://www.wikidata.org/wiki/Q16551], where we now live, have been profoundly affected by the section of the mountain which we life. And also we spent some time in Haiti [https://www.wikidata.org/wiki/Q790], and so on and so forth, so this first group will be mostly poems that have a lot to do with experiences that have happened because of a particular place. The first poem is an Italian poem, or written out of Italy [https://www.wikidata.org/wiki/Q38], called \"Primavera\".\n \nBarbara Howes\n00:04:48\nReads \"Primavera\" [from Light and Dark].\n \nBarbara Howes\n00:06:19\nThis is called \"The Triumph of Love\".\n \nBarbara Howes\n00:06:27\nReads \"The Triumph of Love\" [from Light and Dark].\n \nBarbara Howes\n00:07:18\nThen for a summer, we lived in a little town in the south of France [https://www.wikidata.org/wiki/Q142], Le Lavandou [https://www.wikidata.org/wiki/Q736462], and it was a very good summer all in all, although, except we had no car and a very big house with only about one room on a floor. So the baby was on the top floor, and the kitchen, it's one burner, was on, you know, it's four floors down. And I would rush up and pick him up and then put him back in his bed, and then rush down and light the burner, and then rush up and get him, and then rush down. So it was difficult in some ways. But one of our entertainments, or entertainments that seemed to certainly entertain friends was to go to an island off Toulon [https://www.wikidata.org/wiki/Q44160] called Ile Levant [https://www.wikidata.org/wiki/Q292516], which is half a naval base and half a colony. And you could go out there in a small--it took about an hour in a small boat, and one time we stood on the dock not quite sure what to do next. Another person who'd come in the boat with us in very high heels and an enormous black hat removed everything else and ran up the hill. [Audience laughter]. So this is “L'Ile du Levant, the Nudist Colony”.\n \nBarbara Howes\n00:08:55\nReads \"L'Ile du Levant: the Nudist Colony\" [from Light and Dark].\n \nBarbara Howes\n00:10:59\nNow living as I do in the country in Vermont, there comes that terrible time in November when all the hunters from the cities come rushing up with their pint bottles and their confusion and they lounge around half the time sitting in cars and shooting vaguely at anything. So I used to try to write an anti-hunter poem every fall,I don't know about this year, I haven't got an idea yet, but I may see if I can do something. \"In Autumn\". Excuse me. \n \nBarbara Howes\n00:11:37\nReads \"In Autumn\" [from Light and Dark].\n \nBarbara Howes\n00:12:29\nAnd this is another on the same subject.\n \nBarbara Howes\n00:12:39\nReads [\"Landscape, Deer Season\" from Looking Up At Leaves].\n \nBarbara Howes\n00:13:16\nThis is another Pownal [https://www.wikidata.org/wiki/Q1940266] poem, it's really two things put together. It's called \"A Night Picture of Pownal”, for JFK. And I stood one evening in very bright moonlight looking out at the shadow of the apple tree across the road on the snow and it made an impression on me, I began to take notes in the dark as best I could on it. And then later, shortly after that, for the death of Kennedy [https://www.wikidata.org/wiki/Q9696], then I saw the poem wasn't, it was inadequate, and I somehow put, wove those two things together.\n \nBarbara Howes\n00:14:06\nReads \"A Night Picture of Pownal\" [from Looking Up At Leaves].\n \nBarbara Howes\n00:15:19\nAnother Vermont poem or Pownal poem on a more cheerful note. \"Town Meeting Tuesday\". Town meeting is the first Tuesday in March, and many of the people who have stayed in all winter then emerge like woodchucks from their houses.\n \nBarbara Howes\n00:15:45\nReads \"Town Meeting Tuesday\" [from Looking Up At Leaves].\n \nBarbara Howes\n00:16:22\nNow, we spent two or three Easter vacations in the islands of the Caribbean [https://www.wikidata.org/wiki/Q664609], we went to Guadeloupe [https://www.wikidata.org/wiki/Q17012] once for two weeks. And most of the time I find I write fish poems when I go down to the islands but this one is about a dead toucan in Guadeloupe. There was a little, well, a strange little zoo at the small hotel where we stayed and we would look at these creatures and one day I went and there was the toucan and it had fallen over dead. Somehow, it made an impression on me. \"Dead Toucan: Guadeloupe\".\n \nBarbara Howes\n00:17:04\nReads \"Dead Toucan: Guadeloupe\" [from Looking Up At Leaves].\n \nBarbara Howes\n00:17:55\nI hope you can hear--can you hear me? In the back rows? We also spent some time in Haiti, earlier, and I'd like to read a couple of poems from that period. This was a thing--it could perfectly well have happened elsewhere but it was the kind of thing that, after we lived in Haiti for a while, I could see very clearly, would definitely have to happen there. There was a young man of about nineteen, very talented as a painter, and did, had just tried out through the art centre there, and doing really quite good and interesting work. And he needed a job so he could buy paints and paper, and anyway just to exist. So an American woman had two small boys and he said he could look after them and play ball and, you know, keep them out of trouble and so on and so forth. And she said, “Can you swim?” And he said, “Oh yes, of course.” So the boys dove into the pool because they had been swimming, as most American boys do, for years. And he dove into the pool, and didn't come up. And nobody was around except some workers who were fixing the garden. But like everybody, almost, in Haiti, they didn't want to get involved, because then the police might ask them questions, and then at the end there's trouble, so the poor young man just died, because the little boys couldn't do anything, and nobody else did anything. And so that made an impression on me. But it's the kind of unfortunate tragedy, due to his saying that he could swim and he couldn't, just because he was so desperately anxious to get the job, and he just made himself believe he could swim. Just a complete waste. \n \nBarbara Howes\n00:20:10\nReads [\"In a Prospect of Flowers\" from Light and Dark].\n \nBarbara Howes\n00:21:10\n\"Mirror Image: Port-au-Prince [https://www.wikidata.org/wiki/Q34261]\". This, there was a little sign on a tree we used to pass every day and then I thought of this poem.\n \nBarbara Howes\n00:21:19\nReads \"Mirror Image: Port-au-Prince\" [from Light and Dark].\n \nBarbara Howes\n00:21:59\nThere's one other. Oh yes. \n \nBarbara Howes\n00:22:06\nReads [\"On a Bougainvillea Vine at the Summer Palace\" from Light and Dark]. \n \nBarbara Howes\n00:23:36\nWell, this is one of the fishing poems from the, from Barbados [https://www.wikidata.org/wiki/Q244], from the islands.\n \nBarbara Howes\n00:23:46\nReads [\"Out Fishing\" from Looking Up At Leaves].\n \nBarbara Howes\n00:24:58\nThis poem is written in one foot, it's just an experiment to see what would happen. I, you know, diameter's two feet, or is it, trimeter is three feet. And tetrameter is four, and pentameter is five. One foot means you just have one sound, like that, and it's just, was a technical experiment, but I might as well read it. And it's also another fish poem. \n \nBarbara Howes\n00:25:32\nReads [\"The Crane Chub--Barbados\" from Looking Up At Leaves].\n \nBarbara Howes\n00:26:18\nHere's a fish, well, a jellyfish poem, from Texas [https://www.wikidata.org/wiki/Q1439]. \n \nBarbara Howes\n00:26:32\nReads [\"On Galveston Beach\" from Looking Up At Leaves].\n \nBarbara Howes\n00:27:32\nAnd then there's the last Caribbean poem, “A Letter from the Caribbean”. \n \nBarbara Howes\n00:27:45\nReads “A Letter From The Caribbean” [from Looking Up At Leaves].\n \nBarbara Howes\n00:28:59\nI've thought I would read just a few poems by modern poets that I like, they're not by any means their strongest or anything, but they're just ones I'm attached to. The first I cut out of the paper once, a long time ago. It's by an African schoolgirl, and I think it's very imaginative. It's awkward but it's really quite wonderful.\n \nBarbara Howes\n00:29:38\nReads unnamed poem by an unknown author. \n\nBarbara Howes\n00:29:53\nThis is an early poem of Wystan Auden's [https://www.wikidata.org/wiki/Q178698] that he kept out of, he didn't use in his book and then he printed again in a recent edition. I think it's technically as awfully, it's light verse but it's also very serious underneath, as good light verse can me. Poem. \n \nBarbara Howes\n00:30:15\nReads [\"To You Simply\"] by W.H. Auden [published in The Collected Poetry of W.H. Auden].\n \nBarbara Howes\n00:30:57\nAnd this is a, I think a simply charming poem by Richard Wilbur [https://www.wikidata.org/wiki/Q1333582]. It gets...it's about the Piazza di Spagna [https://www.wikidata.org/wiki/Q15124814], the Spanish Steps in Rome [https://www.wikidata.org/wiki/Q220], and it gets the feeling of someone gliding, really gliding down that long, gorgeous stairway. \n \nBarbara Howes\n00:31:22\nReads [\"Piazza Di Spagna, Early Morning\"] by Richard Wilbur.\n \nBarbara Howes\n00:32:11\nThis is a poem by Louise Bogan [https://www.wikidata.org/wiki/Q516180], who's a very well known American poet, a very recent one that she, that came out in The New Yorker [https://www.wikidata.org/wiki/Q217305], this summer, I think.\n \nBarbara Howes\n00:32:27\nReads [\"Masked Woman’s Song\"] by Louise Bogan.\n \nBarbara Howes\n00:32:51\nIt's a difficult poem, might read that again, if you don't mind. \n \nBarbara Howes\n00:32:56\nRe \"Masked Woman’s Song\" by Louise Bogan.\n \nBarbara Howes\n00:33:17\nAnd then, the last, oh, oh that's right, I thought I would read a poem by Derek Walcott [https://www.wikidata.org/wiki/Q132701], which I used in this Carribean Anthology. It's mostly short stories but I put a poem in front of each language section. This is by Derek Walcott who's a young poet from St. Lucia [https://www.wikidata.org/wiki/Q760], called \"Missing the Sea\".\n \nBarbara Howes\n00:33:48\nReads \"Missing the Sea\" by Derek Walcott [from The Castaway and collected in From the Green Antilles: Writings of the Caribbean].\n \nBarbara Howes\n00:34:31\nIt's quite a difficult poem but you...he had a book out, oh, can't remember the name, by Farrar, Straus & Giroux [https://www.wikidata.org/wiki/Q3067003] a couple of years ago, in the United States. [https://www.wikidata.org/wiki/Q30] And the last of this group is a poem that I've heard about a hundred thousand times, but it still gives me a chill. It's called \"American Primitive\" by William Jay Smith [https://www.wikidata.org/wiki/Q4355736].\n \nBarbara Howes\n00:35:06\nReads \"American Primitive\" by William Jay Smith.\n \nBarbara Howes\n00:35:47\nI still get a chill! Now, I don't know whether you prefer to have an intermission, and get up and smoke, or prefer for me to continue, what would you think, Stanton?\n \nUnknown\n00:36:06\nAmbient Sound [voices].\n \nBarbara Howes\n00:36:08\nHave an intermission? So people can...breathe?\n \nUnknown\n00:36:17\nAmbient Sound [voices].\n\nUnknown\n00:36:23\n[Cut or edit made in tape. Unknown amount of time elapsed].\n \nBarbara Howes\n00:36:23\nThe problem is the third group of poems, I'd read some poems that are more or less to and about people, and some new poems, although I've noticed that most of my new poems are very depressing, and this is not a good note on which to end, so I'll maybe not read them. I've been very much interested in old French forms, the trielle, the villanelle, the rondeau and rondelle, and ballade and so on and so forth, and they're very difficult but they're fascinating to try, at least. And this is in the form of a trielle. And the lines have to be repeated in a certain fashion which gives you very little room in which to maneuver. This is called \"Early Supper\".\n \nBarbara Howes\n00:37:14\nReads \"Early Supper\" [from Light and Dark].\n \nBarbara Howes\n00:38:10\nThis is a poem I wrote for W.H. Auden for his fiftieth birthday, which was several years ago, now. I think actually, he was last year, sixty.\n \nBarbara Howes\n00:38:21\nReads [\"To W.H. Auden on his Fiftieth Birthday\" from Light and Dark].\n \nBarbara Howes\n00:39:22\nI wrote three poems at that point about winds, and I'll just read one of them. The winds have names in Italy and they almost become like familiar characters. The sirocco, when it blows, is so terrible in its effect on people that if there're crimes of passion, the people generally get off with a lighter sentence, because you sell, well, the sirocco. Naturally you can throttle your wife during that period. This is about the mistral, which, if it blows for three days, one survives, if it blows for six days it's simply awful. If it blows for nine days you've probably already gone out of your head. It's a very wild wind who rushes down the Rhone Valley [https://www.wikidata.org/wiki/Q2747791] and just blows everything away. \n \nBarbara Howes\n00:40:22\nReads [\"Mistral\" from Light and Dark].\n \nBarbara Howes\n00:41:23\nThis is another one, an old French form, the rondeau, which again makes its, has its own complications because of the repetition of lines. And what interested me to do was to try to use, not the usual subject of the rondeaux but to write about, as in this case, the death of a Vermont farm woman, instead of just doing some sort of chittery-chattery business that generally is what people use a rondeau for. \n \nBarbara Howes\n00:42:03\nReads [\"Death of a Vermont Farm Woman\" from Light and Dark].  \n\nBarbara Howes\n00:42:51\nThis is a poem about a very disagreeable character, a thirteenth-century tyrant called Ugolino [https://www.wikidata.org/wiki/Q706003], who met his death from being thrown into prison to die of hunger. He is reputed to have attempted to eat his sons, who were there with him. I must say, it's not an agreeable picture, but I don't think there's been much improvement in that part of mankind. Dante [https://www.wikidata.org/wiki/Q1067] writes of him in the 33rd Canto of the Inferno [https://www.wikidata.org/wiki/Q4509219]. This poem is called \"The Critic\" and, I must say, critics have disliked it heartily. \n \nBarbara Howes\n00:43:28\nReads \"The Critic\" [from Light and Dark].\n \nBarbara Howes\n00:44:23\nThis is a, an odd combination about a person and about Pownal, I guess. \n \nBarbara Howes\n00:44:32\nReads [\"Running into Edgar Bellemare\" from Looking Up at Leaves]. \n \nBarbara Howes\n00:45:27\nThis is a poem I wrote for Katherine Anne Porter [https://www.wikidata.org/wiki/Q236958] on the occasion of her 75th birthday. \"For Katherine Anne Porter\".\n \nBarbara Howes\n00:45:39\nReads “For Katherine Anne Porter” [from Looking Up at Leaves].\n \nBarbara Howes\n00:46:15\nIt's quite marvelous, those collective nouns, who would know that you call a lot of heron a siege of herons and so forth. I'll read that again, because it really is, I was very lucky the way it worked out.\n \nBarbara Howes\n00:46:31\nReads line from “For Katherine Anne Porter”.\n \nBarbara Howes\n00:47:06\nThis is called \"Looking up at Leaves\".\n \nBarbara Howes\n00:47:14\nReads \"Looking up at Leaves\" [from Looking Up At Leaves].\n \nBarbara Howes\n00:48:09\nI'd like to read one New England [https://www.wikidata.org/wiki/Q18389] poem, this is a newer poem, I haven't read this before, I guess.\n \nBarbara Howes\n00:48:16\nReads [\"Still Life: New England\", published later in The Blue Garden].\n \nBarbara Howes\n00:49:34\nI'll read three more poems, I think. This is \"A Rune for C.\"--‘C.’ was a dog of ours. \n \nBarbara Howes\n00:49:51\nReads \"A Rune for C.\" [from Looking Up At Leaves].\n \nBarbara Howes\n00:50:36\nActually, I had just often, I'd made up a good luck thing that seeing the caboose was good luck, but then I found out that this has been an old piece of, well, I don't know, country folklore, that to see the caboose, it means luck. I want to read one poem about my son, and then one short one. \"Portrait of the Boy as Artist\".\n \nBarbara Howes\n00:51:18\nReads \"Portrait of the Boy as Artist\" [from Light and Dark].\n \nBarbara Howes\n00:52:11\nOh, I did want to read one that I'll read next week in New York. This poem is a, this is a rondelle, which is another old French form. And I'm obviously not using it for the usual subject, in this case. It's arranged about the idea, really, of a contrast of the use of space. \"Viet-Napalm: A Rondelle\".\n \nBarbara Howes\n00:52:45\nReads \"Viet-Napalm: A Rondelle\".\n \nBarbara Howes\n00:53:31\nAnd then one last poem on a more cheerful note. \"Leaning into Light\".\n \nBarbara Howes\n00:53:44\nReads \"Leaning into Light\" [from Looking Up At Leaves].\n \nBarbara Howes\n00:54:21.\nThank you very much. \n \nAudience\n00:54:23\nApplause.\n \nStanton Hoffman\n00:54:38\nOne announcement, the next reading will be by Charles Reznikoff [https://www.wikidata.org/wiki/Q1065911], and that's Friday, the same time, November 17th. \n\nUnknown\n00:54:46\nAmbient Sound [voices].\n \nEND\n00:54:57\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1967, Looking Up At Leaves was published in Poetry Magazine. The previous year, Howes edited From the Green Antilles: Writings of the Caribbean, Macmillan (New York, NY), 1966.\\n\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nDirect connections between Barbara Howes and Sir George Williams University are unknown at this time. Howes’ position as an important American poet, though her work was not often acknowledged publicly, made her an ideal candidate for the Reading Series.\\n\",\"type\":\"General\"},{\"note\":\"Original transcript by Rachel Kyne\\n\\nOriginal print catalogue, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\\n\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/807465072&referer=brief_results\",\"citation\":\"Grosholz, Emily. \\\"Howes, Barbara\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ian Hamilton (ed). Oxford University Press, 1996. \"},{\"url\":\"https://www.worldcat.org/title/light-and-dark-poems/oclc/1150226992&referer=brief_results\",\"citation\":\"Howes, Barbara. Light and Dark. Middletown, Connecticut: Wesleyan University Press, 1959. \"},{\"url\":\"https://www.worldcat.org/title/looking-up-at-leaves-poems/oclc/1150237234&referer=brief_results\",\"citation\":\"Howes, Barbara. Looking Up at Leaves. New York: Knopf, 1966. \"},{\"url\":\"https://www.worldcat.org/title/from-the-green-antilles-writings-of-the-caribbean/oclc/1140475941&referer=brief_results\",\"citation\":\"Howes, Barbara. (ed) From the Green Antilles: Writings of the Caribbean. New York: Macmillan, 1966. \"},{\"url\":\"http://www.nytimes.com/1996/02/25/us/barbara-howes-poet-and-editor-dies-at-81.html?pagewanted=1\",\"citation\":\"Pace, Eric. “Barbara Howes, Poet and Editor, Dies at 81”. New York Times. February 25, 1996. New York Edition: Obituary, page 139.\"},{\"url\":\"http://www.poetryfoundation.org/archive/poet.html?id=3307\",\"citation\":\"“Barbara Howes (1914-1996)”. Poetry Foundation. Poet Biography. Poetry Foundation: 2009.\"},{\"url\":\"https://www.concordia.ca/content/dam/concordia/offices/archives/docs/postgrad/Postgrad-1967-Spring.pdf\",\"citation\":\"“Poetry Readings”. Post-Grad. Montreal: Sir George Williams University, Spring 1967, page 20. \"},{\"url\":\"http://news.google.com/newspapers?id=np8tAAAAIBAJ&sjid=PKAFAAAAIBAJ&pg=4195,2837932&dq=sir+george+williams+poetry&hl=en\",\"citation\":\"“SGWU To Have Poetry Series”. Montreal: The Gazette. 14 September 1967, page 15. \"},{\"url\":\"\",\"citation\":\"Howes, Barbara. Looking Up at Leaves. Poetry Magazine. Volume 109, January 1967, Page 270.\"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-american-literature/oclc/54356940&referer=brief_results\",\"citation\":\"\\\"Howes, Barbara\\\". The Oxford Companion to American Literature. James D. Hart (ed). Phillip W. Leininger (rev.). Oxford University Press 1995.\"}]"],"_version_":1853670548818624512,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0024_back.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0024_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Barbara Howes Tape Box - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0024_front.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0024_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Barbara Howes Tape Box - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0024_side.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0024_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Barbara Howes Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0024_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0024_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Barbara Howes Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/barbara_howes_i086-11-024.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"barbara_howes_i086-11-024.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:54:57\",\"precision\":\"\",\"size\":\"131.9 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Stanton Hoffman\\n00:00:00\\nThe reading this evening is by Miss Barbara Howes [https://www.wikidata.org/wiki/Q4858990[. Miss Barbara Howes was born in Boston [https://www.wikidata.org/wiki/Q100] and educated at Bennington College [https://www.wikidata.org/wiki/Q817902]. She has published four volumes of poems: The Undersea Farmer, which was published in 1948 by the Banyan Press; In the Cold Country, which was was published by Bonaci and Saul in cooperation with Grove Press [https://www.wikidata.org/wiki/Q3777164] in 1954, Light and Dark, which was published by Wellesley University [https://www.wikidata.org/wiki/Q49205] Press in 1959, and the recent Looking up at Leaves, which was published by Knopf [https://www.wikidata.org/wiki/Q1431868] in 1966 and which was nominated for the National Book Awards. She has been the editor of a volume of writings of the Carribean which was published by MacMillan [https://www.wikidata.org/wiki/Q2108217]in 1966 and Twenty-three Modern Stories published in 1963 by Vintage Books [https://www.wikidata.org/wiki/Q3560313]. In 1949, she won the Bess Hokin Prize of Poetry Magazine, in 1955 she held a Guggenheim Fellowship [https://www.wikidata.org/wiki/Q1316544], and in 1957, she won the Brandeis Poetry Award. Her poems have appeared in many journals, such as Harper's Bazaar [https://www.wikidata.org/wiki/Q654606], New World Writing [https://www.wikidata.org/wiki/Q7012606], Poetry [https://www.wikidata.org/wiki/Q7207482], Suani Review, New Republic [https://www.wikidata.org/wiki/Q1329873], and so forth. And next week in New York City [https://www.wikidata.org/wiki/Q60], Miss Howes will be reading as part of series, or brothers, as part of reading, as part of a reading by fifteen or so other poets, as part of a Poets for Peace, sponsored by the Compassionate Art of the Fellowship of Reconciliation. Ladies and gentlemen, Miss Barbara Howes. \\n \\nAudience\\n00:01:48\\nApplause.\\n \\nBarbara Howes\\n00:02:17\\nThank you very much, Mr. Hoffman, I'm delighted to be here. If you can't hear me, raise your hands or let me know by some other device. Is this a microphone or does this have to do with this machine? Well I'll try to be clear. I thought rather than read a kind of segmented, like a string of sausages, series of poems, going on and on and on, which gives one very little hope that it'll ever end, it'd be better to say that I'm going to have a beginning, a middle, and an end, and that would be...and so I've arranged the poems in this way, so you will have hope that I won't continue forever, which has been done, in the annals of poetry. I wanted to write, read some poems that have to do with place, because I've thought a lot about the effect of place on poems, and to what extent the place you're in influences what you write. One's imagination would never become extended in certain directions if you hadn't happened to live in a certain place. I was very conscious of that when we lived in Florence [https://www.wikidata.org/wiki/Q2044] for two years and when my older boy was born, and subsequently for another two years. And I would never--because we--I would never possibly have been able to think, I mean this is obvious in a way, but it gets more complicated, of...Some of the imaginative happenings that occurred would, could never have happened, well in Massachusetts [https://www.wikidata.org/wiki/Q771] or anywhere else, and also even in, I mean in Vermont [https://www.wikidata.org/wiki/Q16551], where we now live, have been profoundly affected by the section of the mountain which we life. And also we spent some time in Haiti [https://www.wikidata.org/wiki/Q790], and so on and so forth, so this first group will be mostly poems that have a lot to do with experiences that have happened because of a particular place. The first poem is an Italian poem, or written out of Italy [https://www.wikidata.org/wiki/Q38], called \\\"Primavera\\\".\\n \\nBarbara Howes\\n00:04:48\\nReads \\\"Primavera\\\" [from Light and Dark].\\n \\nBarbara Howes\\n00:06:19\\nThis is called \\\"The Triumph of Love\\\".\\n \\nBarbara Howes\\n00:06:27\\nReads \\\"The Triumph of Love\\\" [from Light and Dark].\\n \\nBarbara Howes\\n00:07:18\\nThen for a summer, we lived in a little town in the south of France [https://www.wikidata.org/wiki/Q142], Le Lavandou [https://www.wikidata.org/wiki/Q736462], and it was a very good summer all in all, although, except we had no car and a very big house with only about one room on a floor. So the baby was on the top floor, and the kitchen, it's one burner, was on, you know, it's four floors down. And I would rush up and pick him up and then put him back in his bed, and then rush down and light the burner, and then rush up and get him, and then rush down. So it was difficult in some ways. But one of our entertainments, or entertainments that seemed to certainly entertain friends was to go to an island off Toulon [https://www.wikidata.org/wiki/Q44160] called Ile Levant [https://www.wikidata.org/wiki/Q292516], which is half a naval base and half a colony. And you could go out there in a small--it took about an hour in a small boat, and one time we stood on the dock not quite sure what to do next. Another person who'd come in the boat with us in very high heels and an enormous black hat removed everything else and ran up the hill. [Audience laughter]. So this is “L'Ile du Levant, the Nudist Colony”.\\n \\nBarbara Howes\\n00:08:55\\nReads \\\"L'Ile du Levant: the Nudist Colony\\\" [from Light and Dark].\\n \\nBarbara Howes\\n00:10:59\\nNow living as I do in the country in Vermont, there comes that terrible time in November when all the hunters from the cities come rushing up with their pint bottles and their confusion and they lounge around half the time sitting in cars and shooting vaguely at anything. So I used to try to write an anti-hunter poem every fall,I don't know about this year, I haven't got an idea yet, but I may see if I can do something. \\\"In Autumn\\\". Excuse me. \\n \\nBarbara Howes\\n00:11:37\\nReads \\\"In Autumn\\\" [from Light and Dark].\\n \\nBarbara Howes\\n00:12:29\\nAnd this is another on the same subject.\\n \\nBarbara Howes\\n00:12:39\\nReads [\\\"Landscape, Deer Season\\\" from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:13:16\\nThis is another Pownal [https://www.wikidata.org/wiki/Q1940266] poem, it's really two things put together. It's called \\\"A Night Picture of Pownal”, for JFK. And I stood one evening in very bright moonlight looking out at the shadow of the apple tree across the road on the snow and it made an impression on me, I began to take notes in the dark as best I could on it. And then later, shortly after that, for the death of Kennedy [https://www.wikidata.org/wiki/Q9696], then I saw the poem wasn't, it was inadequate, and I somehow put, wove those two things together.\\n \\nBarbara Howes\\n00:14:06\\nReads \\\"A Night Picture of Pownal\\\" [from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:15:19\\nAnother Vermont poem or Pownal poem on a more cheerful note. \\\"Town Meeting Tuesday\\\". Town meeting is the first Tuesday in March, and many of the people who have stayed in all winter then emerge like woodchucks from their houses.\\n \\nBarbara Howes\\n00:15:45\\nReads \\\"Town Meeting Tuesday\\\" [from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:16:22\\nNow, we spent two or three Easter vacations in the islands of the Caribbean [https://www.wikidata.org/wiki/Q664609], we went to Guadeloupe [https://www.wikidata.org/wiki/Q17012] once for two weeks. And most of the time I find I write fish poems when I go down to the islands but this one is about a dead toucan in Guadeloupe. There was a little, well, a strange little zoo at the small hotel where we stayed and we would look at these creatures and one day I went and there was the toucan and it had fallen over dead. Somehow, it made an impression on me. \\\"Dead Toucan: Guadeloupe\\\".\\n \\nBarbara Howes\\n00:17:04\\nReads \\\"Dead Toucan: Guadeloupe\\\" [from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:17:55\\nI hope you can hear--can you hear me? In the back rows? We also spent some time in Haiti, earlier, and I'd like to read a couple of poems from that period. This was a thing--it could perfectly well have happened elsewhere but it was the kind of thing that, after we lived in Haiti for a while, I could see very clearly, would definitely have to happen there. There was a young man of about nineteen, very talented as a painter, and did, had just tried out through the art centre there, and doing really quite good and interesting work. And he needed a job so he could buy paints and paper, and anyway just to exist. So an American woman had two small boys and he said he could look after them and play ball and, you know, keep them out of trouble and so on and so forth. And she said, “Can you swim?” And he said, “Oh yes, of course.” So the boys dove into the pool because they had been swimming, as most American boys do, for years. And he dove into the pool, and didn't come up. And nobody was around except some workers who were fixing the garden. But like everybody, almost, in Haiti, they didn't want to get involved, because then the police might ask them questions, and then at the end there's trouble, so the poor young man just died, because the little boys couldn't do anything, and nobody else did anything. And so that made an impression on me. But it's the kind of unfortunate tragedy, due to his saying that he could swim and he couldn't, just because he was so desperately anxious to get the job, and he just made himself believe he could swim. Just a complete waste. \\n \\nBarbara Howes\\n00:20:10\\nReads [\\\"In a Prospect of Flowers\\\" from Light and Dark].\\n \\nBarbara Howes\\n00:21:10\\n\\\"Mirror Image: Port-au-Prince [https://www.wikidata.org/wiki/Q34261]\\\". This, there was a little sign on a tree we used to pass every day and then I thought of this poem.\\n \\nBarbara Howes\\n00:21:19\\nReads \\\"Mirror Image: Port-au-Prince\\\" [from Light and Dark].\\n \\nBarbara Howes\\n00:21:59\\nThere's one other. Oh yes. \\n \\nBarbara Howes\\n00:22:06\\nReads [\\\"On a Bougainvillea Vine at the Summer Palace\\\" from Light and Dark]. \\n \\nBarbara Howes\\n00:23:36\\nWell, this is one of the fishing poems from the, from Barbados [https://www.wikidata.org/wiki/Q244], from the islands.\\n \\nBarbara Howes\\n00:23:46\\nReads [\\\"Out Fishing\\\" from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:24:58\\nThis poem is written in one foot, it's just an experiment to see what would happen. I, you know, diameter's two feet, or is it, trimeter is three feet. And tetrameter is four, and pentameter is five. One foot means you just have one sound, like that, and it's just, was a technical experiment, but I might as well read it. And it's also another fish poem. \\n \\nBarbara Howes\\n00:25:32\\nReads [\\\"The Crane Chub--Barbados\\\" from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:26:18\\nHere's a fish, well, a jellyfish poem, from Texas [https://www.wikidata.org/wiki/Q1439]. \\n \\nBarbara Howes\\n00:26:32\\nReads [\\\"On Galveston Beach\\\" from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:27:32\\nAnd then there's the last Caribbean poem, “A Letter from the Caribbean”. \\n \\nBarbara Howes\\n00:27:45\\nReads “A Letter From The Caribbean” [from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:28:59\\nI've thought I would read just a few poems by modern poets that I like, they're not by any means their strongest or anything, but they're just ones I'm attached to. The first I cut out of the paper once, a long time ago. It's by an African schoolgirl, and I think it's very imaginative. It's awkward but it's really quite wonderful.\\n \\nBarbara Howes\\n00:29:38\\nReads unnamed poem by an unknown author. \\n\\nBarbara Howes\\n00:29:53\\nThis is an early poem of Wystan Auden's [https://www.wikidata.org/wiki/Q178698] that he kept out of, he didn't use in his book and then he printed again in a recent edition. I think it's technically as awfully, it's light verse but it's also very serious underneath, as good light verse can me. Poem. \\n \\nBarbara Howes\\n00:30:15\\nReads [\\\"To You Simply\\\"] by W.H. Auden [published in The Collected Poetry of W.H. Auden].\\n \\nBarbara Howes\\n00:30:57\\nAnd this is a, I think a simply charming poem by Richard Wilbur [https://www.wikidata.org/wiki/Q1333582]. It gets...it's about the Piazza di Spagna [https://www.wikidata.org/wiki/Q15124814], the Spanish Steps in Rome [https://www.wikidata.org/wiki/Q220], and it gets the feeling of someone gliding, really gliding down that long, gorgeous stairway. \\n \\nBarbara Howes\\n00:31:22\\nReads [\\\"Piazza Di Spagna, Early Morning\\\"] by Richard Wilbur.\\n \\nBarbara Howes\\n00:32:11\\nThis is a poem by Louise Bogan [https://www.wikidata.org/wiki/Q516180], who's a very well known American poet, a very recent one that she, that came out in The New Yorker [https://www.wikidata.org/wiki/Q217305], this summer, I think.\\n \\nBarbara Howes\\n00:32:27\\nReads [\\\"Masked Woman’s Song\\\"] by Louise Bogan.\\n \\nBarbara Howes\\n00:32:51\\nIt's a difficult poem, might read that again, if you don't mind. \\n \\nBarbara Howes\\n00:32:56\\nRe \\\"Masked Woman’s Song\\\" by Louise Bogan.\\n \\nBarbara Howes\\n00:33:17\\nAnd then, the last, oh, oh that's right, I thought I would read a poem by Derek Walcott [https://www.wikidata.org/wiki/Q132701], which I used in this Carribean Anthology. It's mostly short stories but I put a poem in front of each language section. This is by Derek Walcott who's a young poet from St. Lucia [https://www.wikidata.org/wiki/Q760], called \\\"Missing the Sea\\\".\\n \\nBarbara Howes\\n00:33:48\\nReads \\\"Missing the Sea\\\" by Derek Walcott [from The Castaway and collected in From the Green Antilles: Writings of the Caribbean].\\n \\nBarbara Howes\\n00:34:31\\nIt's quite a difficult poem but you...he had a book out, oh, can't remember the name, by Farrar, Straus & Giroux [https://www.wikidata.org/wiki/Q3067003] a couple of years ago, in the United States. [https://www.wikidata.org/wiki/Q30] And the last of this group is a poem that I've heard about a hundred thousand times, but it still gives me a chill. It's called \\\"American Primitive\\\" by William Jay Smith [https://www.wikidata.org/wiki/Q4355736].\\n \\nBarbara Howes\\n00:35:06\\nReads \\\"American Primitive\\\" by William Jay Smith.\\n \\nBarbara Howes\\n00:35:47\\nI still get a chill! Now, I don't know whether you prefer to have an intermission, and get up and smoke, or prefer for me to continue, what would you think, Stanton?\\n \\nUnknown\\n00:36:06\\nAmbient Sound [voices].\\n \\nBarbara Howes\\n00:36:08\\nHave an intermission? So people can...breathe?\\n \\nUnknown\\n00:36:17\\nAmbient Sound [voices].\\n\\nUnknown\\n00:36:23\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n \\nBarbara Howes\\n00:36:23\\nThe problem is the third group of poems, I'd read some poems that are more or less to and about people, and some new poems, although I've noticed that most of my new poems are very depressing, and this is not a good note on which to end, so I'll maybe not read them. I've been very much interested in old French forms, the trielle, the villanelle, the rondeau and rondelle, and ballade and so on and so forth, and they're very difficult but they're fascinating to try, at least. And this is in the form of a trielle. And the lines have to be repeated in a certain fashion which gives you very little room in which to maneuver. This is called \\\"Early Supper\\\".\\n \\nBarbara Howes\\n00:37:14\\nReads \\\"Early Supper\\\" [from Light and Dark].\\n \\nBarbara Howes\\n00:38:10\\nThis is a poem I wrote for W.H. Auden for his fiftieth birthday, which was several years ago, now. I think actually, he was last year, sixty.\\n \\nBarbara Howes\\n00:38:21\\nReads [\\\"To W.H. Auden on his Fiftieth Birthday\\\" from Light and Dark].\\n \\nBarbara Howes\\n00:39:22\\nI wrote three poems at that point about winds, and I'll just read one of them. The winds have names in Italy and they almost become like familiar characters. The sirocco, when it blows, is so terrible in its effect on people that if there're crimes of passion, the people generally get off with a lighter sentence, because you sell, well, the sirocco. Naturally you can throttle your wife during that period. This is about the mistral, which, if it blows for three days, one survives, if it blows for six days it's simply awful. If it blows for nine days you've probably already gone out of your head. It's a very wild wind who rushes down the Rhone Valley [https://www.wikidata.org/wiki/Q2747791] and just blows everything away. \\n \\nBarbara Howes\\n00:40:22\\nReads [\\\"Mistral\\\" from Light and Dark].\\n \\nBarbara Howes\\n00:41:23\\nThis is another one, an old French form, the rondeau, which again makes its, has its own complications because of the repetition of lines. And what interested me to do was to try to use, not the usual subject of the rondeaux but to write about, as in this case, the death of a Vermont farm woman, instead of just doing some sort of chittery-chattery business that generally is what people use a rondeau for. \\n \\nBarbara Howes\\n00:42:03\\nReads [\\\"Death of a Vermont Farm Woman\\\" from Light and Dark].  \\n\\nBarbara Howes\\n00:42:51\\nThis is a poem about a very disagreeable character, a thirteenth-century tyrant called Ugolino [https://www.wikidata.org/wiki/Q706003], who met his death from being thrown into prison to die of hunger. He is reputed to have attempted to eat his sons, who were there with him. I must say, it's not an agreeable picture, but I don't think there's been much improvement in that part of mankind. Dante [https://www.wikidata.org/wiki/Q1067] writes of him in the 33rd Canto of the Inferno [https://www.wikidata.org/wiki/Q4509219]. This poem is called \\\"The Critic\\\" and, I must say, critics have disliked it heartily. \\n \\nBarbara Howes\\n00:43:28\\nReads \\\"The Critic\\\" [from Light and Dark].\\n \\nBarbara Howes\\n00:44:23\\nThis is a, an odd combination about a person and about Pownal, I guess. \\n \\nBarbara Howes\\n00:44:32\\nReads [\\\"Running into Edgar Bellemare\\\" from Looking Up at Leaves]. \\n \\nBarbara Howes\\n00:45:27\\nThis is a poem I wrote for Katherine Anne Porter [https://www.wikidata.org/wiki/Q236958] on the occasion of her 75th birthday. \\\"For Katherine Anne Porter\\\".\\n \\nBarbara Howes\\n00:45:39\\nReads “For Katherine Anne Porter” [from Looking Up at Leaves].\\n \\nBarbara Howes\\n00:46:15\\nIt's quite marvelous, those collective nouns, who would know that you call a lot of heron a siege of herons and so forth. I'll read that again, because it really is, I was very lucky the way it worked out.\\n \\nBarbara Howes\\n00:46:31\\nReads line from “For Katherine Anne Porter”.\\n \\nBarbara Howes\\n00:47:06\\nThis is called \\\"Looking up at Leaves\\\".\\n \\nBarbara Howes\\n00:47:14\\nReads \\\"Looking up at Leaves\\\" [from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:48:09\\nI'd like to read one New England [https://www.wikidata.org/wiki/Q18389] poem, this is a newer poem, I haven't read this before, I guess.\\n \\nBarbara Howes\\n00:48:16\\nReads [\\\"Still Life: New England\\\", published later in The Blue Garden].\\n \\nBarbara Howes\\n00:49:34\\nI'll read three more poems, I think. This is \\\"A Rune for C.\\\"--‘C.’ was a dog of ours. \\n \\nBarbara Howes\\n00:49:51\\nReads \\\"A Rune for C.\\\" [from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:50:36\\nActually, I had just often, I'd made up a good luck thing that seeing the caboose was good luck, but then I found out that this has been an old piece of, well, I don't know, country folklore, that to see the caboose, it means luck. I want to read one poem about my son, and then one short one. \\\"Portrait of the Boy as Artist\\\".\\n \\nBarbara Howes\\n00:51:18\\nReads \\\"Portrait of the Boy as Artist\\\" [from Light and Dark].\\n \\nBarbara Howes\\n00:52:11\\nOh, I did want to read one that I'll read next week in New York. This poem is a, this is a rondelle, which is another old French form. And I'm obviously not using it for the usual subject, in this case. It's arranged about the idea, really, of a contrast of the use of space. \\\"Viet-Napalm: A Rondelle\\\".\\n \\nBarbara Howes\\n00:52:45\\nReads \\\"Viet-Napalm: A Rondelle\\\".\\n \\nBarbara Howes\\n00:53:31\\nAnd then one last poem on a more cheerful note. \\\"Leaning into Light\\\".\\n \\nBarbara Howes\\n00:53:44\\nReads \\\"Leaning into Light\\\" [from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:54:21.\\nThank you very much. \\n \\nAudience\\n00:54:23\\nApplause.\\n \\nStanton Hoffman\\n00:54:38\\nOne announcement, the next reading will be by Charles Reznikoff [https://www.wikidata.org/wiki/Q1065911], and that's Friday, the same time, November 17th. \\n\\nUnknown\\n00:54:46\\nAmbient Sound [voices].\\n \\nEND\\n00:54:57\\n\",\"notes\":\"Barbara Howes reads from Light and Dark (Wesleyan University Press, 1959), Looking Up at Leaves (Knopf, 1966), and From the Green Antilles: Writings of the Caribbean, (Macmillan, 1966) as well as some poems from unknown sources.\\n\\n00:00- Stanton Hoffman introduces Barbara Howes [INDEX: Boston, Bennington College, volumes of poetry: The Undersea Farmer (Banyan Press, 1948), In the Cold Country (Bonaci & Saul (Grove Press), 1954), Light and Dark (Wellesley University Press, 1959), Light and Dark (Knopf, 1966)- nominated for the National Book Award, editor of Caribbean writing (MacMillan, 1966), Twenty-Three Modern Stories (Vintage, 1963), won Bess Hawkin Prize of Poetry Magazine (1949), Guggenheim Fellowship (1955), Brandeis Poetry Award (1957), Harper's Bazaar, New World Writing, Poetry, Suani Review, New Republic, reading in NYC Poets for Peace sponsored by the Compassionate Art of the Fellowship of Reconciliation.]\\n01:48- Barbara Howes introduces reading, and “Primavera”. [INDEX: Mr. Hoffman,  \\tmicrophone, recording ‘machine’, reading order, poetry readings, place poems, influences, imagination, Florence (Italy), first son, Massachusetts, Vermont, Haiti,   \\tmountain, Italian poem.]\\n04:48- Reads \\\"Primavera\\\"  [INDEX:  horse, sick, city, Florence, Italy, riding, catacomb, past, history, stone, journey, Giotto, Aphrodite, art, architecture.]\\n06:29- Introduces and reads “The Triumph of Love”.  [INDEX: Italy, city, Venice, art,   Veronese, sight, gaze, painting, palace, love; from Light and Dark (Wesleyan University \\tPress, 1958)]\\n07:18- Introduces “L’Ile du Levant: The Nudist Colony”. [INDEX: La Bandue, town in the south of France, summer, car, house, baby, housewife, entertainment, island Toulon, Ile \\tle Bon, naval base, colony, small town, dock, nudist colony; from Light and Dark   (Wesleyan University Press, 1958).]\\n08:55- Reads “L’Ile du Levant: the Nudist Colony”. [INDEX: place, island, France, plants, cicadas, colony, nudist, vacation, display, clothes, body, skin, dusk]\\n10:59- Introduces “In Autumn”. [INDEX: Vermont, November, hunters, cities, pint bottles,  anti-hunter poem; from Light and Dark (Wesleyan University Press, 1958)]\\n11:37- Reads \\\"In Autumn\\\"  [INDEX: place, Vermont, city, rural, country, hunter,       \\thunting, game, cars, guns, blood, body, red, male, stag.]\\n12:29- Reads “Landscape, Deer Season”  [INDEX: buck, gun, deer, hunting, body, blood, sun, country, place, Vermont, death; from Looking up at Leaves (Knopf, 1966).]\\n13:16- Introduces “A Night Picture of Pownal for JFK”.  [INDEX Pownal poem, apple tree, snow, nighttime, death of Kennedy; from Looking up at Leaves (Knopf, 1966).]\\n14:06- Reads “A Night Picture of Pownal, for JFK”. [INDEX:  place, night, Pownal, Kennedy, history, Matthew Brady, civil war, moon, sound, death, tree, sight, tragedy, stain.]\\n15:19- Introduces “Town Meeting, Tuesday”. [INDEX: Vermont poem, Parnell Poem, cheerful, town meeting, first Tuesday in March, winter, woodchucks; from Looking up at Leaves (Knopf, 1966).]\\n15:45- Reads \\\"Town Meeting, Tuesday\\\"  [INDEX: place, Vermont, trees.]\\n16:22- Introduces  “Dead Toucan, Guadeloupe”. [INDEX: Easter vacations, Caribbean,          Guadeloupe, fish poems, islands, zoo, small hotel; ; from Looking up at Leaves (Knopf, 1966).]\\n17:04- Reads “Dead Toucan, Guadeloupe”. [INDEX: place, Guadeloupe, nature, bird, toucan, death, animals.]\\n17:55- Introduces “In a Prospect of Flowers”. [INDEX: Haiti, young painter, American woman, children, drowning death, Haitian attitudes and politics, tragedy, job; from Light and Dark (Wesleyan University Press, 1958).]\\n20:10- Reads “In a Prospect of Flowers”. [INDEX:  place, Haiti, art, artist, picture, water, pool, death, drowning, Icarus, elegy, ideal.]\\n21:10- Introduces “Mirror Image, Port-au-Prince”. [INDEX: sign on a tree; from Light and Dark (Wesleyan University Press, 1958).]\\n21:19- Reads “Mirror Image, Port-au-Prince”. [INDEX: place, Haiti, mirror, makeup,       woman, hairdresser; from Light and Dark (Wesleyan University Press, 1958).]\\n21:59- Reads “On Bougainvillea Vine at the Summer Palace”.  [INDEX: place, Haiti, lizard, nature, animals, palace, couple, winter.]\\n23:36- Introduces “Out Fishing”. [INDEX: Barbados, fishing poems; from Looking up at       Leaves (Knopf, 1966).] \\n23:46- Reads  “Out Fishing”. [INDEX: place, Barbados, ocean, fishing, fish, boat, war]\\n24:58- Introduces “The Crane Chub, Barbados”. [INDEX: technical experiment, diameter, trimeter, tetrameter, pentameter, one foot, one sound, fish poem; from Looking up at Leaves (Knopf, 1966).]\\n25:32- Reads “The Crane Chub, Barbados”. [INDEX: place, Barbados, fish, ocean, chub, eating, food, lover, absence]\\n26:18- Introduces “On Galveston Beach”. [INDEX: Jellyfish poem, Texas; from Looking up at Leaves (Knopf, 1966).]\\n26:32- Reads \\\"On Galveston Beach\\\"  [INDEX: place, Texas, Galveston Beach, ocean, beach, fish, jellyfish]\\n27:32- Introduces “A Letter from the Caribbean”. [INDEX:   Caribbean poem.]\\n27:45- Reads \\\"A Letter from the Caribbean\\\" [INDEX: place, Carribean, wind, air, nature, time, memory, remembrance.]\\n28:59- Introduces poem by Unknown author, first line “What a wonderful bird, the   \\tfraga” [Spelling unknown.] [INDEX: modern poets, poems Howes is attached to, poem   \\tcut out of newspaper, by an African schoolgirl; from unknown source.]\\n29:38- Reads “What a wonderful bird, the fraga” by unknown poet. [INDEX: nature, animal, bird, fraga.]\\n29:53- Introduces unknown poem, first line “For what is easy, for what though small” by    Wystan Auden. [INDEX: W.H. Auden, early poem, not published in his first edition,    \\tprinted in a recent edition, technical qualities, light verse; from Collected Shorter Poems, 1927-1957 (Faber Press, 1966) by W.H. Auden.]\\n30:15- Reads unknown poem, first line “For what is easy, for what though small” by    Wystan Auden. [INDEX: word, heart, memory]\\n30:57- Introduces poem by Richard Wilbur “Piazza Di Espagna, Early Morning”. [INDEX: Spanish Steps in Rome, gliding down a stairway; from unknown source.]\\n31:22- Reads poem by Richard Wilbur “Piazza Di Espagna, Early Morning”.\\n32:11- Introduces poem by Louise Bogan “Masked Woman Song”. [INDEX: American poet, The New Yorker Magazine; from unknown source.]\\n32:27- Reads “Masked Woman Song” by Louise Bogan. [INDEX: sight, woman, man, face, mask, virtue, evil, beauty.]\\n32:51- Decides to re-read the poem [INDEX: poem difficult to read.]\\n33:56- Re-reads “Masked Woman Song” by Louise Bogan.\\n33:17- Introduces “Missing the Sea” by Derek Walcott. [INDEX: Caribbean Anthology, short stories, poem in front of language section, St. Lucia; from From the Green Antilles:     Writings of the Caribbean (MacMillan, 1966).]\\n33:48- Reads “Missing the Sea” by Derek Walcott. [INDEX: place, house, absence, sea, sound, dead.]\\n34:31- Explains “Missing the Sea”, introduces “American Primitive” by William J. Smith. [INDEX: difficult poem, Walcott’s book (perhaps Another Life 1966) published by Farrar,   Straus & Giroux, United States, William J. Smith; from unknown source.]\\n35:06- Reads “American Primitive” by William J. Smith. [INDEX: man, clothes, money,     America, father, daddy, dollar.]\\n35:47- Introduces intermission. [INDEX: chill from poem, Stanton (Hoffman).]\\n36:23- Cut made in tape.\\n36:23- Howe introduces third group of poems and “Early Supper”. [INDEX: poems to or about people, new poems as depressing, old French forms, trielle, villanelle, rondeau and rondelle, ballade, difficult but fascinating, trielle; from unknown source.]    \\n37:14- Reads “Early Supper”. [INDEX: genre, form, trielle, kitchen, autumn, children, eating, cooking, food, night.]\\n38:10- Introduces “To W.H. Auden on his Fiftieth Birthday”. [INDEX: poem for W.H. Auden on his fiftieth birthday, sixtieth birthday last year; from Light and Dark (Wesleyan \\tUniversity Press, 1958).]\\n38:21- Reads “To W.H. Auden on his Fiftieth Birthday”. [INDEX: occasional poem, books, library, poem, poet, Auden.]\\n39:22- Introduces “Mistral”. [INDEX: three poems about winds, wind names in Italy, sirocco, crimes of passion, mistral blows for three days, down the Rhone Valley; from Light and Dark (Wesleyan University Press, 1958).]\\n40:22- Reads “Mistral”. [INDEX: nature, wind, Mistral, place, Italy, solitude, sound, storm.]\\n41:23- Introduces “Death of a Vermont Farm Woman”. [INDEX: old French form,   \\tcomplications because of the repetition of lines, not the usual subject of the rondeaux; from Light and Dark (Wesleyan University Press, 1958).]\\n42:03- Reads “Death of a Vermont Farm Woman”. [INDEX: form, genre, rondeau, death, woman, Vermont, place, farm.]\\n42:51- Introduces “The Critic”. [INDEX: disagreeable character, thirteenth century tyrant called Ugolino, prison, eat his sons, Dante’s 33rd Canto of the Inferno, critics dislike the poem; from Light and Dark (Wesleyan University Press, 1958).] \\n43:28- Reads “The Critic”. [INDEX: Ugolino, Dante, critic, criticism, poets, Eliot, Yeats,      eating, wisdom.]\\n44:23- Introduces “Running into Edgar Blemar”. [INDEX: odd combination or a person and Pownal; from Looking Up at Leaves (Knopf, 1966).] \\n44:32- Reads \\\"Running into Edgar Belmar\\\"  [INDEX: place, Vermont, Pownal, Edgar Belmar, car, children, accident.]\\n45:27- Introduces “For Catherine Anne Porter”. [INDEX: written for Catherine Ann Porter on her 75th birthday; from Looking Up at Leaves (Knopf, 1966).] \\n45:39- Reads “For Catherine Anne Porter”. [INDEX: occasional poem, Catherine Ann Porter, birthday, birds, heron, peacock, dove, starling, nightingale, lark.]\\n46:15- Introduces unknown poem first line “For Catherine Anne Porter”. [INDEX:   \\tcollective nouns, siege of herons.]\\n46:31- Rereads “For Catherine Anne Porter”. [INDEX: occasional poem, Catherine Ann     Porter, birthday, birds, heron, peacock, dove, starling, nightingale, lark.]\\n47:06- Introduces “Looking up at Leaves”. [INDEX: from Looking Up at Leaves (Knopf,     1966).] \\n47:14- Reads “Looking up at Leaves”. [INDEX: nature, tree, leaves, sight, reflection.]\\n48:09- Introduces “Still Life, New England”. [INDEX: new poem, never read before; unknown source.]\\n48:16- Reads “Still Life, New England”.   [INDEX: nature, animal, cow, birth, calf, sheep, boar, death, cat.]\\n49:34- Introduces “A Rune for C.”. [INDEX: dog named ‘C’; from Looking Up at Leaves      (Knopf, 1966).]\\n49:51- Reads “A Rune for C.”. [INDEX: animal, dog, sickness, omen, luck, rune, fate, death, train]\\n50:36- Explains “A Rune for C.”, introduces “Portrait of the Boy as Artist”. [INDEX: good    luck, caboose, country folklore; from Light and Dark (Wesleyan University Press, 1958).]\\n51:18- Reads “Portrait of the Boy as Artist”.  [INDEX: son, boy, artist, composer, music,     painter, train, colour, poet, Theseus, Daniel Boone, youth.]\\n52:11- Introduces “Viet-Napalm: A Rondelle”. [INDEX: will read in New York, rondelle, old French form, not usual subject, contrast of the use of space; unknown source.]\\n52:45- Reads “Viet-Napalm: A Rondelle”. [INDEX: war, Vietnam, peace, bomb, death, face, genre, form, rondelle.]\\n53:31- Introduces “Leaning into Light”. [INDEX: cheerful poem; unknown source.]\\n53:44- Reads “Leaning into Light”. [INDEX: hibiscus, nature, plant, light, shadow, wisteria]\\n54:21- Barbara Howes thanks audience.\\n54:38- Stanton Hoffman makes announcement about next reading. [INDEX: Charles Reznikoff reading on Friday, November 17th.]\\n54:57.60- RECORDING ENDS.\\n \\nHoward Fink Print catalogue page from Concordia University archives contains the following information:\\n \\nTitle: Barbara Howes reading poetry, November 3, 1967\\nDate: November 3, 1967\\nSource: one 7”, two track tape, mono, @ 3 ¾ ips, lasting one hour and 15 mins.\\n \\n1. Title:              \\n    First line: “The horse with consumption…”\\n2. Title: The Triumph of Love\\n    First line:        \\n3. Title:              \\n    First line: “All the wide…”\\n4. Title:              \\n    First line: “In Autumn, red men come…”\\n5. Title: Landscape: Deer Season\\n    First line: “Snorting his pleasure in the…”\\n6. Title: A Night Picture of Ponel for J.F.K.\\n    First line: “Thanks to the moon…”\\n7. Title: Town Meeting; Tuesday\\n    First line: “Our roadside trees…”\\n8. Title: Dead Tucan; Guadeloupe\\n    First line: “Down like the oval fall of a hammer…\\n9. Title:              \\n    First line: “As in his tomb…\\n10. Title: Mirror Image: Port au Prince\\n      First line: “Mirror image: Port au Prince…”\\n11. Title:              \\n      First line: “Under the Sovereign…”\\n12. Title: Out Fishing\\n      First line: “We went out…”\\n13. Title:              \\n      First line: “Darling I learn the full…”\\n14. Title: On Galveston Beach\\n      First line: “The sky was…”\\n15. Title: A Letter from the Caribbean\\n      First line: “Breeze ways in the tropics\\n16. Title: poem by a young African girl [is this the real title or a stand-in?]\\n      First line: “What a wonderful…”\\n17. Title: by W. H. Auden Poem\\n      First line: “For what is easy…”\\n18. Title: by R. Wilbur\\n      First line: “I can’t forget how she stood…”\\n19. Title: by L. Boden Masked Woman Song\\n      First line: “Before I saw the tall…”\\n20. Title: by D. Walker Missing the Sea\\n      First line: “Something removed roars in the ears…”\\n21. Title: by W. J. Smith American Primitive\\n      First line: “Look at him there…”\\nend of track one\\n22. Title: Early Supper  \\n      First line: “Laughter children bring…”\\n23. Title:              \\n      First line: “Books collide…”\\n24. Title: Mistral\\n      First line:        \\n25. Title:              \\n      First line: “It is time now to go away…”\\n26. Title: The Critic\\n      First line: “…takes his rest…”\\n27. Title:              \\n      First line: “In my fool…”\\n28. Title: For Katherine N. Porter\\n      First line: “Madam, a siege…”\\n29. Title: Looking up at Leaves\\n      First line: “No one need feel alone”\\n30. Title: Still Life: New England\\n      First line: “From that old cow…”\\n31. Title:              \\n      First line: “Luck, I am upset…”\\n32. Title: Portrait of a Boy as Artist\\n      First line: “Were he a composer…”\\n33. Title:              \\n      First line: “To save face…”\\n34. Title: Leaving into Light\\n      First line: “Beginning…”\\n\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/barbara-howes-at-sgwu-1967/\"}]"],"score":4.4357758}]