[{"id":"1261","cataloger_name":["Masoumeh,Zaare"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Victor Coleman at Sir George Williams University, The Poetry Series,  3 March 1967"],"item_title_source":["Cataloguer"],"item_title_note":["\"VICTOR COLEMAN I006/SR159\" written on sticker on the spine of the tape's box. \"I006-11-159\" is written on a sticker on the tape reel"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 1"],"item_identifiers":["[]"],"creator_names":["Coleman, Victor","Bowering, George"],"creator_names_search":["Coleman, Victor","Bowering, George"],"creators":["[{\"url\":\"http://viaf.org/viaf/38160442\",\"name\":\"Coleman, Victor\",\"dates\":\"1944-\",\"notes\":\"A self-educated poet and publisher, Victor Coleman was born in Toronto on September 11, 1944, and he lived in both Montreal and Toronto. By the end of 1964, he had met poet Raymond Souster and founded Island Magazine and Island Press, drawing the avant-garde poetry centre from the West Coast to Toronto. Mr. Coleman was a publishing assistant for the Oxford University Press in Toronto from 1966 to 1967, after which he served for almost ten years as the editor for Coach House Press. Coleman was influential in the creations of Is, Image Nation, The Goose & Duck and Open Letter magazines and journals. He published his own poetry in From Erik Satie’s Notes to the Music (Island Press, 1965),  One/eye/love (Coach House Press, 1967), Light Verse (Coach House Press, 1969), Old Friends’ Ghosts: Poems 1963-68 (Weed/Flower, 1970), along with a dozen other titles. Victor Coleman was the director of the “A Space” (1975-1978), “31 Mercer” (1975-1978), Nightingale Arts Council in Toronto, the editor and writer for the Association of Non-Profit Artist-Run Centres, and has served as the director of the National Film Theatre in Kingston, Ontario. The poet also taught Creative Writing at both Queen's and York Universities. In 1995, as Coach House Press struggled, Coleman and Stan Bevington created Coach House Books to save the Press. In 2001, Victor Coleman became the Editorial Director for the Centre for Contemporary Canadian Art, a website devoted to the promotion of Canadian artists and writers. Victor Coleman continues to promote the development of avant-garde or postmodernist Canadian writing.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"Mentioned, but missing from recording\",\"nation\":[],\"role\":[]}]"],"contributors_names":["Francis, Wynne"],"contributors_names_search":["Francis, Wynne"],"contributors":["[{\"url\":\"http://viaf.org/viaf/77926194\",\"name\":\"Francis, Wynne\",\"dates\":\"1918-2000\",\"notes\":\"\",\"nation\":[],\"role\":[\"Presenter\",\"Series organizer\"]}]"],"Presenter_name":["Francis, Wynne"],"Series_organizer_name":["Francis, Wynne"],"Performance_Date":[1967],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"Tape\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1967 3 3\",\"type\":\"Performance Date\",\"notes\":\"Date specified in \\\"Georgantics\\\" by Bob Simco\",\"source\":\"Supplemental Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Basement Theatre\",\"notes\":\"Location specified in printed announcement \\\"Georgantics\\\" by Bob Simco (Supplemental material)\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Basement Theatre"],"City":["Montreal, Quebec"],"content_notes":["Victor Coleman reads from One/eye/love (Coach House Press, 1967)."],"contents":["victor_coleman_i086.11-159.mp3\n\nWynne Francis\n00:00:00\nBy the way I must remember a most important announcement, there is to be no smoking in the theatre. You may smoke at intermission, but please do not smoke during the readings. Our first reader tonight is Mr. Victor Coleman [https://www.wikidata.org/wiki/Q23882910] who comes to us from Toronto [https://www.wikidata.org/wiki/Q172]. Mr. Coleman is the publisher of Island Magazine [https://www.wikidata.org/wiki/Q15754909], and Is Magazine which is spelled 'i' 's' and looks like 'is' but is pronounced 'I’s', and he is also the publisher and editor of Island Press. He is a very active promoter of new Canadian poetry and he himself has published in several little magazines in Canada [https://www.wikidata.org/wiki/Q16] and he has made translations from Erik Satie's [https://www.wikidata.org/wiki/Q187192] notes to the music, he has also been published in New Wave Canada, an anthology of new Canadian poets published by Contact Press, and edited by Raymond Souster [https://www.wikidata.org/wiki/Q304129]. He is also affiliated, his press, Island Press, is affiliated with the Coach House Press [https://www.wikidata.org/wiki/Q5137585] in Toronto and through this press a book of his poems will be appearing this spring. He is our first reader and our second reader is Mr. George Bowering [https://www.wikidata.org/wiki/Q1239280], who has already published three books, the first one by Contact Press called Points On The Grid, the second one, The Silver Wire published by Quarry Press and the third one, A Man in Yellow Boots, by El Corno Emplumado which was done bilingually in Spanish and in English and which contains montages and illustrations by poet and artist Roy Kiyooka [https://www.wikidata.org/wiki/Q3445789]. Mr. Bowering is also editor of Imago Magazine, which emanated from Alberta [https://www.wikidata.org/wiki/Q1951] and which is devoted to the long poem or the longer poem, he is expecting to publish very shortly, in the spring I believe, a novel called The Mirror on the Floor. Mr. Coleman will read first, and then there will be a short intermission, and then Mr. Bowering will read to you.\n \nVictor Coleman\n00:02:49\nI like to make it a habit always at a reading to start off with something that somebody else wrote, simply to show you that my concerns lie elsewhere, then in my own self. This is something from A History of America by an American writer by the name of Bill Hutton and it's— well, I won't explain it to you.\n \nVictor Coleman\n00:03:35\nReads unnamed poem by Bill Hutton.\n \nVictor Coleman\n00:06:00\nI'll read a few short poems first, and then go into something from a sequence, a longer sequence. This is a poem dedicated to Bill Hutton, the author of that piece I just read, it's called \"Buff Hello, 6\".\n \nVictor Coleman\n00:06:33\nReads \"Buff Hello, 6\".\n \nVictor Coleman\n00:08:27\nI'm going to focus on that clock every once in a while, simply because I want to keep track of myself. If I might say, um, it's interesting that I'm reading with George Bowering and my general tenure at this time, uh, which I'm not really that self-conscious about which is interesting to me to be growing a beard at this time and that the last time that I started to grow a beard was the first time that I met George Bowering and it was about two years ago and we were sitting up in my attic which was a room and I said to him, \"How do you like my beard?\" and he says that \"It makes you look like an impotent D.H. Lawrence [https://www.wikidata.org/wiki/Q34970]”. [Audience laughter]. This is a poem called \"The Lady Vanishes\".\n \nVictor Coleman\n00:09:41\nReads \"The Lady Vanishes\".\n \nVictor Coleman\n00:11:14\nHere's a kind of poem that I can bug everybody with because it probably won't mean anything to you at all, but simply because it really is my occasion but rather than hide it away, um, I think that the sound of it is enough to carry to you, some measure of the poetry that I got from the occasion that I speak of. It's called \"For Basil Bunting\".\n \nVictor Coleman\n00:11:48\nReads \"For Basil Bunting\".\n \nVictor Coleman\n00:12:34\nI don't know whether any of you are familiar with a Japanese-English dictionary called Kenkyusha [https://www.wikidata.org/wiki/Q6389422], if not, all I can tell you is that it's a Japanese-English dictionary and that it has a strange quality to be able to predict the future, by chance operations in that it's very fat and you open it and you're like the guy with the funny hat at the track who really shouldn't be there because he can only guess and he just opens the racing form and sticks his finger on the horse and he bets on the horse and he usually loses. Kenkyusha is a little better than that because you're not trying to win anything, you're looking for some kind of instruction and the time I wrote these poems I was rather desperate for some kind of instruction, and uh, it's just a matter of opening the book, pointing and getting the epigraph for each poem from the Japanese-English dictionary. I'll just read a couple. \"Day Seven\", oh there are given days, that are sort of daily devotions.\n \nVictor Coleman\n00:14:09\nReads \"Day Seven\".\n \nVictor Coleman\n00:14:33\nReads \"Day Eight\".\n \nVictor Coleman\n00:15:19\nReads \"Day Ten\".\n \nVictor Coleman\n00:16:18\nMany of these relate to certain experiences with LSD also.\n \nVictor Coleman\n00:16:29\nReads \"Day Thirteen\".\n \nVictor Coleman\n00:16:49\nThe reason that the definitions, the English definitions in this section are so interesting and not like the ones we are accustomed to is because the characters that they represent go through their own changes and it's almost an ideogrammatic dictionary rather than a dictionary of definitions.\n \nVictor Coleman\n00:17:13\nResumes reading “Day Thirteen”.\n \nVictor Coleman\n00:20:17\nI need to get one of those spider clocks, can't read in this light.\n \nVictor Coleman\n00:20:39\nReads \"Day Twenty-One\" .\n \nVictor Coleman\n00:22:36\nReads \"Day Twenty-Two\".\n \nVictor Coleman\n00:24:56\nReads \"Day Twenty-Four\".\n \nVictor Coleman\n00:28:22\nThese next poems are the poems that are closest to me now. It's another long sequence called \"Separations\" and I don't think I need to give you any background on it. I'll not read the whole thing because it's quite long.\n \nVictor Coleman\n00:28:56\nReads \"Separations” [parts 4-8, 10-12, and 14].\n \nVictor Coleman\n00:37:00\nThank you.\n \nEND\n00:37:17\n"],"Note":["[{\"note\":\"George Bowering is repeatedly mentioned on the tape and in printed announcements, but no supporting audio has been found. \",\"type\":\"General\"},{\"note\":\"Year-specific Information:\\n\\nOne/eye/love was published in 1967, and Coleman was working at Coach House Press.\\n\",\"type\":\"General\"},{\"note\":\"Local connections:\\n\\nVictor Coleman was very involved in the promotion of small presses and Canadian writers, specifically through his own presses and Coach House Press. Victor Coleman and George Bowering regularly corresponded (Archives Canada has these correspondences under George Bowering).\\n\",\"type\":\"General\"},{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Faith Paré (2020) & Ali Barillaro (2021)\\n\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/contemporary-canadian-poem-anthology/oclc/802667762&referer=brief_results\",\"citation\":\"Bowering, George, ed. The Contemporary Canadian Poem Anthology. Toronto: Coach House \\nPress, 1984. \\n\"},{\"url\":\"https://www.worldcat.org/title/one-eye-love/oclc/461736&referer=brief_results\",\"citation\":\"Coleman, Victor. One/eye/love. Toronto: Coach House Press, 1967. \"},{\"url\":\"http://www.ccca.ca/history/ozz/english/authors/coleman_victor.html\",\"citation\":\"“Coleman, Victor (1944-  )”. One Zero One: A Virtual Library of English Canadian Small Press 1945-2044. Centre for Contemporary Canadian Art, 2009. \\n\"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/victor-coleman-at-sgwu/\",\"citation\":\"Simco, Bob. “Georgiantics”. The Georgian. Montreal: Sir George Williams University, 28 February 1967. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Staines, David. \\\"Coleman, Victor\\\". The Oxford Companion to Canadian Literature. Eugene Benson and William Toye, eds. Oxford University Press 2001. \"}]"],"_version_":1853670548681261056,"timestamp":"2026-01-07T14:59:53.264Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0159_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0159_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Victor Coleman Tape Box - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0159_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0159_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Victor Coleman Tape Box - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0159_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0159_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Victor Coleman Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0159_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0159_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Victor Coleman Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/victor_coleman_i086-11-159.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"victor_coleman_i086.11-159.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:37:17\",\"precision\":\"\",\"size\":\"89.5 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Wynne Francis\\n00:00:00\\nBy the way I must remember a most important announcement, there is to be no smoking in the theatre. You may smoke at intermission, but please do not smoke during the readings. Our first reader tonight is Mr. Victor Coleman [https://www.wikidata.org/wiki/Q23882910] who comes to us from Toronto [https://www.wikidata.org/wiki/Q172]. Mr. Coleman is the publisher of Island Magazine [https://www.wikidata.org/wiki/Q15754909], and Is Magazine which is spelled 'i' 's' and looks like 'is' but is pronounced 'I’s', and he is also the publisher and editor of Island Press. He is a very active promoter of new Canadian poetry and he himself has published in several little magazines in Canada [https://www.wikidata.org/wiki/Q16] and he has made translations from Erik Satie's [https://www.wikidata.org/wiki/Q187192] notes to the music, he has also been published in New Wave Canada, an anthology of new Canadian poets published by Contact Press, and edited by Raymond Souster [https://www.wikidata.org/wiki/Q304129]. He is also affiliated, his press, Island Press, is affiliated with the Coach House Press [https://www.wikidata.org/wiki/Q5137585] in Toronto and through this press a book of his poems will be appearing this spring. He is our first reader and our second reader is Mr. George Bowering [https://www.wikidata.org/wiki/Q1239280], who has already published three books, the first one by Contact Press called Points On The Grid, the second one, The Silver Wire published by Quarry Press and the third one, A Man in Yellow Boots, by El Corno Emplumado which was done bilingually in Spanish and in English and which contains montages and illustrations by poet and artist Roy Kiyooka [https://www.wikidata.org/wiki/Q3445789]. Mr. Bowering is also editor of Imago Magazine, which emanated from Alberta [https://www.wikidata.org/wiki/Q1951] and which is devoted to the long poem or the longer poem, he is expecting to publish very shortly, in the spring I believe, a novel called The Mirror on the Floor. Mr. Coleman will read first, and then there will be a short intermission, and then Mr. Bowering will read to you.\\n \\nVictor Coleman\\n00:02:49\\nI like to make it a habit always at a reading to start off with something that somebody else wrote, simply to show you that my concerns lie elsewhere, then in my own self. This is something from A History of America by an American writer by the name of Bill Hutton and it's— well, I won't explain it to you.\\n \\nVictor Coleman\\n00:03:35\\nReads unnamed poem by Bill Hutton.\\n \\nVictor Coleman\\n00:06:00\\nI'll read a few short poems first, and then go into something from a sequence, a longer sequence. This is a poem dedicated to Bill Hutton, the author of that piece I just read, it's called \\\"Buff Hello, 6\\\".\\n \\nVictor Coleman\\n00:06:33\\nReads \\\"Buff Hello, 6\\\".\\n \\nVictor Coleman\\n00:08:27\\nI'm going to focus on that clock every once in a while, simply because I want to keep track of myself. If I might say, um, it's interesting that I'm reading with George Bowering and my general tenure at this time, uh, which I'm not really that self-conscious about which is interesting to me to be growing a beard at this time and that the last time that I started to grow a beard was the first time that I met George Bowering and it was about two years ago and we were sitting up in my attic which was a room and I said to him, \\\"How do you like my beard?\\\" and he says that \\\"It makes you look like an impotent D.H. Lawrence [https://www.wikidata.org/wiki/Q34970]”. [Audience laughter]. This is a poem called \\\"The Lady Vanishes\\\".\\n \\nVictor Coleman\\n00:09:41\\nReads \\\"The Lady Vanishes\\\".\\n \\nVictor Coleman\\n00:11:14\\nHere's a kind of poem that I can bug everybody with because it probably won't mean anything to you at all, but simply because it really is my occasion but rather than hide it away, um, I think that the sound of it is enough to carry to you, some measure of the poetry that I got from the occasion that I speak of. It's called \\\"For Basil Bunting\\\".\\n \\nVictor Coleman\\n00:11:48\\nReads \\\"For Basil Bunting\\\".\\n \\nVictor Coleman\\n00:12:34\\nI don't know whether any of you are familiar with a Japanese-English dictionary called Kenkyusha [https://www.wikidata.org/wiki/Q6389422], if not, all I can tell you is that it's a Japanese-English dictionary and that it has a strange quality to be able to predict the future, by chance operations in that it's very fat and you open it and you're like the guy with the funny hat at the track who really shouldn't be there because he can only guess and he just opens the racing form and sticks his finger on the horse and he bets on the horse and he usually loses. Kenkyusha is a little better than that because you're not trying to win anything, you're looking for some kind of instruction and the time I wrote these poems I was rather desperate for some kind of instruction, and uh, it's just a matter of opening the book, pointing and getting the epigraph for each poem from the Japanese-English dictionary. I'll just read a couple. \\\"Day Seven\\\", oh there are given days, that are sort of daily devotions.\\n \\nVictor Coleman\\n00:14:09\\nReads \\\"Day Seven\\\".\\n \\nVictor Coleman\\n00:14:33\\nReads \\\"Day Eight\\\".\\n \\nVictor Coleman\\n00:15:19\\nReads \\\"Day Ten\\\".\\n \\nVictor Coleman\\n00:16:18\\nMany of these relate to certain experiences with LSD also.\\n \\nVictor Coleman\\n00:16:29\\nReads \\\"Day Thirteen\\\".\\n \\nVictor Coleman\\n00:16:49\\nThe reason that the definitions, the English definitions in this section are so interesting and not like the ones we are accustomed to is because the characters that they represent go through their own changes and it's almost an ideogrammatic dictionary rather than a dictionary of definitions.\\n \\nVictor Coleman\\n00:17:13\\nResumes reading “Day Thirteen”.\\n \\nVictor Coleman\\n00:20:17\\nI need to get one of those spider clocks, can't read in this light.\\n \\nVictor Coleman\\n00:20:39\\nReads \\\"Day Twenty-One\\\" .\\n \\nVictor Coleman\\n00:22:36\\nReads \\\"Day Twenty-Two\\\".\\n \\nVictor Coleman\\n00:24:56\\nReads \\\"Day Twenty-Four\\\".\\n \\nVictor Coleman\\n00:28:22\\nThese next poems are the poems that are closest to me now. It's another long sequence called \\\"Separations\\\" and I don't think I need to give you any background on it. I'll not read the whole thing because it's quite long.\\n \\nVictor Coleman\\n00:28:56\\nReads \\\"Separations” [parts 4-8, 10-12, and 14].\\n \\nVictor Coleman\\n00:37:00\\nThank you.\\n \\nEND\\n00:37:17\\n\",\"notes\":\"Victor Coleman reads from One/eye/love (Coach House Press, 1967).\\n\\nList of Poems Read and Time Stamps [File 1 of 2]\\n0:00 - Introductions of Coleman and George Bowering (also reading the same night, but not on    this recording.) [INDEX: Island Magazine, Is Magazine, Island Press, new Canadian   poetry, translations of Eric Satie’s notes to music, New Wave Canada edited by Ramond Souster published by Contact Press, Coach House Press in Toronto. George Bowering: Contact Press published Points on the Grid, The Silver Wire, A Man in Yellow Boots by El Corno Emplumado in Spanish and English with drawings by Roy Kiyooka. Editor of Imago Magazine, Alberta, Long Poem or Longer Poem, The Mirror on the Floor.]\\n2:49 - Victor Coleman introduces poem by Bill Hutton from History of America, first line “John         Fitzgerald Kennedy shot John Wilkes Booth...” [INDEX: History of America by Bill Hutton]\\n3:35 - Reads unknown poem by Bill Hutton from History of America.\\n5:45 - Introduces “Buff Hello 6”\\n6:33 - Reads “Buff Hello 6”\\n8.27 - Introduces “The Lady Vanishes” [INDEX: George Bowering, D.H. Lawrence]\\n9:41 - Reads “The Lady Vanishes”\\n11:14 - Introduces “For Basil Bunting” [INDEX: Basil Bunting, occasional poetry]\\n11:48 - Reads “For Basil Bunting”\\n12:34 - Introduces “Day Seven” [INDEX: Japanese-English Dictionary Kenkyusha, chance     operations, days of devotions]\\n14:09 - Reads “Day Seven”\\n14:33 - Reads “Day Eight”\\n15:19 - Reads “Day Ten”\\n16:18 - Introduces “Day Thirteen” [INDEX: experiences with LSD]\\n16:29 - Reads “Day Thirteen”\\n20:17 - Introduces “Day 21”\\n20:39 - Reads “Day 21”\\n22:36 - Reads “Day 22”\\n24:56 - Reads “Day 24”\\n28:22 - Introduces “Separations” [INDEX: long sequence poem]\\n28:56 - Reads “Separations”, #4, 5, 6, 7, 8, 10, 11, 12, 14.\\n37:17 - END OF RECORDING.\\n\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/victor-coleman-at-sgwu/\"}]"],"score":2.8138855},{"id":"1302","cataloger_name":["Ali,Barillaro"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["George Bowering, Home Recording, 3 March 1967"],"item_title_source":["Cataloguer"],"item_title_note":["Title does not follow the typical formula for this collection, as this reading did not take place at Sir George Williams University, but rather in Bowering's home."],"item_language":["English"],"item_production_context":["Home recording"],"item_series_title":["The Poetry Series"],"item_identifiers":["[]"],"creator_names":["Bowering, George"],"creator_names_search":["Bowering, George"],"creators":["[{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"Poet, novelist, anthologist and critic George Bowering was born in Penticton, British Columbia in 1935. In 1954 he served in the Royal Canadian Air Force until 1957, when he pursued a Bachelor’s degree in 1960 and a Master’s degree in 1963 from the University of British Columbia. With fellow poets Frank Davey, David Dawson, James Reid, Fred Wah and critic Warren Tallman, he founded Tish in 1961, a poetry newsletter which had monumental reverberations across Canada. This magazine, influenced by styles of the Black Mountain Poets and of the East Coast poetry of Louis Dudek, Raymond Souster and Irving Layton, brought a “new wave” of poetry to Canada. Bowering’s first collection of poetry began with Sticks and Stones (Tishbooks, 1962) with a preface written by Robert Creeley, and was followed by Points on the Grid (Contact Press, 1964) and Man in Yellow Boots (El Corno Emplumado, 1965). Bowering also founded the magazine Imago (1964-1974), which featured critical essays and poetry, and he also contributed to Open Letter as an editor. Bowering then moved eastwards, teaching at the University of Calgary from 1963-1966, enrolled in the Ph.D. program at the University of Western Ontario. A year later, Bowering accepted a position as the writer-in-residence in 1967 at Sir George Williams University (now Concordia University) in Montreal, becoming a lecturer in 1967-1971. Bowering joined the Sir George Williams University Poetry Reading Series Committee in the fall of 1967, which was being run by Roy Kiyooka, Stanton Hoffman and Howard Fink. In 1972 he left Montreal and began a long career teaching at Simon Fraser University in British Columbia. He has published over fifty books of poetry, prose, short stories, essays, reviews, plays as well as pieces that combine and defy genres. A selection of his publications are as follows: Genève (Coach House Press, 1971), Autobiology (New Star Books, 1972), Curious (Coach House Press, 1973), In the Flesh (McClelland & Stewart, 1974), Allophanes (Coach House Press, 1976), Burning Water (Beaufort Books, 1980), Caprice (Penguin Books, 1988), Harry’s Fragments (Coach House Press, 1990), Rewriting my Grandfather (Nomados, 2005), Baseball Love (Talonbooks, 2006) and Shall I Compare: July 2006 (George Bowering, 2008). Bowering published his interview with Black Mountain poet Robert Duncan: An Interview, (Coach House Press, 1971), a book-length study on Canadian poet Al Purdy: Al Purdy (Copp Clark, 1970) along with editing several anthologies such as Vibrations: Poems from Youth (Cage, 1970), Fiction of Contemporary Canada (Coach House Press, 1980) and Likely Stories: A Postmodern Sampler (Coach House Oress, 1992). Bowering has won two Governor General Awards, for poetry in 1969 for Rocky Mountain Foot (McClelland & Stewart, 1968) and The Gangs Kosmos (Anasi, 1969); one for fiction in 1980 for Burning Water (Beaufort Books, 1980). George Bowering continues teaching, inspiring and writing at the Simon Fraser University in British Columbia.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[]"],"Performance_Date":[1967],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"BASF\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1967 3 3\",\"type\":\"Performance Date\",\"notes\":\"Date reference in \\\"Howard Fink List\\\"\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"Bowering's home at the time\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"content_notes":["George Bowering reads from Points on the Grid (Contact, 1964), The Man in Yellow Boots (El Corno Emplumado, 1965) as well as one poem published later in Rocky Mountain Foot: a lyric, a memoir (1968). "],"contents":["George Bowering\n00:00:00\nFirst of all, my apologies for being so late with the tape, and a footnote that the noise in the background, if there is any, will be my wife making supper. \n\nUnknown\n00:00:12\nAmbient sound.\n\nGeorge Bowering\n00:00:17\nFirst I'll read, first I'll read from my first book, Points on the Grid.\n\nUnknown\n00:00:27\n[Cut in tape].\n\nGeorge Bowering\n00:00:32\nThis book published in 1964, by Contact Press. The first poem I'll read is the one called \"Trail\" [feedback sounds].\n\nGeorge Bowering\n00:00:49\nReads \"Trail\" from Points on the Grid.\n \nGeorge Bowering\n00:01:36\n\"Locus Solus\".\n \nGeorge Bowering\n00:01:40\nReads \"Locus Solus\" from Points on the Grid.\n \nGeorge Bowering\n00:02:42\nI might mention that the difference between this book and the other one is that more often you'll see on the page in this book that I've been working out certain ideas about poetics [https://www.wikidata.org/wiki/Q835023], certain ideas about syntax [https://www.wikidata.org/wiki/Q37437], ideas about how to get the page down on the poem, all the things the Tish poets [https://www.wikidata.org/wiki/Q2384384] were working out in the early 1960s. As an example, the poem, \"Walking Poem\".\n \nGeorge Bowering\n00:03:14\nReads \"Walking Poem\" from Points on the Grid.\n \nGeorge Bowering\n00:04:22\nI might mention, according to our poetics, or according to my poetics in that poem you'll see things operating such as a rhyme between the word 'shadow' and the word 'bashful'. \"Family\".\n \nGeorge Bowering\n00:04:39\nReads \"Family\" from Points on the Grid.\n \nGeorge Bowering\n00:05:33\nThe following is the poem that I think is the best in the book, and that I think most people whom I've talked to agree this is the best poem in the book. \"Grandfather\".\n \nGeorge Bowering\n00:05:47\nReads \"Grandfather\" from Points on the Grid.\n \nGeorge Bowering\n00:07:25\n\"For A.\".\n \nAnnotation\n00:07:28\nReads \"For A.\" from Points on the Grid.\n \nGeorge Bowering\n00:07:49\nOne thing that separates Western Canada [https://www.wikidata.org/wiki/Q1145847] from Eastern Canada [https://www.wikidata.org/wiki/Q795077] is the Spanish names of Western Canada and the Spaniards [https://www.wikidata.org/wiki/Q160894] left their names all the way up the coast, not only in California and Oregon. This poem, set partly in Vancouver [https://www.wikidata.org/wiki/Q24639] and partly on the rest of the B.C. coast is called \"Spanish B.C.\".\n\nGeorge Bowering\n00:08:11\nReads \"Spanish B.C\" from Points on the Grid.\n \nGeorge Bowering\n00:10:34\nI suppose I'd better read the title poem, \"Points on the Grid\".\n \nGeorge Bowering\n00:10:42\nReads \"Points on the Grid\" from Points on the Grid.\n \nGeorge Bowering\n00:12:10\nI might mention, just for the record, that many of the things that I learned and tried to practice in that first book, I learned originally from poets such as Robert Duncan [https://www.wikidata.org/wiki/Q964391], Robert Creeley [https://www.wikidata.org/wiki/Q918620], Charles Olson [https://www.wikidata.org/wiki/Q922978], all of whom visited Vancouver and helped the young poets in Vancouver out, very much, in learning about poetry. Now I plan to read from The Man in Yellow Boots, published this year, 1965, and in this book, I tend to move away from experimentation [https://www.wikidata.org/wiki/Q1384425], although I still retain many of the things that I tried to work out in the first book. In this book one of the things that I often do is turn to more social issues. First though, let me read the love poem that begins the book, this poem called \"To Cleave\".\n \nGeorge Bowering\n00:13:14\nReads \"To Cleave\" from The Man in Yellow Boots.\n \nGeorge Bowering\n00:13:43\nThis book is a bilingual book, unfortunately not with French [https://www.wikidata.org/wiki/Q150], but with Spanish [https://www.wikidata.org/wiki/Q1321] and just this once I'm going to see if I can read the Spanish version of the poem I just read. Spanish is called \"Penetrar\".\n \nGeorge Bowering\n00:13:58\nReads \"Penetrar\" from The Man in Yellow Boots in Spanish.\n \nGeorge Bowering\n00:14:39\nIncidentally as a poetic note, some of that scratching and scrabbling noise in the background is my two small dogs beating each other up. This poem called \"Moon Shadow\".\n \nGeorge Bowering\n00:14:54\nReads \"Moon Shadow\" from The Man in Yellow Boots.\n \nGeorge Bowering\n00:16:03\nThis then, is the other side of my poetry, this poem called \"Vox Crapulous\".\n \nGeorge Bowering\n00:16:09\nReads \"Vox Crapulous\" from The Man in Yellow Boots.\n \nGeorge Bowering\n00:17:31\nFurther in that vein, this poem’s written October 16, 1964: a momentous day. This poem is called \"The Day Before the Chinese A-Bomb\".\n \nGeorge Bowering\n00:17:46.49\nReads \"The Day Before the Chinese A-Bomb\" from The Man in Yellow Boots.\n \nGeorge Bowering\n00:18:29\nThis a longer poem, I think one of the two best poems in the book the other one being \"The Descent\", this poem's called \"For WCW\"\n \nGeorge Bowering\n00:18:39\nReads \"For WCW\" from The Man in Yellow Boots.\n \nGeorge Bowering\n00:21:16\nThis poem, written during our visit to Mexico [https://www.wikidata.org/wiki/Q96] in 1964, called \"Esta Muy Caliente\" and the reason it's not called \"Hace Mucho Calor\" is because of something inherent in the Spanish language that those that know will understand.\n \nGeorge Bowering\n00:21:35\nReads \"Esta Muy Caliente\" from The Man in Yellow Boots.\n \nGeorge Bowering\n00:23:09\nI think the following is the best poem in this book, it's called \"The Descent\", the title taken from a William Carlos Williams [https://www.wikidata.org/wiki/Q178106] poem of course.\n \nGeorge Bowering\n00:23:18.83\nReads \"The Descent\" from The Man in Yellow Boots.\n \nGeorge Bowering\n00:29:09\nAnd the last poem in the book, \"Breaking Up, Breaking Out\".\n \nGeorge Bowering\n00:29:14\nReads \"Breaking Up, Breaking Out\" from The Man in Yellow Boots.\n \nGeorge Bowering\n00:30:03\nNow, some newer poems, while there's time. This newest one called \"The Oil\", written after a drive to Edmonton [https://www.wikidata.org/wiki/Q2096] and back from Calgary [https://www.wikidata.org/wiki/Q36312].\n \nGeorge Bowering\n00:30:14\nReads \"The Oil\" [published later in Rocky Mountain Foot: a lyric, a memoir].\n \nGeorge Bowering\n00:32:03\nHere's a short poem called \"I Saw\".\n \nGeorge Bowering\n00:32:07\nReads \"I Saw\".\n \nGeorge Bowering\n00:32:20\nOkay, when I've just about come to the end of this side of the tape and I don't think I'll use the other side so that you can use it for somebody else, and once again I'm terribly sorry for being so late with this tape, and also if that does seem a loss, I'm sorry for not saying more things about poetry, I've been doing that less and less the further and further I've been getting away from Vancouver. So, Merry Christmas!\n \nEND\n00:32:58\n"],"Note":["[{\"note\":\"Year-specific Information:\\n\\nIn 1967, George Bowering had been hired at Sir George Williams University and was on the Reading Series Committee. Bowering was also editing his magazine Imago in Montreal.\",\"type\":\"General\"},{\"note\":\"Local connections:\\n\\nGeorge Bowering was very influential in promoting and enriching the Vancouver poetry scene in the early 1960s, through his magazines Tish and Imago as well as the hundreds of connections he made with other poets. His early connections with the Black Mountain Poets and the relationships he made with Canadian poets from Vancouver across Canada to Montreal  have been essential because he bridged the gap of distance and made new types of poetry available to young poets. Montrealer Louis Dudek wrote that Bowering’s “most important contribution to the new generation of Montreal poets was the institution of a series of readings at Sir George [Williams University] which exposed them to the diverse experimentation that was taking place across Canada and the U.S.”[1] . Bowering has anthologized many Canadian poets, as well as publishing over fifty books of his own writing, establishing himself as an important figure in Canadian poetry. \",\"type\":\"General\"},{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Faith Paré (2020) & Ali Barillaro (2021)\\n\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/rocky-mountain-foot-a-lyric-a-memoir/oclc/962929125&referer=brief_results\",\"citation\":\"Bowering, George. Rocky Mountain Foot: a lyric, a memoir. Toronto: McClelland & Stewart, 1968. \"},{\"url\":\"https://www.worldcat.org/title/concrete-island-montreal-poems-1967-1971/oclc/15849512&referer=brief_results\",\"citation\":\"Bowering, George. The Concrete Island: Montreal poems, 1967-1971. Montreal: Vehicule Press, 1977. \"},{\"url\":\"https://www.worldcat.org/title/points-on-the-grid/oclc/3391688&referer=brief_results\",\"citation\":\"Bowering, George. Points on the Grid. Toronto: Contact Press, 1964. \"},{\"url\":\"https://www.worldcat.org/title/contemporary-canadian-poem-anthology/oclc/802667762&referer=brief_results\",\"citation\":\"Bowering, George. (ed). The Contemporary Canadian Poem Anthology. Toronto: Coach House Press, 1984. \"},{\"url\":\"https://www.worldcat.org/title/montreal-english-poetry-of-the-seventies/oclc/757254674&referer=brief_results\",\"citation\":\"Farkas, Andre & Ken Norris, ed. Montreal English Poetry of the Seventies. Montreal: Vehicule Press, 1977.\"},{\"url\":\"https://www.worldcat.org/title/15-canadian-poets-times-2/oclc/622296707&referer=brief_results\",\"citation\":\"Geddes, Gary (ed). Fifteen Canadian Poets Times Two. Toronto: Oxford University Press, 1990. \"},{\"url\":\"https://www.worldcat.org/title/poets-of-contemporary-canada-1960-1970-edited-and-with-an-introduction-by-eli-mandel/oclc/1202953921&referer=brief_results\",\"citation\":\"Mandel, Eli (ed). Poets of Contemporary Canada 1960-1970. Montreal: McClelland and Stewart, 1972. \"},{\"url\":\"https://www.worldcat.org/title/encyclopedia-of-post-colonial-literatures-in-english-volume-1/oclc/636622714&referer=brief_results\",\"citation\":\"Miki, Roy. “Bowering, George (1935-)”. Routledge Encyclopedia of Post-Colonial Literatures in English. Ed. Benson, Eugene; Conolly, L.W. London: Routledge, 1994. \"},{\"url\":\"https://www.worldcat.org/title/record-of-writing-an-annotated-and-illustrated-bibliography-of-george-bowering/oclc/797558365&referer=brief_results\",\"citation\":\"Miki, Roy. A Record of Writing: an annotated and illustrated bibliography of George Bowering. Vancouver: Talonbooks, 1990. \"},{\"url\":\"https://www.worldcat.org/title/canadian-writers-since-1960-first-series/oclc/883361320&referer=brief_results\",\"citation\":\"Quartermain, Peter and Meredith. \\\"George Bowering.\\\" Canadian Writers Since 1960: \\nFirst Series. Ed. William H. New. Dictionary of Literary Biography, Vol. 53. Detroit: Gale Research, 1986. \"},{\"url\":\"https://www.worldcat.org/title/from-there-to-here-a-guide-to-english-canadian-literature-since-1960/oclc/962929534&referer=brief_results\",\"citation\":\"Davey, Frank. From There to Here: A Guide to English-Canadian Literature Since 1960. Ontario: Press Porcepic, 1974 .\"},{\"url\":\"https://www.worldcat.org/title/man-in-the-yellow-boots-el-hombre-de-las-botas-amarillas/oclc/1150284247&referer=brief_results\",\"citation\":\"Bowering, George and Sergio Mondragon. The Man in Yellow Boots. Mexico: El Corno Emplumado, 1965. \"}]"],"_version_":1853670548964376576,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:32:58\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"George Bowering\\n00:00:00\\nFirst of all, my apologies for being so late with the tape, and a footnote that the noise in the background, if there is any, will be my wife making supper. \\n\\nUnknown\\n00:00:12\\nAmbient sound.\\n\\nGeorge Bowering\\n00:00:17\\nFirst I'll read, first I'll read from my first book, Points on the Grid.\\n\\nUnknown\\n00:00:27\\n[Cut in tape].\\n\\nGeorge Bowering\\n00:00:32\\nThis book published in 1964, by Contact Press. The first poem I'll read is the one called \\\"Trail\\\" [feedback sounds].\\n\\nGeorge Bowering\\n00:00:49\\nReads \\\"Trail\\\" from Points on the Grid.\\n \\nGeorge Bowering\\n00:01:36\\n\\\"Locus Solus\\\".\\n \\nGeorge Bowering\\n00:01:40\\nReads \\\"Locus Solus\\\" from Points on the Grid.\\n \\nGeorge Bowering\\n00:02:42\\nI might mention that the difference between this book and the other one is that more often you'll see on the page in this book that I've been working out certain ideas about poetics [https://www.wikidata.org/wiki/Q835023], certain ideas about syntax [https://www.wikidata.org/wiki/Q37437], ideas about how to get the page down on the poem, all the things the Tish poets [https://www.wikidata.org/wiki/Q2384384] were working out in the early 1960s. As an example, the poem, \\\"Walking Poem\\\".\\n \\nGeorge Bowering\\n00:03:14\\nReads \\\"Walking Poem\\\" from Points on the Grid.\\n \\nGeorge Bowering\\n00:04:22\\nI might mention, according to our poetics, or according to my poetics in that poem you'll see things operating such as a rhyme between the word 'shadow' and the word 'bashful'. \\\"Family\\\".\\n \\nGeorge Bowering\\n00:04:39\\nReads \\\"Family\\\" from Points on the Grid.\\n \\nGeorge Bowering\\n00:05:33\\nThe following is the poem that I think is the best in the book, and that I think most people whom I've talked to agree this is the best poem in the book. \\\"Grandfather\\\".\\n \\nGeorge Bowering\\n00:05:47\\nReads \\\"Grandfather\\\" from Points on the Grid.\\n \\nGeorge Bowering\\n00:07:25\\n\\\"For A.\\\".\\n \\nAnnotation\\n00:07:28\\nReads \\\"For A.\\\" from Points on the Grid.\\n \\nGeorge Bowering\\n00:07:49\\nOne thing that separates Western Canada [https://www.wikidata.org/wiki/Q1145847] from Eastern Canada [https://www.wikidata.org/wiki/Q795077] is the Spanish names of Western Canada and the Spaniards [https://www.wikidata.org/wiki/Q160894] left their names all the way up the coast, not only in California and Oregon. This poem, set partly in Vancouver [https://www.wikidata.org/wiki/Q24639] and partly on the rest of the B.C. coast is called \\\"Spanish B.C.\\\".\\n\\nGeorge Bowering\\n00:08:11\\nReads \\\"Spanish B.C\\\" from Points on the Grid.\\n \\nGeorge Bowering\\n00:10:34\\nI suppose I'd better read the title poem, \\\"Points on the Grid\\\".\\n \\nGeorge Bowering\\n00:10:42\\nReads \\\"Points on the Grid\\\" from Points on the Grid.\\n \\nGeorge Bowering\\n00:12:10\\nI might mention, just for the record, that many of the things that I learned and tried to practice in that first book, I learned originally from poets such as Robert Duncan [https://www.wikidata.org/wiki/Q964391], Robert Creeley [https://www.wikidata.org/wiki/Q918620], Charles Olson [https://www.wikidata.org/wiki/Q922978], all of whom visited Vancouver and helped the young poets in Vancouver out, very much, in learning about poetry. Now I plan to read from The Man in Yellow Boots, published this year, 1965, and in this book, I tend to move away from experimentation [https://www.wikidata.org/wiki/Q1384425], although I still retain many of the things that I tried to work out in the first book. In this book one of the things that I often do is turn to more social issues. First though, let me read the love poem that begins the book, this poem called \\\"To Cleave\\\".\\n \\nGeorge Bowering\\n00:13:14\\nReads \\\"To Cleave\\\" from The Man in Yellow Boots.\\n \\nGeorge Bowering\\n00:13:43\\nThis book is a bilingual book, unfortunately not with French [https://www.wikidata.org/wiki/Q150], but with Spanish [https://www.wikidata.org/wiki/Q1321] and just this once I'm going to see if I can read the Spanish version of the poem I just read. Spanish is called \\\"Penetrar\\\".\\n \\nGeorge Bowering\\n00:13:58\\nReads \\\"Penetrar\\\" from The Man in Yellow Boots in Spanish.\\n \\nGeorge Bowering\\n00:14:39\\nIncidentally as a poetic note, some of that scratching and scrabbling noise in the background is my two small dogs beating each other up. This poem called \\\"Moon Shadow\\\".\\n \\nGeorge Bowering\\n00:14:54\\nReads \\\"Moon Shadow\\\" from The Man in Yellow Boots.\\n \\nGeorge Bowering\\n00:16:03\\nThis then, is the other side of my poetry, this poem called \\\"Vox Crapulous\\\".\\n \\nGeorge Bowering\\n00:16:09\\nReads \\\"Vox Crapulous\\\" from The Man in Yellow Boots.\\n \\nGeorge Bowering\\n00:17:31\\nFurther in that vein, this poem’s written October 16, 1964: a momentous day. This poem is called \\\"The Day Before the Chinese A-Bomb\\\".\\n \\nGeorge Bowering\\n00:17:46.49\\nReads \\\"The Day Before the Chinese A-Bomb\\\" from The Man in Yellow Boots.\\n \\nGeorge Bowering\\n00:18:29\\nThis a longer poem, I think one of the two best poems in the book the other one being \\\"The Descent\\\", this poem's called \\\"For WCW\\\"\\n \\nGeorge Bowering\\n00:18:39\\nReads \\\"For WCW\\\" from The Man in Yellow Boots.\\n \\nGeorge Bowering\\n00:21:16\\nThis poem, written during our visit to Mexico [https://www.wikidata.org/wiki/Q96] in 1964, called \\\"Esta Muy Caliente\\\" and the reason it's not called \\\"Hace Mucho Calor\\\" is because of something inherent in the Spanish language that those that know will understand.\\n \\nGeorge Bowering\\n00:21:35\\nReads \\\"Esta Muy Caliente\\\" from The Man in Yellow Boots.\\n \\nGeorge Bowering\\n00:23:09\\nI think the following is the best poem in this book, it's called \\\"The Descent\\\", the title taken from a William Carlos Williams [https://www.wikidata.org/wiki/Q178106] poem of course.\\n \\nGeorge Bowering\\n00:23:18.83\\nReads \\\"The Descent\\\" from The Man in Yellow Boots.\\n \\nGeorge Bowering\\n00:29:09\\nAnd the last poem in the book, \\\"Breaking Up, Breaking Out\\\".\\n \\nGeorge Bowering\\n00:29:14\\nReads \\\"Breaking Up, Breaking Out\\\" from The Man in Yellow Boots.\\n \\nGeorge Bowering\\n00:30:03\\nNow, some newer poems, while there's time. This newest one called \\\"The Oil\\\", written after a drive to Edmonton [https://www.wikidata.org/wiki/Q2096] and back from Calgary [https://www.wikidata.org/wiki/Q36312].\\n \\nGeorge Bowering\\n00:30:14\\nReads \\\"The Oil\\\" [published later in Rocky Mountain Foot: a lyric, a memoir].\\n \\nGeorge Bowering\\n00:32:03\\nHere's a short poem called \\\"I Saw\\\".\\n \\nGeorge Bowering\\n00:32:07\\nReads \\\"I Saw\\\".\\n \\nGeorge Bowering\\n00:32:20\\nOkay, when I've just about come to the end of this side of the tape and I don't think I'll use the other side so that you can use it for somebody else, and once again I'm terribly sorry for being so late with this tape, and also if that does seem a loss, I'm sorry for not saying more things about poetry, I've been doing that less and less the further and further I've been getting away from Vancouver. So, Merry Christmas!\\n \\nEND\\n00:32:58\\n\",\"notes\":\"George Bowering reads from Points on the Grid (Contact, 1964), The Man in Yellow Boots (El Corno Emplumado, 1965) as well as one poem published later in Rocky Mountain Foot: a lyric, a memoir (1968). \\n\\nList of Poems Read and Time Stamps:\\n00:00 - George Bowering introduces reading [INDEX: Points on the Grid ]\\n00:49 - Reads “Trail”\\n01:36 - Reads “Locus Solus” [INDEX: not on Howard Fink list of poems]\\n02:42 - Introduces “Walking Poem” [INDEX: Points on the Grid, Man in Yellow Boots, poetics, syntax, Tish poets in the early 1960’s]\\n03:14 - Reads “Walking Poem”\\n04:22 - Introduces “Family” [INDEX: poetics: rhyme]\\n04:39 - Reads “Family”\\n05:33 - Introduces “Grandfather”\\n05:47 - Reads “Grandfather”\\n07:25 - Reads “For A.”\\n07:49 - Introduces “Spanish B.C.” [INDEX: differences between Eastern and Western Canada, Spaniards on West Coast of North America, Vancouver]\\n08:11 - Reads “Spanish B.C.”\\n10:34 - Reads “Points on the Grid”\\n12:10 - Introduces “To Cleave” [INDEX: Robert Duncan, Robert Creeley, Charles Olson, young poets in Vancouver, The Man in Yellow Boots, experimentation in poetry]\\n13:14 - Reads “To Cleave”\\n13:43 - Introduces “Penetrar” [INDEX: not on Howard Fink List.]\\n13:58 - Reads “Penetrar”\\n14:39 - Introduces “Moon Shadow”\\n14:54 - Reads “Moon Shadow”\\n16:03 - Introduces “Vox Crappulous”\\n16:09 - Reads “Vox Crappulous”\\n17:31 - Introduces “The Day Before the Chinese A-Bomb” [INDEX: October 16, 1964]\\n17:46 - Reads “The Day Before the Chinese A-Bomb”\\n18:29 - Introduces “For W.C.W.” [INDEX: “The Descent”, William Carlos Williams]\\n18:39 - Reads “For W.C.W.”\\n21:16 - Introduces “Esta Muy Caliente” [INDEX: written during trip to Mexico in 1964, Spanish language]\\n23:09 - Reads “Esta Muy Caliente”\\n23:09 - Introduces “The Descent” [INDEX: William Carlos Williams poem]\\n23:18 - Reads “The Descent”\\n29:09 - Introduces “Breaking Up, Breaking Out”\\n29:14 - Reads “Breaking Up, Breaking Out”\\n30:03 - Introduces “The Oil” [INDEX: drive from Edmonton to Calgary, poem from \\nunknown source]\\n32:03 - Reads “The Oil”\\n32:03 - Reads “I Saw” [INDEX: poem from unknown source]\\n32:20 - George Bowering closes the reading [INDEX: talking about poetry, being away from Vancouver, Merry Christmas!]\\n\\nHoward Fink List of Poems:\\n“George Bowering” reading his own poetry\\nMarch 3, 1967\\nreel info: one, 5” tape, 3 3/4 ips, mono, one track, lasting 25 mins.\\n*note: some poems are missing from this list*\\n“Steps of love” is noted as being between “Walking Poem” and “Family”\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0086_11_0006_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"George Bowering Tape Box 1 - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0086_11_0006_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"George Bowering Tape Box 1 - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0086_11_0006_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"George Bowering Tape Box 1 - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0086_11_0006_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"George Bowering Tape Box 1 - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"score":2.8138855}]