[{"id":"5350","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Cesar Vallejo: Trilce: Clayton Eshleman at SFU on February 28, 1992 part 1 of 2 #743"],"item_title_source":["cassette and J-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Vanel, Kurtis","Eshleman, Clayton"],"creator_names_search":["Vanel, Kurtis","Eshleman, Clayton"],"creators":["[{\"url\":\"\",\"name\":\"Vanel, Kurtis\",\"dates\":\"1936-2017\",\"notes\":\"\",\"nation\":[],\"role\":[\"Recordist\"]},{\"url\":\"http://viaf.org/viaf/79046419\",\"name\":\"Eshleman, Clayton\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1992],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1217/Reading in BC_MsC199_743.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"T00:57:00\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"743-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:41\",\"precision\":\"\",\"size\":\"33.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"743-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:30\",\"precision\":\"\",\"size\":\"31.0 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1992-02-28\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"SFU\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC, Canada\",\"latitude\":\"49.2767\",\"longitude\":\"-122.9178\"}]"],"Address":["8888 University Dr, Burnaby, BC, Canada"],"Venue":["SFU"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"Note":["[{\"note\":\"the length of the digital file's side 1 is T00:30:37 and side 2 is T00:30:34, but the performance only takes 24 minute on side 1 and 28 minute on side 2 and the rest of audio is empty \",\"type\":\"\"},{\"note\":\"Liner Notes:\\nClayton Eshleman\\nFriday February 28 1992, SFU\\npart I\\nside 1: 24 minute\\nside 2: 28 minute\\nrecorded by Kurtis Vanel\\nDOLBY B\\n10:30 am-12:20 pm/ AQ5017\\nSpanish and Latin American studies. prof. Clayton Eshleman, English, Eastern Michigan U., discusses Cesar Vallejo: Trilce: a talk on the book and a bilingual reading in honor of the 100th Anniversary of Vallejo’s birth in Peru; and a short paper on the difficulties of translating Vallejo’s poetry\\n#743\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553054871552,"timestamp":"2026-01-07T14:59:57.525Z","contents":["Side\tTrack\tNo.\tComments\n\t\t\tTitle: Cesar Vallejo : Trilce : a talk on the book and a bilingual reading in honor of the 100th Anniversary of Vallejo’s birth in Peru; and a short paper on the difficulties of translating Vallejo’s poetry\nOne\t\t019\tTape starts halfway through Eshleman’s introductory comments\n\t\t036\tIntroduction to Eshleman’s Selected Poems 1960-1983 – “a bad translation is the insistent voice of the translator”.  Eshleman’s first experience with the “translator’s ego” was with Ben Belitt’s translation of Garcia Lorca’s Poet in New York in 1959.  Garcia’s last line in his poem, “La Aurora” was changed from “the shipwreck of blood” to “a bloody disaster”.  Belitt’s use of English slang effaced Lorca’s\n\t\t080\tBlood. In Belitt’s Lorca and Neruda translations, we hear the translator/poet’s own mannerisms, leaking into the meaning of the original texts.  A colonization of these poets’ terrain\n\t\t090\tThis colonization has sombre repercussions, especially in the case of a “first world” translator and a “third world” writer.  The translator implies that his mind is superior to the mind of the original text\n\t\t102\tBelitt’s translation seems more monolithic and damaging than that of other translators, says Eshleman.  Robert Lowell dropped 10 of Rimbaud’s 25 stanzas in translation for Le Bateau Ivre, (a presumption that only two thirds of this great French poem is worth carrying over to English).  Eshleman discusses further problems with translators\n\t\t112\tEshleman discusses his own ego impositions in his 1968 translation of Vallejo’s poetry\n\t\t116\tThe particular poem he discusses deals with Vallejo’s failure to connect with his wife.  Eshleman recounts the difficulties in gaining permission from Vallejo’s wife to translate his poetry, and admits the poem (Es una Historia) took on the symbolic weight of his frustration with her, resulting in his inappropriate rendition of the last line\n\t\t143\tHow might a translator work to resist ego imposition or translator imperialism?  There is no such thing as a literal translation and denotative choices comes up in every line\n\t\t155\tDiscusses translation of Martinique poet Aimē Cesaire, and work of denotative choices through text or dead author’s background\n\t\t169\tIn the 1969 Berger Bostock translation, Notebook of Return to the Native Land, Eshleman discusses incorrect translation of word for cove, and consequent misreading of the poem\n\t\t180\tEshleman explains his process for avoiding errors, through consultation with Spanish scholars, etc. and by respecting occasional misspellings, line and stanza breaks, and by rendering Vallejo’s obscurity and flatness as well as his brilliance\n\t\t189\tHis process also allows Vallejo’s influence to enter his own poetry, to allow his imaginings of Vallejo to be incorporated into his own work rather than allowing them to spill into Vallejo’s text\n\t\t214\tEshleman reveals his secondary motivations of wanting to translate certain poets to allow their work and knowledge of poetics to fuel that of Eshleman’s.  He discusses Vallejo’s influence on his own work\n\t\t236\tDiscussion ends (Part I)\n\t\t239\tDiscussion of the book Trilce.  Eshleman refers audience to a 30-page essay on Trilce that will be part of a book (to be published Fall 92) by Marsilio in New York City, introduction by Americo Ferrari (Bilingual, including 30 pages of notes on difficult words & phrases in the poems.  Eshleman’s discussion on the meaning of Trilce is brief\n\t\t246\tFirst edition came out in 1918, and second edition from Madrid in 1930.  Crucial differences in each edition and Eshleman describes problems with texts because of Vallejo’s failure to read the galleys\n\t\t250\tDiscusses disagreement over translations between Julio Ortega and himself, and process for translating from the 1918 edition, eg. keeping many misspellings as intentional and the 1918 edition as the original text\n\t\t266\tEffects on Trilce of various events in Vallejo’s life eg. His mother’s death in 1958 and five poems concerning his childhood that act as pillars supporting the body of poems\n\t\t276\tMany love poems and sex poems involving a number of women. Poem #9 representative of very explicitly sexual expression for Peru of the 1920’s.  *[Ofelia] Villaneueva’s story as Vallejo’s girlfriend and subsequent poems wound in with Mother theme\n\t\t305\tThe third big item in the production of Trilce is Vallejo’s imprisonment in northern Peru.  Vallejo severely revised earlier poems written for Trilce.  Aspejo attributes to this prison experience, the inspiration of the breakdown and new form of the sonnet which was difficult to read and expressing a new creative force in Vallejo\n\t\t327\tDiscusses the problem of the Trilce title\n\t\t346\tThe poem, “Trilce”, written in Europe, belongs in no volume.  The poem treats Trilce as a place in the world which one knows and is always approaching, an eerie sort of paradise\n\t\t357\tCredit is due to Englishman Henry Gifford who translated with Charles Tomlinson in the early ‘70’s and credits the title, Trilce with numerical meaning.  Eshleman gives evidence from a later found poem to support Gifford’s idea that Trilce comes from the numbers trillion and thirteen\n\t\t384\tSide One Ends\nTwo\t\t009\tSide Two Begins.  Eshleman discusses various hints throughout Trilce that support this reading of the trite\n\t\t036\tTrilce is full of burned bridges, and models of what is elsewhere burned.  The most striking writing in Trilce anticipates American projective verse, and the more recent language poetry, by a number of decades\n\t\t057\tThe major psychological pressure in the poems is that of sex and death\n\t\t069\tTo the banner year of 1922 and international modernism, Trilce can be added with a number of poems Eshleman lists\n\t\t078\tEshleman says his translational intent has been to respect Vallejo’s text with no attempts to improve or outwit it : to research all rare and technical words, and translating them instead of explaining them; and to bring the English up to Vallejo’s performance level in Spanish\n\t\t093\tIntroduction to Trilce poems, one through ten by Eshleman\n\t\t101\tIntroduction is made by late arriving instructor about Eshleman’s work\n\t\t118\tBrief discussion over who will read poems in Spanish.  Students who have been working on translations will read Spanish versions\n\t\t131\tStudents will read a poem in Spanish and alternate with Eshleman’s reading of the translation\n\t\t135\tReading in Spanish of poem 1\n\t\t147\tEshleman English translation\n\t\t159\tProfessor asks Professor Jorge Garcia to read the second poem\n\t\t161\tJorge Garcia reads #2\n\t\t170\tEshleman reads #2\n\t\t189\tStudent reads #3\n\t\t209\tEshleman explains relationship of 3 children in #3 to Vallejo.  Santiago is the bell-ringer who is blind.  Notes the difference between Trilce #3 and #4 as if someone else had written it\n\t\t217\tEshleman translates #3\n\t\t238\tJorge Garcia reads #4\n\t\t250\tEshleman reads English version of #4\n\t\t268\tStudent reads #5\n\t\t280\tEshleman reads English version of #5\n\t\t295\tStudent reads #6\n\t\t309\tEshleman reads translation #6\n\t\t327\tJorge Garcia reads #7\n\t\t337\tEshleman notes on opium or “high” consciousness to #7 – notes Vallejo’s use of brothels & feel of danger within #7 that could be related to his adventures\n\t\t347\tEshleman reads translation of #7\n\t\t362\tStudent reads #8\n\t\t369\tEshleman translates\n\t\t380\tTape 1, ends mid-verse"],"score":4.501984},{"id":"5351","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Cesar Vallejo: Trilce: Clayton Eshleman at SFU on February 28, 1992 part 2 of 2 #744"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Eshleman, Clayton"],"creator_names_search":["Eshleman, Clayton"],"creators":["[{\"url\":\"http://viaf.org/viaf/79046419\",\"name\":\"Eshleman, Clayton\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1992],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1218/Reading in BC_MsC199_744.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"T00:42:00\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"744-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:37\",\"precision\":\"\",\"size\":\"31.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"744-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:34\",\"precision\":\"\",\"size\":\"31.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1992-02-28\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"SFU\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC, Canada\",\"latitude\":\"49.2767\",\"longitude\":\"-122.9178\"}]"],"Address":["8888 University Dr, Burnaby, BC, Canada"],"Venue":["SFU"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"Note":["[{\"note\":\"the length of the digital file's side 1 is T00:30:37 and side 2 is T00:30:34, but the performance only takes 29 minute on side 1 and 13 minute on side 2 and the rest of audio is empty \",\"type\":\"\"},{\"note\":\"Liner Notes:\\nClayton Eshleman  \\nSFU, February 28 1992\\nside 1: 29 minute\\nside 2: 13 minute\\npart II \\n#744\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553054871553,"timestamp":"2026-01-07T14:59:57.525Z","contents":["(Tape Two One)\t\t007\tTape 2 begins with reading by student of #9\n\t\t031\tEshleman notes, along with #4, verse #9 is the most difficult to translate.  He reads\n\t\t067\tJorge Garcia reads #10\n\t\t084\tEshleman reads English translation of #10\n\t\t113\tReading ends\n\t\t117\tEshleman is asked to read his own poetry, but he declines, announcing his evening reading as a place to hear his poetry.  He refers instead to a presentation he has prepared on Vallejo’s work\n\t\t129\tEshleman is thanked and question period is opened.  Eshleman refers students to his translation notes, including disagreements by Ortega and himself\n\t\t154\tPoem #25, is sound orientated and Eshleman discusses the possibilities of translation through sound or meaning\n\t\t162\tDiscusses differences between Ortega’s belief that the text is idiomatic rather than concerned with syntactical constructions, that Vallejo is constructing new words with suffixes and prefixes; and the opposite opinion of others (Aerico Ferrari and Alberto Escobar)\n\t\t175\tEshleman says English translation tends to agree with Ferrari’s opinion and Spanish text has called for some invention in the translations of the neologisms.  This was the root of disagreement that led to Ortega leaving the project of translating Trilce\n\t\t188\tJorge Garcia questions Eshleman’s translation of “Manana Manana” as ‘tomorrow’ instead of ‘morning’\n\t\t219\tQuestion about ‘Beethovian’ flats changed to ‘grandiose B flats’ in number 1.  Eshleman discusses the problems in translation of text because Trilce is not referential.  Aspejo believes verse 1 referred to embarrassing prison experience in the latrines\n\t\t264\tEshleman notes the need to find words that are as antiquated to the English reader as the Spanish word used by Vallejo is to the Spanish reader\n\t\t270\tQuestion regarding Vallejo’s word play.  In verse one he accents “tanta” which normally doesn’t carry an accent.  How does Eshleman deal with this?  Eshleman asks if there is any other literary tradition for this\n\t\t306\tQuestion about the use of ‘era era’ as verb or noun.  Suggestion that era could mean ‘fertile land that is prepared for sowing’ and that Vallejo’s word play could involve multiple meanings.  Garcia disputes any agricultural reference\n\t\t348\tGarcia argues that Vallejo’s rich vocabulary is not free to be translated; the internal contextualization of the poetry will help the reader cancel out the meanings that don’t belong.  The reader has to try to cancel out false meanings in order to decode the poem\n\t\t361\tHow does Eshleman translate sounds?  Eshleman says he almost hesitates to explain what he did in #25, but he does\n\t\t390\tEnd of Side 1\n\t\t\tTape Accession #744\nTwo\t\t007\tSide 2 (tape 2).  Question about the relative difficulty of translating different poets\n\t\t011\tEshleman talks about travelling to Mexico and Japan with volumes of Neruda and Vallejo, and his decision to do a translation of the European poetry of Vallejo as a translator’s apprenticeship\n\t\t066\tQuestion regarding Eshleman’s relationship to the language of Spanish as it pertains to the translator’s ego\n\t\t072\tEshleman said he chose Vallejo, not the Spanish language because of the inspiration brought about by Vallejo’s poetry.  Eshleman gives some background to his connection to Vallejo and Mexico\n\t\t104\tThis is a poet to poet relationship as opposed to that of professional translator.  Eshleman works with professional Spanish translators because of his lack of thorough knowledge of the language.  This makes a certain kind of translating possible, because he wouldn’t be writing poetry if he were to spend the time studying Spanish\n\t\t126\tQuestion whether it is more appropriate to work with a co-translator whose language is the same as the poet’s, in order to deal with the issue of translator as colonizer\n\t\t130\tEshleman counters that professors and bi-lingual people are some of the worst translators.  He uses the example of Belitt\n\t\t150\tQuestion about the fifth poem and translation of “mi amor” to”amour”\n\t\t165\tWhat kind of influence did Vallejo have on Eshleman’s own works?\n\t\t167\tEshleman says the time spent on Vallejo has been a form of homework.  Who are you going to read and what is your relationship going to be with these people?\n\t\t190\tTape appears to cut off Eshleman’s above discussion and fades in halfway through a comment by Jorge Garcia.  Garcia is arguing that while Pablo Neruda has beautiful poetry, Eshleman has picked the great poet, in terms of working structurally with the language\n\t\t198\tEshleman recounts anecdote about Octavio Paz in response to Garcia’s point\n\t\t211\tThanks to Eshleman\n\t\t214\tSide 2 ends"],"score":4.501984},{"id":"5352","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Clayton Eshleman Reading at The Western Front on February 28, 1992 #745"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Eshleman, Clayton","Watts, Charles"],"creator_names_search":["Eshleman, Clayton","Watts, Charles"],"creators":["[{\"url\":\"http://viaf.org/viaf/79046419\",\"name\":\"Eshleman, Clayton\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/102199951\",\"name\":\"Watts, Charles \",\"dates\":\"1941-\",\"notes\":\"Introduction of Clayton Eshleman by Charles Watts\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1992],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1219/Reading in BC_MsC199_745.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"T00:57:00\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"745-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:35\",\"precision\":\"\",\"size\":\"48.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"745-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:22\",\"precision\":\"\",\"size\":\"47.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1992-02-28\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/292460590\",\"venue\":\"The Western Front\",\"notes\":\"\",\"address\":\"303 E 8th Ave E, Vancouver, BC V5T 1S1\",\"latitude\":\"49.26392\",\"longitude\":\"-123.09870\"}]"],"Address":["303 E 8th Ave E, Vancouver, BC V5T 1S1"],"Venue":["The Western Front"],"City":["Vancouver, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t004\tIntroduction of Clayton Eshleman by Charles Watts\n\t\t073\tEshleman reading from an unpublished manuscript.  He reviews his projects for the last three years, reading from the third of four sections in UnderWorld Arrest, and the fourth section “In Kali’s Marge”\n\t\t117\t“Short story” begins\n\t\t180\t“UnderWorld Arrest”\n\t\t260\tSection 4 “In Marge”\n\t\t274\t“Concerning poetic energy”\n\t\t328\t“Marginalia to Baudelaire”\n\t\t342\t“Guerdon”\n\t\t368\t“Ivory Tower”\n\t\t388\t“The Visionary Realist”\n\t\t435\t“Double Pelican”\n\t\t456\t“Blood Rock”\n\t\t492\t“Jolly Roger”\n\t\t520\t“Hum baba”\n\t\t553\tEnd of Side One\nTwo\t\t000\tSide Two begins\n\t\t007\tLast poem in Kali’s Marge Section “Navel of the Moon” (a translation of the word ‘Mexico’)  Put together from notes made during a month spent in Oaxaca, Spring 1991\n\t\t017\t“Navel of the Moon”\n\t\t244\tPoetry ends/End of Side Two"],"Note":["[{\"note\":\"the length of the digital file's side 1 is T00:46:35 and side 2 is T00:46:22, but the performance only takes 42 minute on side 1 and 15 minute on side 2 and the rest of audio is empty \",\"type\":\"\"},{\"note\":\"Liner Notes:\\nClayton Eshleman Reading at Western Front, Vancouver BC, Feb 28, 1992\\nside 1: 42 minute\\nside 2: 15 minute\\nDOLBY C\\n#745\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553055920128,"timestamp":"2026-01-07T14:59:57.525Z","score":4.501984},{"id":"5355","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Clayton Eshleman reading at the Kootenay School of Writing on February 29, 1992 #746"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Eshleman, Clayton"],"creator_names_search":["Eshleman, Clayton"],"creators":["[{\"url\":\"http://viaf.org/viaf/79046419\",\"name\":\"Eshleman, Clayton\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\",\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1992],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1223/Reading in BC_MsC199_746.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"746-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:36\",\"precision\":\"\",\"size\":\"44.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"746-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:27\",\"precision\":\"\",\"size\":\"44.0 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1992-02-29\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/806961605\",\"venue\":\"Kootenay School of Writing\",\"notes\":\"\",\"address\":\"112 West Hastings, Vancouver, BC, Canada\",\"latitude\":\"49.28097\",\"longitude\":\"-122.99535\"}]"],"Address":["112 West Hastings, Vancouver, BC, Canada"],"Venue":["Kootenay School of Writing"],"City":["Vancouver, British Columbia"],"content_notes":["SFU BC Readings formatting"],"Note":["[{\"note\":\"Clayton Eshleman at the Kootenay School of Writing \\nFeb 29, 1992 \\n#746\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553056968706,"timestamp":"2026-01-07T14:59:57.525Z","contents":["Side\tTrack\tNo.\tComments\nOne\t\t006\tEshleman is introduced\n\t\t035\tEshleman suggests outlining of three programs of his work for discussion purposes in lieu of any planned program for the evening, “The seeds of Narrative in Upper Paleolithic Art” talk and slide presentation based on fifteen years of visiting ice-age caves in southern France and Northern Spain; 2) Trilce, Cesar Villejo’s second book (1922) and the poetry written in Europe (1923-1928) (“The Human Poems” original title) which Eshleman is currently translating\n\t\t122\tRimbaud translations requested\n\t\t132\tEshleman begins reading Rimbaud’s “Drunken Boat”\n\t\t256\tEnd of poem\n\t\t275\tEshleman – We live in the age of the loss of eternity and the repercussions of this are so devastating for society.  Works done in the past are based on the assumption that sky, ocean and earth were eternal presences, and therefore our own impermanence was based on this foundation that something would continue\n\t\t309\tRimbaud never saw the ocean when he wrote “The Drunken Boat”.  Eshleman discusses Rimbaud’s poetry pre-Verlaine at 17 years old\n\t\t320\tPoem is in quatrains in French and they rhyme.  Eshleman has rhymed about a third of them.  Discusses translations of “The Drunken Boat”\n\t\t330\tThe most embarrassing translation was done by Robert Lowell who dropped out ten of the twenty-five stanzas\n\t\t354\tEshleman responds to inaudible question about the loss of eternity being equated with the loss of God.  The ontological significance of pollution.  He suggests that in psyche, the polluted world means – that all our lives, theories, etc. are based upon is now transient \n\t\t399\tEshleman asks, what happens to the elegy?  The elegy in poetry almost always has to do with accommodating a death in a larger frame\n\t\t413\tAudience member questions Eshleman’s idea of the loss of a larger framework.  We grew up with the loss of God, the loss of nature being more recent.  Neither of these, however, mean the loss of a larger framework.  Discussions ensue\n\t\t418\tSuggestion that the loss is a gradual loss of hierarchical power structures which is wonderful\n\t\t428\tLoss of transcendence throws responsibility back on living communities\n\t\t433\tEshleman argues that nature is all of this and, unlike a corrupt political system, if this goes, it’s not something you can have a revolution over\n\t\t452\tEshleman reads from Trilce, a cycle of 77 roman-numeralled poems without tiles\n\t\t481\tEnd of Trilce LIII\n\t\t483\tReading begins, Trilce XLIX\n\t\t500\tEnd of XLIX\n\t\t502\tReading from Trilce LVII\n\t\t518\tEnd of LVII\n\t\t523\tReading from Trilce LXXV\n\t\t552\tEnd of LXXV\n\t\t554\tEpilogue to this poem.  Villejo had left northern Peru and moved to Lima in late teens (1900). Made several trips back to where he was born, but increasingly found life in Trujillo boring.  LXXV a response to this life\n\t\t577\tNo manuscript to Trilce.  Discussion of this\n\t\t585\tEshleman recommends a Spanish text of Vallejo’s work, published by UNESCO, Collecion Archivo, complete works of Vallejo\n\t\t590\tSide One Ends\nTwo\t\t004\tSide Two begins mid-sentence with Eshleman discussing juxtaposition of Vallejo’s style\n\t\t019\tBegins reading III, Trilce\n\t\t063\tIII ends\n\t\t064\tIV begins (Trilce)\n\t\t103\tIV ends\n\t\t111\tXXV begins (Trilce)\n\t\t142\tXXV ends.  Eshleman notes that there seems to be a very coherent argument set forth, but he doesn’t know what poem is about 111)\n\t\t158\t“The Power Room” (about Les Eyzies, a village in southern France which used to dub itself the Prehistoric Capital of the World, epicentre of all ice age caves and shelters.  A museum houses what Eshleman calls “The Power Room” due to the slabs which have the first image-making on them, dated at 35-30,000 BC representing the point at which something we can begin to work with as image comes into active consciousness)\n\t\t179\tReading of “The Power Room” begins\n\t\t234\t“The Power Room” ends\n\t\t238\t“The Chaos of the Wise”\n\t\t323\tEnd of poem\n\t\t326\tEshleman is interested in 1945-48 period when Artaud, who had been in asylums for nearly 9 years begins to speak, correspond, be human again in the asylum of Rodez.  For the next three years he writes and draws at white heat, comparable, says Eshleman to Dickinson’s 1862 or Van Gogh\n\t\t345\tArtaud is in electric shock & his last experience is a turning point.  He began to write, chant his favourite writings, dictate to a secretary\n\t\t357\tPiece written in 1946, “Artaud the Yo-yo,” translated by Eshleman, title is explained.  Section I of the poem to be read is “The return of Artaud the yo-yo”\n\t\t369\tArtaud began to invent words in his asylum cell.  Rage and irrationality find escape valves in his poetry through such word sounds, as Artaud travels between worlds of madness and rationality, finding an expression for his madness\n\t\t478\tEnd of poem\n\t\t482\tArtaud from Conductors of the Pit, published by Paragon House in New York City, 1988\n\t\t496\tEshleman describes content of his translations in Conductors of the Pit\n\t\t516\tEshleman responds to a question (inaudible) about sound variations in the translations of Vallejo’s neologisms\n\t\t524\tQuestion about the shape of the movement in Trilce\n\t\t527\tEshleman discusses Vallejo’s poems about his mother in terms of their spacing and rhythm in Trilce.  He rejects the darkness of Trilce\n\t\t553\tInaudible question to which Eshleman responds on James Wright’s poetry, Peter Redgrove and Spicer\n\t\t593\tTape ends in the middle of barely audible discussion about Eshleman’s dream of the ghost of Spicer and James Wright’s corpse"],"score":4.501984},{"id":"5356","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["The Upper Paleolithic Imagination and the Construction of the Underworld: Clayton Eshleman lecture at Vancouver Art Gallery on February 27, 1992 #747"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Eshleman, Clayton","Maud, Ralph"],"creator_names_search":["Eshleman, Clayton","Maud, Ralph"],"creators":["[{\"url\":\"http://viaf.org/viaf/79046419\",\"name\":\"Eshleman, Clayton\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/66537561\",\"name\":\"Maud, Ralph\",\"dates\":\"1928-2014\",\"notes\":\"Introduction to post-modern nature of Eshleman’s lecture and writing by Ralph Maud\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1992],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1224/Reading in BC_MsC199_747.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"T01:25:00\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"747-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:34\",\"precision\":\"\",\"size\":\"46.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"747-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:42:37\",\"precision\":\"\",\"size\":\"41.0 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1992-02-27\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/69701736\",\"venue\":\"Vancouver Art Gallery \",\"notes\":\"\",\"address\":\"750, Hornby Street, Downtown, Vancouver, District of North Vancouver, Metro Vancouver Regional District, British Columbia, V6Z, Canada\",\"latitude\":\"49.28292\",\"longitude\":\"-123.12056\"}]"],"Address":["750, Hornby Street, Downtown, Vancouver, District of North Vancouver, Metro Vancouver Regional District, British Columbia, V6Z, Canada"],"Venue":["Vancouver Art Gallery "],"City":["Vancouver, British Columbia"],"content_notes":["SFU BC Readings formatting"],"Note":["[{\"note\":\"Clayton Eshleman (university of Eastern Michigan) sponsored by the institute of the Humanities, SFU\\nThe Upper Paleolithic Imagination and the Construction of the Underworld \\nVancouver Art Gallery\\nFebruary 27 1992\\nDOLBY B\\n#747\",\"type\":\"General\"},{\"note\":\"the length of the digital file's side 1 is T00:46:34 and side 2 is T00:42:37, but the performance only takes 44 minute on side 1 and 41 minute on side 2 and the rest of audio is empt\",\"type\":\"\"},{\"note\":\"Carol Eshleman is also present and she's introduced at the beginning of the program \",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670553061163008,"timestamp":"2026-01-07T14:59:57.525Z","contents":["Side\tTrack\tNo.\tComments\nOne\t\t006\tClayton Eshleman & Carol Eshleman introduced\n\t\t049\tIntroduction to post-modern nature of Eshleman’s lecture and writing by Ralph Maud\n\t\t080\tCharles Olson and origins of the term post-modernism.  Post modernism requires a delving into the ‘primitive’ pre-western thinkers.  This is a post-modern travel lecture\n\t\t116\tEshleman lecture begins (based on trips to northern Spain and southwestern France between 1974 and 1986)\n\t\t146\t34 slides accompany lecture (not present in CLC’s collection)\n\t\t150\t“The seeds of narrative in upper paleolithic art” see talk in Clayton Eshleman, “Seeds of narrative in Upper Paleolithic art” (published form).  Antiphonal swing.  Selected prose 1962/1987 New York : McPherson & Co., 1989.  P. 161-173\n\t\t165\tEvidence of the beginnings of the liberation of autonomous imagination (south central France and northern Spain)\n\t\t508\tPoetry – “Fecality wants to be born—“\n\t\t542\tEnd of lecture\n\t\t548\tEssay, originally had as epigraph a passage from a letter which Antonin Artaud wrote to Henri Parisot from Asylum in Rodez in 1945.  Artaud envisions from poem by Baudelaire a shaft involved with fecality and death that relates in a bizarre way to the shaft at Lascaux.  Eshleman reads passage\n\t\t572\tSide One ends\nTwo\t\t007\tEshleman begins description of slides\n\t\t014\tSpear-thrower from Le Mas D’Azil dated 9000 BC end of upper paleolithic.  Eshleman entertains question\n\t\t051\tFrontal view of the Venus of Lozelle\n\t\t071\tSigfried Giedion’s The Eternal Present : the Beginnings of Art.  Giedion claims that if you stand at the bottom of the shaft and look up, the shaman is standing upright\n\t\t087\tRotunda and Axial Gallery in Lascaux – symbols discussed\n\t\t135\tAnimal figure has now become a consort, the figure of the god is now identified as a human being\n\t\t160\tDiscusses drawing by Abbe Breuil in the sanctuary at Les Trois Freres cave in the Ariage, southern France.  Breuil claims cave painting is also an engraving\n\t\t200\tBison man playing an instrument and wearing a mask dancing behind the animals.  Appears to be a narrative alignment between the human and the animals\n\t\t254\tEshleman calls for a critical reading of the paintings which for many years have been literally translated in terms of animals and the hunt, with no psychic or psychological reading of the material.  This is the time of the beginning of image-making, the construction of the underworld of the Cro-Magnon people, upon whose shoulders we stand\n\t\t265\tDiscussion of the Venus symbol anatomy\n\t\t315\t“Hand negatives” – many hands are anatomical and raise the mystery of their origins\n\t\t345\tGouged slabs (30-35000 BC) represent earliest form of image-making\n\t\t383\tQuestion period begins\n\t\t385\tQuestion – if the Shaman figure is only 2 feet tall, yet is 20 feet up the cave wall, is that the original interval between audience and image?\n\t\t389\tEshleman responds with “conjectural information” – formation of the cave may have been different at 13000 BC than it is now; scaffolding could have been used; there seems to be a fascination with placing images in virtually inaccessible spots\n\t\t398\tGives such an example of cave painting in Le Portel in the Ariege\n\t\t403\tQuestioner draws correlation to medieval cathedrals in France and England decorated with “roof art” of hundreds of intricate medallion designs not visible to the human eye, yet revealing many formal experiments\n\t\t425\tQuestion of cave audience for the wall paintings is purely conjectural.  Generally people lived outside of the caves, occasionally sleeping inside.  Caves seem to be used for initiation purposes.  Eshleman describes first free-standing sculpture 16000 BC likely used in such rites.  Refers to poem written about his experience of it, “Notes on a visit to Le Tuc D’Audoubert”\n\t\t444\tIn response to question of how Eshleman regards the human/animal hybrid figure, he sees it as a tension, with no clear-cut statement about human or animal.  As we move from pre-history into history, there is a progressive de-garbing of animality, of a freeing of human anatomy\n\t\t464\tDiscussion of python worship and endurance of animal symbology being cast off from the human form\n\t\t515\tEshleman responds to a question about his personal experience of the cave.  He refers to hallucinogens in use of cave paintings.  His unwillingness to impose a 20th century perspective on the abstract work.  Read The Dream and the Underworld by Hillman and found it useful to carry into the caves at Dordogne.  Hillman’s treatment of Underworld and underground, underworld as opposed to hell"],"score":4.501984},{"id":"5459","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["New letters on the air (Contemporary Writers on Radio) at University of Missouri: Clayton Eshleman reading, 1981 #792\n"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Broadcast"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Stewart, Robert","Powell, Bud","Ray, David","Eshleman, Clayton","Rothenberg, Jerome","Miller, Rich"],"creator_names_search":["Stewart, Robert","Powell, Bud","Ray, David","Eshleman, Clayton","Rothenberg, Jerome","Miller, Rich"],"creators":["[{\"url\":\"\",\"name\":\"Stewart, Robert \",\"dates\":\"\",\"notes\":\"Executive editor \",\"nation\":[],\"role\":[\"Producer\"]},{\"url\":\"http://viaf.org/viaf/197369\",\"name\":\"Powell, Bud\",\"dates\":\"1924-1966\",\"notes\":\"music is from \\\"Bouncing With Bud: album\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\" http://viaf.org/viaf/111391057\",\"name\":\"Ray, David\",\"dates\":\"1932-\",\"notes\":\"Executive editor \",\"nation\":[],\"role\":[\"Producer\"]},{\"url\":\"http://viaf.org/viaf/79046419\",\"name\":\"Eshleman, Clayton\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\" http://viaf.org/viaf/109302361\",\"name\":\"Rothenberg, Jerome\",\"dates\":\"1931-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Miller, Rich\",\"dates\":\"\",\"notes\":\"The radio host\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1981],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1494/Reading in BC_MsC199_792.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"T00:29:00\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"792-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:23\",\"precision\":\"\",\"size\":\"29.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"792-side-2 - blank.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:20\",\"precision\":\"\",\"size\":\"32.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1981\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/237973251\",\"venue\":\"University of Missouri - Kansas City \",\"notes\":\"It's the location of Newsletters magazine in Kansas City where this radio program was made not probably the place where Clayton Eshleman reading \",\"address\":\"5000 Holmes St, Kansas City, MO 64110, United States\",\"latitude\":\"39.0343\",\"longitude\":\"-94.5786\"}]"],"Address":["5000 Holmes St, Kansas City, MO 64110, United States"],"Venue":["University of Missouri - Kansas City "],"Note":["[{\"note\":\"Side two is empty.\",\"type\":\"\"},{\"note\":\"In the inventory document, the mentioned date is 1981 although on the J-card there is another date which is 1982-05. I decided to put the date I found in the inventory. \",\"type\":\"\"},{\"note\":\"Liner Notes:\\nClayton Eshleman \\n1981 reading\\nNew letters on the air\\n(Contemporary Writers on Radio)\\nUniversity of Missouri Kansas City, MO 64110\\n(816)2761159\\n29 minutes\\n05/82\\n #792\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553276121088,"timestamp":"2026-01-07T14:59:57.732Z","score":4.501984},{"id":"5625","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. 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