[{"id":"1256","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":["Phyllis Webb and Gwendolyn MacEwen at Sir George Williams University, The Poetry Series, 18 November 1966"],"item_title_source":["Cataloguer"],"item_title_note":["“PHYLLIS WEBB. Recorded November 18, 1966 with Gwedolyn MacEwan. 3.75 its, 1/2 track on 1. mil tape” written on sticker on the back of the tape box. Gwendolyn MacEwen's name is misspelled. “PHYLLIS WEBB I006/SR130” written on sticker on the spine of tape box. “i006-11-130” written on sticker on the reel.\n\n\"GWENDOLYN MacEWAN I066/SR161\" written on sticker on the spine of the tape's box. MacEwen is misspelled. \"I006-11-161\" written on sticker on the reel."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 1"],"item_identifiers":["[I006-11-130, I006-11-161]"],"access":["Streaming"],"creator_names":["MacEwen, Gwendolyn","Webb, Phyllis"],"creator_names_search":["MacEwen, Gwendolyn","Webb, Phyllis"],"creators":["[{\"url\":\"http://viaf.org/viaf/115290827\",\"name\":\"MacEwen, Gwendolyn\",\"dates\":\"1941-1987\",\"notes\":\"Poet, novelist and short story writer Gwendolyn MacEwen was born in Toronto in 1941, and spent her childhood there and in Winnipeg. Her first poem was published in The Canadian Forum, and a year later, when she was eighteen, she left school to pursue a career in writing. She self-published her first two collections of poetry, Selah and The drunken clock in 1961 (Aleph Press). In 1962, she briefly married fellow poet Milton Acorn, published her first novel, Julian the magician (Macmillan, 1963), and a collection of poetry, The rising fire (Contact Press, 1963), which established her reputation on the Canadian scene at the age of twenty-two. That same year, her work was published in Jacques Godbout and John Robert Colombo’s anthology Poetry 64/Poesie 64 (Ryerson Press/ Editions du jour, 1963). MacEwen followed this success with poetry collections A Breakfast for Barbarians (Ryerson Press, 1966), The Shadow-Maker (Macmillan, 1969) which won a Governor General’s Award for poetry, The Armies of the Moon (Macmillan, 1972), which won the A.J.M. Smith Poetry Award, Magic Animals: Selected Poems (Macmillan, 1975), The Fire-Eaters (Oberon Press, 1976), The T.E. Lawrence Poems (Mosaic Press/Valley Editions, 1982) and Earthlight: Selected Poems (General Publisher, 1982). She was re-married to Greek singer Nikos Tsingos, who introduced her to worlds Mediterranean. MacEwen published in other genres, including a CBC verse play Terror and Erebus (reprinted as Afterworlds in 1987), novel King of Egypt, King of Dreams (Macmillan, 1971), collections of short stories Norman (Oberon Press, 1972) and Norman’s Land (1985), travel book Mermaids and Ikons: A Greek Summer (Anansi, 1978), a translation of Euripides’ The Trojan Women: A Play (Playwright’s Co-op, 1979), and two children’s books, The chocolate moose (New Canada Publications, 1981) and The honey drum (Mosaic Press, Flatiron Books, 1983).  Her last publication, Afterworlds (McClelland and Stewart, 1987) won a Governor General’s Award, and was published shortly before her death in 1987. Two volumes of selected work appeared posthumously, The poetry of Gwendolyn MacEwen: the early years (Exile Editions, 1993) and The poetry of Gwendolyn MacEwen: the later years (Exile Editions, 1994) edited by Margaret Atwood and Barry Callaghan.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]},{\"url\":\" http://viaf.org/viaf/29847238\",\"name\":\"Webb, Phyllis\",\"dates\":\"1927-2021\",\"notes\":\"Poet Phyllis Webb was born in Victoria, British Columbia in 1927. She completed a B.A. in Philosophy and English at University of British Columbia and at the young age of twenty-two, she ran as a CCF candidate for the B.C. legislature. She finished one year of graduate studies at McGill University in 1950 in Montreal. She traveled and lived in San Francisco, Paris and England before settling back in B.C. where she taught at UBC for four years. Her first poems were published in Trio (Contact Press) in 1954 with Eli Mandel and Gael Turnbull, and in Even your right eye in 1956 (McClelland and Stewart). The Sea is Also a Garden (Ryerson Press) was published in 1952, and Naked poems (Periwinkle Press) was published in 1965. While in Toronto, Phyllis Webb conceived and was executive producer of the CBC radio program “Ideas” from 1966 to 1969. Two years later in 1971, Webb published Selected Poems (Talon Books). Webb’s many publications also include Wilson’s bowl (Coach House Press, 1980), Sunday water: thirteen anti ghazals (Island Writing Series, 1982), The vision tree: selected poems (Talon Books, 1982) which won the Governor General’s Award and Hanging fire (Coach House Press, 1990). Along with poetry, Phyllis Webb also collected her essays, reviews and radio discussions in Taking (1982), Nothing but brush strokes: selected prose (NeWest, 1995). She was the writer-in-residence at the University of Alberta, and taught at University of Victoria and the Banff Centre. Phyllis Webb has also won the Canada Council Senior Arts Award in 1981 and 1987, as well as being awarded an Officer of the Order of Canada in 1992. She lives on Saltspring Island, B.C.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Kiyooka, Roy"],"contributors_names_search":["Kiyooka, Roy"],"contributors":["[{\"url\":\"http://viaf.org/viaf/30784426\",\"name\":\"Kiyooka, Roy\",\"dates\":\"1926-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Presenter\",\"Series organizer\"]}]"],"Presenter_name":["Kiyooka, Roy"],"Series_organizer_name":["Kiyooka, Roy"],"Performance_Date":[1966],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel","Reel to Reel"],"physical_compositions":["Magnetic Tape","Magnetic Tape"],"recording_type":["Analogue","Analogue"],"AV_type":["Audio","Audio"],"playback_mode":["Mono","Mono"],"Dates":["[{\"date\":\"1966 11 18\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the tape box. Date is also referenced but not specified in \\\"Georgantics\\\" by Bob Simco\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Basement Theatre\",\"notes\":\"Location specified in printed announcement \\\"Georgantics\\\" by Bob Simco (Supplemental material)\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Basement Theatre"],"City":["Montreal, Quebec"],"content_notes":["Phyllis Webb reads from The Sea is Also a Garden (Ryerson Press, 1962), Even Your Right Eye (McClelland & Stewart, 1956), and Naked Poems (Periwinkle Press, 1965). Gwendolyn MacEwen reads from Breakfast for Barbarians (Ryerson Press, 1966) and poems published later in The Shadow-Maker (Macmillan, 1969) and a few unknown poems."],"contents":["phyllis_webb_i006-11-130.mp3 [File 1 of 2]\n\nRoy Kiyooka\n00:00:00\nNow perhaps some of you are wondering what these readings are all about and how the choices made, I have here a slight commentary on that which I would like to read to you. Our answer to this is that we have not attempted to make the series an exhaustive coverage of any particular school or faction of poetry. Nor has our concern been an attempt to seek out the so-called \"great poets\". Our choices have been made with the desire to present to you, hopefully, the possibilities of utterance that is more than parochial. In short, this is our attempt to sound just that diversity that so much characterizes the North American Poetry scene. Now tonight it is my very great pleasure to introduce to you two poets whose distinctiveness is more than the fact of their sex. I want to introduce each poet in turn, Phyllis Webb [https://www.wikidata.org/wiki/Q7188637] will begin the readings and after the intermission, I shall introduce to you Gwendolyn MacEwen [https://www.wikidata.org/wiki/Q4276487]. Now Phyllis Webb has published three books of poems, they are Even Your Right Eye in 1956, The Sea is Also a Garden in ‘62 and Naked Poems in ‘65. Her earlier work appeared in Trio along with Eli Mandel [https://www.wikidata.org/wiki/Q3050883] and Gael Turnbull [https://www.wikidata.org/wiki/Q5516589]. She is currently a program organizer for CBC's [https://www.wikidata.org/wiki/Q461761] Ideas Series [https://www.wikidata.org/wiki/Q5988057]. Ladies and Gentleman, Ms. Phyllis Webb.\n \nUnknown\n00:02:20\n[Cut or edit in tape. Unknown amount of time elapsed].\n \nPhyllis Webb\n00:02:21\nI'd like to begin with a found poem, in that it was simply given to me by a child behaving in my presence. It's called \"Alec\".\n \nPhyllis Webb\n00:02:35\nReads \"Alec\".\n \nPhyllis Webb\n00:04:07\nReads \"Rilke\".\n \nPhyllis Webb\n00:05:58\nThis next poem is called \"Continuum\" and it's not a very extraordinary or terribly good poem even, I don't think, but it came out of a rather extraordinary experience, which was television. And it was simply a news clip from Vietnam [https://www.wikidata.org/wiki/Q881], but this one had soundtrack on it, which made it rather more touching and inspired me to wire the Prime Minister. And shortly after that and I didn't know I was getting to the wire in the middle of it until I got there and it has to do with the almost totally impossibility of separating out objective events  that happen out there in history and in time and one's own private history. \"Continuum\".\n\nPhyllis Webb\n00:07:04\nReads \"Continuum\".\n \nPhyllis Webb\n00:08:34\nI'm afraid I am suffering from the Toronto [https://www.wikidata.org/wiki/Q172] plague which may be rampant here too. The next poem has a title longer than the poem. The title is \"A Loaf of Sliced Bread Wrapped in Cellophane and Bought at the Supermarket Where the Doors Open Without Pushing\".\n \nPhyllis Webb\n00:09:04\nReads \"A Loaf of Sliced Bread Wrapped in Cellophane and Bought at the Supermarket Where the Doors Open Without Pushing\".\n \nPhyllis Webb\n00:09:13\nAnd the next poem is dedicated to Paul Goodman [https://www.wikidata.org/wiki/Q943567], and there is a quotation embedded in the poem which you will probably catch when I come to it. It's a short poem.\n \nPhyllis Webb\n00:09:32\nReads unnamed poem.\n \nPhyllis Webb\n00:10:06\nReads \"Poetry\".\n \nPhyllis Webb\n00:11:54\nI will read now from my volume The Sea is Also a Garden. \"Propositions\".\n \nPhyllis Webb\n00:12:16\nReads \"Propositions\" from The Sea is Also a Garden.\n \nPhyllis Webb\n00:13:28\nThe next poem is one that seems to elicit negative vibrations from an audience in the first three quarters, so go ahead and zoom them at me.\n \nPhyllis Webb\n00:13:43\nReads unnamed poem.\n \nPhyllis Webb\n00:16:02\nI don't think I have the voice to read both sides of this poems tonight, there are two poems, one called \"Breaking\" and one called \"Making\". They're about the creative process that involves both those things, but \"Making\" is rather long and a little hard to read, so I'll read \"Breaking\" which is better probably as a poem.\n \nPhyllis Webb\n00:16:47\nReads \"Breaking\".\n \nPhyllis Webb\n00:19:04\nThe next poem is called \"The Time of Man\" and had a rather interesting genesis. I was reading an article in Horizon [https://www.wikidata.org/wiki/Q3786777] by Dr. Loren Eiseley [https://www.wikidata.org/wiki/Q2634723], which he was putting forward some ideas on evolution and it was very beautifully written this Dr. Eiseley's an excellent stylist as well as a good scientist and I discovered that as I was going through I was marking the sentences and a few days later I began writing a poem and picked up the book and listed the sentences, so this poem takes off from the Eiseley article which is called \"The Time of Man\" in which Eiseley says we must live evolution forward amongst many other interesting things and it is started with quotations, which you will get some of the time and some of the time you won't. I sent it to him for confirmation about the scientific aspects of it, he said okay, I used to write poetry too. \"The Time of Man\".\n \nPhyllis Webb\n00:20:24\nReads \"The Time of Man\".\n \nPhyllis Webb\n00:21:38\nReads \"Sitting\".\n \nPhyllis Webb\n00:22:08\nI want to read an old poem now, which I wrote in Dublin [https://www.wikidata.org/wiki/Q1761], long years ago, if I can find it. It's called \"Poems of Dublin\", where I'd gone on a sort of literary pilgrimage in search of the spirit of Yeats [https://www.wikidata.org/wiki/Q40213] and Joyce [https://www.wikidata.org/wiki/Q6882] among others, it's a very down to earth sort of poem, in four parts.\n \nPhyllis Webb\n00:22:45\nReads \"Poems of Dublin\".\n \nPhyllis Webb\n00:25:33\nI want to move on now to my latest book called Naked Poems and which one of your local critics, or at least he wrote for the Montreal Star [https://www.wikidata.org/wiki/Q3521910] at this particular point, exclaimed of the price because there are so few words in the book. It's 2.25$. These poems are very small, and therefore very expensive and came at a bitter price, I may say, to me. They came quite as a surprise, I didn't know what I was doing when I wrote them, the first fourteen or so I thought, my goodness, what are these little things doing here, and I couldn't quite take them seriously and then I began to see the order that really was intrinsic in them, and realized that here was something, almost a new form for me to work on, and it's very bare, naked, undecorated and I wanted to get rid of all my affectations. And so I decided to write a couple hundred of them, and I wrote about a hundred and then got hung up on a technical problem, and finally reduced them to, I don't know, forty or so that are in this book. So this is a distillation, let's say. I'm going to read the first fourteen which comprise a total poem, in a sense the whole book is a poem. And then I'll read a few more as long as my voice and your patience will hold out. \"Suite I\".\n \nPhyllis Webb\n00:27:56\nReads \"Suite I\" from Naked Poems.\n \nPhyllis Webb\n00:28:53\nReads \"Flies\" from Naked Poems.\n \nPhyllis Webb\n00:29:10\nReads \"Your Blouse\" from Naked Poems.\n \nPhyllis Webb\n00:29:41\nReads \"Suite II\" from Naked Poems.\n \nPhyllis Webb\n00:31:27\nOne of the things I was interested in doing in these poems is again this subjective and the objective, here the subject and the object relationship, so that I use objects just to speak for themselves, in a sense, and yet they are all prismed in the way I see them. And again this impossibility of the dichotomy of subjective-objective.\n \nPhyllis Webb\n00:32:09\nReads unnamed poem from Naked Poems.\n \nEND\n00:32:43\n\n\ngwendolyn_macewan_i006-11-161.mp3 [File 2 of 2]\n\nRoy Kiyooka\n00:00:00\nSecond half of our program...on the second half of our program we will have Gwendolyn MacEwen reading for us. I have notes in my hand concerning her, but on the back of this album, here, a CBC [https://www.wikidata.org/wiki/Q461761] publications release of...is it eight Canadian poets? One, two, three, four… [Audience laughter]. Yes, eight Canadian poets, this album is about to be released very shortly. There's a much more comprehensive biography of her, so I shall read this as an introduction to her. Born in Toronto [https://www.wikidata.org/wiki/Q172] in 1941, began publishing poetry in the Canadian Forum [https://www.wikidata.org/wiki/Q5030045] at age fifteen. She left school at eighteen, a high school dropout, as the sociologists would say [audience applause and laughter] to devote herself to writing. She has published three books of poetry, The Drunken Clock, The Rising Fire, and most recently, A Breakfast for Barbarians. She has also published a novel called Julian the Magician. In 1965, she was awarded the prize for poetry in the CBC's new writing contest. With the aid of a Canada Council [https://www.wikidata.org/wiki/Q2993809] grant, she is currently at work on a novel on the, how do you pronounce the guy's name? [whispers off-mic to MacEwen]...Pharaoh Akhenaten [https://www.wikidata.org/wiki/Q81794] [laughter] of the eighteenth dynasty in Egypt [https://www.wikidata.org/wiki/Q79]. Ladies and gentlemen, Gwendolyn MacEwen.\n \nUnknown\n00:01:47\n[Cut or edit in tape. Unknown amount of time elapsed].\n \nGwendolyn MacEwen\n00:01:47\nSo listen, I had a great idea that if our voices gave out we were just going to open up the record and bring a recorder up on a stage and place the needle in the proper groove, and then just let the record speak for itself. However, I guess the voice is intact. I'm reading first from my latest work, poems from the last year. The first is called \"The Zoo\".\n  \nGwendolyn MacEwen\n00:02:22\nReads \"The Zoo\".\n \nGwendolyn MacEwen\n00:03:38\nNot feeling that I'd sufficiently exploited beasts and things, I wrote another called \"The Taming of the Dragon\".\n \nGwendolyn MacEwen\n00:03:49\nReads \"The Taming of the Dragon\".\n \nGwendolyn MacEwen\n00:04:57\nStill not having exploited the animal kingdom, I wrote a poem which, well, is not connected with the animal kingdom at all, really. It's called \"The Horse-head Nebula\".\n  \nGwendolyn MacEwen\n00:05:12\nReads \"The Horse-head Nebula\".\n \nGwendolyn MacEwen\n00:06:19.86\nReads \"Wheels\".\n \nGwendolyn MacEwen\n00:07:18\nThis is a poem which, oddly enough, came out in a Mexican magazine in Spanish not too long ago, looking completely unrecognizable to me. It's called \"I Should Have Predicted\".\n \nGwendolyn MacEwen\n00:07:38\nReads \"I Should Have Predicted\" [published later in The Shadow-Maker].\n \nGwendolyn MacEwen\n00:08:47\nSome people have asked me if that poem was about Toronto, and I'm at a loss to answer, not having seen horses, riders, chariots, or anything remotely similar in Toronto. Plus the fact, I'm sure many people have predicted the death of Toronto, as far as that goes. I recall Phyllis reading a poem on perhaps an evolutionary theme, and I have one here called \"The Heel\".\n \nGwendolyn MacEwen\n00:09:32\nReads \"The Heel\" [published later in The Shadow-Maker].\n \nGwendolyn MacEwen\n00:11:16\nNow, I think I can safely move into Breakfast for Barbarians. It needs a little preparation, a little cushioning, perhaps. This is a poem called \"The Garden of Square Roots: An Autobiography\".\n \nGwendolyn MacEwen\n00:12:01\nReads \"The Garden of Square Roots: An Autobiography\" from A Breakfast for Barbarians.\n \nGwendolyn MacEwen\n00:13:33\nI think all poets should have some suffering poems, poems of great anguish. So feeling I was somewhat deficient in this area [audience laughter], I made use of a very opportune situation, recovering from an appendectomy in hospital. [Audience laughter]. Deciding that surely this was my moment, if I was ever going to write a painful poem it must be now. [Audience laughter]. So this is \"Appendectomy\".\n \nGwendolyn MacEwen\n00:14:20\nReads \"Appendectomy\".\n \nUnknown\n00:14:22\n[High-pitched sound. Possible damage to recording].\n \nUnknown\n00:14:57\n[High-pitched sound. Possible damage to recording].\n \nGwendolyn MacEwen\n00:15:20\nAlthough I can't say that I'm convinced that that suffering was valid, either. But. The next poem is called \"The Self Assumes\", and I rarely talk about how a poem gets written because it seems mostly irrelevant, but I would remark that the last line of this poem was one of those very strange, surprising things that comes to one almost instantaneously, and one plucks it out of the air. I was very delighted with it. \"The Self Assumes\".\n \nGwendolyn MacEwen\n00:16:08\nReads \"The Self Assumes\".\n \nGwendolyn MacEwen\n00:18:01\nThe next poem is one of a group of poems toward the end of this book where the, I think the tone or the voice takes a somewhat radical departure from the poems in the rest of the book. It's called \"The Caravan\".\n \nGwendolyn MacEwen\n00:18:23\nReads \"The Caravan\" from A Breakfast for Barbarians. \n \nGwendolyn MacEwen\n00:20:29\nI'm trying to locate a poem in this book which I realized doesn't exist. It's somewhere else altogether. I'd like to end this reading with a trilogy of poems. Which are also toward the end of Breakfast for Barbarians. Poems which, for me, represent a stage in my own growth as a poet. They are called the Arcanum poems, I believe they're on the record which Roy Kiyooka [https://www.wikidata.org/wiki/Q3445789] was showing you. \n \nGwendolyn MacEwen\n00:21:15\nReads \"Arcanum One\" from A Breakfast for Barbarians.\n \nGwendolyn MacEwen\n00:22:35\nBefore I go into \"Arcanum Two\", in case anyone is mystified with beetles and suns and various creatures like that, let me say that the book is, the poem, rather, is of an Egyptian theme. A royal house. And the events taking place within it. So we move on: \"Arcanum Two\".\n \nGwendolyn MacEwen\n00:23:05\nReads \"Arcanum Two\" from A Breakfast for Barbarians.\n \nGwendolyn MacEwen\n00:24:33\nAnd finally, \"Arcanum Three\".\n \nGwendolyn MacEwen\n00:24:39\nReads \"Arcanum Three\" from A Breakfast for Barbarians.\n \nGwendolyn MacEwen\n00:25:31\nThank you very much. \n \nUnknown\n00:25:34\n[Cut or edit in tape. Unknown amount of time elapsed]. \n \nRoy Kiyooka\n00:25:34\n...everybody here, I want to thank Gwendolyn MacEwen. Our night three is on December the second. Thank you very much. \n \nEND\n00:25:42\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\n In 1966, Phyllis Webb was executive producer of CBC’s “Ideas” radio show in Toronto. She had just published Naked Poems in 1965.\\n\\nIn 1966, Gwendolyn MacEwen published Breakfast for Barbarians (Ryerson Press).\",\"type\":\"General\"},{\"note\":\"\\nLocal Connections:\\n\\nWhile studying at McGill in the early 50’s, she became involved with the literary circle that included F.R. Scott, Louis Dudek and Irving Layton. Her work was published by Toronto’s Coach House Press, McClelland and Stewart, Ryerson University Press and Vancouver’s Talonbooks. She also kept correspondences with George Bowering (Archives Canada).\\n\\nThe direct connection between Sir George Williams University and Gwendolyn MacEwen is unknown. However, MacEwen was an important emerging poet from Toronto, associated with poets Margaret Atwood, and husband Milton Acorn.\",\"type\":\"General\"},{\"note\":\"I006-11-130:\\nOriginal transcript, research, introduction and edits by Celyn Harding-Jones \\n\\nAdditional research and edits by Ali Barillaro\\n\\nI006-11-161:\\nOriginal transcript by Rachel Kyne\\n\\nOriginal print catalogue, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\\n\",\"type\":\"Cataloguer\"},{\"note\":\"2 reel-to-reel tapes>2 CDs>2 digital files\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/encyclopedia-of-post-colonial-literatures-in-english-vol-1/oclc/32566813&referer=brief_results\",\"citation\":\"Atwood, Margaret. “MacEwen, Gwendolyn (1941-87)”. Routledge Encyclopedia of Post- Colonial Literatures in English. Eugene Benson & L.W. Connolly (eds). London: Routledge, 1994\"},{\"url\":\"https://www.worldcat.org/title/poetry-of-gwendolyn-macewen-volume-one-the-early-years/oclc/1127735121&referer=brief_results\",\"citation\":\"Atwood, Margaret and Barry Callaghan (eds). The Poetry of Gwendolyn MacEwen; Volume One: The Early Years. Toronto: Exile Editions, 1993. \"},{\"url\":\"https://www.worldcat.org/title/encyclopedia-of-post-colonial-literatures-in-english-vol-1/oclc/32566813&referer=brief_results\",\"citation\":\"Beddoes, Julie. “Webb, Phyllis (1927-)”. Routledge Encyclopedia of Post-Colonial Literatures in English. Eugene Benson and L.W. Conolly (eds). London: Routledge, 1994. \"},{\"url\":\"https://www.worldcat.org/title/contemporary-canadian-poem-anthology/oclc/988192362&referer=brief_results\",\"citation\":\"Bowering, George, ed. The Contemporary Canadian Poetry Anthology. Toronto: Coach House Press, 1994. \"},{\"url\":\"https://www.worldcat.org/title/margaret-atwood-a-biography/oclc/398000144&referer=brief_results\",\"citation\":\"Cooke, Nathalie. Margaret Atwood: A Biography. Toronto: ECW Press, 1998. \"},{\"url\":\"https://www.worldcat.org/title/from-there-to-here-a-guide-to-english-canadian-literature-since-1960-ii-our-nature-our-voices/oclc/878901819&referer=brief_results\",\"citation\":\"Davey, Frank. “Gwendolyn MacEwen”. From There to Here. Erin, Ontario: Press Porcepic, 1974. \"},{\"url\":\"https://www.worldcat.org/title/15-canadian-poets-x2/oclc/977756354&referer=brief_results\",\"citation\":\"Geddes, Gary. “Gwendolyn MacEwen (1941-1987)”. Fifteen Canadian Poets Times Two. Toronto: Oxford University Press, 1990. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Geddes, Gary. \\\"Webb, Phyllis\\\". The Oxford Companion to Canadian Literature. Eugene Benson and William Toye (eds). Oxford University Press, 2001. \"},{\"url\":\"http://www.ccca.ca/history/ozz/english/authors/macewen_gwendolyn.html\",\"citation\":\"“Gwendolyn MacEwen (1941-1987)”. One Zero Zero: A Virtual Library of English Canadian Small Press 1945-2044. \"},{\"url\":\"https://www.worldcat.org/title/breakfast-for-barbarians/oclc/468766375&referer=brief_results\",\"citation\":\"MacEwen, Gwendolyn. A Breakfast for Barbarians. Toronto: Ryerson Press, 1966. \"},{\"url\":\"https://www.worldcat.org/title/magic-animals-selected-poems-old-and-new/oclc/643604498&referer=brief_results\",\"citation\":\"MacEwen, Gwendolyn. Magic Animals: Selected Poems Old and New. Toronto: Macmillan, 1974. \"},{\"url\":\"https://www.worldcat.org/title/poets-of-contemporary-canada-1960-1970/oclc/659470&referer=brief_results\",\"citation\":\"Mandel, Eli. “Gwendolyn MacEwen”. Poets of Contemporary Canada 1960-1970. Montreal: McClelland and Stewart, 1972. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/807465072&referer=brief_results\",\"citation\":\"Manhire, Bill.\\\"MacEwen, Gwendolyn\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ian Hamilton (ed). Oxford University Press, 1996. \\n\"},{\"url\":\"https://www.bac-lac.gc.ca/eng/discover/archives-literary/Pages/list-fonds-collections.aspx#p\",\"citation\":\"“Phyllis Webb fonds”. Library and Archives Canada. \"},{\"url\":\"https://www.worldcat.org/title/sea-is-also-a-garden/oclc/422686224&referer=brief_results\",\"citation\":\"Webb, Phyllis. The Sea is Also a Garden. Toronto: Ryerson Press, 1962. \"},{\"url\":\"https://www.worldcat.org/title/even-your-right-eye/oclc/654581694&referer=brief_results\",\"citation\":\"Webb, Phyllis. Even Your Right Eye. Toronto: McClelland & Stewart, 1956. \"},{\"url\":\"https://www.worldcat.org/title/naked-poems/oclc/423359678&referer=brief_results\",\"citation\":\"Webb, Phyllis. Naked Poems. Vancouver: Periwinkle Press, 1965. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Woodcock, George & Rosemary Sullivan. \\\"MacEwen, Gwendolyn\\\". The Oxford Companion to Canadian Literature. Eugene Benson and William Toye (eds). Oxford University Press, 2001. \"},{\"url\":\"\",\"citation\":\"MacEwen, Gwendolyn. The Shadow-Maker. Toronto: Macmillan, 1969.\"},{\"url\":\"\",\"citation\":\"“Poetry Readings”. OP-ED. Montreal: Sir George Williams University, 6 October 1967, page 6. \"}]"],"_version_":1853670548660289536,"timestamp":"2026-01-07T14:59:53.264Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0130_back.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006_11_0130_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Phyllis Webb 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_0130_front.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006_11_0130_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Phyllis Webb Tape Box - 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Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/phyllis_webb_i006-11-130.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"phyllis_webb_i006-11-130.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:32:43\",\"precision\":\"\",\"size\":\"78.5 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"phyllis_webb_i006-11-130.mp3 [File 1 of 2]\\n\\nRoy Kiyooka\\n00:00:00\\nNow perhaps some of you are wondering what these readings are all about and how the choices made, I have here a slight commentary on that which I would like to read to you. Our answer to this is that we have not attempted to make the series an exhaustive coverage of any particular school or faction of poetry. Nor has our concern been an attempt to seek out the so-called \\\"great poets\\\". Our choices have been made with the desire to present to you, hopefully, the possibilities of utterance that is more than parochial. In short, this is our attempt to sound just that diversity that so much characterizes the North American Poetry scene. Now tonight it is my very great pleasure to introduce to you two poets whose distinctiveness is more than the fact of their sex. I want to introduce each poet in turn, Phyllis Webb [https://www.wikidata.org/wiki/Q7188637] will begin the readings and after the intermission, I shall introduce to you Gwendolyn MacEwen [https://www.wikidata.org/wiki/Q4276487]. Now Phyllis Webb has published three books of poems, they are Even Your Right Eye in 1956, The Sea is Also a Garden in ‘62 and Naked Poems in ‘65. Her earlier work appeared in Trio along with Eli Mandel [https://www.wikidata.org/wiki/Q3050883] and Gael Turnbull [https://www.wikidata.org/wiki/Q5516589]. She is currently a program organizer for CBC's [https://www.wikidata.org/wiki/Q461761] Ideas Series [https://www.wikidata.org/wiki/Q5988057]. Ladies and Gentleman, Ms. Phyllis Webb.\\n \\nUnknown\\n00:02:20\\n[Cut or edit in tape. Unknown amount of time elapsed].\\n \\nPhyllis Webb\\n00:02:21\\nI'd like to begin with a found poem, in that it was simply given to me by a child behaving in my presence. It's called \\\"Alec\\\".\\n \\nPhyllis Webb\\n00:02:35\\nReads \\\"Alec\\\".\\n \\nPhyllis Webb\\n00:04:07\\nReads \\\"Rilke\\\".\\n \\nPhyllis Webb\\n00:05:58\\nThis next poem is called \\\"Continuum\\\" and it's not a very extraordinary or terribly good poem even, I don't think, but it came out of a rather extraordinary experience, which was television. And it was simply a news clip from Vietnam [https://www.wikidata.org/wiki/Q881], but this one had soundtrack on it, which made it rather more touching and inspired me to wire the Prime Minister. And shortly after that and I didn't know I was getting to the wire in the middle of it until I got there and it has to do with the almost totally impossibility of separating out objective events  that happen out there in history and in time and one's own private history. \\\"Continuum\\\".\\n\\nPhyllis Webb\\n00:07:04\\nReads \\\"Continuum\\\".\\n \\nPhyllis Webb\\n00:08:34\\nI'm afraid I am suffering from the Toronto [https://www.wikidata.org/wiki/Q172] plague which may be rampant here too. The next poem has a title longer than the poem. The title is \\\"A Loaf of Sliced Bread Wrapped in Cellophane and Bought at the Supermarket Where the Doors Open Without Pushing\\\".\\n \\nPhyllis Webb\\n00:09:04\\nReads \\\"A Loaf of Sliced Bread Wrapped in Cellophane and Bought at the Supermarket Where the Doors Open Without Pushing\\\".\\n \\nPhyllis Webb\\n00:09:13\\nAnd the next poem is dedicated to Paul Goodman [https://www.wikidata.org/wiki/Q943567], and there is a quotation embedded in the poem which you will probably catch when I come to it. It's a short poem.\\n \\nPhyllis Webb\\n00:09:32\\nReads unnamed poem.\\n \\nPhyllis Webb\\n00:10:06\\nReads \\\"Poetry\\\".\\n \\nPhyllis Webb\\n00:11:54\\nI will read now from my volume The Sea is Also a Garden. \\\"Propositions\\\".\\n \\nPhyllis Webb\\n00:12:16\\nReads \\\"Propositions\\\" from The Sea is Also a Garden.\\n \\nPhyllis Webb\\n00:13:28\\nThe next poem is one that seems to elicit negative vibrations from an audience in the first three quarters, so go ahead and zoom them at me.\\n \\nPhyllis Webb\\n00:13:43\\nReads unnamed poem.\\n \\nPhyllis Webb\\n00:16:02\\nI don't think I have the voice to read both sides of this poems tonight, there are two poems, one called \\\"Breaking\\\" and one called \\\"Making\\\". They're about the creative process that involves both those things, but \\\"Making\\\" is rather long and a little hard to read, so I'll read \\\"Breaking\\\" which is better probably as a poem.\\n \\nPhyllis Webb\\n00:16:47\\nReads \\\"Breaking\\\".\\n \\nPhyllis Webb\\n00:19:04\\nThe next poem is called \\\"The Time of Man\\\" and had a rather interesting genesis. I was reading an article in Horizon [https://www.wikidata.org/wiki/Q3786777] by Dr. Loren Eiseley [https://www.wikidata.org/wiki/Q2634723], which he was putting forward some ideas on evolution and it was very beautifully written this Dr. Eiseley's an excellent stylist as well as a good scientist and I discovered that as I was going through I was marking the sentences and a few days later I began writing a poem and picked up the book and listed the sentences, so this poem takes off from the Eiseley article which is called \\\"The Time of Man\\\" in which Eiseley says we must live evolution forward amongst many other interesting things and it is started with quotations, which you will get some of the time and some of the time you won't. I sent it to him for confirmation about the scientific aspects of it, he said okay, I used to write poetry too. \\\"The Time of Man\\\".\\n \\nPhyllis Webb\\n00:20:24\\nReads \\\"The Time of Man\\\".\\n \\nPhyllis Webb\\n00:21:38\\nReads \\\"Sitting\\\".\\n \\nPhyllis Webb\\n00:22:08\\nI want to read an old poem now, which I wrote in Dublin [https://www.wikidata.org/wiki/Q1761], long years ago, if I can find it. It's called \\\"Poems of Dublin\\\", where I'd gone on a sort of literary pilgrimage in search of the spirit of Yeats [https://www.wikidata.org/wiki/Q40213] and Joyce [https://www.wikidata.org/wiki/Q6882] among others, it's a very down to earth sort of poem, in four parts.\\n \\nPhyllis Webb\\n00:22:45\\nReads \\\"Poems of Dublin\\\".\\n \\nPhyllis Webb\\n00:25:33\\nI want to move on now to my latest book called Naked Poems and which one of your local critics, or at least he wrote for the Montreal Star [https://www.wikidata.org/wiki/Q3521910] at this particular point, exclaimed of the price because there are so few words in the book. It's 2.25$. These poems are very small, and therefore very expensive and came at a bitter price, I may say, to me. They came quite as a surprise, I didn't know what I was doing when I wrote them, the first fourteen or so I thought, my goodness, what are these little things doing here, and I couldn't quite take them seriously and then I began to see the order that really was intrinsic in them, and realized that here was something, almost a new form for me to work on, and it's very bare, naked, undecorated and I wanted to get rid of all my affectations. And so I decided to write a couple hundred of them, and I wrote about a hundred and then got hung up on a technical problem, and finally reduced them to, I don't know, forty or so that are in this book. So this is a distillation, let's say. I'm going to read the first fourteen which comprise a total poem, in a sense the whole book is a poem. And then I'll read a few more as long as my voice and your patience will hold out. \\\"Suite I\\\".\\n \\nPhyllis Webb\\n00:27:56\\nReads \\\"Suite I\\\" from Naked Poems.\\n \\nPhyllis Webb\\n00:28:53\\nReads \\\"Flies\\\" from Naked Poems.\\n \\nPhyllis Webb\\n00:29:10\\nReads \\\"Your Blouse\\\" from Naked Poems.\\n \\nPhyllis Webb\\n00:29:41\\nReads \\\"Suite II\\\" from Naked Poems.\\n \\nPhyllis Webb\\n00:31:27\\nOne of the things I was interested in doing in these poems is again this subjective and the objective, here the subject and the object relationship, so that I use objects just to speak for themselves, in a sense, and yet they are all prismed in the way I see them. And again this impossibility of the dichotomy of subjective-objective.\\n \\nPhyllis Webb\\n00:32:09\\nReads unnamed poem from Naked Poems.\\n \\nEND\\n00:32:43\\n\",\"notes\":\"Phyllis Webb reads from The Sea is Also a Garden (Ryerson Press, 1962), Even Your Right Eye (McClelland & Stewart, 1956), and Naked Poems (Periwinkle Press, 1965). \\n\\n00:00- Roy Kiyooka Introduction [INDEX: Kiyooka explains decisions behind Reading Series Poets, North American Poetry scene, Phyllis Webb, Gwendolyn MacEwan, Even Your Right Eye in 1956, The Sea is Also a Garden in 1962 and Naked Poems in 1965 by Phyllis Webb, Trio with Eli Mandel and Gael Turnbull, CBC’s Ideas Series]\\n02:21- Phyllis Webb introduces “Alec” [INDEX: found poem]\\n02:35- Reads “Alec”\\n04:07- Reads “Rilke”\\n05:58- Introduces “Continuum” [INDEX: Television clip from Vietnam, Prime Minister,        objective events and private history]\\n07:04- Reads “Continuum”\\n08:34- Introduces “A Loaf of Sliced Bread Wrapped in Cellophane and Bought at the         Supermarket Where the Doors Open Without Pushing” [INDEX: Toronto]\\n09:04- Reads “A Loaf of Sliced Bread Wrapped in Cellophane and Bought at the   \\tSupermarket Where the Doors Open Without Pushing”\\n09:13- Introduces first line “What decides the vision...” [INDEX: Paul Goodman]\\n09:32- Reads first line “What decides the vision...”\\n10:06- Reads “Poetry”\\n11:54- Introduces “Propositions” [INDEX: from The Sea is Also a Garden]\\n12:16- Reads “Propositions”\\n13:28- Introduces first line “To friends who have also considered suicide...”\\n13:43- Reads first line “To friends who have also considered suicide...”\\n16:02- Introduces “Breaking” [INDEX: “Making”, creative process]\\n16:47- Reads “Breaking”\\n19:04- Introduces “The Time of Man” [INDEX: article in Horizon by Dr. Loren Eiseley,         evolution]\\n20:24- Reads “The Time of Man”\\n21:38- Reads “Sitting”\\n22:08- Introduces “Poems of Dublin” [INDEX: pilgrimage to Dublin, Yeats, Joyce]\\n22:45- Reads “Poems of Dublin”\\n25:33- Reads “Suite I” [INDEX: from Naked Poems, critic from the Montreal Star, writing     process of Naked Poems]\\n28:53- Reads “Flies” [INDEX: not in Howard Fink List of poems]\\n29.10- Reads “Your Blouse” [INDEX: not in Howard Fink List of poems]\\n29:41- Reads “Suite II” [INDEX: not in Howard Fink List of poems]\\n31:27- Introduces first line “An instant of white roses...” [INDEX: in section “Non Linear” in Naked Poems, subject-object relationship; not in Howard Fink List of Poems]\\n32:43.57- END OF RECORDING\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/phyllis-webb-at-sgwu-1966-roy-kiyooka/\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/gwendolyn_macewen_i006-11-161.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"gwendolyn_macewan_i006-11-161.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:25:42\",\"precision\":\"\",\"size\":\"61.7 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"gwendolyn_macewan_i006-11-161.mp3 [File 2 of 2]\\n\\nRoy Kiyooka\\n00:00:00\\nSecond half of our program...on the second half of our program we will have Gwendolyn MacEwen reading for us. I have notes in my hand concerning her, but on the back of this album, here, a CBC [https://www.wikidata.org/wiki/Q461761] publications release of...is it eight Canadian poets? One, two, three, four… [Audience laughter]. Yes, eight Canadian poets, this album is about to be released very shortly. There's a much more comprehensive biography of her, so I shall read this as an introduction to her. Born in Toronto [https://www.wikidata.org/wiki/Q172] in 1941, began publishing poetry in the Canadian Forum [https://www.wikidata.org/wiki/Q5030045] at age fifteen. She left school at eighteen, a high school dropout, as the sociologists would say [audience applause and laughter] to devote herself to writing. She has published three books of poetry, The Drunken Clock, The Rising Fire, and most recently, A Breakfast for Barbarians. She has also published a novel called Julian the Magician. In 1965, she was awarded the prize for poetry in the CBC's new writing contest. With the aid of a Canada Council [https://www.wikidata.org/wiki/Q2993809] grant, she is currently at work on a novel on the, how do you pronounce the guy's name? [whispers off-mic to MacEwen]...Pharaoh Akhenaten [https://www.wikidata.org/wiki/Q81794] [laughter] of the eighteenth dynasty in Egypt [https://www.wikidata.org/wiki/Q79]. Ladies and gentlemen, Gwendolyn MacEwen.\\n \\nUnknown\\n00:01:47\\n[Cut or edit in tape. Unknown amount of time elapsed].\\n \\nGwendolyn MacEwen\\n00:01:47\\nSo listen, I had a great idea that if our voices gave out we were just going to open up the record and bring a recorder up on a stage and place the needle in the proper groove, and then just let the record speak for itself. However, I guess the voice is intact. I'm reading first from my latest work, poems from the last year. The first is called \\\"The Zoo\\\".\\n  \\nGwendolyn MacEwen\\n00:02:22\\nReads \\\"The Zoo\\\".\\n \\nGwendolyn MacEwen\\n00:03:38\\nNot feeling that I'd sufficiently exploited beasts and things, I wrote another called \\\"The Taming of the Dragon\\\".\\n \\nGwendolyn MacEwen\\n00:03:49\\nReads \\\"The Taming of the Dragon\\\".\\n \\nGwendolyn MacEwen\\n00:04:57\\nStill not having exploited the animal kingdom, I wrote a poem which, well, is not connected with the animal kingdom at all, really. It's called \\\"The Horse-head Nebula\\\".\\n  \\nGwendolyn MacEwen\\n00:05:12\\nReads \\\"The Horse-head Nebula\\\".\\n \\nGwendolyn MacEwen\\n00:06:19.86\\nReads \\\"Wheels\\\".\\n \\nGwendolyn MacEwen\\n00:07:18\\nThis is a poem which, oddly enough, came out in a Mexican magazine in Spanish not too long ago, looking completely unrecognizable to me. It's called \\\"I Should Have Predicted\\\".\\n \\nGwendolyn MacEwen\\n00:07:38\\nReads \\\"I Should Have Predicted\\\" [published later in The Shadow-Maker].\\n \\nGwendolyn MacEwen\\n00:08:47\\nSome people have asked me if that poem was about Toronto, and I'm at a loss to answer, not having seen horses, riders, chariots, or anything remotely similar in Toronto. Plus the fact, I'm sure many people have predicted the death of Toronto, as far as that goes. I recall Phyllis reading a poem on perhaps an evolutionary theme, and I have one here called \\\"The Heel\\\".\\n \\nGwendolyn MacEwen\\n00:09:32\\nReads \\\"The Heel\\\" [published later in The Shadow-Maker].\\n \\nGwendolyn MacEwen\\n00:11:16\\nNow, I think I can safely move into Breakfast for Barbarians. It needs a little preparation, a little cushioning, perhaps. This is a poem called \\\"The Garden of Square Roots: An Autobiography\\\".\\n \\nGwendolyn MacEwen\\n00:12:01\\nReads \\\"The Garden of Square Roots: An Autobiography\\\" from A Breakfast for Barbarians.\\n \\nGwendolyn MacEwen\\n00:13:33\\nI think all poets should have some suffering poems, poems of great anguish. So feeling I was somewhat deficient in this area [audience laughter], I made use of a very opportune situation, recovering from an appendectomy in hospital. [Audience laughter]. Deciding that surely this was my moment, if I was ever going to write a painful poem it must be now. [Audience laughter]. So this is \\\"Appendectomy\\\".\\n \\nGwendolyn MacEwen\\n00:14:20\\nReads \\\"Appendectomy\\\".\\n \\nUnknown\\n00:14:22\\n[High-pitched sound. Possible damage to recording].\\n \\nUnknown\\n00:14:57\\n[High-pitched sound. Possible damage to recording].\\n \\nGwendolyn MacEwen\\n00:15:20\\nAlthough I can't say that I'm convinced that that suffering was valid, either. But. The next poem is called \\\"The Self Assumes\\\", and I rarely talk about how a poem gets written because it seems mostly irrelevant, but I would remark that the last line of this poem was one of those very strange, surprising things that comes to one almost instantaneously, and one plucks it out of the air. I was very delighted with it. \\\"The Self Assumes\\\".\\n \\nGwendolyn MacEwen\\n00:16:08\\nReads \\\"The Self Assumes\\\".\\n \\nGwendolyn MacEwen\\n00:18:01\\nThe next poem is one of a group of poems toward the end of this book where the, I think the tone or the voice takes a somewhat radical departure from the poems in the rest of the book. It's called \\\"The Caravan\\\".\\n \\nGwendolyn MacEwen\\n00:18:23\\nReads \\\"The Caravan\\\" from A Breakfast for Barbarians. \\n \\nGwendolyn MacEwen\\n00:20:29\\nI'm trying to locate a poem in this book which I realized doesn't exist. It's somewhere else altogether. I'd like to end this reading with a trilogy of poems. Which are also toward the end of Breakfast for Barbarians. Poems which, for me, represent a stage in my own growth as a poet. They are called the Arcanum poems, I believe they're on the record which Roy Kiyooka [https://www.wikidata.org/wiki/Q3445789] was showing you. \\n \\nGwendolyn MacEwen\\n00:21:15\\nReads \\\"Arcanum One\\\" from A Breakfast for Barbarians.\\n \\nGwendolyn MacEwen\\n00:22:35\\nBefore I go into \\\"Arcanum Two\\\", in case anyone is mystified with beetles and suns and various creatures like that, let me say that the book is, the poem, rather, is of an Egyptian theme. A royal house. And the events taking place within it. So we move on: \\\"Arcanum Two\\\".\\n \\nGwendolyn MacEwen\\n00:23:05\\nReads \\\"Arcanum Two\\\" from A Breakfast for Barbarians.\\n \\nGwendolyn MacEwen\\n00:24:33\\nAnd finally, \\\"Arcanum Three\\\".\\n \\nGwendolyn MacEwen\\n00:24:39\\nReads \\\"Arcanum Three\\\" from A Breakfast for Barbarians.\\n \\nGwendolyn MacEwen\\n00:25:31\\nThank you very much. \\n \\nUnknown\\n00:25:34\\n[Cut or edit in tape. Unknown amount of time elapsed]. \\n \\nRoy Kiyooka\\n00:25:34\\n...everybody here, I want to thank Gwendolyn MacEwen. Our night three is on December the second. Thank you very much. \\n \\nEND\\n00:25:42\\n\",\"notes\":\"Gwendolyn MacEwen reads from Breakfast for Barbarians (Ryerson Press, 1966) and poems published later in The Shadow-Maker (Macmillan, 1969) and a few unknown poems.\\n\\n00:00- Roy Kiyooka introduces Gwendolyn MacEwen. [INDEX: second half of reading, CBC recording of eight Canadian poets (Phyllis Webb, Earle Birney, John Newlove, Al Purdy, Irving Layton, Leonard Cohen, George Bowering and Gwendolyn MacEwen (CBC, 1966), biography, born in Toronto in 1941, publishing poetry at age 15, high school dropout, sociologists, three poetry books: The Drunken Clock, The Rising Fire and Breakfast for Barbarians, novel Julian and the Magician, 1965 award from CBC’s\\nwriting contest, Canada Council grant, Pharaoh Akhenaton and the eighteenth dynasty in Egypt, (perhaps King of Egypt, King of Dreams (Macmillan, 1971)].\\n01:47- Gwendolyn MacEwen introduces reading and “The Zoo”. [INDEX: loss of voice,\\nrecording, record, latest work].\\n02:22- Reads “The Zoo”.\\n03:38- Introduces “The Taming of the Dragon”. [INDEX: exploited beasts].\\n03:49- Reads “The Taming of the Dragon”.\\n04:57- Introduces “The Horse-head Nebula”. [INDEX: exploited the animal kingdom].\\n05:12- Reads “The Horse-head Nebula”.\\n06:19- Reads “Wheels”.\\n07:18- Introduces “I Should Have Predicted”. [INDEX: published in Mexican magazine in\\nSpanish; later published in The Shadow-Maker (Macmillan, 1969)].\\n07:38- Reads “I Should Have Predicted”.\\n08:47- Explains “I Should Have Predicted” and introduces “The Heel”. [INDEX: about\\nToronto, horses, riders, chariots, death of Toronto, Phyllis [Webb] poem, evolutionary\\ntheme; later published in The Shadow-Maker (Macmillan, 1969)].\\n09:32- Reads “The Heel”.\\n11:16- Introduces Breakfast for Barbarians. [INDEX: preparation, cushioning].\\n11:52- Introduces “The Garden of Square Roots: An Autobiography”. [INDEX: from\\nBreakfast for Barbarians].\\n12:01- Reads “The Garden of Square Roots: An Autobiography”.\\n13:33- Introduces “Appendectomy”. [INDEX: suffering poem, poets, appendectomy in hospital,painful poem; from Breakfast for Barbarians].\\n14:20- Reads “Appendectomy”.\\n14:22- Damage to recording\\n14:57- Damage to recording\\n15:20- Explains “Appendectomy”, introduces “The Self Assumes”. [INDEX: suffering,\\nvalidity, how a poem gets written, irrelevant, last line, strange surprise, instantaneous, out of air; from Breakfast for Barbarians].\\n16:08- Reads “The Self Assumes”.\\n18:01- Introduces “The Caravan”. [INDEX: group of poems, tone, voice, radical departure; from Breakfast for Barbarians].\\n18:23- Reads “The Caravan”.\\n20:29- Introduces “Arcanum One”. [INDEX: poem that doesn’t exist, trilogy of poems, at the end of Breakfast for Barbarians, stage in growth as a poet, Arcanum poems, on record, Roy Kiyooka].\\n21:15- Reads “Arcanum One”.\\n22:35- Introduces “Arcanum Two”. [INDEX: beetles, sun, creatures, Egyptian theme, royal house].\\n23:05- Reads “Arcanum Two”.\\n24:33- Reads “Arcanum Three”.\\n25:31- Gwendolyn MacEwen thanks the audience.\\n25:34- Roy Kiyooka thanks Gwendolyn MacEwen, announces date of next reading. [INDEX: next reading December 2].\\n25:42.80- END OF RECORDING.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/gwendolyn-macewen-at-sgwu-1966/\"}]"],"score":3.1369812},{"id":"5626","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. 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(Source: https://en.wikipedia.org/wiki/Canadian_Broadcasting_Centre)\",\"address\":\"Jarvis Street, Toronto, Ontario, Canada\",\"latitude\":\"43.6562555\",\"longitude\":\"-79.374232 \"}]"],"Address":["Jarvis Street, Toronto, Ontario, Canada"],"Venue":["CBC Studio"],"City":["Toronto, Ontario"],"content_notes":["SFU BC Readings formatting"],"contents":["Two\t\t000\tPhyllis Webb –“Alex”\n\t\t\t“Rilke”\n\t\t\t“Sitting”\n\t\t\t“The Time of Man”\n\t\t\t“Propositions”\n\t\t\t“Breaking”\n\t\t\t“Naked Poems”\n\t\t\tSuites One and Two\nTwo\t\t000\tPhyllis Webb –“Alex”\n\t\t\t“Rilke”\n\t\t\t“Sitting”\n\t\t\t“The Time of Man”\n\t\t\t“Propositions”\n\t\t\t“Breaking”\n\t\t\t“Naked Poems”\n\t\t\tSuites One and Two\n"],"Note":["[{\"note\":\"side one and two should be vice versa. Earle Birney, John Newlove, and Alfred Purdy parts are missing in the content \",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670554189430788,"timestamp":"2026-01-07T14:59:58.590Z","score":3.1369812},{"id":"5897","cataloger_name":["Isabella,Wang"],"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. 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K.","Webb, Phyllis"],"creators":["[{\"url\":\" http://viaf.org/viaf/116854541\",\"name\":\"Livesay, Dorothy\",\"dates\":\"1909-1996\",\"notes\":\"\",\"nation\":[],\"role\":[\"Interviewer\"]},{\"url\":\"http://viaf.org/viaf/59208470\",\"name\":\"Page, P. 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Following the conference, the West Coast Women and Word Society continued to fulfil their mandate by organizing poetry competitions, hosting readings and events, editing and compiling anthologies of women's writing, and running a mentorship program designed to connect young women writers with more established ones."],"collection_source_collection_id":["MsC 23"],"persistent_url":[""],"item_title":["Women and Words - \"Creating Alternative Structures: Mentors, Networks, Reading/Writing Support Groups\": Gay Allison, Mona Fertig, Victoria Freeman, Carol Gordon, Pam Hawthorn, Phyllis Webb at UBC on July 1, 1983"],"item_title_source":["Conference Program"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Allison, Gay","Fertig, Mona","Gordon, Carol","Hawthorn, Pam","Freeman, Victoria","Webb, Phyllis"],"creator_names_search":["Allison, Gay","Fertig, Mona","Gordon, Carol","Hawthorn, Pam","Freeman, Victoria","Webb, Phyllis"],"creators":["[{\"url\":\"\",\"name\":\"Allison, Gay\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Presenter\"]},{\"url\":\"http://viaf.org/viaf/107906424\",\"name\":\"Fertig, Mona\",\"dates\":\"1954-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Presenter\"]},{\"url\":\"http://viaf.org/viaf/105819195\",\"name\":\"Gordon, Carol\",\"dates\":\"1958-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Presenter\"]},{\"url\":\"\",\"name\":\"Hawthorn, Pam\",\"dates\":\"\",\"notes\":\"First managing and artistic director of the New Play Centre in Vancouver. \",\"nation\":[],\"role\":[\"Presenter\"]},{\"url\":\"http://viaf.org/viaf/7034917\",\"name\":\"Freeman, Victoria\",\"dates\":\"\",\"notes\":\"Panel moderator and presenter\",\"nation\":[],\"role\":[\"Presenter\",\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/29847238\",\"name\":\"Webb, Phyllis\",\"dates\":\"1927-2021\",\"notes\":\"\",\"nation\":[],\"role\":[\"Presenter\"]}]"],"contributors":["[]"],"Performance_Date":[1983],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/3886/IMG_7409.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"Clear tape case\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"https://digital.lib.sfu.ca/women-and-words-creating-alternative-structures-mentors-networks-readingwriting-support-groups-gay\",\"file_path\":\"\",\"filename\":\"MSC23-4-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:04\",\"precision\":\"\",\"size\":\"51.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://digital.lib.sfu.ca/women-and-words-creating-alternative-structures-mentors-networks-readingwriting-support-groups-0\",\"file_path\":\"\",\"filename\":\"MSC23-4-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:34:14\",\"precision\":\"\",\"size\":\"107.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"recording of Side A plus new Side B content; break at 47:20 suggests it may be Side A and B together/the result of digitization\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1983-07-01\",\"type\":\"Performance Date\",\"notes\":\"Friday at 2:00pm-3:30pm\",\"source\":\"Conference program\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/83433307\",\"venue\":\"Angus Building, University of British Columbia, Room A328\",\"notes\":\"\",\"address\":\"Vancouver, British Columbia\",\"latitude\":\"49.26503765\",\"longitude\":\"-123.25386541436339\"}]"],"Address":["Vancouver, British Columbia"],"Venue":["Angus Building, University of British Columbia, Room A328"],"City":["Vancouver, British Columbia"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670556040167424,"timestamp":"2026-01-07T15:00:00.367Z","score":3.1369812},{"id":"6698","cataloger_name":["Kandice,Sharren"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Women and Words Fonds"],"source_collection_label":["Women and Words Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The West Coast Women and Words Society was incorporated in 1982 with the goal of supporting women's writing. 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Following the conference, the West Coast Women and Word Society continued to fulfil their mandate by organizing poetry competitions, hosting readings and events, editing and compiling anthologies of women's writing, and running a mentorship program designed to connect young women writers with more established ones."],"collection_source_collection_id":["MsC 23"],"persistent_url":[""],"item_title":["Women and Words - \"The Muse Figure\": Margaret Atwood, Phyllis Webb at UBC on July 1, 1983"],"item_title_source":["Conference Program"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Atwood, Margaret","Webb, Phyllis"],"creator_names_search":["Atwood, Margaret","Webb, Phyllis"],"creators":["[{\"url\":\"http://viaf.org/viaf/109322990\",\"name\":\"Atwood, Margaret\",\"dates\":\"1939-\",\"notes\":\"Panel presenter\",\"nation\":[],\"role\":[\"Presenter\",\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/29847238\",\"name\":\"Webb, Phyllis\",\"dates\":\"1927-2021\",\"notes\":\"Panel presenter\",\"nation\":[],\"role\":[\"Presenter\",\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1983],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/8549/MSC23-020a.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"copy\",\"Conservation\":\"good\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"90 min\",\"physical_condition\":\"good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"clear plastic case\",\"other_physical_description\":\"clear tape box\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"https://digital.lib.sfu.ca/women-and-words-muse-figure-margaret-atwood-phyllis-webb-ubc-july-1-1983-part-1\",\"file_path\":\"\",\"filename\":\"MSC23-20-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:51\",\"precision\":\"\",\"size\":\"53.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://digital.lib.sfu.ca/women-and-words-muse-figure-margaret-atwood-phyllis-webb-ubc-july-1-1983-part-2\",\"file_path\":\"\",\"filename\":\"MSC23-20-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:57\",\"precision\":\"\",\"size\":\"55.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1983-07-01\",\"type\":\"Performance Date\",\"notes\":\"Panel occurred at 11am-12:30pm\",\"source\":\"Conference Program\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/83433307\",\"venue\":\"Angus Building, University of British Columbia, Room A104\",\"notes\":\"\",\"address\":\"Vancouver, BC\",\"latitude\":\"49.26503765\",\"longitude\":\"-123.25386541436339\"}]"],"Address":["Vancouver, BC"],"Venue":["Angus Building, University of British Columbia, Room A104"],"City":["Vancouver, British Columbia"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670556042264576,"timestamp":"2026-01-07T15:00:00.367Z","score":3.1369812},{"id":"6968","cataloger_name":["Donald,Shipton"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Fred Wah Fonds"],"source_collection_label":["Fred Wah Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Fred Wah fonds collects materials from Vancouver-based poet Fred Wah, who was appointed as Canadau2019s fifth Parliamentary Poet Laureate in 2011 and has published 25 books between 1965 and 2016. Wah was born in Swift Current, Saskatchewan in 1939 and grew up in the West Kootenay region. His Chinese and Scots-Irish ethnic background and identity have a significant influence on his literary work. Wah completed an undergraduate degree in Literature and Music at the University of British Columbia, where he became a founding editor of the TISH newsletter in 1961, and has taught at Selkirk College, the David Thompson University Centre, and the University of Calgary. The fonds contains a number of interviews, conversations, lectures, and public readings recorded between the years 1976 and 2006, featuring local and national literary and media figures such as Lorna Crozier, bpNichol, Daphne Marlatt, and Stuart McLean."],"collection_source_collection_id":["MsC 17"],"persistent_url":[""],"item_title":["bp Nichol (1944-88): A Tribute, Coah House/ Music Gallery, Talking Books, 1989"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["In Copyright (InC)"],"creator_names":["Tostevin, Lola Lemire","Lee, Dennis","Dewdney, Christopher","Scobie, Stephen","Barbour, Douglas","Hartog, Diana","Dedora, Brian","Marlatt, Daphne","McFadden, David","Van Loon, Nelles","Ondaatje, Michael","Barreto-Rivera, Rafael","Dutton, Paul","Wah, Fred","McCaffery, Steve","Webb, Phyllis","Nichol, bp (Barrie Phillip)"],"creator_names_search":["Tostevin, Lola Lemire","Lee, 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The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["A Tribute to bpNichol at Harbourfront in Toronto on December 2, 1989"],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tostevin, Lola Lemire","Lee, Dennis","Webb, Phyllis","Dewdney, Christopher","Barbour, Douglas","Scobie, Stephen","Hartog, Diana","Dedora, Brian","Sereda, David","Van Loon, Nelles","Pepper, John","Shaw, Maggie","Marlatt, Daphne","Wah, Fred","McFadden, David","Ondaatje, Michael","Barreto-Rivera, Rafael","Dutton, Paul","McCaffery, Steve","Hodge, Paul","Westlake, Marilyn","Swinghammer, Kurt","Tallman, Warren","Pulsiver, Alan","Gatenby, Greg","Smith, Whitney","Shikatani, Gerry","Coleman, Victor","Nichol, bp (Barrie Phillip)"],"creator_names_search":["Tostevin, Lola Lemire","Lee, Dennis","Webb, Phyllis","Dewdney, Christopher","Barbour, Douglas","Scobie, Stephen","Hartog, Diana","Dedora, Brian","Sereda, David","Van Loon, Nelles","Pepper, John","Shaw, Maggie","Marlatt, Daphne","Wah, Fred","McFadden, David","Ondaatje, Michael","Barreto-Rivera, Rafael","Dutton, Paul","McCaffery, Steve","Hodge, Paul","Westlake, Marilyn","Swinghammer, Kurt","Tallman, Warren","Pulsiver, Alan","Gatenby, Greg","Smith, Whitney","Shikatani, Gerry","Coleman, Victor","Nichol, bp (Barrie Phillip)"],"creators":["[{\"url\":\"http://viaf.org/viaf/8771515\",\"name\":\"Tostevin, Lola Lemire\",\"dates\":\"1937-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/150749702\",\"name\":\"Lee, Dennis\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/29847238\",\"name\":\"Webb, Phyllis\",\"dates\":\"1927-2021\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/101952075\",\"name\":\"Dewdney, Christopher\",\"dates\":\"1951-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/14864700\",\"name\":\"Barbour, Douglas\",\"dates\":\"1940-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/18385392\",\"name\":\"Scobie, Stephen\",\"dates\":\"1943-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/91401282\",\"name\":\"Hartog, Diana\",\"dates\":\"1942-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/11347776\",\"name\":\"Dedora, Brian\",\"dates\":\"1946-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/4457154260346024480005\",\"name\":\"Sereda, David\",\"dates\":\"1957-\",\"notes\":\"Vocal for \\\"Let Love Lead You;\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/310713612\",\"name\":\"Van Loon, Nelles\",\"dates\":\"1939-\",\"notes\":\"Music by him\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Pepper, John \",\"dates\":\"\",\"notes\":\"Vocal for \\\"I Am Obsessed\\\" \",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Shaw, Maggie \",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/92127388\",\"name\":\"Marlatt, Daphne\",\"dates\":\"1942-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\" http://viaf.org/viaf/1330211\",\"name\":\"Wah, Fred\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/7405434\",\"name\":\"McFadden, David\",\"dates\":\"1940-2018\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/111941870\",\"name\":\"Ondaatje, Michael\",\"dates\":\"1943-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/16154730\",\"name\":\"Barreto-Rivera, Rafael\",\"dates\":\"1944-\",\"notes\":\"The Four Horsemen performance \",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/36999806\",\"name\":\"Dutton, Paul\",\"dates\":\"1943-\",\"notes\":\"The Four Horsemen performance; 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files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MsC161-136 Side B\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:49:22\",\"precision\":\"\",\"size\":\"63.6 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\":\"1989-11-02\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"Harbourfront \",\"notes\":\"We assume Gala Tribute at Toronto's Harbourfront is The Brigantine Room and Studio Theatre \",\"address\":\"235 Queens Quay W, Toronto ON M5J 2G8\",\"latitude\":\"43.638919\",\"longitude\":\" -79.382862\"}]"],"Address":["235 Queens Quay W, Toronto ON M5J 2G8"],"Venue":["Harbourfront "],"City":["Toronto, Ontario"],"Note":["[{\"note\":\"More information can be fount on https://bpnichol.ca/sites/default/files/archives/document/bp%20A%20TRIBUTE.pdf \",\"type\":\"General\"},{\"note\":\"This tape is a copy of tape #160 (SWALLOW ID 7159) in the Warren Tallman collection\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670557780803585,"timestamp":"2026-01-07T15:00:02.033Z","score":3.1369812}]