[{"id":"1284","cataloger_name":["Bindu,Reddy"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Robert Creeley at Sir George Williams University, The Poetry Series, 1 January 1970"],"item_title_source":["Cataloguer"],"item_title_note":["\"ROBERT CREELEY Recorded March 6, 1970 3.75 ips, 1/2 track on 1 mil. tape\" written on sticker on the back of the tape's box. \"ROBERT CREELEY I006/SR89.2\" written on sticker on the spine of the tape's box. \"I006-11-089.2\" written on sticker on the reel\n"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 5"],"item_identifiers":["[]"],"creator_names":["Creeley, Robert"],"creator_names_search":["Creeley, Robert"],"creators":["[{\"url\":\"http://viaf.org/viaf/109562114\",\"name\":\"Creeley, Robert\",\"dates\":\"1926-2005\",\"notes\":\"American poet and essayist Robert Creeley was born in 1926 in Arlington, Massachusetts. His early life was marred by tragedy, as he lost his left eye in an accident and suffered the death of his father when he was four years old. Creeley then grew up on a farm, and felt repressed by his traditional Puritanical New England upbringing. After a year of Harvard University, Creeley joined the US Field Service in India and Burma. Returning again to Harvard, he married his first wife Ann MacKinnon, with whom he had three children, only to leave Harvard in his final semester. From 1948 to 1950, Creeley and his family moved to several locations including Provincetown, New Hampshire; Provenance, France; and Mallorca, Spain. Once in Mallorca, he set up The Divers Press with poet Denise Levertov. Creeley thus began correspondence with Charles Olson, and Olson offered Creeley a teaching position at the Black Mountain College in North Carolina, as well as a Bachelor’s degree in 1954. During his short time at Black Mountain, Creely edited Black Mountain Review, a journal known for its experimental writing. As well as many publications in poetry magazines, he published his first collection of short stories in The Gold Diggers in 1954 (Divers Press). After his marriage dissolved, Creeley headed West to San Francisco, meeting with Allen Ginsberg, Gary Snyder, and Kenneth Rexroth, as well as other Beat poets during the San Francisco Poetry Renaissance. Creeley then moved to Albuquerque, New Mexico, completed his M.A., and then took a position as professor of English. There, he met and married Bobbie Louise Hall, with whom he had two daughters and for whom he wrote most of his love poetry. His first major collection of poetry was For Love: Poems 1950-1960, published in 1962 (Scribner Press). Creeley subsequently published his novel, The Island (Scribner Press, 1963), and other poetry collections including Words (Scribner), The Charm: Early and Uncollected Poems (Perishable Press, 1967), and Pieces (Scribner, 1969). His essays and prose publications include A Quick Graph: Collected Notes and Essays (Four Seasons Foundation, 1970), A Sense of Measure (Calder and Boyars, 1973), and Was That a Real Poem and Other Essays (Four Seasons Foundation, 1979). His marriage with Bobbie ended in the late 70’s, and he married his third wife, Penelope Highton.  Creeley continued to publish his poetry in collections such as Later (New Directions, 1979), Mirrors (New Directions, 1983), Windows (New Directions, 1990), Echoes (New Directions, 1994), Life and Death (New Directions, 1998), and If I Were Writing This (New Directions, 2003). He has won a number of awards and honors, including the New York State Poet Laureate from 1989-91. He was elected a Chancellor of the Academy of American Poets in 1999, received the Lannan Lifetime Achievement Award, the Bollingen Prize, the Shelley Memorial Award, a Rockefeller Grant and two Guggenheim Fellowships. Robert Creeley died in 2005, but his poetry has been published posthumously in On Earth: Last Poems and an Essay (University of California Press, 2009), The Collected Poems of Robert Creeley, 1975-2005 (University of California Press, 2006) and Robert Creeley: Selected Poems, 1945-2005 (University of California Press, 2008).\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1970 3 6\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the back of the tape's box (March 6, 1970)\\n\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["Robert Creeley reads from Pieces (Scribner, 1969), In London (Angel Hair Books, 1970), and  from other unknown sources."],"contents":["robert_creeley_i006-11-089-2_1970.mp3\n\nUnknown\n00:00:00.00\n...thing which is regularly said when introducing Robert Creeley [https://www.wikidata.org/wiki/Q918620] would be that he is a, a Black Mountain Poet [https://www.wikidata.org/wiki/Q2905420], and a colleague of Robert Duncan's [https://www.wikidata.org/wiki/Q57421163], and the late Charles Olson's [https://www.wikidata.org/wiki/Q922978]. What has really introduced Robert Creeley to me however, was something I heard him say back in 1963, to the effect that when a man begins to love himself, love himself, to be in the world as he is in it, then things begin to happen to him that are interesting. Now, this is a statement, which is enigmatic in its syntax and yet still spells out what I think you will find interesting about Robert Creeley tonight, that is that he's a man whose poems are close to the process of living. He will be able to give you information in his poems about this process. His poems are about someone who, no matter how difficult this process has become, has loved that particular moment of it. Now that Robert is supplied with cigarettes for the evening, he may as well begin.\n \nAudience\n00:01:43\nApplause [cut off].\n\nRobert Creeley\n00:01:48\nLet me. \"On Vacation\".\n \nRobert Creeley\n00:02:35\nReads \"On Vacation\".\n \nRobert Creeley\n00:02:55\nI'll read one more poem, I made it up all by myself, that's the only thing... \"Do You Think\".\n \nRobert Creeley\n00:03:03\nReads \"Do You Think...\" [published later in A Day Book].\n \nRobert Creeley\n00:04:51\nIt's like a Latter Day [https://www.wikidata.org/wiki/Q42504]quote, no it's like a--I've got a noun [unintelligible].\n\nAudience \n00:05:01\nLaughter. \n\nRobert Creeley\n00:05:03\nThis has nothing in the glasses, nothing in the glass, that's the problem. I want to read, frankly an old and dear friend Robin Blaser [https://www.wikidata.org/wiki/Q2115003], an old and dear friend, a man I much respect and care for just happens to be in the room, I haven't seen him since, like, almost, it feels like 20 minutes ago. But I want therefore to read a few poems that are more recent in composition. \"The Act of Love\".\n\nRobert Creeley\n00:05:50\nReads \"The Act of Love\".\n \nRobert Creeley\n00:07:55\nThen I'd like to read another poem because frankly Robin is a very particular friend, and not will know simply the information I'm trying to get clear, but will know the, you know, you like to read for people, shit, you know. \"The Birds\".\n \nRobert Creeley\n00:08:19\nReads \"The Birds\".\n \nRobert Creeley\n00:09:58\nThen that--\"things seem empty on vacation, if the labors have not been physical, then, some awful grating sound as if some monstrous nose were being blown...\" [begins to read “On Vacation”]--no I've read that once, I won't read it again. But I wanted to read the most recent--I used to have, not an ambition, but I had a lovely sense of Allen Ginsberg's [https://www.wikidata.org/wiki/Q6711] freedom in writing, happily, he's been here not too long ago. And I mean, Allen is a true contemporary, simply that we were born within say, what he's born--his birthday is June 3rd and mine's May 23rd of 1926 and we're, you know, we're very close in time and space. I used to have a sense of not Allen's permission in writing, I mean that permission doesn't exist. I mean, you write what you are given thus to write, nobody designs this occasion, nobody has the authority of it, and I did in a weird way, I envied Allen's ability to be where that situation might occur, you know. Like he could really write any moment, any place, anywhere, and so recently flying. In fact, last week, flying out to Los Angeles, not to Los Angeles, to San Francisco, I'd been awfully harassed in particular dilemmas of responsibility and suddenly sitting on the plane. There was this delicious space, you know, made peace with the plane by drinking everything they would give you instantly and having entered with some. I remember watching Warren, an old, dear friend get on a plane with like, four double vodkas. You know, I said \"Warren, you're going to get drunk\". He said, “No I'm flying back to Vancouver”. Like you mistaked the occasion, you know. And so, I get on the plane, and I thought, “well I can do this too”. And I wrote, my Bobbie who is a friend indeed of Robin's and myself. I'm literally her husband and Robin is a friend in that, what am I? I'm not going to propose that we're--no, but I think it's true. It has nothing to do with fucking. It has to do with the ambiance and reality of another human being. I think we share that reality in her. And she had gotten ill, unhappily and in some unexpected manner and then happily is now okay, but it was a crazy moment of dilemma. \"An Illness\".\n \nRobert Creeley\n00:12:52\nReads \"An Illness\". \n \nRobert Creeley\n00:15:55\nAnd I'm going to read a few more for Robin, and then, \"The Problem\".\n \nRobert Creeley\n00:16:06\nReads \"The Problem\".\n \nRobert Creeley\n00:16:44\nReads \"The Tiger\".\n \nRobert Creeley\n00:17:09\nWhat is reality--this is crossed out--[Reads excerpted material from “The Tiger”]. “What is reality we thought, who is here, we could smell the freshness of the jungle growth and would have been eaten by the tiger were it hungry” [audience laughter]. It's all crossed out. I'll read, this is--\n \nRobert Creeley\n00:17:38\nReads unnamed poem.\n \nRobert Creeley\n00:18:33\n\"Not Being Dumb\"--this is, these are three things together.\n \nRobert Creeley\n00:18:36\nReads \"Not Being Dumb”.\n \nRobert Creeley\n00:19:38\nReads [\"Harry\"].\n \nRobert Creeley\n00:19:46\nLet me just, may I just read around, because these are, like, poems of like the last few months. This was a poem that is variously titled \"Sweet Dreams, Good Harbor Beach\". This is a place in Gloucester [https://www.wikidata.org/wiki/Q49156]. It therefore has a physical location.\n \nRobert Creeley\n00:20:04\nReads \"Sweet Dreams, Good Harbor Beach\".\n \nRobert Creeley\n00:21:15\nI want to read one sequence of, a cluster of particular writing, I won't even have the arrogance to say these are necessarily poems. But the, because I don't in that sense, these are a sequence called \"In London\". And I had, I'll tell you, physically, the circumstance was that I was in London [https://www.wikidata.org/wiki/Q84?wprov=srpw1_0] for five days last summer for a particular activity and I have happily a number of friends in London. Therefore, generously and, actually my time is really filled with seeing particular friends or else having particular business to conduct, and that's one, frankly, one of the satisfactions of one sense of what my life has to do with its own occasion, to have use and to have place. Not to say, “Gee, you're back again. We've kept the table. We've kept the seat for you”. But to have an occasion that actually gives you place in the world is always a delight. And so therefore, I was there briefly and this particular morning, there was to have been a, actually, a recording and it turned out the circumstances of the recording hadn't worked out. So the people involved did not come and so there was a space of three hours in which I was staying at this friend's apartment in London on Wimpole Street, 76 Wimpole Street, just around Oxford Street. You know the neighborhood possibly. And it's a dazzling part of London for an American. Particularly, I mean, it's like Barrets and Wimpole Street and the whole bit, Paul McCartney [https://www.wikidata.org/wiki/Q2599?wprov=srpw1_0] had a place, like two blocks--did have a place two blocks--and the whole bit. You know, and it's very dazzling, and I was in this apartment and I was sleeping actually on the couch of this particular friend, and there were other beds available, but I did not manage. I was not aggressive, so therefore I slept on the couch. It was a heavy time for everybody, and I was thinking of Jim dying, you know whose “A Retrospective of the Whitney” has just opened. And I was staying, actually, with the wife of a publisher who happily I have in London, John Calder [https://www.wikidata.org/wiki/Q6224786] and Marion Boyars [https://www.wikidata.org/wiki/Q18674153]. I was thinking of John Calder's apartment and John and his wife unhappily were having a, I mean, it's ridiculous, I'm not going to rehearse the whole situation of their lives, man. Like we've got enough to enter my own in that way, but the point is that I was sleeping on their couch, right? Everybody had left for their various activities and I was to meet these people to come in and set up this recording equipment and have this scene, and they didn't show up. And I had literally like two or three hours just in that apartment. I was padding around the place in my jammies, feeling beautifully luxurious and relaxed in London, you know, like digging out the window. I'd been the night previous reading at an International Festival of Poetry on a beautiful occasion, and I'd gone over. Jim Dine [https://www.wikidata.org/wiki/Q531234] is frankly a friend from the States and I'd called him up, he's living in, where the hell does he live, Grosvenor square [https://www.wikidata.org/wiki/Q932992], he's like in that district. He's living next to the Uruguay Embassy, like it's a very- he's running a house that somebody is trying to sell, but they can't find an appropriate buyer. Mick Jagger [https://www.wikidata.org/wiki/Q128121] wanted to buy the house, but they didn't want a rock singer, and then the Nigerian Embassy wanted to buy the house but they didn't want to sell, you know. It was a whole trip. So Jim Dine has maintained the premises. So I go there and say \"Terrific\" and \"Wow\". We do the whole American bit, which is frankly to get over excited instantly, and to eat, drink, and be merry with an absolute insistence. And we're now driving over to make the Royal Festival Arts blah, blah, blah scene. And for an American it's a heady trip. I'm going to read now in company with the company of four other people, as part of the International Festival of Poetry and they're having this scene at a place, those of you who know London, they're having a scene at the Queen Elizabeth Hall [https://www.wikidata.org/wiki/Q1622428], that's part of the festival, you know like, complexes across the Thames [https://www.wikidata.org/wiki/Q19686] from the Parliamentary buildings, Tower of London [https://www.wikidata.org/wiki/Q62378], all that. So we're driving  through late London afternoon in July, delicious, I mean, the sun is fading in over those buildings the whole, oh wow, you know, just blow your mind. It's just fantastically tender and real, and that's where Raleigh [https://www.wikidata.org/wiki/Q189144] was imprisoned in the Tower, and that's you know, fantastic. We arrive in absolutely pristine condition, and it took about two minutes to 'x' it all out. So the first two poems--it says “Festival Hall London”, like a note to myself on the side, and the first two poems--like the unrelieved tedium of the evening was just fantastic. I talked to a reporter of like a red rag, a socialist paper in London later. He said, “I don't see any reason why you should show up, Mr. Creeley, before you're required, your presence is literally required”. You know, so I said, “Do you really think that's possible? Do you think I really could do that?”. He said “I don't see any reason why your condition and duty doesn't permit that kind of occasion”, and I said “The hardest thing man is to sit there for like, it isn't the tedium of the people, it's the tedium of the occasion, it's like all these people. I have to have a rock in my pants that I thought it was hashish but it's actually three million, billion years old, it's a worm. We've got time, right?”. So he said “You don't have to”--what was your experience--he's trying to get some, you know he's trying to get some sense of the work as we're not permitted into the reading or something [audience laughter] and I quote the work as we're like generously absent from the reading, like you don't have to do that too, there's going to be a condition of that experience. \"In London\"\n \nRobert Creeley\n00:28:30\nReads \"In London\" [from In London]. \n\nRobert Creeley\n00:28:39\nThis was, like in this absolutely [unintelligible] environment you suddenly look around and see this exit, exit, exit sign red, exit, exit, exit, exit. There was a titter that ran through the audience and then there was nothing more. \"Cards\". This is now back in the apartment.\n \nRobert Creeley\n00:28:58\nResumes reading \"In London\" [from In London]. \n \nRobert Creeley\n00:30:03\nNow, I'll read the crossed out portions. \"There are people in the sky, now you see them, now you don't, won't you take me to my home, and let me play among the stars. The final fears of all the years are met in you tonight.\" This is, this flows out on vague rhythms. “12:30” written as Arabic numerals, read as 12:30 words.\n \nRobert Creeley \n00:30:30.\nResumes reading \"In London” [from In London].\n \nRobert Creeley\n00:30:36\n[Interrupts reading]. You know that scene when you're in a city and know one or two people, keep calling up, \"Well, Ted is sober\", [unintelligible] [audience laughter] and I said \"Man, I was there, I know how tired he is, I'm awake\".\n \nRobert Creeley\n00:30:50\nResumes reading \"In London” [from In London].\n \nRobert Creeley\n00:30:59\n[Interrupts reading]. This was a girl who played the lead in The Beard, actually, in the initial San Francisco [https://www.wikidata.org/wiki/Q62] production who was now working in London playing the same part. Lovely young woman, Billy, trying to remember her last name, very soft and pleasant...\n \nRobert Creeley\n00:31:15\nResumes reading \"In London” [from In London].\n \nRobert Creeley\n00:31:20\n[Interrupts reading]. Let me interpolate, Chamberlain [https://www.wikidata.org/wiki/Q468760] at one point had a weird erotic scene where they were making love by telephone. Have you ever tried that number? So John was was making things like sperm omelet, like he really, somehow it arrived in his madness of mid age, and decided that he was really going to go for broke in terms of sexual possibility. You ever see a man from Indiana take off on the possibilities of sexual endeavor? It's like- so John, Ultra Violet was the perfect foil for this condition. Ultra Violet [https://www.wikidata.org/wiki/Q272994], if you've seen, you must have seen her on the Merv Griffin Show [https://www.wikidata.org/wiki/Q3404046], Ultra Violet like is like the most humorless, John had a tape of her singing \"The Fool on the Hill'' [https://www.wikidata.org/wiki/Q1920202] that went on for weeks. It was like years would pass by. “Ze fool on ze hill”, you know. With this incredibly corny french accent. \"Ze fool on ze hill\" I remember, and he had a scene where they would make love like- I remember one time, the only, the first time I met- oh christ, I'm suddenly flipped out in my own mind, oh hell. It's ridiculous. Well, see, John had a studio on 13th Street and First Avenue, and Larry Rubens had a studio also, and a Japanese girl had a studio, and upstairs was like, directly over John's studio was, oh hell, who's the obvious sculpture, someone supply me with a name, it's ridiculous, the greatest imagination in the arts today in terms of this environment, [audience suggests name] Pardon? No, not Segal [https://www.wikidata.org/wiki/Q703624]. Like Oldenburg [https://www.wikidata.org/wiki/Q156731], Claes Oldenburg. Claes Oldenburg lived upstairs and then he was still with his wife, his crazy factory, the industry, like making the ghosts, I mean they were making the mock-ups of the particular sculptures he was involved in and John, for example, would like wake up, you'd hear like- I spent nights in John's place and you'd hear the radio would turn on, in the morning, like to station k-whatever it was and then you'd hear them moving around getting breakfast and then hear the sewing machine start and the day would begin and Claes Oldenburg has a crazy serious humorous, like the peculiar to my- I was talking to someone about being, you know, coming from Nova Scotia [https://www.wikidata.org/wiki/Q1952], or New Brunswick [https://www.wikidata.org/wiki/Q1965] or St. John's [https://www.wikidata.org/wiki/Q2082] I mean like the [unintelligible] scene is very displaced by that Scandinavian economy, you know, of experience. So John was- do things like one night for an example, he and Ultra Violet had this thing going with the telephone and she called him and he happened to be out and she just let the phone ring. The phone rang from 11:00 to 7 in the morning [laughter.] Like it just keeps ringing. I remember I met Claes Oldenburg that morning, he said \"John, someone was trying to call you last night\" [laughter] and John says \"Yeah, I know.\" It was lovely, yeah. “I got the message”. And that was all either one of them said.\n \nRobert Creeley\n00:35:21\nResumes reading \"In London” [from In London].\n \nRobert Creeley\n00:37:41\n[Interrupts reading]. Then in the actual text there's a point that it's been in print actually for fifteen years in paperback. Somehow, nobody, the friends that we had didn't curiously notice. His reminiscences of Tolstoy [https://www.wikidata.org/wiki/Q7243] in London [https://www.wikidata.org/wiki/Q84], for example. Have you ever read Gorky's [https://www.wikidata.org/wiki/Q12706] Reminiscences of Tolstoy? Fantastic book. \"Wish I were home\"...doesn't just turn you on informationally, it turns you on to conditions of experience, I hope.\n \nRobert Creeley\n00:38:08\nResumes reading “In London” [from In London].\n \nRobert Creeley\n00:39:30\nI wonder what this is, \"Aside, aside\", [unintelligible], February, Spring day, it's from California [https://www.wikidata.org/wiki/Q99].\n \nRobert Creeley\n00:39:46\nReads [“That Day” from In London].\n \nRobert Creeley\n00:39:51\n[Interrupts reading]. See, I love that \"And that day, in an oak tree, falls way, comes here\", I love that “interup-tions”.\n\nRobert Creeley\n00:40:00\nResumes reading [“That  Day” from In London].\n \nRobert Creeley\n00:40:04\n[Interrupts reading]. I love that play of language.\n \nRobert Creeley\n00:40:07\nResumes reading [“That  Day” from In London].\n \nRobert Creeley\n00:40:54\nThat I, this was a--one time back in the earlier part of the 60's, Ginsberg [https://www.wikidata.org/wiki/Q6711] was given a tape recorder by Bob Dylan [https://www.wikidata.org/wiki/Q392] and when they were both in San Francisco [https://www.wikidata.org/wiki/Q62]. Dylan gave Allen a Uher tape recorder and they had been in San Francisco, now Allen went down to Los Angeles [https://www.wikidata.org/wiki/Q65] and he talked to people like Gerald Heard [https://www.wikidata.org/wiki/Q1606714], he had long conversations with Lenny Bruce [https://www.wikidata.org/wiki/Q460876], and he also went to see Maria Huxley, and he was particularly interested as to what were Huxley's, not merely, he knew what Huxley died of, Huxley died of cancer in a factual and actual manner. But he was very interested into what was Huxley's not state, like he didn't want to hear his last words in some awful sense, but he wanted to know what kind of experience of death Huxley had had. And if this particular experience of death had been in any way informed by the circumstance of experience that Huxley had begun to be more and more involved with as he grew older, namely acid and the transformation, not the transformation but the particularization of experience that he found in the psychedelic so-called drugs. And so he asked Maria Huxley the very obvious question, “was Huxley on acid when he died? Did he take acid previous to his death?” And she said, “well, he had asked that when he was thus conscious. I mean he did go into a coma. He did have a float, physically, and he asked that he have acid available. I mean that the cap of acid be place conveniently by the bed, and that he would obviously determine when and as and if he wanted to take it. It would be there. It would be like an aspirin, like a glass of water,” and she said that roughly half an hour previous to his physical death, he took acid. And then Allen asked the other obvious question, did he say anything? Did he say anything of the experience of the circumstance? She said, no he didn't, he said nothing. But this is a woman who'd lived obviously with this man for a particular length of time and had information specifically, she said no, but there was this beatific smile, he was attending his own, you know, like he was attending, not the apocalypse, but the phenomenality of his own dispersion into you know other states of being, with the agency that's created.\n \nRobert Creeley\n00:43:49\nReads [section of “Little Time--And Place” from In London]. \n \nRobert Creeley\n00:44:05\nI want to read one last poem from this text, and then I'll go back to books you may know. \"A Wall\".\n \nRobert Creeley\n00:44:15\nReads \"A Wall\".\n \nUnknown\n00:45:20\n[Cut or edit made in tape. Unknown amount of  time elapsed].\n\nRobert Creeley\n00:45:22\n..simply identifies the title of the book that you're referring to and the name of the man who wrote it. \n\nUnknown\n00:45:25\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nRobert Creeley\n00:45:26\n...he didn't want to make it hard for anybody, certainly didn't want to make it thus easy. But, particular information was always of that nature, you couldn't describe it, you certainly couldn't make it a convenience, so that the actuation of it for you always had to be the particular resource and fact of your own--I mean, it had to be that you did know it. It wasn't like one-upping, \"Gee, you don't know the name of the capital of Madagascar\" [https://www.wikidata.org/wiki/Q1019?wprov=srpw1_0], like I don't know the name of the capital of Madagascar, is there a capital of Madagascar? I guess, you couldn't. That wasn't the condition, but if something was there to be known, that was of some particular interest to him, he gave you the fact of that interest and the substance of that interest, but he didn't give you the convenience of that interest, you had not merely to track his experience into it, but you had to get there, like you had to get there by your own agency. But I think I could--someone said, like man, like the dots in this particular book, pieces, and there's a lovely remark by Ed Dorn [https://www.wikidata.org/wiki/Q5334756] whom I dearly love, he said you know, that sense of the pieces of the definition, [unintelligible] of the parts of some of the imagined whole, which these pieces are then the fragments or the parts of, then he says, he effectually suggests, think of a situation where the pieces do not compose that possible containment, the parts that do not necessarily relate and or have the substance of the whole thus to inform them. Like now, you're really in a hole, dig. And his definition of tradition: that which someone comes carrying the information of, literally, he got there, with the news. So the dots in this book, the three dots, those of you who are interested in these explications of text, these three dots simply indicate the intervals of a particular sitting, or a particular, you know literally, you see how this is written, it's like in a notebook, well what was written on a particular day would be separated in this text by three dots, you know, like usually the particular things written would be separated by one dot then when another day occurred there'd be three dots, I mean it's a very rudimentary division.\n \nRobert Creeley\n00:47:53\nReads \"The which it was\" [from Pieces].\n \nRobert Creeley\n00:49:15\n\"Re Bob's Film (CUT)\", this was a movie done, friend--this is not even interesting, this is an 8 mm film called \"Cut\".\n \nRobert Creeley\n00:49:23\nReads \"Re Bob's Film (CUT)\" [from Pieces].\n \nRobert Creeley\n00:51:53\nI want to skip, like I want to skip to the end of this book and read frankly, if I may for a close, let me read a sequence called \"Mazatlan: Sea\" which comes together as a close to this particular book and is writing of the same order.\n \nRobert Creeley\n00:52:15\nReads \"Mazatlan: Sea\" [from Pieces].\n \nEND\n01:07:47\n"],"Note":["[{\"note\":\"Year-Specific Information: \\n\\nRobert Creeley tenured as a full professor at SUNY Buffalo in 1967, edited The New Writing in the USA with Don Allen, and published Words and The Charm: Early and Uncollected Poems.  Creeley attended the London International Poetry Festival in July of 1967\",\"type\":\"General\"},{\"note\":\"Local Connections: \\n\\nCreeley had ties with Irving Layton through the Black Mountain Review in the 50’s. Creeley moved to Vancouver to work at the University of British Columbia in 1960-61. He had contacts with Phyllis Webb and Irving Layton. Creeley was George Bowering’s Master's thesis advisor at University of British Columbia until 1963, and wrote introductions for Bowering’s poetry. He came to visit Montreal and Sir George Williams University the same year Layton was poet in residence, after years of correspondence.\",\"type\":\"General\"},{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Sarah McDonnell and Ali Barillaro\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/collected-poems-of-robert-creeley/oclc/1151730303&referer=brief_results\",\"citation\":\"Creeley, Robert, and Penelope Creeley. The Collected Poems of Robert Creeley: 1945-1975. University of California Press, 2006. \"},{\"url\":\"https://www.worldcat.org/title/was-that-a-real-poem-other-essays/oclc/247870873&referer=brief_results#reviews\",\"citation\":\"Creeley, Robert; Allen, Donald; Novik, Mary. Was That a Real Poem and Other Essays. Four Seasons Foundation, 1979.\"},{\"url\":\"https://www.worldcat.org/title/in-london/oclc/970961442?referer=di&ht=edition\",\"citation\":\"Creeley Robert. In London. Bolinas: Angel Hair Books, 1970.\"},{\"url\":\"https://www.worldcat.org/title/words-poems/oclc/421895361?referer=di&ht=edition\",\"citation\":\"Creeley, Robert. Words: poems. New York: Scribner, 1967. \"},{\"url\":\"https://www.worldcat.org/title/sense-of-measure/oclc/718716260&referer=brief_results\",\"citation\":\"Creeley, Robert. A Sense of Measure. Calder and Boyars, 1973. \"},{\"url\":\"https://www.worldcat.org/title/some-echoes/oclc/1167543687&referer=brief_results\",\"citation\":\"Creeley, Robert. Echoes. New Directions, 1994.\"},{\"url\":\"https://www.worldcat.org/title/for-love-poems-1950-1960/oclc/268031?referer=di&ht=edition\",\"citation\":\"Creeley, Robert. For Love: Poems Poems 1950-1960. New York: Scribner, 1962. \"},{\"url\":\"https://www.worldcat.org/title/if-i-were-writing-this/oclc/181140062&referer=brief_results\",\"citation\":\"Creeley, Robert. If I Were Writing This. New Directions, 2008. \"},{\"url\":\"https://www.worldcat.org/title/later/oclc/470953767&referer=brief_results\",\"citation\":\"Creeley, Robert. Later. New Directions, 1980.\"},{\"url\":\"https://www.worldcat.org/title/life-death/oclc/694895837&referer=brief_results\",\"citation\":\"Creeley, Robert. Life and Death. New Directions, 2000. \"},{\"url\":\"https://www.worldcat.org/title/mirrors/oclc/239774564&referer=brief_results\",\"citation\":\"Creeley, Robert. Mirrors. New Directions, 1983.\"},{\"url\":\"https://www.worldcat.org/title/on-earth-last-poems-and-an-essay/oclc/264039622&referer=brief_results\",\"citation\":\"Creeley, Robert. On Earth: Last Poems and an Essay. University of California Press, 2009. \"},{\"url\":\"https://www.worldcat.org/title/pieces/oclc/729928833&referer=brief_results\",\"citation\":\"Creeley, Robert. Pieces. New York: Scribner, 1969. \"},{\"url\":\"https://www.worldcat.org/title/charm/oclc/9997283&referer=brief_results\",\"citation\":\"Creeley, Robert. The Charm: Early and Uncollected Poems. Book People & Mudra, 1971. \"},{\"url\":\"https://www.worldcat.org/title/gold-diggers-and-other-stories/oclc/10263594&referer=brief_results\",\"citation\":\"Creeley, Robert. The Gold Diggers. Divers Press, 1954. \"},{\"url\":\"https://www.worldcat.org/title/island/oclc/6464917&referer=brief_results\",\"citation\":\"Creeley, Robert. The Island. New York: Scribner, 1970. \"},{\"url\":\"https://www.worldcat.org/title/windows/oclc/797857141&referer=brief_results\",\"citation\":\"Creeley, Robert. Windows. Boyars, 1991.\"},{\"url\":\"https://www.worldcat.org/title/robert-creeley-a-biography/oclc/951202214&referer=brief_results\",\"citation\":\"Fass, Ekbert. Robert Creeley: A Biography. Montreal: McGill-Queen’s University Press, 2001.\"},{\"url\":\"http://news.google.com/newspapers?id=O5UtAAAAIBAJ&sjid=4p8FAAAAIBAJ&pg=3951,6182119&dq=sir+george+williams+poetry&hl=en\",\"citation\":\"“Poetry Series Coming Up At University”. Montreal: The Gazette. 31 December 1966, page 39. \\n\"},{\"url\":\"\",\"citation\":\"O’Reilly, Elizabeth. “Creeley, Robert, 1926-”. Literature Online Biography. Proquest, 2008. \"}]"],"_version_":1853670548903559168,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0089-2_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0089-2_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Robert Creeley Tape Box 2 - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0089-2_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0089-2_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Robert Creeley Tape Box 2 - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0089-2_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0089-2_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Robert Creeley Tape Box 2 - 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_0089-2_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0089-2_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Robert Creeley Tape Box 2 - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/robert_creeley_i006-11-089-2_1970.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"robert_creeley_i006-11-089-2_1970.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:07:47\",\"precision\":\"\",\"size\":\"162.7 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Unknown\\n00:00:00.00\\n...thing which is regularly said when introducing Robert Creeley [https://www.wikidata.org/wiki/Q918620] would be that he is a, a Black Mountain Poet [https://www.wikidata.org/wiki/Q2905420], and a colleague of Robert Duncan's [https://www.wikidata.org/wiki/Q57421163], and the late Charles Olson's [https://www.wikidata.org/wiki/Q922978]. What has really introduced Robert Creeley to me however, was something I heard him say back in 1963, to the effect that when a man begins to love himself, love himself, to be in the world as he is in it, then things begin to happen to him that are interesting. Now, this is a statement, which is enigmatic in its syntax and yet still spells out what I think you will find interesting about Robert Creeley tonight, that is that he's a man whose poems are close to the process of living. He will be able to give you information in his poems about this process. His poems are about someone who, no matter how difficult this process has become, has loved that particular moment of it. Now that Robert is supplied with cigarettes for the evening, he may as well begin.\\n \\nAudience\\n00:01:43\\nApplause [cut off].\\n\\nRobert Creeley\\n00:01:48\\nLet me. \\\"On Vacation\\\".\\n \\nRobert Creeley\\n00:02:35\\nReads \\\"On Vacation\\\".\\n \\nRobert Creeley\\n00:02:55\\nI'll read one more poem, I made it up all by myself, that's the only thing... \\\"Do You Think\\\".\\n \\nRobert Creeley\\n00:03:03\\nReads \\\"Do You Think...\\\" [published later in A Day Book].\\n \\nRobert Creeley\\n00:04:51\\nIt's like a Latter Day [https://www.wikidata.org/wiki/Q42504]quote, no it's like a--I've got a noun [unintelligible].\\n\\nAudience \\n00:05:01\\nLaughter. \\n\\nRobert Creeley\\n00:05:03\\nThis has nothing in the glasses, nothing in the glass, that's the problem. I want to read, frankly an old and dear friend Robin Blaser [https://www.wikidata.org/wiki/Q2115003], an old and dear friend, a man I much respect and care for just happens to be in the room, I haven't seen him since, like, almost, it feels like 20 minutes ago. But I want therefore to read a few poems that are more recent in composition. \\\"The Act of Love\\\".\\n\\nRobert Creeley\\n00:05:50\\nReads \\\"The Act of Love\\\".\\n \\nRobert Creeley\\n00:07:55\\nThen I'd like to read another poem because frankly Robin is a very particular friend, and not will know simply the information I'm trying to get clear, but will know the, you know, you like to read for people, shit, you know. \\\"The Birds\\\".\\n \\nRobert Creeley\\n00:08:19\\nReads \\\"The Birds\\\".\\n \\nRobert Creeley\\n00:09:58\\nThen that--\\\"things seem empty on vacation, if the labors have not been physical, then, some awful grating sound as if some monstrous nose were being blown...\\\" [begins to read “On Vacation”]--no I've read that once, I won't read it again. But I wanted to read the most recent--I used to have, not an ambition, but I had a lovely sense of Allen Ginsberg's [https://www.wikidata.org/wiki/Q6711] freedom in writing, happily, he's been here not too long ago. And I mean, Allen is a true contemporary, simply that we were born within say, what he's born--his birthday is June 3rd and mine's May 23rd of 1926 and we're, you know, we're very close in time and space. I used to have a sense of not Allen's permission in writing, I mean that permission doesn't exist. I mean, you write what you are given thus to write, nobody designs this occasion, nobody has the authority of it, and I did in a weird way, I envied Allen's ability to be where that situation might occur, you know. Like he could really write any moment, any place, anywhere, and so recently flying. In fact, last week, flying out to Los Angeles, not to Los Angeles, to San Francisco, I'd been awfully harassed in particular dilemmas of responsibility and suddenly sitting on the plane. There was this delicious space, you know, made peace with the plane by drinking everything they would give you instantly and having entered with some. I remember watching Warren, an old, dear friend get on a plane with like, four double vodkas. You know, I said \\\"Warren, you're going to get drunk\\\". He said, “No I'm flying back to Vancouver”. Like you mistaked the occasion, you know. And so, I get on the plane, and I thought, “well I can do this too”. And I wrote, my Bobbie who is a friend indeed of Robin's and myself. I'm literally her husband and Robin is a friend in that, what am I? I'm not going to propose that we're--no, but I think it's true. It has nothing to do with fucking. It has to do with the ambiance and reality of another human being. I think we share that reality in her. And she had gotten ill, unhappily and in some unexpected manner and then happily is now okay, but it was a crazy moment of dilemma. \\\"An Illness\\\".\\n \\nRobert Creeley\\n00:12:52\\nReads \\\"An Illness\\\". \\n \\nRobert Creeley\\n00:15:55\\nAnd I'm going to read a few more for Robin, and then, \\\"The Problem\\\".\\n \\nRobert Creeley\\n00:16:06\\nReads \\\"The Problem\\\".\\n \\nRobert Creeley\\n00:16:44\\nReads \\\"The Tiger\\\".\\n \\nRobert Creeley\\n00:17:09\\nWhat is reality--this is crossed out--[Reads excerpted material from “The Tiger”]. “What is reality we thought, who is here, we could smell the freshness of the jungle growth and would have been eaten by the tiger were it hungry” [audience laughter]. It's all crossed out. I'll read, this is--\\n \\nRobert Creeley\\n00:17:38\\nReads unnamed poem.\\n \\nRobert Creeley\\n00:18:33\\n\\\"Not Being Dumb\\\"--this is, these are three things together.\\n \\nRobert Creeley\\n00:18:36\\nReads \\\"Not Being Dumb”.\\n \\nRobert Creeley\\n00:19:38\\nReads [\\\"Harry\\\"].\\n \\nRobert Creeley\\n00:19:46\\nLet me just, may I just read around, because these are, like, poems of like the last few months. This was a poem that is variously titled \\\"Sweet Dreams, Good Harbor Beach\\\". This is a place in Gloucester [https://www.wikidata.org/wiki/Q49156]. It therefore has a physical location.\\n \\nRobert Creeley\\n00:20:04\\nReads \\\"Sweet Dreams, Good Harbor Beach\\\".\\n \\nRobert Creeley\\n00:21:15\\nI want to read one sequence of, a cluster of particular writing, I won't even have the arrogance to say these are necessarily poems. But the, because I don't in that sense, these are a sequence called \\\"In London\\\". And I had, I'll tell you, physically, the circumstance was that I was in London [https://www.wikidata.org/wiki/Q84?wprov=srpw1_0] for five days last summer for a particular activity and I have happily a number of friends in London. Therefore, generously and, actually my time is really filled with seeing particular friends or else having particular business to conduct, and that's one, frankly, one of the satisfactions of one sense of what my life has to do with its own occasion, to have use and to have place. Not to say, “Gee, you're back again. We've kept the table. We've kept the seat for you”. But to have an occasion that actually gives you place in the world is always a delight. And so therefore, I was there briefly and this particular morning, there was to have been a, actually, a recording and it turned out the circumstances of the recording hadn't worked out. So the people involved did not come and so there was a space of three hours in which I was staying at this friend's apartment in London on Wimpole Street, 76 Wimpole Street, just around Oxford Street. You know the neighborhood possibly. And it's a dazzling part of London for an American. Particularly, I mean, it's like Barrets and Wimpole Street and the whole bit, Paul McCartney [https://www.wikidata.org/wiki/Q2599?wprov=srpw1_0] had a place, like two blocks--did have a place two blocks--and the whole bit. You know, and it's very dazzling, and I was in this apartment and I was sleeping actually on the couch of this particular friend, and there were other beds available, but I did not manage. I was not aggressive, so therefore I slept on the couch. It was a heavy time for everybody, and I was thinking of Jim dying, you know whose “A Retrospective of the Whitney” has just opened. And I was staying, actually, with the wife of a publisher who happily I have in London, John Calder [https://www.wikidata.org/wiki/Q6224786] and Marion Boyars [https://www.wikidata.org/wiki/Q18674153]. I was thinking of John Calder's apartment and John and his wife unhappily were having a, I mean, it's ridiculous, I'm not going to rehearse the whole situation of their lives, man. Like we've got enough to enter my own in that way, but the point is that I was sleeping on their couch, right? Everybody had left for their various activities and I was to meet these people to come in and set up this recording equipment and have this scene, and they didn't show up. And I had literally like two or three hours just in that apartment. I was padding around the place in my jammies, feeling beautifully luxurious and relaxed in London, you know, like digging out the window. I'd been the night previous reading at an International Festival of Poetry on a beautiful occasion, and I'd gone over. Jim Dine [https://www.wikidata.org/wiki/Q531234] is frankly a friend from the States and I'd called him up, he's living in, where the hell does he live, Grosvenor square [https://www.wikidata.org/wiki/Q932992], he's like in that district. He's living next to the Uruguay Embassy, like it's a very- he's running a house that somebody is trying to sell, but they can't find an appropriate buyer. Mick Jagger [https://www.wikidata.org/wiki/Q128121] wanted to buy the house, but they didn't want a rock singer, and then the Nigerian Embassy wanted to buy the house but they didn't want to sell, you know. It was a whole trip. So Jim Dine has maintained the premises. So I go there and say \\\"Terrific\\\" and \\\"Wow\\\". We do the whole American bit, which is frankly to get over excited instantly, and to eat, drink, and be merry with an absolute insistence. And we're now driving over to make the Royal Festival Arts blah, blah, blah scene. And for an American it's a heady trip. I'm going to read now in company with the company of four other people, as part of the International Festival of Poetry and they're having this scene at a place, those of you who know London, they're having a scene at the Queen Elizabeth Hall [https://www.wikidata.org/wiki/Q1622428], that's part of the festival, you know like, complexes across the Thames [https://www.wikidata.org/wiki/Q19686] from the Parliamentary buildings, Tower of London [https://www.wikidata.org/wiki/Q62378], all that. So we're driving  through late London afternoon in July, delicious, I mean, the sun is fading in over those buildings the whole, oh wow, you know, just blow your mind. It's just fantastically tender and real, and that's where Raleigh [https://www.wikidata.org/wiki/Q189144] was imprisoned in the Tower, and that's you know, fantastic. We arrive in absolutely pristine condition, and it took about two minutes to 'x' it all out. So the first two poems--it says “Festival Hall London”, like a note to myself on the side, and the first two poems--like the unrelieved tedium of the evening was just fantastic. I talked to a reporter of like a red rag, a socialist paper in London later. He said, “I don't see any reason why you should show up, Mr. Creeley, before you're required, your presence is literally required”. You know, so I said, “Do you really think that's possible? Do you think I really could do that?”. He said “I don't see any reason why your condition and duty doesn't permit that kind of occasion”, and I said “The hardest thing man is to sit there for like, it isn't the tedium of the people, it's the tedium of the occasion, it's like all these people. I have to have a rock in my pants that I thought it was hashish but it's actually three million, billion years old, it's a worm. We've got time, right?”. So he said “You don't have to”--what was your experience--he's trying to get some, you know he's trying to get some sense of the work as we're not permitted into the reading or something [audience laughter] and I quote the work as we're like generously absent from the reading, like you don't have to do that too, there's going to be a condition of that experience. \\\"In London\\\"\\n \\nRobert Creeley\\n00:28:30\\nReads \\\"In London\\\" [from In London]. \\n\\nRobert Creeley\\n00:28:39\\nThis was, like in this absolutely [unintelligible] environment you suddenly look around and see this exit, exit, exit sign red, exit, exit, exit, exit. There was a titter that ran through the audience and then there was nothing more. \\\"Cards\\\". This is now back in the apartment.\\n \\nRobert Creeley\\n00:28:58\\nResumes reading \\\"In London\\\" [from In London]. \\n \\nRobert Creeley\\n00:30:03\\nNow, I'll read the crossed out portions. \\\"There are people in the sky, now you see them, now you don't, won't you take me to my home, and let me play among the stars. The final fears of all the years are met in you tonight.\\\" This is, this flows out on vague rhythms. “12:30” written as Arabic numerals, read as 12:30 words.\\n \\nRobert Creeley \\n00:30:30.\\nResumes reading \\\"In London” [from In London].\\n \\nRobert Creeley\\n00:30:36\\n[Interrupts reading]. You know that scene when you're in a city and know one or two people, keep calling up, \\\"Well, Ted is sober\\\", [unintelligible] [audience laughter] and I said \\\"Man, I was there, I know how tired he is, I'm awake\\\".\\n \\nRobert Creeley\\n00:30:50\\nResumes reading \\\"In London” [from In London].\\n \\nRobert Creeley\\n00:30:59\\n[Interrupts reading]. This was a girl who played the lead in The Beard, actually, in the initial San Francisco [https://www.wikidata.org/wiki/Q62] production who was now working in London playing the same part. Lovely young woman, Billy, trying to remember her last name, very soft and pleasant...\\n \\nRobert Creeley\\n00:31:15\\nResumes reading \\\"In London” [from In London].\\n \\nRobert Creeley\\n00:31:20\\n[Interrupts reading]. Let me interpolate, Chamberlain [https://www.wikidata.org/wiki/Q468760] at one point had a weird erotic scene where they were making love by telephone. Have you ever tried that number? So John was was making things like sperm omelet, like he really, somehow it arrived in his madness of mid age, and decided that he was really going to go for broke in terms of sexual possibility. You ever see a man from Indiana take off on the possibilities of sexual endeavor? It's like- so John, Ultra Violet was the perfect foil for this condition. Ultra Violet [https://www.wikidata.org/wiki/Q272994], if you've seen, you must have seen her on the Merv Griffin Show [https://www.wikidata.org/wiki/Q3404046], Ultra Violet like is like the most humorless, John had a tape of her singing \\\"The Fool on the Hill'' [https://www.wikidata.org/wiki/Q1920202] that went on for weeks. It was like years would pass by. “Ze fool on ze hill”, you know. With this incredibly corny french accent. \\\"Ze fool on ze hill\\\" I remember, and he had a scene where they would make love like- I remember one time, the only, the first time I met- oh christ, I'm suddenly flipped out in my own mind, oh hell. It's ridiculous. Well, see, John had a studio on 13th Street and First Avenue, and Larry Rubens had a studio also, and a Japanese girl had a studio, and upstairs was like, directly over John's studio was, oh hell, who's the obvious sculpture, someone supply me with a name, it's ridiculous, the greatest imagination in the arts today in terms of this environment, [audience suggests name] Pardon? No, not Segal [https://www.wikidata.org/wiki/Q703624]. Like Oldenburg [https://www.wikidata.org/wiki/Q156731], Claes Oldenburg. Claes Oldenburg lived upstairs and then he was still with his wife, his crazy factory, the industry, like making the ghosts, I mean they were making the mock-ups of the particular sculptures he was involved in and John, for example, would like wake up, you'd hear like- I spent nights in John's place and you'd hear the radio would turn on, in the morning, like to station k-whatever it was and then you'd hear them moving around getting breakfast and then hear the sewing machine start and the day would begin and Claes Oldenburg has a crazy serious humorous, like the peculiar to my- I was talking to someone about being, you know, coming from Nova Scotia [https://www.wikidata.org/wiki/Q1952], or New Brunswick [https://www.wikidata.org/wiki/Q1965] or St. John's [https://www.wikidata.org/wiki/Q2082] I mean like the [unintelligible] scene is very displaced by that Scandinavian economy, you know, of experience. So John was- do things like one night for an example, he and Ultra Violet had this thing going with the telephone and she called him and he happened to be out and she just let the phone ring. The phone rang from 11:00 to 7 in the morning [laughter.] Like it just keeps ringing. I remember I met Claes Oldenburg that morning, he said \\\"John, someone was trying to call you last night\\\" [laughter] and John says \\\"Yeah, I know.\\\" It was lovely, yeah. “I got the message”. And that was all either one of them said.\\n \\nRobert Creeley\\n00:35:21\\nResumes reading \\\"In London” [from In London].\\n \\nRobert Creeley\\n00:37:41\\n[Interrupts reading]. Then in the actual text there's a point that it's been in print actually for fifteen years in paperback. Somehow, nobody, the friends that we had didn't curiously notice. His reminiscences of Tolstoy [https://www.wikidata.org/wiki/Q7243] in London [https://www.wikidata.org/wiki/Q84], for example. Have you ever read Gorky's [https://www.wikidata.org/wiki/Q12706] Reminiscences of Tolstoy? Fantastic book. \\\"Wish I were home\\\"...doesn't just turn you on informationally, it turns you on to conditions of experience, I hope.\\n \\nRobert Creeley\\n00:38:08\\nResumes reading “In London” [from In London].\\n \\nRobert Creeley\\n00:39:30\\nI wonder what this is, \\\"Aside, aside\\\", [unintelligible], February, Spring day, it's from California [https://www.wikidata.org/wiki/Q99].\\n \\nRobert Creeley\\n00:39:46\\nReads [“That Day” from In London].\\n \\nRobert Creeley\\n00:39:51\\n[Interrupts reading]. See, I love that \\\"And that day, in an oak tree, falls way, comes here\\\", I love that “interup-tions”.\\n\\nRobert Creeley\\n00:40:00\\nResumes reading [“That  Day” from In London].\\n \\nRobert Creeley\\n00:40:04\\n[Interrupts reading]. I love that play of language.\\n \\nRobert Creeley\\n00:40:07\\nResumes reading [“That  Day” from In London].\\n \\nRobert Creeley\\n00:40:54\\nThat I, this was a--one time back in the earlier part of the 60's, Ginsberg [https://www.wikidata.org/wiki/Q6711] was given a tape recorder by Bob Dylan [https://www.wikidata.org/wiki/Q392] and when they were both in San Francisco [https://www.wikidata.org/wiki/Q62]. Dylan gave Allen a Uher tape recorder and they had been in San Francisco, now Allen went down to Los Angeles [https://www.wikidata.org/wiki/Q65] and he talked to people like Gerald Heard [https://www.wikidata.org/wiki/Q1606714], he had long conversations with Lenny Bruce [https://www.wikidata.org/wiki/Q460876], and he also went to see Maria Huxley, and he was particularly interested as to what were Huxley's, not merely, he knew what Huxley died of, Huxley died of cancer in a factual and actual manner. But he was very interested into what was Huxley's not state, like he didn't want to hear his last words in some awful sense, but he wanted to know what kind of experience of death Huxley had had. And if this particular experience of death had been in any way informed by the circumstance of experience that Huxley had begun to be more and more involved with as he grew older, namely acid and the transformation, not the transformation but the particularization of experience that he found in the psychedelic so-called drugs. And so he asked Maria Huxley the very obvious question, “was Huxley on acid when he died? Did he take acid previous to his death?” And she said, “well, he had asked that when he was thus conscious. I mean he did go into a coma. He did have a float, physically, and he asked that he have acid available. I mean that the cap of acid be place conveniently by the bed, and that he would obviously determine when and as and if he wanted to take it. It would be there. It would be like an aspirin, like a glass of water,” and she said that roughly half an hour previous to his physical death, he took acid. And then Allen asked the other obvious question, did he say anything? Did he say anything of the experience of the circumstance? She said, no he didn't, he said nothing. But this is a woman who'd lived obviously with this man for a particular length of time and had information specifically, she said no, but there was this beatific smile, he was attending his own, you know, like he was attending, not the apocalypse, but the phenomenality of his own dispersion into you know other states of being, with the agency that's created.\\n \\nRobert Creeley\\n00:43:49\\nReads [section of “Little Time--And Place” from In London]. \\n \\nRobert Creeley\\n00:44:05\\nI want to read one last poem from this text, and then I'll go back to books you may know. \\\"A Wall\\\".\\n \\nRobert Creeley\\n00:44:15\\nReads \\\"A Wall\\\".\\n \\nUnknown\\n00:45:20\\n[Cut or edit made in tape. Unknown amount of  time elapsed].\\n\\nRobert Creeley\\n00:45:22\\n..simply identifies the title of the book that you're referring to and the name of the man who wrote it. \\n\\nUnknown\\n00:45:25\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nRobert Creeley\\n00:45:26\\n...he didn't want to make it hard for anybody, certainly didn't want to make it thus easy. But, particular information was always of that nature, you couldn't describe it, you certainly couldn't make it a convenience, so that the actuation of it for you always had to be the particular resource and fact of your own--I mean, it had to be that you did know it. It wasn't like one-upping, \\\"Gee, you don't know the name of the capital of Madagascar\\\" [https://www.wikidata.org/wiki/Q1019?wprov=srpw1_0], like I don't know the name of the capital of Madagascar, is there a capital of Madagascar? I guess, you couldn't. That wasn't the condition, but if something was there to be known, that was of some particular interest to him, he gave you the fact of that interest and the substance of that interest, but he didn't give you the convenience of that interest, you had not merely to track his experience into it, but you had to get there, like you had to get there by your own agency. But I think I could--someone said, like man, like the dots in this particular book, pieces, and there's a lovely remark by Ed Dorn [https://www.wikidata.org/wiki/Q5334756] whom I dearly love, he said you know, that sense of the pieces of the definition, [unintelligible] of the parts of some of the imagined whole, which these pieces are then the fragments or the parts of, then he says, he effectually suggests, think of a situation where the pieces do not compose that possible containment, the parts that do not necessarily relate and or have the substance of the whole thus to inform them. Like now, you're really in a hole, dig. And his definition of tradition: that which someone comes carrying the information of, literally, he got there, with the news. So the dots in this book, the three dots, those of you who are interested in these explications of text, these three dots simply indicate the intervals of a particular sitting, or a particular, you know literally, you see how this is written, it's like in a notebook, well what was written on a particular day would be separated in this text by three dots, you know, like usually the particular things written would be separated by one dot then when another day occurred there'd be three dots, I mean it's a very rudimentary division.\\n \\nRobert Creeley\\n00:47:53\\nReads \\\"The which it was\\\" [from Pieces].\\n \\nRobert Creeley\\n00:49:15\\n\\\"Re Bob's Film (CUT)\\\", this was a movie done, friend--this is not even interesting, this is an 8 mm film called \\\"Cut\\\".\\n \\nRobert Creeley\\n00:49:23\\nReads \\\"Re Bob's Film (CUT)\\\" [from Pieces].\\n \\nRobert Creeley\\n00:51:53\\nI want to skip, like I want to skip to the end of this book and read frankly, if I may for a close, let me read a sequence called \\\"Mazatlan: Sea\\\" which comes together as a close to this particular book and is writing of the same order.\\n \\nRobert Creeley\\n00:52:15\\nReads \\\"Mazatlan: Sea\\\" [from Pieces].\\n \\nEND\\n01:07:47\\n\",\"notes\":\"Robert Creeley reads from Pieces (Scribner, 1969), In London (Angel Hair Books, 1970), and  from other unknown sources.\\n\\n00:00- Unknown male introduces Robert Creeley. [INDEX: Black Mountain Poet, Robert        \\tDuncan, Charles Olson]\\n02:35- Reads “On Vacation”\\n02:55- Introduces “Do You Think”\\n03:03- Reads “Do You Think”\\n04:51- Introduces “The Act of Love” [INDEX: Robin Blaser]\\n05:50- Reads “The Act of Love”\\n07:55- Introduces “The Birds” [INDEX: Robin Blaser]\\n08:19- Reads “The Birds”\\n09:58- Introduces “An Illness” [INDEX: Allen Ginsberg, San Francisco, Warren [unknown last name], Bobby Louise Hall, Robin Blaser]\\n12:52- Reads “An Illness”\\n15:55- Introduces “The Problem” [INDEX: Robin Blaser]\\n16:06- Reads “The Problem”\\n16:44- Reads “The Tiger”\\n17:09- Reads deleted material from “The Tiger”\\n17:38- Reads first line “We resolved to think of ourselves...”\\n18:33- Introduces “Not Being Dumb”\\n18:36- Reads “Not Being Dumb”\\n19:38- Reads “Harry”\\n19:46- Introduces “Sweet Dreams, Good Harbor Beach”\\n20:04- Reads “Sweet Dreams, Good Harbor Beach”\\n21:15- Introduces “In London” [INDEX: London, 76 Wimphole Street, Oxford Street, Barrets   Street, Paul McCartney, Whitney Museum of American Art,  Publisher John Calder,    \\tMaron Boyars, International Festival of Poetry in London, Jim Dine, Grosvenor Square,    Uruguay Embassy, Mic Jagger, Nigerian Embassy, Royal Festival of Arts, Queen \\tElizabeth Hall, Raleigh imprisoned in the London Tower, socialist paper journalist]\\n28:25- Reads “In London” [with interruptions during poem]\\n28:55- Introduces “Cards”\\n28:58- Reads “Cards”\\n29:14- Reads “Small Dreams”\\n29:53- Reads “Homesick, Etc”\\n30:03- Reads deleted section from “Homesick, Etc” and Introduces “This Flows Out On Vague         Rhythms”\\n30:30- Reads “This Flows Out On Vague Rhythms”\\n30:36- Interrupts poem with explanation\\n30:50- Continues reading\\n30:59- Interrupts poem with explanation\\n31:15- Continues reading\\n31:20- Interrupts poem with explanation [INDEX: John Chamberlain, Ultra Violet, Merv Griffons Show, Chamberlain’s studio on 13th Street and 1st Avenue New York City, Larry        \\tRubens [sp?], Sculptor Claes Oldenburg]\\n35:21- Continues reading [line “Thinking of Chamberlain and Ultra Violet talking the night     \\taway”...]\\n37:41- Interrupts poem with explanation [INDEX: Maxin Gorky’s Reminiscences of Tolstoy]\\n38:08- Reads “Wish I Were Home”\\n39:30- Introduces “Aside, Aside”\\n39:46- Reads “Aside, Aside”\\n38:51- Interrupts poem with explanation\\n40:00- Continues reading\\n40:04- Interrupts poem with explanation\\n40:07- Continues reading\\n40:54- Introduces poem, first line “Fine manners, weathers, cars and people...” [INDEX:     \\tAllen Ginsberg, Bob Dylan, San Francisco, Uher tape, Los Angeles, Gerald Heard, Lenny      \\tBruce, Maria Huxley, Aldous Huxley’s death, experiences on acid]\\n43:49- Reads first line “Fine manners, weathers, cars and people...”\\n44:05- Introduces “A Wall”\\n44:15- Reads “A Wall”\\n45:14- Cut in tape, explains parts of his book, A Wall [INDEX: Ed Dorn, A Wall]\\n47:53- Reads first line “The which it was form seen there...”\\n49:15- Introduces “Ray Bob’s Film Cut”\\n49:23- Reads “Ray Bob’s Film Cut”\\n51:53- Introduces “Mazatlan: Sea”\\n52:15- Reads “Mazatlan: Sea”\\n1:07:47.09- END OF RECORDING\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/robert-creeley-at-sgwu-1970/\"}]"],"score":2.1907105},{"id":"1285","cataloger_name":["Bindu,Reddy"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Diane Wakoski at Sir George Williams University, The Poetry Series, 23 January 1970\n"],"item_title_source":["Cataloguer"],"item_title_note":["\"DIANE WAKOSKI Recorded January 23, 1970 3.75 ips, 1/2 track on 1 mil. tape\" written on sticker on the back of the tape's box. \"DIANE WAKOSKI I006/SR49\" written on sticker on the spine of the tape's box. \"I006-11-049\" written on sticker on the reel\n"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 4"],"item_identifiers":["[]"],"creator_names":["Wakoski, Diane"],"creator_names_search":["Wakoski, Diane"],"creators":["[{\"url\":\"http://viaf.org/viaf/79051243\",\"name\":\"Wakoski, Diane\",\"dates\":\"1937-\",\"notes\":\"American Poet Diane Wakoski was born August 3rd, 1937 in Whittier, California. She earned her B.A. from University of California, Berkeley, where she began to publish her poetry. She read at the San Francisco Poetry Center in 1959. Her first collection, Coins & Coffins (Doubleday) was published in 1962, and her other collections include Discrepancies and Apparitions (Doubleday, 1966), The George Washington Poems (Riverrun Press, 1967), Inside the Blood Factory (Doubleday, 1968), The Magellanic Clouds (Black Sparrow Press, 1970) and Motorcycle Betrayal Poems (Simon and Schuster, 1971). Diane Wakoski attended a summer program at SUNY Buffalo where she met Robert Creeley and other Black Mountain Poets in 1964. She taught English in a Manhattan junior high from 1963 to 1966 and was involved with the New York poetry scene. Diane Wakoski gave poetry readings and workshops to support herself, as well as holding many positions at universities as visiting professor and visiting writer. She was friends with several other poets, namely LaMonte Young, Robert Kelly, LeRoi Jones, Robert Creeley, Charles Olson, Ed Dorn. Wakoski was granted the Guggenheim fellowship in 1972. Since her first publication, she has published over 60 volumes of poetry, including Waiting for the King of Spain (Black Sparrow Press, 1976), The Collected Greed: Parts 1-13 (Black Sparrow Press, 1984) which contains a poetry sequence begun in the 1960’s, Emerald Ice: Selected Poems 1962-1987 (Black Sparrow Press, 1988) and Medea the Sorceress (Black Sparrow Press, 1991).\",\"nation\":[],\"role\":[\"Performer\",\"Author\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1970 1 23\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the back of the tape's box\\n\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["Diane Wakoski reads the title poem from The Magellanic Clouds (Black Sparrow Press, 1970) and from Discrepancies and Apparitions (Doubleday, 1966), The George Washington Poems (Riverrun Press, 1967), and Inside The Blood Factory (Doubleday, 1968)."],"contents":["diane_wakoski_i006-11-049.mp3\n\nIntroducer\n00:00:00\nOur poet this evening, Diane Wakoski [https://www.wikidata.org/wiki/Q1209000], by birth and education a Californian, has been a central figure on the New York [https://www.wikidata.org/wiki/Q60] scene, poetry scene, since 1961 or 62. She first came to attention outside New York City, with the publication of the small, but now somewhat legendary anthology Four Young Lady Poets. Since then, she has published nine volumes of poems, including Coins and Coffins, Discrepancies and Apparitions, The George Washington Poems, Inside the Blood Factory, Greed, and The Magellanic Clouds which I believe is to come out this year. I understand that some critics have tended to assign some of her recent work to so-called confessional school, which in her case means very little except that she writes about her own pictures of herself. Contrary to what one associates with the term confessional, Miss Wakoski writes a poetry that is syntactically direct and undeceiving. Yet, it is at the same time openly adventurous in its vocabulary, full of excitement and risk. It is thus a poetry that may perplex you, not because you do not understand it however, but because you do. And it's certainly one that you will enjoy hearing. Miss Wakoski, Diane!\n \nDiane Wakoski\n00:01:45\nI wanted to know what that tower was doing, but it's locating the clouds.\n \nIntroducer\n00:01:56\nYeah, I believe there is a meteorological interest...\n \nDiane Wakoski\n00:02:00\nWill you fall asleep if we don't have more lights on? I fall asleep in very dark rooms, I'm very loath to let the audience fall asleep, at least just for lights. If you can't hear me, I think there are more seats up here. This first poem I'm going to read is a poem that I wrote to a young poet a few years ago, I guess he's not so young anymore, but he was young when I wrote it, and he came to visit me in New York City to show me his poems, which were very nice poems, but he had been studying with Robert Creeley [https://www.wikidata.org/wiki/Q918620], whom I very much admire, but who sort of has the kiss of death for any sensitive young man who studies with him, because they all come away looking like Robert Creeley, sounding like Robert Creeley and writing exactly like Robert Creeley. And I'm not exactly known for my tact, so when he asked me about his poems, I said I thought they were very nice Robert Creeley imitations. And he walked away in a huff, and I realized what a message that is constantly being communicated to women in our culture that even though we are asked to be able to think and act intelligently, when it really comes down to the nitty gritty, we are expected to compliment men and not to tell them what we really think. So I wrote him an apology. I'm not really apologizing for what I said, I'm apologizing for being a graceful enough woman in that situation. And this poem, I think, says very much what I would like to say to all of you who wrote poetry who are young, or who do anything else. \"An Apology\".\n \nDiane Wakoski\n00:04:20\nReads \"An Apology\" [from Inside The Blood Factory].\n \nDiane Wakoski\n00:06:15\nI don't really believe that, as I say. But I do believe in the necessity of having to say it. This next poem I'd like to read is a poem in which, again, I ask a kind of rhetorical question that is a very meaningful one for all women in our culture. I think, by the way, that in spite of the fact that I constantly talk about what problems women do have in a contemporary society that at last has freed them from the burden of constant babysitting and washing and ironing and so forth, that the whole mix up of what roles are about makes the life of a woman very hard, but I think that really, it's probably a man's role, it's harder to play the woman and my experience has been most of the time when women are punished in our society or have real problems with being women it's because they are getting the feedback from how complicated and impossible the demands on men have been and the men are feeding it back to them and if maybe we could ever solve that real dilemma of what the complete man is allowed to be, then women wouldn't suffer. I don't really think that anything women can do will do any good until the man's world is a more possible one to live in. At any rate, this poem asks a question that I constantly ask, why is it when a woman who shows strength, strength is something that we should all be honoured for having and being able to live with in our life, why should a woman be punished for her strength? As strong women often are. It's called \"Slicing Oranges for Jeremiah\".\n \nDiane Wakoski\n00:08:19\nReads \"Slicing Oranges for Jeremiah\" [from Inside The Blood Factory].\n \nDiane Wakoski\n00:12:58\nI'm very interested in, well, actually, something that all poets are involved in, and that is trying to use the mythology of their culture to somehow be able to talk about their own personal realities and still be able to communicate with other people in terms of kind of common cultural experience. And I've been writing a series of poems that I call the \"George Washington [https://www.wikidata.org/wiki/Q23] Poems\" to help me do this and every once in a while I will pick up on other things also and something that's always fascinated me, being from California [https://www.wikidata.org/wiki/Q99], are the legends of the Wild West [https://www.wikidata.org/wiki/Q190267] and the way people still sort of look at Americans as pioneers and cowboys and in a way how we like to flatter ourselves, all of us that we have a certain kind of ruggedness because of this pioneer tradition. But one of the confusions that has grown up out of that cultural image is again, something that concerns me very much, as women, we've all been brainwashed to fall in love with men who have this very rugged image who are able to do tough rugged things, and unfortunately, reality doesn't always live up to those images that are presented to us so we're falling madly in love with these men who turn out to often not like women, because that whole western life was geared for men, and not for women. So in this poem I'm lodging my protest officially. It's called \"Follow that Stagecoach\".\n \nDiane Wakoski\n00:14:55\nReads \"Follow that Stagecoach\" [from Discrepancies and Apparitions].\n \nDiane Wakoski\n00:19:57\nDo you think you need the mic in the back? What do you think? I'm going to move up? ...Is this an amplifying mic? ....Can you hear me now any better back there? I'm going to read a few \"George Washington\" poems. Are you getting clicky sound? Maybe if I turn it away, it'll amplify...This poem is called \"Patriotic Poem\" and I always dedicate it to J. Edgar Hoover [https://www.wikidata.org/wiki/Q210435] when I read. This is in hopes that someday I'll be considered a great American Patriot.\n \nDiane Wakoski\n00:21:53\nReads \"Patriotic Poem\" [from The George Washington Poems].\n \nDiane Wakoski\n00:25:09\nThe next poem is called \"George Washington Writes Home about Harvesting his Hemp\". All plantations, I guess, in those days had large hemp crops on them because they had to make their own rope.\n \nDiane Wakoski\n00:25:35\nReads \"George Washington Writes Home about Harvesting his Hemp\" [from The George Washington Poems].\n \nDiane Wakoski\n00:27:07\nI understand you had a writer in this series named Gladys Hindmarch, so I'll read you a poem called \"George Washington and the Dream of Gladys Hindmarch\".\n \nDiane Wakoski\n00:27:22\nReads \"George Washington and the Dream of Gladys Hindmarch\" [from The George Washington Poems].\n \nDiane Wakoski\n00:31:15\nThis next poem is about an idiosyncrasy that I have, I can't stand men who wear rings on their little fingers. and I wrote this poem, oh, a few years ago when I went to the Guggenheim [https://www.wikidata.org/wiki/Q201469] in New York City to hear a poet that I admire a lot, Gary Snyder [https://www.wikidata.org/wiki/Q315963], I like that whole, very masculine image he presents, some guy in the woods chopping down trees, working in a lumber mill and things like that. So, it was really a very great shock to see him appear on stage with his lumber boots, his blue jeans, his work shirt, his tweed jacket with a leather patch and a ring on his little finger. So I went home and wrote this poem. It's called \"Ringless\".\n \nDiane Wakoski\n00:32:17\nReads \"Ringless\" [from Inside The Blood Factory].\n \nDiane Wakoski\n00:35:41\nAnother one of my heroes is Beethoven [https://www.wikidata.org/wiki/Q255], this is Beethoven's two-hundred centennial by the way. I like Beethoven for a lot of reasons, but I suppose why I pick on him to talk about is that Beethoven stands for the ability to use anger and make it into something very beautiful and powerful. Again, we live in a culture that makes life very difficult for us and one of the things we're taught as children is that to express anger is a bad thing, not that it's a natural, healthy thing and that in fact until the anger is expressed, the love can't exist. So I'm going to read this poem which is called \"In Gratitude to Beethoven\".\n \nDiane Wakoski\n00:36:49\nReads \"In Gratitude to Beethoven\" [from Inside The Blood Factory].\n\nUnknown\n00:41:58\n[Cut or edit in tape].\n \nDiane Wakoski\n00:42:01\nResumes reading of “In Gratitude to Beethoven”.\n \nUnknown\n00:43:08\n[Cut or edit in tape].\n \nDiane Wakoski\n00:43:10\n...poets in the world I assume. I wrote a poem about landing on the moon. The moon traditionally is poet's subject and I suppose I feel even more involved, since my name is Diane and I've always felt that either the moon belonged to me, or that I was the moon, so having it landed on gave me a lot of complicated feelings. And I wrote this poem called \"The Ten Dollar Cab Ride\", which is dedicated to Robert Duncan [https://www.wikidata.org/wiki/Q964391], because he once told this story, some of you must know this, I don't think he wrote it in any of his poems, I once heard him tell the story but it could easily be in one of his poems. It was about a number of years ago when he was much, much younger and his life was much more difficult than it is right now and I guess one of his problems was money and money tends to get people very depressed at times, and he was depressed about everything else and he also didn't have any money so he decided he was going to kill himself, and he didn't really want to do it right that minute. But he wanted to do it, and all he had was ten dollars and so he decided he would take a cab ride and when the ten dollars was up, he'd get out and kill himself. But he made the fatal mistake, or I should say the life-giving mistake, of going for a cab ride in Golden Gate Park [https://www.wikidata.org/wiki/Q635559] in San Francisco [https://www.wikidata.org/wiki/Q62] which is very, very beautiful and by the end of his ten dollars, he felt so good that he had to get out and walk home. I always thought that was a hopeful story for any of us. Anyway, \"The Ten Dollar Cab Ride\" for Robert Duncan.\n \nDiane Wakoski\n00:45:06\nReads \"The Ten Dollar Cab Ride\".\n \nUnknown\n00:47:22\n[Cut or edit in tape].\n \nDiane Wakoski\n00:47:43\nResumes reading “The Ten Dollar Cab Ride”.\n \nDiane Wakoski\n00:50:15\nI'm going to read one last poem which is the title poem of a book, it's called the \"Magellanic Clouds\". And those of you who took Astronomy 1 and have your own telescopes and have ever been to the southern latitudes, you know that the Magellanic Clouds are probably another galaxy, and they appear as a  cloudy spot in the sky on a clear night in the southern hemisphere, and they were named by Magellan [https://www.wikidata.org/wiki/Q1496], for himself, of course, when he first saw them.\n \nAnnotation\n00:51:00\nReads \"The Magellanic Clouds\" [published later in The Magellanic Clouds].\n \nEND\n00:56:00\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn the fall of 1969, Diane Wakoski was working as a visiting writer in Deia Majorca sponsored by Dowling College of Long Island. The Magellanic Clouds was published in 1970.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nWakoski’s direct connection to Montreal or Sir George Williams University is unknown, however she was an influential American poet associated with the New York school of poetry, and was close with members of the Black Mountain group. As illustrated in her poem dedicated to Gladys Hindmarch, she was also friendly with the Canadian poet.\",\"type\":\"General\"},{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/807465072&referer=brief_results\",\"citation\":\"Butscher, Edward. \\\"Wakoski, Diane\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ian Hamilton (ed). Oxford University Press, 1996. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-american-literature/oclc/54356940&referer=brief_results\",\"citation\":\"\\\"Wakoski, Diane\\\". The Oxford Companion to American Literature. James D. Hart (ed.), Phillip W. Leininger (rev). Oxford University Press, 1995.\"},{\"url\":\"https://www.worldcat.org/title/merriam-websters-encyclopedia-of-literature/oclc/31434511\",\"citation\":\"\\\"Wakoski, Diane.\\\" Merriam Webster's Encyclopedia of Literature. Springfield, MA: Merriam-Webster, 1995. \"},{\"url\":\"https://www.worldcat.org/title/discrepancies-and-apparitions/oclc/1434566&referer=brief_results\",\"citation\":\"Wakoski, Diane. Discrepancies and Apparitions. New York: Doubleday, 1966.\"},{\"url\":\"https://www.worldcat.org/title/inside-the-blood-factory/oclc/469771668&referer=brief_results\",\"citation\":\"Wakoski, Diane. Inside The Blood Factory. New York: Doubleday, 1968. \\n\"},{\"url\":\"https://www.worldcat.org/title/george-washington-poems/oclc/753478760&referer=brief_results\",\"citation\":\"Wakoski, Diane. The George Washington Poems. New York: Riverrun Press, 1967.\"},{\"url\":\"https://www.worldcat.org/title/magellanic-clouds/oclc/5032677&referer=brief_results\",\"citation\":\"Wakoski, Diane. The Magellanic Clouds. Santa Barbara: Black Sparrow Press: 1970. \"},{\"url\":\"\",\"citation\":\"“Wakoski, Diane”. Literature Online Biography. Cambridge: Chadwyck-Healey, 1998. \"}]"],"_version_":1853670548915093505,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I006_11_049_back.jpg\",\"file_path\":\"\",\"filename\":\"I006_11_049_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Diane Wakoski 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/I006_11_049_front.jpg\",\"file_path\":\"\",\"filename\":\"I006_11_049_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Diane Wakoski Tape Box - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I006_11_049_side.jpg\",\"file_path\":\"\",\"filename\":\"I006_11_049_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Diane Wakoski Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I006_11_049_tape.jpg\",\"file_path\":\"\",\"filename\":\"I006_11_049_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Diane Wakoski Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/diane_wakowski_i006-11-049.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"diane_wakoski_i006-11-049.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:56:00\",\"precision\":\"\",\"size\":\"134.4 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Introducer\\n00:00:00\\nOur poet this evening, Diane Wakoski [https://www.wikidata.org/wiki/Q1209000], by birth and education a Californian, has been a central figure on the New York [https://www.wikidata.org/wiki/Q60] scene, poetry scene, since 1961 or 62. She first came to attention outside New York City, with the publication of the small, but now somewhat legendary anthology Four Young Lady Poets. Since then, she has published nine volumes of poems, including Coins and Coffins, Discrepancies and Apparitions, The George Washington Poems, Inside the Blood Factory, Greed, and The Magellanic Clouds which I believe is to come out this year. I understand that some critics have tended to assign some of her recent work to so-called confessional school, which in her case means very little except that she writes about her own pictures of herself. Contrary to what one associates with the term confessional, Miss Wakoski writes a poetry that is syntactically direct and undeceiving. Yet, it is at the same time openly adventurous in its vocabulary, full of excitement and risk. It is thus a poetry that may perplex you, not because you do not understand it however, but because you do. And it's certainly one that you will enjoy hearing. Miss Wakoski, Diane!\\n \\nDiane Wakoski\\n00:01:45\\nI wanted to know what that tower was doing, but it's locating the clouds.\\n \\nIntroducer\\n00:01:56\\nYeah, I believe there is a meteorological interest...\\n \\nDiane Wakoski\\n00:02:00\\nWill you fall asleep if we don't have more lights on? I fall asleep in very dark rooms, I'm very loath to let the audience fall asleep, at least just for lights. If you can't hear me, I think there are more seats up here. This first poem I'm going to read is a poem that I wrote to a young poet a few years ago, I guess he's not so young anymore, but he was young when I wrote it, and he came to visit me in New York City to show me his poems, which were very nice poems, but he had been studying with Robert Creeley [https://www.wikidata.org/wiki/Q918620], whom I very much admire, but who sort of has the kiss of death for any sensitive young man who studies with him, because they all come away looking like Robert Creeley, sounding like Robert Creeley and writing exactly like Robert Creeley. And I'm not exactly known for my tact, so when he asked me about his poems, I said I thought they were very nice Robert Creeley imitations. And he walked away in a huff, and I realized what a message that is constantly being communicated to women in our culture that even though we are asked to be able to think and act intelligently, when it really comes down to the nitty gritty, we are expected to compliment men and not to tell them what we really think. So I wrote him an apology. I'm not really apologizing for what I said, I'm apologizing for being a graceful enough woman in that situation. And this poem, I think, says very much what I would like to say to all of you who wrote poetry who are young, or who do anything else. \\\"An Apology\\\".\\n \\nDiane Wakoski\\n00:04:20\\nReads \\\"An Apology\\\" [from Inside The Blood Factory].\\n \\nDiane Wakoski\\n00:06:15\\nI don't really believe that, as I say. But I do believe in the necessity of having to say it. This next poem I'd like to read is a poem in which, again, I ask a kind of rhetorical question that is a very meaningful one for all women in our culture. I think, by the way, that in spite of the fact that I constantly talk about what problems women do have in a contemporary society that at last has freed them from the burden of constant babysitting and washing and ironing and so forth, that the whole mix up of what roles are about makes the life of a woman very hard, but I think that really, it's probably a man's role, it's harder to play the woman and my experience has been most of the time when women are punished in our society or have real problems with being women it's because they are getting the feedback from how complicated and impossible the demands on men have been and the men are feeding it back to them and if maybe we could ever solve that real dilemma of what the complete man is allowed to be, then women wouldn't suffer. I don't really think that anything women can do will do any good until the man's world is a more possible one to live in. At any rate, this poem asks a question that I constantly ask, why is it when a woman who shows strength, strength is something that we should all be honoured for having and being able to live with in our life, why should a woman be punished for her strength? As strong women often are. It's called \\\"Slicing Oranges for Jeremiah\\\".\\n \\nDiane Wakoski\\n00:08:19\\nReads \\\"Slicing Oranges for Jeremiah\\\" [from Inside The Blood Factory].\\n \\nDiane Wakoski\\n00:12:58\\nI'm very interested in, well, actually, something that all poets are involved in, and that is trying to use the mythology of their culture to somehow be able to talk about their own personal realities and still be able to communicate with other people in terms of kind of common cultural experience. And I've been writing a series of poems that I call the \\\"George Washington [https://www.wikidata.org/wiki/Q23] Poems\\\" to help me do this and every once in a while I will pick up on other things also and something that's always fascinated me, being from California [https://www.wikidata.org/wiki/Q99], are the legends of the Wild West [https://www.wikidata.org/wiki/Q190267] and the way people still sort of look at Americans as pioneers and cowboys and in a way how we like to flatter ourselves, all of us that we have a certain kind of ruggedness because of this pioneer tradition. But one of the confusions that has grown up out of that cultural image is again, something that concerns me very much, as women, we've all been brainwashed to fall in love with men who have this very rugged image who are able to do tough rugged things, and unfortunately, reality doesn't always live up to those images that are presented to us so we're falling madly in love with these men who turn out to often not like women, because that whole western life was geared for men, and not for women. So in this poem I'm lodging my protest officially. It's called \\\"Follow that Stagecoach\\\".\\n \\nDiane Wakoski\\n00:14:55\\nReads \\\"Follow that Stagecoach\\\" [from Discrepancies and Apparitions].\\n \\nDiane Wakoski\\n00:19:57\\nDo you think you need the mic in the back? What do you think? I'm going to move up? ...Is this an amplifying mic? ....Can you hear me now any better back there? I'm going to read a few \\\"George Washington\\\" poems. Are you getting clicky sound? Maybe if I turn it away, it'll amplify...This poem is called \\\"Patriotic Poem\\\" and I always dedicate it to J. Edgar Hoover [https://www.wikidata.org/wiki/Q210435] when I read. This is in hopes that someday I'll be considered a great American Patriot.\\n \\nDiane Wakoski\\n00:21:53\\nReads \\\"Patriotic Poem\\\" [from The George Washington Poems].\\n \\nDiane Wakoski\\n00:25:09\\nThe next poem is called \\\"George Washington Writes Home about Harvesting his Hemp\\\". All plantations, I guess, in those days had large hemp crops on them because they had to make their own rope.\\n \\nDiane Wakoski\\n00:25:35\\nReads \\\"George Washington Writes Home about Harvesting his Hemp\\\" [from The George Washington Poems].\\n \\nDiane Wakoski\\n00:27:07\\nI understand you had a writer in this series named Gladys Hindmarch, so I'll read you a poem called \\\"George Washington and the Dream of Gladys Hindmarch\\\".\\n \\nDiane Wakoski\\n00:27:22\\nReads \\\"George Washington and the Dream of Gladys Hindmarch\\\" [from The George Washington Poems].\\n \\nDiane Wakoski\\n00:31:15\\nThis next poem is about an idiosyncrasy that I have, I can't stand men who wear rings on their little fingers. and I wrote this poem, oh, a few years ago when I went to the Guggenheim [https://www.wikidata.org/wiki/Q201469] in New York City to hear a poet that I admire a lot, Gary Snyder [https://www.wikidata.org/wiki/Q315963], I like that whole, very masculine image he presents, some guy in the woods chopping down trees, working in a lumber mill and things like that. So, it was really a very great shock to see him appear on stage with his lumber boots, his blue jeans, his work shirt, his tweed jacket with a leather patch and a ring on his little finger. So I went home and wrote this poem. It's called \\\"Ringless\\\".\\n \\nDiane Wakoski\\n00:32:17\\nReads \\\"Ringless\\\" [from Inside The Blood Factory].\\n \\nDiane Wakoski\\n00:35:41\\nAnother one of my heroes is Beethoven [https://www.wikidata.org/wiki/Q255], this is Beethoven's two-hundred centennial by the way. I like Beethoven for a lot of reasons, but I suppose why I pick on him to talk about is that Beethoven stands for the ability to use anger and make it into something very beautiful and powerful. Again, we live in a culture that makes life very difficult for us and one of the things we're taught as children is that to express anger is a bad thing, not that it's a natural, healthy thing and that in fact until the anger is expressed, the love can't exist. So I'm going to read this poem which is called \\\"In Gratitude to Beethoven\\\".\\n \\nDiane Wakoski\\n00:36:49\\nReads \\\"In Gratitude to Beethoven\\\" [from Inside The Blood Factory].\\n\\nUnknown\\n00:41:58\\n[Cut or edit in tape].\\n \\nDiane Wakoski\\n00:42:01\\nResumes reading of “In Gratitude to Beethoven”.\\n \\nUnknown\\n00:43:08\\n[Cut or edit in tape].\\n \\nDiane Wakoski\\n00:43:10\\n...poets in the world I assume. I wrote a poem about landing on the moon. The moon traditionally is poet's subject and I suppose I feel even more involved, since my name is Diane and I've always felt that either the moon belonged to me, or that I was the moon, so having it landed on gave me a lot of complicated feelings. And I wrote this poem called \\\"The Ten Dollar Cab Ride\\\", which is dedicated to Robert Duncan [https://www.wikidata.org/wiki/Q964391], because he once told this story, some of you must know this, I don't think he wrote it in any of his poems, I once heard him tell the story but it could easily be in one of his poems. It was about a number of years ago when he was much, much younger and his life was much more difficult than it is right now and I guess one of his problems was money and money tends to get people very depressed at times, and he was depressed about everything else and he also didn't have any money so he decided he was going to kill himself, and he didn't really want to do it right that minute. But he wanted to do it, and all he had was ten dollars and so he decided he would take a cab ride and when the ten dollars was up, he'd get out and kill himself. But he made the fatal mistake, or I should say the life-giving mistake, of going for a cab ride in Golden Gate Park [https://www.wikidata.org/wiki/Q635559] in San Francisco [https://www.wikidata.org/wiki/Q62] which is very, very beautiful and by the end of his ten dollars, he felt so good that he had to get out and walk home. I always thought that was a hopeful story for any of us. Anyway, \\\"The Ten Dollar Cab Ride\\\" for Robert Duncan.\\n \\nDiane Wakoski\\n00:45:06\\nReads \\\"The Ten Dollar Cab Ride\\\".\\n \\nUnknown\\n00:47:22\\n[Cut or edit in tape].\\n \\nDiane Wakoski\\n00:47:43\\nResumes reading “The Ten Dollar Cab Ride”.\\n \\nDiane Wakoski\\n00:50:15\\nI'm going to read one last poem which is the title poem of a book, it's called the \\\"Magellanic Clouds\\\". And those of you who took Astronomy 1 and have your own telescopes and have ever been to the southern latitudes, you know that the Magellanic Clouds are probably another galaxy, and they appear as a  cloudy spot in the sky on a clear night in the southern hemisphere, and they were named by Magellan [https://www.wikidata.org/wiki/Q1496], for himself, of course, when he first saw them.\\n \\nAnnotation\\n00:51:00\\nReads \\\"The Magellanic Clouds\\\" [published later in The Magellanic Clouds].\\n \\nEND\\n00:56:00\\n\",\"notes\":\"Diane Wakoski reads the title poem from The Magellanic Clouds (Black Sparrow Press, 1970) and from Discrepancies and Apparitions (Doubleday, 1966), The George Washington Poems (Riverrun Press, 1967), and Inside The Blood Factory (Doubleday, 1968).\\n\\n00:00- Unknown male introduces Diane Wakoski [INDEX: Californian, New York Poetry scene in 1961, Four Young Lady Poets Anthology, Coins and Coffins, Discrepancies and Apparitions, The George Washington Poem, Inside the Blood Factory, Greed, The \\tMagellanic Clouds by Diane Wakoski, Confessional school of poetry]\\n01:45- Diane Wakoski introduces “An Apology” [INDEX: advice to a young poet, Robert Creeley, gender roles]\\n04:20- Reads “An Apology”\\n06:15- Introduces “Slicing Oranges” [INDEX: Gender roles, strong women]\\n08:19- Reads “Slicing Oranges”\\n12:58- Introduces “Follow that Stagecoach” [INDEX: Mythology of one’s culture, series of poems called “The George Washington Poems”, legends of the Wild West]\\n14:55- Reads “Follow that Stagecoach”\\n19:57- Introduces “Patriotic Poem” [INDEX: J. Edgar Hoover]\\n21:53- Reads “Patriotic Poem”\\n25:09- Introduces “George Washington Writes Home About Harvesting his Hemp”\\n25:25- Reads “George Washington Writes Home About Harvesting his Hemp”\\n27:07- Introduces “George Washington and the Dream of Gladys Hindmarch”\\n27:22- Reads “George Washington and the Dream of Gladys Hindmarch”\\n31:15- Introduces “Ringless” [INDEX: reading by Gary Snyder at the Guggenheim in New York City]\\n32:17- Reads “Ringless”\\n35:41- Introduces “Ingratitude to Beethoven” [INDEX: Beethoven, 200 Centennial]\\n36:49- Reads “Ingratitude to Beethoven”\\n43:10- Introduces “The Ten Dollar Cab Ride” [INDEX: moon as poet’s subject, Robert         Duncan, suicide, Golden Gate Park in San Francisco]\\n45:06- Reads “The Ten Dollar Cab Ride”\\n50:15- Introduces “Magellanic Clouds” [INDEX: Astronomy, Magellan]\\n51:00- Reads “Magellanic Clouds”\\n56:00.27- END OF RECORDING\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/diane-wakoski-at-sgwu-1970/\"}]"],"score":2.1907105},{"id":"1290","cataloger_name":["Mahtab,Banihashemi"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Daphne Marlatt at Sir George Williams University, The Poetry Series, 3 November 1970"],"item_title_source":["Cataloguer"],"item_title_note":["\"DAPHE MARLATT Recorded November 6, 1970 3.75 ips on 1 mil tape 1/2 track\" written on sticker on the back of the tape's box. \"DAPHNE MARLATT I086-11-035\" written on sticker on the spine of the tape's box. \"I086-11-035\" written on sticker on the reel. \"RT 549\" written on sticker on the front of the tape's box and on the back of the box"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 5"],"item_identifiers":["[]"],"creator_names":["Marlatt, Daphne"],"creator_names_search":["Marlatt, Daphne"],"creators":["[{\"url\":\"http://viaf.org/viaf/92127388\",\"name\":\"Marlatt, Daphne\",\"dates\":\"1942-\",\"notes\":\"Daphne (nee Buckle) Marlatt was born in Melbourne, Australia in 1942. She lived in Penang, Malaysia before immigrating to Vancouver in 1951. There, Marlatt was the editor of tish magazine in 1963 and graduated from the University of British Columbia with a B.A. in 1964. Marlatt then moved to Indiana with her husband to complete an M.A. in comparative literature in 1968. During that time, her novella Sea Haven was published in Modern Canadian stories (Ryerson Press, 1966), followed by fifteen poems in Raymond Souster’s New wave Canada (Contact Press) also in 1966, her long poems Frames of a story (Ryerson Press, 1968) and leaf/leaf/s (Black Sparrow Press, 1969). She returned in 1970 to Vancouver at the ending of her marriage.  Marlatt continued to publish her poems in the collections Rings (York Street Commune, 1971), Vancouver poems (Coach House Press, 1972), Our lives (Truck Press, 1975), Zocalo (Coach House Press, 1977) and What matters (Coach House Press, 1980). She was the editor of The Capilano Review from 1977 to 1981, and co-edited Periodics. Marlatt also collaborated on several aural history projects, Steveston Recollected: A Japanese-Canadian History (Talon Books, 1974), Opening Doors: Vancouver’s East End (Aural History Program, 1979/80), and her ‘autobiographical fiction’ Ana Historic (Coach House Press, 1988). In 1981, Daphne Marlatt collaborated with Barbara Godard, Kathy Mezei and Gail Scott to found Tessera, an Anglo-Quebec feminist journal, and published several other long poems and collections of poetry, including How hug a stone (Turnstone Press, 1983), Touch to my tongue (Longspoon Press, 1984), Double negative (Gynergy Press, 1988) with Betsy Warland, Salvage (Red Deer College Press, 1991), and a release of Ghost works (NeWest, 1993) which recasts her earlier poetry. She currently lives in and writes from Victoria, B.C. Marlatt was awarded the Order of Canada for lifetime achievement in 2006.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"00:60:00\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1970 11 3\",\"type\":\"Performance Date\",\"notes\":\"Previous researcher specifies date as November 3, 1970. Date written on sticker on the back of the tape's box is Novermber 6, 1970. Newspaper clipping references that Marlatt was intended to read with David Bromige on November 13, but no other supporting evidence has been found.\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building\",\"notes\":\"Exact venue location unknown\",\"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"],"City":["Montreal, Quebec"],"content_notes":["Daphne Marlatt reads poems published later in books like Vancouver Poems (Coach House Press, 1972) and What Matters: Writing 1968-1970 (Coach House Press, 1980), as well as several poems from unknown sources."],"contents":["daphne_marlatt_i086-11-035.mp3\n \nDaphne Marlatt\n00:00:00\nI thought that what I'd do first is read to you from the Vancouver Poems, which won't be published with a 'the', I hope. I guess I'll just try and explain allusions as I go along for those people who have never been to Vancouver [https://www.wikidata.org/wiki/Q24639] or know it because the poems tend to be pretty local, as they were intended to be, and I'll read you two quotes that I have at the beginning because they might help to explain certain concerns in the poem. The first one's from Rimbaud [https://www.wikidata.org/wiki/Q493], it's from a letter of his in which he was talking about his new conception of the poet and how the poet writes, and he said simply \"Je est une autre.\" The second quote is from a record recently released by Randy Newman [https://www.wikidata.org/wiki/Q318475], this is from one of his songs: \"She say I talk to strangers if I want to, 'coz I'm a stranger too\". These are all prose poems. Lagoon is Lost Lagoon, it's supposed to be lost because it was cut off from the sea by man-made walk, and there's a sort of local myth among the kids growing up there that Lost Lagoon is lost too, because it has no bottom, nobody has ever found the bottom. \"Lagoon\".\n \nDaphne Marlatt\n00:01:42\nReads \"Lagoon\" [published later in Vancouver Poems].\n \nDaphne Marlatt\n00:03:40\nThe first poem in the book is sort of a, an entranceway to the book as a whole, it in some ways it sets up my method, I originally had, I'd been reading a lot about Japanese Noh plays, and I'd especially been interested in the Spirit Plays and my original figure in here was a Shite, who is the doer, the central figure in the Noh, who performs the dance and who the particular Noh is about. He usually first appears in the spirit plays as an old man, an old fisherman, or salt-gatherer, some kind of beat down, destitute person, an anonymous person, and the Waki comes along and somehow starts up a conversation and begins to wonder about this man, and usually asks him to tell him the story of the place where he is, assuming that this is some sort of historical shrine, which it often is, and the Waki has come specifically to see this place and as the old man begins to tell the story, he, well, there's actually a scene change, an act change, he reappears in all his glory as the original person whose life was lived out, usually tragically and very dramatically, often in a battle, who died in this place and whose spirit consequently haunts the area. Then I started reading about the Kwakiutl who are a tribe of the Indians somewhat to the north of Vancouver, about the furthest south they reach is the Campbell River [https://www.wikidata.org/wiki/Q270481] on Vancouver Island [https://www.wikidata.org/wiki/Q170479] which is, I don't know how many miles north of Vancouver, 100? 80, about 80. But I always figured that there must have been some sort of interchange between the Kwakiutl and the Salish, the particular tribe around the Fraser Delta [https://www.wikidata.org/wiki/Q269710]  in Vancouver. The thing that interested me the most about the Kwakiutl were one particular secret society called the \"Hamatsa\" and in the Hamatsa it writes, one goes into a sort of frenzy and is possessed by the original spirit, who then passed on the rituals, and the frenzy denotes the acquirement of a certain kind of power. I guess the Salish have something a little corresponding to that in that they have, I don't know what you call them, they're certain kinds of dances which are meant to perform the meeting between the individual who dances, the initiate, and the spirit of the particular place whom he encounters and who gives them, in result of this dance, particular powers. \"Wet fur wavers\", this is a Spanish Banks [https://www.wikidata.org/wiki/Q7573148] poem, about a walk, a Sunday walk along the Spanish Banks.\n \nDaphne Marlatt\n00:06:56\nReads \"Wet fur wavers\" [published later in Vancouver Poems].\n \nDaphne Marlatt\n00:08:16.15\nAnd straight from that to another one that's somewhat linked up to that in terms of its content. This is about the public library, the old Carnegie Library [https://www.wikidata.org/wiki/Q1376408], which is, has since been closed down because the library rebuilt in an up-town area, the old Carnegie Library is located in the heart of skid row and used to be frequented mainly by old men reading who were reading newspapers who were trying to escape from the eternal rain and the cold.\n\nDaphne Marlatt\n00:08:54\nReads \"Go on\".\n \nDaphne Marlatt\n00:10:34\nThe next one which is also linked, I should have mentioned before the last one that the White Lunch--it must be a Vancouver phenomenon because I don't think I've seen it anywhere else. It's a chain of self-serve cafes, restaurants, and they're inexpensive of course, and their symbol outside is a huge white teacup and saucer, with these little coloured stooped figures running, eternally running around the saucer. This next poem is about a woman whose name I didn't know, I attributed a name to her, Emma. She could be seen, often around Berrard and Granville streets, and instead of going into the White Lunch, she used to go into the Bay, Hudson's Bay [https://www.wikidata.org/wiki/Q641129], and sit on the benches outside the elevator, and wait to warm up, I guess. Often, she seemed to me to be just to be interested in watching the weird kind of people who used to shop at the Bay, all those people with money. \"Razor Back Woman\" is taken from a John Stewart [https://www.wikidata.org/wiki/Q1393453] album, lyric of his.\n \nDaphne Marlatt\n00:12:05\nReads \"razorbackt woman\".\n \nDaphne Marlatt\n00:13:56\nOne last one that connects with the Kwakiutl Hamatsa society, this is going to need some explanation. Baxbakwalanuksiwe’, is--and I'm not responsible for my pronunciation for any people here who know how Kwakiutl sounds, because I don't--I'm just picking it up from various spellings and he was the original spirit who informed the Hamatsas, who gave them their cannibal right because an Indian managed to overcome him, through a trick.\n\nAudience Member 1\n00:14:48\nWhich one is that? Which name?\n\nDaphne Marlatt\n00:14:50\nHamatsa--Baxbakwalanuksiwe’. He was supposed to have been the first man, the first one to eat man at the mouth of the river, that's a quote. He was a sort of bird-like, obviously inhuman creature whose body was covered all over with mouths and he used to have various attendants around, and one of whom was a woman who was rooted to the floor of his cabin and she was very beautiful, and she used to lure people in who then became his victims. But in this particular occasion, these three Indian brothers somehow won her sympathy or something, but she told them, Baxbakwalanuksiwe’ was out at the moment, she told him that he would be expected back and that they were supposed to be his victims, and that the only way to overcome this was to build, to dig a deep pit in the floor, cover it over with boughs and then and have a trap that he could spring, that could release the boughs, and then when he did his dance, prior to killing and eating his victims, they would just pull the string or whatever it was and he would then fall into the pit. And then they could set fire to him. Qominaga is the woman, and I don't know if I should explain the B.C. [https://www.wikidata.org/wiki/Q1974] liquor laws or not. [Audience laughter]. Well, for those of you who don't know B.C., up until not so very long ago, what, five? No, must be longer than that, maybe ten years, the beer parlors used to be segregated, and men, alone, sat on one side, and women, alone, and women would be the escorts sat on the other side and you had to enter the beer parlor from different doors, one of which was marked \"Men\", and the other was \"Ladies and Escorts\". The men's side also used to have, in some of the beer parlors, used to have a wooden floor covered with sawdust, which was simply easier to keep clean because of course when expected, there were constant brawls on the men's side and a lot of broken glass and spilled beer, I suppose that was the rationale. This is dedicated to the Alcazar, Cecil, Belmont, [New Fountain (?)] [audience laughter].\n \nDaphne Marlatt\n00:17:33\nReads unnamed poem  “names stations of the way to\".\n \nDaphne Marlatt\n00:20:33\nLittle poems, for my niece who has, or had, she's probably over it by now, a thing about bugs. That bugs are horrible--any bug, no matter what. So I wrote these four poems to try and explain to her what it was like to be a bug, although it's very human, called \"Bugs in the Heart\", for Karen.\n \nDaphne Marlatt\n00:20:57\nReads \"Bugs in the Heart\" [published later in What Matters: Writing 1968-1970].\n \nDaphne Marlatt\n00:22:00\nThese are all fairly recent poems. \"Agenda\".\n \nDaphne Marlatt\n00:22:06\nReads \"Agenda\".\n \nDaphne Marlatt\n00:22:24\nLast Easter, we were in [Tousse (?)], took our swimsuits, expected to come back with a tan. Snowed every night, it was beautiful in the morning. \n \nDaphne Marlatt\n00:22:37\nReads unnamed poem. \"Points west, or south-west, wet downpour...\"\n \nDaphne Marlatt\n00:23:00\nWe're living on a farm and this is a poem, for practically the first time in our lives, this is a poem that I wrote last year, Phil's our landlord and he's always coming up with useful bits of information about, speaking of David, books, about what birds are what.\n \nDaphne Marlatt\n00:23:29\nReads unnamed poem. \"Depressed area space, lived in...\".\n \nDaphne Marlatt\n00:24:42\nThis is a poem that I wrote when I was about, oh I don't know, seven or eight months pregnant. \"Bird of Passage\", I wrote it in Vancouver. Spring time again.\n \nDaphne Marlatt\n00:25:02\nReads \"Bird of Passage\" [published later in What Matters: Writing 1968-1970]. \n \nDaphne Marlatt\n00:27:38\nOne of the in fact, the original Vancouver poem which was written in Bloomington [https://www.wikidata.org/wiki/Q490385], Indiana [https://www.wikidata.org/wiki/Q1415], probably out of a sense of nostalgia, it's about the man who used to collect the rents on the house that I lived in on Comox Street, and he had a little room up in the attic and he was kind of old, he was also the man who I met at the door when I first came to inquire about their rooms.\n \nDaphne Marlatt\n00:28:09\nReads unnamed poem. \"Old Bird, he...\"\n \nDaphne Marlatt\n00:29:31\nAbout Vancouver's fire, in 1868? 1886. There are a lot of quotes in here, and I think all of them, yes all of them are taken from a historical journal put out by the city archives and the body of it is concerned with W.H. Gallagher's eye-witness account. He was in a little office and had control of payroll for men who were working for the CPR clearing the land, the fire was caused by the clearing of the land, because the trees were knocked down bowling-pin method, that is a tree, a very large tree was chosen and then cut so that it would bring down a pile of trees as it fell and then the stuff was left because they didn't get around to burning it. And it was left over the summer, and got as dry as tinder. Not only that, but they were using gunpowder to blow up stumps. \n \nDaphne Marlatt\n00:30:46\nReads \"Our city is ashes\".\n \nDaphne Marlatt\n00:33:45\nThis is \"Bowen Island\".\n \nDaphne Marlatt\n00:33:50\nReads \"Bowen Island\" [published later as “Bowen” in Vancouver Poems].\n \nDaphne Marlatt\n00:35:48\nI know that there was a bridge in Vancouver with a jack-knife span that opened like London Bridge [https://www.wikidata.org/wiki/Q130206]. And I asked everyone I knew…What?\n\nAudience Member 2\n00:36:03\nMarple.\nDaphne Marlatt\n00:36:04\nMarple! Was that Marple? Because no one seemed to know, I even went down to the library to ask them. Well, I've got a footnote in my book that it wasn't true. So anyway, it began to be confused in my mind with the old Second Narrows Bridge [https://www.wikidata.org/wiki/Q643658], which at that time was being torn down. And so it's compounded with memories of old Second Narrows Bridge, which has a lift-span that rises and all kinds of warning signs--it used to be that when you were learning to drive you went down to Second Narrows Bridge and boy if you made that bridge, you could pass the test.\n\nDaphne Marlatt\n00:36:41\nReads \"Your\".\n \nDaphne Marlatt\n00:39:15\nThis is also a skid row poem, it's a combination of present and past, Water Street, which is a block below Cordova, where there used to be a couple of very popular beer parlours, before they were closed down, Water, the other side of Water, used to be the shore line, that is, the harbour came right up to Water street, and houses, the first houses were built on the southern side of Water. That's where Gassy Jack Deighton [https://www.wikidata.org/wiki/Q720322] built his saloon, the first saloon in Vancouver. That's how Vancouver got its original name, Gastown [https://www.wikidata.org/wiki/Q1495636], because this man was an eternal talker apparently. I use a word that's very foreign to me here, Leman, which means like his woman, and is a word that Alan Morley uses in his book about Vancouver and which I think captures the feeling of Gastown with all its small town morality and prudery. \n \nDaphne Marlatt\n00:40:32\nReads \"Trails\".\n \nEND\n00:42:24\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1970, Daphne Marlatt had returned from Indiana, and was working on both Rings (1971), and Vancouver Poems (1972).\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nMarlatt is an important figure in Canadian poetry, living and writing for most of her life in Vancouver. She writes about Japanese Canadian immigrants and other Canadian minority groups, and was a founding member of Tessera, a bilingual feminist journal in Quebec. Marlatt has worked on many Canadian little magazines, and continues to teach at Canadian universities. Her direct connection to Sir George Williams is unknown.\",\"type\":\"General\"},{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/contemporary-canadian-poem-anthology/oclc/476332314&referer=brief_results\",\"citation\":\"Bowering, George, ed. The Contemporary Canadian Poem Anthology. Toronto: Coach House Press, 1984.\"},{\"url\":\"https://www.worldcat.org/title/encyclopedia-of-post-colonial-literatures-in-english-vol2/oclc/1156824609&referer=brief_results\",\"citation\":\"Carr, Brenda. “Marlatt, Daphne (1942-)”. Routledge Encyclopedia of Post-Colonial Literatures in English. Benson, Eugene and Conolly, L.W. (eds). London: Routledge, 1994. 2 vols. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Davey, Frank. “Marlatt, Daphne”. The Oxford Companion to Canadian Literature. Benson,  Eugene and Toye, William (eds). Oxford University Press, 2001.\"},{\"url\":\"https://www.worldcat.org/title/vancouver-poems/oclc/992191542&referer=brief_results\",\"citation\":\"Marlatt, Daphne. Vancouver Poems. Toronto: Coach House Press, 1972. \"},{\"url\":\"https://www.worldcat.org/title/what-matters-writing-1968-1970/oclc/7285228&referer=brief_results\",\"citation\":\"Marlatt, Daphne. What Matters: Writing 1968-1970. Toronto: Coach House Press, 1980. \"}]"],"_version_":1853670548917190656,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0086_11_0035_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"Daphne Marlatt Tape Box - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0086_11_0035_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"Daphne Marlatt Tape Box - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0086_11_0035_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"Daphne Marlatt Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0086_11_0035_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"Daphne Marlatt Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/daphne_marlatt_i086-11-035.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"daphne_marlatt_i086-11-035.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:42:24\",\"precision\":\"\",\"size\":\"101.8 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Daphne Marlatt\\n00:00:00\\nI thought that what I'd do first is read to you from the Vancouver Poems, which won't be published with a 'the', I hope. I guess I'll just try and explain allusions as I go along for those people who have never been to Vancouver [https://www.wikidata.org/wiki/Q24639] or know it because the poems tend to be pretty local, as they were intended to be, and I'll read you two quotes that I have at the beginning because they might help to explain certain concerns in the poem. The first one's from Rimbaud [https://www.wikidata.org/wiki/Q493], it's from a letter of his in which he was talking about his new conception of the poet and how the poet writes, and he said simply \\\"Je est une autre.\\\" The second quote is from a record recently released by Randy Newman [https://www.wikidata.org/wiki/Q318475], this is from one of his songs: \\\"She say I talk to strangers if I want to, 'coz I'm a stranger too\\\". These are all prose poems. Lagoon is Lost Lagoon, it's supposed to be lost because it was cut off from the sea by man-made walk, and there's a sort of local myth among the kids growing up there that Lost Lagoon is lost too, because it has no bottom, nobody has ever found the bottom. \\\"Lagoon\\\".\\n \\nDaphne Marlatt\\n00:01:42\\nReads \\\"Lagoon\\\" [published later in Vancouver Poems].\\n \\nDaphne Marlatt\\n00:03:40\\nThe first poem in the book is sort of a, an entranceway to the book as a whole, it in some ways it sets up my method, I originally had, I'd been reading a lot about Japanese Noh plays, and I'd especially been interested in the Spirit Plays and my original figure in here was a Shite, who is the doer, the central figure in the Noh, who performs the dance and who the particular Noh is about. He usually first appears in the spirit plays as an old man, an old fisherman, or salt-gatherer, some kind of beat down, destitute person, an anonymous person, and the Waki comes along and somehow starts up a conversation and begins to wonder about this man, and usually asks him to tell him the story of the place where he is, assuming that this is some sort of historical shrine, which it often is, and the Waki has come specifically to see this place and as the old man begins to tell the story, he, well, there's actually a scene change, an act change, he reappears in all his glory as the original person whose life was lived out, usually tragically and very dramatically, often in a battle, who died in this place and whose spirit consequently haunts the area. Then I started reading about the Kwakiutl who are a tribe of the Indians somewhat to the north of Vancouver, about the furthest south they reach is the Campbell River [https://www.wikidata.org/wiki/Q270481] on Vancouver Island [https://www.wikidata.org/wiki/Q170479] which is, I don't know how many miles north of Vancouver, 100? 80, about 80. But I always figured that there must have been some sort of interchange between the Kwakiutl and the Salish, the particular tribe around the Fraser Delta [https://www.wikidata.org/wiki/Q269710]  in Vancouver. The thing that interested me the most about the Kwakiutl were one particular secret society called the \\\"Hamatsa\\\" and in the Hamatsa it writes, one goes into a sort of frenzy and is possessed by the original spirit, who then passed on the rituals, and the frenzy denotes the acquirement of a certain kind of power. I guess the Salish have something a little corresponding to that in that they have, I don't know what you call them, they're certain kinds of dances which are meant to perform the meeting between the individual who dances, the initiate, and the spirit of the particular place whom he encounters and who gives them, in result of this dance, particular powers. \\\"Wet fur wavers\\\", this is a Spanish Banks [https://www.wikidata.org/wiki/Q7573148] poem, about a walk, a Sunday walk along the Spanish Banks.\\n \\nDaphne Marlatt\\n00:06:56\\nReads \\\"Wet fur wavers\\\" [published later in Vancouver Poems].\\n \\nDaphne Marlatt\\n00:08:16.15\\nAnd straight from that to another one that's somewhat linked up to that in terms of its content. This is about the public library, the old Carnegie Library [https://www.wikidata.org/wiki/Q1376408], which is, has since been closed down because the library rebuilt in an up-town area, the old Carnegie Library is located in the heart of skid row and used to be frequented mainly by old men reading who were reading newspapers who were trying to escape from the eternal rain and the cold.\\n\\nDaphne Marlatt\\n00:08:54\\nReads \\\"Go on\\\".\\n \\nDaphne Marlatt\\n00:10:34\\nThe next one which is also linked, I should have mentioned before the last one that the White Lunch--it must be a Vancouver phenomenon because I don't think I've seen it anywhere else. It's a chain of self-serve cafes, restaurants, and they're inexpensive of course, and their symbol outside is a huge white teacup and saucer, with these little coloured stooped figures running, eternally running around the saucer. This next poem is about a woman whose name I didn't know, I attributed a name to her, Emma. She could be seen, often around Berrard and Granville streets, and instead of going into the White Lunch, she used to go into the Bay, Hudson's Bay [https://www.wikidata.org/wiki/Q641129], and sit on the benches outside the elevator, and wait to warm up, I guess. Often, she seemed to me to be just to be interested in watching the weird kind of people who used to shop at the Bay, all those people with money. \\\"Razor Back Woman\\\" is taken from a John Stewart [https://www.wikidata.org/wiki/Q1393453] album, lyric of his.\\n \\nDaphne Marlatt\\n00:12:05\\nReads \\\"razorbackt woman\\\".\\n \\nDaphne Marlatt\\n00:13:56\\nOne last one that connects with the Kwakiutl Hamatsa society, this is going to need some explanation. Baxbakwalanuksiwe’, is--and I'm not responsible for my pronunciation for any people here who know how Kwakiutl sounds, because I don't--I'm just picking it up from various spellings and he was the original spirit who informed the Hamatsas, who gave them their cannibal right because an Indian managed to overcome him, through a trick.\\n\\nAudience Member 1\\n00:14:48\\nWhich one is that? Which name?\\n\\nDaphne Marlatt\\n00:14:50\\nHamatsa--Baxbakwalanuksiwe’. He was supposed to have been the first man, the first one to eat man at the mouth of the river, that's a quote. He was a sort of bird-like, obviously inhuman creature whose body was covered all over with mouths and he used to have various attendants around, and one of whom was a woman who was rooted to the floor of his cabin and she was very beautiful, and she used to lure people in who then became his victims. But in this particular occasion, these three Indian brothers somehow won her sympathy or something, but she told them, Baxbakwalanuksiwe’ was out at the moment, she told him that he would be expected back and that they were supposed to be his victims, and that the only way to overcome this was to build, to dig a deep pit in the floor, cover it over with boughs and then and have a trap that he could spring, that could release the boughs, and then when he did his dance, prior to killing and eating his victims, they would just pull the string or whatever it was and he would then fall into the pit. And then they could set fire to him. Qominaga is the woman, and I don't know if I should explain the B.C. [https://www.wikidata.org/wiki/Q1974] liquor laws or not. [Audience laughter]. Well, for those of you who don't know B.C., up until not so very long ago, what, five? No, must be longer than that, maybe ten years, the beer parlors used to be segregated, and men, alone, sat on one side, and women, alone, and women would be the escorts sat on the other side and you had to enter the beer parlor from different doors, one of which was marked \\\"Men\\\", and the other was \\\"Ladies and Escorts\\\". The men's side also used to have, in some of the beer parlors, used to have a wooden floor covered with sawdust, which was simply easier to keep clean because of course when expected, there were constant brawls on the men's side and a lot of broken glass and spilled beer, I suppose that was the rationale. This is dedicated to the Alcazar, Cecil, Belmont, [New Fountain (?)] [audience laughter].\\n \\nDaphne Marlatt\\n00:17:33\\nReads unnamed poem  “names stations of the way to\\\".\\n \\nDaphne Marlatt\\n00:20:33\\nLittle poems, for my niece who has, or had, she's probably over it by now, a thing about bugs. That bugs are horrible--any bug, no matter what. So I wrote these four poems to try and explain to her what it was like to be a bug, although it's very human, called \\\"Bugs in the Heart\\\", for Karen.\\n \\nDaphne Marlatt\\n00:20:57\\nReads \\\"Bugs in the Heart\\\" [published later in What Matters: Writing 1968-1970].\\n \\nDaphne Marlatt\\n00:22:00\\nThese are all fairly recent poems. \\\"Agenda\\\".\\n \\nDaphne Marlatt\\n00:22:06\\nReads \\\"Agenda\\\".\\n \\nDaphne Marlatt\\n00:22:24\\nLast Easter, we were in [Tousse (?)], took our swimsuits, expected to come back with a tan. Snowed every night, it was beautiful in the morning. \\n \\nDaphne Marlatt\\n00:22:37\\nReads unnamed poem. \\\"Points west, or south-west, wet downpour...\\\"\\n \\nDaphne Marlatt\\n00:23:00\\nWe're living on a farm and this is a poem, for practically the first time in our lives, this is a poem that I wrote last year, Phil's our landlord and he's always coming up with useful bits of information about, speaking of David, books, about what birds are what.\\n \\nDaphne Marlatt\\n00:23:29\\nReads unnamed poem. \\\"Depressed area space, lived in...\\\".\\n \\nDaphne Marlatt\\n00:24:42\\nThis is a poem that I wrote when I was about, oh I don't know, seven or eight months pregnant. \\\"Bird of Passage\\\", I wrote it in Vancouver. Spring time again.\\n \\nDaphne Marlatt\\n00:25:02\\nReads \\\"Bird of Passage\\\" [published later in What Matters: Writing 1968-1970]. \\n \\nDaphne Marlatt\\n00:27:38\\nOne of the in fact, the original Vancouver poem which was written in Bloomington [https://www.wikidata.org/wiki/Q490385], Indiana [https://www.wikidata.org/wiki/Q1415], probably out of a sense of nostalgia, it's about the man who used to collect the rents on the house that I lived in on Comox Street, and he had a little room up in the attic and he was kind of old, he was also the man who I met at the door when I first came to inquire about their rooms.\\n \\nDaphne Marlatt\\n00:28:09\\nReads unnamed poem. \\\"Old Bird, he...\\\"\\n \\nDaphne Marlatt\\n00:29:31\\nAbout Vancouver's fire, in 1868? 1886. There are a lot of quotes in here, and I think all of them, yes all of them are taken from a historical journal put out by the city archives and the body of it is concerned with W.H. Gallagher's eye-witness account. He was in a little office and had control of payroll for men who were working for the CPR clearing the land, the fire was caused by the clearing of the land, because the trees were knocked down bowling-pin method, that is a tree, a very large tree was chosen and then cut so that it would bring down a pile of trees as it fell and then the stuff was left because they didn't get around to burning it. And it was left over the summer, and got as dry as tinder. Not only that, but they were using gunpowder to blow up stumps. \\n \\nDaphne Marlatt\\n00:30:46\\nReads \\\"Our city is ashes\\\".\\n \\nDaphne Marlatt\\n00:33:45\\nThis is \\\"Bowen Island\\\".\\n \\nDaphne Marlatt\\n00:33:50\\nReads \\\"Bowen Island\\\" [published later as “Bowen” in Vancouver Poems].\\n \\nDaphne Marlatt\\n00:35:48\\nI know that there was a bridge in Vancouver with a jack-knife span that opened like London Bridge [https://www.wikidata.org/wiki/Q130206]. And I asked everyone I knew…What?\\n\\nAudience Member 2\\n00:36:03\\nMarple.\\nDaphne Marlatt\\n00:36:04\\nMarple! Was that Marple? Because no one seemed to know, I even went down to the library to ask them. Well, I've got a footnote in my book that it wasn't true. So anyway, it began to be confused in my mind with the old Second Narrows Bridge [https://www.wikidata.org/wiki/Q643658], which at that time was being torn down. And so it's compounded with memories of old Second Narrows Bridge, which has a lift-span that rises and all kinds of warning signs--it used to be that when you were learning to drive you went down to Second Narrows Bridge and boy if you made that bridge, you could pass the test.\\n\\nDaphne Marlatt\\n00:36:41\\nReads \\\"Your\\\".\\n \\nDaphne Marlatt\\n00:39:15\\nThis is also a skid row poem, it's a combination of present and past, Water Street, which is a block below Cordova, where there used to be a couple of very popular beer parlours, before they were closed down, Water, the other side of Water, used to be the shore line, that is, the harbour came right up to Water street, and houses, the first houses were built on the southern side of Water. That's where Gassy Jack Deighton [https://www.wikidata.org/wiki/Q720322] built his saloon, the first saloon in Vancouver. That's how Vancouver got its original name, Gastown [https://www.wikidata.org/wiki/Q1495636], because this man was an eternal talker apparently. I use a word that's very foreign to me here, Leman, which means like his woman, and is a word that Alan Morley uses in his book about Vancouver and which I think captures the feeling of Gastown with all its small town morality and prudery. \\n \\nDaphne Marlatt\\n00:40:32\\nReads \\\"Trails\\\".\\n \\nEND\\n00:42:24\\n\",\"notes\":\"Daphne Marlatt reads poems published later in books like Vancouver Poems (Coach House Press, 1972) and What Matters: Writing 1968-1970 (Coach House Press, 1980), as well as several poems from unknown sources.\\n\\n00:00- Daphne Marlatt Introduces “Lagoon” [INDEX: Vancouver Poems, local myth of the lost lagoon, prose poems, French poet Rimbaud, Randy Newman lyrics]\\n01:42- Reads “Lagoon”\\n03:40- Introduces “Wet fur wavers” [INDEX: Vancouver Poems, Japanese Noh plays: Waki, Spirit plays, Kwakiutl Native American Indians: Hamatsa Secret Society, Campbell River, B.C., Salish Native Americans of the Frasier Delta, Spanish Banks, B.C.]\\n06:56- Reads “Wet fur wavers”\\n08:16- Introduces “Go on” [INDEX: Vancouver Poems, Old Carnegie Library, Vancouver;    Howard Fink list “Old Carnegie Library”]\\n08:54- Reads “Go on”\\n10:34- Introduces “razorbackt woman” [INDEX: Vancouver Poems, White Lunch restaurant, The Hudson Bay’s Company, skid row, John Stewart lyrics]\\n12:05- Reads “razorbackt woman”\\n13:56- Introduces “Alcazar, Cecil, Belmont, New Fountain, names stations of the way,       to” [INDEX: Vancouver Poems, BaxwbakwAllenuksiwe, Coleman Okwas, Alcohol laws   \\tof B.C.]\\n17:33- Reads “Alcazar, Cecil, Belmont, New Fountain, names stations of the way, to”\\n20:33- Introduces “Bugs in the Heart”\\n20:57- Reads “Bugs in the Heart”\\n22:00- Reads “Agenda”\\n22:24- Introduces first line “Points west or south west, wet downpour...”\\n22:37- Reads first line “Points west or south west, wet downpour...”\\n23:00- Introduces first line “Depressed area space, lived in...” [INDEX: living on a farm;      Howard Fink List “Older, heart...”]\\n23:29- Reads first line “Depressed area space, lived in...”\\n24:42- Introduces “Bird of Passage”\\n25:02- Reads “Bird of Passage”\\n27:38- Introduces “Old bird, he” [INDEX: Vancouver Poems, Bloomington, Indiana, Comox Street Vancouver, Vancouver fire of 1886, W.H. Gallagher’s [Unknown A1] eyewitness account, City Archives Historical Journal, Second Narrows Bridge, Marple Bridge]\\n28:09- Reads first line “Old bird, he turned up this this time...”\\n29:31- Introduces “Our city is ashes” [INDEX: Vancouver Poems]\\n30:46- Reads “Our city is ashes”\\n33:45- Reads “Bowen” [INDEX: Howard Fink List “Bowen Island”.]\\n35:48- Introduces “Your” [INDEX: Vancouver Poems]\\n36:41- Reads first line “Your grey-green fathoms unfathomed...”\\n39:15- Introduces “Trails” [INDEX: Vancouver Poems, Bowen Island, Burrard and Granville Streets, Alan Morley's book on Vancouver, Gassy Jack Deighton of Vancouver]\\n40:32- Reads “Trails”\\n42:24.72- END OF RECORDING\\n   \\nFrom the Howard Fink list of poems:\\nNovember 6, 1970\\n \\n1. “Lagoon”\\n2. “Wet For A Wavers” (Spanish Banks)\\n3. “Old Carnegie Library”\\n4. “Razor-backed Woman”\\n5. “The Alcazar Cecil Belmont Newfoundland”\\n6. “Bugs In The Heart”\\n7. “Agenda”\\n8. [blank]\\n9. First line (?)“Older heart...”\\n10. “Bird of Passage”\\n11. (Vancouver Poem) first line (?) “Old Bird...”\\n12. First line (?) “Our City Is Ashes”\\n13. “Bohen Island”\\n14. “Ridge Pole (Second Narrows Bridge)”\\n15. “Trails”\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/daphne-marlatt-at-sgwu-1970/\"}]"],"score":2.1907105},{"id":"1291","cataloger_name":["Bindu,Reddy"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Ted Berrigan Reading at Sir George Williams University, The Poetry Series, 4 December 1970"],"item_title_source":["Cataloguer"],"item_title_note":["\"RT 551 TED BERRIGAN Recorded December 4, 1970 at Sir George Williams University 3.75 ips on 1. mil tape, 1/2 track\" written on sticker on the back of the tape box. \"RT 551\" written on sticker on the front of the tape box. \"TED BERRIGAN I086-11-004\" written on spine of the tape box. \"TED BERRIGAN I086-11-004\" and \"RT 551\" written on stickers on the reel.\n\nWrong tape and information photographed ??"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 5"],"item_identifiers":["[]"],"creator_names":["Berrigan, Ted"],"creator_names_search":["Berrigan, Ted"],"creators":["[{\"url\":\"http://viaf.org/viaf/64027570\",\"name\":\"Berrigan, Ted\",\"dates\":\"1934-1983\",\"notes\":\"Poet and editor Ted Berrigan was born in Providence, Rhode Island on November 15, 1934. He studied briefly at Providence College until 1954 when he joined the US army, which he served three years, an eighteen months of which were spent in the Korean War. Berrigan returned to the US and completed a Bachelor’s degree in English literature at the University of Tulsa, Oklahoma in 1595. It was there that he met Ron Padgett and Joe Brainard. Berrigan completed his MA in 1962, and soon after, with a number of friends from Tulsa, went north to the Lower East Side of New York City. By 1963, Berrigan had established C: A Journal of Poetry, which published not only the work of his friends, but the poetry of the older generation of New York poets and artists like Andy Warhol. In 1964, Berrigan published his most accomplished collection of poems, The Sonnets (Lorenz & Ellen Gude, 1964). Berrigan also taught at the St. Mark’s Poetry Project at its conception by Paul Blackburn, helping to shape the project and its programmes in its early days. He also lectured at the State University of Michigan, University of Iowa, Yale University, the University of Michigan, and at the Jack Kerouac School of Disembodied Poetics at Naropa Institute in Boulder, Colorado. A selection of his publications include A Lily for My Love (Self published, 1959), In the Early Morning Rain (Cape Goliard Press, 1970), Red Wagon (Yellow Press, 1976), Galileo; or Finksville a play (1964) and Bean Spasms (Kulchur Press, 1967) written with Ron Padgett. Ted Berrigan died on July 4, 1983. The most comprehensive collection of his poetry can be found in So Going Around Cities: New and Selected Poems 1958-1979 (Blue Wind Press, 1980).\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Bowering, George"],"contributors_names_search":["Bowering, George"],"contributors":["[{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Presenter\"]}]"],"Presenter_name":["Bowering, George"],"Series_organizer_name":["Bowering, George"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1970 12 4\",\"type\":\"Performance Date\",\"notes\":\"Date reference on tape box\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["Ted Berrigan reads from In the Early Morning Rain (Cape Goliard, 1970), The Sonnets (Grove Press, 1964), Many Happy Returns (Corinth, 1969) and poems later collected in So Going Around Cities (Berkley, 1980) as well as a few unknown poems."],"contents":["ted_berrigan_i086-11-004.mp3\n\nGeorge Bowering\n00:00:00\nWelcome to at last the second reading in the series, for this year.  As you probably know, the series that we have, it might be loosely called a kind of an avant-garde series, and in the, this is our fifth year, and this is the first time we've ever had anybody from the New York School [https://www.wikidata.org/wiki/Q1972942]--it's not going to be the last time, we're going to have Kenneth Koch [https://www.wikidata.org/wiki/Q2708628] in the spring, and we're looking for Tom Clarke [https://www.wikidata.org/wiki/Q7815337] next fall. Berrigan [https://www.wikidata.org/wiki/Q2399732] is I guess now, one of the, say the halfback, I supposed, or quarterback of the New York School. Many of you have probably seen...[laughter] yeah, linebacker! When you ask when you're a little thin... And most of you have probably seen the propaganda sheet that's been around, downstairs and so on, and so you've heard the words that some of his confreres have said about him. I'd just like to add a little bit, in addition to those earlier books such as The Sonnets, and Bean Spasms, there's a couple of new books that have just appeared, one's called In the Early Morning Rain, which will be available here because it's a Cape Goliard book, and it's distributed in Canada [https://www.wikidata.org/wiki/Q16] by one of the big Toronto [https://www.wikidata.org/wiki/Q172] publishers, and another one with a Kraut title that I can't read that's bilingual, half-German and half-English that I'm sure we'll hear some from....\n \nTed Berrigan\n00:01:31\nThe title's [unintelligible] Guillaume Apollinaire [https://www.wikidata.org/wiki/Q133855] ist ...\n \nGeorge Bowering\n00:01:34\nOh I see, yeah right.\n \nTed Berrigan\n00:01:35\nHowever I don't have any available, only in Berlin [https://www.wikidata.org/wiki/Q64].\n \nGeorge Bowering\n00:01:38\nRight, so if you happen to be in Berlin, snap up a copy of Guillaume Apollinaire ist tot und Anders. So I'd like to mention that Ted Berrigan is going to read one set, and then he wants to stop for a very short intermission, say like a five-minute intermission, and then haul you back in again and do a second set. So ladies and gentlemen, etcetera, Ted Berrigan.\n \nAudience\n00:02:05\nApplause. \n \nUnknown\n00:02:07\n[Cut or edit made in tape. Unknown amount of time elapsed]. \n \nTed Berrigan\n00:02:08\nIn the first set I'm going to read mostly poems I've written over the last four or five years. Actually, longer than that, some going back to 1962, or '61. I don't know how long this set'll be. It'll, should be less than a half-hour. In the second set I'll read poems I've written over the last year or two. However I want to start with a poem that I wrote about two years ago. It's called \"Heroin\" I read this in high schools in Ann Arbor [https://www.wikidata.org/wiki/Q485172] which I went to read in a program called Poetry Ann Arbor, and I wanted, I read the title and then I wanted to, I read the title and then I wanted to, I found it real funny because it was called \"Heroin,\" and I wanted to disclaim that it was a pro-heroin poem. So I said, this poem is not a pro-heroin poem.Then I realized there wasn't an anti-heroin poem either.  So I ended them, it was just sort of an on-heroin poem. [Audience laughter]. All my poems are pretty much alike, and this is fairly typical of what you'll be hearing the rest of the evening. \n \nTed Berrigan\n00:03:19\nReads \"Heroin\".\n \nTed Berrigan\n00:04:22\nThis poem is called \"Frank O'Hara's Question\". Frank O'Hara [https://www.wikidata.org/wiki/Q951010] is a poet from New York [https://www.wikidata.org/wiki/Q60], who's dead, he died when he was forty years old a couple of years ago in an automobile accident. The title doesn't have too much to do with the poem, except that it sort of states something that Frank O'Hara evidently had to say, and so it says something that I have to say too in my own way, not that I have to say it the same way that Frank did. \n \nTed Berrigan\n00:04:56\nReads \"Frank O’Hara’s Question\".\n \nTed Berrigan\n00:05:42\nThis is a poem I wrote in 1962. It's called \"Words for Love\". It's a bit rhetorical, but it's the best I could do in 1962, and I still like it a lot, albeit I wonder at some of it.  \"Words for Love\". It was written, actually, at a very difficult time in my life, and I guess I felt the need to make some sort of statement.\n \nTed Berrigan\n00:06:09\nReads \"Words for Love\".\n \nTed Berrigan\n00:08:07\nReads [\"I wake up 11:30, back aching\"].\n \nTed Berrigan\n00:09:23\nReads “Personal Poem #7. \n \nTed Berrigan\n00:10:23\nReads “Personal Poem”.\n \nAudience\n00:11:08\nApplause.\n\nTed Berrigan\n00:11:10\nThank you. Charlie Stanton liked that one too. [Audience laughter]. This is the last one of those kind of poems [audience laughter]. \n \nTed Berrigan\n00:11:21\nReads “Personal Poem #9”.\n\nTed Berrigan\n00:12:32\nI've always liked that poem. [Laughter]. All of those are written around 1962, 61 and 62.  I want to skip up to around 1967. I wrote this poem called \"Things to do in New York City\". I was leaving New York, and this poem, like many of my poems, was written for a specific occasion. It was for someone's birthday. And the poem, it's just my poem, it's not about the other person's birthday, it's just a present for him on his birthday. \n \nTed Berrigan\n00:13:24\nReads \"Things to do in New York City\".\n \nTed Berrigan\n00:14:20\nThis poem is called \"Ten Things I do Every Day,\" which is...it's true, as a matter of fact, in a way. In a manner of speaking. But it's not true that it's ten things. Alas. But that was just the title, like the ten greatest movies of the year. \n \nTed Berrigan\n00:14:40\nReads \"Ten Things I do Every Day\".\n\nAudience\n00:15:16\nLaughter.\n \nTed Berrigan\n00:15:21\nThat's what you do in New York. [Audience laughter]. I'll read this poem called \"Resolution\". \n \nTed Berrigan\n00:15:35\nReads \"Resolution”.\n \nTed Berrigan\n00:15:58\nI don't know what I'll do about it if you do, but...something. All those dramatic poems. \n \nTed Berrigan\n00:16:06\nReads “Sonnet XXXVII”.\n \nTed Berrigan\n00:17:08\nI want to move around a little and not do exactly what I said. This is a poem I wrote last summer in London [https://www.wikidata.org/wiki/Q84], it's dedicated to the poet Tom Raworth [https://www.wikidata.org/wiki/Q7817338] and his wife. They lived in Colchester [https://www.wikidata.org/wiki/Q184163], which is an hour or two train-ride from London, and I was supposed to go down and see them, and I didn't go. And by way of apologies, I wrote this poem to Tom and to his wife, Val.\n \nTed Berrigan\n00:17:33\nReads \"Apologies to Val and Tom\".\n \nTed Berrigan\n00:19:05\nI'll read this one for George Bowering's old lady, [audience laughter] Mrs. Angela Bowering. It's called \"Things to do on Speed\". [Audience laughter].\n \nTed Berrigan\n00:19:19\nReads \"Things to do on Speed\" [audience laughter throughout].\n \nTed Berrigan\n00:20:58 [Laughter] I forgot about that one.  \n\nAudience \n00:21:01\nLaughter.\n \nTed Berrigan\n00:21:03\nResumes reading \"Things to do on Speed\".\n \nTed Berrigan\n00:22:21\nI wrote that one courtesy of The New York Times [https://www.wikidata.org/wiki/Q9684]. Okay, one more this set. This is called, \"Things to do in Providence\". [Audience laughter]. Which is, Providence [https://www.wikidata.org/wiki/Q18383], Rhode Island [https://www.wikidata.org/wiki/Q1387], or whatever else you can make of it.\n \nTed Berrigan\n00:22:50\nReads \"Things to do in Providence\".\n \nAudience\n00:26:23\nLaughter.\n \nTed Berrigan\n00:26:29\nResumes reading \"Things to do in Providence\".\n \nAudience\n00:27:46\nApplause.\n \nTed Berrigan\n00:27:52\n[Unintelligible].\n \nUnknown\n00:27:55\n[Cut or edit made in tape. Unknown amount of time elapsed].\n \nGeorge Bowering\n00:27:55\nHere he is again, terrible Ted Berrigan. \n \nTed Berrigan\n00:28:01\nAll the poems I'm going to read in this set are from my book, In the Early Morning Rain.  The title of this book I got from Gordon Lightfoot [https://www.wikidata.org/wiki/Q359552], the Canadian folk singer-songwriter, and I didn't know, I made, I decided to use that title before Bobby Dylan's [https://www.wikidata.org/wiki/Q392] album Self-Portrait [https://www.wikidata.org/wiki/Q634569] came out, so I didn't know that Bobby was going to record this song. I would have used it anyway, I'm sure. But, I mean if Dylan can steal it, I can steal it. And this book is a collection of poems of mine from over the last ten years, and I'm just going to read around in it. I wrote a lot of different kind of poems. I don't very often try for...I mean, I just take my poems where they come. This poem is called \"Hello\". \n \nTed Berrigan\n00:28:51\nReads \"Hello\" from In the Early Morning Rain.\n \nTed Berrigan\n00:29:06\nNow I'm going to read two or three poems that are from a section of this book called \"Life of a Man\".  \"Life of a Man\" is a book of poems in Italian by an Italian poet, a very great Italian poet who died not too long ago called Giuseppe Ungaretti [https://www.wikidata.org/wiki/Q311802]. There's a little story behind these. A lady poet named Barbara Guest [https://www.wikidata.org/wiki/Q807448] once asked my friend Ron Patchett and I, would we translate some of Ungaretti's poems, because Ungaretti was coming to America [https://www.wikidata.org/wiki/Q30]. And she thought it would be nice if we would translate them as a sort of homage to him. And so I told her, I said, “Barbara, but we don't understand Italian,” and she said, “Oh, I'm sure you can do it, you two are marvelous”.  And she said, “Just get a dictionary, and you can look up the words”. So I looked at Ron and he looked at me, and we said, yeah, we can translate 'em, sure, but we don't want to get any dictionaries. So we just translated 'em without any dictionaries. [Audience laughter]. And we never showed them to Ungaretti but we showed them to Barbara Guest and she had the horrors. The first one is called \"Matinee\". \n \nTed Berrigan\n00:30:16\nReads \"Matinee\" from In the Early Morning Rain [audience laughter throughout].\n\nTed Berrigan\n00:30:26\nThe next one is called \"December\" [audience laughter].\n \nTed Berrigan\n00:30:30\nReads \"December\" from In the Early Morning Rain [audience laughter throughout].\n \nTed Berrigan\n00:30:38\nAnd this one is called \"The Reply to the Fragile.\" \n \nTed Berrigan\n00:30:42\nReads \"The Reply to the Fragile\" from In the Early Morning Rain.\n \nTed Berrigan\n00:30:53\nThat one's a little, that's rated X. [Audience laughter]. And this is the last one, it's called “Corporal Pellegrini”. If any of you know Italian, you can understand where all these words came from [audience laughter].\n \nTed Berrigan\n00:31:09\nReads \"Corporal Pellegrini\" from In the Early Morning Rain.\n \nTed Berrigan\n00:31:38\nI think Ungaretti would've liked them. [Audience laughter]. He probably would have retranslated them and gotten some new ones. This next work is a translation too and it's a translation I did from French, which I understand some. And so this time I only had to leave certain words. This time I translated a lot of it accurately. But it's called \"Life among the woods\". And it's a translation of a page from a grammar book, some kind of book written in the French language. After I'd gotten this much done I decided it was over. Anyway, it's called \"Life Among the Woods\".\n \nTed Berrigan\n00:32:20\nReads \"Life Among the Woods\" from In the Early Morning Rain.\n \nTed Berrigan\n00:34:30.58\nPretty interesting family. This is a poem called \"In Four Parts.\"\n \nTed Berrigan\n00:34:40.14\nReads \"In Four Parts\" from In the Early Morning Rain.\n \nTed Berrigan\n00:35:22\nThat was four sentences from the New York Times. They had this secret continuity. [Laughter]. This is a poem called \"March 17th, 1970\".\n \nTed Berrigan\n00:35:35\nReads \"March 17th, 1970\" from In the Early Morning Rain.\n \nTed Berrigan\n00:36:03\nAnd you'd better believe it. Only not right now, right then. I don't know if I can subject you to this poem. I guess I will anyway. This is called \"The Ten Greatest Books of the Year, 1968\".\n \nTed Berrigan\n00:36:28\nReads \"The Ten Greatest Books of the Year, 1968\" from In the Early Morning Rain [audience laughter throughout].\n \nTed Berrigan\n00:38:02\nYou people that are laughing are getting it.\n\nTed Berrigan\n00:38:04\nResumes reading \"The Ten Greatest Books of the Year, 1968\" from In the Early Morning Rain. \n\nAudience\n00:38:14\nLaughter.\n\nTed Berrigan\n00:38:17\nThis is a poem called \"Thirty\".\n \nTed Berrigan\n00:38:18\nReads \"Thirty\" from In the Early Morning Rain\n \nTed Berrigan\n00:38:24\nThat's for all of you guys that did thirty. This poem is called \"Things to do in Anne's Room\".\n \nTed Berrigan\n00:38:34\nReads \"Things to do in Anne's Room\" from In the Early Morning Rain\n \nTed Berrigan\n00:39:42\nThis is called \"The Great Genius\".\n \nTed Berrigan\n00:39:45\nReads \"The Great Genius\" from In the Early Morning Rain.\n \nTed Berrigan\n00:39:56\nThis is called \"Anti-War Poem\". It's another New Year's poem, actually.\n \nTed Berrigan\n00:40:03\nReads \"Anti-War Poem\" from In the Early Morning Rain.\n \nTed Berrigan\n00:40:41\nAnd this poem is called \"Tough Brown Coat\".\n \nTed Berrigan\n00:40:43\nReads \"Tough Brown Coat\" from In the Early Morning Rain.\n \nTed Berrigan\n00:41:04\nThis poem is called \"Babe Rainbow\".\n \nTed Berrigan\n00:41:08\nReads \"Babe Rainbow\" from In the Early Morning Rain.\n \nTed Berrigan\n00:41:25\nAnd this is called \"In My Room\".\n \nTed Berrigan\n00:41:30\nReads \"In My Room\" from In the Early Morning Rain.\n \nTed Berrigan\n00:41:54\nThis is called \"Ann Arbor Elegy\". It was written for a girl who was killed in an automobile accident. September 27th, 1969. The funny thing about this poem is it was written before she was killed. And when I looked at it after she was dead, I saw that I didn't have to write an elegy for her, that somehow I'd written one already. \n \nTed Berrigan\n00:42:17\nReads \"Ann Arbor Elegy - For Franny Winston\" from In the Early Morning Rain.\n \nTed Berrigan\n00:43:13\nAnd this is a sort of berserk work, which I wrote called \"Wake Up,\" which is about all it says, really.\n \nTed Berrigan\n00:43:23\nReads \"Wake up\" from In the Early Morning Rain.\n \nTed Berrigan\n00:44:18\nI have another poem which I'd like to read but I won't, but it's a series of aphorisms from the works of Francis Picabia [https://www.wikidata.org/wiki/Q157321], the French poet and painter. And this friend Jim Carroll [https://www.wikidata.org/wiki/Q444806] and I translated these from French. I'll read you my favourite one, in any case, which Jim Carroll translated. It says, \"Spinoza [https://www.wikidata.org/wiki/Q35802] is the one who threw a pass to move Spinoza.\" I really...in this book I put some poems by some of my friends so I wouldn't have to read all my works. Though when I read I never read theirs, I notice. This poem is called \"In Bed\".\n \nTed Berrigan\n00:44:56\nReads \"In Bed\" from In the Early Morning Rain.\n \nTed Berrigan\n00:45:12\nThat's an example of saying nothing. [Audience laughter]. This poem is called \"Easy Living\". It's dedicated to a boy named David Henderson, a poet who was a friend of mine, whom I once took a trip to Pittsburgh [https://www.wikidata.org/wiki/Q1342] with. Had a very nice time. \n \nTed Berrigan\n00:45:33\nReads \"Easy Living\" from In the Early Morning Rain.\n \nTed Berrigan\n00:46:25\nThis is a poem I wrote, it's called \"Like Poem\". A friend of mine wrote a love poem to this girl, and I thought I should do that too. But I only wanted to write a like poem to her, because I don't want to have any obligations. [Audience laughter]. No, that isn't the reason why, but that's what came out. This is called \"Like Poem,\" it's to Joan Fagan, who's the wife of my friend Larry Fagan [https://www.wikidata.org/wiki/Q95906997], the poet. \n \nTed Berrigan\n00:46:50\nReads \"Like Poem\" from In the Early Morning Rain.\n \nTed Berrigan\n00:47:06\nThis poem is called \"Ann Arbor Song\". This poem I actually tried to write a poem out of a very corny feeling that I'd had, which nevertheless is very genuine. It starts at a poetry reading in Ann Arbor, but it's really about being in Ann Arbor and realizing I was leaving soon, and thinking about all the things that wouldn't happen to me again, because this trip was going to be over.  Even though, I'm--it's not all that sentimental, I mean I knew I might go to Ann Arbor again and all that, it was just that this particular trip was going to be over. I also wrote it with the idea in mind of reading it at a poetry reading too.  \"Ann Arbor Song\".\n \nTed Berrigan\n00:47:45\nReads \"Ann Arbor Song\" from In the Early Morning Rain.\n \nTed Berrigan\n00:49:22\nI'm going to read two more. First one's called \"Peace\".\n \nTed Berrigan\n00:49:29 \nReads \"Peace\" from In the Early Morning Rain.\n\nTed Berrigan\n00:50:37\nAlright, and this is the last poem. I hate to end heavy, but there's no place to read this poem but at the end. This poem is called \"People Who Died\". It's just a list. \"People Who Died\".\n \nTed Berrigan\n00:50:55\nReads \"People Who Died\" from In the Early Morning Rain.\n \nAudience\n00:52:48\nApplause.\n \nTed Berrigan\n00:52:53\nNot the most, uh...[laughter].\n \nEND\n00:52:59\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1970, Ted Berrigan published In the Early Morning Rain (Cape Goliard Press), and also privately published Scorpion, Eagle & Dove.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nTed Berrigan’s connection to Sir George Williams University is unclear at the moment, but Berrigan was part of the so called ‘Second Beat’ movement, as well as part of the ‘New York School’ of poetry. In this recording, he dedicates a poem to Angela Bowering, (George Bowering’s wife) so he either had met her before this reading or because of the occasion.\",\"type\":\"General\"},{\"note\":\"Original transcript and print catalogue by Rachel Kyne\\n\\nOriginal print catalogue, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\\n\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/in-the-early-morning-rain/oclc/563054848&referer=brief_results\",\"citation\":\"Berrigan, Ted. In the Early Morning Rain. London: Cape Goliard, 1970. \"},{\"url\":\"https://www.worldcat.org/title/sonnets/oclc/934480499&referer=brief_results\",\"citation\":\"Berrigan, Ted. The Sonnets. New York: Grove Press, 1964. \"},{\"url\":\"https://www.worldcat.org/title/many-happy-returns-poems/oclc/564000383&referer=brief_results\",\"citation\":\"Berrigan, Ted. Many Happy Returns. New York: Corinth Press, 1969. \"},{\"url\":\"https://www.worldcat.org/title/so-going-around-cities-new-and-selected-poems-1958-1979/oclc/255865532&referer=brief_results\",\"citation\":\"Berrigan, Ted. So Going Around Cities. Los Angeles: Berkley Press, 1980. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/937869379&referer=brief_results\",\"citation\":\"Horning, Ron. \\\"Berrigan, Ted\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ed. Ian Hamilton. Oxford University Press, 1996. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-american-literature/oclc/54356940&referer=brief_results\",\"citation\":\"\\\"Berrigan, Ted (Edmund J.M. Berrigan, Jr.)\\\". The Oxford Companion to American Literature. James D. Hart, ed., rev. Phillip W. Leininger. Oxford University Press 1995. \"},{\"url\":\"\",\"citation\":\"Pursglove, Glyn. “Berrigan, Ted”. Literature Online Biography. ProQuest LLC, 2009. \"}]"],"_version_":1853670548921384960,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0086_11_0004_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"Ted Berrigan Tape Box - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0086_11_0004_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"Ted Berrigan Tape Box - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0086_11_0004_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"Ted Berrigan Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0086_11_0004_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"Ted Berrigan Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/ted_berrigan_i086-11-004.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"ted_berrigan_i086-11-004.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"127.2 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"George Bowering\\n00:00:00\\nWelcome to at last the second reading in the series, for this year.  As you probably know, the series that we have, it might be loosely called a kind of an avant-garde series, and in the, this is our fifth year, and this is the first time we've ever had anybody from the New York School [https://www.wikidata.org/wiki/Q1972942]--it's not going to be the last time, we're going to have Kenneth Koch [https://www.wikidata.org/wiki/Q2708628] in the spring, and we're looking for Tom Clarke [https://www.wikidata.org/wiki/Q7815337] next fall. Berrigan [https://www.wikidata.org/wiki/Q2399732] is I guess now, one of the, say the halfback, I supposed, or quarterback of the New York School. Many of you have probably seen...[laughter] yeah, linebacker! When you ask when you're a little thin... And most of you have probably seen the propaganda sheet that's been around, downstairs and so on, and so you've heard the words that some of his confreres have said about him. I'd just like to add a little bit, in addition to those earlier books such as The Sonnets, and Bean Spasms, there's a couple of new books that have just appeared, one's called In the Early Morning Rain, which will be available here because it's a Cape Goliard book, and it's distributed in Canada [https://www.wikidata.org/wiki/Q16] by one of the big Toronto [https://www.wikidata.org/wiki/Q172] publishers, and another one with a Kraut title that I can't read that's bilingual, half-German and half-English that I'm sure we'll hear some from....\\n \\nTed Berrigan\\n00:01:31\\nThe title's [unintelligible] Guillaume Apollinaire [https://www.wikidata.org/wiki/Q133855] ist ...\\n \\nGeorge Bowering\\n00:01:34\\nOh I see, yeah right.\\n \\nTed Berrigan\\n00:01:35\\nHowever I don't have any available, only in Berlin [https://www.wikidata.org/wiki/Q64].\\n \\nGeorge Bowering\\n00:01:38\\nRight, so if you happen to be in Berlin, snap up a copy of Guillaume Apollinaire ist tot und Anders. So I'd like to mention that Ted Berrigan is going to read one set, and then he wants to stop for a very short intermission, say like a five-minute intermission, and then haul you back in again and do a second set. So ladies and gentlemen, etcetera, Ted Berrigan.\\n \\nAudience\\n00:02:05\\nApplause. \\n \\nUnknown\\n00:02:07\\n[Cut or edit made in tape. Unknown amount of time elapsed]. \\n \\nTed Berrigan\\n00:02:08\\nIn the first set I'm going to read mostly poems I've written over the last four or five years. Actually, longer than that, some going back to 1962, or '61. I don't know how long this set'll be. It'll, should be less than a half-hour. In the second set I'll read poems I've written over the last year or two. However I want to start with a poem that I wrote about two years ago. It's called \\\"Heroin\\\" I read this in high schools in Ann Arbor [https://www.wikidata.org/wiki/Q485172] which I went to read in a program called Poetry Ann Arbor, and I wanted, I read the title and then I wanted to, I read the title and then I wanted to, I found it real funny because it was called \\\"Heroin,\\\" and I wanted to disclaim that it was a pro-heroin poem. So I said, this poem is not a pro-heroin poem.Then I realized there wasn't an anti-heroin poem either.  So I ended them, it was just sort of an on-heroin poem. [Audience laughter]. All my poems are pretty much alike, and this is fairly typical of what you'll be hearing the rest of the evening. \\n \\nTed Berrigan\\n00:03:19\\nReads \\\"Heroin\\\".\\n \\nTed Berrigan\\n00:04:22\\nThis poem is called \\\"Frank O'Hara's Question\\\". Frank O'Hara [https://www.wikidata.org/wiki/Q951010] is a poet from New York [https://www.wikidata.org/wiki/Q60], who's dead, he died when he was forty years old a couple of years ago in an automobile accident. The title doesn't have too much to do with the poem, except that it sort of states something that Frank O'Hara evidently had to say, and so it says something that I have to say too in my own way, not that I have to say it the same way that Frank did. \\n \\nTed Berrigan\\n00:04:56\\nReads \\\"Frank O’Hara’s Question\\\".\\n \\nTed Berrigan\\n00:05:42\\nThis is a poem I wrote in 1962. It's called \\\"Words for Love\\\". It's a bit rhetorical, but it's the best I could do in 1962, and I still like it a lot, albeit I wonder at some of it.  \\\"Words for Love\\\". It was written, actually, at a very difficult time in my life, and I guess I felt the need to make some sort of statement.\\n \\nTed Berrigan\\n00:06:09\\nReads \\\"Words for Love\\\".\\n \\nTed Berrigan\\n00:08:07\\nReads [\\\"I wake up 11:30, back aching\\\"].\\n \\nTed Berrigan\\n00:09:23\\nReads “Personal Poem #7. \\n \\nTed Berrigan\\n00:10:23\\nReads “Personal Poem”.\\n \\nAudience\\n00:11:08\\nApplause.\\n\\nTed Berrigan\\n00:11:10\\nThank you. Charlie Stanton liked that one too. [Audience laughter]. This is the last one of those kind of poems [audience laughter]. \\n \\nTed Berrigan\\n00:11:21\\nReads “Personal Poem #9”.\\n\\nTed Berrigan\\n00:12:32\\nI've always liked that poem. [Laughter]. All of those are written around 1962, 61 and 62.  I want to skip up to around 1967. I wrote this poem called \\\"Things to do in New York City\\\". I was leaving New York, and this poem, like many of my poems, was written for a specific occasion. It was for someone's birthday. And the poem, it's just my poem, it's not about the other person's birthday, it's just a present for him on his birthday. \\n \\nTed Berrigan\\n00:13:24\\nReads \\\"Things to do in New York City\\\".\\n \\nTed Berrigan\\n00:14:20\\nThis poem is called \\\"Ten Things I do Every Day,\\\" which is...it's true, as a matter of fact, in a way. In a manner of speaking. But it's not true that it's ten things. Alas. But that was just the title, like the ten greatest movies of the year. \\n \\nTed Berrigan\\n00:14:40\\nReads \\\"Ten Things I do Every Day\\\".\\n\\nAudience\\n00:15:16\\nLaughter.\\n \\nTed Berrigan\\n00:15:21\\nThat's what you do in New York. [Audience laughter]. I'll read this poem called \\\"Resolution\\\". \\n \\nTed Berrigan\\n00:15:35\\nReads \\\"Resolution”.\\n \\nTed Berrigan\\n00:15:58\\nI don't know what I'll do about it if you do, but...something. All those dramatic poems. \\n \\nTed Berrigan\\n00:16:06\\nReads “Sonnet XXXVII”.\\n \\nTed Berrigan\\n00:17:08\\nI want to move around a little and not do exactly what I said. This is a poem I wrote last summer in London [https://www.wikidata.org/wiki/Q84], it's dedicated to the poet Tom Raworth [https://www.wikidata.org/wiki/Q7817338] and his wife. They lived in Colchester [https://www.wikidata.org/wiki/Q184163], which is an hour or two train-ride from London, and I was supposed to go down and see them, and I didn't go. And by way of apologies, I wrote this poem to Tom and to his wife, Val.\\n \\nTed Berrigan\\n00:17:33\\nReads \\\"Apologies to Val and Tom\\\".\\n \\nTed Berrigan\\n00:19:05\\nI'll read this one for George Bowering's old lady, [audience laughter] Mrs. Angela Bowering. It's called \\\"Things to do on Speed\\\". [Audience laughter].\\n \\nTed Berrigan\\n00:19:19\\nReads \\\"Things to do on Speed\\\" [audience laughter throughout].\\n \\nTed Berrigan\\n00:20:58 [Laughter] I forgot about that one.  \\n\\nAudience \\n00:21:01\\nLaughter.\\n \\nTed Berrigan\\n00:21:03\\nResumes reading \\\"Things to do on Speed\\\".\\n \\nTed Berrigan\\n00:22:21\\nI wrote that one courtesy of The New York Times [https://www.wikidata.org/wiki/Q9684]. Okay, one more this set. This is called, \\\"Things to do in Providence\\\". [Audience laughter]. Which is, Providence [https://www.wikidata.org/wiki/Q18383], Rhode Island [https://www.wikidata.org/wiki/Q1387], or whatever else you can make of it.\\n \\nTed Berrigan\\n00:22:50\\nReads \\\"Things to do in Providence\\\".\\n \\nAudience\\n00:26:23\\nLaughter.\\n \\nTed Berrigan\\n00:26:29\\nResumes reading \\\"Things to do in Providence\\\".\\n \\nAudience\\n00:27:46\\nApplause.\\n \\nTed Berrigan\\n00:27:52\\n[Unintelligible].\\n \\nUnknown\\n00:27:55\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n \\nGeorge Bowering\\n00:27:55\\nHere he is again, terrible Ted Berrigan. \\n \\nTed Berrigan\\n00:28:01\\nAll the poems I'm going to read in this set are from my book, In the Early Morning Rain.  The title of this book I got from Gordon Lightfoot [https://www.wikidata.org/wiki/Q359552], the Canadian folk singer-songwriter, and I didn't know, I made, I decided to use that title before Bobby Dylan's [https://www.wikidata.org/wiki/Q392] album Self-Portrait [https://www.wikidata.org/wiki/Q634569] came out, so I didn't know that Bobby was going to record this song. I would have used it anyway, I'm sure. But, I mean if Dylan can steal it, I can steal it. And this book is a collection of poems of mine from over the last ten years, and I'm just going to read around in it. I wrote a lot of different kind of poems. I don't very often try for...I mean, I just take my poems where they come. This poem is called \\\"Hello\\\". \\n \\nTed Berrigan\\n00:28:51\\nReads \\\"Hello\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:29:06\\nNow I'm going to read two or three poems that are from a section of this book called \\\"Life of a Man\\\".  \\\"Life of a Man\\\" is a book of poems in Italian by an Italian poet, a very great Italian poet who died not too long ago called Giuseppe Ungaretti [https://www.wikidata.org/wiki/Q311802]. There's a little story behind these. A lady poet named Barbara Guest [https://www.wikidata.org/wiki/Q807448] once asked my friend Ron Patchett and I, would we translate some of Ungaretti's poems, because Ungaretti was coming to America [https://www.wikidata.org/wiki/Q30]. And she thought it would be nice if we would translate them as a sort of homage to him. And so I told her, I said, “Barbara, but we don't understand Italian,” and she said, “Oh, I'm sure you can do it, you two are marvelous”.  And she said, “Just get a dictionary, and you can look up the words”. So I looked at Ron and he looked at me, and we said, yeah, we can translate 'em, sure, but we don't want to get any dictionaries. So we just translated 'em without any dictionaries. [Audience laughter]. And we never showed them to Ungaretti but we showed them to Barbara Guest and she had the horrors. The first one is called \\\"Matinee\\\". \\n \\nTed Berrigan\\n00:30:16\\nReads \\\"Matinee\\\" from In the Early Morning Rain [audience laughter throughout].\\n\\nTed Berrigan\\n00:30:26\\nThe next one is called \\\"December\\\" [audience laughter].\\n \\nTed Berrigan\\n00:30:30\\nReads \\\"December\\\" from In the Early Morning Rain [audience laughter throughout].\\n \\nTed Berrigan\\n00:30:38\\nAnd this one is called \\\"The Reply to the Fragile.\\\" \\n \\nTed Berrigan\\n00:30:42\\nReads \\\"The Reply to the Fragile\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:30:53\\nThat one's a little, that's rated X. [Audience laughter]. And this is the last one, it's called “Corporal Pellegrini”. If any of you know Italian, you can understand where all these words came from [audience laughter].\\n \\nTed Berrigan\\n00:31:09\\nReads \\\"Corporal Pellegrini\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:31:38\\nI think Ungaretti would've liked them. [Audience laughter]. He probably would have retranslated them and gotten some new ones. This next work is a translation too and it's a translation I did from French, which I understand some. And so this time I only had to leave certain words. This time I translated a lot of it accurately. But it's called \\\"Life among the woods\\\". And it's a translation of a page from a grammar book, some kind of book written in the French language. After I'd gotten this much done I decided it was over. Anyway, it's called \\\"Life Among the Woods\\\".\\n \\nTed Berrigan\\n00:32:20\\nReads \\\"Life Among the Woods\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:34:30.58\\nPretty interesting family. This is a poem called \\\"In Four Parts.\\\"\\n \\nTed Berrigan\\n00:34:40.14\\nReads \\\"In Four Parts\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:35:22\\nThat was four sentences from the New York Times. They had this secret continuity. [Laughter]. This is a poem called \\\"March 17th, 1970\\\".\\n \\nTed Berrigan\\n00:35:35\\nReads \\\"March 17th, 1970\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:36:03\\nAnd you'd better believe it. Only not right now, right then. I don't know if I can subject you to this poem. I guess I will anyway. This is called \\\"The Ten Greatest Books of the Year, 1968\\\".\\n \\nTed Berrigan\\n00:36:28\\nReads \\\"The Ten Greatest Books of the Year, 1968\\\" from In the Early Morning Rain [audience laughter throughout].\\n \\nTed Berrigan\\n00:38:02\\nYou people that are laughing are getting it.\\n\\nTed Berrigan\\n00:38:04\\nResumes reading \\\"The Ten Greatest Books of the Year, 1968\\\" from In the Early Morning Rain. \\n\\nAudience\\n00:38:14\\nLaughter.\\n\\nTed Berrigan\\n00:38:17\\nThis is a poem called \\\"Thirty\\\".\\n \\nTed Berrigan\\n00:38:18\\nReads \\\"Thirty\\\" from In the Early Morning Rain\\n \\nTed Berrigan\\n00:38:24\\nThat's for all of you guys that did thirty. This poem is called \\\"Things to do in Anne's Room\\\".\\n \\nTed Berrigan\\n00:38:34\\nReads \\\"Things to do in Anne's Room\\\" from In the Early Morning Rain\\n \\nTed Berrigan\\n00:39:42\\nThis is called \\\"The Great Genius\\\".\\n \\nTed Berrigan\\n00:39:45\\nReads \\\"The Great Genius\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:39:56\\nThis is called \\\"Anti-War Poem\\\". It's another New Year's poem, actually.\\n \\nTed Berrigan\\n00:40:03\\nReads \\\"Anti-War Poem\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:40:41\\nAnd this poem is called \\\"Tough Brown Coat\\\".\\n \\nTed Berrigan\\n00:40:43\\nReads \\\"Tough Brown Coat\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:41:04\\nThis poem is called \\\"Babe Rainbow\\\".\\n \\nTed Berrigan\\n00:41:08\\nReads \\\"Babe Rainbow\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:41:25\\nAnd this is called \\\"In My Room\\\".\\n \\nTed Berrigan\\n00:41:30\\nReads \\\"In My Room\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:41:54\\nThis is called \\\"Ann Arbor Elegy\\\". It was written for a girl who was killed in an automobile accident. September 27th, 1969. The funny thing about this poem is it was written before she was killed. And when I looked at it after she was dead, I saw that I didn't have to write an elegy for her, that somehow I'd written one already. \\n \\nTed Berrigan\\n00:42:17\\nReads \\\"Ann Arbor Elegy - For Franny Winston\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:43:13\\nAnd this is a sort of berserk work, which I wrote called \\\"Wake Up,\\\" which is about all it says, really.\\n \\nTed Berrigan\\n00:43:23\\nReads \\\"Wake up\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:44:18\\nI have another poem which I'd like to read but I won't, but it's a series of aphorisms from the works of Francis Picabia [https://www.wikidata.org/wiki/Q157321], the French poet and painter. And this friend Jim Carroll [https://www.wikidata.org/wiki/Q444806] and I translated these from French. I'll read you my favourite one, in any case, which Jim Carroll translated. It says, \\\"Spinoza [https://www.wikidata.org/wiki/Q35802] is the one who threw a pass to move Spinoza.\\\" I really...in this book I put some poems by some of my friends so I wouldn't have to read all my works. Though when I read I never read theirs, I notice. This poem is called \\\"In Bed\\\".\\n \\nTed Berrigan\\n00:44:56\\nReads \\\"In Bed\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:45:12\\nThat's an example of saying nothing. [Audience laughter]. This poem is called \\\"Easy Living\\\". It's dedicated to a boy named David Henderson, a poet who was a friend of mine, whom I once took a trip to Pittsburgh [https://www.wikidata.org/wiki/Q1342] with. Had a very nice time. \\n \\nTed Berrigan\\n00:45:33\\nReads \\\"Easy Living\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:46:25\\nThis is a poem I wrote, it's called \\\"Like Poem\\\". A friend of mine wrote a love poem to this girl, and I thought I should do that too. But I only wanted to write a like poem to her, because I don't want to have any obligations. [Audience laughter]. No, that isn't the reason why, but that's what came out. This is called \\\"Like Poem,\\\" it's to Joan Fagan, who's the wife of my friend Larry Fagan [https://www.wikidata.org/wiki/Q95906997], the poet. \\n \\nTed Berrigan\\n00:46:50\\nReads \\\"Like Poem\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:47:06\\nThis poem is called \\\"Ann Arbor Song\\\". This poem I actually tried to write a poem out of a very corny feeling that I'd had, which nevertheless is very genuine. It starts at a poetry reading in Ann Arbor, but it's really about being in Ann Arbor and realizing I was leaving soon, and thinking about all the things that wouldn't happen to me again, because this trip was going to be over.  Even though, I'm--it's not all that sentimental, I mean I knew I might go to Ann Arbor again and all that, it was just that this particular trip was going to be over. I also wrote it with the idea in mind of reading it at a poetry reading too.  \\\"Ann Arbor Song\\\".\\n \\nTed Berrigan\\n00:47:45\\nReads \\\"Ann Arbor Song\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:49:22\\nI'm going to read two more. First one's called \\\"Peace\\\".\\n \\nTed Berrigan\\n00:49:29 \\nReads \\\"Peace\\\" from In the Early Morning Rain.\\n\\nTed Berrigan\\n00:50:37\\nAlright, and this is the last poem. I hate to end heavy, but there's no place to read this poem but at the end. This poem is called \\\"People Who Died\\\". It's just a list. \\\"People Who Died\\\".\\n \\nTed Berrigan\\n00:50:55\\nReads \\\"People Who Died\\\" from In the Early Morning Rain.\\n \\nAudience\\n00:52:48\\nApplause.\\n \\nTed Berrigan\\n00:52:53\\nNot the most, uh...[laughter].\\n \\nEND\\n00:52:59\\n\",\"notes\":\"Ted Berrigan reads from In the Early Morning Rain (Cape Goliard, 1970), The Sonnets (Grove Press, 1964), Many Happy Returns (Corinth, 1969) and poems later collected in So Going Around Cities (Berkley, 1980) as well as a few unknown poems.\\n\\n(Rachel has indexed individual poems)\\n00:00- George Bowering introduces Ted Berrigan. [INDEX: second reading in the series in 1970, series called ‘avant-garde series’, fifth year, first reader from the ‘New York School’, Kenneth Coke, Tom Clarke, quarterback of the school, ‘propaganda’ (advertisement) paper of reading, The Sonnets (1967), Bean Spasms (Kulchur Press, 1967, In the Early Morning Rain (Cape Goliard, 1970), Cape Goliard, distributed by big Toronto publisher, ‘Kraut’ title, half German, half English, Guillaume Apollinaire ist tot und Anders (sp?), Berlin.]\\n02:08- Ted Berrigan introduces “Heroin”. [INDEX: poems read from last 4-5 years, in first set   some read from 1961-62, in second set poems read from year or two before, poem read in high schools in Ann Arbour, program called Poetry Ann Arbour, not a pro-heroin poem, not anti-heroin poem either, ‘on-heroin poem’; from In the Early Morning Rain (Cape Goliard, 1970).]\\n03:19- Reads “Heroin”. [INDEX: list, heroin, photograph, Kerouac, Anne, heart, light, streets.]\\n04:22- Introduces “Frank O’Hara’s Question”. [INDEX: O’Hara: dead poet from new York, car accident, significance of title; from In the Early Mornin Rain (Cape Goliard, 1970).]\\n04:56- Reads “Frank O’Hara’s Question”. [INDEX: Frank O'Hara, list, sky, letter, Isaac        Dennison, high, happy, long poem, art, guard, mess, message.]\\n05:42- Introduces “Words for Love”. [INDEX: written in 1962, rhetorical; from Many Happy Returns (Corinth, 1969).]\\n06:09- Reads “Words for Love”. [INDEX: winter, snow, read, poetry, weakness, obsession, Jackson Pollock, Rilke, Benedict Arnold, psyche, high, drugs, poems, list, words, time, lady of the lake, God, heart]\\n08:07- Reads first line “I wake up at 11:30, back aching...”. [INDEX: confessional, New York, Pat, Ron, birthday, Pepsi, high, class, book, Juan Gris, poems, ballad, sonnet, Shakespeare, Auden, Spenser, Stevens, Pound, Frank O'Hara, Jan, Helen, Babe, David, ego, self, wonder, toilet paper; poem not indicated on Howard Fink Poem List.]\\n09:23- Reads “Personal Poem #7”. [INDEX: confessional, New York, drugs, sex, John   Ashbery, food, write, stealing; from Many Happy Returns (Corinth, 1969); poems not    \\tindicated on Howard Fink Poem List.]\\n10:23- Reads “Personal Poem #8”. [INDEX: confessional, diary, journal, love, Ray Joss, New York, court, wife, police, John Stanton; from Many Happy Returns (Corinth, 1969); poems not indicated on Howard Fink Poem List.]\\n11:07- Introduces first line “Personal Poem #9”. [INDEX: Charlie Stanton; from Many Happy   Returns (Corinth, 1969); poems not indicated on Howard Fink Poem List.]\\n11:21- Reads first line “Personal Poem #9”. [INDEX: confessional, journal, diary,      \\tBrooklyn, New York, Pepsi, food, memory, book.]\\n12:32- Explains last selection of poems, introduces “Things to do in New York City”. [INDEX: selection written in 1961-2, “Things to do in New York City” written around 1967, leaving New York, written for a birthday present.]\\n13:24- Reads “Things to do in New York City”. [INDEX: confessional, occasional poem, city, New York, By the Waters of Manhattan, drugs, cigarette, read, break, girls, love, death, birth, friends, departure; from Many Happy Returns (Corinth, 1969).]\\n14:20- Introduces “Ten Things I do Every Day”. [INDEX: title; from Many Happy    \\tReturns (Corinth, 1969).]\\n14:40- Reads “Ten Things I do Every Day”.  [INDEX: New York, waking, smoking, pot, love, eating, food, cat, sound, song, streets, read, children, friends, Pepsi.]\\n15:21- Introduces “Resolution”. [INDEX: New York City; from Many Happy  \\tReturns (Corinth, 1969).]\\n15:35- Reads “Resolution”. [INDEX: city, New York, snow, winter, New Year's, driving]\\n15:58- Introduces “Sonnet XXXVII”. [INDEX: from The Sonnets (Grove Press, 1964).] \\n16:06- Reads “Sonnet XXXVII”. [INDEX: night, sleep, Guillaume Apollinaire, poem, dream, crying, song, library, tear, light]\\n17:08- Introduces “Apologies to Val and Tom”. [INDEX: written last summer in London, dedicated to poet Tom Raworth and his wife, Colchester, London, apology; from unknown source.]\\n17:33- Reads “Apologies to Val and Tom”. [INDEX: place, London, apology, night, city, memory, remembrance, New York, friend, poem, visit.]\\n19:05- Introduces “Things to do on Speed”. [INDEX: for Angela Bowering, George Bowering; from the section “How We Live in the Jungle 1969-1970 in So Going Around Cities (Berkley, 1980).]\\n19:19- Reads “Things to do on Speed”. [INDEX: list, typewriter, mind, writing, book, desk, Pepsi, sleep, dream, paper, song, sickness, drugs, imperative, talking, New York, city, work, hallucination, high, sex, heroin, speed]\\n22:21- Explains “Things to do on Speed” and introduces “Things to do in Providence. [INDEX: New York Times, Providence, Rhode Island.]\\n22:50- Reads “Things to do in Providence”. [INDEX: confessional, place, Providence, Rhode Island, city, drugs, imperative, list, food, TV, war, Texas, movie, Western, tear, cowboy, New York, drunk, children, phone, talk, family, mother, birth, work, cigarette, hippie, teenager, home, car, death, grandmother, heart, stranger, sleep; from the section “Buffalo Days: Summer 1970 in So Going Around Cities (Berkley, 1980).]\\n27:55- After a break (cut in recording), George Bowering introduces Ted Berrigan again.\\n28:01- Ted Berrigan introduces “Hello”. [INDEX: poems read from In the Early Morning Rain, title from Gordon Lightfoot: Canadian Folk singer-songwriter, Bob Dylan’s Self Portrait Album, stealing titles, collection from last ten years; from In the Early Mornin Rain (Cape Goliard, 1970).] \\n28:51- Reads “Hello”. [INDEX: hello, etymology, health.]\\n29:06- Introduces section of book, “Life of a Man”, and poem “Matinee”. [INDEX: Italian poet Giuseppe Ungaretti, poet Barbara Guest, Ron Patchett, translate Ungaretti’s poems, translation without dictionary; from In the Early Mornin Rain (Cape Goliard, 1970).]  \\n30:16- Reads “Matinee”. [INDEX: translation, morning.]\\n30:26- Reads “December” [INDEX: translation, farewell, mother, brother, sister, sex, heart; from In the Early Morning Rain (Cape Goliard, 1970).]\\n30:38- Reads “Reply to the Fragile”. [INDEX: translation, bite, pain, sex, breasts; from In the Early Morning Rain (Cape Goliard, 1970).]\\n30:53- Introduces “Corporal Pellegrini”. [INDEX: Italian; from In the Early Mornin Rain    (Cape Goliard, 1970).]\\n31:09- Reads “Corporal Pellegrini”. [INDEX: translation, corporal, sex, horse, soldier, death.]\\n31:38- Introduces “Life Among the Woods”. [INDEX: Ungaretti, retranslated to make new poems, translation from French, from grammar book; from In the Early Mornin Rain  (Cape Goliard, 1970).] \\n32:20- Reads “Life Among the Woods”. [INDEX: translation, Paris, boat, woods, family, children, rich, house, garden, cooking, list.]\\n34:30- Reads “In Four Parts”.  [INDEX: beach, Israel, Mayor Frank X. Graves, Allen    Ginsberg, marijuana, news, William Carlos Williams, poet, American, New York Times;  \\tfrom In the Early Mornin Rain (Cape Goliard, 1970).]\\n35:22- Explains “In Four Parts”, introduces “March 17th, 1970”. [INDEX: sentences from the New York Times, secret continuity.] \\n35:35- Reads “March 17th, 1970”. [INDEX: love, like, phone, wire, listening, kill.]\\n36:03- Introduces “The Ten Greatest Books of the Year, 1968”.\\n36:28- Reads “The Ten Greatest Books of the Year, 1968”. [INDEX: book, list, William Carlos Williams, Charles Olson, Chicago Review, dictionary, Aristotle, language, Frank O'Hara, Ralph Conners, zodiac, consciousness, names, rank, sonnet; from In the Early Mornin Rain (Cape Goliard, 1970).]\\n38:13- Introduces “30”. [INDEX: from In the Early Morning Rain (Cape Goliard, 1970).]\\n38:18- Reads “30”.\\n38:34- Introduces “Things to do in Anne’s Room”.\\n38:34- Reads “Things to do in Anne’s Room”.  [INDEX: room, house, place, imperative, list, sex, couple, book, Moby Dick, Planet of the Apes, clothes, bed, alone, death; from In the Early Morning Rain (Cape Goliard, 1970).]\\n39:42- Reads “The Great Genius”. [INDEX: man, crazy; from In the Early Morning Rain (Cape Goliard, 1970).]\\n39:56- Introduces “Anti-War Poem”. [INDEX: New Year’s poem; from In the Early Morning Rain (Cape Goliard, 1970)\\n40:03- Reads “Anti-War Poem”. [INDEX: peace, war, resolution, New Year's Eve, 1968, Iowa City, city, memory, remembrance, death.]\\n40:41- Reads “Tough Brown Coat”. [INDEX: coat, description, clothes, death; from In the Early Morning Rain (Cape Goliard, 1970).]\\n41:04- Reads “Babe Rainbow”. [INDEX: smoke, cigarette, burn, bed, read; from In the Early Morning Rain (Cape Goliard, 1970)\\n41:25- Reads “In My Room”. [INDEX: place, house, room, list, Thanksgiving.]\\n42:17- Introduces “Ann Arbor Elegy”. [INDEX: girl killed in automobile accident on \\tSeptember 27, 1969, written before her accident; from In the Early Morning Rain (Cape   Goliard, 1970).]\\n42:17- Reads “Ann Arbor Elegy”. [INDEX: for Franny Winston, party, night, drinking, alcohol, high, girl, place, Ann Arbor, death, morning, sky, food, news.]\\n43:13- Reads “Wake Up”. [INDEX: morning, wake, bed, girl, work, Jim Dine, day, list, imperative; from In the Early Morning Rain (Cape Goliard, 1970).]\\n44:15- Introduces “In Bed”. [INDEX: series of aphorisms, Francis Picabia French poet and painter, Jim Carroll, translation from French, placing other poet’s work in his books; from In the Early Morning Rain (Cape Goliard, 1970).] \\n44:56- Reads “In Bed”. [INDEX: girl, bed, sex.]\\n45:12- Introduces “Easy Living”. [INDEX: dedicated to boy named David Henderson,    Pittsburgh; from In the Early Morning Rain (Cape Goliard, 1970).] \\n45:33- Reads “Easy Living”.   [INDEX: travel, Africa, time, rain, heat, weather, David    Henderson, Pittsburgh.]\\n46:25- Introduces “Like Poem”. [INDEX: friend wrote love poem, to Joan Fagan, wife of poet Larry Fagan; in the section “In the Wheel: Winter 1969” in So Going Around Cities (Berkley, 1980).]\\n46:50- Reads “Like Poem”. [INDEX: couple, drugs, Joan Fagan, like.]\\n47:06- Introduces “Ann Arbor Song”. [INDEX: feeling, poetry reading in Ann Arbor, trip.]\\n47:45- Reads “Ann Arbor Song”.  [INDEX: place, Ann Arbor, poetry, poetry reading, poem, boredom, Jack, Anne, high, drugs, friends, time, memory, remembrance.]\\n49:22- Reads “Peace”. [INDEX: heart, day, east, west, peace, couple, love, woman; unknown source.]\\n50:53- Introduces “People Who Died”. [INDEX: heavy poem, end of reading, list; from In the Early Morning Rain (Cape Goliard, 1970).]\\n50:55- Reads “People Who Died”. [INDEX: death, list, dates, friends, accidents, cancer, suicide, Neal Cassidy, Frank O'Hara, Ann Kepler, Franny Winston, Jack Kerouac.]\\n52:59.60- END OF RECORDING.\\n \\nPoems with Time Stamps and Duration                         \\tTime           \\tDuration (mins.)\\n“Heroin”                                                                             \\t00:03:19      \\t01:02  \\n“Frank O’Hara’s Question”            \\t                                \\t           00:04:56      \\t00:44\\n“Words For Love”                                                              \\t00:06:09      \\t01:57\\n[“I wake up 11:30, back aching”]                                       \\t00:08:07      \\t01:13\\n“Personal Poem #7                                                             \\t00:09:23      \\t00:58\\n“Personal Poem” (#8?)                                                       \\t00:10:23      \\t00:42\\n“Personal Poem #9                                                             \\t00:11:21      \\t01:08\\n“Things To Do in New York City”            \\t                       \\t00:13:24      \\t00:55\\n“Ten Things I Do Every Day”                                                    00:14:40      \\t00:35\\n“Resolution”                                                                       \\t00:15:35      \\t00:17\\n“Sonnet XXXVII”  \\t        \\t                                            \\t00:16:06      \\t01:01\\n“Apologies to Val And Tom”                                             \\t00:17:33      \\t01:31\\n“Things To Do On Speed”                                                 \\t00:19:19      \\t02:58\\n“Things To Do In Providence”                                           \\t00:22:50      \\t04:55\\n“Hello”                                                                                \\t00:28:51      \\t00:15\\n“Matinee”                                                                           \\t00:30:16      \\t00:09\\n“December”                                                                        \\t00:30:30      \\t00:07\\n“Reply to the Fragile”                                                        \\t00:30:42      \\t00:10\\n“Corporal Pelegrini”                                                           \\t00:31:09      \\t00:28\\n“Life Among the Woods”                                                   \\t00:32:20      \\t02:09\\n“In Four Parts”                                                                    \\t00:34:40      \\t00:40\\n“March 17, 1970”                                                               \\t00:35:35      \\t00:28\\n“The Ten Greatest Books of the Year – 1968”                  \\t00:36:28      \\t01:45\\n“Thirty”                                                                              \\t00:38:18      \\t00:06\\n“Things To Do In Anne’s Room”                                      \\t00:38:34      \\t01:09\\n“The Great Genius”                                                            \\t00:39:45      \\t00:10\\n“Anti-War Poem”                                                               \\t00:40:03      \\t00:37  \\n“Tough Brown Coat”                                                          \\t00:40:43      \\t00:20\\n“Babe Rainbow”                                                                 \\t00:41:08      \\t00:16\\n“In My Room”                                                                    \\t00:41:30      \\t00:23\\n“Ann Arbor Elegy”                                                             \\t00:42:17      \\t00:57\\n“Wake Up”                                                                         \\t00:43:23      \\t00:56\\n “In Bed”                                                                             \\t00:44:56      \\t00:15\\n“Easy Living”                                                                     \\t00:45:33      \\t00:50\\n“Like Poem”                                               \\t                    \\t00:46:50      \\t00:16\\n“Ann Arbor Song”                                                              \\t00:47:45      \\t01:46\\n“Peace”                                                                               \\t00:49:29      \\t01:07\\n“People Who Died”                                                            \\t00:50:55      \\t01:51\\n \\nHoward Fink List of Poems:\\n“Ted Berrigan”\\nIntroduction by George Bowering\\nRecorded December 4, 1970\\nNote: “Personal Poems” do not appear on this list, and an extra first line in between “Wake Up” and “In Bed” reads “Spinoza is the one who threw a pass...”.\\npg. 66\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/ted-berrigan-at-sgwu-1970/\"}]"],"score":2.1907105},{"id":"1304","cataloger_name":["Ali,Barillaro"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Ron Loewinsohn and Robert Hogg at Sir George Williams University, The Poetry Series, 20 February 1970"],"item_title_source":["Cataloguer"],"item_title_note":["\"RON LOEWINSOHN I086-11-033\" written on stickers on the spine of the tape box and on the reel. \"RT 526\" written on the back and on sticker on the front of the tape box.\n\n\"ROBERT HOGG I086-11-023\" written on stickers on the spine of the tape box and on the reel. \"RT 534\" written on the back and on sticker on the front of the tape box."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 4"],"item_identifiers":["[I086-11-033, I086-11-023]"],"creator_names":["Loewinsohn, Ron","Hogg, Robert"],"creator_names_search":["Loewinsohn, Ron","Hogg, Robert"],"creators":["[{\"url\":\"http://viaf.org/viaf/85836314\",\"name\":\"Loewinsohn, Ron\",\"dates\":\"1937-2014\",\"notes\":\"Ron Loewinsohn was born in Iloilo, Philippines on December 15, 1937. His family moved to California in 1945, and he graduated from Abraham Lincoln High School in 1955 in San Francisco. Loewinsohn spent two years traveling the United States before marrying in 1957 and taking up a position as a lithographer that he held for the next twelve years. He completed an M.A. in 1967 at the University of California, Berkeley, and then an M.A. (1969) and Ph.D. (1971) from Harvard University, completing his doctoral dissertation on William Carlos Williams. He edited Sum magazine in 1974 with Canadian poet Fred Wah. Ron Loewinsohn became close friends with poets Robert Duncan, Jack Spicer, Philip Whalen, Gary Snyder, Robert Creeley, Denise Levertov and Charles Olson. His first collection of poems, Watermelons (Totem Press) was published in 1959 with an introduction by Allen Ginsberg, and a prefatory letter by Williams himself. The New American Poetry, 1945-1960 (Grove Press, 1960) anthologized Loewinsohn’s poetry and propelled him into popularity. His next collections, The World of the Lie (Change Press, 1963) which won a Poets Foundation Award, Against the Silences to Come (Four Seasons Foundation, 1965) and L’Autre (Black Sparrow Press, 1967) placed him securely in the Beat poetry movement. Loewinsohn published two collections of poetry in 1967, Lying Together, Turning the Head and Shifting the Weight, The Produce District and Other Places, Moving: A Spring Poem (Black Sparrow Press) and Three Backyard Dramas with Mamas (Unicorn Press), followed by The Sea, Around Us, and The Step in 1968 (both Black Sparrow Press). He collaborated with Diane Wakoski and Robert Kelly in 1968, publishing These Worlds Have Always Moved in Harmony (Black Sparrow Press). He won an Irving Stone Award from the Academy of American Poets in 1966, the University of California Scholar Award in 1967, a Woodrow Wilson Foundation graduate fellowship from 1967-8, a Harvard University fellowship from 1967-70, a National Education Association Fellowship in 1979 and 1986, and a Guggenheim Fellowship from 1984-5. Ron Loewinsohn began a career in teaching that spanned for more than thirty years at the University of California, Berkeley in 1970. His later works include Meat Air 1957-69 (Harcourt, Brace & World, 1970), followed by The Leaves (Black Sparrow Press, 1973) and Eight Fairy Tales (Black Sparrow Press, 1975) and his last volume of poetry, Goat Dances: Poems and Prose (Black Sparrow Press, 1976). Loewinsohn’s work has beeny anthologized in dozens of publications, including The Post Moderns: A New American Poetry Revised (1982), and published in periodicals including Poetry, Tri-Quarterly, Chicago Review and Occident. Loewinsohn authored two novels, Magnetic Fields (Knopf, 1983), and Where All the Ladders Start (Atlantic Monthly Press, 1987). Ron Loewinsohn retired from the University of California, Berkeley as professor emeritus in 2005. Loewinsohn died in 2014 at the age of 76.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]},{\"url\":\"http://viaf.org/viaf/91752751\",\"name\":\"Hogg, Robert\",\"dates\":\"1942-\",\"notes\":\"Robert Hogg was born in Edmonton, Alberta in 1942. His father was an accountant and his mother founded the Canadian Health League in 1948, and opened the first health food store in the Fraser Valley. After hearing Robert Duncan read from The Opening of the Field, in Vancouver with Frank Davey, he completed a BA at the University of British Columbia. There, he met the members of the newly formed Tish group, and became an integral part of the movement. George Bowering and Hogg published Robert Duncan: An Interview by George Bowering and Robert Hogg (Coach House Press, 1971), which was conducted in 1969. Hogg then went on to complete a Ph.D. from SUNY Buffalo in American Literature. Hogg and his family moved to Ottawa and bought a farm in Mountain Township and began organic farming. In 1968 Hogg began teaching Modern Poetry at Carleton University in Ottawa until he retired in 2005. Hogg’s published works include The connexions (Oyez Press, 1966), Standing back (Coach House Press, 1971), Of light (Coach House Press, 1978), Heat lightning (Black Moss Press, 1986), There is no falling (ECW Press, 1993) and most recently Hogg edited An English Canadian poetics (Talon Books, 2009) which he won a Marston Lafrance Research Fellowship award to write.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[]"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"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\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"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\":\"1970 2 20\",\"type\":\"Performance Date\",\"notes\":\"Date reference in \\\"Howard Fink List\\\"\",\"source\":\"Supplemental Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Mixed Lounge (H-651)\",\"notes\":\"Location referenced by previous researcher\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Mixed Lounge (H-651)"],"City":["Montreal, Quebec"],"content_notes":["Ron Loewinsohn reads from Meat Air: Poems 1957-1969 (Harcourt, Brace & World, 1970). Robert Hogg reads from The Connexions (Oyez Press, 1966),  as well as poems later published in Standing Back (Coach House Press, 1972), and others from unknown sources."],"contents":["ron_loewinsohn-i086-11-033.mp3 [File 1 of 2]\n \nRon Loewinsohn\n00:00:00\nI do want to try to read as much as I can from the more recent material, the book is called Meat Air, and the last section which is the collection of new stuff is called “Book of Ayres”. Let me start out with, let me start out with one called \"His Music's Like His 20 Children\".\n \nRon Loewinsohn\n00:00:30\nReads \"His Music's Like His 20 Children\" from Meat Air: Poems 1957-1969.\n \nRon Loewinsohn\n00:01:54\nReads [\"It Is to Be Bathed in Light\" from Meat Air: Poems 1957-1969].\n \nRon Loewinsohn\n00:04:25\nThis is called \"Song\".\n \nRon Loewinsohn\n00:04:30\nReads \"Song\" [from Meat Air: Poems 1957-1969, section “L’autre 1967”].\n \nRon Loewinsohn\n00:05:10\nAnd this one called, \"The Rain, The Rain\".\n \nRon Loewinsohn\n00:05:17\nReads \"The Rain, The Rain\" [from Meat Air: Poems 1957-1969].\n \nRon Loewinsohn\n00:06:20\nLet me, let me do one called \"Fuck You With Your Home Run Title\". That title had to be changed, it was originally \"Fuck You Roger Maris [https://www.wikidata.org/wiki/Q741023]\", but Harcourt Brace [https://www.wikidata.org/wiki/Q5654997] didn't want to be sued. It's not as if I can't afford it, it's just that it wouldn't do anybody any good. So this is \"Fuck You With Your Home Run Title\".\n \nRon Loewinsohn\n00:07:04\nReads \"Fuck You With Your Home Run Title\" [from Meat Air: Poems 1957-1969].\n \nRon Loewinsohn\n00:07:41\nThe quote \"thoughts of the party were in my head\" is from the World Champion Weight Lifter, who is a Communist Chinese, and after he had pressed some 5,000 lbs or something they said, you know \"You're fantastic, how did you do it?\". And he said \"Thoughts of the party were in my head\". This is called \"Vision of Childhood''.\n \nRon Loewinsohn\n00:08:15\nReads \"Vision of Childhood\" [from Meat Air: Poems 1957-1969].\n \nRon Loewinsohn\n00:10:33\nThis is called \"Lots of Lakes\".\n \nRon Loewinsohn\n00:10:37\nReads \"Lots of Lakes\" [from Meat Air: Poems 1957-1969].\n \nRon Loewinsohn\n00:12:03\nThis is called \"The Sea, Around Us\".\n \nRon Loewinsohn\n00:12:17\nReads \"The Sea, Around Us\" [from The Sea, Around Us].\n \nRon Loewinsohn\n00:15:59\nI want to read some, most of the poems from this section called \"Book of Ayres\", and I want to explain just a little bit about it if I can, I guess the most important thing to say is that they declared themselves as a book of poems, in the middle of a final exam, I was taking an exam and one of the things that we had to deal with was a poem by Emily Dickinson [https://www.wikidata.org/wiki/Q4441], which I will read to you, it's a marvelous poem, I'd never seen it before. And it's so clearly tied all of the poems I'd been working on for the past year or so together, into a bundle, into a package. Let me read to you the, this little statement which I'd written for the publication of the book, and I, simply to insist that they are before anything else, religious poems, and I, as prepossessing as I am about them now, because I think that I may have occasion later on in the reading to call that, or you may have occasion to call that to mind. That they take, as their focus, the making, the finding of the flesh in the word, that is that the word is flesh and it has to be found as such. But let me just read this statement and then I'll read you the Emily Dickinson poem, we'll go right into the “Book of Ayres”. I hope that they're, also, that they're fun, and then you say 'religion', people say, 'uh-oh', this is going to be very grim and very heavy, and in the old sense of heavy. But I hope we can have fun with them, but simply, let me do this. All the poems in the “Book of Ayres” section Meat Air, were written with the intention, though not entirely conscious ‘til rather late in the series, of making the word flesh. That is, when the poet speaks, his words are physically only air, yet they can afford us the most sensorially tangible of experiences. Further, the poem, though merely air, is what sustains us, what the soul feeds on. The poet speaks to keep the soul of man alive, that's Yeats [https://www.wikidata.org/wiki/Q40213] in  “John Kinsella's Lament for Mrs. Mary Moore”, it's interesting that as I was grabbing for something to, for support, picked that line, because the line continues, or rather the whole passage goes \"And oh, but she had stories, though not for the priest's ear, to keep the soul of man alive, to banish age and care, and being old, she put a skin on everything she said.\" Or as Williams [https://www.wikidata.org/wiki/Q178106] puts it, \"It is difficult, to get the news from poems, yet we die, every day, for lack of what is found there.\" Yet if the word seeks to take on the actuality of flesh, of substance, substance itself, as the poet apprehends it, in the merest of tales of his life, from day to day, seeks to take on the resonating actuality of speech, to realize itself in the actuality of the word. Love itself is both a word and a continuing act or process, both an idea and a tension in the chest, viscera and genitals, a pressure toward articulation so complex that it often stifles speech. About halfway through “The Book of Ayres”, I realized that many of the poems I'd written over the past twelve years or so, had been attempting with various degrees of success to effect these transubstantiations and so, this collection. \"The Dickinson Poem\", which if you want to take a look at it is in Thomas Johnson's editions, it's number “1651”.\n \nRon Loewinsohn\n00:20:02 \nReads \"Poem 1651\" by Emily Dickinson.\n \nRon Loewinsohn\n00:20:49\nAnd one last note before starting in the book has an epigraph from Jim St. Jim. \"I need to take a new tack, and sit on it.\" The first poem's called \"’These Worlds Have Always Moved in Harmony’\".\n \nRon Loewinsohn\n00:21:11\nReads \"’These Worlds Have Always Moved in Harmony’\" [from Meat Air: Poems 1957-1969].\n \nUnknown\n00:21:20\nAmbient Sound [bell].\n\nRon Loewinsohn\n00:21:22\nWhat the hell is that? I have this terrible recollection of this story I heard about a college in the Midwest in the United States [https://www.wikidata.org/wiki/Q30] where a visiting prof came out to give a lecture on Plato [https://www.wikidata.org/wiki/Q859] or something and had this bell go off every fifteen minutes and after, it really unnerved him, and after the end of the lecture, he asked one of the people, like, \"What is that bell going off?\" and the guy, the administrator said \"Oh, that's to keep the students awake.\" I--If that's the case, God bless you, I hope we can do better than that.\n \nRon Loewinsohn\n00:22:08\nReads \"These Worlds Have Always Moved in Harmony\".\n \nRon Loewinsohn\n00:23:34\nAnd this is called \"The Sipapu\". Don't worry about the title, it clears up.\n \nRon Loewinsohn\n00:23:52\nReads \"The Sipapu\" [from Meat Air: Poems 1957-1969].\n \nRon Loewinsohn\n00:27:51\nThis is called \"Settling\".\n \nRon Loewinsohn\n00:27:58\nReads \"Settling\" [from Meat Air: Poems 1957-1969].\n \nRon Loewinsohn\n00:29:48\nThis is called, this next poem is called \"Paean\" p-a-e-a-n, paean, and is a collaboration in a sense that it's the kind of poem in which a number of people get together and contribute lines, you give me three lines, and I'll give you two lines and eventually the poem gets written, and simply to give credit where credit where credit is due, to list the people who did contribute or help out in the writing of this poem, John Dryden [https://www.wikidata.org/wiki/Q213355], William Carlos Williams, and the Associated Press [https://www.wikidata.org/wiki/Q40469].\n \nRon Loewinsohn\n00:30:31\nReads \"Paean\" [from Meat Air: Poems 1957-1969].\n \nRon Loewinsohn\n00:32:12\nThe story goes that St. Cecilia [https://www.wikidata.org/wiki/Q80513] invented the organ, and when she was playing an angel passed and mistook earth for heaven because of this fantastic music. \"Went to her organ vocal breath was given\" says John Dryden. These are a couple of songs.\n \nRon Loewinsohn\n00:32:38\nReads “Song” [from Meat Air: Poems 1957-1969; third poem entitled “Song” published in “Book of Ayres” section].\n\nRon Loewinsohn\n00:32:48\nThis one also called \"Song\".\n \nRon Loewinsohn\n00:32:54\nReads “Song\" [from Meat Air: Poems 1957-1969; fourth poem entitled “Song” published in “Book of Ayres” section].\n \nRon Loewinsohn\n00:33:12\nAnd this one also called \"Song\".\n \nRon Loewinsohn\n00:33:18\nReads “Song\" [from Meat Air: Poems 1957-1969; fifth poem entitled “Song” published in “Book of Ayres” section].\n \nRon Loewinsohn\n00:33:57\nAnd this one called \"Air\".\n \nRon Loewinsohn\n00:34:01\nReads \"Air\"  [from Meat Air: Poems 1957-1969].\n \nRon Loewinsohn\n00:34:59\nAnd this one called \"Goat Dance\".\n \nRon Loewinsohn\n00:35:07\nReads \"Goat Dance\" [from Meat Air: Poems 1957-1969; first poem entitled “Goat Dance” published in “Book of Ayres” section].\n \nRon Loewinsohn\n00:36:30\nThis one called \"Two Airs\".\n \nRon Loewinsohn\n00:36:36\nReads \"Two Airs\" [from Meat Air: Poems 1957-1969].\n \nRon Loewinsohn\n00:37:31\nAnd another one called \"Goat Dance\".\n \nRon Loewinsohn\n00:37:35\nReads \"Goat Dance\" [from Meat Air: Poems 1957-1969; third poem entitled “Goat Song” published in “Book of Ayres” section].\n \nRon Loewinsohn\n00:38:48\nAnd this, title, may perhaps need a little bit of explanation. \"The Romaunt of the Rose\", a 13th century French dream vision poem, dream allegory, written actually in two halves by Jean de Meun [https://www.wikidata.org/wiki/Q544925] and Guillaume de Lorris [https://www.wikidata.org/wiki/Q544959] I'm not sure but Chaucer [https://www.wikidata.org/wiki/Q5683] translated the first part of it, and the title comes from his title, \"The Romaunt of the Rose\". The last line of the poem, “smoot right to the herte rote” is from Chaucer's translation and it's \"smitten right to the heart's root\". And the whole, the title of the poem is \"The Romaunt of the Rose Fuck\".\n \nRon Loewinsohn\n00:39:39\nReads \"The Romaunt of the Rose Fuck\" [from Meat Air: Poems 1957-1969].\n \nRon Loewinsohn\n00:40:22\nI'll just do two more, the first one called \"K. 282\". Koechel is--don't please, be insulted that I explain that title, I read the poem in New York [https://www.wikidata.org/wiki/Q60] and a graduate student at Columbia [https://www.wikidata.org/wiki/Q49088] asked me if it meant \"Circa 282\", like circa 282, like approximately 282, and it is of course the catalogue number for the Mozart [https://www.wikidata.org/wiki/Q254] piano sonata, and it's a piano sonata, I forget which, what key it's in.\n \nRon Loewinsohn\n00:41:04\nReads \"K. 282\" [from Meat Air: Poems 1957-1969].\n \nRon Loewinsohn\n00:42:02\nAnd the last poem is the title poem of the book, \"Meat Air\".\n \nRon Loewinsohn\n00:42:08\nReads \"Meat Air\" from Meat Air: Poems 1957-1969.\n \nEND\n00:43:00\n\n\nrobert_hogg_i086-11-023.mp3 [File 2 of 2]\n \nRobert Hogg\n00:00:00\nI'd like to open the reading with a poem that's really part of a verse-play that I wrote in 1963 or 64, a long time ago, a play that never really made it as a play, but fragments of which I've salvaged because I like, I like what they do. And so this is sort of called \"Fragments of an Imaginary Noh Play\", and this is the dream that one of the figures has. \n \nRobert Hogg\n00:00:26\nReads \"Fragments of an Imaginary Noh Play - Walkie's Dream\".\n \nRobert Hogg\n00:02:39\nI'd like to read a few selections from my book of poems The Connexions, which was printed in 1965. I'd like to begin with a poem entitled \"The Command\". I should just briefly mention that these poems were all written in a very short period of time between November and January, mostly, and a few poems written later on throughout that spring of 1965. That is, November 1964 through the early part of 1965. Most of them were written in New York and involved an experience I had there where I was very ill, and part of the time delirious. This poem was actually written a little later than some of the poems that follow. They're not spaced out chronologically in the book. \"The Command\".\n \nRobert Hogg\n00:03:34\nReads \"The Command\" from The Connexions.\n \nRobert Hogg\n00:06:20\nThis poem, written, actually, previous to the other, is entitled \"Eclipse\", and it was written without my own, without my knowledge, actually, at the time, that there was an eclipse taking place. It was on the eighteenth of December, 1964, written in New York City. This was a lunar eclipse. Isn't there a lunar eclipse about to...is that tonight? [Audience laughter]. It's a full moon tonight. Something's happening.\n \nRobert Hogg\n00:07:06\nReads \"Eclipse\" from The Connexions.\n \nRobert Hogg\n00:09:12\nThe she of that last stanza enters into this poem, which was originally entitled \"The Changing of Skin\". There's a good, considerable amount of snake imagery in these poems, all of which was the result of having hepatitis and the turning of colours. I had hepatitis rather badly, and relapsed twice with it, and each time I relapsed, of course, I turned bright yellow again. And it was quite an unusual experience, especially the first time, in which I was in the hospital, and the nurses, especially the young nurses, would come round and look at you with the most peculiar eyes, you know, as if you were really something from another world, having changed colour like that. \n \nRobert Hogg\n00:10:02\nReads unnamed poem [originally entitled “The Changing of Skin”].\n \nRobert Hogg\n00:14:08\nAnother poem connected with this quite closely, another dream poem, entitled \"The Cave\".\n \nRobert Hogg\n00:14:17\nReads \"The Cave\".\n \nRobert Hogg\n00:15:36\nAfter this there's a descent, a further descent down, as has been instructed in an earlier poem, called \"The Command,\" and then a coming-out again. And then a poem that remembers, really, it's quite different, I'm not sure how much this poem really belonged in The Connexions. Most of the poems definitely did belong in the book, I think, though some of them don't bear reading, I don't think, now. This poem bears reading, I think, but doesn't really belong in the book. How's that?\n \nRobert Hogg\n00:16:09\nReads unnamed poem from The Connexions.\n \nRobert Hogg\n00:16:55\nAnd another poem, which was originally titled, \"Poem to Out of This World and Soul Lies\", was really written with John Sinclair [https://www.wikidata.org/wiki/Q706977] in mind, whom I hope all of you keep in mind at times, specially now that he's in prison, in Michigan [https://www.wikidata.org/wiki/Q1166]. It was written to...not written really for him, but written with him in mind, listening to the record \"Out of This World and Soul Lies\" by John Coltrane [https://www.wikidata.org/wiki/Q7346].\n \nRobert Hogg\n00:17:23\nReads [\"Out of This World\" , originally entitled “Poem to Out of This World and Soul Lies”].\n \nRobert Hogg\n00:19:09\nAnd the last poem in the collection is entitled, simply, \"Song\".\n \nRobert Hogg\n00:19:16\nReads \"Song\" from The Connexions.\n\nUnknown \n00:19:33\nAmbient Sound [bell].\n\nRobert Hogg\n00:19:34\nHave to change my trunks...Now I'd like to read a few poems that were written not too far removed from the time of The Connexions, some of them, and then moving right on up to the present. This poem titled simply, \"Once\" and the \"once\" is really part of the poem.\n \nRobert Hogg\n00:20:01\nReads \"Once\" [published later in Standing Back]. \n \nRobert Hogg\n00:20:24\nAnd another little poem called \"Tropos\", which means, \"to turn\" in Greek, or \"turning\" in Greek.\n \nRobert Hogg\n00:20:34\nReads \"Tropos\".\n \nRobert Hogg\n00:20:50\nAnother short poem, written some time later, but in the same vein. \"A Fragment of Love\".\n \nRobert Hogg\n00:20:57\nReads \"A Fragment of Love\".\n \nRobert Hogg\n00:21:12\nThis poem was written about four or five years ago also, and was written after having given a tarot reading for a friend. And I take it that most of you will have some familiarity with the tarot cards, and anyway, the poem attempts in several places to explain, in other places just simply to give you the reading of the tarot as it was done out. And so I've just simply in parts just listed the cards that fell. It's simply called \"A Reading\".\n \nRobert Hogg\n00:21:48\nReads \"A Reading\".\n \nRobert Hogg\n00:24:03\nAnd now, a longer poem, a poem that really, in a sense, deals with the subject of poetry, and the subject of love, together. The poem is entitled \"Aries and Pisces Dream\". And really, I supposed, ought to be dedicated to Charles Olson [https://www.wikidata.org/wiki/Q922978].\n \nRobert Hogg\n00:24:30\nReads \"Aries and Pisces Dream\" [published later in Standing Back].\n \nRobert Hogg\n00:29:03\nA short, and rather lyrical poem, which was written in response to a letter, not in very good response to a letter, actually...in which the other person asked me if I wouldn't tell them about Psyche [https://www.wikidata.org/wiki/Q843382], what I've defined psyche, which I found was an absolutely impossible thing to do, and something that I hope I can--you could--you know, once you spend one's whole life, I suppose, trying to do it, God help you if you actually get it done, you know. There'd be nothing left to do. This poem is called \"Of Psyche\".\n \nRobert Hogg\n00:29:39\nReads \"Of Psyche\" [published later in Standing Back]. \n \nRobert Hogg\n00:30:26\nA recent poem, entitled \"To the Moon\". The moon gets into a lot of my poems, one way or another. This one woke us up the other night, rather nastily. \n \nRobert Hogg\n00:30:37\nReads \"To the Moon\".\n \nRobert Hogg\n00:31:12\nThis is an untitled poem, a happy poem, I hope, written in September, on the seventh of September, and it struck me, as it was the seventh of September, that in fact, in the Latin, that September is the seventh month, and was apparently the seventh month of the Roman calendar year. And so I was suddenly taken by that, because, you know, if you write dates very often, you probably use the typical numerical method of you know, putting, the day, and the month, and the year, in terms of numbers. And you usually think of September as the ninth month, which in fact it is, in our calendar, but the word is obviously, suggests, as October suggests the eighth month, September is the seventh. And so I was happy. It seemed like something new was happening. It was nice, because you know, in September, in northern, any part of Ottawa [https://www.wikidata.org/wiki/Q1930], Ottawa-area, or Ontario [https://www.wikidata.org/wiki/Q1904], or Quebec [https://www.wikidata.org/wiki/Q176], you know what's coming, eh? You know, it's still here. So you got to be happy while you can. And it was also, I should add, that even in old times, you know, the calendar year was divided into twelve months, and so the seventh month would, in a sense, be the beginning of a new cycle. It would be six months, and that would end the first half, and there would be six more months, and September would be the first of it again. And that also excited me. It felt like Spring. [Laughter]. But I'm crazy.\n \nRobert Hogg\n00:32:42\nReads untitled poem [published later in Standing Back]. \n \nRobert Hogg\n00:33:05\nAnd now a sad poem, for someone who has, who had cancer, and is apparently alright, which is kind of nice. I think I was pessimistic, I'm always terribly pessimistic about something like that, I don't find it easy to be optimistic in such situations, and optimism, the optimism that I now have again for this person is only as qualified, I dare say. The poem is entitled \"A Lifetime\", and the more I thought about that word--I didn't get the title easily, I had to work it out--and the more I thought about that word, the more it began to mean to me. I think if you really think about that word, lifetime, as one word, it's very peculiar. And then I thought, I was thinking about time-life [audience laughter]. And that really, that was really funny. It's strange, isn't it, that those, that, that corporation should own those two words, as they do. It's very difficult to use them. We can't just call it--like, can you imagine putting out a magazine called Life? You know. Or Poetry magazine. These are very good names for a magazine. Or Time, you know. That's pretty big stuff! [Audience laughter]. What could they--and look what they've done with it, you know. So reduction is still possible [Laughter]. \"A Lifetime\"...And one other thing [laughter] before I begin this one, it's not altogether this way, you've probably, you know, you've probably found that my lines, my poetry, has a tendency, especially in the earlier poems, to be, like they say, poetic, you know, to try to be a little, to try to sound pretty. It was something that meant a great deal to me earlier, and means a little less to me now than it did then, though beauty still means as much to me as ever. I have tried, I have looked for in my poetry--and one thing, it was very pleasant hearing Ron's [https://www.wikidata.org/wiki/Q2165471] poems tonight, is a quality of voice, a quality of language, that doesn't necessarily try to be pretty at all--that tries to use the language that we are actually living with. I don't mean to try to talk about the old problems of prose and poetry, or anything of the kind. But just that, language needn't necessarily be quote, poetic, unquote. We had kind of a talk about that last night, at the reading in Ottawa, it was pretty funny. And this poem, just at least its beginning, it has that colloquialism that I enjoy.\n \nRobert Hogg\n00:35:37\nReads \"A Lifetime\".\n \nRobert Hogg\n00:37:03\nAnd the last poem that I'd like to read is a poem that is really a freak poem. This poem has taken me at least two years to write, a little longer than two years to write, I think, and has been written over and over and over and over again, and like I said about time/life, this one has also suffered a phenomenal reduction, starting out as about six pages and ending up as three, which is usually a good sign. Originally there was a line in the poem, something about the presages of civilization, you know, are on my back or in my ear, or something like that, and it was a horrible line. Like a lot of the other lines it had to be excised, and rewritten, and so forth. But the thought of it, the thought of that word, the meaning of that word, contained, lived with me, and lived with my sense of the poem. And so I've entitled it simply, \"Presages\". And also, to make it a little more comprehensible, I've put a sort of bracket, subtitle, \"From a Sixth-Floor Apartment\". Actually, the poem was begun in Manhattan [https://www.wikidata.org/wiki/Q11299], not in Manhattan, I'm sorry, in Queens [https://www.wikidata.org/wiki/Q18424], New York, when I was staying at my in-laws' house a little over two years ago, just briefly, and was written from their sixth-floor apartment. It actually, the strange thing about this poem is it was mostly written since then, really re-written, although the first part is pretty much as it was originally.\n \nRobert Hogg\n00:38:24\nReads \"Presages: From a Sixth-Floor Apartment\" [published later in Standing Back].\n \nRobert Hogg\n00:40:40\nThank you.\n \nEND\n00:40:42\n[Cut off abruptly]."],"Note":["[{\"note\":\"\\nIn 1970, Ron Loewinsohn was teaching at the University of Berkeley (perhaps he only started in the Fall semester?), Meat Air was published in the same year and he finished his Ph.D. from Harvard in 1971.\\n\\nIn 1970, Robert Hogg was a professor of Modern Poetry at Carleton University and was most likely working on publishing Standing back (Coach House Press, 1971) and Robert Duncan: An Interview by George Bowering and Robert Hogg (Coach House Press, 1971). \",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nDirect connections from Loewinsohn to Montreal or Sir George Williams University are unknown, however, Loewinsohn was a heavy-hitter in the American poetry ring, befriending many members of the San Francisco Renaissance, Black Mountain and Beat groups.\\n\\nRobert Hogg met George Bowering (a SGWU Poetry Committee Member) in the 60’s in Vancouver, and became involved in the Tish group.\",\"type\":\"General\"},{\"note\":\"2 reel-to-reel tapes>2 CDs>2 digital files\",\"type\":\"Preservation\"},{\"note\":\"Original transcript, research, introduction andedits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/807465072&referer=brief_results\",\"citation\":\"Gray, Richard. \\\"Loewinsohn, Ron(ald William)\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ian Hamilton (ed). Oxford University Press, 1996.\"},{\"url\":\"https://www.worldcat.org/title/connexions/oclc/976690442&referer=brief_results\",\"citation\":\"Hogg, Robert. The Connexions. Berkeley: Oyez, 1966. \"},{\"url\":\"https://www.worldcat.org/title/standing-back/oclc/1125106352&referer=brief_results\",\"citation\":\"Hogg, Robert.  Standing Back. Toronto: Coach House Press, 1971. \"},{\"url\":\"https://www.worldcat.org/title/interview-by-george-bowering-robert-hogg/oclc/57411146?referer=di&ht=edition\",\"citation\":\"Hogg, Robert & George Bowering. Robert Duncan: an interview by George Bowering & Robert Hogg. Montreal: A Beaver Kosmos Folio, 1971.\"},{\"url\":\"https://www.worldcat.org/title/meat-air-poems-1957-1969/oclc/869016387&referer=brief_results\",\"citation\":\"Loewinsohn, Ron. Meat Air: Poems 1957-1969. New York: Harcourt, Brace & World, 1970. \"},{\"url\":\"https://talonbooks.com/authors/robert-hogg\",\"citation\":\"“Robert Hogg”. Talonbooks website: Vancouver, B.C.. \"},{\"url\":\"\",\"citation\":\"“Loewinsohn, Ron”. Literature Online Biography. Proquest, 2009. \"},{\"url\":\"\",\"citation\":\"“Research, Teaching and Professional Awards: Marston Lafrance Research Fellow (2004-2005)”. Carleton NOW, Carleton University: May 3, 2004. \"},{\"url\":\"\",\"citation\":\"“Robert Hogg”. ECW Press website, Biographies: Toronto, Ontario.\"},{\"url\":\"\",\"citation\":\"“Robert Hogg, Mountain Path Flours”. Eco Farm Day 2010: Canadian Organic Growers/ Cultivons Biologique Canada, Speakers. \"},{\"url\":\"\",\"citation\":\"\\\"Ron(ald) (William) Loewinsohn.\\\" Contemporary Authors Online. Detroit: Gale, 2001. \"}]"],"_version_":1853670548970668032,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0033_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0033_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Ron Loewinsohn Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0033_front.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0033_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Ron Loewinsohn Tape Box - 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Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/robert_hogg_i086-11-023.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"robert_hogg_i086-11-023.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:40:42\",\"precision\":\"\",\"size\":\"97.7 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"robert_hogg_i086-11-023.mp3 [File 2 of 2]\\n \\nRobert Hogg\\n00:00:00\\nI'd like to open the reading with a poem that's really part of a verse-play that I wrote in 1963 or 64, a long time ago, a play that never really made it as a play, but fragments of which I've salvaged because I like, I like what they do. And so this is sort of called \\\"Fragments of an Imaginary Noh Play\\\", and this is the dream that one of the figures has. \\n \\nRobert Hogg\\n00:00:26\\nReads \\\"Fragments of an Imaginary Noh Play - Walkie's Dream\\\".\\n \\nRobert Hogg\\n00:02:39\\nI'd like to read a few selections from my book of poems The Connexions, which was printed in 1965. I'd like to begin with a poem entitled \\\"The Command\\\". I should just briefly mention that these poems were all written in a very short period of time between November and January, mostly, and a few poems written later on throughout that spring of 1965. That is, November 1964 through the early part of 1965. Most of them were written in New York and involved an experience I had there where I was very ill, and part of the time delirious. This poem was actually written a little later than some of the poems that follow. They're not spaced out chronologically in the book. \\\"The Command\\\".\\n \\nRobert Hogg\\n00:03:34\\nReads \\\"The Command\\\" from The Connexions.\\n \\nRobert Hogg\\n00:06:20\\nThis poem, written, actually, previous to the other, is entitled \\\"Eclipse\\\", and it was written without my own, without my knowledge, actually, at the time, that there was an eclipse taking place. It was on the eighteenth of December, 1964, written in New York City. This was a lunar eclipse. Isn't there a lunar eclipse about to...is that tonight? [Audience laughter]. It's a full moon tonight. Something's happening.\\n \\nRobert Hogg\\n00:07:06\\nReads \\\"Eclipse\\\" from The Connexions.\\n \\nRobert Hogg\\n00:09:12\\nThe she of that last stanza enters into this poem, which was originally entitled \\\"The Changing of Skin\\\". There's a good, considerable amount of snake imagery in these poems, all of which was the result of having hepatitis and the turning of colours. I had hepatitis rather badly, and relapsed twice with it, and each time I relapsed, of course, I turned bright yellow again. And it was quite an unusual experience, especially the first time, in which I was in the hospital, and the nurses, especially the young nurses, would come round and look at you with the most peculiar eyes, you know, as if you were really something from another world, having changed colour like that. \\n \\nRobert Hogg\\n00:10:02\\nReads unnamed poem [originally entitled “The Changing of Skin”].\\n \\nRobert Hogg\\n00:14:08\\nAnother poem connected with this quite closely, another dream poem, entitled \\\"The Cave\\\".\\n \\nRobert Hogg\\n00:14:17\\nReads \\\"The Cave\\\".\\n \\nRobert Hogg\\n00:15:36\\nAfter this there's a descent, a further descent down, as has been instructed in an earlier poem, called \\\"The Command,\\\" and then a coming-out again. And then a poem that remembers, really, it's quite different, I'm not sure how much this poem really belonged in The Connexions. Most of the poems definitely did belong in the book, I think, though some of them don't bear reading, I don't think, now. This poem bears reading, I think, but doesn't really belong in the book. How's that?\\n \\nRobert Hogg\\n00:16:09\\nReads unnamed poem from The Connexions.\\n \\nRobert Hogg\\n00:16:55\\nAnd another poem, which was originally titled, \\\"Poem to Out of This World and Soul Lies\\\", was really written with John Sinclair [https://www.wikidata.org/wiki/Q706977] in mind, whom I hope all of you keep in mind at times, specially now that he's in prison, in Michigan [https://www.wikidata.org/wiki/Q1166]. It was written to...not written really for him, but written with him in mind, listening to the record \\\"Out of This World and Soul Lies\\\" by John Coltrane [https://www.wikidata.org/wiki/Q7346].\\n \\nRobert Hogg\\n00:17:23\\nReads [\\\"Out of This World\\\" , originally entitled “Poem to Out of This World and Soul Lies”].\\n \\nRobert Hogg\\n00:19:09\\nAnd the last poem in the collection is entitled, simply, \\\"Song\\\".\\n \\nRobert Hogg\\n00:19:16\\nReads \\\"Song\\\" from The Connexions.\\n\\nUnknown \\n00:19:33\\nAmbient Sound [bell].\\n\\nRobert Hogg\\n00:19:34\\nHave to change my trunks...Now I'd like to read a few poems that were written not too far removed from the time of The Connexions, some of them, and then moving right on up to the present. This poem titled simply, \\\"Once\\\" and the \\\"once\\\" is really part of the poem.\\n \\nRobert Hogg\\n00:20:01\\nReads \\\"Once\\\" [published later in Standing Back]. \\n \\nRobert Hogg\\n00:20:24\\nAnd another little poem called \\\"Tropos\\\", which means, \\\"to turn\\\" in Greek, or \\\"turning\\\" in Greek.\\n \\nRobert Hogg\\n00:20:34\\nReads \\\"Tropos\\\".\\n \\nRobert Hogg\\n00:20:50\\nAnother short poem, written some time later, but in the same vein. \\\"A Fragment of Love\\\".\\n \\nRobert Hogg\\n00:20:57\\nReads \\\"A Fragment of Love\\\".\\n \\nRobert Hogg\\n00:21:12\\nThis poem was written about four or five years ago also, and was written after having given a tarot reading for a friend. And I take it that most of you will have some familiarity with the tarot cards, and anyway, the poem attempts in several places to explain, in other places just simply to give you the reading of the tarot as it was done out. And so I've just simply in parts just listed the cards that fell. It's simply called \\\"A Reading\\\".\\n \\nRobert Hogg\\n00:21:48\\nReads \\\"A Reading\\\".\\n \\nRobert Hogg\\n00:24:03\\nAnd now, a longer poem, a poem that really, in a sense, deals with the subject of poetry, and the subject of love, together. The poem is entitled \\\"Aries and Pisces Dream\\\". And really, I supposed, ought to be dedicated to Charles Olson [https://www.wikidata.org/wiki/Q922978].\\n \\nRobert Hogg\\n00:24:30\\nReads \\\"Aries and Pisces Dream\\\" [published later in Standing Back].\\n \\nRobert Hogg\\n00:29:03\\nA short, and rather lyrical poem, which was written in response to a letter, not in very good response to a letter, actually...in which the other person asked me if I wouldn't tell them about Psyche [https://www.wikidata.org/wiki/Q843382], what I've defined psyche, which I found was an absolutely impossible thing to do, and something that I hope I can--you could--you know, once you spend one's whole life, I suppose, trying to do it, God help you if you actually get it done, you know. There'd be nothing left to do. This poem is called \\\"Of Psyche\\\".\\n \\nRobert Hogg\\n00:29:39\\nReads \\\"Of Psyche\\\" [published later in Standing Back]. \\n \\nRobert Hogg\\n00:30:26\\nA recent poem, entitled \\\"To the Moon\\\". The moon gets into a lot of my poems, one way or another. This one woke us up the other night, rather nastily. \\n \\nRobert Hogg\\n00:30:37\\nReads \\\"To the Moon\\\".\\n \\nRobert Hogg\\n00:31:12\\nThis is an untitled poem, a happy poem, I hope, written in September, on the seventh of September, and it struck me, as it was the seventh of September, that in fact, in the Latin, that September is the seventh month, and was apparently the seventh month of the Roman calendar year. And so I was suddenly taken by that, because, you know, if you write dates very often, you probably use the typical numerical method of you know, putting, the day, and the month, and the year, in terms of numbers. And you usually think of September as the ninth month, which in fact it is, in our calendar, but the word is obviously, suggests, as October suggests the eighth month, September is the seventh. And so I was happy. It seemed like something new was happening. It was nice, because you know, in September, in northern, any part of Ottawa [https://www.wikidata.org/wiki/Q1930], Ottawa-area, or Ontario [https://www.wikidata.org/wiki/Q1904], or Quebec [https://www.wikidata.org/wiki/Q176], you know what's coming, eh? You know, it's still here. So you got to be happy while you can. And it was also, I should add, that even in old times, you know, the calendar year was divided into twelve months, and so the seventh month would, in a sense, be the beginning of a new cycle. It would be six months, and that would end the first half, and there would be six more months, and September would be the first of it again. And that also excited me. It felt like Spring. [Laughter]. But I'm crazy.\\n \\nRobert Hogg\\n00:32:42\\nReads untitled poem [published later in Standing Back]. \\n \\nRobert Hogg\\n00:33:05\\nAnd now a sad poem, for someone who has, who had cancer, and is apparently alright, which is kind of nice. I think I was pessimistic, I'm always terribly pessimistic about something like that, I don't find it easy to be optimistic in such situations, and optimism, the optimism that I now have again for this person is only as qualified, I dare say. The poem is entitled \\\"A Lifetime\\\", and the more I thought about that word--I didn't get the title easily, I had to work it out--and the more I thought about that word, the more it began to mean to me. I think if you really think about that word, lifetime, as one word, it's very peculiar. And then I thought, I was thinking about time-life [audience laughter]. And that really, that was really funny. It's strange, isn't it, that those, that, that corporation should own those two words, as they do. It's very difficult to use them. We can't just call it--like, can you imagine putting out a magazine called Life? You know. Or Poetry magazine. These are very good names for a magazine. Or Time, you know. That's pretty big stuff! [Audience laughter]. What could they--and look what they've done with it, you know. So reduction is still possible [Laughter]. \\\"A Lifetime\\\"...And one other thing [laughter] before I begin this one, it's not altogether this way, you've probably, you know, you've probably found that my lines, my poetry, has a tendency, especially in the earlier poems, to be, like they say, poetic, you know, to try to be a little, to try to sound pretty. It was something that meant a great deal to me earlier, and means a little less to me now than it did then, though beauty still means as much to me as ever. I have tried, I have looked for in my poetry--and one thing, it was very pleasant hearing Ron's [https://www.wikidata.org/wiki/Q2165471] poems tonight, is a quality of voice, a quality of language, that doesn't necessarily try to be pretty at all--that tries to use the language that we are actually living with. I don't mean to try to talk about the old problems of prose and poetry, or anything of the kind. But just that, language needn't necessarily be quote, poetic, unquote. We had kind of a talk about that last night, at the reading in Ottawa, it was pretty funny. And this poem, just at least its beginning, it has that colloquialism that I enjoy.\\n \\nRobert Hogg\\n00:35:37\\nReads \\\"A Lifetime\\\".\\n \\nRobert Hogg\\n00:37:03\\nAnd the last poem that I'd like to read is a poem that is really a freak poem. This poem has taken me at least two years to write, a little longer than two years to write, I think, and has been written over and over and over and over again, and like I said about time/life, this one has also suffered a phenomenal reduction, starting out as about six pages and ending up as three, which is usually a good sign. Originally there was a line in the poem, something about the presages of civilization, you know, are on my back or in my ear, or something like that, and it was a horrible line. Like a lot of the other lines it had to be excised, and rewritten, and so forth. But the thought of it, the thought of that word, the meaning of that word, contained, lived with me, and lived with my sense of the poem. And so I've entitled it simply, \\\"Presages\\\". And also, to make it a little more comprehensible, I've put a sort of bracket, subtitle, \\\"From a Sixth-Floor Apartment\\\". Actually, the poem was begun in Manhattan [https://www.wikidata.org/wiki/Q11299], not in Manhattan, I'm sorry, in Queens [https://www.wikidata.org/wiki/Q18424], New York, when I was staying at my in-laws' house a little over two years ago, just briefly, and was written from their sixth-floor apartment. It actually, the strange thing about this poem is it was mostly written since then, really re-written, although the first part is pretty much as it was originally.\\n \\nRobert Hogg\\n00:38:24\\nReads \\\"Presages: From a Sixth-Floor Apartment\\\" [published later in Standing Back].\\n \\nRobert Hogg\\n00:40:40\\nThank you.\\n \\nEND\\n00:40:42\\n[Cut off abruptly].\",\"notes\":\"Robert Hogg reads from The Connexions (Oyez Press, 1966),  as well as poems later published in Standing Back (Coach House Press, 1972), and others from unknown sources.\\n\\n00:00- Robert Hogg introduces reading and “Fragments of an Imaginary Noh Play”. [INDEX: poem, verse-play, written in 1963-4, fragments, dream.]\\n00:26- Reads “Fragments of an Imaginary Noh Play: Walkie’s Dream”. [INDEX: morning, wake, sleep, dream, water, sun, east, sea, swim, day, glass, window.]\\n02:39- Introduces “The Command”. [INDEX: selections from The Connexions, printed in     1965, written between November and January, spring of 1965, New York, ill, delirious, not chronological order.]\\n03:34- Reads “The Command”. [INDEX: snow, winter, unsaid, city, ice, wind, young, death, Erie, Great Lakes, place, New York, body, water, disease, sun, land, earth, memory, remembrance, mind, season, Eden, journey, snake.]\\n06:20- Introduces “Eclipse”. [INDEX: lunar eclipse, December 18, 1964, New York City, full moon the night of this reading.]\\n07:06- Reads “Eclipse”  [INDEX: earth, moon, fire, oracle, snake, body, naked, queen, sex, sperm, woman.]\\n09:12- Introduces unknown poem, first line “So it is empty, but for the animals...”. [INDEX: female from “Eclipse”, original title “The Changing of Skin”, snake imagery, hepatitis, relapsed, hospital, nurses.]\\n10:02- Reads unknown poem, first line “So it is empty, but for the animal...”  [INDEX:  New Testament, Judaism, Jew, Moses, Jesus, crucifixion, Mary Magdalene, vision, name, night, disease, illness, violence, snake, child, sex, mythology.]\\n14:08- Introduces “The Cave”. [INDEX: dream poem.]\\n14:17- Reads “The Cave”. [INDEX: child, cave, winter, day.]\\n15:36- Introduces unknown poem, first line “This much is remembered...”. [INDEX: descent down, “The Command”, memory, relevance in collection.]\\n16:09- Reads unknown poem, first line “This much is remembered...” [INDEX: memory,        remembrance, sea, man, land]\\n16:55- Introduces “Out of This World”. [INDEX: originally titled, “Poem to Out of This World and Soul Lies” written with John Sinclair, prison, Michigan, record “Out of this World and Soul Lies” by John Coltrane.]\\n17:23- Reads “Out of This World”. [INDEX: beginning, origin, eternity, birth, egg, snake,    woman, sex]\\n19:09- Introduces “Song” [INDEX: last poem in the collection]\\n19:16- Reads “Song”. [INDEX: sun, wind, tree, nature, bird, air, voice]\\n19:34- Introduces “Once”. [INDEX: poems written same time as The Connexions  up to the present]\\n20:01- Reads “Once”. [INDEX: poem, poet, poetry, love, line]\\n20:24- Introduces “Tropos”. [INDEX: Greek for ‘to turn’ or ‘turning’]\\n20:34- Reads “Tropos”. [INDEX: turning, couple, sight, beauty]\\n20:50- Introduces “A Fragment of Love”. [INDEX: short poem, same vein as “Tropos”]\\n20:57- Reads “A Fragment of Love”. [INDEX: winter, seasons, woman, nature]\\n21:12- Introduces “A Reading”. [INDEX: written 4-5 years previous, tarot reading, friend,     explain, cards.]\\n21:48- Reads “A Reading”. [INDEX: tarot, reading, fate, lover, magician, mother, father, night, child, blood, French, woman, friend, death, moon, sea, justice, sun, bilingual]\\n24:03- Introduces “Aries and Pisces Dream”. [INDEX: poetry, love, dedicated to Charles     Olson.] \\n24:30- Reads “Aries and Pisces Dream”. [INDEX: night, woman, awake, love, space, Charles Olson, moon, sun, earth, real, distance, bird, sleep, dance, word, world, measure, death]\\n29:03- Introduces “Of Psyche”. [INDEX: short, lyrical poem, response to a letter, Psyche, definition of Psyche.]\\n29:39- Reads “Of Psyche”. [INDEX: love, spring, Psyche, woman, man, beauty, window,      morning, dance.]\\n30:26- Introduces “To the Moon”. [INDEX: poems, moon, night.]\\n30:37- Reads “To the Moon”. [INDEX: moon, face, pain, woman, mother, light, night, laugh.]\\n31:12- Introduces Untitled Poem, first line “Fresh September...” [INDEX: written September 7th, Latin, Roman Calendar, numerical method of dates, October, Ottawa, Ontario, Quebec, happy, twelve months, new cycle, Spring.]\\n32:42- Reads Untitled Poem, first line “Fresh September...” [INDEX: nature, seasons, winter, spring, bird, sun, September]\\n33:05- Introduces “A Lifetime”. [INDEX: friend who had cancer, pessimistic, optimism, time, life, Life magazine, Poetry magazine, reduction, lines, beauty, Ron [Loewinsohn], quality of voice, quality of language, unpoetic language, Ottawa, colloquialism.]\\n35:37- Reads “A Lifetime”. [INDEX: idea, giving, time, rain, cancer, nothing, disease, death, dying, rose, tulip, growth, dark, waiting, silence.]\\n37:03- Introduces “Presages: From a Sixth-Floor Apartment”. [INDEX: freak poem, taken over two years to write, time, life, reduction of the text, six pages to three, original line in poem, presages of civilization, horrible line, rewriting, title, sub-title, begun in Queens New York, first part is original.]\\n38:24- Reads “Presages: From a Sixth-Floor Apartment”. [INDEX: city, New York, distance, apartment, earth, death, air, body, dream, river, sea, mind, time, soul, property, civilization, blood, fire, fish, Psyche, beach]\\n40:40- Robert Hogg thanks the audience.\\n40:42.66- END OF RECORDING.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/robert-hog-at-sgwu-1970/\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/ron_loewinsohn-i086-11-033.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"ron_loewinsohn-i086-11-033.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:43:00\",\"precision\":\"\",\"size\":\"103.2 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"ron_loewinsohn-i086-11-033.mp3 [File 1 of 2]\\n \\nRon Loewinsohn\\n00:00:00\\nI do want to try to read as much as I can from the more recent material, the book is called Meat Air, and the last section which is the collection of new stuff is called “Book of Ayres”. Let me start out with, let me start out with one called \\\"His Music's Like His 20 Children\\\".\\n \\nRon Loewinsohn\\n00:00:30\\nReads \\\"His Music's Like His 20 Children\\\" from Meat Air: Poems 1957-1969.\\n \\nRon Loewinsohn\\n00:01:54\\nReads [\\\"It Is to Be Bathed in Light\\\" from Meat Air: Poems 1957-1969].\\n \\nRon Loewinsohn\\n00:04:25\\nThis is called \\\"Song\\\".\\n \\nRon Loewinsohn\\n00:04:30\\nReads \\\"Song\\\" [from Meat Air: Poems 1957-1969, section “L’autre 1967”].\\n \\nRon Loewinsohn\\n00:05:10\\nAnd this one called, \\\"The Rain, The Rain\\\".\\n \\nRon Loewinsohn\\n00:05:17\\nReads \\\"The Rain, The Rain\\\" [from Meat Air: Poems 1957-1969].\\n \\nRon Loewinsohn\\n00:06:20\\nLet me, let me do one called \\\"Fuck You With Your Home Run Title\\\". That title had to be changed, it was originally \\\"Fuck You Roger Maris [https://www.wikidata.org/wiki/Q741023]\\\", but Harcourt Brace [https://www.wikidata.org/wiki/Q5654997] didn't want to be sued. It's not as if I can't afford it, it's just that it wouldn't do anybody any good. So this is \\\"Fuck You With Your Home Run Title\\\".\\n \\nRon Loewinsohn\\n00:07:04\\nReads \\\"Fuck You With Your Home Run Title\\\" [from Meat Air: Poems 1957-1969].\\n \\nRon Loewinsohn\\n00:07:41\\nThe quote \\\"thoughts of the party were in my head\\\" is from the World Champion Weight Lifter, who is a Communist Chinese, and after he had pressed some 5,000 lbs or something they said, you know \\\"You're fantastic, how did you do it?\\\". And he said \\\"Thoughts of the party were in my head\\\". This is called \\\"Vision of Childhood''.\\n \\nRon Loewinsohn\\n00:08:15\\nReads \\\"Vision of Childhood\\\" [from Meat Air: Poems 1957-1969].\\n \\nRon Loewinsohn\\n00:10:33\\nThis is called \\\"Lots of Lakes\\\".\\n \\nRon Loewinsohn\\n00:10:37\\nReads \\\"Lots of Lakes\\\" [from Meat Air: Poems 1957-1969].\\n \\nRon Loewinsohn\\n00:12:03\\nThis is called \\\"The Sea, Around Us\\\".\\n \\nRon Loewinsohn\\n00:12:17\\nReads \\\"The Sea, Around Us\\\" [from The Sea, Around Us].\\n \\nRon Loewinsohn\\n00:15:59\\nI want to read some, most of the poems from this section called \\\"Book of Ayres\\\", and I want to explain just a little bit about it if I can, I guess the most important thing to say is that they declared themselves as a book of poems, in the middle of a final exam, I was taking an exam and one of the things that we had to deal with was a poem by Emily Dickinson [https://www.wikidata.org/wiki/Q4441], which I will read to you, it's a marvelous poem, I'd never seen it before. And it's so clearly tied all of the poems I'd been working on for the past year or so together, into a bundle, into a package. Let me read to you the, this little statement which I'd written for the publication of the book, and I, simply to insist that they are before anything else, religious poems, and I, as prepossessing as I am about them now, because I think that I may have occasion later on in the reading to call that, or you may have occasion to call that to mind. That they take, as their focus, the making, the finding of the flesh in the word, that is that the word is flesh and it has to be found as such. But let me just read this statement and then I'll read you the Emily Dickinson poem, we'll go right into the “Book of Ayres”. I hope that they're, also, that they're fun, and then you say 'religion', people say, 'uh-oh', this is going to be very grim and very heavy, and in the old sense of heavy. But I hope we can have fun with them, but simply, let me do this. All the poems in the “Book of Ayres” section Meat Air, were written with the intention, though not entirely conscious ‘til rather late in the series, of making the word flesh. That is, when the poet speaks, his words are physically only air, yet they can afford us the most sensorially tangible of experiences. Further, the poem, though merely air, is what sustains us, what the soul feeds on. The poet speaks to keep the soul of man alive, that's Yeats [https://www.wikidata.org/wiki/Q40213] in  “John Kinsella's Lament for Mrs. Mary Moore”, it's interesting that as I was grabbing for something to, for support, picked that line, because the line continues, or rather the whole passage goes \\\"And oh, but she had stories, though not for the priest's ear, to keep the soul of man alive, to banish age and care, and being old, she put a skin on everything she said.\\\" Or as Williams [https://www.wikidata.org/wiki/Q178106] puts it, \\\"It is difficult, to get the news from poems, yet we die, every day, for lack of what is found there.\\\" Yet if the word seeks to take on the actuality of flesh, of substance, substance itself, as the poet apprehends it, in the merest of tales of his life, from day to day, seeks to take on the resonating actuality of speech, to realize itself in the actuality of the word. Love itself is both a word and a continuing act or process, both an idea and a tension in the chest, viscera and genitals, a pressure toward articulation so complex that it often stifles speech. About halfway through “The Book of Ayres”, I realized that many of the poems I'd written over the past twelve years or so, had been attempting with various degrees of success to effect these transubstantiations and so, this collection. \\\"The Dickinson Poem\\\", which if you want to take a look at it is in Thomas Johnson's editions, it's number “1651”.\\n \\nRon Loewinsohn\\n00:20:02 \\nReads \\\"Poem 1651\\\" by Emily Dickinson.\\n \\nRon Loewinsohn\\n00:20:49\\nAnd one last note before starting in the book has an epigraph from Jim St. Jim. \\\"I need to take a new tack, and sit on it.\\\" The first poem's called \\\"’These Worlds Have Always Moved in Harmony’\\\".\\n \\nRon Loewinsohn\\n00:21:11\\nReads \\\"’These Worlds Have Always Moved in Harmony’\\\" [from Meat Air: Poems 1957-1969].\\n \\nUnknown\\n00:21:20\\nAmbient Sound [bell].\\n\\nRon Loewinsohn\\n00:21:22\\nWhat the hell is that? I have this terrible recollection of this story I heard about a college in the Midwest in the United States [https://www.wikidata.org/wiki/Q30] where a visiting prof came out to give a lecture on Plato [https://www.wikidata.org/wiki/Q859] or something and had this bell go off every fifteen minutes and after, it really unnerved him, and after the end of the lecture, he asked one of the people, like, \\\"What is that bell going off?\\\" and the guy, the administrator said \\\"Oh, that's to keep the students awake.\\\" I--If that's the case, God bless you, I hope we can do better than that.\\n \\nRon Loewinsohn\\n00:22:08\\nReads \\\"These Worlds Have Always Moved in Harmony\\\".\\n \\nRon Loewinsohn\\n00:23:34\\nAnd this is called \\\"The Sipapu\\\". Don't worry about the title, it clears up.\\n \\nRon Loewinsohn\\n00:23:52\\nReads \\\"The Sipapu\\\" [from Meat Air: Poems 1957-1969].\\n \\nRon Loewinsohn\\n00:27:51\\nThis is called \\\"Settling\\\".\\n \\nRon Loewinsohn\\n00:27:58\\nReads \\\"Settling\\\" [from Meat Air: Poems 1957-1969].\\n \\nRon Loewinsohn\\n00:29:48\\nThis is called, this next poem is called \\\"Paean\\\" p-a-e-a-n, paean, and is a collaboration in a sense that it's the kind of poem in which a number of people get together and contribute lines, you give me three lines, and I'll give you two lines and eventually the poem gets written, and simply to give credit where credit where credit is due, to list the people who did contribute or help out in the writing of this poem, John Dryden [https://www.wikidata.org/wiki/Q213355], William Carlos Williams, and the Associated Press [https://www.wikidata.org/wiki/Q40469].\\n \\nRon Loewinsohn\\n00:30:31\\nReads \\\"Paean\\\" [from Meat Air: Poems 1957-1969].\\n \\nRon Loewinsohn\\n00:32:12\\nThe story goes that St. Cecilia [https://www.wikidata.org/wiki/Q80513] invented the organ, and when she was playing an angel passed and mistook earth for heaven because of this fantastic music. \\\"Went to her organ vocal breath was given\\\" says John Dryden. These are a couple of songs.\\n \\nRon Loewinsohn\\n00:32:38\\nReads “Song” [from Meat Air: Poems 1957-1969; third poem entitled “Song” published in “Book of Ayres” section].\\n\\nRon Loewinsohn\\n00:32:48\\nThis one also called \\\"Song\\\".\\n \\nRon Loewinsohn\\n00:32:54\\nReads “Song\\\" [from Meat Air: Poems 1957-1969; fourth poem entitled “Song” published in “Book of Ayres” section].\\n \\nRon Loewinsohn\\n00:33:12\\nAnd this one also called \\\"Song\\\".\\n \\nRon Loewinsohn\\n00:33:18\\nReads “Song\\\" [from Meat Air: Poems 1957-1969; fifth poem entitled “Song” published in “Book of Ayres” section].\\n \\nRon Loewinsohn\\n00:33:57\\nAnd this one called \\\"Air\\\".\\n \\nRon Loewinsohn\\n00:34:01\\nReads \\\"Air\\\"  [from Meat Air: Poems 1957-1969].\\n \\nRon Loewinsohn\\n00:34:59\\nAnd this one called \\\"Goat Dance\\\".\\n \\nRon Loewinsohn\\n00:35:07\\nReads \\\"Goat Dance\\\" [from Meat Air: Poems 1957-1969; first poem entitled “Goat Dance” published in “Book of Ayres” section].\\n \\nRon Loewinsohn\\n00:36:30\\nThis one called \\\"Two Airs\\\".\\n \\nRon Loewinsohn\\n00:36:36\\nReads \\\"Two Airs\\\" [from Meat Air: Poems 1957-1969].\\n \\nRon Loewinsohn\\n00:37:31\\nAnd another one called \\\"Goat Dance\\\".\\n \\nRon Loewinsohn\\n00:37:35\\nReads \\\"Goat Dance\\\" [from Meat Air: Poems 1957-1969; third poem entitled “Goat Song” published in “Book of Ayres” section].\\n \\nRon Loewinsohn\\n00:38:48\\nAnd this, title, may perhaps need a little bit of explanation. \\\"The Romaunt of the Rose\\\", a 13th century French dream vision poem, dream allegory, written actually in two halves by Jean de Meun [https://www.wikidata.org/wiki/Q544925] and Guillaume de Lorris [https://www.wikidata.org/wiki/Q544959] I'm not sure but Chaucer [https://www.wikidata.org/wiki/Q5683] translated the first part of it, and the title comes from his title, \\\"The Romaunt of the Rose\\\". The last line of the poem, “smoot right to the herte rote” is from Chaucer's translation and it's \\\"smitten right to the heart's root\\\". And the whole, the title of the poem is \\\"The Romaunt of the Rose Fuck\\\".\\n \\nRon Loewinsohn\\n00:39:39\\nReads \\\"The Romaunt of the Rose Fuck\\\" [from Meat Air: Poems 1957-1969].\\n \\nRon Loewinsohn\\n00:40:22\\nI'll just do two more, the first one called \\\"K. 282\\\". Koechel is--don't please, be insulted that I explain that title, I read the poem in New York [https://www.wikidata.org/wiki/Q60] and a graduate student at Columbia [https://www.wikidata.org/wiki/Q49088] asked me if it meant \\\"Circa 282\\\", like circa 282, like approximately 282, and it is of course the catalogue number for the Mozart [https://www.wikidata.org/wiki/Q254] piano sonata, and it's a piano sonata, I forget which, what key it's in.\\n \\nRon Loewinsohn\\n00:41:04\\nReads \\\"K. 282\\\" [from Meat Air: Poems 1957-1969].\\n \\nRon Loewinsohn\\n00:42:02\\nAnd the last poem is the title poem of the book, \\\"Meat Air\\\".\\n \\nRon Loewinsohn\\n00:42:08\\nReads \\\"Meat Air\\\" from Meat Air: Poems 1957-1969.\\n \\nEND\\n00:43:00\\n\",\"notes\":\"Ron Loewinsohn reads from Meat Air: Poems 1957-1969 (Harcourt, Brace & World, 1970).\\n\\n00:00- Ron Loewinsohn introduces “His Music’s Like His Twenty Children” [INDEX: Meat Air by Ron Loewinsohn, published by Harcourt Brace]\\n00:30- Reads “His Music’s Like His Twenty Children”\\n01:54- Reads “It Is to Be Bathed in Light”\\n04:25- Reads “Song”\\n05:20- Reads “The Rain, The Rain”\\n06:20- Introduces “Fuck You With Your Home Run Title” [INDEX: Roger Maris: baseball \\tplayer]\\n07:04- Reads “Fuck You With Your Home Run Title”\\n07:41- Explains a line from “Fuck You With Your Home Run Title” [INDEX: Communist  \\tChinese World Champion Weight Lifter]\\n08:15- Reads “Vision of Childhood”\\n10:33- Reads “Lots of Lakes”\\n12:03- Reads “The Sea Around Us”\\n15:59- Introduces section “Book of Ayres” and Emily Dickinson Poem, “Number        \\t1651” [INDEX: “Book of Ayres” section in Meat Air, Emily Dickinson Poem from         \\tThomas Johnson’s Collection #1651, Yeats’ poem “John Kinsella’s Lament for Mrs.     \\tMary Moore”, William Carlos Williams quote, religious poetry: words are flesh, epigraph    from Jim St. Jim [sp?]]\\n20:02- Reads “1651” by Emily Dickinson\\n20:49- Introduces epigraph in Meat Air\\n21:11- Reads “These Worlds Have Always Moved in Harmony”\\n21:22- Interrupted [INDEX: Mid-Western United States]\\n22:08- Re-starts “These Worlds Have Always Moved in Harmony”\\n23:34- Reads “The Sipapu” [INDEX: South Western Native American Tradition]\\n27:51- Reads “Settling”\\n28:48- Introduces “Paean” [INDEX: Collaborative poem: John Dryden, William Carlos Williams and the Associated Press]\\n30:31- Reads “Paean”\\n32:12- Explains “Paean” [INDEX: St. Cecilia invented Organ]\\n32:38- Reads “Song: I think of you through a pain in my throat...”\\n32:48- Reads “Song: Like two apples in a tree...”\\n33:12- Reads “Song: If there is nothing but the rhythm of tears...”\\n33:57- Reads “Air”\\n34:59- Reads “Goat Dance: You inspire me...”\\n36:30- Reads “Two Airs”\\n37:31- Reads “Goat Dance: 1. In the middle of the park...”\\n38:48- Introduces “The Romaunt of the Rose Fuck” [INDEX: 13th century French Dream   allegory poetry: by Jean de Meun, Guillaume de Lorris, translated by Chaucer into “The \\tRomaunt of the Rose”]\\n39:39- Reads “The Romaunt of the Rose Fuck”\\n40:22- Introduces “K. 282” [INDEX: Koechel: Mozart piano sonata k. 282]\\n41:04- Reads “K. 282”\\n42:02- Reads “Meat Air”\\n43:00.20- END OF RECORDING\\n\\nFrom the Howard Fink List of poems:\\n*Two separate and different typed pages in print sources...\\nPAGE 1) \\nFeb 20, 1970\\n5”, mono, single track, reel, @ 3 3/4 ips; lasting 50 mins.\\n1.  “His Music is Like His Twenty Children”\\n2.  “Song” first line: “Oh her lips swell...”\\n3.  “The Rain, The Rain”\\n4.  “Fuck You With Your Home-run Title”\\n5.  “Vision of Childhood”\\n6.  “Lots of Lakes”\\n7.  “The Sea Around Us”\\n8.  “A poem by E. Dickenson”\\n9.  first line: “Angelic spirits in a winter sky...”\\n10. first line: “But originally the real world...”\\n11. “Settling”\\n12. “Paean”\\n13. “Song” first line “I think of you through a pain...”\\n14. “Song” first line “Like two apples in a tree...”\\n15. “Song” first line “If there is nothing...”\\n16. “Air”\\n17. “Goat Dance” first line “You inspire me...”\\n18. “Two Airs”\\n19. “Goat Dance” first line “In the middle of the park...”\\n20. first line “In it’s tower of bone...”\\n21. first line “In the fullness...”\\n22. “Meat Air”\\nDiscrepancies on page 2)\\n2. It is To Be Bathed In Light\\n3. Song\\n4. The Rain, The Rain\\n5. Fuck You With Your Home-Run Title\\n6. Vision of Childhood\\n7. Lots of Lakes\\n8. The Sea Around Us\\n9. These Worlds Have Always Moved In Harmony\\n10. The Cee-pah-pooh (Where The Spirit Dwells)\\n11. Settling\\n12. Paean\\n13. I Think Of You With A Pain In My Throat\\n14. Song\\n15. Song\\n16. Air\\n17. Goat Dance\\n18.Two Airs\\n19. Goat Dance\\n20.The Ro-- Of The Rose\\n21. Kercshal 282\\n22. Meat Air\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/ron-loewinsohn-at-sgwu-1970-2/\"}]"],"score":2.1907105},{"id":"1286","cataloger_name":["Bindu,Reddy"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Frank Davey at Sir George Williams University, The Poetry Series, 6 February 1970"],"item_title_source":["Cataloguer"],"item_title_note":["\"FRANK DAVEY Recorded February 6, 1970 3.75 ips on 1 mil. tape, 1/2 track\" written on sticker on the back of the tape's box. \"FRANK DAVEY I006/SR48\" written on sticker on the spine of the tape's box. \"I006-11-048\" written on sticker on the reel\n"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 4"],"item_identifiers":["[]"],"creator_names":["Davey, Frank"],"creator_names_search":["Davey, Frank"],"creators":["[{\"url\":\"http://viaf.org/viaf/5029235\",\"name\":\"Davey, Frank\",\"dates\":\"1940-\",\"notes\":\"Poet, critic and editor Frank Davey was born in Vancouver in 1940. He received his B.A. and M.A. from the University of British Columbia, where he co-founded and edited the influential Tish magazine from 1961-1969. Davey’s first book of poetry was published in 1963, called D-Day and after (Tishbooks), which was followed by Bridge force (Contact Press, 1965) and The scarred hull (Imago, 1966). Davey founded Open Letter, a journal of avant-garde writing and theory(which is still being published) in 1965. He then completed a Ph.D. in 1968 at the University of Southern California, with a thesis on the Black Mountain poetics. His poems from this period were collected and published in 1972 in L’an trentiesme: selected poems 1961-1970 (Community Press, 1970). Davey’s most influential poetry was produced in the early 70’s, with Weeds (Coach House Press, 1970), Four Myths for Sam Perry (Talon Books, 1970), King of swords (Talon Books, 1972), Arcana (Coach House Press, 1973), and The Clallam (Talon Books, 1973). Davey’s criticism of the period was collected in From There to Here: A Guide to English-Canadian Literature Since 1960 (Porcepic Press, 1974), his 1976 essay of the same title, published in Surviving the Paraphrase (Turnstone Press, 1983) and Reading Canadian reading (Turnstone, 1988). bp Nichol wrote an important introduction for Davey’s Selected poems: the arches (Talon Books, 1980). Davey has documented and written on Canadian authors such as Margaret Atwood, Earle Birney, Louis Dudek and Raymond Souster among others, focusing on Canadian small-press poets who would have been looked over by bigger presses. His own poetry appeared in Capitalistic affection (Coach House Press, 1982), Edward and Patricia (Coach House Press, 1984), The Louis Riel organ and piano company (Turnstone, 1985), The Abbotsford guide to India (Porcepic, 1986) and Popular narratives (Talon Books, 1991). Davey founded Swift Current, a literary journal database published from 1984 to 1990. Davey has taught in Montreal, Toronto’s York University, and was the Carl F. Klinck professor of Canadian Literature at the University of Western Ontario at the time of his retirement in 2005. His criticism and poetics of the 90‘s include Post-national arguments: the politics of the Anglophone-Canadian novel since 1967 (University of Toronto Press, 1993), Canadian literary power (NeWest, 1994), Reading ‘Kim’ Right (Talon Books, 1993) and Karla’s Web (Viking, 1994). He continues to publish poetry, Poems Suitable to Current Material Conditions (2014) and Motel Homage for Greg Curnoe (2014) being his most recent publications. \",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Fink, Howard"],"contributors_names_search":["Fink, Howard"],"contributors":["[{\"url\":\"http://viaf.org/viaf/6332801\",\"name\":\"Fink, Howard\",\"dates\":\"1934-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Presenter\"]}]"],"Presenter_name":["Fink, Howard"],"Series_organizer_name":["Fink, Howard"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1970 2 6\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the back of the tape's box\\n\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["Frank Davey reads from Four Myths for Sam Perry (Talonbooks, 1970) and Weeds (Coach House Press, 1970), as well as poems published later in Arcana (Coach House Press, 1973)."],"contents":["frank_davey_i006-11-048.mp3\n \nHoward Fink\n00:00:00\nFrank's a West Coast poet, as you know if you've been reading the entertainment section of the Montreal Star [https://www.wikidata.org/wiki/Q3521910], editor of, founding editor of Tish [https://www.wikidata.org/wiki/Q2384384], and of the Open Letter, prolific poet, and poeticist. His last two books Four Myths for Sam Perry and Weeds are at the publishers', and Myths for Sam Perry will be appearing in a month or so. Without further introduction, Frank Davey [https://www.wikidata.org/wiki/Q1443126].\n \nFrank Davey\n00:00:36\nThe first poems I'm going to read this evening are ones which came out of my experiences in my first marriage. My own feeling about reading poetry is that the poem is exposed to the audience at a much faster rate than what the poem is when it's on the page, and excuse me, I'm going to give you a fair bit of background material on some of these poems. These are a collection of prose poems.\n \nFrank Davey\n00:01:20\nReads unnamed poem.\n \nFrank Davey\n00:02:13\nReads “Counting” [from Weeds].\n\nFrank Davey\n00:03:11\nReads \"The Bandit\" [from Weeds]. \n \nFrank Davey\n00:04:08\nTo me some of these poems are remarkable because at the time I didn't know this marriage was breaking up and some of the, some of the poems as you can see are about experiences other than marriage and suddenly I realize of course as these poems were progressing, in particular toward the end, that the message was certainly that there was something rather infertile in my whole life, I mean even in the next poem I'm going to read, I didn't catch on, I thought, 'oh well, I'll write this poem, I can't really show it to my wife, but you know, so what'.\n \nFrank Davey\n00:04:44\nReads \"Mealtimes\" [from Weeds].\n \nFrank Davey\n00:05:46\nReads \"The Place\" [from Weeds].\n \nFrank Davey\n00:06:39\nThese poems actually form a sequence, I'm only giving you certain examples of them and jumping ahead and now the cat is suddenly in the next poem as if it hadn't left.\n \nFrank Davey\n00:06:52\nReads \"The Calling\" [from Weeds].\n \nFrank Davey\n00:08:08\nWell by this point in the sequence, the message was beginning to become more available to me. I was, I admit beginning to understand what I was writing by this point. I've always felt that it's important to write a poem whether or not you realize its significance or its relevance to your own life that you go ahead and write the poem anyway. And in this particular sequence, my own faith that poetry can reveal things to you, that the process of writing poems is a process of discovery, that in fact poems teach the poet, rather than the poet teaching the poems. The poems are wiser than the poet, if you want to look at it that way. This was--seemed to be borne out. \n\nFrank Davey\n00:09:15\nReads \"Leaves\" [from Weeds].\n \nFrank Davey\n00:10:25\nReads \"A Letter\" [from Weeds].\n \nFrank Davey\n00:11:35\nReads \"Them Apples\" [from Weeds].\n \nFrank Davey\n00:12:39\nReads \"I Do Not Write Poems\" [from Weeds].\n \nFrank Davey\n00:13:40\nReads \"Red\" [from Weeds].\n \nFrank Davey\n00:14:41\nMany ways experience played into the hands of the poems, very nice that the most disastrous years of that marriage happened to begin in a summertime situation, and to end in winter, so that the seasonal, the cycle of the seasons could play its part in the poem. But on the other hand, perhaps that wasn't accidental. One doesn't want to question these things after they've worked for you. Group of poems that are collected in the book, which Howard Fink spoke about in his introduction, Four Myths for Sam Perry.\n \nFrank Davey\n00:15:39\nReads \"Sentences of Welcome\" from Four Myths for Sam Perry.\n \nFrank Davey\n00:17:00\nI had the fortune, I was going to say good fortune, I had the fortune of being in Los Angeles [https://www.wikidata.org/wiki/Q65] during the Watts Riots in 1965 [https://www.wikidata.org/wiki/Q377682], and living in the riot area. I was very busy at the time and that particular experience I haven't really even begun to deal with.\n \nFrank Davey\n00:17:26\nReads \"Watts, 1965\" [from Four Myths for Sam Perry].\n \nFrank Davey\n00:18:34.12\nAt that time, in Vietnam [https://www.wikidata.org/wiki/Q881], the most contested piece of property was Hill 488. And most of us know that mountains have a peculiar history of being sacred to human beings, Olympus [https://www.wikidata.org/wiki/Q80344], Fuji [https://www.wikidata.org/wiki/Q39231], Sinai [https://www.wikidata.org/wiki/Q377485], there's a mountain in China [https://www.wikidata.org/wiki/Q148] called Tai Shan [https://www.wikidata.org/wiki/Q216059], I believe Confucius [https://www.wikidata.org/wiki/Q4604] made a pilgrimage up this mountain, which is apparently so sacred that the Chinese had carved thousands of steps all the way up to the summit of the mountain. There are mountains, of course, in the Himalayas [https://www.wikidata.org/wiki/Q5451], which house monasteries and which monks so far have successfully prevented anyone from climbing.\n \nFrank Davey\n00:19:39\nReads \"Hill 488\" [from Four Myths for Sam Perry].\n \nFrank Davey\n00:20:27\nDrongo is a purple bird that is peculiar to Southeast Asia [https://www.wikidata.org/wiki/Q11708], one of the things which is never really thought of in times of conflict are all of the more, well very specific natural features of the landscape which of course are threatened by destruction in such times. We think of the problems of the defoliant in South Vietnam, when what they estimate now that more than 10% of the country has been treated with defoliant. We don't think of the individual examples of the flora and fauna which may be threatened with extinction because of this defoliation. Man of course is only one of the many inhabitants of this planet and although it is certainly a despicable thing that the biological function of human beings have been interfered with by the defoliation, children are being born malnourished, these are not the only sufferers. \n \nFrank Davey\n00:21:58\nReads \"The Drongo\" [from Four Myths for Sam Perry].\n \nUnknown\n00:23:27\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nFrank Davey\n00:23:28\nAnd of course in the middle of this, there are tankers sinking.\n \nFrank Davey\n00:23:35\nReads \"Torrey Canyon\" [from Four Myths for Sam Perry].\n \nFrank Davey\n00:24:29\nWell actually for the past three years I've been writing poems, from the tarot pack. I've been somewhat disappointed to learn that all kinds of other poets have been doing this at the same time. They're getting their stuff into print but I haven't bothered because I was going to do all 88 cards and publish them all at once. At any rate, I'm going to say some more about the tarot pack later but this particular poem comes out of the tarot pack from the Emperor card and has a peculiar affinity to the poems I've just been reading.\n \nFrank Davey\n00:25:20\nReads \"The Emperor\" [published later as “Manuscript, 4 December, 1970, title ‘The Emperor’” in Arcana].\n \nFrank Davey\n00:27:03\nReads \"When\" [from Four Myths for Sam Perry]\n \nFrank Davey\n00:27:56\nBut there is also of course, another side of the coin.\n \nFrank Davey\n00:27:59\nReads \"For her, a Spring\" [from Four Myths for Sam Perry].\n \nFrank Davey\n00:30:39\nThe next poem is entitled \"A Light Poem\". For lack of a better descriptive term, I might call myself an anti-humanist, this is of course the--it's almost become a category, I thought it was unique at one point, but it's become of late a category. I think more and more people are realizing that man is not capable of appointing himself as manager, or he's capable of appointing himself, he's not capable of acting out his self-appointment as manager of this planet. That in fact, his capabilities at managing certain areas create problems that are multiples of the ones he has solved. And that the humanist dream of man through his own rationality creating a nearly utopian existence, coming to understand the workings of the universe in such a way that he can bend them to his own use, but this dream has not going to come true. And of course, one of the ways that this feeling in men has been manifested has been his utilization of light and energy, and well, to the poem. \"A Light Poem\".\n \nFrank Davey\n00:32:25\nReads \"A Light Poem\" [from Four Myths for Sam Perry]..\n \nUnknown\n00:37:24\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nFrank Davey\n00:37:25\nRecently I have been writing poems from tarot cards. I have noticed a couple of things about the tarot cards that are very important for the poems. One of these is that the female symbol seems to be the most important symbol in the deck and it seems to suggest that the universe itself is essentially feminine in nature, that the fertility of the universe is feminine. Another aspect of the cards suggests that the nature of the universe is such that all sorts of mysterious things can happen to it without our understanding them. That there are all sorts of forces indicated in these cards that are essentially outside of our control. This poem, entitled \"To Win at Cards\". Tarot cards are not cards whose primary purpose is to play a game. The decks of cards with which we are all familiar with are cards where you play a game, the object of course of playing cards is to win at cards. And winning of course, is something which we are all brought up to wish, so one of the things about our competitive society that makes it work is that we all want to win. And card games help indoctrinate us in this direction. Cards, can also tell you things, this is the thing that the tarot cards have in common with poetry, is that people don't win in poetry, you don't write a better poem than somebody else in order to win prizes or to--you don't use poems in order to seduce a girl, or you don't use poems in order to accomplish any kind of end outside of the end of writing the poem. If you do, your allegiance is not to the poem and it's to something else and you're prostituting the poem. The only thing which can win at poetry is the poem itself, and this is where the poet ought to apply his effort to, is to helping the poem win.\n \nFrank Davey\n00:40:15\nReads \"To Win at Cards\" published later in Arcana].\n \nFrank Davey\n00:41:20\nThis poem, entitled \"The Hermit\", one of the figures on the cards. The card happened to cause me to recall a childhood memory of an earthquake.\n \nFrank Davey\n00:41:35\nReads \"The Hermit\" [published later in Arcana].\n \nFrank Davey\n00:42:49\nIt became very clear to me writing these Tarot poems that indeed there were many things outside of one's control and my wife and I were putting together a jigsaw puzzle of the moon, I think it was a satellite photograph of one side of the moon, and things started to go wrong.\n \nFrank Davey\n00:43:16\nReads [“Luna”, published later in Arcana].\n \nFrank Davey\n00:44:52\nThroughout history of course, men have been obsessed with the idea of being displaced by another man. Either in the seat--in the kingdom, or in the favors of the special woman in their lives. We have in mythology of course, many myths of Gods being displaced very often by their children. In Greek drama of course, the classical example is the Oedipus [https://www.wikidata.org/wiki/Q130890] myth where Laius [https://www.wikidata.org/wiki/Q463898] and Jocasta [https://www.wikidata.org/wiki/Q131445] have their married lives disrupted by their son, Oedipus. This is a poem about this particular fear. Fear of being displaced by someone younger, very often, fear of being displaced by one's own son, although that's not necessarily integral to the poem.\n \nFrank Davey\n00:45:53\nReads [\"Menelaus, To You\", published later in Arcana].\n \nFrank Davey\n00:47:19\nIf you choose to go to war with the natural environment, strange things happen. “King of Pentacles” is wrapped in a coat of binds.\n \nFrank Davey\n00:47:34\nReads \"King of Pentacles\" [published later in Arcana].\n \nFrank Davey\n00:48:44\nTimes when men do the right things, or seem to do the right things. A poem called \"The Caughnawaga Bell\".\n \nFrank Davey\n00:48:55\nReads \"The Caughnawaga Bell\" [published later in Arcana].\n \nFrank Davey\n00:50:32\nI'd like to conclude with a couple of poems about the whole problem of writing. It's always a problem for a poet to keep the process of writing going. One of the tricks of poets of course is always to write poems about the fact that the process of writing isn't going. I have a number of these. \"The Mountain\".\n \nFrank Davey\n00:51:06\nReads \"The Mountain\" [from Four Myths for Sam Perry].\n \nFrank Davey\n00:51:50\nOf course, the thing is, as soon as you begin to pay homage to the fact that you're having trouble writing a poem and express your will to, you are in fact being repaid. As soon as I remembered this myth of Popocatepetl [https://www.wikidata.org/wiki/Q1782392] and you know, the earth literally repaying the boy for his homage representing him with a mountain. If you couldn't grow corn on it, at least you could lure the Yankees down to look at. [Audience laughter].\n \nFrank Davey\n00:52:24\nReads \"The Bells\" [from Four Myths for Sam Perry].\n \nFrank Davey\n00:53:33\nThis poem, entitled \"The Making\".\n \nFrank Davey\n00:53:41\nReads \"The Making\" [from Four Myths for Sam Perry].\n \nFrank Davey\n00:55:34\nAnd so, I wish you all good winds!\n \nEND\n00:55:37\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1970, Frank Davey had written both Weeds and Four Myths for Sam Perry, and his poems were collected in L’an Trentiesme: Selected Poems 1961-1970, all published that year. He was the writer-in-residence at Sir George Williams University from 1969-1970.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nFrank Davey’s influence reaches farther than his numerous publications, as he was devoted to the publication of other new poets and to the little magazine in Canada. A founding member of Tish, along with Fred Wah and George Bowering (a magazine responsible for a re-birth of poetry in Vancouver and the publication of some of the most important figures in Canadian poetry today) and as a managing editor of Toronto’s Coach House Press, Davey has also documented his fellow poets through bibliographies and biographies. Davey and Bowering no doubt had a long history together, starting in Vancouver, and Bowering most likely invited Davey to Sir George Williams University to read in this series. \",\"type\":\"General\"},{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tap>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/contemporary-canadian-poem-anthology/oclc/476332314&referer=brief_results\",\"citation\":\"Bowering, George, ed. The Contemporary Canadian Poem Anthology. Toronto: Coach House Press, 1984. \"},{\"url\":\"https://www.worldcat.org/title/from-there-to-here-a-guide-to-english-canadian-literature-since-1960-ii-our-nature-our-voices/oclc/878901819&referer=brief_results\",\"citation\":\"Bowering, George. “Davey, Frank”. From There to Here: A Guide to English-Canadian Literature Since 1960, Our Nature-Our Voices II. Frank Davey.  Erin, Ontario: Press Porcepic, 1974. \"},{\"url\":\"https://www.worldcat.org/title/arcana/oclc/655182833&referer=brief_results\",\"citation\":\"Davey, Frank. Arcana. Toronto: Coach House Press, 1973. \"},{\"url\":\"https://www.worldcat.org/title/four-myths-for-sam-perry/oclc/422678742&referer=brief_results\",\"citation\":\"Davey, Frank. Four Myths for Sam Perry. Vancouver: Talonbooks, 1970. \"},{\"url\":\"https://www.worldcat.org/title/weeds-poems-by-frank-davey/oclc/639736215&referer=brief_results\",\"citation\":\"Davey, Frank. Weeds. Toronto: Coach House Press, 1970. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Scobie, Stephen. \\\"Davey, Frank\\\".  The Oxford Companion to Canadian Literature. Eugene Benson and William Toye (eds). Oxford University Press 2001. \"},{\"url\":\"https://www.worldcat.org/title/encyclopedia-of-post-colonial-literatures-in-english-vol2/oclc/1156824609&referer=brief_results\",\"citation\":\"Whiteman, Bruce. “Davey, Frank (1940-)”. Routledge Encyclopedia of Post-Colonial Literatures in English. Benson, Eugene; Conolly, L.W. (eds). London: Routledge, 1994. 2v. \"}]"],"_version_":1853670548974862336,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I006_11_0048_back.jpg\",\"file_path\":\"\",\"filename\":\"I006_11_0048_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Frank Davey 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/I006_11_0048_front.jpg\",\"file_path\":\"\",\"filename\":\"I006_11_0048_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Frank Davey Tape Box - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I006_11_0048_side.jpg\",\"file_path\":\"\",\"filename\":\"I006_11_0048_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Frank Davey Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I006_11_0048_tape.jpg\",\"file_path\":\"\",\"filename\":\"I006_11_0048_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Frank Davey Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/frank_davey_i006-11-048.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"frank_davey_i006-11-048.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:55:37\",\"precision\":\"\",\"size\":\"133.5 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Howard Fink\\n00:00:00\\nFrank's a West Coast poet, as you know if you've been reading the entertainment section of the Montreal Star [https://www.wikidata.org/wiki/Q3521910], editor of, founding editor of Tish [https://www.wikidata.org/wiki/Q2384384], and of the Open Letter, prolific poet, and poeticist. His last two books Four Myths for Sam Perry and Weeds are at the publishers', and Myths for Sam Perry will be appearing in a month or so. Without further introduction, Frank Davey [https://www.wikidata.org/wiki/Q1443126].\\n \\nFrank Davey\\n00:00:36\\nThe first poems I'm going to read this evening are ones which came out of my experiences in my first marriage. My own feeling about reading poetry is that the poem is exposed to the audience at a much faster rate than what the poem is when it's on the page, and excuse me, I'm going to give you a fair bit of background material on some of these poems. These are a collection of prose poems.\\n \\nFrank Davey\\n00:01:20\\nReads unnamed poem.\\n \\nFrank Davey\\n00:02:13\\nReads “Counting” [from Weeds].\\n\\nFrank Davey\\n00:03:11\\nReads \\\"The Bandit\\\" [from Weeds]. \\n \\nFrank Davey\\n00:04:08\\nTo me some of these poems are remarkable because at the time I didn't know this marriage was breaking up and some of the, some of the poems as you can see are about experiences other than marriage and suddenly I realize of course as these poems were progressing, in particular toward the end, that the message was certainly that there was something rather infertile in my whole life, I mean even in the next poem I'm going to read, I didn't catch on, I thought, 'oh well, I'll write this poem, I can't really show it to my wife, but you know, so what'.\\n \\nFrank Davey\\n00:04:44\\nReads \\\"Mealtimes\\\" [from Weeds].\\n \\nFrank Davey\\n00:05:46\\nReads \\\"The Place\\\" [from Weeds].\\n \\nFrank Davey\\n00:06:39\\nThese poems actually form a sequence, I'm only giving you certain examples of them and jumping ahead and now the cat is suddenly in the next poem as if it hadn't left.\\n \\nFrank Davey\\n00:06:52\\nReads \\\"The Calling\\\" [from Weeds].\\n \\nFrank Davey\\n00:08:08\\nWell by this point in the sequence, the message was beginning to become more available to me. I was, I admit beginning to understand what I was writing by this point. I've always felt that it's important to write a poem whether or not you realize its significance or its relevance to your own life that you go ahead and write the poem anyway. And in this particular sequence, my own faith that poetry can reveal things to you, that the process of writing poems is a process of discovery, that in fact poems teach the poet, rather than the poet teaching the poems. The poems are wiser than the poet, if you want to look at it that way. This was--seemed to be borne out. \\n\\nFrank Davey\\n00:09:15\\nReads \\\"Leaves\\\" [from Weeds].\\n \\nFrank Davey\\n00:10:25\\nReads \\\"A Letter\\\" [from Weeds].\\n \\nFrank Davey\\n00:11:35\\nReads \\\"Them Apples\\\" [from Weeds].\\n \\nFrank Davey\\n00:12:39\\nReads \\\"I Do Not Write Poems\\\" [from Weeds].\\n \\nFrank Davey\\n00:13:40\\nReads \\\"Red\\\" [from Weeds].\\n \\nFrank Davey\\n00:14:41\\nMany ways experience played into the hands of the poems, very nice that the most disastrous years of that marriage happened to begin in a summertime situation, and to end in winter, so that the seasonal, the cycle of the seasons could play its part in the poem. But on the other hand, perhaps that wasn't accidental. One doesn't want to question these things after they've worked for you. Group of poems that are collected in the book, which Howard Fink spoke about in his introduction, Four Myths for Sam Perry.\\n \\nFrank Davey\\n00:15:39\\nReads \\\"Sentences of Welcome\\\" from Four Myths for Sam Perry.\\n \\nFrank Davey\\n00:17:00\\nI had the fortune, I was going to say good fortune, I had the fortune of being in Los Angeles [https://www.wikidata.org/wiki/Q65] during the Watts Riots in 1965 [https://www.wikidata.org/wiki/Q377682], and living in the riot area. I was very busy at the time and that particular experience I haven't really even begun to deal with.\\n \\nFrank Davey\\n00:17:26\\nReads \\\"Watts, 1965\\\" [from Four Myths for Sam Perry].\\n \\nFrank Davey\\n00:18:34.12\\nAt that time, in Vietnam [https://www.wikidata.org/wiki/Q881], the most contested piece of property was Hill 488. And most of us know that mountains have a peculiar history of being sacred to human beings, Olympus [https://www.wikidata.org/wiki/Q80344], Fuji [https://www.wikidata.org/wiki/Q39231], Sinai [https://www.wikidata.org/wiki/Q377485], there's a mountain in China [https://www.wikidata.org/wiki/Q148] called Tai Shan [https://www.wikidata.org/wiki/Q216059], I believe Confucius [https://www.wikidata.org/wiki/Q4604] made a pilgrimage up this mountain, which is apparently so sacred that the Chinese had carved thousands of steps all the way up to the summit of the mountain. There are mountains, of course, in the Himalayas [https://www.wikidata.org/wiki/Q5451], which house monasteries and which monks so far have successfully prevented anyone from climbing.\\n \\nFrank Davey\\n00:19:39\\nReads \\\"Hill 488\\\" [from Four Myths for Sam Perry].\\n \\nFrank Davey\\n00:20:27\\nDrongo is a purple bird that is peculiar to Southeast Asia [https://www.wikidata.org/wiki/Q11708], one of the things which is never really thought of in times of conflict are all of the more, well very specific natural features of the landscape which of course are threatened by destruction in such times. We think of the problems of the defoliant in South Vietnam, when what they estimate now that more than 10% of the country has been treated with defoliant. We don't think of the individual examples of the flora and fauna which may be threatened with extinction because of this defoliation. Man of course is only one of the many inhabitants of this planet and although it is certainly a despicable thing that the biological function of human beings have been interfered with by the defoliation, children are being born malnourished, these are not the only sufferers. \\n \\nFrank Davey\\n00:21:58\\nReads \\\"The Drongo\\\" [from Four Myths for Sam Perry].\\n \\nUnknown\\n00:23:27\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nFrank Davey\\n00:23:28\\nAnd of course in the middle of this, there are tankers sinking.\\n \\nFrank Davey\\n00:23:35\\nReads \\\"Torrey Canyon\\\" [from Four Myths for Sam Perry].\\n \\nFrank Davey\\n00:24:29\\nWell actually for the past three years I've been writing poems, from the tarot pack. I've been somewhat disappointed to learn that all kinds of other poets have been doing this at the same time. They're getting their stuff into print but I haven't bothered because I was going to do all 88 cards and publish them all at once. At any rate, I'm going to say some more about the tarot pack later but this particular poem comes out of the tarot pack from the Emperor card and has a peculiar affinity to the poems I've just been reading.\\n \\nFrank Davey\\n00:25:20\\nReads \\\"The Emperor\\\" [published later as “Manuscript, 4 December, 1970, title ‘The Emperor’” in Arcana].\\n \\nFrank Davey\\n00:27:03\\nReads \\\"When\\\" [from Four Myths for Sam Perry]\\n \\nFrank Davey\\n00:27:56\\nBut there is also of course, another side of the coin.\\n \\nFrank Davey\\n00:27:59\\nReads \\\"For her, a Spring\\\" [from Four Myths for Sam Perry].\\n \\nFrank Davey\\n00:30:39\\nThe next poem is entitled \\\"A Light Poem\\\". For lack of a better descriptive term, I might call myself an anti-humanist, this is of course the--it's almost become a category, I thought it was unique at one point, but it's become of late a category. I think more and more people are realizing that man is not capable of appointing himself as manager, or he's capable of appointing himself, he's not capable of acting out his self-appointment as manager of this planet. That in fact, his capabilities at managing certain areas create problems that are multiples of the ones he has solved. And that the humanist dream of man through his own rationality creating a nearly utopian existence, coming to understand the workings of the universe in such a way that he can bend them to his own use, but this dream has not going to come true. And of course, one of the ways that this feeling in men has been manifested has been his utilization of light and energy, and well, to the poem. \\\"A Light Poem\\\".\\n \\nFrank Davey\\n00:32:25\\nReads \\\"A Light Poem\\\" [from Four Myths for Sam Perry]..\\n \\nUnknown\\n00:37:24\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nFrank Davey\\n00:37:25\\nRecently I have been writing poems from tarot cards. I have noticed a couple of things about the tarot cards that are very important for the poems. One of these is that the female symbol seems to be the most important symbol in the deck and it seems to suggest that the universe itself is essentially feminine in nature, that the fertility of the universe is feminine. Another aspect of the cards suggests that the nature of the universe is such that all sorts of mysterious things can happen to it without our understanding them. That there are all sorts of forces indicated in these cards that are essentially outside of our control. This poem, entitled \\\"To Win at Cards\\\". Tarot cards are not cards whose primary purpose is to play a game. The decks of cards with which we are all familiar with are cards where you play a game, the object of course of playing cards is to win at cards. And winning of course, is something which we are all brought up to wish, so one of the things about our competitive society that makes it work is that we all want to win. And card games help indoctrinate us in this direction. Cards, can also tell you things, this is the thing that the tarot cards have in common with poetry, is that people don't win in poetry, you don't write a better poem than somebody else in order to win prizes or to--you don't use poems in order to seduce a girl, or you don't use poems in order to accomplish any kind of end outside of the end of writing the poem. If you do, your allegiance is not to the poem and it's to something else and you're prostituting the poem. The only thing which can win at poetry is the poem itself, and this is where the poet ought to apply his effort to, is to helping the poem win.\\n \\nFrank Davey\\n00:40:15\\nReads \\\"To Win at Cards\\\" published later in Arcana].\\n \\nFrank Davey\\n00:41:20\\nThis poem, entitled \\\"The Hermit\\\", one of the figures on the cards. The card happened to cause me to recall a childhood memory of an earthquake.\\n \\nFrank Davey\\n00:41:35\\nReads \\\"The Hermit\\\" [published later in Arcana].\\n \\nFrank Davey\\n00:42:49\\nIt became very clear to me writing these Tarot poems that indeed there were many things outside of one's control and my wife and I were putting together a jigsaw puzzle of the moon, I think it was a satellite photograph of one side of the moon, and things started to go wrong.\\n \\nFrank Davey\\n00:43:16\\nReads [“Luna”, published later in Arcana].\\n \\nFrank Davey\\n00:44:52\\nThroughout history of course, men have been obsessed with the idea of being displaced by another man. Either in the seat--in the kingdom, or in the favors of the special woman in their lives. We have in mythology of course, many myths of Gods being displaced very often by their children. In Greek drama of course, the classical example is the Oedipus [https://www.wikidata.org/wiki/Q130890] myth where Laius [https://www.wikidata.org/wiki/Q463898] and Jocasta [https://www.wikidata.org/wiki/Q131445] have their married lives disrupted by their son, Oedipus. This is a poem about this particular fear. Fear of being displaced by someone younger, very often, fear of being displaced by one's own son, although that's not necessarily integral to the poem.\\n \\nFrank Davey\\n00:45:53\\nReads [\\\"Menelaus, To You\\\", published later in Arcana].\\n \\nFrank Davey\\n00:47:19\\nIf you choose to go to war with the natural environment, strange things happen. “King of Pentacles” is wrapped in a coat of binds.\\n \\nFrank Davey\\n00:47:34\\nReads \\\"King of Pentacles\\\" [published later in Arcana].\\n \\nFrank Davey\\n00:48:44\\nTimes when men do the right things, or seem to do the right things. A poem called \\\"The Caughnawaga Bell\\\".\\n \\nFrank Davey\\n00:48:55\\nReads \\\"The Caughnawaga Bell\\\" [published later in Arcana].\\n \\nFrank Davey\\n00:50:32\\nI'd like to conclude with a couple of poems about the whole problem of writing. It's always a problem for a poet to keep the process of writing going. One of the tricks of poets of course is always to write poems about the fact that the process of writing isn't going. I have a number of these. \\\"The Mountain\\\".\\n \\nFrank Davey\\n00:51:06\\nReads \\\"The Mountain\\\" [from Four Myths for Sam Perry].\\n \\nFrank Davey\\n00:51:50\\nOf course, the thing is, as soon as you begin to pay homage to the fact that you're having trouble writing a poem and express your will to, you are in fact being repaid. As soon as I remembered this myth of Popocatepetl [https://www.wikidata.org/wiki/Q1782392] and you know, the earth literally repaying the boy for his homage representing him with a mountain. If you couldn't grow corn on it, at least you could lure the Yankees down to look at. [Audience laughter].\\n \\nFrank Davey\\n00:52:24\\nReads \\\"The Bells\\\" [from Four Myths for Sam Perry].\\n \\nFrank Davey\\n00:53:33\\nThis poem, entitled \\\"The Making\\\".\\n \\nFrank Davey\\n00:53:41\\nReads \\\"The Making\\\" [from Four Myths for Sam Perry].\\n \\nFrank Davey\\n00:55:34\\nAnd so, I wish you all good winds!\\n \\nEND\\n00:55:37\\n\",\"notes\":\"Frank Davey reads from Four Myths for Sam Perry (Talonbooks, 1970) and Weeds (Coach House Press, 1970), as well as poems published later in Arcana (Coach House Press, 1973).\\n\\n00:00- Howard Fink introduces Frank Davey. [INDEX: West Coast poet, Montreal Star, founding editor of Tish, Open Letter, Four Myths for Sam Perry, Weeds in publication]\\n00:36- Frank Davey introduces poetry reading [INDEX: reading poetry, first marriage, prose poems]\\n01:20- Reads “How We Are” first line “How alone we are from each other...”\\n03:11- Reads “The Bandit”\\n04:08- Introduces next group of poems [INDEX: marriage, process of writing]\\n04:44- Reads “Meal Times”\\n05:46- Reads “The Place”\\n06:39- Explains that poems are in a sequence\\n06:52- Reads “The Calling”\\n08:08- Explains process of writing these poems [INDEX: process of writing]\\n09:15- Reads “Leaves”\\n10:25- Reads “A Letter”\\n11:35- Reads “Them Apples”\\n12:39- Reads “I Do Not Write Poems”\\n13:40- Reads “Red and Where is Love?”\\n14:41- Introduces group of poems from Four Myths for Sam Perry\\n15:39- Reads “Sentences of Welcome”\\n17:00- Introduces “Watts, 1965” [INDEX: Watts Riot in 1965, Los Angeles,]\\n17:26- Reads “Watts, 1965”\\n18:34- Introduces “Hill 488” [INDEX: Vietnam, Hill 488, Olympus, Fuji, Sinai, Tai Shan,        Confucius, Himalayas.]\\n19:39- Reads “Hill 488”\\n20:27- Introduces “The Drongo” [INDEX: Drongo bird, South East Asia, conflict, South       Vietnam, destruction of flora and fauna during war, defoliation]\\n21:58- Reads “The Drongo”\\n23:35- Reads “Torrey Canyon”\\n24:29- Introduces “The Emperor” [INDEX: tarot cards, Emperor card]\\n25:29- Reads “The Emperor”\\n27:03- Reads “When”\\n27:59- Reads “For Her, a Spring”\\n30:39- Introduces “A Light Poem” [INDEX: anti-humanism, light and energy]\\n32:25- Reads “A Light Poem”\\n37:25- Introduces “To Win at Cards” [INDEX: tarot cards]\\n40:15- Reads “To Win at Cards”\\n41:20- Introduces “The Hermit”\\n41:35- Reads “The Hermit”\\n42:49- Introduces “The Moon” first line “When the moon demanded that...” [INDEX: tarot    cards, moon]\\n43:16- Reads “The Moon”\\n44:52- Introduces “A Child” [INDEX: mythology of Oedipus]\\n45:53- Reads “A Child”\\n47:19- Introduces “King of Pentacles”\\n47:34- Reads “King of Pentacles”\\n48:44- Introduces “The Caughnawaga Bell”\\n48:55- Reads “The Caughnawaga Bell”\\n50:32- Introduces “The Mountain” [INDEX: process of writing’]\\n51:06- Reads “The Mountain”\\n51:50- Explains “The Mountain” [INDEX: myth of Popocatepetl ]\\n52:24- Reads “The Bells”\\n53:33- Reads “The Making”\\n55:37.72- END OF RECORDING\\n \\nHoward Fink List:\\nFrank Davey\\nRecorded Feb 6, 1970\\n \\n1.  “How Alone We Are”\\n2.  “Counting”\\n3.  “The Bandit”\\n4.  “Mealtimes”\\n5.  “The Place”\\n6.  “The Calling”\\n7.  “Leaves”\\n8.  “A Letter”\\n9.  “Them Apples”\\n10. “I Do Not Write Poems”\\n11. “Red”\\n12. “Sentences of Welcome”\\n13. “Watts- 1965”\\n14. “Hill 488”\\n15. “The Drongo”\\n16. “Tory Canyon”\\n17. “The Emperor”\\n18. “When”\\n19. “For Her A Spring” (serial poem)\\n20. “A Light Poem” (serial poem)\\n21. “To Win at Cards”\\n22. “The Hermit”\\n23. “The Moon”\\n24. “The Child”\\n25. “The Horned God”\\n26. (something missing) Vines...\\n27. “King of Pentacles”\\n28.“The Caughnawaga Bell”\\n29. “The Mountain”\\n30. “The Bell”\\n31.  “The Making”\\npg. 69\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/frank-davey-at-sgwu-1970-howard-fink/\"}]"],"score":2.1907105},{"id":"1287","cataloger_name":["Bindu,Reddy"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["David Ball and Tom Raworth at Sir George Williams University, The Poetry Series, 4 March 1970"],"item_title_source":["Cataloguer"],"item_title_note":["\"David Ball and Tom Raworth Reading at Sir George Williams University, 1970\" written on sticker on the back of the tape's box: \"BALL & RAWORTH Recorded March 4, 1970 3.75 ips, 1/2 track on 1 mil tape\". \n\n\"Ball, the Raworth. Separated by leader\" also written on sticker on the back of the tape's box. BALL refers to David Ball. \n\n\"DAVID BALL & TOM RAWORTH I006/SR133\" written on sticker on the spine of the tape's box. \n\n\"GLADYS HINDMARCH I006-11-133\" written on sticker on the reel (possible mistake)."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 4"],"item_identifiers":["[]"],"creator_names":["Ball, David","Raworth, Tom"],"creator_names_search":["Ball, David","Raworth, Tom"],"creators":["[{\"url\":\"http://viaf.org/viaf/43626927\",\"name\":\"Ball, David\",\"dates\":\"1942-\",\"notes\":\"David Ball was born on February 27, 1937 in New York, New York. He received his B.A. from Brandeis University in 1959, studied at the Sorbonne, University of Paris, Licence et Lettres in 1964, Docteur en Littérature Générale et Comparée in 1971. He was a lecturer at Smith College, MA, from 1969-1971, an assistant professor from 1971 to 1976, and an associate professor of French from 1976-. In 1959 David Ball was a Fulbright scholar, won a French Government fellowship from 1967 to 1968, and the Eugene M. Warren Poetry Prize from Brandeis University in 1957. Ball’s work appeared in Jazz Poems, an anthology edited by Anselm Hollow in 1963. He also wrote poems and translations to journals including Locus Solus, World, Massachusetts Review, Atlantic Monthly, New Republic, Études Anglaises and Revue de Littérature  Comparée. He served as the editor of Blue Pig magazine. David Ball published a chapbook, We Just Wanted to Tell You with Anselm Hollo  in 1963 (Writers Forum). His first book of verse, Two Poems came out in 1964, published by Matrix Press in London. His books New Topoi, (Buffalo Press,1972), The Mutant Daughter, (Buffalo Press, 1975), Praise of Crazy, (Diana’s bimonthly,1975), The Garbage Poems: From the New Zone in 1976 (Burning Deck), and In Cities (Potato Clock Editions) in 2001 followed. David Ball translated and introduced Leda: In Praise of the Blessings of Darkness (Cheeloniideae Press), by Pierre Louys in 1985 and Darkness Moves: An Henri Michaux Anthology 1927-1984 (University of California Press) in 1994, which won MLA’s Scaglione Prize for Outstanding Translation of a Literary Work in 1996. Other translations include Pierre Loti’s Constantinople: The Way It Was (Unlem Press) and The Green Mosque at Bursa in 2006, and Abdourahman A. Waberi’s In the United States of Africa (University of Nebraska Press) in 2009. Most recently he translated Alfred Jarry’s Ubu the King in the spring of 2009. David Ball is a member of PEN American Center. \",\"nation\":[],\"role\":[\"Performer\",\"Author\"]},{\"url\":\"https://viaf.org/viaf/79047481\",\"name\":\"Raworth, Tom\",\"dates\":\"1938-2017\",\"notes\":\"Poet Tom Raworth was born in 1938 and grew up in the outskirts of London. Raworth left grammar school at sixteen and pursued many odd jobs, frequented all-night jazz clubs while writing a collaborative secret-agent novel in addition to his own poetry. He married in the late 50’s and had three children. In 1963 he was publishing and printing his own magazine, Outburst, meeting the likes of Michael Horowitz, Anselm Hollo, David Ball, publishing Robert Creeley, Ed Dorn, Charles Olson, LeRoi Jones and Gregory Corso. His first book of verse, The Minicab War (Matrix Press) was a collaboration with Hollo and Corso in 1961. Under Matrix Press, he published Dorn’s From Gloucester Out, and Hollo’s History. Raworth met Barry Hall and in 1965, they formed Goliard Press and published books by Charles Olson, and Ron Padgett. Jonathan Cape’s publishing house and Goliard merged in 1967, becoming Cape Goliard Press, publishing Olson’s The Maximus Poems in 1970. The Relation Ship (Cape Goliard Press) was published in 1966, re-printed in 1969, and drew the attention of Donald Davie and Dorn at University of Essex, who offered him the opportunity to continue his education. The Relation Ship won the Alice Hunt Bartlett prize in 1969. Raworth also published smaller collections of poetry, Continuation in 1966 (Goliard), Haiku (another collaboration with Hollo and John Esam) in 1968 (Trigram Press), and Betrayal in 1969. A Serial Biography (Fulcrum Press) published in 1969 spawned from a correspondence with Ed Dorn, and culminated with correspondences from letters with Park magazine. Written in 1968 while Raworth was studying Spanish at the University of Granada, (through the University of Essex), Lion Lion (Trigram Press) was published in 1970. Over the subsequent two decades, Raworth took up position as poet-in-residence at King’s College, Cambridge for a year, and published over a dozen other books, including Ace (The Figures Press, 1974), Cloister (Sand Project Press, 1975), Logbook (Poltroon Press, 1977), Nicht Wahr, Rosie? (Poltroon Press,1980), and Lazy Left Hand: Notes from 1970-1975 (Actual Size Press,1986). His poems were later compiled in Collected Poems (Carcanet, 2003). Raworth died in 2017.\",\"nation\":[],\"role\":[\"Performer\",\"Author\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"../Uploads/1461/Screen Shot 2020-10-05 at 6.02.21 PM.png\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"Master\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1970 3 4\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the back of the tape's box. Previous researcher specifies March 2, 1970 as date. Possible mistake.\\n\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["David Ball reads from unknown sources. Tom Raworth reads from The Relation Ship (Cape Goliard Press, 1969), The Big Green Day (Trigram, 1968),  Lion Lion (Trigram, 1970), as well as poems later published in Moving (Cape Goliard Press, 1971)."],"contents":["david_ball_tom_raworth_i006-11-133.mp3\n\nIntroducer\n00:00:00\nDavid Ball is currently a professor of French at Smith College [https://www.wikidata.org/wiki/Q49204], he has published his poetry in the Atlantic Monthly [https://www.wikidata.org/wiki/Q1542536], and Locus Solus [https://www.wikidata.org/wiki/Q6666062], Poor.Old.Tired.Horse [https://www.wikidata.org/wiki/Q64866104], Blue Pig which he was co-editor, Outburst, Jazz Poems, [The Wyvenhoe (?)] Park Review, etc, etc and a wide variety of publications. He has two tiny books that were published in London [https://www.wikidata.org/wiki/Q84], we just wanted to tell you, and two and he has two long, long poems that are published by the Matrix Press, and a long poem, titled “The Boring Poems”, which he will read tonight. This will also be published in Copenhagen [https://www.wikidata.org/wiki/Q1748] with a French title. David Ball has spent the last ten years in Paris [https://www.wikidata.org/wiki/Q90]. He has some other poem sequences which have been published along with Tom Raworth [https://www.wikidata.org/wiki/Q7817338] and others and he has worked with Tom Raworth on the translation of several of Rene Char's poems, one of which received an accolade from René Char [https://www.wikidata.org/wiki/Q315015] himself. We give you David Ball.\n\nDavid Ball\n00:01:40\nReads unnamed poem [series].\n\nDavid Ball\n00:11:34\nFrom Anti-Tish happenings, “The Second”. \n\nDavid Ball\n00:11:38\nReads \"The Second\".\n\nDavid Ball\n00:13:25\nThat's the end of the New Zone poems\n\nDavid Ball\n00:13:28\nReads unnamed poem [series].\n\nUnknown\n00:18:17\nSilence [cut or edit in tape].\n\nIntroducer\n00:18:26\nTom Raworth is a central figure in the emergence of the British Avant-Garde, he is also well represented in most forward North American publications, he was the editor of the underground Goliard Press before it was taken up as the revolutionary branch of Johnathan Cape [https://www.wikidata.org/wiki/Q3277534] books, and his own publications include The Relation Ship, The Big Green Day and most recently, Lion, Lion , poetry that along with that of Anselm Hollo [https://www.wikidata.org/wiki/Q252476], and Turnbull [https://www.wikidata.org/wiki/Q5516589] will define what happened in the British verse of the 60's. Cape Goliard has also published his Serial Biography which is a most exciting experiment on the British prose scene, and he is also one of the first poets to be heard on Steam Records, a series of LPs presenting leading American and British poets reading their works. This year, he is poet in residence at Essex [https://www.wikidata.org/wiki/Q1075104].\n\nTom Raworth\n00:19:40\nThis is a poem called \"My Face is My Own, I Thought\".\n\nTom Raworth\n00:19:44\nReads \"My Face is My Own, I Thought\" [from The Relation Ship].\n\nTom Raworth\n00:20:19\nThese are two poems about children, the first poem's called \"Three\".\n\nTom Raworth\n00:20:26\nReads \"Three\" [from The Relation Ship].\n\nTom Raworth\n00:20:51\nReads \"Morning\" from The Relation Ship. \n\nTom Raworth\n00:21:17\nReads \"The Third Retainer\" [from The Relation Ship]. \n\nTom Raworth\n00:21:54\nReads \"September Morning\" [from The Relation Ship]. \n\nTom Raworth\n00:22:40\nThis poem is called \"Shoes\".\n\nTom Raworth\n00:22:51\nReads \"Shoes\" [from The Big Green Day].\n\nTom Raworth\n00:23:35\nThis is a poem in eight parts called \"Love Poem\".\n\nTom Raworth\n00:23:43\nReads \"Love Poem\" [from The Big Green Day].\n\nTom Raworth\n00:25:06\nThis is a short poem called \"Georgia on My Mind\".\n\nTom Raworth\n00:25:10\nReads \"Georgia on My Mind\" [from The Big Green Day].\n\nTom Raworth\n00:25:32\nThis is a poem called \"Got Me\" which is difficult to read because the last part of the poem is the first part of it, corrected.\n\nTom Raworth\n00:25:43\nReads \"Got Me\" [from The Big Green Day].\n\nTom Raworth\n00:26:17\nThis poem is called \"Wham! The Race Begins\".\n\nTom Raworth\n00:26:24\nReads \"Wham! The Race Begins\" [from The Big Green Day].\n\nTom Raworth\n00:26:53\nReads \"Hot Day at the Races\" [from The Big Green Day].\n\nTom Raworth\n00:27:50\nI’ll just read a few poems from a book called Lion, Lion. The quote from the beginning is from an old poem from Gregory Corso [https://www.wikidata.org/wiki/Q470871]., called “Dementia in an African Apartment House”. \n\nTom Raworth\n00:28:02\nReads “Dementia in an African Apartment House” by Gregory Corso. \n\nTom Raworth\n00:28:10\nThe first poem is called \"Lion, Lion\".\n\nTom Raworth\n00:28:13\nReads \"Lion, Lion\" from Lion, Lion. \n\nTom Raworth\n00:28:27\nThis is a poem in four parts called \"Traveling\".\n\nTom Raworth\n00:28:35\nReads \"Traveling\" [from Lion, Lion].\n\nTom Raworth\n00:29:23\nReads \"The Plaza in the Flaming Orange Trees\" [from Lion, Lion].\n\nTom Raworth\n00:30:08\nThis poem is called \"Dear Sir, Flying Saucers, Flying Saucers, Flying Saucers\".\n\nTom Raworth\n00:30:14\nReads \"Dear Sir, Flying Saucers, Flying Saucers, Flying Saucers\" [from Lion, Lion].\n\nTom Raworth\n00:30:53\nThis is called \"King of the Snow\".\n\nTom Raworth\n00:30:58\nReads \"King of the Snow\" [from Lion, Lion].\n\nTom Raworth\n00:31:39\nReads \"South America\" [from Lion, Lion].\n\nTom Raworth\n00:33:00\nThis is a poem called \"Claudette Colbert by Billy Wilder”, and all the lines are just by Billy Wilder [https://www.wikidata.org/wiki/Q51547], they're from films that he made with Claudette Colbert https://www.wikidata.org/wiki/Q203819].\n\nTom Raworth\n00:33:15\nReads \"Claudette Colbert by Billy Wilder” [from Lion, Lion].\n\nTom Raworth\n00:34:12\nThe last poem in Lion, Lion is called \"Vensuramos\".\n\nTom Raworth\n00:34:16\nReads \"Vensuramos\" from Lion, Lion.\n\nTom Raworth\n00:34:46\nI'll just read a few poems from, that I've been working on recently, that's a sequence called “Into the Living Sea” from a poem by John Clare [https://www.wikidata.org/wiki/Q981572] called \"I Am\", the middle stanza of which goes \"Into the nothingness of scorn and noise, into the living sea of waking dream, where there is neither sense of life, nor joys, but the huge shipwreck of my own esteem, and all that's dear, even those that I love the best are strange, nay, they are stranger than the rest\". The first poem is called \"The Moon Upon the Waters\". \n\nTom Raworth\n00:35:27\nReads \"The Moon Upon the Waters\" [published later in Moving].\n\nTom Raworth\n00:36:35\nReads \"Reverse Map\" [published later in Moving].\n\nTom Raworth\n00:37:21\nReads \"Who Would True Valour See\" [published later in Moving].\n\nTom Raworth\n00:37:56\nReads \"The Corpse in My Head\" [published later in Moving].\n\nTom Raworth\n00:38:33\nThis is a poem called \"Helpston, £9,850 Stone Built Residence\".\n\nTom Raworth\n00:38:42\nReads \"Helpston, £9,850 Stone Built Residence\" [published later in Moving].\n\nTom Raworth\n00:39:26\nThis is just a short poem called \"The Stroboscopic Forest Light Plays\" .\n\nTom Raworth\n00:39:30\nReads \"The Stroboscopic Forest Light Plays\" [published later in Moving].\n\nTom Raworth \n00:39:40\nI'll just read two more poems. This one's called \"Purely Personal\".\n\nTom Raworth\n00:39:46\nReads \"Purely Personal\" [published later in Moving].\n\nTom Raworth\n00:40:19\nThe last poem's called \"Notes of the Song / Ain't Gonna Stay in This Town Long\".\n\nTom Raworth\n00:40:23\nReads \"Notes of the Song / Ain't Gonna Stay in This Town Long\" [published later in Moving].\n\nEND\n00:40:45\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nDavid Ball was a lecturer at Smith College, Massachusetts in 1970. \\n\\nTom Raworth was the poet-in-residence at the University of Essex. Lion Lion was also published in 1970. \",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nBall--Unknown connection to Canadian, Montreal, and Sir George Williams University poetry scene at this point.\\n\\nRaworth--No known connections to Canadian/Montreal/Concordia poetry scene, however he was connected to David Ball. Tom Raworth was an important poet and publisher of poetry and experimental works, publishing the work of Robert Creeley, Ed Dorn, Charles Olson, Anselm Hollo and Gregory Corso. \",\"type\":\"General\"},{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Faith Paré (2020) & Ali Barillaro (2021)\\n\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/big-green-day/oclc/640029679&referer=brief_results\",\"citation\":\"Raworth, Tom. The Big Green Day: Poems. London: Trigram Press, 1968. \"},{\"url\":\"https://www.worldcat.org/title/relation-ship-poems/oclc/23061569&referer=brief_results\",\"citation\":\"Raworth, Tom. The Relation Ship. London: Goliard Press, 1969. \"},{\"url\":\"\",\"citation\":\"\\\"David Ball.\\\" Contemporary Authors Online. Detroit: Gale, 2001. \"},{\"url\":\"\",\"citation\":\"Robinson, Kit. \\\"Thomas Moore Raworth.\\\" Poets of Great Britain and Ireland Since 1960. Ed. Vincent B. Sherry. Dictionary of Literary Biography. Vol. 40. Detroit: Gale Research, 1985. \"},{\"url\":\"https://www.worldcat.org/title/lion-lion/oclc/941047536&referer=brief_results\",\"citation\":\"Raworth, Tom. Lion Lion. London: Tigram Press, 1970. \"},{\"url\":\"https://www.worldcat.org/title/moving/oclc/154144?referer=di&ht=edition\",\"citation\":\"Raworth, Tom. Moving. London: Cape Goliard Press, 1971.\"}]"],"_version_":1853670548978008064,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0133_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0133_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Ball and Raworth 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_0133_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0133_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Ball and Raworth Tape Box - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0133_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0133_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Ball and Raworth Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0133_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0133_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Ball and Raworth Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/david_ball_tom_raworth_i006-11-133.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"david_ball_tom_raworth_i006-11-133.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:40:45\",\"precision\":\"\",\"size\":\"97.8 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Introducer\\n00:00:00\\nDavid Ball is currently a professor of French at Smith College [https://www.wikidata.org/wiki/Q49204], he has published his poetry in the Atlantic Monthly [https://www.wikidata.org/wiki/Q1542536], and Locus Solus [https://www.wikidata.org/wiki/Q6666062], Poor.Old.Tired.Horse [https://www.wikidata.org/wiki/Q64866104], Blue Pig which he was co-editor, Outburst, Jazz Poems, [The Wyvenhoe (?)] Park Review, etc, etc and a wide variety of publications. He has two tiny books that were published in London [https://www.wikidata.org/wiki/Q84], we just wanted to tell you, and two and he has two long, long poems that are published by the Matrix Press, and a long poem, titled “The Boring Poems”, which he will read tonight. This will also be published in Copenhagen [https://www.wikidata.org/wiki/Q1748] with a French title. David Ball has spent the last ten years in Paris [https://www.wikidata.org/wiki/Q90]. He has some other poem sequences which have been published along with Tom Raworth [https://www.wikidata.org/wiki/Q7817338] and others and he has worked with Tom Raworth on the translation of several of Rene Char's poems, one of which received an accolade from René Char [https://www.wikidata.org/wiki/Q315015] himself. We give you David Ball.\\n\\nDavid Ball\\n00:01:40\\nReads unnamed poem [series].\\n\\nDavid Ball\\n00:11:34\\nFrom Anti-Tish happenings, “The Second”. \\n\\nDavid Ball\\n00:11:38\\nReads \\\"The Second\\\".\\n\\nDavid Ball\\n00:13:25\\nThat's the end of the New Zone poems\\n\\nDavid Ball\\n00:13:28\\nReads unnamed poem [series].\\n\\nUnknown\\n00:18:17\\nSilence [cut or edit in tape].\\n\\nIntroducer\\n00:18:26\\nTom Raworth is a central figure in the emergence of the British Avant-Garde, he is also well represented in most forward North American publications, he was the editor of the underground Goliard Press before it was taken up as the revolutionary branch of Johnathan Cape [https://www.wikidata.org/wiki/Q3277534] books, and his own publications include The Relation Ship, The Big Green Day and most recently, Lion, Lion , poetry that along with that of Anselm Hollo [https://www.wikidata.org/wiki/Q252476], and Turnbull [https://www.wikidata.org/wiki/Q5516589] will define what happened in the British verse of the 60's. Cape Goliard has also published his Serial Biography which is a most exciting experiment on the British prose scene, and he is also one of the first poets to be heard on Steam Records, a series of LPs presenting leading American and British poets reading their works. This year, he is poet in residence at Essex [https://www.wikidata.org/wiki/Q1075104].\\n\\nTom Raworth\\n00:19:40\\nThis is a poem called \\\"My Face is My Own, I Thought\\\".\\n\\nTom Raworth\\n00:19:44\\nReads \\\"My Face is My Own, I Thought\\\" [from The Relation Ship].\\n\\nTom Raworth\\n00:20:19\\nThese are two poems about children, the first poem's called \\\"Three\\\".\\n\\nTom Raworth\\n00:20:26\\nReads \\\"Three\\\" [from The Relation Ship].\\n\\nTom Raworth\\n00:20:51\\nReads \\\"Morning\\\" from The Relation Ship. \\n\\nTom Raworth\\n00:21:17\\nReads \\\"The Third Retainer\\\" [from The Relation Ship]. \\n\\nTom Raworth\\n00:21:54\\nReads \\\"September Morning\\\" [from The Relation Ship]. \\n\\nTom Raworth\\n00:22:40\\nThis poem is called \\\"Shoes\\\".\\n\\nTom Raworth\\n00:22:51\\nReads \\\"Shoes\\\" [from The Big Green Day].\\n\\nTom Raworth\\n00:23:35\\nThis is a poem in eight parts called \\\"Love Poem\\\".\\n\\nTom Raworth\\n00:23:43\\nReads \\\"Love Poem\\\" [from The Big Green Day].\\n\\nTom Raworth\\n00:25:06\\nThis is a short poem called \\\"Georgia on My Mind\\\".\\n\\nTom Raworth\\n00:25:10\\nReads \\\"Georgia on My Mind\\\" [from The Big Green Day].\\n\\nTom Raworth\\n00:25:32\\nThis is a poem called \\\"Got Me\\\" which is difficult to read because the last part of the poem is the first part of it, corrected.\\n\\nTom Raworth\\n00:25:43\\nReads \\\"Got Me\\\" [from The Big Green Day].\\n\\nTom Raworth\\n00:26:17\\nThis poem is called \\\"Wham! The Race Begins\\\".\\n\\nTom Raworth\\n00:26:24\\nReads \\\"Wham! The Race Begins\\\" [from The Big Green Day].\\n\\nTom Raworth\\n00:26:53\\nReads \\\"Hot Day at the Races\\\" [from The Big Green Day].\\n\\nTom Raworth\\n00:27:50\\nI’ll just read a few poems from a book called Lion, Lion. The quote from the beginning is from an old poem from Gregory Corso [https://www.wikidata.org/wiki/Q470871]., called “Dementia in an African Apartment House”. \\n\\nTom Raworth\\n00:28:02\\nReads “Dementia in an African Apartment House” by Gregory Corso. \\n\\nTom Raworth\\n00:28:10\\nThe first poem is called \\\"Lion, Lion\\\".\\n\\nTom Raworth\\n00:28:13\\nReads \\\"Lion, Lion\\\" from Lion, Lion. \\n\\nTom Raworth\\n00:28:27\\nThis is a poem in four parts called \\\"Traveling\\\".\\n\\nTom Raworth\\n00:28:35\\nReads \\\"Traveling\\\" [from Lion, Lion].\\n\\nTom Raworth\\n00:29:23\\nReads \\\"The Plaza in the Flaming Orange Trees\\\" [from Lion, Lion].\\n\\nTom Raworth\\n00:30:08\\nThis poem is called \\\"Dear Sir, Flying Saucers, Flying Saucers, Flying Saucers\\\".\\n\\nTom Raworth\\n00:30:14\\nReads \\\"Dear Sir, Flying Saucers, Flying Saucers, Flying Saucers\\\" [from Lion, Lion].\\n\\nTom Raworth\\n00:30:53\\nThis is called \\\"King of the Snow\\\".\\n\\nTom Raworth\\n00:30:58\\nReads \\\"King of the Snow\\\" [from Lion, Lion].\\n\\nTom Raworth\\n00:31:39\\nReads \\\"South America\\\" [from Lion, Lion].\\n\\nTom Raworth\\n00:33:00\\nThis is a poem called \\\"Claudette Colbert by Billy Wilder”, and all the lines are just by Billy Wilder [https://www.wikidata.org/wiki/Q51547], they're from films that he made with Claudette Colbert https://www.wikidata.org/wiki/Q203819].\\n\\nTom Raworth\\n00:33:15\\nReads \\\"Claudette Colbert by Billy Wilder” [from Lion, Lion].\\n\\nTom Raworth\\n00:34:12\\nThe last poem in Lion, Lion is called \\\"Vensuramos\\\".\\n\\nTom Raworth\\n00:34:16\\nReads \\\"Vensuramos\\\" from Lion, Lion.\\n\\nTom Raworth\\n00:34:46\\nI'll just read a few poems from, that I've been working on recently, that's a sequence called “Into the Living Sea” from a poem by John Clare [https://www.wikidata.org/wiki/Q981572] called \\\"I Am\\\", the middle stanza of which goes \\\"Into the nothingness of scorn and noise, into the living sea of waking dream, where there is neither sense of life, nor joys, but the huge shipwreck of my own esteem, and all that's dear, even those that I love the best are strange, nay, they are stranger than the rest\\\". The first poem is called \\\"The Moon Upon the Waters\\\". \\n\\nTom Raworth\\n00:35:27\\nReads \\\"The Moon Upon the Waters\\\" [published later in Moving].\\n\\nTom Raworth\\n00:36:35\\nReads \\\"Reverse Map\\\" [published later in Moving].\\n\\nTom Raworth\\n00:37:21\\nReads \\\"Who Would True Valour See\\\" [published later in Moving].\\n\\nTom Raworth\\n00:37:56\\nReads \\\"The Corpse in My Head\\\" [published later in Moving].\\n\\nTom Raworth\\n00:38:33\\nThis is a poem called \\\"Helpston, £9,850 Stone Built Residence\\\".\\n\\nTom Raworth\\n00:38:42\\nReads \\\"Helpston, £9,850 Stone Built Residence\\\" [published later in Moving].\\n\\nTom Raworth\\n00:39:26\\nThis is just a short poem called \\\"The Stroboscopic Forest Light Plays\\\" .\\n\\nTom Raworth\\n00:39:30\\nReads \\\"The Stroboscopic Forest Light Plays\\\" [published later in Moving].\\n\\nTom Raworth \\n00:39:40\\nI'll just read two more poems. This one's called \\\"Purely Personal\\\".\\n\\nTom Raworth\\n00:39:46\\nReads \\\"Purely Personal\\\" [published later in Moving].\\n\\nTom Raworth\\n00:40:19\\nThe last poem's called \\\"Notes of the Song / Ain't Gonna Stay in This Town Long\\\".\\n\\nTom Raworth\\n00:40:23\\nReads \\\"Notes of the Song / Ain't Gonna Stay in This Town Long\\\" [published later in Moving].\\n\\nEND\\n00:40:45\\n\",\"notes\":\"David Ball reads from unknown sources. Tom Raworth reads from The Relation Ship (Cape Goliard Press, 1969), The Big Green Day (Trigram, 1968),  Lion Lion (Trigram, 1970), as well as poems later published in Moving (Cape Goliard Press, 1971).\\n\\nList of Poems Read and Time Stamps\\n00:00 - Unknown Male introduces David Ball [INDEX: David Ball-- Professor of French at\\nSmith College, Atlantic Monthly Magazine, Locus Solus Journal, Poor.Old.Tired.Horse Magazine, Blue Pig Press, Outburst Magazine, Jazz Poems Magazine, the Wyvenhoe Park Press, Matrix Press, The Boring Poems published in Copenhagen, Paris/ Tom Raworth-- Translation of Rene Char’s poetry\\n01:40 - David Ball reads first line “The Smell of printer’s ink was more than...”\\n11:38 - Reads “The Second” [INDEX: anti-tish happenings]\\n13:28 - Reads first line “One: Stone face of..” (series)\\n18:26 - Unknown Male introduces Tom Raworth [INDEX: Tom Raworth: British Avant Guard,Goliard Press, Johnathan Cape Books, books by: The Relation Ship, The big green day, Lion, Lion, Anslem Hollo, British Verse of the 60’s, Steam Records LP, Poet in residence at Essex (1971), Outburst Magazine]\\n19:44 - Tom Raworth reads “My Face is My Own, I Thought” [INDEX: The Relation Ship]\\n20:19 - Introduces “Three” and “Morning”\\n20:26 - Reads “Three” [INDEX: The Relation Ship]\\n20:51 - Reads “Morning” [INDEX: The Relation Ship]\\n21:17 - Reads “The Third Retainer” [INDEX: The Relation Ship]\\n21:54 - Reads “September Morning” [INDEX: The Relation Ship]\\n22:40 - Reads “Shoes” [INDEX: Into the Living Sea]\\n23:35 - Reads “Love Poem” [INDEX: Into the Living Sea]\\n25:06 - Reads “Georgia On My Mind” [INDEX: Into the Living Sea]\\n25:32 - Introduces “Got Me” [INDEX: Into the Living Sea]\\n25:43 - Reads “Got Me”\\n26:17- Reads “Wham! The Race Begins” [INDEX: Into the Living Sea]\\n26:53 - Reads “Hot Day at the Races” [INDEX: the big green day]\\n27:50 - Introduces “Lion Lion” [INDEX: poem “Dementia in an African Apartment House” \\nby Gregory Corso]\\n28:02 - Reads Gregory Corso poem, “Dementia in an African Apartment House”\\n28:10 - Reads “Lion, Lion”\\n28.27 - Reads “Traveling”\\n29:23 - Reads “The Plaza in the Flaming Orange Trees”\\n30:08 - Reads “Dear Sir, Flying Saucers, Flying Saucers, Flying Saucers”\\n30:53 - Reads “King of the Snow”\\n31:39 - Reads “South America”\\n33:00 - Introduces “Claudette Colbert by Billy Wilder”\\n33:15 - Reads “Claudette Colbert by Billy Wilder”\\n34:12 - Reads “Vensuramos”\\n34:46 - Introduces “The Moon Upon the Waters” [INDEX: Into the Living Sea, poem by Jon Clare “I Am”]\\n35:27 - Reads “The Moon Upon the Waters”\\n36:35 - Reads “Reverse Map” [INDEX: Into the Living Sea]\\n37:21 - Reads “Who Would True Valor See” [INDEX: Into the Living Sea]\\n37:56 - Reads “The Corpse in My Head” [INDEX: Into the Living Sea]\\n38:33 - Reads “Helpston,£9,850. Stone Built Residence” [INDEX: Into the Living Sea]\\n39:26 - Reads “The Stroboscopic Forest Light Plays” [INDEX: Into the Living Sea]\\n39:40 - Reads “Purely Personal” [INDEX: Into the Living Sea]\\n40:19 - Reads “Notes of the Song: Ain’t Gunna Stay in This Town Long” [INDEX: Into the Living Sea]\\n40:45 - END OF RECORDING\\n\\nHoward Fink list of poems:\\n4/3/70\\non one 5”, mono, single track, tape, @ 3 3/4 ips, lasting 65 mins.\\nDavid Ball:\\n1. First line “The smell of printers ink was more...”\\n2. “The Second”\\n3. First line “Stone face of...”\\n\\nTom Raworth:\\n1. “My Face is My Own Thought”\\n2. “Three”\\n3. “Morning”\\n4. “The Third Retainer”\\n5. “September Morning”\\n6. “Shoes”\\n7. “Love Poem”\\n8. “Georgia on My Mind”\\n9. “Got Me”\\n10. “Wham! The Race Begins”\\n11 .“Hot Day at the Races”\\n12. “Lion Lion”\\n13.“Travelling”\\n14.“The Plaza in the Flaming Orange Trees:\\n15.“Dear Sir, Flying Saucers, Flying Saucers, Flying Saucers.\\n16.“King of Snow”\\n17.“South America”\\n18.“Claud et Colbert” by Billy Wilder\\n19. First line “Death came as the lion spoke...”\\n20. “The Moon upon the Waters”\\n21. “Reverse Map”\\n22. First Line “Everything is done to the ticking of a clock...”\\n23.“The Corps in My Head”\\n24. First Line “The view is again...\\n25. First Line “Gentlt (?) the walk to the door...”\\n26.“Purely Personal”\\n27.“Notes of the Song: Ain’t going to stay in this town long”\\n\\n* Second page of Tom Raworth poems (discrepancies)\\n1. “My Face Is My Own, I Thought”\\n7. “Love Poem” (serial poem)\\n13. “Travelling” (serial poem)\\n14. “The Flowers Are In The Flaming Orange Trees”\\n16. “King of the Snow”\\n18. “Claudette Colbert”\\n19. “Vensuramos”\\n20. “Into The Living Sea”\\n21. “The Moon Upon the Waters”\\n22. “Who Would True Valor See”\\n23. “The Corps In My Head”\\n24. “Help....Stone Residence” (something lost)\\n25. “The Strob Light Blaze”\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/david-ball-tom-raworth/\"}]"],"score":2.1907105},{"id":"1288","cataloger_name":["Bindu,Reddy"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":[" Al Purdy at Sir George Williams University, The Poetry Series, 13 March 1970"],"item_title_source":["Cataloguer"],"item_title_note":["\"AL PURDY Recorded March 13, 1970 3.75 ips, 1/2 tracl on 1 mil. tape\" written on sticker on the back of the tape's box. \"AL PURDY I006/SR37.1\" written on sticker on the spine of the tape's box. \n"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 4"],"item_identifiers":["[]"],"creator_names":["Purdy, Alfred Wellington"],"creator_names_search":["Purdy, Alfred Wellington"],"creators":["[{\"url\":\"http://viaf.org/viaf/7398775\",\"name\":\"Purdy, Alfred Wellington\",\"dates\":\"1918-2000\",\"notes\":\"Canadian poet Al Purdy was born on December 30, 1918, in Wooler, Ontario of United Empire Loyalists. Purdy attended Dufferin Public school in Trenton, Albert Collegiate in Belleville and Trenton Collegiate Institute, writing poems along the way. During the Second World War, Purdy enrolled in the RCAF, serving most at the remote base Woodcock, on the Skeena River in northern British Columbia. Purdy married Eurithe Mary Jane Parkurst in 1941, and they had a son, Alfred. His first collection of poems was The Enchanted Echo (Clarke & Stuart Company, 1944), but it was his second collection, Pressed on Sand (Ryerson Press, 1955) that showcased Purdy’s literary accomplishment. Despite this, he worked odd jobs across the country, and published poems and short stories in magazines like North and The Beaver. Purdy received his first Canada Council grant in 1960, and published Poems for all the Annettes (Contact Press, 1962) and The Cariboo horses (McClelland & Stewart, 1965) which won a Governor General’s Award. His next publication, North of summer: poems from Baffin Island (McClelland & Stewart, 1967) came out of a second Canada Council Grant, which he spent in the Baffin Islands, and was followed by Wild Grape Wine (McClelland & Stewart, 1968). That year, Purdy also became an editor for the Tamarack Review, an anthology, The New Romans, and Fifteen Winds. Purdy has published dozens more collections of poetry along with writing in other genres, including In search of Owen Roblin (McClelland & Stewart, 1974), autobiographical essays, No Other Country (McClelland & Stewart, 1977), Being alive: poems 1958-78 (McClelland & Stewart, 1978), a memoir, Morning and it’s summer (1983), a collection of letters, The Bukowski/Purdy letters 1964-1984 (Quadrant Editions, 1983), his only novel A Splinter in the Heart (McClelland & Stewart, 1990), a selection of prose recollections, Reaching for the Beaufort Sea: an autobiography (Harbour Publishing,1993), and Starting from Ameliasburgh: the collected prose of Al Purdy (Harbour Publishing, 1995). Purdy’s The Collected Poems of Al Purdy, 1956-1986 (McClelland & Stewart, 1986) won his second Governor General’s Award, and he was appointed to the Order of Canada in 1982 and the Order of Ontario in 1987. Dividing most of his time between North Saanich, B.C. and Roblin Lake, Ontario, Purdy supported himself through his poetry, guest lecturing, readings and editing. Al Purdy died in North Saanich, on April 21, 2000. His last collection of poetry, Beyond Remembering: The Collected Poems of Al Purdy (Harbour Publishing, 2000) was released posthumously. The Voice of the Land Award was created to honour Purdy’s contributions to Canadian poetry.\",\"nation\":[],\"role\":[\"Performer\",\"Author\"]}]"],"contributors_names":["Bowering, George"],"contributors_names_search":["Bowering, George"],"contributors":["[{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Presenter\"]}]"],"Presenter_name":["Bowering, George"],"Series_organizer_name":["Bowering, George"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1970 3 13\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the back of the tape's box. Date also specified in written announcement \\\"Poetry Four: Sir George Williams Poetry Series\\\"\\n\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"Location specified in written announcement \\\"Poetry Four: Sir George Williams Poetry Series\\\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["Al Purdy reads from a wide variety of his books, including Selected Poems (McClelland and Stewart, 1972), Love in a Burning Building (McClelland and Stewart, 1970), The Cariboo Horses (McClelland and Stewart, 1965), Poems for all the Annettes (Contact Press, 1962), and North of Summer (McClelland and Stewart, 1967)."],"contents":["al_purdy_i006-11-037-1.mp3\n\nGeorge Bowering\n00:00:00\nAs you know, the reader tonight is Al Purdy [https://www.wikidata.org/wiki/Q4704621], a man who's been described as, by Doug Featherling, as the most Canadian of all possible poets. And who has, as they say, paid his dues, and in that time, won all the prizes, like the President's Medal [https://www.wikidata.org/wiki/Q39089691], and the Governor General's Award [https://www.wikidata.org/wiki/Q283256], and countless numbers of Canada Council [https://www.wikidata.org/wiki/Q2993809] Grants and all those other things that come to you. [Laughter]. Currently, I don't know if whether or not I'm supposed to mention this or not, but currently making an excursion amongst the academics at...in other words, straightening people out at Simon Fraser University [https://www.wikidata.org/wiki/Q201603]. And a very welcome addition to our series. Al Purdy. \n \nUnknown\n00:00:55\n[Cut or edit in tape. Unknown amount of time elapsed]. \n \nAl Purdy\n00:00:56\nWhen I started to write poems about sixty-eight years ago, Bliss Carman [https://www.wikidata.org/wiki/Q3068116] was the only one writing. So I imitated Bliss Carman, and this first poem is a sort of imitation of Bliss Carman. [Audience laughter]. And there are hardly any new poems in there because it takes me two years to revise them for two years and then conclude them in a reading, and then besides which as George [https://www.wikidata.org/wiki/Q1239280] said, I've joined the academics because all the American members of the department at Simon Fraser have guilty consciences so they wanted a Canadian on staff [audience laughter].  \"About being a member of our armed forces\". This is, this is thirty years after I started to write poems. Remember--Oh, I should say, there are two, three phrases in this that would not ordinarily be understood by you people. \"Zombies,\" who were conscripts in the last war, and well, the CWACs were women members, Canadian Women's Army Corp [https://www.wikidata.org/wiki/Q5030688]. And during the early part of the last war, there were no rifles. So they used wooden rifles to drill with. \n \nAl Purdy\n00:02:09\nReads \"About Being a Member of Our Armed Forces\" [from Selected Poems; audience laughter throughout].\n \nAl Purdy\n00:03:29\nAs I said, I've become an academic lately, and one of the students in this class has asked for all my cigar tubes, little metal tubes that, you know, I get cigars in. He wants to put poems in them and float them down the North Saskatchewan River [https://www.wikidata.org/wiki/Q2237] [audience laughter]. And for some reason or other, this, that became the title of this particular poem. \"Floating Down the North Saskatchewan River\". [Audience laughter].\n \nAl Purdy\n00:04:01\nReads \"Floating Down the North Saskatchewan River\" [audience laughter throughout].\n \nAl Purdy\n00:04:40\nFunny, eh? [Audience laughter]. Something called \"Jubilate\", and I'm going to leave that out of there. \"Flight 17 Eastbound\". Ah...I keep revising some of these and I'm reading now from manuscript because I revised a lot of the poems here and I can't remember which ones I revised, so if they're in manuscript I'm sure they're either revised or that there's some reason for them being there. \n \nAl Purdy\n00:05:13\nReads \"Flight 17 Eastbound\".\n \nAl Purdy\n00:06:47\nI don't know what that means but it must be profound. [Audience laughter]. I'm getting together a collection of love poems, or I have gotten a collection of love poems together. They are, I am told, fairly hard-boiled love poems. Because when Jack McClelland [https://www.wikidata.org/wiki/Q6113965], of McClelland and Stewart [https://www.wikidata.org/wiki/Q6800322], heard about them they thought it was a good idea that Harold Town [https://www.wikidata.org/wiki/Q827127] should do some illustrations. But when they saw the poems, and of course it wasn't because they were bad poems, I'm sure, he didn't want to do the illustrations anymore, they said they were hard-boiled. As I said, they can't be bad poems. This was one of them. It's got...no, I don't think I'll read that anyway. I don't like it. However, here's another one along the same lines. [Audience laughter]. It's called \"With Words, Words\".\n \nAl Purdy\n00:07:51\nReads \"With Words, Words\" [from Love in a burning building].\n \nAl Purdy\n00:10:49\nI lived in Vancouver [https://www.wikidata.org/wiki/Q24639] for a while, and up till 1955 or 6. The first play I wrote for CBC [https://www.wikidata.org/wiki/Q461761] was accepted, and I thought I was a genius, and moved to Montreal  [https://www.wikidata.org/wiki/Q340] in order to reap the rewards of my genius. For a year in Montreal I think my...I sold a couple of adaptations to CBC. And eventually we moved to Roblin Lake [https://www.wikidata.org/wiki/Q22447801], near Ameliasburgh [https://www.wikidata.org/wiki/Q4742321] in Ontario [https://www.wikidata.org/wiki/Q1904], and built a house. And my wife having quit her job, she having decided that if I could get away without working she could too. So we sat down for a couple of years looking at each other, waiting for the other one, to see which one would break first. But this is a poem about that particular time, called \"One Rural Winter\".\n \nAl Purdy\n00:11:50\nReads \"One Rural Winter\" [from Selected Poems; audience laughter throughout].\n \nAl Purdy\n00:15:22\nI was in the Arctic [https://www.wikidata.org/wiki/Q25322] in '65, but this is a poem written long after that about the Arctic. And I suppose...certainly about the Canadian Arctic. I called it \"Arctic Romance\", but I think it should be just \"Arctic\", or something like that.\n \nAl Purdy\n00:15:46\nReads \"Arctic Romance\".\n \nAl Purdy\n00:17:13\nScrewed that up, I guess. You get tired of reading your own stuff, after a while. You forget what it sounded like the last time. This is a poem I kind of like but I keep revising it also, or have been several times in the last few years, called \"Dark Landscape\". It uses a couple of lines from an American poet who died thirty years ago called Vachel Lindsay [https://www.wikidata.org/wiki/Q1197667], whom probably nobody ever heard of. And it starts in a very prosy way, and is meant to sound that way, and then the rhythm quickens. \"Dark Landscape\".\n \nAl Purdy\n00:18:07\nReads \"Dark Landscape\".\n \nAl Purdy\n00:21:45\nIn case anybody is wondering about the particular Vachel Lindsay line, it was \"The spring comes on forever, and the Chinese nightingale\". And he also had \"Aladdin to the jinn\", except that Aladdin to the jinn, his jinn was J-I-N-N and mine was two J-I-N-N's, and one G-I-N. So that, always a little difficult to understand it without seeing it on the page. Kind of a sweet little poem, this was after we moved to Roblin Lake, and as I say, I sold a couple of plays and we bought a pile of used lumber with the proceeds and put the down payment on the lot and build this house. \n \nAl Purdy\n00:22:27\nReads \"Winter at Roblin Lake\" [from The Cariboo Horses].\n \nAl Purdy\n00:22:52\nAlso the same period, about building the house, or rather after the house was built. Trouble is, you can't, you can't smoke a cigar here, can you, something I...it always goes out. Anyway. \"Interruption\". \n \nAl Purdy\n00:23:13\nReads \"Interruption\" [from Selected Poems].\n \nAl Purdy\n00:24:49\nWhen I...when we first moved down to Ameliasburg, or to Roblin Lake, I should say, because Roblin Lake where we are is about a mile or so from Ameliasburg...I, after Montreal, and after the job I'd had in Vancouver, I suddenly had to become my own disciplinary straw boss, and it was quite difficult, and in other words, you know, I'd try to get up at a certain hour of the day and start writing. Which I could always, you know, I can always write prose, whenever I feel like it, but poems, I write them, well, I should say, I write poems whenever I feel like it, but you can, I can regimen my own prose, which I don't do much of these days. Anyway, when we moved to Roblin Lake, I wasn't physically regimented myself, so that I was waking up all hours of the day. And this is a short poem about that, but I also screwed up the poem, because I put lines at the end of, or words at the end of each line so that I don't know where the emphasis should be placed, even though I've read it dozens of times. It's called \"Late Rising at Roblin Lake\".\n \nAl Purdy\n00:25:57\nReads \"Late Rising at Roblin Lake\" [from The Cariboo Horses].\n \nAl Purdy\n00:26:47\nAnother poem about the same particular period, called \"Wilderness Gothic\". Uh...don't think there's a thing to say about this particular poem at all. \n \nAl Purdy\n00:27:03\nReads \"Wilderness Gothic\" [from Selected Poems].\n \nAl Purdy\n00:29:33\nWhen you read a bunch of poems over several years, I think you pick out the ones that you think will read the best, which is certainly what I do, because there are many of my own poems that I rarely read, or never read at all. In fact I, I never read this one. It's called \"Love Poem\".\n \nAl Purdy\n00:29:58\nReads \"Love Poem\" [from Poems for all the Annettes].\n \nAl Purdy\n00:31:40\nIn...This poem dates, the actual time of the poem dates about fifteen years ago. The poem itself was written about five years ago. At the time, a friend of mine was there also, which, other than his particular presence I might have acted a little bit differently than I did. You'll see what I mean in a, when I read the poem. Because nobody would take this chance in placing themselves in such a vulnerable position with a woman. \"Homemade Beer\".\n \nAl Purdy\n00:32:12\nReads \"Homemade Beer\" [from The Cariboo Horses].\n \nAudience\n00:33:48\nLaughter.\n \nUnknown\n00:33:51\n[Cut or edit in tape. Unknown amount of time elapsed].\n \nAl Purdy\n00:33:52\nOne called \"The Drunk Tank\". It's...Dates back two or three years ago when, after the time when I was in the Air Force [https://www.wikidata.org/wiki/Q25456], a friend of mine got out of the Air Force much later, so we celebrated. And...it was after quite a turbulent evening with my friend in Belleville [https://www.wikidata.org/wiki/Q34227], Ontario, we decided to get a couple of bottles of liquor and go out to the country where we wouldn't be disturbed, and drink it. But the farmer phoned the cops, and we were both thrown in jail. And this particular poem is about the first part of that experience, I mean the early part of being thrown in jail, more or less. But not the end of it, it turned into a sort of fantasy that means something other than I intended. \n \nAl Purdy\n00:34:43\nReads \"The Drunk Tank\" [from The Poems of Al Purdy].\n \nAl Purdy\n00:36:51\nThis is called \"Poem for Rita\", and about a couple of years ago in Toronto [https://www.wikidata.org/wiki/Q172], there was a couple of girls staying with myself, my wife and myself, and she kept asking me to write a poem. So after a while, I wrote this.\n \nAl Purdy\n00:37:10\nReads \"Poem for Rita\".\n \nAudience\n00:37:25\nLaughter.\n \nAl Purdy\n00:37:28\nThat's all. [Audience laughter]. I think it was actually kind of unkind on my part, because I was never sure whether she understood that or not, and I didn't know whether I wanted her to understand it. [Audience laughter]. There...when we first moved to Ameliasburg, as I mentioned, I was broke as hell. And after having lived in Vancouver, I learned how to make wine of one kind or another, and there was no way to, I didn't have enough money to make beer, so there were a lot of wild grapes around there and we made, I made wild grape wine, and one time, one particular season, I had about five hundred bottles. [Audience laughter]. I attribute the effects of this wine to having made me what I am today [audience laughter], if I could figure that out. But the poem eventually came out of it, called \"The Winemaker's Beatitude\".\n \nAl Purdy\n00:38:39\nReads \"The Winemaker's Beatitude\" [from Selected Poems].\n \nAl Purdy\n00:41:16\nIn '65, I went up to Baffin Island [https://www.wikidata.org/wiki/Q81178] on some government money, public money, rode a commercial airline plane from Montreal to Frobisher Bay [https://www.wikidata.org/wiki/Q1004067], hitchhiked a ride on what I thought was a DOT plane, but was a construction plane, a construction company charter, and then at Pangnirtung [https://www.wikidata.org/wiki/Q631747], which is on the Arctic Circle, the original administrator there arranged that I go along with an Eskimo family in their canoe to some islands in Cumberland Sound [https://www.wikidata.org/wiki/Q938327]. A year and a half after I got back from the Arctic, I got a bill for a hundred and ten dollars from the construction company that I thought I'd, whose plane I thought I'd hitchhiked on. Which I haven't paid. But anyway, all of these poems, except perhaps I think one or two, were written up there, written in the Arctic, except that after I got back from the Arctic I kept revising them. So you can make up your own mind whether they're written there or not. Among the poems here, there's one called \"At the Movies\".\n \nAl Purdy\n00:42:37\nReads \"At the Movies\" [from North of Summer].\n\n Al Purdy\n00:44:55\nThe business about the caribou draining in the bilge water was one of the reasons, I suppose, I found it so extraordinary that, perhaps, that Eskimos should enjoy these shoot-em-up movies, was that they had just come a hundred miles or so after shooting caribou, bringing them back to Pang, Pangnirtung on the, on the Sound, on the...jeez, my memory's failing, I can't even remember the fjord it was. But anyway, they had just shot them and come a hundred miles back with them, and yet...and they were draining in their Peterhead boats, and yet they found these movies so exciting--I suppose I shouldn't find that so unusual, but I do. A crappy Hollywood [https://www.wikidata.org/wiki/Q34006] movie. And here's one called \"The Sculptors\".\n \nAl Purdy\n00:45:50\nReads \"The Sculptors\" [from North of Summer].\n\nAl Purdy\n00:48:17\nI think I'm going to have about time for two more, so that I'd better...I could probably go on, oh I'd better make it three more  I'll give ya...this is, the trees in the Arctic are about, are very low, and well, this is treeless country on Baffin Island, where there, where practically nothing grows except moss and that, and the like of that, but I wrote a poem about trees at the Arctic Circle, and this is it....I see I'm getting, I'm only talking about the physical things about the Arctic, and I have some poems about the people, too, which, which I should read. Anyway, \"Trees at the Arctic Circle\".\n \nAl Purdy\n00:49:05\nReads \"Trees at the Arctic Circle\" [from North of Summer].\n \nAl Purdy\n00:51:07\nI want to read at least one about, about, about people there, because I used to, when I was on these islands, [inaudible] Islands in Cumberland Sound, the Eskimo women used to come over every day and drink tea. They could not speak any English and I could speak no Eskimo, and I would feed them tea and we would sit there, myself feeling about as silly as I could, so eventually I grew a bit desperate and I would read them poems and I would sing songs or I'd do any damn thing. However, eventually there was some kind of, I think, positive liking on my part. But this poem may express it as well as anything. \"Wash Day\".\n \nAl Purdy\n00:51:54\nReads \"Wash Day\" [from North of Summer].\n \nAl Purdy\n00:54:03\nTalking about shit, there's actually a poem that has a little bit to do with it here. The Arctic dogs have some qualities that are more pronounced and magnified in Arctic dogs than in southern dogs, that is, they like to eat the stuff. So that when you go, as all, everybody must go at some time or other in their lives, possibly once a day or not, one takes an Eskimo kid along to throw stones and keep the dogs off. When I came back from the Arctic I saw an hour-long film about the George River [https://www.wikidata.org/wiki/Q966023] Eskimos, and one scene in it showed about fifty Eskimos trying to get into a tent, and the Eskimos beating them into the tent, and the next thing you showed the same dogs trying to get out of the tent and the Eskimos beating them out of the tent. And the announcer said not one single word. And then I remembered that whenever the Eskimos leave a campsite, they use it for a privy, and then send the dogs in to clean up. So, actually, this is a poem about that.  \"When I Sat Down to Play the Piano\". [Audience laughter].\n \nAl Purdy\n00:55:10\nReads \"When I Sat Down to Play the Piano\" [from North of Summer; audience laughter throughout].\n\nAl Purdy\n00:58:23\nI've got one more poem if my voice can hold out. When Robert Kennedy  [https://www.wikidata.org/wiki/Q25310] was shot...I always think about anything that I'm interested and emotionally moved by, always, at least I have in the past, till I got to Simon Fraser, think about writing a poem about it. So the same thing was happening after Kennedy was shot and died, and I was thinking about writing a poem about it, and then the Star Weekly [https://www.wikidata.org/wiki/Q17112122] phoned up and asked me to write a poem about it. So this poem eventually got written. \"A Lament for Robert Kennedy\".\n \nAl Purdy\n00:59:06\nReads \"A Lament for Robert Kennedy\".\n\nAudience\n01:04:39\nApplause.\n \nEND\n01:04:55\n"],"Note":["[{\"note\":\"Original transcript and print catalogue by Rachel Kyne\\n\\nOriginal print catalogue, introduction, research and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\\n\",\"type\":\"Cataloguer\"},{\"note\":\"Year-Specific Information:\\n\\nIn 1970, Al Purdy published Love in a Burning Building (McClelland and Stewart). George Bowering’s study on Al Purdy came out that year, Al Purdy (Copp Clarke Co).\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nAl Purdy became an important figure in Canadian poetry, and was known as a “people’s poet”. He published over thirty books of poetry, but also published in dozens of other genres. Purdy was known as a generous mentor, and his work received several Governor General's Awards as well as other high Canadian honours. He lived in Vancouver, Montreal, and several locations in Ontario, and his poetry reflected Canadian landscape themes. Over the years he has been called the ‘most’ Canadian poet, the ‘first’ Canadian poet and the ‘last’ Canadian poet. In 1963, George Bowering convinced the University of British Columbia to invite Al Purdy to give a reading, where the two poets first met. Later on, Purdy was in contact with George Bowering, as he was completing a book about Purdy.\",\"type\":\"General\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.cbc.ca/archives/topic/al-purdy-an-uncommon-poet\",\"citation\":\"“Al Purdy, An Uncommon Poet”. CBC Digital Archives. Canadian Broadcasting Corporation, \\t2008.\"},{\"url\":\"https://www.worldcat.org/title/al-purdy/oclc/469555161&referer=brief_results\",\"citation\":\"“Al Purdy- The Voice of the Land”. Save Al Purdy’s Home. Harbour Publishing, 2009. \\nBowering, George. Al Purdy. Studies in Canadian Literature. Hugo McPherson and Gary Geddes (eds). Toronto: Copp Clarke Publishing Company, 1970. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Brown, Russel and George Woodcock. \\\"Purdy, Al\\\". The Oxford Companion to Canadian         Literature. Eugene Benson and William Toye (eds). Oxford University Press, 2001. \"},{\"url\":\"https://www.worldcat.org/title/15-canadian-poets-x2/oclc/40224711\",\"citation\":\"Geddes, Gary. “Al Purdy”. Fifteen Canadian Poets Times Two. Toronto: Oxford University Press, 1990. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/al-purdy-at-sgwu-1970-george-bowering\",\"citation\":\"“Poetry Four: Sir George Williams Poetry Series, Ninth Reading, Al Purdy”. Montreal, Quebec: Sir George Williams University, 1970. Found in “The Stephen Morrissey Papers, 1963 - 1998”, McGill McLennan Library, Special Collections and Rare Books, Montreal, Quebec, Canada. \"},{\"url\":\"https://www.worldcat.org/title/splinter-in-the-heart/oclc/47271421&referer=brief_results\",\"citation\":\"Purdy, Al. A Splinter in the Heart. Toronto: McClelland & Stewart, 2000.\"},{\"url\":\"https://www.worldcat.org/title/in-search-of-owen-roblin/oclc/245733376&referer=brief_results\",\"citation\":\"Purdy, Al. In Search of Owen Roblin. McClelland and Stewart, 1974. \"},{\"url\":\"https://www.worldcat.org/title/north-of-summer-poems-from-baffin-island/oclc/457913&referer=brief_results\",\"citation\":\"Purdy, Al. North of Summer. Toronto: McClelland and Stewart, 1967. \"},{\"url\":\"https://www.worldcat.org/title/poems-for-all-the-annettes/oclc/819106789&referer=brief_results\",\"citation\":\"Purdy, Al. Poems for all the Annettes. Toronto: Contact Press, 1962. \"},{\"url\":\"https://www.worldcat.org/title/selected-poems/oclc/637245&referer=brief_results\",\"citation\":\"Purdy, Al. Selected Poems. Toronto: McClelland and Stewart, 1972.\"},{\"url\":\"https://www.worldcat.org/title/cariboo-horses/oclc/869024275&referer=brief_results\",\"citation\":\"Purdy, Al. The Cariboo Horses. Toronto: McClelland and Stewart, 1965. \"},{\"url\":\"https://www.worldcat.org/title/poems-of-al-purdy/oclc/490247728&referer=brief_results\",\"citation\":\"Purdy, Al. The Poems of Al Purdy. Toronto: McClelland and Stewart, 1976. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/807465072&referer=brief_results\",\"citation\":\"Steele, James. \\\"Purdy, Al(fred) (Wellington)\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ian Hamilton (ed). Oxford University Press, 1996. \"}]"],"_version_":1853670548980105216,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0037-1_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0037-1_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"Al Purdy Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0037-1_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0037-1_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Al Purdy Tape Box - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0037-1_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0037-1_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Al Purdy Tape Box - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0037-1_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0037-1_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Al Purdy Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/al_purdy_i006-11-037-1.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"al_purdy_i006-11-037-1.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:04:55\",\"precision\":\"\",\"size\":\"155.8 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"George Bowering\\n00:00:00\\nAs you know, the reader tonight is Al Purdy [https://www.wikidata.org/wiki/Q4704621], a man who's been described as, by Doug Featherling, as the most Canadian of all possible poets. And who has, as they say, paid his dues, and in that time, won all the prizes, like the President's Medal [https://www.wikidata.org/wiki/Q39089691], and the Governor General's Award [https://www.wikidata.org/wiki/Q283256], and countless numbers of Canada Council [https://www.wikidata.org/wiki/Q2993809] Grants and all those other things that come to you. [Laughter]. Currently, I don't know if whether or not I'm supposed to mention this or not, but currently making an excursion amongst the academics at...in other words, straightening people out at Simon Fraser University [https://www.wikidata.org/wiki/Q201603]. And a very welcome addition to our series. Al Purdy. \\n \\nUnknown\\n00:00:55\\n[Cut or edit in tape. Unknown amount of time elapsed]. \\n \\nAl Purdy\\n00:00:56\\nWhen I started to write poems about sixty-eight years ago, Bliss Carman [https://www.wikidata.org/wiki/Q3068116] was the only one writing. So I imitated Bliss Carman, and this first poem is a sort of imitation of Bliss Carman. [Audience laughter]. And there are hardly any new poems in there because it takes me two years to revise them for two years and then conclude them in a reading, and then besides which as George [https://www.wikidata.org/wiki/Q1239280] said, I've joined the academics because all the American members of the department at Simon Fraser have guilty consciences so they wanted a Canadian on staff [audience laughter].  \\\"About being a member of our armed forces\\\". This is, this is thirty years after I started to write poems. Remember--Oh, I should say, there are two, three phrases in this that would not ordinarily be understood by you people. \\\"Zombies,\\\" who were conscripts in the last war, and well, the CWACs were women members, Canadian Women's Army Corp [https://www.wikidata.org/wiki/Q5030688]. And during the early part of the last war, there were no rifles. So they used wooden rifles to drill with. \\n \\nAl Purdy\\n00:02:09\\nReads \\\"About Being a Member of Our Armed Forces\\\" [from Selected Poems; audience laughter throughout].\\n \\nAl Purdy\\n00:03:29\\nAs I said, I've become an academic lately, and one of the students in this class has asked for all my cigar tubes, little metal tubes that, you know, I get cigars in. He wants to put poems in them and float them down the North Saskatchewan River [https://www.wikidata.org/wiki/Q2237] [audience laughter]. And for some reason or other, this, that became the title of this particular poem. \\\"Floating Down the North Saskatchewan River\\\". [Audience laughter].\\n \\nAl Purdy\\n00:04:01\\nReads \\\"Floating Down the North Saskatchewan River\\\" [audience laughter throughout].\\n \\nAl Purdy\\n00:04:40\\nFunny, eh? [Audience laughter]. Something called \\\"Jubilate\\\", and I'm going to leave that out of there. \\\"Flight 17 Eastbound\\\". Ah...I keep revising some of these and I'm reading now from manuscript because I revised a lot of the poems here and I can't remember which ones I revised, so if they're in manuscript I'm sure they're either revised or that there's some reason for them being there. \\n \\nAl Purdy\\n00:05:13\\nReads \\\"Flight 17 Eastbound\\\".\\n \\nAl Purdy\\n00:06:47\\nI don't know what that means but it must be profound. [Audience laughter]. I'm getting together a collection of love poems, or I have gotten a collection of love poems together. They are, I am told, fairly hard-boiled love poems. Because when Jack McClelland [https://www.wikidata.org/wiki/Q6113965], of McClelland and Stewart [https://www.wikidata.org/wiki/Q6800322], heard about them they thought it was a good idea that Harold Town [https://www.wikidata.org/wiki/Q827127] should do some illustrations. But when they saw the poems, and of course it wasn't because they were bad poems, I'm sure, he didn't want to do the illustrations anymore, they said they were hard-boiled. As I said, they can't be bad poems. This was one of them. It's got...no, I don't think I'll read that anyway. I don't like it. However, here's another one along the same lines. [Audience laughter]. It's called \\\"With Words, Words\\\".\\n \\nAl Purdy\\n00:07:51\\nReads \\\"With Words, Words\\\" [from Love in a burning building].\\n \\nAl Purdy\\n00:10:49\\nI lived in Vancouver [https://www.wikidata.org/wiki/Q24639] for a while, and up till 1955 or 6. The first play I wrote for CBC [https://www.wikidata.org/wiki/Q461761] was accepted, and I thought I was a genius, and moved to Montreal  [https://www.wikidata.org/wiki/Q340] in order to reap the rewards of my genius. For a year in Montreal I think my...I sold a couple of adaptations to CBC. And eventually we moved to Roblin Lake [https://www.wikidata.org/wiki/Q22447801], near Ameliasburgh [https://www.wikidata.org/wiki/Q4742321] in Ontario [https://www.wikidata.org/wiki/Q1904], and built a house. And my wife having quit her job, she having decided that if I could get away without working she could too. So we sat down for a couple of years looking at each other, waiting for the other one, to see which one would break first. But this is a poem about that particular time, called \\\"One Rural Winter\\\".\\n \\nAl Purdy\\n00:11:50\\nReads \\\"One Rural Winter\\\" [from Selected Poems; audience laughter throughout].\\n \\nAl Purdy\\n00:15:22\\nI was in the Arctic [https://www.wikidata.org/wiki/Q25322] in '65, but this is a poem written long after that about the Arctic. And I suppose...certainly about the Canadian Arctic. I called it \\\"Arctic Romance\\\", but I think it should be just \\\"Arctic\\\", or something like that.\\n \\nAl Purdy\\n00:15:46\\nReads \\\"Arctic Romance\\\".\\n \\nAl Purdy\\n00:17:13\\nScrewed that up, I guess. You get tired of reading your own stuff, after a while. You forget what it sounded like the last time. This is a poem I kind of like but I keep revising it also, or have been several times in the last few years, called \\\"Dark Landscape\\\". It uses a couple of lines from an American poet who died thirty years ago called Vachel Lindsay [https://www.wikidata.org/wiki/Q1197667], whom probably nobody ever heard of. And it starts in a very prosy way, and is meant to sound that way, and then the rhythm quickens. \\\"Dark Landscape\\\".\\n \\nAl Purdy\\n00:18:07\\nReads \\\"Dark Landscape\\\".\\n \\nAl Purdy\\n00:21:45\\nIn case anybody is wondering about the particular Vachel Lindsay line, it was \\\"The spring comes on forever, and the Chinese nightingale\\\". And he also had \\\"Aladdin to the jinn\\\", except that Aladdin to the jinn, his jinn was J-I-N-N and mine was two J-I-N-N's, and one G-I-N. So that, always a little difficult to understand it without seeing it on the page. Kind of a sweet little poem, this was after we moved to Roblin Lake, and as I say, I sold a couple of plays and we bought a pile of used lumber with the proceeds and put the down payment on the lot and build this house. \\n \\nAl Purdy\\n00:22:27\\nReads \\\"Winter at Roblin Lake\\\" [from The Cariboo Horses].\\n \\nAl Purdy\\n00:22:52\\nAlso the same period, about building the house, or rather after the house was built. Trouble is, you can't, you can't smoke a cigar here, can you, something I...it always goes out. Anyway. \\\"Interruption\\\". \\n \\nAl Purdy\\n00:23:13\\nReads \\\"Interruption\\\" [from Selected Poems].\\n \\nAl Purdy\\n00:24:49\\nWhen I...when we first moved down to Ameliasburg, or to Roblin Lake, I should say, because Roblin Lake where we are is about a mile or so from Ameliasburg...I, after Montreal, and after the job I'd had in Vancouver, I suddenly had to become my own disciplinary straw boss, and it was quite difficult, and in other words, you know, I'd try to get up at a certain hour of the day and start writing. Which I could always, you know, I can always write prose, whenever I feel like it, but poems, I write them, well, I should say, I write poems whenever I feel like it, but you can, I can regimen my own prose, which I don't do much of these days. Anyway, when we moved to Roblin Lake, I wasn't physically regimented myself, so that I was waking up all hours of the day. And this is a short poem about that, but I also screwed up the poem, because I put lines at the end of, or words at the end of each line so that I don't know where the emphasis should be placed, even though I've read it dozens of times. It's called \\\"Late Rising at Roblin Lake\\\".\\n \\nAl Purdy\\n00:25:57\\nReads \\\"Late Rising at Roblin Lake\\\" [from The Cariboo Horses].\\n \\nAl Purdy\\n00:26:47\\nAnother poem about the same particular period, called \\\"Wilderness Gothic\\\". Uh...don't think there's a thing to say about this particular poem at all. \\n \\nAl Purdy\\n00:27:03\\nReads \\\"Wilderness Gothic\\\" [from Selected Poems].\\n \\nAl Purdy\\n00:29:33\\nWhen you read a bunch of poems over several years, I think you pick out the ones that you think will read the best, which is certainly what I do, because there are many of my own poems that I rarely read, or never read at all. In fact I, I never read this one. It's called \\\"Love Poem\\\".\\n \\nAl Purdy\\n00:29:58\\nReads \\\"Love Poem\\\" [from Poems for all the Annettes].\\n \\nAl Purdy\\n00:31:40\\nIn...This poem dates, the actual time of the poem dates about fifteen years ago. The poem itself was written about five years ago. At the time, a friend of mine was there also, which, other than his particular presence I might have acted a little bit differently than I did. You'll see what I mean in a, when I read the poem. Because nobody would take this chance in placing themselves in such a vulnerable position with a woman. \\\"Homemade Beer\\\".\\n \\nAl Purdy\\n00:32:12\\nReads \\\"Homemade Beer\\\" [from The Cariboo Horses].\\n \\nAudience\\n00:33:48\\nLaughter.\\n \\nUnknown\\n00:33:51\\n[Cut or edit in tape. Unknown amount of time elapsed].\\n \\nAl Purdy\\n00:33:52\\nOne called \\\"The Drunk Tank\\\". It's...Dates back two or three years ago when, after the time when I was in the Air Force [https://www.wikidata.org/wiki/Q25456], a friend of mine got out of the Air Force much later, so we celebrated. And...it was after quite a turbulent evening with my friend in Belleville [https://www.wikidata.org/wiki/Q34227], Ontario, we decided to get a couple of bottles of liquor and go out to the country where we wouldn't be disturbed, and drink it. But the farmer phoned the cops, and we were both thrown in jail. And this particular poem is about the first part of that experience, I mean the early part of being thrown in jail, more or less. But not the end of it, it turned into a sort of fantasy that means something other than I intended. \\n \\nAl Purdy\\n00:34:43\\nReads \\\"The Drunk Tank\\\" [from The Poems of Al Purdy].\\n \\nAl Purdy\\n00:36:51\\nThis is called \\\"Poem for Rita\\\", and about a couple of years ago in Toronto [https://www.wikidata.org/wiki/Q172], there was a couple of girls staying with myself, my wife and myself, and she kept asking me to write a poem. So after a while, I wrote this.\\n \\nAl Purdy\\n00:37:10\\nReads \\\"Poem for Rita\\\".\\n \\nAudience\\n00:37:25\\nLaughter.\\n \\nAl Purdy\\n00:37:28\\nThat's all. [Audience laughter]. I think it was actually kind of unkind on my part, because I was never sure whether she understood that or not, and I didn't know whether I wanted her to understand it. [Audience laughter]. There...when we first moved to Ameliasburg, as I mentioned, I was broke as hell. And after having lived in Vancouver, I learned how to make wine of one kind or another, and there was no way to, I didn't have enough money to make beer, so there were a lot of wild grapes around there and we made, I made wild grape wine, and one time, one particular season, I had about five hundred bottles. [Audience laughter]. I attribute the effects of this wine to having made me what I am today [audience laughter], if I could figure that out. But the poem eventually came out of it, called \\\"The Winemaker's Beatitude\\\".\\n \\nAl Purdy\\n00:38:39\\nReads \\\"The Winemaker's Beatitude\\\" [from Selected Poems].\\n \\nAl Purdy\\n00:41:16\\nIn '65, I went up to Baffin Island [https://www.wikidata.org/wiki/Q81178] on some government money, public money, rode a commercial airline plane from Montreal to Frobisher Bay [https://www.wikidata.org/wiki/Q1004067], hitchhiked a ride on what I thought was a DOT plane, but was a construction plane, a construction company charter, and then at Pangnirtung [https://www.wikidata.org/wiki/Q631747], which is on the Arctic Circle, the original administrator there arranged that I go along with an Eskimo family in their canoe to some islands in Cumberland Sound [https://www.wikidata.org/wiki/Q938327]. A year and a half after I got back from the Arctic, I got a bill for a hundred and ten dollars from the construction company that I thought I'd, whose plane I thought I'd hitchhiked on. Which I haven't paid. But anyway, all of these poems, except perhaps I think one or two, were written up there, written in the Arctic, except that after I got back from the Arctic I kept revising them. So you can make up your own mind whether they're written there or not. Among the poems here, there's one called \\\"At the Movies\\\".\\n \\nAl Purdy\\n00:42:37\\nReads \\\"At the Movies\\\" [from North of Summer].\\n\\n Al Purdy\\n00:44:55\\nThe business about the caribou draining in the bilge water was one of the reasons, I suppose, I found it so extraordinary that, perhaps, that Eskimos should enjoy these shoot-em-up movies, was that they had just come a hundred miles or so after shooting caribou, bringing them back to Pang, Pangnirtung on the, on the Sound, on the...jeez, my memory's failing, I can't even remember the fjord it was. But anyway, they had just shot them and come a hundred miles back with them, and yet...and they were draining in their Peterhead boats, and yet they found these movies so exciting--I suppose I shouldn't find that so unusual, but I do. A crappy Hollywood [https://www.wikidata.org/wiki/Q34006] movie. And here's one called \\\"The Sculptors\\\".\\n \\nAl Purdy\\n00:45:50\\nReads \\\"The Sculptors\\\" [from North of Summer].\\n\\nAl Purdy\\n00:48:17\\nI think I'm going to have about time for two more, so that I'd better...I could probably go on, oh I'd better make it three more  I'll give ya...this is, the trees in the Arctic are about, are very low, and well, this is treeless country on Baffin Island, where there, where practically nothing grows except moss and that, and the like of that, but I wrote a poem about trees at the Arctic Circle, and this is it....I see I'm getting, I'm only talking about the physical things about the Arctic, and I have some poems about the people, too, which, which I should read. Anyway, \\\"Trees at the Arctic Circle\\\".\\n \\nAl Purdy\\n00:49:05\\nReads \\\"Trees at the Arctic Circle\\\" [from North of Summer].\\n \\nAl Purdy\\n00:51:07\\nI want to read at least one about, about, about people there, because I used to, when I was on these islands, [inaudible] Islands in Cumberland Sound, the Eskimo women used to come over every day and drink tea. They could not speak any English and I could speak no Eskimo, and I would feed them tea and we would sit there, myself feeling about as silly as I could, so eventually I grew a bit desperate and I would read them poems and I would sing songs or I'd do any damn thing. However, eventually there was some kind of, I think, positive liking on my part. But this poem may express it as well as anything. \\\"Wash Day\\\".\\n \\nAl Purdy\\n00:51:54\\nReads \\\"Wash Day\\\" [from North of Summer].\\n \\nAl Purdy\\n00:54:03\\nTalking about shit, there's actually a poem that has a little bit to do with it here. The Arctic dogs have some qualities that are more pronounced and magnified in Arctic dogs than in southern dogs, that is, they like to eat the stuff. So that when you go, as all, everybody must go at some time or other in their lives, possibly once a day or not, one takes an Eskimo kid along to throw stones and keep the dogs off. When I came back from the Arctic I saw an hour-long film about the George River [https://www.wikidata.org/wiki/Q966023] Eskimos, and one scene in it showed about fifty Eskimos trying to get into a tent, and the Eskimos beating them into the tent, and the next thing you showed the same dogs trying to get out of the tent and the Eskimos beating them out of the tent. And the announcer said not one single word. And then I remembered that whenever the Eskimos leave a campsite, they use it for a privy, and then send the dogs in to clean up. So, actually, this is a poem about that.  \\\"When I Sat Down to Play the Piano\\\". [Audience laughter].\\n \\nAl Purdy\\n00:55:10\\nReads \\\"When I Sat Down to Play the Piano\\\" [from North of Summer; audience laughter throughout].\\n\\nAl Purdy\\n00:58:23\\nI've got one more poem if my voice can hold out. When Robert Kennedy  [https://www.wikidata.org/wiki/Q25310] was shot...I always think about anything that I'm interested and emotionally moved by, always, at least I have in the past, till I got to Simon Fraser, think about writing a poem about it. So the same thing was happening after Kennedy was shot and died, and I was thinking about writing a poem about it, and then the Star Weekly [https://www.wikidata.org/wiki/Q17112122] phoned up and asked me to write a poem about it. So this poem eventually got written. \\\"A Lament for Robert Kennedy\\\".\\n \\nAl Purdy\\n00:59:06\\nReads \\\"A Lament for Robert Kennedy\\\".\\n\\nAudience\\n01:04:39\\nApplause.\\n \\nEND\\n01:04:55\\n\",\"notes\":\"Al Purdy reads from a wide variety of his books, including Selected Poems (McClelland and Stewart, 1972), Love in a Burning Building (McClelland and Stewart, 1970), The Cariboo Horses (McClelland and Stewart, 1965), Poems for all the Annettes (Contact Press, 1962), and North of Summer (McClelland and Stewart, 1967).\\n\\n00:00- George Bowering introduces Al Purdy. [INDEX: Doug Featherling describes Purdy as“the most Canadian of all possible poets”, won the President’s Medal, Governor General’s award, Canada Council Grants, Simon Fraser University]\\n00:56- Al Purdy introduces the reading, and “About Being a Member of Our Armed Forces”. [INDEX: Bliss Carman as influence, Simon Fraser University, joining ‘academia’, conscripts in the war, CWAC: women members of the Canadian Women’s Army Corps, wooden drill rifles; from Selected Poems (McClelland and Stewart, 1972)].\\n02:09- Reads “About Being a Member of Our Armed Forces”.\\n03:29- Introduces “Floating Down the North Saskatchewan River”. [INDEX: student in his class, student’s poems in Purdy’s cigar tubes floating down the North Saskatchewan\\nRiver; read from unknown source].\\n04:01- Reads “Floating Down the North Saskatchewan River”.\\n04:40- Introduces “Flight 17 Eastbound”. [INDEX: revising his manuscript; from unknown source, could be known as “Jubilate on Flight 17, Eastbound”].\\n05:13- Reads “Flight 17 Eastbound”.\\n06:47- Introduces “With Words, Words”. [INDEX: collection of love poems, Jack McClelland and Stewart, Harold Town (illustrator); from Love in a burning building (McClelland and Stewart, 1970)].\\n07:51- Reads “With Words, Words”.\\n10:49- Introduces “One Rural Winter”. [INDEX: Vancouver, 1955-6, play for CBC accepted, moved to Montreal, Roblin Lake near Ameliasburg in Ontario, built house, *note that explanation is almost word-for-word identical as his explanation for the same poem, in the reading at the Vancouver Art Gallery (I086-11-042)*; from Selected Poems (1972)].\\n11:50- Reads “One Rural Winter”.\\n15:22- Introduces “Arctic Romance”. [INDEX: Arctic trip in 1965, naming of the poem; from unknown source; Howard Fink List “Arctic”].\\n15:46- Reads “Arctic Romance”.\\n17:13- Introduces “Dark Landscape”. [INDEX: reading, revising, lines from American pet\\nVachel Lindsay; from unknown source].\\n18:07- Reads “Dark Landscape”.\\n21:45- Explains Vachel Lindsay line, Introduces “Winter at Roblin Lake”. [INDEX: Vachel\\nLindsay line “The spring comes on forever, and the Chinese nightingale”, “Aladdin to the\\njinn”, changes Purdy made to the poem, Roblin lake, sold plays, building house of used\\nlumber; from The Cariboo Horses (McClelland and Stewart, 1965)].\\n22:27- Reads “Winter at Roblin Lake”.\\n22:52- Introduces “Interruption”. [INDEX: building house, smoking a cigar; from Selected\\nPoems (1972); not in Howard Fink List of poems].\\n23:13- Reads “Interruption”.\\n24:49- Introduces “Late Rising at Roblin Lake”. [INDEX: Ameliasburg, Montreal, Vancouver, discipline of writing, writing prose vs. writing poetry, process of reading many times; from The Cariboo Horses (1965)]\\n25:57- Reads “Late Rising at Roblin Lake”.\\n26:47- Introduces “Wilderness Gothic”. [INDEX: from Selected Poems (1972); Howard Fink List “One Ernest Gothic”].\\n27:03- Reads “Wilderness Gothic”.\\n29:33- Introduces “Love Poem”. [INDEX: preparing poems to be read, poems Purdy’s never read; from Poems for all the Annettes (Contact Press, 1962)].\\n29:58- Reads “Love Poem”.\\n31:40- Introduces “Homemade Beer”. [INDEX: poem dates five years prior; from The Cariboo Horses (1965)].\\n32:12- Reads “Homemade Beer”.\\n33:52- Introduces “The Drunk Tank”. [INDEX: Air Force, Belleville, Ontario, drinking with\\nfriend, cops called, thrown in jail, ending meaning something other than what was\\nintended; from The Poems of Al Purdy (McClelland and Stewart, 1976)].\\n34:43- Reads “The Drunk Tank”.\\n36:51- Introduces “Poem for Rita”. [INDEX: Toronto, girls staying with Purdy and his wife, girl asked him to write a poem; from unknown source, Howard Fink List “Poem for\\nEda”].\\n37:10- Reads “Poem for Rita”.\\n37:25- Introduces “The Winemaker’s Beat Etude”, and explains more about “Poem for Rita”. [INDEX: Ameliasburg, Vancouver, making homemade wine; from Selected Poems\\n(1972)].\\n38:39- Reads “The Winemaker’s Beat Etude”.\\n41:16- Introduces “At the Movies”. [INDEX: 1965, trip to Baffin Island on government money, plane from Montreal to Frobisher Bay, hitchhiked on DOT plane, construction company charter, Pangnirtung on Arctic Circle, “Eskimo” family’s canoe, bill for plane, Arctic poems; from North of Summer (McClelland and Stewart, 1967)].\\n42:36- Reads “At the Movies”.\\n44:55- Introduces “The Sculptors”. [INDEX: caribou draining, “Eskimos” shooting caribou then watching movies, Pangnirtung Sound, Peterhead boats, Hollywood movie; from North of Summer]\\n45:50- Reads “The Sculptors”.\\n48:17- Introduces “Trees at the Arctic Circle”. [INDEX: Trees on Baffin Island; from North of Summer].\\n49:05- Reads “Trees at the Arctic Circle”.\\n51:07- Introduces “Wash Day”. [INDEX: Cumberland Sound, Eskimo women, language\\nbarriers, tea, sing songs; from North of Summer].\\n51:54- Reads “Wash Day”.\\n54:03- Introduces “When I Sat Down to Play the Piano”. [INDEX: Arctic dogs, film about the George River Eskimos; from North of Summer].\\n55:10- Reads “When I Sat Down to Play the Piano”.\\n58:23- Introduces unknown poem “A Lament for Robert Kennedy”, perhaps actually “Death of John F. Kennedy”. [INDEX: Shooting of Robert Kennedy (John F?), Simon Fraser, writing poem about shooting, Star Weekly asked Purdy for a poem about it].\\n59:06- Reads “A Lament for Robert Kennedy”. [INDEX: perhaps “Death of John F.\\nKennedy”, found in The Cariboo Horses].\\n1:04:55- END OF RECORDING.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/al-purdy-at-sgwu-1970-george-bowering/\"}]"],"score":2.1907105},{"id":"1289","cataloger_name":["Mahtab,Banihashemi"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Joel Oppenheimer at Sir George Williams University, The Poetry Series, 3 April 1970"],"item_title_source":["Cataloguer"],"item_title_note":["\"JOEL OPPENHEIMER Recorded April 3, 1970 3.75 ips, 1/2 track on 1 mil tape\" written on sticker on the back of the tape's box. \"JOEL OPPENHEIMER I006/SR12\" written on sticker on the spine of the tape's box. \"Speed 3 3/4 I006-11-012\" written on sticker on the reel"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 4"],"item_identifiers":["[]"],"creator_names":["Oppenheimer, Joel"],"creator_names_search":["Oppenheimer, Joel"],"creators":["[{\"url\":\"http://viaf.org/viaf/57449787\",\"name\":\"Oppenheimer, Joel\",\"dates\":\"1930-1988\",\"notes\":\"Born in 1930 in Yonkers, New York, Joel Oppenheimer lived in New York City until 1950 when he attended Black Mountain College in North Carolina. There, he was influenced by Charles Olson and colleagues such as Robert Creeley, Ed Dorn, Jonathan Williams and Fielding Dawson, forming the Black Mountain Poets. Visiting writer William Carlos Williams and e.e. cummings also greatly influenced Oppenheimer. Joel published The Dancer in 1951 (Sad Devil Press at Black Mountain College), The Dutiful Son in 1956 (Short Hills, Johnathan Cape), The Love Bit in 1962 (Totem Press) and Sirventes on a Sad Occasion in 1967 (The Perishable Press) while working in a printing shop. In 1966 he became the director of the Poetry Project at St Mark’s Church in-the-Bowery, a New York City reading series and by 1969, Oppenheimer became a columnist for the Village Voice. He then published In Time: Poems 1962-1968 (Bobbs-Merrill, 1969), and in 1973 published On Occasion: Some Births, Deaths, Weddings, Birthdays, Holidays, and Other Events, a book of occasional poems (Bobbs-Merrill). The Woman Poems (Bobbs-Merrill) was published in 1975, and Names, Dates & Places (Saint Andrew’s Press, 1973) chronicled the New York Mets. He also wrote a popular book about Marilyn Monroe, called Marilyn Lives! (Delilah, 1981). In 1984 Oppenheimer taught creative writing at New England College in Henniker, New Hampshire. His last published book of poetry was New Spaces: Poems 1975-1983 (Black Sparrow Press, 1985). Joel Oppenheimer died of lung cancer on October 11, 1988.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Bowering, George"],"contributors_names_search":["Bowering, George"],"contributors":["[{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Presenter\"]}]"],"Presenter_name":["Bowering, George"],"Series_organizer_name":["Bowering, George"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1970 4 3\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the back of the tape's box. Date also specified in previous written announcement \\\"Poetry Four: Sir George Williams Poetry Series\\\"\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"Location specified in previous written announcement \\\"Poetry Four: Sir George Williams Poetry Series,\\\" but not confirmed\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["Joel Oppeheimer reads from In Time: Poems 1962-1968 (Bobbs-Merrill,1969) as well as poems from Just Friends/Friends and Lovers (Jargon Society) which was only published in 1980."],"contents":["joel_oppenheimer_i006-11-012.mp3\n\nGeorge Bowering\n00:00:00\nI suppose everybody knows everything that everybody would say in an introduction to Joel Oppenheimer [https://www.wikidata.org/wiki/Q6213806] anyway, the Black Mountain [https://www.wikidata.org/wiki/Q2413277] blah blah blah, and the director of the St. Mark's Poetry Project [https://www.wikidata.org/wiki/Q7207506] blah blah blah but what I would like to mention specifically is that there's a big fat book called In Time with about 225 pages of Joel's poetry from the 1960's published by Bobbs-Merrill [https://www.wikidata.org/wiki/Q4934692] distributed by McClelland & Stewart [https://www.wikidata.org/wiki/Q6800322] in Canada [https://www.wikidata.org/wiki/Q16] if they ever get into bookstores in Montreal [https://www.wikidata.org/wiki/Q340]. Joel Oppenheimer, thank you.\n \nJoel Oppenheimer\n00:00:44\nI really didn't like, George [https://www.wikidata.org/wiki/Q1239280], being referred to as being a Black Mountain blah blah blah. I happen to be the finest softball pitcher Black Mountain ever had. And so that none of you lose any sleep tonight, the uniform is genuine United States [https://www.wikidata.org/wiki/Q30] Merchant Marine [https://www.wikidata.org/wiki/Q865132] uniform and the fifth stripe, the purple stripe denotes me as a chief poet, which I was appointed by three captains, two chief engineers and several assorted mates of United States lines and we invented the uniform one night and they threw in all the materials and my wife gave it to me for a Christmas present, so I am responsible for the moral, religious, emotional and sexual life of the crew while at sea. It's a very serious duty! The book that's out now is actually my fourth book of poems, the first to some of you may be familiar with some of the poems from The New American Poetry [https://www.wikidata.org/wiki/Q7753501]and so on, The Dutiful Son and The Love Bit. And In Time is the fourth book. The third book is a little known book because Jonathan Williams [https://www.wikidata.org/wiki/Q6274797] has been carrying it around in his briefcase for eight years and sends me postcards every six month saying he's bringing it out. I thought maybe since it probably will never get published I should read some poems from there, it's called Friends and Lovers and most of the poems have initialed inscriptions, some of which I will name to you, and some of which somebody going for his Master's thirty years from now will have to do a lot of research to figure out. It's divided into two parts, obviously in the first part is friends and in the second part is lovers. This is the dedicatory poem. \"Orpheus\" [https://www.wikidata.org/wiki/Q174353].\n \nJoel Oppenheimer\n00:02:52\nReads \"Orpheus\" [published later in Just Friends/Friends and Lovers].\n \nJoel Oppenheimer\n00:03:20\nThis is a poem called \"Lesson I\" and it's for Charles Olson [https://www.wikidata.org/wiki/Q922978]. It's also as sure you all recognize upon a parody on one of Pound's [https://www.wikidata.org/wiki/Q163366] Usury Cantos [https://www.wikidata.org/wiki/Q2701465] and it's based on an actual softball incident in which Charles was supposed to be coaching third base and instead was discussing Etruscan sculpture when I was rounding second on a long drive to left centre field.\n \nJoel Oppenheimer\n00:03:54\nReads \"Lesson I\".\n \nJoel Oppenheimer\n00:04:30\nCharles got very upset about that. This is a poem for Franz Kline [https://www.wikidata.org/wiki/Q374492]. Do I need to tell you who Franz was? Alright, if anybody doesn't know should ask the person next to them after the reading…”Pablo Nerruda--” It’s called “The Boys Whose Fathers\".\n \nJoel Oppenheimer\n00:04:57\nReads \"The Boys Whose Fathers\".\n \nJoel Oppenheimer\n00:08:31\nAnd this is for Cubby Selby [https://www.wikidata.org/wiki/Q551487] who wrote Last Exit to Brooklyn [https://www.wikidata.org/wiki/Q1400274]. “A Poem In Tune With Its Time”.\n \nJoel Oppenheimer\n00:08:39\nReads “A Poem In Tune With Its Time”.\n \nJoel Oppenheimer\n00:09:13\nThis is for Phillip Guston [https://www.wikidata.org/wiki/Q701952]. That's very strange, I find that now I can say the names. Philip is a still surviving member of the New York [https://www.wikidata.org/wiki/Q60] Abstract Expressionist school, or whatever they call it these days. And a marvelous painter.\n \nJoel Oppenheimer\n00:09:30\nReads \"A Grace for Painters\".\n \nJoel Oppenheimer\n00:11:21\nThis is another poem for Charles Olson. It's called \"Okay\". This is a funny book because it was written about 1961, as I say literally, it's been carried around in manuscript form for eight years and why I never pulled it back except that those damn postcards kept coming in so I kept saying, okay, six months more and it just was a scene I got into where I, personal poems to people became a thing that I was doing at that time. It's called \"Okay\".\n \nJoel Oppenheimer\n00:12:10\nReads \"Okay\".\n \nJoel Oppenheimer\n00:13:54\nThank you. I don't know how many of you knew Charles, that was a visit to New York and we did have a marvelous meal in New York's Chinatown [https://www.wikidata.org/wiki/Q866332] and I just said to the guy, you know, bring us so many dollars worth of food, and there were eleven of us, Ed Dorn [https://www.wikidata.org/wiki/Q5334756] and his wife were with us and LeRoi Jones [https://www.wikidata.org/wiki/Q354783] and his wife and Charles, and we sat there and they kept bringing dishes out everybody stuffed themselves and we were all sitting there and Charles, as most of you know was about 6'7” and about 250 pounds and after all this food had come out and been consumed, the guy came out with a sea bass about this big, and everybody sorta looked and Charles said, \"Oh, thank you Joel\" and proceeded to demolish this thing. Well, everybody just sitting...[audience laughter]. Ah, yes! I have a Canadian poem for you. I didn't even know that. This is a poem for Ed Dorn and it's called \"The Fourth Ark Royal\". One night at a bar called Dylan's, Ed and I had seen each other for the first time for about six years and a couple of sailors came in and they had Ark Royal on their caps and Canadian badges and finally after a couple of drinks I asked one of them what the Ark Royal was, and to their shame and my chagrin, and they really were abashed when they said it, it turns out now that the Ark Royal is now a Corvette, uh, after a long distinguished history and not that--I'm sure that it's a great Corvette, but still, a Corvette is a Corvette, you know.\n \nJoel Oppenheimer\n00:16:03\nReads \"The Fourth Ark Royal\".\n \nJoel Oppenheimer\n00:20:03\nDoes anybody know where the Fourth Ark Royal is anchored? I'll go see it tomorrow. I have to make a confession, I pulled a dreadful gaff yesterday and I'm sure that Stan and George are going to spread it around after I leave, so I'm going to confess it in public. I said \"Gee, we're going to be here for a couple of days and there's one thing I'd really like to see. And do you suppose somebody might, you know, give us a lift to the Plains of Abraham [https://www.wikidata.org/wiki/Q2726825]\", and they both looked at me and said \"It's 100 miles away in Quebec [https://www.wikidata.org/wiki/Q176]\" and I said \"Oh my god, you're right\" and then I got home, to the hotel, and I was reading through, what's the name of that lovely magazine they give you at the hotel? Canada Today or something, and I was reading through, and when I saw them today, I said \"Oh well, I was wrong about the Plains of Abraham, but we guys captured Montreal once\" and it made me feel much better. Of course, we didn't hold it very long, I think a day we were here. This is a thing called \"Spring Poem\". And let's hope that it gets here.\n \nJoel Oppenheimer\n00:21:24\nReads \"Spring Poem\".\n \nJoel Oppenheimer\n00:21:39\nAhah! Yes, gee, I don't know if you're liking these, but I'm so delighted, I really haven't looked at these poems in moons, and it's...this is a poem for Gil Sorrentino [https://www.wikidata.org/wiki/Q326773] called \"The Aces\", and it starts with a quote from Antony and Cleopatra [https://www.wikidata.org/wiki/Q606830]. And it's when, it's the speech that's always quoted where the death is announced to her, and everybody always quotes the crown he bestride the continents like [unintelligible] and crowns--the crown would drop from his pocket, but I always love the end of it, near the end, she says \"His delights were dolphin-like, they showed his back above the element they lived in\".\n \nJoel Oppenheimer\n00:22:28\nReads \"The Aces\".\n \nJoel Oppenheimer\n00:23:36\nFor J.C. Just to add a little mystery.\n \nJoel Oppenheimer\n00:23:56\nReads unnamed poem \"There are waterfalls pour straight down\".\n \nJoel Oppenheimer\n00:24:48\n\"La Revolución\", for J.S.\n \nJoel Oppenheimer\n00:24:51\nReads \"La Revolución\".\n \nJoel Oppenheimer\n00:25:55\nI think what I'll do is read one--this is kind of a long poem, are you up to a longish poem and then we'll call a break? \"A Little Mayan Head\", for E.W.\n \nJoel Oppenheimer\n00:26:23\nReads \"A Little Mayan Head\".\n\nUnknown\n00:30:22\n[Cut or edit made in tape. Unknown amount of time elapsed].\n \nJoel Oppenheimer\n00:30:23\nIt's titled \"N.B.\", but that isn't for a lady, that's Nota Bene, if I am correcting--if I am pronouncing that correctly, or correcting that pronouncedly.\n \nJoel Oppenheimer\n00:30:34\nReads \"N.B.\"\n \nJoel Oppenheimer\n00:31:10\n\"Poem for New Children\", for E. and L.\n \nJoel Oppenheimer\n00:31:14\nReads \"Poem for New Children\".\n \nJoel Oppenheimer\n00:31:35\n\"Peire Vidal at Thirty-Two\" and any of you who don't know Peire Vidal [https://www.wikidata.org/wiki/Q5269] are instructed to report to George Bowering on Monday morning and he will give you a lecture on Peire Vidal. And George, if you don't have a lecture prepared, you better by then. Peire Vidal was the most marvelous poet in the world, his vida begins, Peire Vidal was the son of a rich fourrier in Toulouse [https://www.wikidata.org/wiki/Q7880], he sang better than any man in the world and he wrote good songs and he was the biggest fool the world has ever known because he believed that what a woman told him in love was true. He also [audience laughter] wrote a poem, this will get an even bigger hit when he was an old man he wrote a gorgeous poem that I can't quote, and you can thank me for that, he wrote a gorgeous poem in which in the first stanza, he avowed his eternal love to four different chicks [audience laughter]. \n \nJoel Oppenheimer\n00:32:4\nReads \"Peire Vidal at Thirty-Two\".\n \nJoel Oppenheimer\n00:33:16\n\"The Truck Farmer\", for R. F.\n \nJoel Oppenheimer\n00:33:25\nReads \"The Truck Farmer\".\n \nJoel Oppenheimer\n00:35:01\n\"Dutch Interior: Sewing\", also for R.F. R.F. was my first wife.\n \nJoel Oppenheimer\n00:35:07\nReads \"Dutch Interior: Sewing\".\n \nJoel Oppenheimer\n00:35:36\n\"Clams on the Half-Shelf\" for M.M. And I must say I've been very disappointed, because everybody kept telling me what great seafood restaurants Montreal has and the only seafood I can really stand is fresh clams and every restaurant I go into says, \"Oh, yeah, we have oysters but we don't serve clams\". Does anyone know a restaurant where I can get fresh clams?...This is for M.M.\n \nJoel Oppenheimer\n00:36:09\nReads \"Clams on the Half-Shelf\".\n \nJoel Oppenheimer\n00:36:48\nI must confess to the ladies in the audience that my book has been branded by women's lib in New York as insulting to women, and I have great fights with all of them, I praise their bosoms, and they sort of calm down then, but they still keep putting up stickers on my book jackets. It's amazing what you can do to a women's lib chick if you just tell her that she has very nice tits, really. Immediately they desert the movement. \"New Blues for the Moon\" for D.D.\n \nJoel Oppenheimer\n00:37:34\nReads \"New Blues for the Moon\" [from In Time: 1962-1968].\n \nJoel Oppenheimer\n00:38:10\nIt took me four years after, I got the rhyme line to \"I know your door better than my own\" but now it's too late to write the blues, but if anybody's interested, it's \"And if you won't have me I still ain't goin' home.\" \"A Love Poem\" for M.S.\n \nJoel Oppenheimer\n00:38:33\nReads \"A Love Poem\".\n \nJoel Oppenheimer\n00:39:08\nOh yeah, that's a nice poem for today. \"Third of April\", for M.R.\n \nJoel Oppenheimer\n00:39:16\nReads \"Third of April\".\n \nJoel Oppenheimer\n00:39:59\n\"A Five Act Play\" for B.J.\n \nJoel Oppenheimer\n00:40:02\nReads \"A Five Act Play\".\n \nJoel Oppenheimer\n00:40:27\n\"Nature Boy\" for B.C. Helen, are you keeping notes on these initials?\n \nJoel Oppenheimer\n00:40:41\nReads \"Nature Boy\".\n \nJoel Oppenheimer\n00:41:22\n\"Flora\" for J.G.\n \nAnnotation\n00:41:31\nReads \"Flora\".\n \nJoel Oppenheimer\n00:42:04\nI'm not sure I like this poem but the story behind it is funny. The really, the fairest break-up, for very strange reasons, and this one literally broke up because the first day that the chick made me sunny-side up eggs, she mashed the yolk with her fork. [Audience laughter]. I knew that no matter how beautiful the scene had been I couldn't stay there anymore. It's called \"Purple Flowers\" and it's for S.G., wherever you might be.\n \nJoel Oppenheimer\n00:42:54\nReads \"Purple Flowers\" [audience laughter throughout].\n \nJoel Oppenheimer\n00:43:29\n\"The Apples\" for D.R.\n \nJoel Oppenheimer\n00:43:35\nReads \"The Apples\".\n \nJoel Oppenheimer\n00:44:10\nI have--this is the last poem in the book and if you want to hear some stuff from--this is a longish one, why don't we call a stop after this, and if people want to split, split and if people want to stay I'll read a little bit more from the new book. \"When What You Dream\" for F.E.\n \nJoel Oppenheimer\n00:44:45\nReads \"When What You Dream\".\n \nJoel Oppenheimer\n00:51:07\nThis book starts with a poem that was turned down by at least 37 little magazines, and I finally blackjacked it in as the introductory poem. It's called \"The Poem\".\n \nJoel Oppenheimer\n00:51:36\nReads \"The Poem\" [from In Time: 1962-1968].\n \nJoel Oppenheimer\n00:51:45\nNobody liked it. Dan Rice is the only person in the world I know that likes that poem. And I think it's the best poem I ever wrote. This is a poem for the other poet I have to most love for, Li Po [https://www.wikidata.org/wiki/Q7071], the Chinese poet from 700, 800, roughly. It's called \"shooting the moon\". Li Po, his particular distinctions were that he seduced the emperor of China's [https://www.wikidata.org/wiki/Q148] favourite courtesan, and showed up two hours late for the date, bombed out of his skull, and fell asleep on her bosom before doing anything, and the emperor was not terribly amused by it but at the same time he was impressed by the enormity of the action so he exiled him to the mountains but he gave him like 50 thousand acres and bread for life, it's just he was not to show up in court ever again. While there, he did several notable things, one of which is writing the best lush poem that's ever been written cause he got up on a beautiful spring day and was sitting out on his terrace and his servant brought him breakfast and he ate it and he started drinking some sake and the next thing he knew it was nine o'clock at night and like he had sorta missed spring so he started drinking again, and the last line of the poem is something like \"two hours later I was dancing with the moon\". So, he worked it out. The only problem was, that he was literally in love with the moon, and this image runs through his poem, and one night on the way home from a wine tavern, he decided finally to make it with the moon and he sat down at the edge of the river, left it under a rock with his clothes and dove in to screw the moon, literally, the reflection in the water, and drowned. And one hopes that--I don't know what the autopsy showed, but one hopes that he did make it before he drowned, you know, like, you have to love, you know, a guy like that.\n \nJoel Oppenheimer\n00:54:28\nReads \"Shooting the Moon\" [from In Time: 1962-1968].\n \nJoel Oppenheimer\n00:56:37\nHelen, do you remember, by any chance, where the other moon poem is? Hold on one--I think I have it. Marvelous picture in the Times [https://www.wikidata.org/wiki/Q9684] one day, the first time they took a--the first time one of the things went around the moon, and I wrote a very funny poem about it I think, if I can find it here. Oh well, while I'm looking for it, I'll read you \"Zeus, in May, Reflects on a Recent Letter from Astarte\".\n \nJoel Oppenheimer\n00:57:53\nReads \"Zeus, in May, Reflects on a Recent Letter from Astarte\" [from In Time: 1962-1968].\n \nJoel Oppenheimer\n00:58:37\nAm I allowed to read dirty poems here? Yeah? This is a poem called \"Poem in Praise of Perseverance\". And anybody who doesn't want to hear it should close their ears. This is another poem that was rejected by about 40 magazines.\n \nJoel Oppenheimer\n00:59:05\nReads \"Poem in Praise of Perseverance\" [from In Time: 1962-1968].\n \nJoel Oppenheimer\n00:59:34\nI really do want to find that damn moon poem. Alright, \"The New Standard Simplified American Cabala for Home Use\".\n \nJoel Oppenheimer\n00:59:53\nReads \"The New Standard Simplified American Cabala for Home Use\" [from In Time: 1962-1968].\n \nJoel Oppenheimer\n01:00:12\n\"The Three Old Ladies\".\n \nJoel Oppenheimer\n01:00:24\nReads \"The Three Old Ladies\" [from In Time: 1962-1968].\n \nJoel Oppenheimer\n01:01:14\nThat poem incidentally was because of a little incident in a college in Brooklyn [https://www.wikidata.org/wiki/Q18419] because they had a lady faculty member as a cop and she listened to me read and she objected to only one word in the entire reading and that was 'hard-on' and I suggested gently to the woman who called me about it that that might be that lady's problem, if she could listen to my--I found the moon poem, thank god--if that was the only word she found to object to that I really thought she might need a little help somewhere from somebody. \"Wrong Again\".\n \nJoel Oppenheimer\n01:02:11\nReads \"Wrong Again\" [from In Time: 1962-1968; audience laughter throughout].\n \nEND\n01:03:25\n[Cut off abruptly]."],"Note":["[{\"note\":\"Year-Specific Information:  \\n\\nIn Time: Poems 1962-1968 was published in 1969 while Joel Oppenheimer was writing columns for the Village Voice in New York City.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nNo direct connections to Montreal or Sir George Williams University are known, however Oppenheimer was an influential member of the Black Mountain group, and a director of the Poetry Project at St. Mark’s Church in-the-Bowery in New York. George Bowering’s name appears on the list of correspondences between 1969 and 1978, in Joel Oppenheimer’s Papers. (See Related Works).\",\"type\":\"General\"},{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/807465072&referer=brief_results\",\"citation\":\"Foster, Edward.\\\"Oppenheimer, Joel\\\". The Oxford Companion to Twentieth-Century Poetry in  English. Ian Hamilton (ed). Oxford University Press, 1996. \"},{\"url\":\"http://doddcentre.uconn.edu/           \\tfindaids/Oppenheimer/MSS19900056.html\",\"citation\":\"“Joel Oppenheimer Papers”. Archives & Special Collections at the Thomas J. Dodd Center, University of Connecticut, 2003.\"},{\"url\":\"https://www.worldcat.org/title/in-time-poems-1962-1968/oclc/48666?referer=di&ht=edition\",\"citation\":\"Oppenheimer, Joel. In Time: poems 1962-1968. Indianapolis: Bobbs-Merril, 1969.\"},{\"url\":\"https://www.worldcat.org/title/just-friendsfriends-and-lovers-poems-1959-1962/oclc/869017166&referer=brief_results\",\"citation\":\"Oppenheimer, Joel. Just Friends/Friends and Lovers. Asheville: Jargon Society, 1980.\"},{\"url\":\"\",\"citation\":\"“Oppenheimer, Joel”. Literature Online Biography. Proquest, 2008. \"},{\"url\":\"\",\"citation\":\"“Poetry Four: Sir George Williams Poetry Series, Ninth Reading, Al Purdy”. Montreal: Sir George Williams University, 1970. Found in “The Stephen Morrissey Papers, 1963 - 1998”, McGill McLennan Library, Special Collections and Rare Books, Montreal, Quebec, Canada.\"}]"],"_version_":1853670548984299520,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006-11-0012_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006-11-0012_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Joel Oppenheimer Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006-11-0012_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006-11-0012_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Joel Oppenheimer Tape Box - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006-11-0012_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006-11-0012_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Joel Oppenheimer Tape Box - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006-11-0012_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006-11-0012_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Joel Oppenheimer Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/joel_oppenheimer_i006-11-012.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"joel_oppenheimer_i006-11-012.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:03:25\",\"precision\":\"\",\"size\":\"152.2 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"George Bowering\\n00:00:00\\nI suppose everybody knows everything that everybody would say in an introduction to Joel Oppenheimer [https://www.wikidata.org/wiki/Q6213806] anyway, the Black Mountain [https://www.wikidata.org/wiki/Q2413277] blah blah blah, and the director of the St. Mark's Poetry Project [https://www.wikidata.org/wiki/Q7207506] blah blah blah but what I would like to mention specifically is that there's a big fat book called In Time with about 225 pages of Joel's poetry from the 1960's published by Bobbs-Merrill [https://www.wikidata.org/wiki/Q4934692] distributed by McClelland & Stewart [https://www.wikidata.org/wiki/Q6800322] in Canada [https://www.wikidata.org/wiki/Q16] if they ever get into bookstores in Montreal [https://www.wikidata.org/wiki/Q340]. Joel Oppenheimer, thank you.\\n \\nJoel Oppenheimer\\n00:00:44\\nI really didn't like, George [https://www.wikidata.org/wiki/Q1239280], being referred to as being a Black Mountain blah blah blah. I happen to be the finest softball pitcher Black Mountain ever had. And so that none of you lose any sleep tonight, the uniform is genuine United States [https://www.wikidata.org/wiki/Q30] Merchant Marine [https://www.wikidata.org/wiki/Q865132] uniform and the fifth stripe, the purple stripe denotes me as a chief poet, which I was appointed by three captains, two chief engineers and several assorted mates of United States lines and we invented the uniform one night and they threw in all the materials and my wife gave it to me for a Christmas present, so I am responsible for the moral, religious, emotional and sexual life of the crew while at sea. It's a very serious duty! The book that's out now is actually my fourth book of poems, the first to some of you may be familiar with some of the poems from The New American Poetry [https://www.wikidata.org/wiki/Q7753501]and so on, The Dutiful Son and The Love Bit. And In Time is the fourth book. The third book is a little known book because Jonathan Williams [https://www.wikidata.org/wiki/Q6274797] has been carrying it around in his briefcase for eight years and sends me postcards every six month saying he's bringing it out. I thought maybe since it probably will never get published I should read some poems from there, it's called Friends and Lovers and most of the poems have initialed inscriptions, some of which I will name to you, and some of which somebody going for his Master's thirty years from now will have to do a lot of research to figure out. It's divided into two parts, obviously in the first part is friends and in the second part is lovers. This is the dedicatory poem. \\\"Orpheus\\\" [https://www.wikidata.org/wiki/Q174353].\\n \\nJoel Oppenheimer\\n00:02:52\\nReads \\\"Orpheus\\\" [published later in Just Friends/Friends and Lovers].\\n \\nJoel Oppenheimer\\n00:03:20\\nThis is a poem called \\\"Lesson I\\\" and it's for Charles Olson [https://www.wikidata.org/wiki/Q922978]. It's also as sure you all recognize upon a parody on one of Pound's [https://www.wikidata.org/wiki/Q163366] Usury Cantos [https://www.wikidata.org/wiki/Q2701465] and it's based on an actual softball incident in which Charles was supposed to be coaching third base and instead was discussing Etruscan sculpture when I was rounding second on a long drive to left centre field.\\n \\nJoel Oppenheimer\\n00:03:54\\nReads \\\"Lesson I\\\".\\n \\nJoel Oppenheimer\\n00:04:30\\nCharles got very upset about that. This is a poem for Franz Kline [https://www.wikidata.org/wiki/Q374492]. Do I need to tell you who Franz was? Alright, if anybody doesn't know should ask the person next to them after the reading…”Pablo Nerruda--” It’s called “The Boys Whose Fathers\\\".\\n \\nJoel Oppenheimer\\n00:04:57\\nReads \\\"The Boys Whose Fathers\\\".\\n \\nJoel Oppenheimer\\n00:08:31\\nAnd this is for Cubby Selby [https://www.wikidata.org/wiki/Q551487] who wrote Last Exit to Brooklyn [https://www.wikidata.org/wiki/Q1400274]. “A Poem In Tune With Its Time”.\\n \\nJoel Oppenheimer\\n00:08:39\\nReads “A Poem In Tune With Its Time”.\\n \\nJoel Oppenheimer\\n00:09:13\\nThis is for Phillip Guston [https://www.wikidata.org/wiki/Q701952]. That's very strange, I find that now I can say the names. Philip is a still surviving member of the New York [https://www.wikidata.org/wiki/Q60] Abstract Expressionist school, or whatever they call it these days. And a marvelous painter.\\n \\nJoel Oppenheimer\\n00:09:30\\nReads \\\"A Grace for Painters\\\".\\n \\nJoel Oppenheimer\\n00:11:21\\nThis is another poem for Charles Olson. It's called \\\"Okay\\\". This is a funny book because it was written about 1961, as I say literally, it's been carried around in manuscript form for eight years and why I never pulled it back except that those damn postcards kept coming in so I kept saying, okay, six months more and it just was a scene I got into where I, personal poems to people became a thing that I was doing at that time. It's called \\\"Okay\\\".\\n \\nJoel Oppenheimer\\n00:12:10\\nReads \\\"Okay\\\".\\n \\nJoel Oppenheimer\\n00:13:54\\nThank you. I don't know how many of you knew Charles, that was a visit to New York and we did have a marvelous meal in New York's Chinatown [https://www.wikidata.org/wiki/Q866332] and I just said to the guy, you know, bring us so many dollars worth of food, and there were eleven of us, Ed Dorn [https://www.wikidata.org/wiki/Q5334756] and his wife were with us and LeRoi Jones [https://www.wikidata.org/wiki/Q354783] and his wife and Charles, and we sat there and they kept bringing dishes out everybody stuffed themselves and we were all sitting there and Charles, as most of you know was about 6'7” and about 250 pounds and after all this food had come out and been consumed, the guy came out with a sea bass about this big, and everybody sorta looked and Charles said, \\\"Oh, thank you Joel\\\" and proceeded to demolish this thing. Well, everybody just sitting...[audience laughter]. Ah, yes! I have a Canadian poem for you. I didn't even know that. This is a poem for Ed Dorn and it's called \\\"The Fourth Ark Royal\\\". One night at a bar called Dylan's, Ed and I had seen each other for the first time for about six years and a couple of sailors came in and they had Ark Royal on their caps and Canadian badges and finally after a couple of drinks I asked one of them what the Ark Royal was, and to their shame and my chagrin, and they really were abashed when they said it, it turns out now that the Ark Royal is now a Corvette, uh, after a long distinguished history and not that--I'm sure that it's a great Corvette, but still, a Corvette is a Corvette, you know.\\n \\nJoel Oppenheimer\\n00:16:03\\nReads \\\"The Fourth Ark Royal\\\".\\n \\nJoel Oppenheimer\\n00:20:03\\nDoes anybody know where the Fourth Ark Royal is anchored? I'll go see it tomorrow. I have to make a confession, I pulled a dreadful gaff yesterday and I'm sure that Stan and George are going to spread it around after I leave, so I'm going to confess it in public. I said \\\"Gee, we're going to be here for a couple of days and there's one thing I'd really like to see. And do you suppose somebody might, you know, give us a lift to the Plains of Abraham [https://www.wikidata.org/wiki/Q2726825]\\\", and they both looked at me and said \\\"It's 100 miles away in Quebec [https://www.wikidata.org/wiki/Q176]\\\" and I said \\\"Oh my god, you're right\\\" and then I got home, to the hotel, and I was reading through, what's the name of that lovely magazine they give you at the hotel? Canada Today or something, and I was reading through, and when I saw them today, I said \\\"Oh well, I was wrong about the Plains of Abraham, but we guys captured Montreal once\\\" and it made me feel much better. Of course, we didn't hold it very long, I think a day we were here. This is a thing called \\\"Spring Poem\\\". And let's hope that it gets here.\\n \\nJoel Oppenheimer\\n00:21:24\\nReads \\\"Spring Poem\\\".\\n \\nJoel Oppenheimer\\n00:21:39\\nAhah! Yes, gee, I don't know if you're liking these, but I'm so delighted, I really haven't looked at these poems in moons, and it's...this is a poem for Gil Sorrentino [https://www.wikidata.org/wiki/Q326773] called \\\"The Aces\\\", and it starts with a quote from Antony and Cleopatra [https://www.wikidata.org/wiki/Q606830]. And it's when, it's the speech that's always quoted where the death is announced to her, and everybody always quotes the crown he bestride the continents like [unintelligible] and crowns--the crown would drop from his pocket, but I always love the end of it, near the end, she says \\\"His delights were dolphin-like, they showed his back above the element they lived in\\\".\\n \\nJoel Oppenheimer\\n00:22:28\\nReads \\\"The Aces\\\".\\n \\nJoel Oppenheimer\\n00:23:36\\nFor J.C. Just to add a little mystery.\\n \\nJoel Oppenheimer\\n00:23:56\\nReads unnamed poem \\\"There are waterfalls pour straight down\\\".\\n \\nJoel Oppenheimer\\n00:24:48\\n\\\"La Revolución\\\", for J.S.\\n \\nJoel Oppenheimer\\n00:24:51\\nReads \\\"La Revolución\\\".\\n \\nJoel Oppenheimer\\n00:25:55\\nI think what I'll do is read one--this is kind of a long poem, are you up to a longish poem and then we'll call a break? \\\"A Little Mayan Head\\\", for E.W.\\n \\nJoel Oppenheimer\\n00:26:23\\nReads \\\"A Little Mayan Head\\\".\\n\\nUnknown\\n00:30:22\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n \\nJoel Oppenheimer\\n00:30:23\\nIt's titled \\\"N.B.\\\", but that isn't for a lady, that's Nota Bene, if I am correcting--if I am pronouncing that correctly, or correcting that pronouncedly.\\n \\nJoel Oppenheimer\\n00:30:34\\nReads \\\"N.B.\\\"\\n \\nJoel Oppenheimer\\n00:31:10\\n\\\"Poem for New Children\\\", for E. and L.\\n \\nJoel Oppenheimer\\n00:31:14\\nReads \\\"Poem for New Children\\\".\\n \\nJoel Oppenheimer\\n00:31:35\\n\\\"Peire Vidal at Thirty-Two\\\" and any of you who don't know Peire Vidal [https://www.wikidata.org/wiki/Q5269] are instructed to report to George Bowering on Monday morning and he will give you a lecture on Peire Vidal. And George, if you don't have a lecture prepared, you better by then. Peire Vidal was the most marvelous poet in the world, his vida begins, Peire Vidal was the son of a rich fourrier in Toulouse [https://www.wikidata.org/wiki/Q7880], he sang better than any man in the world and he wrote good songs and he was the biggest fool the world has ever known because he believed that what a woman told him in love was true. He also [audience laughter] wrote a poem, this will get an even bigger hit when he was an old man he wrote a gorgeous poem that I can't quote, and you can thank me for that, he wrote a gorgeous poem in which in the first stanza, he avowed his eternal love to four different chicks [audience laughter]. \\n \\nJoel Oppenheimer\\n00:32:4\\nReads \\\"Peire Vidal at Thirty-Two\\\".\\n \\nJoel Oppenheimer\\n00:33:16\\n\\\"The Truck Farmer\\\", for R. F.\\n \\nJoel Oppenheimer\\n00:33:25\\nReads \\\"The Truck Farmer\\\".\\n \\nJoel Oppenheimer\\n00:35:01\\n\\\"Dutch Interior: Sewing\\\", also for R.F. R.F. was my first wife.\\n \\nJoel Oppenheimer\\n00:35:07\\nReads \\\"Dutch Interior: Sewing\\\".\\n \\nJoel Oppenheimer\\n00:35:36\\n\\\"Clams on the Half-Shelf\\\" for M.M. And I must say I've been very disappointed, because everybody kept telling me what great seafood restaurants Montreal has and the only seafood I can really stand is fresh clams and every restaurant I go into says, \\\"Oh, yeah, we have oysters but we don't serve clams\\\". Does anyone know a restaurant where I can get fresh clams?...This is for M.M.\\n \\nJoel Oppenheimer\\n00:36:09\\nReads \\\"Clams on the Half-Shelf\\\".\\n \\nJoel Oppenheimer\\n00:36:48\\nI must confess to the ladies in the audience that my book has been branded by women's lib in New York as insulting to women, and I have great fights with all of them, I praise their bosoms, and they sort of calm down then, but they still keep putting up stickers on my book jackets. It's amazing what you can do to a women's lib chick if you just tell her that she has very nice tits, really. Immediately they desert the movement. \\\"New Blues for the Moon\\\" for D.D.\\n \\nJoel Oppenheimer\\n00:37:34\\nReads \\\"New Blues for the Moon\\\" [from In Time: 1962-1968].\\n \\nJoel Oppenheimer\\n00:38:10\\nIt took me four years after, I got the rhyme line to \\\"I know your door better than my own\\\" but now it's too late to write the blues, but if anybody's interested, it's \\\"And if you won't have me I still ain't goin' home.\\\" \\\"A Love Poem\\\" for M.S.\\n \\nJoel Oppenheimer\\n00:38:33\\nReads \\\"A Love Poem\\\".\\n \\nJoel Oppenheimer\\n00:39:08\\nOh yeah, that's a nice poem for today. \\\"Third of April\\\", for M.R.\\n \\nJoel Oppenheimer\\n00:39:16\\nReads \\\"Third of April\\\".\\n \\nJoel Oppenheimer\\n00:39:59\\n\\\"A Five Act Play\\\" for B.J.\\n \\nJoel Oppenheimer\\n00:40:02\\nReads \\\"A Five Act Play\\\".\\n \\nJoel Oppenheimer\\n00:40:27\\n\\\"Nature Boy\\\" for B.C. Helen, are you keeping notes on these initials?\\n \\nJoel Oppenheimer\\n00:40:41\\nReads \\\"Nature Boy\\\".\\n \\nJoel Oppenheimer\\n00:41:22\\n\\\"Flora\\\" for J.G.\\n \\nAnnotation\\n00:41:31\\nReads \\\"Flora\\\".\\n \\nJoel Oppenheimer\\n00:42:04\\nI'm not sure I like this poem but the story behind it is funny. The really, the fairest break-up, for very strange reasons, and this one literally broke up because the first day that the chick made me sunny-side up eggs, she mashed the yolk with her fork. [Audience laughter]. I knew that no matter how beautiful the scene had been I couldn't stay there anymore. It's called \\\"Purple Flowers\\\" and it's for S.G., wherever you might be.\\n \\nJoel Oppenheimer\\n00:42:54\\nReads \\\"Purple Flowers\\\" [audience laughter throughout].\\n \\nJoel Oppenheimer\\n00:43:29\\n\\\"The Apples\\\" for D.R.\\n \\nJoel Oppenheimer\\n00:43:35\\nReads \\\"The Apples\\\".\\n \\nJoel Oppenheimer\\n00:44:10\\nI have--this is the last poem in the book and if you want to hear some stuff from--this is a longish one, why don't we call a stop after this, and if people want to split, split and if people want to stay I'll read a little bit more from the new book. \\\"When What You Dream\\\" for F.E.\\n \\nJoel Oppenheimer\\n00:44:45\\nReads \\\"When What You Dream\\\".\\n \\nJoel Oppenheimer\\n00:51:07\\nThis book starts with a poem that was turned down by at least 37 little magazines, and I finally blackjacked it in as the introductory poem. It's called \\\"The Poem\\\".\\n \\nJoel Oppenheimer\\n00:51:36\\nReads \\\"The Poem\\\" [from In Time: 1962-1968].\\n \\nJoel Oppenheimer\\n00:51:45\\nNobody liked it. Dan Rice is the only person in the world I know that likes that poem. And I think it's the best poem I ever wrote. This is a poem for the other poet I have to most love for, Li Po [https://www.wikidata.org/wiki/Q7071], the Chinese poet from 700, 800, roughly. It's called \\\"shooting the moon\\\". Li Po, his particular distinctions were that he seduced the emperor of China's [https://www.wikidata.org/wiki/Q148] favourite courtesan, and showed up two hours late for the date, bombed out of his skull, and fell asleep on her bosom before doing anything, and the emperor was not terribly amused by it but at the same time he was impressed by the enormity of the action so he exiled him to the mountains but he gave him like 50 thousand acres and bread for life, it's just he was not to show up in court ever again. While there, he did several notable things, one of which is writing the best lush poem that's ever been written cause he got up on a beautiful spring day and was sitting out on his terrace and his servant brought him breakfast and he ate it and he started drinking some sake and the next thing he knew it was nine o'clock at night and like he had sorta missed spring so he started drinking again, and the last line of the poem is something like \\\"two hours later I was dancing with the moon\\\". So, he worked it out. The only problem was, that he was literally in love with the moon, and this image runs through his poem, and one night on the way home from a wine tavern, he decided finally to make it with the moon and he sat down at the edge of the river, left it under a rock with his clothes and dove in to screw the moon, literally, the reflection in the water, and drowned. And one hopes that--I don't know what the autopsy showed, but one hopes that he did make it before he drowned, you know, like, you have to love, you know, a guy like that.\\n \\nJoel Oppenheimer\\n00:54:28\\nReads \\\"Shooting the Moon\\\" [from In Time: 1962-1968].\\n \\nJoel Oppenheimer\\n00:56:37\\nHelen, do you remember, by any chance, where the other moon poem is? Hold on one--I think I have it. Marvelous picture in the Times [https://www.wikidata.org/wiki/Q9684] one day, the first time they took a--the first time one of the things went around the moon, and I wrote a very funny poem about it I think, if I can find it here. Oh well, while I'm looking for it, I'll read you \\\"Zeus, in May, Reflects on a Recent Letter from Astarte\\\".\\n \\nJoel Oppenheimer\\n00:57:53\\nReads \\\"Zeus, in May, Reflects on a Recent Letter from Astarte\\\" [from In Time: 1962-1968].\\n \\nJoel Oppenheimer\\n00:58:37\\nAm I allowed to read dirty poems here? Yeah? This is a poem called \\\"Poem in Praise of Perseverance\\\". And anybody who doesn't want to hear it should close their ears. This is another poem that was rejected by about 40 magazines.\\n \\nJoel Oppenheimer\\n00:59:05\\nReads \\\"Poem in Praise of Perseverance\\\" [from In Time: 1962-1968].\\n \\nJoel Oppenheimer\\n00:59:34\\nI really do want to find that damn moon poem. Alright, \\\"The New Standard Simplified American Cabala for Home Use\\\".\\n \\nJoel Oppenheimer\\n00:59:53\\nReads \\\"The New Standard Simplified American Cabala for Home Use\\\" [from In Time: 1962-1968].\\n \\nJoel Oppenheimer\\n01:00:12\\n\\\"The Three Old Ladies\\\".\\n \\nJoel Oppenheimer\\n01:00:24\\nReads \\\"The Three Old Ladies\\\" [from In Time: 1962-1968].\\n \\nJoel Oppenheimer\\n01:01:14\\nThat poem incidentally was because of a little incident in a college in Brooklyn [https://www.wikidata.org/wiki/Q18419] because they had a lady faculty member as a cop and she listened to me read and she objected to only one word in the entire reading and that was 'hard-on' and I suggested gently to the woman who called me about it that that might be that lady's problem, if she could listen to my--I found the moon poem, thank god--if that was the only word she found to object to that I really thought she might need a little help somewhere from somebody. \\\"Wrong Again\\\".\\n \\nJoel Oppenheimer\\n01:02:11\\nReads \\\"Wrong Again\\\" [from In Time: 1962-1968; audience laughter throughout].\\n \\nEND\\n01:03:25\\n[Cut off abruptly].\",\"notes\":\"Joel Oppeheimer reads from In Time: Poems 1962-1968 (Bobbs-Merrill,1969) as well as poems from Just Friends/Friends and Lovers (Jargon Society) which was only published in 1980.\\n\\n00:00- Introduction for Joel Oppeheimer, by George Bowering [INDEX: Black Mountain,       director of the St. Mark’s Poetry Project, In Time published by Bobbs-Merrill distributed   by McCaulin Stewart.]\\n00:44- Joel Oppenheimer speaks, introduces “Orpheus” [INDEX: Black Mountain Softball pitcher, United States Merchant Marine uniform. The New American Poetry, The Dutiful Son, Love Bit, Johnathan Williams, Friends and Lovers, initialed inscriptions explained]\\n02:52- Reads “Orpheus” from Friends and Lovers\\n03:20- Introduces “Lesson I” [INDEX: Charles Olson, Ezra Pound’s Usury Cantos, Etruscan sculpture]\\n03:54- Reads “Lesson I”\\n04:30- Introduces “The Boys Whose Fathers” [INDEX: Franz Klein]\\n04:57- Reads “The Boys Whose Fathers”\\n08:31- Introduces “A Poem In Tune With Its Time” [INDEX: Cubby Selby’s Last Exit to               Brooklyn]\\n08:39- Reads “A Poem In Tune With Its Time”\\n09:13- Introduces “New York Abstract Expressionist School: For Philip Guston”, published as “A Grace for Painters” [INDEX: Philip Guston, New York Abstract Expressionist school]\\n09:30- Reads “A Grace for Painters”\\n11:21- Introduces “Okay” [INDEX: Charles Olson, written in 1961, personal poems for friends]\\n12:10- Reads “Okay”\\n13:54- Introduces “The Fourth Ark Royal” [Howard Fink List “The Fourthork Royal”]         [INDEX: Charles Olson, New York’s China Town. Ed Dorn, LeRoi Jones, Dylan’s Bar,              Forth ArK Royal sailors, Corvette]\\n16:03- Reads “The Fourth Ark Royal” [INDEX: Stan[ley Hoffman], George [Bowering],     Plains of Abraham, Quebec City, Canada Today magazine]\\n20:03- Introduces “Spring Poem”\\n21:24- Reads “Spring Poem”\\n21:39- Introduces “The Aces” [INDEX: Gil[bert] Sorrentino, Shakespeare’s “Anthony and     Cleopatra”]\\n22:28- Reads “The Aces”\\n23:36- Introduces poem for J.C, first line “There are waterfalls pour straight down...”\\n23:56- Reads first line “There are waterfalls pour straight down...”\\n24:48- Introduces “La Revolucion”\\n24:51- Reads “La Revolucion”\\n25:55- Introduces “A Little Mayan Head”\\n26:23- Reads “A Little Mayan Head”\\n30:23- Introduces “N.B.” [INDEX: “Nota Bene”]\\n30:34- Reads “N.B.”\\n31:10- Introduces “Poem for New Children” [INDEX: poem for children]\\n31:14- Reads “Poem for New Children”\\n31:35- Introduces “Peire Vidal at Thirty-Two” [Howard Fink List “Pervy Dahl at 32”]         [INDEX: George Bowering, Peire Vidal, Toulouse]\\n32:44- Reads “Peire Vidal at Thirty-Two”\\n33:16- Introduces “The Truck Farmer”\\n33:25- Reads “The Truck Farmer”\\n35:01- Introduces “Dutch Interior: Sewing” [INDEX: R.F. initial is his first wife]\\n35:07- Reads “Dutch Interior: Sewing”\\n35:36- Introduces “Clams on a Half-Shelf”\\n36:09- Reads “Clams on a Half-Shelf”\\n36:48- Introduces “New Blues for the Moon” [INDEX: Women’s Liberation Movement        branded as insulting to women]\\n37:34- Reads “New Blues for the Moon”\\n38:10- Introduces “A Love Poem”\\n38:33- Reads “A Love Poem”\\n39:08- Introduces “Third of April”\\n39:16- Reads “Third of April”\\n39:59- Introduces “A Five Act Play”\\n40:02- Reads “A Five Act Play”\\n40:27- Introduces “Nature Boy”\\n40:41- Reads “Nature Boy”\\n41:22- Introduces “Flora”\\n41:31- Reads “Flora”\\n42:04- Introduces “Purple Flowers”\\n42:54- Reads “Purple Flowers”\\n43:29- Introduces “The Apples”\\n43:35- Reads “The Apples”\\n44:10- Introduces “When What You Dream”\\n44:45- Reads “When What You Dream”\\n51:07- Introduces “the poem” from In Time Poems\\n51:36- Reads “the poem”\\n51:45- Introduces “shooting the moon” [INDEX: Dan Rice, Li Po seducing the moon, moon imagery]\\n54:28- Reads “shooting the moon”\\n56:37- Introduces “zeus, in may, reflects on a recent letter from astarte” [Howard Fink List: Xertes] [INDEX: Times magazine picture of the moon]\\n57:53- Reads “zeus in may, reflects on a recent letter from astarte”\\n58:37- Introduces “poem in praise of perseverance” [INDEX: “dirty” poems]\\n59:05- Reads “poem in praise of perseverance”\\n59:34- Introduces “the new standard simplified american cabala for home use”\\n59:53- Reads “the new standard simplified american cabala for home use”\\n1:00:12- Introduces “the three old ladies”\\n1:00:24- Reads “the three old ladies”\\n1:01:14- Introduces “wrong again” [INDEX: reading at a college in Brooklyn]\\n1:02:11- Reads “wrong again”\\n1:03:25- END OF RECORDING\\n \\nHoward Fink List:\\nIntroduction by George Bowering\\nRecorded April 3, 1970\\npage 77\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/joel-oppenheimer-at-sgwu-1970/\"}]"],"score":2.1907105},{"id":"1305","cataloger_name":["Ali,Barillaro"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":[" David Bromige at Sir George Williams University, The Poetry Series, 6 November 1970"],"item_title_source":["Cataloguer"],"item_title_note":["\"DAVID BROMIGE recorded November 6, 1970 3.75 ips, on 1. mil tape 1/2 track\" written on sticker on the back of the tape box.\"RT 550\" written on sticker on the front of the tape box. \"DAVID BROMIGE I086-11-007\" written on the spine of the tape box. \"DAVID BROMIGE\" and \"RT 550\" also written on stickers on the reel."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 5"],"item_identifiers":["[]"],"creator_names":["Bromige, David"],"creator_names_search":["Bromige, David"],"creators":["[{\"url\":\"http://viaf.org/viaf/7436750\",\"name\":\"Bromige, David\",\"dates\":\"1933-2009\",\"notes\":\"David Bromige was born in London, England, on October 22, 1933. He spent most of his childhood in England, surviving the German blitzkrieg during World War II. Bromige then left for Canada, to pursue an undergraduate degree in English from the University of British Columbia. There he met George Bowering and the Tish group of poets, and worked as an editor for the UBC newspaper. In 1962, he graduated and was offered a scholarship to complete his Master’s Degree from the University of California at Berkeley. He completed both his M.A. (1964) and his Ph.D. (1970), when he began teaching at the Sonoma State University in 1970, a position he held until his retirement 23 years later. His first publication was The Gathering (Sumbooks, 1965), which was followed by The Ends of the Earth (Black Sparrow Press, 1968), Please, Like Me (Black Sparrow Press, 1968) and Threads (Black Sparrow Press, 1971). Bromige was involved in the San Francisco poetry renaissance of the late 1960’s and early 1970’s. He then published Birds of the West (Coach House Press, 1973), Ten Years in the Making: Selected Poems, Songs & Stories, 1961-1970 (Vancouver Community Press, 1973), Three Stories (Black Sparrow Press, 1973), Out of my Hands (Black Sparrow Press, 1974) and Tight Corners & What’s Around Them: Prose & Poems (Black Sparrow Press, 1974). Bromige has published over forty volumes of prose and poetry, including Living in Advance (Open Ready Press, 1976), My Poetry (The Figures press, 1980), Desire: Selected Poems 1963-1987 (Black Sparrow Press, 1988) which won a Western States Arts Federation award, Piccolo Mondo (Coach House Press Books, 1998) with Angela and George Bowering and Michael Matthews, As in T, As in Tether (Chax Press, 2002), Ten Poems from Clearings in the Throat (dPress, 2005) and his last collection, with Richard Denner, Spade (dPress, 2006). Bromige’s many honours include a Pushcart Prize, two fellowships from the National Endowment for the Arts and two awards from the Poetry Foundation. David Bromige died on June 3, 2009 at the age of 75.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[]"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1970 11 6\",\"type\":\"Performance Date\",\"notes\":\"Date referenced on the tape box. A. newspaper announcement mentioned Bromige was intended to read with Daphne Marlatt on November 13, but no other supporting evidence has been found at this time.\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building\",\"notes\":\"Exact venue location unknown\",\"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"],"City":["Montreal, Quebec"],"content_notes":["David Bromige reads from The Gathering (Sunbooks, 1965) and The Ends of the Earth (Black Sparrow Press, 1968), as well as poems published soon after in Threads (Black Sparrow Press, 1971), and later in Ten Years in the Making: selected poems, songs & stories 1961-1970 (Vancouver Community Press, 1973)."],"contents":["david_bromige_i086-11-007.mp3\n \nDavid Bromige\n00:00:00\n...the new book, Threads, that hasn't been published yet, and then I'm going to read some poems from the book The Ends of the Earth, that came out a couple of years ago. Add a few new poems. It's a book with poems that are not, some poems that are not, in any sense in theory, or are less important than others, but it moves from one tangle of threads to the next, so it moves in various stages or groups, but I'll read at least one poem from each group, so I think that'll make a story. This is the first poem in the book, and this is the presentation that decided me on the book. What the book, in a way, pushes against.\n \nDavid Bromige\n00:01:02\nReads \"In His Image\" [published later in Threads].\n\nDavid Bromige\n00:02:01\nReads \"After the Engraving\" [published later in Threads].\n\nDavid Bromige\n00:03:07\nAnd I got this take, this poem was printed in a magazine that George Bowering [https://www.wikidata.org/wiki/Q1239280] edits, Imago, Number 13, I think.\n \nDavid Bromige\n00:03:21\nReads \"First Love\" [published later in Threads].\n \nDavid Bromige\n00:07:08\nSee, what I was working there was both the delightful self-indulgence of being able to tell that story over to myself after so many years, but, what I had coming out in the poem before, the one about the light elves who danced the dark elves out into the light in order to petrify them, as an Anglo-Saxon, Teutonic conception, which has a lot to do with our idea of what a poem is or what a work of art is. And so then I had this matter of the one you love coming to you and enabling you to be both light and dark elf to yourself, so that the two of you...whose particular form had never been, without her, it was that cultural attachment to particular forms, also, that I was hoping to tell the story, part of the story of, again, there. Okay, here's “Psychoanalysis”.\n \nDavid Bromige\n00:08:23\nReads “Psychoanalysis” [published later in Threads].\n \nDavid Bromige\n00:08:32\nReads \"You Too\" [published later in Threads].\n \nDavid Bromige\n00:08:52\nReads \"Why I Went There\" [published later in Threads].\n \nDavid Bromige\n00:10:54\nReads \"I Can't Read, & Here's a Book\" [published later in Threads].\n \nDavid Bromige\n00:12:27\nAnd so, yeah, and then that shifts into this prose piece, \"They Want\".\n \nDavid Bromige\n00:12:33\nReads \"They Want\" [published later in Threads].\n \nDavid Bromige\n00:14:11\nThis one came out of the same meeting.\n \nDavid Bromige\n00:14:14\nReads \"I can See\" [published later in Threads].\n \nDavid Bromige\n00:14:31\nReads \"Only Fair\" [published later in Threads].\n \nDavid Bromige\n00:14:59\nReads \"Example” [published later in Threads].\n \nDavid Bromige\n00:15:11\nYeah, this would seem to be very useful here. \"Choosing the Event\". This came out of the troubles, the people's park troubles in Berkeley [https://www.wikidata.org/wiki/Q168756]. Whenever it was, I can't remember now, the year before last, I guess.\n \nDavid Bromige\n00:15:34\nReads \"Choosing the Event\" [published later in Threads].\n \nDavid Bromige\n00:17:18\nReads \"Logical Conclusions\" [published later in Threads].\n \nDavid Bromige\n00:17:47\nI still don't know who it was. I figure if I keep reading it, sooner or later someone's going to break. But it's not very likely here. \"An Invention\".\n \nDavid Bromige\n00:18:07\nReads \"An Invention\" [published later in Threads].\n \nDavid Bromige\n00:18:49\nReads \"Fond\" [published later in Threads].\n \nDavid Bromige\n00:19:45\nReads \"So\" [published later in Threads].\n \nDavid Bromige\n00:22:19\nAnd so I want to read a poem from my first book. It was written in Vancouver [https://www.wikidata.org/wiki/Q24639], of Vancouver. Well, I'm not a...particular landscapes don't often come into my poetry but here all kinds of images came in, from Hampstead Heath [https://www.wikidata.org/wiki/Q1570958], near where I spent my childhood, and also of Vancouver, and this poem also was published in TISH [https://www.wikidata.org/wiki/Q2384384], a publication from those Vancouver days.\n \nDavid Bromige\n00:22:52\nReads \"We Could Get a Drink\" from The Gathering.\n \nDavid Bromige\n00:24:57\nI'll read a few poems now from the book between--that was from a book called The Gathering. This is from The Ends of the Earth. And these, in their literal presence, these woods were the woods behind Deep Cove [https://www.wikidata.org/wiki/Q5250114], where I was living in 1964, just up from Vancouver.\n \nDavid Bromige\n00:25:24\nReads \"In Deep Woods\" from The Ends of the Earth.\n \nDavid Bromige\n00:26:17\nThis goes back to back with that, I guess. \n \nDavid Bromige\n00:26:20\nReads \"Just Think\" [from The Ends of the Earth].\n \nDavid Bromige\n00:26:57\nReads \"A Defect\" [from The Ends of the Earth].\n \nDavid Bromige\n00:27:32\nReads \"Taking Heart\" [from The Ends of the Earth].\n \nDavid Bromige\n00:28:11\nReads \"The Faster\" [from The Ends of the Earth].\n \nDavid Bromige\n00:28:45\nReads \"Why Not\" [from The Ends of the Earth].\n \nDavid Bromige\n00:29:25\nReads \"A Call\" [from The Ends of the Earth].\n \nDavid Bromige\n00:30:35\nThis is a...it's my own attempt to write a fairy story. And I just let come into it all the elements that I knew from various fairy stories, narrative tricks and devices and so forth, and tried to have my fun from them, but I didn't get away with it. They took me, even though I held off, as well as I could.\n \nDavid Bromige\n00:31:03\nReads \"A Final Mission\" [from The Ends of the Earth].\n \nAudience\n00:38:04\nApplause.\n \nDavid Bromige\n00:38:11\nThat's the closest, I guess, to a political poem I've ever written. [Audience laughter]. So I want a bit to break that mood, because I can't do anything more with that mood.\n \nDavid Bromige\n00:38:23\nReads \"A Kind Numbness\" [from The Ends of the Earth].\n \nDavid Bromige\n00:39:19\nI like that very much, that notion of the bargain by which we civilized beings live, it comes through for me very strongly there, but also, I mean when the sun gets up the flies get up, but also that you can focus on one or the other. Let's see how I'm doing for time. Okay, I'll read...I sent the manuscript of Threads off to the publisher about two months ago, and these are the poems I've written since then.\n \nDavid Bromige\n00:40:06\nReads \"Dear Night\".\n \nDavid Bromige\n00:42:29\nReads \"The Spell\" [published later in Ten Years in the Making: selected poems, songs & stories 1961-1970].\n\nDavid Bromige\n00:44:46\nReads \"Tom Thumb: A Relation on a Measure\".\n \nDavid Bromige\n00:48:23\nReads \"A Rime\" [published later in Ten Years in the Making: selected poems, songs & stories 1961-1970].\n \nUnknown\n00:48:26\n[Cut or edit made in tape; poem title is repeated]. \n \nDavid Bromige\n00:50:26\nReads \"From my Mother\".\n \nEND\n00:52:18\n"],"Note":["[{\"note\":\"Year-Specific Information: \\n\\nIn 1970, Bromige completed his Ph.D. from the University of California at Berkeley, and began teaching at Sonoma State University the same year. He was working on his book Threads which was published in 1971.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nDavid Bromige completed an undergraduate degree at the University of British Columbia, where he met George Bowering (a Reading Series Committee member).\",\"type\":\"General\"},{\"note\":\"Original transcript by Rachel Kyne\\n\\nOriginal print catalogue, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\\n\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"http://bromige.wordpress.com/memories-thoughts-reflections/\",\"citation\":\"Bowering, George. “Stories”. Comment made on the Remembering David website. Posted June 3, 2009. \"},{\"url\":\"https://www.worldcat.org/title/gathering-poems/oclc/869019454&referer=brief_results\",\"citation\":\"Bromige, David. The Gathering. Buffalo: Sunbooks, 1965. \\n\"},{\"url\":\"https://www.worldcat.org/title/threads/oclc/869019738&referer=brief_results\",\"citation\":\"Bromige, David. Threads. Los Angeles: Black Sparrow Press, 1971.\"},{\"url\":\"https://www.worldcat.org/title/ends-of-the-earth/oclc/869019696&referer=brief_results\",\"citation\":\"Bromige, David. The Ends of the Earth. Los Angeles: Black Sparrow Press, 1968. \"},{\"url\":\"https://www.worldcat.org/title/ten-years-in-the-making-selected-poems-songs-stories-1961-1970/oclc/496167582&referer=brief_results\",\"citation\":\"Bromige David. Ten Years in the Making: selected poems, songs & stories 1961-1970. Vancouver: Community Press, 1973. \"},{\"url\":\"http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2009/06/16/BAU3187NM6.DTL\",\"citation\":\"Jones, Carolyn. “Poet, teacher David Bromige dies”. The San Francisco Chronicle. B-6: June 17, 2009. \"},{\"url\":\"http://www.poetryfoundation.org/harriet/2009/06/in- memoriam-david-bromige\",\"citation\":\"Powell, D.A. “In Memoriam: David Bromige”. Harriet: a blog from the Poetry Foundation. June 10th, 2009. \"},{\"url\":\"\",\"citation\":\"“David Bromige”. Writing Canada into the Millennium: Canadian Poets Online. University of Calgary, English Department. \"}]"],"_version_":1853670548986396672,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0007_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0007_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"David Bromige Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0007_front.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0007_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"David Bromige Tape Box - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0007_back.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0007_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"David Bromige Tape Box - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0007_side.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0007_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"David Bromige Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/david_bromige_i086-11-007.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"david_bromige_i086-11-007.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:52:18\",\"precision\":\"\",\"size\":\"125.7 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"David Bromige\\n00:00:00\\n...the new book, Threads, that hasn't been published yet, and then I'm going to read some poems from the book The Ends of the Earth, that came out a couple of years ago. Add a few new poems. It's a book with poems that are not, some poems that are not, in any sense in theory, or are less important than others, but it moves from one tangle of threads to the next, so it moves in various stages or groups, but I'll read at least one poem from each group, so I think that'll make a story. This is the first poem in the book, and this is the presentation that decided me on the book. What the book, in a way, pushes against.\\n \\nDavid Bromige\\n00:01:02\\nReads \\\"In His Image\\\" [published later in Threads].\\n\\nDavid Bromige\\n00:02:01\\nReads \\\"After the Engraving\\\" [published later in Threads].\\n\\nDavid Bromige\\n00:03:07\\nAnd I got this take, this poem was printed in a magazine that George Bowering [https://www.wikidata.org/wiki/Q1239280] edits, Imago, Number 13, I think.\\n \\nDavid Bromige\\n00:03:21\\nReads \\\"First Love\\\" [published later in Threads].\\n \\nDavid Bromige\\n00:07:08\\nSee, what I was working there was both the delightful self-indulgence of being able to tell that story over to myself after so many years, but, what I had coming out in the poem before, the one about the light elves who danced the dark elves out into the light in order to petrify them, as an Anglo-Saxon, Teutonic conception, which has a lot to do with our idea of what a poem is or what a work of art is. And so then I had this matter of the one you love coming to you and enabling you to be both light and dark elf to yourself, so that the two of you...whose particular form had never been, without her, it was that cultural attachment to particular forms, also, that I was hoping to tell the story, part of the story of, again, there. Okay, here's “Psychoanalysis”.\\n \\nDavid Bromige\\n00:08:23\\nReads “Psychoanalysis” [published later in Threads].\\n \\nDavid Bromige\\n00:08:32\\nReads \\\"You Too\\\" [published later in Threads].\\n \\nDavid Bromige\\n00:08:52\\nReads \\\"Why I Went There\\\" [published later in Threads].\\n \\nDavid Bromige\\n00:10:54\\nReads \\\"I Can't Read, & Here's a Book\\\" [published later in Threads].\\n \\nDavid Bromige\\n00:12:27\\nAnd so, yeah, and then that shifts into this prose piece, \\\"They Want\\\".\\n \\nDavid Bromige\\n00:12:33\\nReads \\\"They Want\\\" [published later in Threads].\\n \\nDavid Bromige\\n00:14:11\\nThis one came out of the same meeting.\\n \\nDavid Bromige\\n00:14:14\\nReads \\\"I can See\\\" [published later in Threads].\\n \\nDavid Bromige\\n00:14:31\\nReads \\\"Only Fair\\\" [published later in Threads].\\n \\nDavid Bromige\\n00:14:59\\nReads \\\"Example” [published later in Threads].\\n \\nDavid Bromige\\n00:15:11\\nYeah, this would seem to be very useful here. \\\"Choosing the Event\\\". This came out of the troubles, the people's park troubles in Berkeley [https://www.wikidata.org/wiki/Q168756]. Whenever it was, I can't remember now, the year before last, I guess.\\n \\nDavid Bromige\\n00:15:34\\nReads \\\"Choosing the Event\\\" [published later in Threads].\\n \\nDavid Bromige\\n00:17:18\\nReads \\\"Logical Conclusions\\\" [published later in Threads].\\n \\nDavid Bromige\\n00:17:47\\nI still don't know who it was. I figure if I keep reading it, sooner or later someone's going to break. But it's not very likely here. \\\"An Invention\\\".\\n \\nDavid Bromige\\n00:18:07\\nReads \\\"An Invention\\\" [published later in Threads].\\n \\nDavid Bromige\\n00:18:49\\nReads \\\"Fond\\\" [published later in Threads].\\n \\nDavid Bromige\\n00:19:45\\nReads \\\"So\\\" [published later in Threads].\\n \\nDavid Bromige\\n00:22:19\\nAnd so I want to read a poem from my first book. It was written in Vancouver [https://www.wikidata.org/wiki/Q24639], of Vancouver. Well, I'm not a...particular landscapes don't often come into my poetry but here all kinds of images came in, from Hampstead Heath [https://www.wikidata.org/wiki/Q1570958], near where I spent my childhood, and also of Vancouver, and this poem also was published in TISH [https://www.wikidata.org/wiki/Q2384384], a publication from those Vancouver days.\\n \\nDavid Bromige\\n00:22:52\\nReads \\\"We Could Get a Drink\\\" from The Gathering.\\n \\nDavid Bromige\\n00:24:57\\nI'll read a few poems now from the book between--that was from a book called The Gathering. This is from The Ends of the Earth. And these, in their literal presence, these woods were the woods behind Deep Cove [https://www.wikidata.org/wiki/Q5250114], where I was living in 1964, just up from Vancouver.\\n \\nDavid Bromige\\n00:25:24\\nReads \\\"In Deep Woods\\\" from The Ends of the Earth.\\n \\nDavid Bromige\\n00:26:17\\nThis goes back to back with that, I guess. \\n \\nDavid Bromige\\n00:26:20\\nReads \\\"Just Think\\\" [from The Ends of the Earth].\\n \\nDavid Bromige\\n00:26:57\\nReads \\\"A Defect\\\" [from The Ends of the Earth].\\n \\nDavid Bromige\\n00:27:32\\nReads \\\"Taking Heart\\\" [from The Ends of the Earth].\\n \\nDavid Bromige\\n00:28:11\\nReads \\\"The Faster\\\" [from The Ends of the Earth].\\n \\nDavid Bromige\\n00:28:45\\nReads \\\"Why Not\\\" [from The Ends of the Earth].\\n \\nDavid Bromige\\n00:29:25\\nReads \\\"A Call\\\" [from The Ends of the Earth].\\n \\nDavid Bromige\\n00:30:35\\nThis is a...it's my own attempt to write a fairy story. And I just let come into it all the elements that I knew from various fairy stories, narrative tricks and devices and so forth, and tried to have my fun from them, but I didn't get away with it. They took me, even though I held off, as well as I could.\\n \\nDavid Bromige\\n00:31:03\\nReads \\\"A Final Mission\\\" [from The Ends of the Earth].\\n \\nAudience\\n00:38:04\\nApplause.\\n \\nDavid Bromige\\n00:38:11\\nThat's the closest, I guess, to a political poem I've ever written. [Audience laughter]. So I want a bit to break that mood, because I can't do anything more with that mood.\\n \\nDavid Bromige\\n00:38:23\\nReads \\\"A Kind Numbness\\\" [from The Ends of the Earth].\\n \\nDavid Bromige\\n00:39:19\\nI like that very much, that notion of the bargain by which we civilized beings live, it comes through for me very strongly there, but also, I mean when the sun gets up the flies get up, but also that you can focus on one or the other. Let's see how I'm doing for time. Okay, I'll read...I sent the manuscript of Threads off to the publisher about two months ago, and these are the poems I've written since then.\\n \\nDavid Bromige\\n00:40:06\\nReads \\\"Dear Night\\\".\\n \\nDavid Bromige\\n00:42:29\\nReads \\\"The Spell\\\" [published later in Ten Years in the Making: selected poems, songs & stories 1961-1970].\\n\\nDavid Bromige\\n00:44:46\\nReads \\\"Tom Thumb: A Relation on a Measure\\\".\\n \\nDavid Bromige\\n00:48:23\\nReads \\\"A Rime\\\" [published later in Ten Years in the Making: selected poems, songs & stories 1961-1970].\\n \\nUnknown\\n00:48:26\\n[Cut or edit made in tape; poem title is repeated]. \\n \\nDavid Bromige\\n00:50:26\\nReads \\\"From my Mother\\\".\\n \\nEND\\n00:52:18\\n\",\"notes\":\"David Bromige reads from The Gathering (Sunbooks, 1965) and The Ends of the Earth (Black Sparrow Press, 1968), as well as poems published soon after in Threads (Black Sparrow Press, 1971), and later in Ten Years in the Making: selected poems, songs & stories 1961-1970 (Vancouver Community Press, 1973).\\n\\n00:00- Recording starts mid-sentence, David Bromige introduces reading and “In His Image”. [INDEX: Threads, The Ends of the Earth, new poems, reading as a story, first poem in the book, presentation; from Threads (Black Sparrow Press, 1971).]\\n01:02- Reads “In His Image”. [INDEX: death, grave, sight, sky, camera, eye, voice, water]\\n02:01- Reads “After the Engraving, for Tom Clark.  [INDEX: chisel, love, evil, luck,   fortune, sculpture, craft, amulet, sky, stone; from Threads (Black Sparrow Press, 1971).]\\n03:07- Introduces “First Love”. [INDEX: printed in George Bowering’s Imago number 13; from Threads (Black Sparrow Press, 1971).]\\n03:21- Reads “First Love”. [INDEX: couple, unity, work, city, anger, fortune, north, village, love, joy, grandparents, wave, sea, sex, music, dance, boat, Chicago, parting, loss, kiss.]\\n07:08- Explains “First Love”, introduces “Psychoanalysis”. [INDEX: self-indulgence, telling story, light elves, dark elves, Anglo-Saxon, Teutonic, idea of what a poem or work of art is, love, cultural attachment to particular forms, psychoanalysis; from Threads (Black Sparrow Press, 1971).]\\n08:23- Reads “Psychoanalysis”. [INDEX: sex, word, psychoanalysis, memory.]\\n08:32- Reads “You Too”. [INDEX: orders, will, uniform; from Threads (Black Sparrow Press, 1971).]\\n08:52- Reads “Why I Went There”. [INDEX: knowledge, travel, audience, memory, Barry, editor, party, night, meeting, love, son, job, resentment, heavy, alone, nightmare; from Threads (Black Sparrow Press, 1971)]\\n10:54- Reads “I Can’t Read & Here’s a Book” [INDEX: boy, son, book, reading, Hans Christian Anderson, fairy tale, alone, solitude, brain; from Threads (Black Sparrow Press, 1971).]\\n12:27- Introduces “They Want”. [INDEX:prose piece; from Threads (Black Sparrow Press, 1971).]\\n12:33- Reads “They Want” [INDEX: identity, student, faculty, meeting, form, evaluation, pain, necessity, structure, rhyme.]\\n14:11- Introduces “I Can See”. [INDEX: poem from same meeting as “They Want”; from    Threads (Black Sparrow Press, 1971)]\\n14:14- Reads “I Can See”. [INDEX: argument, meeting, intelligence]\\n14:31- Reads “Only Fair”. [INDEX: money, justice, banana; from Threads (Black Sparrow Press, 1971)]\\n14:59- Reads “Example”. [INDEX: competition; from Threads (Black Sparrow Press, 1971).]\\n15:11- Introduces “Choosing the Event”. [INDEX: people’s ‘park troubles’ in Berkeley; from Threads (Black Sparrow Press, 1971).]\\n15:34- Reads “Choosing the Event”. [INDEX: loss, luck, D-Day, suffering, forgetting, memory, feeling, interpreter, speaking, freedom, San Fernando, death.]\\n17:18- Reads “Logical Conclusions”.  [INDEX: friend, meeting, couple, door, welcome, trust; from Threads (Black Sparrow Press, 1971)]\\n17:47- Explains “Logical Conclusions”. [INDEX: figuring out who the subject of the poem is.]\\n18:07- Reads “An Invention”. [INDEX:  moon, zodiac, Virgo, date, birth, fate, accident,     determination, dread, sign; from Threads (Black Sparrow Press, 1971)]   \\n18:49- Reads “Fond”. [INDEX: love, failure, couple, sleep, night, kitchen, house; from Threads (Black Sparrow Press, 1971)]\\n19:45- Reads “So”. [INDEX: animal, kitten, eye, sight, vowel, consonant, language, word, loss, mistake, voice, iamb, writing, happiness, lust, joy, death, misery, resentment, cat; from Threads (Black Sparrow Press, 1971).]\\n22:19- Introduces “We Could Get a Drink”. [INDEX: first book, written in Vancouver, about Vancouver, Hampstead Heath, childhood, published in Tish from; The Gathering \\t(Sunbooks, 1965).]\\n22:52- Reads “We Could Get a Drink”. [INDEX: sun, memory, remembrance, Hampstead Heath, morning, tree, couple, love, Vancouver, place, shadow, camera, girl, starve, news, soldier, bomb, birch, drink.]\\n24: 57- Introduces “In Deep Woods”. [INDEX: previous poems from The Gathering, latter poems from The Ends of the Earth, literal presence, Deep Cove, 1964, living in    Vancouver; from The Ends of the Earth (Black Sparrow Press, 1968).]\\n25:24- Reads “In Deep Woods”. [INDEX: place, Vancouver, Deep Cove, fish, salmon, bear, house, forest, animal.]\\n26:17- Introduces “Just Think”. [INDEX: from The Ends of the Earth (Black Sparrow Press, 1968).]\\n26:20- Reads “Just Think”. [INDEX: reality, hypothesis, family, children, theatre]\\n26:57- Reads \\\"A Defect\\\". [INDEX:  doctor, defect, body, boy, meaning; from The Ends of the Earth (Black Sparrow Press, 1968)]\\n27:32- Reads \\\"Taking Heart\\\" [INDEX: mouth, trust, doubt, body, ocean, love, couple, loss, lake, river; from The Ends of the Earth (Black Sparrow Press, 1968)]\\n28:11- Reads \\\"The Faster\\\" [INDEX: night, time, play, statue, studio, representation; from The Ends of the Earth (Black Sparrow Press, 1968).]\\n28:45- Reads \\\"Why Not\\\" [INDEX: hypothetical, clothes, reflection, wind, dawn, window, sky, sun; from The Ends of the Earth (Black Sparrow Press, 1968)]\\n29:25- Reads “A Call”. [INDEX: city, door, solitude, alone, street, sleep, room, silence, sight, mouth; from The Ends of the Earth (Black Sparrow Press, 1968)]\\n30:35- Introduces “A Final Mission”. [INDEX: fairy story, elements of fairy stories, narrative tricks and devices, fun; from The Ends of the Earth (Black Sparrow Press, 1968).]    \\n31:03- Reads “A Final Mission”.  [INDEX: forest, place, fairy tale, wood, ownership, travel, friend, story, woman, naked, home, tree, listening, master, flower, nature, bridge, water, music, heart, sleep, dream, couple, semen, sex, flight, sight, body, star.]\\n38:11- Talks about mood of the reading. [INDEX: political poem, mood of reading and poems.]\\n38:23- Reads “A Kind Numbness”. [INDEX:  morning, sleep, cold, animal, horse, skin, fly, sun; from The Ends of the Earth (Black Sparrow Press, 1968).]\\n39:19- Explains “A Kind Numbness”, introduces new poems. [INDEX: bargain, civilization, sun, flies, manuscript of Threads sent off two months previous, poems written since then.]\\n40:06- Reads “Dear Night”. [INDEX: night, window, reflection, village, story, alone, woman, city, body, perception, praise, fate, figure of speech, language, absence, lover, love, blindness, shame, drinking, song; unknown source.]\\n42:29- Reads “The Spell”.  [INDEX: dark, danger, light, beauty, safety, pun, antonym, city, man, time, story, stone, word, gem, light; published later in Ten Years in the Making: selected poems, songs & stories 1961-1970 (Vancouver Community Press, 1973).]\\n44:46- Reads “Tom Thumb: a Relation on a Measure”. [INDEX: fairy tale, Tom Thumb, size, invisible, sight, child, soul, unique, island, Scotland, friend, betrayal, measure, memory, remembrance, house; unknown source.]\\n48: 23- Reads “A Rime”. [INDEX: nature, animal, bird, Great Horned Owl, sound, sight,       night, book, knowledge, voice, morning, silence, house, fire, cold; published later in Ten       Years in the Making: selected poems, songs & stories 1961-1970 (Vancouver Community Press, 1973)]\\n48:26- Cut/Edit in tape; Bromige reading poem's title is repeated. \\n50:26- Reads “From My Mother”. [INDEX: youth, mother, child, travel, father, home, wife, town, Pacific, Montreal, plane, meadow, St. Albans, education, woman, death; unknown source.]\\n52:18.07- RECORDING ENDS.\\n\\nTitle:\\nSource:\\nDate: Recorded November 6, 1970\\n \\n1. In His Image\\n2. After the Engraving: For Tom Clark\\n3. First Love\\n4. Psychoanalysis\\n5. You Too\\n6. Why I Went There\\n7. I Can’t Read and Here’s A Book\\n8. They Want\\n9. I Can See\\n10.  Only Fair\\n11.  Example\\n12.  Choosing the Event\\n13.  Logical Conclusions\\n14.  An Invention\\n15.  Fond\\n16.  So\\n17.  We Could Get A Drink\\n18.  In Deep Woods\\n19.  Just Think\\n20.  A Defect\\n21.  Taking Heart\\n22.  The Faster\\n23.  Why Not?\\n24.  The Call\\n25.  A Final Mission\\n26.  A Kind Numbness\\n27.  Dear Night\\n28.  The Spell\\n29.  Tom Thumb\\n30.  A Rhyme\\n31.  From My Mother\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/david-bromige-at-sgwu-1970/\"}]"],"score":2.1907105}]